Podcasts about detroit institute

Za artystę, który najlepiej wyraża romantyczne idee w niemieckim malarstwie uważany jest pejzażysta Caspar David Friedrich. Poznaliśmy jego dzieła: „Krzyż w górach” (w Galerii Nowych Mistrzów w Dreźnie), „Zatonięcie Statku Nadzieja” i „Wędrowiec nad morzem mgły” (w Kunsthalle w Hamburgu) oraz „Mnich nad morzem” (w Alte Nationalgalerie w Berlinie). Przypomnieliśmy dzieła nazareńczyków z kręgu niemieckojęzycznego, które zainteresowały Adama Mickiewicza. W National Gallery w Londynie podziwialiśmy wielkie dzieła przedstawicieli angielskiego malarstwa okresu romantyzmu: „Statek parowy w śnieżnej burzy” Josepha Mallorda Williama Turnera i „Wóz drabiniasty” Johna Constable'a. Na koniec w Detroit Institute of Arts znaleźliśmy słynny obraz „Nocna mara” Johanna Heinricha Fussliego, tworzącego w Wielkiej Brytanii. Gościem Jerzego Jopa był dr hab. Piotr Rosiński, prof. UJK w Kielcach, historyk sztuki.

Jac Blanco provides a compelling narrative about his life and experiences since relocating to Detroit from Chattanooga, Tennessee. The conversation between Mark Goldstein and Jac explores several aspects of life in Detroit, particularly for members of the LGBTQ+ community considering retirement. They begin by examining the city's climate, where Jack describes the four seasons and offers insights into the weather patterns that have changed over the years. He shares how winters can be surprisingly mild compared to his previous experiences in the Northeast, making Detroit a more manageable retirement place. The talk shifts to the cost of living, emphasizing that despite the city's past economic struggles, the real estate market remains affordable, with average home prices around $100,000, making it an attractive option for retirees looking to settle down without breaking the bank. Jac shares his passion for home restoration, particularly his and his partner Shane's efforts in restoring a historic greenhouse conservatory in their neighborhood of Palmer Woods. This personal touch adds a relatable element to the discussion, showcasing the beauty of Detroit's architecture and the sense of community that comes with living in such an area. The conversation also highlights Detroit's cultural scene, with Mark and Jac praising the city's art galleries, theaters, and diverse culinary offerings. They touch on the Detroit Institute of Arts, which has been recognized as one of the best in the country, and Jack's enthusiasm for the various dining experiences available, from fine dining to local favorites. Throughout the episode, listeners are encouraged to view Detroit through a new lens that celebrates the city's revival and the opportunities it presents to those in the LGBTQ+ community.The dialogue takes a reflective turn as Mark and Jac discuss the safety of the city, addressing the lingering stereotypes about crime in Detroit. They emphasize that while crime can occur in any city, Detroit has significantly declined criminal activity. Jack reassures potential movers that his neighborhood feels safe, even for late-night walks, and that the community is becoming more vibrant and inclusive. With a focus on the importance of community and connection, the episode wraps up with a positive message about the future of Detroit, encouraging those from the LGBTQ+ community to consider this city as a welcoming and enriching place to retire. The conversation ultimately paints a picture of Detroit as a city that is recovering from its past and thriving in its present, ready to embrace new residents with open arms and a vibrant lifestyle.Takeaways: Detroit's real estate market offers diverse options, with homes ranging in affordability and historic charm. The city's healthcare system is robust, with specialized services for the LGBTQ community. Crime rates in Detroit have significantly decreased, making neighborhoods safer for residents. The vibrant arts and culture scene in Detroit includes renowned museums and theaters. Transportation options are expanding in Detroit, making it easier to navigate the city. Jac Blanco encourages thorough research for retirees considering Detroit, highlighting its many positive attributes. Links referenced in this episode:www.wheredogaysretire.comJac BlancoJac Blanco was born in Miami, Florida; however, soon after he was born, his family relocated to New Jersey and was raised in the NYC metro area of Bergen County, New Jersey. Jac lived in NJ until 2010, when he relocated to Chattanooga, Tennessee, for a new job opportunity. Jac met his current partner, Shane, in 2014 while living in Chattanooga. In March of 2016, Jac and Shane...

Jac Blanco provides a compelling narrative about his life and experiences since relocating to Detroit from Chattanooga, Tennessee. The conversation between Mark Goldstein and Jac explores several aspects of life in Detroit, particularly for members of the LGBTQ+ community considering retirement. They begin by examining the city's climate, where Jack describes the four seasons and offers insights into the weather patterns that have changed over the years. He shares how winters can be surprisingly mild compared to his previous experiences in the Northeast, making Detroit a more manageable retirement place. The talk shifts to the cost of living, emphasizing that despite the city's past economic struggles, the real estate market remains affordable, with average home prices around $100,000, making it an attractive option for retirees looking to settle down without breaking the bank. Jac shares his passion for home restoration, particularly his and his partner Shane's efforts in restoring a historic greenhouse conservatory in their neighborhood of Palmer Woods. This personal touch adds a relatable element to the discussion, showcasing the beauty of Detroit's architecture and the sense of community that comes with living in such an area. The conversation also highlights Detroit's cultural scene, with Mark and Jac praising the city's art galleries, theaters, and diverse culinary offerings. They touch on the Detroit Institute of Arts, which has been recognized as one of the best in the country, and Jack's enthusiasm for the various dining experiences available, from fine dining to local favorites. Throughout the episode, listeners are encouraged to view Detroit through a new lens that celebrates the city's revival and the opportunities it presents to those in the LGBTQ+ community.The dialogue takes a reflective turn as Mark and Jac discuss the safety of the city, addressing the lingering stereotypes about crime in Detroit. They emphasize that while crime can occur in any city, Detroit has significantly declined criminal activity. Jack reassures potential movers that his neighborhood feels safe, even for late-night walks, and that the community is becoming more vibrant and inclusive. With a focus on the importance of community and connection, the episode wraps up with a positive message about the future of Detroit, encouraging those from the LGBTQ+ community to consider this city as a welcoming and enriching place to retire. The conversation ultimately paints a picture of Detroit as a city that is recovering from its past and thriving in its present, ready to embrace new residents with open arms and a vibrant lifestyle.Takeaways: Detroit's real estate market offers diverse options, with homes ranging in affordability and historic charm. The city's healthcare system is robust, with specialized services for the LGBTQ community. Crime rates in Detroit have significantly decreased, making neighborhoods safer for residents. The vibrant arts and culture scene in Detroit includes renowned museums and theaters. Transportation options are expanding in Detroit, making it easier to navigate the city. Jac Blanco encourages thorough research for retirees considering Detroit, highlighting its many positive attributes. Links referenced in this episode:www.wheredogaysretire.comJac BlancoJac Blanco was born in Miami, Florida; however, soon after he was born, his family relocated to New Jersey and was raised in the NYC metro area of Bergen County, New Jersey. Jac lived in NJ until 2010, when he relocated to Chattanooga, Tennessee, for a new job opportunity. Jac met his current partner, Shane, in 2014 while living in Chattanooga. In March of 2016, Jac and Shane...

Graham Marks produces exuberant, coil-built ceramics adorned with vibrant glazes, which combine functionalism with visual delight. Of late, Marks has embraced loose, sinuous forms from which coils of clay spill in dynamic and improvisatory compositions. His candelabras and flower vases contain a wild energy all their own, full of brash, linear abandon. In their merging of pattern and embellishment, they recall the intricate crafts of eighteenth-century France, bringing rococo flourishes to the timeless theme of utilitarian vessels. Marks taught ceramics at Kansas State University, Rochester Institute of Technology, and the Cranbrook Academy of Art, where he was Head of Ceramics from 1986 to 1992. His work has been exhibited internationally and collected privately; it is held by numerous public institutions including the Philadelphia Museum of Art, Yale University Art Gallery, Detroit Institute of Art, the Everson Museum, the Museum of Art and Design, the Cranbrook Museum of Art, the Stedelijk Museum, the Hermitage Museum, and the National Gallery of Australia. From 1992 to 1995, he studied acupuncture with J.R. Worsley, establishing a private practice which ran successfully for two and a half decades. In 2020, Marks returned to ceramics. He splits his time between Brooklyn and Alfred, NY. Graham Marks, Collection of Candelabras, 2023–24. Glazed stoneware, thrown, coiled, and pinched. Dimensions vary. Courtesy of Hostler Burrows. Photo by Joe Kramm Graham Marks, Pair of Candelabras, 2024. Glazed stoneware, thrown, coiled, and pinched. Dimensions vary. Courtesy of Hostler Burrows. Photo by Joe Kramm Graham Marks, Collection of Malinalco Candelabras, 2023. Glazed stoneware, thrown, coiled, and pinched. Dimensions vary. Courtesy of Hostler Burrows. Photo by Joe Kramm

Episode No. 695 features artist Cannupa Hanska Luger and curator Ken Myers. The Nasher Museum of Art at Duke University is presenting "Cannupa Hanska Luger: Speechless," an examination of the complications of colonial histories from an Indigenous perspective. "Speechless" particularly focuses on how narratives, myths, and histories are constructed through the concept of the cargo cult, which developed as a result of Western military campaigns that delivered supplies to foreign lands inhabited by Indigenous peoples. These cults formed around the provisions that were delivered by the imperial forces (such as radios), the very groups that were colonizing Indigenous lands. The exhibition was curated by Apsara DiQuinzio and remains on view through July 6. Concurrently, Luger's work may be seen in the 16th Sharjah Biennial, "Breath(e): Toward Climate and Social Justice" at the Moody Center, Rice University, and in "Indigenous Identities: Here, Now & Always" at the Zimmerli Art Museum, Rutgers University. Luger is an enrolled member of the Three Affiliated Tribes of Fort Berthold and is Mandan, Hidatsa, Arikara and Lakota. His work, across a wide range of media, extends cultural awareness and enables action. His work has been presented in solo or two-person shows by the Public Art Fund, New York; the University of Michigan Museum of Art; the Peabody Essex Museum, Salem, Mass., and more. Works discussed on the program include: A single-channel version of Luger's Future Ancestral Technologies: New Myth, 2021; Luger's extended Mirror Shield project; and Luger's Uŋziwoslal Wašičuta installation series, which celebrates the Transportable Intergenerational Protection Infrastructure (TIPI), 2021-. Myers is the curator of "Painted with Silk: The Art of Early American Embroidery" at the Detroit Institute of Arts. "Painted with Silk" looks at how US schoolgirl embroideries made from the seventeenth to nineteenth centuries helped build and extend ideas around nation, gender, class, and religion. It also includes contemporary embroideries by Elaine Reichek that repurpose the form of earlier embroideries and investigate their constructions of gender, class, and race. The exhibition is on view through June 15. Instagram: Cannupa Hanska Luger, Tyler Green.

On this episode I'm joined by Taylor Renee Aldridge. Taylor Renee Aldridge is a writer and curator based in Detroit, Michigan. In 2014, with writer Jessica Lynne, she co-founded ARTS.BLACK, an online journal of art criticism from Black perspectives. In Fall 2024, she assumed the role of Executive Director at the Modern Ancient Brown Foundation. In the episode we discuss her return to her native Detroit, the importance of ancestral practice, why there's a lack of art criticism today, and what she's excited about for the future. Taylor has edited and contributed to numerous exhibition catalogs, including Enunciated Life (CAAM, 2021) and Mario Moore | Enshrined: Presence + Preservation (Charles H. Wright Museum, 2021).  Her writing has appeared in Artforum, The Art Newspaper, Art21, ARTNews, CanadianArt, Contemporary&, Detroit Metro Times and SFMOMA's Open Space. She has organized exhibitions with the California African American Museum (CAAM), Detroit Institute of Arts, and Cranbrook Art Museum, including the critically acclaimed Simone Leigh (2024, CAAM & LACMA). Taylor is the recipient of the 2016 Creative Capital | Andy Warhol Foundation Arts Writers Grant for Short Form Writing and the 2019 Rabkin Foundation Award for Art Journalism. She holds an MLA from Harvard University with a concentration in Museum Studies and a BA from Howard University with a concentration in Art History.

Original Release Date: Monday 20 January 2025    Description:   Your friends in podcasting have a great deal on their minds ... Cold weather in the nation's capital, the hell of home renovations, fire and long-term unhealthful air and the Olympics in Los Angeles ... And they discuss it all on this week's show. They also remember the late David Lynch, suggesting that no artist has ever loved Los Angeles more than he did. They discuss the latest in the Justin Baldoni-Blake Lively (and now Ryan Reynolds!) lawsuits, and this leads to a discussion of the "abuser's playbook". The programming glories of the Detroit Film Theater (at the Detroit Institute of Arts) and the Renzo Piano-designed Academy Museum (at the L.A. County Museum of Art) get celebrated and lead to a discussion about "old school" wide-screen filmmaking, and big screen "pacing", as well as cyber punk and yacht rock! Finally, analysis will be directed onto the Directors Guild and Producers Guild awards nominations and what they portend for this week's Oscar nominations. Oh, yeah, and the show opens with an epic Dean Haglund meltdown!

In this episode of PhotoWork with Sasha Wolf, Sasha closes out the year with photographer Keisha Scarville. Keisha and Sasha talk about her book, lick of tongue rub of finger on soft wound (MACK), and Keisha's personal and unique use of archival imagery. Keisha and Sasha also discuss the ways in which Keisha has moved away from thinking of projects as discreet bodies of work, choosing instead, a much more holistic approach. https://keishascarville.com/home.html ||| https://www.mackbooks.us/products/lick-of-tongue-rub-of-finger-on-soft-wound-br-keisha-scarville Keisha Scarville (b. Brooklyn, NY; lives Brooklyn, NY) weaves together themes dealing with loss, latencies and the elusive body. Her work has been widely exhibited, including the Studio Museum of Harlem, Huxley-Parlour in London, ICA Philadelphia, Contact Gallery in Toronto, The Caribbean Cultural Center, Lightwork, The Brooklyn Museum of Art, and Higher Pictures. Recent group exhibitions include The Rose at the lumber room, Portland, Oregon (curated by Justine Kurland); If I Had a Hammer - Fotofest Biennial, Houston (2022); and All of Them Witches, Jeffrey Deitch, Los Angeles (2020, curated by Dan Nadel and Laurie Simmons). Her work is held in the collections of the Smithsonian Museum of American Art, Yale University Art Gallery, the George Eastman House, Denver Museum of Art, and the Detroit Institute of Arts. She has participated in residencies at Lightwork, Lower Manhattan Cultural Council, WOPHA, Baxter Street CCNY, and Skowhegan School of Painting and Sculpture. In addition, her work has appeared in publications including Vice, Small Axe, and The New York Times where her work has also received critical review. She is a recipient of the 2023 Creator Lab Photo Fund and awarded the inaugural Saltzman Prize in Photography earlier this year. She is currently a Visiting Professor in the Department of Art, Film, and Visual Studies at Harvard University and a faculty member at Parsons School of Design in New York. Her first book, lick of tongue rub of finger on soft wound, was published by MACK and shortlisted in the 2023 Aperture/Paris Photobook Awards. This podcast is sponsored by picturehouse + thesmalldarkroom. https://phtsdr.com

Step into the vibrant world of Detroit hip-hop and cultural storytelling with Kahn Santori Davison, a writer whose work has become the heartbeat of the city's artistic narrative. From losing his parents in a tragic incident and being raised by his grandparents, to building a legacy as a columnist for The Michigan Citizen and Metro Times, Kahn has spent over 20 years chronicling the evolution of Detroit's rap scene and community resilience. In this captivating episode of Detroit is Different, Kahn shares powerful reflections on his time with Grace Lee Boggs at Detroit Summer, his contributions to the Detroit Institute of Arts, and how hip-hop has transformed into a cornerstone of American culture. Don't miss this intimate and inspiring conversation with a voice that has shaped the stories of a city that refuses to quit. Detroit is Different is a podcast hosted by Khary Frazier covering people adding to the culture of an American Classic city. Visit www.detroitisdifferent.com to hear, see and experience more of what makes Detroit different. Follow, like, share, and subscribe to the Podcast on iTunes, Google Play, and Sticher. Comment, suggest and connect with the podcast by emailing info@detroitisdifferent.com Find out more at https://detroit-is-different.pinecast.co Send us your feedback online: https://pinecast.com/feedback/detroit-is-different/da4dbf46-8ae7-4703-9f61-0554ebdeb5bc

With all the Christmas cards we've received, and the emails, and our own nativity scene, it is easy for us to imagine what happened that evening, and to see the warm glow of the child giving off divine light, he is the light of the world, amidst that dark and damp and musty place for animals. Mary and Joseph are warmed by the glow too. Yet there is a tinge of reproach in John's description. John says it at the very beginning of the account of the incarnation itself. “He came to his own people, and his own did not receive him.” (Jn 1, 11). Music: Die Schonsten Deutsche Weihnachtslieder, begins with Holy Night. @christmasworldbyzyxmusic3882 Thumbnail: Adoration of the Shepherds by Jean Baptiste Marie Pierre (1714-1789). Detroit Institute of Art.@christmasworldbyzyxmusic3882

This year, acclaimed contemporary artist and Kalamazoo native Kaphar made the leap into narrative filmmaking. His semi-autobiographical film is titled Exhibiting Forgiveness. The film follows painter Terrell, played by André Holland, as he wrestles with generational trauma and navigates his relationship with his estranged father, played by John Earl Jelks, who has reappeared in his life unexpectedly. The Detroit Institute of Arts will screen the film Dec. 11-15. GUEST: Titus Kaphar, contemporary artist, producer, writer, and director of Exhibiting Forgiveness Looking for more conversations from Stateside? Right this way. If you like what you hear on the pod, consider supporting our work. Music in this episode by Blue Dot Sessions. Additional music featuring See omnystudio.com/listener for privacy information.

Welcome back to ShopTalkPodcast Episode 451! J and Dame are back for another week of their trademark foolishness. The duo discusses their recent weeks, with Dame attempting to secure an apology from J. J also shares details about a trip to the Detroit Institute of Arts (DIA). Additionally, they delve into their Apple Music Replay, reflecting on their music consumption over the past year. The conversation takes an interesting turn as they engage in a debate about Andrew Shulz versus Kendrick Lamar. Good Episode per usual. Dame's Music Pick Of The Week Playlist ❶ Youtube  ☞ YouTube.com/jjohnson313 ❷ Website ☞ www.shoptalkpod.com ❸ Book some time ☞ www.shoptalkpodcastudio.com ❹ Facebook ☞ https://m.facebook.com/ShoptalkPod/ Follow @jjohnson313 on Instagram and Twitter Follow @dame___313 on Instagram and Twitter Follow Shoptalkpodcast on Instagram and Twitter --- Support this podcast: https://podcasters.spotify.com/pod/show/shoptalkpodcast/support

Ep.225 Mario Moore, a Detroit native, received a BFA from the College for Creative Studies, Detroit, MI in 2009 and an MFA in Painting from the Yale School of Art, New Haven, CT in 2013. He is a recent Kresge Arts Fellow (2023) and a recipient of the prestigious Princeton Hodder Fellowship (2018-2019). He also has been awarded residencies at Duke University, Josef and Annie Albers Foundation, Fountainhead, and Knox College. Moore's work is in the permanent collections of but not limited to the Detroit Institute of Arts, Princeton University Art Museum and The Studio Museum in Harlem. Moore's work has been widely exhibited, including at the Smart Museum of Art, Chicago, IL; Cranbrook Art Museum, Bloomfield Hills, MI; Jeffrey Deitch Gallery, Los Angeles, CA; Arthur Roger Gallery, New Orleans, LA; The Cleveland Museum of Art, and Colby College Museum of Art. Mario Moore / Enshrined: Presence & Preservation exhibition—Moore's largest survey of work to date—opened at the Charles H. Wright Museum of African American History, Detroit in June 2021 and traveled to the California African American Museum (CAAM) in March 2022, his first solo exhibition on the West Coast]. Moore's most recent traveling museum exhibition, Revolutionary Times opened at the Flint Institute of Arts in January 2024 and closed at the Grand Rapids Art Museum in August 2024. Mario Moore currently works and lives in Detroit, MI. Headshot by Danielle Eliska Artist https://www.mariomoorestudio.com/ ABC news https://www.abc12.com/video/detroit-native-brings-revolutionary-times-to-the-flint-institute-of-arts/video_1a604728-0a2e-5a4b-969d-f0304557c2a1.html Hour Detroit https://www.hourdetroit.com/art-topics/two-new-exhibitions-at-cranbrook-art-museum-highlight-detroit-artists/ Canvas Rebel https://canvasrebel.com/meet-mario-moore/ David Klein Gallery https://www.dkgallery.com/artists/45-mario-moore/ Grand Rapids Art Museum https://www.artmuseumgr.org/press-releases/artist-mario-moore-bridges-untold-stories-of-americas-past-and-present-at-the-grand-rapids-art-museum Kresege Arts https://kresgeartsindetroit.org/artist/mario-moore/ Shondaland https://www.shondaland.com/act/a40458000/detroit-artist-mario-moore-interview/ Outlier Media https://outliermedia.org/mario-moore-artist-detroit-painter-interview/ LSU Museum of Art https://www.lsumoa.org/mario-moore-responding-to-history CAA Museum https://caamuseum.org/exhibitions/2022/enshrined-presence-preservation Duke Arts https://arts.duke.edu/projects/mario-moore/ Duke Form https://www.dukeform.co/all-content/mario-moore Sakehile & Me https://www.sakhileandme.com/artists/mario-moore.htm Cranbrook Art Museum https://cranbrookartmuseum.org/events/artist-led-tour-skilled-labor-mario-moore-sabrina-nelson-richard-lewis/ CCS Detroit https://www.ccsdetroit.edu/news/mario-moore-honored-with-ccss-2023-distinguished-alumni-award/ Detroit Metro Times https://www.metrotimes.com/arts/mario-moore-tells-detroits-underground-railroad-history-in-new-exhibit-midnight-and-canaan-31303155 Cultured Mag https://www.culturedmag.com/article/2022/11/02/mario-moore-painting-black-history Princeton University https://www.cnn.com/2020/01/01/us/princeton-university-portraits-workers-trnd/index.html The Art Newspaper https://www.theartnewspaper.com/2020/01/20/princeton-artist-fellow-mario-moore-celebrates-african-american-workers

Ep.224 Anthony Olubunmi Akinbola (b. 1991, Missouri) has had solo exhibitions at Sean Kelly, New York; Night Gallery, Los Angeles; Galerie Krinzinger, Vienna; Carbon 12, Dubai; John Kohler Art Center, Sheboygan; the Queens Museum, New York, and other galleries and institutions. His work has been featured in group shows at the Guggenheim, New York, NY; Hauser & Wirth, New York and Los Angeles; Pace Gallery, New York; and the Bernard A. Zuckerman Museum of Art, Kennesaw, among others. Akinbola's work is included in the permanent collections of the Detroit Institute of Arts, Detroit, MI; The Beth Rudin DeWoody Collection; The Everson Museum of Art, Syracuse, NY; Solomon R. Guggenheim Museum, New York, NY; Ogunquit Museum of American Art, Ogunquit, ME; Pizzuti Collection, Columbus, OH; and Zabludowicz Collection, London, United Kingdom. Akinbola lives and works in New York. Photo Courtesy of SCAD Sean Kelly https://www.skny.com/news-events/anthony-akinbola-good-hair Hauser Wirth https://www.hauserwirth.com/viewing-room/anthony-olubunmi-akinbola/ Galerie Krinzinger https://galerie-krinzinger.at/artists/anthony-olubunmi-akinbola-0494f551/ Night Gallery https://www.nightgallery.ca/exhibitions/anthony-akinbola/about zidoun-Bossuyt https://zidoun-bossuyt.com/worksavailable/anthony-olubunmi-akinbola/ SCAD https://www.scad.edu/event/2024-08-23-anthony-olubunmi-akinbola-exhibition-good-hair Contemporary Art Review https://contemporaryartreview.la/anthony-olubunmi-akinbola-at-night-gallery/ L'Officiel https://www.lofficielusa.com/art/artists-to-watch-2024 Hypebeast https://hypebeast.com/2024/10/anthony-olubunmi-akinbola-western-beef-exhibition-galerie-frinzinger-vienna Cultural DC https://www.culturaldc.org/anthony-akinbola Whitewall https://whitewall.art/art/anthony-akinbola-explores-fetish-camouflage-and-loaded-objects-at-sean-kelly-gallery-in-new-york/ Vogue https://www.vogue.com/article/this-nigerian-american-artist-uses-durags-as-his-medium Contemporary Art Review https://contemporaryartreview.la/anthony-olubunmi-akinbola-at-night-gallery/ 1201 https://www.1202magazine.com/art/anthony-olubunmi-akinbola-scad-good-hair Visionary Artistry Magazine https://visionaryartistrymag.com/2024/06/anthony-akinbola-bridging-identity-through-art/ Rivalry Projects https://www.rivalryprojects.com/anthony-olubunmi-akinbola John Michael Kohler Arts Center https://www.jmkac.org/exhibition/magic-city/ Silver Arts Project https://www.silverart.org/artists/27-anthony-akinbola/overview/ Cultured Magazine https://www.culturedmag.com/article/2022/05/17/anthony-bunmi-akinbola-uses-art-as-social-commentary C& https://contemporaryand.com/exhibition/anthony%E2%80%AFolubunmi%E2%80%AFakinbola-magic-city/ NYTimes https://www.nytimes.com/2021/09/30/arts/design/art-gallery-shows-to-see-right-now.html Artnews https://www.artnews.com/art-news/artists/anthony-akinbola-durag-paintings-interview-1234649721/

Dr. Jay Cephas considers two Depression-era murals in Detroit and their contrasting messaging about workers, labor, and power. Diego Rivera's famed Detroit Industry murals (top), commissioned by Edsel Ford for the Detroit Institute of Arts in 1932, champions industrial and technological progress and the factory workers who fueled it. In contrast, Walter Speck and Barbara Wilson's 1937 untitled mural (bottom), which originally hung in the UAW Local 174 union hall and now hangs behind the reference desk at the Reuther Library, champions the progress those industrial workers made laboring for their own welfare via union action. Dr. Cephas is Assistant Professor of the History and Theory of Architecture at Princeton University. His essay “Detroit Industry and ‘The Mural': Representing Labor and Reappropriating Care in the Museum and in the Union Hall,” was published in the 2023 volume, Architectures of Care: From the Intimate to the Common. Originally aired on the Tales from the Reuther Library podcast. On this week's Labor History in Two: The World Loses the Miners' Angel. Questions, comments, or suggestions are welcome, and to find out how you can be a part of Labor History Today, email us at LaborHistoryToday@gmail.com Labor History Today is produced by the Labor Heritage Foundation and the Kalmanovitz Initiative for Labor and the Working Poor. @ReutherLibrary #LaborRadioPod #History #WorkingClass #ClassStruggle @GeorgetownKILWP #LaborHistory @UMDMLA @ILLaborHistory @AFLCIO @StrikeHistory #LaborHistory @wrkclasshistory  r4

Kintsugi is the traditional Japanese art of repairing ceramics with lacquer and gold dust. The idea is to highlight the imperfections of a piece and celebrate its new form, rather than hide its chips and cracks. Artist Naoko Fukumaru wasn’t initially interested in kintsugi — as a conservator at the Metropolitan Museum of Art, Detroit Institute of Arts and other institutions, she was focused on rendering imperfections invisible. But after the collapse of her marriage following her move to Canada, she began to appreciate the message of resilience and reinvention that are fundamental to the practice. Fukumaru’s first solo kintsugi exhibition in the U.S. is currently on display at the Portland Japanese Garden and runs through Jan. 27. She joins us to talk more about the exhibit and the message she hopes visitors take from it.

In this History of Prints episode of Platemark, host Ann Shafer and subject matter expert Tru Ludwig explore the extraordinary life and legacy of Maria Sibylla Merian. Celebrated for her pioneering work on insect metamorphosis and her detailed illustrations of flora and fauna, Merian's journey took her to Suriname where she documented local species with the help of native people and slaves. Despite the societal constraints of the 17th century, she made significant contributions to both science and art, influencing future generations. The discussion also situates her achievements within the broader context of the Enlightenment and printmaking evolution, drawing comparisons with other naturalists like Audubon. The episode concludes with a teaser for an upcoming feature on William Hogarth, noted for his political satire. George Peabody Library, Baltimore, MD. Johann Zoffany (German, 1733–1810). The Academicians of the Royal Academy, 1771–72. Oil on canvas. 101.1 x 147.5 cm. Royal Collection Trust. Maria Sibylla Merian (Dutch, 1647–1717) on the 500 Deutsche Mark. Maria Sibylla Merian (Dutch, 1647–1717) on a German postage stamp. Jacob Marrel (German, 1613–1681). Portrait of Maria Sibylla Merian, 1679. Oil on canvas. 59 x 50.5 cm. Kunstmuseum Basel. [DETAIL] Joachim von Sandrart I (German, 1606–1688) and Philipp Kilian (German, 1628–1693). Detail of Portraits of Michel le Blond, Aegidius Sadeler, Georg Petele, Matthaus Merian, Renbrant a Rhen, Carol Screta, c. 1683. Engraving. Plate: 12 1/4 × 7 7/8 in. (31.1 × 20 cm.); sheet: 12 3/4 × 8 3/8 in. (32.4 × 21.3 cm.). Detroit Institute of Arts, Detroit. Wenceslaus Hollar (Flemish, 1607–1677). Muff with a band of brocade, 1647. Etching. Plate: 11.3 x 8.3 cm. Museum of New Zealand Te Papa Tongarewa, Wellington,  New Zealand. Matthäus Merian (Swiss, 1593–1650). Todten-Tantz Wie derselbe in der Weitberümbten Statt Basel als ein Spiegel Menschlicher beschaffenheit gantz Künstlich mit Lebendigen Farben Gemahlet, nicht ohne nutzliche Verwunderung zusehen ist. Basel: Mieg, 1621. Thüringer Landesmuseum Heidecksburg. Jacob Marrel (German, 1613–1681). Four Tulips: (Boterman, Joncker, Grote geplumaceerde, and Voorwint), c. 1635–45. Watercolor on vellum. 13 3/8 x 17 11/16 in. Metropolitan Museum of Art, New York. Rachel Ruysch (Dutch, 1664–1750). Festoon with Flowers and Fruit, 1682. Oil on canvas. 38 x 33 cm. National Gallery of Prague. Maria Sibylla Merian (Dutch, 1647–1717 ). Plate 5 from volume 1 of Der Raupen wunderbare Verwandlung und sonderbare Blumennahrung (The Caterpillars' Marvelous Transformation and Strange Floral Food). Germany: self-published, 1679. Jan Goedaert (German, 1617–1668). Study for and engraving of metamorphosis of a moth. Tru Ludwig (American, born 1959). Dumb Luck, 2009. Two-plate etching, printed à la poupée. Plate: 37 ½ x 27 in.; sheet (42 x 30 in.). Courtesy of the Artist. Jacobus Houbraken (Dutch, 1698–1780), after Georg Gsell (Swiss, 1673–1740). Portrait of Maria Sibylla Merian. Engraving with hand coloring, frontispiece in Der Rupsen Begin, Voedzel en Wonderbaare Verandering. Waar in De Oorspronk, Spys en Gestaltverwisseling; als ook de Tyd, Plaats en Eigenschappen de Rupsen, Wormen, Kapellen, Uiltjes, Vliegen, en andere diergelyke bloedelooze Beesjes vertoond word. Amsterdam: self-published, 1717.   Maria Sibylla Merian (Dutch, 1647–1717). Neues Blumenbuch. Nuremberg: self-published, 1680. Maria Sibylla Merian (Dutch, 1647–1717). Blumenbuch. Nuremberg: Johann Andreas Graff, 1675. Maria Sibylla Merian (Dutch, 1647–1717). Illustration of a Turk's cap lily (Lilium superbum) from Merian's New Book of Flowers, 1680. Maria Sibylla Merian (Dutch, 1647–1717). Titlepage from Der Raupen wunderbare Verwandlung und sonderbare Blumennahrung (The Caterpillars' Marvelous Transformation and Strange Floral Food). Germany: self-published, 1679. Jim Dine (American, born 1935). The Temple of Flora, 1984. San Francisco, Arion Press, 1984. Maria Sibylla Merian (Dutch, 1647–1717). A Pineapple Surrounded by Cockroaches, c. 1701–05. Watercolor and gouache on vellum. British Museum, London. Maria Sibylla Merian (Dutch, 1647–1717). Merian's 'forest rat' or opossum (Didelphimorphia) carrying her young. Detail from plate 66 of Metamorphosis Insectorum Surinamensium. Amsterdam: self-published, 1705. Maria Sibylla Merian (Dutch, 1647–1717). Plate (frog) from Metamorphosis Insectorum Surinamensium. Amsterdam: self-published, 1705. Maria Sibylla Merian (Dutch, 1647–1717). Metamorphosis Insectorum Surinamensium ofte Verandering der Surinaamsche Insecten. Amsterdam: self-published, 1705. Maria Sibylla Merian (Dutch, 1647–1717). Ripe Pineapple with Dido Longwing Butterfly, 1702–03. Watercolor and gouache with gum arabic over lightly etched outlines on vellum. 43.5 x 28.8 cm. Royal Collection Trust, London. Maria Sibylla Merian (Dutch, 1647–1717). Ripe Pineapple with Dido Longwing Butterfly, from the book, Metamorphosis Insectorum Surinamensis. Amsterdam: Johannes Oosterwyk, 1718. Maria Sibylla Merian (Dutch, 1647–1717). Plate (praying mantes) from Metamorphosis Insectorum Surinamensium. Amsterdam: self-published, 1705. Maria Sibylla Merian (Dutch, 1647–1717). Plate (snake) from Metamorphosis Insectorum Surinamensium. Amsterdam: self-published, 1705. Maria Sibylla Merian (Dutch, 1647–1717). Plate (tarantula) from Metamorphosis Insectorum Surinamensium. Amsterdam: self-published, 1705. [DETAIL] Maria Sibylla Merian (Dutch, 1647–1717). Plate (tarantula) from Metamorphosis Insectorum Surinamensium. Amsterdam: self-published, 1705. Maria Sibylla Merian (Dutch, 1647–1717). Plate (tarantula) from Metamorphosis Insectorum Surinamensium. Amsterdam: self-published, 1705. Maria Sibylla Merian (Dutch, 1647–1717). Plate (croc eating snake) from Metamorphosis Insectorum Surinamensium. Amsterdam: self-published, 1705. Maria Sibylla Merian (Dutch, 1647–1717). Plate (pineapple and cockroaches) from Metamorphosis Insectorum Surinamensium. Amsterdam: self-published, 1705. Maria Sibylla Merian (Dutch, 1647–1717). Watercolor study of Toucan for Metamorphosis Insectorum Surinamensium ofte Verandering der Surinaamsche Insecten. Amsterdam: self-published, 1705. Maria Sibylla Merian (Dutch, 1647–1717). Plate (black tegu) from Metamorphosis Insectorum Surinamensium. Amsterdam: self-published, 1705. Jacobus Houbraken (Dutch, 1698–1780), after Georg Gsell (Swiss, 1673–1740). Portrait of Maria Sibylla Merian. Engraving, frontispiece in Der Rupsen Begin, Voedzel en Wonderbaare Verandering. Waar in De Oorspronk, Spys en Gestaltverwisseling; als ook de Tyd, Plaats en Eigenschappen de Rupsen, Wormen, Kapellen, Uiltjes, Vliegen, en andere diergelyke bloedelooze Beesjes vertoond word. Amsterdam: self-published, 1717.  Thomas Bewick (British, 1753–1828). Title page from History of British Birds. Newcastle: Beilby & Bewick, 1797. Thomas Bewick (British, 1753–1828). Title page from The Supplement to the History of British Birds. London: Longman and Co., 1821. Dr. Robert Thorton (British). Flowering Cereus from The Temple of Flora, 1807. Color mezzotint. London: self-published, 1812. Sotheby's auction house workers David Goldthorpe, left, and Mary Engleheart, go through a rare copy of a book of illustrations by John James Audubon's Birds of America, in central London, Thursday Sept. 9, 2010. (AP / Lefteris Pitarakis) John James Audobon (French-American, 1785–1851). The Birds of America. London: self-published, 1827–38. John James Audobon (French-American, 1785–1851). Flamingo fron The Birds of America. London: self-published, 1827–38. John James Audobon (French-American, 1785–1851). Carolina Parakeets from The Birds of America. London: self-published, 1827–38. John James Audobon (French-American, 1785–1851). Northern Loons The Birds of America. London: self-published, 1827–38. John James Audobon (French-American, 1785–1851). Hawks eating dinner from The Birds of America. London: self-published, 1827–38.      

In the 78th episode of Perceived Value, host Sarah Rachel Brown takes listeners to the Penland School of Craft, where she's participating in their Winter Residency. Leading up to the residency, Sarah had heard from a few fellow artists attending, but overall, she had no idea who she would cross paths with. To her delight, the residency allowed her to meet many artists she's admired from afar. Among them is the guest for this episode, Lauren Kalman, who has been on Sarah's interview wishlist for some time. After sharing a few meals, Sarah asked for an interview.The two women sat down to discuss how Lauren unexpectedly got her first teaching position, the art of negotiation and why it's a crucial skill, how to sell work when your work is challenging to sell, and how an artist's work is not always representative of their personality.OUR GUESTLauren Kalman is a visual artist based in Detroit whose practice is rooted in craft, sculpture, video, photography, and performance. She completed her PhD in Practice-led Research from the School of Art and Design at the Australian National University. She earned an MFA in Art and Technology from Ohio State University and a BFA with a focus in Metals from Massachusetts College of Art.Her work has been featured in exhibitions at the Renwick Gallery at the Smithsonian Museum of American Art, Museum of Arts and Design, Museum of Contemporary Craft, Cranbrook Art Museum, Contemporary Art Museum Houston, Museum of Fine Arts Boston, Mint Museum, World Art Museum in Beijing, and the Musée d'Art Moderne de la Ville de Paris among others. Her work is in the permanent collection of the Françoise van den Bosch Foundation at the Stedelijk Museum Amsterdam, Museum of Fine Arts Boston, Smithsonian Museum of American Art, Detroit Institute of Art, Museum of Arts and Design, and the Korean Ceramics Foundation. In 2020 she received the Françoise van den Bosch Award for her career's impact on the jewelry field; in 2022, she received the Raphael Founders Prize in Glass from Contemporary for Craft; and in 2023 she was named a Kresge Arts in Detroit Fellow.She is a dedicated educator and is currently a Professor and the Chair of the Department of Art, Art History, and Design at Wayne State University in Detroit.www.laurenkalman.comInstagram: @laurenkalmanFacebook: @LaurenKalmanArtDon't forget to Rate AND Review us on iTunes!SUPPORT PERCEIVED VALUE!www.patreon.com/perceivedvalueMORE WAYS TO SUPPORTInstagram + Facebook: @perceivedvalueInstagram: @sarahrachelbrownThe music you hear on Perceived Value is by the Seattle group Song Sparrow Research.All You Need to Know off of their album Sympathetic Buzz.Find them on Spotify!

When embarking on your mokuhanga journey, whether through making or collecting, one name stands out above the rest: (pause) Yoshida. The Yoshida family of artists have helped create some of the most important and exciting mokuhanga prints of the last 100 years. Their designs, techniques, and marketing transformed the perception of prints in Japan and around the world.   I speak with Dr. Monika Hinkel, Lecturer in the Arts of East Asia at SOAS (the School of Oriental and African Studies) at the University of London and an Academic Member of the Japan Research Centre. Dr. Hinkel is also the curator of the current exhibtion (at the time of recording)  about the Yoshida family of artists, titled Yoshida: Three Generations of Printmaking, being held at the Dulwich Picture Gallery in London, England.   Dr. Hinkel joins me to discuss the Yoshida family, from Hiroshi to Ayomi, the exhibition at the Dulwich Picture Gallery—the first of its kind in the United Kingdom—the Yoshida family's history, and their impact on the global art community.   Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me at theunfinishedprint@gmail.com  Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note if available. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Print publishers are given if known. Dulwich Picture Gallery - located in London, England the Dulwich Picture Gallery is the worlds first public "purpose-built" public art gallery founded in 1811.  Robert Rauschenberg (1925–2008) - was an American artist known for his innovative and boundary-defying work that blurred the lines between painting, sculpture, and everyday life. Emerging in the 1950s, Rauschenberg challenged the conventions of traditional art with his "Combines," a series of works that incorporated found objects, photographs, and non-traditional materials into paintings, creating dynamic, multi-dimensional pieces. Characterized by a spirit of experimentation and a desire to break down the distinctions between art and the real world, Rauschenberg played a crucial role in the transition from Abstract Expressionism to Pop Art. Charlene (1954) mixed media Pop Art - was an art movement from the 1950s and 1960s that incorporated imagery from popular culture, such as advertising, comic books, and consumer goods. It challenged traditional art by blurring the lines between high art and everyday life. Key figures like Andy Warhol and Roy Lichtenstein used bold colors and familiar icons to both celebrate and critique consumer culture, making Pop Art one of the most influential movements in modern art. Yoshida: Three Generations of Japanese Printmakers - is the current exhibition at the Dulwich Picture Gallery from June 19, 2024 -  November 3, 2024.  Yoshida Hiroshi (1876-1950) - a watercolorist, oil painter, and woodblock printmaker. Is associated with the resurgence of the woodblock print in Japan, and in the West. It was his early relationship with Watanabe Shōzaburō, having his first seven prints printed by the Shōzaburō atelier. This experience made Hiroshi believe that he could hire his own carvers and printers and produce woodblock prints, which he did in 1925.  Kumoi Cherry Tree 23" x 29 1/8 " (1926) Yoshida Fujio (1887-1997) - the wife of Hiroshi Yoshida and the mother of Tōshi Yoshida (1911-1995) and Hodaka Yoshida. Fujio was so much more than a mother and wife. She had a long and storied career as a painter and printmaker. Fujio's work used her travels and personal experiences to make her work. Subjects such as Japan during The Pacific War, abstraction, portraits, landscapes, still life, and nature were some of her themes. Her painting mediums were watercolour and oil. Her print work was designed by her and carved by Fujio.  Flower - B (1954) 15 3/4" x 10 5/8" Yoshida Tōshi (1911-1995) - was the second child of Hiroshi Yoshida and Fujio Yoshida, although the first to survive childhood. Beginning with oil paintings and then apprenticing under his father with woodblock cutting. By 1940 Tōshi started to make his mokuhanga. After his father's death in 1950, Tōshi began to experiment with abstract works and travel to the United States. Later travels to Africa evolved his prints, inspiring Tōshi with the world he experienced as his work focused on animals and nature.  American Girl A (1954) 15 7/8" x 11 1/8" Yoshida Chizuko (1924-2017) - was the wife of painter and printmaker Hodaka Yoshida. Beginning as an abstract painter, Chizuko, after a meeting with sōsaku hanga printmaker Onchi Kōshirō (1891-1955), Chizuko became interested in printmaking. Chizuko enjoyed the abstraction of art, and this was her central theme of expression. Like all Yoshida artists, travel greatly inspired Chizuko's work. She incorporated the colours and flavours of the world into her prints. Jazz (1953) 15 3/4" x 11" Yoshida Hodaka (1926-1995) - was the second son of woodblock printmaker and designer Hiroshi Yoshida (1876-1950). Hodaka Yoshida's work was abstract, beginning with painting and evolving into printmaking. His inspirations varied as his career continued throughout his life, but Hodaka Yoshida's work generally focused on nature, "primitive" art, Buddhism, the elements, and landscapes. Hodaka Yoshida's print work used woodcut, photo etching, collage, and lithography, collaborating with many of these mediums and making original and fantastic works. Outside of prints Hodaka Yoshida also painted and created sculptures. Abstract (1958) 11" x 15 7/8" Yoshida Ayomi - is the daughter of Chizuko and Hodaka Yoshida. She is a visual artist who works in mokuhanga, installations and commercial design. Ayomi's subject matter is colour, lines, water, and shape. Ayomi's lecture referred to by Jeannie at PAM can be found here. She teaches printmaking and art. You can find more info here.  Spring Rain (2018) woodblock installation  Kawase Hasui (1883-1957), a designer of more than six hundred woodblock prints, is one of the most famous artists of the shin-hanga movement of the early twentieth century. Hasui began his career under the guidance of Kaburaki Kiyokata (1878-1971), joining several artistic societies early on. However, it wasn't until he joined the Watanabe atelier in 1918 that he began to gain significant recognition. Watanabe Shōzaburō (1885-1962) commissioned Hasui to design landscapes of the Japanese countryside, small towns, and scenes of everyday life. Hasui also worked closely with the carvers and printers to achieve the precise quality he envisioned for his prints. Spring Rain at Sakurada Gate (1952) 10 3/8" x 15 3/8" Shōzaburō Watanabe (1885-1962) - was one of the most important print publishers in Japan in the early 20th Century. His business acumen and desire to preserve the ukiyo-e tradition were incredibly influential for the artists and collectors in Japan and those around the world. Watanabe influenced other publishers, but his work in the genre is unparalleled. The shin-hanga (new print) movement is Watanabe's, collecting some of the best printers, carvers and designers to work for him. A great article by The Japan Times in 2022 discusses a touring exhibition of Watanabe's work called Shin Hanga: New Prints of Japan, which can be found here.    Impressionism - was an art movement that emerged in France in the late 19th century, characterized by a focus on capturing the fleeting effects of light and color in everyday scenes. Instead of detailed realism, Impressionist artists like Claude Monet, Pierre-Auguste Renoir, and Edgar Degas used loose brushwork and vibrant colors to convey the atmosphere and momentary impressions of their subjects. This movement broke from traditional art by often painting en plein air (outdoors) and prioritizing personal perception over exact representation, leading to a revolutionary shift in modern art. Wassily Kandinsky (1866–1944) - was a key figure in the development of abstract art, known for using color and form to express emotions and ideas without representational content. His influential writings and innovative approach helped shape modern art, making him a central figure in movements like Expressionism and the Bauhaus. Stars (1938) 13 7/8" x 10 1/4" colour lithograph  Charles Freer (1854–1919) - was an American industrialist and art collector, best known for his significant contributions to the field of art through the establishment of the Freer Gallery of Art. Freer was a wealthy entrepreneur who made his fortune in the railroad industry. In his later years, he became an avid collector of art, particularly Asian art, including Chinese and Japanese ceramics, paintings, and sculptures. Nakagawa Hachiro (1877-1922) - was a close friend of Yoshida Hiroshi and traveled to the United States together for the first time in 1899. He was a yōga painter and showed primarily in Japan. Landcape in The Inland Sea 13.94" x 20.87" colour on watercolour  The Great Kanto Earthquake - struck Japan on September 1, 1923, with a magnitude of approximately 7.9. It devastated the Kanto region, including Tokyo and Yokohama, causing widespread destruction and fires that led to the deaths of over 100,000 people. The earthquake also resulted in significant infrastructure damage, homelessness, and economic disruption. In the aftermath, the disaster prompted major rebuilding efforts and urban planning changes. Additionally, the earthquake led to social and political unrest, including widespread anti-Korean sentiment, as rumors falsely blamed Korean immigrants for the disaster. Utagawa Hiroshige (1797-1858) - born in Edo, Hiroshige is famous for his landscape series of that burgeoning city. The most famous series being, One Hundred Famous Views of Edo (1856-1859), and the landcape series, Fifty-Three Stations of the Tōkaidō (1833-1834). His work highlights bokashi, and bright colours. More info about his work can be found, here.  Thirty Six Views of Mount Fuji No. 21 Lake at Hakone 14" x 9 1/4" Kawase Hasui (1883-1957) - a designer of more than six hundred woodblock prints, Kawase Hasui is one of the most famous designers of the shin-hanga movement of the early twentieth century. Hasui began his career with the artist and woodblock designer Kaburaki Kiyokata (1878-1971), joining several artistic societies along the way early in his career. It wasn't until he joined the Watanabe atelier in 1918 that he really began to gain recognition. Watanabe Shōzaburō (1885-1962) had Hasui design landscapes of the Japanese country-side, small towns, and everyday life. Hasui also worked closely with the carvers and printers of his prints to reach the level Hasui wanted his prints to be.  Selection of Views of the Tokaido (1934) Bishu Seto Kilns 15 3/4"  x 10 3/8" Itō Shinsui (1898-1972) - Nihon-ga, and woodblock print artist and designer who worked for print publisher Watanabe Shōzaburō (1885-1962). Shinsui designed some of our most famous shin hanga, or “new” prints of the early 20th century. One of my favorites is “Fragrance of a Bath” 1930. Kasumi Teshigawara Arranging Chrysanthemums (1966) 21 7/8" x 16 1/2" Katsushika Hokusai (1760-1849) - is one of the most famous Japanese artists to have ever lived. Hokusai was an illustrator, painter and woodblock print designer. His work can be found on paper, wood, silk, and screen. His woodblock print design for Under The Wave off Kanagawa (ca. 1830-32) is beyond famous. His work, his manga, his woodblocks, his paintings, influence artists from all over the world.  Tama River in Musashi Province from 36 Views of Mount Fuji (1830-32) 9 7/8" x 14 7/8"  Boston Museum of Fine Arts - a museum with a rich history with Japanese artwork, especially woodblock prints. It holds the largest collection of Japanese art outside of Japan. Many of their woodblock prints are held online, here. A video on YouTube found, here, describing the MFA's history, and its collections.  Onchi Kōshirō (1891-1955) - originally designing poetry and books Onchi became on of the most important sōsaku hanga artists and promotor of the medium. His works are highly sought after today. More info, here. Nijubashi Bridge to the Imperial Palace from Scenes of Lost Tokyo (1945) 7.8" x 11.1" published by Uemura Masuro Tarō Okamoto (1911–1996) was a prominent Japanese artist known for his avant-garde works and dynamic use of color and form. His art, which includes painting, sculpture, and public installations like the "Tower of the Sun," often explores themes of chaos and modernity. Okamoto was influential in Japanese contemporary art and also made significant contributions as a writer and cultural commentator. More info, here.  Seashore (1976) lithograph 5.55" × 22.05" Oliver Statler (1915-2002) -  was an American author and scholar and collector of mokuhanga. He had been a soldier in World War 2, having been stationed in Japan. After his time in the war Statler moved back to Japan where he wrote about Japanese prints. His interests were of many facets of Japanese culture such as accommodation, and the 88 Temple Pilgrimage of Shikoku. Oliver Statler, in my opinion, wrote one of the most important books on the sōsaku-hanga movement, “Modern Japanese Prints: An Art Reborn.” St. Olaf College - is a private liberal arts college located in Northfield, Minnesota. Founded in 1874 by Norwegian-American settlers, it has a strong emphasis on a comprehensive liberal arts education, integrating rigorous academics with a commitment to fostering critical thinking, leadership, and global citizenship. The college is known for its vibrant community, strong programs in the humanities, social sciences, and natural sciences, and its affiliation with the Evangelical Lutheran Church in America (ELCA). St. Olaf is also recognized for its strong music program, including its acclaimed choir and music ensembles. More info, here. The Detroit Institute of Arts (DIA) -  is an art museum in Detroit, Michigan, founded in 1885. It is known for its extensive collection of artworks from various cultures and periods, including significant American, European, and African art. The DIA is particularly famous for Diego Rivera's Detroit Industry Murals and serves as a major cultural center with diverse exhibitions and educational programs. More info, here.   baren - is a Japanese word to describe a flat, round-shaped disc, predominantly used in creating Japanese woodblock prints. It is traditionally made of a cord of various types and a bamboo sheath, although baren have many variations.    Jeannie Kenmotsu, PhD - is the Arlene and Harold Schnitzer Curator of Asian Art at the Portland Art Museum in Portland, Oregon. She specializes in early modern Japanese art, with a focus on painting, illustrated books, and prints. Her interview with The Unfinished Print about her work about the Joryū Hanga Kyōkai can be found, here.    © Popular Wheat Productions opening and closing credit - by Gordon Lightfoot - Affair on 8th Avenue from the album Back Here On Earth (1968) on United Artists. logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Українi If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***                        

Dr. Jay Cephas considers two Depression-era murals in Detroit and their contrasting messaging about workers, labor, and power. Diego Rivera's famed Detroit Industry murals, commissioned by Edsel Ford for the Detroit Institute of Arts in 1932, champions industrial and technological progress and the factory workers who fueled it. In contrast, Walter Speck and Barbara Wilson's … Continue reading Detroit Industry and ‘The Mural'

More than 50 years after Henry Halem designed a series of cast glass sculptures inspired by the Kent State shootings, he decided to bring the imagery back to life. At a time when the Vietnam War empowered social activism and fueled political debates, the May 4, 1970, Kent State shootings seemed to take center stage, influencing several genres of music and art. Among these works was Halem's glass sculptures. “The imagery was based on the shootings at Kent State and the blindness that the political system had in relationship to what young people were about in protesting the war. They were blind to the generation that was protesting. And, so, I made these blinded images that had their eyes covered,” Halem said. Today, Halem is at it again, creating another series of blinded sculptures, but this time for a different reason. He has created seven blinded sculptures in the series so far, three of which are on view at Habatat Galleries Detroit. “I revived the imagery,” Halem said, “the blind imagery, to reflect the narrative of our blindness to the destruction of the earth, and who we are, what we are.” As a teenager growing up in the Bronx, Halem learned to throw pots at the Greenwich House Pottery in New York's Greenwich Village. Now, at 86 years old, he's still making art. Holding a BFA from the Rhode Island School of Design and an MFA from George Washington University, Halem did post graduate work at the University of Wisconsin as an assistant to Harvey Littleton in 1968. In 1969, Halem founded the glass program at Kent State University (KSU) and taught there for 29 years, subsequently teaching at Pilchuck Glass School and Penland School of Craft. He was one of the founders of the Glass Art Society and served as its first president.  Halem's body of work ranges from his early blown vessels to Vitrolite glass collages, glass castings to enameled and painted glass wall panels. His narrative boxes have been described as “… ordinary glass boxes filled with enigmatic objects and reverse glass drawings and paintings.” He is known for powerful responses to political events – the 1970 Kent State shootings, 9/11, and a memorial for American soldiers who died in Iraq.  Exhibiting extensively throughout the U.S., Europe and Japan, Halem's work is in the permanent collections of The Corning Museum of Glass, Cleveland Museum of Art, Smithsonian Institution, Toledo Museum, Detroit Institute of Art, High Museum of Art in Atlanta, Philadelphia Museum of Art, the Hokkaido & Niijima Museums in Japan, and the Decorative Arts Museum, Prague. He has been honored by the Glass Art Society and the American Crafts Council; he received the Governor's Award from the State of Ohio as well as the President's Medal for Outstanding Achievement from KSU. He penned Glass Notes: A Reference for the Glass Artist and is still an authority on all things glass. Throughout the years, Halem has amassed a diverse set of techniques that are put into action with a little bit of know-how. No matter what he does regarding art, it gets “distilled” through what he has learned from one of his favorite books, Zen and the Art of Motorcycle Maintenance. “The moral of that book was, in order to fix something, you have to know how it works,” Halem said. “So, my search is into finding out how things work. That, and my belief that the artist's job is to question authority in itself, is what drives me.”  

On the latest episode of "Detroit Evening Report Weekends," WDET's Tia Graham spoke with artist Tiff Massey. Massey trained as a metalsmith at the Cranbrook Academy of Art. She is well known for her public works and has won several prestigious awards, including the Knight Arts Challenge and the Kresge Artists Fellowship. Massey's "7Mile + Livernois" exhibit opened at the Detroit Institute of Arts in May, featuring jewelry scaled “to the size of architecture.”

The Kresge Foundation celebrated its 100th anniversary Tuesday night with a special event at the Detroit Institute of Arts. The highlight of the evening was a conversation between Kresge Foundation President Rip Rapson and a surprise special guest — former President Barack Obama. Plus, Detroit teachers union is looking for a new deal, and more. the highlight of the evening was a conversation between Kresge Foundation President Rip Rapson and a surprise special guest — former President Barack Obama. Do you have a community story we should tell? Let us know in an email at detroiteveningreport@wdet.org.

Lisa Rybovich Crallé  is an interdisciplinary artist based in the San Francisco Bay Area.  Her drawings and sculptures explore the relationship between body language, memory, and material history.  Her work has been presented at Yerba Buena Center for the Arts (CA), Cornell University (NY), the Berkeley Art Museum (CA), the Detroit Institute of Arts (MI), the Manetti Shrem Museum (CA), Fort Mason Center (CA), Mills College (CA), and other venues.  She has been an artist in residence at the Vermont Studio Center (VT), Ox-Bow (MI), Arteles Center (Finland), and the Bubec Sculpture Studio (Prague). In addition to her studio practice, Lisa runs Personal Space in Vallejo, CA and Heavy Breathing, a series of experimental artist-led movement seminars.  She is also an Associate Professor of Sculpture and Drawing at Berkeley City College. Lisa Rybovich Crallé https://lisarcralle.com/ Personal Space https://personalspace.space/ Heavy Breathing https://heavyheavybreathing.com/ Derek Jarman https://en.wikipedia.org/wiki/Derek_Jarman Liza Sylvestre https://linktr.ee/liza_sylvestre Christopher Jones https://bio.site/cripasterisk  Sarah Kate Hayden https://www.instagram.com/sarahkatehayden/ Winslow House Project https://linktr.ee/winslowhouseproject Jessalyn Aaland https://jessalynaaland.com/Info Current Editions https://currenteditions.bigcartel.com/  

Tiff Massey is an interdisciplinary artist whose work focuses on ideas of community and adornment. She makes everything from custom, wearable jewelry to large scale architectural sculptures. Her work contends with race and class, while evoking the history of West African and Black American culture. Massey's solo exhibit, "7 Mile + Livernois ," opens at the Detroit Institute of Arts May 5th. GUEST: Tiff Massey, interdisciplinary Detroit-based artist ___ Looking for more conversations from Stateside? Right this way. If you like what you hear on the pod, consider supporting our work.See omnystudio.com/listener for privacy information.

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

Today we talked with F-Plus Trio!   F-PLUS is a violin, clarinet, and percussion trio committed to collaborating with today's most exciting composers to establish a diverse repertoire for their unique instrumentation. Formed in 2016 at the Bang on a Can Summer Festival, the ensemble has performed all over the country, including Carnegie Hall's Weill Recital Hall, the Art Institute of Chicago, the Great Lakes Chamber Music Festival, the Detroit Institute of Arts, the Ear Taxi Festival, the International Clarinet Association "ClarinetFest," and the New Music Gathering. F-PLUS has premiered over 35 new works since its inception, including commissioned works by Chen Yi, Chicago Symphony Mead Composer-in-Residence Jessie Montgomery, Grawemeyer-winner George Tsontakis, Emma O'Halloran, Gemma Peacocke, Perry Goldstein, Matthew Ricketts, and Charles Peck, among many others. The ensembled has been the recipient of commissioning grants and additional funding from the Fromm Foundation, Chamber Music America, the Barlow Endowment for Music Composition, New Music USA, the Canada Council for the Arts, the Irish Arts Council and the New Zealand Arts Council. F-PLUS is committed to working with the next generation of composers and performers, and has held residencies at Princeton University, the University of Delaware, the Cincinnati College-Conservatory of Music, Washington University (St. Louis), University of Texas-Austin, University of North Carolina-Greensboro, UNC-Pembroke, UNC-Wilmington, and Grand Valley State, Central Michigan, Stony Brook, Duke, and Illinois State Universities.    With F-Plus we discussed how you can commission music in college and form chamber ensembles that continue after you all graduate. Follow F-Plus on all their social media to stay up to date with their performances and projects!   https://www.fplusmusic.com/ https://www.instagram.com/fplusmusic/ https://www.youtube.com/fplusmusic https://www.facebook.com/fplusmusic    

Film buffs will frequently cite "Citizen Kane" or "Gone with the Wind" as early classics. But a new exhibit at the Detroit Institute of Arts seeks to showcase lesser-known Black filmmakers and actors who have a rich history of their own. Jeffrey Brown has the story for our arts and culture series, "CANVAS." PBS NewsHour is supported by - https://www.pbs.org/newshour/about/funders

Film buffs will frequently cite "Citizen Kane" or "Gone with the Wind" as early classics. But a new exhibit at the Detroit Institute of Arts seeks to showcase lesser-known Black filmmakers and actors who have a rich history of their own. Jeffrey Brown has the story for our arts and culture series, "CANVAS." PBS NewsHour is supported by - https://www.pbs.org/newshour/about/funders

Eric and Emily and special guest Scott Patterson discuss a concert Fr. Rivers hosted on August 19, 1971, recorded live at the Detroit Institute of Arts auditorium and produced by the National Office of Black Catholics. The concert—and the week-long workshop that preceded it—were intended as “an act of freedom on the part of contemporary American Black Catholics” to make their “own impact on Catholic worship” (Joseph Davis, SM, from the album's back cover). The conversation focuses on clips of the concert while touching on Gospel music then and now, the importance of Protestant-Catholic collaborations in building a Black Catholic liturgical aesthetic, music ministry in Black Catholic pastoral settings and, of course, Fr. Rivers and his legacy. For Episode 29 Show Notes, click here.

Jacques Vesery, a celebrated artist and sculptor, and Minda Gold, a compassionate family physician bring a thoughtful and personal perspective to the question, 'what does good work mean to you'? In this episode, they share their personal stories, diverse experiences, and the profound insights they've gained over 33 years of marriage. As Jacques' hands bring wood to life and Minda tends to her patients personally through direct primary care, they explore the intersections of art and medicine, the pursuit of fulfillment, and the importance of living your values, even when it doesn't receive recognition. Together, they'll inspire you to embrace creativity, prioritize nature, and connect with the threads that bind us all. Key Takeaways: Explore the challenges and rewards of balancing artistry with the demands of medicine and the importance of staying true to one's vision. Gain insights into the power of collaboration, building supportive communities, and the impact of art on connecting people across cultures. Learn about the direct primary care movement and how it is changing the way doctors are able to care for their patients. Embrace the significance of slowing down and reconnecting with nature. Creating art with integrity, and finding fulfillment in throughout life's twists and turns. Resources Mentioned: Jacques Vesery Art New England Direct Primary Care Association The Peace Gallery About Minda: Minda, a dedicated family physician, champions the benefits of the direct primary care movement. Direct Primary Care doctors actually spend time with their patients, with standard appointment lengths ranging from thirty minutes to an hour or more. DPC takes out the middleman, cuts through the layers of bureaucratic complexity and provides good, old-fashioned customer service — it is the best of old fashioned medicine in modern times Minda has navigated a diverse range of experiences, from marine biology to the evolution of how she chooses to practice medicine. Minda lives and practices in Damariscotta, Maine, USA. About Jacques: Jacques Vesery is an Artist/ Sculptor from Damariscotta and has lived in Maine for over 25 years. Striving to create an illusion of reality, his vision and inspiration begins with repetitive patterns derived from the 'golden mean' or 'divine proportions'. The marriage of pattern, form and proportion conveys a sense ofgrowth from within each of his pieces. His work is in numerous public and private collections includingthe Detroit Institute of Art, The Renwick Gallery-Smithsonian American Art Museum, Yale University Art Gallery, Peabody-Essex Museum, The Carnegie Museum and Permanent Museum collections in France, Turkey and Japan. He has participated in many collaborative art projects around the world and was lead artist for two such events, “The Kopru Project” in Eskisehir, Turkey 2015 and “Brick by Brick” in Nepal 2016. Jacques recently taught “Collaboration” at Harvard University for the School of Engineering and Applied Sciences fortwo semesters as well. His work has been included in over 30 publications including '100 Artists of New England', 'Scratching the Surface', 'Wood Art Today', 'Natured Transformed', 'New Masters of Woodturning'and the Fine Art of Wood'.

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

The emitted light from a David Huchthausen sculpture is an artwork unto itself. For the last five decades plus, the artist has been captivating viewers through sculpture defined by its unique and other-worldly manipulation of light. A critic once described his work as “high tech spiritual,” an observation the artist rather liked. Huchthausen once stated: “Creation is a continual and evolutionary process, constantly digesting and reevaluating past experiences and current perspectives. My work has always been deliberately enigmatic and mysterious. I constantly strive to generate a strange and curious quality that both tantalizes and challenges the viewer to develop his own response system. The work must have an existence of its own if it is to have any real significance.” Huchthausen was one of the first artists of the Studio Glass Movement to emphasize cold working and fabrication techniques such as cutting, sawing, laminating, and optical polishing. Within his most recent crystal-clear geometric forms, the artist integrates complex shapes, concave lenses and intricate color panels, reflecting and refracting light as it hits the shapes and projecting colored glass patterns into the fractures and lenses below. Huchthausen's sculptural narrative has always been enigmatic by design, challenging the viewer with its curious and unknowable quality. Ferdinand Hampson, co-founder of Habatat Gallery, wrote: “David Huchthausen is one of an elite group of artists who have altered the history of contemporary glass.  As a Fulbright scholar, university professor and museum consultant, his achievements over the past 50 years have played a vital role in the evolution of the material into a fine art form.   “As an architecture student at the University of Wisconsin, Huchthausen gravitated toward the sculpture department, working with welded steel, wood and found objects. In 1970 he discovered an abandoned glass furnace in the corner of an old brewery building on the Wausau campus. After six months of struggling, he learned of Harvey Littleton's work in Madison 150 miles to the south.  Once contact had been established, Huchthausen's career moved with rapid strides. He served as Littleton's graduate assistant in the early 1970s, ran the Illinois State University Glass Program during Joel Myers' sabbatical in 1976 and lectured throughout Europe as a Fulbright scholar in 1977 and 1978. During this period, he established vital links between European and American artists and galleries, organizing numerous exhibitions in both the United States and Europe. As curatorial and acquisitions consultant for the Woodson Art Museum in Wausau, Wisconsin, he conceived and developed Americans In Glass. This important series of exhibitions in 1978, 1981 and 1984 documented the evolution of American Studio Glass from its early emphasis on blown forms and hot working to the explosion of sculptural and conceptual concerns of the mid 1980s. The landmark 1984 exhibition traveled to museums across Europe and provided the first major review of any glass exhibition by Art In America. “As an educator and art professor, Huchthausen has been a significant influence on a generation of glass artists. He was one of the first Americans to emphasize coldworking in the early 1970s.  Large sculptural constructions such as Spider's Nest, which combined hot-worked, cast, and architectural glass elements, stand as historical landmarks of the period. Many of the specialized fabrication techniques he pioneered are widely used by other artists today. “Throughout his career, Huchthausen has remained a strong advocate of increased aesthetic criticism of contemporary glass. His outspoken and often controversial positions have helped articulate a basis for today's increased level of critical dialog. As an artist Huchthausen has consistently maintained a high degree of integrity in his work.  Limiting production to 12 to 15 pieces each year, he devotes several months to the development and creation of each sculpture.  Even within a specific series the images are extremely unique, furthering his evolution of the concept without letting it harden into a formula. “Huchthausen's background in architecture and personal fascination with primitive art and ritual, have remained strong influences over the years. He deliberately imbues his sculpture with an enigmatic quality, generating a strange and curious energy, which entices the viewer.   “One unique aspect of Huchthausen's sculpture is his innovative integration of glass and light, the concept that the projected images and patterns constitute an integral and inseparable component of the sculpture.  These ideas have their genesis in his large totemic forms of the early 1970s and have permeated his work to varying degrees throughout his career.  They were more fully explored in his mysterious Leitungs Scherben series of the 1980s, where transformed and altered patterns were projected with amazing clarity onto the surface beneath the piece. Huchthausen's next body of work expanded on that foundation. “The Adumbration and Implosion series (1991 – 1999) combine the integral color laminations that have become a trademark of his work, with massive blocks of crystal.  By juxtaposing the pristine optically polished surfaces with fractured jagged edges, Huchthausen created precariously balanced fragments alluding to a larger whole.  The colored shadow projections are directed into the heart of the piece, splashing colored light onto the fractures, radiating like translucent watercolors into pools of intense color.  Huchthausen creates an illusion of incredible complexity that appears and then vanishes as the viewer is drawn around the piece, only to reappear as the refracted image mutates and projects onto another plane.  The constantly shifting visual depth and dimensionality create new and unique views from every angle.  This use of the full 360-degree circumference of the piece sets Huchthausen apart from many artists, creating sculpture that is in perpetual visual motion. “The Implosion sequence evolved into the Echo Chambers, which expanded on the use of hand polished lenses cut into the bases of the sculpture. These concave orbs reflected and distorted the geometric color patterns laminated onto the top of the sculpture, further enhancing the complexity of the illusionary space and creating a kaleidoscopic effect as the viewer moves. “Huchthausen's latest series of Spheres began after he read an article on the theoretical analysis of gravitational fields. The article described the three-dimensional universe that we perceive, as a holographic projection, generated by a two-dimensional field at the edge of infinity. The optical simplicity of the sphere permits an intimate exploration of the interior geometry. With the Spheres, Huchthausen has fully escaped the perception of three-dimensional space. His spheres have no top, bottom, up, down, front, or back; every axis point creates a unique visual perspective that is in a constant state of flux.” Having participated in over 500 national and international exhibitions and included in 80 permanent museum collections, Huchthausen is considered a leader in both the glass specific and larger art worlds. His public collections include: The Corning Museum(NY); The Chrysler Museum of Art (Norfolk, VA); The Detroit Institute of Arts (MI); The High Museum(Atlanta, GA); The Hokkaido Museum (Sapporo, Japan); The Los Angeles County Museum (CA); The Metropolitan Museum (New York, NY); The Museum of Fine Art (Dusseldorf, Germany); The Museum of Fine Arts (Lausanne, Switzerland); La Musée de Verre (Liège, Belgium); The Smithsonian Institution (Washington, D.C.); The Tacoma Art Museum (WA); and many more.  Today, Huchthausen creates sculpture from his Seattle studio. He has also renovated several historic buildings in the city, including the 150,000-square-foot Bemis Brothers Bag Building, where studio space is leased to other artists. Over his 53 years in glass, Huchthausen's work has been documented in many books and catalogs. He is currently working on three new books to include Classic Motor Yachts 1910-1960 and Art Deco Glass: The Huchthausen Collection, as well as a book covering the history of his own sculpture. An exhibition of the artist's Art Deco collection has been travelling for seven years. On his way to Cebu in the Philippines where he escapes Seattle's gray winter, Huchthausen spoke with TOYG about when he fell in love with light, how he uses glass in the telling of his stories and why his work remains relevant and collectible into the 21st century and beyond.  

Swiss painter Henry Fuseli (1741-1825) was the man behind one of art history's most famous spooky paintings: ‘The Nightmare.' But how much do you actually know about this dream-fuelled Gothic image? Henry Fuseli, The Nightmare (1781). Oil on Canvas. Detroit Institute of Arts, Michigan. ______ New episodes every month. Let's keep in touch! Email: artofhistorypod@gmail.com Patreon: https://www.patreon.com/matta_of_fact Instagram: @artofhistorypodcast TikTok: @artofhistorypod // @matta_of_fact Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, we were joined by Scott Smith, Generative AI expert to do a deep dive into the topic: what it is, its rise to popularity, corporate governance, and ethics. We ended the show with some fun and asked ChatGPT for some date night in Detroit suggestions, and to respond as a pirate. Here's the result: Arrr, matey! If ye be lookin' fer a swashbucklin' date night in Detroit, here be some fine ideas to consider: A Stroll Along the Riverfront:Set yer sails for the Detroit RiverWalk. Take a leisurely walk hand-in-hand along the water, enjoyin' the scenic views of the river, the Renaissance Center, and the Belle Isle Bridge. Dine Like a Pirate: Find a fine establishment in Greektown, Corktown, or Midtown to savor some delectable grub. Perhaps ye fancy seafood or a juicy steak, or even some Motor City pizza – Detroit's got it all, matey! Detroit Institute of Arts (DIA):If ye be art lovers, head to the DIA, where ye can explore a treasure trove of fine art, includin' the famous Diego Rivera murals. Don't forget to raise a glass at the Kresge Court for a romantic toast! Belle Isle Adventure: For a day of exploration, sail over to Belle Isle. Visit the conservatory, take a bike ride, or simply enjoy a picnic on the lush island. Detroit Distillery Tour: If ye be enjoyin' a bit of rum or whiskey, embark on a distillery tour in Detroit. Learn about the makin' of spirits and enjoy some tastin' sessions. Night at the Theatre: Check out what be playin' at the Fox Theatre or the Detroit Opera House. Catch a show or a concert for a memorable evening. Starry Night at the Planetarium:Visit the Wayne State University Planetarium and stargaze together. It be a romantic way to explore the cosmos. Downtown Ice Skatin':In the winter months, the Campus Martius Park be a grand spot for ice skatin'. Hold hands as ye glide across the rink under the twinklin' lights. Haunted Detroit Tour: If ye both be admirers of ghostly tales and history, take a haunted tour of the city. Detroit has its fair share of spooky stories to share. Riverboat Cruise:Look into takin' a riverboat cruise on the Detroit River. Some offer dinner cruises or moonlit sails for a romantic adventure on the high seas. Remember, me heartie, the best date be one where ye both be enjoyin' each other's company. So, choose the adventure that suits yer tastes and make it a night to remember in the Motor City!

On this episode of The Bottom-Up Revolution, host Tiffany Owens Reed is joined by Marques King, a licensed architect, practicing urban designer, and small-scale developer operating out of Detroit, Michigan. Originally from Detroit, King returned home after spending a decade in Washington, DC, and now runs a design firm that specializes in incremental development projects. His work is driven by a desire to see a more sustainable future for his city by providing human-scale neighborhoods that are accessible to a wider variety of people across the social-economic spectrum. King also serves as a faculty member of the Incremental Development Alliance and is an adjunct faculty member at the University of Maryland's School of Architecture, Preservation & Planning. ADDITIONAL SHOW NOTES Marques King (Twitter/X). Fabrick (website). Tiffany Owens Reed (Instagram). Check out the Detroit Institute of Arts (DIA), Islandview Villages, The Red Hook, Marrow, Yum Village, and the Detroit Riverfront. Do you know someone who would make for a great Bottom-Up Revolution guest? Let us know here!

Michael Polakowski is a painter based in Detroit, MI. His work has been exhibited nationally and internationally, most recently at Oever Gallery in Oostende, BE, in the two-person show ‘Near/Far'. In January 2023, his solo show ‘Anywhere and Here' was mounted at Thinkspace Projects, Los Angeles, CA. Other notable exhibitions include the group shows ‘Potluck' at Hashimoto Contemporary, Los Angeles, CA; ‘LAX / AMS' at Thinkspace Projects, Amsterdam, NL; ‘Voyage' at Nothing at All, Sheung Wan, HK; ‘Get Together' at Reyes Finn, Detroit, MI; and ‘Pet Peeves' at 5-50 Gallery, NYC

. Polakowski was awarded the Red Bull House of Art Residency in the fall of 2019. He recently completed a mural in collaboration with the Detroit Institute of Arts as a part of their Partners in Public Art Program and has participated in Murals in the Market and Bright Walls Mural Festival. His works have been featured by publications like Juxtapoz, Booooooom and ArtMaze Magazine. Polakowski's work is currently on view at 5-50 Gallery in New York City, in the two-person show ‘Back In 5', alongside paintings by Ivan Montoya. ‘Back in 5' is on view through the 8th of October. Michael Polakowski, 'I'll Be Back in 5', 2023, Acrylic on canvas, 30 x 24” Michael Polakowski, 'Minor Inconvenience', 2023, acrylic on canvas, 46” x 36”

 Michael Polakowski, 'Kick Your Feet Up', 2023, Acrylic on canvas, 30 x 24"

This week's show spans three weeks, three cities, and three different time zones. It starts with a conversation about the Detroit Institute of Art and the “Murder She Wrote” board game, recorded in Birmingham, Michigan, during a terrifying storm. It continues with a conversation recorded for last week's show about a message Dean received from […]

Jer and Devon meet Friday with some fun and hot topics. First, where we've been. Jer shout outs MJ's North End Ice Cream in Detroit; and Devon celebrates the reopening of UnBurger in downtown West Dearborn.  O'Flahertys in GPP is closed temporarily for repairs. Unsold electric vehicles are piling up, but why? It's complicated. Devon has additional details from the developer on the nine story building on Broadway in Detroit that's being built behind historic facades - that much of it will be affordable housing. We answer a listener question about why we cover the Metro Detroit region, and not just the city of Detroit. A pair of local museum cafes make the list of best in America. Lamy's in The Henry Ford and the Kresge Court in the Detroit Institute of Arts.   Link to vote in the Podcast Awards for us - We are in the News and Politics category as well as People's Choice. https://www.podcastawards.com/app/signup Feedback as always - dailydetroit - at - gmail - dot - com - leave a voicemail for the show at 313-789-3211.  Remember we're on Apple Podcasts: https://podcasts.apple.com/us/podcast/daily-detroit/id1220563942?mt=2 And Spotify: https://open.spotify.com/show/1Yhv8nSylVWxlZilRhi4X9  Thanks to our members: http://www.patreon.com/dailydetroit  Or those who do a one-time contribution: http://www.buymeacoffee.com/dailydetroit

Detroit's Midtown Cultural Center will receive $12 million from Michigan taxpayers if, as anticipated, Gov. Gretchen Whitmer signs the 2024 budget passed last week by legislators. The money will supplement the anticipated $38 million first phase of multiple projects to renovate a number of landmarks, among them the Midtown Cultural Center that includes the Detroit Institute of Arts, the Detroit Public Library, the Charles H. Wright Museum of African American History, and the Detroit Science Center. --- Support this podcast: https://podcasters.spotify.com/pod/show/michigan-in-focus/support

In this episode, we float weightlessly into a conversation with Sabrina Nelson. Nelson is a painter by degree from Detroit's College for Creative Studies. Influenced by Yoruba Religion, as well as Eastern and African philosophies, Sabrina's work is a combination of spirit, motion, and intimacy. Not limited by two dimensions, the scope of her work also includes sculpture, objects, performance and installations.  With professional appointments at the Detroit Institute of Arts and the College for Creative Studies, Sabrina Nelson has served as an educator, lecturer, and professional artist for 37 years. Coaching her community on the business of being a professional artist through active studio practice and mentoring.   A tenacious creator whose multi-dimensional art is truly out of this world, Sabrina Nelson is also a recipient of the 2022 Women's Caucus for Arts Lifetime Achievement Award and a 2021 Kresge Arts Fellow.    In this episode, we talk about:  Muses James Baldwin Artivism  The way Black women tell stories  Learn more:  Sabrina Nelson Professional Website IG: sabrinanelson67 Ashara Ekundayo  Ashara Ekundayo Gallery IG: asharaekundayogallery      Detroit References James Baldwin Hangout Spots Bakers Keyboard Lounge Cliff Bells  Willis Show Bar Detroit Institute of Arts Rosie's Diner Gallery Camille  Hermon Futrell Kef Parker (IG: kefparker55) Andrew Wilson (IG: drewberzzz)      

As a collaborative team, Dean Bensen and Demetra Theofanous create narrative pate de verre wall sculptures utilizing nature as a vehicle to communicate environmental challenges and metaphors for the human experience. Their work connects the viewer with the natural world and instills an appreciation for its interconnectedness to humanity and its inherent fragility.    Says Bensen and Theofanous: “Our decaying leaf installations reflect on our impermanence and vulnerability. What we do has impact – often unforeseen and unmeasured. A pile of leaves hit by a gust of wind is a metaphor for this uncertainty in our future. It expresses that pivotal moment of change, when things we took for granted are suddenly gone. Existing peacefully with others and protecting our natural resources is a tenuous balance, highlighting our interdependence on others and the earth.” Bensen and Theofanous work both independently and as a collaborative team. Their work has been exhibited nationally and internationally and is represented in numerous private and public collections. Recent exhibitions include participating 2018 at the Ming Shangde Glass Museum in China, where they received an award from the Chinese government. Another large-scale leaf installation was on view 2022-‘23 in an exhibition at the Wadsworth Atheneum Museum in Hartford, Connecticut, curated by Brandy Culp. Attending The College of Idaho, Bensen graduated with a BA in art in 1990. His fascination in glass started a hunger for what he had been missing since his youth, an immersion into the exploration and development of his creative side. Upon receiving his degree, he moved to Ketchum/Sun Valley, Idaho, where he continued working in glass at a local studio. In 1997, the artist returned to California to pursue glassblowing as a full-time career. Immersing himself in the Bay Area glass scene, Bensen began working for many local artists and teaching at places such as San Jose State University, Palo Alto High School, Corning Glass School, Bay Area Glass Institute (BAGI), and Public Glass.  In 2002, Bensen developed a body of work that would become the foundation for his ideas based on the existence of the old growth redwood forest. Using both clear glass and color, he focused initially on environmental concerns. As his concepts evolved, Bensen's work grew further, investigating the life cycles in nature, their significance, and the interplay between the earth and various species. Each slice of murrine served to highlight one of nature's footprints, marking the passage of time and a glimpse of history, the rings of life in a felled tree. Bensen has taught extensively, received a scholarship to attend Pilchuck glass school, and his first solo show, Nature's Footprints, received a full-page review in the San Francisco Chronicle. His work has been widely exhibited, including at the Imagine Museum, San Francisco Airport Museum, San Luis Obispo Museum of Art, the Oakland Airport Museum, and the Ming Shangde Glass Museum in China. He has also worked on a team creating several projects for renowned artist Dale Chihuly, including an enormous chandelier in Dubai.  Theofanous was immersed in the arts from a very young age, but this thirst for expression was temporarily diverted when she received her business degree from the Haas School of Business at UC Berkeley. She graduated and spent time working in San Francisco only to realize there was something missing in her work, and she needed to find a way to return to her creative roots. In 2004, Theofanous entered the medium of glass through flameworking and developed a method for weaving with glass that provides a continuing basis for narratives and investigation in her work. She also utilizes the ancient technique of pate de verre, which offers a detailed and painterly approach to casting that is well suited to creating hyper-realistic sculpture inspired by the natural world. Some of her sculptures now combine this cast glass technique with flameworked sculpture.  Theofanous has been internationally recognized for her woven glass nest and flora sculptures, and is included in numerous private collections, as well as in the permanent collection of the Racine Art Museum. Notable awards include: a Juror's Choice Award from renowned collector Dorothy Saxe, a merit award from Paul Stankard, a NICHE Award, a Juror's Choice Award at the San Luis Obispo Museum of Art, the Leigh Weimers Emerging Artist Grant, two juror awards from Carol Sauvion, Executive Producer of Craft in America, and an Award of Excellence juried by the Detroit Institute of the Arts in Habatat Gallery's 50th International Exhibiton . She has exhibited internationally, including at the Triennial of the Silicate Arts in Hungary, San Francisco Museum of Craft + Design, National Liberty Museum, Alexandria Museum of Art, and twice in the Crocker Art Museum's prestigious Crocker-Kingsley Biennial. As an educator she has taught at top institutions such as Pratt Fine Arts Center and Pittsburgh Glass Center. She serves as Board President of the Glass Alliance of Northern California, was as a Board Member of the Glass Art Society, and is the President of the Art Alliance for Contemporary Glass. Theofanous and Bensen met in 2004, and their friendship soon evolved into a partnership, both in and outside of the studio. In 2017, during an artist residency at the Marin Museum of Contemporary Art, they began to merge their sculptural works culminating with an exhibition of woven glass wall tapestries titled Intertwined. Their collaborative work is now represented by some of the country's finest galleries, has been exhibited at numerous museums, and is in the permanent collection of the Imagine Museum and the Jordan Schnitzer Family Foundation. Says Theofanous: “Technique merges with narratives in our work, to express metaphorical bridges between nature and human beings. Inspired by the storytelling tradition of woven tapestry and basketry, I see myself as weaving with glass to connect the viewer with the story of the natural world. Through the delicate leaves in each piece, I seek to depict the cycle of life: growth, discovery, change and renewal. I use the fluidity and fragility of glass to express the beauty and vulnerability inherent in the human experience.”  Theofanous and Bensen will have a solo exhibition at Trifecta Gallery in Lexington, Kentucky, in fall of 2023.  

April 16, 2023 ~ Spring is here, and host Dave Lorenz talks about the best places to go in Michigan to enjoy the season! This includes harvesting mushrooms at the Mesick Mushroom Festival, watching races at the Owosso Speedway, and attending the Holland Tulip Festival! Plus, Dave talks about what USA Today has called the best art museum in the country: the Detroit Institute of Art.

Ep.147 features Titus Kaphar, an artist whose paintings, sculptures, and installations examine the history of representation by transforming its styles and mediums with formal innovations to emphasize the physicality and dimensionality of the canvas and materials themselves. His practice seeks to dislodge history from its status as the “past” in order to unearth its contemporary relevance, and to reveal something of what has been lost and to investigate the power of a rewritten history. Kaphar's commitment to social engagement has led him to move beyond traditional modes of artistic expression to establish NXTHVN, a new national arts model that empowers emerging artists and curators of color through education and access. Through intergenerational mentorship, professional development and cross-sector collaboration, NXTHVN accelerates professional careers in the arts. https://www.nxthvn.com/ Titus Kaphar (b. 1976, Kalamazoo, Michigan) lives and works in New Haven, CT. Kaphar received an MFA from the Yale School of Art and is a distinguished recipient of numerous prizes and awards including a 2018 MacArthur Fellowship, a 2018 Art for Justice Fund grant, a 2016 Robert R. Rauschenberg Artist as Activist grant, and a 2015 Creative Capital grant. Kaphar's work, Analogous Colors, was featured on the cover of the June 15, 2020 issue of TIME. His work is included in the collections of Crystal Bridges Museum of American Art, Bentonville, AR; the 21C Museum Collection; Detroit Institute of Arts, Detroit, MI; The Art Institute of Chicago, Chicago, IL, The Museum of Modern Art, New York, NY; Brooklyn Museum, Brooklyn, NY; Whitney Museum of American Art, New York, NY, The Metropolitan Museum of Art, New York, NY; and Yale University Art Gallery, New Haven, CT, amongst others. Photo credit: @mariosorrenti Artist Book release kapharstudio.com NXTHVN nxthvn.com Gagosian Titus Kaphar | Gagosian Ted Talks https://www.ted.com/speakers/titus_kaphar MacArthur Foundation https://www.macfound.org/fellows/class-of-2018/titus-kaphar NYTimes https://www.nytimes.com/2019/04/12/arts/design/yale-new-haven-titus-kaphar.html New Haven Register https://www.nhregister.com/entertainment/article/documentary-New-Haven-CT-Oscars-shut-up-and-paint-17696612.php Art for Justice Fund https://artforjusticefund.org/grantee/titus-kaphar/ PBS POV | POV Shorts: Shut Up and Paint | Season 35 | Episode 501 | PBS Metropolitan Museum Titus Kaphar | Contour of Loss | The Metropolitan Museum of Art (metmuseum.org) Kennedy Center https://www.kennedy-center.org/whats-on/explore-by-genre/hip-hop/2022-2023/black-thought-streams-of-thought/ MoMA https://www.moma.org/artists/48017 Brooklyn Museum https://www.brooklynmuseum.org/exhibitions/titus_kaphar C& https://contemporaryand.com/exhibition/one-titus-kaphar/ Surface Magazine https://www.surfacemag.com/articles/titus-kaphar-film-shut-up-and-paint/ Whitewall https://whitewall.art/art/titus-kaphar-taps-into-history-and-intuition-in-new-alters-at-gagosian Hyperallergic https://hyperallergic.com/tag/titus-kaphar/ Ocula https://ocula.com/artists/titus-kaphar/ Artnet https://news.artnet.com/market/gagosian-titus-kaphar-nxthvn-1901048 Deadline https://deadline.com/2022/12/shut-up-and-paint-dctv-short-documentary-directors-titus-kaphar-alex-mallis-interview-news-1235200025/ Tribeca Film Festival https://tribecafilm.com/films/shut-up-and-paint-2022 Short of the Week https://www.shortoftheweek.com/2022/12/11/shut-up-and-paint/ KGBH https://www.wgbh.org/news/arts/2022/11/11/open-studio-artist-titus-kaphar-takes-on-mass-incarceration Wikipedia https://en.wikipedia.org/wiki/Titus_Kaphar Culture Magazine https://www.culturedmag.com/article/2020/09/23/nxthvn-is-a-new-kind-of-space-built-to-uplift-artists-and-curators-of-color AVANews https://avanewsblog.com/2021/04/supporting-inclusive-art/ Isabella Stewart Gardner Museum https://www.gardnermuseum.org/calendar/exhibition/titus-kaphar

Busy show. Pie Sci is expanding to Oak Park, Liberty Bar + Poutinery is in Pontiac and Randy enjoyed it, the Detroit Institute of Bagels has reopened. We discuss. And do you ever have the urge to run south of the border to Waffle House?  Plus, Fletcher is in to talk about the Oneil Fisher signing (he's been on the Jamaican national team and has a lot of MLS experience), preview the Saturday match against RGV Toros FC and the Tuesday Open Cup match against Gold Star FC. For the first time in a long time, Jer, Shianne, Randy and Fletcher are all in on the same episode. We do this show each and every weekday covering what to know and where to go in Metro Detroit on Apple Podcasts, Spotify, and wherever you listen to shows. Plus, our new round of etched Daily Detroit rocks glasses are here. They're only for Patreon members, so support our work today! Support us on Patreon: https://www.patreon.com/DailyDetroit  As always - feedback, dailydetroit - at - gmail - dot - com.

In this episode of PhotoWork with Sasha Wolf, Sasha and photographer, Shirin Neshat discuss her latest multimedia project, Land of Dreams which combines photographs, video installation, and a feature length film. Shirin and Sasha talk about what brought Shirin back to making art after an 11 year hiatus and how Shirin thinks about her identity as an Iranian artist. https://www.gladstonegallery.com/artist/shirin-neshat/ https://www.instagram.com/shirin__neshat https://www.radiusbooks.org/all-books/p/shirin-neshat-land-of-dreams Shirin Neshat is an Iranian-born artist and filmmaker living in New York. Neshat has held numerous solo exhibitions at museums internationally including the Pinakothek der Moderne, Munich; Modern Art Museum of Fort Worth; The Broad, Los Angeles; Museo Correr, Venice, Italy, Hirshhorn Museum, and the Detroit Institute of Arts. Neshat has directed three feature-length films, Women Without Men (2009), which received the Silver Lion Award for Best Director at the 66th Venice International Film Festival, Looking For Oum Kulthum (2017), and most recently Land of Dreams, which premiered at the Venice Film Festival (2021). Neshat was awarded the Golden Lion Award, the First International Prize at the 48th Biennale di Venezia (1999), and the Praemium Imperiale award for Painting in (2017). She is represented by Gladstone Gallery in New York and Goodman Gallery in London.

A century ago, the Detroit Institute of Arts became the first U.S. museum to purchase a painting by Vincent van Gogh. Now they're hosting America's largest Van Gogh exhibition in a generation. On this episode we chat with DIA curator Jill Shaw about this massive undertaking.

US railroaders' vote against contract sets stage for conflict with capitalist state, union bureaucracy / COP27 summit does nothing to address climate change / Van Gogh in America at the Detroit Institute of Arts

New York-based art appraiser David Shapiro talks about: What he does as an appraiser, whether in-person inspections or putting together reports using photographs at the computer; his involvement with the Detroit Institute of Art's collection appraisal, which was connected to the largest municipal bankruptcy in the history of the country; how appraisers value a work of art, from auction records to gallery sales (to the extent that can be verified) to the market as a whole, including trends; turning down offers to appraise works that have no apparent market value; his own career as an artist prior to becoming an appraiser, which included having success selling his work before he was even out of high school; how, when he returned to making art after grad school in art history he had less success, learning about “the fickleness and vicissitudes of the art world,” as he put it; and how he appraises emerging art, including within a market with a lot of movement in values, both up and down.