Podcasts about curatorial studies

David sits down with Josh Porter, Assistant Executive Director of Lexington's Faulkner Morgan Archive to discuss the exhibit “Queer, Here, & Everywhere” displayed at the Central Library until June 26, 2025. They discuss the research that went into the exhibit and future plans to add panels to the exhibit. The exhibit will be at the Lexington Pride Festival on Saturday June 28, and then will move to the Lexington History Museum in August 2025.Josh Porter is an art historian and curator based in Lexington, Kentucky. In 2023, Josh received his MFA in Curatorial Studies from the University of Kentucky. Born in Eastern Kentucky, Josh brings a unique perspective to the archive in viewing Kentucky's LGBTQ history through the lens of art, particularly photography. His writing, design, and photography has appeared in Oxford American, Brooklyn Rail, Art In America, Queer Kentucky, UnderMain, and elsewhere.Queer, Here, & Everywhere: The Roots of Kentucky's LGBTQ History is the first comprehensive exhibition of Lexington's LGBTQ history, showcasing the importance of the queer community in this city. Highlighting key moments and figures in Lexington's LGBTQ history, from Sweet Evening Breeze's drag performances in the 1920s to the passage of the Fairness Ordinance in 1999, this exhibit will celebrate the resilience and contributions of the queer community. By shedding light on these often overlooked narratives, we hope to foster a greater sense of belonging for LGBTQ individuals in Lexington while also promoting understanding and appreciation among the broader population.

Nizan Shaked is our guest this month! Shaked is Professor of Contemporary Art History, Museum, and Curatorial Studies at UC Long Beach, and most recently the author of Museums and Wealth: The Politics of Contemporary Art Collections (Bloomsbury, 2022). She speaks to Lauren Wetmore about the resources offered by criticality, writing for ”liberals that I want to become more radical,” and researching her forthcoming book Art Against the System, for which she recently won a Warhol Arts Writers Grant. Shaked offers artist LaToya Ruby Frazier's book The Notion of Family (Aperture, 2014) to consider the devastation perpetrated by imperial industry, its connection to art systems, and how artists provide models for how to deal with authoritarianism.Many thanks to this episode's sponsors, Centre PHI and Night Gallery, for their support of our work.Our deepest thanks to Nizan Shaked for her contribution to this season.And a big thank you to Jacob Irish, our editor, and Chris Andrews, for production assistance.

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 BAMPFA Chief Curator Margot Norton. In this Episode, Margot discusses her background, including her move from New York to Berkeley and her previous roles at the Whitney Museum and the New Museum. She describes an upcoming exhibition titled 'To Exalt the Ephemeral,' which focuses on impermanent art. She shares the transformative potential of museums, her inspiration from artists like Pepón Osorio and Eva Hesse, and her experience working with UC Berkeley students. The exhibition highlights experimental materials, memory, photography, and ends with a video installation by Joan Jonas. Then of course, "Three Questions" with Margot sharing her curatorial career and inspirations.About Curator Margot Norton:Margot Norton is the Chief Curator at the Berkeley Art Museum and Pacific Film Archive (BAMPFA). She is formerly the Allen and Lola Goldring Senior Curator at the New Museum, New York. She organized the 2021 New Museum Triennial Soft Water Hard Stone, co-curated with Jamillah James. Norton joined the New Museum in 2011 and has worked on a number of exhibitions, curating and cocurating presentations by Carmen Argote, Diedrick Brackens, Sarah Lucas, Lynn Hershman Leeson, Pipilotti Rist, Mika Rottenberg, Bárbara Wagner and Benjamin de Burca, and Kaari Upson, among others. In 2017, she curated the Eighth Sequences Real Time Art Festival in Reykjavik, Iceland, and the Georgian Pavillion at the 2019 Venice Biennale with artist Anna K.E.. Before she joined the New Museum in 2011, Norton worked as a curatorial assistant at the Whitney Museum, New York. She has contributed to and edited numerous publications and exhibition catalogues, and regularly lectures on contemporary art and curating. She holds an MA in Curatorial Studies from Columbia University, New York.Find more from Margot HERE.   Follow Margot on Instagram:  @MargotNortonTo learn more about BAMPFA's Exhibit, "To Exalt the Ephemeral" CLICK HERE. --About Podcast Host Emily Wilson:Emily is 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

SummaryIn the first episode of our 2024 season, our host Stephanie Fortunato speaks with Tairone Bastien, curator of 'A Feral Commons', a global public art co-commission project that examines the often unrecognized co-dependence and open-ended collaborations between human and non-human beings. The project is led by Alserkal Advisory in collaboration with GCDN and with support from UAP – and features site-specific installations located in three cultural districts worldwide: Alserkal Avenue, Kingston Creative, and Victoria Yards.Guest bioTairone Bastien (he/him) is an independent curator based in Toronto and an Assistant Professor in the Criticism and Curatorial Practice program at Ontario College of Art and Design University. Tairone co-curated the inaugural Toronto Biennial of Art in 2019 and in 2022. From 2011-2016, Tairone established the arts program at Alserkal Avenue and the Alserkal Residency in Dubai, for artists, curators, and researchers in the Middle East, North Africa, and South Asia. From 2005-2010, he was a curator for Performa in New York City, co-organizing the first three editions of the ground-breaking biennial of live performance art. Tairone holds a Master of Art from the Center for Curatorial Studies, Bard College, New York; and a Bachelor's Degree in Art History with a Minor in Critical Studies in Sexuality from the University of British Columbia. External referencesA Feral Commons Website: https://aferalcommons.com/A Feral Commons ArtistsIo Makandal: https://iomakandal.com/Muhannad Shono: https://muhannadshono.com/Camille Chedda: https://www.camillechedda.com/Alserkal article detailing A Feral Commons: https://alserkal.online/words/the-global-co-commissionUrban Art Project (UAP): https://www.uapcompany.com/Alserkal: https://alserkal.online/Kingston Creative:https://kingstoncreative.org/Victoria Yards: https://www.victoriayards.co.za/Toronto Biennial: https://torontobiennial.org/Hassan Sharif: https://en.wikipedia.org/wiki/Hassan_SharifAna Tsing: https://en.wikipedia.org/wiki/Anna_TsingFeral Atlas, 79 field reports from scientists, humanists, and artists that show you how to recognize “feral” ecologies: https://feralatlas.org/Mushroom at the end of the world: https://en.wikipedia.org/wiki/The_Mushroom_at_the_End_of_the_WorldArticle detailing Chedda's Art Exhibition: https://our.today/jamaican-camille-chedda-selected-for-climate-themed-art-exhibition/Juksgei River, Johannesburg South Africa: https://en.wikipedia.org/wiki/Jukskei_RiverWater for the Future, an organization dedicated to reviving the Jukskei river's ecosystem through collaborative, community-based spatial interventions. Collaborating with Makandal on her exhibition: https://www.waterforthefuture.co.za/ LinkedInsTairone Bastien : https://www.linkedin.com/in/tairone-bastien-6310608/?originalSubdomain=caAlserkal LinkedIn:https://www.linkedin.com/company/alserkal/Camille Chedda:https://www.linkedin.com/in/camille-chedda-8233bb33/Io Makandal:https://www.linkedin.com/in/io-makandal-schiess-6b693629/ InstagramsMuhannad Shono: https://www.instagram.com/muhannad.shono/Io Makandal: https://www.instagram.com/iomakandal/Camille Chedda: https://www.instagram.com/camillechedda/Alserkal: https://www.instagram.com/alserkalavenue/

Vince looks at queer sociality through the Boys Love media, a genre that portrays homoerotic relationships between two men by straight female creators for often assumed straight female readers. This genre was developed in Japan after WWII and was argued to liberate women from gender constraints. Since then, the genre has gained tremendous popularity in […]

Meet the co-founders of New York City Jewelry Week, Bella Neyman and JB Jones. With a Master of Arts in History of Design and Curatorial Studies, Bella is an established historian, independent curator and journalist specializing in contemporary jewelry and currently serves as the mastermind of programming for NYCJW. JB Jones employs her background in creative direction, having served on The Site UnScene platform for emerging street artists in Los Angeles, to oversee event initiatives, marketing and social media content and educational programs. She also co-hosts NYC Jewelry Week's podcast Rough Cut, one of the largest jewelry industry podcasts in the United States. Tune in as host Courtney Grey stirs memories and asks big questions of the cultivated, self-proclaimed “crazy” women of NYCJW.Pouring their hearts out with pride, they share how they joined forces to produce a weeklong, city-wide festival of over a hundred live and virtual events, fostering a sense of community and inclusivity, encouraging makers, curators, independent designers and brands to tell their story through jewelry.

Marco Mancuso"Chimera"Il corpo espanso per una nuova ecosofia dell'arteMimesis Edizioniwww.mimesisedizioni.itChimera. Il Corpo Espanso per una nuova ecosofia dell'arte individua un punto di incontro tra arte e design, tecnologia e scienza nell'indagine sul corpo umano in dialogo con il contesto che lo circonda. La sua unicità, quella di evidenziare e mettere a sistema caratteristiche comuni e vicinanze nelle opere e nelle pratiche di artisti e designer che pongono il rapporto tra noi e l'ambiente al centro della loro poetica. Il confronto con creativi e progettisti come Heather Dewey-Hagborg, Marco Donnarumma, Sputniko!, Margherita Pevere, Neil Harbisson e Anouk Wipprecht, consente infatti di individuare le caratteristiche di quello che viene qui definito Corpo Espanso: una chimera che abbatte i binarismi material-semiotici e consente di modellare nuovi rapporti entangled tra entità umane e non-umane. Riprendendo alcune importanti ricerche ed esperienze del Novecento e ponendole in dialogo con gli sviluppi più recenti nei campi delle neuroscienze, delle biotecnologie, della prostetica e del bodyhacking, Marco Mancuso – critico e studioso, una delle voci più autorevoli del panorama nazionale e internazionale - tramite un'inedita e radicale messa a sistema delle principali correnti del pensiero postumano, suggerisce un'alternativa agli immaginari transumani, le distopie antropocentriche e le derive ipermediali dei nostri corpi aprendo, in modo originale e coraggioso, a nuove dimensioni relazionali fluide, queer, non-gerarchiche ed egualitarie dell'essere umano su questo pianeta.Marco Mancuso è critico e curatore di arte contemporanea, nel rapporto con tecnologia e scienza e nel dialogo con gli ambiti del design, dell'architettura e del suono. Professore presso il Politecnico delle Arti di Bergamo, docente presso l'Università di Bologna e lectuter per il Node Center for Curatorial Studies di Berlino, è dottore di ricerca in Culture Digitali presso l'Università Iuav di Venezia. Si interessa a come il discorso interdisciplinare osserva le diverse modalità con cui la tecnoscienza influenza la società e il rapporto tra essere umano e ambiente, studiando parallelamente l'evoluzione delle dinamiche progettuali, produttive e di mercato della media art e dell'arte digitale. Fondatore e direttore del progetto Digicult, i suoi saggi e interviste sono apparsi sul portale e in numerose riviste, libri e cataloghi. Ha curato mostre ed eventi a livello nazionale e internazionale, partecipa a conferenze, tavole rotonde ed è stato partner di festival, media lab e istituzioni tra cui transmediale, Impakt, V2, Baltan Labs, Goethe Institut, Sonar+D, Sonic Acts, Elektra, STRP, Todaysart, Subtle Technologies. È partner del programma EMAP/EMARE, è tra i fondatori del centro studi SSH! - Sound Studies Hub dello Iuav di Venezia e ha pubblicato i libri "Arte, Tecnologia e Scienza" (2018) e “Intervista con la New Media Art" (2020) per Mimesis Edizioni.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itQuesto show fa parte del network Spreaker Prime. Se sei interessato a fare pubblicità in questo podcast, contattaci su https://www.spreaker.com/show/1487855/advertisement

On May 30, 2023, a collective of artists, art historians, writers, and academics will convene at the Musée Quai Branly in Paris to mark the tenth anniversary of "Black Portraitures: Imagining the Black Body in the West". This conference delves into the positioning of Africa and the African diaspora, as well as their depiction in Western art. Among the attendees is art historian Cheryl Finley, who leads The Atlanta University Center of Art History and Curatorial Studies. She joined us on Perspective.

terra0 (founded 2016) is a group of developers, theorists, and artists exploring the creation of hybrid ecosystems in the technosphere. The group's first work, the terra0 whitepaper (2016), based on research in areas of DLT technology, ecology, and economics, proposes technologically augmented ecosystems that are able to act as agents in their own right. terra0's artistic practice in recent years has focused on conducting experiments that take up, evaluate, and critically reflect on inherent claims of the first white paper.Talia Heiman, curatorial assistant for the 58th Carnegie International, has held curatorial positions at the Center for Contemporary Art in Tel Aviv and the Institute of Contemporary Art at the University of Pennsylvania in Philadelphia. She has curated exhibitions and programs at The Kitchen, New York; the Hessel Museum of Art at Bard College, Annandale-on-Hudson, New York; and AA|LA Gallery, Los Angeles. She has published catalogue essays for the Los Angeles Municipal Art Gallery and the 57th Carnegie International. Heiman received an MA from the Center for Curatorial Studies at Bard College and a BA from New York University.

Ep.129 features Myrtis Bedolla. She is the owner and founding director of Galerie Myrtis, an emerging blue-chip gallery and art advisory specializing in twentieth and twenty-first-century American art with a focus on primary and secondary works created by African American artists. Bedolla possesses over 30 years of experience as a curator, gallerist, and art consultant. She provides professional curatorial services, lectures, and educational programming to corporate, civic, and arts organizations. Established in 2006, the mission of Galerie Myrtis is to utilize the visual arts to raise awareness for artists who deserve recognition for their contributions in artistically portraying our cultural, social, historical, and political landscapes; and to recognize art movements that paved the way for freedom of artistic expression. Bedolla's curated The Afro-Futurist Manifesto: Blackness Reimagined, currently on view at the 59th Venice Biennale in Venice, Italy, until November 27, 2022. The exhibit, hosted by Personal Structures, pays tribute to the resiliency, creativity, and spirituality that have historically sustained Black people. In September 2022, Bedolla collaborated with Christie's NY to bring diversity and equity to the art world. The relationship is highlighted in the NY Times article Christie's and a Baltimore Gallery to Sell Work by Black Artists by Robin Pogrebin and Artnet News editorial A Black-Owned Baltimore Gallery Aims to Change the Game by Partnering Directly with Christie's by Vittoria Benzine. In June 2020, Bedolla gained national press in the New York Times article Black Gallerists Press Forward Despite a Market That Holds Them Back, by Robin Pogrebin and the self-authored article Why My Blackness is not a Threat to your Whiteness for Cultured Magazine in July 2020. Bedolla holds a Bachelor of Science degree in Business Administration from the University of Maryland, University College, received her curatorial training at the Maryland Institute College of Art in Baltimore, Maryland, and earned online certificates in Cultural Theory for Curators and Curatorial Procedures from the Node Center for Curatorial Studies, Berlin, Germany. Board appointments: Association of Art Museum Curators & AAMC Foundation Trustee; University of Maryland Global Campus, Arts Program Chair; and the Municipal Art Society of Baltimore City Board. Professional memberships: ArtTable; and the Association of African American Museums (AAAM). Image courtesy photographer Grace Roselli, “Pandora's BoxX Project” Galerie https://galeriemyrtis.net/ NYTimes https://www.nytimes.com/2020/06/21/arts/design/art-basel-black-owned-galleries.html https://www.nytimes.com/2022/09/14/arts/design/christies-baltimore-gallery-black-artists.html Baltimore Beat https://baltimorebeat.com/baltimores-galerie-myrtis-beautiful-and-the-damned/ Artnet https://news.artnet.com/market/galerie-myrtis-christies-sale-partnership-2176802 Christies https://www.christies.com/about-us/press-archive/details?PressReleaseID=10623&lid=1 Smithsonian https://www.smithsonianmag.com/smithsonian-institution/how-black-men-changed-the-world-180979710/ Washington Post https://www.washingtonpost.com/magazine/2022/02/08/painter-who-surrounds-her-black-subjects-with-gold/ Culture Type https://www.culturetype.com/2020/06/10/on-view-renaissance-noir-curated-by-myrtis-bedolla-at-uta-artist-space/ New York Public Library https://www.nypl.org/blog/2022/06/29/tribute-afrofuturist-deity-schomburg-center-artist-educator-m-scott-johnson Bmore Art https://bmoreart.com/2022/05/parallels-and-meaningful-difference-activating-the-renaissance.html Artlyst https://artlyst.com/features/eight-best-collateral-events-59th-venice-biennale-lee-sharrock/ Issuu https://issuu.com/patriciaandrews-keenan/docs/pigment_international_magazine_2022_layout Art Critique https://www.art-critique.com/en/2019/07/smithsonian-highlights-men-of-colour-in-new-exhibition/

We are hosting Paul O'Neill. We closed our last episode at a crucial and rather existential moment. This second part of our conversation extends to our small group of audience members. You will hear Paul responding to questions on the educational turn, auto-theory, and variations on how to work with artists.Ahali Conversations are often recorded with an intimate group of audience members, so if you'd like to be in the loop, and join live sessions, please feel free to get in touch.EPISODE NOTES PART 2This episode includes questions by Alessandra Saviotti, Ula Soley, Enrico Arduini, and Furkan İnan. Paul O'Neill is a curator, artist, writer, and educator. He is currently the artistic director of Publics, in Helsinki, Finland.Institute of Contemporary Arts (ICA) is an artistic and cultural center based in London. https://www.ica.art/Mick Wilson is an artist, educator and researcher based in Gothenburg and Dublin.Adrian Rifkin is a professor of art writing at Goldsmiths, University of London. http://gai-savoir.net/Dr. Andrea Phillips is BALTIC Professor and Director of BxNU Research Institute, Northumbria University & BALTIC Centre for Contemporary Art.Richard Birkett was a curator at the ICA, London; and at the Artists Space in New York. He is currently a curator at the Yale Union art center in Portland, Oregon.Dave Beech is an artist and writer. https://www.davebeech.co.uk/Sarah Pierce is an artist based in Dublin.Nought to Sixty was a program of exhibitions and events, curated by Richard Birkett at the ICA, in 2008. Over the course of six months, the program was presenting solo projects by sixty emerging British- and Irish-based artists. https://archive.ica.art/nought-sixty-artists-index/The Copenhagen Free University is an artist-run institution, dedicated to the production of critical consciousness and poetic language. https://en.wikipedia.org/wiki/Copenhagen_Free_Universityunitednationsplaza is a project by Anton Vidokle in collaboration with Boris Groys, Jalal Toufic, Liam Gillick, Martha Rosler, Natascha Sadr Haghighian, Nikolaus Hirsch, Tirdad Zolghadr, and Walid Raad It operated as a temporary, experimental school in Berlin, following the cancellation of Manifesta 6 on Cyprus, in 2006. The project traveled to Mexico City (2008) and to New York City under the name Night School (2008-2009) at the New Museum. Its program was organized around a number of public seminars, most of which are available in the online archive. https://www.unitednationsplaza.org/The text Paul was referring to –Introduction to The Paraeducation Department– written by Annie Fletcher and Sarah Pierce is in the anthology Curating and the Educational Turn edited by Paul O'Neill and Mick Wilson: https://betonsalon.net/PDF/essai.pdfKate Zambreno is an American novelist, essayist, critic, and professor.Roland Barthes (1915 – 1980) was a French literary theorist, essayist, philosopher, critic, and semiotician. https://en.wikipedia.org/wiki/Roland_BarthesOctavia Butler (1947 – 2006) was an American science fiction author. Her writings have finally attracted well-deserved attention in the past years.https://en.wikipedia.org/wiki/Octavia_E._ButlerMaryam Jafri is a Copenhagen-based American artist. The artist's book Independence Days presents an expanded version of her photo installation and includes texts by Ariella Aïsha Azoulay, Paul O'Neill, Nina Tabassomi. https://www.maryamjafri.net/Lygia Pimentel Lins (1920 – 1988), better known as Lygia Clark, was a Brazilian artist and co-founder of Neo-Concrete movement. https://en.wikipedia.org/wiki/Lygia_ClarkP! is a multidisciplinary gallery and project space formerly in New York, currently based in Berlin. http://p-exclamation.com/Taken place in P!, in 2016, We are the (Epi)center was a group exhibition organized with the Center for Curatorial Studies, Bard College, featuring: Can Altay, David Blamey, Katarina Burin, Jasmina Cibic, Céline Condorelli, Marjolijn Dijkman, Chris Kraus, Gareth Long, Ronan McCrea, Harold Offeh, William McKeown, Eduardo Padilha, Sarah Pierce, Richard Venlet, Grace Weir, and many others.PARSE is an international artistic research publishing and biennial conference platform based in the Faculty of Fine, Applied and Performing Arts at University of Gothenburg. This is the visual essay Paul was referring to: https://parsejournal.com/article/before-and-after/Autotheory refers to a critical approach in which the author uses personal experiences as the major creative force and the body as the source of knowledge.Sigmund Freud (1856 – 1939) is an Austrian neurologist and the founder of psychoanalysis. Jacques Marie Émile Lacan (1901-1981) is a French psychoanalyst and interpreter of Sigmund Freud's studies. Their contributions to the psychoanalytic theory have been influential on the literary theory in terms of deciphering a work based on the psychological condition its author is in, or conversely, portraying such condition through unconscious revelations of the author within the work.Maggie Nelson is an American writer. https://en.wikipedia.org/wiki/Maggie_NelsonSemiotext(e) is an independent press, publishing works of theory, fiction, madness, economics, satire, sexuality, science fiction, activism, and confession. http://www.semiotextes.com/McKenzie Wark is an Australian-born writer and professor of Media and Culture at Hudson University.Raymond Williams (1921 – 1988) was a Welsh socialist writer, academic, novelist, and critic. In his essay Dominant, Residual, and Emergent, he characterizes the grounded parts of cultural groups and their operating methods. https://en.wikipedia.org/wiki/Raymond_WilliamsStephen Wright is a writer and gardener. Listen to Episode 1 to get to know him better. https://www.ahali.space/episodes/episode-1-stephen-wrightTania Bruguera is an artist and activist. https://www.taniabruguera.com/Dr. Gregory Sholette is a New York-based artist, writer, teacher, and activist.NTS is a global radio station and media platform founded in 2011 by Femi Adeyemi. https://www.nts.live/Bjork is an Icelandic singer, songwriter, composer, record producer, and actress. https://bjork.com/Annie Fletcher is the Director of the Irish Museum of Modern Art.Leninism is a political ideology developed by Russian Marxist revolutionary Vladimir Lenin that proposes the establishment of communism through dictatorship of the proletariat.Stalinism is a totalitarian extension of Leninism and a period of governing by Joseph Stalin in the Soviet Union from 1927 to 1953.COALESCE is an ongoing exhibition project by Paul O'Neill which takes place at different locations with different artists and shapes around the idea of cohabitation.

We are hosting the curator, artist, writer, and educator Paul O'Neill. Paul is someone who is very attentive and elaborate in figuring out and shaping thought around curatorial and artistic work. Together, we delve into his take on what publics means and discuss the importance of opening up spaces of contact and sites for ‘working together'. We also scrutinize the state of art institutions today and their future, along with hearing his take on the convergence of exhibition-making and programming, along with insights on establishing and running an institution or an art space today.We release this conversation in two parts, something we've never done before. But there was so much valuable insight in the q&a session that I thought this time deserves its own space.EPISODE NOTES PART 1Paul O'Neill is a curator, artist, writer, and educator. He is the artistic director of Publics. O'Neill has held numerous curatorial and research positions over the years and taught in many curatorial and visual arts programs in Europe, the UK, and the USA. He was the Director of the Curatorial Studies program and the Center for Curatorial Studies at Hessel Museum at the Bard College, NY. He has co-curated more than sixty projects across the world including We are the (Epi)center, P! Gallery, New York (2016), and the multi-faceted We are the Center for Curatorial Studies for the Hessel Museum, Bard College (2016-17). He has co-edited the books Kathrin Böhm; Art on the Scale of Life, MIT Press (forthcoming), Curating After the Global; Roadmaps to the Present, MIT Press, CCS Bard and LUMA Foundation, Arles 2019, How Institutions Think; Between Contemporary Art and Curatorial Discourse, MIT Press, 2017, and many more.http://www.pauloneill.org.ukPUBLICS is a curatorial agency with a dedicated library, event space, and reading room in Helsinki. PUBLICS follows and expands on O'Neill's critical social thinking, contemporary art, and publicness, with a much more open and participatory stance. https://www.publics.fiCenter for Curatorial Studies is an experimentation base at Bard College dedicated to curatorial studies and exhibition making. The Hessel Museum of Art in Bard College is an extension of the Center for Curatorial Studies. https://ccs.bard.edu/Checkpoint Helsinki, was a contemporary art organization that operates as a critical platform to support local cultural activities and public engagement while contributing to the international visibility of artistic production in the city of Helsinki. https://www.checkpointhelsinki.orgJulia Studio is a design practice that brings together graphic and spatial design. Operating between London, Paris and Rome. https://julia.studioLiam Gillick is an artist based in New York. https://liamgillick.info/Kathrin Böhm is an artist. Listen to Episode 13 to get to know her better. https://www.ahali.space/episodes/episode-13-kathrinbohmCasco Art Institute: Working for the Commons is a non-profit public art institution based in Utrecht. https://casco.artBétonsalon is a center for contemporary art and research-based practice in Paris. https://www.betonsalon.netSAVVY, the laboratory of form and ideas is a public cultural institution based in Berlin. Find more about SAVVY in Episode 15, featuring Bonaventure Soh Bejeng Ndikung:https://savvy-contemporary.com/https://www.ahali.space/episodes/episode-15-bonaventureWalter Benjamin criticizes the monistic approach of historical materialism and considers history as a concept made out of self-standing memory layers and relations.Chris Kraus is an American writer and filmmaker. https://en.wikipedia.org/wiki/Chris_KrausCynthia Cruz is a contemporary American poet. http://cynthiacruzblog.blogspot.com/Eliisa Suvanto​ is the Program Manager at PUBLICS.Shimmer is a curatorial studio based in Rotterdam. https://shimmershimmer.org/Latitudes is a curatorial office based in Barcelona that works internationally across contemporary art practices. https://www.lttds.org/Laia Estruch is an artist based in Barcelona. https://laiaestruch.com/Black Lives Matter is a decentralized political and social movement and a growing quest for racial justice, began in 2013, as a reaction to the acquittal of George Zimmerman in the shooting death of African-American teen Trayvon Martin. https://en.wikipedia.org/wiki/Black_Lives_MatterMeToo is a phrase coined by sexual assault survivor and activist Tarana Burke. Following its initial use in 2006, to establish an empowering ground among survivors, it became a social movement against sexual abuse, sexual harassment, and rape culture. https://en.wikipedia.org/wiki/MeToo_movementMary Douglas (1921 – 2007) was a British anthropologist. In her book “How Institutions Think”, Douglas discusses the recurring effects of individuals and institutions on each other, regarding the processes of thinking. https://www.routledge.com/How-Institutions-Think-Routledge-Revivals/Douglas/p/book/9780415684781SHAPE map is a website resource for Helsinki's contemporary art landscape, a mapping of art spaces and public events across the city. https://www.shape-helsinki.fi/Multiples X was an organization that commissioned and supported curated exhibitions of artist'' editions.Keller Easterling is an architect, writer, and professor of architecture.Listen to Episode 25 to get to know her better. https://www.ahali.space/episodes/25kellereasterling

About the guestTheresa-Xuan Thanh Bui, is a first-generation Vietnamese-American pursuing a Bachelor in Fine Arts in Fiber, a minor in Art History, and a concentration in Curatorial Studies and Creative Writing from the Maryland Institute College of Art. They admire the beauty in making and equally prioritize the visceral love and empowerment in listening and valuing others. Thus, they turn to curation as a challenge to better critique themselves and their community. They aspire to tastefully dismantle the binding constructs of the art institution in order to establish space for the liminal, the radical, the exquisite, the unseen, the more.The Truth In This ArtThe Truth In This Art is a podcast interview series supporting vibrancy and development of Baltimore & beyond's arts and culture.Mentioned in this episodeLast Resort Artist RetreatTheresa's website Photo credit Joseph BuiTo find more amazing stories from the artist and entrepreneurial scenes in & around Baltimore, check out my episode directory.Stay in TouchNewsletter sign-upSupport my podcastShareable link to episode★ Support this podcast ★

Dr. Vivien Trommer, Kuratorin an der Kunstsammlung Nordrhein-Westfalen, Düsseldorf. Zitate aus dem Podcast: »In dieser Ausstellung scheint wirklich sehen mit Wissen einherzugehen.« »Interessant ist zu sehen, wie wichtig den zeitgenössischen Künstlern die Frage der Hängung, der Inszenierung und der Präsentation ist.« »Als K21 mussten wir uns natürlich die Frage stellen, ob wir neben historischen Fotografien zeitgenössische zeigen können.« »Fotografie ist immer noch das Medium mit dem größten Realitätsbezug, obwohl wir wissen, wie manipulierbar und veränderbar sie ist.« »Fotografische Bilder sind die Bilder die durch die Medien am meisten rezipiert werden und damit auch die größte Wirkungsmacht entfalten können.« »Fotografie ist das Medium, das am meisten in die Gesellschaft eingreifen kann.« »Wir haben uns an der Frage abgearbeitet, wie und warum zeigen wir heute Bilder aus der Kolonialzeit.« Vivien Trommer wurde 1986 in Berlin geboren und ist seit 2021 Kuratorin an der Kunstsammlung Nordrhein-Westfalen in Düsseldorf. Zuvor war sie Kadist Curatorial Fellow in Paris, Curatorial Resident am Ludlow 38 in New York und kuratorische Assistentin an der Kunsthalle Wien. Sie studierte Curatorial Studies an der Städelschule und der Goethe-Universität in Frankfurt am Main sowie Kunstgeschichte und Gender Studies an der Humboldt-Universität zu Berlin. 2020 wurde sie an der Universität zu Köln promoviert. Sie hat die Ausstellung »Dialoge im Wandel. Fotografien aus The Walther Collection« im K21 ko-kuratiert. https://www.kunstsammlung.de/de/exhibitions/the-walther-collection-fotografie https://www.youtube.com/watch?v=bLuz7aziQaE https://www.kunstsammlung.de https://www.walthercollection.com Episoden-Cover-Gestaltung: Andy Scholz Episoden-Cover-Foto: Nadine Schwickart Idee, Produktion, Redaktion, Moderation: Andy Scholz http://fotografieneudenken.de/ https://www.instagram.com/fotografieneudenken/ Der Podcast ist eine Produktion von STUDIO ANDY SCHOLZ 2022. Andy Scholz wurde 1971 in Varel am Jadebusen geboren. Er studierte Philosophie und Medienwissenschaften in Düsseldorf, Kunst und Design an der HBK Braunschweig und Fotografie/Fototheorie in Essen an der Folkwang Universität der Künste. Seit 2005 ist er freier Künstler, Autor sowie künstlerischer Leiter und Kurator vom FESTIVAL FOTOGRAFISCHER BILDER, das er gemeinsam mit Martin Rosner 2016 in Regensburg gründete. Seit 2012 unterrichtet er an verschiedenen Instituten, u.a. Universität Regensburg, Fachhochschule Würzburg, North Dakota State University in Fargo (USA), Philipps-Universität Marburg, Ruhr Universität Bochum, seit 2022 auch an der Pädagogischen Hochschule in Ludwigsburg. Im ersten Lockdown, im Juni 2020, begann er mit dem Podcast. Er lebt und arbeitet in Essen. http://fotografieneudenken.de/ https://www.instagram.com/fotografieneudenken/ https://festival-fotografischer-bilder.de/ https://www.instagram.com/festivalfotografischerbilder/ http://andyscholz.com/ https://www.instagram.com/scholzandy/

In the past few years, museums of contemporary art have come under a fair deal of scrutiny. Pressures from groups such as Decoloinise This Space or the oxycontin scandal have forced changes to the governance of some of the world's best-known institutions. At the same time, the work of journalists and museum scholars has revealed that the relationships between trustees, curators, collections, and the public are often far more complex than the narratives of public benefit and private value would have us believe. Nizan Shaked's Museums and Wealth: The Politics of Contemporary Art Collections (Bloomsbury, 2022) is a critical analysis of contemporary art collections and the value form. In the United States, institutions administered by the nonprofit system have an ambiguous status as they are neither entirely private nor fully public. Among nonprofits, the museum is unique as it is the only institution where trustees tend to collect the same objects they hold in ‘public trust' on behalf of the nation. Shaked argues that the public serves as an alibi for establishing the symbolic value of art, which sustains its monetary value and its markets. In The Rise and Rise of the Private Art Museum (Lund Humphries, 2022), Adam tracks the phenomenon of the collector's museum in the 21st century. There are some 400 private art museums around the world, and an astonishing 70% of those devoted to contemporary art were founded in the past 20 years. Although private museums have been accused of being tax-evading vanity projects or ‘tombs for trophies', the picture is complex and nuanced. Private museums can add greatly to the cultural life of a community, giving a platform to emerging artists, supplying educational programmes and revitalising declining or neglected regions. But their relationship with public institutions can also be problematic. Are museums purely public affairs? How do private collections serve the greater good? What happens when these missions become confused? Georgina Adam and Nizan Shaked speak to Pierre d'Alancaisez about the 500-year history and the recent rise of the private art museum and consider if even public museums are, in the end, private. Georgina Adam is a journalist specialising in the art market. She writes for the Financial Times and The Art Newspaper. She is the author of Big Bucks and The Dark Side of the Boom. Nizan Shaked is a professor of Contemporary Art History, Museum and Curatorial Studies at California State University Long Beach. She is the author of The Synthetic Proposition: Conceptualism and the Political Referent in Contemporary Art. Museum Susch The Fisher collection at SF MoMA Warren Kanders leaves the board of the Whitney Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In the past few years, museums of contemporary art have come under a fair deal of scrutiny. Pressures from groups such as Decoloinise This Space or the oxycontin scandal have forced changes to the governance of some of the world's best-known institutions. At the same time, the work of journalists and museum scholars has revealed that the relationships between trustees, curators, collections, and the public are often far more complex than the narratives of public benefit and private value would have us believe. Nizan Shaked's Museums and Wealth: The Politics of Contemporary Art Collections (Bloomsbury, 2022) is a critical analysis of contemporary art collections and the value form. In the United States, institutions administered by the nonprofit system have an ambiguous status as they are neither entirely private nor fully public. Among nonprofits, the museum is unique as it is the only institution where trustees tend to collect the same objects they hold in ‘public trust' on behalf of the nation. Shaked argues that the public serves as an alibi for establishing the symbolic value of art, which sustains its monetary value and its markets. In The Rise and Rise of the Private Art Museum (Lund Humphries, 2022), Adam tracks the phenomenon of the collector's museum in the 21st century. There are some 400 private art museums around the world, and an astonishing 70% of those devoted to contemporary art were founded in the past 20 years. Although private museums have been accused of being tax-evading vanity projects or ‘tombs for trophies', the picture is complex and nuanced. Private museums can add greatly to the cultural life of a community, giving a platform to emerging artists, supplying educational programmes and revitalising declining or neglected regions. But their relationship with public institutions can also be problematic. Are museums purely public affairs? How do private collections serve the greater good? What happens when these missions become confused? Georgina Adam and Nizan Shaked speak to Pierre d'Alancaisez about the 500-year history and the recent rise of the private art museum and consider if even public museums are, in the end, private. Georgina Adam is a journalist specialising in the art market. She writes for the Financial Times and The Art Newspaper. She is the author of Big Bucks and The Dark Side of the Boom. Nizan Shaked is a professor of Contemporary Art History, Museum and Curatorial Studies at California State University Long Beach. She is the author of The Synthetic Proposition: Conceptualism and the Political Referent in Contemporary Art. Museum Susch The Fisher collection at SF MoMA Warren Kanders leaves the board of the Whitney Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

This week on the show we're visiting with Lauren Cornell, chief curator at the Hessel Museum and director of the graduate program at the Center for Curatorial Studies, Bard college. As a curator at Bard, the New Museum, Rhizome and beyond, Lauren has had a life-long dedication to time-based media art; as well as a passion for growing, shaping, and building arts institutions. Tune in to hear Lauren's story, and the incredible exhibitions she has in store at Bard this summer.Links from the conversation with Lauren> Dara Birnbaum: Reaction https://ccs.bard.edu/museum/exhibitions/695-dara-birnbaum-reaction> Martine Syms: Grio College https://ccs.bard.edu/museum/exhibitions/696-martine-syms-grio-college > Mass Effect: Art and the Internet in the Twenty-First Century https://mitpress.mit.edu/books/mass-effect New way to support the show - join us on Patreon!> https://patreon.com/artobsolescenceJoin the conversation:https://twitter.com/ArtObsolescencehttps://www.instagram.com/artobsolescence/Support artistsArt and Obsolescence is a non-profit podcast, sponsored by the New York Foundation for the Arts, and we are committed to equitably supporting artists that come on the show. Help support our work by making a tax deductible gift through NYFA here: https://www.artandobsolescence.com/donate

In the past few years, museums of contemporary art have come under a fair deal of scrutiny. Pressures from groups such as Decoloinise This Space or the oxycontin scandal have forced changes to the governance of some of the world's best-known institutions. At the same time, the work of journalists and museum scholars has revealed that the relationships between trustees, curators, collections, and the public are often far more complex than the narratives of public benefit and private value would have us believe. Nizan Shaked's Museums and Wealth: The Politics of Contemporary Art Collections (Bloomsbury, 2022) is a critical analysis of contemporary art collections and the value form. In the United States, institutions administered by the nonprofit system have an ambiguous status as they are neither entirely private nor fully public. Among nonprofits, the museum is unique as it is the only institution where trustees tend to collect the same objects they hold in ‘public trust' on behalf of the nation. Shaked argues that the public serves as an alibi for establishing the symbolic value of art, which sustains its monetary value and its markets. In The Rise and Rise of the Private Art Museum (Lund Humphries, 2022), Adam tracks the phenomenon of the collector's museum in the 21st century. There are some 400 private art museums around the world, and an astonishing 70% of those devoted to contemporary art were founded in the past 20 years. Although private museums have been accused of being tax-evading vanity projects or ‘tombs for trophies', the picture is complex and nuanced. Private museums can add greatly to the cultural life of a community, giving a platform to emerging artists, supplying educational programmes and revitalising declining or neglected regions. But their relationship with public institutions can also be problematic. Are museums purely public affairs? How do private collections serve the greater good? What happens when these missions become confused? Georgina Adam and Nizan Shaked speak to Pierre d'Alancaisez about the 500-year history and the recent rise of the private art museum and consider if even public museums are, in the end, private. Georgina Adam is a journalist specialising in the art market. She writes for the Financial Times and The Art Newspaper. She is the author of Big Bucks and The Dark Side of the Boom. Nizan Shaked is a professor of Contemporary Art History, Museum and Curatorial Studies at California State University Long Beach. She is the author of The Synthetic Proposition: Conceptualism and the Political Referent in Contemporary Art. Museum Susch The Fisher collection at SF MoMA Warren Kanders leaves the board of the Whitney Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

In the past few years, museums of contemporary art have come under a fair deal of scrutiny. Pressures from groups such as Decoloinise This Space or the oxycontin scandal have forced changes to the governance of some of the world's best-known institutions. At the same time, the work of journalists and museum scholars has revealed that the relationships between trustees, curators, collections, and the public are often far more complex than the narratives of public benefit and private value would have us believe. Nizan Shaked's Museums and Wealth: The Politics of Contemporary Art Collections (Bloomsbury, 2022) is a critical analysis of contemporary art collections and the value form. In the United States, institutions administered by the nonprofit system have an ambiguous status as they are neither entirely private nor fully public. Among nonprofits, the museum is unique as it is the only institution where trustees tend to collect the same objects they hold in ‘public trust' on behalf of the nation. Shaked argues that the public serves as an alibi for establishing the symbolic value of art, which sustains its monetary value and its markets. In The Rise and Rise of the Private Art Museum (Lund Humphries, 2022), Adam tracks the phenomenon of the collector's museum in the 21st century. There are some 400 private art museums around the world, and an astonishing 70% of those devoted to contemporary art were founded in the past 20 years. Although private museums have been accused of being tax-evading vanity projects or ‘tombs for trophies', the picture is complex and nuanced. Private museums can add greatly to the cultural life of a community, giving a platform to emerging artists, supplying educational programmes and revitalising declining or neglected regions. But their relationship with public institutions can also be problematic. Are museums purely public affairs? How do private collections serve the greater good? What happens when these missions become confused? Georgina Adam and Nizan Shaked speak to Pierre d'Alancaisez about the 500-year history and the recent rise of the private art museum and consider if even public museums are, in the end, private. Georgina Adam is a journalist specialising in the art market. She writes for the Financial Times and The Art Newspaper. She is the author of Big Bucks and The Dark Side of the Boom. Nizan Shaked is a professor of Contemporary Art History, Museum and Curatorial Studies at California State University Long Beach. She is the author of The Synthetic Proposition: Conceptualism and the Political Referent in Contemporary Art. Museum Susch The Fisher collection at SF MoMA Warren Kanders leaves the board of the Whitney Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

In the past few years, museums of contemporary art have come under a fair deal of scrutiny. Pressures from groups such as Decoloinise This Space or the oxycontin scandal have forced changes to the governance of some of the world's best-known institutions. At the same time, the work of journalists and museum scholars has revealed that the relationships between trustees, curators, collections, and the public are often far more complex than the narratives of public benefit and private value would have us believe. Nizan Shaked's Museums and Wealth: The Politics of Contemporary Art Collections (Bloomsbury, 2022) is a critical analysis of contemporary art collections and the value form. In the United States, institutions administered by the nonprofit system have an ambiguous status as they are neither entirely private nor fully public. Among nonprofits, the museum is unique as it is the only institution where trustees tend to collect the same objects they hold in ‘public trust' on behalf of the nation. Shaked argues that the public serves as an alibi for establishing the symbolic value of art, which sustains its monetary value and its markets. In The Rise and Rise of the Private Art Museum (Lund Humphries, 2022), Adam tracks the phenomenon of the collector's museum in the 21st century. There are some 400 private art museums around the world, and an astonishing 70% of those devoted to contemporary art were founded in the past 20 years. Although private museums have been accused of being tax-evading vanity projects or ‘tombs for trophies', the picture is complex and nuanced. Private museums can add greatly to the cultural life of a community, giving a platform to emerging artists, supplying educational programmes and revitalising declining or neglected regions. But their relationship with public institutions can also be problematic. Are museums purely public affairs? How do private collections serve the greater good? What happens when these missions become confused? Georgina Adam and Nizan Shaked speak to Pierre d'Alancaisez about the 500-year history and the recent rise of the private art museum and consider if even public museums are, in the end, private. Georgina Adam is a journalist specialising in the art market. She writes for the Financial Times and The Art Newspaper. She is the author of Big Bucks and The Dark Side of the Boom. Nizan Shaked is a professor of Contemporary Art History, Museum and Curatorial Studies at California State University Long Beach. She is the author of The Synthetic Proposition: Conceptualism and the Political Referent in Contemporary Art. Museum Susch The Fisher collection at SF MoMA Warren Kanders leaves the board of the Whitney Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

In the past few years, museums of contemporary art have come under a fair deal of scrutiny. Pressures from groups such as Decoloinise This Space or the oxycontin scandal have forced changes to the governance of some of the world's best-known institutions. At the same time, the work of journalists and museum scholars has revealed that the relationships between trustees, curators, collections, and the public are often far more complex than the narratives of public benefit and private value would have us believe. Nizan Shaked's Museums and Wealth: The Politics of Contemporary Art Collections (Bloomsbury, 2022) is a critical analysis of contemporary art collections and the value form. In the United States, institutions administered by the nonprofit system have an ambiguous status as they are neither entirely private nor fully public. Among nonprofits, the museum is unique as it is the only institution where trustees tend to collect the same objects they hold in ‘public trust' on behalf of the nation. Shaked argues that the public serves as an alibi for establishing the symbolic value of art, which sustains its monetary value and its markets. In The Rise and Rise of the Private Art Museum (Lund Humphries, 2022), Adam tracks the phenomenon of the collector's museum in the 21st century. There are some 400 private art museums around the world, and an astonishing 70% of those devoted to contemporary art were founded in the past 20 years. Although private museums have been accused of being tax-evading vanity projects or ‘tombs for trophies', the picture is complex and nuanced. Private museums can add greatly to the cultural life of a community, giving a platform to emerging artists, supplying educational programmes and revitalising declining or neglected regions. But their relationship with public institutions can also be problematic. Are museums purely public affairs? How do private collections serve the greater good? What happens when these missions become confused? Georgina Adam and Nizan Shaked speak to Pierre d'Alancaisez about the 500-year history and the recent rise of the private art museum and consider if even public museums are, in the end, private. Georgina Adam is a journalist specialising in the art market. She writes for the Financial Times and The Art Newspaper. She is the author of Big Bucks and The Dark Side of the Boom. Nizan Shaked is a professor of Contemporary Art History, Museum and Curatorial Studies at California State University Long Beach. She is the author of The Synthetic Proposition: Conceptualism and the Political Referent in Contemporary Art. Museum Susch The Fisher collection at SF MoMA Warren Kanders leaves the board of the Whitney Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In the past few years, museums of contemporary art have come under a fair deal of scrutiny. Pressures from groups such as Decoloinise This Space or the oxycontin scandal have forced changes to the governance of some of the world's best-known institutions. At the same time, the work of journalists and museum scholars has revealed that the relationships between trustees, curators, collections, and the public are often far more complex than the narratives of public benefit and private value would have us believe. Nizan Shaked's Museums and Wealth: The Politics of Contemporary Art Collections (Bloomsbury, 2022) is a critical analysis of contemporary art collections and the value form. In the United States, institutions administered by the nonprofit system have an ambiguous status as they are neither entirely private nor fully public. Among nonprofits, the museum is unique as it is the only institution where trustees tend to collect the same objects they hold in ‘public trust' on behalf of the nation. Shaked argues that the public serves as an alibi for establishing the symbolic value of art, which sustains its monetary value and its markets. In The Rise and Rise of the Private Art Museum (Lund Humphries, 2022), Adam tracks the phenomenon of the collector's museum in the 21st century. There are some 400 private art museums around the world, and an astonishing 70% of those devoted to contemporary art were founded in the past 20 years. Although private museums have been accused of being tax-evading vanity projects or ‘tombs for trophies', the picture is complex and nuanced. Private museums can add greatly to the cultural life of a community, giving a platform to emerging artists, supplying educational programmes and revitalising declining or neglected regions. But their relationship with public institutions can also be problematic. Are museums purely public affairs? How do private collections serve the greater good? What happens when these missions become confused? Georgina Adam and Nizan Shaked speak to Pierre d'Alancaisez about the 500-year history and the recent rise of the private art museum and consider if even public museums are, in the end, private. Georgina Adam is a journalist specialising in the art market. She writes for the Financial Times and The Art Newspaper. She is the author of Big Bucks and The Dark Side of the Boom. Nizan Shaked is a professor of Contemporary Art History, Museum and Curatorial Studies at California State University Long Beach. She is the author of The Synthetic Proposition: Conceptualism and the Political Referent in Contemporary Art. Museum Susch The Fisher collection at SF MoMA Warren Kanders leaves the board of the Whitney Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

In the past few years, museums of contemporary art have come under a fair deal of scrutiny. Pressures from groups such as Decoloinise This Space or the oxycontin scandal have forced changes to the governance of some of the world's best-known institutions. At the same time, the work of journalists and museum scholars has revealed that the relationships between trustees, curators, collections, and the public are often far more complex than the narratives of public benefit and private value would have us believe. Nizan Shaked's Museums and Wealth: The Politics of Contemporary Art Collections (Bloomsbury, 2022) is a critical analysis of contemporary art collections and the value form. In the United States, institutions administered by the nonprofit system have an ambiguous status as they are neither entirely private nor fully public. Among nonprofits, the museum is unique as it is the only institution where trustees tend to collect the same objects they hold in ‘public trust' on behalf of the nation. Shaked argues that the public serves as an alibi for establishing the symbolic value of art, which sustains its monetary value and its markets. In The Rise and Rise of the Private Art Museum (Lund Humphries, 2022), Adam tracks the phenomenon of the collector's museum in the 21st century. There are some 400 private art museums around the world, and an astonishing 70% of those devoted to contemporary art were founded in the past 20 years. Although private museums have been accused of being tax-evading vanity projects or ‘tombs for trophies', the picture is complex and nuanced. Private museums can add greatly to the cultural life of a community, giving a platform to emerging artists, supplying educational programmes and revitalising declining or neglected regions. But their relationship with public institutions can also be problematic. Are museums purely public affairs? How do private collections serve the greater good? What happens when these missions become confused? Georgina Adam and Nizan Shaked speak to Pierre d'Alancaisez about the 500-year history and the recent rise of the private art museum and consider if even public museums are, in the end, private. Georgina Adam is a journalist specialising in the art market. She writes for the Financial Times and The Art Newspaper. She is the author of Big Bucks and The Dark Side of the Boom. Nizan Shaked is a professor of Contemporary Art History, Museum and Curatorial Studies at California State University Long Beach. She is the author of The Synthetic Proposition: Conceptualism and the Political Referent in Contemporary Art. Museum Susch The Fisher collection at SF MoMA Warren Kanders leaves the board of the Whitney Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/public-policy

In the past few years, museums of contemporary art have come under a fair deal of scrutiny. Pressures from groups such as Decoloinise This Space or the oxycontin scandal have forced changes to the governance of some of the world's best-known institutions. At the same time, the work of journalists and museum scholars has revealed that the relationships between trustees, curators, collections, and the public are often far more complex than the narratives of public benefit and private value would have us believe. Nizan Shaked's Museums and Wealth: The Politics of Contemporary Art Collections (Bloomsbury, 2022) is a critical analysis of contemporary art collections and the value form. In the United States, institutions administered by the nonprofit system have an ambiguous status as they are neither entirely private nor fully public. Among nonprofits, the museum is unique as it is the only institution where trustees tend to collect the same objects they hold in ‘public trust' on behalf of the nation. Shaked argues that the public serves as an alibi for establishing the symbolic value of art, which sustains its monetary value and its markets. In The Rise and Rise of the Private Art Museum (Lund Humphries, 2022), Adam tracks the phenomenon of the collector's museum in the 21st century. There are some 400 private art museums around the world, and an astonishing 70% of those devoted to contemporary art were founded in the past 20 years. Although private museums have been accused of being tax-evading vanity projects or ‘tombs for trophies', the picture is complex and nuanced. Private museums can add greatly to the cultural life of a community, giving a platform to emerging artists, supplying educational programmes and revitalising declining or neglected regions. But their relationship with public institutions can also be problematic. Are museums purely public affairs? How do private collections serve the greater good? What happens when these missions become confused? Georgina Adam and Nizan Shaked speak to Pierre d'Alancaisez about the 500-year history and the recent rise of the private art museum and consider if even public museums are, in the end, private. Georgina Adam is a journalist specialising in the art market. She writes for the Financial Times and The Art Newspaper. She is the author of Big Bucks and The Dark Side of the Boom. Nizan Shaked is a professor of Contemporary Art History, Museum and Curatorial Studies at California State University Long Beach. She is the author of The Synthetic Proposition: Conceptualism and the Political Referent in Contemporary Art. Museum Susch The Fisher collection at SF MoMA Warren Kanders leaves the board of the Whitney Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/economics

In the past few years, museums of contemporary art have come under a fair deal of scrutiny. Pressures from groups such as Decoloinise This Space or the oxycontin scandal have forced changes to the governance of some of the world's best-known institutions. At the same time, the work of journalists and museum scholars has revealed that the relationships between trustees, curators, collections, and the public are often far more complex than the narratives of public benefit and private value would have us believe. Nizan Shaked's Museums and Wealth: The Politics of Contemporary Art Collections (Bloomsbury, 2022) is a critical analysis of contemporary art collections and the value form. In the United States, institutions administered by the nonprofit system have an ambiguous status as they are neither entirely private nor fully public. Among nonprofits, the museum is unique as it is the only institution where trustees tend to collect the same objects they hold in ‘public trust' on behalf of the nation. Shaked argues that the public serves as an alibi for establishing the symbolic value of art, which sustains its monetary value and its markets. In The Rise and Rise of the Private Art Museum (Lund Humphries, 2022), Adam tracks the phenomenon of the collector's museum in the 21st century. There are some 400 private art museums around the world, and an astonishing 70% of those devoted to contemporary art were founded in the past 20 years. Although private museums have been accused of being tax-evading vanity projects or ‘tombs for trophies', the picture is complex and nuanced. Private museums can add greatly to the cultural life of a community, giving a platform to emerging artists, supplying educational programmes and revitalising declining or neglected regions. But their relationship with public institutions can also be problematic. Are museums purely public affairs? How do private collections serve the greater good? What happens when these missions become confused? Georgina Adam and Nizan Shaked speak to Pierre d'Alancaisez about the 500-year history and the recent rise of the private art museum and consider if even public museums are, in the end, private. Georgina Adam is a journalist specialising in the art market. She writes for the Financial Times and The Art Newspaper. She is the author of Big Bucks and The Dark Side of the Boom. Nizan Shaked is a professor of Contemporary Art History, Museum and Curatorial Studies at California State University Long Beach. She is the author of The Synthetic Proposition: Conceptualism and the Political Referent in Contemporary Art. Museum Susch The Fisher collection at SF MoMA Warren Kanders leaves the board of the Whitney Learn more about your ad choices. Visit megaphone.fm/adchoices

In the past few years, museums of contemporary art have come under a fair deal of scrutiny. Pressures from groups such as Decoloinise This Place or the oxycontin scandal have forced changes to the governance of some of the world's best-known institutions. At the same time, the work of journalists and museum scholars has revealed that the relationships between trustees, curators, collections, and the public are often far more complex than the narratives of public benefit and private value would have us believe. Nizan Shaked's Museums and Wealth is a critical analysis of contemporary art collections and the value form. In the United States, institutions administered by the nonprofit system have an ambiguous status as they are neither entirely private nor fully public. Among nonprofits, the museum is unique as it is the only institution where trustees tend to collect the same objects they hold in ‘public trust' on behalf of the nation. Shaked argues that the public serves as an alibi for establishing the symbolic value of art, which sustains its monetary value and its markets. In The Rise and Rise of the Private Art Museum, Georgina Adam tracks the phenomenon of the collector's museum in the 21st century. There are some 400 private art museums around the world, and an astonishing 70% of those devoted to contemporary art were founded in the past 20 years. Although private museums have been accused of being tax-evading vanity projects or ‘tombs for trophies', the picture is complex and nuanced. Private museums can add greatly to the cultural life of a community, giving a platform to emerging artists, supplying educational programmes and revitalising declining or neglected regions. But their relationship with public institutions can also be problematic. Are museums purely public affairs? How do private collections serve the greater good? What happens when these missions become confused? Georgina Adam and Nizan Shaked speak to Pierre d'Alancaisez about the 500-year history and the recent rise of the private art museum and consider if even public museums are, in the end, private. Georgina Adam is a journalist specialising in the art market. She writes for the Financial Times and The Art Newspaper. She is the author of Big Bucks and The Dark Side of the Boom. Nizan Shaked is a professor of Contemporary Art History, Museum and Curatorial Studies at California State University Long Beach. She is the author of The Synthetic Proposition: Conceptualism and the Political Referent in Contemporary Art. Museum Susch The Fisher collection at SF MoMA Warren Kanders leaves the board of the Whitney ISBN 9781848223844 ISBN 9781350045767

Gestohlene Luft: so lautet der Titel des letzten Lyrik-Bandes, den Yevgeniy Breyger bei kookbooks veröffentlicht hat und aus dem er liest, nachdem er ein ausführliches Gespräch mit Guido Graf geführt hat: über den Krieg in der Ukraine, seine Kindheit in Charkiv, über die dortige literarische Szene und über sein eigenes Schreiben. Yevgeniy Breyger studierte Kreatives Schreiben und Kulturjournalismus in Hildesheim, Literarisches Schreiben am Deutschen Literaturinstitut Leipzig und Curatorial Studies an der Hochschule für Bildende Künste Städelschule in Frankfurt am Main. Er war Herausgeber der Tippgemeinschaft, der Jahresanthologie der Studierenden des Deutschen Literaturinstituts, sowie der Anthologie Ansicht der leuchtenden Wurzeln von unten - Lyrik aus den deutschsprachigen Literaturinstituten Biel, Hildesheim, Leipzig, Wien. Veröffentlichte in Zeitschriften und Anthologien, u.a: Jahrbuch der Lyrik, Lyrik von jetzt 3, Bella triste und Edit. 2016 erschien sein Debütband flüchtige monde bei kookbooks. Der Band wurde unter die Gedichtbände des Jahres im Literaturhaus Berlin und unter die besten Lyrikdebüts des Jahres im Haus für Poesie ausgewählt. Sein zweiter Band Gestohlene Luft ist im Oktober 2020 bei kookbooks erschienen. Yevgeniy Breyger ist Mitglied des Dichter*innenkollektivs Salon Fluchtentier. Er lebt und arbeitet in Frankfurt am Main. Foto: © Yevgeniy Breyger

Start your day the right way, with a stimulating discussion of the latest news headlines and hot button topics from The Advertiser and Sunday Mail. Today, hear from John Carty, Trish Hansen and Michael Owen-Brown John Carty is the Head of Humanities at the South Australian Museum, and Professor of Museum and Curatorial Studies at the University of Adelaide. He is a Commissioner on the Australian National Commission for UNESCO. He has worked extensively with Aboriginal artists and custodians throughout Australia on books, exhibitions and community development programs. His core research has involved working with Aboriginal artists to bridge the divide between anthropology and art history. In recent years, John's work – through research with the British Museum – has grown to focus on the cultural and cross-cultural history encompassed in objects in museum collections. John's pursuits through the South Australian Museum explore new methodologies and models for bringing Aboriginal voices and values further into mainstream narratives of Australian history, Australian art history, and contemporary Australian culture. Trish Hansen is a strategist and systems designer in the fields of health, wellbeing, arts and culture and works to enrich the creative and cultural life of people, places, neighbourhoods and cities and Founding Principal of Urban Mind Studio. She is currently the Chair of Brink Productions, a Good Design Australia Ambassador, Fellow of the Centre for Conscious Design, Board Director of the South Australian Living Artists (SALA) Festival, and Chief Executive Officer of Kindred Australia. Michael Owen-Brown has recently been appointed The Advertiser's Head of Audience Growth and Engagement. During his decade as digital editor, The Advertiser won multiple national and international awards for digital innovation, including being named the Asia-Pacific's news website of the year three times in a row from 2013-15. He has been a journalist with News Corp for more than 25 years. See omnystudio.com/listener for privacy information.

Matthew Ronay Matthew Ronay (b. 1976, Louisville, KY) lives in New York. In 2016, his work was the subject of a solo-presentation at the Blaffer Art Museum in Houston, and the Pérez Art Museum Miami, with a fully-illustrated exhibition catalogue published on the occasion. He has exhibited extensively at major institutions worldwide, including: Crystal Bridges Museum of American Art, Bentonville, AK; Kentucky Museum of Art and Craft, Louisville; Kunstverein Lingen, Germany; University of Louisville, KY; Artspace, San Antonio; Serpentine Gallery, London; Sculpture Center, New York; Center for Curatorial Studies, Bard College, Annandale-on-Hudson, NY, and Parasol Unit Foundation for Contemporary Art, London. Ronay participated in the 2013 Lyon Biennale, curated by Gunnar Kvaran, and the 2004 Whitney Biennial. His work is included in numerous major public collections, including: ARoS Aarhus Kunstmuseum, Denmark; Astrup Fearnley Muset for Moderne Kunste, Oslo; Crystal Bridges Museum of American Art, Bentonville, AK; Dallas Museum of Art; Henry Art Gallery, University of Washington, Seattle; Los Angeles County Museum of Art; Museum of Modern Art, New York; Pérez Art Museum Miami; Whitney Museum of American Art, New York, and Williams College Museum of Art, Williamstown, MA. The artist currently has a solo show at Casey Kaplan entitled Ligatures. Matthew Ronay Recursionizer, 2021 Basswood, dye, gouache, flocking, plastic, steel, epoxy 16.25 x 59 x 12"/ 41.28 x 149.86 x 30.48cm Courtesy the artist and Casey Kaplan, New York Matthew Ronay, Forces, 2020, Basswood, dye, gouache, flocking, plastic, steel14 x 11.5 x 9"/ 35.56 x 29.21 x 22.86cm, Courtesy the artist and Casey Kaplan, New York

The 36th episode was recorded with my dear friend Jason Cyrus, whose new exhibition History Is Rarely Black or White just opened at the Agnes Etherington Art Center at Queens University in Kingston, Ontario, Canada. It will be on display from November 27, 2021, until March 20, 2022. It explores Victorian cotton, slavery, and their ongoing legacies. Jason was featured on Chic podcast last season during the Canadian Fashion Symposium. He has a master's degree in Art History and Curatorial Studies from York University in Toronto and is currently working on his PhD in the History of Art at Warwick University in the UK. He has held research posts at the Art Gallery of Ontario and the Royal Ontario Museum. In January 2020, he also curated York University's first fashion exhibition, entitled ReFraming Gender.

What you'll learn in this episode: The history of Metalsmith magazine, and why it maintains its name even as its scope has expanded beyond metals How SNAG has made efforts to diversify the voices in Metalsmith and open the organization to new members What type of content Adriane looks for as an editor, and how you can pitch ideas to her What changes need to be made in the jewelry industry to make it more equitable Why being a curator and being an editor aren't so different About Adriane Dalton Adriane Dalton is an artist, writer, and educator based in Philadelphia, PA. She is the editor of Metalsmith, the magazine published by the Society of North American Goldsmiths (SNAG). She was formerly the Assistant Curator and Exhibitions Manager at the Nora Eccles Harrison Museum of Art (NEHMA) in Logan, Utah, where she co-curated “ARTsySTEM: The Changing Climate of the Arts and Sciences” and taught History of American Studio Craft, among many other curatorial and educational projects.  She holds an MA in the history of decorative arts and design from Parsons The New School for Design (2014), and a BFA in craft and material studies from the University of the Arts (2004). Her work has been exhibited nationally and internationally at Contemporary Craft (Pittsburgh, PA), The Wayne Art Center (Wayne, PA), Snyderman-Works Gallery (Philadelphia, PA), A CASA Museu de Object Brasileiro (Sao Paulo, Brazil), the Metal Museum (Memphis, TN), and Space 1026 (Philadelphia, PA). Additional Resources: SNAG Website Adriane's Instagram Photos: Recent Metal Smith Covers Transcript: Adriane Dalton took a meandering path to become editor of Metalsmith, the Society of North American Goldsmith's (SNAG) quarterly magazine, but her background as a maker, her work as a curator, and her education in the history of craft has only helped her hone her editorial skills. She joined the Jewelry Journey Podcast to talk about the overlaps between making, curating and editing; what she looks for when selecting work for the magazine; and why it's important we not just talk about objects and the people who make them, but the conditions in which people make them. Read the episode transcript here.  Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. Today, my guest is Adriane Dalton, editor of Metalsmith Magazine published by SNAG, the Society of North American Goldsmiths. The publication is designed to keep makers, jewelers and other artists in the field informed about important issues and people in their creative field. Adriane, welcome to the program. Adriane: Hi, it's wonderful to be here. Sharon: So glad to have you. I'm really looking forward to hearing all about this. I've been reading the magazine for so long. Tell us about your own jewelry journey. Were you a maker? How did you get into this? Did you come to it through journalism or the arts? Adriane: I came to it through the arts. I do not have a journalism background. I actually have a BFA in craft and material studies from the University of the Arts in Philadelphia, which is where I now live again after being in a lot of other places over the years. That craft and material studies program was my first introduction to jewelry making and to the contemporary jewelry field as we know it and as represented by SNAG and Metalsmith. Prior to that, I think my conception of jewelry was limited to the standard things you would see in the mall. That program was my gateway to the field. Sharon: Is that what you wanted to do when you came to study crafts and material arts? Did you think you'd be doing jewelry? Were you going to do fine art? Adriane: When I started undergrad, I had intended to be a photography major or potentially a glassblower. You have this first, foundational year of art school where you get to try different things out, and then you have to decide what your major is. I decided that in order to try to blow glass and work with my hands, I would need to be in the glass department. You couldn't major in glass at the time, so you had to pick a different focus area and then you could take classes in the glass department. So, I became a jewelry major sort of incidentally. I've always enjoyed working with my hands and making physical objects, so it ended up being a good fit for me. While I was there, I studied with Sharon Church, Rod McCormick and Lola Brooks, who were all teaching in the program at the time. That was my introduction to jewelry as an art form, not just as a piece of adornment. Sharon: So, you weren't third grade thinking, “I want to make jewelry.” Adriane: No. Sharon: When you graduated, were you making? How did it come about that you're now editing a publication? Adriane: It's been a meandering path, honestly. I graduated with my BFA with a focus in jewelry and metals. I was interested in enameling, and I did a lot of enamel work. When I finished undergrad, I had a studio and I worked on some small production lines. I worked on one-of-a-kind work, but I also needed to have a job to support myself beyond that, and I found out very quickly that I didn't like making production work. It wasn't what I wanted to do to support myself or express myself creatively. For about eight years, I worked in an office job and had a studio space. I was involved in some community arts organizations here in Philadelphia and maintained my own creative practice during that time.  It was almost 10 years after I had graduated from undergrad that I decided to go to grad school. I was interested in studying the field of craft more broadly, not just jewelry itself, so I enrolled in the joint program between Cooper Hewitt Museum in New York and Parsons. At the time, it was called History of Decorative Arts and Design. I believe the program is now History of Design and Curatorial Studies. I went into the program hoping to have a more formalized and research-based approach to thinking about craft. Sharon: Wow! That must have been exciting to be in New York and studying at such premier schools. Were you going to do research? Did you want to go into museums? What did you think you might want to do? Adriane: I was 30 at the time when I started grad school, and I had enough time after undergrad to figure out some of the things I didn't want to do. I considered going and receiving an MFA. I toyed with that idea a bit, and I decided I wanted to try to have a career that would allow me to use my creative mind in the work, but that would hopefully feed into my creative practice in some way while also supporting me. I had a curatorial focus when I was in grad school, and I had some fellowships in the Cooper Hewitt Product Design and Decorative Arts Department under Sarah Coffin when she was still curator there; I think she's since retired. I also was the jewelry intern under Alice Newman at the Museum of Arts and Design while I was in grad school. Those two experiences opened up possibilities for me to engage with the field in a way I hadn't prior to grad school. Sharon: Wow! Some really important people that were mentors or teachers. How did it come about that you're now at Metalsmith Magazine? Adriane: After grad school, I actually moved to Utah from New York, to a small town in northern Utah where I was the assistant curator of an art museum there, the Nora Eccles Harrison Museum of Art, which at the time had some exhibitions that were craft-centric. I came on to help with some of that. They have a fantastic ceramics collection. Ceramics is not my focus area, but having a broad generalization in craft, I can sort of move between materials. So, I was in Utah for a few years working as a curator. Then I moved back to the East Coast, to Richmond. I was working at the Virginia Museum of Fine Arts in their education department doing programming.  The way I came to be the editor of Metalsmith was a fluke in a lot of ways. I had applied for a different position at SNAG at the time that was educationally focused. I had a couple of interviews, got along really well with the executive director at the time, Gwynne Rukenbrod Smith. A few months later, she reached out to me and said, “Hey, our editor, Emily Zilber, is leaving, and I need someone to come in on an interim basis and keep things going until we figure out what we are going to do with the position and the magazine. Is this something you'd be interested in and capable of?” I said, “Yes, sure.” I came on thinking it would be potentially a six-month arrangement and then I would go on doing museum education, which is what I was doing. It ended up working out and I was invited to stay on, and so here I am. Sharon: Wow! Tell us about Metalsmith and what you want to do with it, what its purpose is, that sort of thing. Adriane: Sure. Metalsmith is one program area of SNAG. For folks who are listening who may not be familiar with SNAG, SNAG is the Society of North American Goldsmiths. It's a 50-year-old—well, I think it's 51 years old now—organization that's an international member-based organization. We are a 501(c)(3) nonprofit. Our member base is predominantly a variety of metalsmiths, jewelers, other folks who maybe don't consider themselves jewelers but use the body as a flight for expression, production studio jewelry artists, teachers, historians, curators, collectors, gallerists and writers. Our member focus is North America, but we do have members and subscribers all over the world. Metalsmith fits into SNAG in the sense that as a program area, it helps SNAG fulfill part of its mission statement, which is to advance the field of jewelry and metalsmithing and to inspire creativity, encourage education and foster community. Before it was Metalsmith, SNAG had three other publications. It started as a newsletter in the early days, and then it became Gold Dust. Then it was, I think, Goldsmith's Journal. Metalsmith was established in 1980. So, we are now in our 41st year of publication. Sharon: Did it become Metalsmith because—I'm a member of SNAG and I really like it, but I've only met maybe one goldsmith. Is that what happened there, going from Gold Dust to Metalsmith? Adriane: I think so. I'm not privy to all the early decisions of how the magazine was established and run, but I think choosing Metalsmith was to be more inclusive of the field at that time. Now, of course, one of the critiques I hear sometimes from members and other folks in the field is that Metalsmith doesn't always have that much metal in it. Sharon: That's true, yes. Adriane: That is true. That is, I think, indicative of the shifts in interdisciplinarity and shifts in thinking about materials that are appropriate for these forms that have happened over the past 20 or 30 years in the field. There have been times when people have said, “Well, they should change the name to something else,” but it still fits in a lot of ways. The word “smith” in and of itself points to the action that is involved. For me and how I think about the magazine and the work that's in the magazine, it doesn't necessarily matter what the material is; it's more about the approach and the context in which the maker is putting it out into the world. Sharon: How are you choosing the subjects? There are so many different areas now. I think of plastics; I think of wood; I think about all different kinds of crafts and jewelry. How do you choose the issues and writers you put in the publication? Adriane: I take pictures and proposals. Anyone listening to this podcast, anyone out there can send me an email or get in touch with me to propose any idea they have for an article or an artist they want to cover, things like that. It's a combination of taking proposals from people who reach out to me and me seeking people out who I'm interested in their work or interested in their writing, or me finding someone who I think would be good to write about a particular artist's work. It depends, and it's a mishmash of those things. A misconception I try to dispel any chance I get, and will do so now, is that I have a glut of proposals coming in. Really, a lot of the time I don't, particularly in the past 18 months. During the pandemic, people's focus has been in other directions, as it should be, but it's hard to keep things going if I have to do all the outreach and it's not going in both directions like it should. Sharon: I'm surprised; with everybody at home during lockdown, it seems like it would have been the perfect time for people to be writing or pitching or proposing or thinking about it at least. Adriane: Yeah, it is a combination of things. I do have people who reach out to me who I may or may not be familiar with. I'm really interested in having voices in the magazine that are new to the field or are in the process of establishing themselves as a thinker in the field. One of the ways we have done that in the past two years was through a writing competition that we hosted during our 40th volume, which was the previous volume to the one that's being published now. That was proposed to me by an artist and author, Lauren Eckert, who approached me at SNAG's conference in Chicago, the last in-person conference we held. She said, “What do you think about having a writing contest to get new voices into the magazine?” and I said, “Oh, I think that that's a great idea. Would you want to help me get that together?” She volunteered, and I invited Lauren to join the publication's advisory committee, which is a sounding board and feedback board for the magazine.  We ran the competition and had two awardees, and we published their writing in this most recent volume. In issue 41, we had Jessica Todd's article “Restrung: Contemporary North American Beadsmiths.” In issue 42, we had “Difficult Adornments: Recontextualizing Creative Adornment Through Display” which was by Rebecca Schena. Jessica was the New Voices award winner and Rebecca was the runner up, but we couldn't narrow it down to just one because there were so many great submissions. It was very hard to pick them.  Sharon: In terms of issues, what issues are really close to you, important to you? What issues do you see in the field? It's a few months old now, but I was looking at one of the publications about Black jewelers and inequality in the field, and I thought, “Well, that's not a namby-pamby issue; it's right out there and you're not afraid to discuss those kinds of things.” Adriane: Yeah, something that is important to me and has become extremely necessary as the world has shifted so much in the past 18 months is to not just create content in a vacuum, but to have the work and the voices in the magazine truly be representative of what is going on in the field. Some of that includes acknowledging ways the field of jewelry and metalsmithing replicates other systemic racist structures that exist in American society. To speak to the bigger picture for how I think about the content of the magazine—and this also predates the pandemic, but the pandemic has made me more firm in this—is that it's important to not just talk about objects and the people who make them, but to talk about the conditions in which people make them. That is especially relevant now that the world has been the way it has been for the past 18 months and we are all more acutely aware of a lot of things than perhaps previously. Sharon: That's a good point, in terms of picking up a publication or going online and saying, “What are the pretty pictures?” or “What are the creative objects?” You also mentioned in one of your notes from the editor—it must be a challenge to come with that every month, in terms of pithy subjects—you wrote that for some, the process of growth is discomfort. How does that manifest itself? Do you see it manifesting in SNAG's members, for example? Adriane: I don't know if I can speak to how it manifests for our members. I will say SNAG has a diverse membership. When I'm making the magazine, I'm making it not only for SNAG's membership, but we also have some people who subscribe but aren't SNAG members, and the magazine is on newsstands. So, I'm trying to think broadly whenever possible. As far as that particular letter from the editor, some of the content in that issue—which includes that essay by Rebecca Schena that I mentioned before—but it also includes the piece you alluded to, which is by Valena Robinson Grass, “Moving Beyond Acknowledgment: Systemic Barriers for Black American Metalsmiths.” There's another article in there by Leslie Boyd about how white educators can be more attentive to the ways their students are showing up in the structure of academia. As I'm talking, I'm getting further and further away from answering your question, but— Sharon: No, I don't get that impression. Adriane: I think that, much like a lot of other things that have happened in the past 18 months, there needs to be some amount of reflection and reckoning in parts of the jewelry field that have been predominantly white spaces and reflecting upon why that is, and thinking about how you can claim to value diversity and inclusivity and equity. You can say those things and you can mean them, but unless you're willing to do the reflection and make some changes, then it's meaningless; it's empty. We will have images posted on the website. You can find us wherever you download your podcasts, and please rate us. Please join us next time, when our guest will be another jewelry industry professional who will share their experience and expertise. Thank you so much for listening. Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.

Ivo Mesquita nasceu em São Paulo, São Paulo, em 1951. É curador, pesquisador e escritor. Entre 1977 e 1980 foi pesquisador do Centro de Pesquisas de Arte Brasileira Contemporânea, da prefeitura de São Paulo. De 1980 a 1982 foi coordenador do Arquivo Wanda Svevo, da Fundação Bienal de São Paulo. Entre 1996 e 2007 foi professor visitante do Center for Curatorial Studies da Bard College, no estado de Nova Iorque, nos Estados Unidos. Foi diretor do Museu de Arte Moderna de São Paulo entre 2000 e 2002. Na Pinacoteca de São Paulo desempenhou várias funções: curador do Projeto Octógono (2003-2013), curador-chefe (2006-2012) e diretor artístico (2012-2015). [Ivo Mesquita was born in São Paulo, São Paulo, in 1951. He is a curator, researcher and writer. Between 1977 and 1980 he worked as a researcher for the Centro de Pesquisas de Arte Brasileira Contemporânea, at the government of the city of São Paulo. From 1980 to 1982 he was the coordinator of the Wanda Svevo Archive, at the São Paulo Biennial Foundation. Between 1996 and 2007 he was a visiting professor at the Center for Curatorial Studies, Bard College, in the state of New York, in the United States. He was the director of the Museum of Modern Art of São Paulo from 2000 to 2002. At the Pinacotheque of São Paulo he developed many activities: curator of the Octogon Project (2003-2013), chief curator (2006-2012) and artistic director (2012-2015). ///imagens selecionadas|selected images: Henri Matisse, Guido Reni, Martius/// [entrevista realizada em 06 de dezembro de 2020|interview recorded on december 6th, 2020]

In vol. 4 of Born in Ghostland, Ana Iwataki —a curator, writer, translator, and organizer from Los Angeles—shares personal stories about her Japanese and Filipino heritage, speaks about her activist work in Little Tokyo, discusses the anti-racism solidarity lessons to be learned from Japanese-American incarceration and reparations, and weighs in on the dangers of falling into nostalgic narratives. Ana Iwataki is a curator, writer, translator, and organizer from and based in Los Angeles. She is the co-editor of X Topics, an imprint of X Artists' Books. She is currently pursuing a PhD in Comparative Media and Culture at the University of Southern California. Her research takes water as a material and metaphor that leads to questions of porosity and fluidity in collaborative relationships, the relationship to land and place in diaspora, or that of infrastructure to the body. As a consultant, she developed an Artist-in-Residence program for the ACLU of Southern California. She is co-founder of the community art and activist organization J-TOWN Action と Solidarity, a member of Sustainable Little Tokyo's Arts Action Committee, and Vigilant Love's Steering Committee. Iwataki holds a BA in Art History from Pitzer College and MA in Curatorial Studies from the Sorbonne. http://anaiwataki.com/ Are you haunted by a ghostland? Please tell Yelena (the host) all about it: http://yelenazhelezov.info/10/

20 April 2021 marked the 150th anniversary of the enrollment of Aletta Jacobs at the University of Groningen. Tina and Arjen interview Cisca Wijmenga (Rector of the University of Groningen), Amina Helmi (Astronomer and Professor of Dynamics, Structure and Formation of the Milky Way) and Andrea Meagher (Master student in Curatorial Studies in Art History) on the legacy of Aletta Jacobs, what she has meant for women in academia and women in general and also on the current situation in the Netherlands. Guests: prof. dr. Cisca Wijmenga, prof. dr. Amina Helmi, Andrea Meagher Hosts: Tina Kretschmer and Arjen Dijkstra  Portrait of Cisca Wijmenga in Senate Room Merch: Aletta Jacobs tote bag More information on the Aletta Jacobs year

Was the decision to stop publishing six obscure Dr. Suess titles containing racist imagery and messaging an erasure of history? Media coverage of the controversy has presented it as an example of censorship, an attack on free speech and yet another example of cancel culture. These reactions are rooted in both a lack of awareness of the challenges and realities of maintaining collections and a false understanding of history. Dr. Seuss Enterprises is a children’s entertainment company that functions as both a business and a family estate dedicated to preserving and promoting Theodor Seuss Geisel’s legacy. After consulting with educators and other experts, they decided to halt publication of six books because, in their words, they “portray people in ways that are hurtful and wrong.” An examination of many of the images and text in question confirmed the use of racist tropes in depicting Asian and Black characters. This decision reflects norms in publishing, archiving and collecting. Click HERE for the full article on the Conversation.  GUEST: Dr. Monica Eileen Patterson, Associate Professor in the Institute of Interdisciplinary Studies, and Assistant Director of Curatorial Studies in the Institute for the Comparative Study of Literature, Art, and Culture at Carleton University   See omnystudio.com/listener for privacy information.

Episode 57 features Cheryl Finley. She is Director of the Atlanta University Center Art History + Curatorial Studies Collective and Distinguished Visiting Professor of Art History at Spelman College. A visionary leader committed to engaging strategic partners to transform the art and culture industry, she leads an innovative undergraduate program at the world’s largest HBCU consortium in preparing the next generation of African American museum and visual arts professionals. She holds a Ph.D. in African American Studies and History of Art from Yale University. She is a curator, contemporary art critic and award-winning author noted for Committed to Memory: the Art of the Slave Ship Icon (Princeton UP, 2018), the first in depth study of the most famous image associated with the memory of slavery--a schematic engraving of a packed slave ship hold--and the art, architecture, poetry, and film it has inspired since its creation in Britain in 1788. On leave from Cornell University, where she is Associate Professor of Art History, Dr. Finley’s current book project, Black Market: Inside the Art World, aims to diversify the global art economy, focusing on the relationship among artists, museums, biennials and migration. A conversation with Fred Wilson https://www.youtube.com/watch?v=bg4cGK7t8qg Cornell bio https://arthistory.cornell.edu/cheryl-finley Wikipedia https://en.wikipedia.org/wiki/Cheryl_Finley Book - https://press.princeton.edu/books/hardcover/9780691136844/committed-to-memory https://www.amazon.com/Committed-Memory-Slave-Ship-Icon/dp/069113684X Atlanta University Center Collective for the Study of Art History & Curatorial Studies - https://aucartcollective.org/about/faculty-staff/cheryl-finley/ Wellesley Magazine https://magazine.wellesley.edu/fall-2018/iconic-image-slavery-reclaimed Photo credit: Gediyon Kife

Portrait of Brian Curtin, 2021, by Be Takerng Pattanopas Brian Curtin is an Irish-born art writer, lecturer, and curator of contemporary art. He has been based in Bangkok since 2000 where he lectures in the Department of Communication Design at Chulalongkorn University. Brian’s work explores dialogues between contemporary art, Queer theories and studies in visual and material cultures. His commentary, essays, interviews and reviews have been published in Art Journal, Artforum, Art Asia Pacific, Circa, Craft Research, Flash Art, Frieze, Journal of Curatorial Studies and Parachute, amongst others. Brian’s monograph Essential Desires: Contemporary Art in Thailand will be published by Reaktion Books in June 2021. Research work addresses challenges in thinking through hierarchies and antagonisms that limit critical approaches to modern and contemporary art; and published essays in this respect explore the art-historical marginalizing of ‘decoration’ and also problems of national identity as a frame for recent art. Brian has presented at conferences and symposia in Kuala Lumpur, Kyoto, London and Singapore. And has held writer’s residencies in Beijing and Kuala Lumpur. Seminar with artist Lim Sokchanlina at Toot Yung Gallery Bangok 2014 Essential Desires Publication in June 2021

Greetings, SOTAns! This week, we're going over some basics of accessibility in curating. Jasa recently took a class on this subject from the Node Center of Curatorial Studies and wants to pass this golden info along to all her SOTA friends. Join us for some entry-level concepts, ideas on how to make the arts more accessible, and of course some anecdotes and mispronunciations. Do you have some tips on how to make art spaces more accessible? We would love to hear from you! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/sota/message Support this podcast: https://anchor.fm/sota/support

Noura Abla is a Zurich-based curator, theorist and art mediator. She earned her M.A. in Curatorial Studies and Art Mediation from the Zurich University of the Arts. Abla is active in the arts and culture field in Switzerland as well as in the Middle East. She currently the curatorial assistant at the Kunstmuseum Thun in Switzerland and artistic director of the Fayoum Art Center in Egypt.

In this episode we are speaking with Vasif Kortun, a colossal figure in the field of contemporary art. Together with him we unpack how cultural institutions deal with the digital turn, the future of archives, practices of commissioning cultural work and concepts of care-taking and craft.Vasif was the founding director of several international institutions, including SALT, Platform Garanti Contemporary Art Center, and the Museum of the Center for Curatorial Studies, Bard College. He was also a co-curator of the legendary 2005 Istanbul Biennial with Charles Esche, as well as many more exhibitions. Besides his history as a curator, writer and teacher, Vasıf Kortun is currently learning by practice small scale no-dig farming and reading on General Artificial Intelligence.Episode Notes & LinksAs a one of a kind organization in its field, SALT is Turkey’s spearheading cultural institution. With a special focus on art, architecture, and social life, It holds a vast archive on the material and visual culture of Turkey. The institution is active with a variety of cultural programs that include exhibitions. www.saltonline.orghttps://saltonline.org/tr/2074/talk-between-charles-esche-and-manuel-borja-villelAsia Art Archive (AAA) is a nonprofit organization based in Hong Kong which focuses on documenting the recent history of contemporary art in Asia within an international context. https://aaa.org.hk/enThe most noteworthy of SALT’s facilities is the building which formerly belonged to the Ottoman Bank where the SALT archive and library are located https://saltonline.org/en/42/salt-galataOur common best friend, Hüseyin Bahri Alptekin (1957 – 2007) was part of the first generation of Turkish artists considered to be globally active and nationally influential, Alptekin is considered one of the most significant figures in the established contemporary art scene of Istanbul.https://saltonline.org/en/2225/salt-research-huseyin-bahri-alptekin-archive https://en.wikipedia.org/wiki/Hüseyin_Bahri_AlptekinL'Internationale is a confederation that brings together seven major European art institutions: MG+MSUM (Ljubljana, Slovenia); Museo Reina Sofía (Madrid, Spain); MACBA (Barcelona, Spain); M HKA, (Antwerp, Belgium); MSN (Warsaw, Poland), SALT (Istanbul and Ankara, Turkey) and Van Abbemuseum (Eindhoven, the Netherlands). https://www.internationaleonline.org/about/Founded by Vasıf Kortun, ICAP Istanbul Contemporary Art Project (1998-2000) consisted of a bureau and a library that held a vast collection of books on contemporary art which later on evolved to SALT’s library.Episode recorded on Zoom on June 19th 2020. Interview by Can Altay. Produced by Aslı Altay & Sarp Renk Özer. Music by Grup Ses.

*Be sure to check out the visual companion to this episode* Welcome to the third episode of The Render, a podcast hosted by Modsy’s very own Alessandra Wood and Maddy Warner, that is all about the untold stories from the world of interior design. In the third episode, Maddy and Alessandra are joined by special guest and Mid-Century Modern expert, Lark Morgenstern, as they unpack why the world is so obsessed with Mid-Century Modern design. The trio talks all about the style’s rise to popularity, its resurgence in the 90s, some designers to know (beyond the Eames), where the trend is heading in the future, and we even get into the surprising connection between the Playboy mansion and mid-century modern design. We hope you enjoyed the show! Share your thoughts on this show and your ideas for future ones at therender@modsy.com, don’t hesitate to slide into our Instagram dm’s @modsydesign and tune in next time. This podcast is sponsored by online interior design service Modsy, the impossibly easy way to design your home. About Lark Morgenstern is a decorative art and design specialist. She has a B.B.A in Strategic Design + Management and an M.A in History of Design and Curatorial Studies from Parsons School of Design. Over her career, she has worked in furniture and fine art galleries. In 2016, she founded the 133 Design Collective, a network of artists, designers, and performers, and curated exhibitions showcasing young designer’s work.   Find out more on LinkedIn|Instagram|Website   Dr. Alessandra Wood is VP of Style at Modsy as well as a design historian with an eye towards the future. She studied design history & theory and is obsessed with applying that knowledge to understand what makes products beautiful/useful/successful, and what inspires people to love those products. *The source of your next cocktail party banter. Find out more on Twitter|LinkedIn|Instagram|Website   Madeline Warner is the Senior Brand Marketing Manager at Modsy as well as a one-woman content show. A writer and editor as well as a design enthusiast, she’s been working in the design industry for five years and specializes in bringing the expertise of an interior designer to the good laypeople. *Resident furniture pun expert. Find out more on LinkedIn|Instagram   The Render is edited and produced by Rachael Tellerman. Rachael is a graphic designer at Modsy and is fascinated by the many ways people tell stories. She is also an artist, avid media consumer, and excited to be entering the world of podcasting. *Makes a delicious baked ziti. Find out more on LinkedIn|Website Mid-Century Modern Interior Design What is Mid-Century Modern Interior Design?  Mid-Century Modern interior design is a style characterized by its use of natural woods, bold colors, slightly whimsical furniture designs, organic shapes, and tapered legs. Mid-Century Modern style interiors are comfortable and encourage lounging, relaxation, and conversation. Learn more about Mid-Century Modern Design on our blog. Scandinavian vs. Mid-Century Modern Design There are some subtle differences between Scandinavian and Mid-Century Modern design. While the two came to life in the same time period, Mid-Century Modern design focused on the use of new materials like plastics, fiberglass, wire, and aluminum. By contrast, Scandinavian design took a much more organic approach to shapes and featured natural materials like wood, specifically birch and ash varieties. Cranbrook Academy of the Arts Many of the designers that we associate with Mid-Century Modern design, studied at Cranbrook Academy of the Arts. This was a school founded by Eliel Saarinen (Eero Saarinen's father) who was the school’s architect and president. The “Collector’s Market” Just like the stock market, in the collector’s market we see certain pieces of furniture, designers, or even design styles that go up and down in value. This is particularly evident in Mid-Century Modern designs, which are so widely copied and reproduced. Organic Modernism Organic modernism is a style that pulls in rustic elements to a Mid-Century framework and infuses the style with a sense of warmth and creature comforts—something we could all use right about now. Resources Wallpaper Magazine Organic Modernism Mid-Century Modern Interior Design Ideas   Designers to Know: Charles and Ray Eames Harry Bertoia Eero Saarenin George Nelson Alvar Aalto Mel Smilow Lina Bo Bardi   Furniture Designs to Know Eames Lounge Chair Papa Bear Chair Savoy Vase Cesca Chair Marshmallow Sofa Jeanneret Chair Antelope Chair

Curator, writer and educator Maria Lind has challenged international curatorship by treating the infrastructure of the arts as a creative field. Socially committed and driven by a belief in art as well as institutional transformation, she has headed numerous institutions worldwide including the Munich Kunstverein, the graduate programme at Bard College’s Centre for Curatorial Studies and the 11th Gwangju Biennale. Most recently she has been appointed Counsellor for Cultural Affairs at the Swedish Embassy in Moscow. V–A–C satellite curator Raimundas Malašauskas talks to Maria about what brought her to this position and where she expects to find herself in the near future.

In this episode, Emma Jacobs discusses her book, The Little(r) Museums of Paris, part guide-part travelogue through Paris' landscape of small museums, from the better-known to deeply obscure. Deeply-researched and hand-illustrated, it includes stories and highlights of the collections and conversations with conservators, museum founders and artists. Emma is a multimedia journalist and illustrator who has reported internationally for NPR, Marketplace and PRI's The World. Her work has appeared in The New York Times and The Washington Post. The Little(r) Museums of Paris (2019, Running Press) is her first book. Stephanie Nadalo, PhD, will moderate the conversation. Stephanie is a museum educator and Assistant Professor of Art History at Parsons Paris, the European division of Parsons School of Design. When she is not in the classroom she works as a licensed guide to design and deliver engaging museum pedagogy within Parisian institutions including the Louvre, Rodin Museum, and the Museum of Jewish Art and History. In addition, she currently serves as the Interim Director of the Parsons Paris MA program in the History of Design and Curatorial Studies. Recorded 8 October 2019

Adriane Dalton is an artist, writer, and educator based in Richmond, Virginia. She is the Editor of Metalsmith and Metalsmith Tech magazines, and the annual Jewelry and Metals Survey (JaMS) published by the Society of North American Goldsmiths (SNAG). She received her MA in History of Decorative Arts and Design (now the History of Design and Curatorial Studies) from Parsons The New School for Design in partnership with the Cooper Hewitt, Smithsonian Design Museum, and her BFA in Craft & Material Studies from The University of the Arts in Philadelphia.She was formerly the Assistant Curator and Exhibitions Manager at the Nora Eccles Harrison Museum of Art (NEHMA) in Logan, Utah where she co-curated ARTsySTEM: The Changing Climate of the Arts and Sciences and taught History of American Studio Craft, among many other curatorial and educational projects. She is a past contributor to Art Jewelry Forum and the Cooper Hewitt, Smithsonian Design Museum Object of the Day blog.Over the past fifteen years, her studio practice has evolved from traditional metalsmithing and enameling techniques to incorporate alternative and recycled materials. Lately, she is using disused and discarded materials to engage with intersections of labor, class, gender, and consumption. She brings her appreciation for creative reuse into her role as lead instructor for Teen Stylin’—a twelve-week wearable arts program at the Virginia Museum of Fine Arts. She also teaches recycled materials jewelry and enameling at the Visual Arts Center of Richmond, and is a past Program Leader at ART 180, a non-profit providing art-related programming for young people in Richmond.APPLY TO THE NEW VOICES WRITING CONTESTIn celebration of its 40th year of publication, Metalsmith magazine invites new and aspiring writers to submit proposals to the New Voices Writing Contest. Do you have a research topic that feels congruent with the varieties of content featured in Metalsmith? Are you interested in broadening the discourse within the fields of jewelry, metalworking, adornment, design, and craft? Do you have a fresh perspective, unique voice, or a radical idea? We want to hear about it!New Voices: https://www.snagmetalsmith.org/metalsmith-magazine/new-voices-writing-contest/Application: https://www.snagmetalsmith.org/metalsmith-magazine/new-voices-writing-contest/

Megan is a lover of art and community. She is the director of The Art Farm at Serenbe and is dedicated to bringing art to everyone in all of its forms to share its beauty and healing qualities. Join Paulette and Megan for this candid chat as they discuss the healing aspects of art and how important it is to the community. Megan Schaeffer is the Art Farm Director at Serenbe. After receiving a BA in Arts Management from the College of Charleston, Schaeffer completed the Sotheby's Institute of Fine Art intensive program on Gallery Management and Curatorial Studies. She was a founding team-member of the Charleston, SC chapter of Creative Mornings, a monthly breakfast lecture series focusing on leaders in the creative community. Her time as Outreach Coordinator for Artist & Craftsman Supply, an employee-owned art supply company, led to a love of art supplies (ask her about types of oil paint, she'll keep you a while) and, more importantly, arts education. Most recently, Schaeffer was the Artist Liaison & Art Resource Coordinator for a prominent Atlanta art consulting firm. Since moving to Atlanta in 2015, she has worked with ArtsATL, an arts publication, on its programming and sponsorship, and serves on the advisory board of ArtsNOW. She is driven by a passion to build creative communities and create meaningful opportunities for artists. You can find Megan Schaeffer on www.meganschaeffer.com www.artfarmserenbe.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/thriving-in-chaos/message Support this podcast: https://anchor.fm/thriving-in-chaos/support

Entrevista: Karla Rosales, Coordinadora Museo Universidad de Navarra y Project Manager del Master Degree in Curatorial Studies de la Universidad de Navarra ¡No te lo pierdas!

Photo credit: Megumi Shauna Arai Emily Zimmerman is a curator and writer based in Seattle, WA. Zimmerman is the Director of the Jacob Lawrence Gallery and a lecturer at the University of Washington’s School of Art + Art History + Design. She edits the art journal MONDAY. Previously, Zimmerman was the Associate Curator of Programs at the Henry Art Gallery and the Associate Curator at the Experimental Media and Performing Arts Center (EMPAC) where she commissioned new work from artists such as Melvin Moti, Ryan & Trevor Oakes, and Gordon Hall. She received the 2011-2012 Loris Ledis Curatorial Fellowship at BRIC Contemporary Art, served as a 2013 curator-in-residence at Residency Unlimited, and was awarded funding by the New Foundation Seattle in 2016. Her writings have appeared in BOMB, Big, Red & Shiny and Contemporary Performance. She has served on a number of review panels including the National Endowment for the Arts, New York State Council on the Arts, Artist Trust, 4Culture, and the Herb Alpert Awards. Emily received her MA from the Center for Curatorial Studies at Bard College and her BA from New York University. Also discussed in the interview was MONDAY journal. Installation view of Untold Passage (2017) showing two works by Mary Ann Peters: impossible monument (telltale), 2017, commissioned for the exhibition, and this trembling turf, 2016. Photograph: Jueqian Fang. Gordon Hall,  Read me that part a-gain, where I disin-herit everybody (2014), commissioned by the Experimental Media and Performing Art Center (EMPAC). Photo: EMPAC/Rensselaer. MONDAY, Vol. 3 “Études” with contributions by Sonny Assu, Katherine Dunn-Marcuse, Claire Cowie, Stuart Dempster, Ellen Garvens, David Golightly, Clotilde Jiménez, Leah St. Lawrence, Sean Lockwood, György Ligeti, Emma McIntosh, Fred Moten, Nina Power, SassyBlack, and Charles Stobbs.

Jaamil Olawale Kosoko is a Nigerian American poet, curator, and performance artist originally from Detroit, MI. He is a 2017-2019 Princeton Arts Fellow, a 2018 NEFA National Dance Project Award recipient, a 2018-20 New York Live Arts Live Feed Artist-in-Residence, a 2019 Gibney DiP Artist-in-Residence, a 2017 Jerome Foundation Artist-in-Residence at Abrons Arts Center, a 2017 Cave Canem Poetry Fellow, a 2016 Gibney Dance boo-koo resident artist, and a recipient of a 2016 USArtists International Award from the Mid-Atlantic Arts Foundation. His previous work #negrophobia (premiered September 2015, Gibney Dance Center) was nominated for a 2016 Bessie Award and has toured throughout Europe having appeared in major festivals including Moving in November (Finland), TakeMeSomewhere (UK), SICK! (UK), Tanz im August (Berlin), Oslo Internasjonale Teaterfestival (Norway), Zurich MOVES! (Switzerland), Beursschouwburg (Belgium) and Spielart Festival (Munich). His current work, Séancers, premiered at Abrons Arts Center in December 2017 and has toured nationally and internationally to critical acclaim. Recent highlights include Mousonturm (Frankfurt, DE), FringeArts (Philadelphia, PA), Sophiensaele (Berlin, DE), and the Wexner Center (Columbus, OH). In 2019, Séancers will have engagements at the Fusebox Festival (Austin, TX) and Montréal Arts Interculturels (Montréal, CA), among others.American performance venues include: Abrons Arts Center, Joyce SoHo, DTW, FringeArts, Dixon Place, Dance Theater Workshop, Bennington College, Danspace at St. Mark’s Church, the CEC Meeting House Theater, Wexner Center for the Arts, Kelly Strayhorn Theater, LAX Festival, Miami Theater Center, Art Basel Miami, and the Painted Bride Arts Center, among others.He was a Co-Curator of the 2015 Movement Research Spring Festival and the 2015 Dancing While Black performance series at BAAD in the Bronx; a contributing correspondent for Dance Journal (PHL), the Broad Street Review (PHL), and Critical Correspondence (NYC); a 2012 Live Arts Brewery Fellow as a part of the Philadelphia Live Arts Festival; a 2011 Fellow as a part of the DeVos Institute of Art Management at the John F. Kennedy Center for the Performing Arts; and an inaugural graduate member of the Institute for Curatorial Practice in Performance (ICPP) at Wesleyan University where he earned his MA in Curatorial Studies.His work in performance is rooted in a creative mission to push history forward through writing and art making and advocacy. Kosoko’s work in live performance has received support from The Pew Center for Arts and Heritage through Dance Advance, The Philadelphia Cultural Management Initiative, The Joyce Theater Foundation, and The Philadelphia Cultural Fund. His breakout solo performance work entitled other.explicit.body. premiered at Harlem Stage in April 2012 and went on to tour nationally. As a performer, Kosoko has created original roles in the performance works of Nick Cave, Pig Iron Theatre Company, Keely Garfield Dance, Miguel Gutierrez and The Powerful People, and Headlong Dance Theater, among others. In addition, creative consultant and/or performer credits include: Terry Creach, Lisa Kraus, Kate Watson-Wallace/anonymous bodies, Leah Stein Dance Company, Emergent Improvisation Ensemble, and Faustin Linyekula and Les Studios Kabako (The Democratic Republic of Congo).Kosoko’s poems can be found in such publications as The American Poetry Review, Poems Against War, The Dunes Review, and Silo. In 2009, he published he chapbook, Animal in Cyberspace, and, in 2011, he published his own collection, Notes on an Urban Kill-Floor: Poems for Detroit (Old City Publishing). Publications include: The American Poetry Review, The Dunes Review, The Interlochen Review, The Broad Street Review, Silo Literary and Visual Arts Magazine.Kosoko has served on numerous curatorial and funding panels including the Brooklyn Arts Council, the National Endowment for the Arts, MAP Fund, Movement Research at the Judson Church, the Philadelphia Cultural Fund, and the Baker Artists Awards, among others. In 2014, Kosoko joined the Board of Directors for Dance/USA, the national service organization for dance professionals. He is also a founding advisory board member for the Coalition for Diasporan Scholars Moving.He has held producing and curatorial positions at New York Live Arts, 651 Arts, and The Watermill Center among others. He continues to guest teach, speak, and lecture internationally.

Rafael Soldi in his exhibit 'Imagined Futures' Rafael Soldi is a Peruvian­-born, Seattle-based artist and curator. He holds a BFA in Photography & Curatorial Studies from the Maryland Institute College of Art. He has exhibited internationally at the Frye Art Museum, American University Museum, Griffin Museum of Photography, ClampArt, The Print Center, G. Gibson Gallery, Connersmith, Filter Space, and Burrard Arts Foundation, among others. Rafael is a 2012 Magenta Foundation Award Winner, and recipient of the 2014 Puffin Foundation grant, 2015 Portable Works Cultural Perspectives Purchase Grant, 2016 smART Ventures grant, 2016 Jini Dellaccio GAP grant, 2017 CityArtist Projects Grant, and a 2017 4Culture Arts Projects Grant. He has been awarded residencies at the Vermont Studio Center, PICTURE BERLIN, Oxbow Space, and The Bogliasco Foundation. His work is in the permanent collections of the Tacoma Art Museum, Frye Art Museum, and the King County Public Art Collection. He has been published in PDN, Dwell, Hello Mr, Metropolis, GRAY, LUXE, Lagom, among others. His work has been reviewed on ARTFORUM, The Seattle Times, The Boston Globe, ArtNexus, Photograph Magazine, Lensculture, and PDN. Rafael is the co-founder of FOUND, a space for contemporary art in Seattle, and the Strange Fire Collective, a project dedicated to highlighting work made by women, people of color, and queer and trans artists. 'Imagined Futures,' Fifty Gelatin silver photo booth portraits, 2 x 1.5 inches each. Each unique. Installation view at Oxbow Seattle 'Imagined Futures (detail),' Fifty Gelatin silver photo booth portraits, 2 x 1.5 inches each. Each unique. Installation view at Oxbow Seattle.

In this two-part episode I sit down with Los Angeles based writer and curator Marie Heilich to talk about who, what, and where has influenced her trajectory of working with artists and ideas. Originally from St. Louis, where she grew up off Route 66, Marie now lives off the same historic route halfway across the country in Hollywood. In the interview we discuss how American identity politics hinges on her biography to shape her writing and curatorial practice. She is currently researching and writing on the life and work of Santa Monica-based painter, Luchita Hurtado. Previously, Marie served as Assistant Director of White Flag Projects in St. Louis where she organized solo projects with artists Martine Syms, Dena Yago, Ligia Lewis, Carlos Reyes, and Darja Bajagić among others. Marie has contributed writing to ETC: Revue De L’art Actual, BOMB Daily, Temporary Art Review, and catalogues published by SculptureCenter, Long Island City and the Contemporary Art Museum St. Louis. She holds a masters degree in Curatorial Studies from the Center for Curatorial Studies, Bard College. marie-heilich.com instagram.com/partofthisbalancedbreakfast

Dr. Anja Foerschner is a curator, scholar, and professor at the Node Center for Curatorial Studies in Berlin. Marta Jovanovic is an artist and founder of PerformanceHUB in Belgrade.

Kate McNamara is the Director of Galleries at Otis College of Art and Design in Los Angeles, where she has organized recent solo exhibitions with Polly Apfelbaum and Anna Craycroft. Previously, she held the position of Director and Chief Curator at the Boston University Art Gallery where she organized exhibitions with Leidy Churchman, Destroy All Monsters, and Vlatka Horvat, among others. McNamara is also co-founder of Cleopatra’s, an alternative Brooklyn-based project space founded in 2008. In addition, McNamara has held teaching positions at Massachusetts College of Art and Design and the Art Institute of Boston at Lesley College. She received her M.A. at The Center for Curatorial Studies at Bard College and a B.A. with a Curatorial Concentration from Hampshire College, MA. McNamara has held curatorial positions at MoMA PS1, New York and Participant, INC., New York. McNamara is currently a Visiting Critic in the Painting Department at the Rhode Island School of Art and Design, Providence, RI.   http://www.latimes.com/entertainment/arts/la-et-cm-apfelbaum-otis-review-20161012-snap-htmlstory.html https://www.artforum.com/picks/ben-maltz-gallery-otis-college-of-art-and-design-74224   Links from the Interview: Sponsored by Sunlight Tax: Tax Assitance for Artists & Creatives Submit Work to Be a Studio Visit Artist Seek the Joy Podcast Studio Break Podcast History of the New Museum Book: A Short Life of Trouble: Forty Years in the New York Art World Ree Morton Michelle Grabner's Son's Response to Growing Up Around Artists Response to Ken Johnson's sexist review of Michelle Grabener's work The Undercommons Whitewalling: Art, Race & Protest in Three Acts The Kitchen Table

Photo by Gunnar Tufta Emireth Herrera is an independent Mexican curator based in New York. She is currently studying the Graduate Program in Art History and Archaeology at the Institute of Fine Arts of New York University. Her focus is on Latin America and Curatorial Studies. Her curatorial practice objective is to build a strong discourse to foster diverse conversations through strategies that invite spectators to reflect and establish a critical posture, dialogue and dream. Emireth explores the production of art through multiple formats that are essential to initiate social transformation through democratic processes. In 2018 she started the project “From the Vulnerable Territories to the Utopia”, a series of workshops that highlights the importance of collaboration worldwide, beyond borders, language and ethnic groups. She holds an MA in Art from the Universidad Autónoma de Nuevo León, and a Bachelor of Architecture from Universidad Autonoma de Coahuila, where she works as a research professor in the arts. "3459" Curated by Emireth Herrera and Relapse Collective, New York and London, August 2016 Photo by Jung In Jung Workshop "Between the Vulnerable Territory and the Utopia" by Emireth Herrera in collaboration with Open Place, at Flux Factory, October 2018.Photo by Yuriy Kruchak

Becca chats with Robin Wallis Atkinson, the CEO and Creative Director of NWA Fashion Week, and is so incredibly talented. We chat about the upcoming fall fashion shows September 20 - 22, 2018 in Fayetteville Arkansas; how Robin relaunched NWA Fashion Week after returning to NW Arkansas, and what is currently bringing joy into her life. This is a story you do not want to miss. Find out more about NWA Fashion Week at nwafw.com Follow along with host Becca on Instagram @browneyedbec imperfectlyperfectpodcast.comRobin Wallis Atkinson is a curator and arts organizer from Northwest Arkansas. One of the founding members of Art Amiss Inc., Atkinson has been an active participant in the Northwest Arkansas art community for more than a decade. After working in New Orleans, New York and abroad for several years, Atkinson has moved back to Northwest Arkansas and couldn’t be happier about it. She has worked on international arts exhibitions such a Prospect New Orleans, the ground-breaking contemporary art biennial that opened in 2008, collaborated with museums and galleries across Europe and in Asia, and has taught curatorial curriculum at the early college level in Manhattan. She holds BA in Art History from the University of Arkansas and a Masters of Curatorial Studies from the Center for Curatorial Studies at Bard College in New York.

Great art is transformative. Follow our host Claire Carver-Dias and director / curator Prof. Christine Shaw as they sketch out how a new art exhibit, "The Work of Wind: Air, Land, Sea," will transform both a large part of the City of Mississauga, and our experience of climate change. Special thanks to our guest, Professor Christine Shaw Director/Curator of Blackwood Gallery | Assistant Professor, Teaching Stream, Curatorial Studies and Contemporary Art, University of Toronto Mississauga More information about "The Work of Wind: Air, Land, Sea" is available at: http://blackwoodgallery.ca/exhibitions/2018/WorkofWind.html MUSIC (in chronological order): - Evan Schaeffer, "Smoke" from the album "Big Splash" - Drake Stafford, "In Heaven" All tracks available under a Creative Commons BY license from the the FMA, Free Music Archive, at freemusicarchive.org "Bright Lights, Big Sauga" are: Writing/Hosting: Dr. Claire Carver-Dias Production/Concept: Joanna Szurmak at joanna.szurmak@utoronto.ca

Art. It’s alive and thriving on the UTM campus. Behind the scenes there is a team of people who are trying to change the way students, faculty, and staff interact with art. Follow our host Claire Carver-Dias and director/curator Prof. Christine Shaw as they lift the curtain... Links and Credits: Professor Christine Shaw, Director/Curator of Blackwood Gallery Assistant Professor, Teaching Stream, Curatorial Studies and Contemporary Art University of Toronto Mississauga https://www.utm.utoronto.ca/dvs/christine-shaw Blackwood Gallery http://blackwoodgallery.ca/ MUSIC CREDITS (in chronological order): - Evan Schaeffer, "Smoke" from the album "Big Splash" - Breuss Arrizabalaga Quintet, "Tsurugi" - Drake Stafford, "In Heaven" All tracks available under a Creative Commons BY license from the the FMA, Free Music Archive, at freemusicarchive.org "Bright Lights, Big Sauga" are: Writing/Hosting: Dr. Claire Carver-Dias Production/Concept: Joanna Szurmak at joanna.szurmak@utoronto.ca

In this episode, we spoke with Marieluise Hessel Artzt. Her wide-ranging collection of over 2,000 works, featuring international artists, is housed at the Center for Curatorial Studies at Bard College in New York, which she cofounded in 1992.

This week I talked to Molly Martien, a Masters Candidate at the Parsons-Cooper Hewitt program for History of Design and Curatorial Studies. She wrote a paper that she will be presenting at the MAPACA conference in November on SNCC and 1960’s design. MAPACA: https://mapaca.net SNCC LIBRARY LEGACY PROJECT: https://library.duke.edu/slp SNCC DIGITAL GATEWAY: https://snccdigital.org SNCC LEGACY PROJECT: http://www.sncclegacyproject.org FREEDOM RIDERS: http://www.pbs.org/wgbh/americanexperience/films/freedomriders/

Dr. Christine Shaw (pictured, photo by John Paul Ricco) is the Director/Curator of the Blackwood Gallery at the University of Toronto Mississauga, where she is an Assistant Professor in Curatorial Studies and Contemporary Art. Christine discusses the aims and ambitions of the Blackwood Gallery, its origins and recent exhibitions, and the research she undertakes in her academic role within the Department of Visual Studies. She also talks about the current three-part project the gallery is working on that has been funded by an unprecedented $375,000 grant they recently received, the largest ever in the Blackwood’s 48-year history. A full transcript of the podcast is available at http://www.utm.utoronto.ca/vp-research/sites/files/vp-research/public/shared/CS-podcast6-transcribed%2CJune29.pdf.

The first episode of the DecArts podcast discusses the Native American Dreamcatcher and the connection to current political and social discourse. Guest this week is Annaleigh McDonald a Masters Candidate at the Cooper-Hewitt/Parsons program for History of Design and Curatorial Studies. http://www.bbc.com/news/world-us-canada-37863955

A lecture by Anne Barlow, Director of Art in General, New York. This is the inaugural presentation in a series of lectures running throughout the year titled 'What Can Art Institutions Do?' At Art in General, Barlow has most recently curated projects with artists Basim Magdy, Sara Greenberger Rafferty, Jill Magid, Shezad Dawood, Meriç Algün Ringborg, Anetta Mona Chişa and Lucia Tkáčová, and launched Art in General's annual curatorial conference What Now? Barlow also curated of Tactics for the Here and Now, the 5th Bucharest Biennale, Bucharest, Romania, 2012, and co-curated the Latvian Pavilion at the 55th Venice Biennale, 2013. From 1999 to 2006, Barlow was Curator of Education and Media Programs at the New Museum, New York, where she organised numerous exhibitions and performances, and initiated and developed its Museum as Hub program. Originally from Glasgow, Scotland, Barlow was formerly Curator of Contemporary Art and Design at Glasgow Museums, where she managed its contemporary art collection, exhibitions program, artists' residencies, and new commissions. Barlow has published with The Journal for Curatorial Studies, Toronto; The Pew Center for Arts & Heritage, Philadelphia; Ibraaz; the New Museum, New York; and Tate Modern, London, among others, she has lectured or moderated talks at organisations including the Royal College of Art, London; Centre for Contemporary Art, Warsaw; MUMOK, Vienna; IASPIS, Stockholm; and the Sharjah Art Foundation. Anne Barlow's visit is generously supported by the Australia Council for the Arts. 05/02/2015

2014 LEADERSHIP CONFERENCE FOR WOMEN IN THE ARTS keynote speaker Patricia Wilson Aden, President and CEO of the African American Museum in Philadelphia Saturday, October 18th 8:30 am – 4:30 pm More than 100 women (and a few men!) learned how to nurture their artistic voices, envision the future, design 21st Century careers in the arts and overcome fear of success at Moore’s 2014 Leadership Conference for Women in the Arts. Held on October 18, 2014, the daylong conference explored current topics related to college women who are, or who are interested in being, leaders in art and design fields. Moore President Cecelia Fitzgibbon kicked off the morning by welcoming conference attendees from Moore and other colleges and organizations. “Today you will all discover that you are leaders and hopefully learn how you might grow and think about your leadership in a different way,” she said. “Yes, leadership can be learned.” She stressed that credibility is the foundation of leadership and something that is earned over time. “Credibility, respect and loyalty are earned when leaders demonstrate by their actions that they believe in the inherent self worth of others.” Fitzgibbon then introduced keynote speaker Patricia Wilson Aden, President and CEO of the African American Museum in Philadelphia, who spoke to students about being authentic, finding a way to push through adversity and be adventurous and strategic in their career choices. "I've come to firmly believe that life is 10 percent circumstance and 90 percent what you do with the circumstance," she said. "Now that you've made your choices, how do you define success?" Aden said she finds her passion, fulfillment and measure of success not in the amount of money she makes, but in the sense of adventure. "Know yourself well enough to not only know why you do what you do but to embrace the why of why you do it. Own it and celebrate it. Be purposeful in how you use your why. Talent alone is not enough to compete or succeed in today's cultural marketplace." Following her remarks, students broke into the first of three breakout sessions on a variety of topics led by strong female leaders and artists, including Ellen Owens, Dr. Judith Weinstein and Moore students and alumni. During one breakout session, Moore alumna Kia Weatherspoon ’10, Interior Design, emphasized the power of networking, building relationships, being sincere and smiling. “Be the best version of yourself all the time,” she said. “You have to believe in yourself.” Delia Ascher, a first-year Fashion Design student, attended a session about conflict resolution for women in leadership. She said she learned how to appropriately handle complicated business situations. “It was important to learn tips on how to resolve conflicts as a woman,” she said. “Women aren’t always as respected in the business world. I would like to be an entrepreneur and own my own small business one day, so it’s important to learn about the business world.” Flor Jazmin Gutierrez, a junior Curatorial Studies major, said she learned that “there are a lot of people going through a turning point with combining what they learned at school with the professional world. Everything adds up to figuring out what your core values are and that develops you as a person, personally and professionally.” A lunch and panel discussion held in the Great Hall was moderated by President Fitzgibbon and featured Beth Feldman Brandt, Executive Director of the Stockton Rush Bartol Foundation; Magda Martinez, Director of Programs & Community Engagement at Samuel S. Fleisher Art Memorial; Rachel McCausland, Manager of Leadership & Legacy Giving at Opera Philadelphia; and Laurie McGahey, Director of Development at the James Michener Museum. The panelists spoke about their career trajectories, how they took advantage of opportunities, mistakes they had made professionally and their leadership philosophies. “How you take advantage of opportunities is really important,” Martinez told the students. “How you take advantage of your education right now will reap rewards for so long. All things are connected in the end. To know a little about everything is a good thing.” The conference concluded with a networking reception in Fox Commons.

Host Alice Backer of www.kiskeacity.com welcomes Manbo Dòwòti Désir for her second visit. We discuss her new book Goud Kase Goud  as well as Catholic Cardinal Langlois' recent statements on Vodou to the british publication The Guardian.  Dowoti Désir is a Manbo Asogwe and a scholar of Haitian Vodou. She is the Founder and President of the Durban Declaration and Programme of Action Watch Group (www.ddpawatchgroup.info). She utilizes interfaith exchanges and cultural diplomacy to facilitate better understanding of AfroAtlantic spiritual systems in the global North. She has written extensively about the contemporary and sacred arts of the African Diaspora, its religions and sociopolitical issues impacting the global African community. Her recent book Goud kase goud: Conjuring Memory in Spaces of the AfroAtlantic focuses on the right to memory, the built environment, and the Trans-Atlantic Slave Trade. She is a graduate of Barnard College and has a Master's degree from the Center for Curatorial Studies, Bard College. - See more at: http://www.kiskeacity.com/search?q=dowoti+#sthash.zB9DkSMl.dpuf

This week Keith Waits spoke with artist and curator Stacey Reason. Listen below for our music pairings and a discussion of how art in galleries is changing and evolving. Stacey Reason is an artist and curator working in Louisville. Currently she is a candidate for a Master of Arts, Curatorial Studies, and Master of Public Administration, Nonprofit Management at the […]

Alice Backer of www.kiskeacity.com welcomes guest Manbo Dowoti Désir.   Dowoti Désir is a Manbo Asogwe and a scholar of Haitian Vodou.  She utilizes interfaith exchanges and cultural diplomacy to facilitate better understanding of AfroAtlantic spiritual systems in the global North. She has written extensively about the contemporary and sacred arts of the African Diaspora, its religions and sociopolitical issues impacting the global African community. Her book, Wòch case wòch: Redlining a Holocaust, Memorials and the People of the AfroAtlantic, focusing on the right to memory, the built environment, and the Trans-Atlantic Slave Trade, will be available in 2014. She is a graduate of Barnard College and has a Master's degree from the Center for Curatorial Studies, Bard College. 

Alice Backer of www.kiskeacity.com welcomes guest Manbo Dowoti Désir.  Dowoti Désir is a Manbo Asogwe and a scholar of Haitian Vodou.  She utilizes interfaith exchanges and cultural diplomacy to facilitate better understanding of AfroAtlantic spiritual systems in the global North. She has written extensively about the contemporary and sacred arts of the African Diaspora, its religions and sociopolitical issues impacting the global African community. Her book, Wòch case wòch: Redlining a Holocaust, Memorials and the People of the AfroAtlantic, focusing on the right to memory, the built environment, and the Trans-Atlantic Slave Trade, will be available in 2014. She is a graduate of Barnard College and has a Master's degree from the Center for Curatorial Studies, Bard College. 

STEALTH.unlimited (set up in 2000 by Ana Džokić and Marc Neelen) is a practice based between Rotterdam and Belgrade. STEALTH shape opportunities where various fields of investigation meet and where thinking about possible future(s) of the city are mobilized. We consider space both a tool and an agency, and focus on innovative aspects of sometimes hidden, temporary or unplanned urban practices that challenge ways in which to create physical aspects of the city and of its culture. In this, shifts of perspectives – from urban research, visual arts, spatial intervention, to cultural activism - are a key element. By creating devices that can take the form of a specific intervention in physical space, an occasion for exchange of knowledge, but also a piece of software, we produce test conditions to probe the shared authoring of urban space and culture. STEALTH established or participated in a number of internationally published and exhibited projects on the complexity and inconsistency of the contemporary city, like Wild City (Belgrade), Urban Catalyst (Amsterdam), Adaptations (Apexart, New York and Fridricianum, Kassel), Challenging the Conservative Brain (Kunstverein Munich), Cut for Purpose (Museum Boijmans van Beuningen, Rotterdam), Europe Lost and Found (Western Balkans), Plans and Slums (Rome/Belgrade), Port City Safari (Rotterdam), Constitution for the Interim (The Netherlands), Cities Log (former Yugoslavia). We recently exhibited at the 8th Sao Paulo Architecture Biannual, 11th Venice Architecture Biannual (Italian Pavilion), TriPostal – Lille 3000 and thought a/o at Delft University of Technology, the Piet Zwart Institute in Rotterdam and the Center for Curatorial Studies at BARD University, New York or Polis University, Tirana.