Podcasts about Cy Twombly

Die Ausstellung „Fünf Freunde“ im Museum Brandhorst und Museum Ludwig geht den vielfältigen Beziehungen zwischen John Cage, Merce Cunningham, Jasper Johns, Robert Rauschenberg und Cy Twombly nach. Hier entlang geht’s zu den Links unserer Werbepartner: https://detektor.fm/werbepartner/kunst-und-leben Den kostenlosen Monopol-Newsletter gibt’s auf https://www.monopol-magazin.de/ >> Artikel zum Nachlesen: https://detektor.fm/kultur/monopol-podcast-fuenf-freunde

Die Ausstellung „Fünf Freunde“ im Museum Brandhorst und Museum Ludwig geht den vielfältigen Beziehungen zwischen John Cage, Merce Cunningham, Jasper Johns, Robert Rauschenberg und Cy Twombly nach. Hier entlang geht’s zu den Links unserer Werbepartner: https://detektor.fm/werbepartner/kunst-und-leben Den kostenlosen Monopol-Newsletter gibt’s auf https://www.monopol-magazin.de/ >> Artikel zum Nachlesen: https://detektor.fm/kultur/monopol-podcast-fuenf-freunde

Die Ausstellung „Fünf Freunde“ im Museum Brandhorst und Museum Ludwig geht den vielfältigen Beziehungen zwischen John Cage, Merce Cunningham, Jasper Johns, Robert Rauschenberg und Cy Twombly nach. Hier entlang geht’s zu den Links unserer Werbepartner: https://detektor.fm/werbepartner/kunst-und-leben Den kostenlosen Monopol-Newsletter gibt’s auf https://www.monopol-magazin.de/ >> Artikel zum Nachlesen: https://detektor.fm/kultur/monopol-podcast-fuenf-freunde

Jaume Segalés y su equipo hablan de suelo rústico, de la novela Los crímenes del caviar y de la exposición Los Nenúfares y Twombly. Hoy en Km0, tras repasar la actualidad informativa y deportiva, profundizamos en los siguientes asuntos: Inversión en suelo rústico El campo ha sido uno de los grandes protagonistas del año pasado, especialmente por las incertidumbres derivadas de la sequía y de las directrices legales europeas que provocaron grandes movilizaciones agrarias y ganaderas. Y también ha sido relevante la actividad inversora en fincas rústicas. Así lo refleja el "Informe sobre la Inversión en Suelo Rústico en 2024" realizado por Cocampo, plataforma especializada en el acceso y en la digitalización de los mercados rurales y en la compraventa y alquiler de fincas rústicas. Además, cabe destacar que 2025 ha empezado fuerte en este ámbito, ya que las operaciones de transmisión de propiedades han alcanzado el mejor dato de los últimos quince años. También llama la atención que el perfil de los inversores cada vez es más variado, con un aumento significativo de los institucionales y de las empresas extranjeras. Entrevistamos a Regino Coca, fundador y CEO de Cocampo. Novela "Los crímenes del caviar" Entrevistamos a su autora, Reyes Calderón, que en este libro vuelve a situar a la juez Lola MacHor como protagonista. Seis muertes simultáneas con una única conexión: un exclusivo y secreto grupo conocido como el Club del Caviar. Juan Iturri, comandante de la Interpol, sabe que se la han jugado cuando su superior le cita en un lujoso restaurante para presentarle a dos hombres con un encargo que no puede rechazar: investigar la muerte de seis personas muy ricas y poderosas en la elitista urbanización de Sotogrande. Todos el mismo día y todos del mismo modo. Una casualidad imposible que ha acabado con la vida de un matrimonio dueño de una farmacéutica, de un príncipe árabe, de un cardenal candidato a suceder al papa, de un empresario muy conocido y, lo más sorprendente, de un reputado médico al que Iturri conocía muy bien. Se trata del doctor Jaime Garache, el marido de ella, de Lola MacHor, la juez de la que aún, después de tantos años, sigue enamorado y con la que deberá volver a reunirse para hacer lo que mejor saben, investigar. Exposición "Los Nenúfares y Twombly" Hoy proponemos visitar un lugar muy peculiar situado al lado de la Estación de Atocha y muy próximo al Paseo del Arte: el Centro de Artes de Vanguardia y Residencia Artística Internacional 'La Neomudéjar' (c/ Antonio Nebrija, s/n). Inaugurado en 2013, se trata de un museo dedicado a las creaciones más innovadoras. Un espacio muy particular ,que pertenecía a la antigua estación, donde podemos ver, hasta el 16 de febrero, la exposición "Los Nenúfares y Twombly", compuesta por 30 obras de expresionismo abstracto del pintor y arquitecto madrileño Manolo Oyonarte. Una muestra inspirada en la combinación de la esencia y de la estética de "Los Nenúfares" del impresionista francés Claude Monet y de los peculiares grises del estilo del artista estadounidense Cy Twombly. Entrevistamos a Manolo Oyonarte.

"My line does not illustrate. It is the sensation of its own realization." - Cy Twombly Critics have described the work of consummate scribbler Cy Twombly as at once "barely there" and overly academic, but what about us art civilians? What is it about these half-baked scraps, scratch, and scrawl that speaks to our own creative impulses, our own inner children dying to grab the crayon and crush the tip in an ecstatic series of fat, juicy loopdeloops? See the images: https://www.thelonelypalette.com/episodes/2025/1/22/episode-67-cy-twomblys-second-voyage-to-italy-second-version-1962 Music used: The Andrews Sisters, "Bei Mir Bist Du Schoen" The Blue Dot Sessions, “Inessential,” “Tiny Putty,” “A Burst of Light,” Palms Down,” “Parade Shoes,” “City Limits” Episode sponsor: The Art of Crime Podcast: https://www.artofcrimepodcast.com/

Jessica Fuentes, Gabriel Martinez, and Brandon Zech discuss the different types of immersive art spaces and the historical work that paved the way. "I've realized that the spaces that really affect me are the ones that put me into a weird situation and take me out of wherever I am, take me out of my body a little bit, and make me have to negotiate. But not everyone is gonna want something that challenges them in that way when they go out to do something for pleasure." See related readings here: https://glasstire.com/2025/01/26/art-dirt-the-rise-of-immersive-spaces This week's podcast is sponsored in part by the Menil Collection, which is celebrating the 30th anniversary of the Cy Twombly Gallery. To mark the occasion, this year the museum will present special programs about the work and legacy of artist Cy Twombly. Highlights include a book signing with artist Tacita Dean, performances by Meredith Monk, and a Neighborhood Community Day. Admission is always free. Learn more at menil.org/cytwombly30.

Mark your calendars! The new season of The Lonely Palette drops Thursday, January 23rd! This season, we've got a stellar line-up: Cy Twombly, Lawren Harris, Käthe Kollwitz, and Felix Gonzalez-Torres, to name just a few. We've got interviews with the Washington Post's Sebastian Smee, the artist and composer Annea Lockwood, and more. We've got a whole National Gallery residency! So listen and subscribe, rate and review, and fire up your earbuds for another season of looking with your ears.

When, and why, did Catholics stop saying “and also with you” in response to “The Lord be with you,” and instead start saying, “and with your spirit”? And how would you respond to the ecstatic worship practice of “running the aisles”? We discuss the aesthetic we'd want—in heaven. Brian gaslights himself and all academics about “change.” Leah sings several times and claims to be a “pilgrim.” Some very serious talk about the communion ritual. And craniosacral therapy.And with you vs. And with your spirit: https://www.npr.org/2008/08/11/93419478/catholics-will-no-longer-recite-and-also-with-you Let Google google for you!! https://blog.google/products/search/generative-ai-google-search-may-2024/Matthew 8:8: https://www.biblegateway.com/passage/?search=Matthew%208%3A8&version=NIV “Running the Aisles” as an ecstatic worship practice: https://en.wikipedia.org/wiki/Running_the_aisles Cy Twombly, Leaving Paphos: https://gagosian.com/exhibitions/2009/cy-twombly-leaving-paphos-ringed-with-waves/ Craniosacral therapy: https://en.wikipedia.org/wiki/Craniosacral_therapy

Atsoupé, artiste peintre, est l'invitée du 16ème épisode de Femmes artistes / Artistes femmes. Je l'ai rencontrée en juillet dernier, dans son atelier à Montrouge, en région parisienne, un petit atelier en fond de cour baigné de soleil. La joie de vivre émanait de son visage. Nous étions entourées de ses visages, pour la plupart plus grands que nature. Des visages aux regards francs, parfois sombres, ornés de matières et de couleurs.Après, une enfance africaine, témoin d'atrocités, Atsoupé poursuit sa scolarité en France. Victime à l'adolescence d'un accident grave, elle découvre la peinture, tout en réapprenant à marcher. Ce faisant, elle réapprivoise sa mémoire, partiellement effacée. L'art d'Atsoupé, « brut » de prime abord, se développe, s'enrichit et s'épanouit au contact des autres, durant ses années aux Beaux-Arts de Paris. Aujourd'hui jeune maman, Atsoupé vit entre Paris et la Bourgogne, auprès de son compagnon, artiste peintre également.Nous avons parlé de la peinture comme révélateur de souvenirs (et d'avenir), des rêves (ce qu'ils lui inspirent), de sa maternité, de sa manière de créer, si spontanée, de ses envies de peindre « radicalement », de peindre rien et tout en même temps, du sacré et de l'éphémère, de bleu, de rouge, de liberté, et de mouvement. Liberté de peindre n'importe où, n'importe quand. De ne peindre que des visages, mais en mettant tout dedans, l'océan, la pluie, le soleil, le jour. Et la nuit, aussi.Pendant cet entretien, nous avons aussi évoqué :Les artistes qui inspirent son travail :Pina Bausch, Cy Twombly, Jaume Plensa, Anish Kapoor et sa performance Leviathan, à l'occasion de Monumenta 2011 au Grand Palais à Paris.Références littérairesLes tisseurs de silence par Philippe Filliot et Soizic Michelot, Éditions Les heures brèves (2024)L'oeil le plus bleu de Toni Morrison Oeuvre décrite en intro de l'épisode : Visage noir sur fond jaune (2023) Encre et pastel sur papier 76 x 57 cmSes prochaines expositions :Salon Also Known As Africa (AKAA) avec la galerie Anne de Villepoix, du 18 au 20 octobre 2024Exposition collective Africains Everywhere (Région Centre-Val de Loire) du 19 au 20 octobre, du 15 au 27 octobre et du 1er au 3 novembre 2024Pour suivre Atsoupé : sa page Instagram @atsoupe et le site internet de sa galerie Anne de Villepoix  https://www.annedevillepoix.com/atsoupePour soutenir le podcast : suivre, commenter, étoiler ! Et se rendre sur ma page Tipee : https://en.tipeee.com/artistes-femmes-le-podcast ainsi que sur la page instagram du podcast @artistesfemmeslepodcast.Femmes artistes / Artistes femmes est un podcast entièrement indépendant créé et produit par Ada Kafel. Ada Kafel est artiste peintre, art-thérapeute et maman d'un petit garçon de 6 ans. On peut voir son travail sur sa page instagram @a_felka.Musique :Nocturne No. 8 in D-Flat Major, Op. 27 No. 2 de Frederic Chopin par Maria Joao PiresHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

The artist Francesco Clemente may have been born and raised in Naples, but—having lived and worked around the world, including in Rome, India, New York City, and New Mexico—he considers himself a citizen of no place. Widely known for his work across mediums, from drawings and frescoes to mosaics, oils, and sculptures, Clemente makes art that evokes his mystical perspective, with his paintings often featuring spiritual subjects or dreamlike symbols. Beyond exhibiting in galleries and museums, over the years Clemente has also made works for a variety of other venues, including a nightclub, a hotel, a Hollywood film, and the Metropolitan Opera. This fall, his work (and name) will be central to his latest unusual project: the soon-to-open Clemente Bar at chef Daniel Humm's three-Michelin-starred restaurant Eleven Madison Park.On the episode, Clemente discusses his collaboration with Humm, frescoes as the most luminous artistic medium, his deep affinity with India, and the certain timeworn quality to his art.Special thanks to our Season 10 presenting sponsor, L'École, School of Jewelry Arts.Show notes:Francesco Clemente[3:55] Clemente Bar[3:55] Eleven Madison Park[3:55] Daniel Humm[3:55] Alba Clemente[7:50] Murals for the Palladium nightclub[7:50] Hudson Hotel[7:50] Ian Schrager[8:43] Arata Isozaki[8:43] Philippe Starck[8:43] Kenny Scharf[8:43] Keith Haring[8:43] Jean-Michel Basquiat[8:43] Steve Rubell[9:43] Works for Great Expectations (1998)[9:43] “The Sopranos” series[9:43] Portrait of Fran Lebowitz[11:37] Portrait of Toni Morrison[23:12] Jiddu Krishnamurti[23:12] Theosophical Society[24:49] Álvaro Siza[24:49] Museo Madre[32:48] Cy Twombly[32:48] Joseph Beuys's exhibition “We Are the Revolution” (1972)[35:30] Rudolf Steiner[36:56] Letters to a Young Poet by Rainer Maria Rilke[37:57] Swami Vivekananda[39:20] Salman Rushdie[41:31] Nisargadatta Maharaj[46:51] Andy Warhol[46:51] Allen Ginsberg[48:13] William Blake[48:54] Raymond Foye[48:54] Hanuman Books[50:04] “The Four Corners” (1985)[53:36] Saint Francis

Dave is revisiting some of his favorite episodes and interviews for his ‘Best of Dave Chang Show' series. In this episode, Pulitzer Prize-winning art critic, beloved 'Dave Chang Show' guest, and 'Art is Life' author Jerry Saltz returns to survey the state of art and food in 2022, and deliver a bracing dose of motivation to Dave, Chris, and anyone else out there embarking on a potentially terrifying creative endeavor. Also: ancient DNA, private psyches, Chris Ofili, Laurie Anderson, zombie formalism, the end of linear time, dirty shamans, Jasper Johns, caveman cooking, F. Murray Abraham, Ai Weiwei, 'The Raft of the Medusa,' Dolly Parton, fighting your demons, Neal Brennan, Thomas Kinkade, art vs. craftsmanship, Cy Twombly, Jason Polan, and a Coen Brothers debate. Hosts: Dave Chang and Chris Ying Guest: Jerry Saltz Producers: Sasha Ashall, Jordan Bass, and Victoria Valencia Learn more about your ad choices. Visit podcastchoices.com/adchoices

Today's poem is Cy Twombly's Untitled (Say Goodbye Catullus, to the shores of Asia Minor) by Javier O. Huerta. The Slowdown is your daily poetry ritual. In this episode, Major writes… “This week's episodes are a special feature on ekphrasis – poems which engage with works of art. Ekphrastic poetry sometimes pushes back against the idea of simple art made complicated in idea, born from an eccentric personality. Inspired by another famous Twombly painting, one that itself is inspired partly by a poem, today's poem realizes the frenetic sense of the artist's canvas is a conceptual product of a sophisticated and sometimes frustrating mind.” Celebrate the power of poems with a gift to The Slowdown today. Every donation makes a difference: https://tinyurl.com/rjm4synp

Ne félj a megszállottságtól!  Részegh Botond - MÓKA Podcast ep. 210 ⬇️Scroll down for english⬇️ Üdvözöllek! A podcastünk vendége Részegh Botond! Ha készen állsz arra, hogy egy olyan művészeti utazásra indulj, amely tele van robbanékony energiával és szellemes nyersességgel, akkor itt a helyed!   Botond Részegh festményei nemcsak vizuális orgazmusok, hanem egyfajta kulturális művek, amelyek éppolyan sokszínűek, mint a Netflix kínálata egy forró nyári napon. Képei nemcsak azt kérdezik tőled, hogy "Mi az élet értelme?", hanem azt is, hogy "Mennyire fontos a hajmosás a társadalmi hierarchiában?".   A Részegh-stílus nem csak vakáció a retinádnak, hanem egy teljes kalandtúra az emberi lélek mély bugyraiba. Botond nem csak ecsettel fest, hanem olyan szavakkal is, amelyek megérintik a szívedet, mintha egy kórus lenne a lelked börtönei mélyéről.   De ne higgy nekem, nézd meg magadnak! A festmények megtekinthetők nemzetközi kiállításokon is, szóval ha valaha arra jársz, és elkap az érdeklődés, akkor ne habozz beugrani! Sőt, Botond munkái nemcsak múzeumokban és galériákban vannak, hanem még a ferences pápa, az Északkeleti Egyetem és a Prahova Művészeti Múzeum gyűjteményében is ott lapulnak!   Részegh Botond nem csupán egy művész, hanem egy kulturális kánaán, ahol a festmények nem csak nézegetésre szolgálnak, hanem életpályaként a lélek számára. Tehát ha készen állsz az utazásra, akkor irány a csatorna, és fedezd fel a festészet új dimenzióit!   Infused with explosive energy and visceral rawness, Botond Részegh's paintings simultaneously invoke poetry, history, literature, metaphysics and the artist's own contemporary experience. His pictorial language is distinguished by an idiosyncratic vocabulary of figurative forms and gestural lines. Repeating motifs of solitary figures, anatomical structures and distorted bodies in motion, rendered in bold, rough brushwork, swell with emotion and rigor.   Részegh draws inspiration from literature, art history and philosophy: a wall in his studio is adorned by portraits of influential artists and literary figures, including Fyodor Dostoevsky, Oscar Wilde and Rainer Maria Rilke. While developing an artistic language that is unmistakably contemporary and entirely his own, Részegh grounded himself in the tradition that began with Leonardo Da Vinci and Rembrandt and extended through Francis Bacon, Cy Twombly, Alberto Burri into the spare and expressive figuration by Susan Rothenberg. His engagement with art historical influences is rich and varied. The unostentatious simplicity in Christian Orthodox icon paintings and the meticulousness in ancient Greek vases captivated Részegh's imagination when he was a graphic arts student at the National University of Fine Arts in Bucharest. Upon a life-defining encounter with Dostoevsky's novel, The Idiot, Részegh decided to become an artist. An enduring interest in literature naturally became a part of Részegh's creative process, although there has never been a direct literary transcription in his paintings. Writings by acclaimed contemporary poets and novelists in Romania and Hungary often accompany Részegh's publications. Viewing Részegh's arresting work demands time and contemplation. More than simply a reflection of the artist's inner state of mind, the work asks the viewer to be aware of their own thoughts and to engage freely and imaginatively beneath the tactility of the painted surface.   Born in Romania in 1977, Botond Részegh currently lives and works in Miercurea Ciuc, Romania and Budapest, Hungary. Részegh has exhibited internationally at venues such as the Art Museum Cluj Napoca, The National Museum of Art of Romania, The Museum of Art Timisoara, the Viltin Gallery Budapest, the Hungarian Cultural Institute in Rome and the Romanian Culture Institute in Vienna. His work belongs in the collections of Pope Francis, Northeastern University and the Art Museum of Prahova, among others. Részegh graduated from the National University of Fine Arts in Bucharest, where he specialized in graphic arts. He also attended a doctoral program at the Hungarian University of Fine Arts in Budapest.    #RészeghBotond #Festmények #Képzőművészet #KulturálisÉlmény #MagyarMűvészet #KortársFestészet #Ecsetkezelés #MűvészetiInspiráció #MetafizikaAFestészetben #BotondRészeghMűvészete #KreatívFolyamat #FestőiExpresszió #Szürrealizmus #Művészettörténet #MűvészetiKözösség

Es sind die besonderen Bücher: Kunst, Literatur, Foto, Mode oder Glamour. Lothar Schirmer hat das Gespür für Themen, Eleganz, Stil, und Attitude. In seinem Verlag fanden große Namen ein verlegerisches Zuhause: Gerhard Richter, Joseph Beuys, Cy Twombly, Edward Hopper. Museen, Sammlungen vertrauten sich ihm an, auch Photographen wie Peter Lindbergh, August Sander oder Barbara Klemm. Und natürlich auch Schriftsteller wie Cees Nooteboom, Hans Magnus Enzensberger, Peter Handke oder Michael Krüger. All seine Bücher bilden das "Hintergrundrauschen" einer 50-jährigen Verlags- und Berufstätigkeit. Wie das klingt, erzählt Lothar Schirmer in "NDR Kultur à la carte".

Am 1. April 1974 gründete der Kunstsammler Lothar Schirmer zusammen mit dem Werbetexter Erik Mosel in München den Kunst- und Fotobuch-Verlag Schirmer/Mosel. Dieser Tage feiert man Jubiläum. Ein Gespräch über das 50jährige Bestehen und Lothar Schirmers frühe Begeisterung für Cy Twombly sowie Joseph Beuys und das neue Buch "Die Bienenkönigin nährt am Ende alle ... Gespräche über Kunst und Bücher von Magdalena Kröner mit Lothar Schirmer" (Schirmer/Mosel) / Issac Rosa: "Ein sicherer Ort" (liebeskind) / Stefan Bollmann: "Zeit der Verwandlung. München 1900 und die Neuerfindung des Lebens" (Klett-Cotta)

Despite its short lifespan, Black Mountain College (BMC) left a lasting legacy as an influential pioneering arts institution that challenged traditional academic structures and fostered a unique community of creative thinkers. Founded in 1933 just 20 minutes outside of Asheville, NC, the college emphasized holistic learning and the study of art as central tenets of its educational philosophy. While BMC closed in 1957 due to funding issues, many of its faculty and students were or would become influential in the arts, including Josef and Anni Albers, Elaine and Willem de Kooning, John Cage, Ray Johnson, Robert Motherwell, Robert Rauschenberg, and Cy Twombly. In today's special crossover episode from our friends at ArtsvilleUSA, we welcome Kate Averett Anderson, a writer, curator, staff historian, project coordinator, and board member at the Black Mountain College Museum + Arts Center (BMCM+AC). The museum works to preserve the legacy of educational and artistic innovation of BMC through exhibitions, conservation, educational events, and public programs. “It's not about having a gallery space where you walk in and you go, ‘Here is the history of Black Mountain College from beginning to end,” says Kate. “You can come in and have hands-on experiences with different exhibitions that tell a lot of different stories.”In this episode, you'll discover the fascinating connections between BMC and the iconic Bauhaus movement, relive the vibrant atmosphere of the college's legendary parties, and uncover the pivotal role of the BMCM+AC in keeping BMC's spirit alive. From exploring historical parallels to celebrating the creative freedom that BMC championed, this episode offers valuable insight into the birthplace of the American avant-garde. “[Black Mountain College] was a haven for a lot of people,” says Kate. “It was a place where a lot of people had the freedom and ability to explore different elements of their identity.” Key Points From This Episode:An introduction to Kate, her career journey, and her role at BMCM+AC.The origin story of BMC (which starts with a scandal, like all good stories do).Insight into founder John A. Rice's educational philosophy on hands-on learning.Nazis, the final days of the Bauhaus, and how Josef and Anni Albers found BMC.Influential figures that attended BMC and the relationships that developed between them.The legendary parties that were thrown at BMC; such as Jean Verda's Greek party.An overview of the communal, democratic, non-hierarchical structure at BMC.How a young Robert Rauschenberg was profoundly influenced by his time at BMC.Some of the many famous student revolts at BMC; including one known as The Split.Cultural and political shifts that impacted the college in the late 1950s.The important role that BMCM+AC plays in keeping the BMC legacy alive.How the BMCM+AC differentiates itself from the typical stagnant museum institution.Different stories that BMCM+AC hopes to tell about BMC, not just its history.Looking to the future in the ReVIEWING Black Mountain College conference.Reflecting on the history of identity intersection and racial integration at BMC.A closing anecdote about Harriet Sohmers Zwerling and sexual liberation at BMC.For more information, please visit http://notrealart.com/black-mountain-college

Episode Notes Resources for info on Cy Twombly The Cy Twombly Foundation Website (cytwombly.org) The Museum of Modern Art (MoMA) (moma.org) The Gagosian Gallery (gagosian.com) Tate Modern (tate.org.uk) The Whitney Museum of American Art (whitney.org) Artforum (artforum.com) The Art Story (theartstory.org) The Guardian Art & Design Section (theguardian.com/artanddesign) The New York Times Art Section (nytimes.com/section/arts) Google Arts & Culture (artsandculture.google.com) Support our Patreon - https://www.patreon.com/3MinModernist Find out more at https://three-minute-modernist.pinecast.co

Have you ever stood before a work of art, lost in its abstract forms, and felt a story unfolding within you? This episode takes you on a journey into the world of Cy Twombly, where art speaks in hushed tones of history, mythology, and a quest for essence. As we navigate through the intimate chambers of Twombly's mind, we begin to unravel the tapestry of ideas and emotions that his work provokes, from the echoes of his American roots to the whispers of ancient Rome that permeated his life after 1957.Join us as we share candid moments of personal discovery, where my appreciation for the textured and the imperfect collides with Twombly's layered canvases. The discussion traverses the artist's reluctance to offer context, leaving us to wander in the lush mystery of his expression, and challenges us to embrace the silent stories his pieces tell. With each brushstroke and scribble, Twombly invites us into a dialogue, a conversation that thrives in the spaces he claims through his art, leaving a resonance that lingers long after the gallery lights dim.As we wrap up, we reflect on the profound connections we forge with art, be it through cherished heirlooms or the fleeting moments we share with it in a museum. Discovering art becomes akin to a treasure hunt, where the thrill lies in both the anticipation and the unexpected joys. Whether you're whispering to a Twombly or nodding silently to a Joan Mitchell, this episode is an ode to the conversations we hold with art, the questions we ask, and the answers we find within ourselves. So come along, bring your voice to our exchange, and let's explore the narrative that awaits in the next gallery.Send us a message - we would love to hear from you!Make sure to follow us on Instagram here:@justmakeartpodcast @tynathanclark @nathanterborg

Kreatives Design wird oft missverstanden, da es ähnlich wie Kunst funktioniert. Obwohl es viele Gemeinsamkeiten gibt und ein „Werk“ auch manchmal beides zugleich sein kann gibt es doch wichtige Unterscheidungen die verstanden werden müssen. Im Wesentlichen sendet Kunst an jeden eine andere Botschaft und lässt viel Interpretationsspielraum. Design hingegen, hat vor allem eines: die Aufgabe Ihre Botschaft im Markt zu kommunizieren. Künstler machen was sie wollen, Designer wollen was sie machen. Sagt Kurt Weidemann. Aber ist es wirklich so einfach? Wo sehen wir den entscheidenden Unterschied, oder aber die Gemeinsamkeiten zwischen Kunst und Design? In unserer neuen Folge von Grid. Design als Podcast sehen wir uns die Unterschiede und Überschneidungen von Kunst und Design an und sprechen mit Designer:innen über Möglichkeiten wie Beruf und Leben im Spannungsfeld von Kunst und Design gestaltet werden können – wie immer subjektiv, stets mit Anspruch, aber ohne Wissenschaft. Mit Dank an unsere Gäste Amélie Graef und Thomas Poschauko! shownotes: Amélie Graef _ http://reallyreallynice.de/ Thomas Poschauko _ https://www.poschauko.de/ Christian Benecke _ https://christianbenecke.com/ Cy Twombly _https://www.museum-brandhorst.de/ausstellungen/cy-twombly/# Ralph Gibson _ https://www.ralphgibson.com/ Olafur Eliasson _ https://olafureliasson.net/ Konrad Klapheck _ https://www.monopol-magazin.de/konrad-klapheck-gestorben Carlos Cruz-Diez _ https://cruz-diez.com/ Themen und Tipps gern an: grid@ralfbeuker.com

In this episode, we delve into the fascinating journey of Lothar Schirmer, a publisher and art collector. We explored his post-war childhood in Cologne, his venture into art collecting, and his encounter with Cy Twombly and Joseph Beuys. We discovered the evolution of his publishing company and the story of his first book with Bernd and Hilla Becher then Helmut Newton and Robert Mapplethorpe. The episode further explores notable books such as the Nick Knight and the Yves Saint Laurent books. Schirmer also imparts advice for emerging publishers, offering insights for industry professionals. I hope you will like this episode in English!01'40 – Childhood in Post-War Cologne06' – Teenage Passion: A Journey into Art Collecting (in particularly Cy Twombly and Joseph Beuys)11' – Publisher by Passion: Fostering Relationships with Artists13' – The Genesis of His Publishing Company20' – His First Book: Collaboration with Bernd and Hilla Becher28' – Iconic Encounters: Helmut Newton and Robert Mapplethorpe32' – Nick Knight Book34' – Yves Saint Laurent: The Story of the Book45' – Evolution of IT in Publishing53' – Advice for Emerging PublishersSchirmer Mosel Website : https://www.schirmer-mosel.com/Pour suivre l'actualité du podcast vous pouvez vous inscrire à la newsletter ici : https://beacons.ai/lesvoixdelaphoto et retrouvez le podcast sur Instagram, Facebook et LinkedIn @lesvoixdelaphoto Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

In 1923, Scholastic founder and CEO Maurice R. Robinson deemed that artistic students should be celebrated every bit as much as their athletic peers. Robinson created the Scholastic Art & Writing Awards to recognize talented young artists and writers from across the United States. The program gained fame through the students who won its awards, many of whom went onto groundbreaking careers in art, fashion, film, and literature. They include Bernard Malamud, Ezra Jack Keats, Truman Capote, Richard Avedon, Andy Warhol, Sylvia Plath, Cy Twombly, Kay WalkingStick, Robert Redford, Stephen King, Ken Burns, Yolanda Wisher, Zac Posen, Lena Dunham, and Amanda Gorman. A century after Robinson laid out his vision, the program is still going strong. The Alliance for Young Artists and Writers, which administers the program, recently published A Thousand Familiar Faces: 100 Years of Teen Voices. The new anthology offers a look at life through young people's eyes, whether they're grappling with World War I, the Great Depression, the Vietnam War, or the September 11 attacks. You'll find memoirs, poems, and essays about teenage life, family, identity, grief, racism, and immigration. In this episode, Hannah Jones, Deimosa Webber-Bey, and Henry Trinder join host Suzanne McCabe to talk about A Thousand Familiar Faces. Hannah, who edited the anthology, is also an author. She won a Scholastic Award, herself, in 2004. Deimosa and Henry combed through the Scholastic archives to find the best of the best of student writing from the past 100 years. Deimosa is the director of Information Services & Cultural Insight at Scholastic, and Henry recently earned a master's degree in library science from Pratt Institute. → Resources A Thousand Familiar Faces: A new anthology of award-winning teen writing features works dating back to the 1920s. You can download it for free here. Scholastic Art & Writing Awards: Administered by the Alliance for Young Artists & Writers, the awards have fostered creativity among young people since 1923. → Highlights Hannah Jones, editor, A Thousand Familiar Faces “It was [surprising] how vital and important and immediate and fresh the voices from the '20s and '30s and '40s felt.” “I want every single one of these writers to just have their moment of being read by someone new.” Henry Trinder, researcher, A Thousand Familiar Faces “Poetry was a more dominant form as a means for expression for the teenagers in the '20s and '30s. As that went on, short stories became more popular, and now, it seems, essays have become much more popular.” “It was comforting to read these stories and see myself in them.” Deimosa Webber-Bey, researcher, A Thousand Familiar Faces “It was very satisfying to . . . come away that much richer in knowledge about Scholastic history, about teenagers, about the 20th century.” → Special Thanks Producer: Maxine Osa Sound engineer: Daniel Jordan Music composer: Lucas Elliot Eberl → Coming Soon Pride Month: Author Simon James Green Talks About Gay Club!

This season, I'm rounding up stories about modern artists in love, in lust, in relationships— digging into these individuals, see how their liaisons, marriages, affairs, and connections played in or on their respective works of art, and how, if anything, they affected art history as we know it. I, for one, believe that it's time for Modern Love. Today: we're homing in on the love affairs of Robert Rauschenberg, moving from Cy Twombly and on to Jasper Johns—a series of relationships that lasted only briefly, but whose effects on modern art are still felt to this day. Please SUBSCRIBE and REVIEW our show on Apple Podcasts and FOLLOW on Spotify Sponsor ArtCurious for as little as $4 on Patreon Instagram / Facebook / YouTube SPONSORS: Lume Deodorant: Control Body Odor ANYWHERE with @lumedeodorant and get over 40% off your starter pack with promo code ARTCURIOUS at lumedeodorant.com/ARTCURIOUS! #lumepod To advertise on our podcast, please reach out to sales@advertisecast.com or visit https://www.advertisecast.com/ArtCuriousPodcast Learn more about your ad choices. Visit podcastchoices.com/adchoices

Dean Rader lives in San Francisco. His new poetry collection, Before the Borderless: Dialogs with The Art of Cy Twombly, is a collection of poems that enter into conversation with the artwork of the great American artist.

Our friend from Los Angeles, the curator of the new LA gallery Imperial as well as online editor of Caesura Magazine Grant Tyler, joins the show to discuss the inability of the modern subject to properly look at art, the genius of Cezanne, Giacometti, Cy Twombly, the most consequential historical pinpoints of the last 50 years, the art world after the pandemic, Kanye (always some Kanye) and so much more. SOUNDTRACK Eric's Trip "Follow"  Seigneur Voland "et autres germes de pourriture" Eyeless in Gaza "The Decoration" Smell and Quim "Anatomy Shatterme" The Homosexuals "My Night Out" LINKS: Grant at Instagram: @grantedwardtyler Imperial Gallery Grant 'On Art and Freedom' Grant on Michael St. John's Grant on Darja Bajagic Adam 'Art's Moral Fetish' Grant's response to 'Art's Moral Fetish' 

This episode is about kinky themes and motifs in the work of the 19th century French poet Charles Baudelaire. Episode Art: "Wilder Shores of Love," Cy Twombly, 1984-1985 Support the show

One of the clear trends visible in last year's auction data is a renewed interest in abstract painting. Bidders are pursuing a range of overlooked artists from the 1940s and 1950s. Into that trend, David Zwirner Gallery has opened a new show, Roma New York, 1953-64. The exhibition more than 50 works by 23 different artists highlights the connection between some of the giants of mid-century art like Willem de Kooning, Robert Rauschenberg, Franz Kline and Cy Twombly , as well as lesser known names like Conrad Marca-Relli, and a group of Italian artists in Rome like Carla Accardi, Afro, Alberto Burri, Piero Dorazio, Luigi Boille, Gastone Novelli, Jannis Kounellis and Mario Schifano. The show is filled with discoveries. That may be why one obsessive gallery-goer on Instagram called it, “the most magnificent gallery show in New York right now.” In this podcast, the show's curator David Leiber, who is also a partner at David Zwirner Gallery, explains the origins of the show and what he hopes to it will provoke.

Pulitzer Prize–winning art critic, beloved 'Dave Chang Show' guest, and 'Art Is Life' author Jerry Saltz returns to the show to survey the state of art and food in 2022, and to deliver a bracing dose of motivation to Dave, Chris, and anyone else out there embarking on a potentially terrifying creative endeavor. Also: ancient DNA, private psyches, Chris Ofili, Laurie Anderson, zombie formalism, the end of linear time, dirty shamans, Jasper Johns, caveman cooking, F. Murray Abraham, Ai Weiwei, "The Raft of the Medusa," Dolly Parton, fighting your demons, Neal Brennan, Thomas Kinkade, art vs. craftsmanship, Cy Twombly, Jason Polan, and a Coen Brothers debate. Hosts: Dave Chang and Chris Ying Guest: Jerry Saltz Producers: Sasha Ashall and Jordan Bass Learn more about your ad choices. Visit podcastchoices.com/adchoices

What you'll learn in this episode: How synesthesia—the ability to hear colors and see music—has impacted William's work Inside William's creative process, and why he never uses sketches or finishes a piece in one sitting Why jewelry artists should never scrap a piece, even if they don't like it in the moment The benefits of being a self-taught artist, and why art teachers should never aim to impart their style onto their students How a wearer's body becomes like a gallery wall for jewelry About William Harper Born in Ohio and currently working in New York City, William Harper is considered one of the most significant jewelers of the 20th century. After studying advanced enameling techniques at the Cleveland Institute of Art, Harper began his career as an abstract painter but transitioned to enameling and studio craft jewelry in the 1960s. He is known for creating esoteric works rooted in mythology and art history, often using unexpected objects such as bone, nails, and plastic beads in addition to traditional enamel, pearls, and precious metals and stones. His work is in the collections of the Metropolitan Museum of Art, the American Museum of Crafts, the Cleveland Museum of Art, and the Museum of Fine Arts, Boston. A retrospective of his work, William Harper: The Beautiful & the Grotesque, was exhibited at the Cleveland Institute of Art in 2019. Additional Resources: William's Instagram Photos available on TheJewelryJourney.com Transcript: Rather than stifle his creativity, the constraints of quarantine lockdown and physical health issues helped artist-jeweler William Harper create a series of intricate jewels and paintings imbued with meaning. After 50+ years as an enamellist, educator and artist in a variety of media, he continues to find new ways to capture and share his ideas. He joined the Jewelry Journey Podcast to talk about his creative process; why he didn't want his art students to copy his style; and why he never throws a piece in progress away, even if he doesn't like it. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the first part of a two-part episode. Please make sure you subscribe so you can hear part two as soon as it's released later this week. I'd like to welcome back one of today's foremost jewelers, William Harper. To say he is a jeweler leaves out many parts of him. He's a sculptor, an educator, an artist, an enamellist, and I'm sure I've leaving out a lot more. His work is in the collections of the Metropolitan Museum of Art, the American Museum of Crafts, the Museum of Fine Arts, and most recently he had a one-person show, “The Beautiful & the Grotesque,” at the Cleveland Institute of Art. I can't do justice to all of his work, so I'll let him try to do some. Bill, welcome to the program. William: Thank you. It's great to see you again. Sharon: It's so great to see you after everything we've gone through. Give us an overview of how you got into jewelry and enameling, your art, everything. How did you get into it? William: One of the questions you gave me to ponder ahead of time was if I was interested in jewelry when I was a child. I was not even interested in jewelry when I was in college, except for taking one course to make the wedding rings for my now ex-wife, but that was it. A few years later, I got a phone call from Florida State University asking me if I would like to interview for a job teaching jewelry and metals and enameling. I wrote back and said, “I don't think I'm the person you want, because I don't know very much about jewelry.” So, I said no. Two days later, they called me again, and I told them the same thing. Then two days later, they called me again and I said, “Let me think about this. You're on the quarter system. Are you willing to pay me for one quarter, when I'm not there and I'm cramming on how to teach jewelry?” The head of the department said, “That sounds like a great idea. As long as you can come three weeks ahead of the students, we'll be happy.” I'm basically self-taught except for watching people at a few workshops. I think being self-taught is a very valuable tool because I was not chained to the style or techniques of any major professor, which happens so much, especially to students coming out with MFAs. For years, their work will look pretty much like what their instructor was doing. I didn't have that. I was my own instructor, and I was able to play out, in my 55-year career, how to do what I saw vaguely in my mind. I should say at this point, I had synesthesia—I could never say it correctly—which is the ability to hear music and see colors or see a painting and hear music. I'm blessed with that. I used to think it was a chain around my neck, but I appreciate the fact that I can do something that very few people can do. Sharon: You mean you see a painting or you hear music and you think about how that translates into art or jewelry? I'll call what you do jewelry. William: Yeah. The strangest one is I can smell an odor, whether it's bad or something overly sweet, like old lady rose perfume or cigars, and I have an instant reaction where I see—I don't see things; I sense things in my mind. That's the way it works. Sharon: You've talked about the dichotomy in your work. Does that play into it? William: Oh, absolutely. I've always been in opposites. Long before I was doing jewelry, I had a very successful enamel career. I would usually make two different objects in the same physical format, but one would deal with sensations that are opposite of the other, such as light and dark, good and evil, colorful and noncolorful. That informed that work. Now, after all the years doing jewelry exclusively, I try to build diametrically opposed ideas into the forms. You mentioned the exhibition the Cleveland Institute of Art gave me a few years ago, “The Beautiful & the Grotesque.” The title of that show epitomized what I'm usually doing in my work. Sometimes it's not always obvious to the viewer, but it serves as a jumping point for me. If I can plug the catalogue— Sharon: Please do. William: Cleveland did a beautiful catalogue. Everything that was in the show was there. If you're interested in it, it's $25 plus $9.95 shipping. It adds up to $34.95. To get it, you can contact me at my email address, which is ArtWilliamHarper@mac.com. Sharon: ArtWilliamHarper@mac.com. William: Yes. Sharon: We'll have a thumbnail of that on the website so you can click on it and order it. William: Good, you've seen the catalogue. Can you vouch for how beautiful it is? Sharon: It's a beautiful catalogue. It has everything, the jewelry, the boxes, all of the art. When I say boxes, I'm thinking of the ones that are really art pieces. You said you think a lot of art is about thinking. What do you think about when you're doing your art? William: It often starts way before I actually begin making anything. That's a hard question to answer. For instance, I've done several series based on other artists, all of whom were painters. I prefer painting to jewelry right now, I have to say. But in terms of these influences, I would look at the work, for instance the work of Jean Dubuffet. He has incredibly beautiful, messy patterns that run— Sharon: Who? William: Jean Dubuffet. Sharon: Oh, Dubuffet, yes. William: I have loved his work for many, many years, and I have known that he was the instigator of what is called the art brut movement, which is art that is made by people that not only are not highly educated in universities or art departments, but they might have some kind of physical disability or mental disability, where they express themselves in these absolutely gorgeous, out of this world ways, not like any professional artist would do. Dubuffet collected those and was instrumental in having a museum set up—I think it was in Switzerland; I should know that—of this work. Talking about dichotomy, I wanted to catch that quality of not knowing what I was doing along with my sophisticated technique and taste. So, I did this series. I think there are 10 pieces. In order to do it, as I got into the third or fourth piece, I decided I wanted to write an essay about what the series meant to me being put into this catalogue. So, I gave it the name Dubu. Sharon: How? William: D-U-B-U. I came up with idea that a Dubu is a fantastical creature that can infect your mind and cause you to do absolutely glorious things. It was just something I made up in my mind. I should also say that I don't start a piece and finish it immediately. I don't even know where I'm going when I start a piece. I simply go into the studio and start playing around with the gold. I know that sounds silly, that somebody can play around with something as precious as gold. But in doing so, there's another dichotomy. I'm able to come up with forms that I would never be able to otherwise. At this point, I should mention I do absolutely no sketches, diagrams, or beginning things on paper to guide me. I simply allow the materials to guide me. I trust in them and my manipulation of them that they will start leading me to see what I want to be after. Sometimes these are small enamel pieces. Sometimes they're more complex with gold pieces. Sometimes they're a consideration of how to use a stone or a pearl. As I'm making these things, I know I can't use them necessarily in piece number one. So, my idea is, “O.K., go to my idea for piece number two and follow the same format of making things, simply because they amuse me.” I don't take myself seriously while I'm doing these things. I think that's part of why they're successful. I should say one of the qualities that my work has been lauded for is being humorous without being funny, without being a caricature. I have found that is a rather rough road to travel, but I'm able to facilitate it somehow. Anyway, I have these pieces I made, piece number one and piece number two. I still want to play around with making, let's say, a different kind of cloisonné enamel that had been used in pieces one and two. At that point, after I have made things that could become three different pieces, I take what I like and finish piece number one. As often as not, I think of the title first, which I know is a rather strange way to go about it. But in thinking of a title, it helps me guide the quality of the personage I'm dealing with. So, I finished piece number one. I don't take anything away from it at that point. When I get to piece number two, I'd better start making things for piece number four. There's this manipulation where all the pieces start moving around on my desk. When I start seeing there is a conclusion in making each one successfully, I know I can stop. Often in that process, I paint myself into a corner. I don't know where I'm going, but actually that's the best part in terms of the quality of the piece, because it gives me the opportunity to really think about what I'm after. After I've contemplated that, I'm able to get out of the corner, and I do piece number two and piece number three. This is a process I've used my entire career. I've done a series dedicated to Jasper Johns which is very intellectual, because he's a very intellectual artist. I did a series on Fabergé. I don't really like Fabergé. I admire him, but I don't like him particularly. In my series, each brooch had an egg-shaped enamel part as a part of the physicality of the piece. One of the things I don't like about Fabergé is that his work was very dry. It's beautiful, but it's dry. It doesn't have any kind of emotion attached to it at all. It was perfect for the Russian nobility because they were decadent. They were inbred. They proceeded far too long in this sociological process. So, I changed it by having in each piece a little zip that went from the outside peripheral into the center, which was like a sperm getting to the egg and fertilizing it. That's how I dealt with that matter. I've also done a series on Cy Twombly, who is my favorite painter. I know people wonder how I can be influenced by his work, which I admire for its messiness. I wish I could do it. People either get Twombly or they don't. When I look at a group of Twombly pieces, I'll have an idea of how to start meshing these into the same process I mentioned before, with the Dubus. I think I did the Twomblys 25 years ago and they still look fresh. That's how my process works. Sharon: How do you know if you've hit a wall? If you say, “This isn't going to work. I'm going to put it in the junk pile”? William: I don't put things in junk piles. It's too expensive and the enamel is too precious. I just put the elements aside. I know if I'm doing a series of 10 pieces, or if I decide I want it to be 12 pieces—it's never more than 12 in a series—by the time I get to 10 or 12, I had better have come to a conclusion with all those pieces and not have left off too many elements. I just put those aside. I might use them again in four years, five years. My work is rather slow because I think a lot about it, and I don't have drawings to follow. I don't think of myself as a designer; I think of myself as an artist who makes jewelry. There's a difference. Sharon: Do you know before you start how many pieces will be in a collection? Do you say, “I'm going to make 10 pieces. They're going to be in the collection, and I have no idea what it is”? William: Yeah, I generally set a goal for myself. There are other pieces I do that I call knee play pieces. Knee plays come from music. Robert Wilson collaborated on a piece that is now an iconic gem called Einstein on the Beach. It was in five acts, which, if you think my work is unintelligible, this work was almost totally unintelligible. But it appealed to a certain kind of mind as being exquisite. Between each act, without scenery or costumes or anything like that, there were groups of instrumentalists and vocalists who would improvise. With the knee play pieces, it's not determined what the music and the vocalization is going to be. The vocalization is not consisting of words; it's consisting of almost primal sounds that are put together with a cadence of Phillip Glass music. The reason they call it knee play is that they connect the acts. As soon as this group of pieces, the knee play music, is over from act one, they will usually suggest some kind of music or situation you're going to see in act two. That's sort of a meandering, intellectual approach, but I really like the idea. In my career, I haven't just made series. I've often done isolated pieces, and I would do those in order to open up thought processes I could use to get to the next series. Does that make sense? Sharon: Yes. Is that how you got to the collection you did during lockdown quarantine?

Bunte, großformatige Werke bei dem die Farben nach unten laufen sind das Markenzeichen von Cy Twombly, einem bekanntenzeitgenössischen Künstler. Die Mädchen und Buben des Kindergartens Sankt Florian stellen das gar nicht in Frage, sondern suchen mit Begeisterung bestimmte Farben, die sie zuvor auf einem Farbkärtchen ausgeteilt bekommen haben, auf den Werken. Anschließend geht es in einen Raum mit Bildern, auf die der Künstler je vier bunte Rosen gemalt hat. Und daran versuchen sich die Kinder im Künstleratelier selbst an großformatigen Blumen. Kinder und Moderene Kunst, das geht gut zusammen. Mit dieser Sendung verabschieden wir vom Kitaradio und bis Anfang September in die Sommerpause.

Cy Twombly's Blatt mit Morchel und Lamellenpilzen, einer locker hingeworfenen Andeutung eines Schwanes, Marmeladenglas-Etiketten, Zahlen und Buchstaben aus der Serie „Natural History, Part 1“ lädt zum Entschlüsseln ein. Je länger ich darauf schaue, desto größer wird das Rätsel und der Ansporn, es zu lösen. Ich sehe aber bald ein, dass es ein hoffnungsloses Unterfangen bleibt, einen Anfang und ein Ende zu finden und alles dazwischen mit (Marmeladenglas-)Etiketten zu versehen. Ein großes Thema - so reduziert, ästhetisch und leicht dargestellt!

For the tenth episode of "Reading the Art World," host Megan Fox Kelly speaks with Marguerite Steed Hoffman and Gavin Delahunty about the new book, “Amor Mundi: The Collection of Marguerite Steed Hoffman” (Ridinghouse, 2022). The book tells a unique story of carefully considered and inspired collecting, and the motivations behind the collection's creation and its ongoing evolution. “Amor Mundi” presents a selection of over 400 works of modern and contemporary art from the Marguerite Steed Hoffman Collection in Dallas, Texas. The two-volume set features the pieces brought together by Marguerite and her late husband, Robert Hoffman, including works by Robert Rauschenberg, Philip Guston, Jasper Johns, Cy Twombly, Agnes Martin, along with more contemporary artists like Rita Ackermann and Maria Lassnig. Around 30 authors contributed essays for the book, not only art historians but artists writing about other artists and creating unique works for this book."Reading the Art World" is a live interview and podcast series with leading art world authors hosted by art advisor Megan Fox Kelly. The conversations explore timely subjects in the world of art, design, architecture, artists and the art market, and are an opportunity to engage further with the minds behind these insightful new publications.Megan Fox Kelly is an art advisor and President of the Association of Professional Art Advisors who works with collectors, estates and foundations. For more information, visit meganfoxkelly.com.“Amor Mundi: The Collection of Marguerite Steed Hoffman” can be purchased at artbook.com.  Read more about the book through its publisher, Ridinghouse.Music composed by Bob Golden.

“I realized that stopping before I was done, especially with the process-oriented thesis where I'm not completely in control. I'm like in peripheral control of what's. Not all mine. That leaves room for the viewer to come into it when everything's locked down and every detail is nailed down. I find that work can often be less engaging. If it's got a little space where you can enter into its imperfections maybe, or it's question marks. That seems to go along well with the idea of being process-driven.” – Blair Vaughn-Gruler In this episode of The Abundant Artist Podcast, we are joined by Blair Vaughn-Gruler, Blair makes paintings that are driven by procedure and process. Accumulation, repetition, erasure, and the physical motions made in the process of mark-making harken back to her many years practicing martial arts and foreground the body's relationship to painting. A Michigan native and New Mexico transplant, Vaughn-Gruler has been obsessed with painting since childhood. Her spare, non-objective compositions are exercises in organizing space. Even when shapes or lines repeat themselves to excess, a calm arises out of the chaos. As the conceptual love child of Cy Twombly and Agnes Martin, Blair (born in 1955) makes paintings to reconcile her early modernist training with the lived experience of the information age. She holds a BFA in painting from Northern Michigan University and an MFA in Visual Art from Vermont College of Fine Art. She and her husband Ernst Gruler were owners of GVG contemporary located in Santa Fe, New Mexico which has represented evolving abstract and non-objective Arts, fun, figurative, and functional sculpture and are carefully curated for the past 10 years. Join us as Blair, discusses her process-driven works, sharing her thoughts on how art makes her evoke emotions, dealing better ways with gallery owners, and tips for taking yourself seriously as an artist. Let's tune in to her story! [00:00 - 12:13] A Conversation Between the Media and The Artist: A Process-Driven Work Painting helps you organize your brain chemistry. How it becomes a process-driven work and a conversation between an artist and its medium. Blair describes how her work responds to her and vice versa. She responds emotionally and intellectually The media responds through her process as shown by mark-making. Blair answers how she decides to finish or abandon a piece that is processed. She exhausts all resources. And makes sure to leave a room for the viewer to come into She believes when every detail is nailed down, it would be less engaging than those of that who has A little imperfections and question marks around it. Artist observes that this accessibility comes from the physical sensation of the work, which helps evoke emotion. She shares her breakthrough moment when they were in graduate school and how felt engaged with her paintings “I actually felt like I took them in through my body instead of my intellect” – Blair Vaugh-Gruler [12:14 - 24:10] How to Work Better with Gallery Owners Working with galleries can be difficult. Blair shares tips for avoiding rejection in the Art World. Research to find out if the gallery is interested in artists and if they have a submission process Be ready with a good body of work and be willing to put in the effort to build a relationship with the Gallery. The Many Costs of Running a Gallery and can be difficult to make a profit. [24:11 - 31:40] Expenses of Being an Artist Living in Santa Fe, New Mexico, Blair points that there are many expenses associated with being a successful artist in the city. Payroll, advertising networking fees. Shipments and insurance It's important to established a good gallery relationship if you want to be successful. A good gallery will have salespeople and administrative staff as well as researchers to help you choose the right art pieces for your gallery. [31:41 - 35:31] " Discovering the Art Genealogy of Your Favorite Artists” Genealogy is a passion of Blair Blair's journey into abstract expressionism was influenced by artists like Jackson Pollock For the author, following the lineage of an artist is important to gaining confidence in one's own work Blair recommends reading books or watching films about the artists mentioned in the show. [35:32 - 38:22] Closing Segment   Key Quotes:   “You can put water media on there and it's going to suck the pigment into the clay, but you can't control it. So that's what makes it a conversation like I do this, it does that. I go, oh. That's not what I meant. Okay. Now I have to do this and now it does that. And that's where the conversation comes from. That is the fun part for me” – Blair Vaughn-Gruler   “You have to do some research. you have to figure out where you might want to be.” - Blair Vaughn-Gruler   “I think it's easy to get too focused on the commodity factor, The commodity, getting the physical object and, getting that sold to sort of throwing the baby out with the bath water, because what everybody's looking for in the making and the collecting. Are sort of the connection and the intangible glimpse into the mystery of creativity” – Blair Vaughn-Gruler Resources mentioned: Agnes Martin https://www.moma.org/artists/3787 Jackson Pollock https://www.moma.org/artists/4675 See Blair Vaughn-Gruler works at gvgcontemporary.com The Abundant Artist exists to dispel this notion and teach artists like you about all of the other ways that you can make a living from your art. Connect with us: Website: https://theabundantartist.com IG: https://www.instagram.com/theabundantartist/ Facebook: https://www.facebook.com/theabundantartist/ LEAVE A REVIEW + help someone who wants to know more about the Art Industry and selling their art. Your ratings and reviews help get the podcast in front of new listeners.  

This episode I look at the plusses of slowing down and taking our own sweet time in the studio. Artist slow-poke examples include Giorgio Morandi (read by Frank Bango), Jay Defeo, Charles Burchfield's "reconstructions" like "Sun and Rocks," Michelangelo, Cy Twombly, and, last but not least: Agnes Pelton and her silver baby. I didn't hold back on the crazy effects on this one, guys...it's a full vibe. Agnes Pelton readings were from: "Agnes Pelton: Desert Transcendentalist" ed. by Gilbert Vicario Thanks for listening! Connect with Peps on Instagram and see more images illustrating this episode: @peptalksforartists Amy's website: https://www.amytalluto.com/ Many thanks to Frank Bango at Sincere Recording Studio for his help in producing and mixing this episode! --- Send in a voice message: https://anchor.fm/peptalksforartistspod/message Support this podcast: https://anchor.fm/peptalksforartistspod/support

Robert Nava draws inspiration from sources ranging from prehistoric cave paintings to Egyptian art and cartoons to create hybrid monsters populating a mythical contemporary world. Rendered through a raw, energetic mixing of spray paint, acrylics, and grease pencil, his large-scale paintings of fantastical beasts exude a playful candidness that defies the pretensions of high art. An MFA graduate from Yale University, Nava builds on the gesturalism of Cy Twombly and Jean-Michel Basquiat. He and Zuckerman discuss the energy he utilizes and creates, what different people see in the same imagery, the importance of heart, how he describes his own work, and of course why art matters!

Hoy viene Quim Gutiérrez a tomarse una copa al Hotel. Hablamos sobre rodajes, la vida en hoteles, cuadros, rutinas, 'La Peor Persona del Mundo', Knausgard, encontrar la dignidad en el patetismo, sus influencias, el cine de comedia, Cy Twombly y muchas más cosas. Acaba de estrenar la película 'Amor de Madre' en Netflix. Películas: - Amor de madre - Paco Caballero (Netflix) - Primos - Daniel Sánchez Arévalo (Prime) - La peor persona del mundo (Cines) - Broder - Susanne Bier - En un mundo mejor - Susanne Bier (Filmin, Movistar, Amazon) - Incendies - Villeneuve (Filmin) - Hermanos Dardenne - Friends (Netflix) - Trainwreck - Amy Schumer - Supersalidos - Gregg Mottola (Netflix) - Y entonces llegó ella (Netflix) - El oficio de actor - Mariano Fernández Barroso - Booksmart - Olivia Wilde (Netflix) Libros: - La noche de la pistola - David Carr - De Kooning: An American Master - El arte de la rivalidad - Sebastian Smee - El arte de perder - Elizabeth Bishop - Sumisión - Houelle - El adversario - Emmanuel Carrere - El reino - Emmanuel Carrere - El evangelio según Jesucristo - Saramago - El libro que tu cerebro no quiere leer - David del Rosario Cuentas en IG: - Liverking - Koritiqa

Angela Westwater at 257 Bowery, 2020, photo by Alexei Hay Angela Westwater co-founded Sperone Westwater Fischer in 1975 with Italian art dealer Gian Enzo Sperone and German gallerist Konrad Fischer, opening a space at 142 Greene Street in SoHo, New York. (The gallery's name was changed to Sperone Westwater in 1982.) An additional space was later established at 121 Greene Street. The founders' original program showcased a European avant-garde alongside a core group of American artists to whom its founders were committed. Notable early exhibitions include a 1977 show of minimalist works by Carl Andre, Dan Flavin, Donald Judd, and Sol Lewitt; seven of Bruce Nauman's seminal early shows; six early Gerhard Richter shows; two Cy Twombly exhibitions in 1982 and 1989; eleven Richard Long exhibitions; and the installation of one of Mario Merz's celebrated glass and neon igloos in 1979 -- part of the gallery's ongoing dedication to Arte Povera artists, including Alighiero Boetti. Other early historical exhibitions at the Greene Street space include a 1989 group show, "Early Conceptual Works," which featured the work of On Kawara, Bruce Nauman, Alighiero Boetti, and Joseph Kosuth, among others; a 1999 Fontana exhibition titled "Gold: Gothic Masters and Lucio Fontana"; and selected presentations of work by Piero Manzoni. From May 2002 to May 2010, the gallery was located at 415 West 13 Street, in a 10,000-square foot space in the Meatpacking District. In September 2010, Sperone Westwater inaugurated a new Foster + Partners designed building at 257 Bowery. Today, over 45 years after its conception, the gallery continues to exhibit an international roster of prominent artists working in a wide variety of media. Artists represented by Sperone Westwater include Bertozzi & Casoni, Joana Choumali, Kim Dingle, Shaunté Gates, Jitish Kallat, Guillermo Kuitca, Wolfgang Laib, Helmut Lang, Amy Lincoln, Richard Long, Emil Lukas, David Lynch, Heinz Mack, Mario Merz, Katy Moran, Malcolm Morley, Bruce Nauman, Otto Piene, Alexis Rockman, Susan Rothenberg, Tom Sachs, Peter Sacks, Andrew Sendor, and William Wegman. Past exhibitions, press, and artworks can be found on the gallery website. Born in Columbus, Ohio, Westwater received her BA from Smith College and her MA from New York University. She arrived in New York City in 1971 and landed her first job as a “gallery girl” at the John Weber Gallery at 420 West Broadway. From 1972 to 1975, she served as Managing Editor of Artforum magazine. In 1975, the same year the gallery was founded, Westwater was appointed to the Board of Trustees of The Louis Comfort Tiffany Foundation, where she has served as President since 1980. The books mentioned in the interview are The Free World, Art and Thought in the Cold War by Louis Menand and A Life of Picasso, The Minotaur Years by John Richardson. Joana Choumali, Untitled (Ça Va Aller), 2019, mixed media, 9 1/2 x 9 1/2 inches (24 x 24 cm), 16 1/4 x 16 1/4 inches (41,3 x 41,3 cm) Joana Choumali, WE ARE STILL NOW, 2022, mixed media, 4 parts; 38 1/2 x 78 inches (97,8 x 198,1 cm)

This podcast features Vincent Katz class of 1978. Vincent is a poet, translator, critic, editor, and curator. He is the author of fifteen books of poetry, including Broadway for Paul and Previous Glances: an intense togetherness. He won the 2005 National Translation Award, given by the American Literary Translators Association, for his book of translations from Latin, The Complete Elegies of Sextus Propertius. He was awarded a Rome Prize Fellowship in Literature at the American Academy in Rome for 2001-2002. Vincent has done book collaborations with artists, including James Brown, Rudy Burckhardt, Francesco Clemente, Wayne Gonzales, and Alex Katz, and with poets, including Anne Waldman. He writes frequently on contemporary art and has published reviews, articles, and essays on a wide range of visual artists, including Ghada Amer and Reza Farkondeh, Jennifer Bartlett, Janet Fish, Nabil Nahas, Kiki Smith, Beat Streuli, and Cy Twombly. He curated a museum exhibition about Black Mountain College and he curated "Street Dance: The New York Photographs of Rudy Burckhardt" for the Museum of the City of New York.

Der österreichische Künstler und Filmemacher Edgar Honetschläger lebte bis zur Atomkatastrophe von Fukushima in Japan. Die Wahrnehmung von Natur, die Beschäftigung mit Kultur, Politik und Gesellschaft ist Thema seiner Arbeiten. Wie Kunst dazu beitragen kann, die Natur zu retten, zeigt er in seinem international angelegten Projekt "GoBugsGo". Wir sprechen mit Edgar über sein Schutzprojekt für Vögel und Insekten, die Arbeit an seinem neuen Spielfilm und den 2011 verstorbenen Künstlers Cy Twombly, in dessen Atelier Edgar Honetschläger zur Zeit lebt und arbeitet. www.gobugsgo.org und www.honetschlaeger.com

This episode is also available as a blog post: https://thecitylife.org/2022/03/25/cy-twombly-barry-x-ball-a-history-of-painting-and-sculpture/ --- 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/citylifeorg/message Support this podcast: https://anchor.fm/citylifeorg/support

This episode is also available as a blog post: https://thecitylife.org/2022/02/14/major-gift-from-the-cy-twombly-foundation-to-name-conservator-position-at-the-whitney/ --- 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/citylifeorg/message Support this podcast: https://anchor.fm/citylifeorg/support

Black Mountain College has long been acknowledged as the birthplace of the true American avant-garde. The experimental school was founded in 1933 on the principles of attaining a perfect balance between academics, arts, and crafts within a purely democratic society, where all members, students, and teachers were considered to be equal. Legendary even in its own time, Black Mountain College attracted and created maverick spirits, including Williem and Elaine de Kooning, Robert Rauschenberg, Cy Twombly, Merce Cunningham, and Buckminster Fuller, to name just a few! Its history and legacy are now preserved and extended by the Black Mountain College Museum + Arts Center (BMCM+AC), located in Downtown Asheville. To tell the incredible (and sometimes scandalous) story of Black Mountain College (BMC), we welcome Kate Averett, a writer and curator based in Asheville, where she serves as Staff Historian, Project Coordinator, and Board Member at BMCM+AC. In today's episode of Artsville, you'll learn about the historical synchronicity that informs the connection between BMC and the Bauhaus, the legendary parties that were thrown at the college, and the role that the BMCM+AC plays in keeping the BMC legacy alive, as well as how they create space for the artists, scholars, and curators who uphold the open-mindedness that BMC was built on, plus so much more! Tune in to learn more from remarkable storyteller, Kate Averett! Key Points From This Episode: Louise and Daryl introduce today's guest: Kate Averett from BMCM+AC. Learn about some of the major influential figures who attended BMC. Kate starts by sharing a bit about herself and her role at BMCM+AC. Hear the origin story of BMC which, like all good stories, starts with a scandal! Insight into BMC founder John A. Rice's educational philosophy on hands-on learning. How the rise of the Nazis and the closing of the Bauhaus led Josef and Anni Albers to BMC. Some of the influential figures that attended BMC and the relationships that developed. The legendary Greek Party that Jean Varda threw at BMC, complete with a Trojan Horse! Kate highlights the communal, democratic structure between faculty and students at BMC. How avant-garde artists like Robert Rauschenberg were influenced by their time at BMC. Learn about one of the many famous student revolts at BMC known as The Split.  The impact that cultural and political pressure had on BMC toward the end of the 1950s. Kate reflects on the role that BMCM+AC plays in keeping the BMC legacy alive. How BMCM+AC came to be a museum and arts center as opposed to just a museum. The different stories that BMCM+AC hopes to tell about BMC, not just its history. Looking to the future in the ReVIEWING Black Mountain College conference. Kate reflects on the history of identity intersection and integration at BMC. Kate ends on an anecdote about Harriet Sohmers Zwerling and sexual liberation at BMC. Links Mentioned in Today's Episode: Kate Averett on LinkedIn — https://www.linkedin.com/in/kate-averett-b5466568/ (https://www.linkedin.com/in/kate-averett-b5466568/) Black Mountain College Museum + Arts Center — https://www.blackmountaincollege.org/ (https://www.blackmountaincollege.org/) ReVIEWING Black Mountain College International Conference — https://www.blackmountaincollege.org/reviewing/ (https://www.blackmountaincollege.org/reviewing/) Black Mountain Days — https://www.amazon.com/Black-Mountain-Days-Michael-Rumaker/dp/1933132663 (https://www.amazon.com/Black-Mountain-Days-Michael-Rumaker/dp/1933132663) Scott “Sourdough” Power — https://www.notarealartist.com/ (https://www.notarealartist.com/) Louise Glickman — https://www.louiseglickman.com/ (https://www.louiseglickman.com/) Daryl Slaton — http://www.tailsofwhimsy.com/ (http://www.tailsofwhimsy.com/) Not Real Art — https://notrealart.com/ (https://notrealart.com/) Sand Hill Artists Collective (SHAC) — https://sandhillartists.com/...

EPISODE 21 of 'All About Art': The Art of Framing with Gregory Baker This episode focuses on a career in the arts that is very hands-on and is intrinsic to the transportation and display of works of art, namely FRAMING with London framer Gregory Baker. We chat about his business as an art framer and how he learned the craft. We also chat about materials he uses, such as various types of glass and how they affect a work of art, as well as his experience as an art technician at Sotheby's auction house which informs his practice today. Greg graduated from Central Saint Martins with a degree in Fine Art, and went on to work for Steward Heslop Frames and John Davies Frames in the years following his degree. He then proceeded to work for Sotheby's auction house and Alon Zakim Fine Art while starting his own business. He collaborated with Sotheby's and has framed works by the likes of Cy Twombly, Lucien Freud, David Hockney, Georg Baselitz, and Jenny Saville. He is currently working with artist and art dealer David Breuer-Weil, whose sculptures you probably know from St Pancras New Church at Euston, London, all the while maintaining his framing studio and furthering his craft. If you want to get in touch, you can email him at gregorybakerframes@gmail.com P.S. Listen past the outro to hear Greg give me my Christmas gift, which was very much in line with the episode! Such fun, thank you Greg. ABOUT THE HOST: I am an Austrian-American art historian, curator, and writer. I obtained my BA in History of Art at University College London and my MA in Arts Administration and Cultural Policy at Goldsmiths, University of London. My specializations include contemporary art, specifically feminism and artificial intelligence in artistic practice, as well as museum policies and arts engagement. Here are links to my social media, feel free to reach out: Instagram @alexandrasteinacker Twitter @alex_steinacker and LinkedIn at Alexandra Steinacker-Clark COVER ART: Lisa Schrofner a.k.a Liser www.liser-art.com

90% are unknown still but the species which have been studied have given us penicillin, ways of breaking down plastics, food and bio fuels but they can also be dangerous. Neither animal nor vegetable, they are both amongst us and within us, shaping our lives in ways it is difficult to imagine. Merlin Sheldrake's book about fungi, Entangled Life, has won the Royal Society Science book of the year and the Wainwright Conservation prize so here's Matthew Sweet with him and others discussing the amazing life of mushrooms. Francesca Gavin curated an exhibition Mushrooms: The Art, Design and Future of the Fungi, which ran at Somerset House in London and is now available to view as an online tour. It features the work of 40 artists, musicians and designers from Cy Twombly to Beatrix Potter, John Cage to Hannah Collins. Sam Gandy is an ecologist, writer and researcher who has collaborated with the Centre for Psychedelic Research at Imperial College. https://www.imperial.ac.uk/psychedelic-research-centre/ Begoña Aguirre-Hudson is Curator and Mycologist at Royal Botanic Gardens, Kew. She helps look after the Kew Fungarium - the largest collection of fungi in the world. https://www.kew.org/science/our-science/people/begona-aguirre-hudson Producer: Alex Mansfield You can find other discussions in the Free Thinking archives about food https://www.bbc.co.uk/programmes/b08wn51y Cows, farming and our view of nature https://www.bbc.co.uk/programmes/m000n0g8 Humans, animals, ecologies: conversations with Anna Tsing and Joanna Bourke https://www.bbc.co.uk/programmes/m000sjmj

Harry Macklowe, real estate lover and fine art hater, has painted a Cy Twombly style target on his head – selling a collection of fine art curated by his ex-wife and himself, posting his wedding pics 42ft wide all over New York City, and taking on loans worth a few billion. So, whatever the divorce […]

This week we aren't so much going down to earth as we are climbing up into the art market stratosphere, where only the wealthiest collectors reside. All eyes are on this tip top of the market as the art world prepares for what may be the biggest auction of the decade, Sotheby's sale of the Macklowe collection. This star studded group of works was assembled over 50 years by the billionaire couple Harry and Linda Macklowe, but those were happier times. Over the past five years, their divorce has grown so acrimonious that a judge ordered 64 of their most prized paintings and sculptures to be sold at auction because they couldn't agree on how else to split the assets. The collection of work by Alberto Giacometti, Andy Warhol, Cy Twombly and many more are some of the most high quality blue chip artworks to hit the auction block in. They're expected to fetch more than $600 million at Sotheby's over the next six months, beginning with an evening sale on November 15th. To find out more about how this collection came to auction and what it reveals about the state of the art market Artnet News Executive Editor Julie Halperin spoke with Artnet News resident Art Detective and Senior Reporter Katya Kazakina.

> Sonya Clark: Monumental, The Cloth We Should Know (FWS Philly, 2019)> Follow Fran Meneses on Instagram, Twitter, and Youtube @frannerd. Also please consider supporting her via her Patreon or her ethical stationery and apparel shop @wearenicehumans*Note: Fran is a Chilean illustrator now based out of NYC, not Brazilian as mentioned. Sorry! - Shelby> Jean Michel Basquiat, Haitian-Puerto Rican American Artist (1960-1988)> Frida Khalo, Disabled, Bi, and Mexican Painter (1907-1954)> Cauleen Smith: Give It or Leave It (ICA Philly, 2018)> Bill Traylor, Self-taught African American Artist (1854-1949)> Cy Twombly, American Painter, Sculptor, and Photographer (1928-2011)> Follow Ravi Amar Zupa, on Instagram and Twitter @raviamarzupa. Also please consider supporting him via his print shop.> Pieter Bruegel the Elder, Dutch-Flemish Ren. Painter (ca. 1525–1569)> Albrecht Dürer, German Painter, Printmaker and Theorist (1471–1528)> Betye Saar, African American Visual Storyteller, Printmaker and Assemblage Artist (1926-)*Note: Saar's daughter Alison Saar (1956-) is also a sulptor, mixed-media and instalation artist. - Shelby> Marcel Duchamp, French-American Painter and Sculptor (1887-1968)> Salvador Dali, Spanish Surrealist Artist (1904-1989)> Watch Abstract: The Art of Design (2017) on Netflix

A lecture by Mary Jacobus. To launch her book Reading Cy Twombly: Poetry in Paint (Princeton University Press, 2016), Mary Jacobus explores the use of quotations in one of his major paintings. The American painter Cy Twombly (1928–2011), who lived in Rome from the 1950s onward, often spoke of himself as a ‘Mediterranean' painter. His vast tripartite canvas, Say Goodbye, Catullus, to the shores of Asia Minor, spans two decades and was finally completed to coincide with his 1994 MoMA retrospective. Previously known as Unfinished Painting, it exemplifies Twombly's use of quotation. Say Goodbye includes a palimpsest of passages drawn from Rilke, Cavafy, and Seferis, among others. At a distance, it appears empty. Close-up, it provides a literary archeology. How much do we need to know about Twombly's quotations and how do they affect the viewer's experience of his work?

Episode 42 of the Podcast for Social Research features core faculty member Rebecca Ariel Porte's talk from the French Embassy and the Brooklyn Public Library's Night of Philosophy and Ideas (2020). Philosophy for the dawn, this talk treats an impossible question: "what is life?" via a meditation in the form of a dialogue. These notes and queries on a badly arranged world travel over the ancient quarrel between poetry and philosophy, a florilegium of verse, a selection of old materialisms including Marx and Spinoza, Bosch's *Garden of Earthly Delights,* Raphael and Cy Twombly, and a brief history of life on earth. An introductory conversation between Rebecca and Ajay Singh Chaudhary precedes the audio.    This episode of the podcast was edited by Nechama Winston.     

Cy Twombly's art was in many ways the perfect avatar of Cy Twombly the man. As an artist at the intersection between two major movements in the twentieth century, he was an unplaceable combination of art outsider and someone with high-art sensibility, an artist who eschewed Americana but was its apotheosis. In interviews, he was either intensely private or flippant toward the interviewer, qualities that only increased his appeal. In the March issue, Andrew Martin, author of the novel novel Early Work, reviews two new books about Twombly. In this conversation with web editor Violet Lucca, Martin upholds the ambiguities of the persona, the artist, and the art, and reflects on what we are to make of Twombly today. Read Martin's review: https://harpers.org/archive/2019/03/cy-twombly-fifty-days-at-iliam-the-art-and-erasure-of-cy-twombly/