Podcast appearances and mentions of ed ruscha

Ukraine's weekend attack on Russian air bases revealed how much the country is leveraging inexpensive drone technology in the conflict.  Buy-now-pay-later financing has skyrocketed since the pandemic. With more people defaulting, experts raise concerns about the broader impact on the economy.  Want to eat at Koreatown’s Here’s Looking At You? June 13 will be your last chance. Lien Ta reflects on co-owner Jonathan Whitener’s influence and the business rollercoaster during COVID. In the 1970s, actress Candy Clark shot relaxed, intimate portraits of her friends and boyfriends, including Jeff Bridges, Nicolas Roeg, and Ed Ruscha. The images are now part of a new book.

This episode of Subtext & Discourse Art World podcast is brought to you by AIPAD and The Photography Show. AIPAD represents fine art photography galleries around the world and is proud to present the 2025 edition of its flagship event, The Photography Show. The fair will showcase photography from the earliest processes to cutting-edge contemporary work that pushes the boundaries of the medium, from April 23 – 27 at The Park Avenue Armory in New York City. Go to www.aipad.com/show for more information and to plan your visit.   The Association of International Photography Art Dealers (AIPAD) encourages public support of fine art photography through education and communication by enhancing the confidence of the public in responsible photography collecting. First organized in 1979, AIPAD and its current members span the globe with members in North and South America, Australia, Europe and Asia. AIPAD has become a unifying force in the field of photography and is dedicated to creating and maintaining high standards in the business of exhibiting, buying and selling photographs as art. - AIPAD official website https://www.aipad.com/ - Follow AIPAD on Instagram https://www.instagram.com/aipadphoto/ - Talks programme by AIPAD on YouTube https://www.youtube.com/@aipadphoto   Adelie de Ipanema (POLKA Galerie) Established in 2007 by Adélie de Ipanema and her brother, Edouard Genestar, Polka Galerie is located in the heart of the Marais district in Paris. The gallery represents over thirty photographers. Each year, within its 300 sq. meters divided into two spaces, the gallery organises ten exhibitions, which question the different forms of the Document within modern and contemporary practices.  - POLKA Galerie official website https://www.polkagalerie.com/en/home.htm - Membership page on AIPAD https://www.aipad.com/member/polka-galerie - Follow POLKA Galerie on instagram https://www.instagram.com/polkagalerie/   Arnika Dawkins (Arnika Dawkins Gallery) Arnika Dawkins Gallery is devoted to presenting fine art from both emerging and established photographers, specialising in images by African Americans and of African Americans. The gallerist is passionate about connecting collectors to artwork that is significant, inspiring and provocative. As a fine art photographer and avid collector herself, she is a valuable resource to collectors and artists alike. The gallery's objective is to provide an educational platform that supports this burgeoning community of talented artists. - Arnika Dawkins Gallery official website https://adawkinsgallery.com/ - Membership page on AIPAD https://www.aipad.com/member/arnika-dawkins-gallery - Follow Arnika Dawkins Gallery on instagram https://www.instagram.com/arnikadawkinsgallery   Anna Walker Skillman (Jackson Fine Art) Jackson Fine Art is a world-renowned contemporary gallery, specializing in photography with a 33-year history of supporting artists and collectors. The gallery cultivates and guides both emerging and established collectors to the best fine art photography of the 20th and 21st century, across both traditional and innovative photo-based mediums. Working closely with collectors, curators, consultants, and designers, JFA provides expertise in a warm, welcoming space in the Buckhead neighborhood of Atlanta, GA. - Jackson Fine Art official website https://www.jacksonfineart.com/ - Membership page on AIPAD https://www.aipad.com/member/jackson-fine-art - Follow Jackson Fine Art on instagram https://www.instagram.com/jacksonfineart/   Yancey Richardson (Yancey Richardson Gallery) Founded in 1995, Yancey Richardson represents artists working in photography, film, and lens-based media. The gallery is committed to working with museums, private institutions, leading art collectors, and other galleries to advance the careers of the artists we represent. Our current program includes emerging photographers as well as critically recognized, mid-career artists such as John Divola, Mitch Epstein, Ori Gersht, Anthony Hernandez, Laura Letinsky, Andrew Moore, Zanele Muholi, Mickalene Thomas and Hellen van Meene. Additionally, the gallery has presented exhibitions of historically significant figures such as Lewis Baltz, William Eggleston, Ed Ruscha, August Sander, and Larry Sultan. - Yancey Richardson Gallery official website https://www.yanceyrichardson.com/ - Membership page on AIPAD https://www.aipad.com/member/yancey-richardson-gallery - Follow Yancey Richardson Gallery on instagram https://www.instagram.com/yanceyrichardsongallery/   Michael Dooney https://beacons.ai/michaeldooney This episode of Subtext & Discourse Art World Podcast was recorded on 25. March 2025 between Perth (AU), Paris (FR), Atlanta GA, and New York (US) with Riverside.

In this week's episode of the ArtTactic Podcast, Adam Green speaks with Mazdak Sanii, CEO of Avant Arte, one of the most fascinating success stories in the art market's print sector over the past several years. What began as an online art community quickly evolved into a powerhouse platform for publishing limited-edition prints by both emerging and established artists. Mazdak shares the story behind Avant Arte's founding and its evolution, explaining how the company has attracted a remarkable roster of collaborating artists, including Ed Ruscha, George Condo, Anish Kapoor, Ai Weiwei, Elizabeth Peyton, and Mickalene Thomas. He also discusses how Avant Arte has successfully differentiated itself in an increasingly saturated market by enhancing the collector experience and building a strong community around the platform. Adam and Mazdak delve into how collector behavior has shifted over the past few years, from the speculative frenzy of flipping to a more thoughtful and measured approach. They also explore key insights from Avant Arte's newly released Collectors Report, offering a glimpse into the most compelling trends shaping the future of the art world.

Chances are, you're due for a visit to the Oklahoma State Capitol. Even if you have seen all the significant restoration and art upgrades made in the past few years, you probably haven't seen the newly reopened Betty Price Art Gallery. Housed on the Capitol building's second floor, this room features works from the State Art Collection, with big-name artists like Ed Ruscha and Allan Houser represented, among many others. We attended the opening and caught up with Oklahoma Arts Council executive director Amber Sharples to learn about all the work that went into reopening the gallery and what the collection says about Oklahomans as a people.  Also on this week's episode, the editors share what they're looking forward to this spring, and podvents introduces us to Ben's "white whale." You won't want to miss it!

Thrilled to welcome artist / photographer Mike Mandel to the podcast! We discuss his life in photography, the unique perspectives of California artists, and his collaborations with Larry Sultan, specifically on the groundbreaking book "Evidence."Links:Mike Mandel websiteEvidence at D.A.P. BooksPeople In CarsA story about the Photographer Baseball cards

In s3e63 of Platemark, podcast host Ann Shafer talks with collaborative printer Peter Pettengill. Peter founded Wingate Studio in 1985 on his family's dairy farm in Hinsdale, NH. Originally trained at Crown Point Press, Peter specializes in multi-plate color etchings. Now semi-retired, Peter's son James has taken over the operating of the shop, though Peter lends a hand when requested. They talk about Peter's early experiences at Crown Point Press, his work with celebrated artists such as John Cage, Sol LeWitt, and Walton Ford, and the technical and creative complexities of creating fine art prints. Peter reflects on his transition to semi-retirement, the passing of his studio to his son James, and the historical and artistic significance of their family farm turned artist residency. This episode offers listeners an insightful look into the dedication required in printmaking, the balance between creativity and technical skill, and the supportive community that underpins the art world. Platemark website Sign-up for Platemark emails Leave a 5-star review Support the show Get your Platemark merch Check out Platemark on Instagram Join our Platemark group on Facebook   Robert Mapplethorpe (American, 1946–1989). Plate from the portfolio A Season in Hell, 1986. Photogravure printed with relief roll. Published by Limited Editions Club, photogravures by Jon Goodman and printed by Wingate Studio, text printed by Wild Carrot Press. Sol LeWitt (American, 1928–2007). Crown Point, 1980. Bound volume with photoetchings. Plate (each) 2 ½ x 2 ½ in.; sheet (each) 11 x 11 in. Published by Crown Point Press, printed by Kevin Parker. Joan Jonas (American, born 1936). Double Wheel, 1982. Color aquatint. Plate and sheet: 24 x 36 in. Published by Crown Point Press, printed by Peter Pettengill. Sol LeWitt (American, 1928–2007). Complex Forms, 1990. Hard ground etching. Sheet: 36 x 36 in.; plate: 30 x 30 in. Printed by Wingate Studio. John Cage (American, 1912–1992). Ryoku No. 4, 1985. Color drypoint. Plate: 18 x 24 in.; sheet: 18 x 24 in. Published by Crown Point Press, printed by Marcia Bartholme. John Cage (American, 1912–1992). EninKa, 1986. One of 50 smoked paper monotypes with branding on gampi paper chine collé. Sheet: 18 ½ x 24 ½ in. Published by Crown Point Press, printed by Marcia Bartholme. Walton Ford (American, born 1960). Swadeshi-cide, 1998–99. Six-plate aquatint etching with dry point, hard ground, soft ground, spit bite and sugar lift. Plate: 36 x 24 in.; sheet: 44 x 31 in. Published by Blue Heron Press, printed by Wingate Studio. Walton Ford (American, born 1960). Baba–B.G., 1997. Mixed media. 105 x 74 cm. Paul Kasmin Gallery. Walton Ford (American, born 1960). Bangalore, 2004. Six-plate aquatint etching with dry point, hard ground, soft ground, spit bite and sugar lift. Plate: 12 x 9 in.; sheet: 21 1/2 x 16 in. Published by Kasmin Gallery, printed by Wingate Studio. Ambreen Butt (American, born Pakistan, 1969). Plate from Daughter of the East, 2008. Six-plate aquatint etching with chine collé, dry point and spit bite. Plate: 13 x 18 in. ; sheet: 25 x 19 in. Printed and published by Wingate Studio. Ambreen Butt (American, born Pakistan, 1969). Plate from Daughter of the East, 2008. Six-plate aquatint etching with chine collé, dry point and spit bite. Plate: 13 x 18 in. ; sheet: 25 x 19 in. Printed and published by Wingate Studio. Ambreen Butt (American, born Pakistan, 1969). Plate from Daughter of the East, 2008. Six-plate aquatint etching with chine collé, dry point and spit bite. Plate: 13 x 18 in. ; sheet: 25 x 19 in. Printed and published by Wingate Studio. Xylor Jane (American, born 1963). Plate from Cat Hearts, 2023. Four-plate aquatint etching with sugar lift. Plate: 23 3/4 x 27 1/4 in.; sheet: 28 5/8 x 32 1/4 in. Printed and published by Wingate Studio. Xylor Jane (American, born 1963). Third Order Magic Square for Deep Sleep, 2014. Three-plate aquatint etching. Plate: 17 3/4 x 15 1/2 in.; sheet: 24 1/2 x 21 3/4 in. Published by Wingate Studio. Walton Ford (American, born 1960). Nantes, 2009. Two-plate aquatint etching with dry point, hard ground, and spit bite. Plate: 40 x 30 in.; sheet: 48 x 37 in. Published by Kasmin Gallery, printed by Wingate Studio. Daniel Rios Rodriguez (American, born 1978). South Parish, 2017. Single-plate aquatint etching with burnishing, dry point, electric engraving, hard ground and soft ground. Plate: 20 x 17 in. (oval); sheet: 22 x 30 1/2 in. Published by Wingate Studio. Gideon Bok (American, born 1966). Wingate Studio with Aldo's Press, Threnody for R.L. Burnside, 2005. Three-plate aquatint etching with burnishing, dry point, hard ground, sugar lift and white ground. Plate: 12 x 36 in.; sheet: 20 x 44 in. Printed and published by Wingate Studio. Photo: Stephen Petegorsky. Gideon Bok (American, born 1966). Wingate Studio with Aldo's Press, No Sleep 'Til Hinsdale, 2008. Five-plate aquatint etching with burnishing, dry point, hard ground, sugar lift and white ground. Plate: 12 x 36 in.; sheet: 20 x 44 in. Printed and published by Wingate Studio. Photo: Stephen Petegorsky. Louise Bourgeois (American, born France, 1911–2010). Les Fleurs, 2007. Soft ground etching, with selective wiping. Plate (in 2 vertical parts) (overall): 59 5/8 × 35 ¼ in.; sheet: 59 5/8 x 36 1/8. Published by Osiris, New York, printed by Wingate Studio. Louise Bourgeois working on I See You!!!. Louise Bourgeois (American, born France, 1911–2010). I See You!!!, 2007. Soft ground etching, with selective wiping. Plate: 55 1/2 x 21 5/8 in.; sheet: 59 1/8 x 24 1/8 in. Published by Osiris, New York, printed by Wingate Studio. Sebastian Black (American, born 1985). Composition with Registration Marks and Other Marks, 2017. Five-plate aquatint etching with burnishing, soap ground and spit bite. Plate: 24 x 18 in.; sheet: 31 ¾ x 24 1/2 in. Published and printed by Wingate Studio. L–R: Paul Singdahlsen, Peter Pettengill, Nanacy Anello, Kathan Brown, and Vito Acconci at Crown Point Press. L–R: Peter Pettengill, Ed Ruscha, Marcia Bartholme at Crown Point Press. Peter Pettengill (left) and James Pettengill working on a Sebastian Black print at Wingate Studio. Peter Pettengill working at Wingate Studio. Peter Pettengill (left) and Walton Ford working at Wingate Studio.   Wingate's website: https://wingatestudio.com/ Wingate's FB page: https://www.facebook.com/search/top?q=wingate%20studio Instagram: @wingatestudio

After several decades of creating music in a manner that was beginning to feel routine, guitarist Miles Okazaki was searching for a fresh way to make music. He examined the processes of artists Ed Ruscha, Sol Lewitt, and Ken Price as templates for creating. In possession of these new ideas gleaned from these artists, he went into the studio with a group of musicians that were given prompts which were recorded and formed into what Miles refers to as musical “slabs.” These “slabs” were then sanded, polished, and sculpted, and the result is Miniture America, which Okazaki describes as a sonic treasure hunt, a collection of 22 vignettes exploring the wonder of chance encounters and “found” compositions.

The question ‘What is truth?' is no longer simply a philosophical debate; it's an increasingly daily ask in a polarized society that consistently grapples with questions about the nature of truth.In that spirit, the Biggs Museum of American Art is rolling out the new exhibition ‘Circle of Truth: 49 Paintings Ending with Ed Ruscha,' which unpacks the concept of truth and how our perceptions, biases, and interpretations shape our understanding of reality.In this edition of Arts Playlist, Delaware Public Media's Kyle McKinnon is joined by Biggs curator Laura Fravel to explore the ‘Circle of Truth.'

Ed Ruscha has made art for almost 65 years. His work is in collections all over the world. His medium is eclectic – he's a painter, a photographer, an installation designer, a printmaker, and one of Los Angeles' most iconic artists. LACMA, just put on a retrospective of Ruscha's work. NOW THEN covers a career that's spanned over five decades. We get into the exhibit. We also get into some of his most famous works, including Chocolate Room – which is exactly what it sounds like.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Photo: Elon Schoenholz, courtesy of David Kordansky Gallery For over four decades, Raúl Guerrero (b. 1945, Brawley, California) has made work informed by his experiences navigating cultures as an American of Mexican ancestry in Southern California. In his paintings, photographs, video, and performance works, Guerrero utilizes language and cultural signifiers to examine notions of place as a way to understand personal concepts of self. An aspect of his work depicts—and critiques—colonial narratives in the Americas such as the settlement of the Great Plains, the history of Latin America, and imposed notions of the American “West.” With compositions fusing Mexican, American, and European visual traditions, he incorporates influences ranging from the readymades of Marcel Duchamp to conceptually-oriented practices associated with a preceding generation of California artists (including John Baldessari and Ed Ruscha) who emerged from Guerrero's alma mater, the Chouinard Art Institute. A long-time exhibiting artist on the West Coast, Guerrero reflects an intellectually rigorous approach suffused with humor and a deep engagement with legacies of visual art from Southern California and the Southwest. Raúl Guerrero has been the subject of solo exhibitions at David Kordansky Gallery, Los Angeles (2021); Ortuzar Projects, New York (2018); Air de Paris (project space), Romainville, France (2014); Athenaeum Music and Arts Library, San Diego, California (2001, 2007, and 2013); CUE Art Foundation, New York (2010); Long Beach Museum of Art, California (1977); Museum of Contemporary Art San Diego (1989); and San Francisco Art Institute, California (1977). Guerrero was included in the California Biennial 2022: Pacific Gold at the Orange County Museum of Art, Costa Mesa, California (2022–2023), and was the recipient of an NEA Photography Fellowship (1979) and the San Diego Art Prize (2006). Guerrero lives and works in San Diego. Raul Guerrero, Fernando y Isabela: 1494, 2023 oil on linen 56 1/8 x 76 1/8 x 1 5/8 inches (142.6 x 193.4 x 4.1 cm) Photo: Jeff McLane, courtesy of David Kordansky Gallery Raul Guerrero, Del Taco, 2023 oil on linen 56 x 76 1/4 x 1 1/2 inches (142.2 x 193.7 x 3.8 cm) Photo: Jeff McLane, courtesy of David Kordansky Gallery Raul Guerrero, The Alhambra: 1492, 2024 oil on linen 96 x 76 x 1 1/2 inches (243.8 x 193 x 3.8 cm) Photo: Jeff McLane, courtesy of David Kordansky Gallery

In this episode, Roland-Philippe Kretzschmar, is entering an inspiring and insightful conversation with Scandinavian art world legend Björn Wetterling.1984, in the heart of Stockholm, at the iconic Kungsträdgården 3, something remarkable happened; Wetterling Gallery opened its doors. This moment marked the beginning of what would become a cornerstone in Sweden's contemporary art scene.Under the visionary leadership of Björn Wetterling, the gallery became the gateway for seminal American artists of the time, artists whose names are now synonymous with modern art greatness— Robert Rauschenberg, Frank Stella, Jasper Johns, James Rosenquist, Helen Frankenthaler, and Ed Ruscha, just to name a few.But the Wetterling Gallery's journey didn't stop with the icons of the 80s. Over the decades, it has evolved, embracing a wide spectrum of artistic expressions and stages of career development. Today, while still honoring its roots and the artists who laid its foundation, the gallery is a vibrant platform for both emerging and established talents, particularly those from Scandinavia or based in the region.At the core of the Wetterling Gallery's mission, guided by Björn Wetterling and his dedicated team, is a profound respect for the unique vision and instinct of each artist they represent. It's a place where art is not just seen; it's experienced, where every exhibition is a testament to the gallery's commitment to diversity, innovation, and the unwavering belief in the power of art to inspire and transform.So, join us as we explore the legacy of the Wetterling Gallery, its impact on the art world, and the stories of the artists who have called it home. It's a journey through four decades of artistic excellence, and we're just getting started. Hosted on Acast. See acast.com/privacy for more information.

The MoMA is arguably the best museum in the world. Art-historian and director, Glenn Lowry, joins Ruthie to talk about the importance of great food in museums, the recent Ed Ruscha exhibition, and the influence of French cooking on his life.See omnystudio.com/listener for privacy information.

How to shock a badass woman chef In our fourth episode, Nancy talks about winning the James Beard Award for Best Pastry Chef in 1991, and how aghast the presenter, French chef and cookbook author Madeleine Kamman, was that an upstart from California had beat out two famous men with French and Swiss training. The predicted winner was the legendary Albert Kumin, the original pastry chef of The Four Seasons who went on to work in Jimmy Carter's White House kitchen and founded the now-closed International Pastry Arts Center in in Elmsford, N.Y.“He is one of the only people I know who can labor relentlessly in the kitchen, covering the work of three, while remaining totally calm, good-humored and friendly,” Jacques Pépin once told Nation's Restaurant News about Kumin, who died in 2016 at the age of 94.Happily the other nominee is still with us. At the time, Jacques Torres was working at Le Cirque where he was famous for, among other things, his miniature edible stove. The youngest person to ever become a Meilleur Ouvrier de France, Torres was Dean of Pastry at The Culinary Institute for 30 years. Today he runs his own chocolate empire. As for Madeleine Kamman … she was a complete badass. She was an outspoken chef, a champion of women and a legendary teacher. Paul Bocuse once called her restaurants “the best in America,” and she was the author of many books, the most notable being “When French Women Cook.” Laurie keeps a copy of “The New Making of a Cook,” the 1997 revision of Kamman's first cookbook, on her shelf of encyclopedic cookbooks between Shirley Corriher's “CookWise” and Marion Cunningham's “The Fannie Farmer Cookbook,” with Julia Child's “The Way to Cook” a respectful few books away since it's likely neither of them would have liked to be beside each other. Kamman had a famous rivalry with Julia Child. She pointed out that Julia was neither French nor a chef, but simply an American cooking teacher. Madeleine, on the other hand, was a trained chef with a successful restaurant who also wrote cookbooks and had a television show. “I am not for comparing people, any more than you can compare Picasso to anyone,” she opined with typical modestly. A few years ago Mayukh Sen wrote this article about her in the New Yorker. What we like best about Madeleine? In 1990, she told the L.A. Times writer Rose Dosti that the next generation of great chefs would be American rather than French, and would consist of a 50-50 ratio of women and men. The 50-50 ratio hasn't quite worked out yet, but Nancy's win the following year at the James Beard Awards showed that the change Madeleine predicted was already underway. That 1991 ceremony, by the way, was the first time the James Beard Awards as we know them were presented. Nancy had to remind Ruth that she had written about the ceremony — and about Kamman's reaction to Nancy's win — in the L.A. Times, not to mention at least one chef's complaint about a young Wolfgang Puck winning Outstanding Chef of the Year. Here's an excerpt:“Like every awards ceremony, this one had its moments of controversy. Madeleine Kamman, who was sitting in the front row, shuddered visibly when Nancy Silverton was awarded the prize for best pastry chef over Albert Kumin, the dean of American pastry. ‘Albert Kumin changed pastry in this country,' Larry Forgione of New York's An American Place, said later. ‘His achievement should have been recognized. And if Chef of the Year was for career achievement,' he went on, ‘why wasn't Andre Soltner (the legendary chef/owner of Lutece) nominated?' The answer seems to be that … the Beard Awards are centered on the food revolution that has swept America. … So it should come as no surprise that Chef of the Year went to America's highest-profile young chef, Wolfgang Puck.”It was actually a call Ruth received from New York Times reporter Julia Moskin that got our conversation started about the James Beard Awards. She asked if Ruth would comment on the organization after chef Timothy Hontzas of Johnny's Restaurant in Homewood, Alabama, was disqualified as a best chef in the South nominee following an allegation that he habitually yelled at his staff and customers. (Hontzas told The Times that the incidents “were not as severe as the accusers described.” He also said that none of the incidents rose to the level of an ethics violation.) The disqualification, an action taken without consulting all of the restaurant awards committee members — who oversee the annual nominee selections on a volunteer basis — led one committee member and a separate judge to resign in protest.Ruth declined the request for comment by Moskin, who teamed with Brett Anderson for an extensive story on the messy process of trying to make the James Beard Awards more equitable and diverse. The article opened with the organization's investigation into an anonymous complaint about Kentucky-raised chef Sam Fore, whose TukTuk pop-up draws on her Sri Lankan family roots. Fore, who was surprised to discover that her social media posts advocating for victims of domestic violence were the subject of the investigation, said the process was “an interrogation.” Ultimately, she was able to remain a nominee in the Best Chef: Southeast category, although the award went to Terry Koval of The Deer and the Dove in Decatur, Georgia.It's not the first time the organization has come under scrutiny. In 2005, the president of the James Beard Foundation, Leonard F. Pickell was convicted of stealing more than fifty thousand dollars from the foundation. He was sentenced to one to three years and served about 9 months. He passed away two years later. At this year's awards ceremony in June, the restaurant awards committee chair Tanya Holland — who is also an acclaimed cookbook author and chef of the late great Brown Sugar Kitchen in Oakland (fantastic cornmeal waffles) — said from the podium that New Orleans legend Leah Chase once gave her some advice that seemed to apply to the stresses the organization is undergoing as it tries to find the best way to ensure the awards are fair and equitable: “‘Be prepared to get a lot of criticism in this industry, and work with it; you will make mistakes. The important thing is where your heart is and how you move on.' The universe knows I've made numerous mistakes.”L.A. Times journalist Stephanie Breijo, reporting on the ceremony, wrote that Holland told the audience “she has become comfortable being uncomfortable, adding that she is motivated to make the industry better. The efforts of the foundation have made a difference in the diversity of the awards' nominees and winners, she said, and should be commended.“We're learning as we go,” Holland said. “It's not always smooth, but that doesn't mean we're not on the right path.”Three Ingredients is a reader-supported publication. To receive posts with bonus material, including recipes, restaurant recommendations and podcast conversations that didn't fit into the main show, consider becoming a paid subscriber.The endangered 20th-century restaurantWe move from the Beard Awards and a discussion about the mental stress and physical toll restaurant work entails, to an exploration of what makes a 21st century restaurant and how in many parts of the country 20th century restaurants such as diners are closing at an alarming rate. Laurie talks about the closing in May of Los Angeles' Nickel Diner, which wasn't technically a 20th century restaurant (it opened in 2008) but had a 20th century soul. Laurie wrote about her last meal at the Nickel, run by Monica May and Kristen Trattner, for the L.A. Times Tasting Notes newsletter. The table was loaded with scrambles, biscuits, homemade pop tarts and of course a maple bacon doughnut, plus marmalade made from blood oranges grown by the artist Ed Ruscha. Here's an excerpt of the story:All around us customers are giving hugs to May and Trattner as well as Nickel Diner's servers, many of whom have worked at the Main Street spot for years and have become familiar faces. The customers also hug each other because it's a kind of reunion for many who are part of the L.A. tribe in love with the diner and the tattooed punk-rock aesthetic that came with the place.“We're a 20th century restaurant,” May tells us by way of explanation of why she and Trattner think it's the right time to close. Would they have stayed open if they had gotten one of their grants renewed to feed their neighbors living in the surrounding SROs or if inflation hadn't raised their operating costs or if the pandemic hadn't happened? Maybe.But they also feel a change in the city. A few blocks away Suehiro Cafe, another 20th century restaurant that has been on Little Tokyo's 1st Street for decades and may be the closest thing we have to a “Midnight Diner,” is being forced to move to a new location on Main Street, not far from the Nickel Diner. What difference will a move make? When I walked by the space Suehiro will inhabit later this summer I saw a now-hiring sign and noticed that one of the new jobs listed is “barista.”Old-school Suehiro doesn't have a barista. Apparently, 21st century Suehiro will have barista-made drinks. If it helps the place stick around for a few more decades, I won't mind, as long as they still serve the okonomi plate with broiled mackerel and cold tofu. Because as Zen monk and teacher Shunryu Suzuki once told writer David Chadwick after he asked the master to summarize Buddhism “in a nutshell,” the answer came down to two words: “Everything changes.” Thank you for reading Three Ingredients. This post is public so feel free to share it.Eating off the cartFinally, we talk about the safety of food carts. In 1995, when Ruth wrote an article for the New York Times about how much she loved street food, she included this interesting detail: “If the idea of eating at food carts frightens you, consider this. Fredric D. Winters, a spokesman for the New York City Health Department, said that of the 1,600 cases of food poisoning reported by doctors in the last three years, only 8 were said to be from food vendors. Only one case actually proved to be food poisoning, and even that case could not definitely be tied to a cart.”You can read the entire article here. And in our bonus “Ingredients” post for paying subscribers, we'll share Ruth's recipe for a homemade version of the classic New York food cart dish, curry chicken and rice. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit threeingredients.substack.com/subscribe

Live fast die young, bad girls do it well: Car talk, Ed Ruscha, MoMA, and more.

Several years ago, a treasure trove containing some 6,000 original Bob Dylan manuscripts was revealed to exist. Their destination? Tulsa, Oklahoma. The documents, as essential as they are intriguing—draft lyrics, notebooks, and diverse ephemera— comprise one of the most important cultural archives in the modern world. Along with countless still and moving images and thousands of hours of riveting studio and live recordings, this priceless collection now resides at The Bob Dylan Center in Tulsa, Oklahoma, just steps away from the archival home of Dylan's early hero, Woody Guthrie. Nearly all the materials preserved at The Bob Dylan Center are unique, previously unavailable, and, in many cases, even previously unknown. As the official publication of The Bob Dylan Center, Bob Dylan: Mixing Up the Medicine (Callaway, 2023) is the first wide-angle look at the Dylan archive, a book that promises to be of vast interest to both the Nobel Laureate's many musical fans and to a broader national and international audience as well. Edited by Mark Davidson and Parker Fishel, Bob Dylan: Mixing Up the Medicine focuses a close look at the full scope of Dylan's working life, particularly from the dynamic perspective of his ongoing and shifting creative processes—his earliest home recordings in the mid-1950s right up through Rough and Rowdy Ways (2020), his most recent studio recording, and into the present day. The centerpiece of Bob Dylan: Mixing Up the Medicine is a carefully curated selection of over 600 images including never-before-circulated draft lyrics, writings, photographs, drawings and other ephemera from the Dylan archive. With an introductory essay by Sean Wilentz and epilogue by Douglas Brinkley, the book features a surprising range of distinguished writers, artists and musicians, including Joy Harjo, Greil Marcus, Michael Ondaatje, Gregory Pardlo, Amanda Petrusich, Tom Piazza, Lee Ranaldo, Alex Ross, Ed Ruscha, Lucy Sante, Greg Tate and many others. After experiencing the collection firsthand in Tulsa, each of the authors was asked to select a single item that beguiled or inspired them. The resulting essays, written specifically for this volume, shed new light on not only Dylan's creative process, but also their own. Bob Dylan: Mixing Up the Medicine is an unprecedented glimpse into the creative life of one of America's most groundbreaking, influential and enduring artists. Mark Davidson is the Curator of the Bob Dylan Archive and the Director of Archives and Exhibitions for the Bob Dylan and Woody Guthrie Centers in Tulsa, Oklahoma. He holds a PhD in musicology from the University of California, Santa Cruz, with an emphasis on folk music collecting, and an MSIS in archiving and library science from the University of Texas at Austin. Mark has written widely on music and archives-related subjects, including his dissertation, “Recording the Nation: Folk Music and the Government in Roosevelt's New Deal, 1936–1941,” and the essay “Blood in the Stacks: On the Nature of Archives in the Twenty-First Century,” published in The World of Bob Dylan. Parker Fishel is an archivist and researcher who was co-curator of the inaugural exhibitions at the Bob Dylan Center. Providing archival consulting for numerous musicians and estates under the umbrella of Americana Music Productions, Fishel is also a co-founder of the improvised music archive Crossing Tones and a board member of the Hot Club Foundation. Highlights from his recording credits include Ann Arbor Blues Festival 1969 (Third Man Records), a forthcoming box set inspired by the Chelsea Hotel (Vinyl Me, Please), and several volumes of the GRAMMY Award–winning Bob Dylan's Bootleg Series. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Several years ago, a treasure trove containing some 6,000 original Bob Dylan manuscripts was revealed to exist. Their destination? Tulsa, Oklahoma. The documents, as essential as they are intriguing—draft lyrics, notebooks, and diverse ephemera— comprise one of the most important cultural archives in the modern world. Along with countless still and moving images and thousands of hours of riveting studio and live recordings, this priceless collection now resides at The Bob Dylan Center in Tulsa, Oklahoma, just steps away from the archival home of Dylan's early hero, Woody Guthrie. Nearly all the materials preserved at The Bob Dylan Center are unique, previously unavailable, and, in many cases, even previously unknown. As the official publication of The Bob Dylan Center, Bob Dylan: Mixing Up the Medicine (Callaway, 2023) is the first wide-angle look at the Dylan archive, a book that promises to be of vast interest to both the Nobel Laureate's many musical fans and to a broader national and international audience as well. Edited by Mark Davidson and Parker Fishel, Bob Dylan: Mixing Up the Medicine focuses a close look at the full scope of Dylan's working life, particularly from the dynamic perspective of his ongoing and shifting creative processes—his earliest home recordings in the mid-1950s right up through Rough and Rowdy Ways (2020), his most recent studio recording, and into the present day. The centerpiece of Bob Dylan: Mixing Up the Medicine is a carefully curated selection of over 600 images including never-before-circulated draft lyrics, writings, photographs, drawings and other ephemera from the Dylan archive. With an introductory essay by Sean Wilentz and epilogue by Douglas Brinkley, the book features a surprising range of distinguished writers, artists and musicians, including Joy Harjo, Greil Marcus, Michael Ondaatje, Gregory Pardlo, Amanda Petrusich, Tom Piazza, Lee Ranaldo, Alex Ross, Ed Ruscha, Lucy Sante, Greg Tate and many others. After experiencing the collection firsthand in Tulsa, each of the authors was asked to select a single item that beguiled or inspired them. The resulting essays, written specifically for this volume, shed new light on not only Dylan's creative process, but also their own. Bob Dylan: Mixing Up the Medicine is an unprecedented glimpse into the creative life of one of America's most groundbreaking, influential and enduring artists. Mark Davidson is the Curator of the Bob Dylan Archive and the Director of Archives and Exhibitions for the Bob Dylan and Woody Guthrie Centers in Tulsa, Oklahoma. He holds a PhD in musicology from the University of California, Santa Cruz, with an emphasis on folk music collecting, and an MSIS in archiving and library science from the University of Texas at Austin. Mark has written widely on music and archives-related subjects, including his dissertation, “Recording the Nation: Folk Music and the Government in Roosevelt's New Deal, 1936–1941,” and the essay “Blood in the Stacks: On the Nature of Archives in the Twenty-First Century,” published in The World of Bob Dylan. Parker Fishel is an archivist and researcher who was co-curator of the inaugural exhibitions at the Bob Dylan Center. Providing archival consulting for numerous musicians and estates under the umbrella of Americana Music Productions, Fishel is also a co-founder of the improvised music archive Crossing Tones and a board member of the Hot Club Foundation. Highlights from his recording credits include Ann Arbor Blues Festival 1969 (Third Man Records), a forthcoming box set inspired by the Chelsea Hotel (Vinyl Me, Please), and several volumes of the GRAMMY Award–winning Bob Dylan's Bootleg Series. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Several years ago, a treasure trove containing some 6,000 original Bob Dylan manuscripts was revealed to exist. Their destination? Tulsa, Oklahoma. The documents, as essential as they are intriguing—draft lyrics, notebooks, and diverse ephemera— comprise one of the most important cultural archives in the modern world. Along with countless still and moving images and thousands of hours of riveting studio and live recordings, this priceless collection now resides at The Bob Dylan Center in Tulsa, Oklahoma, just steps away from the archival home of Dylan's early hero, Woody Guthrie. Nearly all the materials preserved at The Bob Dylan Center are unique, previously unavailable, and, in many cases, even previously unknown. As the official publication of The Bob Dylan Center, Bob Dylan: Mixing Up the Medicine (Callaway, 2023) is the first wide-angle look at the Dylan archive, a book that promises to be of vast interest to both the Nobel Laureate's many musical fans and to a broader national and international audience as well. Edited by Mark Davidson and Parker Fishel, Bob Dylan: Mixing Up the Medicine focuses a close look at the full scope of Dylan's working life, particularly from the dynamic perspective of his ongoing and shifting creative processes—his earliest home recordings in the mid-1950s right up through Rough and Rowdy Ways (2020), his most recent studio recording, and into the present day. The centerpiece of Bob Dylan: Mixing Up the Medicine is a carefully curated selection of over 600 images including never-before-circulated draft lyrics, writings, photographs, drawings and other ephemera from the Dylan archive. With an introductory essay by Sean Wilentz and epilogue by Douglas Brinkley, the book features a surprising range of distinguished writers, artists and musicians, including Joy Harjo, Greil Marcus, Michael Ondaatje, Gregory Pardlo, Amanda Petrusich, Tom Piazza, Lee Ranaldo, Alex Ross, Ed Ruscha, Lucy Sante, Greg Tate and many others. After experiencing the collection firsthand in Tulsa, each of the authors was asked to select a single item that beguiled or inspired them. The resulting essays, written specifically for this volume, shed new light on not only Dylan's creative process, but also their own. Bob Dylan: Mixing Up the Medicine is an unprecedented glimpse into the creative life of one of America's most groundbreaking, influential and enduring artists. Mark Davidson is the Curator of the Bob Dylan Archive and the Director of Archives and Exhibitions for the Bob Dylan and Woody Guthrie Centers in Tulsa, Oklahoma. He holds a PhD in musicology from the University of California, Santa Cruz, with an emphasis on folk music collecting, and an MSIS in archiving and library science from the University of Texas at Austin. Mark has written widely on music and archives-related subjects, including his dissertation, “Recording the Nation: Folk Music and the Government in Roosevelt's New Deal, 1936–1941,” and the essay “Blood in the Stacks: On the Nature of Archives in the Twenty-First Century,” published in The World of Bob Dylan. Parker Fishel is an archivist and researcher who was co-curator of the inaugural exhibitions at the Bob Dylan Center. Providing archival consulting for numerous musicians and estates under the umbrella of Americana Music Productions, Fishel is also a co-founder of the improvised music archive Crossing Tones and a board member of the Hot Club Foundation. Highlights from his recording credits include Ann Arbor Blues Festival 1969 (Third Man Records), a forthcoming box set inspired by the Chelsea Hotel (Vinyl Me, Please), and several volumes of the GRAMMY Award–winning Bob Dylan's Bootleg Series. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

Several years ago, a treasure trove containing some 6,000 original Bob Dylan manuscripts was revealed to exist. Their destination? Tulsa, Oklahoma. The documents, as essential as they are intriguing—draft lyrics, notebooks, and diverse ephemera— comprise one of the most important cultural archives in the modern world. Along with countless still and moving images and thousands of hours of riveting studio and live recordings, this priceless collection now resides at The Bob Dylan Center in Tulsa, Oklahoma, just steps away from the archival home of Dylan's early hero, Woody Guthrie. Nearly all the materials preserved at The Bob Dylan Center are unique, previously unavailable, and, in many cases, even previously unknown. As the official publication of The Bob Dylan Center, Bob Dylan: Mixing Up the Medicine (Callaway, 2023) is the first wide-angle look at the Dylan archive, a book that promises to be of vast interest to both the Nobel Laureate's many musical fans and to a broader national and international audience as well. Edited by Mark Davidson and Parker Fishel, Bob Dylan: Mixing Up the Medicine focuses a close look at the full scope of Dylan's working life, particularly from the dynamic perspective of his ongoing and shifting creative processes—his earliest home recordings in the mid-1950s right up through Rough and Rowdy Ways (2020), his most recent studio recording, and into the present day. The centerpiece of Bob Dylan: Mixing Up the Medicine is a carefully curated selection of over 600 images including never-before-circulated draft lyrics, writings, photographs, drawings and other ephemera from the Dylan archive. With an introductory essay by Sean Wilentz and epilogue by Douglas Brinkley, the book features a surprising range of distinguished writers, artists and musicians, including Joy Harjo, Greil Marcus, Michael Ondaatje, Gregory Pardlo, Amanda Petrusich, Tom Piazza, Lee Ranaldo, Alex Ross, Ed Ruscha, Lucy Sante, Greg Tate and many others. After experiencing the collection firsthand in Tulsa, each of the authors was asked to select a single item that beguiled or inspired them. The resulting essays, written specifically for this volume, shed new light on not only Dylan's creative process, but also their own. Bob Dylan: Mixing Up the Medicine is an unprecedented glimpse into the creative life of one of America's most groundbreaking, influential and enduring artists. Mark Davidson is the Curator of the Bob Dylan Archive and the Director of Archives and Exhibitions for the Bob Dylan and Woody Guthrie Centers in Tulsa, Oklahoma. He holds a PhD in musicology from the University of California, Santa Cruz, with an emphasis on folk music collecting, and an MSIS in archiving and library science from the University of Texas at Austin. Mark has written widely on music and archives-related subjects, including his dissertation, “Recording the Nation: Folk Music and the Government in Roosevelt's New Deal, 1936–1941,” and the essay “Blood in the Stacks: On the Nature of Archives in the Twenty-First Century,” published in The World of Bob Dylan. Parker Fishel is an archivist and researcher who was co-curator of the inaugural exhibitions at the Bob Dylan Center. Providing archival consulting for numerous musicians and estates under the umbrella of Americana Music Productions, Fishel is also a co-founder of the improvised music archive Crossing Tones and a board member of the Hot Club Foundation. Highlights from his recording credits include Ann Arbor Blues Festival 1969 (Third Man Records), a forthcoming box set inspired by the Chelsea Hotel (Vinyl Me, Please), and several volumes of the GRAMMY Award–winning Bob Dylan's Bootleg Series. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Several years ago, a treasure trove containing some 6,000 original Bob Dylan manuscripts was revealed to exist. Their destination? Tulsa, Oklahoma. The documents, as essential as they are intriguing—draft lyrics, notebooks, and diverse ephemera— comprise one of the most important cultural archives in the modern world. Along with countless still and moving images and thousands of hours of riveting studio and live recordings, this priceless collection now resides at The Bob Dylan Center in Tulsa, Oklahoma, just steps away from the archival home of Dylan's early hero, Woody Guthrie. Nearly all the materials preserved at The Bob Dylan Center are unique, previously unavailable, and, in many cases, even previously unknown. As the official publication of The Bob Dylan Center, Bob Dylan: Mixing Up the Medicine (Callaway, 2023) is the first wide-angle look at the Dylan archive, a book that promises to be of vast interest to both the Nobel Laureate's many musical fans and to a broader national and international audience as well. Edited by Mark Davidson and Parker Fishel, Bob Dylan: Mixing Up the Medicine focuses a close look at the full scope of Dylan's working life, particularly from the dynamic perspective of his ongoing and shifting creative processes—his earliest home recordings in the mid-1950s right up through Rough and Rowdy Ways (2020), his most recent studio recording, and into the present day. The centerpiece of Bob Dylan: Mixing Up the Medicine is a carefully curated selection of over 600 images including never-before-circulated draft lyrics, writings, photographs, drawings and other ephemera from the Dylan archive. With an introductory essay by Sean Wilentz and epilogue by Douglas Brinkley, the book features a surprising range of distinguished writers, artists and musicians, including Joy Harjo, Greil Marcus, Michael Ondaatje, Gregory Pardlo, Amanda Petrusich, Tom Piazza, Lee Ranaldo, Alex Ross, Ed Ruscha, Lucy Sante, Greg Tate and many others. After experiencing the collection firsthand in Tulsa, each of the authors was asked to select a single item that beguiled or inspired them. The resulting essays, written specifically for this volume, shed new light on not only Dylan's creative process, but also their own. Bob Dylan: Mixing Up the Medicine is an unprecedented glimpse into the creative life of one of America's most groundbreaking, influential and enduring artists. Mark Davidson is the Curator of the Bob Dylan Archive and the Director of Archives and Exhibitions for the Bob Dylan and Woody Guthrie Centers in Tulsa, Oklahoma. He holds a PhD in musicology from the University of California, Santa Cruz, with an emphasis on folk music collecting, and an MSIS in archiving and library science from the University of Texas at Austin. Mark has written widely on music and archives-related subjects, including his dissertation, “Recording the Nation: Folk Music and the Government in Roosevelt's New Deal, 1936–1941,” and the essay “Blood in the Stacks: On the Nature of Archives in the Twenty-First Century,” published in The World of Bob Dylan. Parker Fishel is an archivist and researcher who was co-curator of the inaugural exhibitions at the Bob Dylan Center. Providing archival consulting for numerous musicians and estates under the umbrella of Americana Music Productions, Fishel is also a co-founder of the improvised music archive Crossing Tones and a board member of the Hot Club Foundation. Highlights from his recording credits include Ann Arbor Blues Festival 1969 (Third Man Records), a forthcoming box set inspired by the Chelsea Hotel (Vinyl Me, Please), and several volumes of the GRAMMY Award–winning Bob Dylan's Bootleg Series. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Several years ago, a treasure trove containing some 6,000 original Bob Dylan manuscripts was revealed to exist. Their destination? Tulsa, Oklahoma. The documents, as essential as they are intriguing—draft lyrics, notebooks, and diverse ephemera— comprise one of the most important cultural archives in the modern world. Along with countless still and moving images and thousands of hours of riveting studio and live recordings, this priceless collection now resides at The Bob Dylan Center in Tulsa, Oklahoma, just steps away from the archival home of Dylan's early hero, Woody Guthrie. Nearly all the materials preserved at The Bob Dylan Center are unique, previously unavailable, and, in many cases, even previously unknown. As the official publication of The Bob Dylan Center, Bob Dylan: Mixing Up the Medicine (Callaway, 2023) is the first wide-angle look at the Dylan archive, a book that promises to be of vast interest to both the Nobel Laureate's many musical fans and to a broader national and international audience as well. Edited by Mark Davidson and Parker Fishel, Bob Dylan: Mixing Up the Medicine focuses a close look at the full scope of Dylan's working life, particularly from the dynamic perspective of his ongoing and shifting creative processes—his earliest home recordings in the mid-1950s right up through Rough and Rowdy Ways (2020), his most recent studio recording, and into the present day. The centerpiece of Bob Dylan: Mixing Up the Medicine is a carefully curated selection of over 600 images including never-before-circulated draft lyrics, writings, photographs, drawings and other ephemera from the Dylan archive. With an introductory essay by Sean Wilentz and epilogue by Douglas Brinkley, the book features a surprising range of distinguished writers, artists and musicians, including Joy Harjo, Greil Marcus, Michael Ondaatje, Gregory Pardlo, Amanda Petrusich, Tom Piazza, Lee Ranaldo, Alex Ross, Ed Ruscha, Lucy Sante, Greg Tate and many others. After experiencing the collection firsthand in Tulsa, each of the authors was asked to select a single item that beguiled or inspired them. The resulting essays, written specifically for this volume, shed new light on not only Dylan's creative process, but also their own. Bob Dylan: Mixing Up the Medicine is an unprecedented glimpse into the creative life of one of America's most groundbreaking, influential and enduring artists. Mark Davidson is the Curator of the Bob Dylan Archive and the Director of Archives and Exhibitions for the Bob Dylan and Woody Guthrie Centers in Tulsa, Oklahoma. He holds a PhD in musicology from the University of California, Santa Cruz, with an emphasis on folk music collecting, and an MSIS in archiving and library science from the University of Texas at Austin. Mark has written widely on music and archives-related subjects, including his dissertation, “Recording the Nation: Folk Music and the Government in Roosevelt's New Deal, 1936–1941,” and the essay “Blood in the Stacks: On the Nature of Archives in the Twenty-First Century,” published in The World of Bob Dylan. Parker Fishel is an archivist and researcher who was co-curator of the inaugural exhibitions at the Bob Dylan Center. Providing archival consulting for numerous musicians and estates under the umbrella of Americana Music Productions, Fishel is also a co-founder of the improvised music archive Crossing Tones and a board member of the Hot Club Foundation. Highlights from his recording credits include Ann Arbor Blues Festival 1969 (Third Man Records), a forthcoming box set inspired by the Chelsea Hotel (Vinyl Me, Please), and several volumes of the GRAMMY Award–winning Bob Dylan's Bootleg Series. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

[REBROADCAST FROM September 25] Ed Ruscha is a pioneer in the world of Pop Art, an artist with a sense of humor, a knack for words, and a great eye for color. Now, in the biggest US exhibition of his work, the Museum of Modern Art features the new retrospective, Ed Ruscha / Now Then. The exhibit features more than 200 works, including a new installation of Ruscha's iconic, "Chocolate Room." Christophe Cherix, chief curator of drawings and prints at MoMA, joins us to discuss the exhibit, running through January 13.

Westermann: Memorial to the Idea of Man If He Was an Idea is a 3-D documentary film about the life and work of artist and marine H.C. (“Cliff”) Westermann. As a veteran of World War II and the Korean War who struggled with the ramifications of modern warfare, Westermann's dramatic personal history can be traced through his beguiling, surreal artworks. Westermann: Memorial to the Idea of a Man If He Was an Idea explores the themes of Westermann's life and work, including resiliency, hope, and humor. Westermann used art as a means of processing the trauma of war, and in spite of these horrors, he adopted an empathic and hopeful spirit that courses through his artwork and relationships, becoming an inspiration to many young artists. The film features featuring interviews with Ed Ruscha, Frank Gehry, William T. Wiley, Billy Al Bengston, and other artist-pals. The film is executive produced by the internationally acclaimed artist, KAWS, along with award-winning documentary producer Caryn Capotosto. Westermann features music by legendary artists Laurie Anderson (with the Kronos Quartet) and Terry Allen. MacArthur “Genius Grant” winner Tomeka Reid composed the original score. Director Leslie Buchbinder joins us for a conversation on enlisting Academy Award nominated actor Ed Harris to voice the writings of Westermann, the enduring influence that H.C. Westerman had on his chosen pursuit of sculptor as well as his philosophical approach to art and work ethic that continues impact other accomplished artists. For more go to: pentimentiproductions.org/hc-westermann

Episode Description: Dive into a riveting exploration of the intricate dance between science, art, and the animal microbiome. Aaron Schacht delves deep into the transformative power of the microbiome in shaping animal health, the innovative strides in drug development, and the mesmerizing blend of genetics and artistry. From the challenges in livestock production to the silent symphony of cells at a genetic rave, join us on a journey that promises to redefine your understanding of biology and creativity. Grow Everything brings to life the bioeconomy when hosts Karl Schmieder and Erum Azeez Khan share stories from the field and interview leaders and influencers in the space.  Life is a powerful force and it can be engineered. What are we creating? Learn more at www.messaginglab.com/groweverything Topics Covered: 00:00:00 - Delving into a World of Art and Biology: Biotech Beginnings 00:05:47 - Merging Education and Creativity: Enhancing Learning through Art 00:07:03 - Efficiency in Biotechnology: Maximizing Outcomes and Value 00:11:08 - Digital Advancements: Meta's Exploration of Cellular Models 00:14:49 - Big Moves in Biomed: Ginkgo-Pfizer and Merck-Daiichi Collaborations 00:18:24 - Unveiling Animal Health: A Rich Resource in Biomedical Research 00:20:02 - A Warm Welcome to the World of Animal Biomedicine 00:25:21 - Pioneering Drug Safety: The Role of Animal Models 00:30:41 - Sustainable Antibiotic Practices in Animal Farming 00:35:41 - Navigating Challenges: Bacterial Solutions and Microbiomes 00:39:55 - Bridging Academia and Industry: Productive Biotech Innovations 00:42:57 - Advancements in Livestock Health: Probiotics and Enzymes 00:45:44 - Introducing New Biological Therapeutics: Navigating USDA Regulations 00:49:23 - Crafting a Progressive Ecosystem: Investing in Animal Health 00:55:43 - Visioning the Future: Merging Animal Health with Financial Sustainability 00:59:21 - The Digital Leap: AI and Microbiome Engineering in Biomedicine 01:03:16 - Flavor Profiles: Unpacking the Animal Microbiome's Influence 01:07:18 - Collaboration in Biotech: Engaging in Thoughtful Panel Discussions Episode Links: LinkedIn Music Genome Project BiomEdit (company site) Depeche Mode (band site) Ed Ruscha (artist site) Chan Zuckerberg Initiative (organization site) Headway (company site) Gingko & Pfizer deal (story site) Merck & Daiichi Sankyo (story site) Gingko & Persephone collaboration (story site) BioCortex - understanding drug-microbiome interactions (company site) Culitvarium - domesticating non-model organisms (company site) Have a question or comment? Message us here: Text or Call (804) 505-5553 Instagram / TikTok / Twitter / LinkedIn / Youtube / GrowEverything website Email: groweverything@messaginglab.com Support here: Patreon Music by: Nihilore Production by: Amplafy Media --- Send in a voice message: https://podcasters.spotify.com/pod/show/messaginglab/message

Peder Lund, a seasoned figure in the world of art, started his career in the 1990s as an art dealer, curator, and gallerist. In 2009, he took a bold step after two decades in the art dealership industry by establishing his own gallery. His primary goal was to foster a more engaging dialogue with the Norwegian and Scandinavian public while enhancing Oslo's global prominence in the art scene. This vision revolved around showcasing modern and contemporary art crafted by internationally acclaimed artists. The gallery's exhibition program is meticulously crafted and executed through close collaboration with the artists themselves, their main galleries, and artist estates.The exhibition lineup at Peder Lund is remarkably diverse, encompassing photography, installations, sculptures, and paintings. Notably, Lund has collaborated with an impressive roster of artists, including Wolfgang Tillmans, Louise Bourgeois, Isa Genzken, Roni Horn, Ed Ruscha, Catherine Opie, Paul McCarthy, Mike Kelley, and Ida Ekblad, among others. With this wide array of artists, Peder Lund aims to provide a comprehensive and multifaceted view of contemporary art to the Scandinavian audience.This episode is brought to you by Colekt, a Stockholm-based clean beauty, fragrance, skincare and lifestyle brand. Gender free, vegan and inspired by Scandi nature, the cultural heritage and seasonal mood. Colekt has an open eye for freedom, impressions and expressions around the world, in arts, fashion, design and architecture. Colekt your creation, anytime anywhere. Explore the world of Colekt www.colekt.comMore information on www.theartbystander.com Hosted on Acast. See acast.com/privacy for more information.

This week, the brilliant Alexandra Schwartz considers pay equity in arts institutions, craft traditions' roles in art history, the re-evaluation of feminism post-Hillary Clinton, cultural determinism in fashion, the parallels between podcasting and curation, and if a selfie can ever be considered craft art. Alexandra Schwartz, Ph.D., is Curator of Modern & Contemporary Art, Craft, & Design at the Museum of Arts and Design, New York, and Adjunct Professor in the MA Program in Art Market Studies, SUNY Fashion Institute of Technology. Her exhibitions include Garmenting: Costume as Contemporary Art at MAD (2022); 52 Artists: A Feminist Milestone at the Aldrich Contemporary Art Museum (2022–23); Ed Ruscha: OKLA at the Oklahoma Contemporary (2021); As in Nature: Helen Frankenthaler Paintings at The Clark Art Institute (2017), and Come as You Are: Art of the 1990s (Montclair Art Museum and national tour, 2015-16), all with scholarly catalogues. She is the author of and Ed Ruscha's Los Angeles (MIT Press, 2010) and the co-editor of Modern Women: Women Artists at The Museum of Modern Art (MoMA, 2010). Schwartz previously held curatorial positions at The Museum of Modern Art and the Montclair Art Museum, and teaching positions at Columbia University, Fordham University, the University of Michigan, and the Whitney Museum of American Art, among other institutions.

All of us at Ruthie's Table 4 are delighted to announce the return of Season Three of the podcast launching next Tuesday 17th October! Until then please enjoy the re-broadcast of this interview with Ed Ruscha. Please rate & review the podcast on Apple podcasts, Spotify, IHeart Radio app or wherever you get your podcasts. For more information, recipes, and ingredients, go to: Web: https://rivercafe.co.uk/Instagram: www.instagram.com/ruthiestable4Facebook: https://en-gb.facebook.com/therivercafelondon/ For any podcast enquires please contact: willem.olenski@atomizedstudios.tv For more podcasts from iHeartRadio, visit the iheartradio app, apple podcasts, or wherever you listen to your favourite shows. See omnystudio.com/listener for privacy information.

An introduction, movies and video stores, Stacy Keach, Dorothy Stratten and seeing Bruce Willis stoned, what more could you ask for?  Stuff mentioned:  Reality Bites (1994), Back to the Future (1985), Back to the Future Part II (1989), The Frighteners (1996), The Hard Way (1991), Faithfull: An Autobiography (1995), Mike Hammer, Private Eye (1997-1998), Road Games (1981), Psycho II (1983), Psycho (1960), Psycho III (1986), Psycho IV:  The Beginning (1990), Blow Out (1981), Body Bags (1993), An American Werewolf In London (1981), Running on Empty (1988), That Thing You Do (1996) but I meant to say The Thing Called Love (1993), Mission Impossible (1996), Ed Ruscha's 12 Sunsets (1965-2007), Star 80 (1983), All That Jazz (1979), Sister, Sister (1987), Altered States (1980), The Last Boy Scout (1991), The Long Kiss Goodnight (1996), and Bang the Drum Slowly (1973). 

Ed Ruscha is a pioneer in the world of Pop Art, an artist with a sense of humor, a knack for words, and a great eye for color. Now, in the biggest US exhibition of his work, the Museum of Modern Art features the new retrospective, Ed Ruscha / Now Then. The exhibit features more than 200 works, including a new installation of Ruscha's iconic, "Chocolate Room." Christophe Cherix, chief curator of drawings and prints at MoMA, joins us to discuss the exhibit, running through January 13.

Learn more at TheCityLife.org --- Send in a voice message: https://podcasters.spotify.com/pod/show/citylifeorg/message Support this podcast: https://podcasters.spotify.com/pod/show/citylifeorg/support

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One of my most cherished possessions is a River Cafe menu with the word YUM painted on it by Ed Ruscha. Ed is an artist, friend - and cook, but we really bond over words; words as art, words as books, words as recipes, words as love. Our worlds and words converged recently when he had an exhibition at the Tate and The National Gallery - a first for an artist. We celebrated with lunches, dinners and breakfasts together.  Ed has a little garden behind his studio in California, its conditions are dry and dessert like, but he grows the most amazing fruits and vegetables there. He is the first guest on Table 4 to bring his own recipe to read – a cactus omelette. We will discuss art and food, food and YUM. For more information, recipes, and ingredients, go to: Web: https://rivercafe.co.uk/Instagram: www.instagram.com/ruthiestable4Facebook: https://en-gb.facebook.com/therivercafelondon/ For any podcast enquires please contact: willem.olenski@atomizedstudios.tv For more podcasts from iHeartRadio, visit the iheartradio app, apple podcasts, or wherever you listen to your favourite shows.  See omnystudio.com/listener for privacy information.

For this episode we are back in the conservation lab, visiting with Carol Mancusi-Ungaro, Melva Bucksbaum Associate Director for Conservation and Research at the Whitney Museum of American Art. If you were to visit the Whitney today and see the lab and the department that Carol leads, you might find it hard to believe that none of it existed back when she joined the Whitney. In 2001 Carol not only became the museum's first director of conservation, but also its first staff conservator. In our chat we hear all about the incredible work that Carol has done over the past 20+ years at the Whitney, but the story goes much further back, prior to arriving at the Whitney, Carol spent a prior 20+ stint as the first conservator at the Menil Collection in Houston. Having originally trained and studied art that was centuries old, at the Menil Carol suddenly found herself dealing with modern and contemporary art and all the special and unique challenges that emerge when a conservator is faced with art where the paint has barley just dried. Carol found that talking directly to artists and their collaborators about the practical and technical aspects of their work was crucial in her work as a conservator — long before this was a common thing for conservators to do. This interview practice was eventually formalized and became the Artist Documentation Program, generating hours upon hours of footage of Carol and her former colleagues chatting with artists like Ann Hamilton, Ed Ruscha, Sarah Sze, Josh Kline, just to name a few. Today artist interviews have become a central part of conservation practice, so I was very excited to sit down with Carol, to interview the interviewer and hear what she has learned over decades as a leader the field of conservation.Links from the conversation with Carol> Artist Documentation Project: https://adp.menil.org/> The Whitney Replication Committee: https://www.newyorker.com/magazine/2016/01/11/the-custodians-onward-and-upward-with-the-arts-ben-lernerGet access to exlusive content - join us on Patreon!> https://patreon.com/artobsolescenceJoin the conversation:https://www.instagram.com/artobsolescence/Support artistsArt and Obsolescence is a non-profit podcast, sponsored by the New York Foundation for the Arts, and we are committed to equitably supporting artists that come on the show. Help support our work by making a tax deductible gift through NYFA here: https://www.artandobsolescence.com/donate

A look at one of the titans of American art in the late 20th Century. Photography has always been integral to the work of Ed Ruscha. We'll focus on one specific series that is an example of his typological approach to image making. Also, Los Angeles rolls up its sleeves and takes on New York for the title of greatest American art scene. Links:Ed Ruscha at the Yancey Richardson GalleryEd Ruscha Photography article in ApertureThe Cool School movieThe Ferus Gallery

Phoenix frontman Thomas Mars subscribes to Ed Ruscha's philosophy on art—that it should prompt bewilderment or even disgust before appreciation. And not the reverse. This can be applied to the French band's music. Consider their latest album Alpha Zulu, the title seems odd but dig a little and it reveals a salient truth for Thomas. Together with his friends and bandmates Deck D'Arcy, Christian Mazzalai and Laurent Brancowitz the foursome started the songwriting for this, their seventh album, after the death of their dearest friend, producer Philippe Zdar—who was crucial in helming their breakthrough 2009 album Wolfgang Amadeus Phoenix. Less than a year later, they would find themselves in the midst of a pandemic and then the California fires. Listen to find out how writing Alpha Zulu became a way for them to manifest the light at the end of the tunnel.Many thanks for making this possible — Thomas, for telling us that he's been cutting his own hair since he was 11! Thank you to Glassnote Records and Loyauté for permission to use songs. Also to Jen Appel and Juliette Kost at The Oriel Co for constant support.Songs Featured: "Alpha Zulu," "Too Young," "Lisztomania," "1901," "J-Boy," "Telefono," "All Eyes On Me," "Tonight," "Artefact," "Identical," "Winter Solstice," and "The Only One."To share your thoughts on this episode, email: celine.teoblockey@undertheradarmag.com Or leave a voice message here. Hosted on Acast. See acast.com/privacy for more information.

"Joan Didion: What She Means" is an art exhibition now on view at UCLA's Hammer Museum; it renders the great writer's life and work through the creations of nearly 50 artists, including Betye Saar, Felix Gonzalez-Torres, Maren Hassinger, and Ed Ruscha.

The intersection of the physical world and human consciousness is a playground for designers like Amira Hankin, who know how to leverage both to influence the behavior of an observer. Trained in visual arts and biology, Amira is a lead product designer at Stamen and one of the minds behind Stamen's award-winning project 12 Sunsets. In this episode, we'll discuss the brilliance and mystery behind Ed Ruscha's photography of the streets in Los Angeles and how Amira threw the rulebook out the window to create a novel interactive archive for the Getty Institute.

Ahead of our big launch for Season 2 In December, we're going to celebrate the season of art. With London's Frieze, The Paris Art Fair our conversations with Ed Ruscha, Sam Taylor-Johnson, Jonas Wood, and as she's so magnificent once again our close friend Tracey Emin. At The River Cafe, our own art book The 'River Cafe Look Book' with recipes from The River Cafe Kitchen is out now. Food and art! Art and food! Artist and chefs let's begin! For more than 30 years The River Cafe in London, has been the home-from-home of artists, architects, designers, actors, collectors, writers, activists, and politicians. Michael Caine, Glenn Close, JJ Abrams, Steve McQueen, Victoria and David Beckham, and Lily Allen, are just some of the people who love to call The River Cafe home. On Ruthie's Table 4, Rogers sits down with her customers—who have become friends—to talk about food memories. Table 4 explores how food impacts every aspect of our lives. “Foods is politics, food is cultural, food is how you express love, food is about your heritage, it defines who you and who you want to be,” says Rogers. Each week, Rogers invites her guest to reminisce about family suppers and first dates, what they cook, how they eat when performing, the restaurants they choose, and what food they seek when they need comfort. And to punctuate each episode of Table 4, guests such as Ralph Fiennes, Emily Blunt and Alfonso Cuarón, read their favourite recipe from one of the best-selling River Cafe cookbooks.  Table 4 itself, is situated near The River Cafe's open kitchen, close to the bright pink wood-fired oven and next to the glossy yellow pass, where Ruthie oversees the restaurant. You are invited to take a seat at this intimate table and join the conversation. For more information, recipes, and ingredients, go to https://shoptherivercafe.co.uk/ Web: https://rivercafe.co.uk/ Instagram: www.instagram.com/therivercafelondon/ Facebook: https://en-gb.facebook.com/therivercafelondon/ For more podcasts from iHeartRadio, visit the iheartradio app, apple podcasts, or wherever you listen to your favourite shows.See omnystudio.com/listener for privacy information.

We're back on ArtCurious with another great interview episode for you today. Today's episode features a conversation about Light on Fire, the first comprehensive biography of the life and work of the abstract artist Sam Francis by award-winning author Gabrielle Selz. Drawing from exclusive interviews and private correspondence, including Ed Ruscha and Robert Irwin, Selz traces Francis's extraordinary and complex life.   Please SUBSCRIBE and REVIEW our show on Apple Podcasts and FOLLOW on Spotify Instagram / Facebook / YouTube Buy Light on Fire here! SPONSORS: BetterHelp: Get 10% off your first month of counseling Learn more about your ad choices. Visit megaphone.fm/adchoices

Peach Kelli Pop [mm:ss] "Panchito Blues II" Peach Kelli Pop Burger Records BRGR293 2013 A quick bit of garagey fun. Peach Kelli Pop [mm:ss] "Princess Castle 1987" Peach Kelli Pop Burger Records BRGR925 2015 Another ripping opener. Pearl Charles [mm:ss] "Night and Day" Pearl Charles Kanine Records KR148 2016 Great lead-off to Pearl's debut album, on some lovely yellow vinyl. Cocteau Twins [mm:ss] "Hazel" Peppermint Pig 4AD BAD 303 1983 Evidently Robin Guthrie felt this release was rubbish. And yet, here we are listening to it. Al Caiolo [mm:ss] "Jazz Pizzacato" Percussion and Guitars Time Records S/2000 1960 Guitars! Percussion! Stereo separation! And liner notes by Nat Hentoff! Rudi Bohn and His Band [mm:ss] "Mack the Knife" Percussive Oompah London Records SP 44009 1961 Mack the Knife meets Bridge Over the River Kwai? In separated stereo of course. If you're going to go with some Brecht/Weill martial music, why not the "Cannon Song (https://youtu.be/OcmMmHQU8cg)"? Half Japanese [mm:ss] "Listen to Your Heart" Perfect Joyful Noise Recordings JNR183 2016 Love does indeed call. Jad Fair's fifteenth studio album as Half Japanese, featuring some assistance from Deerhoof's John Dieterich helping out with guitar as well as handling the mixing and mastering. The Command All-Stars [mm:ss] "Perdido" Persuasive Percussion Volume 3 Command RS 817 SD 1960 What's that you want more stereo separation demonstrations? You got it, with this fun standard. Astute viewers of Only Murders in the Building may notice that Charles (Steve Martin) has all four volumes of Persuasuve Percussion framed in his kitchen. Odd you say? Well no, Charles is clearly an astute art collector (as is Steve Martin) and the covers for that series are designed by non other than Josef Albers (https://en.wikipedia.org/wiki/Josef_Albers). That would also explain the Ed Ruscha in the kitchen (https://edruscha.com/works/nice-hot-vegetables/). Nadja & Vampillia [mm:ss] "Aurora" The Perfect World Important Records IMPREC385 2013 Side one, track one of the ethereal collaboration between Nadja and Vampillia. Tones on Tail [mm:ss] "Performance" Performance Beggars Banquet BEG 106T 1984 A fine dark wave outing from this Bauhaus off-shoot featuring Daniel Ash, Kevin Haskins, and Glenn Camping. Sterling Holloway [mm:ss] "Peter and the Wolf (Intro)" Peter and the Wolf/The Sorcerer's Apprentice Disneyland 1242 1958 (originally) A nice introduction to the orchestra. Kiss [mm:ss] "You Matter to Me" Peter Criss Casablanca NBLP 7122 1978 Listener, you matter to me which is why I chose one of the shorter tracks from this not very good album. Peter Criss may be a kitty cat but this album is pretty much a dog. In case you're wondering Peter is the only member of Kiss performing on this record. The Pirates [mm:ss] "A Pirate's Life" Walt Disney's Peter Pan Disneyland 1206 1976 Never shoot a man in the middle of his cadenza. Petra Haden [mm:ss] "Goldfinger Main Title" Petra Goes to the Movies Anti- 87219-1 2013 All vocals, all awesome as per usual with Petra. And remember kids, before there was Glee, there was Petra Haden's version of "Don't Stop Believin'" (https://youtu.be/-kXbHf1SwGk) on the Engine Rooms Recordings compilation Guilt by Association. New England Conservatory Chorus [mm:ss] "Barkin: Two Emily Dickinson Choruses (Second Chorus)" Peyton: The Blessed Virgin, Ceely: Flee Floret Florens, Monod: Cantus Contra Cantum III, Barkin: Two Emily Dickinson Choruses, Davidson: Along the Edge Composers Recordings Inc. CRI SD 482 1982 Well, there's something you don't hear every day. Phoebe Snow [mm:ss] "San Francisco Bay Blues" Phoebe Snow Shelter Records SRL 52017 1974 The distinctive stylings of Ms. Snow taking a pass at this standard. Music behind the DJ: "Professor Fate" by Henry Mancini and his Orchestra

Over the years, we've been very fortunate to have some bona fide legendary artists on this show, from Ai Weiwei to Judy Chicago to Anish Kapoor to Ed Ruscha. But none of them, to my mind, are as surprising to talk to as the great performance artist Marina Abramović, who host Andrew Goldstien had the privilege of interviewing toward the start of this year. When you think about her art, what comes to the fore are profound themes of life and death, pain, and transcending the body. When you're talking to her, you think: wait, she's hilarious? And provocative, and blunt, and something like down-to-earth. We enjoyed the conversation about her work and her Abramovic Method so much that, this week, while the Art Angle team hits the beach for a little vacation, we thought we'd re-air the episode for your listening pleasure. In fact, the Abramovic Method might even come in handy for durationally enduring all this heat. Enjoy.  

"You know, everything is not just red, yellow, blue, and coming from a tube. It can be anything out there in the world. Grab it and use it." In 1956, artist Ed Ruscha left his home in Oklahoma and drove with his childhood friend to Los Angeles. Drawn to the city by its palm trees and apparent lack of an established art scene, Ruscha stayed to attend Chouinard Art Institute (now CalArts), where he aspired to be a sign painter. In the decades since, Ruscha has become a world-renowned artist, but much of his art continues to be informed by LA. In this episode, Ruscha discusses how he became an artist, his thoughts on his career today, and his decades-long project documenting Sunset Boulevard. For images, transcripts, and more, visit https://blogs.getty.edu/iris/podcast-ed-ruschas-los-angeles/ or http://www.getty.edu/podcasts To learn more about Ruscha's photographs of Sunset Boulevard, visit https://12sunsets.getty.edu/map/narrative

Karin Campbell is the Phil Willson Curator of Contemporary Art at the https://www.joslyn.org/ (Joslyn Art Museum) in Omaha. In the show, Campbell shares her first memorable encounters with art, her role as a curator in catalyzing public conversation and the emotional impact of art in and on her life. Since joining the museum in 2012, Campbell has curated several major exhibitions, including 30 Americans, Word/Play: Prints, Photographs, and Paintings by Ed Ruscha, and Sheila Hicks: Material Voices. She oversees Joslyn's collection of postwar and contemporary art and is the principal curator for the Karen and Doug Riley Contemporary Artists Project (CAP) Gallery, the first space in the museum's history dedicated specifically to living artists.

Mark Rozzo's astute and engaging new book Everyone Thought We Were Crazy: Dennis Hopper, Brooke Heyward, and 1906s Los Angeles, published by Ecco Press, documents the lives of Hopper and Hayward in the heyday as New Hollywood's It couple but also paints a panoramic landscape of the Los Angeles scene in the Sixties.Rozzo poignantly captures the vivacity of the heady days in the early 1960s, just as the underground culture of the Beat Generation was about to explode into the mainstream counterculture of the latter part of the decade—the sex, drugs and rock ‘n' roll mantra was born in the late 1960s.Sixties Los Angeles was a new center of gravity in culture; there was a new consciousness, a West Coast symmetry between art, underground cinema, music and civil rights that had never happened before, and has never happened since. Hopper and Hayward were not only up-and-coming actors in the early 1960s, they were also cross-cultural connectors who brought together the best of underground Los Angeles art, music and politics, under one roof—literally—1712 N. Crescent Heights in the Hollywood Hills. This modest Spanish Colonial was the meeting ground, as Rozzo illustrates, for a who's who of that time: Jane Fonda, Andy Warhol, Joan Didion, Jasper Johns, Tina Turner, Ed Ruscha, The Byrds and the Black Panthers.Their art collection, showcased at this house on Crescent Heights, as well as the house itself, is the backdrop of Everyone Thought We Were Crazy. Rozzo tells the story in a straight-forward, dual narrative, that helps fill in large parts of Brooke's story, which compared to Hopper's, hasn't been as well documented or explored in other books. Rozzo finds the right balance.As a decade-ending benchmark, Hopper's directorial debut Easy Rider became the emblematic proto-New Hollywood independent film, alongside Haskell Wexler's Medium Cool. These films help illustrate the promise and loss of that generation and that era. There isn't a happy ending in those films or in Hopper's marriage to Heyward, unfortunately—the couple divorced in 1969 just at Easy Rider was about to make cinematic history.After the divorce, Brooke eventually sold the house, broke up the art collection and moved back to New York, where she still resides. Hopper died in 2010.Rozzo's wide view of Los Angeles in the 1960s is essential reading for anyone interested in the unvarnished history of that period.Here's my conversation with Mark Rozzo discussing the life and times of Dennis Hopper and Brooke Hayward.Reading by Mark Rozzo.Music by Love.

Roberto Casiraghi"The Phair"https://www.thephair.com/orna a Torino per la III edizioneTHE PHAIRda venerdì 27 a domenica 29 maggio 2022Padiglione 3, Torino Esposizioni50 espositori tra gallerie ed editorie fino a domenica 29 maggio 2022TORINO PHOTO DAYPresentata oggi la III edizione The Phair, rassegna internazionale dedicata all'immagine ideata da Roberto Casiraghi e Paola Rampini, che torna ad animare il Padiglione 3 di Torino Esposizioni da venerdì 27 a domenica 29 maggio 2022. The Phair è un neologismo che è allo stesso tempo un manifesto, sintesi di Photography e Fair, l'appuntamento annuale che celebra il linguaggio della fotografia e le sue molteplici forme.Parteciperanno alla manifestazione gallerie italiane e straniere, alcune di esse impegnate nella realizzazione di collaborazioni inedite, che presenteranno progetti espositivi condivisi, riflessioni originali e indagini sull'universo femminile, il corpo e il paesaggio. Una selezione di Case Editrici presenterà i più interessanti sviluppi del panorama editoriale contemporaneo.“The Phair è ormai entrata tra le principali attività espositive cittadine e prova di questo è l'attiva collaborazione degli Enti locali, segnatamente gli Assessorati alla Cultura della Regione e della Città, della Camera di Commercio di Torino, della Fondazione CRT per l'Arte, della Compagnia di San Paolo e di Unione Industriali Torino ai quali, con l'aggiunta di tutti gli espositori partecipanti, vanno i nostri sentiti ringraziamenti per il loro fondamentale supporto alla realizzazione di questa nuova edizione”, dichiara il direttore Roberto Casiraghi.Fino a domenica 29 maggio 2022, in occasione di The Phair, torna a Torino anche la seconda edizione di TORINO PHOTO DAYS, la rassegna interamente dedicata al linguaggio della fotografia e alle sue forme. Per una settimana, gallerie e istituzioni culturali della città apriranno le loro porte, proponendo a un pubblico di addetti ai lavori e di appassionati mostre, esposizioni ed eventi.A questa edizione di The Phair anche la mostra UGO MULAS. Dall'Italia del Dopoguerra all'America della Pop Art. La visione di un collezionista, a cura di Chiara Massimello. L'esposizione comprende sessanta fotografie vintage dalla collezione di Massimo Prelz Oltramonti: dal clima culturale del Bar Jamaica e delle prime fotografie di ispirazione neorealista, agli scatti realizzati come fotografo ufficiale della Biennale di Venezia e poi a New York con i maggiori interpreti del clima culturale americano al tempo della pop art.Nella hall d'ingresso del Padiglione verranno inoltre allestiti due capolavori in prestito dalle Collezioni Permanenti del Castello di Rivoli Museo d'Arte Contemporanea: le opere May Day IV (2000) di Andreas Gursky e Parking Lots (1967-99) di Ed Ruscha.https://www.thephair.com/IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

So want to buy a Picasso? No, it's too expensive? Want to buy a teensy-weensy, tiny little microscopic flack of a Picasso? That sounds better, doesn't it? Believe it or not, that kind of sales pitch is actually gaining traction in a big way. In the wild world of fractional art sales, where massive new startup companies are buying up the bluest of blue chip art, think Basquiat, Joan Mitchell and Ed Ruscha, and selling what are essentially shares in these pieces to speculative investors. It's rapidly becoming a big business. But what you do you actually get if you buy a share in a painting, how does it work and what is it really worth? Artnet News, Senior Reporter, Katya Kazakina, author of the incredible Art Detective column joins this episode to talk about her new in-depth report on fractional art funds for the spring edition of the Artnet News Pro Intelligence Report, which just dropped last week.

Eric Rodenbeck is the founder and Creative Director of Stamen, a data visualization and cartography studio based in the Bay Area. Eric joins Charles Waldheim to discuss his work with the Getty Research Institute and their acquisition of Ed Ruscha's Streets of Los Angeles archive.

Matt sits down with Dave Schilling as they talk about the creativity of suit fashion, the artistic merits of pinball, and Dave also talks about a famous Ed Ruscha painting

Matt Mazany's level of artistic prowess is challenged by a super talented Cartoonist, David Kantrowitz. There was no actual challenge, just lively conversation while Matt worked with Oil paints as a challenge. Davi'd Katrowitz talks to Matt about Ed Ruscha's 'Oof'

Class is in session with everyone's favorite professor (seriously) and practicing artist Tate Foley! This episode we're talking things white guys are afraid of, the democratic multiple, creepy face masks, legos, giving your last artist proof to one of your art crushes, a billion ways to draw fire, the lost works of Ed Ruscha, and of course the Riso. We wished we could have talked to him for four hours. Follow him on Instagram @tate_foley and check out his work online at www.tatefoley.com

Art critic Alastair Sooke, in the company of some of the leading creatives of our age, continues his deep dive into the stunning works in the Museum of Modern Art's collection, whilst exploring what it really means “to see” art. Today's edition features graphic designer Michael Bierut selects Ed Ruscha's large blue and yellow painting of the word "OOF". Will the man who designed the Visa credit card symbol see three letters? Producer: Paul Kobrak Main Image: Edward Ruscha, OOF, 1962 (reworked 1963). Oil on canvas, 71 1/2 x 67" (181.5 x 170.2 cm). Gift of Agnes Gund, the Louis and Bessie Adler Foundation, Inc., Robert and Meryl Meltzer, Jerry I. Speyer, Anna Marie and Robert F. Shapiro, Emily and Jerry Spiegel, an anonymous donor, and purchase, The Museum of Modern Art, New York, 256.1988. © 2019 Edward Ruscha