Podcasts about Eva Hesse

The Art Newspaper's digital editor Alexander Morrison is in Basel for the annual Art Basel fair. He talks to our art market editor, Kabir Jhala, about the atmosphere at the fair after a long downturn in the art market and underwhelming auctions last month in New York. While some major museums around the world would rather avoid the topic of returning objects acquired in the colonial period to their countries of origin, The Wereldmuseum in Amsterdam is attempting to get on the front foot, with an exhibition called Unfinished past: return, keep, or...? One notable aspect of the show is that it is not presenting any human remains. Ben Luke speaks to our correspondent in the Netherlands, Senay Boztas, about the future of human body parts in Dutch museums. And this episode's Work of the Week is Untitled or Not Yet (1966) by Eva Hesse, which is in a new exhibition at The Courtauld in London, called Abstract Erotic. The exhibition unites Hesse with fellow sculptors Alice Adams and Louise Bourgeois. Ben talks to Jo Applin, the co-curator of the show.Art Basel continues until Sunday, 22 June.Unfinished Pasts, Wereldmuseum, Amsterdam, until 3 January 2027.Abstract Erotic: Louise Bourgeois, Eva Hesse, Alice Adams, The Courtauld, 20 June-14 September; Louise Bourgeois: Drawings from the 1960s, the Courtauld, 20 June-14 September.Summer subscription offer: get up to 50% off an annual print & digital subscription to The Art Newspaper. https://www.theartnewspaper.com/subscriptions-SUMMER25P&D?promocode=SUMMER25&utm_source=special+offer+banner&utm_campaign=SUMMER25 Hosted on Acast. See acast.com/privacy for more information.

In this episode of the Weinberg in the World podcast, Aimee Resnick '26 interviews Priscilla Vail-Caldwell '85, founder of Vail-Caldwell Projects. Priscilla shares her undergraduate experiences at Northwestern, including impactful classes and internships that shaped her career in the arts. She discusses her current role as an advisor and curator, helping clients build art collections with a focus on research and quality. Aimee: Welcome to the Weinberg in the World Podcast, where we bring you stories of interdisciplinary thinking in today's complex world. My name is Aimee Resnick and I am your student host of the special podcast episode. I'm a senior studying social policy at Northwestern University who plans to pursue public administration in my home state of Colorado. Today, I'm very excited to be speaking with Priscilla Vail-Caldwell, who is the founder of the consulting firm, Vail-Caldwell Projects. Thank you, Priscilla for taking the time to speak with me today. Priscilla: Thank you, Aimee, for having me. Aimee: Of course. To start us off today, we were wondering if you can just tell us a little bit more about your time at Northwestern as an undergraduate in terms of what did you study and what were the impactful experiences you had at Northwestern that led you to your current career? Priscilla: I think one thing to note is that I came to Northwestern following a year of study abroad in France. As a senior, I studied in France, and then I came to Northwestern with an idea that I wanted to be at a big university near a city. Logistics had something to do with actually my choice of university, and I think it had to do with the fact that I had this experience that had really kind of opened my mind up about the world, essentially. There was that, and for some reason I declared an art history major very early on in my time at Northwestern. I think as a freshman, I had already decided that that was what I was going to do. You had asked what was one of the transformative experiences that I had at school, and I was thinking that ironically, in a way, I think it may have been a studio art class that I took because it was very rigorous and I enjoyed it, and I had a lot of respect for the other students in the class who I thought were gifted than I was. And I then realized that that wasn't really what I should be doing, but I still wanted to be involved in the arts, and I wanted to be involved in art history and working with objects. I always enjoyed those big introductory courses, sort of identifying paintings, and it seemed like a game to me, really. And I enjoyed that. And then frankly, learning about history through the lens of art. That was always something that kind of compelled me. I think another thing that I did while I was on campus, and I do think this is something that big universities offer, especially ones like Northwestern that are near a city like Chicago, are the opportunities to work in different situations outside of the university campus. I always worked, while I was at Northwestern, I waitressed, I did all sorts of things in order to earn extra money, and I found a job at a gallery downtown in Chicago called Frumkin & Struve. It's no longer in existence, but at the time, it was one of the big galleries downtown. And I worked there every Saturday. And then I had time in my schedule during the week, and I would work there usually one day during the week as well. And Bill and Debbie Struve were the principals of the gallery, and they gave me a lot... I mean, for a college student, they gave me a lot of responsibility, and they really brought me into the fold in a sense. So, I was included in all sorts of things, and the dinners for the artists, and I got to meet a lot of the artists that they were working with. And it was exciting and engaging, and I thought that that seemed like the kind of life I wanted to lead. I enjoyed the interaction with the artists primarily. Aimee: Oh, I totally empathize with your studio art experience, I'm taking painting right now, and there are some incredible painters in that class. But I also wanted to just say, I think that your experience having a really meaningful internship in Chicago is a good reminder to students to look outside the Northwestern bubble for opportunities as they're going through school. And I was wondering if you could tell us a little bit more about what you do at Vail-Caldwell Projects now that you're in New York. Priscilla: Well, I'm an advisor and a curator, and I've had my own advisory business now for the last... I think it's been about eight years. I've always been in the professional... I've always been in the commercial art world, but in this iteration, I advise private people who are building collections on acquiring works of art for the collection. We're building things oftentimes from the ground up. Oftentimes, I will start working on a project with somebody and there will be nothing essentially, and we will work on that together and build something that is meaningful and very specific in every single case with every client that I work with. All my projects are very, very different. There are clients that I work with who buy only the work of one artist. There are clients that I work with who focus very specifically on certain kinds of movements in, for instance, the California Light and Space Movement. There are people who are interested in collecting works by female artists. It all ends up having very different kinds of focuses. Each one of the projects allows me to apply my research skills and learn a lot alongside whoever it is that I'm advising, oftentimes about different aspects of the art world. I see what I do, as always, very research-based and obviously sort of a search for quality and also to include different voices in any kind of project that I work on. I also have a very strong background in modern American painting. I have this kind of hybrid experience where I oftentimes advise people on the purchase of work by contemporary and emerging artists, but I have a strong background in historic American painting. Many of my curatorial projects have been focused on the works of some of the seminal painters of the 20th century. I've done a series of exhibitions at Paul Kasmin Gallery on the work of Stuart Davis. I worked with Kasmin on a number of projects. Another one was a exhibition of sculptures by Elie Nadelman, who is artist who came to the United States from Europe and is considered part of the canon of modern American painting or sculpture, really. He's not a painter, he is a sculptor. I've also done projects with smaller galleries where I've curated relevant shows of young, relatively unknown artists. And that's always fun. I enjoy doing that. That's really a wonderful way for me to dive in and learn about what's going on out there amongst a group of recent graduates. So that's always exciting and I enjoy that kind of work very, very much. And currently, I think one of the things that I've just started working on is a collaboration with a gallery in London called Pi Artworks and an artist who they represent, whose name is Jyll Bradley. So I also advise the estate of Stuart Davis. Aimee: Yes, it does. And I have a related question, which is that you mentioned having worked with a lot of different genres and periods and different artists in this realm of art history. And while you were going through your education in your early career, was there a certain artist or movement that was particularly influential or touching to you? Priscilla: I'm going to answer that question by giving you a little bit more of my background. I left Northwestern, I moved to New York, and I took a job at a small gallery. And that year of working there were like three people on staff. That was an experience that taught me that I wanted to go back to school and learn to become more expert on something. I wasn't sure exactly what that was going to be, but I needed more skills actually in order to have the sort of job in the art world that I envisioned. I was accepted at Williams, which a small... Everybody's always confused because it's a college, but it has two graduate programs, and one of them is an art history program that's associated with the Clark Art Institute. I was one of 12 students in that following year, entering in to a two-year program. I had the good fortune of... Linda Nochlin was the visiting professor at the time who, if you're not familiar with Linda Nochlin, she was, she died a few years ago, one of the great feminist revisionist art historians of her time. And so studying with Linda, I began to look into the histories of certain artists like Eva Hesse and Jackie Winsor. Eva Hesse, of course, has been dead for many, many years. Jackie Winsor just died recently. At that moment in time, and I'm still very moved by the work and very interested in it, but I was very much focused on the work of minimalist and post-minimalist female sculptors to be extremely specific. That experience studying with Linda and looking into the histories of these women and the difficulties that they faced in a world that discriminates against women was eye-opening for me. And it's informed everything that I've probably done since. Aimee: Well, that's very interesting. And I think it's fascinating how some of these formative pieces of art really brought your eye into the future and your current work. And I know at the Block Museum on campus, we've had several exhibits that kind of follow in line with the types of art that you've just described in terms of the revisionist view of art history, the modernism with their Arabic art exhibit not too long ago. And I'm going to transition us to that because you're currently a member of the Block Museum Advisory Committee, and I just want to hear more about the work that you do there and then how you use that as a way to bring volunteerism and philanthropy into your professional career. Priscilla: I have always felt that volunteering my time to certain organizations in the art world is as important as the work that I do professionally. The idea of giving back, which I think frankly is something that either is kind of... For me, it's something that was ingrained in me as a young person. I try to only align myself with organizations whose missions I agree with. And that kind of mission usually includes a sort of mentorship for young artists so that there's a teaching element, which I think is really important. And also this sense of inclusion and diversity in institutions at every level. It's not just the artists that you're showing, but also in integration into the organization itself so that it represents the world in a sense. I mean, that's kind of big, but I think you get the gist of what I'm saying. I sit on the advisory board, and I mean, I think that I help in a number of different ways, but I have a feeling that my experience in the commercial art world and my interaction with lots of different artists and different galleries helps the director and the curatorial department in different ways. I can shed some insight sometimes that is useful. And of course, there are other people on the advisory board, not just me, who have similar experiences. My colleague Steve Henry, who is a classmate of mine, is one of the directors, one of the partners, not directors at Paula Cooper Gallery here in New York, so he sits on the advisory board with me as well. I think Lisa has been very wise in the way that she's chosen the members of her board, where we all contribute important things in different ways. Aimee: Absolutely. And I'm curious, outside of the Block, what other organizations do you volunteer your time to? Priscilla: Right now, the Block is my focus, but I was for a long time on the board of an organization here in New York. It's actually on Long Island City called Sculpture Center, which is a Kunsthalle and a place that essentially acts as an exhibition space oftentimes for artists who live outside the United States to have their first museum exhibition here in the US. It's a place of discovery, I think for a lot of people. It's a place that is very research-based, and they have a very knowledgeable curatorial staff that is very involved in the international art world. They do that. And then they also do a very, what I think is a really important annual exhibition that is an open call to artists that is directed at younger emerging artists, again, who haven't exhibited in an institutional space. And there are funds provided and mentorship provided. And it's a kind of learning lab for a group of artists who then create a group show. There's also a curator who's hired from outside who comes up with a theme for the show, and then they work together to put on these annual exhibitions. And they're amazing shows, and they do great work, and it's a very rich environment. Aimee: Next time I'm in New York, I'd love to come see the gallery. That is so interesting. Priscilla: It's a beautiful space. It's a beautiful, beautiful space in Long Island City. I would be happy to take you there, so let's do that. Aimee: Thank you. Priscilla: Yeah. Aimee: I think we're going to pivot a little bit from your specific career more to the field of art history on the whole, and a big part of being in art history is curating relationships with your clients, which you mentioned previously. What is your advice for students who are looking to foster quick relationships with other people, be it interviewers, co-workers, anyone in the professional world that they need to have a really strong bond with? Priscilla: Well, I will say that when... I did a lot of research on people before I meet them, so that at least I understand what it is that they do, what some of their interests might be. I feel like... I mean, in any case, in any field, if you're going into an interview, if you're meeting somebody for the first time, if it's an important engagement of any sort, it's really good to know who it is, who you're talking to. I think first of all, I would say do your research and figure out, find some interesting things to talk about that will interest the person who you are meeting with. And also will give them a sense that you actually know who they are. I think that's always... That's just flattering for one thing, and it also makes you look like you've paid attention. I used to take every opportunity to go out and do things, and I mean, I go to a lot of openings. I get myself into situations where I will meet people. I think that it can be uncomfortable. You might not know anybody where you're going. You could feel sort of nervous and shy, but I think you have to push yourself to be in situations where you might not feel comfortable, but something will come out of it almost inevitably, and you'll walk away knowing somebody who you didn't know before, and you never know where that's going to lead you. I'm a big believer in that, and I sort of feel like I have two personas. I have the person who doesn't like to do those sorts of things, and then I have the person who has to get up in the morning and go to work and for whom it's a requirement. I think those are two bits of advice that I would have. I mean, for students at Northwestern, of course, if they're looking to create networks for themselves, I mean, they have one, right? I mean, you all have an amazing network through the university, and you have professors who want to support and help you. Again, even though I think sometimes it's difficult to push yourself to go in and talk to your professors, they are there for that reason and they want to support the student body and see them be successful and help you to find things outside of the university that will engage you and also perhaps end up being a path towards a career. I don't know if all of that necessarily answers your question, but you've got... I think sometimes you wake up in the morning and you think that you don't have the tools at your fingertips, but you do and you just have to press the button. Aimee: That's good advice. I think a lot of times students at Northwestern are too timid to take advantage of many of those resources. That's really good advice. I have a little bit of background for this last question, which is that I, myself, was an artist history major for two years, dropping the major because I realized I was never going to get a job in art history because I don't necessarily have a family background or the connections to leverage to get a job in art history. And I was just curious, understanding that art history enrollment is rapidly declining. The cover story of the Nation magazine in early April was about how art history enrollment is declining. What advice would you offer to people who might not traditionally undertake a career in art history who are interested in becoming art historians or people in the art world? Priscilla: I think that oftentimes when people approach the idea of being an art historian or being in the art world, that they don't think broadly enough about all of the different things that happen in the art world. Of course, the glamorous jobs are to be a curator at a museum and to be a director or a principal at a gallery. And frankly, not everybody... I mean, as far as gallery work is concerned, really... I mean, there's curation going on, but it's sales primarily. So that might not be for everybody for one thing. Sales is not exactly the job that everybody wants to have. But what I've been thinking about a lot recently, and certainly a lot of the people in the art world who I rely very, very heavily on and whose expertise is impressive are there are registrarial departments at galleries and museums. Those are people who work with the objects and who have to deal with whether it's insurance or packing or moving objects from one country to another. And all of these things, while it may sound less glamorous, are still very interesting and complicated. And so those are jobs, I think that certainly registrarial departments, we depend on them. They're extremely important. And they have their own networks as well, by the way. There's also art restoration and working directly with objects, which is an interesting kind of combination of the scientific and the art historical. Especially for people who are interested in the sciences, there's an application for that in the art world. And there's a lot of ways of... There's all sorts of things that happen like carbon dating and various different X-ray techniques and all sorts of things that help to say define an object isn't really what I mean. But you have to understand organic chemistry in order to be a painting conservator. I think that we should think maybe differently about the art world a little bit than we do sometimes. And art history will inform all of those things. I mean, all of those people who are working in those different departments need to understand art history. They probably wouldn't even be doing that work unless they did. But you can come at it from a different angle. And I think that that's something that should probably be more emphasized. We need more art conservators out there. We really do. And there are a lot of objects to work on. Aimee: Definitely. Definitely. And I have one more follow-up question on that, which is my worst job I ever worked was at the American Museum of Western Art. I love the museum. I think it's a beautiful museum. I love pictures of cowboys, my favorite genre, but at the same time, it was just scanning documents all day as an unpaid internship. And I think that finances are often a really big barrier to entry for people in art history, given the precedence of unpaid internships, years long fellowships where you're not compensated. I'm just going to narrow in on my question, which is what advice would you give to people from non-traditional backgrounds who want to pursue a job in art history at all? Priscilla: Well, a lot of graduate programs now are fully funded, so that might be something to explore a little bit. I know that for instance, Williams, there are a lot of... I don't know that every single one of them, but many of those students are fully funded and also receive help with living expenses, health insurance, all of their expenses are accounted for. That isn't exactly what you're asking me. But I do think that it's good to... If art history is something that you're serious about, and frankly, if something you're serious about an advanced degree is something to consider, there are programs that will essentially fully fund you to study. So that's one potential way. The art world's a little hard actually in terms of entry-level jobs, and people aren't really paid a living wage. And I would like to know a way around that, too. It's a funny thing. It does prevent a lot of people who are gifted and able and should have access to the field, it probably prevents them from entering the field and that's our loss really. Aimee: I totally agree. And hopefully, we'll see some change in that arena during our lifetimes. Priscilla: I hope so. Yeah. I wish I had a better answer to your question, but also I think that when people go in for interviews, sometimes you are hesitant to be realistic about what you need. And I do think that there's no harm in being forthright about that. That's just a practicality, and you should expect it. Aimee: Yes, self-advocacy is very important. And I think that leads us to our very last question. This is our closeout question we ask every interviewee, which is what advice would you give to a senior in college who is about to graduate? From any field, from any major, what advice do you have for young people in this transitional moment? Priscilla: Well, try not to be discouraged. The world is in upheaval right now, but it won't remain that way. Or I think that we hope that it won't, and we've got to believe that it won't. And that it's funny. This is a kind of big question right now, Aimee. Also, don't close yourself off to opportunities that may not fit exactly into the vision of what you have for yourself. I mean, we do meander sometimes, and I think that it's actually important to because you learn a lot about yourself when you sort of take a fork in the road that you didn't expect that you might. I guess proceed without fear if it's possible, and have confidence in yourself. I mean, anybody who's graduating from Northwestern has done an amazing... They're capable. You're able. You can go out there and get it done. So yeah, I guess we all just remain... I know it sounds sort of like trite, but be positive. Aimee: Absolutely. That's all we can do. All we can do is control our own- Priscilla: Yeah. And fight and stand up for the things that you believe in. Give me the opportunity. Say it, say it out loud. Say what you mean. Don't be scared that somebody might disagree with you. Aimee: Absolutely. It's tough to keep that in mind with the current challenges the university is facing, but that is very good advice. I just want to say in general, thank you so much for your great advice and for chatting with us today. I think this podcast will be so helpful to many students who are interested in either going into art history or just looking at the state of the world right now. So thank you for being with us. Priscilla: Aimee, thank you. You're a very impressive young woman, I appreciate the invitation and it was fun talking to you. Aimee: Thank you. So to all of our listeners, thank you for listening to this special episode of the Weinberg in the World Podcast. We hope you have a great day and go Cats.

Marcie Begleiter, an artist based on the Central Coast of California, talks about: artist residencies, including the Sitka Center for Art and Ecology, where she recently did a 4-week residency, including collecting biological specimens/samples; how her time and relationship with the residency evolves over those four weeks, which has lead to artistic breakthroughs; how she likes deadlines, and can structure her residency experience with the clock ticking and puts extra focus on what she's doing, and in addition having the support of the people running the residencies; the importance of the artist statement in applications for residencies; what her experience was like at Sitka, from where she stayed (at an offsite house as opposed to the onsite cabins) to how she spent her days and nights, and what her studio days are like on a residency vs. the studio where she lives; why she left New York (Manhattan) for, initially Taos, N.M., and eventually California (essentially she needed more access to nature); and the interdisciplinary program she started at Otis College of Art that focuses on social change in the community.  In the 2nd half of our conversation, which is available on our Patreon page, she talks about: how she's restarting the local CERT (citizen's emergency response training) training in her unincorporated town (of Los Osos, CA), partially inspired by not having much access out of her area in an emergency; how she and her husband came to leaving Los Angeles for Los Osos, back in 2015/16, after she toured extensively with her documentary on the artist Eva Hesse; the benefits of living in a small town (Los Osos) which she prefers to city life; the lucky circumstances of having a great studio space in a location where you wouldn't expect great studios; why she vastly prefers a studio outside her home; she breaks down the different type of residencies: 1) fully funded plus stipends…2) fully funded, no stipend….3) highly subsidized…4) paying full ride; and finally, she addresses our standard finishing questions: how does she feel like social media in this moment, and how success is defined across various careers in the arts.

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. This week on 'Art is Awesome,' host Emily Wilson chats with Stephanie Robison, a sculptor living in Oakland and the chair of City College of San Francisco's Art Department. The episode delves into Stephanie's background, from growing up in Oregon and being encouraged by a high school counselor to attend college, to falling in love with sculpture, particularly stone. Stephanie discusses her creative process, the resistance she enjoys from materials like marble, and how her grandmother inspired her love for making things. She also shares her experiences with exhibitions and her thoughts on teaching. About Artist Stephanie Robison:Originally from Oregon, Stephanie currently resides in California teaching sculpture and serving as Art Department Chair at the City College of San Francisco. Robison holds a Bachelor of Fine Arts from Marylhurst University and a Master of Fine Arts in Sculpture from the University of Oregon. Her work has been exhibited at Marrow Gallery, Marin Museum of Contemporary Art and Orange County Center for Contemporary Art in California, Robischon Gallery in Denver, Colorado, Houston Center for Contemporary Craft, Joseph A Cain Memorial Art Gallery and Greater Denton Arts Council in Texas, Yeiser Art Center in Kentucky, Site:Brooklyn Gallery in New York, Foster/White Gallery, Whatcom Museum and Tacoma Art Museum in Washington, and Peter Robertson Gallery in Alberta Canada.Stephanie is represented by Marrow Gallery in San Francisco, California and Foster/White Gallery in Seattle, Washington. Her work can also be found at Robischon Gallery in Denver, Colorado.The sculptures of Stephanie Robison plays with multiple oppositional relationships. Working with industrial fabrics and wood, she creates large-scale installations that examine relationships between culture, nature and the built environment. Her latest series of work combines traditional stone carving and the process of needle felting wool. By merging incongruous materials such as wool and marble, she works to synthesize and fuse: organic and geometric, natural and architectural, handmade and the uniform industrial. Focusing on materiality and color with this new work, Robison creates charming, often humorous or awkward forms referencing aspects of the body, relationships and the environment. Visit Stephanie's Website:  StephanieRobison.comFollow Stephanie on Instagram:  @SquishyStoneFor more about Stephanie's Exhibit, "Incantations for the Average Person" CLICK HERE. --About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com

¿Cómo ser un artista? En el episodio de hoy sacamos aprendizajes de la práctica artística basados en las carreras de Keith Haring, Georgia O'Keeffe, Eva Hesse, Basquiat y Sol Lewitt. Ojalá que alguna de las lecciones (o todas) te caiga en el momento correcto. La información salió del formato de "How to be an artist" del medio Artsy. Learn more about your ad choices. Visit megaphone.fm/adchoices

Kunstenaar Rinus Van de Velde vertelt in deze aflevering van Bar Miroir hoe het komt dat hij zichzelf herkent in het nummer 'What's he building in there?' van Tom Waits, waarom de boodschap ‘DO' in de brief van kunstenaar Sol LeWitt aan Eva Hesse een reminder is om gewoon te ‘doen', en wat hij zo bijzonder vindt aan het beeldmateriaal van een schilderende Claude Monet in zijn tuin in Giverny. See omnystudio.com/listener for privacy information.

Kunstenaar Rinus Van de Velde vertelt in deze aflevering van Bar Miroir hoe het komt dat hij zichzelf herkent in het nummer 'What's he building in there?' van Tom Waits, waarom de boodschap ‘DO' in de brief van kunstenaar Sol LeWitt aan Eva Hesse een reminder is om gewoon te ‘doen', en wat hij zo bijzonder vindt aan het beeldmateriaal van een schilderende Claude Monet in zijn tuin in Giverny. See omnystudio.com/listener for privacy information.

A 2025 preview: Georgina Adam, our editor-at-large, tells host Ben Luke what might lie ahead for the market. And Ben is joined by Jane Morris, editor-at-large, and Gareth Harris, chief contributing editor, to select the big museum openings, biennials and exhibitions.All shows discussed are in The Art Newspaper's The Year Ahead 2025, priced £14.99 or the equivalent in your currency. Buy it here.Exhibitions: Site Santa Fe International, Santa Fe, US, 28 Jun-13 Jan 2026; Liverpool Biennial, 7 Jun-14 Sep; Folkestone Triennial, 19 Jul-19 Oct; Ruth Asawa: A Retrospective, San Francisco Museum of Modern Art, 5 Apr-2 Sep; Museum of Modern Art (MoMA), New York, 19 Oct-7 Feb 2026; Gabriele Münter, Guggenheim Museum, New York, 7 Nov-26 Apr 2026; Musée d'Art Moderne de Paris, 4 Apr-24 Aug; Elizabeth Catlett: a Black Revolutionary Artist, Brooklyn Museum, New York, until 19 Jan; National Gallery of Art (NGA), Washington DC, 9 Mar-6 Jul; Art Institute of Chicago, US, 30 Aug-4 Jan 2026; Ithell Colquhoun, Tate Britain, London, 13 Jun-19 Oct; Abstract Erotic: Louise Bourgeois, Eva Hesse, Alice Adams, Courtauld Gallery, London, 20 Jun-14 Sep; Michaelina Wautier, Kunsthistorisches Museum, Vienna, 30 Sep-25 Jan 2026; Radical! Women Artists and Modernism, Belvedere, Vienna, 18 Jun-12 Oct; Dangerously Modern: Australian Women Artists in Europe, Art Gallery of South Australia, Adelaide, 24 May-7 Sep; Art Gallery of New South Wales, Sydney, 11 Oct-1 Feb 2026; Lorna Simpson: Source Notes, Metropolitan Museum of Art, New York, 19 May-2 Nov; Amy Sherald: American Sublime, SFMOMA, to 9 Mar; Whitney Museum of American Art, New York, 9 Apr-Aug; National Portrait Gallery, Washington DC, 19 Sep-22 Feb 2026; Shahzia Sikander: Collective Behavior, Cincinnati Art Museum, 14 Feb-4 May; Cleveland Museum of Art, US, 14 Feb-8 Jun; Cantor Arts Center, Stanford, US, 1 Oct-25 Jan 2026; Jenny Saville: The Anatomy of Painting, National Portrait Gallery, London, 20 Jun-7 Sep; Linder: Danger Came Smiling, Hayward Gallery, London, 11 Feb-5 May; Arpita Singh, Serpentine Galleries, London, 13 Mar-27 Jul; Vija Celmins, Beyeler Collection, Basel, 15 Jun-21 Sep; An Indigenous Present, ICA/Boston, US, 9 Oct-8 Mar 2026; The Stars We Do Not See, NGA, Washington, DC, 18 Oct-1 Mar 2026; Duane Linklater, Dia Chelsea, 12 Sep-24 Jan 2026; Camden Art Centre, London, 4 Jul-21 Sep; Vienna Secession, 29 Nov-22 Feb 2026; Emily Kam Kngwarray, Tate Modern, London, 10 Jul-13 Jan 2026; Archie Moore, Queensland Gallery of Modern Art, 30 Aug-23 Aug 2026; Histories of Ecology, MASP, Sao Paulo, 5 Sep-1 Feb 2026; Jack Whitten, Museum of Modern Art, New York, 23 Mar-2 Aug; Wifredo Lam, Museum of Modern Art, Rashid Johnson, Solomon R. Guggenheim Museum, New York, 18 Apr-18 Jan 2026; Adam Pendleton, Hirshhorn Museum and Sculpture Garden, Washington DC, 4 Apr-3 Jan 2027; Marie Antoinette Style, Victoria and Albert Museum, London, 20 Sep-22 Mar 2026; Leigh Bowery!, Tate Modern, 27 Feb- 31 Aug; Blitz: the Club That Shaped the 80s, Design Museum, London, 19 Sep-29 Mar 2026; Do Ho Suh, Tate Modern, 1 May-26 Oct; Picasso: the Three Dancers, Tate Modern, 25 Sep-1 Apr 2026; Ed Atkins, Tate Britain, London, 2 Apr-25 Aug; Turner and Constable, Tate Britain, 27 Nov-12 Apr 2026; British Museum: Hiroshige, 1 May-7 Sep; Watteau and Circle, 15 May-14 Sep; Ancient India, 22 May-12 Oct; Kerry James Marshall, Royal Academy of Arts, London, 20 Sep-18 Jan 2026; Kiefer/Van Gogh, Royal Academy, 28 Jun-26 Oct; Anselm Kiefer, Ashmolean Museum, Oxford, 14 Feb-15 Jun; Anselm Kiefer, Van Gogh Museum, Stedelijk Museum, Amsterdam, 7 Mar-9 Jun; Cimabue, Louvre, Paris, 22 Jan-12 May; Black Paris, Centre Pompidou, Paris, 19 Mar-30 Jun; Machine Love, Mori Art Museum, Tokyo, 13 Feb-8 Jun Hosted on Acast. See acast.com/privacy for more information.

Artist and sculptor Permindar Kaur moves between the Black British Arts Movement, the Young British Artists (YBAs), and Barcelona in the 1990s, exploring the ambiguities of Indian and South Asian cultural identities, Nothing is Fixed is an idea that has grown from ⁠Permindar Kaur's 2022 exhibition at The Art House in Wakefield⁠. For their latest, in Southampton, the artist brings together the public and the private, transforming the various gallery spaces into bedrooms of a home. Beds, chairs, tables, and teddy bears - ambiguous, often unsettling, domestic objects - populate the space, as well as never-before-shown works on paper, which underline the role of drawing in their sculptural practice. Born in Britain to Sikh parents of Indian heritage, Permindar is often exhibited in the context of the Black British Arts Movement, showing with leading members of Blk Art Group like Eddie Chambers. The artist also describes their wider interactions with the ⁠YBAs, exhibitions in Japan, and influences from their formative years of practice in Barcelona, Spain, Canada, and Sweden. We discuss encounters with artists like Mona Hatoum and Eva Hesse, Helen Chadwick and Félix González-Torres, and more surrealist storytellers like Leonora Carrington and Paula Rego, alongside the material-focussed practices of Arte Povera. We trouble the category of ‘British Asian artists', exploring Permindar's work with and within particular Indian and Punjabi diasporic communities in Nottingham, Sheffield, and Glasgow, in Scotland. With series like Turbans, Permindar describes how their practice has changed over time, navigating questions of identity, representation, and the binary of non-/Western/European art practices. They share their research on a site-specific public sculpture for Southampton's yearly Mela Festival, a long-established event which represents, rather than ‘reclaims' space for, different South Asian cultures - and lifelong learning, from younger artists. Permindar Kaur: Nothing is Fixed ran at John Hansard Gallery in Southampton until September 2024, closing with the launch of an exhibition book of the same name, supported by Jhaveri Contemporary in Mumbai. Sculpture in the Park is on view at Compton Verney in Warwickshire until 2027. Kaur also presented work in A Spirit Inside, an exhibition of works from the Women's Art Collection and the Ingram Collection, at Compton Verney until September 2024. Bloomberg New Contemporaries 2024 opens in venues across Plymouth on 28 September 2024, and travels to the Institute of Contemporary Arts (ICA) in London from 15 January 2025. For more, you can read my article in gowithYamo. Hear curator Griselda Pollock, from ⁠Medium and Memory (2023)⁠ at HackelBury Fine Art in London: pod.link/1533637675/episode/37a51e9fab056d7b747f09f6020aa37e Read into Jasleen Kaur's practice, and the Turner Prize 2024, in gowithYamo: gowithyamo.com/blog/jasleen-kaur-interview And other artists connected to Glasgow, including Alia Syed (instagram.com/p/C--wHJsoFp6/?img_index=1), and ⁠Ingrid Pollard, in the episode from Carbon Slowly Turning (2022)⁠ at MK Gallery in Milton Keynes, the Turner Contemporary in Margate, and Tate Liverpool, and Invasion Ecology (2024): pod.link/1533637675/episode/4d74beaf7489c837185a37d397819fb8. For more about toys and unsettling ‘children's stories', hear Sequoia Danielle Barnes on Br'er Rabbit and the Tar Baby (2024) at Edinburgh Sculpture Workshop: pod.link/1533637675/episode/2b43d4e0319d49a76895b8750ade36f8 And listen out for more from Bloomberg New Contemporaries 2024 - coming soon. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Instagram: ⁠instagram.com/empirelinespodcast⁠ And Twitter: ⁠twitter.com/jelsofron/status/1306563558063271936⁠ Support EMPIRE LINES on Patreon: ⁠patreon.com/empirelines

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. Today, Emily chats with BAMPFA Chief Curator Margot Norton. In this Episode, Margot discusses her background, including her move from New York to Berkeley and her previous roles at the Whitney Museum and the New Museum. She describes an upcoming exhibition titled 'To Exalt the Ephemeral,' which focuses on impermanent art. She shares the transformative potential of museums, her inspiration from artists like Pepón Osorio and Eva Hesse, and her experience working with UC Berkeley students. The exhibition highlights experimental materials, memory, photography, and ends with a video installation by Joan Jonas. Then of course, "Three Questions" with Margot sharing her curatorial career and inspirations.About Curator Margot Norton:Margot Norton is the Chief Curator at the Berkeley Art Museum and Pacific Film Archive (BAMPFA). She is formerly the Allen and Lola Goldring Senior Curator at the New Museum, New York. She organized the 2021 New Museum Triennial Soft Water Hard Stone, co-curated with Jamillah James. Norton joined the New Museum in 2011 and has worked on a number of exhibitions, curating and cocurating presentations by Carmen Argote, Diedrick Brackens, Sarah Lucas, Lynn Hershman Leeson, Pipilotti Rist, Mika Rottenberg, Bárbara Wagner and Benjamin de Burca, and Kaari Upson, among others. In 2017, she curated the Eighth Sequences Real Time Art Festival in Reykjavik, Iceland, and the Georgian Pavillion at the 2019 Venice Biennale with artist Anna K.E.. Before she joined the New Museum in 2011, Norton worked as a curatorial assistant at the Whitney Museum, New York. She has contributed to and edited numerous publications and exhibition catalogues, and regularly lectures on contemporary art and curating. She holds an MA in Curatorial Studies from Columbia University, New York.Find more from Margot HERE.   Follow Margot on Instagram:  @MargotNortonTo learn more about BAMPFA's Exhibit, "To Exalt the Ephemeral" CLICK HERE. --About Podcast Host Emily Wilson:Emily is a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com

This is my hot take on the seven-year-old (it's new to me!) Eva Hesse doc and the scandalous revelations contained within. Also, I receive further evidence for why we still stan our queen, Sylvia Mangold, as she asks: Is the Home Depot the new Canal Street? The #cerebral, #inspiring and #wondrous documentary, Eva Hesse (2016) directed by Marcie Begleiter, is available to rent/stream on Amazon. All music by Soundstripe ---------------------------- Pep Talks on IG: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@peptalksforartists⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Amy, your beloved host, on IG: ⁠⁠⁠⁠@talluts⁠⁠⁠⁠ Pep Talks on Art Spiel as written essays: ⁠⁠⁠⁠⁠⁠⁠⁠⁠https://tinyurl.com/7k82vd8s⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠BuyMeACoffee⁠⁠⁠⁠⁠⁠⁠⁠⁠ Donations always appreciated! --- Send in a voice message: https://podcasters.spotify.com/pod/show/peptalksforartistspod/message Support this podcast: https://podcasters.spotify.com/pod/show/peptalksforartistspod/support

Have you ever felt the magnetic pull towards the unknown realms of creativity, while the familiar clutches at your sleeves? That's where you'll find us in Pouch Cove, Newfoundland, ensconced in the James Baird Gallery's artist residency. Our latest gathering will come to you in 2 parts, minus the dearly missed Nathan Terbord, his spirit ever-present, delves into the heart of artistic innovation. Through a melding of voices—from the cobblestoned streets of Spain to the hustle of Philadelphia—we unravel the threads of comfort and courage that bind every artist's journey.Think scarcity stifles creativity? Think again! We challenge the more-is-better mindset as we celebrate the ingenuity and the power of creativity under constraint. We cover quotes from Louise Bourgeois, Agnes Martin, Dave Adey, Mark Rothko, Eva Hesse, Jerry Saltz, and Ursula von Rydingsvard. It's a call to arms for artists to embrace vulnerability and authenticity, to create not for applause but for the sheer necessity of expression.Our session wraps with a reflection on personal growth and its indelible mark on our craft. So refill your glass and settle in for an extended session of heartfelt artistic camaraderie, where the lessons shared promise to resonate with your creative spirit and perhaps even light the path for your next breakthrough.Artists in the episode:@Moksananda@francis.beaty@audreycha.art@jaclyn_gordyan@giannatesone@allisonhudsonart@bonny_thomassen_art (present but not in the episode)Send us a message - we would love to hear from you!Make sure to follow us on Instagram here:@justmakeartpodcast @tynathanclark @nathanterborg

Shahzia Sikander talks to Ben Luke about her influences—from writers to musicians and, of course, other artists—and the cultural experiences that have shaped her life and work. Sikander, born in 1969 in Lahore, Pakistan, trained in the tradition of Indo-Persian manuscript painting and has used its forms, techniques and language as a launchpad for a wide-ranging engagement with colonial and postcolonial histories, with feminism, gender and sexuality, and with cultural identity and narratives around race. Working in drawing, painting, animation, video, mosaic and most recently sculpture, she has created a body of work in which existing and invented images and forms are juxtaposed to vivid and poetic effect. Technically exquisite and conceptually profound, her works have an instant impact but reward slow looking with layered narratives, references and histories. She discusses her early discovery of Michelangelo in Lahore, explains how she has channelled the “soulfulness” Eva Hesse found in minimalism in her response to historic manuscript painting, reflects on the importance of her teenage experience of Mogadishu, Somalia, and speaks about the enormous importance of poetry to her work, including the US writer Adrienne Rich's translations of the Indian poet Mirza Ghalib. Plus, she gives insight into her life in the studio, and answers our usual questions, including which artwork, if she could only have one, she would most like to live with.Shahzia Sikander: Collective Behavior, Palazzo SoranzoVan Axel, Venice, Italy, 20 April-20 October; Cincinnati Art Museum, Ohio, US, 14 February-4 May 2025; Cleveland Museum of Art, 14 February-8 June 2025. Shahzia Sikander: Havah…to breathe, air, life, University of Houston, Texas, US, until 31 October; Entangled Pasts, 1768–now: Art, Colonialism and Change, Royal Academy of Arts, London, until 28 April 2024. Hosted on Acast. See acast.com/privacy for more information.

Special episode of Radio Concrete composer by Karmen Ponikvar. Symphony of clicks and bleeps echoing from the voltage control studio, modulated field recordings, disembodied voices, re-mixed radio samples and cassette sounds. Through decontextualization and reconstruction, I aim to translate the environment and its natural state of disorder. Tape manipulation, tape loops and sampling techniques are used. Juxtaposing raw, unaltered material and its modulated counterparts serves to create a dynamic interplay, inviting listeners to traverse the boundaries between real and imaginary. Samples from: Female voice and viola, The Swamp in June, Jingles & Génériques, Radio Play Excerpt by Ulrike Haage on Eva Hesse, 180º, Jaap Vink and Recording of Shortwave Numbers Stations. more Radio Concrete at: https://open.spotify.com/show/2XsFbXXL8vXwB7PD6hc4UR https://www.hagaizenberg.com/

In the 1960s, artist Eva Hesse found herself at the center of the iconic New York contemporary art scene. A Jewish refugee who escaped Austria on the Kindertransport as a toddler, Hesse went on to become an icon of post minimalist art.    Elisabeth Sussman is a curator at the Whitney Museum of American Art. She's written and edited books about Hesse, and has curated exhibitions of her work. On this episode, Elisabeth and Mark discuss Hesse's personal history, artistic style, and legacy.   LBI Presents is a production of the Leo Baeck Institute, New York | Berlin and Antica Productions.    Hosted by Mark Oppenheimer.   Executive Producers include Laura Regehr, Stuart Coxe, and Bernie Blum. Senior Producer is Debbie Pacheco. Associate Producer is Emily Morantz. Associate audio editor is Cameron McIver. Sound design and audio mix by Philip Wilson. 

Janet Laurence is an Australian artist who was born in 1947 and lives in Warrang/Sydney. Laurence has nine works in the national collection and in 2020–21, her installation Requiem 2020 was included in the National Gallery exhibition Know My Name: Australian Women Artists 1900 to Now: Part One. In this episode of Artists' Artists, host Jennifer Higgie chats with Laurence about four works from the national collection that reflect, in very different ways, the relationship between art and the natural world. To find out more visit www.nga.gov.auArtworks Discussed: Eva Hesse, Contingent 1969, National Gallery of Australia, Kamberri/Canberra, purchased 1973 © The Estate of Eva Hesse, Courtesy Hauser & WirthRobert Smithson, Rocks and mirror square II 1971, National Gallery of Australia, Kamberri/Canberra, purchased 1977 © Robert Smithson. VAGA/Copyright AgencyRosalie Gascoigne, Feathered fence 1979, National Gallery of Australia, Kamberri/Canberra, gift of the artist 1994 © Rosalie Gascoigne/Copyright AgencyNyapanyapa Yunupingu, Gumatj people, White painting #2 2010, National Gallery of Australia, Kamberri/Canberra, purchased 2010 © Courtesy of the artist's estate and Roslyn Oxley9 Gallery, Sydney Hosted on Acast. See acast.com/privacy for more information.

I am so excited to say that my guest on the GWA Podcast is one of the most brilliant writers around today, Lauren Elkin! On today's episode we speak about feminist pioneers, Carolee Schneemann and Hannah Wilke!! Elkin is an American in London who has lived and spent extensive time in Paris, Liverpool, Tokyo, Venice and New York – as outlined in one of my favourite of her books, Flaneuse, which sees her trace cities through the eyes and steps of female writers and artists as the feminine “flaneur”, one who walks aimlessly. She is excellent at making her own a term or a trait previously steeped in patriarchal meaning. The author of four books, and the translator of others – including of Simone de Beauvoir's unpublished novel, The Inseparables – Elkin has received numerous awards for her writing. She has been a cultural critic for the likes of the New York Times, Harpers, London Review of Books, TLS, Frieze, and more; holds a PhD in English; an M.Phil in French; and is currently working on biographies on the likes of avant-garde tastemaker Getrude Stein and artist Louise Bourgeois. But! One of the reasons why we are speaking with Elkin today is because she has recently published a fantastic book, Art Monsters, which looks at a variety of female artists – from Elisabeth Vigee Le Brun to Laura Knight; Betye Saar to Carolee Schneemann; Eva Hesse and Hannah Wilke; Kara Walker and Maria Lassnig – who have centred their practice around the body. Exploring those who reacted against patriarchal portrayals and ideas of the body, Art Monsters is a fascinating insight into how women have broken from the historically-weighted past and configured a language using a voice unique to them. LAUREN'S BOOKS: https://www.waterstones.com/book/art-monsters/lauren-elkin/9781784742935 https://www.waterstones.com/book/flaneuse/lauren-elkin/9780099593379 https://www.waterstones.com/book/no-91-92-notes-on-a-parisian-commute/lauren-elkin/9781838014186 -- THIS EPISODE IS GENEROUSLY SUPPORTED BY THE LEVETT COLLECTION: https://www.instagram.com/famm.mougins // https://www.merrellpublishers.com/9781858947037 ENJOY!!! Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Nada Smiljanic Music by Ben Wetherfield https://www.thegreatwomenartists.com/

Julie Ezelle Patton's Three Phases of Eva, 1965 is written in response to Eva Hesse's Three (1965), a triptych of gouache and oil on paper collage. Patton takes Hesse's triptych and title to structure the poem in three, imaginatively exploring Hesse's name, work and life, from Patton's first memory of hearing the artist's name to once assisting Hesse's partner, artist Tom Doyle. For Patton, the encounter with this work becomes a point of departure to play with language just as Hesse experimented with materials, and to reflect on acts of violence, from Hesse's experience of fleeing from Nazi Germany in her childhood, to current events today.The text was commissioned as part of our exhibition Close Looking: Collection Studies from the Roberts Institute of Art at Cromwell Place, on show from the 22 November to 3 December 2023.The exhibition is about close looking and reading. Six writers of different backgrounds have been specially commissioned to write responses to six works from the David and Indrė Roberts Collection, with texts that span from poetry to storytelling.Read the text and see the artwork here.Have questions, comments or want to see more of what the Roberts Institute of Art does? Reach us via therobertsinstituteofart.com, @therobertsinstituteofart and subscribe to our newsletter

El periodista Pablo Ortiz de Zárate nos ayudará cada miércoles, pasadas las once de la mañana, a curar nuestras obsesiones, angustias y todo tipo de malestares generales, mirando con detenimiento a algunos de los cuadros y obras más destacadas de la historia del arte.

Melisa Boratyn (@melisaboratyn) es Lic. en Curaduría y Gestión de Arte. Desde 2008 se desempeña como curadora independiente, escribe para revistas como Maleva Mag, Artishock y Zibilia, dirije el proyecto Homenajes Urbanos junto al artista Ale Giorgga, y gestiona proyectos culturales. Además, es codirectora de Quorum, una tienda de arte en San Telmo. En este episodio charlamos sobre su rol como curadora y su búsqueda por abrir puertas para que más personas conecten con el arte. Notas del episodio: - El canon accidental (Disponible en Youtube) - Libro: A brief history of curating - Hans Ulrich - Libro biografia de Eva Hesse: 19 Eva Hesse, - Lucy R. Lippard - Muestra Malba: "Del cielo a casa" - Muestra Museo Moderno

This episode is about letting play and non-seriousness back into our studios, with a dash of silly rabbits and mind-boggling space telescopes thrown in. Come along with me as I dive into the Nothing Burger state of mind. Mentions: James Webb Telescope, Louella Parsons, Charles Garabedian, Rembrandt, Dick Gackenbach's "Mother Rabbit's Son Tom," Eva Hesse, Sol LeWitt ---------------------------- Amy's in a group show "Blush" at ⁠Auxier Kline⁠ 19 Monroe Street NYC April 2-22, 2023! ---------------------------- Pep Talks on IG: ⁠@peptalksforartists⁠ Pep Talks on Art Spiel as written essays: ⁠https://tinyurl.com/7k82vd8s⁠ Amy's Interview on Two Coats of Paint: ⁠https://tinyurl.com/2v2ywnb3⁠ Amy's website: ⁠https://www.amytalluto.com/⁠ Amy on IG: ⁠@talluts⁠ ⁠BuyMeACoffee⁠ Donations appreciated! --- Send in a voice message: https://podcasters.spotify.com/pod/show/peptalksforartistspod/message Support this podcast: https://podcasters.spotify.com/pod/show/peptalksforartistspod/support

Se brosser les dents chaque matin après le petit-déjeuner, poser un bon vinyle sur la platine tous les soirs en rentrant du travail, s'enduire les cheveux d'huile d'argan en sortant de la piscine en partant systématiquement des racines, s'habiller en blanc pour un mariage, en noir pour un enterrement, toujours chanter la même berceuse à son enfant pour qu'ielle s'endorme, retrouver ses amis toujours dans le même bar, appeler sa mémé tous les dimanches soirs, ne jamais manquer d'écouter La Potion le samedi à 12h ni même d'ouvrir ses fenêtres les nuits de pleine lune… Nos vies sont faites d'une collection de rituels. Gestes ou rendez-vous, collectifs ou intimes, sacrés, magiques ou profanes, les rituels nous relient, ils nous rassurent et cadrent nos existences, ou tout du moins certaines de nos pratiques. Jusqu'au 7 mai, c'est le thème qu'explore l'exposition Au-delà, Rituels pour un monde nouveau à la Fondation Lafayette Anticipations à Paris et c'est là que nous entraîne aujourd'hui La Potion. Peinture, sculpture, mode, musique et vidéo… L'exposition réunit une trentaine d'œuvres, ultra-contemporaines pour certaines, âgées de près de 3000 ans pour d'autres, et des artistes de toutes générations, d'Ana Mendieta à Hildegarde Von Bingen en passant par Kali Malone, Jeanne Vicerial, Bianca Bondi, Eva Hesse ou encore Romeo Castellucci. Un parcours conçu comme un voyage initiatique qui invite à la métamorphose, dont on ressort, c'est vrai, un peu transformé. Serpent, corbeau, poussière ou chaos, c'est selon. L'art peut-il (ré)enchanter le monde ? L'art est-il un rituel comme les autres ? Réponses avec la commissaire Agnes Gryczkowska, l'artiste Jeanne Vicerial et Rebecca Lamarche-Vadel, parmi les œuvres de la compositrice Kali Malone, la plasticienne sud-africaine Bianca Bondi, la guérisseuse-musicienne médiévale Hildegarde Von Bingen ou l'artiste afro-américain Matthew Angelo Harrison. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Are you struggling with your creative process? Do you feel stuck in a rut or blocked by perfectionism? You're not alone. In this episode, I explore the remarkable letter from artist Sol LeWitt to Eva Hesse, which has inspired creatives for decades.Not only creatives can get stuck and blocked. Also, entrepreneurs, scientists, and investors can have to face such situations in their lives. Read by Benedict Cumberbatch for Letters Live at the Freemason's Hall in London, LeWitt's timeless advice urges us to stop overthinking and DO. Embrace the process, let go of perfectionism, and believe in your ability to create. Join me as I discover the wisdom of emptiness and how it can help you unleash your full potential. From conceptual art to minimalism, I delve into the fascinating lives of Sol LeWitt and Eva Hesse, two American artists who embarked on a supportive friendship that would inspire them both. So sit back, relax, and let's listen to the words of Sol LeWitt as read by Benedict Cumberbatch. This episode is a must-listen for anyone looking to break free from creative blocks and unleash their full potential.⏰ Timestamps(00:00) Unleashing Your Creative Potential: The Remarkable Letter from Sol LeWitt to Eva Hesse Read by Benedict Cumberbatch(01:15) Background Information to Sol LeWitt, Eva Hesse, and their Inspiring Correspondence(04:00) Sol LeWitt's Timeless Advice to Eva Hesse: Stop Overthinking and Just DO(06:25) Perfectionism Kills Creativity(08:57) Embrace the Process, Don't Focus on the Outcome(10:09) Believe in your ability to create

On today's episode of Acting Notes - I wanted to share a letter from Sol LeWitt to Eva Hesse. It is an inspiring message for artists to allow themselves the creative leeway to really explore. There is some explicit language in this episode as I did not want to dilute the letter from Sol. If you are enjoying the podcast - please feel free to share, rate and leave a comment. It would really help the podcast grow and I would appreciate it greatly! Also, if you'd like to leave a question I would be more than happy to answer on a future episode. --- Support this podcast: https://podcasters.spotify.com/pod/show/theactingnotes/support

Verna, Sachawww.deutschlandfunk.de, Kultur heuteDirekter Link zur Audiodatei

This episode is also available as a blog post: https://thecitylife.org/2022/06/13/guggenheim-museum-presents-eva-hesse-expanded-expansion/ --- 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/citylifeorg/message Support this podcast: https://anchor.fm/citylifeorg/support

This is a special episode created in collaboration with Independent New York for the OVR of the upcoming edition of the fair from May 5, 2022 on. Audie Murray (b. 1993) is a multi-disciplinary Métis artist from Saskatchewan currently based in Regina. Working with themes of contemporary Indigenous culture and ideas of duality and connectivity, Murray draws on time-honoured techniques and contemporary concepts to inform her material choices. She often uses found objects from daily life, and then modifies them with special materials and techniques as a way to reclaim or work-through the cultural content of the object. Text: Fazakas Gallery At Independent 2022 Fazakas Gallery will present a solo-show by Audie Murray in her NYC debut. In our conversation Audie talks about her background in the Métis culture, the influence the women in her family had on her work and how she combines the tradition of her people with contemporary art. She talks her practice in which she listens to the materials, cherishes their characteristics and gives great value to the process of working and the many hours she spends with that process. Audie is aware of her cultural background and researches with great joy the history of traditional materials and objects, but also finds inspiration in the works of artists like Eva Hesse or Hilma af Klint. She surfs with ease and earnestness through the different cultures, playing with their differences as well as their similarities and ultimately finds a lot of common ground in their artistic expressions. Audie Murray is part of an ancient tradition as well as a young contemporary artist in the 21st Century and merges both in her art, creating new relationships with culture and communicating those to us through her art. Recorded March 11, 2022, 34 min., language english. Shownotes: Fazakas Gallery https://fazakasgallery.com/artists/audie-murray/ Tania Willard on Audie Murray https://www.alternatorcentre.com/essay/getting-old-in-the-hills https://www.independenthq.com/ https://vanhornshowroom.com/viewingroom/podcast/ https://van-horn.net/ This Podcast comes to you for free. If you enjoyed it and in the light of the current war in Ukraine we kindly ask you to consider donating to a cause of your choice to support the victims of war in the Ukraine. Voices On Art and Independent New York will each make a matching donation in partnership with Ukraine. You find a link to a guide how to support Ukraine that includes several organisations that provide support to the people in the Ukraine below in the shownotes. You find the section about donations in the lower half of the text. Ukraine help https://www.heise.de/hintergrund/Donations-VPN-Refugee-Aid-a-guide-to-support-Ukraine-6527106.html #voicesonart #independentnewyork #audiemurray #fazakasgallery #vanhorngallery #danielasteinfeld #podcast #stopwar #supportukraine

In this episode, artist, Mandy Wilson Rosen and I did a deep dive into Steven Pressfield's "The War of Art." We criticized where criticism was due, but we also highlighted many of the helpful and brilliant insights about the phenomenon of creative "Resistance" that the author outlines in the book. After much deliberation, we decided it is a worthy addition to any artist's bookshelf. And P.S., Tolstoy very much had a wife, as suspected! Her name was Sophia and, in addition to caring for their 8 surviving children by day, she also copied & edited the War & Peace manuscript after the kids went to bed each night, by candlelight. Special thanks to artist, Melissa Fernandez, for suggesting this topic, and also thank you to artists, Sally Veach and Andy Cunningham for "calling in" and joining our debate. Some Links: "The War of Art" on Amazon "Why I Hate 'The War of Art' by Steven Pressfield" / a Liminal Pages blog post by Sophie Playle: https://www.liminalpages.com/i-hate-war-art-steven-pressfield Sol Le Witt's Letter to Eva Hesse: https://www.themarginalian.org/2016/09/09/do-sol-lewitt-eva-hesse-letter/ Countess Sophia Tolstaya (Tolstoy): https://en.wikipedia.org/wiki/Sophia_Tolstaya Artist Mandy Wilson Rosen: https://mandolynwilsonrosen.com/home.html Artist Sally Veach: https://www.sallyveach.com/ Artist Andy Cunningham: https://www.andycunningham.net/ Musical Artist Frank Bango (new fox-themed album forthcoming): https://alwaysbango.bandcamp.com/music This talk originally aired as a live event on the Clubhouse App, November 16, 2021. Please connect with Pep Talks on Instagram: @peptalksforartists. --- Send in a voice message: https://anchor.fm/peptalksforartistspod/message Support this podcast: https://anchor.fm/peptalksforartistspod/support

We discussed: - breaking systems - art criticism - Aesthetics - the potential of art - commodification of art - the artistry of forgery - artist materials - funding     People + Places mentioned: Andy Warhol - https://www.warhol.org Eric Hebborn - http://www.intenttodeceive.org/forger-profiles/eric-hebborn/ Tom Keating - https://www.brandler-galleries.com/artist/tom-keating/ Eva Hesse - https://www.theartstory.org/artist/hesse-eva/ Edvard Munch - https://www.munchmuseet.no/en/edvard-munch/ Robert Rauschenberg - https://www.rauschenbergfoundation.org Hyundai Residency - https://www.hyundai.news/eu/articles/press-releases/hyundai-motor-presents-pioneering-neuroscience-concept-with-lacma.html SETI residency - https://www.seti.org/seti-artists-residence The Library of the Great Silence - https://www.seti.org/library-great-silence     https://www.modernisminc.com/artists/Jonathon_KEATS/ https://twitter.com/jonathonkeats https://www.seti.org/air/jonathon-keats   Audio engineering by Mickey at CushAudio Services Music by Peat Biby     Supported in part by: EEA Grants from Iceland, Liechtenstein + Norway – https://eeagrants.org               And we appreciate the assistance of our partners in this project: Hunt Kastner – https://huntkastner.com + Kunstsentrene i Norge – https://www.kunstsentrene.no  

We discussed: - breaking systems - art criticism - Aesthetics - the potential of art - commodification of art - the artistry of forgery - artist materials - funding     People + Places mentioned: Andy Warhol - https://www.warhol.org Eric Hebborn - http://www.intenttodeceive.org/forger-profiles/eric-hebborn/ Tom Keating - https://www.brandler-galleries.com/artist/tom-keating/ Eva Hesse - https://www.theartstory.org/artist/hesse-eva/ Edvard Munch - https://www.munchmuseet.no/en/edvard-munch/ Robert Rauschenberg - https://www.rauschenbergfoundation.org Hyundai Residency - https://www.hyundai.news/eu/articles/press-releases/hyundai-motor-presents-pioneering-neuroscience-concept-with-lacma.html SETI residency - https://www.seti.org/seti-artists-residence The Library of the Great Silence - https://www.seti.org/library-great-silence     https://www.modernisminc.com/artists/Jonathon_KEATS/ https://twitter.com/jonathonkeats https://www.seti.org/air/jonathon-keats   Audio engineering by Mickey at CushAudio Services Music by Peat Biby     Supported in part by: EEA Grants from Iceland, Liechtenstein + Norway – https://eeagrants.org               And we appreciate the assistance of our partners in this project: Hunt Kastner – https://huntkastner.com + Kunstsentrene i Norge – https://www.kunstsentrene.no  

In episode 68 of The Great Women Artists Podcast, Katy Hessel interviews the great sculptor, PHYLLIDA BARLOW !!! [This episode is brought to you by Alighieri jewellery: www.alighieri.co.uk | use the code TGWA at checkout for 10% off!] Simultaneously colossal and intimate, precarious and triumphant, stoic and ephemeral, Phyllida Barlow's all-engulfing sculptures, made from cement, cardboard, fabric, to chicken wire, don't just force a redressing of sculpture in art history, but they question the limitless potentials of the versatile medium. Taking influence from her surroundings, and in turn influencing and challenging ours, they distort all sense of perspective, challenge sculptural conventions, and make us breathe, inhabit, and experience the medium in ways that no artist has done before. Full of tension and awkwardness, but also the familiarity of the everyday, for over fifty years Barlow's sculptures have questioned not only the history of the medium, but the role of monuments in modern day society. Born in Newcastle, and raised in postwar London, Barlow studied at Chelsea School of Art, and went on to complete her MA at the Slade, the latter of which she taught at for four decades, until 2009. Barlow has exhibited across the globe at the world's most renowned museums including, the Serpentine, taking over the Tate's Duveen Galleries, Haus de Kunst, and in 2017, represented Britain at the Venice Biennale. She is also a Royal Academician. But the reason why we are speaking with Barlow today is because she has not only just published an incredible book on her collected lectures, writings, and interviews – of which a favourite of mine is her on Eva Hesse, aptly titled, Lost for Words – but she is currently the subject of a solo presentation at London's Highgate Cementary AND an exhibition at Hauser and Wirth, the latter of which features a large-scale ‘sculptural intervention' consisting of over 100 brightly coloured cement posts more than 20 feet tall, forming a circular barricade, which in typical Barlow style, blocks, stunts, distorts our normal viewing space and forces us to re-situate ourselves in the galleries, resulting in new paths forged, new sight lines experienced. I hope you enjoy this episode! Further links: www.hauserwirth.com/hauser-wirth-ex…phyllida-barlow www.royalacademy.org.uk/article/digit…t-documentary www.hauserwirth.com/artists/2826-phyllida-barlow www.tate.org.uk/whats-on/tate-bri…4-phyllida-barlow hausderkunst.de/en/exhibitions/phyllida-barlow LISTEN NOW + ENJOY!!! Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Nada Smiljanic Research assistant: Viva Ruggi Artwork by @thisisaliceskinner Music by Ben Wetherfield www.thegreatwomenartists.com/

Objects Conservator Esther Chao and Senior Technician Derek Deluco discuss how they are preparing Eva Hesse's Expanded Expansion to be exhibited in the future.   Read the transcript and learn more at Guggenheim.org or on the Bloomberg Connects app.

Through "process" and industrial materials, American sculptor Eva Hesse responds to the rigidity of Minimalism with a radical, visual language imbued with emotion, personal history and unique beauty..Image Credit: "Hang Up" (Art Institute of Chicago)Title Credit: New York TimesSpecial thanks to sculptor Elly Buckley for inspiring this episode. Follow her on IG: elly_buckley_sculptorResources for this episode are listed at www.beyondthepaint.net

Chart is back. Yes, you read right. WE ARE BACK for a second season of your favorite art podcast ever. And what better way of starting a new chapter than with a spotlight of one of the greatest contemporary artists. Yayoi Kusama is one of the most visionary artists of all time, pioneering the exploration of themes such as sexual identity and mental health in a time where these things were either taboo or very rarely discussed. Despite a harsh upbringing in an unhappy household with a physically abusive mother, Kusama grew up to become one of the most important artists of the 20th century, her studio sharing building with those of Donald Judd and Eva Hesse in the 1960s, during which she worked on her arguably best known series: Mirror/Infinity. If you'd love to know more and can't wait to hear our beautiful voices again (specially Finn's), tune in and have a blast!   For email enquiries: chart podcastgmail.com Make sure to follow us on our socials!  INSTAGRAM: https://www.instagram.com/chartpodcast/  Here you can see on which different platforms you can listen to our podcasts! https://pod.link/1517293067  That's it for now! Hope to see you again in our next episode!  chART out!  (Love you, bye)

Takeaways1. It's ok to do a whole bunch of different things. That's why we work in series - to do something with all these ideas.2. Persevere even if you have a lot of anxiety, insecurity and self-doubt. Showing up is such a big part of being an artist.3. “I allow the painting to take me to where it needs to go. I can never force the idea into the painting.”4. Just trust the process.5. Recognize that they are just thoughts and feelings – push through and learn to trick that inner critic.Mentioned in this episodeFollow Amy Weil on Instagram at https://www.instagram.com/circles_and_grids/Amy Weil's website https://www.amyweilpaintings.com/ 440 Gallery Brooklyn, New York https://gallery440.squarespace.com/artist-amy-weilGowanus Studio Space Brooklyn, New York https://www.gowanusstudio.org/Eva Hesse https://en.wikipedia.org/wiki/Eva_Hesse 

The tenth episode of "The Picture" podcast centers on the new exhibition "Eva Hesse | Hannah Wilke: Erotic Abstraction," currently on view at Acquavella Galleries. Exhibition curator Eleanor Nairne and art historian Jo Applin discuss Hesse and Wilke's parallel, if not entirely synchronized, lives in New York in the 1960s, and their foundational works in the history of post-Minimalist and feminist art. "Eva Hesse | Hannah Wilke: Erotic Abstraction" is on view May 5 – June 18, 2021, at Acquavella Galleries in New York. — © 2021 Acquavella Galleries. All rights reserved.

We discussed: - What it means to be a professional artist - Being rediscovered after decades - Everything influences everything - Speaking the language of things - what is art? - the art system - being a late bloomer - the need for time and distance - fleeing communism in 1981 - his connection to nature - including randomness and chance in art making - biointervention art - interspecies art - cult of personality - the algorithm - envying your younger self - viewers being impressed by tediousness - buying immortality   People + Places mentioned: Catacomb saints - https://dirtysexyhistory.com/2020/01/07/divine-inspiration-how-romes-unknown-dead-became-catacomb-saints/ James Hampton - The Throne of the Third Heaven of the Nations' Millennium General Assembly - https://americanart.si.edu/artwork/throne-third-heaven-nations-millennium-general-assembly-9897 Pavlína Morganová, Czech Action Art: Happenings, Actions, Events, Land Art, Body Art and Performance Art Behind the Iron Curtain - https://www.amazon.com/Czech-Action-Art-Happenings-Performance/dp/802462317X National Film Archive, Czech Republic - https://nfa.cz Gallery1718 - Veronika Holcová, Pavel Hrnčíř - https://www.gallery1718.ca Roman Buxbaum Petr Rezek   People who inspired him: Jiří Kovanda Karel Miler - https://www.memoryofnations.eu/en/miler-karel-1940 Joseph Beuys - https://www.tate.org.uk/art/artists/joseph-beuys-747 Master Theodoric - https://www.malmecc.eu/master-theodoric-court-painter-of-prague/ Dennis Oppenheim - https://www.dennisaoppenheim.org Lucian Freud - https://imma.ie/artists/lucian-freud/ Eva Hesse - https://www.tate.org.uk/art/artists/eva-hesse-1280   Contemporary artist whom he likes: Terry Hoff - http://www.terryhoff.com Ben Schumacher - https://www.saatchigallery.com/artist/ben_schumacher   where to look to see his art: http://lumir.ca http://corridor213.ca http://nevan.gallery http://darrengallery.com   Hosted by Matthew Dols http://www.matthewdols.com   Supported in part by: EEA Grants from Iceland, Liechtenstein + Norway https://eeagrants.org             and we appreciate the assistance of our partners in this project: Hunt Kastner - https://huntkastner.com Kunstsentrene i Norge - https://www.kunstsentrene.no               Transcript available: https://wisefoolpod.com/transcript-for-episode-162-action-multimedia-artist-lumir-hladik-canada-czech-republic/

We discussed: - What it means to be a professional artist - Being rediscovered after decades - Everything influences everything - Speaking the language of things - what is art? - the art system - being a late bloomer - the need for time and distance - fleeing communism in 1981 - his connection to nature - including randomness and chance in art making - biointervention art - interspecies art - cult of personality - the algorithm - envying your younger self - viewers being impressed by tediousness - buying immortality   People + Places mentioned: Catacomb saints - https://dirtysexyhistory.com/2020/01/07/divine-inspiration-how-romes-unknown-dead-became-catacomb-saints/ James Hampton - The Throne of the Third Heaven of the Nations' Millennium General Assembly - https://americanart.si.edu/artwork/throne-third-heaven-nations-millennium-general-assembly-9897 Pavlína Morganová, Czech Action Art: Happenings, Actions, Events, Land Art, Body Art and Performance Art Behind the Iron Curtain - https://www.amazon.com/Czech-Action-Art-Happenings-Performance/dp/802462317X National Film Archive, Czech Republic - https://nfa.cz Gallery1718 - Veronika Holcová, Pavel Hrnčíř - https://www.gallery1718.ca Roman Buxbaum Petr Rezek   People who inspired him: Jiří Kovanda Karel Miler - https://www.memoryofnations.eu/en/miler-karel-1940 Joseph Beuys - https://www.tate.org.uk/art/artists/joseph-beuys-747 Master Theodoric - https://www.malmecc.eu/master-theodoric-court-painter-of-prague/ Dennis Oppenheim - https://www.dennisaoppenheim.org Lucian Freud - https://imma.ie/artists/lucian-freud/ Eva Hesse - https://www.tate.org.uk/art/artists/eva-hesse-1280   Contemporary artist whom he likes: Terry Hoff - http://www.terryhoff.com Ben Schumacher - https://www.saatchigallery.com/artist/ben_schumacher   where to look to see his art: http://lumir.ca http://corridor213.ca http://nevan.gallery http://darrengallery.com   Hosted by Matthew Dols http://matthewdols.com Supported in part by: EEA Grants from Iceland, Liechtenstein + Norway https://eeagrants.org and we appreciate the assistance of our partners in this project: Hunt Kastner – https://huntkastner.com Kunstsentrene i Norge – https://www.kunstsentrene.no   Transcript available: http://wisefoolpod.com/transcript-for-episode-162-action-multimedia-artist-lumir-hladik-canada-czech-republic/

In episode 50 (!!!) of The Great Women Artists Podcast, Katy Hessel interviews the legendary, trailblazing, feminist art history ICON, GRISELDA POLLOCK on the pioneering Polish Jewish artist, Alina Szapocznikow.  [This episode is brought to you by Alighieri jewellery: www.alighieri.co.uk | use the code TGWA at checkout for 10% off!] Author, editor, curator, and Professor, Griselda Pollock's 43-year-plus career as an art historian is nothing short of LEGENDARY. Having co-authored (with Rozsika Parker), “Old Mistresses: Women, Art and Ideology”, written 26 books, and edited many more, Pollock's indefatigable career has seen her spend decades developing an international, queer, postcolonial, feminist analysis of art’s diverse histories. Writing extensively on artists Eva Hesse, Lubaina Himid, Georgia O’Keeffe, to Tracey Emin, Pollock has curated numerous museum exhibitions, made several films, and has two forthcoming publications out for release.  But the reason why we are speaking to Griselda today is because as well as being a social and feminist historian of  19th and 20th century and contemporary art she is also a transdisciplinary cultural analyst focussing in Cultural Studies and Jewish studies, which is where her fantastic, tireless work on the great sculptor, Alina Szapocznikow comes into play. Born in Poland to an intellectual Jewish family of doctors in 1926, Alina Szapocznikow survived internment in concentration camps during the Holocaust as a teenager. [TW: we discuss The Holocaust]. At her liberation in 1945, she moved first to Prague, and then to Paris, where she studied sculpture and took up a job at a stonemasons, and then was forced back to Poland in 1951 after suffering from tuberculosis. When the Polish government loosened controls over creative freedom following Stalin’s death in 1952, Szapocznikow moved into figurative abstraction and then a pioneering form of representation. By the 1960s, she was radically re-conceptualizing sculpture as an intimate record not only of her memory, but also of her own body. First casting parts of the body as fragments, on her return to Paris as part of 'Nouveau Realisme', she began to move into casting bulbous shapes cast in resin from human bellies, lipstick red lips, nipples and lips growing from slender stems like flowers and serving as lamps. Surrounded by an artistic community that included Niki de Saint Phalle and more, in this episode we discuss Szapocznikow's incredible life and career, her involvement in the evolution of new materials and new ways of thinking, whilst simultaneously trying to deal with the horrors of the past – as with her American contemporaries, Eva Hesse, Louise Bourgeois, and Hannah Wilke.  AS's Self Portrait: https://hammer.ucla.edu/exhibitions/2012/alina-szapocznikow-sculpture-undone-1955-1972 Photosculptures (chewing gum): https://hammer.ucla.edu/exhibitions/2012/alina-szapocznikow-sculpture-undone-1955-1972 Lamp works: https://hammer.ucla.edu/exhibitions/2012/alina-szapocznikow-sculpture-undone-1955-1972 Tumour series: https://hammer.ucla.edu/exhibitions/2012/alina-szapocznikow-sculpture-undone-1955-1972 Further images and information: https://www.hauserwirth.com/artists/16711-alina-szapocznikow?modal=media-player&mediaType=artwork&mediaId=16719 Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Laura Hendry  Artwork by @thisisaliceskinner Music by Ben Wetherfield https://www.thegreatwomenartists.com/

Stephanie Straine, a senior curator at the National Galleries of Scotland joins Maria in the pod to talk art. Stephanie explains the role of a curator and what's involved in mounting an exhibition. As a specialist in modern and contemporary art, Stephanie is fascinating about the challenges posed in bringing art to the public. She also nominates one of her favourite artists - Eva Hesse - it's an amazing story. If you are interested in art of any kind, this will be the podcast episode for you. And there is more information at the National Galleries of Scotland website.

Views & Voices is a series of brief and personal responses to works of art and film selected by BAMPFA staff who work in different departments . . . some, by UC Berkeley students as well. At a time of distance, these commentaries are designed to bring you closer both to individual people behind BAMPFA and to individual works in our collections. We hope you'll enjoy hearing these personal views. Here, Curatorial Assistant Claire Frost takes an intimate look at one of Eva Hesse's diminutive sculptural "Test Pieces", and considers their experimental role in the artist's practice.

In episode 30 of The Great Women Artists Podcast, Katy Hessel interviews the incredible art historian and curator, Professor Briony Fer, on the legendary EVA HESSE!! [This episode is brought to you by Alighieri jewellery: www.alighieri.co.uk | use the code TGWA at checkout for 10% off!] One of the most GROUNDBREAKING artists the world has ever seen, Eva Hesse was known for her innovative sculptures made up of synthetic materials from fibreglass, plastic, to latex.  Working predominantly in NYC in the 60s, despite a short-lived career, Eva worked rigorously and prolifically, challenging every sculptural convention which came before her. Particularly deconstructing the rigidity and uniformity of Minimalism.  A pioneering feminist artist, Hesse desired, in her own words, to “challenge the norms of beauty and order.” And that's exactly what she did. She explored the body and form, and painting and sculpture, like no one had before. She painted biomorphs with wonky grids, covered cheesecloths in latex, and celebrated materials for what they were in all their irregular glory.  Born to Jewish parents in Nazi Germany in 1936, Hesse's early life was traumatic. Where her extended family were horrifically transported to concentration camps, she, her sister and their parents fled to NYC, with her mother sadly committing suicide just a few years later. Hesse channelled her anxieties into her art making, studying under the likes of Josef Albers at Yale, and taking the NY art scene by storm when she was just in her late 20s and early 30s. Earning herself major solo exhibitions and critical acclaim at a time when female artists were widely overlooked, Hesse explored wonders before her premature death in 1970, aged just 34. She has since gone on to influence millions. This discussion with world-renowned art historian Briony Fer – an old tutor of mine from UCL!! – is one of my favourites ever. Briony speaks SO wonderfully about Eva and really goes into depth about who she was, and her fiercely experimental practice. I hope you enjoy!!! Highly recommend this fantastic documentary on Eva! https://www.evahessedoc.com/ WORKS DISCUSSED IN THIS EPISODE: Accession https://www.dia.org/art/collection/object/accession-ii-47951 Schema  https://www.philamuseum.org/collections/permanent/72573.html?mulR=601651032 Drawings https://www.tate.org.uk/art/artworks/hesse-untitled-t04154 Ringaround Arosie https://www.moma.org/collection/works/98638 Vertiginous Detour https://hirshhorn.tumblr.com/post/141099084095/eva-hesse-vertiginous-detour-1966-hesse-was-a Untitled or Not Yet https://www.sfmoma.org/artwork/97-513-a-i/ Hang Up https://www.artic.edu/artworks/71396/hang-up Right After https://womennart.com/2018/02/21/right-after-by-eva-hesse/ Repetition 19 https://www.moma.org/learn/moma_learning/eva-hesse-repetition-nineteen-iii-1968/ This episode is sponsored by Alighieri  https://alighieri.co.uk/ @alighieri_jewellery Use the code: TGWA for 10% off!  Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Amber Miller (@amber_m.iller) Artwork by @thisisaliceskinner Music by Ben Wetherfield https://www.thegreatwomenartists.com/

If You Want To Get Rid of Creative Block, You're In The Right Place Letter from Sol LeWitt to Eva Hesse: https://www.auxoro.com/blog/sol-lewitts-letter-to-eva-hesse-creative-block-artist FOLLOW AUXORO (INSTA): https://www.instagram.com/auxoro/FOLLOW AUXORO (FB): https://www.facebook.com/auxoromag/FOLLOW AUXORO (Twitter): https://twitter.com/AuxoromagSUPPORT AUXORO ON PATREON (Thank You): https://www.patreon.com/auxoroSUPPORT AUXORO ON PAYPAL (Thank You): paypal.me/zacharygrossfeld1SUPPORT AUXORO ON VENMO (Thank You): @Zachary-Ross-4AUXORO NEWSLETTER: https://www.auxoro.com/theaux=AUXORO MERCH: https://www.auxoro.com/store=WEBSITE/BLOG: https://www.auxoro.com/AUXORO PODCAST: https://linktr.ee/auxoro

Charley Peters is an artist based in London who has an interest in the legacy of the hard edge. Exploring the spatial potential of the painted surface through opposition colours and techniques she has created a style that is engaging to look at in person and over social media.In this episode, we talk about how academia challenged her creative spirit, understanding the benefits of collaboration and advice she would give to aspiring creators.If you want to find her on Instagram she is @charleypetersCreative Catalyst Instagram: https://www.instagram.com/creativecatalystpodcast/@creativecatalystpodcastSol Lewitt’s letter to Eva Hesse: https://www.google.co.uk/amp/s/jwvpk.wordpress.com/2009/03/10/letter-from-sol-lewitt-to-eva-hesse/amp/

Jennifer Pochinski is an American figurative painter. Her work is characterized by gestural marks and bold color. Relationships, the male-female power dynamic, and humanity are key themes in her work. She was raised in Hawaii and received her BFA from the University of Hawaii in Painting in 1991. Much of her young adulthood was spent traveling and living on the mainland USA and Europe. Since late 2010, she has been living and working in California. Topics Discussed In This Episode: Pochinski's journey, including moving to Hawaii at a young age, experiencing her senior year abroad in Germany, living in Greece, and ultimately finding her way to Sacramento, CA Her decision in college to change her major to art at the University of Hawaii, and later a brief stint studying interior architecture at an art and design school in Greec Finding an escape and freedom from people pleasing in her artistic practice Pochinski's methods of exploration and experimentation in her art, such as layering, linoleum printing, and collage The act of letting her paintings "sit" and taking time to construct and deconstruct her work Pochinski's passion for art, art books, and learning about other artists' lives. Names mentioned: Sol LeWitt, Eva Hesse, Edward Hopper, Henri Matisse, Markus Lupertz, Georg Baselitz, Cherry Pickles, Christopher Brown, R.B. Kitaj, Eric Fischl, Richard Diebenkorn, Paula Rego, Philip Guston, Jack Oden, Willem de Kooning, Lucian Freud  www.artistdecoded.com

Today on Art + Ideas, we’re bringing you an episode from Getty’s new podcast, Recording Artists. In season one, Radical Women, host Helen Molesworth uses archival interviews to explore the lives of six women artists—Alice Neel, Lee Krasner, Betye Saar, Helen Frankenthaler, Yoko Ono, and Eva Hesse. Molesworth also speaks with contemporary artists and art … Continue reading "Recording Artists—Lee Krasner: Deal with It"

This episode focuses on Eva Hesse (1936–1970). Joining host Helen Molesworth are artist Mary Weatherford and art historian Darby English. Hesse is one of the most influential artists of her generation, despite having a career that lasted only ten years. In a rare 1970 recording, made only a few months before her death, Hesse discusses … Continue reading "Eva Hesse: Oh, More Absurdity"

Here’s a sneak peek of Recording Artists: Radical Women, a new podcast that explores the lives of six women artists—Alice Neel, Lee Krasner, Betye Saar, Helen Frankenthaler, Yoko Ono, and Eva Hesse—through archival interviews and discussions with contemporary artists and art historians. Hosted by Helen Molesworth, the podcast launches on November 12, 2019. Stay tuned!

I went outside the chronology this time. Day 18: Eva Hesse

Morning talk from the studio

"Enjoy the journey of life and not just the end game".   He's played a dragon, a sorcerer, a detective, a whistleblower, a coding breaker and an inter-galactic evil genius - and in his first ever stage performance in the nativity as Joseph on at primary school, he pushed Mary off stage because she was taking too long.   So what makes Benedict Cumberbatch tick? What inspires him? And what creative skills can we learn from the characters he's played? This episode looks into all this and more.   SHOW NOTES Benedict Cumberbatch [WIKIPEDIA] 20 Facts about Benedict 52 Things you never knew about Benedict Follow @LettersLive on Twitter Sol Lewitt's letter to Eva Hesse Benedict Cumberbatch at LettersLive [YOUTUBE] Background on the Sol LeWitt letter [Brainpickings] Benedict on acting & inspiration [BLOG] Benedict on pissing off Julian Assange [YOUTUBE] Playing Van Gogh in BBC's Painting with Words Benedict's Top 10 Rules for Success [YOUTUBE] "If I had more time I would have written you a shorter letter" [QUOTE INVESTIGATOR] "If I am to speak for ten minutes...' [QUOTE INVESTIGATOR] Joyce Carol Oates [WIKIPEDIA] MASTERCLASS.com: Joyce Carol Oates   My slightly schizophrenic on-the-fly notes written not long after I woke up   Next on your reading list?   Sol Lewitt's letter to Eva Hesse   This episode's recording dashboard from Backpack Studio   Personality Insights Graph of Matthew McConaughey's Oscars speech via IBM Watson (not John Watson!)   Transcript of Matthew McConaughey's Speech  2 March 2014, Dolby Theatre, Los Angeles, California, USA   Thank you -- all of these performances were impeccable. In my opinion I didn't see a false note anywhere. I want to thank Jean-Marc Vallee our director. I want to thank Jared Leto and Jennifer Garner who I worked with daily. There are three things that I need each day. One, I need something to look up to, another to look forward to, and another is someone to chase. First off, I want to thank God because that's who I look up. He's graced my life with opportunities that I know are not of my hand or of any other hand. He's shown me that it's a scientific fact that gratitude reciprocates. To my family is to what I look forward to. To my father who I know is up there right now with a big pot of gumbo, he has a big lemon meringue pie over there. He's probably in his underwear and has a big can of Miller Lite and he's dancing right now. To you dad, you taught me how to be a man. To my mother who's here tonight, who taught me and my two older brothers -- demanded -- that we respect ourselves. And in turn we learned we were better able to learn how to respect others. Thank you for that mama. To my wife, Camilla, and my kids Levi, Vida and Mr Stone (Livingstone), the courage you give me every time I walk through the door is unparallelled. You are the four people in my life that I want to make the most proud of me. Thank you. And to my hero. That's who I chase. When I was 15 years old I had a very important person in my life come and ask me 'Who's your hero?' I said, 'I thought about it and it's me in ten years. So I turned 25 ten years later and that same person comes to me and goes, 'Are you a hero?' I said, 'Not even close!' She said why and I said, 'My hero is me at 35.' You see, every day, and every week, and every month, and every year of my life, my hero is always ten years away. I'm never going to be my hero. I'm not going to obtain that and that's fine with me because it keeps me with somebody to keep on chasing. So to any of us, whatever those things are and whatever it is we look up to, whatever it is we look forward to and whoever it is we're chasing, to that I say Amen. To that I say alright, alright, alright. And just keep living, huh? Thank you. Source: https://genius.com/Matthew-mcconaughey-bes...

Vores børn begynder tidligt med touchskærme, hvad end det er iPad eller smartphones. Digitale medier har forandret livet - på tværs af generationerne. Derfor er Manu Sareen bekymret for, hvilke konsekvenser den tidlige, vedholdende og intense brug af skærme får, både for ham selv og hans voksne børn, der nogle gange virker fortabt i en anden verden. Men især tænker han på, om han burde begrænse adgangen til skærme for familiens yngste; hans toårige datter. Derfor har han inviteret gæster, som kan hjælpe ham både med erfaringer og fakta om dopaminfælder og afhængighed, digitale- og sociale kompetencer. Medvirkende: Alvin Sareen, søn. Eva Hesse, selvstændig eventmager. Andreas Lieberoth, adjunkt i pædagogisk psykologi og mediepsykologi, Aarhus Universitet. Christiane Vejlø, digital trendanalytiker, cand. mag. i medievidenskab med speciale i forholdet mellem mennesker og teknologi og medlem af dataetisk råd. Bent Meier Sørensen, professor i ledelse, politik og filosofi på Handelshøjskolen i København (CBS). Vært: Manu Sareen.

In this episode, we discuss his process, inspiration, and continuing to make work when you know you are called to do so. Phillip lives and works in Taunton, Massachusetts and studied painting at the Pennsylvania Academy of the Fine Arts. In addition to being a painter, he has multiple podcasts such as Ahtcast, The Mixed Media TAPES, Ahtakes, and has the blog Artist Family Tree.   LINKS: phillipjmellen.com Podcast projects: Ahtcast – Visual Artist Interview Podcast-http://www.ahtcast.com/ The Mixed-Media Tapes – Short format artist audio talks on aspects/topics of studio life/practice-http://www.ahtcast.com/p/the-mixed-media-tapes.html Ahttakes – Artists speaking on art related practice. Such as collaboration, blogging, listening to music, poetry etc. http://www.ahtcast.com/p/ahttakes.html   Artist Family Tree Blog-https://artistfamilytreedotorg.blogspot.com/     Sol LeWitt to Eva Hesse - Read by Benedict Cumberbatch: In 1960, pioneering American artists Sol LeWitt and Eva Hesse met for the first time and became close friends. In 1965, Eva found herself facing a creative block during a period of self-doubt, and told Sol of her frustrating predicament. Sol replied with this letter. https://www.youtube.com/watch?v=VnSMIgsPj5M

Eva Hesse (E-Vuh Hess-Uh). Surrealist sculptor. Magnetic personality. Materials QWEEEN. Poetic riddler. Fuck the man, smash a glass. Unrequited love of everyone's life. Untimely death, and REAL tears from Lindsey. Middlebrow is hosted by Olive Moya and Lindsey Schulz You can find images from this episode on our instagram HERE

Margot Ferrick creates sequential art that's haunting, poetic and utterly distinctive, and it was a joy for me to read back over her books in preparation for our talk and discover themes and recurring motifs. Although I had difficulty remembering the name of an Alejandro Jodorowsky film (Endless Poetry) and a Joseph Campbell book (Hero with a Thousand Faces), we had a moving and far-ranging talk about motherhood, prayer, ballet, Long Island, sex, Catholic ritual, the enduring appeal of Eva Hesse and much more.

Grab your ham horn & dive into our biggest episode yet! We share people who inspire us, get hyped for Oscar season, meet Slippy Sal, and obsess over Eva Hesse & artwork from the ‘60s. It’s a barn burner!

  In this episode we speak with the multi-talented writer and musician Andrew Savage of the band Parquet Courts. Their song “Instant Disassembly” opens and closes each episode of our podcast, but more importantly, Andrew is a super-literate dude who is capable of expounding on almost any topic. Here is the video that Dave mentions of George Saunders' appearance on The Charlie Rose show: https://charlierose.com/videos/23703 (DFW discussion starts at 40:54). Check out Parquet Courts on Spotify or Apple Music or YouTube or just shout their name out the nearest window. Their official website is https://parquetcourts.wordpress.com/ _____________ Show notes 01:54 - Why Dave chose “Instant Disassembly” as our intro song 01:55 - Thematic relation between DFW's writing and “Instant Disassembly” 01:56 - There's ennui but it's also a really bitchin' song 02:45 - Madonna's “Like a Prayer” 03:46 - Bookworm's theme song 08:35 - Growing up in Denton, Texas 09:53 - Austin Brown 13:30 - The Marked Men 14:40 - The Parking Lot set in Charlottesville 16:53 - Where did we play in Vancouver 18:49 - Parquet courts in The Garden and basketball 20:08 - Influenced by fiction 22:14 - Coming to Wallace, an intro thereto 23:52 - IJ/DFW influences everything 25:31 - The anxiety of influence, nah 29:56 - What to hold back 32:12 - Trump is a germaphobe 33:23 - The labor issues of being a musician 36:08 - New Sincerity discussion 39:13 - Parquet Courts and the Irony of Blah Blah Blah 43:45 - What makes a good performance 44:41 - Smaller venues 46:13 - Dealing with cynicism 48:12 - Favorite Wallace stuff 51:30 - The Depressed Person: parody or not? 55:30 - The existential angst of the modern condition 57:03 - We've all got holes to fill 58:40 - In search of lost time 1:02:00 - Listening to music the way we read 1:03:49 - The Big Ship on repeat 1:05:00 - Cate Le Bon 1:06:01 - Opposite Sex from New Zealand & Hamlet 1:07:40 - Glasgow has a grid system 1:08:56 - Favorite books & movies - Knausgaard 1:10:43 - Eva Hesse's diaries 1:13:01 - A movie discussion ensues 1:14:19 - The song North Dakota 1:17:23 - How to finish things 1:28:30 - Easter egg

Writer, activist and curator, Lucy Lippard discusses the monograph she wrote in 1976 about her good friend and artist, Eva Hesse.

Writer, activist and curator, Lucy Lippard discusses the monograph she wrote in 1976 about her good friend and artist, Eva Hesse.

TheSparkAndTheArt.com/110 – Eva Hesse was a sculptor and ran into a bout of creative block and wrote to Sol for some advice. I've never read Eva's letter but I feel I can get a gist of what she was saying. She was planning what she was going to do to get out of her creative block. She was thinking about how should could get passed her creative block. **- Links for this episode -**Sol LeWitt's Letter - http://www.huffingtonpost.com/entry/eva-hesse-letters-sol-lewitt_us_562f79ede4b00aa54a4b18d8 Sol LeWitt - https://en.wikipedia.org/wiki/Sol_LeWittEva Hesse - https://en.wikipedia.org/wiki/Eva_HesseInspiration comes from the work - http://www.songstuckerwrote.com/podcast/57-inspiration-comes-from-the-work 

In this episode Sean & Vito will discuss trailers for the following 3 films and 1 documentary: Term Life, Eva Hesse, Viktoria, & The Nice Guys.

Marcie Begleiter interview with Irit Krygier regarding the documentary Eva Hesse which she directed and co-produced with Karen S. Shapiro.

Sidney and Corey discuss committing mistakes on our own birthdays, waiting on line for Shake Shack burgers, our perspective on getting older, chasing our hopes and dreams, and Sidney reads an excerpt from a motivational letter from Sol Lewitt to Eva Hesse. Look at the Shake Shack anniversary burgers Sidney waited five-freaking-hours for.Maybe Paulie Gee's is the best pizza in NYC?A letter from Sol Lewitt to Eva Hesse. (Please read this: it's a real awesome way to reflect upon your own intentions and motivations.) Download MP3 (27.9 MB, 00:56:46)

Mit Anna Lena Zühlke, Cristin König, Ingo Hülsmann, Myra Davies / Realisation: Ulrike Haage / BR 2009 / Länge: 53'47 // Eva Hesse zählt heute zu den wichtigsten bildenden Künstlerinnen des zwanzigsten Jahrhunderts. Geboren 1936 in Hamburg, gestorben 1970 in New York: ihr kurzes, intensives Leben ist von so vielen traumatischen Erlebnissen geprägt, das es mehrere Biografien ausfüllen könnte.

Briony Fer of University College, London, spoke on Eva Hesse for this symposium. She was introduced by James Rondeau, Frances and Thomas Dittmer Chair of Contemporary Art. This podcast is brought to you by the Ancient Art Podcast. Explore more at ancientartpodcast.org.

Judith Brotman makes altered books, installations, works on paper, and sculpture using nature, found objects, industrial materials, and hand-sewing. Her poetic and often funny works defy categorization. For Artists Connect, Brotman discussed Eva Hesse, arms and armor, and how her work collides with both. This podcast is brought to you by the Ancient Art Podcast. Explore more at ancientartpodcast.org.

Matthias Mühling (Kurator, Kunsthistoriker) im Gespräch mit Annegret Arnold