Podcasts about eggars

Author Dave Eggars has written a new book, The Every, satirizing technology and it's ever-expanding hold on us. While publishing and distributing the book, which also happens to be about a tech giant overextending its reach, he tried to keep it out of the hands of one of today's tech giants. It proved to be a difficult task, Eggars told NPR's Audie Cornish, "...[it's] like taking not just the back roads but taking the dirt roads off the back roads off the highway."

This week, we're joined by Barry Eggars, Partner at Lightspeed Ventures. In late 1999, he and his partners set out to found Lightspeed. Barry specializes in information technology infrastructure with a focus on analytic platforms, cloud, IoT, networking, and emerging infrastructure. And, it's emotional intelligence that has enabled him to foster strong relationships throughout the valley. He believes EQ is just as important as big ideas when it comes to building great companies, which is why he focuses his efforts on providing leverage to entrepreneurs rather than creating overhead. And in the episode, Barry shares how he has built a winning team with unique partners across the globe. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/endeavornorthamerica/message Support this podcast: https://anchor.fm/endeavornorthamerica/support

We've done our first "magic mastering" on this podcast, so if the sound quality has noticeably improved, or you hear an error,  drop us a line at scrabbledabbledoopodcast@gmail.com  Here are the uncommon 6 letter words beginning with "A" and "E":  | ABASIA  |  | ALBATA  | ATABAL/BALATA | ANABAS  |  | AGGADA  |  | AGAPAE  | AGAPAI | ALASKA  |  | AMARNA  |  | ATAMAN  |  | ASANAS  |  | AUCUBA  |  | AUBADE  |  | AMBAGE  |  | ARABIS  |  | ABATIS  |  | ABORAL  |  | ABLAUT  |  | ARROBA  |  | APACHE  |  | AGAMIC  |  | AMTRAC  |  | AGAMID  |  | APODAL  |  | AGRAFE  | AGRAFFE | ANANKE  |  | ALULAE  |  | AFTOSA  |  | AGYRIA  |  | ANGARY  |  | AHIMSA  |  | ASHLAR  | LAHARS | ASKARI  |  | AMUSIA  |  | AJOWAN  |  | ATLATL  |  | ASARUM  |  | ANSATZ  | STANZA | ARCKED  |  | ALMUCE  | MACULE | ACETUM  |  | AGONIC  |  | AHCHOO  |  | AMUCKS  |  | AEDINE  |  | AXSEED  |  | ADENYL  |  | ADZING  |  | AUDISM  |  | ADYTUM  |  | ATWEEN  |  | ANENST  |  | AUREUS  |  | AFFLUX  |  | AZYGOS  | GYOZAS | ARSHIN  | SHAIRN | ASPISH  |  | APHONY  |  | ALIYOS  | ALIYOT | AWMOUS |   |  | EXACTA  |  | EARLAP  |  | EYEBAR  |  | ENJAMB  |  | EMBANK  |  | ECHARD  | CHARED | ENDCAP  |  | EJECTA  |  | ECARTE  | CREATE/CERATE | ENCASH  | HANCES/NACHES | EPARCH  | PREACH | ESCHAR  | CHARES/CHASE/SEARCH | EPICAL  | PLAICE/PLICAE | ENCINA  |  | ECLATS  |  | ESCARP  |  CAPERS/CRAPES/PACERS/PARSEC/RECAPS/SECPAR/SCRAPE, SPACER | EPACTS  |  | ESCARS/ESKERS/ESKARS | EMDASH  | MASHED/SHAMED | ENDASH  |  | EIDOLA  |  | ELAPID  |  | EASIES  |  | EUPNEA  |  | ENTERA  |  | EYASES  |  | EGGARS  |  | ESPIAL  | LIPASE | EOLIAN  |  | ELUVIA  |  | EONIAN  |  | EPIZOA  |  | EXUVIA  |  | ELYTRA  | LYRATE/REALTY | EUTAXY  |  | EPHEBE  | EPHEBI | EMBOLI  | MOBILE | EMBOLY  |  | EDENIC  |  | EXCIDE  |  | ESCUDO  |  | EMETIC  |  | ECESIS  |  | ECTYPE  |  | EXCEST  |  | ECHINI  |  | EXLIIC  |  | ENOLIC  | CINEOL | EXONIC  |  | ENCYST  |  | ENDUED  | DUENDE/DUDEEN/DENUDE | EMYDES  |  | EPHODS  |  | EMODIN 

In this episode of Age of Indiependence podcast, host Katlyn Eggar interviews Justin Eggar, the CEO & Co-Founder of Quantum Assurance International. Justin talks about his experience working with his spouse, the struggle and success in building their agency, and how the pandemic made an impact on their agency and their family as well. Episode Highlights: Katlyn introduces her husband, Justin Eggar. (1:28) Justin thinks that the pandemic has expanded their understanding of the possibilities of working from home. (4:07) Katlyn mentions that 9 years ago they opened their first scratch agency in Geneva, Illinois. (8:09) Justin mentions that their first agency was located in a building that was built in 1920 and it used to be a candy store. (4:36) Just shares that over the ensuing years, they grew from one agency and then a couple of years later they opened their second agency. (10:49) Justin thinks that part of their success is that they lean on each other. (11:35) Katlyn mentions that they have been using internet leads as a primary marketing source since 2011. (14:06) Justin mentions that they have been working together since 2011. (12:13) Justin shares that captive carriers have a mindset where they put arbitrary goals because they want to have elements that are hard to chase. (17:25) Justin shares the reason why they had more than a 90% retention on internet leads as they were building their organization. They learned to do it the right way and ensured that their frontline salespeople were doing it the right way as well. (23:50) Justin mentions that agents must not look at what's bringing in the most revenue in your agency. Rather, look at what's bringing the most profit into your agency and see where you can replace yourself. (24:09) Justin shares that they started in a place where they were small hometown agents and over the years they continued to refine and grow. Since then, it allowed them to continue to scale through those plateaus over the years to where Quantum is today. (30:24) Katlyn mentions that when an insurance agency owner succeeds, it creates a ripple effect. (37:39) Justin mentions that Katlyn did a course on process mapping for agencies that the Quantum agents have. (48:29) Key Quotes: “I know that people believe they can work with their spouse but it's all about separating job duties, having respect for each other, and having a common purpose. If you can align in a couple of those things, certainly anything's possible. I got lucky we have a great working relationship. We have a really fun time together.” - Justin Eggar “You can't trust a carrier to have your best intention when it comes to the goals they're putting on the board. You need to have your own goals as a business owner.”  - Justin Eggar “Legally, we're an insurance organization, but the heart of what we are is to create an incredible agency solution welcoming agents into the next 10 to 20 years and provide a good home for them.” - Justin Eggar Resources Mentioned: Agency Intelligence Reach out to Katlyn Eggar Justin Eggar LinkedIn Quantum Assurance International Advertisers: AI Mastermind- Sign up for AI Mastermind from December 20th to December 31st. Use the code LOYALLISTENER and get your first month for free. We Got Your Podcast

Summary: Hesh von Eggars, Ayda, and Francis the Lion begin their journey at the Spankee Candle shop in the city of Thintooth. Each pursuing their own interests, the party decides to leave the city under the guidance of Kharl, one of Master Douche's lieutenants, and make their way to Maraxi's Tower. Along the way, Kharl asks the three to make a quick detour to hunt some game for the rest of the party.Cast: Francis the Lion - voiced by Tony KinneyAyda - voiced by Jess OwenHesh Von Eggars - voiced by Shamas RodriguezDM - Nico RodriguezFind Us: If you would like to follow along with our map, you can find it on our social media pages: www.Facebook.com/afoolsquest / www.Twitter.com/afoolsquest / www.Instagram.com/afoolsquestpodcastMusic: Music Provided in part by Midnight Syndicate. www.MidnightSyndicate.comAdditional music provided by Algal the Bard.www.youtube.com/user/alvariu

Brian Formo returns to help us dissect why Parasite won so big. We look back in hindsight, relive the big night, & forecast the future in one final analysis of the 92nd Academy Awards. And yeah, Bong Joon Ho comes up a lot. What Is This Show/Introducing Our Guest - Top of Show Brian Formo of Fandango.com! +Where You Can Find His Work. OSCARS REVIEW W/ BRIAN FORMO: Who Needs Sleep?/How He Spent Oscars Weekend - 2:53 Spike + Jane’s Flair For The Dramatic - 5:04 Bong Joon-Ho Only Won THREE Oscars, Not Four? - 9:41 Joon-Ho: King Of Oscars Reactions - 13:53 Parasite’s Buzz Back in Festival Season - 16:11 What Neon Did Best For Parasite - 19:01 Secrets and Thrills and Horrors in The Academy - 23:08 Why Did Parasite’s Momentum Seemingly Stall Circa Mid-January? - 28:22 The One Movie Every Academy Member Watched, Apparently - 32:50 Where Other Contenders Mis-Stepped - 34:33 The Parasite vs 1917 Paths To Best Picture - 37:25 When in The Pref Balloting Was Best Picture Decided? - 42:21 (And Where Did The BP Noms Finish?) Why The Ratings Dip? - 46:56 (And Why Hosts Still Matter) Does Parasite Open Doors For Worldwide Film Appreciation? - 51:48 Brian Formo Socials, Where to Find His Work, + All Other Relevant Info - 57:12 What’s Coming From MMO This Oscars Offseason - 58:20 Your Homework/Our Socials - 1:03:51 Words of Wisdom- 1:05:07 With the Parasite victory fresh in our hearts, we still needed another chance to wrap our minds around it. So that’s where Brian Formo comes in play. Since he dropped all kinds of serious knowledge in our Supporting Actor pod, Brian felt like the perfect guest host for this deep dive on how exactly we got such a big upset. Make sure you follow @BrianFormo on Twitter, read Brian’s work at Fandango, and enjoy all the great content on the Fandango All Access channel on Youtube. We highly recommend the Scene Breakdown Series with recent videos featuring Adam Sandler & the Safdie’s on Uncut Gems, the Roberts Pattinson & Eggars on The Lighthouse, + Jennifer Lopez & Lorene Scafaria breakdown a scene from Hustlers. They’re addictive, they’re insightful, - they’re a must watch. In this episode, our focus is certainly on Parasite, as it should be. But we still enjoy several other tangents. Not only do we relive the big moments from the night, but we reinterpret some reactions. Statistics are mentioned, and you might be surprised to learn some widely read numbers don’t hold. Then we also retrace our steps and apply hindsight to awards season from how Parasite globe hopped from festival to festival to how it became such a buzzworthy platform release to how it won just enough precursors to keep it’s hope alive for Best Picture. Brian also helps us examine the Oscar TV Ratings, what the Oscar Bump does for VOD & Box Office sales, + we have high hopes for the future of global cinema after such an historic victory. If you enjoyed this episode, do please make sure to leave us 5 stars on Apple Podcasts. This helps us so very much, and we thank you for your cooperation & support. Then as I wrote up top, do seek out everything Brian Formo & Fandango. As always, we want to know what you think, and as we did in this show, we’ll happily work in your questions, comments, or concerns into our conversations. So… do tell. We’re @MMandOscar on Twitter, and we are on Instagram, Facebook, Reddit, and Gmail. You can subscribe / rate / review / like / share / & listen to us on Apple Podcasts, Soundcloud, Stitcher, Google Play, Tune In, Spotify, and just about wherever you might listen. We’re Mike, Mike, & Oscar, and we’re making awards season year round, without the stuffiness. Thanks for listening.

This week, Erin and Nicole have two tickets to the cult-classic Hale Bopp at the newly refurbished Heaven's Gate! The show starts at 1997. Total cost is (1) human body. Castration free with the purchase of every ticket. Special performance by Herff Jr. and the Eggars immediately following the show.

This week: Richard and Duncan speak with Chicago based artist and 2010 Whitney Biennial participant Julia Fish about her work, Japanese architecture and more! Before that starts, there is a short pithy segment on C2E2, which was awesome (the show not our bit). Yes I made a stupid Front 242 musical joke which only I will find funny.

This week Jeffrey Deitch!!! Recorded before a live studio audience at the BAS apexart show with special help from Carlo McCormick. Carlo McCormick is a leading New York art writer and a champion of "the downtown scene". For almost decades Jeffrey Deitch has been perhaps the most important taste maker and facilitator of emerging contemporary art in New York City and the world. On the eve of Deitch's departure from New York, Carlo will talk to Jeffrey about his time and legacy as one of the most visible, dynamic and controversial players in the the New York art world.  

This week: HOLY CRAP OUR SHOW AT apexart OPENS!!! April 7th 6-8 p.m. http://www.apexart.org/exhibitions/badatsports.htm. Also this week: Duncan talks to Peter Otto! Peter Otto’s work reports on the constituent factors of a human condition continually shifting between beguiling and highly disturbing. He reveals the state to which humanity – ever tested by social, cultural and political forces – bends, breaks and at times collapses. His paintings and sculptures show a reality emerging from the darkest moments. The themes are somber; the work though is delicately formed and teeming with graceful facture. Otto, who lives in Arnhem, The Netherlands, has been featured in solo and group exhibitions throughout Europe including projects at Museum Beelden aan Zee in Scheveningen, the Kröller-Müller Museum, Boÿmans van Beuningen in Rotterdam, Galerie Reuten and Galerie Swart in Amsterdam, the Museum Kurhaus Kleve and the Pushkin Museum in Moscow.

This week: Patricia sits down with artist Mads Lynnerup during his recent sojourn in San Francisco.  They talk about spotting Cyndi Lauper at the New Museum, precocious nerdy kids at the Guggenheim, navigating the ever-growing professionalization of the art world, everyday routines, and the merits of being a prankster. Mad Lynnerup was born in Copenhagen, Denmark and lives and works in Copenhagen and New York. He completed his MFA from Columbia University in 2007 and received a BFA from San Francisco Art Institute in 2001. He has shown his work at the San Francisco Museum of Modern Art; The Mori Art Museum, Tokyo; P.S. 1 and Socrates Sculpture Park, both New York; and Zacheta National Gallery of Art, Warsaw. Lynnerup works across such diverse media as video, sculpture, drawing, and printmaking. Many of the themes in his work have roots in his constant interest in the everyday and his surroundings. This is the third collaboration between Art Practical and Bad At Sports. Image: Routines (Sønder Boulevard), 2008 (video still); installation, video and poster series. Courtesy of the Artist and Baer Ridgeway Exhibitions, San Francisco. Links: www.artpractical.com http://www.artpractical.com/feature/interview_with_mads_lynnerup/ http://www.madslynnerup.com/    

This week: Duncan talks to Amy Franceschini. Amy Franceschini is an artist and educator whose work has at its core cross-disciplinary research with a focus on how humans impact the world we inhabit. Her work encourages new formats of exchange and production, many times in collaboration with other practitioners. These works often provide a playful entry point and tools for an audience to gain insight into a deeper field of inquiry – not only to imagine, but to participate in and initiate change in the places we live.  Amy founded the artists’ collective and design studio, Futurefarmers, in 1995 and Free Soil in 2004. Her solo and collaborative work have been in international exhibitions at ZKM, Whitney Museum, the New York Museum of Modern Art and Yerba Buena Center for the Arts, San Francisco. She received her BFA from San Francisco State University, MFA from Stanford University, and is currently an Assistant Professor of Art + Architecture at University of San Francisco and visiting artist at California College of the Arts. She is the recipient of the Artadia, Cultural Innovation, Eureka Fellowship, Creative Capital and SFMOMA SECA Awards.

This week: Philip von Zweck talks to Andreas Fischer! Andreas Fischer is a Chicago-based painter and Assistant Professor of Painting and Drawing at Illinois State University (Normal,IL). Over the past ten years, his work has been exhibited in solo and group exhibitions in New York and Chicago, including a 12 × 12 solo exhibition at the Museum of Contemporary Art, Chicago. He received a BFA from the School of the Art Institute of Chicago, an MFA and MA in Art History from the University of Illinois at Chicago, and studied at the Universität der Künste Berlin. He was awarded an Artadia artist grant in 2004 and his most recent exhibition were held at Hudson Franklin Gallery (New York), Gahlberg Gallery (Glen Ellyn) and the Hyde Park Art Center.    

This week: Duncan talks to 2010 Whitney Biennial participant and decontructivist photography raconteur, Curtis Mann.   Send us your video questions for the art world!!!    

This week: Brian and Patricia sat down with Oakland-based artist Michelle Blade on February 20 in her storefront studio, which is also the location of Sight School, http://sightschool.wordpress.com/, the alternative space she created in 2009 to encourage dialogue around the connections between art and life. It was the day following the opening for her solo exhibition, “Blow As Deep As You Want to Blow,” on view at Triple Base gallery http://basebasebase.com in San Francisco through March 21. Their conversation tackled a range of topics, from the economic realities that perennially plague artists in the Bay Area to the pleasures of walking across a painting. This is the second collaboration between Art Practical http://www.artpractical.com/ and Bad At Sports. Image: Music from the Mountaintops, 2010 (still). Courtesy of the Artist.

This week: The final report from NADA 2009! Duncan and Amanda talk to artists Nicole Awai, and Valerie Blass. This weeks intro contains lots of important information. Bad at Sports needs your help with an exciting new project. If you have a question you want answered related to the art world, we'll get you answers!

This week: The Amanda Browder show talks to Thomas Lawson and Stacey Allen about the new art journal East of Borneo.   Then Terri and Joanna discuss  Gail Carriger's novel "Soulless".   ALSO PLEASE HELP US OUT!!! Post a video question for our new project! Duncan details in the BAS announcement section of the show.   Los Angeles, CA, September 30--Set to launch in spring 2010, East of Borneo is a dynamic and extensive website: part art journal, part multi-media archive edited by Thomas Lawson, Dean of California Institute of the Arts (CalArts) School of Art. This far-reaching publishing project will also include an imprint of highly focused books that reconsider neglected material and provocative themes within a contemporary context. The development and launch of East of Borneo, signals the amicable end to CalArts' productive eight year collaboration with Afterall. Under Lawson's co-editorship, the contemporary art journal was produced in partnership with London's Central Saint Martins College of Art and Design. In an interview earlier this week, Lawson said, "As the internet forces radical change on all forms of publishing it has become ever clearer that all but the most entrenched art magazines are at risk of becoming obsolete in their current forms. The interesting and exciting thing about this is the potential the web opens up for those of us who want to push forward. As we envisage East of Borneo we will be able to offer readers and writers a much richer, and much more valuable and highly personalized, experience than print formats can. And editorially we will also be able to explore more fully our roots in Los Angeles, while maintaining very active links to the rest of the world." East of Borneo presents traditional art writing in all its variations--from personal to academic, poetic to theoretical--while providing a multi-media platform that highlights connections and encourages new lines of thought, research and consideration, as well as expanded forms of writing. With its robust web architecture and non-hierarchical editorial approach, East of Borneo reflects the sprawling, rhizomatic nature of Los Angeles as well as the broader, international art world. Afterall 22, the last issue of the journal co-published with CalArts, is due on newsstands in October and will feature texts on the artists Sheela Gowda, Jos de Gruyter & Harald Thys and the artists' group Art Club 2000. Thomas Lawson is an artist, educator and writer. His essays have appeared in such journals as Artforum, Art in America, Flash Art, frieze and October, as well as numerous exhibition catalogues. From 1979 until 1992 he, along with writer Susan Morgan, published and edited REALLIFE Magazine, an irregular publication by and about younger artists interested in the relationship between art and life. A selection of writings from REALLIFE was published by Primary Information in 2006. For East of Borneo, he is joined by Stacey Allan, a writer and curator who was the Los Angeles-based associate editor of Afterall from 2007-2009. Lawson and Allan are working, on this new venture, with a highly experienced team of web developers, freelance editors and contributors based both in Los Angeles and abroad. East of Borneo is published by the California Institute of the Arts, a 501(c)3 non-profit organization, and is supported in part by grants from the Andy Warhol Foundation for Visual Arts and the J. Paul Getty Foundation.

This week Duncan and Richard talk to Michelle Grabner and Annika Marie about Picturing the Studio and among other things whether or not anyone does four studio visits a day. Go check out the show, even the art I disliked was interesting. Lifted from SAIC: This exhibition explores the richly complex politically- and psychologicaly-charged notion of the artist's studio today. With works by over 30 artists spanning the past two decades, this exhibition also includes several specially designed installations undertaken by artists on site. Curated by Michelle Grabner, SAIC, and Annika Marie, Columbia College, "Picturing the Studio" is presented in conjunction with the College Art Association's 98th Annual Conference in Chicago, February 11-13, 2010. It is made possible in part with funds from the College Art Association and the Illinois Art Council, a state agency. Artists include: Bas Jan Ader, Conrad Bakker, John Baldessari, Stephanie Brooks, Ivan Brunetti, Ann Craven, Julian Dashper, Dana DeGiulio, Susanne Doremus, Joe Fig, Dan Fischer, Julia Fish, Nicholas Frank, Alicia Frankovich, Judith Geichman, Rodney Graham, Karl Haendel, Shane Huffman, Barbara Kasten, Matt Keegan, Daniel Lavitt, Adelheid Mers, Tom Moody, Bruce Nauman, Paul Nudd, Frank Piatek, Leland Rice, David Robbins, Kay Rosen, Amanda Ross-Ho, Carrie Schneider, Roman Signer, Amy Sillman, Frances Stark, Nicholas Steindorf, and James Welling.

This week Bad At Sports debuts its collaborative partnership with the online journal Art Practical. Scott Oliver, who has previously been on the show with the Collective Foundation, sits down with J. Morgan Puett. They discuss Mildred's Lane, a collaborative project with Mark Dion, the revolutionary politics of garments, and reclaiming the term migrant worker. An abridged transcript of the conversation can be found at Art Practical . Hooshing and the Nexus of Clothing: A Conversation with J. Morgan Puett By Scott Oliver  I met J. Morgan Puett during her Bridge Residency at the Headlands Center for the Arts this past fall. I knew little of her or her work, but was immediately struck by her warmth and charm, and by the language she used to talk about her practice. She refers to it as “a practice of being” in which “an ethics of comportment” defines any engagement she might have—with students, collaborators, participants, fellow artists-in-residence. But also with her son’s teacher or her car mechanic. Terms like “hoosh,” “workstyles (a play on lifestyles),” “algorithm,” “emergent,” “entangled,” and “complexity” pepper Puett’s speech, effectively communicating her expansive approach to art. She doesn’t often mention “social practice,” perhaps because her work has been socially engaged all along. But the term is also insufficient, so is “installation art” (a form her work often resembles). Puett’s work is difficult to summarize. It is sprawling, layered, immersive and open-ended. It is as intellectually rich as it is sensually pleasurable. It is narrative, process-based and participatory. In short, it is meant to be experienced, yet none-the-less fascinating to discuss. Scott Oliver is a sculptor and project-based artist living and working in Oakland, California. He has written catalogue essays for Southern Exposure, The Present Group, and independent curator Joseph del Pesco. Oliver co-founded Shotgun Review, an on-line source for reviews of Bay Area visual art exhibitions, with del Pesco in 2005 where he was a regular contributor until 2008. He is currently working on an audio walking tour of Oakland’s Lake Merritt.

This week: The third of our NADA shows from Miami. This time Amanda and Duncan talk to Brendan Fowler and Paul Gabrielli. Brendan Fowler (born 24 March 1978 in Berkeley, California) is a musician, best known for his work under the moniker BARR, based in Los Angeles. He is a regular performer at The Smell, a DIY music venue. He also co-runs Doggpony Records and is a co-editor of ANP (Artist Network Program) Quarterly - an Orange County based arts and culture publication funded by RVCA. He has recently played at the New York performance space, The Kitchen, and has been featured in Artforum Magazine. In 2006 Fowler curated a show at David Kordansky gallery in Los Angeles. New England Roses, a band consisting of Fowler, Sarah Shapiro, and Le Tigre's JD Samson, released their debut, Face Time With Son, in 2005. His new electronic-folk-pop band, Car Clutch, with Ethan Swan, had their debut performance in fall of 2006. New York-based artist Paul Gabrielli offers work of quiet maximalism. He approaches sculpture as an act of appropriation, assimilating other media into one comprehensive system. While Gabrielli's practice can be seen as a continuation of his minimalist lineage, his specific objects are infused with a thwarted eroticism of both desire and restraint. Gabrielli's works straddle the boundaries of sculpture, photography, work on paper and video, experiments in form designed to encapsulate the physical manifestation of a single thought, with all its lyricism and paradox, desire and restraint. His pieces represent both interior visions and the very real destruction of the well-defined and corporeal.

This week Amanda and Duncan rock the Miami area with a three-fer of NADA interviews with Ruba Katrib, Paul Gabrielli, and Atsushi Kaga. They surf the the tricky waters of "The Reach of Realism", the beauty of the everyday, and what you get out of cute Rock. Roll and love. With two brilliant young artists and a dynamite curator! This is the closest I have come to blowing the Sunday posting deadline in years, damn you influenza!

This week Bad at Sports begins a three or maybe four part series that we produced at NADA (the New Art Dealers Alliance) Art Fair for 2009. This week Amanda Browder and Duncan MacKenzie we sit down with Heather Hubbs, NADA's Director and Chris Duncan, a San Francisco based artist showing with Baer Ridgway Exhibitions. The conversations span a huge gulf as Heather talks about the roll she played in Chicago, galvanizing a scene and what she has done with NADA, while Chris talks about being in the studio, making and what things are like in SF. Great conversations  to kick off a great series that was produced inside one of the best fairs in the country. We produced a set of limited edition Bad at Sports T-Shirts for the event and have a small number of L, XL, and XXL's (maybe one or 2 mediums or smalls) left which are available from us for $20.00 a piece.  Contact us at mail@badatsports.com if you are interested.

This week:  The AMANDA BROWDER SHOW! Amanda and Tom start 2010 off with an interview with Miami artists Alain Guerra and Neraldo de la Paz about their collective Guerra de la Paz (awesome composite of their names) about their work, and how clothing can be more than just a shell over one person's nubile body..but a story and a basis for sculptural exploration.Then, Mike Benedetto returns!!! He offers up a meditation on Steven Seagal, Lawman. Guerra de la Paz is the composite name of Cuban born, American artist duo Alain Guerra (born 1968) and Neraldo de la Paz (born 1955), who have been collaborating since 1996. They are based in Miami. Guerra was born in Havana and de le Paz in Matanzas. Guerra de la Paz work in sculpture, installation and photography. Their work references the politics of modern conflict and consumerism alongside symbols of faith; they often use old clothing to build their sculptures. Photo by Douglas Voisin

This week: recent addition to the BAS family Anna Kunz talks to indie rock legend Lou Barlow (Dinosaur Jr., Folk Implosion, Sebadoh, Sentridoh, and his own solo work) about the creative process, his music, and other exciting stuff. Lou recently released a spectacular new album out Goodnight Unknown. Richard will kick himself for a long time that he wasn't there for this interview. Bad at Sports congratulates the Barlow family on the addition of a recent bundle of joy! The baby thing is catching kids, watch out. Before you realize it everyone you know will have a couple ankle biters running around. Also: Duncan talks about hugging Rashid Johnson, about whom nice things are said. Lastly, Mike B returns to sing sweet sweet music.Clipped from Wikipedia, and redundant: Lou Barlow is an American alternative rock singer, songwriter and multi-instrumentalist. A founding member of the groups Dinosaur Jr., Sebadoh and The Folk Implosion, Barlow is credited with helping to pioneer the lo-fi style of rock music in the late 1980s and early 1990s. Barlow was born in Dayton, Ohio and was raised in Jackson, Michigan and Westfield, Massachusetts.

This week Duncan and Richard interview Monica Bonvicini about her work and her show Light Me Black which is the current Focus show at the Art Institute of Chicago. Well, it was largely Richard as he would not shut up and Duncan had to be wheeled into the interview on a gurney due to his case of swine/bird/monkey flu/pox, and therefore did not have the strength to lift the stun gun of containment which is typically used in these situations.The following text was shamelessly lifted from the Art Institute's web site.November 20, 2009–January 24, 2010 Gallery 182 Overview: Equal parts beautiful and menacing, Monica Bonvicini’s sculptures, installations, videos, and drawings provoke an acute awareness of the physical and psychological effects of institutional, particularly museum, architecture. Favoring industrial materials that reference the modernist canon, such as metal and glass, often combined with the trappings of sexual fetishism—leather, chains, and rubber—Bonvicini confronts the power structures and contradictions inherent in built environments. Text quoted from a variety of sources, including literature, psychoanalytic theory, popular music, and architects’ own words, adds yet another layer to her wry commentary. More than any other artist working today, her projects aim to expose the disparity between the sexy, utopian, and avant-gardist claims of certain—largely male—“starchitects” and the realities of the spaces they create. The first Focus exhibition in the museum’s new Modern Wing, Bonvicini’s project brings together three works that directly engage the Renzo Piano–designed building both formally and conceptually. Created specifically for the Art Institute, Light Me Black, an immense sculpture comprising 144 custom-made fluorescent lighting fixtures suspended from the ceiling, recalls the emphasis on light throughout the Modern Wing. In the now-iconic 1998 installation Plastered, re-created at the Art Institute, the entire gallery floor is constructed out of unfinished drywall panels that progressively crack and fragment as visitors move through the space. The third part of the exhibition consists of three glass panels depicting altered renderings of earlier sculptural projects by Bonvicini and invoking the building’s glass-curtain façade—replicated in a smaller scale in Gallery 182. The three discrete elements work together to acknowledge the aesthetic achievements of the building while hinting at its potential vulnerabilities.

This week: Guest interviewer Anna Kunz (accompanied by Pamela Fraser) talks to Carroll Dunham about his show at He Said/She Said and more!American painter. He completed a BA at Trinity College, Hartford, CT, in 1971 and later settled in New York. Initially influenced by Post-Minimalism, process art and conceptual art, he was soon attracted to the tactility and allusions to the body in the work of Brice Marden, Robert Mangold and Robert Ryman. Spurred on by the revival of interest in Surrealism in the 1970s, Dunham began to make abstract, biomorphic paintings reminiscent of the work of Arshile Gorky and André Masson, executed with a comic twist enhanced by lurid colours and the suggestion of contemporary psychedelia. In the 1980s he began to paint on wood veneer and rose to prominence in the context of a broader return to painting in the period. Age of Rectangles (1983–5; New York, MOMA) is a highly abstract composition of differing forms, symptomatic of his work at this time: geometric sketches co-exist with eroticized organic shapes while the forms of the wood veneer show through the surface of the paint to suggest surging forces. Towards the end of the 1980s he began to move towards single, dominating motifs; wave-like forms were particularly common. In the Integrated Paintings series he applied paint-covered balls and chips to the surface of the canvas to further develop the sense of organic life. Mound A (1991; priv. col.) is typical of Dunham’s work of the early 1990s in which his forms began to resemble mounds of live matter, covered in orifices. Around 1993 his paintings began to feature schematic, cartoon figures which suggest the influence of Philip Guston.

This week, another in the series of interviews Duncan and Christian did at the Banff Centre while they were on art vacation, Jonathan Watkins! Jonathan Watkins (born 1957) is an English curator, and is currently Director of the Ikon Gallery in Birmingham. Watkins emigrated to Australia with his family in 1969 and studied Philosophy and History of Art at the University of Sydney, where he later taught. He was curator of the Chisenhale Gallery in London during which period this relatively small local gallery became an internationally known centre of excellence - many of the Artists shown at that time later going on to major acclaim including a number of Turner Prize winners, Watkins later moved to the Serpentine Gallery from 1995 to 1997 and worked in a freelance capacity as curator of the Biennale of Sydney in 1998. Watkins now lives in Birmingham, England. He currently directs the Ikon Gallery, and recently unveiled plans for a new museum of modern art in Birmingham.

This week Duncan and Christian talk to Ron Terada about art, hockey fights and Blade Runner (for the love of God, Edward James Olmos's character was named Gaff!!!).Ron Terada lives and works in Vancouver. Recent solo exhibitions include Voight-Kampff (2008), Catriona Jeffries Gallery, Vancouver; Stay Away From Lonely Places (2006), Ikon Gallery, Birmingham; and You Have Left the American Sector (2005), ArtGallery of Windsor. His work has been included in a number of group exhibitions including Tractatus Logico-Catalogicus (2008), VOX Centre de l’imageContemporaine, Montreal; Words Fail Me (2007), Museum of Contemporary Art, Detroit; The Show Will Be Open When the Show Will Be Closed (2006)Store, London and the Kadist Foundation, Paris; Intertidal (2005), Museum van Hedendaagse Kunst Antwerpen, Belgium; and General Ideas: Rethinking Conceptual Art 1990-2005 (2005), CCA Wattis Institute for Contemporary Arts, San Francisco. Terada was a recipient of the Victor Martyn Lynch-Staunton Award, Canada Council for the Arts (2006); and the VIVA Award, Jack and Doris Shadbolt Foundation (2004); and was nominated for a Sobey Art Award (2007). Terada is represented by Catriona Jeffries Gallery, Vancouver.

This week Duncan talks to Charles Esche, Director of the Van Abbemuseum, Kerstin Niemann, Research Curator at the Van Abbemuseum, and Stephanie Smith, Director of Collections and Exhibitions and Curator of Contemporary Art at the Smart Museum of Art about the current Smart Museum exhibition, Heartland.Project backgroundIn 2007 and 2008, the Heartland curators, eschewing traditional research methods, set out on a series of old-fashioned road trips through the vast center of the United States. These research trips informed two distinct exhibitions. The first presentation, which opened in October 2008 at the Van Abbemuseum in the Netherlands, sought to uncover new ways of thinking about the American interior during the U.S. presidential election and gave European audiences access to a broad survey of the Heartland’s culture, art, and music. The second, reconceived presentation at the Smart Museum, offers U.S. audiences a more focused look at the ideals of resourcefulness and invention that permeate the Heartland. Together, the two presentations offer a richly layered reading of a region that has too often been overlooked. The exhibition is co-organized by the Smart Museum of Art and the Van Abbemuseum, Eindhoven, the Netherlands. The Van Abbemuseum's presentation of Heartland took place from October 3, 2008 to February 8, 2009. In Eindhoven, the project consisted of a group exhibition in the Van Abbemuseum together with a musical program in the Muziekcentrum Frits Philips.

Liam Gillick. That is right, the man whose imagination can take him anywhere. A transparent master of the question of Modernity? Cat lover? Designer/author/theorist/artist/architect? The son Donald Judd never wanted? Enigma cloaked in riddle? Relational Aesthetic celebrity? All these things and more... We at Bad at Sports try and get to the bottom of Liam's magic in this hour-long interview. The last element in Liam Gillick's 4 part global retrospective, "Three perspectives and a short scenario" will run through January 10th at Chicago's Museum of Contemporary Art.  Accompanying that exhibition, Gillick has produced "The one hundred and sixty-third floor: Liam Gillick Curates the Collection," which is also be on view.Liam Gillick emerged in the early 1990s as part of a re-energized British art scene, producing a sophisticated body of work ranging from his signature "platform" sculptures -- architectural structures made of aluminum and colored Plexiglas that facilitate or complicate social interaction -- to wall paintings, text sculptures, and published texts that reflect on the increasing gap between utopian idealism and the actualities of the world. His work joins that of generational peers such as Rirkrit Tiravanija and Philippe Parreno in defining what critic Nicholas Bourriaud described as "relational aesthetics," an approach that emphasizes the shifting social role and function of art at the turn of the millennium. Gillick's work has had a profound impact on a contemporary understanding of how art and architecture influence, and are themselves influenced by, interpersonal communication and interactions in the public sphere.This exhibition is presented in association with the Witte de With in Rotterdam, Kunsthalle Zurich, and the Kunstverein in Munich. It is the most significant and comprehensive exhibition of Gillick's work in an American museum to date, comprising a major site-specific installation in the gallery ceiling as well as a presentation of his design and published works, and a film documenting projects from the entirety of his career. The MCA is the only American venue for the exhibition.

This week for your listening pleasure Bad at Sports has dispatched Shannon Stratton and Duncan MacKenzie to Illinois' glorious Kankakee to meet up with the artists of Temporary Services. They query Brett Bloom, Salem Collo-Julin, and Marc Fischer about social practice and the group's decade long history. The new www.badatsports.com is here! Come check out our redesign! Sunday the 8th we all need to once again make a trek down to Hyde Park to pick up the Artists Run Chicago Digest. In it you will find contributions by Lori Waxman, Dan Gunn, and little ole Bad at Sports! What follows is from http://www.studiochicago.org/arc-release/Artists Run Chicago Digest Release Sunday, November 8, 2:00 - 5:00pm Hyde Park Art Center 5020 S. Cornell Chicago, IL 60615 Join the Hyde Park Art Center, threewalls and The Green Lantern Press, as they celebrate the release of the Artists Run Chicago Digest. The A.R.C. Digest: Published by threewalls and The Green Lantern Press, The Artists Run Chicago Digest documents Chicago artist-run 'spaces' active between 1999 and 2009 offering a look at the various platforms that often act as extensions to studio practice. As the official catalog of Artists Run Chicago, an exhibition that featured 34 artist-run spaces from around the city from May 10-July 5, 2009 at the Hyde Park Art Center, The A.R.C. Digest acts as compliment to and extension of the exhibition, with interviews, essays, and an audio supplement presenting a 10-year time period in Chicago’s artist-run culture while providing history, reflection, critique and dialog about artist-run culture, its importance, difficulties, sustainability and necessity as well as its specificity to a community and generation.

This week Duncan and Christian check in from the Banff Centre for the Arts. They sit down with the Director of Visual Arts, Kitty Scott to discuss what the Banff Centre is and does. Then they hijack a moment of performance art to "guerrilla" style interview Jan Verwoert, a contributing editor to Frieze magazine, a regular writer for Afterall and Metropolis M, and the leader of their summer residency.

This week Duncan and Richard talk to Anthony Elms about WhiteWalls! Also the book review has made its glorious return. Terri and Joanna review “The American Painter Emma Dial” by Samantha Peale. Rejoice and be glad!

This week Bad at Sports has it all: tattoos, surfing accidents, sexual deviants, motorcycle races, newborn babies, starring death in the eye, and a walk down the red carpet at the Emmy's. Brian and Patricia probe artist Paul Urich about the connections between his studio practice and the craft of tattooing. Paul Urich has had exhibtions at the Headlands Center for the Arts, Yerba Buena Center for the Arts, Eleanor Harwood Gallery, Fecal Face Dot Gallery, and created a limited edition sneaker for Nike.

This week: Duncan leads a panel discussion on the the state of painting and current MCA exhibition Constellations: Paintings from the MCA Collection(which closes October 18th!) the panel consists of Artists Vera Klement and Wesley Kimler, Artletter.com's Paul Klein and exhibition curator Julie Rodrigues Widholm! Stolen liberally from the MCA website: This exhibition explores various approaches to painting and how it communicates ideas about life and art from the 1940s to the present. Arranged in a series of constellations, or groupings, the exhibition highlights for the first time the MCA Collection's particular strengths in this medium. Augmented by major works from important private collections to fill gaps in the MCA Collection and to provide examples of recent works made during the last few years, the exhibition includes work by approximately 75 of the most important artists of the last sixty years including Chuck Close, Andy Warhol, Gerhard Richter, Jasper Johns, Lari Pittman, Rudolf Stingel, Clare Rojas, Laura Owens, Josef Albers, Rene Magritte, Francis Bacon, Brice Marden, Caroll Dunham, Thomas Scheibitz, Jean Dubuffet, Sherrie Levine, Jules Olitski, Kenneth Noland, Sigmar Polke, Rebecca Morris, Roberto Matta, and Yves Tanguy, among others. Featured Chicago artists include Angel Otero, Wesley Kimler, Kerry James Marshall, Judy Ledgerwood, Scott Reeder, Michelle Grabner, Marie Krane Bergman, and Vera Klement. This exhibition explores questions about the current state and future of painting by creating a dialogue with works from the past. These conversations within each section stimulate ideas about painting that are not limited to chronology or specific art historical narratives, but follow lines of thought. Within the exhibition, the constellations aim to make connections through the various interests, positions, styles, and histories that artists address within their approach to painting. For example, Constellations explores approaches to the landscape and figure, so-called "bad" painting, appropriation and collage in painting, the critique of illusion in painting, form and color, and paintings that exist in-between representation and abstraction. All of the works in this exhibition are united by the use of paint, a brush, and a support to emphasize the complex and varied manner in which artists use similar materials. This exhibition does not seek to redefine what can be considered a painting, but rather examines how it endures as a vibrant art form, more than 100 years after it was proclaimed "dead" at the advent of photography. Clearly there is no correct way, which is why painting continues to be a source of stimulating conversation and debate. From the perspective of the artist and viewer, painting is a subjective experience. This exhibition is organized by Julie Rodrigues Widholm, Pamela Alper Associate Curator.

This week we return to Chicago's magic love and check in with a few local heroes, Rob Davis and Michael Langlois. Fresh from shows in New York and Berlin, they have returned home to a run of great exhibitions starting with the Cultural Center in January and rolling up to the current 12 x 12 at the MCA. They join us to chat about painting, perspectives on art history, collaboration and show making in the contemporary context, while always draping one hand back to tradition. The outro has a guest commentator with a message for Joseph Mohan. After that there is a special surprise for those who hang about for end of the credits. Or maybe not. I thought it was funny.

This week Tom and Amanda talk to artist Helidon Gjergji!

  This week: Duncan and Richard talk to Madeleine Grynsztejn, the new Director of the Museum of Contemporary Art, Chicago! Stolen liberally from the MCA website, with a bit of BAS embellishment:   Grynsztejn was born in Lima, Peru, and raised in Caracas, Venezuela, and London, England. She studied at the Sorbonne in Paris and received her BA in art history and French from Newcomb College of Tulane University, and her MA in art history from Columbia University. She is a former Helena Rubenstein Fellow at the Whitney Museum of American Art, and a 2007 graduate of the Getty Foundation’s Museum Leadership Institute. Grynsztejn has written, lectured, and taught extensively on contemporary art. She served as a panelist for the National Endowment for the Arts and the Galeria de Arte Nacional in Caracas, among other agencies. She acted as a juror for the Emily Hall Tremaine Foundation, the American Academy in Rome, the Munich Kunstpreis in Germany, and the Tiffany Foundation Biennial Awards. She has also served on the advisory committees for the Brooklyn Academy of Music and the American Center in Paris. She is fluent in English, Spanish, and French. Her husband, Tom Shapiro, is a marketing consultant and a damn nice guy. Yes, Bad at Sports added the “damn nice guy” part, the MCA would never be so inappropriately casual in a blurb! How dare us. The nerve! It's true though, he really is nice.

This week Duncan sneaks into The School of the Art Institute of Chicago to interview Mary Jane Jacob, Professor and Executive Director of Exhibitions.  Mary Jane Jacob's name is synonymous with the phrase "art as social practice" or the field of art that is now more widely known as "Relational Aesthetics."  Jacob was at the center of the nineties debate about what was and could be considered an art object/experience and was putting on festivals, exhibitions, and public art programming that expanded our art consciousness long before Bourriaud "sexy-ed" up the field with his now seminal book. Aside from being a former Chief Curator at the MCA Chicago and LA MoCA, Jacob was also the person behind "Culture in Action," Chicago's progressive, but widely debated 90's public arts program. She is the author/co-author of several books including, "Learning Mind: Experience into Art," "Buddha Mind in Contemporary Art," "Culture in Action: A Public Art Program of Sculpture Chicago," "Conversations at The Castle: Changing Audiences and Contemporary Art," and "On the Being of Being an Artist." She is the recipient of many grants, awards, fellowships and residencies, amongst the most notable are the Peter Norton Family Foundation, the National Endowment for the Humanities and National Endowment for the Arts, Rockefeller Foundation, Bellagio Study Center Residency, and the Getty Residency Program.

Four solid years of shows! Not one effing week missed! Duncan and Richard have yet to have a Beat-It style knife fight! Yes it is show #208. What, might you ask, do we have in store for show 208? Well I’ll tell you!   This week we are pleased to have Jim Duignan from the Stockyard Institute to talk about “The Cafeteria Sessions” program with The Multicultural Arts High School. The show opens with the students’ audio pieces. Next Duncan and Richard talk to Jim about the project, the Stockyard Institute, how we dragged him away from celebrating his wedding anniversary, and more!   From the Stockyard Institute’s website:   The Cafeteria Sessions   A series of lunch time recordings and radio workshops with adolescents on socially engaged artistic practice, utopian education and the future of Chicago. The Cafeteria Sessions will go on throughout the spring at the Multicultural Arts High School with Jim Duignan (S.I.), Ayana Contrares (vocalo) and Lavie Raven (University of Hip Hop).   This series culminated in a live radiocast from the Multicultural Arts High School on May 21, 2009.  

This week Patricia and Brian sit down again with Lawrence Rinder. In the last interview, they discussed his role as the director of the Berkeley Art Museum and Pacific Film Archive, and it new building campaign. In this conversation they focus on his curatorial career, and his most recent exhibition Galaxy: A Hundred or So Stars Visible to the Naked Eye. Previously he was the Dean at California College of the Arts, curated for the Whitney Museum of American Art, and founded the Wattis Institute for Contemporary Art at CCA.

This week, Patricia and Brian present the work from the Telling Stories class at CAA. The class was run by Taraneh Hemami, who invited the west coast Bad at Sports team to guest lecture and guide the students on an project interviewing community artists. The works edited for this podcast were of surprising content and quality, so we decided to share them with the Bad at Sports community. The students involved wih the project are Kim Ciabattari, Janet Lai, Jamie Lee, Fumi Nakamura, Johann Pascual, Jaron Stokes, Michelle Yee , Shen Yequin, Alexandra Styc, Alex Langeberg, Jamie Lee, Kristina Grindle, Amy Kelly, Taylor Ward, and Madeline Ward.

This week: Richard talks to Terry Scrogum, Executive Director of the Illinois Arts Council about the state of the budget, their programs and more! Next, Kathryn Born talks to Theaster Gates. Theaster Gates is a Chicago artist and University of Chicago faculty member who works with everything from executing ideas in urban planning, to Japanese sculpture, to performance art. He recently did "Temple Exercises" in the 12 X 12 space at the MCA, and among his upcoming projects is the possibility of buying an entire block on the south side. This project may someday include, among other things, a Soul Food-Japanese fusion restaurant which serves honey dipped, crunchy fried mac-and-cheese unagi rolls and Saki Kool-aid.

This week: Continental European Bureau Czar Mark Staff Brandl roams the Basel Art Fair 2009 with guest co-host Peter Noser, gallerist, curator and artist. They comment primarily on the "main fair," but also cursorily on Scope, Volta, the Solos Show, die Liste (and look forward to a Bridge addition next year). Additional walk-on voices include Maya LaLive d'Epinay, Martin Kraft, Alex Meszmer, many others, and a few seconds of Olga Stefan. Mark managed to wipe-out some excellent comments, or record them so poorly that they were unusable. Ce la technologie. A quick but comprehensive look at the "real" Basel, the most important international art fair, the Queen yet also Great Whore of Babylon. I made some multiples especially for the fair including pins and my T-shirt. They all bore the Latin phrase "Abite in Malam crucem, artis nundinae!", signed Marcus Scipio Incendiolus. Or, roughly in English, "Screw Art Fairs!" In German, as appropriate for Basel, that's "Zum Teufel mit Kunstmessen!"

This week, Brian and Patricia talk with artist Desirée Holman about TV sitcoms, life-like baby dolls, and Dungeons & Dragons in her Oakland Home. Desirée Holman was recently awarded the 2008 SECA award by the San Francisco Modern Museum of Art, and is a currently a resident artist at the Headlands Center for the Arts.

This week (the) Amanda Browder and Tom talk with curator Manon Slome about the "No Longer Empty" series of exhibitions. Manon is one of the curators of this year long series of shows, each of which inhabits an abandoned New York City store front for one month. Along the way the three talk about the dismal state of affairs in Ol' New York and how we can make lemonade out of these lemons.Manon Slome (PhD) is an independent curator working in New York City. From 2002 to June 2008 she was the Chief Curator of the Chelsea Art Museum in New York since its inception in 2002. During that time, she has curated and overseen a program of some forty exhibitions, symposia and museum publications as well as monographs and scholarly essays. Ms. Slome became highly involved with the Israeli art scene during her research for the exhibition, Such Stuff as Dreams are Made on”, (2005) and has followed and researched the Israeli scene for the last 3 years. Prior to the CAM, Ms. Slome worked as a curator at the Guggenheim Museum for 7 years and was a holder of a Helena Rubestein curatorial fellowship at the Whitney Independent Study program. She is currently working on a book, The Aesthetics of Terror.

This week, Duncan and Richard talk to Deb Sokolow! We talk about Deb's work, drug lords, Rocky, the merits of Sylvester Gardenzio Stallone's painting, Oliver North, how many people on the Bad at Sports staff have actually smoked crack, serial killers, meth labs, Jerry Saltz, Gary Busey, art school, and more, more, more! This is a great interview. As a special bonus Geoffrey Todd Smith preps panels with a roller (that is the odd sound you hear in the background) and chimes in occasionally off mic!Shamelessly lifted blurb: Deb Sokolow has been steadily inking her way into the hearts and minds of Chicago's art world. Since graduating from the School of the Art Institute in 2004, she has shown at 40000, Gallery 400 and Polvo, and had a solo show in the MCA's 12 x 12 series. Her whimsical drawings analyze pop-culture phenomena, such as the movie Rocky, office culture and Americans' fear of terrorism, and mix the aesthetics of children's books, diary writing, New Yorker-style cartoons and personal sketching.

This week Bad at Sports celebrates its 200-th episode by getting back to the known- Review-o-rama. We welcome guest reviewers Tony Tasset and Lori Waxman to take the pulse of Chicago's west loop.

This week Duncan and Richard go to Gallery 400 and talk to Director Lorelei Stewart and Assistant Director Anthony Elms about the current exhibition Our Literal Speed the end of the At the Edge: Innovative Art in Chicago series, and the new approach they are taking to commission and exhibit the work of emerging and mid-career artists. Gallery 400, a not-for-profit arts exhibition space at the University of Illinois at Chicago, was founded in 1983 to exhibit and support art, design and architecture. Over its 26 year history Gallery 400 has grown into a nationally recognized gallery that presents consistently acclaimed exhibitions, lectures, and artist commissions. The exhibitions and programs present a broad range of recent developments and aesthetic concerns and have included more than 1,000 artists to date.

This week Mark Staff Brandl interviews ex-pat artist Leonard Bullock. Here is some text crassly cut and pasted from somewhere else: Leonard Bullock originally from North Carolina and New York City, has lived in Europe for the last 15 years, frequently exhibiting in Switzerland and Germany. ... Bullock is a painters' painter, his direct facture influencing many better-known contemporaries such as the young Swiss artist Lori Hersberger. While Bullock often paints on surprising surfaces such as fiberglass or silk, the most arresting aspect of his work has been his mark-making, which is somewhat reminiscent of de Kooning in that it aspires to an indexical demonstration of sensation. Bullock does not copy his inspirational sources but rather updates them. He aligns a wide variety of strokes into tilted vectors, forming abstract totem poles that appear to swerve through space. His sense of touch reveals a painter more concerned with Titian and with questions of disparateness than with expressionism. In the "outro" to this weeks show, Duncan defends the good name of Joseph Mohan, against Richard's inappropriate commentary.