Podcasts about Donald Judd

Roni Horn exhibit elevates her work at Beacon museum Memo to visitors at Dia Beacon's Roni Horn exhibition: Keep your heads up to avoid tripping or stubbing a toe. "Objects of Constancy," which weighs in at 300 pounds and looks like an oversized stick of licorice (or seven strands of intertwined rebar), rests in the middle of a walkway. Other dense works, made of cast lead, are tucked into a nook and also placed on the floor by the artist. "Mass Removal II" and "Mass Removal III," created with hand-hammering and a pneumatic drill, resemble elongated clamshells with scuffed-up interiors. The tops of four rocks-from-another-planet, an excerpt from the eight-piece Space Buttress series, look like petrified wood (one of which conveys the illusion of a knot). In contrast, the sides evoke moss-covered stone. "Things That Happen Again," another floor-based sculpture, consists of two shiny 1,752-pound copper cylinders placed at 90-degree angles. In a separate room, the cast iron pieces that make up "Post Work 3" resemble textured loudspeakers on poles and hint at an Easter Island vibe. "Vertical sculptures generally suggest the human form, just as horizontal works are often associated with landscapes," says curator Donna De Salvo. "Object of Consistency" (1980) "Post Work 3" (1986) "Things That Happen Again" (1986/90) "Space Buttress I" (1984-85) More than a sculptor, Horn installed this long-term exhibit that elevates her work into the pantheon of artists occupying permanent and semi-permanent spaces in the massive museum, like Donald Judd, Richard Serra and Andy Warhol. "Horn was friends with Serra, and Judd arranged for the permanent install of another version of 'Things That Happen Again' at Marfa [his 45,000-acre ranch and gallery in Texas], so she fits right in," says De Salvo. Of the exhibit's 23 works, nine are owned by Dia; the abstract color and texture studies hanging on the walls are on loan from the artist and her gallery. These framed works date to the mid-1980s. Horn deployed similar motifs and techniques in later, larger creations, says De Salvo. Building on a back-mounted sheet of paper, she created a second layer with smaller fragments of thicker, mottled paper arranged in a collage style covered with colorful, slate-like shapes seemingly outlined in black. Three works titled "Brooklyn Red" are accompanied by a couple of Brooklyn whites, Hamilton reds and Brooklyn grays. Some of the shapes seem three-dimensional, especially in "This 1," where the colored blotch looks bent like a butterfly wing. Horn enjoys pairing subjects, like the paper work "Untitled (Hamilton)," which looks like a couple of nuclear reactors. The objects in "Double I I' " and "Double N N' " seem more risque. In 2001 and 2002, as her international renown began to grow, Horn held two solo shows at the Dia Center for the Arts in Manhattan. Now, she's on the same level at Dia Beacon as Robert Ryman, Gerhard Richter and Louise Bourgeois. It's rare for a living artist to achieve such recognition (she is 69). "We've had a real commitment to her for more than 20 years," says De Salvo. "She's one of the major figures of her generation and there's a dialogue with our other artists on view." Dia Beacon, at 3 Beekman St., is open from 10 a.m. to 5 p.m. Friday to Monday. Admission is $20 ($18 seniors, $12 students and disabled visitors, $5 ages 5 to 11, free for members, ages 5 and younger and Beacon and Newburgh residents). See diaart.org.

Thank you for listening to this talk produced by the Art Gallery of South Australia. Hear from Maria Zagala, Curator of Prints, Drawings and Photographs, as she discusses the work of Donald Judd in celebration of the 50th anniversary of his topographical object, Untitled. For more information visit agsa.sa.gov.au Photo: Saul Steed

This is the longest it has taken me to edit a podcast in a long time. I think it is mainly due to the fact that I got sidetracked reading about Donald Judd in preparation for the release of the SF Review of Whatever! This friday at Et al. Come on by. This week we talk about coyotes, gripes, Irish dancing, BDS, and of course cats.The music in this episode is from the Musicians for a Free Palestine Mix TapeWhat is BDS?San Francisco Review of Whatever Hosted on Acast. See acast.com/privacy for more information.

This is Part 2 of Mandolyn Wilson Rosen and my review of "Lifeline: Clyfford Still" 2019 directed by Dennis Scholl. It's a juicy art bio tell-all with a crusty curmudgeon as its talented but embittered subject. Don't forget to listen to Part 1 too! Find the film on Amazon ($2.99 SD) or for free on ⁠Kanopy⁠ Find Mandolyn online at: ⁠https://mandolynwilsonrosen.com⁠ and on IG at ⁠@mandolyn_rosen⁠ Artists mentioned: Philip Guston, Barnett Newman, Jackson Pollock, Willem DeKooning, Frank Stella, Donald Judd, Paul Cezanne, Ad Reinhardt, Mark Rothko, Thomas Hart Benton, Art Problems Podcast Thank you, Mandy! Thank you, Listeners! Visit RuthAnn, a new artist-run gallery in Catskill, NY at @ruthanngallery and ruthanngallery.com All music by Soundstripe ---------------------------- Pep Talks on IG: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@peptalksforartists⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Pep Talks website: ⁠⁠⁠⁠⁠⁠⁠peptalksforartists.com⁠⁠⁠⁠⁠⁠⁠ Amy, your beloved host, on IG: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@talluts⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Amy's website: ⁠⁠⁠⁠⁠⁠⁠amytalluto.com⁠⁠⁠⁠⁠⁠⁠ Pep Talks on Art Spiel as written essays: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://tinyurl.com/7k82vd8s⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠BuyMeACoffee⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Donations always appreciated!

This week Jon shops for epoxy river tables and we discuss artist Donald Judd. Thanks for listening!Don't forget to subscribe to our new YouTube channel Today's Craftsmen https://www.youtube.com/@TodaysCraftsmenMerch:The American Craftsman Podcast: https://amzn.to/482ttkaGreene Street Joinery: https://amzn.to/3Zfk5phToday's Craftsmen: https://amzn.to/3R5DRl8Check Out Our Sponsors!Visit Häfele at www.hafele.comVisit Ridge Carbide at www.ridgecarbidetool.comSupport us on Patreon!https://www.patreon.com/Greene_st_joineryVisit Our WebsiteGreene Street Joinery is a custom design & build shop located in Monmouth County, New Jersey. We build multigenerational furniture with an eco-friendly and sustainable mindset.Inspired and guided by the ideals of the Arts and Crafts movement, we believe in the use of traditional craftsmanship and simple, well-proportioned forms; sustainability and ethical practices; and importantly, taking pleasure in our work as craftsmen to create quality pieces of enduring value.Follow us!Instagram: https://www.instagram.com/greene_st_joineryFacebook: ​https://www.facebook.com/greenestreetjoinerySupport this podcast at — https://redcircle.com/the-american-craftsman-podcast/donationsAdvertising Inquiries: https://redcircle.com/brands

For the 29th episode of "Reading the Art World," host Megan Fox Kelly speaks with Richard Shiff, art historian and author of “Writing after Art,” published by David Zwirner Books. Richard shares how he comes to understand an artist's work in a way that will inspire us to observe and understand artists and their processes more fully.“Writing after Art” is an expansive anthology of Richard Shiff's most influential writings, many of which have shaped the art world's understanding of 20th and 21st century artists. These writings first appeared in exhibition catalogs for institutions including the Centre Georges Pompidou, the Solomon R. Guggenheim Museum, The Museum of Modern Art, New York, and Tate Modern, and they spotlight modern masters such as Willem de Kooning, Marlene Dumas, Jasper Johns, Donald Judd, Barnett Newman, Pablo Picasso, Bridget Riley and Peter Saul.Richard Shiff is the Effie Marie Cain Regents Chair in Art at The University of Texas at Austin. His interests range broadly across the field of modern and contemporary art. His publications include Barnett Newman: A Catalogue Raisonné (coauthored, 2004), Doubt (2008), Between Sense and de Kooning (2011), Ellsworth Kelly: New York Drawings 1954–1962 (2014), Joel Shapiro: Sculpture and Works on Paper 1969–2019 (2020), and Sensuous Thoughts: Essays on the Work of Donald Judd (2020). He is currently completing a comprehensive study of the art of Jack Whitten.PURCHASE THE BOOK:  David Zwirner BooksSUBSCRIBE, FOLLOW AND HEAR INTERVIEWS:For more information, visit meganfoxkelly.com, hear our past interviews, and subscribe at the bottom of our Of Interest page for new posts.Follow us on Instagram: @meganfoxkelly"Reading the Art World" is a live interview and podcast series with leading art world authors hosted by art advisor Megan Fox Kelly. The conversations explore timely subjects in the world of art, design, architecture, artists and the art market, and are an opportunity to engage further with the minds behind these insightful new publications. Megan Fox Kelly is an art advisor and past President of the Association of Professional Art Advisors who works with collectors, estates and foundations.Music composed by Bob Golden

Steve and Katie discuss several art law topics in this end-of-season episode. They talk about internal thefts at the British Museum, the ongoing Victorious Youth litigation between Italy and the Getty Trust, the Damien Hirst backdating scandals, the litigation between the Manhattan DA and the Art Institute of Chicago, and the recent litigation between the Donald Judd Foundation and Kim Kardashian. End-of-season message from Steve and Katie: Thank you to all of our listeners for your support, and we look forward to bringing you season 8 in September!   Notes for this episode: https://artlawpodcast.com/2024/07/09/season-end-art-law-roundup/   Follow the Art Law Podcast Instagram: https://www.instagram.com/artlawpodcast/ TikTok: https://www.tiktok.com/@artlawpodcast

During the past year in New York, I've explored countless stunning buildings, each with its own unique story. In this episode, I'm excited to be joined by my friend Riccardo Palma to dive into some of the city's most iconic modern buildings. Riccardo, an architect at the Bjarke Ingels Group, constantly challenges me with his unique perspective on space and architecture. Riccardo and I always discuss the places we visit, so join us as we share our New York must-see favorites to add to your list. We'll be talking about the Seagram Building, designed by Ludwig Mies van der Rohe and completed in 1958; Donald Judd's estate in SoHo, a landmark of minimalist design completed in 1968; and the Ford Foundation Building, designed by Kevin Roche and completed in 1967.Follow us on Instagram under the name Architecture.Talk to get a visual experience of our conversation. Hosted on Acast. See acast.com/privacy for more information.

While he may technically practice as a photographer, artist, and architect, Hiroshi Sugimoto could also be considered, from a wider-lens perspective, a chronicler of time. With a body of work now spanning nearly five decades, Sugimoto began making pictures in earnest in 1976 with his ongoing “Diorama” series. In 1980, he started what may be his most widely recognized series, “Seascapes,” composed of Rothko-esque abstractions of the ocean that he has taken at roughly 250 locations around the world. In more recent years, Sugimoto has also built a flourishing architectural practice, designing everything from a café in Tokyo to the currently-under-construction Hirshhorn Sculpture Garden in Washington, D.C. As with his subtly profound work, Sugimoto bears tremendous wisdom and is regarded by many as one of the most deeply perceptive minds and practitioners at the intersection of time and art-making.On the episode, he discusses his pictures as fossilizations of time; seascapes as the least spoiled places on Earth; and why, for him, the “target of completion” for a building is 5,000 years from now.Special thanks to our Season 9 presenting sponsor, L'École, School of Jewelry Arts.Show notes:Hiroshi Sugimoto[5:10] Pre-Photography Time-Recording Devices[39:05] “Theaters”[15:06] “Seascapes”[32:31] “Diorama”[17:16] Caspar David Friedrich[25:14] Odawara[28:52] “Aujourd'hui le monde est mort [Lost Human Genetic Archive]”[44:19] “Abandoned Theaters”[44:19] “Opera Houses”[44:19] “Drive-In Theaters”[49:52] “Architecture”[51:12] Le Corbusier[51:12] Mies van der Rohe[55:30] New Material Research Laboratory[55:30] Tomoyuki Sakakida[59:23] Enoura Observatory[59:23] Hirshhorn Sculpture Garden[1:00:48] Katsura Imperial Villa[1:01:05] Bruno Taut[1:02:14] Donald Judd[1:02:14] “Hiroshi Sugimoto: Five Elements in Optical Glass”[1:06:47] Mingei[1:06:47] Isamu Noguchi[1:06:47] Dan Flavin[1:09:15] Sugimoto Bunraku Sonezaki Shinju: The Love Suicides at Sonezaki[1:09:15] At the Hawk's Well[1:09:15] W.B. Yeats

A conversation with the legendary art critic, Roberta Smith. For nearly five decades, Roberta has been a guiding force in the art world, shaping conversations and perceptions with her incisive critiques and unparalleled insights. From her early days working alongside Donald Judd to her illustrious tenure at The New York Times, Roberta's journey through the ever-evolving landscape of contemporary art offers a unique perspective on the intersection of creativity, criticism, and culture. In the conversation, we delve into Roberta's remarkable career, exploring the challenges and triumphs of navigating the art world's intricacies, as well as gathering insights into how she crafts her acclaimed reviews and essays. In addition, we'll explore the dynamic interplay between art and life, as Roberta shares her experiences as a partner to fellow art critic Jerry Saltz. Together, they form a powerhouse couple whose passion for art reverberates through their personal and professional lives.https://www.instagram.com/robertasmithnyc/https://www.nytimes.com/by/roberta-smith

Episode No. 651 features art historian Richard Shiff, curator and art historian Michelle White, and a clip from Kirk Varnedoe's 2003 National Gallery of Art Mellon Lectures.  Serra died last month at age 85. He may be the most honored sculptor of the post-war era. The Museum of Modern Art, New York, which holds the most important institutional collection of his art, has produced Serra retrospectives in 1986 and 2007. The Menil Collection organized a drawings retrospective in 2011; it traveled to the Metropolitan Museum of Art, New York, and to the San Francisco Museum of Modern Art, Serra's hometown museum. The most extensive survey of Serra's films and videotapes was presented by the Kunstmuseum Basel in 2017. Serra was a guest on Episode No. 18 of this program. Shiff is a professor at the University of Texas at Austin and the director of the Center for the Study of Modernism. He has written or contributed to books on Barnett Newman, Willem de Kooning, Donald Judd, and Serra, including "Forged Steel," which was published by Steidl and David Zwirner Books in 2016. White is a curator at the Menil Collection. With Bernice Rose and Gary Garrels she curated the 2011 Serra drawings retrospective.  Kirk Varnedoe was the chief curator of painting and sculpture at the Museum of Modern Art, New York from 1988 to 2001. He delivered the 2003 Mellon Lectures at the National Gallery of Art on the subject "Pictures of Nothing: Abstract Art Since Pollock." 

Kim Kardashian is in legal trouble...again. Back in 2022, Kim gave a video tour of her SKKN offices, in which she pointed out some of her favorite high-end furniture that she said was designed by the late artist Donald Judd. Only it wasn't authentic - the furniture was fake! Now the nonprofit that represents Judd's legacy is coming for Kim, accusing her of lying and ripping them off. They're suing her and the design firm that made the knockoffs. But let's see if her lawyers can get this lawsuit tabled. If they can't, Kim K might be headed for court. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This episode features the 1st half of the full episode. To get the full version, please visit: Patreon.com/theconversationpod    The Conversation Art Podcast | creating a podcast that goes behind the scenes of the art worlds | Patreon Recovering art worker and author of the novel Thieves, Valerie Werder talks about: Her entrance into the art world via her demanding position at a fancy gallery in her attempt, as a newbie, to get access and proximity to the art world;  her ability to conform and comply under pressure (in the gallery environment), and the what the flip side of that looks like; what the coercion, that came thru various forms of care and the engendering of a ‘family' dynamic at the gallery, looked like and how it played out, including through fancy paid meals and credit for fancy clothes so she could look and act the part; how working at a gallery gave her a completely different relationship to language, including the quick turnaround she had to produce, becoming a ‘language producing machine' in the process; the craft of writing a gallery press release, and how she ultimately became, upon writing her novel, the ‘commodity' herself that she in turn needed to sell. In the 2nd half of the episode, Valerie talks about: her creative workarounds to promote her book, including using two very different kinds of publicists, and how throughout her professional career she's been aware of and pushed against the given economic constraints, and how she believes it's important to be explicit and unashamed about everything from her day jobs to the creation of her (writing) brand; the difference between the mythologizing/branding of artists back in the days of a much smaller (yet cut-throat) New York art world (of Donald Judd, Robert Smithson and Walter De Maria et al.) and the more diffuse, digital world of today, and how in her book she wanted to explore the legacy and imprint of the peripheral art world figure ‘Valerie' the character who herself was invisible but whose writing, through catalogues and press releases, was/is all over the art world, and in the process the real Valerie the writer becomes a visible figure, a brand herself; the strange relationship she had with her former gallerist boss, whom she became the voice for in press releases and personal emails and even interviews, and how she studied her and had the writings of her voice vetted by the gallerist herself, for which she was valued highly for absolutely being ‘her voice;' how she wrote her book on an ‘unpaid sabbatical' from her job at the gallery, in a friend's cabin in Tennessee, and the complicated circumstances in which she quick her job upon returning from that ‘sabbatical,' which she told the gallery was an artist residency; her doubts about whether her gallerist employer read her book (Thieves); the actual front desk worker (aka gallerina) protocol employed at the gallery where she worked, as far as how to treat different people who came into the gallery, whether they were VIPs who should be greeted by name (through the gallerina memorizing the faces of those collectors) or lowly artists/nobodies who could be ignored; her experience getting a once-over from a wealthy collector at the gallery, and giving that once-over right back to him; Frank Stella and his provocative artwork titling, and how it somehow wasn't Valerie's job to really do research about his work, despite the gallery selling it.

Als in den 1980er Jahren Andy Warhol und Joseph Beuys in seiner Salzburger Galerie vorbeischauten, rümpften sie erstmal die Nase, der Galerist hatte es nicht einmal für nötig gehalten, die Bilder richtig rahmen zu lassen. Heute, 40 Jahre später, finden sich mitunter noch immer ungerahmte Werke am Hauptstandort der Galerie am Salzburger Mirabellplatz, ebenso in den Dependancen in Paris, London und Seoul. Kenner wissen bereits von wem wir sprechen. In diesem Podcast treffen wir Thaddaeus Ropac, einen der einflussreichsten Galeristen weltweit. Neben großen internationalen Künstlernachlässen wie jene von Donald Judd, Joseph Beuys oder Robert Rauschenberg vertritt Ropac einige der bedeutendsten Künstlerinnen und Künstler aus dem deutschsprachigen Raum, darunter VALIE EXPORT, Anselm Kiefer, Georg Baselitz, Imi Knoebel oder Erwin Wurm. Wir haben uns mit Thaddaeus Ropac zum Gespräch getroffen und über seine Anfänge als Galerist geplaudert - wie er Joseph Beuys in Deutschland und Andy Warhol in den USA kennen gelernt hat, wie er seine ersten Ausstellungen aufzog, warum sich die Galerie fortwährend neu erfinden muss und warum es ihn als gebürtigen Kärntner eigentlich nach Salzburg verschlagen hat. Viel Vergnügen.

Talk Art NYC special episode! We meet American art critic ROBERTA SMITH from her apartment in Greenwich Village. We explore her career over the past 50 years - Smith first began publishing art criticism in 1972. This epic feature-length conversation gets deep as we discuss visual literacy within education and the 'meaning' of art! In 2011, Smith became the first woman to hold the title of Co-Chief Art Critic of The New York Times.Roberta Smith regularly reviews museum exhibitions, art fairs and gallery shows in New York, North America and abroad. Smith began regularly writing for the Times in 1985, and has been on staff there since 1991. She has written on Western and non-Western art from the prehistoric to the contemporary eras. She sees her main responsibility as “getting people out of the house,” making them curious enough to go see the art she covers, but she also enjoys posting artworks on Instagram and Twitter. Special areas of interest include ceramics textiles, folk and outsider art, design and video art. Before the NYT, she was a critic for the Village Voice from 1980 to 1984. She has written critic's notebooks on the need for museums to be free to the public; Brandeis University's decision to close its museum and sell its art collection (later rescinded), and the unveiling of the Google Art Project, which allowed online HD views of paintings in the collections of scores of leading museums worldwide. Born in New York City, Smith was raised in Lawrence, Kansas, and earned her BA from Grinnell College in Iowa. She was introduced to the art world in the late 1960s, first as an intern at the Corcoran Gallery of Art, in Washington, DC, and later as a participant in the Whitney's Independent Study Program. During her time at the Whitney, she became familiar with the New York art world, and she met the artist Donald Judd, who would figure large in her early career. Smith wrote about Judd's development from two to three dimensions, between 1954 and 1964, and began collecting and archiving his writings. Smith began working at the Paula Cooper Gallery in 1972, at which time she also began writing for Artforum, the New York Times, Art in America, and the Village Voice, where she has written important considerations of Philip Guston's late paintings, the sculptures of Richard Artschwager, and Scott Burton's performances. Smith has written many essays for catalogues and monographs on contemporary artists, as well as on the decorative arts, popular and outsider art, design, and architecture. In 2003, the College Art Association awarded her with the Frank Jewett Mather Award for Art Criticism.Furthermore in 2019 Smith was presented a $50,000 lifetime achievement award from the Dorothea and Leo Rabkin Foundation. Due to NYT's editorial guidelines, Smith was unable to accept the cash prize and donated the entirety to the Art for Justice Fund, an organization launched by philanthropist Agnes Gund, whose goals include “safely cutting the prison population in states with the highest rates of incarceration, and strengthening education and employment options for people leaving prison.”: "Roberta Smith has been responsible for building an audience for the art of the self-taught, for ceramic art, video art, digital art, systems of re-presentation and much more. Across many traditional boundaries, she has offered a frank, lovingly detailed assessment of new art and artists to her expansive readership. Hers is a voice listened to by millions of readers."Follow @RobertaSmithNYT on Instagram and Twitter.Read www.nytimes.com/by/roberta-smith Hosted on Acast. See acast.com/privacy for more information.

W dzisiejszym odcinku przyjrzymy się fascynującemu światu nowojorskich loftów z dzielnicy Soho. Omówimy, w jaki sposób twórczość artystów z lat 60. i 70., takich jak Donald Judd, Keith Haring czy Louise Bourgeois, wpłynęła na wygląd naszych współczesnych mieszkań. Będziemy szukać inspiracji oraz analizować, jak dzieła tych artystów można przenosić na dziedzinę architektury wnętrz. Wspomnimy o początkach wprowadzania do przestrzeni mieszkalnych takich koncepcji jak minimalizm, prostota, kolor, autentyczność, indywidualizm, geometria oraz introspektywne podejście do projektowania wnętrz. Przy okazji zastanowimy się, w jaki sposób przestrzenie mieszkalne o charakterze industrialnym oraz ich rozwiązania przyczyniły się do ewolucji podziału obowiązków domowych między kobietami a mężczyznami. Zrozumiemy jak artystyczne dziedzictwo Nowego Jorku nadal inspiruje i kształtuje wnętrza mieszkalne, kreując unikalne i ekscytujące przestrzenie życiowe.

A lot of people call the journey to Marfa a pilgrimage. Tourists come from all over the world, driving hours through the desert to see places like Prada Marfa and Ballroom. Most notoriously, they come to see Donald Judd's artwork at the Chinati Foundation. On their way to the foundation, visitors pass right by a lesser known pilgrimage site, in the backyard of Ester Sanchez. An apparition of the Virgin of Guadalupe appeared on Ester's pecan tree in 1997. And people came from around the world to see it. In this episode, you'll hear the story of the Virgin's arrival, and what happens when two pilgrimages, two Marfa worlds, collide. Produced by Zoe Kurland, Sally Beauvais, and Elise Pepple. Music: Refraction, Pulsars, and Encounter by Podington Bear. Source: Free Music Archive. License: CC BY-NC

This week Miranda speaks with Robert Arber, the founder of Arber and Sons Editions in Marfa, TX. This episode was recorded on-site in Robert's studio in this iconic art town. They talk about his journey to printmaking after working in a car design studio in Detroit, going to the Tamarind Institute of Lithography in the 1970s, making motorcycles that go very fast, and printing, collaborating, and drinking with Donald Judd. Go to our Instagram if you want to see photos of some of the objects Robert mentions in the episode, such as the prototype of the sotol bottom that Judd designed, the Deadhead Moth print, and more! Robert's Website: https://30x30cmproject.com/ YOUTUBE www.youtube.com/channel/UCOMIT3guY5PjHj1M7GApouw MERCH www.teepublic.com/user/helloprintfriend WEBSITE www.helloprintfriend.com Instagram www.instagram.com/helloprintfriend ✨patreon✨ www.patreon.com/helloprintfriend Our sponsor, Speedball www.speedballart.com Our sponsor, Legion Paper legionpaper.com/

A conversation with Flavin Judd, Artistic Director of the Judd Foundation and son of the late artist Donald Judd. Donald Judd passed away nearly thirty years ago, but his presence still looms over the art world today through his writings, his artwork and the spaces he created as permanent homes for his work. It was Judd who brought the art world to Marfa in the early 1970s triggering a cultural transformation of the West Texas town. The conversation takes a look at the artist's origins, his philosophies, the stressful early days of the foundation and the show of Donald Judd work on display now through July 14 at Gagosian's Madison Avenue locations in New York.https://juddfoundation.org/https://gagosian.com/exhibitions/2023/donald-judd-980-madison-avenue/

In the first episode of the special season of Khosh Bosh with Anita, we discuss the curation of the Evaporating Suns exhibition. I am joined by Munira Al Sayegh and Verena Formanek. Tune in to hear more about their individual curatorial practices, the process of commissioning nine artworks for Evaporating Suns and the joys and questions that come with cross-cultural curation. Munira Al Sayegh is an independent curator and cultural instigator based in Abu Dhabi, UAE. She is the founder of Dirwaza Curatorial Lab, a UAE-based curatorial incubator. She is a published author and prominent public voice in the region, highlighting the importance of grassroots initiatives, narrative reclamation and non-institutional thinking to build regional art movements from the bottom up. Verena Formanek graduated with an MA from the University of Applied Arts, Vienna. In 1989 she joined the Museum of Applied Arts in Vienna as Curator of Design and Exhibitions. She installed the permanent collection in contexts designed by international artists like Barbara Bloom, Jenny Holzer, Donald Judd, and Heimo Zoberning. Formanek was Deputy Artistic Director at the Fondation Beyeler in Basel from 1996 to 2004 and worked closely with Ernst Beyeler. The three following years she was Head of Collections at the Museum für Gestaltung in Zurich. In 2010 she joined the culture department of The Tourism Development and Investment Company as Senior Project Manager for the soon to be opened Guggenheim Abu Dhabi. She worked in the same capacity in the museum department of the Abu Dhabi Tourism and Culture Authority until 2016. This special season of Khosh Bosh consists of four hour-long episodes that discuss the works from the exhibition, Evaporating Suns, in-depth with the artists and curators, as well as a myth library that showcases the different myths that the the KBH.G and Dirwaza teams grew up hearing. The thirteen artists showcased in this exhibition are Maitha Abdalla, Mays Albaik, Fatema Al Fardan, Moza Al Matrooshi, Abdullah Alothman, Farah Al Qasimi, Mashael Alsaie, Zuhoor Al Sayegh, Asma Belhamar, Alaa Edris, Saif Mhaisen, Fatima Uzdenova, and Bu Yousuf. The exhibition is presented by KBH.G in Basel, Switzerland and is curated by Dirwaza Curatorial Lab with the support of Verena Formanek. Presented by Kulturstiftung Basel H. Geiger I KBH.G. Season sponsored by the Foundry in Downtown Dubai. Music by Ronald Ekore.

Paris, bas du 9e arrondissement. On tourne à droite. Une petite rue aux immeubles cossus, on y est. Ronan Bouroullec, dont les dessins sont exposés jusqu'au 29 avril à l'hôtel des Arts de Toulon, nous reçoit dans son atelier, un grand espace « très calme avec une lumière formidable et une vue extraordinaire ». Le designer âgé de 51 ans évoque son enfance solitaire dans un petit hameau de Bretagne occupée notamment par le dessin, sa difficulté avec l'enseignement scolaire et le monde des adultes, sa découverte de l'architecture puis du design dans les magazines, son rapport à la couleur et aux objets, la philosophie derrière ses meubles de bureau conçus pour Vitra, le travail avec son frère Erwan, son obsession pour la vérification avec des maquettes à l'échelle, sa fascination pour Donald Judd, Vico Magistretti ou Shiro Kuramata et sa passion pour la gastronomie du Japon. Ronan Bouroullec revient aussi longuement sur l'importance qu'a pris Instagram dans sa vie et son travail : « Je l'utilise comme un journal. C'est une manière pour moi de montrer l'évolution du travail. On peut montrer le temps nécessaire entre le premier croquis et l'existence d'une chaise de manière suffisamment mystérieuse pour ne pas que ce soit copié. Pour moi, un objet est terminé quand la photographie est bonne. »Depuis quatre saisons, la journaliste et productrice Géraldine Sarratia interroge la construction et les méandres du goût d'une personnalité. Qu'ils ou elles soient créateurs, artistes, cuisiniers ou intellectuels, tous convoquent leurs souvenirs d'enfance, tous évoquent la dimension sociale et culturelle de la construction d'un corpus de goûts, d'un ensemble de valeurs.Un podcast produit et présenté par Géraldine Sarratia (Genre idéal) préparé avec l'aide de Diane Lisarelli et Imène BenlachtarRéalisation : Guillaume GiraultMusique : Gotan Project Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Victor Burgin (b. 1941, Sheffield, United Kingdom) first came to prominence in the late 1960s as one of the originators of Conceptual Art. His work appeared in such key exhibitions as Harald Szeemann's Live in Your Head: When Attitudes Become Form (1969) at the ICA London, and Kynaston McShine's Information (1970) at The Museum of Modern Art, New York. Since then, he has had solo exhibitions at the Museum für Gegenwartkunst Siegen, Kunsthalle Bremerhaven, MAMCO Musée d'art moderne et contemporain, Canadian Centre for Architecture, Mücsarnok Museum, University at Buffalo Art Gallery, Musée d'art moderne Villeneuve d'Ascq, The List Visual Arts Center, Renaissance Society at the University of Chicago, Musée de la Ville de Calais, The Museum of Modern Art in Oxford, and Stedelijk van Abbemuseum in Eindhoven. His work appears in the collections of The Metropolitan Museum of Art, Museum of Modern Art, New York Public Library, Walker Art Center, Tate Gallery, Victoria and Albert Museum, Los Angeles County Museum of Art, Museum of Contemporary Art in Los Angeles, Museum Ludwig, Fotomuseum Winterthur, Musée national d'art moderne, Sammlung Falckenberg, and The Arts Council Collection in London. Burgin graduated from the School of Painting at the Royal College of Art, London, in 1965, where his teachers included the philosopher and novelist Iris Murdoch, and then went on to study Philosophy and Fine Art at Yale University School of Art and Architecture, where his teachers included Robert Morris and Donald Judd. Burgin is Professor of Visual Culture at the University of Southampton, Professor Emeritus of History of Consciousness at the University of California, Santa Cruz and Emeritus Millard Chair of Fine Art at Goldsmiths College, London. In 2015 he was a Mellon Fellow and Visiting Professor in the Department of Cinema and Media Studies at the University of Chicago. He lives and works in South West France and Paris. Victor Burgin, Photopath, 1967-69. instruction card; typewritten on card stock. 5 x 8 inches. Courtesy the artist and Cristin Tierney Gallery, New York Installation view of Victor Burgin: Photopath (Cristin Tierney Gallery, New York, January 20 - March 4, 2023). Photograph by Elisabeth Bernstein. Courtesy the artist and Cristin Tierney Gallery, New York. Detail. Installation view of Victor Burgin: Photopath (Cristin Tierney Gallery, New York, January 20 - March 4, 2023). Photograph by Elisabeth Bernstein. Courtesy the artist and Cristin Tierney Gallery, New York.

Michael and Chris discuss how systems have always been prominent when solving problems within designs and the importance they have in connecting and enabling everyone to remain consistent along the user journey. Donald Judd - 100 untitled works in mill aluminum, 1982–1986View the transcript of this episode, here.GuestsMichael Jeter is the Creative Director at Zapier, a no code automation tool that connects work apps you use daily. At Zapier, Jeter leads a brand team of twelve fantastic creatives. Jeter was previously a Creative Director at Dropbox, and has worked with brands like Google, Facebook, Pinterest, etc. to help tell meaningful brand stories. Jeter is based in Austin, Texas where he eats entirely too much queso.HostChris Strahl is co-founder and CEO of Knapsack, host of @TheDSPod, DnD DM, and occasional river guide. You can find Chris on Twitter as @chrisstrahl and on LinkedIn.Sponsored by Knapsack, the design system platform that brings teams together. Learn more at knapsack.cloud.

Welcome to the Instant Trivia podcast episode 705, where we ask the best trivia on the Internet. Round 1. Category: The Pilgrims 1: Prior to settling in America, the Pilgrims sought religious freedom in Leiden, in this country, in 1609. Holland (or the Netherlands). 2: He came over on the Mayflower with his wife, Rose, and worked with the Pilgrims; the courtship poem is fictional. Myles Standish. 3: This last surviving signer of the Mayflower Compact died in 1687; wife Priscilla is believed to have preceded him. John Alden. 4: This Pawtuxet Indian who taught the Pilgrims how to plant crops is said to have lived in England from 1605 to 1614. Squanto. 5: A war with the Indians that broke out in 1675 was named for the Wampanoag leader called King this. Philip. Round 2. Category: In A Word 1: It's how you play certain instruments, like a guitar. strum (in instruments). 2: In ligament you'll find this slang term for a woman's shapely leg. a gam (in ligament). 3: What she felt when she wasn't hired. ire (in hired). 4: Hidden in the chandelier is the name of this famous composer. Handel (in chandelier). 5: Take your medicine and tell us the name of this once powerful family of Florence, Italy. Medici (in medicine). Round 3. Category: -Isms 1: Betty Friedan was frequently called "The Mother of" this 1960s and '70s movement. feminism. 2: To keep an industry safe from foreign competition, the government might impose quotas or tariffs, examples of this -ism. protectionism. 3: Novelist Israel Zangwill was an early leader of this back-to-Palestine movement. Zionism. 4: Saint-Simon was a founder of the "Christian" type of this, also a movement to redistribute property. Socialism. 5: Donald Judd and Robert Morris were important figures of this "scaled-down" art movement that began in the '60s. Minimalism. Round 4. Category: Salad Days 1: A Waldorf salad usually contains this type of nut. walnut. 2: This type of lettuce is used to make a Caesar salad. romaine. 3: This "Belgian" salad ingredient is also called witloof, meaning "white leaf". endive. 4: Some say this salad of crabmeat on a bed of lettuce in a chili sauce was created at Seattle's Olympic Club. Crab Louie. 5: This type of orange adds a sweet tang to the classic Chinese chicken salad. mandarin. Round 5. Category: The Ends In "X" Files 1: Dude! It's a Keanu movie!. The Matrix. 2: A 2-tenant dwelling with separate entrances. duplex. 3: Oh my gosh! It's the most exciting point in a dramatic narrative!. Climax. 4: This bacterial cattle disease whose name is from the Greek for "coal" can be transmitted to humans. Anthrax. 5: It can be the highest point in someone's career or the highest point of a building. Apex. Thanks for listening! Come back tomorrow for more exciting trivia! Special thanks to https://blog.feedspot.com/trivia_podcasts/

What you'll learn in this episode: Why sacred geometry is the underlying link between Eva's work in jewelry, architecture and design How growing up in an isolated Soviet Bloc country influenced Eva's creative expression Why jewelry is one of the most communicative art forms How Eva evaluates jewelry as a frequent jewelry show judge Why good design should help people discover new ideas and apply them in other places  About Eva Eisler A star of the Prague art world, Eva Eisler is an internationally recognized sculptor, furniture/product designer, and jeweler. Rooted in constructivist theory, her structurally-based objects project a unique spirituality by nature of their investment with “sacred geometry.” The current series of necklaces and brooches, fabricated from stainless steel, are exemplars of this aesthetic. In 2003, she developed a line of sleek, stainless steel tabletop objects for mono cimetric design in Germany.  Eisler is also a respected curator and educator. She is chairman of the Metal and Jewelry Department at the Academy of Arts, Architecture and Design in Prague, where she heads the award-winning K.O.V. (concept-object-meaning) studio. Her work is in the collections of the Metropolitan Museum of Art, Brooklyn Museum and Cooper-Hewitt, Smithsonian Design Museum in New York; Museum of Fine Arts, Boston; Museum of Fine Arts, Houston; Renwick Gallery, Smithsonian American Art Museum, Washington, D.C.; Montreal Museum of Fine Arts in Canada; Pinakothek der Moderne, Munich; and Museum of Decorative Arts, Prague, among others.  Additional Resources: Eva's Instagram Photos available on TheJeweleryJourney.com Transcript: Eva Eisler is the rare designer who works on projects as small as a ring and as large as a building. What connects her impressive portfolio of work? An interest in sacred geometry and a desire to discover new ideas that can be applied in multiple ways. She joined the Jewelry Journey Podcast to talk about how she communicates a message through jewelry; why jewelry students should avoid learning traditional techniques too early; and her thoughts on good design. Read the episode transcript here.    Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the first part of a two-part episode. Please make sure you subscribe so you can hear part two as soon as it's released later this week.    My guest today is Eva Eisler, s. She's probably one of the most well-known artists in the Czech Republic. Her work is minimal and refined. She also designs clothing, furniture, sculpture and so many other things I can't tell you about. She has taught and studied at Parsons School of Design, and she'll fill us in on everything she's learned. I'm sure I'm leaving something out, but she'll fill us in today. Eva, welcome to the program.   Eva: Thank you for having me.   Sharon: Great to have you. Tell us about your jewelry journey. Did you study it? Were you artistic as a youth?   Eva: I only thought about this yesterday. You're the first person I'm going to tell this story to. During the war, my grandfather, because he was very practical and forward-thinking, was buying jewelry from people who needed money to have safety deposits for later, whatever happened after the war. When I was born in 1952, there was still a little bit left of the treasure he collected and enclosed in a beautiful wooden treasure box. When I was a good girl, I could play with real jewelry in gold and stones.    When I grew older, I never thought of jewelry as something I would design. It was something I could play with as a girl, but when I got older, living in a communist country—Czechoslovakia turned into a Soviet Bloc country after the war—everything was so gray and constrained and monotonous. People were afraid to say whatever they thought, and I was feeling that I had to start something provocative, to start some kind of dialogue about different things. So, I started making jewelry, but because I didn't know any techniques, I did it in the form of ready-mades, looking for different metal parts out of machines, kitchen utensils, a stainless-steel shower hose, a clock spring, sunglasses, all different things. I didn't know people like that existed somewhere else, like Anni Albers, who in the 40s created a beautiful necklace out of paperclips. I learned that much, much later.   I was not only making jewelry. I was also making lamps and small sculptures, because creating things always made me happy. My mother was an art teacher. My father was a scientist. He was one of the founders of robotics in the 50s, and he ended up teaching at the most famous universities around the world later on. That's how I started making jewelry, but I wanted to proceed with a profession in architecture. That was always my main interest. After school, I worked for a few years as an architect. Later on, I got married and had children, and I wanted to be free from a steady job and do what I loved most, create.   Sharon: When you were an architect, were you designing buildings?   Eva: I was part of a team for experience. I was given smaller tasks that I had to do, mostly parts of the interior.   Sharon: Did you do sculpture and jewelry on the side? Your sculpture is such a big part.   Eva: Yeah, we're talking about when I was 25, 26. In 1983, my husband and I and our two children moved to New York, because John was invited by Richard Maier to come and work for him. That was a big challenge that one should not refuse. So, we did the journey, even though it was not easy with two little children.   Sharon: Did you speak English at all, or did you have to learn when you came?   Eva: I did because my father, in the 60s, when it was possible, was on a contract with Manchester University in England teaching. Me and my brothers went there for summer vacations for two years. One year, I was sent to one of his colleagues to spend the summer, and then I married John, who is half-British. His British mother didn't speak Czech, so I had to learn somehow. But it was in Europe when I got really active, because I needed to express my ideas.   Sharon: Does your jewelry reflect Czechoslovakia, the Czech Republic? It's different than jewelry here, I think.   Eva: There were quite a few people who were working in the field of contemporary avant garde jewelry. I can name a few: Anton Setka, Wasoof Siegler. Those were brilliant artists whose work is part of major museums around the world, but I was not focused on this type of work when I still lived in the Czech Republic, Czechoslovakia at that time. It was when I arrived in New York. I thought, “What am I going to do? I have two little children. Should I go and look for a job in some architecture office?” It would be almost impossible if you don't have the means to hire babysitters and all the services. So, I thought, “I have experience with jewelry. I love it, and I always made it as a means of self-expression and a tool for communication. O.K., I am going to try to make jewelry, but from scratch, not as a ready-made piece out of components that I would find somewhere.”    I didn't know any techniques. Somebody gave me old tools after her late husband died. I started trying something, and I thought, “Maybe I can take a class.” I opened the Yellow Pages looking at schools, and I closed my eyes and pointed my finger at one of the schools and called there. This woman answered the phone, and she said, “Why don't you come and see me and show me what you did?” When I showed it to her, she said, “Are you kidding? You should be teaching here.” It was one of my ready-made pieces. Actually, a few years before I came to New York, I went to London and showed it to Barbara Cartlidge, who had the first gallery for contemporary jewelry anywhere in the world in London. She loved it. She loved my work, and she bought five pieces. She took my work seriously, because basically I was playing and wearing it myself and giving it to a few friends who would get it as a present. So, I was shocked and very pleased.    This is what I showed this woman at the Parsons School of Design. This woman was the chair that took care of the department. I said, “I cannot teach here. I don't know anything,” and she said, “Well, clearly you do, but you're right. You should take a class and get to know how the school works, and maybe we can talk about you teaching here a year later.” I took a foundation course in jewelry making. It was Deborah Quado(?) who taught it. One day she said to my classmates, “This woman is dangerous.” I forgot to say that before I started this class, the chair invited me to a party at her house to introduce me to her colleagues. It was funny, because I was fresh out of the Czech Republic, this isolated, closed country, and I was in New York going to a party. I needed those people that became my friends for life.    That was a super important beginning of my journey in New York into the world of jewelry. A few years later, when I made my first collection, someone suggested I show it to Helen Drutt. I had no idea who Helen Drutt was. She was somewhere in Philadelphia. I went there by train, and Helen is looking at the work and says, “Would you mind if I represent your work in the gallery?” I said, “Well, sure, that's great,” but I had no idea that this was the beginning of something, like a water drain that pulls me in. The jewelry world pulled me in, and I was hooked.    From then on, I continued working and evolving my work. When I started teaching at Parsons, students would ask me whether they could learn how to solder and I said, “I advise you not to learn any traditional techniques because when you do, you will start making the same work as everybody else. You should give it your own way of putting things together.” At the end, I did teach them how to solder, and I was right.    I tried to continue with the same techniques I started when I was making these ready-made pieces, but with elements I created myself. Then I tried to put it together held by tension and different springs and flexible circles. I got inspired by bridges, by scaffolding on buildings, by electric power towers. I was transforming it into jewelry, and it got immediate attention from the press and from different galleries and collectors. I was onto something that kept me in the field, but eventually, when my kids grew older, this medium was too small for me. I wanted to get larger. Eventually, I did get back into designing interiors, but it was not under my own name.   Sharon: When you look at your résumé, it's hard to distill it down. You did everything, sculpture, architecture, interior design and jewelry. It's very hard to distill down. Interior design, does it reflect the avant garde aspect?   Eva: Yes, I am trying to do it my way. I love to use plywood and exposed edges to make it look very rough, but precise in terms of the forms. If you think of Donald Judd, for example, and his sculptures and nice furniture, it's a similar direction, but I'm trying to go further than that. I'm putting together pieces of furniture and vitrines for exhibitions and exhibition designs. While I am taking advantage of the—   Sharon: Opportunity?   Eva: Opportunity, yes. Sorry. I don't have that many opportunities lately to speak English, so my English is—   Sharon: It's very good.    Eva: On the other hand, yes, I'm interested in doing all these things, especially things that I never did before. I always learn something, but it's confusing to the outside world. “So, what is she? What is she trying to say?” For example, this famous architectural historian and critic, Kenneth Frampton from Columbia University, once said, “If one day somebody will look at your architectural works all together, they will understand that it's tight with a link, an underlying link.”    Sharon: Do you think you have an underlying link? Is it the avant garde aspect? What's your underlying link?   Eva: It's the systems. It's the materials. It's the way it's constructed. I'm a humble worshipper of sacred geometry. I like numbers that have played an important role in the past.   Sharon: Do you think the jewelry you saw when you came to the States was different than what you had seen before? Was it run-of-the-mill?   Eva: When I came to New York a few years later, I formed a group because I needed to have a connection. I organized a traveling show for this group throughout Europe and the group was—   Sharon: In case people don't know the names, they are very well-known avant garde people.    Eva: All these people were from New York, and we exhibited together at Forum Gallery and Robert Lee Morris on West Broadway. That brought us together a few times in one show, and through the tours I organized in New York, Ghent, Frankfurt, Berlin, Vienna and Prague.   Sharon: Wow! We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out.

A lifelong love of prairie led sculptor and former architect BILL MCBRIDE to the rolling sea of grass and sunflowers that is Matfield Green, Kansas—population 45. Serendipitous introductions to fellow environmentalist, artists and conservation enthusiasts enabled Bill to find a home for his own work and his ongoing passion project, the Prairie Art Path. Initially lacking a road map, Bill “lived conceptually,” doggedly pursued his artistic dreams, and eventually created the place he imagined. “You have to keep listening to yourself and find your models.”Find BILL:Website:  www.billmcbridestudio.com    Facebook:   @wamcbride      Instagram: @MatfieldGreenWorks  Mentioned:Matfield Green, KS (learn) Matfield Station (learn)Cottonwood Falls, Kansas (visit)  Tall Grass Prairie National Preserve (visit)  Flint Hills, Kansas (explore) Prairie Art Path, Bill's artwork and others (discover)  Riverbank Neighbors (learn) Wes Jackson, environmentalist / Land Institute in Salina, KS (learn)  Friends of Chicago River (learn)  Chianati Foundation, Marfa TX (visit)  Donald Judd , American artist, minimalism (learn) Pioneer Bluffs, Center for Flint Hills Ranching Heritage (learn)  Ton Haak, Dutch writer, designer, (learn)  Tall Grass Artist Residency, residency and bunkhouses (explore)The Bank / Matfield Green Works, gallery & event space (explore)  Mike Miller, sculptor (learn)  Andy Goldsworthy, English sculptor, environmentalist/ land art (learn) Mark Arts Center, Wichita, KS (learn) Find Me, Kristy Darnell Battani: Website:    https://www.kristybattani.com Instagram:  kristybattaniart Facebook:  kristybattaniart Did you enjoy this episode? If so, please take a moment to leave a rating and a comment: https://lovethepodcast.com/artishplunge   Music:"Surf Guitar Madness," Alexis Messier, Licensed by PremiumBeat.comSupport the show

This week we have former bassist of Hellogoodbye Travis Edson on the pod to talk about Spiritualized's incredible record Ladies and Gentleman We Are Floating In Space. We also chat about pod exhaustion, baseball, the Griffeys, baseball fights, Modern Baseball, why Travis loves our podcast, DJ Remixes, live reviewing music, bad DJs, a DJ's brunch, who DJs the DJ brunch, Aaron Carter, Kevin Morby, Roasts, Donald Judd chairs, Marfa, East vs West coast garage doors, Snoop or Sublime, weed talk, Dan's Hellogoodbye story, AIM noises, Touring with Andrew, Using your sole, Elvis, Youtube comments, secret marriages, songs sung in a round, Radiohead, Gospel harmonica, and hardcore banjo. Listen everywhere. Tell everyone. // Follow us at @danbassini, @mysprocalledlife, @travisedson and @runintotheground. Listen to our RITG Mixtape Vol. 8 here and our Best of RITG playlist here.

“As a young architect, I hated photographs where you saw people. And now I hate photographs where you don't see people,” Jacques Herzog says. Throughout the last three decades, Herzog and Pierre de Meuron have designed some of today's best-known buildings and museums, including London's Tate Modern and Hong Kong's M+ museum. In this episode, Herzog speaks about the development of architecture over the last 30 years, what it was like to collaborate with Ai Weiwei and Miuccia Prada, his early fascination with artists like Joseph Beuys and Donald Judd, and if the era of the starchitect has come to a close.

It has been a long time listeners, but here is a quick update and the brief introduction to next weeks hour long topic, Donald Judd, and Marfa, Texas! It is great to finally be graduated! Go Vols! The blog is located at architectureink.design.blog, which also has the complete link of all my sources, previous episodes, and old blog posts posted a few hours after each episode comes out. You can email me at architecturecoffeeandink@gmail.com, or head over to the Insta, @architecturecoffeeandink,as well as the TikTok, @architecturecoffeeandink.

With her hands in prayer, still life painter MARYAM AMIRYANI begins each day in her studio with the simple request:  The courage to start; the courage to persevere; the courage to finish. From her childhood in Iran to Paris, Washington and New York, Maryam followed a professional career path in and around the arts, helping to show and sell other artists' work before she finally settled into her own painting practice. Sharing her elegantly sparse, light-filled studio in Marfa, Texas with her husband and fellow painter Nick Terry, Maryam now creates small, intimate oil paintings often influenced by textures and colors of her early years in Iran. Maryam  balances the solitary nature of an artistic life with an abundance of community service projects that benefit a variety of communities.Find Maryam:Maryam's Work: Ulterior Gallery, NYC (visit)  Mentioned:Nick Terry, artist / Maryam's husband (see work) Ulterior Gallery, Takako Tanabe, gallerist (explore) Venus of Willendorf, feminine goddess artifact (learn) Marfa, Texas (visit) Donald Judd, artist (learn) The Chinati Foundation (explore) Find Me, Kristy Darnell Battani:Website:    https://www.kristybattani.comInstagram:  kristybattaniartFacebook:  kristybattaniartDid you enjoy this episode? If so, please take a moment to leave a rating and a comment: https://lovethepodcast.com/artishplunge Music:"Surf Guitar Madness," Alexis Messier,Licensed by PremiumBeat.comSupport the show

Angela Westwater at 257 Bowery, 2020, photo by Alexei Hay Angela Westwater co-founded Sperone Westwater Fischer in 1975 with Italian art dealer Gian Enzo Sperone and German gallerist Konrad Fischer, opening a space at 142 Greene Street in SoHo, New York. (The gallery's name was changed to Sperone Westwater in 1982.) An additional space was later established at 121 Greene Street. The founders' original program showcased a European avant-garde alongside a core group of American artists to whom its founders were committed. Notable early exhibitions include a 1977 show of minimalist works by Carl Andre, Dan Flavin, Donald Judd, and Sol Lewitt; seven of Bruce Nauman's seminal early shows; six early Gerhard Richter shows; two Cy Twombly exhibitions in 1982 and 1989; eleven Richard Long exhibitions; and the installation of one of Mario Merz's celebrated glass and neon igloos in 1979 -- part of the gallery's ongoing dedication to Arte Povera artists, including Alighiero Boetti. Other early historical exhibitions at the Greene Street space include a 1989 group show, "Early Conceptual Works," which featured the work of On Kawara, Bruce Nauman, Alighiero Boetti, and Joseph Kosuth, among others; a 1999 Fontana exhibition titled "Gold: Gothic Masters and Lucio Fontana"; and selected presentations of work by Piero Manzoni. From May 2002 to May 2010, the gallery was located at 415 West 13 Street, in a 10,000-square foot space in the Meatpacking District. In September 2010, Sperone Westwater inaugurated a new Foster + Partners designed building at 257 Bowery. Today, over 45 years after its conception, the gallery continues to exhibit an international roster of prominent artists working in a wide variety of media. Artists represented by Sperone Westwater include Bertozzi & Casoni, Joana Choumali, Kim Dingle, Shaunté Gates, Jitish Kallat, Guillermo Kuitca, Wolfgang Laib, Helmut Lang, Amy Lincoln, Richard Long, Emil Lukas, David Lynch, Heinz Mack, Mario Merz, Katy Moran, Malcolm Morley, Bruce Nauman, Otto Piene, Alexis Rockman, Susan Rothenberg, Tom Sachs, Peter Sacks, Andrew Sendor, and William Wegman. Past exhibitions, press, and artworks can be found on the gallery website. Born in Columbus, Ohio, Westwater received her BA from Smith College and her MA from New York University. She arrived in New York City in 1971 and landed her first job as a “gallery girl” at the John Weber Gallery at 420 West Broadway. From 1972 to 1975, she served as Managing Editor of Artforum magazine. In 1975, the same year the gallery was founded, Westwater was appointed to the Board of Trustees of The Louis Comfort Tiffany Foundation, where she has served as President since 1980. The books mentioned in the interview are The Free World, Art and Thought in the Cold War by Louis Menand and A Life of Picasso, The Minotaur Years by John Richardson. Joana Choumali, Untitled (Ça Va Aller), 2019, mixed media, 9 1/2 x 9 1/2 inches (24 x 24 cm), 16 1/4 x 16 1/4 inches (41,3 x 41,3 cm) Joana Choumali, WE ARE STILL NOW, 2022, mixed media, 4 parts; 38 1/2 x 78 inches (97,8 x 198,1 cm)

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Following studies in Paris, Paula Cooper (b. 1938, MA) entered the New York art world aged 21 working at the World House Galleries on the Upper East Side. In 1964 she opened the Paula Johnson Gallery, where she showed work by Walter de Maria and Bob Thompson, among others. From 1965 to 1967 Cooper served as the Director of the artist's cooperative Park Place, whose members included Mark di Suvero, Robert Grosvenor and David Novros––artists she continues to work with today. Paula Cooper opened the first art gallery in SoHo at 96-100 Prince Street in 1968 with a benefit for the Student Mobilization Committee to End the War in Vietnam, showing works by Carl Andre, Dan Flavin, Donald Judd, Robert Mangold and Robert Ryman, as well as Sol LeWitt's first wall drawing. Paula Cooper Gallery moved to Wooster Street in 1973 and then to Chelsea in 1996, and has consistently shown art that is conceptually unique and visually challenging. In addition to the artistic program, the gallery has regularly hosted concerts, music symposia, dance performances, book receptions, poetry readings, as well as art exhibitions and special events to benefit various national and community organizations. Of particular note was a series of New Year's Eve readings of Gertrude Stein's The Making of Americans and James Joyce's Finnegans Wake for twenty-five years until 2000, a ten-year series of concerts by The Chamber Music Society of Lincoln Center that began in the early 1970s, and an annual concert by the S.E.M. Ensemble that continued until 2019. Cooper was awarded an Honorary Degree of Doctor of Fine Arts from the Rhode Island School of Design (1995) and the order of Chevalier des Arts et des Lettres by the French Ministre de la Culture et de la Communication (2002) followed by the order of Officier des Arts et des Lettres (2014). In 2003 Cooper and her husband, the publisher Jack Macrae, opened the independent bookstore 192 Books. Cooper continues to run Paula Cooper Gallery. She and Zuckerman discuss the end of life, bad and good, how art revives, relationships, the New York artworld, the line between art and business, art as a language, visceral connections, celebrating messiness, art as true expression, not taking anything for granted, and the importance of encouragement!

If you were out and about in 1984, you might have noticed a striking poster wheatpasted everywhere. It featured two heroic silhouettes pulling down a statue, clearly avatars of the People topping the icon of a hated political dictator. But instead of a statue of a man in uniform, they were bringing down an image of a huge banana. If you were an art fan you might also recognize the signature of Claes Oldenburg, one of the most famous Pop artists. But whereas Oldenburg was best known for playful, giant-sized sculptures of everyday objects, this giant banana had a clear and outspoken message of political solidarity: the term “banana republic” comes from the bad governments of Central America that the U.S. propped up at the behest of its fruit corporations. And the U.S. was once again intervening in Central America."Installation view, Art for the Future: Artists Call and Central American Solidarities at Tufts University Art Galleries, 2022. Peter Harris Photography."[/caption] Oldenburg's memorable lithograph was one image associated with the "Artists' Call Against U.S. Intervention in Central America." And it is one of a huge number of artworks and artifacts relating to this intense early-'80s moment of artist organizing that have just gone on view at Tufts University Art Galleries in the show “Art for the Future: Artists Call and Central American Solidarities.” The '80s are remembered as a time of political conservatism and yuppie excess. But it was also the height of the late Cold War machinations. The Ronald Reagan administration's backing of death squads and repression of left-wing movements in places like Nicaragua and El Salvador is one of its darkest chapters. A robust Central American solidarity movement across the United States in the early '80s organized to defend refugees and decry the U.S.'s backing of the brutality. The Artists Call was inspired and in dialogue with this wave of public activity, an attempt to use art's clout to raise money and to reach an influential public. Involving figures including the Salvadoran poet and exile Daniel Flores y Ascencio, the curator and artist Coosje van Breuggen, and the famed art critic Lucy Lippard, the Artists Call was an organizing network that brought together, as Lippard remembers, “young and old, Latin, Central, and North American, lefties and liberals, artists working in a broad spectrum of styles.” Emerging from the discussions around a show by the art collective Group Material dedicated to Central American activism in 1982, the Artists' Call would ultimately inspire participation from thousands of artists, including Vito Acconci, Louise Bourgeois, Sol LeWitt, Donald Judd, Ana Mendieta, and Cecilia Vicuña. Yet despite the high-profile names it rallied and the recent interest in historical models of artist activism, the Artists' Call has been little remembered until now. On this week's episode, Ben Davis, Artnet News's chief art critic, had the chance to talk about the Artists Call with the curators of “Art for the Future”: Erina Duganne and Abigail Satinsky, as well as Lucy Lippard herself.

If you were out and about in 1984, you might have noticed a striking poster wheatpasted everywhere. It featured two heroic silhouettes pulling down a statue, clearly avatars of the People topping the icon of a hated political dictator. But instead of a statue of a man in uniform, they were bringing down an image of a huge banana. If you were an art fan you might also recognize the signature of Claes Oldenburg, one of the most famous Pop artists. But whereas Oldenburg was best known for playful, giant-sized sculptures of everyday objects, this giant banana had a clear and outspoken message of political solidarity: the term “banana republic” comes from the bad governments of Central America that the U.S. propped up at the behest of its fruit corporations. And the U.S. was once again intervening in Central America."Installation view, Art for the Future: Artists Call and Central American Solidarities at Tufts University Art Galleries, 2022. Peter Harris Photography."[/caption] Oldenburg's memorable lithograph was one image associated with the "Artists' Call Against U.S. Intervention in Central America." And it is one of a huge number of artworks and artifacts relating to this intense early-'80s moment of artist organizing that have just gone on view at Tufts University Art Galleries in the show “Art for the Future: Artists Call and Central American Solidarities.” The '80s are remembered as a time of political conservatism and yuppie excess. But it was also the height of the late Cold War machinations. The Ronald Reagan administration's backing of death squads and repression of left-wing movements in places like Nicaragua and El Salvador is one of its darkest chapters. A robust Central American solidarity movement across the United States in the early '80s organized to defend refugees and decry the U.S.'s backing of the brutality. The Artists Call was inspired and in dialogue with this wave of public activity, an attempt to use art's clout to raise money and to reach an influential public. Involving figures including the Salvadoran poet and exile Daniel Flores y Ascencio, the curator and artist Coosje van Breuggen, and the famed art critic Lucy Lippard, the Artists Call was an organizing network that brought together, as Lippard remembers, “young and old, Latin, Central, and North American, lefties and liberals, artists working in a broad spectrum of styles.” Emerging from the discussions around a show by the art collective Group Material dedicated to Central American activism in 1982, the Artists' Call would ultimately inspire participation from thousands of artists, including Vito Acconci, Louise Bourgeois, Sol LeWitt, Donald Judd, Ana Mendieta, and Cecilia Vicuña. Yet despite the high-profile names it rallied and the recent interest in historical models of artist activism, the Artists' Call has been little remembered until now. On this week's episode, Ben Davis, Artnet News's chief art critic, had the chance to talk about the Artists Call with the curators of “Art for the Future”: Erina Duganne and Abigail Satinsky, as well as Lucy Lippard herself.

Welcome to the latest episode in our series Start. Today is Start Your Own Approach and to explore that topic, both in style and substance, we have Georgia Dant founder of Marfa Stance.Marfa Stance is a clothing brand with a distinctive aesthetic that creates timeless designs providing not just life long quality but versatility too. They invite their customers into the design process by offering variety, layering and potential. Frankly, it's worth ushering in winter to be able to envelope yourself in a Marfa Stance. It seems to me that it is a brand determined to tread it's own path, in its own way and wearing its own bespoke jacket of course!As ever, I want to go right back to the start with Georgia and hear about her early years, the beginnings of her career in fashion, the influence of Donald Judd and Dan Flavin amongst others, I hear all about the vision, principles and purpose of the brand, the 'pinch me' moments when it all comes together and the challenges and obstacles that can threaten that. Whether you are starting out or world weary, my hope is that something will capture your imagination to spur you on to start or recommit to your own approach. Marfa Stance: https://www.marfastance.comProducer: Charles Tomlinson

How To Buy NFTs What is a Non-Fungible Token NFT How To Make Your Own NFT Best NFT InvestmentsEpisode SummaryJoining us today! Erick aka Snowfro, Founder of ArtBlocks. Creator of the Squiggle.Follow ArtBlocks on Twitter:Erick/Snowfro: https://twitter.com/ArtOnBlockchainArtblocks: https://twitter.com/artblocks_ioArt Blocks is a first of its kind platform focused on genuinely programmable on demand generative content that is stored immutably on the Ethereum Blockchain. You pick a style that you like, pay for the work, and a randomly generated version of the content is created by an algorithm and sent to your Ethereum account. The resulting piece might be a static image, 3D model, or an interactive experience. Each output is different and there are endless possibilities for the types of content that can be created on the platform.https://www.artblocks.io/Hosts:Chris KatjeMazhttps://bitclout.com/u/mazFollow The Roadmap on Twitter!Disclaimer: All of the information, material, and/or content contained in this program is for informational purposes only. Investing in stocks, options, and futures is risky and not suitable for all investors. Please consult your own independent financial adviser before making any investment decisions.Unedited Transcript:What's up everyone. It's Chris we're live Benzing as new NFT show the roadmap. We've had some great projects already on our episodes. We've talked to the teams behind the Vogue collective robotics, the dos pound Oni force. Oh, dads, dizzy dragons, sub doc, pixel vault, and also an NFT giveaway. Stay tuned. We got more NFTE giveaways coming up soon, and we've got a big, exciting show today.Uh, following up our interview with G funk from pixel vault on Tuesday, we are, we'll be joined today by another huge, uh, you know, well-known project. We are talking art blocks with the founder. Project. Uh, let me go ahead and bring on mass. My cohost mass. What's going on, buddy? How you doing today? Yo, what's up Chris?I'm so excited for this episode, man. I'm glad to be here. I know you've been looking forward to this one. We've been trying to get the team on. We've had some, you know, scheduling issues on Benzinga and, and we were able to finally nail down, you know, a date and again, mass talk about a big week, right? We had pixel vault, G funk on Tuesday.And now Eric, from art blacks today, two of the most well-known projects out there in the same week on the roadmap. Exactly. Yeah. And one of the first projects that I was into when I got into NFTs has been art blogs. I've been a big fan ever since, and I love the work that they put out. So I'm super excited for this episode.So yeah, without further ado, man, let's play the trailer. Let's get.Love that love those trailers, our creative team. You know, we, we had a cool one earlier this week and now another specific trailer for this interview, mass. I think it's time. Let's go ahead and bring on Eric. AKA snow fro the founder of art, blacks. How we doing Eric? I'm good. Thank you guys for having me.That trailer was like, it made me blush. That's awesome. Well, we're glad, we're glad you like it. Yeah. Our creative team has been doing these trailers and we love it. Brings some great personality for our show here. Um, you know, So I think we're going to have math kick off the questions here. If you're ready to go, Eric, super excited.You guys are. Yeah, let's do it. So, Eric, first question for you, man. So how did you get involved, you know, into the NFT world? You know, tell us a little bit about the backstory. Um, you know, we know crypto punks have something to do with that. So for people that may not know, just tell us a little bit about how that started.Uh, uh, okay. Yeah. So dinner of art 10 years ago, I started coding, creating art with code. I was using projectors and writing really weird scripts in a software platform called touch designer. Um, it's just something that kind of blew my mind when I saw it live at Coachella. And I was like, oh, I want to do something like that.So that's kind of how I got into generative art. Um, fast forward, like six years, uh, I was reading Reddit and I ran across a link that the creators of larva labs posted, I assume it was them that posted and said, Hey, come check out our project. It might've just been another Redditor, uh, to the, to the claiming of the crypto.Uh, what I thought was really cool was that it was a generative art project. Um, and also for the first time being able to prove ownership of a digital asset felt really special, uh, as well. And, uh, I think something kind of interesting is that I, by no means had come up with the concept of an NFT or even like the formation of it.But I had spoken to friends and be like, man, there's something here where like, maybe you could have like a magic together in card on like the blockchain or some way of proving something that has rarities. And, uh, but of course it was all kind of speculative. Uh, and then I got that link to claim the punks and I was like, holy crap, this is it.Like, they nailed it. This is exactly what the world needs. And I got real excited about claiming crypto punks. Um, I attribute 95% of everything that's happening now to the Matt and John from our larval labs. They, they lived the fuse. Uh, we wouldn't be here today without them. And that's kinda like where things where things were.That's awesome. And how much was it to claim a crypto punk when you claim them? In my mind, it was 35 cents or the gas, but I also was feeling kind of foolish for spending money. And I don't know that I would've felt foolish spending 35 cents. So maybe it was like 35 bucks or $3 50 cents. In fact, I guess I can just check ether, scan.I know exactly how much it was, but I did claim 30 for crypto punks. And during that process, um, you know, I, I realized I was being incredibly selfish cause I claimed all the zombies that were left. And of course, if I didn't like the next person would have, but, uh, it was actually during that process that I thought, man, like the Ethereum blockchain can actually decide for me whether I get a super rare zombie or maybe even an alien or an ape or just to a floor crypto punk.Right. And so that, that was actually one of the very first moments where I was like, oh, I want to, I think it'd be fun to build a platform that presents you with rarities instead of you getting to. That's awesome. And you said you claimed 34 crypto punks. Do you still hold them all to this day? Or tell us a little bit more about what happened today?Yeah, so early on, um, a couple other things happened that that kind of gave me more inspiration for our blocks. And then eventually I was like, okay, let's do this. And when I did finally pull the trigger, uh, I, I've never really kind of been in a financial position to just like spend 10, 15, $20,000 on development.And so people were starting to place bids on my zombies and I was in utter shock. The first time someone offered to pay me $200 for this digital thing that I had, you know, especially because in the early days of NFTs, you know, like the true, some of the, some of the innovators beyond that were like no origin, for example, that, that had marketplaces.Things felt expensive. If they were 200, 300 bucks back then it felt very expensive actually, compared to like, you know, a lot of pieces were like 20 bucks and 30 bucks. And so the fact someone was willing to pay me 200 bucks was significant. And so I, um, decided to hire a team of really brilliant developers, a company called block rocket tech, uh, to help me ideate the original version of our products, our box version one, which is very, very different than what our blocks looks like today.Uh, and I was selling crypto punt zombies to pay that habit, uh, the developer habit. So, you know, I remember on at least one occasion, I was like, okay, I'm going to have to accept this offer for, for 300 bucks or 200 bucks. I will give you this zombie for $200 with the credit, but like, trust me, like. I don't want to, like, I shouldn't have to accept this offer.Like it's worth way more than 200 bucks, but like, they're like, I mean, we don't want, we want to be being in zombies. We just totally respectable. Um, but I just remember thinking, man, like I wasn't, you know, I didn't want to do it the other way around. So I ended up selling Ms. Obvious for like 200, 300, 400 bucks a pop to pay for their developer fees, um, at the beginning.Wow. That's awesome. So, you know, tell us a little bit more about, you know, we know that crypto punks help to launch art blogs. When did art blogs launch and how has it changed over time? You know, looking back at it, you know, from when it first began the F the first version of our blocks in 2018, that first smart contract, I mean, there's, first of all, every art project had its own smart contract, which was a complete cluster in and of itself.Um, Probably the biggest innovation since then was that we put everything on the same contract. Um, but yeah, it was basically, it was called an art node and an artist would create a generative script that would listen to the most recent block hash of the Ethereum blockchain. And so the generative script would just change every block and there was slightly more complicated ways for people to intervene and inject their own hash into the script and generate a specific output kind of similar to what happens with our box today.But it was through a very different mechanism where there was a token that stored a hash that you just kind of permanently owned that hash. And you would interact with other projects with that token. It was, it was so many more layers of complication than what we have today. Um, it evolved to what we see now, which launched in November of 2020, just last year, almost a year ago, uh, where the artist.Deploys, uh, uh, our project on the same contract and the user comes and purchases a minted token, and that minted token, uh, contains a pseudo, random generated, uh, string of characters. And that's what controls the randomness of the token itself. So today when you purchase an AR buck piece, it's being purchased on demand, it didn't exist before you purchased it, which is kind of one of our key things that I think is really kind of special.You're creating the body of work that the artist intended, but has never seen before at the moment of minting. Uh, and at the end, your takeaway is ERC 7 21 and NFT, uh, that represents that experience of printing. That's awesome fun fact, man. I actually bought a squiggle because it came out on my birthday last year and you know, I saw the date and I was like, oh, you know, I need to have this piece and I've had it ever since.So I'm excited for that. No, wait a minute. That's awesome. Yeah. Yeah. Um, tell us a little bit more about how you guys transitioned to like a Dutch Dutch auction. Oh man. The emphasis, the infamous attractions. Uh, so th there was a lot of things involved and, uh, you know, I'd like to state that we don't think Dutch auctions are like the solution for everything in the world, but, um, we think we still think they are like the best approach to this.A couple of things were happening. Number one, we were having, we were having gas wars and we still have gas wars and, uh, gas wars, or, you know, when more people want something, then the amount of there is. And so they paid, uh, increase their place in line to get there faster. And some people were paying more than the price of the art.In fact, uh, when we kind of like drew the line and said, that's it to gas. Uh, we had a drop or 80% of the money that was sent to the smart contract or 80% of the money that was spent on the drop, went to minors. And 20% of it went to the artists and we felt like that was just kind of egregious and weird.And like, it just wasn't very art forward, which is kind of our intent. Um, now with Dutch auctions, you still have gas wars, but those gas wars usually end up at a higher price point to where yes, a significant amount of money is going to the miner, but never more than half. And in fact, most of the time, like significantly less than half of the drop list of minors.And so it just feels less kind of anti artists and like more artists forward. The other thing was that we weren't having any price discovery at all. And so, you know, we were kind of controlling artists to keep their prices between point, well, we never really set a low price. I always had the lowest price at 0.035 E for a squiggle.I mean, when schools came out, they were 40 bucks. Um, but you know, we kind of, we kind of had this like 0.2, five, eight. You know, and that was kind of her curate. We reserve that even more for curated. I mean, if an artist and the fact that you want it to drop at 0.25, they could. But you know, it was very hard to justify a 0.2, five eats like as a selling price at, or in the early days of our blocks.And sometimes those projects wouldn't really sell too quickly, which again, we don't mind because we liked the art to kind of sit there on a platform for a little bit, but there was no price discovery. So part of this gas war was that people knew that the moment that a drop happened, if the price was low enough, artificially set to 0.1 Eve and the least expensive price in the curated section on open seat was one eith that there was an instant kind of arbitrage opportunity there.Like it, this is completely separate for any subjective appreciation of art. It was this completely financial instrument of something generically designated as art box curated is for sale an open seat for one week. And that's the cheapest, that's the floor and something. Arbitrarily designated as art books, it is about to sell for 0.1, Ethan.So even if I add point for Ethan gas, it's still 0.5 each and there's that margin to be made on the secondary market. So to us, that means that there was no price discovery. We were essentially creating a, a, um, environment for wholesalers to come in and buy the product from us and then resell it on the secondary market for what kind of would eventually become the going rate after the drop for that piece.Of course, what happens a day, five days and five weeks after that is actually more in line with price discovery in terms of people's appreciation of the art. Um, and we have kind of grown to let that market handle itself, but yeah, the Dutch auction was just there to help with gas wars, but also to like divert more funds to the artist.Um, and so that art box wasn't artificially setting prices for something on the market. Perfect. So, you know, we have art blocks, uh, factory curated and playground. Can you talk a little bit about, you know, the differences in these different art blacks and how artists are selected for curated? Yeah. So, you know, in the end, the factory is this beautiful place for people to just kind of drop awesome generative art and something that I think is really important to note that's changed with our box is that originally our box was meant to be this place for anybody that can write an algorithm.Like if you were going to create a script that drew a circle on the screen, we were going to let you, because I was just so excited and geeking out about the potential for this type of work to exist. Also, I had spent so many years at this 0.2 and a half years. Basically kind of like begging artists to participate in was not very successful, partly because it was a pretty complicated process to participate early on.Um, that I was like, okay, crazy. Like, like let's just create somewhere where anybody that knows how to write an algorithm can deploy an art piece on bucks. Well, that's changed now. Uh, we have, we always seem to have like hundreds of people in the application queue and, um, we now have such brilliant works of art on the platform that we think that allowing low, like something that it's not even that it has to be low effort, but something that might be deemed low effort or something that's already appeared on, uh, on the platform like three or four times as a kind of like a trope, no matter how good it might be or how like generic, it might be.Uh, we feel like eventually it becomes a little bit of a disservice to like the truly exceptionally brilliant projects that have come up in the platform. And those projects exist in the factory, in the playground. And then curated the difference is that a project that ends up getting selected for curated, which admittedly.The bar has been raised over the course of the platform for curated as well, um, is a project that demonstrates something new or fresh, or like an incredible technical proficiency. It can be really, really simple, but if it's really, really simple, it has to be perfectly executed and defined it. Can't already exist on our blocks.Curated, no matter how well it's executed, we don't want to projects that are using the same exact kind of algorithm or technology or not even the same exact, but something that could be confused between the two. Um, and there's also like a little element there of projects that have that come from people that have participated in the generative art world for a long time.So, uh, what we have in the curated section or originally was projects where we were a little bit more protective of price. We were a little bit more, uh, you know, we would tell an artist, Hey, And this was well above what the factory was commanding, but we would say, Hey, okay, like you can set your price and iterations to whatever you want, but we want the max that this project would draw from it, from the ecosystem to be like a hundred thousand dollars or $200,000, which is significantly more than the artist might've ever made before using generative algorithms.Not always but often. Um, and, uh, so we were controlling on price. We were controlling on, um, features and we were just a little bit more strict. Um, and so what that leads to is the third category, which is the playground, which is more of a badge than anything. And what that is, is a designation. Artist has previously participated as a curated artist on their own.So, you know, we have a couple outliers, for example, if somebody was doing a collaboration in the playground and they presented as a single, a solo artist and curated, then that still has to go to the factory. Like, but you know, if you have two artists that have previously been curated and they want to collaborate on the playground, we would allow them to collaborate playground.It's just a badge that says, Hey, like this artist really stepped it up and pushed really, really hard, uh, to present something to a board of 25, uh, relatively neutral curators. And I say relatively, because some of them are very passionate about generative art and like advancing the medium forward. Uh, and those curators decided, Hey, like this meets the expectation and the criteria for something that we would want to set aside as like a flagship project for our.Awesome. I want to talk about Cromey squiggles. Um, you know, so that is the, you know, one of the most well-known art Black's projects, right? Uh, you know, when people talk about art, blacks, you know, a lot are familiar with that. We also see, you know, these huge sales for them. So can you just talk to us, you know, about, you know, Cromey squiggles, uh, how this came to be and why you think there's so much interest in, uh, this art Black's project.Okay. So the squiggle was originally a proof of concept. It was never meant to be an art project. It was meant to prove how much variation you could get from the hash string with stored in a token. And to do that, I said, okay, well, let's find point data, because if you can have seemingly unlimited number of points along an access axis, and then, you know, Another limited unlimited.There's actually more of a controlled range on the y-axis on the x-axis like the number of points on the x-axis. And then I can come up with like trillions of possible combinations of crummy, squiggles, and yeah, some of them might start to look very similar to each other. When you get into the billions and trillions, they would start like you would have that same squiggle, but like the green point in the middle might go down two notches, but everything else might be very similar, but in an edition of 10,000, it's actually.Kind of uncanny how differentiated they look, if you don't know the collection well, and you just look at a squiggle, they all kind of look like squiggles, but when you start to explore them, you realize that they're all very different from each other. Um, that proof of concept was in 2018. In fact, my brother, so I originally wrote the chromic school in three JS.My brother helped me convert the squiggle to processing, uh, dot, JS, uh, not just processing, um, because of a project where I, uh, gave a 2000 interior designers and architects in Houston, the opportunity to claim a chromium, Google of which 14 claimed them, uh, and were awarded with a real Promius squiggle in November of last year.Um, and that was kind of version two of our blocks where, uh, it used the processing language, uh, on a local computer and just stored the hash of that script as proof of this. Um, the two years after that, I found myself kind of like. I don't know when you're a generative artist, you just like to tinker and iterate.And I found myself kind of shaping the squiggle and tweaking it and modifying it. And also noticing that it kind of stood out from a lot of the things, not just in the NFP space, but just in the traditional world. Like I never, in two years ran across something and thought, man, that looks like a crummy squiggle.In fact, I started doing Google image, image searches of squiggles, and didn't really find much that felt like it represented a crummy squiggle. So then I found this beauty in like the, the discernible nature of the squiggle and how it actually can represent something that people can relate to. And then in the end, I started adding all the extra features like the, like the pipe in the rib, and those didn't happen until right before, um, our box launched.But that was kind of where I got excited and really inspired about the fact that our box was actually going to happen and decided to implement some extra little. Awesome. And then, you know, the other, uh, big art blacks, not that they're not all big, but the one that, you know, people talk about a lot. Cause again, the big sales is cadenzas.Uh, so give us a little bit of the background and you know, the artists behind Fidessa is, and you know what, maybe draws people to this art box project. Well, and this one here isn't Meridian, but similar in level of beauty. So the Bonanza project by Tyler Hobbs is pretty special to me just cause Tyler is someone that I've been following for a long time.So like there's a very clear distinction, um, of artists that I've been following and inspired by over the course of the last, let's say 10 years of being kind of in the space of creative coding. Um, and he's one of them. And so it's, it was really special to see. To have him agree to put something on the platform.Uh, he's in Austin. And, uh, I've actually seen his physical murals before, because I live in Houston, so I'm down the street. And so I always kind of felt that it was even more special because he was in Texas. Um, and just his style is so special. He did something with Fidessa that demonstrated the depth of what can happen in the generation of a, a body of work using an algorithm where the artist gives up curation, sets the rules to where they're satisfied with anything that's going to come out of that mentor.And, uh, just sets it free to the world and lets the world kind of tinker with it. Uh, he, he amongst like, just like any other architects, artists, they, they take these huge risks, like in the generative space prior to our blocks, you, you had the script living on your computer and you, you could generate thousands of outputs and then pick the one that you wanted to supply.So the gallery, or if you were just going to post it on Instagram, whatever it might be, you, you had this. Built in curation. And I think what makes our books special is that that curation is out the window. That curation has to be done all on the front end. And the artist has to really tweak and massage their piece to where their, their algorithm to where every single piece that comes out of the Minter Minter represents them as an artist and that they're digitally signing something before they've even seen what comes out and, um, our blocks.Um, uh, Tyler has really, I think, demonstrated that, uh, like as a, as a top project on our blocks. Perfect. Yeah. Love that. So to people that may not be familiar with generative art that are listening, um, can you tell us a little bit more of how the art is actually minted on our blocks when people meant it?Yeah. So, um, generative art is a form of algorithmic art algorithm. The garden basically means that it instructions. Are given to a computer and the computer spits out an output, uh, algorithmic art might be that you were never intending to have more than one output, right? So you just write code and it produces something different than using a brush, even brush on like a tablet.So generative artists, where you take that code that produces that thing and you assign a bunch of variables. So the background color, instead of just being blue is actually set to a variable so that every time that you generate a new one, it could be a blue or red or green or whatever. And when you assign various variables to an algorithmic work to where every time that it generates it sort of at random generate something fresh and different, that's where it crosses the line.At least in my opinion of what would be considered a degenerative project. And I think something really beautiful to look at is that a generative project in my mind doesn't have to be algorithmic. Uh, one of my favorite pieces of art of all time is a piece in Marfa, Texas, by Donald Jonah, it's called a hundred boxes, a hundred untitled boxes and milled aluminum.And it's. You know, Donald Judd, drew architectural drawings for a hundred sculptures and they were created, but there was rules. They all have the same length within height, and then he just modified the internals of them. So when you walk around them, you see these blocks, they're all the same size. And like the site modifications to me, that's a generative project, but made by hand and then generative art on our blocks is a generative project that's generated by code generated.Algorithmically. The end results are very similar. So, you know, the, whereas a generative project, like the a hundred, uh, on a named boxes, uh, in milled aluminum, if you just have one piece, it looks really cool. It's like a beautiful sculpture. Um, but without exploring the entire collection of a hundred, it actually just doesn't feel the same.Like you need to see all of the other iterations to really appreciate that one that you're standing right in front of. Otherwise, it just looks like a metal box. And I think a lot of that kind of happens on our blocks where, you know, Can you can become attached and really fall in love with a specific output or iteration, but then when you see the entire, um, uh, output, when you see the entire body of work, that's when it really sinks in.The time and effort that the artists went into into creating this like beautiful piece. Uh, so what happens is the algorithmic artist, the artists creates an algorithm that algorithm is, is stored on the blockchain immutably. So like on the Ethereum blockchain, and that algorithm is missing the variability component.So like, when I talk about the background being red or blue or green, the algorithm is waiting for you to tell it whether it's going to be a blue background or a red background by providing it inputs that are stored on the token itself. So the NFT, the non-refundable Dugan, all it stores is a bunch of strings of characters.The algorithm that's stored in the blockchain without the information stored on the token is useless. And the information stored on the token without the information stored on the blockchain is also useless. It's those two things combined that create a visual output. So when a user. So the project, all they have to look at besides maybe some tweets from some artists that they might've kind of teased their work.All they have to look at is all of the previously generated additions of that artwork. And that is the information that they have to decide whether they like those outputs and then want to mint another one. So when you go and you look at the beginning of a project and all you see is met number zero, you actually have very limited information.To me, it's usually enough information to know whether I like this artist's style in case I wasn't familiar with them before. Uh, but then after that, you know, after 50 of them are minted, now you have this body of work and you can start to see the nuances between the different pieces. And that slowly builds until the edition sells out at whatever the cap that the artists set for the, for the artwork is.And once that edition sells out, no more iterations can be purchased. And that's when you get the final body of work, the entirety of the, uh, Love that. And like how you mentioned earlier, right? So the artist doesn't know what the final body work's gonna look like until it's minted, which makes it pretty quick.Correct. And one of, well, I'll just kinda touch on this here too. Cause I mean, we, we get really excited about we get, we get really nerdy about the blockchain component, right? So generative artists, like I mentioned, could have pressed the space bar before our bucks existed and generated unlimited number of iterations for a generative piece.And so what the blockchain does is it kind of creates a finite amount of iterations to something that has historically been unlimited. Uh, and that's kind of something that couldn't happen without the blockchain. I mean, yeah. You could trust an artist to generate a hundred outputs generatively and then drag the algorithm to the recycle bin on their computer.But for some reason that feels really weird, like to destroy code like that, like, you know, artists also iterate on the code and they kind of build on it, but it's not that different than like a screen printer taking and saying, this is in addition to 10. And then destroying the screens after 10 and kind of proving that no more are going to be created unless you go back and recreate the screens.Got it. Uh, where do you see generative art going from here? Well, we're enjoying generative art, um, as kind of generative art fans here. And I think we're introducing a lot of people to not just generative art, but art in general. We're really enjoying the fact that people, you know, in our, in our discord, we have this need and that's, I came for the flip state for the art.And I think that, I mean, people laugh about that, but I really think that genuinely has happened if that has happened with a hundred people in the last 11 months, I consider that like a major victory, right? Like what else in this world is so, uh, intentionally introducing people to art, um, then, then that kind of experience.So, uh, I think that art in the generative world will kind of get, you know, it's been around since the sixties. Uh, but might get a new level of recognition, not just because of our box, but because of other generative art projects, uh, on, uh, um, in the space. In fact, I always like to joke that like I've been watching people buy generative NFTs on super rare known origin for years, but the word generative wasn't part of the equation.Cause it just wasn't part of the equation. The artists was creating it, algorithmically, minting it and putting it on the platform. Um, and it's really nice to now see the word generative is part of the equation to the degree, maybe overdone in a couple cases, but that's okay. Like that's an, that's an indication that people are kind of drawn to that beyond generative art.I think there's a lot of opportunities for generative. So a lot of the time that I spent ideated art blocks was not just for art. Although art has always kind of been our forward and our first kind of step, but also for the concept of generative design and generative content. In fact, you know, um, early versions of our website said, you know, generative content, regenerative design hosted immediately on the Ethereum, blockchain.The idea here, being that just like, so art is the easiest implementation of generative, uh, content, uh, because it's, it's digital, it's flat. It's, uh, it's a file. Start on a computer or an algorithm stored on a computer. I think there's opportunities similar to the a hundred, uh, untitled boxes of in milled aluminum, where like you might have a really talented, uh, furniture designer, uh, industrial designer that creates an algorithm that creates a coffee table.And, you know, you're going to be happy with anything that that algorithm produces because you've seen this designers work and you will go and you'll spend 2000. On a coffee table, which is actually a lot of money for a copy stable, but somehow not a lot of money in the NFT space. So I think we're eventually going to reach this kind of homeostasis, where we realized that, you know, you could spend half an Eve and actually maybe have somebody manufacturer a coffee table and have it delivered to your door that uses CNCS to follow some features that an algorithm dictated that was created by, by an industrial designer or a graphic designer.So I think we're going to see generative applications in industry, uh, furniture, manufacturing, and then also gaming. I think that, you know, if, if every time I went and bought my, my sword on Zelda, if it was just a slightly different pixel configuration, I think that would be pretty cool. Uh, but then on top of that, if I could level up that sword and then it's available and open sea and, you know, it's unique from the start, but then on top of that, it can be built on, um, and you know, you can sell it and then go mint another sword.Uh, I think there's a really beautiful opportunity for video game companies to have. The entire catalog of objects in a game existing on a single smart contract, kind of like the Bible of that project. So like, you know, every sort, every suit, every character exists as a generatively created piece. And no matter what happens to that game, that that catalog exists immutably because of the way our box works.We store the scripts on chain. It has more longevity than your traditional NFT or the traditional video game that was hosted in 1995 on a server that no longer exists. There's that immutability that I could go back to in 20 years and be like, oh man, I remember when I got that character and know, play that game, and it's not dependent on the success of that video game, even though I might've dedicated 40 or 50 hours of my life to that video game.And now that video game doesn't exist anymore, or that company went out of business. I can still go have the memory of that experience and maybe even own those pieces. So I think there's opportunities in the video game space as well. And we will definitely want to explore those with our blocks. Once we kind of get our inner stuff together and get to explore outside of.That's awesome. So are you teasing out of art blocks, video games coming soon? Um, you know, we have one developer already Hindu, uh, dropped a piece on our box that, uh, is a game. It's a little game of pong and it's super, super sweet. It's like super smooth, clean 3d. Um, and you know, when, when he created that, I kind of hinted at him creating our blocks arcade and kind of creating like a standardized output for these games where another website could actually listen to outputs from the algorithm that would post scores and kind of create a home for people to like, kind of all play the games together, these like blockchain mini games.Uh, we are absolutely going to focus on art for the foreseeable future. There's there's, you know, there's so much bandwidth that can be dedicated just to improving the art part of the platform. And that is our roots and that's where we started. And it's so easy to get excited about all these other opportunities and we'll we'll approach them, but.For now you're going to have to live with like, you know, a couple, a couple of games hosted in the outbox factory. And, you know, I'd love to see like a putt putt golf thing, or like a generates a golf course, like a tiny little golf course with a hole in a random location and rocks and random locations.And maybe you can't even beat that because the algorithm created an impossible level. I think there's a lot of fun to be had there. Uh, we're just, uh, we, we really are just wanting to take a step back with the exploration and focus strongly on just making sure that our product is as user-friendly and, um, buildable as possible.Love that. So we've seen those become a hot topic in the NFT world lately. Uh, what are your thoughts on Dow's? Um, I hated the idea of Dow's, uh, early on. Uh, in fact it took two very smart humans reaching out to me and, uh, Proving that, that there was humanity in the concept of a Dow. So I, you know, I I've always been so grossed out by like the incredibly speculative nature of everything in the crypto space.I shouldn't say grossed out, but that's not the right word. I just, uh, I really discouraged, I guess, by just how everything has to be associated with the valuation. Um, there's a market. I mean, there's market cap on squiggles, right? Like it's a work of art, but like they're, you know, schools are referred to as having a market cabin.I'm not offended by that. I just, you know, like everything has that like dollar value associated with it. And to me, um, in my early days of crypto, which is 2017 and participating in new coins and startups and, uh, master nodes and, you know, trusting other people to dedicate time to a project. And people really like, I just, I think enough times I would be participating in some kind of like all coin project and the value would spike and like half the team would go away because it would just sell their shit.They made it, like they made a bunch of money and I, and I felt like Dow's were just going to be an automatic perpetuation of that. Uh, and then I met the beautiful people of the Flamingo Dow and, um, I just remember, uh, pre reached out early because she's like, Hey, I just wanna let you know, we're the ones who've been getting all these squiggles.Cause there was somebody that was just minting them up to squiggles. There was a few different people that were minting squiggles. And I was like, man, I hope these people, uh, realize like there's no guaranteed value of these things. Like this is just like, you know, um, my little art project, but she reached out and she was like, Hey, I just wanna let you know, we're really excited about our blocks and we really love your squiggles.And I was very cordial and I was very excited. And then, and this is before I knew she was even part of a doubt. And I, I specifically remember she was like, have you ever heard of Flamingo Dow? And my response was like, oh, I'm not into douse. And we kept talking and. I mean, I love my fellow degenerates in the space.I've spent four years, like on discord and the crypto punch discord, literally like meeting everybody as they stumbled into crypto because, or in the NFTs. Cause that was kind of like the, the home, uh, you know, the birthplace of all the projects. And I just, you know, I love all my degenerates, but I definitely felt alongside them, like very degenerate in the empty space.And so little by little talking to Priyanka, I just kind of started feeling like I was talking to a human, like someone from the outside world, uh, someone that understands law and uh, just not just normal procedures. And so I. Decided to kind of consider working with Flamingo Dao. And I did, and I joined and I just remember joining and being like, this is, this is like pure magic.Like there's dozens of people inside the Flamingo Dow talking about all the projects that are coming out, giving opinions, voting, thumbs up, thumbs down. And there's 50 something members and maybe only 13 active members. And like, I was maybe more than 13, but you know, I was originally an active member and I felt like I was contributing now.I feel like a just useless number just because of the box has completely taken over my life. But, you know, I have this dream that I would one day get to a point where I can wake up in the morning, uh, open up like the philosophical newspaper, which is like the Flamingo discord with a cup of coffee. And just look at all the comments from the day before and participate in all of these things.The exploratory, uh, nature of Dallas, I think is an incredible by having that many people from that many different backgrounds, all contributing to a project. I think that there's just like just, I, I just think it's a beautiful thing and I don't think. Our operate the same way. And I don't think all Dallas will be successful longterm, but I, my, I definitely did 180 degree pivot when I met Flamingo and realized that there actually was a humanity behind these dials and like their way of collecting art.I mean, yeah, I think there is a financial long-term horizon, just like there is with just about anybody in this space, but they seem to respect the NFTs and the value and the artists, um, a lot more than others. And so I have like, there's a special place in my heart for, for Flamingo down, love that honesty I on Dows and also, you know, admitting to the 180 there.So, uh, uh, thanks for that, Eric. Uh, you know, I know you mentioned, uh, you know, the market cap of art blocks. We talk about floor price on the show and, you know, putting the, the east value aside, how do you measure, you know, the success of art blocks? What makes it a successful project in your eyes? And that you're most proud of.Uh, after w w what I consider a successful art work is when you drop the word crypto, and when you drop the word generative and you just call it art. And, um, you know, w if you go back to like Tyler House for Danza, all of those pieces, they look really great in the body of work, but they actually look pretty awesome independently too.Like, even if it was just a, one-on-one like, that's a really delicate, beautiful piece. And so the success of it, of an artwork for me is a, like my interest in mentoring, a bunch of them, which obviously, since our box has gone through like a growth mode that has significantly reduced, like I mentioned, seven mentored in purchased $1,700 bucks pieces between November and may, and then subsequently minted in purchase, maybe like 50 from, uh, June or July to today.So obviously, like my fund has dropped significantly on that and in the process, but. To me, the sign of success is like how degenerative early. I decided that I wanted to mint that piece. Like whether I wanted one or 10 or 20 or in some cases like, like poor, uh, Alexis, Andre, uh, he dropped it. He did a piece called messengers and I, I mean, I went deep.I think I bought 40 of them. Cause I wonder one of every color that to me is like success. Uh, in terms of like an art piece, but that's just me as like a curator of my art collection. Um, the other sign of success is like really watching people from the outside world coming in and purchasing. These are box pieces.Some of them have very significant valuations and people that have zero short-term horizon, like, you know, that the person that's buying these pieces of this price point is not expecting to turn around and sell it for like 10 X next week. Like at those prices, there is a fundamental ceiling. Like we talked about floors all the time, but there must also be a ceiling.Right. And so whether that fundamental ceiling is the total sum of all of the dollars in the world, or whether it's some other factor of, you know, um, you know, wealth, uh, we, I do think that as you, as you sell pieces for higher, you're getting closer to that fundamental ceiling. And so watching people buy pieces at that kind of fundamental, I mean, that's not the ceiling, but as close to the ceiling, as we've seen, uh, that has zero intention of moving those pieces for the next few years.Uh, I think is really a pretty solid sign of success as well, because that long-term, these are being recognized as like isolated individual, um, successful works of just generative and not just crypto, but just art. They stand on their own. And the, like the goose ringer is a really good example of that.Like, it became a very well-known piece, uh, within our box, you know, um, you know, Dimitri showed a lot of favor to it, but then it also kind of looked like a goose and like people recognize it. And, you know, the owner of it was just so proud of that piece and it became world famous, I guess, maybe just in the NFT space, but it's a pretty big space these days.And then watching the. Expand to end up in a collection of someone else collecting just like the finest pieces of not just our plots, but like all, uh, appease, uh, really I think solidified the, the long-term, uh, success of, of our box. Perfect. So one of our favorite things to ask on the show, um, you know, when we have the creators of projects on is to talk about their favorite traits, right?So art blocks obviously has so many different projects. So I know you probably can't pick, you know, your favorite ones, but maybe give us some favorite traits for Cromey squiggles or some of the other big names. What do you think, uh, what are some of your favorite traits out there? It's easy with the squiggles.Um, I really liked the closed terminal ribbed, um, as the community has so nicely dubbed it. I just love the words that the community can use to describe these pieces. And so like, ultimately. They've, uh, they've named it and it's just the rib squiggle, um, that doesn't have an open end on the end that you don't see color on the end.You just see like the same color of the squiggle, uh, that I, there was a time where any of them that were for sale under five, under 0.5 each on open. See, I was snagging them and I built up a little extra padding on the, on those. I love those pieces a lot, uh, outside of the squiggle, I think I remember, um, you know, early on in our blocks traits were important, but they weren't like this intensity like they are now.And I remember, uh, the archetype drop shuttle created this trait called the cube and the corner. And then, you know, like the rest of them were just the archetypes and there was something to me that just felt really special about like zooming out. Otherwise flat field and seeing the corner and that special, and then having the whole Cuban, making that extra special, uh, that really stood out to me as a really special trait.And when I say that it's like, I ended up chasing those traits and then spending more money on that than I've ever spent on anything else in my life. And to date the most expensive things I've ever purchased in my life other than a house is an archetype cube. Uh, and, um, two sub scape star falls. So the Starfall was another trait that just, it just struck me and yellow and black and my favorite colors.Uh, and so there was just something, when I first saw it, I didn't even know, you know, that was when our box was starting to kind of move faster and I stopped getting to literally nerd out and dive into every single Testnet. I mean, there was a time when our bus was getting started. I knew every single test in that piece from every drop, Dimitri mentioned a thousand tests that visas, I probably explored like 300 or 400 of them.And then I got consumed by our box and I didn't really get to appreciate. Fun stuff that was happening. And I just remember seeing the Starfall piece, uh, from subscribes, from that Deloitte piece and after the mint and being like, I have to have that. And so I went in and I bought one and then I bought a second one.And, um, just, you know, those two really stood out to me as like, like more in a sentimental way than just like, oh, these are rare. Like they touch the cord and I really, I really appreciate them. And there's many, many more, but those in particular, like stand up. That's awesome. I mean, I know it's hard to pick on some of these, uh, so, you know, I hate to ask that question, but we always like to try to get it out there.So, um, Eric talking, uh, you know, broadly about the NFT market, right? You mentioned, uh, uh, I think rebel earlier, you mentioned open sea. We obviously have this, this overhanging elephant in the room of Coinbase getting into an NFT marketplace. Um, you know, what are you thoughts on, you know, a big crypto name, like.Getting into NFTs and, you know, well, art blocks have a place in that. I say, bring it on. I mean, their, their user base is significantly bigger than the existing NFT space. Um, you know, and, uh, you know, I'm, I'm having some early conversations with them and like just learning about their integrations and kind of how they're going to, uh, deploy their project and like their MVP.And I really think that they have an approach that's, that's different than your standard kind of NMT marketplace. And I think that it'll find a lot of love and a lot of success. Uh, I think if they act as a, as a ex like introduction to NFTs to 1% of their many, many millions of user bases user base, uh, I think we will all enjoy, um, uh, just a new generation of people entering the space.And I think that's, that's pretty cool. Um, Marketplaces are hard. They're very hard, you know, and, and, and as, as, as I spoke to, for example, uh, Coinbase the other day, and I was like, look guys, like a lot of people, like to kind of shit on open seat, but like, can you imagine being in the position that open C was in like in August where not only do you have like a massive amount of sales and a massive amount of activity, but then you also have a new influx of people trying to deploy projects.And everybody has their own little special case and their own little customer service requests. And yeah, you can try to grow your company, but like I experienced the same thing in our books. No matter how fast you try to grow, like you can't just pick people off the street and stick it behind a computer and started coding.And so I think that there's just so much there that, uh, it's so easy, I think, uh, for the general public and that might've been me before I started our box, right. Like kind of come complaining and like, you know, yelling about the inefficiencies of, of, of open sea. But, you know, I remember open sea at NYC in 2019, you know, with a very humble table and, you know, three, four dudes that literally just were huge NFT nerds and that conviction that they had that early on, uh, I think, you know, they, they get all of the love and the market share that they deserve.And I think it's going to be up to everybody else to either develop a better product or a different direction, um, a different environment, a different experience altogether for NFTs in order to kind of capture some of that market. But I do caution people. Like when you, you know, it's like, I feel like projects could come out, um, to compete with our box right now.It'd be like, well, you know, we're not going to tell you how many additions do you have to do? Like they can, they can basically like pick all the things that our blogs is, has struggling with and say, we're going to create this new marketplace. That's going to fix all that. But like that basically is saying that, you know, our blocks is just naive and or dense and not understanding those conditions and just plowing through things.When in reality, there's a very specific reason why the things that are deficient on our pots are actually deficient on our parts and they have to do with scaling and they have to do with like, Supply and demand. And, um, I think what I, what I appreciate about Coinbase is that they're not coming out and saying, okay, like we're going to do everything.You know, we're going to pick all the things that open C's doing and do them a completely different way. They're just going to do their own thing. And I think that's how healthy competition happens in the crypto space. It's just do your thing, bring to the table, bring to market, whatever you are passionate about, whatever you feel strongly about.And if it fits people will come to you. And if it doesn't then, um, you know, that that's part of like startups and entrepreneurship love that. Eric, one of my favorite things that come out of NFTs are the communities. Uh, you know, how do you communicate with, uh, our blocks community, you know, right now is that their discord Twitter.And if so, are you active on a daily basis in those communities? Our discord community? I think if it hasn't hit 40,000, cause there's is about two, which is just like bonkers. It was a thousand during the archetype drop. In fact, we kind of. W when we were first panicking about oversubscribed drops, we did like a white list and the, our bucks discord, just like we did a user, why not a white list, but like a user list of all the users.So that in case we needed to implement a white list, we had a way of doing it. That couldn't necessarily be cheated too easily. And then we did that a few weeks later and it was 4,000 I can remember was after some other drop. And then we eventually just gave up like there's 40,000 people that have joined.Um, I. I spent a little bit less time in the discord than I used to because now there's, uh, 14, 15 of us at our box. And, uh, I spend a significant amount of time on like one-on-ones with the team to make sure that, you know, we can kind of keep her stuff together and continue building and growing the platform.But, um, as a result of growing the team, cause you know, I got to a point where, I mean, I, I was on the, I was on the verge of breaking myself. I mean, you know, I was easily 80, 90, maybe sometimes more hours a week, you know, I'd wake up, I'd spend the entire time on our blocks and I'd put my kids to sleep and then I'd stay up until three on our blocks.And it got to this point where it was just like so overwhelming and excessive. And a lot of that time was, you know, uh, you know, one-on-ones with people in the discord, like trying to defend what we're doing and, you know, standing up for what our blocks believed in and not trying to like get swept into like this whole crypto speculative madness and, um, the, the cool thing about growing the team, uh, where right now, I spent a lot of time with the team is that I'm hoping that by growing the team and being able to kind of offload a lot of the responsibilities that I had on a day-to-day basis, I can go back into the discord and fight it out with people again.And I love fighting it out with people, as long as they're respectful. I don't like talking to people that are accusing us of being money grabby. And like, no, that's just not a fun conversation. Like, I don't think we've indicated in anything but Goodwill for the community. Like we really want the community to thrive and we want the artists to thrive and we want the platform to thrive.So it sticks around how many platforms existed in 2008 at the peak of like the crypto cycle. And then that's when they were thriving and it, you know, everything fell apart and they went with it, you know, so it's good to be thriving in good times and also be very conservative so that we can vent exist during the slow times.And that's when we can build. And right now things are cooling off a little bit. And so it's giving me some time to get back into the discord and have some nice little bouts with people which I can kind of miss. I mean, I don't, I don't miss the one. We were having an August, uh, but I missed the ones that we're having today.Um, and, and it's going to give us time to take a step back and build and, and, and, and literally just continue trying to build like the best NLP platform that can exist, like the most crypto native piece. So, um, you know, that's, that's kinda where we're at, but I love my community. Uh, we're very lucky that I could not be more grateful for the team on our blocks.They are the community, they all came. And majority of the art blogs team came from the community, which is just completely mind blowing as well. Um, and, and together, you know, uh, I think, I think we, I think we're going to do some fun stuff, love that. And you actually talked about, you know, how Adam teas can be mentally straining, which they can absolutely be that, you know, how do you balance your work and personal life?You know, now. Th there there's a, there's a story I'll tell you. So we, we actually engaged with a mental health expert, um, because we started feeling like the quality, the mental health quality, and our discord was actually starting to be strained. Like people were saying things that just made us nervous.I could just, you know, it just felt weird. Like there was the emotions that were, there were being really worn, um, in public and, and more importantly, the way the public was reacting to them maybe felt immature and felt troubling to us. And so we started working with this mental health expert, um, who we started explaining this is discord, and this is the madness that we shared discord.And it was like, these are the examples of the things that make us really nervous. Um, and during that conversation, he's like, Hey, can, can we just step back a little bit and talk about your team? And like, I remember specifically hearing that and like, just like I was in complete shock because he was like, you're worried about like the mental health of your community.But like, how has your team's mental health, like you guys are on here 24 7, duking it out with people and worrying about the artists. Cause I mean, you, you have, I mean the amount of time that goes into deploying projects now artists are becoming veterans because they've already deployed before. So it's a little smoother, but there's so much time that goes, especially early on into auditing scripts and vetting the artists and like just the entire process.Everything was 24, 7 hands-on. Um, and it hit me pretty hard to be questioned about my mental health when we were there to like find out and help the mental health of our community and people were questioning our mental health and we took a step back and I'm like, yeah, this is, this is actually a problem.And we are all suffering from this, not just the community, there's an addiction. Mentality like in discord and if Ts there's this speculative nature, there's the instant customer service on demand, or I'm going to tweet about how your platform is terrible thing, you know, which I mean, we definitely do not appreciate when people threaten us like that.Like, I think it's completely unreasonable considering how transparent we are and how public we are about our mistakes and our issues. Like it's just completely unreasonable. Um, so yeah, so mental health is so it's so important in this space and everybody should take a step back every now and then. Um, and you know, we've, we've implemented no drops on the weekends.Uh, that's been, that's probably been like the number one, like biggest mental health, uh, positive for me, uh, because I can actually kind of, I mean, I'll still LORIC I always learn like you can't not work in this course, but like, I'll take a step back and. And, uh, and not feel like I have to participate every single day of the week.And so my, my kids are experiencing more of me, which, you know, there was a time there where like, I just really wasn't, it wasn't there. It wasn't very present as a dad. So things have come a long way. I'm hoping that things, uh, continue to get better. Uh, for the team. My target would be 60 hours a week. Like I'm not even looking for 40.I would just be perfectly happy with 60. Uh, and you know, w we have a lot of team members that have joined, uh, one of them in particular, Jake Rockland is our CTO that came in and was like, okay, no more drops on weekends. Like we, you know, you, you need to set a good example. Like how many days off have you taken Eric?Because if you're, if you're trying to set an example, You know, mental health, like if you don't do it, then no one else is going to do it too. Or they might take that as like the lead. And I was like, well, I haven't taken any days off. I literally haven't been off discord and 270 days. So, you know, um, we, we, I, like I said, our team is just really special and, um, everybody's looking out for everybody and, uh, we're, we're just really lucky.And, um, if, if, if in the next five years, our blocks can get to a point where it can even be considered for like the top 100 companies to work for in the United States. Like that would be my next goal, um, because if we can have like the best artists and the best artworks and the best team, and on top of that, be recognized for like having internal, like positive company culture, um, and, uh, and just like a wonderful place to work.Like there's really nothing else that I'm looking for in life at this point, uh, in terms of, uh, like business or entrepreneurial achievement, like I, I, at that point will have reached, reached my goals and, um, and, uh, I can't wait for that. That's awesome. Erica, thank you so much for your honesty. Right? We talk about these NFTs all the time.And so many times we probably forget that there is real people, right? Real people behind these projects that have, have real lives. Um, so, uh, I love your honesty. W we kept you along. Uh, this was a great interview, a long one. So Eric, uh, that's going to do it for questions. We appreciate you, you know, joining us on the roadmap.We look forward to talking to you soon and hearing more about, you know, art blacks in the future. Thank you so much for having me. Thank you to everybody out there, listening our community or our team and our artists. Like, you know, couldn't be here without y'all and thanks for taking the time to chat. I think.Awesome. Well guys, another great interview here on the roadmap. I mean, mass a huge week, right? We had G funk from pixel and now Eric, from art blocks, two of the biggest projects out there and, you know, mass, I gotta repeat it. Right. I love the honesty from Eric, you know, whether it was the conversation about Dows and, you know, having the 180 there to the mental health aspects, right.That was something G funk touched on on Tuesday, right. Was the mental health aspect and the needing to take breaks. And I just love the honesty there. Uh, you know, behind this project. Yeah. You know, in two things that I've noticed from the last two episodes that we've done is you can see the passion in the way these guys talk about their projects, you know, and they see it more than just, you know, just a cash grab or just, you know, putting a price on it, which I love, you know, seeing that aspect of NFTs because we get lost in the floor prices and, you know, and you know, is it gonna pump?Is it not? Why is it dumping? You know, why is there no new news? So I love seeing these two projects that have been around for awhile, you know, provide that insight that we often forget in this fast moving environment. And then if two world perfect, well mass, uh, before we head out today, what do you think if we get to some headlines and talk about some of the big stories out there, let's break it down now, let's go.What do we have? All right. So last, this actually happened last week, but we haven't had a chance to digest this news yet. So mass, there was a crypto punk record purchase that was turned down. So a $9.49 million bid, um, turned down by pun

In this episode I am joined by Jennifer Kudlats, founder of Canadian practice Studio A/C. We discuss the Shallmar Residence in Toronto, designed for a family of five, with a serious art collection.The practice describes the project as a house ‘disguised as an art gallery' They took inspiration from the artists Agnes Martin and Donald Judd when designing the interiors, including a kitchen island composed of 4 monolithic concrete blocks.Although it appears entirely new, the house is actually a renovation of a 1950's property. The entire ground floor is open-plan, with the space divided by floating walls that don't touch the perimeter and chunky columns that create a colonnade across the middle. The design results in flowing liveable spaces that flooded with ample natural light and perfect for enjoying the artworks.At the end of the episode, I ask Jennifer the three questions I ask all my podcast guests;– what really annoys her about her home?– what house has she visited that has really inspired her?– and, if she could choose anyone to design her a new house, who would she choose?If you would like to find out more about Studio A/C and the Shallmar Residence you can find information on the episode page at anotherarchitecturepodcast.comI hope you enjoy listening.

Chart is back. Yes, you read right. WE ARE BACK for a second season of your favorite art podcast ever. And what better way of starting a new chapter than with a spotlight of one of the greatest contemporary artists. Yayoi Kusama is one of the most visionary artists of all time, pioneering the exploration of themes such as sexual identity and mental health in a time where these things were either taboo or very rarely discussed. Despite a harsh upbringing in an unhappy household with a physically abusive mother, Kusama grew up to become one of the most important artists of the 20th century, her studio sharing building with those of Donald Judd and Eva Hesse in the 1960s, during which she worked on her arguably best known series: Mirror/Infinity. If you'd love to know more and can't wait to hear our beautiful voices again (specially Finn's), tune in and have a blast!   For email enquiries: chart podcastgmail.com Make sure to follow us on our socials!  INSTAGRAM: https://www.instagram.com/chartpodcast/  Here you can see on which different platforms you can listen to our podcasts! https://pod.link/1517293067  That's it for now! Hope to see you again in our next episode!  chART out!  (Love you, bye)

Lynn Herring at the Samuel Dorsky Museum of Art Born in Chicago to a working-class family, Lynn Herring came to New York in her 20's to pursue a career as an advertising art director and to develop her studio practice as a visual artist in the city that produced many of the contemporary artists that inspired her. Living in the NYC metropolitan area gave Lynn the opportunity to study at the School of Visual Arts while working at her advertising job. She ended up taking a break from her advertising career and graduated from SVA with honors in 2008 with a BFA in Sculpture. After graduating from the School of Visual Arts, Lynn began showing her video installations at a funky little gallery on the Lower East Side and had the remarkable opportunity to show her videos in the Pera Museum in Istanbul, Turkey before her eventual move to the Hudson Valley. Upon arriving in Kingston, NY in 2016, Herring found studio space in Kingston's Brush Factory. Here was an amazing 100-year old industrial space filled with artists and entrepreneurs quietly living and making their work. Herring's studio work is influenced by her work in the advertising industry where bold simple imagery and witty short headline copy is used to execute complex strategies. Her sculpture and print work have a hard-edged and clean graphic aesthetic on the one hand and a wonky cartoon-like form and line quality on the other hand. It is as if Donald Judd and Dr. Seuss collided with each other. Her most recent work is a reengineered Tic Tac Toe game designed to “Make America Relate Again”. Created with organic crooked-shaped, brightly-colored wood Xs and Os and using a more complicated wonky-shaped game board, Herring's game is an object used to help many different kinds of people to connect for a playful and sane moment in this time of cultural and political toxicity. Her interest in minimalism, contemporary culture, social psychology, spirituality, play and humor inform Herring's work. Herring has been exhibiting her work since 2005 and has been included in several juried shows including the Pera Museum in Istanbul, Turkey, the WAAM museum in Woodstock, NY, the Visual Arts Gallery in Chelsea and at Wired Gallery in High Falls, NY. Herring recently completed her MFA studies with honors at SUNY New Paltz in a multi-disciplinary program with a concentration in printmaking and sculpture. She is now taking her XOX game on the road. So, keep on the lookout for her in your local diner, coffee shop, park, gallery or museum. You never know where she may pop up to play a game with you. Click here to learn about her show that was mentioned in the interview. The book mentioned in the interview was Slaughter House-Five by Kurt Vonnegut. XOX! Share the Love®, multi-media social art installation at the Samuel Dorsky Museum of Art at SUNY New Paltz XOX! Share the Love®, social and public art piece with artists (from left to right) Michael Asbill, Lynn Herring and Maxine Leu on the campus of SUNY New Paltz Promotional image for the Brattleboro, VT events listed below: Lynn Herring Retrospective at CX Silver Gallery Brattleboro VT August 5 through September 5, 2021 814 Western Ave. Brattleboro VT Contact: Adam Silver, CX Silver Gallery adamsilvervt@gmail.com XOX! Share the Love at Brattleboro Museum and Art Center - Brattleboro VT Saturday, August 6 from 5-8pm Artist's talk and discussion at 6pm 10 Vernon St. Brattleboro VT XOX! Share the Love at Brooks Memorial Library - Brattleboro VT Saturday August 7, from 2-5pm Artist's talk and discussion at 3pm 224 Main St. Brattleboro VT

Hello my friends! What is going on for you this week? I am so excited because I just planned my little vacation! In fact the week this episode airs I'll be traveling for the first time since the world changed! I am going back to Marfa Texas! Marfa is a tiny little town of less than 2,00 people, waaaaay out in the high desert in West Texas pretty close to Mexico. I first found out about Marfa from a series on Amazon Prime called I love Dick that starred Kathryn Hahn and Kevin Bacon.  Marfa became a sort of arts and cultural center back in the 70's when minimalist artist Donald Judd moved from NY to Marfa to create large-scale art in the desert. It's the town that has that Fake Prada store out in the middle of nowhere? I've only been there once before in January of 2020, I was feeling restless after Christmas break and Darren was in NY and I was like - I'm going on a road trip! So I drove to Marfa - it's kind of the only way you can get there - there are planes that can take you into towns that are still like 3 hours away from Marfa so it's kind of not even worth it. So I did the 7+ hour drive and I gotta say, that drive was pretty cathartic. I really thought I was going to hate it but I kinda loved it! I had my podcasts, my audiobooks, my music, and sometimes just the silence. I remember driving into Marfa around 4:40 pm and the sun was just setting over the mountains, I was still an hour away but I knew it was going to be a really special trip!  And I don't know what it is about the desert, but that trip, even in January when it was freezing, practically nothing was open, I fell in love with this place and the people. I'm soooo excited for this trip and I promise I will tell you all about it! I'll probably be posting pictures on Instagram and LinkedIn so you can check it all out. All right, we have an incredible guest today! Meet the #KillerPitchMaster - Precious L. Williams  13-time elevator pitch champion, she's successfully appeared on “Shark Tank” and taken her company from $0 to multi-6 figures in less than 2 years.  Besides helping women entrepreneurs and business leaders, she also conducts corporate trainings, helping teams to create killer communication skills, craft messaging, and understand how to pitch and build sales programs. She's a world-class speaker for global brands including: Google, LinkedIn, Microsoft, George Washington University, Intuit Quickbooks, NBC Universal, PwC, and more. She gives back by working with organizations like Bottomless Closet, the Bowery Women's Mission and Dress for Success. She's also a 3-time #1 bestselling author for my books, Bad Bitches and Power Pitches: For Women Entrepreneurs and Speakers Only, and The Bad Bitches and Power Pitches Workbook, with my third, Pitching for Profit: The Bad Bitches' Playbook to Convert Conversations into Currency, available now! She graduated from Spelman College with a degree in English and then earned her JD from Rutgers Law School. She even practiced law for a hot second! We have a LOT to talk about so let's get into it!

(00:00-10:37): Brian and Aubrey reacted to Facebook's decision to extend Trump's suspension and discussed David Leonhardt's New York Times article, “Facebook Ducks the Big Issue.” (10:37-28:43): Dr. Karen Love and Bishop Dr. Michael Love, Founders of the Love Family Christian Foundation, joined Brian and Aubrey to chat about their ministry and the upcoming Judson University Community Prayer Breakfast, which is Monday, May 10th at 7:30am CT. The breakfast is sold out, but will be streamed live on Judson University's Facebook Page: www.facebook.com/JudsonU and YouTube Channel.   Karen and Michael also serve as First Lady and Senior Pastor of Trinity Baptist Community Church International in Crystal Lake.  Learn more about the Love Family Christian Foundation at facebook.com/lovefamilychristianfoundation.org Learn more about Judson University at judsonu.edu (28:43-36:53): Brian and Aubrey reacted to the news about Bill and Melinda Gates getting divorced. (36:53-44:23): Brian and Aubrey shared their thoughts on Donald Judd and Caroline Kelly's CNN article, “Biden dismisses McConnell's pledge to focus 'on stopping this new administration.'” (44:23-1:02:11): Matt Sorger, prophetic minister, Host of the Glory Living podcast, and Author of “God's Unstoppable Breakthrough: When Your Mountain Doesn't Move, Go Over It!”, joined Brian and Aubrey to chat about his book and his mission to rescue children from trafficking through Rescue1. Learn more about Matt and his books at mattsorger.com Learn more about Rescue1 at rescue1now.com (1:02:11-1:11:02): Brian and Aubrey honored the life and ministry of Marva Dawn. They also talked about her book, “A Royal Waste of Time: The Splendor of Worshiping God and Being Church for the World.” See omnystudio.com/listener for privacy information.

Quando all'arte contemporanea non bastano più le installazioni o le fotografie, il corpo diventa l'ultima frontiera. Dalle performance sadomaso degli azionisti viennesi alla brutale manicure di Valie Export, dalle favolose trasformazioni di Leigh Bowery allo stunt-man esistenziale Chris Burden, dall'arte antipatriarcale di Ana Mendieta a quella facilona di Frida Kahlo: nella body art, buon sangue non mente.Costantino, l'Henry Kissinger della Maremma, spiega il concetto di “stato climatico interiore” (che non ha capito neanche lui), mentre Francesco racconta la riscoperta di un antico piacere all'indomani di un miracoloso intervento alla prostata. E, nel finale, una corposa rivelazione per tutti i fan di ArteFatti.In questa puntata si parla di Umberto Galimberti, Günther Brus, Otto Muehl, Rudolf Schwarzkogler, Hermann Nitsch, Egon Schiele, Gustav Klimt, Chuck Close, Adolf Loos, Sifgmund Freud, Ludwig Wittgenstein, Banksy, Henry Kissinger, Gerry Scotti, Carmelo Bene, Dario Cecchini, Justice Yeldham, Valie Export, Gina Pane, Marina Abramović, Slobodan Milošević, Carolee Schneemann, Robert Morris, Claes Oldenburg, Sabina Ciuffini, Mike Bongiorno, Donald Judd, Walter De Maria, Paula Cooper, Holly Solomon, Marian Goodman, Yoda, Midnight Cowboy, Madame Claude, Ana Mendieta, Fidel Castro, Sara Ann Otten, Carl Andre, O.J. Simpson, Frida Kahlo, David Alfaro Siqueros, Leon Trotsky, Leigh Bowery, Alberto Angela, Colonnello Bernacca, Damien Hirst, Alexander McQueen, Anthony d'Offay, Paolina Borghese, Nicola Bateman, Lucian Freud, Chris Burden e Tino Sehgal.

Nell'arte la parola acqua ha sempre fatto rima con viaggio. Stavolta, però, il viaggio è burrascoso, perché Costantino e Francesco si scontrano sull'americana Roni Horn e la scoperta dell'acqua calda, su polli e balene, sul ruolo di Willy il Coyote nell'arte concettuale e sulla doppia vita del padre di William Turner: William Gayone Turner. Infine, dei prestigiosi ospiti si uniscono al cast di ArteFatti: due dei maggiori critici di design al mondo, amici intimi di Francesco Bonami.In questa puntata si parla di Roni Horn, Bas Jan Ader, Thierry De Cordier, Hiroshi Sugimoto, Gordon Matta-Clark, Simon Starling, Willy il Coyote, Fabrizio Plessi, Claudio Monteverdi, Luigi Tenco, Peter Fend, Colin De Land, Andrea Fraser, Cady Noland, Rob Scholte, Tacita Dean, William Turner, William Gayone Turner, Mike Leigh, Nanni Moretti, Guy Bourdin, Vaginal Davis, Gustave Moreau, Thomas Chippendale, Laura Ashley, Antonio Citterio, Dan Graham, Donald Judd, Gerrit Rietveld e Gio Ponti

L'artiste chercheur : un rêve américain au prisme de Donald Judd, dernier essai de Sandra Delacourt paru aux éditions B42, retrace l'émergence, depuis le milieu du 20e siècle, d'une figure de l'artiste dont l'activité bascule dans le champ universitaire, ce qui ouvre un nouvel imaginaire pour l'art. Sandra Delacourt est critique d'art indépendante, professeure d'histoire de l'art contemporain à l'ESAD TALM-Tours et chercheuse associée à l'HiCSA (Université Paris 1).

Cooking In Marfa: Welcome We’ve Been Expecting YouBy Virginia Lebermann and Rocky Barnette Intro : Welcome to the number one cookbook podcast, Cookery by the Book with Suzy Chase. She's just a home cook in New York City sitting at her dining room table, talking to cookbook authors. Hi I'm Virginia Lebermann and I'm Chef Rocky Barnette of The Capri and we've come up with a book called Cooking In Marfa: Welcome We've Been Expecting You.Suzy Chase: Dusty ranch land surrounding a tiny rural town near the Mexican border and an internationally renowned art mecca far off the beaten path is Marfa, Texas, 200 miles South of El Paso "with its ethereal high desert landscape, cavernous blue skies and views for 50 miles" as the artist Donald Judd once put it. Hotelier, philanthropists, and Ballroom Marfa co-founder, arts pioneer, Virginia Lebermann along with your partner, chef Rocky Barnette have written this wonderful tribute to your restaurant, The Capri but before I go on, let's talk about how Marfa put a shelter in place, right when COVID began and how has that affected you, and the restaurant and your life?Virginia & Rocky: We shut the restaurant March 17. Yeah. Officially started the talks on the 13th and we have not reopened. When we initially shut due to mandates, we had a big staff meeting or a series of staff meetings really and just came together and talked to everyone about how they wanted to handle it. Yeah, it was kind of a democratic process because we were concerned first of all, about their health and then second about West Texas in general and then third, we wanted them to be a part of the decision making process. And the general consensus was that we would ride this thing out as long as we needed to and just keep everyone safe. So that's how we handled it. So nine months later, they're on their second shelter in place. The nearest hospital is 26 or seven miles away in Alpine, Texas and that hospital has two ICU beds and two ventilators and the Midland hospital and the El Paso hospital have stopped taking transfers so it's been very, very touchy for that small town.Suzy Chase: The Capri was originally intended to be a cultural arts project housed in one of the three Adobe and steel army airfield hangers, which you bought in 2007, along with The Thunderbird motel across the street. Can you tell us a little bit about that?Virginia & Rocky: My dear friend, Fairfax Dorn and I had started Ballroom Marfa. We opened our doors in 2003 and we were bringing in artists from all over the world and commissioning new work and bringing people in to see that work. It became difficult to house people. And so I became a partner in The Thunderbird Capri Project and then ultimately bought everyone out. And we ran the Thunderbird hotel with the intention, really of focusing on housing artists for the Chinati Foundation, for Judd, for the Lannan Foundation for all the foundation projects that were bringing really serious people into town so that's how the motel happened and The Capri was actually a sister motel and we renovated it in such a way that it became more of an event space and we would have our first program there ever with ballroom was we had Sonic Youth come and play for a Chinati weekend. It was wild.Suzy Chase: Back in the day when things were wild. I love to hear your vision to connect the food to the region, to the culture and the design of the restaurant.Rocky Barnette: I think at the beginning, I guess with the food to the region is Virginia's mother has a ranch, seven miles West of town and going out there, there are still spots along the ranch where you can see where fires were built and there was a series of caves where you can still find arrow points and tools for grinding, cooking and cutting and so some of those have been carbon dated to be 10,000 years old. I'm like, okay, people were here 10,000 years ago. The landscape was a little different weather patterns are a little different, but what were they eating prior to dairy queen or, orSuzy Chase: Shoney's?Rocky Barnette: Um, so that started this line of questioning. And then Virginia inspired me greatly about this because she would say, well I used to live in Terlingua and down there and we would make prickly pear wine and we would make some bread out of mesquite bean flour and I'm like, what is all this stuff you're talking about? And so it just kind of opened up my mind to start trying to rediscover or reinvigorate a sort of way to eat in the desert without flying in seafood.Suzy Chase: Most cookbooks that are affiliated with restaurants don't mention the design aspect at all and that's one of the lovely things about this book is you describe it in great detail. How do you create spatial fluidity in a perfectly rectangular box? That's the question of the day?Virginia & Rocky: You section a little bit of it off because it's a large box. When we called Sean Daley, who is a very dear and very old friend to ask him to participate in the project. I had a little narrative that I had woven in my own head to share with him about where we wanted to go with the space and it was about the old mercantile stores on the border and in Southeast Texas, where I up were really the center of social activity for these ranchers and farmers. I think in the book, I say, you could buy a can of Folgers coffee and maybe a broom if things are flush and some twine to tie some things together, but really it was all about sitting on the front porch and talking about your neighbors and talking about the weather and that's sort of the feeling that we wanted there, a historical reference with some modern edges to the texture, to the materials.Suzy Chase: In the book you wrote. "There's a magic that bar stools can make when they're all lined up perfectly and make a sculptural statement."Virginia & Rocky: That is my Virgo coming out. I love to walk in to the restaurant and these beautiful turquoise leather bar stools in a line, make my heart swoon. If they're not lined up she starts twitching and screaming about centipedes. A part of the design too was that Sean Daly pulled a lot of colors from the landscape, like he pulled colors from not the foliage in the spring when it was bright and vibrant but the foliage in the winter when it was a little dull and so that would be some colors of the curtains and then they were brightened up by the barstools themselves. And so it's a really good contrast.Suzy Chase: Where exactly did you two grow up?Virginia & Rocky: I grew up on my family's ranch in Southeast, Texas on the Gulf coast, went to school in Austin, which is certainly the bastion of progressive thought in the state of Texas. So that's where I am proper Texans. I'm seventh generation. And I, well, I was born in Asheville. I was part of a military family. So I also lived in Fort Huachuca Arizona for four years, and then Fort Bragg, North Carolina, and then back to Hendersonville area and then went to culinary school, Asheville. So Virginia, you went to Nepal when you were 19. Did your family think you were crazy or were they all for it?Virginia Lebermann: They thought I had absolutely lost my mind. That was pre cell phones. So I would send a postcard home that would take three or four weeks to get there. They thought I was absolutely mad, but I went through a program with Brown University and it was a life changing experience on every level for me, as you might expect.Suzy Chase: Then in your twenties, you spent time in Africa and then you traveled around Europe and did all the things, but you say your travels in Mexico have always had the most profound reverberations for you. Can you talk a little bit about that?Virginia Lebermann: You know, I think that the antiquity that exists in Mexico is so much more vibrant to me personally than even the antiquities of Greece or Rome and it is on the same landmass that I grew up on. You know, you can sit on the back porch at the ranch and you're looking down into Mexico and that connection to the land, but then the real mystery for me of the Mayans and the Aztecs and what they were eating before the Spaniards came has just always been really exciting to me and I think it has to do with proximity a lot of it, you know.Suzy Chase: And you wrote in the book "out here you can drive for hours and often never see a vehicle, I find that thrilling" you wrote and I imagine it was the same way in Mexico.Virginia Lebermann: Oh yeah. And Nepal and Africa, there's definitely a thread. There's something that I love about that feeling that you're the first, albeit an illusion let's be clear, but that you're the first to be there sort of.Suzy Chase: Rocky, I want to hear all about Evelyn Juanita Barnette.Rocky Barnette: That was my great-grandmother. So I'm from Appalachia. Everybody starts procreating very young there apparently. So my mother had just turned 16 when she had me and so she was working a lot and still trying to go to school and so I was essentially raised by my great-grandmother for the first three years of my life and then from the time I was seven til she died when I was 20. And so she was an old Southern lady. She had 13 siblings, grew up in the great depression through every single war and she and my great-grandfather, the front of the two-story house was right on the highway and they turned it into a produce stand because it had a giant garden in the back, and that was their business. He was a mechanic across the street at a truck line, and then he, and she would both run the produce stand on a daily basis. So it was like a mini farmers market.Suzy Chase: Was she a good cook?Rocky Barnette: Yeah. Pretty good.Suzy Chase: Do you think that's where you got your culinary skills from your innate culinary skills?Rocky Barnette: Yeah, sort of like inspiration because my mother is going to be ashamed said this, but she's not the best cook in the world but I was inspired by my great-grandmother and what I started doing... She started getting sick when I was a teenager because she was old. So I started trying to recreate things that she would make before I went to culinary school.Suzy Chase: Before culinary school, your mom finagled a job for you at Shoney's when you were 13. Right. And Shoney's is so much better than Denny's.Rocky Barnette: Yeah. It's funny that that Shoney's that I've worked at then got bought out by Denny's and I was like, I don't want to work there anymore.Suzy Chase: So you made money to buy Nintendos and sneakers, and then you moved on to Chico Tacos and Henderson, North Carolina, where you were hired by the German owner, Kurt Markel, who sort of took you under his wing and suggested books for you to read. Then you made your way down to Mexico with a friend of the family's name, Ray who owned a fruit packing business, apple orchards, and a trucking line. Fast forward to your first culinary epiphany in Mexico. Can you tell us about that?Rocky Barnette: I think my only understanding of Mexican food at that time was like TexMex sort of things and even though I worked in what I thought was a Mexican restaurant for three years, but I was high up in the mountains, like the Sierra Occidental Mexico and we were eating beans every day and they were firing fresh tortillas at every meal and you would have a salsa or onions or something with it but when I was at home growing up with my grandmother your traditional Appalachian meal is pinto beans, cornbread, and chopped up vidalia onion and you wound up eating that a lot because it's inexpensive. So I felt right at home. I was like, well, I must be Mexican.Suzy Chase: So, this cracked me up. So you get back to North Carolina three months later and your mom is freaking out.Rocky Barnette: Oh yeah. So this was also the time when there weren't cell phones, no nothing there's no police, running water, postal service, phones, like you'd have to drive an hour down the mountain to use a payphone.Suzy Chase: Did she think you just died or something?Rocky Barnette: Yeah. She she was beside herself. She was like trying to call the national guard and they're like, yeah, we, sorry, can't help you.Suzy Chase: Oh, your poor mom.Rocky Barnette: She thought I was going for a week and I thought I was going for a week or two and then it turned out to be about three months.Suzy Chase: We just talked about how you started your culinary career at Shoney's. So did it blow your mind when you got the internship at the famed Inn at little Washington in Virginia?Rocky Barnette: It was so new and so refreshing and so foreign and so exotic to me that I was just so happy to be there, that I was willing to do anything that they told me to do like go wash the dog, wash somebody's car, go do this, polish this, work 16 hours a day. Yes, yes, yes. And I don't mean any of that as a bad thing. I was so excited to be there and I found it so thrilling, no matter how hard the work was or how long the hours were, because I'd never smelled things like that and never seen things like that. I mean I never tasted French butter before. My grandmother loved produce and she loved food and she was a great cook, but we didn't use fresh herbs in anything. I'd never tasted fresh herbs and I was 20 years old. And so I learned what they call the traditional brigade system it's like the chef is the chef and then everybody trickles down from there. And I was happy to have just been able to start anywhere. And I started as a dishwasher.Suzy Chase: Then you wind up catering shows at The Capri, really thinking about something that you could do for the community you wrote in the book, you had no courage or capital only compunction. How did the idea come about?Rocky Barnette: Well, I'd spoken to Virginia like a few years before, cause I was doing catering events for Ballroom Marfa or I'd like deliver some soup to her house. I had a job at the time, but it was boring to me so she started talking about how she originally intended to have a kitchen at The Capri and we talked about it and I looked at some plans and then we started dating and then she had a captain who could exact your plans. And she intended to do that. That's what I say. Yeah.Suzy Chase: Yeah. In the book Virginia wrote "eventually it all came together we had a classically trained chef on the loose in the culinary challenged town of Marfa we had a town with a lack of great restaurants and incredible adobe structure sitting empty without its next story, we had a match made in heaven" Virginia. Can you tell us about that?Virginia Lebermann: The Capri had been used for some music shows and things like that with Chinati Foundation and Judd and Ballroom, and then people had rented it here and there for events, but it's such a gorgeous building and sits on such a beautiful piece of property in the middle of town. I just felt like ballroom needed its extension and it needed to be a culinary extension, sort of a laboratory to think about where we live. And Rocky seemed like the perfect person, the force to do that with me.Suzy Chase: Like you two have complimentary super powers that when they come together, it makes for something crazy amazing.Virginia Lebermann: And that's very generous of you to say.Virginia Lebermann: Virginia, the subtitle of this book is Welcome We've Been Expecting You. And that phrase is sprinkled all throughout the book. What does that phrase mean?Virginia Lebermann: So that happened when I did call Sean Daley, our friend and designer of The Capri to tell him this crazy story of mercantiles along the border and what we wanted it all to feel like I spoke for, you know, seven or eight minutes. And without missing a beat, Sean Daley had just responded from dead silence to welcome we've been expecting you. And I said, yeah, you get it. And he's like done I'm on board. I want to be a part of it. So it's on the matchbooks that we have at The Capri. We kind of use it. It's the spirit, the essence of what we're trying to accomplish and what we're trying to have the space feel like that you walk in and you take that sigh of relief because you know, somebody is there who is interested in taking care of you.Suzy Chase: And I heard your drinks come fast, you don't have to wait long for a drink.Virginia Lebermann: You don't, we impress that on the boys for sure and the ladies.Suzy Chase: Virginia Food & Wine said you're at the heart of the more recent design and hospitality movement in Marfa. Do you think design and hospitality as a concept will change post COVID or do you think it's going to go all back to normal the way it used to be?Virginia & Rocky: I think that is such an incredibly profound and wonderful question and it's so hard to answer. I think it's what everyone in the restaurant business and the design world are. Everyone's talking about that right now. What has become superfluous? What is still sort of mandatory for the essence of our human spirit in terms of design and culinary endeavors. I have a handful of chef friends from restaurants throughout the United States at this point, and there's one thing that there's this epiphany that they've had where it's like, you know what? I kind of liked this model of people pre-ordering and then we go put it out on the sidewalk and they just like drive by and pick it up without stopping like logistically it's easier to control in a certain sort of way doing delivery where it's like the reinvention of the takeout window but at the same time, what you worry about is when you grow up in restaurants and you love going to restaurants, there's the possibility that, well, you're absolutely going to lose a bunch of restaurants that used to love to go to. And there's a possibility that if it changes too much, you won't be able to go to a restaurant in the way that you did before. And it's not a natural chain of evolution. I don't think it's good for restaurants like Daniel Boulud's restaurant at restaurant, Daniel in New York like I think those things have a purpose in life and Jean-Georges and La Bernadin but these places with these tablecloths, these things like 11 Madison Park has its place, but also every single dive bar and every ethnic restaurant in Queens, like everything has its place in the grand scope. But if it all becomes about the bottom line and how to control inventory and staff hours and all of that, then you've lost the community aspect and the human aspect. Can you imagine all of the ideas? The only design will be what kind of box you get your food? Right? I mean, all the ideas that have happened from the community of restaurants, the poetry that's been written, the paintings on the walls, restaurants and design, and all of these things are such a steadfast place. Spilling sauce on a velvet chair.Suzy Chase: I know I miss going to this bar here in the West Village and listening to the jukebox, sitting at the bar, talking to some rando who probably has an amazing story and listening to some Lynrd Skynryd.Rocky Barnette: Where are you going Blue Smoke?Suzy Chase: No it's called WXOU on Hudson.Virginia Lebermann: Fantastic. Well, I miss that too.Suzy Chase: There's that scene in the movie giant where Elizabeth Taylor is welcomed to town with a huge party of barbecued meat. What principles of West Texas hospitality do you to embrace?Virginia Lebermann: The largesse of it all. Though certainly the excess is a trademark style of any Texan who entertains. We talk about that in the book where you walk in and if, if you are a known quantity and loved by Rocky, he comes out of the plating room and has the entire restaurant clap for you.Suzy Chase: I love that.Virginia & Rocky: It's really fabulous and it is embarrassing and very warm and funny at the same time. That's really an appropriately posed question cause you say welcome to town. The last thing you want to do as a guest is to arrive somewhere and feel like, what are you doing here? So you want people to say here put this down your gullet, sit down.Suzy Chase: I saw the Donald Judd exhibit at MoMA last week and I got to thinking, did Donald Judd influence Marfa or did Marfa influence Donald Judd?Virginia Lebermann: I'm not a Judd scholar. So I'm always a little bit anxious about speaking to a few, simply about what I think happened with Judd but you know, he was influenced by the landscape. It was there where he had the space to create these enormous bodies of work and have them installed in a way that had a relationship with a forever landscape. And conversely, he put Marfa on the map very slowly. You know, when I first started going to Marfa as an adult who was sort of aware of the art world, the people who were there to see Chinati and the Judd installations they were from Germany, they were from all over Europe we never saw a Texan, hardly ever, and a flash of New Yorkers. It's been a very slow process. I mean, if you, if you're touched by the art world at all, you know who Donald Judd is. And so that in turn affects the tourist base in Marfa and the tourist economy there,Suzy Chase: The construction and design of this book is a work of art. Speaking of art can you tell us a little bit about the look and feel of the bookVirginia & Rocky: I happen to be holding in my hand right now. We were introduced through a friend, Jess Hundley who was sort of an external advisor and editor on the book. She's from Los Angeles and has worked on many, many, many books. And she introduced us to a designer called Brian Roettinger, who also based in LA and is actually quite famous for his album covers and wins Grammy's for those and we loved Brian's work. Then we asked Phaidon if they would break with protocol a bit and use a designer that we introduced them to and they very patiently and kindly said yes and so Brian came out to Marfa. I understand is quite different from many books where usually the designer is far away and perhaps doesn't ever see the space or the restaurant or the town or the region. And so Brian got to come out and this is where I think he created a journal. It's a travel journal, the quality of the paper Douglas's photography, which we haven't even touched on yet it's just amazing. The incredible food styling by Rocky Barnette but Douglas the photographer who is also a dear friend. It was a wonderful project because we were also close, but Douglas has a house in Marfa and he has become quite a famous photographer in his own right but did this project very much out of love for all of us and for Marfa and we worked on this photography for a year, we would work on it every time he came in to town just to come home from being on the road. So I think it has that feeling of, oh, it's very personal. Yea Doug is one of the most incredibly effective and professional people I've ever worked with.Suzy Chase: So Rocky, I'm dying to hear about your famous guac.Rocky Barnette: What do you want to know about it?Suzy Chase: Well, why is it so famous?Rocky Barnette: I don't know. I guess people really like it. I think, I guess it tastes good. I grew up mostly in Asheville, North Carolina, and there are a lot of vegetarian restaurants and they're really good and there's a lot of good produce around there. When I first started going to school, we were going to vegetarian restaurants or Mexican restaurants and I've learned about what foie gras was seared foie gras I was like why couldn't I do that with an avocado? And so then I was like, well, I'm here in Texas 20 years later might as well grill these avocados. And the strangest thing is that my Italian sous chef at the Inn at Little Washington, his name is Raphael De La Huerta is the one that taught me to make guacamole. I never knew how to make guacamole, but he taught me things like sneak a little cumin in and use some really fine extra virgin olive oil. And we'll maybe I'll add some extra lime juice and finally grill the avocados like my vegan foie gras dream and then it turned into guacamole and everybody wants to eat it all the time. And it's painful to have to produce. And in Texas, if you don't have guacamole and a steak, you're just in big trouble.Suzy Chase: I made your recipe for Watermelon Radishes with Habanero Vinegar, Aged Balsamic and Lime on page 100. Can you describe this recipe?Rocky Barnette: We started the restaurant in November and we started serving food in January. We're in the middle of the desert and the only thing that I could get that was like resembling a vegetable was watermelon radishes and we had habanero's and we had pickled watermelon rind that I've made before and balsamic. So it was like, well, I'm gonna try to recreate a carpaccio. It pretty simple in my mind, but it just turned out to taste pretty good. The locals got sick of it after about six months to a year. By June, still the only vegetable we can get is without mail ordering something was a watermelon radish, but it was just kind of a sort of take on watermelon on watermelon on watermelon in terms of a carpaccio and just trying to bring out as much flavor as possible.Suzy Chase: Now for my segment called last night's dinner, where I, you, what you had last night for dinner.Virginia & Rocky: So glad that I can tell the truth. I made Crab Fried Rice, my new thing that I like to do with Nantucket Bay Scallops. Now that we're not in the desert anymore for this moment. And Nantucket Bay scallops are in season right now. And so I use sushi grade rice, and then I just try and chop up every kind of vegetable that I can find and then folding in the crab meat. And then I like to cook bay scallops with just fresh parsley, butter and fresh squeezed lemon or pink lemons, which we had recently and I don't mean to be a show off, but, um, and I call the crab fried rice, the mashed potatoes and the Nantucket Bay scallops become the gravy and so you put one on top of the other and it's just really light and refreshing cooked in coconut oil and a lot of ginger and garlic and onions and everything kind of comes together if I do it right, and don't drink too much while I'm cooking. Suzy, I eat a lot of Rocky's food and that Crab Fried Rice, I can't believe it. We were at a friend's house last night and he was making it for Gordon and Gordon stood up after his first bite and marched into the kitchen was like, this is legendary. What is this? It's pretty special.Suzy Chase: So where can we find you on the web and social media?Virginia & Rocky: So we're @CapriMarfa on Instagram. And we do not have a website at all. We still use a quill pen. haha We're pretty simple,The Capri remains a secret.Suzy Chase: Well now I'm officially obsessed with Marfa. I cannot thank you enough for coming on Cookery by the Book podcast.Virginia & Rocky: We are honored. You are so sweet to have us. Thank you so much. And we are indeed honored.Outro: Subscribe over on CookerybytheBook.com and thanks for listening to the number one cookbook podcast, Cookery by the Book.

Rabbi Rami's guest this episode is Kyle Chayka. He is a weekly columnist for Pacific Standard. As a writer and critic, his work has appeared in the New York Times Magazine, New York Magazine, and Rolling Stone, among many others. He began his career as an art critic, and his new book, The Longing for Less: Living with Minimalism, is more in that vein than offering methods for organizing your spice rack. Cultivating a deep sense of self is possible through minimalism, and Chayka and Rabbi Rami discuss minimalist artists like Agnes Martin, who explored minimalism as a way to find transcendence, or Donald Judd, who used box forms to find the essence of itself, something that was true in and of itself, which has relevance in spirituality. They also discuss how living in a minimalist way can mean allowing something to be exactly what it is, without putting our own story upon it. This can be a challenge when it comes to allowing other people to live their own lives. For more of this inspiring and enlightening conversation about minimalism and how it relates to art, Buddhism, reality, and dealing with other humans, listen to the whole episode. Learn more about your ad choices. Visit megaphone.fm/adchoices

“Because Sylvio is courageous, I was able to buy more hamburgers to keep up my strength, and more paint to continue painting,” said artist Robert Ryman about collector Sylvio Perlstein, who was a patron of his at a time when few others were interested. Born in Belgium, Perlstein grew up in Rio de Janeiro, where his family moved when fleeing the Nazis in 1939. Perlstein bought his first work of art from a florist in Brazil; over the course of the next five decades, he would add more than 1,000 works to his collection by artists including Man Ray; Duchamp; Carl Andre; Diane Arbus; Hans Bellmer; Magritte Solowitz; Donald Judd; Hannah Kirk; Max Ernst; Bruce Nauman; Edward Shea; and Andy Warhol—to name just a few. “For me, it was not even a collection. It was things that I saw, and I liked,” Perlstein says. “To tell you the truth, I never count them. I'm not well organized.” A selection of works from the Perlstein collection is now on show at Hauser & Wirth, New York (“A Luta Continua”, until 27 June). Reflecting on the differences between the art world then and now, Perlstein tells host Charlotte Burns: “Today, it's not so much art anymore; it's a real business. At that time, you could easily acquire works from the artist because it was more about friendship.” From exchanging diamonds for art with Man Ray to hanging out with artists in New York in the 1970s at the legendary Max's Kansas City, Perlstein talks about a life in art and his tastes (“ugly can be nice, too,” he says). “What does it mean, art? Anything. You can make art from shoes, from a nice bag, from a hat— it's also art. Everything is art,” he says. “Buy what you like.” Transcript: http://www.artagencypartners.com/transcript-sylvio-perlstein/ “In Other Words” is a presentation of AAP and Sotheby's, produced by Audiation.fm.