Podcasts about depaul art museum

In this episode, MoCP Executive Director, Natasha Egan, sits down with artist Christina Fernandez. The two discuss Christina's decades-long career in pushing the boundaries of photography, blending her personal history as a Mexican American woman with broader cultural narratives about migration, labor, and gender. Natasha and Christina additionally discuss a piece in the MoCP permanent collection by Sidian Liu. Christina Fernandez has been featured in exhibitions at the Whitney Museum of Art, the San Francisco Museum of Modern Art, the Los Angeles County Museum of Aart, the Getty, and MoMA New York, just to name a few. Ferndandez is a 2021 Latinx Artist Fellowship honoree. She is also an influential educator, currently serving as an associate professor at Cerritos College in Norwalk, California where she has been on faculty since 2001. Fernandez's exhibition Multiple Exposures, is on view at the DePaul Art Museum in Chicago from March 20 - August 3, 2025, and it the first major museum survey of her work and has traveled to institutions across the county for the last three years.

A strange and lucky number for an episode packed with the profound! This week, we dive deep into design, architecture, and the unique culture of Chicago. We kick things off with an interview featuring Sharon & Guy, the dynamic design collaborative whose thought-provoking artworks are included in The Spaces We Call Home, currently on view at the DePaul Art Museum. They're joined by Marin R. Sullivan, the curator of this important show, to discuss how their work reflects on identity, place, and home. Next, we talk to Brandon Johnson, publisher of Almighty & Insane Books, about his exploration of Chicago's gangland ephemera, the hidden histories of modern architecture, tagging, visionary art, and why Chicago continues to inspire generations of creators. Brandon's work uncovers the city's gritty and delightfully creative underbelly, presenting it in a way that both honors and challenges conventional narratives. Join us as we unpack all things Chicago: from its built environment to its street art, this conversation covers it all, with plenty of love for the city that shapes so much of our work. All from Staple and Stitch #1

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. Today, Emily chats with Iranian born artist and current UC Davis professor Shiva Ahmadi. About Artist Shiva Ahmadi:Shiva Ahmadi's practice borrows from the artistic traditions of Iran and the Middle East to critically examine global political tensions and social concerns. Having come of age in the tumultuous years following the Iranian Revolution and subsequent Iran-Iraq War of the 1980s, Ahmadi moved to the United States in 1998, and has been based in California since 2015.Ahmadi works across a variety of media, including watercolor painting, sculpture, and video animation; consistent through her pieces are the ornate patterns and vibrant colors drawn from Persian, Indian and Middle Eastern art. In her carefully illustrated worlds, formal beauty complicates global legacies of violence and oppression. These playful fantasy realms are upon closer inspection macabre theaters of politics and war: watercolor paint bloodies the canvas, and sinister global machinations play out in abstracted landscapes populated by faceless figures and dominated by oil refineries and labyrinthine pipelines.Shiva Ahmadi studied at the Cranbrook Academy of Art, Bloomfield Hills, MI; Wayne State University, Detroit, MI; and Azad University, Tehran, Iran. In addition to recent solo exhibitions at the Asian Art Museum, San Francisco, CA (2017) and Asia Society Museum, New York, NY (2014), her work has been included in major group shows including Home Land Security, For-Site Foundation, San Francisco, CA (2016); Fireflies in the Night Take Wing, Stavros Niarchos Foundation, Athens, Greece; and Global/Local 1960-2015: Six Artists from Iran, Grey Art Gallery, New York University, NY (all 2016); Catastrophe and the Power of Art, Mori Art Museum, Tokyo, Japan (2018); and Revolution Generations, Arab Museum of Modern Art, Doha, Qatar. Her work is included in the collections of the Metropolitan Museum of Art, New York, NY; Asia Society Museum, New York, NY; Grey Art Gallery, New York University, NY; Asian Art Museum, San Francisco, CA; Museum of Contemporary Art, Los Angeles, CA; Detroit Institute of Arts, MI; DePaul Art Museum, Chicago, IL; Farjam Collection, Dubai, UAE; TDIC Corporate Collection, Abu Dhabi, UAE; and the private collection of His Highness Sheikh Mohammed Bin Zayed Al Nahyan, Crown Prince of Abu Dhabi, among others. In 2016, Ahmadi was awarded the ‘Anonymous Was A Woman' Award and a Pollock-Krasner Foundation Grant. Shiva Ahmadi, a new monograph of her work, was published by Skira in Spring 2017. She is currently an Associate Professor of Art at University of California Davis.Visit  Shiva's Website:  ShivaAhmadiStudio.comFollow  Shiva on Instagram:  @ShivaAhmadi_StudioFor more on her current exhibit at the Manetti Shrem Museum of Art, CLICK HERE. --About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com

Brian Calvin b.1969 Lives and works in Ojai, CA.
Calvin studied at the University of California, Berkeley and at The Art Institute of Chicago. He received the California Arts Council Fellowship and an art residency from Art Production Fund, Giverny, France. Calvin has exhibited at Anton Kern Gallery, New York; Corvi Mora, London; Cabinet, Milan; Almine Rech Gallery, Brussels; Corbett vs. Dempsey, Chicago; Mu.ZEE, Ostend, Belgium; Le Consortium, Dijon, France; Marc Foxx, Los Angeles, CA; and Gallery Side 2, Tokyo. Among his group exhibitions are at Museum of Contemporary Art, Lyon; Astrup Fearnley Museet, Oslo; Samsung Museum of Art, Seoul; Museum of Contemporary Art, Los Angeles, CA; and the Centre Georges Pompidou, Paris, among other places. His work is included in the collections of the Aïshti Foundation, Beirut; DePaul Art Museum, Chicago; Los Angeles County Museum of Art; and Orange County Museum of Art, Newport Beach, CA. He has a show up now at Anton Kern Gallery, check it out!

In this episode of PhotoWork with Sasha Wolf, Sasha and Michael travelled to the High Museum of Art in Atlanta, GA to speak with Keough Family Curator of Photography​, Gregory Harris and photographer, Rahim Fortune about the amazing show, A Long Arc: Photography and the American South since 1845, up through January 14, 2024. Greg talks about how he and Sarah Kennel --curator of Photography at Virginia Museum of Art-- collaborated on the curation of the exhibition, some of the history behind the work, and the practical and curatorial decisions needed in order to narrow down the breadth of work made in the south from 1845 to today. Rahim shares his process of writing the afterword to the exhibition catalog, with Dr. Shakira Smith, published by Aperture, and shares his response to the work in the show along with its historical significance to the history of Black photographers in the American South. https://high.org/exhibition/a-long-arc/ https://aperture.org/books/a-long-arc-photography-and-the-american-south/ https://high.org/person/gregory-harris/ https://www.rahimfortune.com Rahim Fortune uses photography to ask fundamental questions about American identity. Focusing on the narratives of individual families and communities, he explores shifting geographies of migration and resettlement, and the way that these histories are written on the landscapes of Texas and the American South. Rahim has published two books of his photographs. His work has been featured in exhibitions worldwide and is included in many permanent collections, including those of the High Museum in Atlanta GA, The LUMA Arles, Nelson Atkins Museum and The Boston Museum of Fine Art. “Fortune's calm and striking photographs provide a compelling glimpse into the daily rhythms of the community, revealing its deep humanity and dignity, at a time when his own personal pain resonated with the experience of the nation. But his images also capture the pain, tensions and relentless everyday reality that have influenced the lives of these people. His portraits are so grippingly engaging because he finds the necessary balance between thoughtful compassion and hard truth.” - Collector Daily Gregory J. Harris is the High Museum of Art's Donald and Marilyn Keough Family Curator of Photography. He is a specialist in contemporary photography with a particular interest in documentary practice. Since joining the Museum in 2016, Harris has curated over a dozen exhibitions including Mark Steinmetz: Terminus (2018), Paul Graham: The Whiteness of the Whale (2017), and Amy Elkins: Black is the Day, Black is the Night (2017). For the Museum's 2018 collection reinstallation, he surveyed a broad sweep of the history of photography through prints from the High's holdings in Look Again: 45 Years of Collecting Photography. His collaborative projects have included Way Out There: The Art of Southern Backroads (2019), a joint exhibition with the High's folk and self-taught art department. Harris was previously the Assistant Curator at the DePaul Art Museum in Chicago, where he curated exhibitions including Sonja Thomsen: Glowing Wavelengths in Between (2015), The Sochi Project: An Atlas of War and Tourism in the Caucasus (2014), and Studio Malick: Portraits from Mali (2012). He also organized and authored catalogues for the exhibitions We Shall: Photographs by Paul D'Amato (2013), Matt Siber: Idol Structures (2015), and Liminal Infrastructure (2015). Harris also held curatorial positions at the Art Institute of Chicago, where he organized the exhibitions In the Vernacular (2010) and Of National Interest (2008). His essay “Photographs Still and Unfolding” was published in Telling Tales: Contemporary Narrative Photography (McNay Art Museum, San Antonio, 2016). Harris has contributed essays to monographs by Amy Elkins, Matthew Brandt, Jill Frank, and Mark Steinmetz. He earned a BFA in photography from Columbia College Chicago and an MA in art history from the School of the Art Institute of Chicago. This podcast is sponsored by picturehouse + thesmalldarkroom. https://phtsdr.com

Ep.174 Yvette Mayorga is a multidisciplinary artist based in Chicago, Illinois. Her work links feminized labor and the aesthetics of celebration to colonial art history and racialized oppression through the guise of using pink as a weapon of mass destruction. Mayorga holds an MFA in Fiber and Material Studies from the School of the Art Institute of Chicago. Mayorga's first solo museum exhibition What a Time to be at the Momentary, Crystal Bridges Museum of American Art, is on view through October 2023. Mayorga's first East Coast solo museum exhibition Dreaming of You at The Aldrich Contemporary Art Museum, is on view through March 2024. Her work has been exhibited at the Museum of Art and Design, New York, NY; Vincent Price Art Museum, Monterey Park, CA; El Museo del Barrio, the Center for Craft, Asheville, NC; Museo Universitario del Chopo, Mexico City, MX; and Los Angeles Museum of Contemporary Art, Los Angeles, CA. Currently, Mayorga is working on a large-scale installation for the City of Chicago's permanent public art collection at O'Hare International Airport's Terminal 5. Mayorga has been featured in Artforum, Artnet, Art in America, Art News, Cultured Magazine, DAZED, Galerie Magazine, Hyperallergic, Latina Magazine, Teen Vogue, The Guardian, The New York Times, Vogue, W Magazine, and Women's Wear Daily. Her works are in the permanent collections of 21c Museum Hotels, Crystal Bridges Museum of American Art, DePaul Art Museum, El Museo del Barrio, John D. and Catherine T. MacArthur Foundation, Museum of Fine Arts Boston, and New Mexico State University Art Museum. Photo credit : Kevin Penczak Artist https://www.yvettemayorga.com/ The Alridrich https://thealdrich.org/exhibitions/yvette-mayorga-dreaming-of-you MAZ https://maz.zapopan.gob.mx/sala-abierta-20/ Hyperallergic https://hyperallergic.com/790993/decolonizing-rococo-yvette-mayorga/ Latinx Project https://www.latinxproject.nyu.edu/intervenxions/in-her-bag-yvette-mayorgas-first-solo-museum-exhibition-what-a-time-to-be-is-a-declaration-of-latina-artist-autonomy W Magazine https://www.wmagazine.com/culture/yvette-mayorga-interview-artist Cultured Mag https://www.culturedmag.com/article/2023/09/07/women-artist-exhibitions-new-york-armory Vogue https://www.vogue.com/article/must-see-american-art-exhibitions-fall-2023 Art For Change https://artforchange.com/collections/yvette-mayorga The Momentary https://themomentary.org/calendar/yvette-mayorga-what-a-time-to-be/ Invisible Culture Journal https://www.invisibleculturejournal.com/pub/yvettemayorga/release/1 Fondazione Imago Mundi https://fondazioneimagomundi.org/en/webdoc/yvette_mayorga/ SAIC https://www.saic.edu/news/alum-yvette-mayorga-highlighted-in-wwd University of Illinois https://art.illinois.edu/about-us/news/alumna-yvette-mayorga-feature-in-vogue/ Chicago Gallery News https://www.chicagogallerynews.com/events/the-politics-of-desire-yvette-mayorga David b Smith Gallery https://www.davidbsmithgallery.com/cn/artists/65-yvette-mayorga/works/4182-yvette-mayorga-smile-now-from-the-vase-of-the-century-2023/ Geary https://geary.nyc/yvette-mayorga 3Arts https://3arts.org/artist/Yvette-Mayorga/ Hyde Park Art https://www.hydeparkart.org/directory/yvette-mayorga/

Tristan Duke is transdisciplinary artist known for synthesizing methodologies from disparate fields to create startling inventions, sublime aesthetic experiences, and new modes of inquiry. He is the inventor of the hologram vinyl record ¬and has created original hologram artwork for albums and soundtrack releases ranging from Jack White and Guns ‘n Roses to Star Wars. He is Co-founder of the Optics Division a collective devoted to recontextualizing photography as a land-based medium and social practice. He has lectured widely, including at the MIT Media Lab, Getty Museum, the de Young Museum, the Exploratorium, and others. His work has been exhibited internationally including: The 59th Venice Biennale Collateral Exhibition; Los Angeles County Museum of Art (LACMA); The Exploratorium, DePaul Art Museum, The George Eastman Museum; Massachusetts Museum of Contemporary Art (MASS MoCA); Museum of Contemporary Art Detroit (MoCAD); Les Rencontres d'Arles; and the Smithsonian Hirshhorn Museum. You can find Tristan on Instagram @duke_tristan. Website: https://www.tristanduke.com Instagram: https://www.instagram.com/duke_tristan/ For show notes and transcript visit: https://kk.org/cooltools/tristan-duke-transdisciplinary-artist-part-2/ If you're enjoying the Cool Tools podcast, check out our paperback book Four Favorite Tools: Fantastic tools by 150 notable creators, available in both Color or B&W on Amazon: https://geni.us/fourfavoritetools  

Tristan Duke is transdisciplinary artist known for synthesizing methodologies from disparate fields to create startling inventions, sublime aesthetic experiences, and new modes of inquiry. He is the inventor of the hologram vinyl record ¬and has created original hologram artwork for albums and soundtrack releases ranging from Jack White and Guns ‘n Roses to Star Wars. He is Co-founder of the Optics Division a collective devoted to recontextualizing photography as a land-based medium and social practice. He has lectured widely, including at the MIT Media Lab, Getty Museum, the de Young Museum, the Exploratorium, and others. His work has been exhibited internationally including: The 59th Venice Biennale Collateral Exhibition; Los Angeles County Museum of Art (LACMA); The Exploratorium, DePaul Art Museum, The George Eastman Museum; Massachusetts Museum of Contemporary Art (MASS MoCA); Museum of Contemporary Art Detroit (MoCAD); Les Rencontres d'Arles; and the Smithsonian Hirshhorn Museum. You can find Tristan on Instagram @duke_tristan.   Website: https://www.tristanduke.com   For show notes and transcript visit: https://kk.org/cooltools/tristan-duketransdisciplinary-artist-part-1/   If you're enjoying the Cool Tools podcast, check out our paperback book Four Favorite Tools: Fantastic tools by 150 notable creators, available in both Color or B&W on Amazon: https://geni.us/fourfavoritetools

Continuing with Part 2 of Alain Badiou's Being and Event on the topic of “Badiou vs. Deleuze,” Alex and Andrew compare the metaphysics of the two French philosophers Alain Badiou and Gilles Deleuze through ontologies of multiplicity, mathematics, identity, and the one. Guests David Maruzzella and Gil Morejón discuss the mid-century intellectual climate of France, the history of truth, Spinozism, and philosophies of the subject. Maruzzella completed a dissertation on the concepts of science and ideology in contemporary French philosophy at DePaul University in Chicago, and is currently Collection and Exhibition Manager at the DePaul Art Museum. Maruzzella has also worked as a translator, co-translating (with Morejón) a volume of essays on Spinoza by Alexandre Matheron published by Edinburgh University Press. Morejón completed a dissertation on Leibniz, Spinoza, and Hume also at DePaul. In addition to early modern philosophy, Morejón also works on German idealism, social epistemology, Marxist critical theory, twentieth century continental philosophy, and is co-host of the podcast What's Left of Philosophy? Keywords from Badiou vs. Deleuze Paris VIII Vincennes, François Dosse's Intersecting Lives, What is Philosophy?, A Thousand Plateaus, The Fascism of the Potato, The Clamor of Being, Platonism, Multiplicity, Assemblages and Sets, Leibniz and Constructible Worlds, Vitalism, the Politics of Numbers, Digital/Analog, Computers, Fidelity. Interview with David Maruzzella and Gil Morejón Alexandre Matheron, The History of Truth and Science in France, Historicity, Spinoza, Event, Void, Subject, Louis Althusser, Georges Canguilhem, Rationalism and Empiricism, Math and Physics, Finite and Democratic Materialism. Links Maruzzella papers, https://ens.academia.edu/DavidMaruzzellla Matheron, Politics, Ontology and Knowledge in Spinoza, translated by Maruzzella and Morejón, https://edinburghuniversitypress.com/book-politics-ontology-and-knowledge-in-spinoza.html Morejón profile, https://gilmorejon.wordpress.com/ Morejón papers, https://depaul.academia.edu/GilMorej%C3%B3n What's Left of Philosophy? podcast, www.leftofphilosophy.com

Picking up where we left off in our last episode, we visit with the incomparable Dorothy Burge, activist, story-teller, educator, art-maker, quilter extraordinaire—and a pillar of the abolitionist movement. Mama Dorothy sat down with us at the DePaul Art Museum in Chicago a few days before she gave the key-note address at the Stitch-by-Stitch Conference. Our conversation included a journey through the current exhibition, Remaking the Exceptional: Tea, Torture, and Reparations/ Chicago to Guantánamo, which features several pieces by Ms. Burge. Visit our our website: http://underthetreepod.com/ (underthetreepod.com) for Mama Dorothy's audio/video tour of some of the exhibit.  Music by Tom Morello.

Hi everyone. I hope you are doing well. I have been working quite a bit the past few weeks. I did a quick virtual artist talk with my good friend, Justin Favela, for the Rogers Art Loft virtual residency I am currently part of. I have also been recording quite a number of interviews with the Las Vegas community, so keep an eye out for these episodes in the upcoming months. Also, on June 30th and July 14th at 6pm PST, I will be doing live interviews with Jennifer Kleven and Dr. Erika Abad, with a quick Q&A afterwards. I will post the links on social media as the dates get closer. I hope to see a few of you there.For today, I am interviewing my good friend and the amazing artist, Yvette Mayorga. Yvette is a multidisciplinary artist based in Chicago, Illinois who interrogates the broad effects of militarization within and beyond the US/Mexico border and intervenes in the colonial legacies of art history. She fuses confectionary labor with found images to explore the meaning of belonging. Yvette got her BFA with a Minor in Anthropology at the University of Illinois at Urbana Champaign and an MFA from The School of the Art Institute of Chicago. She has shown in numerous places such as the National Museum of Mexican Art, LACMA, the DePaul Art Museum, and most recently the El Museo del Barrio. I met Yvette a few years ago in Miami and we formed a special friendship that continues on to today. Yvette and I talked about Gloria Anzaldúa, the Nike Cortez, showing at art fairs, and Key Lime Pies. Stay safe and healthy, and I hope you enjoy this. Links Mentioned:Yvette's WebsiteYvette's InstagramAdam ToledoGloria E. Anzaldúa's Borderlands/La Frontera: The New MestizaEl Museo del Barrio's La TrienalHernán CortésNike CortezDePaul Art Museum - LatinXAmericanFollow Seeing Color:Seeing Color WebsiteSubscribe on Apple PodcastsFacebookTwitterInstagram

In this episode of PhotoWork with Sasha Wolf, Sasha and Gregory Harris, Associate Curator of Photography at the High Museum of Art in Atlanta, discuss the collaborative and intricate processes of crafting a museum exhibition and the steps involved when museums acquire new work for their collection.  Sasha also asks Greg if art dealers, like herself, are a nuisance, with their endless attempts to sell curators work. https://high.org/person/gregory-harris/ Gregory Harris is the High Museum of Art’s Associate Curator of Photography. He is a specialist in documentary photography best known for his work with emerging artists. Harris was previously the Associate Curator at the DePaul Art Museum in Chicago, where he curated exhibitions including Sonja Thomsen: Glowing Wavelengths in Between (2015), The Sochi Project: An Atlas of War and Tourism in the Caucasus (2014), and Studio Malick: Portraits from Mali (2012). He also organized and authored catalogues for the exhibitions We Shall: Photographs by Paul D’Amato (2013), Matt Siber: Idol Structures (2015), and Liminal Infrastructure (2015).  Harris also held curatorial positions at the Art Institute of Chicago, where he organized the exhibitions In the Vernacular (2010) and Of National Interest (2008). His essay “Photographs Still and Unfolding” was published in Telling Tales: Contemporary Narrative Photography (McNay Art Museum, San Antonio, 2016). Harris also wrote the introduction for Black Is the Day, Black Is the Night (2016), by Los Angeles–based photographer Amy Elkins, which was shortlisted for the Aperture First Photobook Prize. Harris is a founding editor of the photobook press Skylark Editions and serves on the Board of Directors for LATITUDE, a community digital lab in Chicago. He earned a BFA in photography from Columbia College Chicago and an MA in art history from the School of the Art Institute of Chicago. Find out more at https://photowork.pinecast.co

Episode 60 features Candida Alvarez. She is the 2021 recipient of the FCA Helen Frankenthaler award for painting and visual arts. Her works include drawings, paintings, prints, and collages that are created with materials as diverse as acrylic paint, colored pencils, enamel, and embroidery thread on cloth, on various supports ranging from canvas to PVC, cotton napkins to vellum. Alvarez’s solo exhibitions include Mambomountain, Hyde Park Art Center, Chicago, IL (2012); Candida Alvarez: Here, Chicago Cultural Center, Chicago, IL (2017); DeColores, GAVLAK, Palm Beach, FL (2019); and Estoy Bien, Monique Meloche Gallery, Chicago, IL (2020). Her many group exhibitions include Brooklyn Museum, NY; Contemporary Arts Museum, Houston, TX; DePaul Art Museum, Chicago; El Museo del Barrio, New York ; High Museum of Art, Atlanta, GA; Kemper Museum of Contemporary Art, Kansas City, MO; Museo de Arte de Puerto Rico, San Juan; Museum of Contemporary Art, Chicago; National Museum of Women in the Arts, Washington, D.C.; Queens Museum, NY; and Taubman Museum of Art, Roanoke, VA, among others. Her work is in the collections of El Museo del Barrio, the Studio Museum in Harlem, the Whitney Museum of American Art, the Addison Gallery of American Art, the DePaul Art Museum, and the Virginia Museum of Fine Arts. Prior to her FCA award, Candida received a Joan Mitchell Foundation Painters and Sculptors Grant (2019), a Regional Fellowship from the Mid Atlantic Arts Foundation (1988), New York State Council on the Arts/New York Foundation for the Arts Artist Fellowship (1986), and a Pollock-Krasner Foundation Grant (1994). In 1980, she participated in the International Studio and Workspace Program at MoMA PS1, and in 1985, she was an Artist-in-Residence at the Studio Museum in Harlem, the Skowhegan School of Painting and Sculpture (1981) and was a resident artist at MacDowell (1986). Alvarez received her B.F.A. from Fordham University and her M.F.A. from Yale School of Art. She is the F.H. Sellers Professor in Painting at the School of the Art Institute of Chicago. Candida Alvarez is represented by Monique Meloche, Chicago and GAVLAK Palm Beach/Los Angeles. Artist website https://www.candidaalvarez.com https://www.candidaalvarez.com/news Monique Meloche Gallery https://www.moniquemeloche.com/artists/33-candida-alvarez/works/ Foundation for Contemporary Arts https://www.foundationforcontemporaryarts.org/recipients/candida-alvarez WSJ https://www.wsj.com/articles/el-museo-del-barrio-hosts-first-triennial-exhibition-11615325292 Wikipedia https://en.wikipedia.org/wiki/Candida_Alvarez El Museo del Barrio https://www.elmuseo.org/la-trienal/ Art News `https://www.artnews.com/art-news/news/breaking-art-industry-news-january-2021-week-4-1234582112/ Hyde Park Art Center https://www.hydeparkart.org/exhibition-archive/candida-alvarez-mambomountain/

  This week Bad at Sports Center welcomes Nicole Marroquin participant in the DePaul Art Museum exhibition LatinXAmerican and Faculty at the School of the Art Institute of Chicago. Marroquin's  practice ranges from social justice to community organizing to educating public school teachers to archiving microhistories and the work of the photographer Diana Solís. Ryan and Duncan trace her practice through a ruckus and bouncy chat that eventually finds its root in Marroquin's history as a printer and ceramicist.   https://www.nicolemarroquin.com/   https://resources.depaul.edu/art-museum/exhibitions/latinx-american/Pages/default.aspx

This week Dana & Brian zoom down to Puerto Rico to continue the series of interviews with artists from LatinXAmerican at the DePaul Art Museum. Ramón Miranda Beltrán shares his insights into adapting a practice to exhibition during COVID-19 and waves of colonialism in the Caribbean. https://resources.depaul.edu/art-museum/exhibitions/latinx-american/Pages/default.aspx https://mirandabeltran.com/  

In this first episode, Ivan interviews Chicago's own Errol Ortiz about his experiences growing up in Chicago in the 60s and being around the Chicago Imagists, finding your style and sticking with it, and how comic books, military airplanes and his love of color influenced his creative process. The LatinXAmerican Podcast is a partnership between DePaul Art Museum and Archives + Futures. This series accompanies the exhibition LatinXAmerican at DePaul Art Museum on view from January 7 to August 15 featuring 38 Latinx artists from Chicago and beyond. In this series we will be talking with ten artists that have work in this show and each episode will be released every other Friday. The DPAM LatinXAmerican exhibition and its accompanying programs like this one are being provided through the generous support of The Andy Warhol Foundation for the Visual Arts.

Edra Soto is a Puerto Rico born, Chicago based, interdisciplinary artist, educator and curator whose architectural projects connect with communities. Soto's temporary modular SCREENHOUSE pavilions are evocative symbols of her cultural assimilation that we can enter and share. Each free-standing structure functions as both sculptural object and social gathering place. Couched in beauty, her ongoing OPEN 24 HOURS project offers a different visceral encounter — with evidence of displacement and want. The aesthetic display of cast-off liquor bottles culled from steadily accumulating detritus in the historically Black neighborhood she now calls home suggests that we consider the personal and communal impact of poverty and racism. During a studio visit with the artist in Northwest Chicago, we talk about recent iterations of these projects. In concert with the 2019 Chicago Architecture Biennial, the Millennium Park Foundation commissioned the artist to produce a temporary gathering place in one of the park’s outdoor galleries. Only steps from Anish Kapoor’s Cloud Gate, she worked with a team to construct SCREENHOUSE. The 10-foot high pavilion made of 400 charcoal-hued, 12-inch cast concrete blocks is part of an ongoing project, an architectural series inspired by iron grills and decorative concrete screen blocks found throughout the Caribbean and the American South. New versions of OPEN 24 HOURS are on view in two 2020 exhibitions. One appears in Open House: Domestic Thresholds at the Albright-Knox Museum, in Buffalo, New York. Cognac bottles carefully arranged on shelves with decorative panels reveal the artist’s connection to two places she calls home. More liquor bottles command attention in the three-part installation she designed for State of the Art 2020. Featuring work by artists from across the United States, the exhibition celebrates the opening of The Momentary, a new contemporary art space at the Crystal Bridges Museum, in Bentonville, Arkansas. Sound Editor: Anamnesis Audio  Related Episodes and Photo Features: Architecture with a Sense of Place, Views—Chicago Architecture Biennial 2019, Fresh VUE: Chicago Art and Architecture 2017 Related Links: Edra Soto, The Momentary, State of the Art 2020, Crystal Bridges Museum of Art, Knox-Albright Museum, Millennium Park, Chicago Architecture Biennial 2019 About Edra Soto: Born in Puerto Rico and based in Chicago, Edra Soto is an interdisciplinary artist, educator, curator, and co-director of the outdoor project space THE FRANKLIN. She is invested in creating and providing visual and educational models propelled by empathy and generosity. Her recent projects, which are motivated by civic and social actions, focus on fostering relationships with a wide range of communities.  Recent venues presenting Soto’s work include Chicago Cultural Center (IL), Nerman Museum of Contemporary Art (KS), Pérez Art Museum Miami (FL), Museo de Arte de Puerto Rico (PR), Hunter EastHarlem Gallery (NY), UIC Gallery 400 (IL), Smart Museum (IL), Bemis Center for Contemporary Art (NE), DePaul Art Museum, and the Museum of Contemporary Art of Chicago (IL). Soto was awarded the Efroymson Contemporary Arts Fellowship, the DCASE for Individual Artist Grant from the City of Chicago, the 3Arts Make A Wave award, and 3Arts Projects grants, and the Illinois Arts Council grant.  Soto holds an MFA from The School of the Art Institute of Chicago, and a Bachelor of Arts from Escuela de Artes Plásticas de Puerto Rico. She teaches Introduction to Social Engagement at University of Illinois in Chicago and is a lecturer at the School of the Art Institute of Chicago.  About SCREENHOUSE: Decorative screens, known as rejas and quiebrasoles, are ubiquitous in Soto’s birthplace in Puerto Rico. In her SCREENHOUSE series, Soto transforms the quiebrasol form from a planar screen that divides public from private into a nearly fully enclosed, free-standing structure that functions as both sculptural object and social gathering place. About OPEN 24 HOURS: Witnessing the excessive accumulation of litter and detritus in the historic African American neighborhood of East Garfield Park where she lives motivated Edra Soto to initiate this ongoing project. Since December 2016, Soto has been collecting, cleaning and classifying cast-off liquor bottles to create installations that display the impact of racism and poverty on this marginalized community in Chicago. Bourbon Empire, the book quoted below, recounts the historic connection between African Americans and cognac from its genesis in the 1930s to contemporary repercussions instigated by hip-hop and rap culture. “Cognac’s relationship with African American consumers started later, when black soldiers stationed in southwest France were introduced to it during both world wars. The connection between cognac producers and black consumers was likely bolstered by the arrival of black artists and musicians... France appreciated these distinctive art forms before the U.S. did, continuing a French tradition dating back to Alexis de Tocqueville of understanding aspects of American culture better than Americans did. For African Americans, the elegant cognac of a country that celebrated their culture instead of marginalizing it must have tasted sweet ... During the 1990s, cognac sales were slow, and the industry was battling an image populated by fusty geriatrics. Then references to cognac began surfacing in rap lyrics, a phenomenon that peaked in 2001 with Busta Rhymes and P. Diddy’s hit “Pass the Courvoisier,” causing sales of the brand to jump 30 percent. During the next five years, other rappers teamed up with brands, and increased overall sales of cognac in the U.S. by a similar percentage, according to the Distilled Spirits Council of the United States.” —Reid Mitenbuler, author of Bourbon Empire: The Past and Future of America’s Whiskey

"For me the success of a piece is if I’m able to create a weird sense of peace and disturbance to keep people there longer to sort of sit with it. Sometimes it can be hard because a lot of my work on the surface level you’re not able to see that research, you’re not able to receive that information. So a lot of it is the form and the experience with the form. I’m not necessarily interested in making didactic work. I’m very interested in using research and personal archives and communal archives to pull out some kind of poetic feeling that sort of takes from all of that research a feeling." Statement courtesy of Ariel's website Throughout Ariel René Jackson's (http://arielrenejackson.com/) family's history, land has been both a permanent reminder of systemic racism and temporal unfolding of possible transformations and outcomes based on individual and communal actions. Material remnants of a legacy of farming and traditions of black epistemology throughout the diaspora functions as a guide to sourcing materials and research. Jackson often uses installation to situate her practice into ideas of spatial matters as black matters understanding landscape as palimpsest, something reused or altered but still bearing visible traces of its earlier form. Jackson's installations incorporate physical, virtual, and aural elements. Jackson often encases found objects, embeds molds of material archives, and enlarge communal structures using naturally ephemeral materials like soil, clay, and chalk. Performance for Jackson is an opportunity to collaborate or engage with video projection, thinking of the body as both virtual and physical. In different and at times concurrent moments the body, materials, and objects become themselves and leave traces of themselves in Jackson's landscape(s). Ariel René Jackson (b.1991) grew up between New Orleans & Mamou, LA. She currently lives and works in Austin, TX where she is completing her MFA at The University of Texas at Austin. Her work has been shown in New York City (Studio Museum in Harlem, 2016; CUE Art Foundation, 2018; SculptureCenter, 2019) as well as at the RISD Museum (Providence, RI 2017/2018), Depaul Art Museum, (Chicago, IL 2018), and the Contemporary Art Center (New Orleans, LA 2018). Some of the subjects we discuss: Deborah Roberts Introduction Masters at UT Research practice Grandparents farm Forty five acres Collecting/systems Grandmothers chair Palimpsests Use of soil/location Austin redlining Cage match project Artistic origins Grandmothers habits High school/college Confuserella/blues Grad school Dressing yards Mary Gilmore Being in the wake Chalkboards Education Grid machine Peace/disturbance Nod to the past Intuition Differences Awareness Upcoming: 2019 Studio Art MFA Thesis Exhibition (https://sites.utexas.edu/utvac/2019-studio-art-mfa-thesis-exhibition/) May 10 – 25, 2019 Visual Art Center The University of Texas at Austin Art Building 2300 Trinity St (directly north of DKR – Texas Memorial Stadium) This exhibition presents culminating work in a range of media by students receiving their master of fine arts degrees in Studio Art from The University of Texas at Austin. The opening reception is on May 10, 2019. This interview has been edited and condensed for clarity. Intro music generously provided by Stan Killian (http://stankillian.com/main/) Support this podcast. (http://www.austinarttalk.com/supportpodcast)

Happy holidays and New Years everyone! I hope you are enjoying this much needed time with friends and family. On this particular episode, I took a brief trip to London to visit some friends and see some art. While there, I had the chance to chat with Ariel René Jackson. Ariel is currently pursuing her MFA at UT Austin, but was able to spend a semester studying in London at the Royal College of Art. Ariel and I first met while Ariel was visiting Berlin. Both of us presented a snippet of our work at Das Kapital, a bar in Neukölln. Ariel and I bonded over being the only people of color in that space, which we touch upon in our conversation. Ariel's work uses installations and videos to situate her practice into ideas of spatial matters as black matters, while understanding landscape as palimpsest, something reused or altered but still bearing visible traces of its earlier form. Ariel's work has been shown in spaces such as the Studio Museum in Harlem, the DePaul Art Museum in Chicago, and the Contemporary Art Center in New Orleans. Ariel is also part of an upcoming exhibition at Sculpture Center in Long Island City. The title of the show is "Other Objects" and opens January 14th. Go ahead and check out her work if you are in the neighborhood. I had so much fun chatting with Ariel that I lost track of time and we ended up with a long interview. We discussed the presentation of violence, catering art for white people, and our thoughts on residencies. I hope you enjoy this. Links Mentioned: Ariel’s Website Ariel’s Instagram Guerrero Gallery, San Francisco Strange clubbing clothing store in Camden Trevor Noah latest standup Sculpture Center: Other Objects Recess Art Pigford v. Glickman Excerpt of the video I showed in Das Kapital, Berlin Édouard Glissant - For Opacity Netflix’s American Vandal Kehinde Wiley Kara Walker Glenn Ligon Langston Hughes - Let America Be America Again Olafur Eliasson’s Weather Project VCU: Post MFA Residency Claes Oldenburg - The Store Lauren Halsey Fred Moton’s book with Lauren Halsey’s artwork Eric N Mack W. E. B. Du Bois Follow Seeing Color: Seeing Color Website Subscribe on Apple Podcasts Facebook Twitter Instagram

Dana hosts solo on this episode of Bad at Sports Center featuring curators Esteban King of Espac in Mexico City and Mia Lopez of the DePaul Art Museum, alongside artists Tamara Becerra Valdez and Alejandro Jiménez Flores. Our guests bring us into their textually inspired exhibition “So close, far away” (Tan cerca, tan lejos) which opens Saturday, October 13th at Sector 2327. Sector’s last ever exhibition, “So close, far away” is presented in partnership with the Lit y Luz Festival, celebrating and exchanging culture between Mexico City and Chicago. Our guests discuss the discursive and experiential aspects of the show, and Alejandro treats us to a short poetry reading. We threw in a little gossip at the end just for fun. More information about “So close, far away” and Lit y Luz can be found at https://www.litluz.org/.    Super special thank you & shout out to Julie Wi for helping us produce this episode! 

The second in a series of collaborative conversations with Art Design Chicago, this episode highlights DePaul Art Museum’s featured exhibition, Barbara Jones-Hogu: Resist, Relate, Unite 1968–1975. Listen in as Museum Director, Julie Rodrigues Widholm, and exhibition catalog contributor, Faheem Majeed, dive into the important legacy of Chicago-based artist Barbara Jones-Hogu, who was a central figure of the Black Arts […]

Catherine Edelman discusses the role of an assistant curator, current art trends in Chicago and the politics of a museum affiliated with a university with Gregory Harris, Assistant Curator at the DePaul Art Museum.

DePaul Art Museum’s Assistant Curator and Columbia alum, Greg Harris, discusses the photography exhibit ‘We Shall: Photographs by Paul D’Amato.’ In stylistically formal portraits Paul D’Amato, faculty of Columbia’s Photography Department, has captured the people and places encompassing Chicago’s West side neighborhoods for nearly two decades. Greg Harris shares how the exhibit explores class, race, culture and the subjectivity of photography. Additionally, Harris speaks on curatorial practices and his unique perspective on the relations between art and activism.