Podcast appearances and mentions of dorothea tanning

En este podcast exploramos la vida y obra de Dorothea Tanning, una de las figuras más enigmáticas y potentes del surrealismo del siglo XX. Más que la esposa de Max Ernst, Tanning fue pintora, escultora, escritora y poeta, con una carrera que desbordó los límites de cualquier etiqueta. Acompáñanos a descubrir sus mundos oníricos, su evolución artística —desde el surrealismo hasta la abstracción poética—, y su incansable búsqueda de lo desconocido. Episodio a episodio, desentrañamos cómo su visión desafió las normas del arte, la feminidad y la imaginación.

Originally published by The Stinging Fly Press in Ireland on 2015, Claire-Louise Bennett's POND found a wider audience with its UK publisher, the then nascent Fitzcarraldo Editions—the paradigm-shifting house that is currently celebrating its 10th birthday. POND is an extraordinarily erudite book, which wears that erudition extraordinarily lightly. It could be understood as being in dialogue with writers such as Huysmans, Virginia Woolf, Sylvia Plath, John Berger, as well as with any number of contemporary authors who feel determined that their books should be about something. But POND is also funny, earthy, dirty, silly, profound and confounding. In short, it is unlike anything else, the kind of book that defies the “if you liked this, you'll like that” algorithm. Just the kind of book we love at S&Co.Buy Pond: https://www.shakespeareandcompany.com/books/pond*Claire-Louise Bennett grew up in Wiltshire and studied literature and drama at the University of Roehampton, before moving to Ireland where she worked in and studied theatre for several years. In 2013 she was awarded the inaugural White Review Short Story Prize and went on to complete her debut book, Pond, which was shortlisted for the Dylan Thomas Prize in 2016. Checkout 19 was published by Jonathan Cape in 2021 and was part of the New York Times 10 Best Books of 2022 Selection.Claire-Louise's fiction and essays have appeared in a number of publications including The White Review, The Stinging Fly, gorse, Harper's Magazine, Vogue Italia, Music & Literature, and The New York Times magazine. She also writes about art and is a frequent contributor to frieze. In addition she has written for Tate etc., and Artforum, and a number of international exhibition catalogues. In 2016 she was writer-in-residence at Temple Bar Gallery & Studio. In 2020, Milan based art publisher Juxta Press published Fish Out Of Water, an essay Claire-Louise wrote in response to a self-portrait painting by Dorothea Tanning. Adam Biles is Literary Director at Shakespeare and Company. His latest novel, Beasts of England, a sequel of sorts to Animal Farm, is available now. Buy a signed copy here: https://www.shakespeareandcompany.com/books/beasts-of-englandListen to Alex Freiman's latest EP, In The Beginning: https://open.spotify.com/album/5iZYPMCUnG7xiCtsFCBlVa?si=h5x3FK1URq6SwH9Kb_SO3w Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Abrangendo mais de 40 anos de excepcional efervescência criativa, entre 1924 e 1969, a exposição “Surrealismo” no Centro Pompidou de Paris comemora o centenário do movimento que começou com a publicação do Manifesto Surrealista de André Breton. Cerca de 500 pinturas, esculturas, desenhos, textos, filmes e documentos de artistas como Salvador Dali, Miró, René Magritte, Max Ernst e Dora Maar, incluindo muitos empréstimos excepcionais, estão expostos em uma área de 2.200 m². As obras revelam até que ponto esse movimento artístico, que nasceu em 1924 em torno de poetas como André Breton e se espalhou pelo mundo, foi visionário e permanece contemporâneo em seu desejo de não apenas transformar a relação entre os seres humanos e a natureza, mas lançando um olhar crítico e político sobre seu próprio tempo.Reproduzindo a forma de um labirinto, formato de predileção e projeção dos surrealistas, a mostra gira em torno de uma cena central na qual é apresentado o manuscrito original do "Manifesto Surrealista", documento valioso emprestado excepcionalmente para o ocasião da Biblioteca Nacional da França.Cronológico e temático, o percurso segue figuras literárias que inspiraram diretamente o Movimento Surrealista, como Lautréamont, Lewis Carroll e o Marquês de Sade, e também mitologias e temas que alimentaram o movimento, como a pedra filosofal, a floresta, a noite, o erotismo, o inconsciente. A cenografia brinca com a ilusão de ótica, tão cara aos surrealistas.O desafio surrealista a um modelo de civilização baseado apenas na racionalidade técnica e o interesse do movimento por culturas que conseguiram preservar o princípio de um mundo unificado (a cultura dos índios Turahumara, descoberta por Antonin Artaud, e a dos Hopis, estudada por André Breton) atestam sua modernidade.  Segundo Marie Sarré, co-curadora com Didier Ottinger, vice-diretor do Museu Nacional de Arte Moderna da França, “mais do que um dogma estético ou um formalismo, o surrealismo é uma filosofia que, por mais de 40 anos, reuniu homens e mulheres que acreditavam em uma relação diferente com o mundo”. O pôster da exposição apresenta uma criatura estranha, um monstro antropomórfico, com roupas largas e coloridas, faixas de tecido torcidas em todas as direções, terminando em mãos que lembram as garras de uma ave de rapina. No centro, na altura do busto, um abismo de sombras se abre. Logo acima, uma cabeça assustadora com uma mandíbula longa e desdentada. E um título que soa como uma ironia, “O Anjo do Lar”, uma obra de Max Ernst, pintada no auge da Guerra Civil Espanhola em 1937, ano em que Guernica foi bombardeada. Ela também é conhecida como “O triunfo do surrealismo” e é um lembrete de que o surrealismo sempre triunfa.Marie Serré dá mais detalhes sobre a exposição: "É essencial lembrar da preferência dos surrealistas pelas artes populares. Muito cedo eles questionaram completamente essa hierarquia entre as Belas Artes e as artes chamadas populares. Seu modelo não são as exposições de museu, são as festas regionais, o trem fantasma, o parque de diversões. Era necessário sublinhar isso fazendo os visitantes da mostra no Centro Pompidou adentrarem o espaço da exposição através desta enorme boca que reproduz o Cabaré do Inferno, que ficava na Praça Clichy, em Paris, logo atrás do ateliê de André Breton, que os surrealistas tinham o hábito de frequentar", explica.A exposição não escapa, no entanto, ao olho crítico dos franceses, como ressalta Françoise, uma aposentada que veio direito de Grenoble (leste) para ver a mostra no Pompidou. "A exposição foi feita de maneira muito interessante, por temas, mas ela é muito grande. Fica difícil apreciar tudo, ela acaba saturando o olhar da gente em um determinado momento". Ela manda um recado para os visitantes que ainda não conferiram a exposição em Paris."É melhor escolher um horário com menos gente, porque é realmente difícil ter acesso às obras", avisa.Já o brasileiro Bruno Damasco gostou da experiência. "Passamos por essa exposição com artistas mais das décadas de 1930, 40 e 50, como Salvador Dali, Miró, trabalhos fortes e que são boas referências, tanto de artistas famosos como de alguns que eu não conhecia, da Alemanha e da Suécia, bem bonito, gostei. Não conhecia ainda esse espaço, tinha visitado apenas os museus mais clássicos de Paris", contou.A mostra valoriza as muitas mulheres que participaram do Movimento Surrealista, com obras de Leonora Carrington, Remedios Varo, Ithell Colquhoun, Dora Maar, Dorothea Tanning e outras, e reflete ao mesmo tempo a expansão mundial do Surrealismo, apresentando artistas internacionais como Tatsuo Ikeda (Japão), Helen Lundeberg (Estados Unidos), Wilhelm Freddie (Dinamarca) e Rufino Tamayo (México), entre outros.A exposição "Surrealimo" fica em cartaz do Centro Pompidou de Paris até o dia 13 de janeiro de 2025.

“Surréalisme”au Centre Pompidou, Parisdu 4 septembre 2024 au 13 janvier 2025Entretien avec Marie Sarré, attachée de conservation au service des collections modernes – Centre Pompidou, et co-commissaire de l'exposition,par Anne-Frédérique Fer, à Paris, le 2 septembre 2024, durée 14'44,© FranceFineArt.https://francefineart.com/2024/09/06/3553_surrealisme_centre-pompidou/Communiqué de presseCommissariat :Didier Ottinger, directeur adjoint du Musée national d'art moderne, Centre PompidouMarie Sarré, attachée de conservation au service des collections modernes, Centre PompidouRetraçant plus de quarante années d'une exceptionnelle effervescence créative, de 1924 à 1969, l'exposition « Surréalisme » célèbre l'anniversaire du mouvement, né avec la publication du Manifeste du surréalisme d'André Breton.Adoptant la forme d'une spirale ou d'un labyrinthe, l'exposition rayonne autour d'un « tambour » central au sein duquel est présenté le manuscrit original du Manifeste du surréalisme, prêt exceptionnel de la Bibliothèque nationale de France. Une projection audiovisuelle immersive en éclaire la genèse et le sens. Chronologique et thématique, le parcours de l'exposition est rythmé par 13 chapitres évoquant les figures littéraires inspiratrices du mouvement (Lautréamont, Lewis Carroll, Sade…) et les mythologies qui structurent son imaginaire poétique (l'artiste-médium, le rêve, la pierre philosophale, la forêt…).Fidèle au principe de pluridisciplinarité qui caractérise les expositions du Centre Pompidou, l'exposition « Surréalisme » associe peintures, dessins, films, photographies et documents littéraires. Elle présente les oeuvres emblématiques du mouvement, issues des principales collections publiques et privées internationales : Le Grand Masturbateur de Salvador Dalí (Musée Reina Sofía, MAdrid), Les Valeurs personnelles de René Magritte (SFMoMA, San Francisco), Le Cerveau de l'enfant (Moderna Museet, Stockholm), Chant d'amour (MoMA, New York) de Giorgio de Chirico, La Grande Forêt de Max Ernst (Kunstmuseum, Bâle), Chien aboyant à la lune de Joan Miró (Philadelphia Museum of Art), etc.L'exposition accorde une part importante aux nombreuses femmes qui ont pris part au mouvement, avec entre autres, des oeuvres de Leonora Carrington, Remedios Varo, Ithell Colquhoun, Dora Maar, Dorothea Tanning… et rend compte de son expansion mondiale en présentant de nombreux artistes internationaux tels que de Tatsuo Ikeda (Japon), Helen Lundeberg (États-Unis), Wilhelm Freddie (Danemark), Rufino Tamayo (Mexique), entre autres.La contestation surréaliste d'un modèle de civilisation seulement fondé sur la rationalité technique, l'intérêt du mouvement pour les cultures qui ont su préserver le principe d'un monde unifié (culture des Indiens Turahumaras découverte par Antonin Artaud, celle des Hopis étudiée par André Breton), attestent de sa modernité.La dissolution officielle du surréalisme n'a pas marqué la fin de son influence sur l'art et la société. Il continue d'inspirer biennales d'art contemporain, productions cinématographiques, mode, bande dessinée, etc.Publications – Le catalogue et l'albumLe catalogue Surréalisme sous la direction de Didier Ottinger et Marie Sarré, avec deux couvertures « tête-bêche » pour deux entrées de lecture, aux éditions du Centre Pompidou.L'album Surréalisme, autrice : Marie Sarré, aux éditions du Centre Pompidou. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

On this month's episode, host Nicole Flattery is joined by writer Claire-Louise Bennett to read and discuss Lucy Sweeney Byrne's short story, ‘To Cure a Body' originally published in Issue 35, Volume 2, a special Fear & Fantasy issue, guested edited by Mia Gallagher. You can access the story here. Claire-Louise Bennett grew up in Wiltshire and studied literature and drama at the University of Roehampton, before moving to Ireland where she worked in and studied theatre for several years. In 2013 she was awarded the inaugural White Review Short Story Prize and went on to complete her debut book, Pond, which was shortlisted for the Dylan Thomas Prize in 2016. Checkout 19 was published by Jonathan Cape in 2021 and was part of the New York Times 10 Best Books of 2022 Selection. Her fiction and essays have appeared in a number of publications including The White Review, The Stinging Fly, gorse, Harper's Magazine, Vogue Italia, Music & Literature, and The New York Times magazine. She also writes about art and is a frequent contributor to frieze. In addition she has written for Tate etc., and Artforum, and a number of international exhibition catalogues. In 2016 she was writer-in-residence at Temple Bar Gallery & Studio. In 2020, Milan-based art publisher Juxta Press published ‘Fish Out Of Water', an essay Claire-Louise wrote in response to a self-portrait painting by Dorothea Tanning. Lucy Sweeney Byrne is the author of Paris Syndrome, a short story collection published by Banshee Press, that was met with critical acclaim and shortlisted for numerous awards, including The Edge Hill Prize. Her forthcoming collection, Let's Dance, is due for publication in the autumn. Lucy's short fiction, essays and poetry have appeared in The Dublin Review, The Stinging Fly, Banshee, Southword, AGNI, Litro, Grist, 3:AM magazine, and other literary outlets. She also writes book reviews for The Irish Times. Lucy's writing has been made possible by The Arts Council of Ireland. Nicole Flattery is a writer and critic. Her story collection Show Them A Good Time, was published by The Stinging Fly and Bloomsbury in 2019. Her first novel, Nothing Special, was published by Bloomsbury in 2023.   The Stinging Fly Podcast invites writers to choose a story from the Stinging Fly archive to read and discuss. Previous episodes of the podcast can be found here. The podcast's theme music is ‘Sale of Lakes', by Divan. All of the Stinging Fly archive is available to subscribers.

What you'll learn in this episode: Why artist jewelry is more than just miniature versions of larger work The history of artist jewelry, and how Esther is helping its story continue How Esther helps artists with their first forays into jewelry, and why making jewelry can be a fruitful challenge for fine artists Why an artist's first idea for a piece of jewelry is often not their best Why artist jewelry collectors must be brave About Esther de Beaucé Esther de Beaucé is the founder and owner of Galerie MiniMasterpiece in Paris, France. MiniMasterpiece is a gallery entirely dedicated to contemporary artists, designers and architects' jewelry. The gallery is an invitation given to those who usually never design jewelry because their work evolves on a more monumental scale (i.e. sculptures). Esther's passion is to convince those artists to change the scale of their work and accompany them in that new field of wearable art. She has collaborated with acclaimed contemporary artists such as Phillip King, Bernar Venet, Andres Serrano, Lee Ufan, Jean-Luc Moulène, and Pablo Reinoso. A graduate of Brown University, Esther previously co-owned the gallery Schirman & de Beaucé in Paris, dedicated to young artists of contemporary art. Photos available on TheJewelryJourney.com Additional Resources: Website Instagram Transcript: For gallerist Esther de Beaucé, artist jewelry isn't completely art or completely contemporary jewelry. It's in a niche all its own—and that's what makes it fascinating. As founder and owner of Galerie MiniMasterpiece in Paris, she helps fine artists translate their art into jewelry, creating something entirely new rather than a smaller version of their typical work. She joined the Jewelry Journey Podcast to talk about how she challenges artists to think about their work differently; how interest in artist jewelry has evolved over the years; and why artist jewelry collectors are so open minded. Read the episode transcript here. Sharon: Welcome to the Jewelry Journey, exploring the hidden world of art around you. Because every piece of art has a story, and jewelry is no exception. Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please head to TheJewelryJourney.com. I don't remember how I found out about Esther de Beaucé's gallery in Paris. It is tucked back in the corner with other galleries. Welcome back. Do you have collectors, people who like a certain artist or piece they've found in your gallery, and then they come back and look for others, or you send them a postcard telling them, “We're having a show of that artist,” or something like that? Esther: Yes. I have shows at the gallery as well, maybe for a year. Most of the time they are solo shows. I like solo shows a lot because it's like for art, when when you have a solo show, you're surrounded by several pieces of work. You are emerging into their body of work. It's more interesting to me than having one piece by that artist and another piece by another artist. I like solo shows a lot, but solo shows are not easy to make because it means that obviously the artist had several ideas. It takes a lot of time to organize a solo show, but I try to make solo shows most of the time. I invite all my collectors to these shows. It's always difficult to know what's going to happen between a collector and a piece of jewelry, what connection is going to operate at that time. Sometimes collectors choose or fall for an object, and they don't know the artist who's behind it, but they really fall for an object. I really like that idea. Sometimes collectors are very close to an artist, and they have several pieces of that artist in their homes. When they realize that artist has also made a piece of jewelry, then of course they're going to be interested in it. Most of the jewels I have at the gallery, I hope they speak for themselves. You were asking me about collectors and jewelry. Sharon: You answered the question. But do have people who only collect, let's say, Pablo Picasso's jewelry or something that? Esther: Yeah, of course. Some women only wear silver or only wear gold or only wear rings or never wear any brooches. I try to remember all that so I can show them what they like. But I also enjoy presenting them with other things, too, because it's always interesting to make discoveries. And the collectors of artist jewelry are very open-minded people. It takes a lot of, I wouldn't say courage, but it takes a lot of personality to wear something that is different from common jewelry. You have to be strong because you're going to attract looks, and sometimes you have to speak about what you're wearing and answer people's reactions. Sometimes other people can be very narrow-minded, and you have to assume what you chose and what you wear on your body. So, this type of collector, they're very interesting to welcome. What I mean is that even though they have their taste, they are easy to counsel as well because they have that curiosity. They want to learn, and they want to see so much. So, they are very interesting people. Sharon: Do they go on to start liking the artist's other things, their paintings or drawings, after they started with the jewelry? Esther: Yes, of course. I have a lot of jewels at the gallery, but I also have a lot of books, and those books help me explain the artist's work at large. Often, when I can, I try to offer a book to accompany the jewel to give them more background on the artist. Yeah, definitely. Sharon: Do you make jewelry yourself? Did you ever make jewelry yourself? Esther: No. Never. Maybe as a kid playing with leaves and flowers, but that's it. Or pasta. Sharon: What did you study? When you were in the States, did you think about opening a gallery in France? Esther: No, I studied anthropology. I really wanted to work as an anthropologist, but it didn't happen. After that first art experience that ended in 2012, I wanted a new project working with artists. I had seen the year before, in 2011, a great artist jewelry show at the MAD in New York. That was actually my mother's collection of artist jewelry. I went to New York for her opening, and it was the first time that I saw her collection in the museum environment, and I was so impressed. I started thinking of a new project for myself, and this show in New York was really—how would you say— Sharon: Eye opening. Esther: That's it. Eye opening and a decision-making moment. And as I came back to Paris, I started really talking about it and organizing my professional life to make it possible. Sharon: That's interesting. When you said your mother was a collector, I thought, “Well, she must have started early, before anybody was wearing it or knew about it.” Today, more and more people know about it, but then she probably didn't have a lot of friends who were collecting the same thing. Esther: Yeah, for sure. That show was 12 years ago, but she started collecting artist jewelry 40 years ago. There are few women in the world who have done the same thing. There are few. It's a large and important collection. She focused on that in a professional way. Sharon: When you said that you thought it was a more active field in the 60s and 70s and then it sort of died down, why do you think that was? Esther: It's a matter of different elements. I think it was in 1969, there was a great show at the MOMA in New York on artist jewelry that's never happened since. You also had great artists, jewelry editors at that time in Italy. You had GianCarlo Montebello, who was a goldsmith and an editor, and he worked with fantastic artists like Fontana and the Pomodoro brothers. Montebello made fantastic pieces. In the south of France, you had François Hugo, who was a very important goldsmith as well. He's the one who made all the jewelry by Max Ernst and Man Ray and Picasso and Dorothea Tanning. Sometimes it's just a matter of a few people. They really made the artist jewelry world very active at the time, but then they stopped and did something else, so it went quiet again. Hopefully, it's getting more intense now, but you need people behind it. Once these people do something else, then it dies a little bit. And then you have a new generation of editors and it starts again. Sharon: By editor you also mean curator, right? It's a curator. Esther: Also, yeah. By editor I mean what I do personally, but what also has been done by Luisa Guinness or Elisabetta Cipriani or Marina Filippini, those active editors, meaning you invite artists to make jewelry pieces. This is what I called editor. This is what I do. Sharon: Do you only wear art jewelry that you have in your gallery or that an artist has made, or do you wear “normal” jewelry? Esther: It might sound weird to you, but I'm a low-key person. I'm a discreet person. When I'm at the gallery every day, I choose a piece of work and I wear it all day in the gallery with an immense pleasure. But when I go out, when I go to a dinner party or visit a show, I don't wear jewelry. It might sound funny, but I wouldn't want people to think I am always promoting what I do and my work. Imagine a regular art dealer. He wouldn't go to an art fair or to a to a dinner party carrying with him a painting or a sculpture. When I go out wearing a jewel from the gallery, I feel like I'm still working, and I don't like that idea. I don't want people to imagine that I'm always trying to sell jewelry. So, in dinner parties, I'm very often the only woman not wearing any piece of jewelry, which is very stupid. But yeah, this is me. Sharon: That's interesting. Has anybody ever stopped you on the street and said, “That's a really interesting necklace you have on”? Esther: Yeah, but not very often because when you see me on the street, I don't have it on me. Of course, on special occasions I do, but I mostly wear artist jewelry in the gallery, and it's a great pleasure to do so. I change every day and wear several of them because it's very important for people to see those jewels on the body. A piece of jewelry on the body is very different from a photo of a jewel. You really need to see how it goes on the neck or on the finger. It really makes it alive. So, to see me with artist jewelry, you have to come to the gallery. If you see me on the street, you would not really see any artist jewelry on me. I was telling you about collectors and how they are strong-minded, and I'm probably more shy. Sharon: Well, based on the collection in your gallery, I wouldn't call you shy. I'm curious, when you get dressed in the morning, do you walk to the gallery without anything on and then you put something on when you come to the gallery? Esther: Well, I have my clothes on, obviously, but I choose clothing that will fit the best with jewelry. I have funny pants and funny shoes, but I always have black or white tops. When you have too much information on a sweater or shirt, sometimes it draws away the attention from the jewel. So, this is something I pay attention to in the morning. This is why I have funny shoes but not funny outfits too much. Sharon: How do you describe what you do if somebody says, “Well, what do you do?” when you're at a party? Esther: I have a neighbor who's a great contemporary art gallerist, and he was introducing me to a friend of his a few days ago at an art fair. He said, “This is Esther, and she's doing the most rare job in the art world.” And I was like, “This is an interesting way of putting what I'm doing.” It's true that I am part of the art scene, yet it's such a tiny niche. This is how he saw and how he described my job. But I would say that what I do is invite those who never make jewelry because they are sculptors, and I ask these people, who are not jewelry specialists, to make a jewelry piece for the gallery. This is how I like to speak of my job. Otherwise, I say that I'm an artist jewelry editor, but then sometimes you have to give more explanations than just those three words. It doesn't explain well enough. So, to make it more clear, I usually say that I invite those who never make jewelry. Sharon: Do you consider yourself part of the art scene or jewelry? Are you part of the art world or the jewelry world? Esther: It's a tricky question. I'm part of the two, but the artists I work with are not part of the jewelry world. Obviously, they are a part of the art world, and through our collaboration, I bring them to the jewelry world. But I would say I'm maybe 80% from the art world and 20% from the jewelry world. I think artist jewelry is very interesting because it offers a new perspective on jewelry and contemporary jewelry. Because the artists I work with have nothing to do with jewelry, most of the time they're going to bring something new to the jewelry world, new ideas, new possibility. This is what makes it very interesting for the jewelry world. At the same time, I think the invitation I make to those artists is also both a challenge and recreation time. It has to be fun and it has to be, for them, a means to work with new material like silver and gold. It's a new experience for them. The invitation also has to feed them, in the way that it has to bring them something new and challenging. Otherwise, it's not interesting for them. I really try to value that new experience for them. Sharon: That's interesting what you're saying. Do you have to say some of that? Do you have to convince some of the artists that it will be interesting for them? Esther: When I invite them, I say all those things. I don't even wait for them to need me to convince them. I say it all at once, that my invitation is full of all these aspects. Of course, it's going to be difficult for them to find a good idea, yet I'm here to accompany them, and the goldsmiths that I chose and that I work with are extraordinary people. It's a great gift that I give to artists, to be able to work with these people, because they are fantastic goldsmiths and very interesting people to work with. Sharon: Do any of the artists ever call you and say, “Esther, I just don't have an idea. I don't know what to do. I've drawn 14 things, and I just don't like them.” What do you do then? Esther: Yeah, of course. It happens. Sometimes they need a little more time. I don't put any pressure on them. When they're ready, they're ready. Sometimes when they are very focused on an idea that I don't believe too much in, I make a prototype just so that I can show them the prototype and explain to them why I don't think it's strong enough. Sometimes they have to see it for real. This is sometimes something that I do. Okay, you really want to make this? I am going to show you what it looks like, and then we can continue our conversation. Sharon: Did you ever consider, before you started this or when you were thinking about what to do after the other gallery, did you think about selling a different kind of jewelry? Esther: No, I'm very busy with the jewels already. There are many contemporary jewelers that come to me, and sometimes I really fall for their work because there are many great contemporary jewelers. But I try to restrain myself. Sometimes I buy a piece for my own pleasure. But the gallery's story is something different, and I try to remain on that path because there is still a lot to do on it. I want to focus on that story for now. Sharon: So, you're saying if somebody comes in and shows you something that you don't think is on the path, let's say, you might buy it for yourself. You might like it. Esther: Of course, it has happened. Yeah, it has happened. But I have to tell you that I spend all my money on producing the artist jewels, because I produce myself. I pay the goldsmith who's going to work with the artist, so this is taking a lot of the gallery's budget. I don't have that much money left for buying other kinds of jewelry. But it has happened that I do. Sharon: Does the artist sign the piece? Do you both sign it, or do you sign it? Esther: No, no, no, I never sign. It's the artist's signature on it, of course. On certificates, I just add that it has been edited by Galerie MiniMasterpiece. Sharon: How did you come up with the name of the gallery, MiniMasterpiece? Esther: It was a conversation with my mother and my stepfather. We were looking for a name, and we wanted it to be linked to the art world more than the jewelry world. MiniMasterpiece is not a bad name. It is a reference to masterpieces, so to art. It has the mini, obviously, so it's a small work of art. But who knows? Maybe in the future I will find another name. But for now, it's this one. Sharon: It's a great name. I was just wondering how you came up with it. Mini seems very American, or very English and not very French. That's all. That's why I'm asking. Esther: Actually, masterpiece is obviously an English name, because we would say in French chef-d'œuvre. But mini is something that is used in French also. Sharon: Okay. So, the contemporary jewelry. I might do really interesting contemporary jewelry. I don't, but let's say I do, but I don't do pictures and drawings. Esther: Well, then you're not really what I'm interested in, because I like the idea that there is a movement from another body of work, and a movement from that body of work to jewelry. I like working with non-specialists. I think it makes projects very interesting. To me, this is the story I want to tell, those rare moments when a piece of jewelry is going to be possible for those artists. It's not their specialty. They're not doing this all the time. It remains rare. It's just from time to time. I like that idea. Sharon: Have they come to you and said, “I want to put gems in this piece,” or has an artist who's making the jewelry said, “I want to put gems”? Esther: No, very, very rarely because to them, gems are very linked to classic jewelry, to contemporary jewelry, and they don't want to use the same vocabulary. They are more into material and shapes and volumes than in gems. Sharon: Have you ever had the artists come in and describe their work? Do the artists come to the solo shows that you have and describe the work they do? Esther: Yeah, during the opening, of course all artists are present. Or if we make a special appointments, of course. Sharon: So, the artist says, “Yes, I want to make the jewelry for you.” What's the next step? Esther: The next step is them finding the good idea. Once they have ideas, we start the conversation and we discuss what's feasible, what's not feasible. We keep a few ideas, and then we go to the goldsmith and we discuss with them what's possible. Slowly it builds up. The first thing is the idea. Sharon: You come to the goldsmith or silversmith to say, “The artist is thinking about doing a loop. Can you do that?” Esther: No, we go to the goldsmith with a prototype or a maquette. The piece is there already. It's not in silver, it's not in gold, but it exists. Sharon: Do they ever look at you in surprise, the goldsmith? Esther: Yes, obviously, but after 12 years, less and less. They're like, “It's going to be very difficult, but it's going to work out.” They are less and less surprised. They know me now, and they know the artist. Sharon: A few last stray questions. Did you open in the courtyard where you are? Did you open the gallery where you are? Have you moved locations? Esther: No, I have been here the whole time. Sharon: And what would you say keeps your attention about jewelry, or artist jewelry, after doing it for so long? Esther: I think my motivation and my love is still very strong, and maybe stronger and stronger because the artists themselves have new ideas very often. So, the story continues, and I also invite new artists. I have all these parallel collaborations, so it's very enriching for me. Also, the relationship I have with collectors is very nice and very interesting because I am also building with them their collection. We're all growing up together, and this is what makes it very special. And maybe after 12 years, I'm also doing my job in a better way, with a better understanding of the project and a better understanding of what collectors are expecting. It's still a challenge and it's still a risky business, but I wouldn't do anything else. I wouldn't know what to do. I'm my own boss. I do what I want. I have to carry it all, but it's a great job. I'm very happy with what I do, and being surrounded by all these great artists is fabulous. Also getting that story more well-known and broadening the public for artist jewelry is a fantastic challenge. I love challenges. Sharon: If you love challenges, you picked a good field for a challenge. Esther, thank you so much for being with us today. Esther: You for inviting me, Sharon. Thank you very much. I enjoyed very much talking to you. Sharon: We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out. Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.  

Sponsor ArtCurious for as little as $4 on Patreon Listeners, I heard you—a bunch of self-admitting hopeless romantics who wanted to hear more about people bound by attraction, fascination. By love. Though there are examples of romantic and sexual relationships between creators that are sprinkled throughout art history as we know it, it's true that we have the most information about relationships from folks who lived in the last century—because we have greater access to documentation recording the lives of these people, and because, as the 20th century progressed, people—artists, perhaps especially—became more vocal about their relationships, less inhibited. Modern artists, artists especially from the first half of the 20th century, lived their art, and their relationships, out loud-- writing about them, talking about them, and sometimes even creating works of art about them. This season, I'm rounding up stories about modern artists in love, in lust, in relationships— digging into these individuals, see how their liaisons, marriages, affairs, and connections played in or on their respective works of art, and how, if anything, they affected art history as we know it. I, for one, believe that it's time for Modern Love. Today: let's enjoy learning about the surrealist life and loves of Max Ernst and Dorothea Tanning. Please SUBSCRIBE and REVIEW our show on Apple Podcasts and FOLLOW on Spotify Instagram / Facebook / YouTube SPONSORS: Lume Deodorant: Control Body Odor ANYWHERE with @lumedeodorant and get over 40% off your starter pack with promo code ARTCURIOUS at lumedeodorant.com/ARTCURIOUS! #lumepod To advertise on our podcast, please reach out to sales@advertisecast.com or visit https://www.advertisecast.com/ArtCuriousPodcast Learn more about your ad choices. Visit podcastchoices.com/adchoices

These mini episodes are unfiltered, raw, and less in-depth than my regular episodes. They're a space for me to talk casually about a film and also about my life. There is minimal research done, and I mainly share my immediate thoughts and feelings about a film.In this episode, I talk about surrealist cinema and the way that film allows us to enter a fascinating dream world. When we live in dreams, we live in possibility. I mention Maya Deren, Suzann Pitt, David Lynch, Dorothea Tanning, and Luis Buñuel.I'm on Instagram, Twitter, and Tumblr.

Welcome to Galesburg, Illinois!  The town was first settled in 1836 and established to in order to open a manual labor college, which became Knox College.   It was home to the first anti-slavery society in Illinois, which was founded in 1837.  The fifth Lincoln-Douglas Debate was held on a temporary platform at Knox College.  This series of debates helped establish Lincoln as a national figure in the newly formed Republican Party and helped set him up for an eventual run for the Presidency in 1860.  Galesburg was also a stop on the Underground Railroad.  Carl Sandburg, notable poet and artist, was born in the town in 1878.  Sandburg won three Pulitzer Prizes and is most well known for his poetry which focused predominantly on Chicago.  Sandburg also wrote The Rootabaga Stories, a collection of short stories originally written for his daughters that are narrated by the Potato Face Blind Man.   Many other notable people have called the town home including artist Dorothea Tanning, President Ronald Reagan, Ferris Wheel inventor George Washington Gale Ferris Jr, and many others.  We hope you enjoy our visit to this cool little town.

Começamos a nossa manhã refletindo sobre a pintura "Uma Tarde Parisiense" de Dorothea Tanning VEJA A PINTURA: https://www.dorotheatanning.org/life-and-work/view/392 Gostou? Faça um PIX: https://nubank.com.br/pagar/20vwm/aw4Nx3K6S9 Fotografias para Decoração: https://holdorf.com.br/comprar-fotografias-arte-decoracao-online/ OFICINA ONLINE | DESCUBRA O SEU ESTILO: https://holdorf.com.br/oficina-online-fotografia-arte-descubra-o-seu-estilo/ CURSO ONLINE | FOTOGRAFIA BÁSICA COM O CELULAR: https://holdorf.com.br/curso-online-fotografia-basica-com-o-celular/ EXERCÍCIOS DE FOTOGRAFIA: https://holdorf.com.br/2021/02/09/exercicios-de-fotografia-para-transformar-o-seu-olhar/ https://holdorf.com.br/newsletter/ @jonathanholdorf holdorf.com.br

Versione audio: I Surrealisti furono particolarmente devoti al culto della femminilità; tuttavia, ben poche artiste ebbero accesso al loro gruppo; tra queste, spiccano Leonora Carrington e Dorothea Tanning. Leonora Carrington Leonora Carrington (1917-2011), pittrice e scrittrice britannica, entrò in contatto con i surrealisti nel 1936, in occasione della prima esposizione londinese del gruppo. Tra lei, […] L'articolo Le artiste 12. Le surrealiste: Carrington e Tanning proviene da Arte Svelata.

Nicky Aerts praat met Sander Bax over literatuur in het mediatijdperk. Jeroen Laureyns zag een overzichtstentoonstelling van Dorothea Tanning en Christophe Vekeman brengt het nieuwe boek van Dave Eggers mee.

Episode 4: A Tate Modern Two Parter: Pierre Bonnard and Dorothea Tanning. With Caz Murray, Vikki Kosmalska & Laura LennardThis week we've tasked ourselves with two reviews. First up, Pierre Bonnard, a bit of a Marmite Modernist. He was both acclaimed by Henri Matisse as one of the greatest colourists of all time, and derided by Pablo Picasso who could not abide his work at all. Tune in to hear which camp we're in and what we made of all that unadulterated colour.Secondly, we all embarked upon an enduring love of Surrealist artist, Dorothea Tanning. A veritable ‘Renaissance Woman' who confidently straddles a plethora of artistic mediums throughout her career.Both exhibitions are on at the Tate Modern. If you like what you hear, please rate review and subscribe! As always, we'd love to hear from you:Email us: hellotheartcast@gmail.comDM or follow us on Instagram: @theartcast  Thank you, as always, to the incredible Nat Witts for our jingle, and to the brilliant Jonny Lennard for our editing.

Carol Danvers, Dorothea Tanning and Maggie Gyllenhaal are just a few names that pop up over the course of our latest Culturefly on the Wall podcast. It’s our 50th episode and an opportunity to kick back and hear about what is on and – through listening to our streaming recommendations – know what to watch […]

Yo! Welcome to Chris and Rifa's weekly ramble through the arts, culture, tech and diversity. This week we went to the pictures to watch Captain Marvel and we also did our first Tate Modern trip of the year, to check out Dorothea Tanning, Franz West and Pierre Bonnard, though he scarcely got a look in. We recorded the Tate segment in the members' café, so it's a lot noisier and harder to hear than usual. Chris also recommends Njideka Akunyili Crosby's beautiful large mural Remain, Thriving above the entrance to Brixton Tube. Chris is reading Evan Ratliff's excellent new crime non-fic The Mastermind, while Rifa is loving Jim Bob From Carter: In The Shadow Of My Former Self. Find us on Facebook at Refigurepod and on Insta @refigureuk.

How much should we separate art from the artist's behaviour? With new sexual abuse allegations concerning Michael Jackson in the forthcoming documentary Leaving Neverland and R Kelly being charged with 10 counts of sexual abuse – writers Anna Leszkiewicz, Ekow Eshun and Dreda Say Mitchell consider the extent to which we should boycott or continue to appreciate an individual's work in the light of questions over their behaviour.On the eve of his world tour, multi-instrumentalist, singer, composer, and Grammy award-winner Jacob Collier talks about working with an orchestra after his rise to fame as a solo performer. He also plays a composition from his latest record, Djesse Volume 1, live in the studio, the first of a quartet of albums to be released this year. Dorothea Tanning wanted to depict ‘unknown but knowable states' in her work, flirting with ideas of surrealism and abstraction. Tanning was an American who emigrated with her husband Max Ernst to Paris in the 50s, where she moved away from painting to make sculptures out of fabric. As a retrospective of her work opens at Tate Modern and Virago re-publish her novel Chasm, we assess the life and work of Tanning, and consider if the new Tate show does her justice.Presenter: Stig Abell Producer: Ben Mitchell

As the female Surrealist’s exhibition arrives in London following its stint in Madrid, this is the full, unedited discussion from last year with Alyce Mahon, the show’s curator. Contains previously unreleased material. See acast.com/privacy for privacy and opt-out information.

The Artcast: Series 2 Trailer with Laura Lennard, Vikki Kosmalska and Caz MurrayYour fortnightly arts review podcast is back, with a new series launching on 5th February! Tune in for more London-based exhibition reviews, international art news and general chit chat. Full season schedule below:5th February: Reimagining Captain Cook: Pacific Perspectives at the British Museum, 29 November 2018 – 4 August 2019. FREE EXHIBITION.19th February: Bill Viola / Michelangelo: Life, Death, Rebirth at the Royal Academy, 26 January — 31 March 2019.5th March: Christian Dior: Designer of Dreams at the V&A, 2 February – 14 July 2019.19th March: Dorothea Tanning, 27 February – 9 June 2019, and Pierre Bonnard: The Colour of Memory, 23 January – 6 May 2019, both on at the Tate Modern.2nd April: Morag Keil: Moarg Kiel at the ICA, 30th January - 14th April 2019.16th April: The Renaissance Nude at the Royal Academy: 3rd March - 2nd June 2019.Huge thanks to our long-suffering Editor, Jonny Lennard, and to our Jazz Momma, Nat Witts. Let us know what you think of the episodes or exhibitions reviewed so far. We're: hellotheartcast@gmail.com and @theartcast on Instagram.

We talk to Alyce Mahon, the curator of the Dorothea Tanning exhibition now in Madrid, and curatorial adviser for the Leonor Fini show in New York about the art and life of the two surrealist artists. Meanwhile, in New York, we discuss how Klimt and Schiele compare, with curator and art dealer Jane Kallir, as a spate of shows open in Europe and the US. See acast.com/privacy for privacy and opt-out information.

Be inspired by Surrealist artist Dorothea Tanning and her work "Self-Portrait" to be "daring" in your creative life.

Be inspired by Surrealist artist Dorothea Tanning and her work "Self-Portrait" to be "daring" in your creative life.

Dorothy Kosinski, Senior Curator of Painting and Sculpture and the Barbara Lemmon Thomas Curator of European Art, explains Tanning's shift from painting to her work on a large construction made by a small sewing machine.