Podcast appearances and mentions of Dana Schutz

You can't spell God without Dog. The birth of Rome. A gay puppy with fleas. Summer hiatus. Heat waves. Join the friends as they visit the group show, Dog Days of Summer at Timothy Taylor in NYC. Artists include: Craigie Aitchison, Trisha Baga, Sophie Barber, Hanna Brody, Gaby Collins-Fernandez, Ann Craven, Scott Csoke, Anthony Cudahy, Alex Da Corte, Armen Eloyan, Camilla Engström, Julia Felsenthal, Louis Fratino, Robert Gober, Camille Henrot, Peter Hujar, Timothy Hull, Paul-Sebastian Japaz, Susumu Kamijo, Alex Katz, Karen Kilimnik, Craig Kucia, Sean Landers, Sophie Larrimore, Sahara Longe, Robert Mapplethorpe, Eddie Martinez, Jesse Mockrin, Matthew Morrocco, Grandma Moses, Rocío Navarro, Justin Liam O'Brien, Gordon Parks, Hilary Pecis, Pablo Picasso, Paula Rego, Robert Roest, Will Ryman, Peter Saul, Allison Schulnik, Dana Schutz, Kiki Smith, Billy Sullivan, David Surman, Alison Elizabeth Taylor, William Wegman, and Jonas Wood.

In s3e43, Platemark host Ann Shafer talks with Craig Zammiello, an artist and collaborative printer with over 40 years of experience in all areas of printmaking. He worked for 25 years at Universal Limited Art Editions, where he collaborated with numerous artists, including Jasper Johns, Elizabeth Murray, James Rosenquist, Kiki Smith, and Robert Rauschenberg. Currently, he is a collaborative printer at Two Palms working with Mel Bochner, Ellen Gallagher, Chris Offili, Elizabeth Peyton, and Dana Schutz.  He is author of a studio manual on photogravure, as well as Conversations from the Print Studio published by Yale University Press. Ann and Craig talk about Woodburytypes, working with Robert Rauschenberg at ULAE, and helping Matthew Barney grow copper nodules on a Woodburytype and then gold plating them. They talk about Craig's transition to Two Palms and how that studio works outside of the traditional print studio model. Find out about a lifelong interest of Craig's that has resulted in his collection being acquired by the American Museum of Natural History (no, it's not prints), and what band would he most like to join on tour. Zammiello received an MFA from The State University of New York, Stony Brook in 1995. He is currently Adjunct Faculty at the School of the Arts at Columbia University. Zammiello has taught workshops and classes at New York University, Yale University, The Robert Blackburn Printmaking Workshop and the Flemish Center for the Graphic Arts in Belgium. Episode image: Elizabeth Zammiello Matthew Barney (American, born 1967). In Vain Produced, All Rays Return, Evil Will Bless, and Ice Will Burn, 2015. Set of 4 Woodburytype prints on copper with electro-formed copper, nickel and 24 carat gold, in red oak frames. Framed dimensions: 11 1/2 x 15 ½ in. Printed by F-Zero Project and published by Two Palms, New York. Lead printing plate for Brad by Chuck Close (American, 1940–2021). 9x12 in. The finished Woodburytype print for Brad, Chuck Close (American, 1940–2021), with the ink overflow around the edges. 11x14 inches. Published by Two Palms, New York. R. Crumb (American, born 1943). Keep on Flushin', 2022. Etching. Sheet: 13 ½ x 11 ½ in. Printed by Craig Zammiello and published by Two Palms, New York. Mel Bochner (American, born, 1940). Is This It?, 2023. Cast and pigmented paper. 69 ¾ x 67 ¼ x 5 5/8 in. Published by Two Palms, New York. Lee Bontecou (American, 1931–2022). Ninth Stone, 1965–68. Lithograph in 1 color on Chatham British paper. 20 x 25 in. (50.8 x 63.5 cm.). Published by Universal Limited Art Editions, Bayshore, New York. Robert Rauschenberg (American, 1925–2008). Wall-Eyed Carp/ROCI JAPAN, 1987. Acrylic and fabric collage on canvas. 203.2 x 617.2 cm (80 x 243 in.). National Gallery of Art, Washington, D.C. Lisa Hodermarsky and Craig Zammiello. Conversations from the Print Studio: A Master Printer in Collaboration with Ten Artists. New Haven: Yale University Art Gallery, 2012.   USEFUL LINKS Craig Zammiello's video on photogravure techniques: https://www.youtube.com/watch?v=t3HAoyIsrDY  Craig's website: https://www.zammiello.com/ IG: @craigzammiello

In this episode, Nathan and Breck discuss: Art as an investment and the value it holds from a monetary and aesthetic standpoint The rise of fine art as an alternative asset class The role of an art consultant in the buying and selling process of fine art  The impact Breck's grandfather had on his life and the community they lived in thanks to his influence as the founder of Xerox How family values and community involvement shape who you are Key Takeaways: There is a hunger for people to understand art as an asset while also appreciating the aesthetic of the works itself Follow your passion and find a way to incorporate it into your work each and every day. Determining the impact you want to make with generational wealth starts and ends with your family dynamic. Finding common ground, a shared vision and how you orient together is key to a successful family experience. Embrace your strengths, have sure footing, and maintain a bit of a practical planning view to see the bigger picture in life. “Art is about context, and the reason why art is in our museums is because it resonates with a moment in time.” —  Breck Kling   About Breck Kling: Breck is an Acquisitions and Collection Management Specialist and Fine Art Consultant that has been with Heather James Fine Art since 2017. He spends his time between Palm Beach Florida and Jackson Hole Wyoming. First introduced to HJFA as a collector, Breck's collection includes works by Robert Rauschenberg, Chuck Close, Takashi Murakami, Yoshimoto Nara, and Dana Schutz. He was a longtime board member of the Memorial Art Gallery, Rochester, NY, and was an advisor to the first VOLTA art fair in Basel, CH, in 2005. Breck has sat on the board of his family's foundation (www.wilsonfdn.org) for over 25 years and he is also a co-founder and a trustee of Silicon Couloir, a network for entrepreneurs based in Jackson Hole.  Breck's passions are art and meeting new people.  He spends the majority of his time meeting new collectors and helping clients navigate collecting decisions . Breck's perspective as a collector and decades of experience in the artworld offers his clients unique insights at any stage in their collecting process.  Breck has also assisted collectors in selling works by Claude Monet, Jackson Pollock, Pat Steir, Andy Warhol, Willam de Kooning, Louise Bourgeois, Robert Motherwell, Yayoi Kusama, Takashi Murakami, James Rosenquist, Alexander Calder, and Zao Wou-Ki among others.  Breck spends winters in Palm Beach and enjoys time with his two kids, golf and recently discovered pickle ball.    Connect with Breck Kling:  LinkedIn: Breck Kling | LinkedIn Website: Art Consultant | Heather James Fine Art Connect with Nathan Mersereau:  Phone: 248-645-1520 Website: www.dayinacanoe.com Email: nathan.mersereau@planningalt.com Twitter: @NathanMersereau

Ben Davis, Artnet News's National Art Critic and author most recently of Art in the After-Culture, talks about: Cultural Appropriation in its many forms, including in the context of Dana Schutz's controversial “Open Casket” painting; Conspiracy Theory culture, including how videos connecting Marina Abramovic with satanic cults are far, far more viewed than videos about Marina Abramovic herself or her work; the culture that Conspiracy narratives come from, how they persist (often through individuals' alienation), and why they become so popular; the luxury of people who get to say ‘neener-neener-neener' in judgement of those who buy into them (the socially superior judging the inferior); Rubem Robierb's ice sculpture at a fancy club during Miami Basel, which spelled out Greta Thunberg's “How Dare You” addressed to politicians, and what that said/says about Art and Ecotopia, i.e. art and climate change; his experiences with the groups ‘Extinction Rebellion' and its splinter group, ‘Extinction Resilience,” and his continuing involvement with Democratic Socialists of America (DSA), among other causes.

In this episode, Art Anarchists, Christina Young and Helen Criales, discuss how censorship affects the art realm and artist expression.During this episode we dive deep into the artwork of prisoners of Guantanamo Bay, Sunflower Seeds by Ai WeiWei, Christy Chan’s public art, Inside Out, and the controversial Open Casket painting by Dana Schutz.

Season 6 continues! Russell & Robert chat to emerging artist Ana Benaroya from her studio in Jersey City, New Jersey. Recorded remotely on 19th April 2020 during lockdown, we are massive fans of Ana's paintings!!!We discuss her early career as an illustrator, her love of cartoons, her passion for drawing, identifying with male characters in 80s/90s movies growing up and how she developed studies of the human body, in her early paintings of male physicality and how her focus has recently shifted to representing women’s bodies, particularly women in positions of power, the influence of superheroes, bodily fluids, smoke and exploring muscularity in bodies. We explore queerness, her passion for music especially opera and classical but also YES... the one and only, Celine Dion!!! We learn about Ana’s recent sport influenced paintings including use of multi-colours to project deep emotions, her admiration for painters such as Tom of Finland, Carroll Dunham, Peter Saul, Nicole Eisenman, Dana Schutz, Henry Taylor, Robert Cole Scott, Artemisia Gentileschi, the Chicago Imagists like Jim Nutt, Gladys Nillson, Karl Wirsum and the artists she studied with such as Rebecca Ness, Blair Whiteford and Dominic Chambers. Finally, we find out why her dream is to one day exhibit at the Met museum!!Ana’s forthcoming solo exhibition will open this Autumn in Chelsea, New York at Ross + Kramer gallery. Ana's current joint show with Peter Saul 'Summer-Upon-Summer-Love' is on display in their East Hampton gallery.Follow @anabenaroya on Instagram and view images at her gallery too @rosskramergallery. For images of all artworks discussed in this episode visit @TalkArt. We've just joined Twitter too @TalkArt. If you've enjoyed this episode PLEASE leave us your feedback and maybe 5 stars if we're worthy in the Apple Podcast store. Thank you for listening to Talk Art, we will be back very soon. For all requests, please email talkart@independenttalent.com See acast.com/privacy for privacy and opt-out information.

0125 – The hosts continue their conversation about Marxism and art, and revisit the controversy surrounding Dana Schutz painting of Emmett Till.

Episode Notes One of the most fascinating artists of the 21st Century, but also one that has made the wrong headlines... Find out more at https://three-minute-modernist.pinecast.co

What’s Next on The Fun Agenda? 2020 begins with a cartoon question that I saw recently on an artist’s Instagram account. His name was “clownchic”. His character answered it by simply stating “Abstinence”. I laughed out loud as this character looked like he had abused every illegal substance available. After the holidays, don’t we all feel this way? Of course, but I cannot deal with another self help strategy, my own included. So, in 2020, I am focusing in literally on “Art of the Diet”. Artists who have tackled food, glorious food, food issues not so glorious, addiction issues, LIFE issues in their art and they have resonated with my own issues in some way. This month I discuss several artists. Philip Guston, Samara Golden, Dana Schutz, Wayne Theibauld, David Shrigley, Francisco de Goya. The podcast art for this month is a wall hanging/teatowel that I designed as a calendar for 2020 and that is for sale. 2020 is the Year of Anxiety for me as I turn 75 and it’s a presidential election year in the US. How much anxiety can an ol’girl take and maintain a 60 lb weight loss? We’ll find out. www.artofthediet.com

Dr John Blakinger speaks about the controversy surrounding Dana Shutz's painting of the body of Emmett Till exhibited at the 2017 Whitney Biennnial. Who has the right to see in an age of image overload? At the 2017 Whitney Biennial, a painting by the artist Dana Schutz depicting the body of Emmett Till, a fifteen-year-old African-American boy lynched in Mississippi in 1955, incited outrage. The artists Hannah Black and Parker Bright condemned the work as "black death spectacle." The episode resuscitated debates over the use and abuse of traumatic pictures, and the way visual images propelling the Civil Rights movement also exploited their subjects.

Dr John Blakinger speaks about the controversy surrounding Dana Shutz's painting of the body of Emmett Till exhibited at the 2017 Whitney Biennnial. Who has the right to see in an age of image overload? At the 2017 Whitney Biennial, a painting by the artist Dana Schutz depicting the body of Emmett Till, a fifteen-year-old African-American boy lynched in Mississippi in 1955, incited outrage. The artists Hannah Black and Parker Bright condemned the work as "black death spectacle." The episode resuscitated debates over the use and abuse of traumatic pictures, and the way visual images propelling the Civil Rights movement also exploited their subjects.

Dr John Blakinger speaks about the controversy surrounding Dana Shutz's painting of the body of Emmett Till exhibited at the 2017 Whitney Biennnial. Who has the right to see in an age of image overload? At the 2017 Whitney Biennial, a painting by the artist Dana Schutz depicting the body of Emmett Till, a fifteen-year-old African-American boy lynched in Mississippi in 1955, incited outrage. The artists Hannah Black and Parker Bright condemned the work as "black death spectacle." The episode resuscitated debates over the use and abuse of traumatic pictures, and the way visual images propelling the Civil Rights movement also exploited their subjects.

For the first episode of "Between Two Palms," we're hosting Carroll Dunham in conversation with Dana Schutz on the occasion of Schutz's first suite of large-scale etchings, recently released by Two Palms. © 2019 Two Palms. All Rights Reserved.

In an article by Laura van Straaten in Vulture in November 2018 titled ‘Ten Galleries Whose founders Quit the Big City To Become Cultural Trailblazers in the Heartland’, gallery owners from a range of cities in the Midwest and South talk about operating a gallery outside metropolitan art capitals, nevertheless, traveling to art fairs in major cities to sell work. We get into the purpose of art fairs, platforms for selling art, and marketing methods, including a vivid description of the art market as a shapeshifter from a horror movie and the DIY tactic of "a thousand true fans." We wonder how the two aspects of online presence and real life interactions work together. People don’t go to galleries as much, and there has been a decline in being physically present in the same space with your peers and the public, while at the same time we have seen the rise of the art “experience” and blockbuster shows made for visitors to Instagram. "Radical Localism” from Chris Kraus’s book Social Practices has us reflecting on making political art vs making art that is inherently political by virtue of being embedded in a small, local community. The artist as worker, much like the postman, the grocer, or the hairdresser, integrated into the life of the town. (A correction to this part of the episode: Pueblo Nuevo is a neighborhood in the town of Mexicali, not the name of the town itself.) Thinking about context, and the meaning of artwork lead us to cat paintings - again - and the difference human connection makes to the experience of an artwork. It is often discouraged in contemporary art discourse as there is an understanding that the work has to be able to speak for itself and be self-contained, but identity politics is making a difference to this attitude, questioning that stance. The response to Dana Schutz’s painting “Open Casket” at the Whitney Biennial in 2017 is an example of this shift. There is a trap of the artist becoming the artwork and losing the freedom of art to go beyond what already exists, but there are layers of meaning and multiple levels of analysis possible within a single artwork. Living in a small arts community there is no choice but to be supportive of each other’s work, and that persistence instead of dismissal, can open up entirely new ways of seeing art. So, how do we act as critical support for each other? There are different modes of engagement like asking questions, encouraging the things that are successful about someone’s work, and different responses that are appropriate depending on context, be it show openings or studio visits. Links: ‘Ten Galleries Whose founders Quit the Big City To Become Cultural Trailblazers in the Heartland’ "Social Practice" by Chris Kraus "A Thousand True Fans” by Kevin Kelly. Dan Carlin’s "Hardcore History” Kelli Thompson’s cat painting “Anna and Cat” 2012. Dana Schutz’s painting “Open Casket” at the Whitney Biennial Further reading on Dana Schutz's painting: "Should Art That Infuriates Be Removed?" by Roberta Smith "The Problem With the Whitney Biennial’s Emmett Till Painting Isn’t That the Artist Is White" by Lisa Larson-Walker

Episode 30 of the Datebook podcast is a conversation between San Francisco Chronicle art critic Charles Desmarais and Bay Area art collector Komal Shah, who along with her husband Gaurav Garg is presenting the Artists on the Future series at Stanford. The first event in the Komal Shah and Gaurav Garg Artist Conversation Series is set for Monday, March 4 at the CEMEX Auditorium, and features artist Dana Schutz in conversation with Hamza Walker. Admission is free but registration is required. Register here. This episode produced by Peter Hartlaub. Music is Mozart's Symphony 40 in G Minor by Blue Dot Sessions. Learn more about your ad choices. Visit megaphone.fm/adchoices

We cover a lot of ground in this episode of Explain Me. That ground looks something like this:  The Velvet Buzzsaw is a bad movie. Mary Boone is still awaiting sentencing for falsifying tax documents—a whistleblower could get as much as $300,000 in reward for the tip. Dawn Clements is remembered at Pierogi. Dana Schutz's first show since the controversy over her painting of Emmitt Till at the Whitney Biennial. Chelsea is more woke. W.A.G.E. is asking artists to withhold their art from the Whitney Biennial until the museum adequately address the issue of their board chair selling tear gas used on children at the border. Amazon is reaching out to artists in attempts to buy their support. Listeners who want to organize against this kind of practice should attend the next Artist Studio Affordability Project meeting. Contact the organization for details. 

In this episode, Deidré A. Keller, Associate Dean for Academic Affairs and Professor of Law at Ohio Northern University Pettit College of Law, discusses her current project, "Will I Be the Next Hashtag?: 'Black Death Spectacle' or Catalyst for Change?" Keller observes that Emmett Till's mother Mamie Till intentionally used the image of his mangled body to support the civil rights movement, by to forcing the public to confront the brutality of the mob that lynched him. But more recently, when Jordan Edwards was murdered by a police officer, his family asked for people to respect their privacy and not "hashtag" Edwards. In addition, some people protested when the artist Dana Schutz used the iconic image of Emmett Till as the basis for a painting. Keller asks whether privacy, publicity, and related legal rights can and should enable families and others to prevent the public from turning murdered African-Americans into symbols. Keller's work is available on SSRN here.Keywords: privacy, right of publicity, intellectual property See acast.com/privacy for privacy and opt-out information.

In this first series of Five on Five we're asking five painters to speak about a painting that has influenced, inspired or resonated with them. In this episode Kylie Banyard reflects on Breast-feeding (2015) by American artist Dana Schutz. In particular, Banyard is captivated by the image's “yuck yum” qualities and its depiction of the maternal experience of breastfeeding. To view the painting as you listen along, head to Art Guide online: https://artguide.com.au/five-on-five-kylie-banyard-on-dana-schutzs-breastfeeding. Kylie Banyard is a multidisciplinary artist whose work investigates alternate models for living and learning. Her artistic practice is grounded in painting and intersects with photography, video, sculpture and immersive architectural spaces. Production credits: Produced by Tiarney Miekus. Music and audio engineering by Mino Peric.

Tracy Thomason was born in Gaithersburg, MD in 1984. She lives and works in Brooklyn, NY. Tracy received her BFA at the Maryland Institute College of Art in 2006, and her MFA at the Cranbrook Academy of Art in 2008. Her solo shows include Cuevas Tilleard Gallery, Tiger Strikes Asteroid and her current show at Marinaro Gallery. She’s had group exhibtiions at Impreial College London, Devening Projects in Chicago, 106 Green in Brooklyn, Greenpoint Terminal Gallery, TSA LA, Jeff Bailey Gallery, James Fuentes and many others. Her work has been covered in the New Yorker, Artinfo, The Brooklyn Rail, New American Paintings and several others. She attended the Atlantic Center for the Arts Residency with Dana Schutz in Florida and she recieved a Joan Mitchell Foundation Scholarship. She has taught at the Interlochen School for the Arts, Cooper Union, MICA, Drew University and the University of Tennessee. Brian met up with Tracy in her Brooklyn studio on the occasion of her solo show at Marinaro in the Lower East Side and they discussed her school days and destined path, her working as a personal chef, the materiality in her painting and even Alfred Lord Tennyson.

The hype surrounding the Saturday night fight between boxer Floyd Mayweather Jr. and MMA fighter Conor McGregor is overtly racially charged. Why? Because people are eating it up, says Wesley Morris, critic-at-large for the New York Times. Morris and Mike talk about the role of race in the NFL’s treatment of Colin Kaepernick, Dana Schutz’s Open Casket painting of Emmett Till, the closing of the Broadway show The Great Comet, and more. Morris is the co-host of the Still Processing podcast.  In the Spiel: We live in interesting times.   Learn more about your ad choices. Visit megaphone.fm/adchoices

The hype surrounding the Saturday night fight between boxer Floyd Mayweather Jr. and MMA fighter Conor McGregor is overtly racially charged. Why? Because people are eating it up, says Wesley Morris, critic-at-large for the New York Times. Morris and Mike talk about the role of race in the NFL’s treatment of Colin Kaepernick, Dana Schutz’s Open Casket painting of Emmett Till, the closing of the Broadway show The Great Comet, and more. Morris is the co-host of the Still Processing podcast.  In the Spiel: We live in interesting times.   Learn more about your ad choices. Visit megaphone.fm/adchoices

It’s been a summer of outrage over the question of who can tell stories about black history and black pain. We reckon with this question by examining Kathryn Bigelow’s film "Detroit," Dana Schutz's painting “Open Casket” and the recently announced new project from the "Game of Thrones" showrunners, an HBO drama called "Confederate." Without promising any answers, we also ask: Do stories about the American black experience belong to all Americans? Are there any criteria by which white creators can successfully make work about blackness?

la curadora Waleska Santiago comparte su perspectiva sobre la pintura “Ataúd abierto”, por la pintora blanca Dana Shutz, de Emmett Till, un muchacho negro de 14 años que fue golpeado y ahorcado en 1955 por racistas en Mississippi.

In Glasstire's Art Dirt podcast, Christina Rees and Rainey Knudson discuss the controversy over Dana Schutz's painting of Emmett Till in the Whitney Biennial.

Family Bodies - with Aaron Gemmill and Dana Schutz by Induction Burners

With Mark Lawson.Tom Hanks reflects on saying no to film offers, playing real people, and his latest role in Captain Phillips, which depicts the ordeal of Richard Phillips, captain of a cargo ship taken hostage by Somali pirates in 2009. Captain Phillips is directed by Paul Greengrass (United 93, The Bourne Supremacy).It was announced today that Alice Munro has been awarded the 2013 Nobel Prize for Literature. AS Byatt and Hermione Lee discuss the Canadian author, who writes short stories rather than novels.And Mark talks to the American artist Dana Schutz, whose colourful and fantastical paintings are on show at The Hepworth gallery in Wakefield.Producer Timothy Prosser.