Podcasts about dallas museum

Julie Curtiss was born in 1982 in Paris, France and lives and works in Brooklyn, New York. She studied at the École Nationale Supérieure des Beaux-arts, Paris, during which time she undertook two exchange programmes; one at the Hochschule für Bildende Künste, Dresden and the other at the School of the Art Institute of Chicago. Curtiss graduated in 2006 with a BA and MFA. Recent solo exhibitions include White Cube Hong Kong (2023); Anton Kern Gallery, New York (2022; 2020; 2019); White Cube Mason's Yard, London (2021); Various Small Fires, Los Angeles (2018); and 106 Green, Brooklyn, New York (2017). Group exhibitions include Fondation Carmignac, Porquerolles, France (2024); Dallas Museum of Art, TX (2023); MCA Chicago, IL (2023); Yuz Museum, Shanghai (2023); FLAG Art Foundation, New York (2023); Leeum Museum of Art, Seoul (2022); Biennale des Arts de Nice, France (2022); The Shed, New York (2021); Nassau County Museum of Art, Roslyn, New York (2019); Perrotin, Seoul (2019); Clearing, New York (2019); White Cube Bermondsey, London (2017). She has been the recipient of a number of fellowships and awards, including Youkobo Art Space Returnee Residency Program, Tokyo (2019); Fellow of the Sharpe-Walentas Studio Program, New York (2018); Saltonstall Arts Colony Residency, New York (2017); Contemporary Art Center at Woodside Residency Program, New York (2013); VAN LIER Fellowship, New York (2012); Louis Vuitton Moët Hennessy's Young Artists Award (2004); and Erasmus European Exchange Program Grant, Hochschule für Bildende Künste, Dresden (2003).Curtiss' work is represented in a number of museum collections, among which are Bronx Museum, New York; Columbus Museum of Art, Ohio; High Museum, Atlanta; Los Angeles County Museum of Art; Maki Collection, Japan; Museum of Contemporary Art, Chicago; Walker Art Center, Minneapolis; and Yuz Museum, Shanghai.

Fran Markover reads her poem "Uncle Julius Gifts Me with Awe," and Elizabeth Hamilton reads her poem "Sunday at the SoCal Winery."Fran is a retired psychotherapist who lives in Ithaca, NY. Her poems have been published in many journals. She has a chapbook, and has published two books, History's Trail (Finishing Line Press) and Grandfather's Mandolin (Passager Press), which was a finalist for the Henry Morgenthau III First Book Prize. Elizabeth Hamilton's work has appeared or is forthcoming in the Dallas Museum of Art, The Hudson Review, and Texas Monthly, along with other publications. She has an MFA in creative writing from Seattle Pacific University and is the recipient of a Writers' League of Texas fellowship. She writes the monthly substack This Book Could Save Your Life.

How can architects redefine experience through storytelling and space?This week on Practice Disrupted, Evelyn Lee talks with Kate Aoki, architect, educator, and founding partner of Golden Egg Creative, to explore how designers can blend architecture, storytelling, and community to create immersive, intentional experiences. With a career path that's taken her through fine arts, museum design, architecture firms, and now entrepreneurship, Kate shares what it means to craft spaces not just for use, but for memory, meaning, and delight.Kate opens up about her nonlinear journey, starting with a degree in textile design, before eventually returning to her lifelong goal of becoming an architect. Along the way, she worked in galleries, lived abroad, and built a foundation in public and nonprofit spaces. Her deep love for fine art and interpretive design led her back to the Dallas Museum of Art as Head of Exhibition Design, fulfilling a long-held dream. But after four years, she realized the bureaucracy of nonprofit work wasn't a long-term fit. What came next was a leap into co-founding Golden Egg, a firm focused on designing transformative experiences rooted in cultural storytelling and visitor connection.Evelyn and Kate discuss what it takes to launch a niche practice, how to build authentic partnerships with architects and civic institutions, and why experience design is growing in relevance across sectors. Whether developing mobile exhibits for aerospace education or reimagining museum installations, Kate brings a holistic and thoughtful approach to every detail, from lighting and circulation to the words on the wall.“This felt like putting on a pair of shoes that fit perfectly. It's the kind of work I've always been meant to do - blending fine art, architecture, and storytelling into experiences that connect people to something larger than themselves.” – Kate AokiThe episode concludes with reflections on growth, creative courage, and how designers can prototype career pivots by following their curiosity and leaning into interdisciplinary collaboration.Guest:Kate Aoki, AIA, NOMA, is an architect and founding partner at Golden Egg Creative, a design firm specializing in exhibition and experience design. With a background in fine arts, architecture, and interpretive planning, Kate's work bridges storytelling, culture, and space. She previously served as Head of Exhibition Design at the Dallas Museum of Art and has over a decade of experience working across firms and institutions. Her practice centers on community engagement, accessible design, and building memorable experiences for public audiences.Is This Episode for You?This episode is for you if: ✅ You're a designer interested in museum, exhibition, or experience design ✅ You're navigating a nonlinear or interdisciplinary career path ✅ You want to integrate storytelling and interpretation into your design work ✅ You're thinking about starting a small practice aligned with your valuesWhat have you done to take action lately? Share your reflections with us on social and join the conversation.

Riley Holloway Riley Holloway studied Graphic Design at The Art Institute of Dallas, during which time he completed a Portrait Workshop at The Florence Academy of Art in Italy. Following his studies, Holloway was awarded a 3-month artist residency at The Fairmont Hotel in Dallas, which culminated in his first solo exhibition in the hotel's gallery. The artist is a Hunting Prize finalist. Holloway has exhibited internationally, with recent notable solo exhibitions including those at backs/ash in Paris, Erin Cluley Gallery in Dallas, Bloom Galerie in Geneva, Bode Projects at the Investec Cape Town Art Fair, The African American Museum of Dallas, and First Amendment Gallery in San Francisco. Love Galore at Massey Klein Gallery is the artist's first solo exhibition in New York City. In 2023, Holloway's Records on Repeat was one of twelve works selected for acquisition by The Dallas Museum of Art (DMA) through the Dallas Art Fair Foundation. The artist's work is held in other prominent collections including The University of Oregon, Stanford University, The Dean Collection, and The Fairmont Dallas. The artist lives and works in Dallas, TX. Riley Holloway, Love Galore, 2024 Oil and oil pastel on canvas 48 x 48 x 1.25 inches Riley Holloway, Flowers for You, 2024 Oil and oil pastel on canvas 27.5 x 41.5 x 1.25 inches Riley Holloway Love on Display, I, II, III, 2024 Oil and oil pastel on canvas 10 x 20 x 1.5 each

Episode 468 / Sarah Awad (b. 1981, Pasadena, CA) has recently exhibited at Night Gallery, Los Angeles; Metropolitan Museum of Manila, Manila, Philippines; The Third Line, Dubai, United Arab Emirates; L.A. Louver, Venice, CA; V1 Gallery, Copenhagen, Denmark; Long Beach City College Art Gallery, Long Beach, CA; and Galerie Ernst Hilger, Vienna, Austria, among others. Her work has been featured in Artillery, Modern Painters, Art in America, Artsy Editorial, ArtScene, and New American Paintings, among others. Her work is included in the collection of the Dallas Museum of Art, Dallas, TX, and the Sharjah Art Museum, Sharjah, United Arab Emirates, among others. She currently teaches on the faculty of the Claire Trevor School of the Arts at UC Irvine and is based in Los Angeles.

 Marissa Jarrett is currently the Chief Marketing and Sustainability Officer at 7 Eleven. She's also a two-time graduate from the McCombs School of Business, obtaining both a BBA in Finance and an MBA in Marketing. She also received a BA in Spanish.   Among her many accolades and roles, she is currently a member of the Dean's Advisory Council for the McCombs School of Business. She is also a member of the Executive Committee for the Dallas Regional Chamber and the Dallas Museum of Art. In this lively conversation, host Firdous Khezrian speaks with Marissa talk about her upbringing, her approach to innovation and creativity, and the lessons she's learned as a student of both UT and of life. 

What are the keys to getting publicity before and after an event?  Today, I talk three top Public Relations Professionals Cynthia Smoot, Founder of Gangway Advertising, Jesse Parker Stowell, Founder of Parker|Phoenix Public Relations, and Dancie Perugini Ware, Founder of Dancie Perugini Ware Public Relations to find out. These three pros are among the very best in obtaining publicity for the nonprofit galas they have partnered with over the years. Over they years, they have represented top nonprofit galas including Dallas Museum of Art Art Ball, Andy Roddick Foundation Gala, and Houston Ballet Ball among many others. In this episode, Cynthia, Jesse, and Dancie share their tips on obtaining publicity for your event including what a great partnership between an organization and your Public Relations firm looks like, how to message your event to tap into the soul of your community, promoting red carpet events and so much more. This is one episode you will not want to miss.

Episode No. 682 is a holiday clips episode featuring artist Leslie Martinez. Martinez is included within "Shifting Landscapes," which is at the the Whitney Museum of American Art in New York until January 2026. The exhibition considers how evolving political, ecological, and social issues motivate artists as they address the world around them (which is to say US artists are addressing land and landscape as they have since the days of Ralph Waldo Emerson and Thomas Cole.) The show was curated by Jennie Goldstein, Marcela Guerrero, and Roxanne Smith, with Angelica Arbelaez. Seven previous MAN Podcast guests are in the exhibition, including Robert Adams (Episode No. 41,  227, 555), Teresita Fernández, LaToya Ruby Frazier, An-My Lê, Patrick Martinez, Amalia Mesa-Bains, and Alison Saar. Martinez was previously featured in solo shows at MoMA PS1 in Queens, and the Blaffer Art Museum, University of Houston. Their work is in the collection of museums such as the Dallas Museum of Art, the Pérez Art Museum Miami, and the High Museum of Art, Atlanta. For images, see Episode No. 635. Instagram: Leslie Martinez, Tyler Green.

On this episode I'm joined by Jammie Holmes as we discuss his work and practice; the journey that led him into art and the focus of his practice today. His exhibition, Morning Thoughts, at Marianne Boesky Gallery is on view when we sit down to talk about his origin story and some of the ideas he's investigating in his latest body of work.   Incorporating portraiture, symbolism, and written text into his work, Holmes intersperses reflections on social, cultural, and political concerns with deeply felt meditations on notions of family, home, and Blackness. He is a storyteller whose determination to imbue his work with his own subjective, lived experience is itself a subtle, effective political gesture.  His work has been included in numerous group exhibitions, including: Afro-Atlantic Histories, which traveled to the Los Angeles County Museum of Art, CA; the Museum of Fine Arts, Houston, TX; the National Gallery of Art, Washington, D.C.; and the Dallas Museum of Art, TX. 

Jammie Holmes in his Dallas studio, 2024. Photo by  Daisy Avalos Morning Thoughts takes its title from a 1981 Gil Scott-Heron song by the same name. Throughout the song's soft, spoken-word lyrics Scott-Heron meditates on the magical potential felt in the moment when night quietly turns to day—on the possibilities that radiate in the first light of morning, as the morning glory and daylily buds open. With his newest body of work, Holmes captures this moment of possibility alongside the inevitable moments of loss that follow as flowers wilt, as color seeps away—the dichotomy of morning and mourning. Underneath all of this,Morning Thoughts embodies the resilience of Holmes, of his community: morning glory and daylily flowers may wilt and die by dusk, but the plants and their roots remain. With Morning Thoughts, Holmes reminds us that hope and loss go hand-in-hand—but beauty remains for those willing to see it, that flowers bloom again in the morning. Jammie Holmes's first solo museum exhibition, Jammie Holmes: Make the Revolution Irresistible, was presented at the Modern Art Museum of Fort Worth, TX in 2023. His work has been included in numerous group exhibitions, including:Afro-Atlantic Histories, which traveled to the Los Angeles County Museum ofArt, CA; the Museum of Fine Arts, Houston, TX; the National Gallery of Art, Washington, D.C.; and the Dallas Museum of Art, TX. His work has also been included in group exhibitions at the New OrleansMuseum of Art, LA; the China Center of International Contemporary Art Vancouver, Canada;Columbus Museum of Art, OH; Dallas Contemporary, TX; and many more. Jammie Holmes - ‘Black Market' (2024) - copyright of Jammie Holmes and courtesy of Marianne Boesky Gallery Jammie Holmes - ‘Morning Glory' (2024) - copyright of Jammie Holmes and courtesy of Marianne Boesky Gallery Jammie Holmes - ‘Malcolm' (2024) - copyright of Jammie Holmes and courtesy of Marianne Boesky Gallery

Creating a thriving nonprofit requires leaders who know how to recognize and nurture the unique strengths of their team. Host Spencer Brooks talks with Jennifer Collins from Nexus Family Recovery Center about practical ways to empower team members, even with limited resources and time, and why this is important for nonprofit success. This episode is perfect for nonprofit leaders looking to boost morale, build team unity, and increase organizational impact. About the guest Jennifer brings 30 years of nonprofit and retail management experience to the table, focusing on strategy, implementation, and team leadership. Her love of nonprofit work was sparked at Whole Foods Market where she collaborated with nonprofits like the Dallas Museum of Art, the International Rescue Committee, and Whole Kids Foundation. As the Senior Marketing and Communications Manager at the Dallas nonprofit Resource Center, she supported the LGBTQIA+ community for six years. Currently, she serves as the Director of Marketing at Nexus Family Recovery Center, helping women in recovery and their children. Resources Website: https://nexusrecovery.org/ Contact Jennifer  LinkedIn: https://www.linkedin.com/in/jennlcollins/

Inner Moonlight is the monthly poetry reading series for the Wild Detectives in Dallas. The in-person show is the second Wednesday of every month in the Wild Detectives backyard. We love our podcast fans, so we release recordings of the live performances every month for y'all! On 10/9/2024, we featured poet Emmy Piercy! We featured Emmy back in February 2019 before we were making a podcast. We're so pleased to be able to bring this performance to you! Emmy Piercy has been performing poetry within the Dallas literary community since 2016, where she has contributed to collaborative projects including White Rock Zine Machine and the Dallas Museum of Art's Center for Creative Connection. Her work has appeared in Thimble and Impossible Archetype. She is a graduate student of English at the University of Texas at Arlington, where she studies the intersection of ecology and the written word. ⁠www.innermoonlightpoetry.com

In her summer 2024 exhibition Trial By Fire at Core Art Space, Lakewood, Colorado, Maria Sheets exhibited a series of colorful, sculpturally dense, illuminated glass panels of portraits and landscapes created in a unique process that combines the mediums of traditional stained glass grisaille/enameling with fused glass “painting” known as Vitreonics. The technique was documented in Justin Monroe's award-winning documentary Holy Frit. The movie traces artist/designer Tim Carey's journey through making the world's largest stained and fused glass window with the help of Italian glass maestro Narcissus Quagliata. Says Sheets: “Our family experienced a major loss in late 2023 that inspired a radical shift in what I was producing. In an attempt to address this swing of emotional intensity, I found I desperately needed to break some sh#t. Inspired by the project created in the new film Holy Frit, I began to learn Vitreonics. The process, particularly the intense smashing, layering, and heating of glass, gave me the change I needed. Vitreonics brought balance to my creative world and reminded me that though I can and do use my skills to make art that is highly technical, I can also relax into flexibility and levity.” With a conservation and glass studio located in Evergreen, Colorado, Sheets is a senior conservator of Foothills Art Conservation and a master glass designer, painter and fabricator. She was Chief Conservator of a fire recovery project with the Museum of Biblical Art, Dallas from 2005-2018. A partial list of additional clients includes the Ross Perot Collection, George Bush Family, Gerald Ford, Dallas Museum of Art, Nasher Sculpture Center, and the Ann and Gabriel Barbier-Mueller Samurai Collection. She served as President of the Conservators Private Practice Group of the American Institute for Conservation and holds a Professional Associates status.  Signed commissioned works in architectural glass include large-scale projects presently housed in museums, universities, houses of worship, businesses and private residences internationally. In 2021, Sheets designed and painted the Legacy Window for Tulsa's Vernon AME in Greenwood, illustrating 120 years of the church's history and survival from the Tulsa Race Massacre. Her own work was included in recent juried exhibitions such as American Glass Guild NOW 2016 (juror, contemporary artist Judith Schaechter), Texas National 2018 (juror Jed Perl, international art critic), and Materials Hard and Soft International Craft Exhibition 2019 (2nd place of 1100 entries). She is a resident artist for Valkarie Gallery in Lakewood, Colorado, where her work will be exhibited in a solo exhibition from November 13 through December 8, 2024.  In 2022, Martin Faith, Scottish Stained Glass, Centennial, Colorado, approached Sheets with a project that involved reproducing an artist's pieces made in the 1970s onto glass. Sheets explains: “He showed them to me, and I gasped, recognizing the work as Judy Chicago's. I had read her early biographies while I was in college in the ‘90s. My feminist art teacher taught us about her work and the famous piece The Dinner Party, which congress was crucifying along with a number of artists trying to get funding through the National Endowment for the Arts.  I even wrote her fan mail.” Sheets and Chicago met and spent several years working collaboratively in Chicago's Belen, New Mexico studio. There they created complex airbrushed/masked pieces onto glass. These took five months of research and development as the technique/design would be some of the most unforgiving yet enlightening of Sheet's life. Last year Chicago had a blockbuster show of the work at New Museum in New York accompanied by a four-page spread in the New York Times as well as an exhibition at Serpentine in London. Occupying a rare niche in the art world, Sheets was inspired by her great-uncle, a Russian Orthodox priest and iconographer to apply old-world art materials on stained glass to create both traditional religious imagery or modern portraits and scenes rife with politics. Her work Motherboard Madonna was recently exhibited in AI Love You at Niza Knoll Gallery, Denver, Colorado.  Says Sheets: “The gallery got blackballed, but the whole point of show was to discuss the ethical concerns and use of AI as a tool. One could say creativity was used in the creation of this technology and that “paint” is not the only medium. Adapt or die…”  

Dike Blair (b. 1952, New Castle, Pennsylvania) uses gouache, oil, his own photographs, and strategies appropriated from Postminimalist sculpture to create intimate tableaux that transform quotidian sights and materials into exercises in formalism. A writer and teacher as well as an artist, Blair came up in the downtown scene of 1970s New York among punk rockers and Postmodernists. In the early 1980s, against prevailing art world trends toward Neo-Expressionism, he began rendering scenes from his life in gouache on paper. These ongoing diaristic paintings are devoid of human figures but nonetheless evoke the specter of the artist whose daily life plays out at a remove across their finely-wrought surfaces. Blair lives in New York and Sullivan County. Blair's recent solo exhibitions include Edward Hopper House, Nyack, New York (2024); Karma (Los Angeles, 2023, New York, 2022); Various Small Fires, Seoul (2020); The Modern Institute, Glasgow (2019); Linn Lühn, Düsseldorf (2019); Secession, Vienna (2016); and Jüergen Becker Gallery, Hamburg (2016). In 2022, Karma presented an exhibition of Blair's paintings of Gloucester alongside Edward Hopper's paintings of the same small Massachusetts city. Blair's work is featured in the collections of the Whitney Museum, New York; Brooklyn Museum, New York; The Morgan Library & Museum, New York; Los Angeles County Museum of Art; Dallas Museum of Art; and the Museum of Contemporary Art, Los Angeles, among others. Blair's work is on view in Matinee: Dike Blair at Edward Hopper House, Nyack, New York through October 27, 2024 and at Karma, New York through October 26, 2024. Dike Blair, Untitled, 2024, Gouache, pencil and chalk on paper, 15 x 20 inches, 38.1 x 50.8 cm, 16 5/8 x 21 5/8 inches, 42.23 x 54.93 cm (framed), © Dike Blair. Courtesy the artist and Karma. Dike Blair, Untitled, 2024, Gouache, pencil and chalk on paper, 15 x 20 inches, 38.10 x 50.80 cm, 16 5/8 x 21 5/8 inches, 42.23 x 54.93 cm (framed), © Dike Blair. Courtesy the artist and Karma. Dike Blair, Untitled, 2024, Oil on aluminum panel, 28 1/8 x 21 1/8, 71.44 x 53.66 x 2.54 cm, 28 3/4 x 21 3/4 inches, 73.02 x 55.24 cm (framed), © Dike Blair. Courtesy the artist and Karma.

Dan Rizzie is an artist of the heart, whose work is playful yet sophisticated and combines a rich variety of medium and textures. His images and subject matter conjure a world of memory and symbols.   Born in Poughkeepsie, NY  in 1951,  he grew up in India, Egypt, Jordan and Jamaica. Rizzie lives in Sag Harbor, New York.[1] Dan  is a painter, printmaker, and collage artist. He attended Hendrix Collegein Conway, Arkansas under the mentorship of Don Marr and Bill Hawes.[2] At Hendrix he received his BFA in 1973.[2] In 2005, Rizzie was awarded Hendrix College's Distinguished Alumnus Award.Rizzie earned a MFA from Southern Methodist University's Meadow's School of Art in Dallas, Texas in 1975.[1][4] Dan Rizzie is an artist of paradoxical qualities.  His independence is in contrast to his aesthetic conservatism.  And perhaps because of his unwillingness to be either revolutionary in his artistic approach, or as flamboyant in technique as he is patently capable of, his work hasn't been as accurately understood as it deserves to be.  Rizzie's extraordinary knowledge of art history informs his art deeply, but in off-beat, even eccentric ways. One is tempted to suggest that at times absorption in the art of others, subsumes his own passion to express a uniquely individual set of feelings. Rizzie's art is represented by major galleries across the country and is included in many important collections, including the permanent collections of the Museum of Modern Art and  the Metropolitan Museum of Art in New York,[4] the Dallas Museum of Art, the Scottsdale Museum of Contemporary Art, the San Antonio Museum of Art, the Museum of Fine Arts, Houston and collections at AT&T Corporate Center, Chicago, Illinois, Delta Air Lines, Parrish Art Museum, and the Mayo Clinic.  

This episode we are thrilled to be talking with the incredible artist Nadya Tolokonnikova. Nadya is the creator of Pussy Riot, a global feminist art movement. In 2012 she was sentenced to 2 years' imprisonment following an anti-Putin performance Punk Prayer. Punk Prayer was named by The Guardian among the ‘best art pieces of the 21st century'. Tolokonnikova's Putin's Ashes art installation at Jeffrey Deitch Gallery in January 2023 propelled her into a new criminal case and put on Russia's most wanted criminal list. On June 21st, 2024 her debut museum exhibition RAGE, opened at OK Linz, Linz, Austria, and shortly after she performed the piece at the Neue Nationalgalerie on July 4.  Tolokonnikova's work is held in the permanent collections of The Brooklyn Museum, Dallas Museum of Art, Museum of Art and Design, and American Folk Art Museum, among others. Some artists discussed in this episode: Dmitri Prigov Judy Chicago Guerrilla Girls You can read more about Nadya's show with Jeffrey Deitch in Los Angeles here: https://deitch.com/los-angeles/exhibitions/pussy-riot-putin-s-ashes For images, artworks, and more behind the scenes goodness, follow @artfromtheoutsidepodcast on Instagram!

Episode No. 669 is a summer clips episode featuring artist Tammy Nguyen. This late summer and fall Nguyen will be featured in two institutional exhibitions, one a solo show and the other a group show. On October 4, the Sarasota (Fla.) Art Museum will present "Tammy Nguyen: Timaeus and the Nations." The show was curated by Rangsook Yoon. On September 4 the Cantor Arts Center at Stanford University will present "Spirit House." It's an examination of how contemporary artists of Asian descent challenge the boundary between life and death through art. It was curated by Aleesa Pitchamarn Alexander with Kathryn Cua. Nguyen was a recipient of a 2023 Guggenheim fellowship, and has exhibited at museums such as MoMA PS1, the Metropolitan Museum of Art, The Factory Contemporary Arts Center in Ho Chi Minh City, Vietnam, and more. Her work is in the collection of museums such as the Institute of Contemporary Art Miami and the Dallas Museum of Art. This program was taped in 2023 on the occasion of her first museum solo exhibition, at the Institute of Contemporary Art, Boston. She is also the founder of Passenger Pigeon Press, an artists' book publisher. For images, see Episode No. 625B.

Episode 436 / Yowshien Kuo is an artist who was born and works out of St. Louis, MO. He earned an MFA ND BFA from Fontbonne University. He has had solo shows at Luce Gallery in Turin, Italy, CAM Contemporary Art Museum in St. Louis, Praise Shadows in Boston, The Bermuda Project in Ferguson, MO and others. He's been included in group shows at the Bates Museum of Art in Maine, COL Gallery in San Francisco, the Dallas Museum of Art, Tang Contemporary Art in Hong Kong, LVL3 in Chicago, the Tuscon Museum of Art and many others.

Ep.204 Nina Chanel Abney (b. 1982, Harvey, IL) has been honored with solo exhibitions at the Savannah College of Art and Design, Georgia (2023); the Museum of Contemporary Art, Cleveland (2023); the Institute of Contemporary Art, Miami (2022); the Gordon Parks Foundation, Pleasantville, New York (2022;traveled to Henry Art Gallery, Seattle); the Institute of Contemporary Art, Boston (2019–21); Palais de Tokyo, Paris (2018); and the Contemporary Dayton, Ohio (2021). Additionally, her solo exhibition at the Nasher Museum of Art, Duke University, Durham, North Carolina (2017), toured to the Chicago Cultural Center; Institute of Contemporary Art, Los Angeles, and the California African American Museum, Los Angeles; and the Neuberger Museum of Art, Purchase College, State University of New York. Abney was recently commissioned to transform Lincoln Center's new David Geffen Hall façade in New York, drawing from the cultural heritage of the neighborhood previously known as San Juan hill that comprised African American, Afro-Caribbean, and Puerto Rican families. Abney's recent public mural at the Miami World Center was similarly inspired by Overtown, a historic Black neighborhood in Miami. Abney's work is held in the collections of the Whitney Museum of American Art, New York; the Museum of Modern Art, New York; the Brooklyn Museum, New York; the Bronx Museum, New York; the Dallas Museum of Art, Texas; the Rubell Family Collection, Florida; the Nasher Museum of Art, North Carolina; and the Pennsylvania Academy of the Fine Arts; amongst others.  Photo credit: Jesper Damsgaard Lund  Artist https://ninachanel.com/ Jack Shainman https://jackshainman.com/ Chronogram  https://www.chronogram.com/hv-towns/review-nina-chanel-abneys-lie-doggo-at-jack-shainman-gallerys-the-school-20807734 Blockonomi  https://blockonomi.com/super-punk-world-nfts-face-backlash-over-focus-on-race-and-gender/ Cultured Mag https://www.culturedmag.com/article/2024/05/16/nina-chanel-abney-jack-shainman-upstate-show Air Jordan 3 Collaboration https://ninachanel.com/news/10-closer-look-at-nina-chanel-abney-s-air-jordan/ nft now https://nftnow.com/art/cryptopunks-debut-artist-residency-program-with-nina-chanel-abney/ NYTimes https://www.nytimes.com/2024/02/18/arts/design/abney-bey-fordjour-simmons-harlem-renaissance-met.html The Cut https://www.thecut.com/2023/11/where-nina-chanel-abney-gets-her-custom-hats.html Surface Magazine https://www.surfacemag.com/articles/scad-museum-of-art-life-affirming-power-of-personhood-fall-2023-exhibitions/ Juxtapose https://www.juxtapoz.com/news/in-session/big-butch-energy-synergy-a-conversation-with-nina-chanel-abney/ W Magazine https://www.wmagazine.com/culture/nina-chanel-abney-exhibition-big-butch-energy-artist-interview Hyperallergic https://hyperallergic.com/767955/nina-chanel-abney-jacolby-satterwhite-david-geffen-hall-lincoln-center/

What you'll learn in this episode: How Terhi's work changed as she moved from Finland to Amsterdam to France How the weather influenced Terhi's recent exhibition at Ornamentum Gallery How jewelry can help us explore the relationship between man and nature Why Terhi creates her work on a mannequin, and how she lets materials tell her what they want to be Why love is the most important thing an artist can put in their work   About Terhi Tolvanen Currently based in the French countryside, Terhi Tolvanen was born in Helsinki, Finland (1968).  Following studies at the Lahti Design Institute, Finland, and the Gerrit Rietveld Academy, NL, Tolvanen earned a Master's Degree in Jewelry at the Sandberg Institute, Amsterdam, NL. Tolvanen's works can be found in numerous distinguished private and public collections worldwide, including the Swiss National Museum, the Victoria & Albert Museum (London, UK) the Dallas Museum of Art (TX- USA) among others. Photos available on TheJewelryJourney.com: Additional Resources Website Instagram   Transcript: Terhi Tolvanen's jewelry isn't made of gold or diamonds, but in its own way, it's just as precious. The Finnish jeweler uses natural materials like wood, raw minerals and shells to create jewelry that not only looks beautiful, but challenges viewers to reflect on the world around them. She joined the Jewelry Journey Podcast to talk about how her daily walks shape her work; how living in Amsterdam and rural France have changed her jewelry over the years; and her advice for emerging artists. Read the episode transcript here. Welcome to the Jewelry Journey, exploring the hidden world of art around you. Because every piece of art has a story, and jewelry is no exception. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please head to TheJewelryJourney.com. We're so glad you're here today. I'd never heard of our guest, Terhi Tolvanen, before. I don't know how I missed her jewelry because I like large, statement-type pieces, and that's what many of Terhi's pieces are. I was really taken with them. Welcome back. So, it's finding things in nature that you put together in what you call a sculpture. Terhi: Yeah, sculpture, jewelry. I do really make jewelry, but it's also all these wonderful materials that I manage to find. I'm also talking about, for example, light and movement. How do the trees, for example, move in the wind? This can be a big inspiration. Or an early summer rain, which gives a certain kind of light and color to things. I also have very many pieces where I'm talking about the metamorphosis of a flower, opening and being in full flower and then in the end fading away. The circle of life. I'm very fond of moss also, which I find very beautiful. It also talks about time because moss is growing very slowly, and it takes over places that have not been really taken care of. What is taken care of? There are cultures, like in Japan, where they think moss is very important and beautiful. They pour sour milk over stone so that moss would grow better. Whereas in Europe the moss is taken away. They have pieces where, for example, it's a moss collection. I made my own moss, or I make my own mushrooms, which are also very fascinating. Sharon: So, nature is where you get most of your inspiration from. From the things around you that other people might overlook? Terhi: Yes, it's that. Yes, I think so. The starting point is a little bit in this experience that I had when I moved to Amsterdam. In Finland, it's so normal for everybody to have nature around, and it's so very normal to go to the forest and to be able to pick berries and mushrooms and walk around. When I moved to Amsterdam, I realized that this is not at all the case over there. Everything is planted. Nothing is wild. Even the forest is planted, and you should not touch anything. So, the nature experience is totally, totally different. This was not really shocking to me, but I found it very interesting at the time. I think it's really a human need to be in touch with nature, and in a city situation, it starts on the balconies. The very first pieces I made after school were about flowerpots and balconies where people are creating their own nature spaces in a mini way. I found that very interesting. When one has a little bit more space, this becomes a garden, and there are all different kinds of gardens, very well taken care of or very wild gardens. I'm also very fond of all different garden wood. The best material for me is, for example, this curly hazelnut that has been pruned for many years, which makes it curl even more. This human interaction has been there already long before I get to this material in my hands. There are all kinds of fascinating situations with these thoughts. Sharon: Are people surprised when they look at your work, like, “What is this? This isn't jewelry. There's no diamonds or gold.” What is their reaction? Terhi: Yeah, sometimes. I don't have so many new people around that I get to hear this kind of remark. But yeah, sometimes it happens like, “Really? It's very big and it must be very heavy.” They find it very strange that branches can make a necklace. I have the feeling that the big question is “But where is the value?” It's easier to see the value when it's precious metal and shiny stones. Sharon: How do you introduce yourself to people who don't know you? If people ask what you do, what do you tell them? Terhi: I say I'm a jewelry artist, and then I have to explain. I say I'm a jewelry artist making contemporary jewelry because there are so many different types of jewelry. I have to explain that I'm selling my work through galleries and that there are collectors and museums buying, like it was any other art discipline like painting or sculpture. This explains the best, I think, the way I do work.  Otherwise, a remark I get very often is, “The Christmas market is very nice in that little town. Maybe this would be interesting for you.” Then I have to explain that I don't make pieces in series. My pieces are always unique pieces. I make some variations, but I never really copy a piece. There are some exceptions to the rule, but I haven't done it many times. Sharon: You're in many prestigious museums around the world. That must give you a lot of credibility when you're talking to people. Terhi: Yes, of course. This is really fantastic, that my work is valued. It's very good for motivation, and, of course, it gives status. It's fantastic to be appreciated in my work. It's quite important. I would say it's very important for me, yes. Sharon: It keeps you going. The first time a museum wanted to collect your work, did they come to you? Did they see it at a show? What happened? Terhi: The museums and collectors are buying from the galleries, so I am not in direct contact with them. With the years, I have gotten to meet some of my collectors. I have quite a few in the U.S., and this is very far away. So, there are some I have never met in person. I would say I've met more in Europe at the openings. It's very nice and important to be there for my own openings and especially to meet people. Sharon: Were you excited or inspired when you heard the museum bought your first piece or your second piece? Did it keep you going? Terhi: Yes, absolutely. Yes. I have quite a good list now. I have a couple of museums I would like to have my pieces also, so I still have work to do. Sharon: You mentioned that you're very busy in the studio right now. What are you working on? Terhi: Yes, I'm always very busy. The whole year is a rhythm with solo exhibitions. For quite some years now, there's a solo exhibition in one of my galleries every year. Then I have galleries that go regularly to fairs, and I try to have some new pieces for them. Right now, I'm finishing pieces for the Pearl Exhibition at Noel Guyomarc'h in Montreal. The Pearl Exhibition is touring now in several galleries, and then each gallery is asking other artists to participate. Noel asked me, among others. Then I'm also preparing some pieces for an art fair in Amsterdam. I'm also almost done with a customer order from Ornamentum Gallery. Sharon: Would you say the market for jewelry is growing in France, or is it remaining stable? Terhi: Well, it's quite stable, I would say, for quite some time now, which means in practice that I can't really work with any new galleries on a steady basis. I do participate in group exhibitions, of course, but I have four galleries now that I work with, and they wait all the time for new pieces. So, I'm full in work all the time. Sharon: That's a nice position to be in. At what point do the stones talk to you to say, “I'm going to be a necklace,” or I should be a ring or a bracelet”? Terhi: Yeah, absolutely the materials talk to me. I'm a very materialistic maker in that sense. The materials are extremely important for me. This was already the case from the beginning. I'm only getting better in it, I think, and a little bit quicker. The way it goes is that I often let the wood—the branches that have certain shapes, I let them decide what shape the necklace would be. They tell me how they would be. There is a way in this puzzle work that when they are arranged in the best way, they also talk about movement or waves or so on. The same thing with stones. For example, when I have a mineral, I carefully choose which side of this mineral I show, which is the front side, because there are differences. The back side is maybe not so nice. The color is maybe better from a certain angle. A lot also decides where I need to place the stones. For example, labradorite is very dependent on the light falling on the stone. When it is looked at from a certain direction, it gives this very strong blue and green light in the stone. This is why I turn them around. Because jewelry pieces are three dimensional when they're worn, I'm making my pieces on the mannequin. When I'm moving around my mannequin, I'm taking care that the stones are having light from all sides of the piece. It cannot be only from the front because a jewelry piece is never looked at only from the front. I let the material decide a lot. With time I have learned to see. I'm really looking for certain qualities in the material. There are certain stones that absolutely need to be a ring because the stone is the most beautiful or spectacular or gives its best when it's placed on the hand, where one can look at it and turn it around a little bit. Sharon: Now, you've been doing this for about 20 years at least. What would you say to people who are just starting out? What would you tell emerging artists? Terhi: I would tell them that when making, they have to give all the love they have to their work. This means that one needs to try to do his or her best every time because one cannot cheat on that. When you put all your soul and all the love you have into your piece, then it becomes a good piece. Love means it's a good work because all artists are responsible for the quality of their work. In today's world, where there are so many objects, so many things that we don't need, what justifies the fact that art needs to exist? We have to do our best to make only really good pieces. This is possible when you give a lot of love. How do I know if my piece is ready and good? I, myself, find the piece really having a presence. Sharon: So, that's what emerging artists or all artists should work towards. Terhi: Yes, I think this is very important. With time, when they manage to concentrate on this question, at the same time, the technical skills and everything around it will develop as well. Sharon: Well, thank you very much for talking with us today, Terhi. I hope we have a chance to do it again in the future. Terhi: Thank you so much, Sharon, for having me. It was great. Sharon: We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out. Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.

Lauren Quin draws from a pool of the unformed and the entropic to render shapes caught in a process of emergence or recession. Parts grow out of other parts. And like bacteria, material starts to infect and invade. Her mark-making implies a passage between dimensions that generate sensuality and movement. Quin holds an MFA from the Yale School of Art, and a BFA from the School of the Art Institute of Chicago. Her work has been the subject of several solo exhibitions including her first US museum show, My Hellmouth, at the Nerman Museum of Art in 2023. Her work is held in numerous public collections including the Columbus Museum of Art, Dallas Museum of Art, High Museum of Art, ICA Miami, Museum of contemporary art, Los Angeles, Museum of Fine Arts Boston, Nerman Museum of Art; Pérez Art Museum, Phoenix Art Museum, Walker Art Center, and the Hirschorn Museum. Lauren opens her first solo show in New York on May 3rd at 125 Newbury.

What you'll learn in this episode: How Terhi's work changed as she moved from Finland to Amsterdam to France How the weather influenced Terhi's recent exhibition at Ornamentum Gallery How jewelry can help us explore the relationship between man and nature Why Terhi creates her work on a mannequin, and how she lets materials tell her what they want to be Why love is the most important thing an artist can put in their work   About Terhi Tolvanen Currently based in the French countryside, Terhi Tolvanen was born in Helsinki, Finland (1968).  Following studies at the Lahti Design Institute, Finland, and the Gerrit Rietveld Academy, NL, Tolvanen earned a Master's Degree in Jewelry at the Sandberg Institute, Amsterdam, NL. Tolvanen's works can be found in numerous distinguished private and public collections worldwide, including the Swiss National Museum, the Victoria & Albert Museum (London, UK) the Dallas Museum of Art (TX- USA) among others. Photos available on TheJewelryJourney.com: Additional Resources Website Instagram   Transcript: Terhi Tolvanen's jewelry isn't made of gold or diamonds, but in its own way, it's just as precious. The Finnish jeweler uses natural materials like wood, raw minerals and shells to create jewelry that not only looks beautiful, but challenges viewers to reflect on the world around them. She joined the Jewelry Journey Podcast to talk about how her daily walks shape her work; how living in Amsterdam and rural France have changed her jewelry over the years; and her advice for emerging artists. Read the episode transcript here. Welcome to the Jewelry Journey, exploring the hidden world of art around you. Because every piece of art has a story, and jewelry is no exception. 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. We're so glad you're here today. I'd never heard of our guest, Terhi Tolvanen, before. I'll let her pronounce the name in Finnish. I don't know how I missed her jewelry because I like large, statement-type pieces, and that's what many of Terhi's pieces are. I was really taken with them. She uses a lot of materials found in nature, integrated with stones that we might see in other jewelry. Her work can be found in many prestigious museums around the world. She herself has studied in several countries, growing and perfecting her work. Today, we will learn a lot about Terhi and the inspiration and ideas you will find all around her. Welcome to the podcast, Terhi. Terhi: Thank you so much, Sharon, for inviting me. It's great to be talking with you. Sharon: I'm so glad that we have the chance to talk. Can you tell us why you moved from Finland to Amsterdam to France? Can you tell us how the materials varied in each area? Terhi: I moved away from Finland. Originally, I was supposed to be going away for only one year, but after technical school, I was missing quite a lot to learn more about the reasons why to make things. At the time in Finland, there was no possibility to continue. That's why I started looking elsewhere. I ended up then studying in Rietveld Academy in Amsterdam, in the Netherlands, and I totally fell in love with the school. The one year I was supposed to stay became six years. After four years, I also did a master course over there, and after school I stayed because it was great. I fell in love with jewelry. There were galleries, there were events, there were colleagues, there were things happening. During the school years, I made a lot of friends, and I found a place to stay and all that. Now for about 10 years, I've been in France. I moved to France because of love. I fell in love. Sharon: Love, okay. And did you find materials different in each area? Terhi: The materials, yeah, of course. Moving to France has changed the accessibility to my materials totally, because I moved to the countryside from the city. This meant that I was able to use more and more branches that I could collect and find a little bit everywhere. And I've continued what I started doing already in the Netherlands for finding all my minerals and stones. I would go to mineral fairs. Now that I'm in France, I go to Paris. Sharon: Are there are a lot of materials in Paris? Do you find things to work with? Terhi: There is a quite good mineral fair once a year, in the beginning of December. I almost always have to wait one year if I want to have something or find the same thing again or find new material. When I do that, I have to count that I have enough for working for one year. I buy a lot and I don't always use everything. Sometimes it can even take up to five years before I really know what I want to do with certain minerals, but this is always very exciting for me. I'm a very big fan of minerals and stones in any shape and color and format. I have used a lot of rough minerals that I would cut just a little bit so that the dimensions would fit on a piece. For about three or four years, I've also been buying some cut stones. When I still lived in Amsterdam, I used to work with a stone cutter who would cut stones especially for me, and that was a very good cooperation. Since then, he has stopped working a little bit in that way. But he would save me things the normal goldsmiths wouldn't want to buy. He learned very quickly that was interesting for me. Mainly it was things that were a little bit different, a little bit less perfect than a traditional goldsmith would want to use. Sharon: How long have you been a maker? Did you choose it later or did you choose it when you were young? Terhi: I have been a maker since my graduation from the Sandberg Instituut. The master course in Amsterdam is called Sandberg Instituut. I graduated from there in 1999, and I had my first solo show in 2000. Of course, it took a little time to get going. But now it's 24 years ago. It's long. Sharon: And you knew when you graduated that you wanted to be a maker or a jeweler. That's what you wanted to do professionally. Terhi: Yes. I was asking this question a lot while studying. When I started studying in Amsterdam, I was absolutely convinced that I don't want to be an artist and I don't want to make jewelry. But I thought, “Never mind. I will be able to learn a lot of important things anyway at school.” This meant that during a lot of school years, I was trying all kinds of different things. I was drawing a lot, I was making objects, I was working a lot with textiles, sort of half- clothes, half-sculpture pieces. And then at one moment towards the end of the master course, when it really became a reality that soon I will have to get out of the school and go into the real world, I really decided, “Okay, I will make jewelry,” because my conclusion, after all these school years, was that that's the thing I can do the best. So, I really chose it. Also, because of the situation at the time in the Netherlands, it was possible to ask for working grants for jewelry arts. I had some very good school friends that were very much encouraging me to take the jewelry direction. So, yes, it was a very conscious decision at the time, and I have not regretted it. Sharon: It was long periods when you were in a country. You said you were in Amsterdam for six years. Did you teach? I don't know, maybe I have that wrong. Terhi: No, not there. I was there for school for six years altogether. Also, I stayed for the reason that it was cheaper to work at school than rent a studio. When I graduated from the Instituut, I stayed in Amsterdam because it was, work wise, very exciting to stay there. I had a job on the site. Then later I got a working grant. I had a nice studio, so I stayed in Amsterdam until 2013 when I moved to France. Sharon: I have to ask if you knew the languages before you came to each country. Well, English in Amsterdam works. What languages do you speak? Terhi: I'm multilingual. in Amsterdam I decided that I would like to learn Dutch because I thought it is very important for the quality of life. I managed to learn Dutch, so I speak Dutch quite fluently. At school it was a lot in English, of course. I speak Finnish, Dutch, English, and now in France, people don't speak so much English, so I really had to learn French. I had already studied French during all my school time in Finland, so I had a base for that, but I couldn't speak it so well. Now, of course, with all the years, I have learned to speak French. I'm teaching now in France at ENSAD Limoges, the École Nationale Supérieure d'Art et de Design, which is one of the national art schools. I'm teaching in French. Sharon: As you learned each language, did your works change? Did it make it easier to work or harder? Did you see a change in your work? Terhi: Well, living abroad, it's often lost in translation, of course. To know a language very well, you need to also understand the mentality and the culture of each country. I don't know if it's so much the language that's influencing the work. It's more the physical fact being in a certain place with certain surroundings. Of course, for me nature is very important. It's a richness, the language is. Definitely, yes. Sharon: Your most recent exhibition, I don't know if you had another one since then, but last summer you were at Ornamentum Gallery. Your work was shown at Ornamentum Gallery, which is in Massachusetts, I think. Terhi: It's in Hudson, New York. Sharon: Okay. I couldn't remember. Hudson, New York. The exhibit was called Moderate to Southwest Winds. What does that mean in jewelry? What did you think it meant? Terhi: I chose the title. It's a weather forecast. It's taken out of a weather forecast. I chose that because while working for that show, I realized that what is really making the rhythm of my work and my thinking is the weather. I go out every morning for a walk, and this is a very important moment for me depending on the face in the work. Either I try to just empty my mind and observe things in nature. I look at colors and light and shapes and textures. Or, when I'm a little bit further in the work, then the moment of walking is very nice for finding solutions, so I'm working in my head. And, of course, what is then very important is the weather. If it's nice weather, if the sun is shining, if it's raining, if it's the spring or the winter. In wintertime, there is not so much light, so I have to wait for the light to be able to go out. This is totally deciding the rhythm of my day. As I also wrote at the time for the text of the exhibition, all my life I've been following the weather forecast. I check every morning what kind of weather it's going to be. I plan my day. If it's raining in the morning, I will go and do my walk in the afternoon and so on. This is something that I learned from my grandfather in Finland who had a little summer cottage on a little island. It's important to know what kind of weather it is, if it was safe to take the boat to the mainland or not. This is a kind of habit. It's sort of a daily ritual for me. I was also thinking that as the weather is the factor that is so important, I can also say that what was a little bit different for this exhibition was that the theme was a little bit more general. I let myself have the freedom of not deciding so tightly the theme that I'm working on. During COVID, I had put aside all kinds of different plans, all kinds of pieces that I wanted to make but I was not able to make at the time. I also had some materials that they had put on the site especially for the show at Ornamentum. I decided to make the show in that way, that I will make all these pieces that were waiting to be made. I found that, like the weather, the circumstances of the situation led to that conclusion somewhat and what I could say. Sharon: How did COVID affect you and your work? Terhi: I found it a very, very difficult time. I didn't stop working totally, but I was not able to really make my big pieces. It was quite military like, I would say. How to explain? The French system was very strict. To go out, you had to sign a paper and you had to tell what you were going to do, and you had one hour to do that. If you would not be back at home on time, then you would get fined. There was a very efficient fear campaign on television and so on. It felt very uncertain, and I'm sure this was the case for everybody. It took away a lot of the safe feeling which is necessary to be able to really dive into a big work. In a way, the time was cut in small moments when it was possible to create. Ever since I started working, I think the COVID year was really the first year that I didn't have so much production. Sharon: Were you allowed to go out to your studio? Is your studio in your home or is it separate? Terhi: At the time, I had a studio in a little town close to home. When they announced that the lockdown is going to come, I moved the most important things from my studio to my home so then I didn't have to go. This would have been possible. I could have signed the paper and said, “I'm going to my work,” but I felt better working at home. Also, being in the countryside, it was more free to go out. It was an isolated house at the time. I have moved since, but it was much easier to be there than in a city situation. I'm glad I did it. I moved my goldsmithing bench and my main tools and my main materials. Sharon: You moved them home? Terhi: Yeah, I had a little room at home to be able to work. Sharon: What did you want them to learn from the exhibition? Let's say your show at Ornamentum was the first time they were seeing your work or contemporary jewelry. What did you want them to learn by looking at it? Terhi: I'm very concerned about wearability in my work. This gives the scale. For somebody who is not so acquainted with contemporary jewelry, a lot of times people find it very big. I like to say that my work is sculpture. Then one could say that it's wearable sculpture. I'm also, first of all, talking about nature since the beginning. I'm working on the same theme in a way for about 20 years. I never changed because there are always new things. What I want to really put in the front—this is a little bit of a French saying, sorry—is that nature is very precious, and there are a lot of very beautiful things to see. How to put it very simply? I just want to show that it's very special. There are a lot of little things you can see when one walks in the forest. It's worthwhile to really look. This sounds a little bit like no explanation because there are so many factors. But I'm talking about a dialog between man and nature. I'm talking about respect towards nature. I'm talking about this kind of eagerness to control nature, and the nature is fighting back so this dialog is never ending. Of course, today this is a topic that is more actual than ever. There are so many wonderful things. It's amazing, I think. I mean, just the mineral world. It's amazing what nature can make. Sharon: We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out. Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.    

In this inspiring episode of Shark Theory, Baylor Barbee tackles the notion that curiosity may actually be the key to continuous growth and the pursuit of dreams. The captivating discussion revolves around how individuals often forsake their innate curiosity, settling into routines and accepting life as is without challenging the status quo. Barbee insists that this lack of curiosity is what truly hampers our growth and potential. As Barbee meanders through various topics, including his visit to the Dallas Museum of Art and reflections on influential figures like Pablo Picasso, he underscores the importance of seeking knowledge and remaining inquisitive. He emphasizes the need to document one's experiences and emotions, arguing that understanding our reactions to life can drive personal development. Barbee's explorative narrative is intertwined with the vital message that continuous learning is pivotal for success and longevity. The episode's heart rests on the belief that embracing curiosity can prime our minds for opportunity and growth, a concept applicable in all spheres of life. Barbee's engaging storytelling and unique insights provide listeners with a thought-provoking blueprint for self-discovery and evolution. Key Takeaways: Curiosity is essential for growth; rather than causing harm, it enriches our lives and expands our horizons. Taking notes is encouraged over taking photos, as it's more about capturing the emotions than the visuals. Being present and seeking out growth opportunities, even in routines, can lead to unexpected and transformative discoveries. Continuous learning, as exemplified by highly successful individuals, is key to avoiding stagnation and encouraging progress. Self-exploration through curiosity can provide new perspectives on life's challenges and lead to greater self-knowledge and success. Notable Quotes: "Lack of curiosity kills growth. Lack of curiosity kills dreams." "It's the emotion that you remember far more than the view of what it is." "We get in our routines, and [...] we accept the way that things are and never challenge the status quo anymore." "If you can train your mind to start looking again, to start being curious again, to start learning again, we find ways to grow." "Pablo Picasso, on his deathbed, after committing his entire life to his craft, said, 'I'm just now learning the building blocks of my profession.'"

Richard Serra, one of the greatest artists of the past 50 years, a linchpin of the post-minimalist scene in late 1960s and early 1970s New York and later the creator of vast steel ellipses and spirals, died on Tuesday 26 March. We mark the passing of this titan of sculpture with Donna De Salvo, the senior adjunct curator of special projects at the Dia Foundation, whose Dia Beacon space has several major works by Serra on permanent view. There are a host of exhibitions focusing on expressionist art in the US and Europe in 2024 and in this episode we focus on two of them. The first ever Käthe Kollwitz retrospective in New York is taking place at the Museum of Modern Art or MoMA, while other shows dedicated to her are taking place in Frankfurt and Stockholm. We speak to Starr Figura, the curator of MoMA's show, which opens this weekend, about Kollwitz's extraordinary work and life. Then, we talk to Natalia Sidlina, the curator of Expressionists: Kandinsky, Münter and the Blue Rider, a major survey opening at Tate Modern next month of the German Expressionist group, which looks anew at the deep friendships that formed the basis of the group, their international outlook and their multidisciplinary output.Richard Serra's work is on long-term view across five galleries at Dia Beacon, New York, US.Käthe Kollwitz, Museum of Modern Art, New York, 31 March-20 July; Städel Museum, Frankfurt, until 9 June; SMK – National Gallery of Denmark, Copenhagen, 7 November-25 February 2025.Expressionists: Kandinsky, Münter and the Blue Rider, Tate Modern, London, 25 April-20 October 2024; Gabriele Münter: the Great Expressionist Woman Painter, Thyssen Bornemisza, Madrid, 12 November-9 February 2025.Further expressionist exhibitions in 2024: The Anxious Eye: German Expressionism and Its Legacy, National Gallery of Art, Washington DC, until 27 May; Munch to Kirchner: The Heins Collection of Modern and Expressionist Art, Dallas Museum of Art, Texas, US, until 5 January 2025; Munch and Kirchner: Anxiety and Expression, Yale University Art Gallery, New Haven, Connecticut, US, until 23 June; Erich Heckel, Museum of Fine Arts Ghent, Belgium, 12 October-25 January 2025. Hosted on Acast. See acast.com/privacy for more information.

In this episode of PhotoWork with Sasha Wolf, Sasha and photographer, Kelli Connell discuss her brand new book, Pictures for Charis, published by Aperture. Kelli talks about her fascination with and subsequent extensive research on Charis Wilson and the eleven year relationship she had with legendary photographer Edward Weston, and how what she learned guided her own exploration of portrait-making and landscape work while collaborating with her wife of fourteen years, Betsy Odom. Sasha and Kelli also discuss Kelli's renowned series, Double Life, which also explores the relationship between photographer and model as well as gender and identity. https://www.kelliconnell.com https://aperture.org/books/kelli-connell-pictures-for-charis/ http://www.decodebooks.com/connell.html Kelli Connell is an artist whose work investigates sexuality, gender, identity and photographer / sitter relationships. Her work is in the collections of the Metropolitan Museum of Art, Los Angeles County Museum of Art, J Paul Getty Museum, Philadelphia Museum of Art, Columbus Museum of Art, Museum of Fine Arts Houston, Dallas Museum of Art, Milwaukee Art Museum, and the Museum of Contemporary Photography, among others. Publications of her work include Kelli Connell: Pictures for Charis (Aperture, March 2024), PhotoWork: Forty Photographers on Process and Practice (Aperture), Photo Art: The New World of Photography (Aperture), and the monograph Kelli Connell: Double Life (DECODE Books). Connell has received fellowships and residencies from The Guggenheim Foundation, MacDowell, PLAYA, Peaked Hill Trust, LATITUDE, Light Work, and The Center for Creative Photography. Connell is an editor at SKYLARK Editions and a professor at Columbia College Chicago. This podcast is sponsored by picturehouse + thesmalldarkroom. https://phtsdr.com

Episode No. 635 of The Modern Art Notes Podcast features artist Leslie Martinez and curator Anthony Graham. MoMA PS1 in Queens is presenting "Leslie Martinez: The Fault of Formation," through April 8. The exhibition features paintings built with paint, folds, pools, and collaged materials such as rags and dried acrylics. Martinez's way of making paintings both mines the history of abstraction, but also a no-waste approach informed by methodologies of rasquachismo, a term coined by scholar Tomás Ybarra-Fausto to describe a Chicano "attitude rooted in resourcefulness yet mindful of stance and style." The show was curated by Elena Ketelsen González. Martinez was previously featured in a solo show at the Blaffer Art Museum, University of Houston. Their work is in the collection of museums such as the Dallas Museum of Art, the Pérez Art Museum Miami, and the High Museum of Art, Atlanta. The Speed Art Museum in Louisville is showing Martinez's work in "Current Speed: Angel Otero/Leslie Martinez" through March 24. The exhibition features works by the two artists that are new to the Speed's collection. The presentation was organized by Tyler Blackwell. On the second segment, a re-presentation of curator Anthony Graham on the Alexis Smith retrospective he organized at the Museum of Contemporary Art San Diego in 2022. Smith died earlier this week. She was 74. For images, see Episode No. 568.

On Season 4, Episode 7, Emily sits down with artist Jenna Gribbon, in her studio in Brooklyn, NY.  Brooklyn-based painter Jenna Gribbon's figurative canvases present tender, uncanny scenes of everyday life while challenging the art historical conventions of the gaze. Gribbon reckons with the patrilineage of her medium, upending the tropes—such as the artist-muse relationship—and the established approaches that she inherited. She reconceives the act of looking as a reciprocal one, marked by empathy and mutual gratification. Utilizing the alla prima technique with a precise and animated hand, she offers unguarded glimpses into her life with her wife, the musician Mackenzie Scott, as well as her young son and circle of friends. She often depicts moments that push the limits of public and private, agency and consent, and exhibition and exploitation. Painting with an acute awareness of the viewer, Gribbon plays with the voyeuristic impulse while bringing visibility to expressions of sapphic love.  Born in 1978 in Knoxville, Tennessee, Gribbon studied painting at the University of Georgia (2001) and received her MFA from Hunter College (2019). In 2011, in Long Island City, Gribbon co-founded the Oracle Club, a literary salon and creative space. Gribbon's work has been presented in exhibitions at the Frick Museum, New York; Museum of Modern Art, Warsaw; Museum of Contemporary Art, Jacksonville, Florida; Kurpfälzisches Museum, Heidelberg, Germany; Kunsthalle der Hypo-Kulturstiftung, Munich; Modern Art Museum of Fort Worth; Georgia Museum of Contemporary Art, Atlanta; and the Finnish Academy of Fine Arts, Helsinki, among many others. Her paintings reside in the collections of X Museum, Beijing; Dallas Museum of Art; Rubell Family Collection, Miami; Brant Foundation, New York; and FLAG Art Foundation, New York.  theartcareer.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Jenna Gribbon: @jennabribbon Follow us: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@theartcareer⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Podcast host: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@emilymcelwreath_art⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Editing: ⁠⁠⁠⁠⁠⁠⁠⁠@benjamin.galloway⁠

Ep.177 features gallerist Kendra Jayne Patrick. Her art gallery operates between Switzerland and the USA. Its programming is focused on the twenty-first century avant-garde, specializing in sculpture, painting, digital, and photography from a post-conceptual and post-internet posture. The program operates from a brick-and-mortar location in Bern, Switzerland and then spare spaces within established New York art galleries; art fairs; and unusual exhibition sites. Adventure, scholarship, and the pleasure of looking govern the gallery's programming and ethos, and all are reflected in its fluid exhibition model. Kendra Jayne Patrick artists and exhibitions have been featured in The New York Times, Vice's GARAGE magazine, Artsy, Vulture, Artnet, ARTnews, Barron's, the San Francisco Chronicle, and DAZED Magazine, Art in America, Cultured, The Guardian, Gallery Talk magazine, PHILE Magazine, Document Journal, Office Magazine, The Art Newspaper, and The New Yorker. Kendra Jayne Patrick artists are represented in collections at the Metropolitan Museum of Art, New York, NY; The Museum of Fine Arts Houston, Houston, TX; The Studio Museum in Harlem, New York, NY; The Dallas Museum of Art, The National Museum of African American History and Culture, Washington, DC. Photo credit: Ernst Fischer Kendra Jayne Patrick https://gallerykendrajaynepatrick.com/ Art Basel https://www.artbasel.com/catalog/gallery/30253/Kendra-Jayne-Patrick https://www.artbasel.com/stories/lambdalambdalambda-kendra-jayne-patrick-hua-international-young-galleries?lang=en NY Times https://www.nytimes.com/2021/12/04/arts/design/art-basel-miami-diversity.html https://www.nytimes.com/2023/09/27/t-magazine/starting-galleries-art-dealers.html Cultured Magazine https://www.culturedmag.com/article/2023/06/12/art-basel-dealers-debut Art Forum https://www.artforum.com/news/art-basel-miami-beach-reveals-2023-exhibitors-list-252980/ Art Newspaper https://www.theartnewspaper.com/2023/02/23/galleries-making-their-art-basel-debuts-this-yearand-what-theyre-bringing Art Dependence Magazine https://artdependence.com/articles/what-to-expect-at-art-basels-2023-edition-in-switzerland/ Artnet https://news.artnet.com/news-pro/where-art-basel-headed-recession-2318140 EXPO Chicago https://www.expochicago.com/exhibitors/exposure/2023-exposure Yard Concept https://www.yard-concept.com/journal/kendra-jayne-patrick Vice https://garage.vice.com/en_us/article/4ad37p/kendra-jayne-patricks-seating-chart-for-a-fall-dinner-party-in-a-pandemic Halsey McKay https://www.halseymckay.com/kendra-jayne-patrick-presents-david-jeremiah-play-press-release Gallery Girls https://gallerygurls.net/art-convos/2021/7/18/art-convo-with-kendra-jayne-patrick NADA https://www.newartdealers.org/programs/nada-miami-2020/presentations/75 Ada Friedman https://www.adafriedmanstudio.com/recent-exhibitions/kendra-jayne-patrick--fall-2022 LinkedIn https://www.linkedin.com/in/kendra-jayne-patrick-247001180/ Glasstire https://glasstire.com/2023/07/27/top-five-july-27-2023/

Uncover the extraordinary abilities of Philip Smith's father, a spiritual healer, as he navigates the mysteries of healing methods taught by spirits, controls weather, and influences governments, revealing the fascinating and paradoxical world of spiritual healing and communication. In a time when Miami was a small town in the deep south, Lew Smith was finding success as a gifted interior designer when he discovered an extraordinary gift that would change his life forever. His son Philip recounted the captivating tale in his memoir, Walking Through Walls. Healing the sick, communing with the dead, performing psychic MRI's and exorcisms, Philip's father's was a big soul who had an extraordinary journey into spiritual healing. Lew's miraculous gift life and countless lives around him. In this episode, you will be able to: Explore the transformative power of spiritual healing and communication, and unlock a deeper understanding of your own inner wisdom and intuition. Expand your consciousness and discover new realms of awareness, tapping into a higher level of understanding and connection with the world around you. Connect with your higher beings and receive guidance from the sacred energies that are always supporting and guiding you on your spiritual journey. Learn how to protect and cleanse your energy, ensuring spiritual hygiene and freeing yourself from the influence of energy parasites that drain your vitality. Raise your vibration and elevate your frequency, opening yourself up to greater abundance, joy, and harmony in all areas of your life. Philip Smith is not your average artist. His works grace the walls of esteemed institutions like the Whitney Museum of Art, the Dallas Museum of Art, and the Detroit Institute of Art, solidifying his talent and artistic brilliance. But there's more to Philip than just his artistic endeavors. He is also the author of the mesmerizing memoir, "Walking Through Walls," a book that delves into his extraordinary life with his decorator father. In this captivating memoir, Philip shares the incredible story of his father's ability to communicate with the dead and heal the sick. With his profound insights into spiritual healing and communication, Philip brings a unique perspective to Meditation Conversation. Prepare to be captivated and inspired as Philip takes us on a journey through the realms of spirituality and personal growth. The key moments in this episode are: 00:00:16 - Introduction 00:01:22 - Retreat Announcement 00:02:31 - Audio Issues 00:03:42 - Overview of "Walking Through Walls" 00:07:23 - Father's Spiritual Calling 00:16:39 - The Power of Connection and Openness 00:18:50 - Connecting with Benevolent Beings 00:21:35 - Expanding Consciousness and Connecting 00:25:26 - Receiving Messages and Trusting Intuition 00:33:00 - The Importance of Spiritual Hygiene 00:35:27 - Awakening to the Beauty of Life 00:37:26 - Tracking Vibration and Frequency 00:40:18 - Mindful Speech and Manifestation 00:42:07 - Art as Energetic Expression 00:49:50 - The Work and Creativity Process 00:51:01 - Tapping into Information and Creativity 00:52:52 - Arthur Ford's Communication 00:57:21 - Electronic Disturbances and Communication 00:58:46 - Importance of Inner Work Resources Read Philip Smith's book Walking Through Walls to gain deeper insights and stories not mentioned in the podcast episode. This book is recommended for anyone interested in spiritual development and the healing arts. Seriously, read it - you won't be sorry!  Truvaga helps you say goodbye to stress and hello to inner peace by stimulating your vagus nerve. It only takes 2 minutes morning and night to reclaim your peace of mind! Use code MCPOD for $15 off your order! Join Kara's retreat in Bloomington, Indiana from January 12th to the 14th to expand your consciousness and deepen your connection to your higher self. The retreat will include meditations, workshops, sound experiences, breath work, and more. Visit Karagoodwin.com for more information and use the code earlybird to get $58 off.  Share this podcast episode with anyone in your life who would be interested in the content. Help spread the valuable information and support the growth of light on the planet. Subscribe to the podcast and rate and review it to support the show. These small actions can make a difference in helping the podcast reach more people.

Ep 175~ The paintings of Calida Rawles (b. 1976, Wilmington, DE; lives and works in Los Angeles, CA) merge hyper-realism with poetic abstraction. Situating her subjects in dynamic spaces, her recent work employs water as a vital, organic, multifaceted material, and historically charged space. Ranging from buoyant and ebullient to submerged and mysterious, Black bodies float in exquisitely rendered submarine landscapes of bubbles, ripples, refracted light and expanses of blue. For Rawles, water signifies both physical and spiritual healing as well as historical trauma and racial exclusion. She uses this complicated duality as a means to envision a new space for Black healing, and to reimagine her subjects beyond racialized tropes. Enhancing the seductive nature of water, the work tempers heavier subjects with aquatic serenity and geographic and temporal ambiguities, inviting multiple readings. Embedded in her titles and topographical notations in the compositions, Rawles' canvases represent an expansive vision of strength and tranquility during today's turbulent times, while insisting on the triumph of humanity. Rawles received a B.A. from Spelman College, Atlanta, GA (1998) and an M.A. from New York University, New York, NY (2000). Solo exhibitions of her work have been organized at Lehmann Maupin, New York, NY (2021); Various Small Fires, Los Angeles, CA (2020); and Standard Vision, Los Angeles, CA (2020). Her work has been featured in numerous group exhibitions including Generation*. Jugend trotz(t) Krise, Kunsthalle Bremen, Bremen, Germany (2023); Rose in the Concrete, San Francisco Museum of Modern Art, San Francisco, CA (2023); 12th Berlin Biennale for Contemporary Art, Berlin, Germany (2022); Black American Portraits, Los Angeles County Museum of Art (LACMA), Los Angeles, CA (2021), Spelman College Museum of Fine Art, Atlanta, GA (2023); A Shared Body, FSU Museum of Fine Arts, Tallahassee, FL (2021); View From Here, Los Angeles County Museum of Art (LACMA), Los Angeles, CA (2020); Art Finds a Way, Norton Museum of Art, West Palm Beach, FL (2020); Visions in Light, Windows on the Wallis, Beverly Hills, CA (2020); Presence, Fullerton College Art Gallery, Fullerton, CA (2019); With Liberty and Justice for Some, Walter Maciel Gallery, Los Angeles, CA (2017); Sanctuary City: With Liberty and Justice for Some, San Francisco Arts Commission, San Francisco, CA (2017); LACMA Inglewood + Film Lab, Inglewood, CA (2014); and Living off Experience, Rush Arts Gallery, New York, NY (2002). Rawles created the cover art for Ta-Nehisi Coates's debut novel, “The Water Dancer,” and her work is in numerous public and private collections, including Dallas Museum of Art, Dallas, TX; Los Angeles County Museum of Art (LACMA), Los Angeles, CA; Pérez Art Museum Miami, Miami, FL; Spelman College Museum of Fine Art, Atlanta, GA; and Studio Museum in Harlem, New York, NY. Photo credit: Marten Elder Artist https://www.lehmannmaupin.com/artists/calida-rawles/featured-works Lehmann Maupin https://www.lehmannmaupin.com/exhibitions/calida-rawles2 Various Small Fires https://www.vsf.la/exhibitions/35-calida-rawles-a-dream-for-my-lilith/overview/ Cultured Magazine https://www.culturedmag.com/article/2023/02/08/calida-rawles-painter-spelman-college-black-portraiture-exhibition Gagosian https://gagosian.com/quarterly/contributors/calida-rawles/ NYTimes https://www.nytimes.com/2021/04/09/t-magazine/calida-rawles-portrait.html The Cut https://www.thecut.com/2020/03/the-artist-whose-paintings-have-captivated-ta-nehisi-coates.html The Art Newspaper https://www.theartnewspaper.com/2022/02/19/calida-rawless-mural-makes-waves-at-new-inglewood-stadium This is Colossal https://www.thisiscolossal.com/2023/11/calida-rawles-a-certain-oblivion/ ARTnews https://www.artnews.com/art-news/artists/calida-rawles-water-paintings-lehmann-maupin-1234584059/

Su historia es corta pero intensa, la de una ciudad en perpetuo crecimiento y reinvención. Lejos queda el cliché del petróleo y los cowboys; superada está la imagen que mostraba la teleserie del mismo nombre; curado, el trauma colectivo desencadenado por el asesinato de John F. Kennedy en 1963. Y mientras todo fluye, algo permanece inmutable en el alma de Dallas: su pasión por las artes. Bien lo sabe Janet Kafka, cónsul honoraria de España para todo el norte de Texas. Acostumbrada a recibir visitas, esta antigua alumna de la Complutense nos enseña los rincones más especiales de su ciudad natal. Desde Founder's Plaza caminamos hasta el memorial dedicado a JFK, a una manzana del lugar donde Lee Harvey Oswald acabó con la vida del presidente un 22 de noviembre. En el inmueble desde el que efectuó los disparos abre sus puertas el Sixth Floor Museum, institución que recuerda el magnicidio; la visitamos en compañía de Óscar Vela, de la oficina de turismo de Dallas. Paseamos por el Downtown y nos detenemos en el enorme distrito de las artes, repleto de museos, teatros y auditorios firmados por reconocidos arquitectos como Renzo Piano, I. M. Pei, Norman Foster o Rem Koolhaas. En el veterano Dallas Museum of Art nos atiende su director, Agustín Arteaga. Además contamos con la directora de turismo de Visit Dallas, Liliana Rivera, que nos acompaña hasta Deep Ellum, barrio muy animado y musical en cuya Blues Alley nos espera el muralista urbano Hatziel Flores. Después de echar un vistazo al también bohemio Bishop Arts District ponemos rumbo hacia la Universidad Metodista del Sur, que atesora una de las mejores colecciones de arte español de Estados Unidos en el Meadows Museum. Su directora, Amanda Dotseth, y su responsable de comunicación para España y Latinoamérica, Julián Hernández, nos invitan a recorrer esta peculiar pinacoteca inspirada en El Prado de Madrid. Terminamos viaje en la vecina Fort Worth, donde Estela Martínez, de su departamento de turismo, nos muestra las particularidades de una ciudad que –ésta sí– conserva un auténtico espíritu vaquero, compatible con el amor por el arte que destila su Kimbell Art Museum. Escuchar audio

Episode No. 625B features artists Tammy Nguyen and Jammie Holmes. The Institute of Contemporary Art, Boston is presenting "Tammy Nguyen," an exhibition of Nguyen's new paintings, works on paper, and unique artist books. The interconnected body of work, informed by East Asian landscape painting, addresses the relationship between man and nature and landscape as presented by Ralph Waldo Emerson in his 1836 book Nature. The exhibition, which is on view through January 28, 2024, was organized by Jeffrey De Blois. Nguyen was a recipient of a 2023 Guggenheim fellowship, and has exhibited at museums such as MoMA PS1, the Metropolitan Museum of Art, The Factory Contemporary Arts Center in Ho Chi Minh City, Vietnam, and more. Her work is in the collection of museums such as the Institute of Contemporary Art Miami and the Dallas Museum of Art. This is her first museum solo exhibition. The Modern Art Museum of Fort Worth is presenting "Jammie Holmes: Make the Revolution Irresistible," a survey of approximately 15 paintings Holmes has made since 2019. The exhibition reveals Holmes' interest in Black domestic spaces, particularly as they relate to his hometown of Thibodaux, Louisiana, and the continuing impacts of the Black Panther Party. The exhibition, which was curated by María Elena Ortiz, is on view through November 26. The MAMFW-published catalogue is available from the museum for $65. Instagram: Tammy Nguyen, Jammie Holmes, Tyler Green.

Tammy Nguyen was born and raised in San Francisco, and received a B.F.A. from Cooper Union in 2007, and an M.F.A. from Yale in 2013. Her recent solo exhibitions include the Institute of Contemporary Art, Boston, MA (2023); Lehmann Maupin, Seoul, South Korea  (2023); Brooklyn Public Library, Brooklyn, NY (2022); Nichido Contemporary Art, Tokyo, Japan (2022); François Ghebaly, Los Angeles, CA (2022); Tropical Futures Institute, SEA Focus, Singapore (2022); Smack Mellon, Brooklyn, NY (2021) among others. Tammy has been included in numerous group exhibitions, including Still Present!, 12th Berlin Biennale for Contemporary Art, Berlin, Germany (2022); Past/Present/Future: Expanding Indigenous American, Latinx, Hispanic American, Asian American, and Pacific Islander Perspectives in Thomas J. Watson Library, Thomas J. Watson Library, Metropolitan Museum of Art, New York, NY (2022); Greater New York 2021, MoMA PS1, Long Island City, NY (2021); Nha, The Factory Contemporary Arts Centre, Ho Chi Minh City, Vietnam (2021); Face of the Future, The Rubin Museum, New York, NY (2018); Bronx Calling: The Third AIM Biennial, The Bronx Museum of the Arts, Bronx, NY (2015); and DRAW: Mapping Madness, Inside-Out Museum, Beijing, China (2014). Her artist books are in many notable public collections, including Beinecke Rare Book & Manuscript Library, Yale University, New Haven, CT; The Center for Book Arts, New York, NY; Clark Art Institute Library, Williamstown, MA; Joan Flasch Artists' Book Collection, School of the Art Institute of Chicago, Chicago, IL; Mayer Library, Dallas Museum of Art, Dallas, TX; The Museum of Modern Art Library, New York, NY; New York Public Library, New York, NY; Philadelphia Museum of Art Library, Philadelphia, PA; Thomas J. Watson Library, Metropolitan Museum of Art, New York, NY; Wesleyan University Library, Middletown, CT; and the Whitney Museum of American Art Library, New York, NY.

What you'll learn in this episode:   Why even jewelry novices can learn to make silver jewelry at home with affordable tools How Machi and her co-author Janet turned their in-person jewelry making classes into a book What safety concerns to consider when making DIY jewelry How working with silver compares to working with other metals, and where beginner makers should start What mistakes beginner makers commonly make and how to fix them    About Machi de Waard Machi de Waard is a designer-jeweller and jewellery tutor. Jewellery has been her full-time pursuit since early 2007, and Machi's work has been shown at galleries, fairs and exhibitions. Machi combines her studio practice with teaching, having taught jewellery making for over ten years in various locations throughout the UK. Her interests in modern art, particularly in sculpture and minimalism, influence her work.   Additional Resources: www.machidewaard.co.uk  insta: @machi_jewellery  www.janetrichardson.co.uk  insta: @janrichardsonjewellery Book links: Amazon U K Waterstones Blackwells Search Press Guardian Bookstore Amazon USA Penguin Random House Bol.com in the Netherlands Amazon Germany   Photos Available on TheJewelryJourney,com   Transcript:   sWorking with metal might seem     d and co-author Janet Richardson, “Silver Jewelry Making: A Complete Step-By-Step Course,” includes seven projects that help beginner makers build on their skills and make real jewelry at home with simple tools. Machi joined the Jewelry Journey Podcast to talk about the serendipitous way the book got published; why silver is the best metal for beginners to start with; and which common mistakes DIY makers should watch out for. Read the episode                            internet is maybe not—I'm not going to say incorrect, but not the best advice. c Sometimes it can be a bit confusing. So, it's having all the information in one          place, and because Janet and I both have so much experience teaching, we know everything in here works. Also, sometimes when you're reading things or you see stuff on the internet, it's like, “You must do it this way.” But jewelry making has been around for several millennia, so everything could pretty much be done two or three or even more different ways. We try to emphasize that you could do it this way or you could do it this way, and the important thing is finding the one that works for you.   Sharon: You mentioned that you have a lot of experience teaching. You both have won awards for your jewelry, is that correct?   Machi: Janet has—I just finished an MA at the Royal College of Art in jewelry and metal. I finished two weeks ago. My work was chosen as one of the best of the graduate work this year in the country, which was fantastic. Janet's jewelry has actually been in Vogue Magazine and is part of the collection of the Dallas Museum of Art, I believe.   Sharon: I think it's Houston or one of them in the state. Why did you decide to write the book on silver if you have all this experience in different areas?   Machi: Both of us mainly work in silver, so that's our main metal. We know how to work it really well and we have a lot of experience in it, teaching it as well. I can't remember if I said this already, but Janet has been teaching for over 45 years. I've been teaching for over 15. So, we know what happens in the classroom and when people have problems working with silver. We have a lot of advice.   Sharon: Is silver easier to work than other metals?   Machi: No, it's just different. Every metal has its properties and its own ways of being easier or harder. I would say it's just different. For example, if you know how to work with silver, it's quite easy to then move on to gold, although you will have to adjust certain things. We work a lot with copper and brass as well because those are similar in their working properties, but much cheaper. You can practice things in copper if you wanted to before making it in silver. Each metal has its own pros and cons, and you just have experience with it. The more experience you have, the more different metals you can work with.   Sharon: Why did the two of you decide you had to write a book? Why was it the two of you as opposed to writing on your own or Janet on her own?   Machi: We've known each other a long time now, so we already knew we could work together. Actually, we're good friends, but we also cover each other's classes. Sometimes I can't teach, so she does mine and vice versa. A few years ago—it must have been quite a while ago now—I realized that she had really refined her teaching strategy. She had a really good, 10-week program that had projects that build and build the core skills. At the end of the 10 weeks, the student could move on to their own designs. I thought, “This whole structure is so beautifully done. It works so well. It would be ideal for a book.” So, it was my idea to write a book, but it's her experience and her class structure that we used.   Sharon: Did you have to think about it a while before you actually wrote the book? Did the two of you have to think about it?   Machi: No, we already knew exactly what we wanted to do because our teaching style is very similar. We knew the projects we wanted to include. We knew basically exactly what we wanted to do. So, that was a good thing.   Sharon: Can somebody spend $10 or $20 or $50? How much do they have to spend in order to have the stuff to start making something?   Machi: The way we structured the book, it's sequential. You should start at the first project and then build on that. Each project has a list of tools you need for that project, and then the next one says what more tools you need. A lot of the tools are things you have at home already, like a glass bowl and a marker pen and a piece of paper, that kind of thing.    Then there are a few specialized tools you need to get. At the beginning of the book, we have a large section about all the tools and which ones are worth investing in a higher-quality version, which ones aren't, which ones can be substituted with a regular household item like a teaspoon. It really depends on how much money you want to spend because many of these tools—there's a huge trade in secondhand tools. If you have time, you can shop around and get a good deal.     To answer this question, this morning I had a look at the first project. If you buy everything new, if you don't already have some of the household things like a glass bowl, it's roughly 120 pounds, which is $150, to get all the tools new. That means you could definitely spend less than that. For example, if you've done beading before, you will already have pliers. It's kind of a woolly answer, but it depends on what you already have; it depends on how much time you want to shop around; it depends on whether you go to car boot sales, which are not called that in the U.S. What are they called? Garage sales. If you to garage sales, that's it.   Sharon: I've done only a little bit of silversmithing, but the big thing I remember is the safety and the gases and all of that. How do you deal with that?   Machi: Silversmithing is bigger, so there are more issues, but jewelry making is quite small. Generally, the safety is about protecting your eyes and your hands and feet, so goggles, gloves and closed shoes. Then there's really commonsense stuff, like if you have long hair, you should tie it back. You shouldn't wear dangly scarves or anything that could get caught in the machinery. When you're working that small, there are some precautions, but you don't need any of the fancy equipment. The main thing I would say is you need to have some sort of ventilation. You can't work in a completely closed room with no windows.    Sharon: Why did you decide that you had to write a book like this? What was the catalyst?   Machi: I have a huge collection of jewelry books. It's sort of embarrassing how many I have. I have pretty much all of the ones that have been written. But sometimes the problem is that they would explain a certain skill that I was interested in, and then I sat down to do it and there wasn't quite enough detail to do it. I would sit there and be like—it would say something like, “And now solder,” and I was like, “But how?” and “What do you mean?” and “Which solder?” and “What are the details?” We tried to breach that being extremely detailed and acting like we were there in the room with you saying, “Don't forget to do this. If it doesn't work, try this,” all those little details that make it possible to do it successfully.   Sharon: Can you wear this stuff afterwards?   Machi: Oh yes, absolutely.   Sharon: So, you make earrings or a necklace, something you can wear.   Machi: Yes.   Sharon: What do you do with the things you've made? Do you exhibit them?   Machi: My own work you mean?   Sharon: And Janet's.   Machi: Oh yes, both of us sell. We have work in galleries and craft fairs and exhibitions and a little bit online as well, but mostly we do in-person craft fairs and shows and things where we sell our jewelry.   Sharon: What made you decide you wanted to get a master's in—I don't know what you call it there, but here we call it a master's—in the different kinds of metals?   Machi: Yeah, it is a master's. The Royal College of Art here has an incredible amount of equipment, so it was partially to try new equipment that I wouldn't have any access to normally. Also, their technicians there are phenomenally skilled. It was all the little things that are like, “Yeah, I could do that a bit better.” It was a year to really push my skills to the next level. It was an enormous challenge to spend that much time making something absolutely perfect.   Sharon: What did you learn that you didn't know before?   Machi: I generally make jewelry, so I made some larger pieces. I did something called scoring, which is like origami except with metal. You make a tool which you score the metal with. If you can score paper, you just fold it, but you can't fold metal. You have to make a little groove to fold it. So, I made the tool to make those little grooves, and those little grooves are at exact angles depending on how far you want to bend it up. If you do 45 degrees, then you can bend it so you can get different angles on a larger piece. Essentially it was miniature silversmithing. So, that was interesting.   Sharon: Was that your choice?   Machi: Yes, that was my choice. The other thing I did was learn how to use a hydraulic press and make steel dies to press forms, which was a totally different thing for me. That was really fascinating, to learn how to make tools myself.   Sharon: I would have been afraid of smashing my fingers or something.   Machi: Funny you should say that. I did smash my finger and I ended up in the hospital, but luckily it wasn't too bad. I did not do any lasting damage, but yes, it's definitely possible to hurt your hands. I wouldn't recommend it because it really was not good. I had my finger in a bandage for three weeks. I could have never finished this degree without Janet because she had to be my right hand for a couple of weeks. So, I feel like we both earned this.    Sharon: Did you tell her what to do step by step or did she know what to do?   Machi: She's very experienced, and she helped me with the hydraulic press because I couldn't pull the lever anymore because I had this huge bandage on. So, she was helping me, and she had to saw for me. She knew what to do, but it was definitely a team effort.   Sharon: Did you learn something about safety in doing that?   Machi: Yes, because I hadn't worked that much with steel. When you put steel on a lathe, which is what I was doing, the edges can become ludicrously sharp, like sharper than the sharpest knife. I didn't realize that, and now I will never forget it.   Sharon: So, steel is harder to work with than if you're working with silver.   Machi: Yes.   Sharon: You can cut yourself. Can you do this on your own at home? You say you have a kitchen table or—   Machi: Not working on steel, no. Silver is much softer. You're not going to hurt yourself like that; I mean, thankfully not. I was working with some really big equipment at the college, which you normally would never have any access to. Just working with silver, what we're doing in the book with jewelry, it would take some doing to hurt yourself. We've highlighted all the safety issues at the beginning of the book and also per project. So, you should be totally safe.   Sharon: Aren't there any issues with fumes or anything like that?   Machi: Not for the projects we have in the book. I'm trying to think if there's anything. No, nothing specific that we have in the book. We use Platinol, which is an oxidizing solution which is not dangerous, but it smells terrible. We advise ventilation because it smells like rotting eggs, but if you smell it, it's not going to be dangerous for you in any way. I wouldn't inhale it on purpose because it smells terrible, but it's all right with some basic ventilation.   Sharon: What is it called?   Machi: It's called Platinol. That's a particular brand name, but it's basically a sulfur solution. It's also sold as liver of sulfur. That one is slightly different because you can get different gradations of oxidation with liver sulfur. Platinol, the brand, just gives you that dark gray color that you get with antique-looking jewelry.   Sharon: Can you transfer these skills to other metals?   Machi: Yeah, definitely. It's most transferrable to brass, copper and gold because those behave in a similar way, but each one has their own special thing that is different. Gold obviously has different karats. So, when you're working with silver—and we explain in the book that there are different solders. So, when you move to gold, then you would use gold solders, but with gold solders, you need to match the karat so the color matches. If you're working with 18 karat, you would use 18-karat solder, whereas with silver, you're just going to use silver solder because there are no carats.   Sharon: What attracted you to jewelry, to any kind, initially?   Machi: I have always liked jewelry making. Even when I was really small, I used to make beaded jewelry. I would pick up little things like a little chain and put paper on it, anything to make jewelry. I always found it really fascinating. It's an art form, and it's like miniature sculpture. It's wearable sculpture.    Sharon: Would you say that Janet has the same idea? When you were younger, did you like to work with your hands?   Machi: Yes, my whole family is very artistic. My mom is a painter, and my sister works with quilting and knitting. My grandmother got awards for her—I'm trying to think of the English word where you arrange flowers. I forgot what that's called. But anyway, she got awards for her bouquet making. She also did cross stitch and knitting and tapestry making. My whole family is very artistic, and Janet has been interested in art.   Sharon: Is it necessary to have that kind of interest?   Machi: No, not at all. I see it with my art students. Janet and I over the years have had a lot of students. Some people who come in get into it immediately, and some people have no interest or no background in art in particular. They come in a little bit nervous, like, “I don't have any real artistic skill. Do I need that?” But it's not about sitting there and drawing something. It's about working with the metal and then seeing where it goes for you. The first projects you do are about learning the skills. You don't have to already have an idea or anything. I find that all my students, after a while, think, “Oh yeah, I made this, so now I can make two of those. Oh, what if I combine them?” Then they can start combining things and it just goes from there. So, there's no need to have any kind of previous experience in any other art.    Sharon: Do you ever combine gems with your silver? Not real gems, but any kind of gem?   Machi: Oh, yeah. Janet actually uses more gemstones than I do. She uses quite a bit of—let me think of what she generally uses. Topaz and aquamarine and diamonds and all kinds of things. I don't use that many in my own work, but I do a lot with my teaching, and Janet does as well. We do all kinds of different stone setting.    In the book, there is puzzle-set cabochon stone. A cabochon stone has a flat bottom and then it has a rounded, buffed top. That's generally where you start with stone setting. You start with that type of stone because it's the easiest one to set. Then you move on to shapes like ovals and marquise, which is the one that's got a pointy top and a pointy bottom and then curves on either side. They're very pretty. Then you can move on to faceted. All the different stones have different stone settings.   Sharon: Did you start with a cabochon and then move on?   Machi: Oh, yes, absolutely. So did Janet, although she started a long time ago.    Sharon: Let me see. What other questions did I want to ask you. What continues to attract you to silver?   Machi: We were talking about this on Sunday when we got together, and both of us said there's something about silver. It's so beautiful. The color is amazing. It's this white shininess. The shine, of course, is very well-known, and the material itself is very ductile and malleable. So, if you give a hundred people a piece of silver and say, “Make something,” you will get a hundred different things. Once you know how to use it, it becomes like a friend. It just does what you want it to do, and it moves in ways that you want it to move. There's so much you can do with it, so many different ways. I would say there are endless possibilities with it. It's just a beautiful metal while remaining relatively affordable compared to gold.   Sharon: We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out.s

Ep. 168 features Chase Hall's (b. 1993, St. Paul, Minnesota). His paintings and sculptures respond to generational celebrations and traumas encoded throughout American history. Responding to a variety of social and visual systems, each of which intersects with complex trajectories of race, hybridity, economics, and personal agency, Hall generates images whose materiality is as crucial to their compositional makeup as their indelible approach to representation. A central body of paintings, made with drip-brew techniques derived from coffee beans and acrylic pigments on cotton supports, is notable for both its conceptual scope and its intimacy. The use of brewed coffee carries powerful symbolic weight since it evokes centuries-old geopolitical systems associated with the commodification of a plant native to Africa, but in Hall's hands, it also becomes a means of achieving subtle visual textures, a range of brown skin tones, and a mark-making vocabulary precipitated on the closeness of touch. Above all, however, it is his improvisational willingness to immerse himself in the indefinable personal hieroglyphics of each picture that gives his work its resonance and impact. Chase Hall was the subject of a solo exhibition at the SCAD Museum of Art, Savannah, Georgia in 2023. In 2022, Hall was commissioned by the Metropolitan Opera to produce a large-scale artwork, the monumental diptych Medea Act I & II, for its opera house in New York, on view through June 2023. Hall has been included in group exhibitions including Together in Time: Selections from the Hammer Contemporary Collection, Hammer Museum (2023), Los Angeles; Black American Portraits, Los Angeles County Museum of Art (2021); Young, Gifted and Black: The Lumpkin-Boccuzzi Family Collection of Contemporary Art, University of Illinois Chicago (2021); and This Is America | Art USA Today, Kunsthal KAdE, Amersfoort, the Netherlands. Hall has been an artist-in-residence at The Mountain School of Arts, Los Angeles; Massachusetts Museum of Contemporary Art (MASS MoCA), North Adams, Massachusetts; and Skowhegan School for Painting and Sculpture, Maine. Hall's work is in the permanent collections of institutions including the Los Angeles County Museum of Art; Dallas Museum of Art; Institute of Contemporary Art, Miami; Fondation Louis Vuitton, Paris; Baltimore Museum of Art; Brooklyn Museum, New York; Hammer Museum, Los Angeles; High Museum of Art, Atlanta; Montreal Museum of Fine Arts; Walker Art Center, Minneapolis; The Studio Museum in Harlem, New York; and Whitney Museum of American Art, New York. Hall lives and works in New York. Artist https://chasehallstudio.com/ David Kordansky Gallery https://www.davidkordanskygallery.com/exhibitions/chase-hall2 Pace Prints https://paceprints.com/2023/chase-hall-melanoidin Galerie Eva Presenhuber https://www.presenhuber.com/selected-public-exhibitions/chase-hall#tab:slideshow Aspen Art Museum https://www.aspenartmuseum.org/artcrush/live-auction/chase-hall Met Opera https://www.metopera.org/visit/exhibitions/current-exhibition/ Whitney Museum of Art https://whitney.org/artists/20278 Document Journal https://www.documentjournal.com/2023/03/chase-hall-the-close-of-the-day-scad-moa-art-exhibition-painting-black-culture-savannah-american-south/ New York Times https://www.nytimes.com/2022/06/02/arts/television/the-wire-20th-anniversary.html New York Times Opinion https://www.nytimes.com/2021/04/16/opinion/sunday/george-floyd-daunte-wright-minnesota.html New York Magazine https://nymag.com/author/chase-hall/ Cultured Mag https://www.culturedmag.com/article/2023/06/20/painter-chase-hall-met-opera The Art Newspaper https://www.theartnewspaper.com/2023/07/13/curator-playing-matchmaker-emerging-artists-aspen-collectors Hollywood Reporter https://www.hollywoodreporter.com/lifestyle/arts/frieze-week-2023-artists-shows-los-angeles-1235325588/

Dylan Key is a theater artist, director, educator, and producer who has created performances at La Jolla Playhouse, Undermain Theater, Dallas Actors' Lab, Kitchen Dog Theater, and The Dallas Museum of Art. From 2011-2016 Dylan was the associate director and right hand man to Undermain Theater's Artistic Director the late Katherine Owens whose life and career is the subject of today's podcast.

Collin County DA will not seek death penalty for convicted murderer Billy Chemirmir; Dallas County's auditor resigns after months of payroll problems cause budgetary chaos; Granbury ISD board censures trustee accused of sneaking into library to review books; Dallas Museum of Art on track for $11.5M in city bonds to upgrade security system Learn more about your ad choices. Visit megaphone.fm/adchoices

Ep. 163 features Jammie Holmes. Born and raised in Thibodaux, Louisiana, Jammies Holmes (b. 1984) is known for his paintings that portray intimate and poignant scenes of distinctly American communities, families, and traditions. Holmes draws heavily on his own recollections to depict the stories and experiences of Black life in the deep American South, capturing moments of celebration and struggle. The artist, who works intuitively and without formal artistic training, creates expressive tableaux that incorporate portraiture, symbols, text, and objects to reveal universal truths through personal narratives. Jammie Holmes is a self-taught painter. Following his graduation from high school, Holmes spent more than a decade working in an oil field. He relocated to Dallas in 2016. His work has most recently been presented in exhibitions at Library Street Collective, Detroit; Deitch Projects, Los Angeles; Marianne Boesky, New York; Nassima-Landau Projects, Tel Aviv; Dallas Museum of Art; and Dallas Contemporary, among others. His work is also included in the permanent collections of the Aïshti Foundation, Brooklyn Museum, Dallas Museum of Art, Hammer Museum, ICA Miami, Museum of Fine Arts, Houston, Nasher Museum of Art at Duke University, New Orleans Museum of Art, Perez Museum of Art, X Museum, and The Xiao Museum of Contemporary Art. Artist https://www.jammieholmes.com/ The Modern Art Museum of Fort Worth https://www.themodern.org/exhibition/jammie-holmes-make-revolution-irresistible e-flux https://www.e-flux.com/announcements/510210/jammie-holmesmake-the-revolution-irresistible/ Library Street Collective https://lscgallery.com/artists/jammie-holmes The Gordon Parks Foundation https://www.gordonparksfoundation.org/grants/fellowships-in-art/jammie-holmes2 Various Small Fires https://www.vsf.la/exhibitions/127/works/artworks-5351-jammie-holmes-somewhereinamerica-2023/ ARTNews https://www.artnews.com/art-news/artists/jammie-holmes-paintings-various-small-fires-1234657924/ Artnet News https://news.artnet.com/art-world/wet-paint-in-the-wild-jammie-holmes-2300880 Hyperallergic https://hyperallergic.com/795017/jammie-holmes-and-jose-parla-named-gordon-parks-fellows/ Mousse Magazine https://www.moussemagazine.it/magazine/jammie-holmes-various-small-fires-los-angeles-2023/ Dallas News https://www.dallasnews.com/event/c2c3bb5b-f7c7-edc0-7329-f9f9bf48d4e1/ Contemporary Art Daily https://www.contemporaryartdaily.com/project/jammie-holmes-at-various-small-fires-los-angeles-27148 Dallas Contemporary https://www.dallascontemporary.org/jammie-holmes

Leslie Moody Castro and Brandon Zech discuss what's been happening in the art world this summer, including Sotheby's buying the Breuer Building in NYC, an increase in museum admission prices, and the Dallas Museum of Art picking an architecture firm to redesign its building.  "One element of this new design is a major almost floating contemporary art gallery at the top of the museum...this design and this incoming collection could transform the Dallas Museum of Art into one of the more important museums for contemporary art in America." See related readings here: https://glasstire.com/2023/08/13/art-dirt-museum-admission-prices-increase-sothebys-buys-the-breuer-building-the-dmas-big-redesign If you enjoy Glasstire and would like to support our work, please consider donating. As a nonprofit, all of the money we receive goes back into our coverage of Texas art. You can make a one-time donation or become a sustaining, monthly donor here: https://glasstire.com/donate

Ep.160 features Tunji Adeniyi-Jones (b. 1992, London, United Kingdom), an artist living and working in New York, NY. Adeniyi-Jones received a BFA from The Ruskin School of Art, University of Oxford, Oxford, United Kingdom, in 2014, and an MFA from Yale University School of Art, New Haven, CT, in 2017. Recent solo exhibitions include Deep Dive, White Cube, Hong Kong, China (2023); Tranquil Dive, Morán Morán, CDMX, Mexico (2023); Emergent Properties, Nicelle Beauchene Gallery, New York, NY (2022); Voix Intérieures, White Cube, Paris, France (2022) among others. His work has been included in numerous group exhibitions, including When We See Us: A Century of Black Figuration in Painting, Zeitz MOCAA, Cape Town (2022); In Our Time: Selections from the Singer Collection, Scottsdale Museum of Contemporary Art, AZ (2022); Out of the Fire: The 14th Dakar Biennale, Senegal (2022); Fire Figure Fantasy: Selections from the ICA Miami's Collection, ICA Miami, FL (2022); All Things Bright and Beautiful, Birmingham Museum of Art, AL (2022); among others. Adeniyi-Jones's work is included in the permanent collections of the Aishti Foundation, Lebanon; the Dallas Museum of Art, TX; the Nasher Museum of Art, Durham, NC; Institute of Contemporary Art, Miami, FL; The Studio Museum, Harlem, NY; among others. Headshot Photo © On White Wall, 2023 Artist https://www.tunjiadeniyi-jones.com/ White Cube https://www.whitecube.com/artists/tunji-adeniyi-jones David Zwirner https://www.davidzwirner.com/viewing-room/2022/utopia-editions-tunji-adeniyi-jones Flag art foundation https://www.flagartfoundation.org/exhibitions-tunji-adeniyi-jones Ocula https://ocula.com/art-galleries/white-cube/exhibitions/tunji-adeniyi-jones-deep-dive/ ARTNews https://www.artnews.com/art-news/market/phillips-london-tunji-adenjiyi-jones-jean-dubuffet-results-1234589900/ Cultured https://www.culturedmag.com/article/2021/09/20/tunji-adeniyi-jones Hypebae https://hypebae.com/2023/3/tunji-adeniyi-jones-deep-dive-exhibition-white-cube-hong-kong-about Art Asia Pacific https://artasiapacific.com/people/the-mischievous-clamoring-of-ornament-interview-with-tunji-adeniyi-jones Morán Morán https://moranmorangallery.com/artists/tunji-adeniyi-jones/ Tatler Asia https://www.tatlerasia.com/lifestyle/arts/tunji-adeniyi-jones-first-exhibition-hong-kong Guest Artists Space https://www.guestartistsspace.com/News/event-interwoven-histories Black Rock Senegal https://blackrocksenegal.org/tunji-adeniyi-jones/ Contemporary Art Daily https://www.contemporaryartdaily.com/project/tunji-adeniyi-jones-at-nicelle-beauchene-gallery-new-york-25835

How often do we have an opportunity to hear the personal and professional story of an investor and leader who happens to play a significant role in one of the country's largest pension plans? Dan O'Grady is the Assistant Vice President – Investment Management for AT&T and is responsible for overseeing public equity and hedge fund programs across the company's nearly $100B in investment assets.  Before his current position at AT&T and its predecessors, Dan was responsible for strategic allocations as well as risk management and served as Manager – Capital Reporting; In addition, he was a Financial Analyst for Wilson Sporting Goods; and Senior Accountant for GATX.    Dan is a Chartered Financial Analyst, Certified Public Accountant, and Charted Alternative Investment Analyst and has a BA from University of Notre Dame, master's in accounting from University of Missouri, and an MBA from DePaul University.  He serves his community as Assistant Treasurer of the AT&T Foundation and on the investment committee at the Dallas Museum of Art.  Dan has been recognized for numerous industry awards, all of which he never mentioned in previous conversations.   On this episode, Dan shares more details about his personal and professional journey, building a team, proud moments, and commitment to financial literacy.

EPISODE 1466: In this KEEN ON show, Andrew talks to the author of THE FIRST LADY OF WORLD WAR II, Shannon McKenna Schmidt, on Eleanor Roosvelt's historic journey in 1943 to the Pacific frontline. Shannon McKenna Schmidt is the author of The First Lady of World War II: Eleanor Roosevelt's Daring Journey to the Frontlines and Back (Sourcebooks/May 2023). She is also the co-author of Novel Destinations: A Travel Guide to Literary Landmarks from Jane Austen's Bath to Ernest Hemingway's Key West, 2nd ed. (National Geographic) and Writers Between the Covers: The Scandalous Romantic Lives of Legendary Literary Casanovas, Coquettes, and Cads (Plume/Penguin Random House). In addition, Shannon has written for National Geographic Traveler, Shelf Awareness, DailyBeast.com, NPR.org, and other websites and publications, including an Arrive magazine cover story featuring President Bill Clinton. She has been a guest on the Leonard Lopate Show/WNYC and the Travel Show with Arthur & Pauline Frommer, and has spoken at the New York Public Library, the Texas Book Festival, the Dallas Museum of Art, and other venues, including bookstores, libraries, and historic sites. From 2010 through 2017, Shannon traveled full-time—first in the United States by RV and then backpacking around the globe. Now, when she's not on the road, she lives in Hoboken, New Jersey. Named as one of the "100 most connected men" by GQ magazine, Andrew Keen is amongst the world's best known broadcasters and commentators. In addition to presenting KEEN ON, he is the host of the long-running How To Fix Democracy show. He is also the author of four prescient books about digital technology: CULT OF THE AMATEUR, DIGITAL VERTIGO, THE INTERNET IS NOT THE ANSWER and HOW TO FIX THE FUTURE. Andrew lives in San Francisco, is married to Cassandra Knight, Google's VP of Litigation & Discovery, and has two grown children. Learn more about your ad choices. Visit megaphone.fm/adchoices

Ambition and confidence are two concepts that make an artist. These ideas can take different forms and trajectories, but artists can accomplish anything with talent and a supportive community.  In this episode of The Unfinished Print, I speak with one artist who exudes ambition and confidence. Daryl Howard is a mokuhanga printmaker and artist who lives and works in Austin, Texas. What drew me to Daryl's work is her desire to maintain the mokuhanga tradition, putting both body and soul into her mokuhanga.  Daryl speaks with me about her evolution as a mokuhanga printmaker, her travels, her community, and her time with Hodaka Yoshida.  Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me at theunfinishedprint@gmail.com  Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note. Pieces are mokuhanga unless otherwise noted. Daryl Howard - website, Instagram Time Of Smoke That Thunders (2022) Sam Houston State University -  is a public research university located in Huntsville, Texas, USA. Established in 1879 to educate teachers for Texas public schools, SHSU has evolved into a school which offers subjects in criminal justice, Texas studies, and is known for its athletics. intaglio printing - is a printing method, also called etching, using metal plates such as zinc, and copper, creating “recessed” areas which are printed with ink on the surface of these "recesses.” More info, here. The MET has info, here.  lithography - is a printing process which requires a stone or aluminum plate, and was invented in the 18th Century. More info, here from the Tate.  serigraphy - is another word for the art of silk screen printing. Silk screen printing can be in on various materials, silk, canvas, paper.  Stanley Lea  (1930-2017) - was a Texas printmaker and teacher of printmaking at Sam Houston State University in Huntsville, Texas.  Texas A&M - established in 1876 as the Agricultural and Mechanical College of Texas, Texas A&M is a research University in College Station, Texas which has a variety of subjects and programs, more info here. Yokota Airbase, Tōkyō (横田飛行場,) -  established in 1940 as Tama Airbase for the Japanese Air Force, converted in 1945 as an American military base used in the Korean War and the Cold War.  Dr. Richard Lane (1926-2002) -  was a collector of Japanese prints. He was also an author and dealer in Japanese art.  Tsukioka Yoshitoshi  1839-1892 (月岡 芳年) was a mokuhanga designer who is famous for his prints depicting violence and gore. His work is powerful, colourful, and one of the last vibrant moments of the ukiyo-e genre of woodblock prints. More information about Yoshitoshi's life and his copious amount of work can be found, here.   Yūten Shami - Fudō Myōō threatening the priest Yūten Shami (1867) shin hanga - is a style of Japanese woodblock printmaking which began during the end of the ukiyo-e period of Japanese printmaking, in the early 20th Century. Focusing on the foreign demand for “traditional” Japanese imagery and motifs such as castles, bridges, famous landscapes, bamboo forests, to name just a few.  Shin hanga was born in 1915 by Watanabe Shōzaburō (1885-1962) when he found Austrian artist Frtiz Capelari (1884-1950) and commissioned Capelari to design some prints for Watanabe's feldgling printing house . From there shin-hanga evolved into its own distinct “new” style of Japanese woodblock printing. It lasted as this distinct style until its innevitable decline after the Second World War (1939-1945). Tachikawa, Tōkyō - 立川市 - is a city located in the metropolis of Tōkyō. It had an American military presence until 1977. For some tourist info, you can find it here. surimono (摺物)-  are privately commissioned woodblock prints, usually containing specialty techniques such as mica, and blind embossing. Below is Heron and Iris, (ca. 1770's) by Andō Hiroshige (1797-1858). This print is from David Bull's reproduction of that work. You can find more info about that project, here.   Kunitachi - 国立市 -  is a city located within the metropolis of Tōkyō. Originally a part of the 44 stations Kōshū Kaidō (甲州街道), a road which connected Edo to Kai Prefecture (Yamanashi). Hodaka Yoshida (1926-1995) - was the second son of woodblock printmaker and designer Hiroshi Yoshida (1876-1950). Hodaka Yoshida's work was abstract, beginning with painting and evolving into printmaking. His inspirations varied as his career continued throughout his life, but Hodaka Yoshida's work generally focused on nature, "primitive" art, Buddhism, the elements, and landscapes. Hodaka Yoshida's print work used woodcut, photo etching, collage, and lithography, collaborating with many of these mediums and making original and fantastic works. Outside of prints Hodaka Yoshida also painted and created sculptures.    White House O.J. From My Collection (1980) lithograph Fujio Yoshida (1887-1997) - the wife of Hiroshi Yoshida and the mother of Tōshi Yoshida (1911-1995) and Hodaka Yoshida. Fujio was so much more than a mother and wife. She had a long and storied career as a painter and printmaker. Fujio's work used her travels and personal experiences to make her work. Subjects such as Japan during The Pacific War, abstraction, portraits, landscapes, still life, and nature were some of her themes. Her painting mediums were watercolour and oil. Her print work was designed by her and carved by Fujio.  Red Canna (1954) Chizuko Yoshida (1924-2017) - was the wife of painter and printmaker Hodaka Yoshida. Beginning as an abstract painter, Chizuko, after a meeting with sōsaku hanga printmaker Onchi Kōshirō (1891-1955), Chizuko became interested in printmaking. Chizuko enjoyed the abstraction of art, and this was her central theme of expression. Like all Yoshida artists, travel greatly inspired Chizuko's work. She incorporated the colours and flavours of the world into her prints. Butterfly Dance (1985) zinc plate and mokuhanga Ayomi Yoshida - is the daughter of Chizuko and Hodaka Yoshida. She is a visual artist who works in mokuhanga, installations and commercial design. Ayomi's subject matter is colour, lines, water, and shape. She teaches printmaking and art. You can find more info here.  Spring Rain (2018) University of Texas at Austin - is a public research university in Austin, Texas, USA. Founded in 1883, the University of Texas at Austin has undergraduate and graduate programs. You can find more information here. Lee Roy Chesney III (1945-2021) - was a printmaker and professor at the Universitty of Texas at Austin.  William Kelly Fearing (1918-2011) - was an award winning painter,  printmaker, and artist who was professor Emiritus at the University of Texas at Austin. His work focused on landscapes, religious imagery, and the human figure. Abstract Figure in Oil (1947) oil on canvas Ban Hua: Chinese woodblock prints - There is a lot of information regarding Chinese woodblock printing. The history of Chinese woodblock goes back centuries, longer than the Japanese method. Modern Chinese printmaking began after Mao's Cultural Revolution, strongly connected by the writings and work of philosopher, academic, and artist Lu Xun (1881-1936), who established the Modern Woodcut Movement. First, check out the work of the Muban Educational Trust based in England. More info can be found here and here at Artelino; for Lu Xun's history, you can find more information here.  Victoria Falls - is a large waterfall located on the border of Zambia and Zimbabwe in South Africa. It is also known as Mosi-oa-Tunya or "The Smoke That Thunders" in the Bantu language of Sotho. The falls are 1,708 meters and 108 meters high.  Wacom -Wacom - is a Japanese company that began in 1983. It produces intuitive touch screen display tablets. It has offices in the US and Europe.  Photoshop - is a raster graphics editor created by Adobe. It allows the user to create and edit images for graphic design, typography, and graphic design.  Akua - are water-based pigments used in intaglio, mokuhanga, and monotype.  Winsor & Newton - is a British artist supply company, started in 1832, which sells artist materials such as pigments, brushes, paper, etc. You can find more info, here.  Guerra & Paint Pigment Corp. - is a brick and mortar store located in Brooklyn, New York that sells artists pigments. More info, here.  Dallas Museum of Art - is an art museum established in 1903 and contains art collections from all over the world and from many periods of history. Some of the collections on the DMA are African, American, Asian, European, Contemporary, and Pre-Columbian/Pacific Rim. More info can be found here. Impressionism - is an art movement founded by Claude Monet (1840-1926), Edgar Degas (1834-1917) and other artists in France. The movement was from 1874-1886 and focused on suburban leisure outside Paris. The Impressionist movement launched into the public consciousness in 1874 at the Anonymous Society of Sculptors and Painters and Printmakers exhibition. More information about the Impressionist movement can be found here at The Met.  Blanton Museum of Art - founded in 1963 at the University of Texas at Austin. It houses collections of European, modern, contemporary, Latin American, and Western American Art.  You can find more information here.  Albrecht Dührer (1471-1528) was a painter and author famous for making detailed devotional works with woodcuts. You can find out more from The Met here for more information about his life and work. The Great Wave off Kanagawa - is a woodblock print designed by Katsushika Hokusai in 1831. It is very famous.  Pop Wave Orange by Daryl Howard (2021) Bridge In The Rain (After Hiroshige) - was a painting painted by Vincent Van Gogh (1853-1890) in the style of woodblock print designer Utagawa Hiroshige (1797-1858).  baren - is a Japanese word used to describe a flat, round-shaped disc, predominantly used in creating Japanese woodblock prints. It is traditionally made of a cord of various types and a bamboo sheath, although the baren has many variations.  Sharpening brushes on shark skin are traditionally used on mokuhanga brushes that were “sharpened” or softening the brushes bristles rubbing up and down on the shark skin. But today, you can use very fine sandpaper made of silicon carbide (dragon skin). Mokuhanga printmaker John Amoss has a beautiful write-up about using shark skin and its uses here.  Echizen - is a region in Fukui Prefecture, Japan associated with Japanese paper making. It has a long history of paper making. There are many paper artisans in the area. One famous paper maker is Iwano Ichibei. He is a Living National Treasure in paper making, and the ninth generation of his family still making paper today. You can find more information in English, and in Japanese.  kizuki kozo - is a handmade Japanese paper with many uses. Of a moderate weight and cooked with caustic soda. It is widely available.  Shōzaburō Watanabe (1885-1962) - was one of the most important print publishers in Japan in the early 20th Century. His business acumen and desire to preserve the ukiyo-e tradition were incredibly influential for the artists and collectors in Japan and those around the world. Watanabe influenced other publishers, but his work in the genre is unparalleled. The shin-hanga (new print) movement is Watanabe's, collecting some of the best printers, carvers and designers to work for him. A great article by The Japan Times in 2022 discusses a touring exhibition of Watanabe's work called Shin Hanga: New Prints of Japan, which can be found here.  Itoya - is a stationary store in the Ginza district of Tōkyō. It has been in business for over 100 years. They have stores in Yokohama, in various malls throughout Japan and at Haneda and Narita airports. More info can be found on their web page (Japanese) and their Instagram.  Bunpodo - is a stationery store located in the Jinbōchō district of Tōkyō. It was established in 1887 and is considered the first art store in Japan. More info here. Matcha Japan has a walkthrough of the store here. McClains Woodblock Print Supply Co.  - based in Portland, Oregon, McClain's is the go-to supplier of woodblock print tools in the United States. Their website can be found here. The Unfinished Print interview with Daniel Jasa of McClain's can be found here. Wood Like Matsumura - is an online and brick and mortar store, for woodblock printmaking, located in Nerima City, Tōkyō. Cocker-Weber - is a brush manufacturing company based in Philadelphia, Pennsylvania, USA.  It was established in 1892. You can find more information here.  Philadelphia Museum of Art - originating with the Centennial Exhibition of 1876, the PMA has over 200,000 pieces of art and objects and is one of the preeminent museums in the US. James A Michener (1907-1997) - a Pulitzer Prize winning writer, scholar and academic who wrote on Japanese prints, amongst many more topics. Mokuhanga Artists Using Laser - many mokuhnaga printmakers today are exploring using laser engraving for their woodblocks rather than hand cutting. Printmakers who use this method are Cal Carlisle, Endi Poskovich, Shinjji Tsuchimochi, and Benjamin Selby. If you know of others, please let me know! Illustrator - is an Adobe product which creates two-dimensional pieces for artists and illustrators.  James A McGrath - is an educator and artist who served as Director of Arts for American Schools in Europe; he taught design, painting and poetry at the Institute of American Indian Arts and was the Arts and Humanities Coordinator for the US Department of Defence School in Southeast Asia. He also worked on the Hopi Indian Reservation and returned to the Institute of American Indian Art as dean of the college and Museum Director. He is now retired. You can find some of his work and writings here at The Smithsonian.  Hopi Mesa - is the spiritual and physical home of the Hopi tribe in Arizona. It is a group of villages (pueblos) on three mesas. Mesa are flat-topped ridges surrounded by escarpments. More information can be found on Visit Arizona here. National Endowment For The Arts - was established by the US Congress in 1965 and created to fund arts and education in the United States. You can find more information here.  Dawson's Springs Museum - is an art museum located in an old bank and was established in 1986 in Dawson's Springs, Kentucky. Karoo Desert - is a semi-desert located in South America and distinguished by the Great Karoo and the Little Karoo. A great article about the Karoo Desert by The Guardian can be found, here Chobe River - also known as the Kwando, is a river which flows from Angola and Namibia. It is known for its wildlife and runs through various National Parks.   Kachina - these are the religious beliefs of the Hopi, Zuni, Hopi-Tewa, and Kerasan. It incorporates the supernatural, dancing, and dolls through Ancestor worship.  bas relief - is a sculptural technique where figures and designs are carved or moulded onto a flat surface, only slightly raised above the background. Bas relief has been used in art and architecture for thousands of years and is found in various cultures, such as the Egyptians, and Assyrians, during The Rennaisance, until today. Bas relief is used today to decorate buildings, monuments, tombs, and decorative objects such as plaques, medals, and coins. In bas-relief, the figures and designs are typically carved or moulded in shallow relief, with only a few millimetres of depth,  creating a subtle, three-dimensional effect that is less dramatic than the more deeply carved high relief. Bas relief can be made from various materials, including stone, wood, metal, and plaster. sepia - is a reddish brown colour. Can be found in various pigments.  Duomo di Firenze - is the Florence Cathedral, finished in the 15th Century, using some of the finest architects from Italy. It is associated with the Italian Renaissance.  Boston Printmakers -  is an organization of international printmakers started in 1947. It holds a Biennial every two years. You can find more information here. The National Gallery of Art - is a free art gallery in Washington D.C. Founded by financier Andrew W. Mellon. The gallery houses more than 150,000 pieces dedicated to education and culture. Construction finished for the West building in 1941. More info can be found here.  © Popular Wheat Productions opening and closing musical credit - I Got It Bad And That Ain't Good  by The Oscar Peterson Trio (1963) on Verve Records. logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Українi If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***        

SEASON 16!!! We meet LEGENDARY artist Nicolas Party!!!! We discuss his major new solo show Cascade, Nicolas Party's third exhibition with Xavier Hufkens. A stunning group of new works, including pastels, cabinets and oil-on-copper paintings. Large tripartite pastels and smaller cabinet paintings point to a new trajectory, both formal and technical, that has opened up in his practice. Mastering the all but forgotten art of painting on copper, Party's paintings are as luminous as their historical counterparts. A group of single arched pastels and oil-on-copper paintings echo the shape of the cabinet's central panels.Born in Lausanne in 1980, Party is a figurative painter who has achieved critical admiration for his familiar yet unsettling landscapes, portraits, and still lifes that simultaneously celebrate and challenge conventions of representational painting. His works are primarily created in soft pastel, an idiosyncratic choice of medium in the 21st-century, and one that allows for exceptional degrees of intensity and fluidity in his depictions of objects both natural and manmade. Transforming these objects into abstracted, biomorphic shapes, Party suggests deeper connections and meanings. His unique visual language has coalesced in a universe of fantastical characters and motifs where perspective is heightened and skewed to uncanny effect.In addition to paintings, Party creates public murals, pietra dura, ceramics, installation works, and sculptures, including painted busts and body parts that allude to the famous fragments of ancient Greece and Rome. His brightly-colored androgynous figures vary in scale from the handheld to the monumental, and are displayed on tromp l'oeil marble plinths of differing heights that upend conventional perspective. Party's early interest in graffiti and murals—his projects in this arena have included major commissions for the Dallas Museum of Art and the Hammer Museum in Los Angeles—has led to a particular approach to the installation and presentation of his work. He routinely deploys color and makes architectural interventions in exhibition spaces in order to construct enveloping experiences for the viewer.The artist's childhood in Switzerland imprinted upon him an early fascination with landscape and the natural world, and the influence of his native country places Party firmly within the trajectory of central European landscape painting. Points of reference in his work include celebrated 19th-century Swiss artists Félix Vallotton, Ferdinand Hodler, and to Hans Emmenegger. One can also find within his works a 21st-century synthesis of the sorts of impulses and ideas that fueled the Renaissance and late 19th-century, early 20th-century figurative painting, the compositional strategies of Rosalba Carriera and Rachel Ruysch, and the visions of such self-taught artists as Louis Eilshemius and Milton Avery.Based in New York, Party studied at the Lausanne School of Art in Switzerland before receiving his MFA from Glasgow School of Art in Scotland.Follow @NicolasParty on Instagram and @XavierHufkensView his new exhibition at https://www.xavierhufkens.com/exhibitions/nicolas-party Hosted on Acast. See acast.com/privacy for more information.

It's Furry, Furbulous Friday! Justin Goodman of the White Coat Waste Project joins us to talk about their efforts to stop taxpayer-funded science experiments on animals. Learn more about their work at whitecoatwaste.org. Next, Autumn Connolly joins Bern to explain orthomolecular medicine. Learn more about Autumn at anviltraditionalhealing.com.Thank you to our sponsors!Enviromedica – The BEST probiotics on the planetChildren's Health Defense - Listen every Monday for Bern and Mary Holland, President of CHD! The Pure Bliss of Tantra Talk and Meditation Feb. 11th at the Dallas Museum of ArtSunwarrior - Use the code OLR for 20% off your purchase!Well Being JournalThorne - Get 20% off your order and free shipping!

We are honored to talk to Danielle Baker, aka “The Coerced Nurse" today. Danielle Baker had been a Certified Hospice and Palliative Care Registered Nurse for 17 years until she was vaccine injured in June of 2021. She was coerced by her then-employer into getting the first round of the Pfizer-BioNTech COVID-19 vaccines.  Today, Danielle, now 43, is permanently disabled, unable to work, faces financial ruin, and has lost the ability to perform numerous everyday tasks and basic bodily functions. In January, she was brave enough to tell her story in a Victim Impact Statement to the FDA at the VRVPAC (Vaccine and Related Biological Advisory Committee) meeting, hoping to raise awareness for the vaccine injured. Hear her tell her heart-wrenching story on today's show, and please consider helping Danielle through her GiveSendGo donation page.Thank you to our sponsors!Enviromedica – The BEST probiotics on the planetChildren's Health Defense - Listen every Monday for Bern and Mary Holland, President of CHD! The Pure Bliss of Tantra Talk and Meditation Feb. 11th at the Dallas Museum of ArtSunwarrior - Use the code OLR for 20% off your purchase!Well Being JournalThorne - Get 20% off your order and free shipping!

Cynthia Daignault received a BA in Art and Art History from Stanford University. She has presented solo exhibitions and projects at many major museums and galleries, including the New Museum of Contemporary art, Metropolitan Museum of Art, the Crystal Bridges Museum of American Art, MASS MoCA, the Modern Art Museum of Fort Worth, the Brooklyn Museum of Art, and White Columns. Her work is in numerous public collections, including the Metropolitan Museum of Art, the Dallas Museum of Art, the Walker Art Center, and the Baltimore Museum of Art. Daignault is a regularly published author, and editor of numerous publications. The first major monograph on her work, Light Atlas, was published in 2019, and a new paperback edition will be released in early 2023. She is the recipient of numerous awards, including a 2019 Pollock-Krasner Foundation Grant, a 2016 Foundation for the Contemporary Arts Award, a 2011 Rema Hort Foundation Award, and a 2010 MacDowell Artist Fellowship. She lives and works in Baltimore, Maryland.

Episode No. 573 features artists Matthew Ronay and Jade Doskow. The Nasher Sculpture Center in Dallas is presenting "Matthew Ronay: The Crack, the Swell, an Earth, an Ode" through January 15, 2023. The exhibition features a nearly 24-foot-long sculpture that functions as both an introduction to Ronay's exploration of surrealism, abstraction, representation and art's history, and also as a summary of the last decade of his work. The exhibition was curated by Leigh Arnold and is accompanied by a catalogue published by the Nasher and Gregory R. Miller & Co. Indiebound and Amazon offer it for about $55. Ronay's work has been featured in solo shows at the Blaffer Art Gallery and at the Pérez Art Museum Miami. He has been included in group shows at the Dallas Museum of Art, the North Carolina Museum of Art, the Williams College Museum of Art, and more. The John Hartell Gallery at the Cornell University College of Architecture, Art, and Planning is presenting "A New Wilderness: Freshkills." The exhibition features photographs by Freshkills photographer-in-residence Jade Doskow and a series of soundscapes by Heather Campanelli. The work shows the evolution of Staten Island's Freshkills from a landfill -- the world's largest household garbage dump -- into a 2,200-acre city park. The exhibition is on view through November 4. Doskow's Freshkills work debuted in The New York Times. Black Dog London published a monograph of Doskow's "Lost Utopias" work in 2016. Instagram: Matthew Ronay, Jade Doskow, Tyler Green.

Brooke Molinaroli tried her hand at various creative fields early on in her career but found herself continuously compromising with the pressure to find a more business-centric role. After graduating from Bucknell University, Brooke started working in galleries and then for design firms and photographers. This led to a ten year stint in digital, brand and social media marketing at British Telecom until she found a role that combined that experience with her love of art, working at the Dallas Museum of Art as the Marketing Director.  But something was missing in all of those roles and when she moved to the suburbs of NY,  Brooke had her pivotal moment.  With strong opinions about the good and the bad of the art world she decided to change the way people access contemporary artists and photographers, offering artwork at relatively accessible price points in a low-key and transparent way, using her own space as an exhibit venue.  Listen in to to hear a unique pivot and founder's story highlighting the origins of a singular business model in a traditionally challenging field!

Today's Oddcast - Mad At His Girl (Airdate 6/13/2022) Love can make you crazy - but that's no excuse for what 21 year-old Brian Hernandez did on June 1. Smashing his way through the front door of the Dallas Museum of Art with a metal chair, Hernandez destroyed ancient artifacts. We're talking objects from ancient Greece, including a drinking cup from 550-530 B.C.E. Museum officials don't yet know the cost of the destruction, but expect it to soar well over the $5 million reported by the press. Why did Hernandez go wilding in the museum? He told police that he was "mad at my girl." Any one of us can be guilty of losing their temper and even their minds when a romance goes wrong, but this? This is pure crazy. The Bob & Sheri Oddcast: Everything We Don't, Can't, Won't, and Definitely Shouldn't Do on the Show! Learn more about your ad choices. Visit podcastchoices.com/adchoices