Podcast appearances and mentions of Elizabeth A Sackler

Hope you all did your homework by watching Hulu's Dopesick because we are talking about the Sackler family and their relationship with the arts. More specifically Bianca takes us through a chapter of her thesis on The Dinner Party and discusses The Elizabeth A. Sackler Center for Feminist Art— the person who acquired the piece and the space it is permanently housed in. Stick around to listen to our thoughts on how art was used as a tool to suggest the Sackler's status and how acts of protest took place in influential museum spaces both IRL and in the show.For all of Artpop Talk's resources, click HERE.

If you are familiar with the artist Judy Chicago, chances are you associate her with one piece: her magnum opus The Dinner Party, an epic work of installation art featuring elaborate place settings for 39 famous women, both mythical and historical, at a triangular banquet table. The feminist masterpiece took nearly six years and a veritable army of some 400 volunteers to complete. It became an international sensation, attracting 16 million visitors on a 10-year tour of the globe, largely organized by Chicago and her team, in the absence of institutional support from the art world. But the artwork, now on permanent view at the Brooklyn Museum's Elizabeth A. Sackler Center for Feminist Art, is conspicuously absent from the 82-year-old's first-ever retrospective, which opened in August, after over a year's delay due to the pandemic, at the de Young Museum in San Francisco.  The show is something of a homecoming for Chicago, who debuted The Dinner Party in the city at SFMOMA in 1979—but she's pleased that the exhibition, which does include preparatory Dinner Party works, is finally putting the spotlight on the rest of her career. "Judy Chicago: A Retrospective" curated by Claudia Schmuckli, presents some 130 artworks that seemingly encompass every medium, from paintings and drawings to tapestries and ceramics, and even photographs of her ephemeral "Women and Smoke" firework performance art series.  Amid a busy fall that has seen Chicago repeatedly crisscross the country, traveling to both coasts from her home in the tiny town of Belen, New Mexico, Artnet News Senior Writer Sarah Cascone, was lucky enough to pin her down during a visit to New York for a rare pandemic-era in-person interview. 

I sat down with Leah DeVun to discuss her book, The Shape of Sex: Nonbinary Gender from Genesis to the Renaissance. We talk about how widespread thinking and writing about non-binary individuals was during the first centuries of the CE and again in the C12th-14th, and the way non-binary bodies actually shaped the way a host of categories and boundaries (not just gender) were demarcated. We talk in detail about the shift in the C12th/13th and the way non-binary sex shaped the project of establishing a non-human other, justifying violence towards Jews and Muslims, and determining who could live in a Christian territory. We also talk about the figures of "Adam androgyne" and the "Jesus hermaphrodite", and how they function as "anchors of eschatological time." Finally, Leah discusses how this study can inform our present, not only by showing that the consideration of non-binary, trans*, and intersex bodies are not novel to our period, but how this consideration cuts through claims of 'natural and immutable' in our own day. Buy the book.Leah DeVun is Associate Professor of History and Vice Chair for Undergraduate Education at Rutgers University. Leah DeVun focuses on the history of gender, sexuality, science, and medicine in pre-modern Europe, as well as on contemporary queer and transgender studies. DeVun's new book, The Shape of Sex: Nonbinary Gender from Genesis to the Renaissance, is forthcoming from Columbia University Press (in spring 2021). DeVun is also the author of Prophecy, Alchemy, and the End of Time, winner of the 2013 John Nicholas Brown Prize, and co-editor (with Zeb Tortorici) of Trans*historicities, a special issue of TSQ: Transgender Studies Quarterly (2018) devoted to transgender history before the advent of current categories and terminologies of gender. DeVun has also written articles for GLQ, WSQ, Osiris, Journal of the History of Ideas, postmedieval, and Radical History Review, among other publications. DeVun is the recipient of fellowships and grants from the National Science Foundation, Huntington Library, David Geffen School of Medicine at UCLA, American Philosophical Society, and Stanford Humanities Center. DeVun is also a multi-media artist and curator whose work explores queer, feminist, and gender nonconforming history. DeVun's artwork has been featured in Artforum, People, Huffington Post, Slate, Art Papers, Hyperallergic, and Modern Painters, and at venues including the ONE Archives Gallery and Museum at the University of Southern California, Houston Center for Photography, Blanton Museum, Leslie-Lohman Museum, and Tang Teaching Museum at Skidmore College. DeVun has curated exhibitions and programs at the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum, NYU's Fales Library and Special Collections, and other venues. Find More episodes: www.loverinserepeat.com/podcast Follow the show on Twitter: @RinseRepeatPod // Follow me: @liammiller87 Love Rinse Repeat is supported by Uniting Mission and Education, part of the Uniting Church in Australia Synod of NSW/ACT

Ward Shelley works as an artist in New York and Connecticut. He is interested in constructed worlds and intersecting narratives; how they create, mediate and inform each other. He wants to know how things really work. Shelley specializes in large projects that freely mix architecture and performance. For more than a decade, he has been collaborating with Alex Schweder, using experimental architecture to explore the dance between the designed environment and its consequences. Since 2007, the duo have designed, built, and lived in (or on) seven structures, all of them in locations where the public are invited not only to witness, but also to actively engage with the artists in direct dialogue about their practice—an activity that has coalesced into what they call “performance architecture.” Shelley also works on diagramatic paintings: information-based timelines on culture-related subjects and historical postmortems. He frequently works with Douglas Paulson on installations and environments that attempt to turn mind, text, and meaning inside out (for a better look). They created the “The Last Library” project for Spaces in 2015. Shelley's work has been exhibited in more than 10 countries and is in a number of museum collections including the Museum of Modern Art, The Whitney Museum, the Brooklyn Art Museum, and The Elizabeth A. Sackler Center for Feminist Art. Shelley received a Painting and Sculpture award from the Joan Mitchell foundation, and has been a fellow of the American Academy in Rome since 2006. He has received NYFA and NEA fellowships in sculpture and new media categories, a Bessie Award for installation art, and grants from the Jerome Foundation and the Pollock-Krasner Foundation. He is represented by Pierogi Gallery in New York. A new septuagenarian, this year Ward claims to be taking a year off to re-evaluate the direction of his life and his work. He has re-booted and found time for few extra-curricular activities, particularly around music and reading, and has begun rescuing plants (otherwise known as gardening). Being outside has become a priority. The book mentioned in the interview was: A Brief History of Thought: A Philosophical Guide to Living by Luc Ferry.

Film Noir wasn't always cool, but thanks to the success of Jeanne Marie Spicuzza's film "The Scarapist", filmmakers have been inspired to take up the mantle... and Hollywood has noticed.In this episode Leslie has a fun conversation with the passionate Writer/Director/Actor about financing an Independent Film, the struggles of being a female Director, the Me Too movement and diversity in Hollywood, navigating the best film festivals and much more...  Jeanne Marie Spicuzza is an award-winning motion picture actress, writer, producer, director, fine artist, author and performer. She is the founder of Seasons & a Muse entertainment conglomerate, and the first studio in Hollywood fully-owned and run by a woman. She is a member of the Alliance of Women Directors, Film Fatales, Cinefemme and the Criterion Collective. She has taught at Grok Acting Studios, About the Work, Cardinal StritchCollege, the University of Wisconsin-Milwaukee and more. She is a poet in the schools at Occidental College, Santa Monica College and others.Jeanne Marie began painting at the age of two. She wrote her first poems and plays at age ten, gave birth to her daughter, Stephanie, at seventeen and was published by twenty-three. Shortly after a featured performance at Lollapalooza, she wrote and illustrated her first children’s book, Hope is My Favorite Color, and adapted it for the stage. It was performed at the Betty Brinn Children’s Museum in Milwaukee, Wisconsin.Jeanne Marie’s films have screened at theatres and festivals worldwide, and are distributed in domestic and international markets. She is listed in Who's Who in the World, and has received awards, placings and nominations with The Pushcart Prize, Shepherd Express, Fade-In Magazine, the Academy of Motion Picture Arts and Sciences, the Vatican Division of Arts and Culture and others. Jeanne Marie has served as external consultant for clients likeToyota Motor Corporation and Wiseau Studio. She was nominated 'Woman of the Year' in 1998 through the National Organization for Women. Audio segments from her screenplay "Breath of God" are at the Elizabeth A. Sackler Center for Feminist Art in the Brooklyn Museum, as part of Judy Chicago’s celebrated installation, “The Dinner Party.” Jeanne Marie is the first and only screenwriter to have been selected for permanent museum exhibition.Jeanne Marie earned a Bachelor of Arts Degree in philosophy and psychology from the University of WisconsinMilwaukee, with a partially completed Master of Arts Degree from same. She has studied acting and art history in countries like the United States, Italy, United Kingdom, Greece, Germany, Holland and more. Jeanne Marie is published in Poetry Motel, Quill and Parchment, A Gathering of Tribes and others. Having toured several countries,and winner of various poetry slams, her likeness appears on poet trading cards. Jeanne Marie’s paintings and illustrations may be found in the David Barnett Gallery, Children's Theatre School, Blue Fifth Review and more.Jeanne Marie shares a deep affinity with medieval visionary, composer and abbess Hildegard von Bingen. She is dedicated to the production of the motion picture project “Breath of God,” based on the life of this amazing historical woman. Her VDKUF award-winning premiere feature film “The Scarapist” is currently in release. “Night Rain” and "Making Angels” are slated to follow. Her debut novel bears the latter title. She lives in Los Angeles. 

Join Kat and Jenée-Daria Strand and learn about the ambitious young curator's story and vision for a more inclusive art world. Discover her role at the Brooklyn Museum and get behind the scenes of her daily life in New York!  Jenée-Daria Strand is the Curatorial Assistant for the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum where she supports in the research and organization of numerous exhibitions. She has worked on projects examining Black subjectivity through historical precedents, including her first independent co-curation of what once was in August of 2019 (Gloria Gail Gallery, NYC). Jenée-Daria aims to expand her knowledge of art history, and integrate her interests in performative practices, to examine performance within the museum setting. She serves on the Dance/NYC Junior Committee and holds a BFA from Florida State University. www.createmagazine.com/podcast

Äntligen är det dags för ett nytt avsnitt av Konsthistoriepodden! Efter två avsnitt om det sena 1800-talet ska vi nu tala om ett konstverk från 1970-talet: Judy Chicagos feministiska monumentalverk ”The Dinner Party” som skapades mellan 1974 och 1979. I denna installation har Chicago hyllat hela 1038 kvinnor och på så sätt skapat en symbolisk historia av kvinnan i vår civilisation. 39 av dessa kvinnor är bjudna till bords och har fått varsitt individuella bordskuvert som anspelar till deras liv, personlighet eller konst. Det sista bordskuvertet i verkets kronologi är tillägnad konstnären Georgia O'Keefe och då denna slutpunkt även var Chicagos utgångspunkt för verket, ska vi zooma in på detta konstnärskap också. I vårt poddavsnitt ska vi prata om konsthantverkets viktiga betydelse i detta feministiska nyckelverk och vi ska prata om verkets motiv och strategier som är återkommande i feministiska konstverk: varför avbildar så många feministiska verk det kvinnliga könet? Och varför använder sig många feministiska konstverk av konsthantverkstekniker och -material? ”The Dinner Party” har från början visats i en resande utställning, men efter att ha varit nerpackat i ett antal år fick det 2007 en permanent plats på Elizabeth A. Sackler Center for Feminist Art på Brooklyn Museum i New York. See acast.com/privacy for privacy and opt-out information.

Ward Shelley works as an artist in New York and Connecticut. He is interested in constructed worlds and intersecting narratives; how they create, mediate and inform each other. He wants to know how things really work. Shelley specializes in large projects that freely mix architecture and performance. For more than a decade, he has been collaborating with Alex Schweder, using experimental architecture to explore the dance between the designed environment and its consequences. Since 2007, the duo have designed, built, and lived in (or on) seven structures, all of them in locations where the public are invited not only to witness, but also to actively engage with the artists in direct dialogue about their practice—an activity that has coalesced into what they call “performance architecture.” Shelley also works on diagramatic paintings: information-based timelines on culture-related subjects and historical postmortems. He frequently works with Douglas Paulson on installations and environments that attempt to turn mind, text, and meaning inside out (for a better look). They created the “The Last Library” project for Spaces in 2015. Shelley’s work has been exhibited in more than 10 countries and is in a number of museum collections including the Museum of Modern Art, The Whitney Museum, the Brooklyn Art Museum, and The Elizabeth A. Sackler Center for Feminist Art. Shelley received a Painting and Sculpture award from the Joan Mitchell foundation, and has been a fellow of the American Academy in Rome since 2006. He has received NYFA and NEA fellowships in sculpture and new media categories, a Bessie Award for installation art, and grants from the Jerome Foundation and the Pollock-Krasner Foundation. He is represented by Pierogi Gallery in New York. Information on the book mentioned in the interview - The Righteous Mind: Why Good People are Divided by Politics and Religion is a 2012 social psychology book by Jonathan Haidt, in which the author describes human morality as it relates to politics and religion.Haidt presents moral foundations theory, and applies it to the political beliefs of liberals, conservatives, and libertarians in the US. In Orbit; 2014 - A collaboration of Alex Schweder and Ward Shelley in Brooklyn. As a performance, the artists lived on the wheel for 9 days and nights. Walking together turns the wheel and brings them their beds, bathroom, kitchen and desks. photo credit Double Cyclops Work, Spend, Forget; 2013 - In this diagram, Shelley traces the parallel histories of consumerism, manufacturing, and marketing using the form of a dissected frog to suggest their effect on society. photo courtesy of Pierogi Gallery. The Room Where It Happened; 2020 - A diorama that imagines a series of rooms in which plans are made to alter and direct public opinion for political and economic purposes. An immersive yet diminishing environment, the rooms contain charts, files, books, and notes, all which have a certain historical resonance. Ward Shelley and Douglas Paulson. photo credit: Carlton Bright  

What do beer, hemp and a nun have in common?Today we are discussing the life of Hildegard von Bingen (otherwise known as Saint Hildegard) and her extraordinary visions which many have attributed to migraine.What do you think? Listen in and find out.Brooklyn Museum, Elizabeth A. Sackler Center for Feminist Art. “Hildegarde of Bingen.”McClory, Robert. “Hildegard of Bingen: No Ordinary Saint.” National Catholic Reporter, March 24, 2012Meares, Hadley. “The Medieval Prophetess Who Used Her Visions to Criticize the Church.” Atlas Obscura, July 13, 2016PBS Frontline. “Hildegard’s Scivias.” Songfacts. Für Hildegard Von BingenWikipedia. “Scivias.” Last modified October 23, 2018Support the show (https://www.facebook.com/MigraineXalone/)

What’s art history without the inclusion of female artists? My guest explains why a complete picture of history is impossible when you view it through the dominant narrative instead of hearing a plurality of voices. Associate Curator, Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum and co-curator of “Half the Picture: A Feminist Look at the Collection,” Carmen Hermo.Carmen talks with me about the exhibit (at the Brooklyn Museum through March 31, 2019), the themes that are still relevant today, how we grapple with it and try to do better moving forward. With Artsy writing just last week that “A study found that 85% of artists in U.S. museum collections are white, and 87% are male,” the exhibit seems timelier than ever.Support the show on Patreon - https://www.patreon.com/DisturbingthePiece

Egyptian scriptures from 1200 BCE describe painful, migraine-like headaches, so we know the disorder has afflicted people for at least three thousand years. Still, the condition continues to mystify us today. Anne Hoffman is a reporter, a professor, and a chronic migraine sufferer. She spent the past year tracing the history of migraines, hoping to discover clues about a treatment that actually works for her. The journey took her in some interesting directions. One common theme she found? A whole lot of stigma. Credits Hosts: Alexis Pedrick and Elisabeth Berry Drago Senior Producer: Mariel Carr Producer: Rigoberto Hernandez Reporter: Anne Hoffman Photo illustration by Jay Muhlin Additional audio production by Dan Drago Music Theme music composed by Zach Young. "Valantis" and "Valantis Vespers" by Blue Dot Sessions, courtesy of the Free Music Archive. Additional music courtesy of the Audio Network. Research Notes Interviews Matthew Crawford, Doan Fellow, Science History Institute. Margaret Heaney, professor of neurobiology, Columbia University Irving Medical Center. Joanna Kempner, sociologist and author of Not Tonight: Migraine and the Politics of Gender and Health. Anne MacGregor, medical researcher and clinician. Brian McGeeney, assistant professor of neurology, Boston University School of Medicine.  Sources Brooklyn Museum, Elizabeth A. Sackler Center for Feminist Art. “Hildegarde of Bingen.” McClory, Robert. “Hildegard of Bingen: No Ordinary Saint.” National Catholic Reporter, March 24, 2012. Meares, Hadley. “The Medieval Prophetess Who Used Her Visions to Criticize the Church.” Atlas Obscura, July 13, 2016. PBS Frontline. “Hildegard’s Scivias.” Songfacts. Für Hildegard Von Bingen. Wikipedia. “Scivias.” Last modified October 23, 2018, https://en.wikipedia.org/wiki/Scivias. Cannabidiol (CBD): Bazelot, Michaël, Chen Tong, Ibeas Bih, Dallas Mark, Clementino Nunn, Alistair V. W. Whalley Benjamin. “Molecular Targets of Cannabidiol in Neurological Disorders.” Neurotherapeutics 12 (2015): 699–730. Chen, Angus. “Some of the Parts: Is Marijuana’s ‘Entourage Effect’ Scientifically Valid?” Scientific American, April 20, 2017. Grinspoon, Peter. “Cannabidiol (CBD)—What We Know and What We Don’t.” Harvard Health Blog, Harvard Health Publishing, Harvard Medical School, August 24, 2018. Science Vs. “CBD: Weed Wonder Drug?” Podcast audio, November 15, 2018.. Migraine: Kempner, Joanna. “The Birth of the Dreaded ‘Migraine Personality.’” Migraine Again, November 30, 2017. Neighmond, Patti. “Why Women Suffer More Migraines Than Men.” Shots: Health News from NPR, National Public Radio, April 16, 2012. Peterlin, B. Lee, Saurabh Gupta, Thomas N. Ward, and Anne MacGregor. “Sex Matters: Evaluating Sex and Gender in Migraine and Headache Research.” Headache 51(6) (2011): 839–842. Sharkey, Lauren. “Why Don’t We Know More about Migraines?” BBC Future, British Broadcasting Corporation, July 2, 2018. Wikipedia. “Aretaeus of Cappadocia.” Last modified December 6, 2018. https://en.wikipedia.org/wiki/Aretaeus_of_Cappadocia. Cannabis for Migraine: Mandal, Ananya. “Migraine History.” News-Medical, August 23, 2018. MDede. “Are Cannabinoids and Hallucinogens Viable Treatment Options for Headache Relief?” Neurology Reviews 22(5) (2014): 22–23. Available at MDedge, Clinical Neurology News. Archival: Grass—The History of Marijuana. Directed by Ron Mann. Toronto: Sphinx Productions, 1999. Hildegard of Bingen. Directed by James Runcie. London: British Broadcasting Corporation, 1994. Reefer Madness. Directed by Louis J. Gasnier. Los Angeles: George A. Hirliman Productions, 1938.

With curator Catherine Morris, we talk about A Year of Yes: Reimagining Feminism at the Brooklyn Museum. The brilliant series of thematic exhibitions and programs on feminism and feminist art celebrates the 10th anniversary of Museum's Elizabeth A. Sackler Center for Feminist Art. Judy Chicago's Dinner Party inspires this complex project. Featured in our conversation: Beverly Buchanan: Rituals and Ruins, Marilyn Minter: Pretty/Dirty, Georgia O'Keeffe: Living Modern, and the 2017 version of Utopia Station. Sound Editor: Guney Ozsan | Recorded on Skype 14 Jan2017

A conversation about Emma Sulkowicz in conversation with Roberta Smith at the Brooklyn Museum. Introduced by Elizabeth A. Sackler in the flesh. (Plus audience member Gloria Steinem.)