Podcasts about european sculpture

Author Christine Coulson spent twenty-five years writing for the Metropolitan Museum of Art. Her final project was to write wall labels for the museum's new British Galleries. During that time, she dreamt of using The Met's strict label format to describe people as intricate works of art. The result is this "jewel box of a novel" (Kirkus Reviews) that imagines a privileged 20th-century woman as an artifact--an object prized, collected, and critiqued. One Woman Show (Avid Reader Press, 2023) revolves around the life of Kitty Whitaker as she is defined by her potential for display and moved from collection to collection through multiple marriages. Coulson precisely distills each stage of this sprawling life, every brief snapshot in time a wry reflection on womanhood, ownership, value, and power. "A moving story of privilege, womanhood, and the sweep of the 20th century told through a single American life" (Rumaan Alam, author of Leave the World Behind), Kitty is an eccentric heroine who disrupts her porcelain life with both major force and minor transgressions. Described with poignancy and humor, Coulson's playful reversal on our interaction with art ultimately questions who really gets to tell our stories. Christine Coulson spent 25 years writing for The Metropolitan Museum of Art and left the museum as Senior Writer in 2019. She started at The Met in 1991 as a summer intern in the European Paintings Department and returned in 1994 to start her first job at the museum after graduate school. During her tenure, she rose through the ranks of the museum, working in the Development Office, the Director's Office, and the Department of European Sculpture and Decorative Arts. In 2017, The Met gave Coulson a yearlong sabbatical to write Metropolitan Stories, her bestselling 2019 novel about the museum. Recommended Books: Katheryn Scanlan, Kick the Latch J.L. Carr, A Month in the Country Myra Coleman, Women Holding Things Learn more about your ad choices. Visit megaphone.fm/adchoices

Author Christine Coulson spent twenty-five years writing for the Metropolitan Museum of Art. Her final project was to write wall labels for the museum's new British Galleries. During that time, she dreamt of using The Met's strict label format to describe people as intricate works of art. The result is this "jewel box of a novel" (Kirkus Reviews) that imagines a privileged 20th-century woman as an artifact--an object prized, collected, and critiqued. One Woman Show (Avid Reader Press, 2023) revolves around the life of Kitty Whitaker as she is defined by her potential for display and moved from collection to collection through multiple marriages. Coulson precisely distills each stage of this sprawling life, every brief snapshot in time a wry reflection on womanhood, ownership, value, and power. "A moving story of privilege, womanhood, and the sweep of the 20th century told through a single American life" (Rumaan Alam, author of Leave the World Behind), Kitty is an eccentric heroine who disrupts her porcelain life with both major force and minor transgressions. Described with poignancy and humor, Coulson's playful reversal on our interaction with art ultimately questions who really gets to tell our stories. Christine Coulson spent 25 years writing for The Metropolitan Museum of Art and left the museum as Senior Writer in 2019. She started at The Met in 1991 as a summer intern in the European Paintings Department and returned in 1994 to start her first job at the museum after graduate school. During her tenure, she rose through the ranks of the museum, working in the Development Office, the Director's Office, and the Department of European Sculpture and Decorative Arts. In 2017, The Met gave Coulson a yearlong sabbatical to write Metropolitan Stories, her bestselling 2019 novel about the museum. Recommended Books: Katheryn Scanlan, Kick the Latch J.L. Carr, A Month in the Country Myra Coleman, Women Holding Things 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

Author Christine Coulson spent twenty-five years writing for the Metropolitan Museum of Art. Her final project was to write wall labels for the museum's new British Galleries. During that time, she dreamt of using The Met's strict label format to describe people as intricate works of art. The result is this "jewel box of a novel" (Kirkus Reviews) that imagines a privileged 20th-century woman as an artifact--an object prized, collected, and critiqued. One Woman Show (Avid Reader Press, 2023) revolves around the life of Kitty Whitaker as she is defined by her potential for display and moved from collection to collection through multiple marriages. Coulson precisely distills each stage of this sprawling life, every brief snapshot in time a wry reflection on womanhood, ownership, value, and power. "A moving story of privilege, womanhood, and the sweep of the 20th century told through a single American life" (Rumaan Alam, author of Leave the World Behind), Kitty is an eccentric heroine who disrupts her porcelain life with both major force and minor transgressions. Described with poignancy and humor, Coulson's playful reversal on our interaction with art ultimately questions who really gets to tell our stories. Christine Coulson spent 25 years writing for The Metropolitan Museum of Art and left the museum as Senior Writer in 2019. She started at The Met in 1991 as a summer intern in the European Paintings Department and returned in 1994 to start her first job at the museum after graduate school. During her tenure, she rose through the ranks of the museum, working in the Development Office, the Director's Office, and the Department of European Sculpture and Decorative Arts. In 2017, The Met gave Coulson a yearlong sabbatical to write Metropolitan Stories, her bestselling 2019 novel about the museum. Recommended Books: Katheryn Scanlan, Kick the Latch J.L. Carr, A Month in the Country Myra Coleman, Women Holding Things Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

Author Christine Coulson spent twenty-five years writing for the Metropolitan Museum of Art. Her final project was to write wall labels for the museum's new British Galleries. During that time, she dreamt of using The Met's strict label format to describe people as intricate works of art. The result is this "jewel box of a novel" (Kirkus Reviews) that imagines a privileged 20th-century woman as an artifact--an object prized, collected, and critiqued. One Woman Show (Avid Reader Press, 2023) revolves around the life of Kitty Whitaker as she is defined by her potential for display and moved from collection to collection through multiple marriages. Coulson precisely distills each stage of this sprawling life, every brief snapshot in time a wry reflection on womanhood, ownership, value, and power. "A moving story of privilege, womanhood, and the sweep of the 20th century told through a single American life" (Rumaan Alam, author of Leave the World Behind), Kitty is an eccentric heroine who disrupts her porcelain life with both major force and minor transgressions. Described with poignancy and humor, Coulson's playful reversal on our interaction with art ultimately questions who really gets to tell our stories. Christine Coulson spent 25 years writing for The Metropolitan Museum of Art and left the museum as Senior Writer in 2019. She started at The Met in 1991 as a summer intern in the European Paintings Department and returned in 1994 to start her first job at the museum after graduate school. During her tenure, she rose through the ranks of the museum, working in the Development Office, the Director's Office, and the Department of European Sculpture and Decorative Arts. In 2017, The Met gave Coulson a yearlong sabbatical to write Metropolitan Stories, her bestselling 2019 novel about the museum. Recommended Books: Katheryn Scanlan, Kick the Latch J.L. Carr, A Month in the Country Myra Coleman, Women Holding Things Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Melancholy Wedgwood (MIT Press, 2024) is an experimental biography of the ceramics entrepreneur Josiah Wedgwood that reveals the tenuous relationship of eighteenth-century England to late-capitalist modernity. It traces the multiple strands in the life of the ceramic entrepreneur Josiah Wedgwood (1730–1795) to propose an alternative view of eighteenth-century England's tenuous relationship to our own lives and times, amid the ruins of late-capitalist modernity. Through intimate vignettes and essays, and in writing at turns funny, sharp, and pensive, Iris Moon chips away at the mythic image of Wedgwood as singular genius, business titan, and benevolent abolitionist, revealing an amorphous, fragile, and perhaps even shattered life. In the process the book goes so far as to dismantle certain entrenched social and economic assumptions, not least that the foundational myths of capitalism might not be quite so rosy after all, and instead induce a feeling that could only be characterized as blue. Iris Moon is Associate Curator in the European Sculpture and Decorative Arts Department at the Metropolitan Museum of Art. She is the author of Luxury after the Terror and coeditor with Richard Taws of Time, Media, and Visuality in Post-Revolutionary France. She teaches at the Cooper Union for the Advancement of Science and Art. Rachel Pafe is a writer and researcher interested in modern Jewish thought, critical theories of mourning, and the boundaries of biographical writing. 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

Melancholy Wedgwood (MIT Press, 2024) is an experimental biography of the ceramics entrepreneur Josiah Wedgwood that reveals the tenuous relationship of eighteenth-century England to late-capitalist modernity. It traces the multiple strands in the life of the ceramic entrepreneur Josiah Wedgwood (1730–1795) to propose an alternative view of eighteenth-century England's tenuous relationship to our own lives and times, amid the ruins of late-capitalist modernity. Through intimate vignettes and essays, and in writing at turns funny, sharp, and pensive, Iris Moon chips away at the mythic image of Wedgwood as singular genius, business titan, and benevolent abolitionist, revealing an amorphous, fragile, and perhaps even shattered life. In the process the book goes so far as to dismantle certain entrenched social and economic assumptions, not least that the foundational myths of capitalism might not be quite so rosy after all, and instead induce a feeling that could only be characterized as blue. Iris Moon is Associate Curator in the European Sculpture and Decorative Arts Department at the Metropolitan Museum of Art. She is the author of Luxury after the Terror and coeditor with Richard Taws of Time, Media, and Visuality in Post-Revolutionary France. She teaches at the Cooper Union for the Advancement of Science and Art. Rachel Pafe is a writer and researcher interested in modern Jewish thought, critical theories of mourning, and the boundaries of biographical writing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Melancholy Wedgwood (MIT Press, 2024) is an experimental biography of the ceramics entrepreneur Josiah Wedgwood that reveals the tenuous relationship of eighteenth-century England to late-capitalist modernity. It traces the multiple strands in the life of the ceramic entrepreneur Josiah Wedgwood (1730–1795) to propose an alternative view of eighteenth-century England's tenuous relationship to our own lives and times, amid the ruins of late-capitalist modernity. Through intimate vignettes and essays, and in writing at turns funny, sharp, and pensive, Iris Moon chips away at the mythic image of Wedgwood as singular genius, business titan, and benevolent abolitionist, revealing an amorphous, fragile, and perhaps even shattered life. In the process the book goes so far as to dismantle certain entrenched social and economic assumptions, not least that the foundational myths of capitalism might not be quite so rosy after all, and instead induce a feeling that could only be characterized as blue. Iris Moon is Associate Curator in the European Sculpture and Decorative Arts Department at the Metropolitan Museum of Art. She is the author of Luxury after the Terror and coeditor with Richard Taws of Time, Media, and Visuality in Post-Revolutionary France. She teaches at the Cooper Union for the Advancement of Science and Art. Rachel Pafe is a writer and researcher interested in modern Jewish thought, critical theories of mourning, and the boundaries of biographical writing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

Melancholy Wedgwood (MIT Press, 2024) is an experimental biography of the ceramics entrepreneur Josiah Wedgwood that reveals the tenuous relationship of eighteenth-century England to late-capitalist modernity. It traces the multiple strands in the life of the ceramic entrepreneur Josiah Wedgwood (1730–1795) to propose an alternative view of eighteenth-century England's tenuous relationship to our own lives and times, amid the ruins of late-capitalist modernity. Through intimate vignettes and essays, and in writing at turns funny, sharp, and pensive, Iris Moon chips away at the mythic image of Wedgwood as singular genius, business titan, and benevolent abolitionist, revealing an amorphous, fragile, and perhaps even shattered life. In the process the book goes so far as to dismantle certain entrenched social and economic assumptions, not least that the foundational myths of capitalism might not be quite so rosy after all, and instead induce a feeling that could only be characterized as blue. Iris Moon is Associate Curator in the European Sculpture and Decorative Arts Department at the Metropolitan Museum of Art. She is the author of Luxury after the Terror and coeditor with Richard Taws of Time, Media, and Visuality in Post-Revolutionary France. She teaches at the Cooper Union for the Advancement of Science and Art. Rachel Pafe is a writer and researcher interested in modern Jewish thought, critical theories of mourning, and the boundaries of biographical writing. Learn more about your ad choices. Visit megaphone.fm/adchoices

Melancholy Wedgwood (MIT Press, 2024) is an experimental biography of the ceramics entrepreneur Josiah Wedgwood that reveals the tenuous relationship of eighteenth-century England to late-capitalist modernity. It traces the multiple strands in the life of the ceramic entrepreneur Josiah Wedgwood (1730–1795) to propose an alternative view of eighteenth-century England's tenuous relationship to our own lives and times, amid the ruins of late-capitalist modernity. Through intimate vignettes and essays, and in writing at turns funny, sharp, and pensive, Iris Moon chips away at the mythic image of Wedgwood as singular genius, business titan, and benevolent abolitionist, revealing an amorphous, fragile, and perhaps even shattered life. In the process the book goes so far as to dismantle certain entrenched social and economic assumptions, not least that the foundational myths of capitalism might not be quite so rosy after all, and instead induce a feeling that could only be characterized as blue. Iris Moon is Associate Curator in the European Sculpture and Decorative Arts Department at the Metropolitan Museum of Art. She is the author of Luxury after the Terror and coeditor with Richard Taws of Time, Media, and Visuality in Post-Revolutionary France. She teaches at the Cooper Union for the Advancement of Science and Art. Rachel Pafe is a writer and researcher interested in modern Jewish thought, critical theories of mourning, and the boundaries of biographical writing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Melancholy Wedgwood (MIT Press, 2024) is an experimental biography of the ceramics entrepreneur Josiah Wedgwood that reveals the tenuous relationship of eighteenth-century England to late-capitalist modernity. It traces the multiple strands in the life of the ceramic entrepreneur Josiah Wedgwood (1730–1795) to propose an alternative view of eighteenth-century England's tenuous relationship to our own lives and times, amid the ruins of late-capitalist modernity. Through intimate vignettes and essays, and in writing at turns funny, sharp, and pensive, Iris Moon chips away at the mythic image of Wedgwood as singular genius, business titan, and benevolent abolitionist, revealing an amorphous, fragile, and perhaps even shattered life. In the process the book goes so far as to dismantle certain entrenched social and economic assumptions, not least that the foundational myths of capitalism might not be quite so rosy after all, and instead induce a feeling that could only be characterized as blue. Iris Moon is Associate Curator in the European Sculpture and Decorative Arts Department at the Metropolitan Museum of Art. She is the author of Luxury after the Terror and coeditor with Richard Taws of Time, Media, and Visuality in Post-Revolutionary France. She teaches at the Cooper Union for the Advancement of Science and Art. Rachel Pafe is a writer and researcher interested in modern Jewish thought, critical theories of mourning, and the boundaries of biographical writing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

Melancholy Wedgwood (MIT Press, 2024) is an experimental biography of the ceramics entrepreneur Josiah Wedgwood that reveals the tenuous relationship of eighteenth-century England to late-capitalist modernity. It traces the multiple strands in the life of the ceramic entrepreneur Josiah Wedgwood (1730–1795) to propose an alternative view of eighteenth-century England's tenuous relationship to our own lives and times, amid the ruins of late-capitalist modernity. Through intimate vignettes and essays, and in writing at turns funny, sharp, and pensive, Iris Moon chips away at the mythic image of Wedgwood as singular genius, business titan, and benevolent abolitionist, revealing an amorphous, fragile, and perhaps even shattered life. In the process the book goes so far as to dismantle certain entrenched social and economic assumptions, not least that the foundational myths of capitalism might not be quite so rosy after all, and instead induce a feeling that could only be characterized as blue. Iris Moon is Associate Curator in the European Sculpture and Decorative Arts Department at the Metropolitan Museum of Art. She is the author of Luxury after the Terror and coeditor with Richard Taws of Time, Media, and Visuality in Post-Revolutionary France. She teaches at the Cooper Union for the Advancement of Science and Art. Rachel Pafe is a writer and researcher interested in modern Jewish thought, critical theories of mourning, and the boundaries of biographical writing. Learn more about your ad choices. Visit megaphone.fm/adchoices

Melancholy Wedgwood (MIT Press, 2024) is an experimental biography of the ceramics entrepreneur Josiah Wedgwood that reveals the tenuous relationship of eighteenth-century England to late-capitalist modernity. It traces the multiple strands in the life of the ceramic entrepreneur Josiah Wedgwood (1730–1795) to propose an alternative view of eighteenth-century England's tenuous relationship to our own lives and times, amid the ruins of late-capitalist modernity. Through intimate vignettes and essays, and in writing at turns funny, sharp, and pensive, Iris Moon chips away at the mythic image of Wedgwood as singular genius, business titan, and benevolent abolitionist, revealing an amorphous, fragile, and perhaps even shattered life. In the process the book goes so far as to dismantle certain entrenched social and economic assumptions, not least that the foundational myths of capitalism might not be quite so rosy after all, and instead induce a feeling that could only be characterized as blue. Iris Moon is Associate Curator in the European Sculpture and Decorative Arts Department at the Metropolitan Museum of Art. She is the author of Luxury after the Terror and coeditor with Richard Taws of Time, Media, and Visuality in Post-Revolutionary France. She teaches at the Cooper Union for the Advancement of Science and Art. Rachel Pafe is a writer and researcher interested in modern Jewish thought, critical theories of mourning, and the boundaries of biographical writing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/british-studies

Curators Jake Subryan Richards and Vicky Avery locate Cambridge within the transatlantic slave trade, connecting global commodities and local consumption, historic and contemporary art, to reveal how five hundred years of colonial resistance constructed new cultures, known as the Black Atlantic. Between 1400 and 1900, European empires colonised much of the Americas, transporting over 12.5 million people to these colonies from Africa as slaves. It's a history often recounted as something singular, concluded in the past - detached as happening ‘then, and over there' - else told from the perspective of imperial powers. But in their resistance of colonial slavery, people also produced new cultures that continue to shape our present. Black Atlantic, a new exhibition at Cambridge's Fitzwilliam Museum, reconnects the institution's collection, university, and city more widely with these global histories. Installed within the Founder's Galleries, part-funded by the profits from the transatlantic slave trade, it builds on the ‘grandeur and smugness' of the Fitzwilliam's architecture - an intervention which asks whether it is possible to decolonise museums, as imperial infrastructures. Co-curators Jake Subryan Richards and Vicky Avery consider contrasts and continuities between historic and modern works, with contemporary Black artists like Barbara Walker and Keith Piper, Alberta Whittle and Donald Locke commenting on visibility, racism, and colourism, and how visual representations of Black people have shifted over time. Vicky smashes stereotypes about abolitionism, ceramics, and popular culture, from the UK's largest pro-slavery punch bowl, to Jacqueline Bishop's new Wedgwood dinner set. Plus, with a botanical painting from a Caribbean plantation - one of the first signed works by a Black artist of a Black subject - we travel between environments in West Africa, North and South America, and Europe, finding examples of exploitation, agency, and self-liberation - and pathways to future ‘repair'. Black Atlantic: Power, People, Resistance runs at the Fitzwilliam Museum in Cambridge until 7 January 2024, the first in a series of exhibitions and gallery interventions planned until 2026. For more on the South Sea Bubble, listen to Dr. Helen Paul on ⁠The Luxborough Gallery on Fire (c. 18th Century)⁠: ⁠https://pod.link/1533637675/episode/c02b6b82097b9ce34d193c771f772152 Part of EMPIRE LINES at 90, exploring the legacies of the transatlantic slave trade through contemporary art. WITH: Dr. Jake Subryan Richards, Assistant Professor of International History at the London School of Economics and Political Science. Dr. Victoria Avery, Keeper of European Sculpture and Decorative Arts at the Fitzwilliam Museum. They are co-curators of Black Atlantic: Power, People, Resistance. ART: ‘The Coloureds' Codex, Keith Piper (2023); Vanishing Point 25 (Costanzi), Barbara Walker (2021); Breadfruit Tree, John Tyley (1793-1800); History of the Dinner Table, Jacqueline Bishop (2021)'. IMAGE: Installation View. SOUNDS: Jacqueline Bishop: History at the Dinner Table. Produced by Storya.co. With special thanks to the Paul Mellon Centre for Studies in British Art. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Twitter: twitter.com/jelsofron/status/1306563558063271936 And Instagram: instagram.com/empirelinespodcast Support EMPIRE LINES on Patreon: patreon.com/empirelines

This week hear about some soon-to-close art shows around town. Today: Co-curators Wendy S. Walters, writer, poet, associate professor of writing and director of nonfiction at Columbia University School of the Arts, and Elyse Nelson, assistant curator of European Sculpture and Decorative Arts at the Metropolitan Museum of Art, talk about "Fictions of Emancipation: Carpeaux Recast", closing March 5, the first exhibition at The Met organized around the themes of transatlantic slavery and colonialism. 

Ian Wardropper is the Anna-Maria and Stephen Kellen Director of The Frick Collection and has organized more than twenty exhibitions in his specialties of European sculpture, earlier decorative arts, and twentieth-century design and decorative arts. Exhibitions he co-organized at the Metropolitan Museum of Art include Art of the Royal Court: Treasures in Pietre Dure for the Palaces of Europe in 2008 and Cast in Bronze: French Sculpture from Renaissance to Revolution in 2009. Recent publications include European Sculpture, 1400–1900, in The Metropolitan Museum of Art; Bernini: Sculpting in Clay; Limoges Enamels at The Frick Collection; and The Frick Collection: Director's Choice. · www.frick.org · www.creativeprocess.info

Ian Wardropper is the Anna-Maria and Stephen Kellen Director of The Frick Collection and has organized more than twenty exhibitions in his specialties of European sculpture, earlier decorative arts, and twentieth-century design and decorative arts. Exhibitions he co-organized at the Metropolitan Museum of Art include Art of the Royal Court: Treasures in Pietre Dure for the Palaces of Europe in 2008 and Cast in Bronze: French Sculpture from Renaissance to Revolution in 2009. Recent publications include European Sculpture, 1400–1900, in The Metropolitan Museum of Art; Bernini: Sculpting in Clay; Limoges Enamels at The Frick Collection; and The Frick Collection: Director's Choice. · www.frick.org · www.creativeprocess.info

Ian Wardropper is the Anna-Maria and Stephen Kellen Director of The Frick Collection and has organized more than twenty exhibitions in his specialties of European sculpture, earlier decorative arts, and twentieth-century design and decorative arts. Exhibitions he co-organized at the Metropolitan Museum of Art include Art of the Royal Court: Treasures in Pietre Dure for the Palaces of Europe in 2008 and Cast in Bronze: French Sculpture from Renaissance to Revolution in 2009. Recent publications include European Sculpture, 1400–1900, in The Metropolitan Museum of Art; Bernini: Sculpting in Clay; Limoges Enamels at The Frick Collection; and The Frick Collection: Director's Choice. · www.frick.org · www.creativeprocess.infoSelf-portrait, RembrandtThe Frick Collection

"I actually assumed in graduate school that I would become a teacher and I've taught in a number of different universities, but it was working with art objects and seeing them in museums like the Metropolitan Museum or The Frick that made me want to go into museum work and ultimately become a curator. So when I was finishing my dissertation and had to think about a career, I applied to a lot of teaching jobs and there was one job that year in America in my specialized field, which was European sculpture, and I was very lucky. But a professional career is a bit of luck as well as predisposition, so I knew I wanted to work in museums, and I was lucky enough when I was able to find my way here."Ian Wardropper is the Anna-Maria and Stephen Kellen Director of The Frick Collection and has organized more than twenty exhibitions in his specialties of European sculpture, earlier decorative arts, and twentieth-century design and decorative arts. Exhibitions he co-organized at the Metropolitan Museum of Art include Art of the Royal Court: Treasures in Pietre Dure for the Palaces of Europe in 2008 and Cast in Bronze: French Sculpture from Renaissance to Revolution in 2009. Recent publications include European Sculpture, 1400–1900, in The Metropolitan Museum of Art; Bernini: Sculpting in Clay; Limoges Enamels at The Frick Collection; and The Frick Collection: Director's Choice. · www.frick.org · www.creativeprocess.info

Dogs have been painted, sculpted, photographed and made into memes and art depicting our furry best friends are celebrated on screens big and small and given pride of place in galleries, museums and homes. So what is behind this fascination that humans have with immortalizing dogs in art? Why do we immortalize dogs in art? The earliest depictions of dogs are believed to be 9,000 years ago carved into a cliff in what is now Saudi Arabia. Through the Middle Ages, the Renaissance to the modern day, humans across the globe have immortalized dogs in art across changing mediums and media and in all shapes and sizes. The hundreds of thousands of pieces that sit in galleries, museums and homes are a testament to our ongoing love and adoration of dogs, but they also tell a story, the evolution of our relationship with them and how that, and they, have changed over the years. In this episode, we journey through the ages and retrace the paw-steps of dogs of a bygone era. We explore how they have been immortalized, the stories those pieces tell, and their place in art history and in society today as a reminder of the importance humanity places on our best friends. About Alan Fausel, AKC Museum of the Dog Alan Fausel is CEO and Executive Director of the AKC Museum of the Dog. He has more than 30 years of art-world experience as a scholar, curator, and appraiser. His curatorial career began at the Fine Arts Museums of San Francisco in the department of European Sculpture and Decorative Art. He was then appointed curator of the Frick Art Museum in Pittsburgh. He has been with the auction houses Butterfields in San Francisco and Doyle and Bonhams in New York since 1990. Mr Fausel has been a regular on the paintings table of Antiques Roadshow since the series' first season in 1997. He taught at New York University in the Graduate School of Arts Education from 1999-2017. He is a frequent lecturer to groups including the Appraiser's Association of America. AKC Museum of the Dog https://museumofthedog.org/ Antiques Roadshow https://www.pbs.org/wgbh/roadshow/appraisers/alan-fausel/ LinkedIn https://www.linkedin.com/in/alan-fausel-590b699a/ About Erika Bleiberg, pet artist #journalismmatters Erika Bleiberg is a pet artist who started the #journalismmatters series on Twitter, painting the pets of journalists. She is also a public relations specialist and strategic communications professional with a keen ability to synthesize complex content into a compelling and engaging message. She develops and implements internal and external narrative and branded content with a specialty in social media to effectively deliver messages to target audiences, cultivate engagement and assist organizations in achieving their goals and objectives. Twitter https://twitter.com/erikableiberg?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor Instagram https://www.instagram.com/ebleiberg/?hl=en Facebook https://www.facebook.com/paintingpetsEB LinkedIn https://www.linkedin.com/in/erikableiberg/

Ian Wardropper is the Anna-Maria and Stephen Kellen Director of The Frick Collection and has organized more than twenty exhibitions in his specialties of European sculpture, earlier decorative arts, and twentieth-century design and decorative arts. Exhibitions he co-organized at the Metropolitan Museum of Art include Art of the Royal Court: Treasures in Pietre Dure for the Palaces of Europe in 2008 and Cast in Bronze: French Sculpture from Renaissance to Revolution in 2009. Recent publications include European Sculpture, 1400–1900, in The Metropolitan Museum of Art; Bernini: Sculpting in Clay; Limoges Enamels at The Frick Collection; and The Frick Collection: Director's Choice. · www.frick.org · www.creativeprocess.infoSelf-portrait, RembrandtThe Frick Collection

"I actually assumed in graduate school that I would become a teacher and I've taught in a number of different universities, but it was working with art objects and seeing them in museums like the Metropolitan Museum or The Frick that made me want to go into museum work and ultimately become a curator. So when I was finishing my dissertation and had to think about a career, I applied to a lot of teaching jobs and there was one job that year in America in my specialized field, which was European sculpture, and I was very lucky. But a professional career is a bit of luck as well as predisposition, so I knew I wanted to work in museums, and I was lucky enough when I was able to find my way here."Ian Wardropper is the Anna-Maria and Stephen Kellen Director of The Frick Collection and has organized more than twenty exhibitions in his specialties of European sculpture, earlier decorative arts, and twentieth-century design and decorative arts. Exhibitions he co-organized at the Metropolitan Museum of Art include Art of the Royal Court: Treasures in Pietre Dure for the Palaces of Europe in 2008 and Cast in Bronze: French Sculpture from Renaissance to Revolution in 2009. Recent publications include European Sculpture, 1400–1900, in The Metropolitan Museum of Art; Bernini: Sculpting in Clay; Limoges Enamels at The Frick Collection; and The Frick Collection: Director's Choice. · www.frick.org · www.creativeprocess.info

Dogs have shown consideration for our feelings over thousands of years. Have we reciprocated? The UK is, when it comes to legal matters … and an art museum in NYC is when it comes to art.   Dogs Get Legal Rights in the UK Be warned, Cruella! Rates of illegal puppy theft and smuggling. skyrocketed in the last year, and the UK is cracking down. New animal welfare plans are in place ... lawmakers must now consider the wellbeing of dogs and other animals when making laws. AKC Museum of the Dog Pam visits the high-tech fine art museum, the AKC Museum of the Dog in New York City. Recently relocated to 101 Park Avenue, this super-swank spot is the Louvre of dog art. Their collection preserves important art featuring dogs as subjects ... not just for their beauty, but for their ability to show breed evolution over the years. There's a bouncy virtual dog named Molly, interactive exhibits, and rotating special collections. You can even find out what breed of dog you most resemble. The Hydrant Jim, Pam, and Caroline stop by the hydrant to sniff out the latest dog gossip, innuendo, @jokes, and notes. Chapters 0:00 Introduction 1:36 Dogs Get Legal Rights in the UK 10:16 AKC Museum of the Dog 18:57 The Hydrant 24:14 On the Next Episode CLAIRE BASS Animal welfare is not just a professional crusade for Executive Director of Humane Society International UK, Claire Bass, it is very personal. Her dog Henry, a Golden Retriever mix, started life in a dog meat farm in South Korea, before she rescued him and brought him home to London. Henry is her daily reminder of the change organisations like hers can make for all animals. In her role with HSI/UK she leads strategic planning for the organisation's national campaigns, works with colleagues overseas on priority campaigns, like the dog meat trade and street dog welfare and manages the donor and supporter care team and oversees staff fundraising in the UK. She also chairs the Animal Welfare Strategy Group and is a lead author and strategist on a joint campaign to government on animal rights post Brexit. t: @sea_l_bass t: @HSIGlobal ln: linkedin.com/in/claire-bass-31656612 f: https://www.facebook.com/hsiglobal DAVID BOWLES As head of public affairs for the RSPCA UK, David Bowles is passionate about representing the oldest and largest animal organisation in the UK which has been at the centre of changing peoples' attitudes to animals and improving animal standards for nearly 200 years. David has worked with the RSPCA for more than 25 years and is also on the Board of the Association of Cat and Dog Homes and the Canine and Feline Scientific Group, the UK government's policy advisors on cat and dog issues. He's a lover and defender of all animals, but especially his cat, who he openly admits tells him what to do and he obeys. t: @RSPCA_official t: @DavidBowles21 f: https://www.facebook.com/RSPCA ln: https://www.linkedin.com/in/david-bowles-716b8119/?originalSubdomain=uk ALAN FAUSEL, Executive Director & CEO AKC Museum of the Dog Alan Fausel brings with him over 30 years of art-world experience as a scholar, curator, and appraiser. His curatorial career began at the Fine Arts Museums of San Francisco in the department of European Sculpture and Decorative Art. He was then appointed curator of the Frick Art Museum in Pittsburgh. He has been with the auction houses Butterfields in San Francisco and Doyle and Bonhams in New York since 1990. Mr. Fausel has been a regular on the paintings table of ANTIQUES ROADSHOW since the series' first season in 1997. He taught at New York University in the Graduate School of Arts Education from 1999-2017. He is a frequent lecturer to groups including the Appraiser's Association of America. https://museumofthedog.org/ Molly Behind-the-Scenes Here's What We Found at The Hydrant Grant's Whiskey Is it Okay to Hug Your Dog? Sally the Civil War Dog

Ian Wardropper is the Anna-Maria and Stephen Kellen Director of The Frick Collection and has organized more than twenty exhibitions in his specialties of European sculpture, earlier decorative arts, and twentieth-century design and decorative arts. Exhibitions he co-organized at the Metropolitan Museum of Art include Art of the Royal Court: Treasures in Pietre Dure for the Palaces of Europe in 2008 and Cast in Bronze: French Sculpture from Renaissance to Revolution in 2009. Recent publications include European Sculpture, 1400–1900, in The Metropolitan Museum of Art; Bernini: Sculpting in Clay; Limoges Enamels at The Frick Collection; and The Frick Collection: Director's Choice. www.frick.org · www.creativeprocess.info

Ian Wardropper is the Anna-Maria and Stephen Kellen Director of The Frick Collection and has organized more than twenty exhibitions in his specialties of European sculpture, earlier decorative arts, and twentieth-century design and decorative arts. Exhibitions he co-organized at the Metropolitan Museum of Art include Art of the Royal Court: Treasures in Pietre Dure for the Palaces of Europe in 2008 and Cast in Bronze: French Sculpture from Renaissance to Revolution in 2009. Recent publications include European Sculpture, 1400–1900, in The Metropolitan Museum of Art; Bernini: Sculpting in Clay; Limoges Enamels at The Frick Collection; and The Frick Collection: Director's Choice. www.frick.org · www.creativeprocess.info

Ian Wardropper is the Anna-Maria and Stephen Kellen Director of The Frick Collection and has organized more than twenty exhibitions in his specialties of European sculpture, earlier decorative arts, and twentieth-century design and decorative arts. Exhibitions he co-organized at the Metropolitan Museum of Art include Art of the Royal Court: Treasures in Pietre Dure for the Palaces of Europe in 2008 and Cast in Bronze: French Sculpture from Renaissance to Revolution in 2009. Recent publications include European Sculpture, 1400–1900, in The Metropolitan Museum of Art; Bernini: Sculpting in Clay; Limoges Enamels at The Frick Collection; and The Frick Collection: Director's Choice. · www.frick.org · www.creativeprocess.info

A conversation about Duchamp, Michael Jackson, the allure of the Renaissance in the age of Instagram, and more. In the debut episode of David Zwirner’s new podcast, world-renowned artist Jeff Koons talks with Luke Syson, Chairman of European Sculpture and Decorative Arts at The Metropolitan Museum of Art. Their far-ranging exchange touches on creative impulse and resisting elitism; polychromy and Pop culture; Plato’s cave and the iPhone; evolution and reality TV. View Koons’s work in “Like Life: Sculpture, Color, and the Body (1300–Now),” curated by Syson at the Met Breuer, now through July 22, 2018. For more on what’s to come on Dialogues, listen to our trailer and visit davidzwirner.com/podcast. This podcast is a partnership between David Zwirner and Slate Studios Learn more about your ad choices. Visit megaphone.fm/adchoices

A conversation about Duchamp, Michael Jackson, the allure of the Renaissance in the age of Instagram, and more. In the debut episode of David Zwirner’s new podcast, world-renowned artist Jeff Koons talks with Luke Syson, Chairman of European Sculpture and Decorative Arts at The Metropolitan Museum of Art. Their far-ranging exchange touches on creative impulse and resisting elitism; polychromy and Pop culture; Plato’s cave and the iPhone; evolution and reality TV. View Koons’s work at the Met Breuer, New York in “Like Life: Sculpture, Color, and the Body (1300–Now),” curated by Syson and Sheena Wagstaff, Leonard A. Lauder Chairman of Modern and Contemporary Art at the Metropolitan Museum of Art, through July 22, 2018.

On this special podcast, we're back inside the Metropolitan Museum of Art in New York, investigating within the halls and installations of this iconic museum.Focusing on beauty, sex, love, and the body for this Let Me Ascertain You episode, we asked the curators to speak on these topics in relation to the artworks and share the compelling histories behind them. This past September, we turned their interviews into monologues and songs, which we then performed in the Petrie Court Cafe at the Museum itself.First up, we have David Cale performing an interview we did with Luke, a curator of European Sculpture and Decorative Arts. Then, Daniel Jenkins performs our interview with James, another curator of European Sculpture and Decorative Arts. And finally, Michael Friedman performs an original song that he wrote and performed called “Like a Virgin” based on an interview with Melanie, a curator of Medieval Art.This marked the first of three performances we'll have throughout our Met residency. Read more about this unique partnership, and the upcoming performances, here: http://www.metmuseum.org/blogs/met-museum…et-the-civilians

Elizabeth Cleland, Assistant Curator, Department of European Sculpture and Decorative Arts, Metropolitan Museum. New York