Podcast appearances and mentions of david hammons

Play Episode Listen Later Feb 7, 2024 54:02

Stanley Whitney talks to Ben Luke about his influences—from writers to musicians and, of course, other artists—and the cultural experiences that have shaped his life and work. Whitney, born in Philadelphia in 1946, makes abstract paintings that feature interlocking rectangles, squares and bands of paint whose intense colours hum with musical resonance and rhythm. Rigorously structured yet full of improvisation and unexpected incident, his paintings are both arresting and slow-burning: they grab you with their bold hues and hold you with their complex harmonies and dissonances, their sense of constant movement. He is particularly known for his square-format paintings of the past two decades but his career has been a lifelong search for a distinctive form of painting—one that, as he has said, is defiantly abstract yet contains “the complexity of the world”. He reflects on his encounters with an early mentor, Philip Guston; being painted by Barkley Hendricks, a fellow student at Yale; and his close friendship with David Hammons. He discusses his love of Paul Cezanne, Vincent van Gogh, Paolo Veronese and Henri Matisse, as well as the work of Gees Bend quilters. And explains how he connects this deep love of painting to musical greats including Miles Davis, Charlie Parker and Charlie Mingus. Plus he discusses in detail his life in the studio and answers our usual questions, including “what is art for?”Stanley Whitney: How High the Moon, Buffalo AKG Art Museum, Buffalo, US, 9 February-27 May; Walker Art Center, Minneapolis, US, 14 November-16 March 2025; Institute of Contemporary Art /Boston, US, 17 April 2025–1 September 2025; Stanley Whitney: Dear Paris, Gagosian, Paris, until 28 February. Hosted on Acast. See acast.com/privacy for more information.

The 2022-23 Studio Museum Artists in Residence

black culture artists morris residence wnyc moma ps1 studio museum kehinde wiley mickalene thomas david hammons

Play Episode Listen Later Nov 27, 2023 21:40

The annual Studio Museum residency has long been one of the most prestigious artist residencies in the city, and a fertile ground for emerging Black artists. The program includes alumni such as David Hammons, Mickalene Thomas, and Kehinde Wiley. A new exhibition at MoMA PS1 presents the work of the 2022-23 artists in residence: Jeffrey Meris, Devin N. Morris, and Charisse Pearlina Weston. Meris and Morris join us alongside curator Yelena Keller to discuss the show. And Ever An Edge: Studio Museum Artists in Residence 2022–23 is on view through April 8.

A brush with... Yinka Shonibare

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Play Episode Listen Later Sep 12, 2023 53:12

In the first of this new series of A brush with…, Yinka Shonibare talks to Ben Luke about his influences—from writers to musicians, film-makers and, of course, other artists—and the cultural experiences that have shaped his life and work.Shonibare was born in 1962 in London to Nigerian parents and moved to Lagos in Nigeria when he was a child. He returned to London for his fine art studies at Byam Shaw School of Art and Goldsmiths College. He explores race, class and constructions of cultural identity through sculpture, installation, painting, photography, film and other media. His signature material is Dutch wax fabric, which he is able endlessly to repurpose and recontextualise. He chose this material precisely for its complex and loaded history: it was originally inspired by Indonesian batik, mass-produced by the Dutch and then sold to European colonies in West Africa. Dutch wax fabric eventually became a signifier of independence and culture in Africa and its diaspora. Through references to Western art history, film and literature Shonibare uses this textile to playfully, even provocatively, explore the validity of national identities and the cultures that inform them. He discusses his perennial fascination with William Hogarth and Francisco Goya, and his admiration for contemporary artists as diverse as Cindy Sherman, David Hammons and Paul McCarthy, who he describes as “Hogarth x100”. He explains his love of opera—the total artwork—and contemporary dance. And he reflects on the consistent environmentalist strand in his work. Plus he gives insight into his studio life and answers our usual questions, including the ultimate: what is art for?Yinka Shonibare CBE RA: Free The Wind, The Spirit, and The Sun, Stephen Friedman Gallery, London, 6 October-11 November; Yinka Shonibare CBE: Ritual Ecstasy of the Modern, Cristea Roberts Gallery, London, 22 September-4 November; Shonibare's public work Hibiscus Rising, commissioned by the David Oluwale Memorial Association for Aire Park, Leeds, as part of Leeds 2023, is unveiled on 25 November. Between April and September 2024, Shonibare will have a solo exhibition at the Serpentine Galleries, London. He will also participate in Nigeria's Pavilion at the 60th International Venice Biennale from April 2024. Hosted on Acast. See acast.com/privacy for more information.

Public Art and the Slow Creep of Gentrification

The Gallery Companion

Play Episode Listen Later Jun 7, 2023 15:01

Shortlisted for the Independent Podcast Awards 2023. This episode considers the importance of public art for marking the memory of marginalised communities in urban areas that are always subject to development and change. I discuss the Met's new rooftop sculpture by the American artist Lauren Halsey, whose work celebrates her home community in South Central LA, an area that is fast becoming gentrified. Plus New York-based artist Abigail DeVille, who reclaims the hidden histories of marginalised people in Harlem. And I consider the meaning and value of the 2021 public sculpture on the Hudson River in New York by David Hammons, which recognises the rich queer history of the area before its development.The Gallery Companion is hosted by writer and historian Dr Victoria Powell. It's a thought-provoking dive into the interesting questions and messy stuff about our lives that art explores and represents.To see the images and watch the videos discussed in the podcast visit www.thegallerycompanion.com. This is where you can subscribe to The Gallery Companion email list, which goes out every fortnight to accompany each new podcast episode, and is packed full of links to more info. That's where you can share your thoughts and join the conversation too. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.thegallerycompanion.com/subscribe

Art that Influenced a Generation

culture generation influenced wnyc david hammons

Play Episode Listen Later May 8, 2023 15:11

David Hammons' art makes bold, provocative statements that feel current today. A new film, "The Melt Goes On Forever: The Art and Times of David Hammons" looks at his life and career. We speak to co-directors Judd Tully and Harold Crooks about it.

The Melt Goes on Forever: The Art & Times of David Hammons / Film School Radio interview wirh Co-directors Judd Tully & Harold Crooks

KUCI: Film School

Play Episode Listen Later May 5, 2023

From the late 1960s to mid- 1970s, David Hammons captivated the art world with his body prints, using his naked body as a printing plate in meditations on African-American existence, and later works including a snowball-selling performance in the East Village and sculptures made of hair collected from Harlem barbers — all the while sharply defying establishment categories and rules of commerce. An unconventional chronicle of Hammons's life and work (now 79, he believes “the less they know about me the better”), THE MELT GOES ON FOREVER captures his playful, no-bullshit spirit and conceptual integrity, using archival footage and rare interviews, dynamic animation and sound art, and candid accounts by eminent artists curators and critics (Betye Saar, Suzanne Jackson, Henry Taylor, Lorna Simpson, among others). Hammons's profound critiques of racial and social inequality illuminate and implicate simultaneously. THE MELT GOES ON FOREVER chronicles Hammons' category-defying practice – rooted in a deep critique of American society and the elite art world – is in the words of one art critic “an invitation to confront the fissures between races” as the artist seeks to go beyond the dominant culture and his own to a new one for the 21st century. Co-directors Judd Tully (American Greed: The Art of the Steal, Driven to Abstraction) and Harold Crooks (The Price We Pay, The Corporation) stop by to talk about David Hammons has constantly defied the establishment and remains to this day a subversive voice, evocative, defiant, nuanced and relevant. For more go to: the-melt-goes-on-forever-the-art-times-of-david-hammons Screening at Film Forum in NYC - May 5 - 11

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MoMA's 'Just Above Midtown' Closes Saturday

The Nuclear Power Institute "The Path of Most Persistence" Podcast

Play Episode Listen Later Feb 15, 2023 19:57

[REBROADCAST FROM October 10, 2022] Just Above Midtown (JAM) was an art gallery opened in 1974 on west 57th Street that spotlighted the work of Black artists who had yet to receive mainstream recognition, like David Hammons, Lorraine O'Grady, and Howardena Pindell. The gallery was opened by Linda Goode Bryant and closed in 1986. Now, a new exhibition at MOMA, Just Above Midtown: Changing Spaces, showcases some of the work that was once displayed at the original gallery. Head curator Thomas Jean Lax joins to speak to the importance of preserving the memory of JAM. Just Above Midtown: Changing Spaces is on view until February 18, 2023.

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"I'm always inspired by these incredible young people." - Colonel David Hammons

Play Episode Listen Later Jan 30, 2023 45:38

David Hammons, Retired Colonel and Organizational Learning Manager in the Chevron Technical Center in Houston, Texas, joined us on the second January 2023 episode of "The Path of Most Persistence."

texas incredible young people colonel david hammons

Jeffrey Meris

Light Work Presents: Everything Is Connected - Season 1

Play Episode Listen Later Jan 25, 2023 30:02

On this episode I'm joined by Jeffrey Meris, the New York-based artist whose paintings, sculptures, and conceptual work draw on his lived experiences. Meris was recently announced as one of this years winners of the prestigious and highly coveted Studio Museum of Harlem residency which has seen the likes of heavy hitters such as Chakaia Booker, David Hammons, Kerry James Marshall, Julie Mehretu, Mickalene Thomas and Kehinde Wiley partake in its program. Formally Jeffrey Meris is an artist who works across sculpture, installation, performance, and drawing to consider ecology, embodiment and various lived experiences while healing deeply personal and historical wounds.

new york studio museum kehinde wiley kerry james marshall mickalene thomas julie mehretu david hammons

The Ethics of Giving

First Baptist Conyers Sermons

Play Episode Listen Later Nov 21, 2022

David Hammons brings a message entitled, "The Ethics of Giving."

giving ethics david hammons

The Ethics of Giving

First Baptist Conyers Sermons

Play Episode Listen Later Nov 21, 2022

David Hammons brings a message entitled, "The Ethics of Giving."

giving ethics david hammons

'Just Above Midtown' at MoMA

los angeles san francisco brand jenkins lsd interpretation buckminster fuller whole earth hammer museum stewart brand whole earth catalog markoff john markoff kate wolf david hammons

Play Episode Listen Later Oct 10, 2022 20:29

Just Above Midtown (JAM) was an art gallery opened in 1974 on west 57th Street that spotlighted the work of Black artists who had yet to receive mainstream recognition, like David Hammons, Lorraine O'Grady, and Howardena Pindell. The gallery was opened by Linda Goode Bryant and closed in 1986. Now, a new exhibition at MOMA, Just Above Midtown: Changing Spaces, showcases some of the work that was once displayed at the original gallery. Head curator Thomas Jean Lax joins to speak to the importance of preserving the memory of JAM. Just Above Midtown: Changing Spaces is on view until February 18, 2023.

head black culture jam moma midtown wnyc david hammons howardena pindell

John Markoff's "Whole Earth" and Ulysses Jenkins's "Without Your Interpretation"

LARB Radio Hour

Play Episode Listen Later Apr 1, 2022 63:30

This week it's a LARB Radio doubleheader. In the first half of the show, Kate Wolf talks with John Markoff about his latest book, Whole Earth: The Many Lives of Stewart Brand. Brand is probably best known as the creator of the Whole Earth Catalog, a countercultural magazine he published regularly between 1968 and 1972, and then infrequently up until 1998. With influences ranging from the Beat poets whom Brand met as a youth in San Francisco to his experimentation with LSD, the wisdom of indigenous cultures, and the philosophy of Buckminster Fuller, Whole Earth Catalog featured articles on sustainable living, ecology, and emerging technologies. As Markoff shows in his book, Brand — who's worked as a photographer, writer, political advisor, and environmental activist, among other things — is not an easy person to pin down. His sympathies have ranged from libertarianism to eco-pragmatism, which stresses “useful technologies,” including nuclear power. Brand is now 83 and Markoff's book is based on many years of interviews with him. In the second half of the show, Kate is joined by artist Ulysses Jenkins on the occasion of his first, long overdue retrospective, Without Your Interpretation, which runs until May 15th at the Hammer Museum in Los Angeles. Jenkins's career spans five decades and he's known especially for his pioneering video and performance art pieces, which often explore questions of race, multiculturalism, ritual, representation, and technology. Born in Los Angeles in 1946, Jenkins has been integral to the artistic evolution of the city, collaborating and forming collectives with many other important artists, including Senga Nengudi, Maren Hassinger, David Hammons, Nancy Buchanan, Harry Gamboa Jr., May Sun, and Kitt Galloway and Sherrie Rabinowitz.

John Markoff's "Whole Earth" and Ulysses Jenkins' "Without Your Interpretation"

LA Review of Books

Play Episode Listen Later Apr 1, 2022 63:29

This week it's a LARB Radio Doubleheader. In the first half of the show, Kate Wolf talks with John Markoff about his latest book, the biography, Whole Earth: The Many Lives of Stewart Brand. Brand is probably best known as the creator of the Whole Earth Catalog, a countercultural magazine he published regularly between 1968-and 72, and then infrequently up until 1998. With influences ranging from the Beat poets Brand met as a youth in San Francisco to his experimentation with LSD, the wisdom of indigenous culture, and the philosophy of Buckminster Fuller, Whole Earth Catalog featured articles on sustainable living, ecology, and emerging technologies. As Markoff shows in his book, Brand—who's worked as a photographer, a writer, a political advisor, and an environmental activist, among other things— is not an easy person to pin down. His sympathies have ranged from libertarianism to eco-pragmatism, which stresses “Useful technologies”—including nuclear power. Brand is now 83 and Markoff's book is based on many years of interviews with him. Kate is joined in the second half of the show by artist Ulysses Jenkins on the occasion of his first, and long overdue retrospective, Without Your Interpretation, at the Hammer Museum here in Los Angeles until May 15th. Jenkins's career spans five decades: he's known especially for his pioneering video and performance art which often explores questions of race, multiculturalism, ritual, representation, and technology. Born in Los Angeles in 1946, Jenkins has been integral to the artistic evolution of the city, collaborating and forming collectives with many other important artists including Senga Nengudi, Maren Hassinger, David Hammons, Nancy Buchanan, Harry Gamboa Jr, May Sun, and Kitt Galloway and Sherrie Rabinowitz.

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David Hammons - Faire boule de neige

Ça a commencé comme ça

Play Episode Listen Later Oct 8, 2021 19:25

Percuter les consciences. 13 février 1983, l'hiver est froid à New York et le vent pique les joues. Au milieu des badauds, un homme tient un stand de boules de neige, qu'il vend plus ou moins cher selon leur taille. Cet homme, c'est l'artiste David Hammons. Vous voici au cœur d'une performance, témoin d'un moment culte de l'histoire de l'art contemporain. SOURCESExtrait Radio 1963, Inter actualités de 19H15, RTF (mercredi 21/08/1963) Extrait son du reportage vidéo INA JT 20H, lundi 16/08/1965 Extrait Radio mardi 06/12/1960CRÉDITS Ça a commencé comme ça est un podcast co-produit par Binge Audio et la Bourse de commerce - Pinault Collection. Écriture : Caroline Halazy. Incarnation et interprétation : Charlotte Le Bon. Direction de projet : Soraya Kerchaoui-Matignon. Production : Albane Fily et Dimitri Mayeur. Réalisation et mixage : Maxime Singer. Musique originale : Nicolas Olier. Identité graphique : Upian. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

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A brush with... Glenn Ligon

Play Episode Listen Later Aug 17, 2021 65:24

Glenn Ligon talks to Ben Luke about the artists, writers, musicians and other cultural figures who inspire and intrigue him, and the pivotal cultural moments in his life. Born in the Bronx, New York, in 1960, Ligon works across various media, from painting to film and neon, and primarily uses text and found images to produce powerful ruminations on contemporary politics, culture and African American identity. Despite the array of media he uses, Ligon's work is hugely consistent in its language and subject matter, with an economy and directness of form allied to a capacity for rich ambiguity and diverse meaning. Ligon joins us as he prepares to show the epic conclusion to his series Stranger, which he started in 1997, featuring excerpts from James Baldwin's 1953 essay, Stranger in the Village, in which the American writer uses his experiences in a remote Swiss village to reflect on the nature of Blackness and the embeddedness of white supremacy, among much else. In this conversation, he discusses Baldwin and the Stranger series, along with other writers, from Gertrude Stein and Charles Dickens to Toni Morrison. He talks about his visits to the Metropolitan Museum of Art to draw Cézanne as a teenager, the depth and enduring power of Andy Warhol's work and the abiding influence of David Hammons. He reflects on his musical references, from Steve Reich to Stevie Wonder, and on his interest in Korean ceramics. And, of course, he answers the questions we ask all our guests, about his daily rituals, the cultural experience that changed his view of the world and, ultimately, what art is for. This episode is sponsored by ARTIKA.Glenn Ligon: First Contact is at Hauser & Wirth, Zürich, 17 September-23 December and a big show of his work opens at Hauser & Wirth in New York on 10 November. A new publication from Hauser & Wirth Publishers is out this autumn. A show at the Carré d'Art in Nîmes, France, opens in 2022.Links for this episode:Glenn Ligon StudioGlenn Ligon: First Contact at Hauser & Wirth, ZurichJames Baldwin interview in the Paris Review and Collected Essays, edited by Toni Morrison, including the collection Notes of a Native Son, in which Stranger in the Village featuresCézanne at the Metropolitan Museum of ArtCézanne Drawing at the Museum of Modern ArtAndy Warhol's Shadows at Dia BeaconCalvin Tomkins on David Hammons in the New Yorker and Glenn Ligon's text on Hammons, Black Light: David Hammons's Poetics of EmptinessLite Brite NeonThree Lives by Gertrude SteinWillem de Kooning's Pirate (Untitled II) (1981) at the Museum of Modern ArtRobert Mapplethorpe at the Mapplethorpe Foundation and Glenn Ligon's Notes on the Margin of the Black Book at the Guggenheim MuseumStudio Museum, HarlemWhitney Museum of American ArtWhite porcelain “moon jar” at the British MuseumRaku MuseumExtract from Ralph Ellison's Invisible Man at penguin.co.ukZora Neale Hurston official siteToni Morrison Society and audiobooks narrated by Toni Morrison at AudibleÉdouard Glissant at Global Social TheoryStuart Hall FoundationCharles Dickens's Tale of Two CitiesDeForrest Brown Jr as Speaker Music at bandcampWNYC New York public radioDon Cherry on SpotifySonny Sharrock on SpotifyAphex Twin on SpotifyChrissie Hynde on the Pretenders' I'll Stand by You Jessye Norman on Spotify and Jessye Norman singing Richard Strauss's Vier Letzte Lieder/Four Last SongsSteve Reich's Come Out on Spotify and a Pitchfork article on the piece and the Harlem SixStevie Wonder on Spotify and a link Music of My Mind, which came out when Glenn Ligon was 11 years oldUncle Tom's Cabin by Thomas Edison and Edwin Porter at the University of Virginia's Uncle Tom's Cabin multimedia archive, Death of Tom by Glenn LigonJason Moran official site See acast.com/privacy for privacy and opt-out information.

The Art Angle Podcast (Re-Air): How Photographer Dawoud Bey Makes Black America Visible

Play Episode Listen Later Jul 2, 2021 56:22

The Art Angle team is taking this week off, but we'll be back July 9 with a new episode. In the meantime, here's one of our favorite recent episodes, featuring photographer Dawoud Bey on the occasion of his retrospective, "An American Project," on view at the Whitney Museum of American Art in New York. After former Minneapolis police officer Derek Chauvin was sentenced to over 22 years in prison for the murder of George Floyd, the racial justice protests of last summer viscerally came back into the public consciousness, reigniting conversations in the news and in households everywhere about the reality of the Black experience in America. These issues take new focus at the Whitney Museum of American Art, where a retrospective of the photographer Dawoud Bey presents his magisterial exploration of the subject, in the form of his penetrating portraits of Black lives from all points on the national compass. Ranging in registers from jubilation to agony, to ingenious self-invention, to blissed-out hope, the show is curated by Elizabeth Sherman and SFMoMA curator Corey Keller. Open through October 3, 2021, the show is titled “An American Project” and it is a project that is very much still in the works. It so happens that this is a very big year for Dawoud Bey. The winner of a 2017 MacArthur “genius” grant and a professor at Columbia College in Chicago, the artist has already been the subject of two other retrospectives in his 46-year career, but this one at the Whitney is not only his largest, it's also one of the largest surveys of a Black American photographer ever. On this week's episode, Bey joins Andrew Goldstein by Zoom to discuss how his childhood and early exposure to work by African Americans informed his interest in photography, his ongoing collaboration with David Hammons, and what he hopes visitors will take away from the Whitney exhibition.

The Art Angle Podcast (Re-Air): How Photographer Dawoud Bey Makes Black America Visible

The Modern Art Notes Podcast

Play Episode Listen Later Jul 2, 2021 57:07

The Art Angle team is taking this week off, but we'll be back July 9 with a new episode. In the meantime, here's one of our favorite recent episodes, featuring photographer Dawoud Bey on the occasion of his retrospective, "An American Project," on view at the Whitney Museum of American Art in New York. After former Minneapolis police officer Derek Chauvin was sentenced to over 22 years in prison for the murder of George Floyd, the racial justice protests of last summer viscerally came back into the public consciousness, reigniting conversations in the news and in households everywhere about the reality of the Black experience in America. These issues take new focus at the Whitney Museum of American Art, where a retrospective of the photographer Dawoud Bey presents his magisterial exploration of the subject, in the form of his penetrating portraits of Black lives from all points on the national compass. Ranging in registers from jubilation to agony, to ingenious self-invention, to blissed-out hope, the show is curated by Elizabeth Sherman and SFMoMA curator Corey Keller. Open through October 3, 2021, the show is titled “An American Project” and it is a project that is very much still in the works. It so happens that this is a very big year for Dawoud Bey. The winner of a 2017 MacArthur “genius” grant and a professor at Columbia College in Chicago, the artist has already been the subject of two other retrospectives in his 46-year career, but this one at the Whitney is not only his largest, it's also one of the largest surveys of a Black American photographer ever. On this week's episode, Bey joins Andrew Goldstein by Zoom to discuss how his childhood and early exposure to work by African Americans informed his interest in photography, his ongoing collaboration with David Hammons, and what he hopes visitors will take away from the Whitney exhibition.

1-54 Forum New York 2021 | Artist talk with Timothy Washington

1-54 Forum

Play Episode Listen Later Jun 2, 2021 68:32

1-54 Forum New York 17 May - 2 June 2021 Artist Talk with Timothy Washington Join artist Timothy Washington and curator Kilolo Luckett as they discuss Washington's recent work and practice for his solo exhibition, INDUCTION & SUSPICION, currently on view at Duane Thomas Gallery. Alongside they will also be discussing Washington's life and work in ‘60s and ‘70s Los Angeles as a central figure in the Black Arts Movement that comprised of artists such as Charles White, David Hammons, Betye Saar, Noah Purifoy, John Outterbridge, and Senga Nengudi, amongst others. www.1-54.com

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66. Jeanne Greenberg Rohatyn

Conversations About Art

Play Episode Listen Later Jun 1, 2021 61:22

Jeanne Greenberg Rohatyn is a gallerist, art advisor, and independent curator. A fierce activist, she is committed to feminist and progressive ideas and a belief in art's power to bring about social change. Greenberg Rohatyn founded her first gallery space in 2002, later adding venues on the Bowery in 2007 and 2010. Known for breaking hierarchies between design and high art, in 2017, she founded Salon 94 Design. She has championed artists such as Huma Bhabha, Judy Chicago, Katy Grannan, David Hammons, Lyle Ashton Harris, and Betty Woodman among many others. She and Zuckerman discuss a shared love of architecture, growing up in a house of art, being a practicing feminist, hiding in the bathroom with Andy Warhol, the goal and impact of “see better”, the relationship of art and justice, how we want story tellers now, loving looking at art, being elegant in transitions, exhibition making, being a business partner to artists, how she chooses artists, learning from her father, how art needs a lot of help! *** This episode is brought to you by Kelly Klee private insurance . Please check out their website: Kellyklee.com/Heidi and they will make a $50 donation to Artadia, an art charity I've recommended, per each qualified referral. This episode is brought to you by Best & Co. Please visit www.BestandCoAspen.com and use discount code Heidi2020 to receive 5% off of any item on the Best & Co. website. If you are interested in creating a custom piece please email custom@bestandcoaspen.com and mention that you heard about Best & Co. on my podcast to receive the special discount. *** Interested in sponsoring the podcast? Please email press@hiz.art *** If you enjoy the podcast, would you please consider leaving a short review on Apple Podcasts/iTunes? It takes less than 60 seconds, and it really makes a difference in helping to convince hard-to-get guests.Follow Heidi: Instagram: https://www.instagram.com/heidizuckerman/ Twitter: https://twitter.com/heidizuckerman LinkedIn: https://www.linkedin.com/in/heidi-zuckerman-a236b55/

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Cultura - Novo espaço de arte contemporânea em Paris marca volta da vida cultural após lockdown

Cultura

Play Episode Listen Later May 28, 2021 6:03

Depois de meses de lockdown, a vida cultural de Paris começa a respirar de novo, em etapas, com passos cuidadosos, já que o vírus continua à espreita. Nessa primeira leva de relaxamento das restrições sanitárias, a capital francesa ganha um novo endereço para a arte contemporânea, a Bourse de Commerce. Obras efêmeras e discussões contemporâneas fazem o visitante refletir sobre o tempo. Reportagem de Patricia Moribe Por trás disso, ou melhor, na frente, está o bilionário francês François Pinault, 84 anos, que há muito tempo sonhava com um templo todo seu em Paris para exibir nacos de seu ostensivo acervo de milhares de peças. Ele já tinha tentado, sem sucesso, um projeto no espaço que hoje abriga a sala de concertos La Seine Musicale, na île de Seguin, em um subúrbio próximo de Paris. Impedido pela burocracia, Pinault acabou criando dois centros de arte contemporânea em Veneza. Há cinco anos, o bilionário e a prefeitura de Paris anunciaram um acordo para o uso do prédio que foi moradia de vários nobres. O local não poderia ser mais central, bem no coração da capital, no primeiro distrito, a meio caminho entre o Centro Pompidou e o museu do Louvre. Pinault vai poder ocupar o privilegiado endereço pelos próximos 50 anos. Quem o acompanha nessa aventura é o seu arquiteto de predileção, o japonês Tadao Ando, que adaptou os palazzi de Veneza e também assinou o projeto anterior nos arredores de Paris. Ando aproveitou a casca do edifício, ou seja, manteve toda a estrutura e a abóbada, e no interior construiu uma rotunda de concreto. Desta forma, os espaços de exibição respeitam o eixo circular. François Pinault supervisionou e deu o parecer final das várias exposições que compõem “Abertura”, a primeira temporada do novo espaço, como conta Catherine Burgeois, curadora da coleção Pinault. “São espaços bem diferentes. Para a rotunda, a ideia foi propor ao artista Urs Fischer uma adaptação de uma obra sua que já fazia parte do acervo. Tentamos dar uma ideia da coleção, que é engajada com artistas de universos diferentes. No térreo, por exemplo, temos uma monografia de David Hammons. É a primeira vez que esse artista é exibido com tanto destaque na Europa.” Todo formato cabe na Bourse de Commerce: pinturas, vídeos, esculturas. Em uma galeria dedicada à fotografia, a sociedade contemporânea é o foco de artistas como Michel Journiac e Cindy Sherman. Vários artistas evocam através de suas obras a identidade negra, como o próprio Hammons ou o brasileiro Antonio Obá. Obras de estrelas da arte contemporânea, como Jeff Koons e Damien Hirst, se mesclam com descobertas revigorantes. Numa rara entrevista recente à radio France Inter, Pinault diz que conta com uma equipe de curadores espalhados pelo mundo, para ajudá-lo na caça de talentos. Mas a imagem que deve marcar essa “Abertura” é a gigantesca “Rapto das Sabinas”, uma reprodução em cera da obra prima do italiano Giambologna, do século 16, exposta em Florença. Trata-se de uma verdadeira vela gigante, cujo pavio foi acendido na inauguração e vai consumir a escultura aos poucos. Ao redor, outras obras em cera de outros artistas também vão se transformar com o tempo. “O conjunto criou uma espécie de universo em que o público pode deambular. Essa composição já foi apresentada na Mostra de Veneza e dura entre seis e oito meses. Isso tudo será filmado. Portanto, se uma pessoa vier daqui a três meses, ela vai ver uma nova etapa das peças, mas um vídeo vai mostrar como tudo era antes. O desaparecimento é tão belo quanto a forma inicial e podemos apreciar a beleza do passar do tempo”, explica Catherine Bourgeois. O espaço Bourse de Commerce foi inaugurado no último dia 23 de maio e fica no centro de Paris, pelos próximos 50 anos.

The Dawn of Day's End

Artists Among Us

Play Episode Listen Later May 14, 2021 29:29

Our inaugural episode introduces David Hammons's Day's End (2014–21). As we discuss the project's origins and site-specific nature, the layered social and cultural histories of the site begin to unfold. Hosted by Carrie Mae Weems. Episode guests (in order of appearance): Bill T. Jones, Glenn Ligon, Adam Weinberg, Tom Finkelpearl, Kellie Jones, Luc Sante, Guy Nordenson, Catherine Seavitt, Betsy Sussler. whitney.org/podcast

bill t jones carrie mae weems david hammons luc sante kellie jones adam weinberg

Type-casting yourself with artist Harold Offeh

Multiple Os

Play Episode Play 60 sec Highlight Listen Later May 11, 2021 82:21 Transcription Available

Oriana speaks with the artist Harold Offeh whose practice engages with identity politics via an ambivalent and humorous self-casting within the pop-cultural material he admires (and in some cases, finds problematic). He pre-empts his own type-casting by pointedly living within certain racialised stereotypes including the Mammy, an Afro-Brazilian manual labourer and a toilet attendant. The discussion touches upon a range of topics such as cultural appropriation; national identity and belonging; decolonising the curriculum; and the undervaluing of the formal qualities of feminist and anti-racist art. Dr Oriana Fox is a London-based, New York-born artist with a PhD in self-disclosure. She puts her expertise to work as the host of the talk show performance piece The O Show .Harold Offeh is an artist working in a range of media including performance, video, photography, learning and social arts practice. Offeh is interested in the space created by the inhabiting or embodying of histories. He employs humour as a means to confront the viewer with historical narratives and contemporary culture. He has exhibited widely in the UK and internationally including Tate Britain and Tate Modern, South London Gallery, Turf Projects, London, Kettle's Yard, Cambridge, Wysing Art Centre, Studio Museum Harlem, New York, MAC VAL, France. He lives in Cambridge and works in London and Leeds, UK where he is currently a Reader in Fine Art at Leeds Beckett University.Additional Artists Mentioned: Hattie McDaniel, Adrian Piper, Marlon Riggs, Sondra Perry, David Hammons, VALIE EXPORT, Mierle Laderman UkelesCredits:Hosted, edited and produced by Oriana FoxPost-production mixing by Stacey HarveyThemesong written and performed by Paulette HumanbeingSpecial thanks to Katie Beeson, Janak Patel, Sven Olivier Van Damme and the Foxes and Hayeses.

Glenn Ligon

Talk Art

Play Episode Listen Later May 6, 2021 78:16

Russell & Robert speak to leading artist Glenn Ligon from his studio in New York. We discuss the New Museum's current exhibition “Grief and Grievance: Art and Mourning in America,” and his collaboration with the late curator Okwui Enwezor. We discover Glenn's interest in artist's work such as Jean Michel Basquiat, Robert Rauscheberg, David Hammons and the lasting influence of Steve Reich’s audio work 'Come Out' (1966). We learn how his work has referenced forgotten texts from history, inspiration from literature in particular writers including Zora Neale Hurston and the Harlem Renaissance, James Baldwin and Alice Walker. We discuss Andy Warhol's 'Shadows' (1978-79) painting, and hear how eclipsed light is a central theme in his own work, as well as ideas of beauty, his early interest in abstract expressionism and pottery classes he attended as a child. Running until June 6, 2021, the New Museum presents “Grief and Grievance: Art and Mourning in America,” an exhibition originally conceived by Okwui Enwezor (1963-2019) for the New Museum, and presented with curatorial support from advisors Naomi Beckwith, Massimiliano Gioni, Glenn Ligon, and Mark Nash. “Grief and Grievance” will be an intergenerational exhibition, bringing together thirty-seven artists working in a variety of mediums who have addressed the concept of mourning, commemoration, and loss as a direct response to the national emergency of racist violence experienced by Black communities across America. The exhibition will further consider the intertwined phenomena of Black grief and a politically orchestrated white grievance, as each structures and defines contemporary American social and political life. “Grief and Grievance” will comprise works encompassing video, painting, sculpture, installation, photography, sound, and performance made in the last decade, along with several key historical works and a series of new commissions created in response to the concept of the exhibition.Follow @GlennLigon and @NewMuseum on Instagram. Visit www.GlennLigonStudio.com and New Museum's official website at: www.NewMuseum.orgFor images of all artworks discussed in this episode visit @TalkArt. Talk Art theme music by Jack Northover @JackNorthoverMusic courtesy of HowlTown.com 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. For all requests, please email talkart@independenttalent.com See acast.com/privacy for privacy and opt-out information.

Jennifer Roberts, Phil Sanders

Play Episode Listen Later Apr 22, 2021 86:39

Episode No. 494 features art historian Jennifer Roberts and master printer and author Phil Sanders. Beginning this Sunday, April 25, Roberts will deliver the 2021 Mellon Lectures, America's leading series of annual lectures about art. Typically delivered at the National Gallery of Art each year over six consecutive Sundays in the early spring, the pandemic has required an adjustment. Roberts will deliver this year's Mellons digitally. As ever they will be presented weekly and on Sundays. You can watch them on the NGA's website, where they will remain available for viewing. (No registration is required.) Roberts's lectures are titled "Contact: Art and the Pull of the Print." Roberts will consider printmaking as a physical experience, and will point to how artists have used the physicality inherent in printmaking as metaphors for the themes and topics they address in their work. Roberts's lectures will primarily focus on American and European contemporary art, and will address work by artists such as Jasper Johns, Robert Rauschenberg, David Hammons, Christiane Baumgartner and Glenn Ligon. Roberts is a professor at Harvard University. On the second segment, Phil Sanders discusses his new book "Prints and their Makers," which was published by Princeton University Press.

How Photographer Dawoud Bey Makes Black America Visible

Play Episode Listen Later Apr 15, 2021 57:07

This month, the murder trial of former Minneapolis police officer Derek Chauvin for the death of George Floyd has brought the racial justice protests of the last summer viscerally back into the public consciousness, reigniting conversations in the news and in households everywhere about the reality of the Black experience in America. This weekend, those same conversations will also have a powerful new point of focus at the Whitney Museum of American Art, where a retrospective of the photographer Dawoud Bey presents his magisterial exploration of the subject, in the form of his penetrating portraits of Black lives from all points on the national compass. Ranging in registers from jubilation to agony, to ingenious self-invention, to blissed-out hope, the show is curated by Elizabeth Sherman and SFMoMA curator Corey Keller. Open through October 3, 2021, the show is titled "An American Project" and it is a project that is very much still in the works. It so happens that this is a very big year for Dawoud Bey. The winner of a 2017 MacArthur "genius" grant and a professor at Columbia College in Chicago, the artist has already been the subject of two other retrospectives in his 46-year career, but this one at the Whitney is not only his largest, it's also one of the largest surveys of a Black American photographer ever. If that's not enough, his work is also currently featured in the New Museum's staging of the final exhibition of the late curator Okwui Enwezor, "Grief and Grievance: Art and Mourning in America." On this week's episode, Bey joins Andrew Goldstein by Zoom to discuss how his childhood and early exposure to work by African Americans informed his interest in photography, his ongoing collaboration with David Hammons, and what he hopes visitors will take away from the Whitney exhibition.

How Photographer Dawoud Bey Makes Black America Visible

NOTA BENE: This Week in the Art World

Play Episode Listen Later Apr 15, 2021 56:20

This month, the murder trial of former Minneapolis police officer Derek Chauvin for the death of George Floyd has brought the racial justice protests of the last summer viscerally back into the public consciousness, reigniting conversations in the news and in households everywhere about the reality of the Black experience in America. This weekend, those same conversations will also have a powerful new point of focus at the Whitney Museum of American Art, where a retrospective of the photographer Dawoud Bey presents his magisterial exploration of the subject, in the form of his penetrating portraits of Black lives from all points on the national compass. Ranging in registers from jubilation to agony, to ingenious self-invention, to blissed-out hope, the show is curated by Elizabeth Sherman and SFMoMA curator Corey Keller. Open through October 3, 2021, the show is titled "An American Project" and it is a project that is very much still in the works. It so happens that this is a very big year for Dawoud Bey. The winner of a 2017 MacArthur "genius" grant and a professor at Columbia College in Chicago, the artist has already been the subject of two other retrospectives in his 46-year career, but this one at the Whitney is not only his largest, it's also one of the largest surveys of a Black American photographer ever. If that's not enough, his work is also currently featured in the New Museum's staging of the final exhibition of the late curator Okwui Enwezor, "Grief and Grievance: Art and Mourning in America." On this week's episode, Bey joins Andrew Goldstein by Zoom to discuss how his childhood and early exposure to work by African Americans informed his interest in photography, his ongoing collaboration with David Hammons, and what he hopes visitors will take away from the Whitney exhibition.

NOTA BENE: An interview with the artist Joel Mesler

Play Episode Listen Later Apr 1, 2021 65:08

Nate and Benjamin have a quick chat on the news of the day covering passover seder, the stunning David Hammons show at The Drawing Center, how Frieze is trying to stage a safe in-person art fair in New York next month and Nate's profile of market phenom Robert Nava. In the second half we are joined by the artist and gallerist Joel Mesler who--hot on the heels of his sold out exhibition at David Kordansky Gallery in Los Angeles--breaks down his personal and artistic history. We cover his wayward youth in Los Angeles, his college years and (brief) move to Israel, graduate school in San Francisco, his place at the center of the all important Chinatown (LA) art scene of the early aughts, his gallery move to New York and later East Hampton and how he pivoted to becoming a fulltime (and highly in-demand) artist. You won't want to miss this legendary recontour and his insightful take on what his long and varied journey has taught him about the contemporary art world and life in general. --- Support this podcast: https://anchor.fm/benjamin-godsill/support

new york israel los angeles san francisco artist east hampton frieze nota bene david hammons drawing center

A brush with... Julie Mehretu

Play Episode Listen Later Mar 24, 2021 52:20

As her retrospective opens at the Whitney Museum of American Art, the Ethiopian-born, New York-based artist Julie Mehretu talks in depth about her life and work. She discusses the rich language she uses in her paintings, drawing on geopolitical subject matter but pushing towards abstraction. She talks about the influence of contemporary artists like David Hammons, Kara Walker and Glenn Ligon, her collaboration with the British artist Tacita Dean, how Rembrandt made his mark on her as a child and the way she uses news photography as the basis for her most recent works. She talks about her literary influences, from Toni Morrison to Chris Abani, on the music she listens to in her studio, from Sun Ra to Joan Armatrading, and her fruitful collaborations with the jazz pianist Jason Moran and the theatre and opera director Peter Sellars. Among much else, she also talks about the cultural experience that changed the way she sees the world, the one work of art she would choose to live with, and answers our ultimate question: what is art for? See acast.com/privacy for privacy and opt-out information.

new york british ethiopian brush toni morrison rembrandt american art sun ra whitney museum joan armatrading kara walker jason moran peter sellars julie mehretu tacita dean glenn ligon david hammons chris abani

AW CLASSROOM: David Hammons, Bliz-aard Ball Sale, Cooper Square, New York, 1983 (EP. 10)

AW CLASSROOM

Play Episode Listen Later Dec 29, 2020 17:36

For the 10th episode of AW CLASSROOM, we center David Hammons' work "Bliz-aard Ball Sale," Cooper Square, New York, 1983. The notes for this episode were wonderfully put together by AW intern, Abe Centeno. To see the full notes, research, and images for this episode, become a patron at https://www.patreon.com/ARTSYWINDOW. AW CLASSROOM is a series of talks and art history classes highlighting the work of artists and creatives of color. Find out more at ARTSYWINDOW.COM. To support our podcast and the work we do, please donate to us at artsywindow.com and click the "donate" tab. You can also become a patreon to support our work: https://www.patreon.com/ARTSYWINDOW Follow us on the gram: @artsywindow Tiktok: @artsywindow Much love! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/artsywindow/support

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A brush with... Rashid Johnson

george floyd civic converse clout tremaine david hammons

Play Episode Listen Later Aug 26, 2020 59:05

Ben Luke talks to Rashid Johnson about the cultural experiences that have had an impact on his life and work. They discuss his beginnings as a photographer, but how he quickly occupied a "post-medium space", working in everything from film to sculpture, installation and, as with the other artists in the first series, in painting. Rashid talks about his use of materials like black soap and shea butter, the role of books in his work, and the personal and political background to his recent body of Anxious works, culminating in the new Anxious Red paintings. Through the conversation, Rashid reveals the influence of cultural figures as diverse as the hip-hop star Rakim, writers including Toni Morrison and Paul Beatty, and artists as diverse as Roy DeCarava, Franz Kline, Jean Dubuffet and David Hammons. He also answers our regular questions about studio rituals, the one artwork he would choose to live with, and, finally, what is art for? See acast.com/privacy for privacy and opt-out information.

anxious brush toni morrison rashid rakim paul beatty jean dubuffet rashid johnson david hammons roy decarava ben luke

97: Civic Clout w/ Tremaine Emory

Corporate Lunch

Play Episode Listen Later Jun 17, 2020 76:22

This week, Tremaine Emory joins us to discuss his decision, in the wake of the George Floyd protests, to postpone an upcoming Converse collaboration until Nike commits to explaining its internal diversity and aiding the movement to defund the police. We also dive into the origins of his Denim Tears moniker, the responsibility of his creative cohort to fire up the younger generation, meeting David Hammons, and our relationship to brands. Learn more about your ad choices. Visit podcastchoices.com/adchoices

97: Civic Clout w/ Tremaine Emory

Corporate Lunch

Play Episode Listen Later Jun 17, 2020 76:22

This week, Tremaine Emory joins us to discuss his decision, in the wake of the George Floyd protests, to postpone an upcoming Converse collaboration until Nike commits to explaining its internal diversity and aiding the movement to defund the police. We also dive into the origins of his Denim Tears moniker, the responsibility of his creative cohort to fire up the younger generation, meeting David Hammons, and our relationship to brands. Learn more about your ad choices. Visit podcastchoices.com/adchoices

george floyd civic converse clout tremaine david hammons

New Yorker Art Scribe Calvin Tomkins on What Makes Great Artists Tick

artists new yorker tick dozens donn scribe marcel duchamp duchamp great artists tomkins phaidon andrew goldstein artnet news david hammons

Play Episode Listen Later Dec 17, 2019 23:36

Six decades ago, an editor at Newsweek magazine summoned a young journalist named Calvin Tomkins out of the foreign-news department to interview the legendary conceptual artist Marcel Duchamp, who had allegedly left art-making in favor of playing chess and... simply breathing. Although it would be years before Tomkins discovered Duchamp had in fact already been at work on his magnum opus, Étant Donnés, for years before their first meeting, this chance encounter altered the trajectory of his career and life. Duchamp was the gateway to what would become a prolific collection of artists—many of them eccentric or otherwise challenging, all of them great (or at least noteworthy)—that Tomkins went on to profile in the pages of the New Yorker beginning in 1962. Dozens of those profiles have now been compiled into a lavish new multi-volume set, titled The Lives of Artists, published by Phaidon. The collection joins 18 other books that Tomkins has previously published on artists and the art world, including an essential biography of the man who started it all for him: Marcel Duchamp. In the process, Tomkins has arguably become known as the world's authority on not only many of the most consequential postwar and contemporary artists in the canon, but also on the art of profiling itself. To celebrate the release of The Lives of Artists, Tomkins joined Artnet News editor-in-chief Andrew Goldstein in studio to discuss his one-of-a-kind journey, what David Hammons shares with Duchamp, and even the editioned banana that took over the world, AKA Maurizio Cattelan's Comedian.

New Yorker Art Scribe Calvin Tomkins on What Makes Great Artists Tick

artists new yorker tick dozens donn scribe marcel duchamp duchamp great artists tomkins phaidon david hammons

Play Episode Listen Later Dec 17, 2019 24:20

Six decades ago, an editor at Newsweek magazine summoned a young journalist named Calvin Tomkins out of the foreign-news department to interview the legendary conceptual artist Marcel Duchamp, who had allegedly left art-making in favor of playing chess and... simply breathing. Although it would be years before Tomkins discovered Duchamp had in fact already been at work on his magnum opus, Étant Donnés, for years before their first meeting, this chance encounter altered the trajectory of his career and life. Duchamp was the gateway to what would become a prolific collection of artists—many of them eccentric or otherwise challenging, all of them great (or at least noteworthy)—that Tomkins went on to profile in the pages of the New Yorker beginning in 1962. Dozens of those profiles have now been compiled into a lavish new multi-volume set, titled The Lives of Artists, published by Phaidon. The collection joins 18 other books that Tomkins has previously published on artists and the art world, including an essential biography of the man who started it all for him: Marcel Duchamp. In the process, Tomkins has arguably become known as the world's authority on not only many of the most consequential postwar and contemporary artists in the canon, but also on the art of profiling itself. To celebrate the release of The Lives of Artists, Tomkins joined Artnet News editor-in-chief Andrew Goldstein in studio to discuss his one-of-a-kind journey, what David Hammons shares with Duchamp, and even the editioned banana that took over the world, AKA Maurizio Cattelan's Comedian.

Painter + Sculptor, Kevin Demery & Rohan Ayinde – part 2 (Chicago, USA + London, UK)

Play Episode Listen Later Nov 4, 2019

In the second part of a two part conversation we discuss: How to write an effective artist statement, Write an artist statement like you are infallible, An artist statement is a link between the work and the mystery behind the work, Explain the 'why' of the work, Generational disconnect between teachers and students in art schools, the secondary art market and how none of the money goes to artists, The myth of the starving artist, Art is not essential, Why not a starving doctor or staring lawyer, I don't want to fail at something I know I am going to be mediocre at, Artist residencies, The desire for time, space, and money, The power of a residency is also in how you treat your time 2 months leading up to and up to 6 months after the residency itself, the most power moves are lateral, The most powerful people you meet are the people that make you feel like it was a gift that you were even around them, and Outsider art. http://www.kevindemery.com https://www.instagram.com/rohanayinde About Much of the work I make sits on the borders of painting and sculpture. Triangulating biography, American politics, and images related to African American trauma, I have developed a language that employs iconography and subtleties in tandem. The works of Cady Noland, Robert Morris, and David Hammons have provided a linage through which I view my practice. What drives my creative process most is a desire to alchemically transform objects and material to address nuance in black historical narratives. I traverse multiple styles of making and presentation to draw the viewer into an environment with each piece. I work this way as a means to reveal the power of the imagery used and evoke curiosity in the narratives that lie within them. One of my recent works, "Things Fall Apart," 2018, is a poetic response to authoritarian restrictions on childhood based on race. In the work, the shape of a swing set is fashioned after a police barricade and painted a matte black to mask its direct association. One of the two seats painted has an elementary triad pattern that is reminiscent of play structures, the other seat is painted with a Pan-African flag scheme and sits close enough to the ground to almost be rendered useless. The work's primary design is to question the ability of black children to empower themselves while within a subjugated state. Alternatively, other works I make have direct responses to art historical narratives. My piece “We Aren't Supposed to Love Each Other Anyways”, 2016, is a part of a series inspired by Robert Morris's “Untitled (Corner Piece)”, 1964. In this work, I borrow the gesture of fabricating a plywood triangular corner piece, while interjecting a narrative of trauma in using a destroyed images of Fred Hampton, prominent martyr of the 1960's black power movement. This gesture, combined with the minimized scale in comparison to Morris, I force the viewer to stare down at the object as if it were a headstone or backed into a corner away from prominent view. These differences highlight the range of source materials and presentations I seek. I often think of my work as a hybrid between site-specific installation and black cultural ephemera; decaying and disappearing much like the histories it draws from and therefore sits on the perimeters of an art object, a monument, and detritus. Please be sure to visit our Patreon page and help support the podcast by being part of the conversation. The more money raised, the larger the global reach we can offer you: https://www.patreon.com/thewisefool For more information about the host, Matthew Dols http://www.matthewdols.com

Painter + Sculptor, Kevin Demery + Rohan Ayinde - part 2 (Chicago, USA + London, UK)

Play Episode Listen Later Nov 4, 2019 52:41

In the second part of a two part conversation we discuss: How to write an effective artist statement, Write an artist statement like you are infallible, An artist statement is a link between the work and the mystery behind the work, Explain the 'why' of the work, Generational disconnect between teachers and students in art schools, the secondary art market and how none of the money goes to artists, The myth of the starving artist, Art is not essential, Why not a starving doctor or staring lawyer, I don't want to fail at something I know I am going to be mediocre at, Artist residencies, The desire for time, space, and money, The power of a residency is also in how you treat your time 2 months leading up to and up to 6 months after the residency itself, the most power moves are lateral, The most powerful people you meet are the people that make you feel like it was a gift that you were even around them, and Outsider art. http://www.kevindemery.com https://www.instagram.com/rohanayinde About Much of the work I make sits on the borders of painting and sculpture. Triangulating biography, American politics, and images related to African American trauma, I have developed a language that employs iconography and subtleties in tandem. The works of Cady Noland, Robert Morris, and David Hammons have provided a linage through which I view my practice. What drives my creative process most is a desire to alchemically transform objects and material to address nuance in black historical narratives. I traverse multiple styles of making and presentation to draw the viewer into an environment with each piece. I work this way as a means to reveal the power of the imagery used and evoke curiosity in the narratives that lie within them. One of my recent works, "Things Fall Apart," 2018, is a poetic response to authoritarian restrictions on childhood based on race. In the work, the shape of a swing set is fashioned after a police barricade and painted a matte black to mask its direct association. One of the two seats painted has an elementary triad pattern that is reminiscent of play structures, the other seat is painted with a Pan-African flag scheme and sits close enough to the ground to almost be rendered useless. The work's primary design is to question the ability of black children to empower themselves while within a subjugated state. Alternatively, other works I make have direct responses to art historical narratives. My piece “We Aren't Supposed to Love Each Other Anyways”, 2016, is a part of a series inspired by Robert Morris's “Untitled (Corner Piece)”, 1964. In this work, I borrow the gesture of fabricating a plywood triangular corner piece, while interjecting a narrative of trauma in using a destroyed images of Fred Hampton, prominent martyr of the 1960's black power movement. This gesture, combined with the minimized scale in comparison to Morris, I force the viewer to stare down at the object as if it were a headstone or backed into a corner away from prominent view. These differences highlight the range of source materials and presentations I seek. I often think of my work as a hybrid between site-specific installation and black cultural ephemera; decaying and disappearing much like the histories it draws from and therefore sits on the perimeters of an art object, a monument, and detritus. Please be sure to visit our Patreon page and help support the podcast by being part of the conversation. The more money raised, the larger the global reach we can offer you: https://www.patreon.com/thewisefool For more information about the host, Matthew Dols http://www.matthewdols.com

Painter + Sculptor, Kevin Demery & Rohan Ayinde – part 1 (Chicago, USA + London, UK)

Play Episode Listen Later Oct 31, 2019

In the first part of a two part conversation we discuss: Art Institutes, Leaving graduate school, The current state of academia, The loss of tenure track teaching jobs, The need to build economies around yourself, Sponsors and podcast funding, How to use social media as a visual artist, the need to be cognizant of the conversation you are having in the art world, Taking time off social media, The unknown next art movements, Visual activism, Craft and craftsmanship, What should be the defining characteristic of an artists work, Race, gender, religion, etc, and the fact that prejudice is not power necessarily, it's what happens when you can back up that prejudice with power. http://www.kevindemery.com https://www.instagram.com/rohanayinde About Much of the work I make sits on the borders of painting and sculpture. Triangulating biography, American politics, and images related to African American trauma, I have developed a language that employs iconography and subtleties in tandem. The works of Cady Noland, Robert Morris, and David Hammons have provided a linage through which I view my practice. What drives my creative process most is a desire to alchemically transform objects and material to address nuance in black historical narratives. I traverse multiple styles of making and presentation to draw the viewer into an environment with each piece. I work this way as a means to reveal the power of the imagery used and evoke curiosity in the narratives that lie within them. One of my recent works, "Things Fall Apart," 2018, is a poetic response to authoritarian restrictions on childhood based on race. In the work, the shape of a swing set is fashioned after a police barricade and painted a matte black to mask its direct association. One of the two seats painted has an elementary triad pattern that is reminiscent of play structures, the other seat is painted with a Pan-African flag scheme and sits close enough to the ground to almost be rendered useless. The work's primary design is to question the ability of black children to empower themselves while within a subjugated state. Alternatively, other works I make have direct responses to art historical narratives. My piece “We Aren't Supposed to Love Each Other Anyways”, 2016, is a part of a series inspired by Robert Morris's “Untitled (Corner Piece)”, 1964. In this work, I borrow the gesture of fabricating a plywood triangular corner piece, while interjecting a narrative of trauma in using a destroyed images of Fred Hampton, prominent martyr of the 1960's black power movement. This gesture, combined with the minimized scale in comparison to Morris, I force the viewer to stare down at the object as if it were a headstone or backed into a corner away from prominent view. These differences highlight the range of source materials and presentations I seek. I often think of my work as a hybrid between site-specific installation and black cultural ephemera; decaying and disappearing much like the histories it draws from and therefore sits on the perimeters of an art object, a monument, and detritus. Please be sure to visit our Patreon page and help support the podcast by being part of the conversation. The more money raised, the larger the global reach we can offer you: https://www.patreon.com/thewisefool For more information about the host, Matthew Dols http://www.matthewdols.com

Painter + Sculptor, Kevin Demery + Rohan Ayinde - part 1 (Chicago, USA + London, UK)