Podcasts about everson museum

Welcome to this Inwood Art Works On Air podcast artist spotlight episode featuring visual artist, Francisco Alvarado. Francisco Alvarado is an internationally recognized New York artist born in Honduras, has had over 50 individual and 90 group exhibitions. His artwork is represented in various permanent museum collections including the Smithsonian American Art Museum, Brooklyn Museum of Art, Everson Museum of Art and Museo Pablo Serrano in Zaragoza, Spain.www.franciscoalvarado.com

Episode 164 Chapter 25, Electronic Music in Japan and The Asia-Pacific. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 25, Electronic Music in Japan and The Asia-Pacific from my book Electronic and Experimental music.   Playlist: ELECTRONIC MUSIC IN JAPAN AND THE ASIA-PACIFIC   Time Track Time Start Introduction –Thom Holmes 01:32 00:00 1.     Toshiro Mayuzumi, “Les Œuvres Pour La Musique Concrète X, Y, Z” (1953). Early work of tape music. 13:50 01:36 2.     Toru Takemitsu, “Vocalism Ai (Love)” (1956). For magnetic tape (condensed from a 72-hour tape montage. 04:11 15:22 3.     Makoto Moroi and Toshiro Mayuzumi, “Shichi No Variation (7 Variations)” (1956). Tape music for sine wave generators. 14:51 19:32 4.     Toru Takemitsu, “Sky, Horse And Death (Concrete-Music)” (1958). For magnetic tape. 03:28 34:24 5.     Group Ongaku, “Object” (1960). Recorded on May 8, 1960, at Mizuno's house. Performers were Chieko Shiomi, Mikio Tojima, Shukou Mizuno, Takehisa Kosugi, Yasunao Tone, and Yumiko Tanno. 07:34 37:50 6.     Toru Takemitsu, “Water Music” (1960). For magnetic tape. 09:41 45:26 7.     Michiko Toyama, “Aoi No Ue (Princess Hollyhock) (Music Drama for Tape and Narration).” For magnetic tape and reader. 07:05 55:06 8.     Group Ongaku, “Metaplasm Part 2” (1961). Live performance, 1961, at Sogetsu Kaikan Hall, Tokyo. Tadashi Mori (conductor), 09:08 01:02:10 9.     Akira Miyoshi (composer), opening excerpt to Ondine (1961). For orchestra, mixed chorus and electronic sounds. 04:32 01:11:18 10.   Joji Yuasa ‎– “Aoi No Ue” (1961). For voice and tape and based on The Tale of Genji written by Murasaki Shikibu in 11th century. Tape parts realized at NHK Electronic music studio. 29:50 01:15:50 11.   Kuniharu Akiyama, “Noh-Miso” (track 1) (1962). Tape music. Hitomi-Za is an experimental puppet theatre group. They had performed in February 13-17 in 1962 at Sogetsu Kaikan Hall. This program was consisted of three parts, and Joji Yuasa, Kuniharu Akiyama and Naozumi Yamamoto composed background sound for each part. 01:44 01:45:40 12.   Toshi Ichiyanagi, “Parallel Music” (1962). Tape music recorded at NHK Electric Music Studio, Tokyo Japan. 09:12 01:47:22 13.   Kuniharu Akiyam, “Demonstration of Nissei Theater” (excerpt) (1963). “Demonstration of Nissei Theater” composed in 1963 for a public demonstration of the stage machinery of the newly opened Nissei Theatre in Tokyo. 05:15 01:56:36 14.   Toshi Ichiyanagi, “Sound Materials for Tinguely” (1963). “Music For Tinguely” was composed at the studio of Sogetsu Art Center. This rare track comprises sound materials used for that composition. 03:31 02:01:54 15.   Joji Yusa, Tracks 1-4 (1963). Incidental music for NHK Radio, based on Andre Breton's "Nadja". "The actual chart of constellations was played by three players (violin, piano, vibraphone) which was supposed as the music score. And birds' voices, electronic sound, sound generated from inside piano, through music concrete technique and constructed at the NHK Electronic Music Studio." 04:24 02:05:26 16.   Maki Ishii, “Hamon-Ripples (For Chamber Ensemble, Violin And Taped Music)” (1965). Tape piece for violin and chamber orchestra. 10:01 02:09:46 17.   Joji Yuasa, “Icon on the Source Of White Noise” (1967). Tape work using white noise as material and designed for a multi-channel system. In the original version, several sound images of various widths (e.g. three loudspeakers playing simultaneously) moved at different speeds around the audience, who were positioned inside the pentagonal loudspeaker arrangement. 12:13 02:19:44 18.   Makoto Moroi, “Shosanke” (1968). Tape work fusing electronic sounds with those of traditional Japanese instruments. 13:20 02:31:54 19.   Minao Shibata, “Improvisation for Electronic Sounds” (1968). Tape piece for electronic sounds. 09:27 02:45:12 20.   Toshi Ichiyanagi, “Love Blinded Ballad (Enka 1969)” from the Opera "From The Works Of Tadanori Yokoo" (1969). Tape collage. 06:57 02:54:40 21.   Toshi Ichiyanagi, Music for Living Space (1969, Bijutsu Shuppan-Sha), composed for the Electric Faculty of Engineering of Kyoto University. Early Computer Music combined with Gregorian chant for Osaka Expo '70. 08:49 03:01:34 22.   Toshiro Mayuzumi, “Mandara” (1969). Tape piece for electronic sound and voices. 10:22 03:10:24 23.   Takehisa Kosugi,  “Catch-Wave” (Mano Dharma '74)” (1974). “Mano-Dharma '74” is an excerpt from a meta-media solo improvisation performed by Takehisa Kosugi. From his notes: “Sounds speeding on lights, light speeding on sounds music between riddles & solutions. ‘the deaf listen to sounds touching, watching.” 26:32 03:20:42 24.   Yoshi Wada ‎– Earth Horns with Electronic Drone, excerpt, (1974). Electronics by Liz Phillips. Pipehorn players Barbara Stewart, Garrett List, Jim Burton, Yoshi Wada. Composed by, recorded by Yoshi Wada. Recorded at Everson Museum of Art, Syracuse, New York, Sunday 2-5pm, February 24, 1974. 10:51 03:47:10 25.   Matsuo Ohno, Takehisa Kosugi, “B.G.M. Parts A-F” (1963). Music and effects later used for Astroboy. 06:59 03:57:48 26.   Joji Yuasa, “My Blue Sky (No. 1)” (1975). Tape parts realized at NHK Electronic music studio. 15:43 04:05:00   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

Graham Marks produces exuberant, coil-built ceramics adorned with vibrant glazes, which combine functionalism with visual delight. Of late, Marks has embraced loose, sinuous forms from which coils of clay spill in dynamic and improvisatory compositions. His candelabras and flower vases contain a wild energy all their own, full of brash, linear abandon. In their merging of pattern and embellishment, they recall the intricate crafts of eighteenth-century France, bringing rococo flourishes to the timeless theme of utilitarian vessels. Marks taught ceramics at Kansas State University, Rochester Institute of Technology, and the Cranbrook Academy of Art, where he was Head of Ceramics from 1986 to 1992. His work has been exhibited internationally and collected privately; it is held by numerous public institutions including the Philadelphia Museum of Art, Yale University Art Gallery, Detroit Institute of Art, the Everson Museum, the Museum of Art and Design, the Cranbrook Museum of Art, the Stedelijk Museum, the Hermitage Museum, and the National Gallery of Australia. From 1992 to 1995, he studied acupuncture with J.R. Worsley, establishing a private practice which ran successfully for two and a half decades. In 2020, Marks returned to ceramics. He splits his time between Brooklyn and Alfred, NY. Graham Marks, Collection of Candelabras, 2023–24. Glazed stoneware, thrown, coiled, and pinched. Dimensions vary. Courtesy of Hostler Burrows. Photo by Joe Kramm Graham Marks, Pair of Candelabras, 2024. Glazed stoneware, thrown, coiled, and pinched. Dimensions vary. Courtesy of Hostler Burrows. Photo by Joe Kramm Graham Marks, Collection of Malinalco Candelabras, 2023. Glazed stoneware, thrown, coiled, and pinched. Dimensions vary. Courtesy of Hostler Burrows. Photo by Joe Kramm

James Little (b. 1952, Memphis, TN) holds a BFA from the Memphis Academy of Art and an MFA from Syracuse University. He is a 2009 recipient of the Joan Mitchell Foundation Award for Painting. In addition to being featured prominently in the 2022 Whitney Biennial at the Whitney Museum of American Art in New York, his work has been exhibited extensively in solo and group exhibitions around the world, including at MoMA P.S.1, New York; Crystal Bridges Museum of American Art, Bentonville; Studio Museum in Harlem, New York; St. Louis Art Museum, St. Louis; Virginia Museum of Fine Arts, Richmond; and the Smithsonian Institute, Washington, D.C. In 2022, Little participated in a historic collaboration for Duke Ellington's conceptual Sacred Concerts series at the Lincoln Center, New York, with the New York Choral Society at the New School for Social Research and the Schomburg Center in New York. Recent solo exhibitions include: Petzel, New York (2024); Kavi Gupta, Chicago (2022); Dixon Gallery and Gardens, Memphis (2022); Louis Stern Fine Arts, West Hollywood (2020); and June Kelly Gallery, New York (2018). His paintings are represented in the collections of numerous public and private collections, including the Whitney Museum of American Art, New York; Virginia Museum of Fine Art, Richmond; The Studio Museum, Harlem, New York; The Menil Collection, Houston; Library of Congress, Washington, D.C.; Memphis Brooks Museum of Art, Memphis; Maatschappij Arti Et Amicitiae, Amsterdam; Saint Louis Art Museum, Saint Louis; Everson Museum of Art, Syracuse; New Jersey State Museum, Trenton; Tennessee State Museum, Nashville; and the Newark Museum, Newark. James Little Trophy Wives, 2024 Photo: Thomas Barratt Courtesy the artist and Petzel, New York James Little The Problem with Segregation, 2024 Photo: Thomas Barratt Courtesy the artist and Petzel, New York James Little Mahalia's Wings, 2024 Photo: Thomas Barratt Courtesy the artist and Petzel, New York

Ep.224 Anthony Olubunmi Akinbola (b. 1991, Missouri) has had solo exhibitions at Sean Kelly, New York; Night Gallery, Los Angeles; Galerie Krinzinger, Vienna; Carbon 12, Dubai; John Kohler Art Center, Sheboygan; the Queens Museum, New York, and other galleries and institutions. His work has been featured in group shows at the Guggenheim, New York, NY; Hauser & Wirth, New York and Los Angeles; Pace Gallery, New York; and the Bernard A. Zuckerman Museum of Art, Kennesaw, among others. Akinbola's work is included in the permanent collections of the Detroit Institute of Arts, Detroit, MI; The Beth Rudin DeWoody Collection; The Everson Museum of Art, Syracuse, NY; Solomon R. Guggenheim Museum, New York, NY; Ogunquit Museum of American Art, Ogunquit, ME; Pizzuti Collection, Columbus, OH; and Zabludowicz Collection, London, United Kingdom. Akinbola lives and works in New York. Photo Courtesy of SCAD Sean Kelly https://www.skny.com/news-events/anthony-akinbola-good-hair Hauser Wirth https://www.hauserwirth.com/viewing-room/anthony-olubunmi-akinbola/ Galerie Krinzinger https://galerie-krinzinger.at/artists/anthony-olubunmi-akinbola-0494f551/ Night Gallery https://www.nightgallery.ca/exhibitions/anthony-akinbola/about zidoun-Bossuyt https://zidoun-bossuyt.com/worksavailable/anthony-olubunmi-akinbola/ SCAD https://www.scad.edu/event/2024-08-23-anthony-olubunmi-akinbola-exhibition-good-hair Contemporary Art Review https://contemporaryartreview.la/anthony-olubunmi-akinbola-at-night-gallery/ L'Officiel https://www.lofficielusa.com/art/artists-to-watch-2024 Hypebeast https://hypebeast.com/2024/10/anthony-olubunmi-akinbola-western-beef-exhibition-galerie-frinzinger-vienna Cultural DC https://www.culturaldc.org/anthony-akinbola Whitewall https://whitewall.art/art/anthony-akinbola-explores-fetish-camouflage-and-loaded-objects-at-sean-kelly-gallery-in-new-york/ Vogue https://www.vogue.com/article/this-nigerian-american-artist-uses-durags-as-his-medium Contemporary Art Review https://contemporaryartreview.la/anthony-olubunmi-akinbola-at-night-gallery/ 1201 https://www.1202magazine.com/art/anthony-olubunmi-akinbola-scad-good-hair Visionary Artistry Magazine https://visionaryartistrymag.com/2024/06/anthony-akinbola-bridging-identity-through-art/ Rivalry Projects https://www.rivalryprojects.com/anthony-olubunmi-akinbola John Michael Kohler Arts Center https://www.jmkac.org/exhibition/magic-city/ Silver Arts Project https://www.silverart.org/artists/27-anthony-akinbola/overview/ Cultured Magazine https://www.culturedmag.com/article/2022/05/17/anthony-bunmi-akinbola-uses-art-as-social-commentary C& https://contemporaryand.com/exhibition/anthony%E2%80%AFolubunmi%E2%80%AFakinbola-magic-city/ NYTimes https://www.nytimes.com/2021/09/30/arts/design/art-gallery-shows-to-see-right-now.html Artnews https://www.artnews.com/art-news/artists/anthony-akinbola-durag-paintings-interview-1234649721/

Ep.220 Jake Troyli (b.1990, Boston, MA) received his BFA from Lincoln Memorial University, Harrogate, TN (2013), where he played Division 1 basketball, his MFA from the University of South Florida, Tampa(2019), and attended the Skowhegan School of Painting and Sculpture, ME (2019).Solo exhibitions include moniquemeloche. Chicago, IL (2024/2022); Tempus Projects, Tampa, FL (2018); and ArtsXchange, St. Petersburg, FL. (2018). Troyli's work has been featured in group exhibitions at Perrotin Gallery, New York, NY (2024); Galerie Droste, Düsseldorf, DE (2024);Milwaukee Art Museum, Milwaukee, WI (2023-24); Everson Museum, Syracuse, NY(2023); Galerie Droste, Paris, FR (2021); The Ringling Museum, Sarasota, FL(2021); Contemporary Art Museum, Tampa, FL (2019); San Francisco Art Institute, CA (2018). Troyli's work will be included in the group exhibition Get in the Game: Sports, Art, Culture, curated by Jennifer Dunlop Fletcher, Seph Rodney, and Katy Siegel, at SF MoMA, which travels to the Crystal Bridges Museum of American Art and the Pérez Art Museum Miami and will be accompanied by a scholarly publication. He will have his first solo museum exhibition at the Museum of Fine Arts, St. Petersburg, FL, in 2026. His work is in the permanent collections of the Tampa Art Museum, Tampa, FL; the Ringling Museum, Sarasota, FL; the Nerman Museum of Contemporary Art, Overland Park, KS; and Pierce and Hill Harper Arts Foundation, Detroit, MI. He is the recipient of the Provincetown Fine Arts Fellowship (2019 2020) and the Creative Pinellas Emerging Artist Grant, Largo, FL (2017). Troyli was a 2023 Visual Artist recipient of the Academy of Fine Arts x International City of Arts program in Paris, France. He is resident at Project for Empty Space in Newark, NJ. Photo courtesy of the artist and Monique Meloche Gallery. Photographer Raphael Lugassy Artist - https://www.jaketroyli.com/ moniquemeloche - https://www.moniquemeloche.com/artists/48-jake-troyli/biography/ Perrotin https://leaflet.perrotin.com/view/898/light-of-winter Galerie Droste https://www.galeriedroste.com/exhibitions/92-reading-the-language-of-images-jammie-holmes-andrew-schoultz-jake-troyli/overview/ Newcity https://art.newcity.com/2024/10/15/a-bloodline-through-the-histories-a-review-of-peter-and-jake-fagundo-at-m-leblanc/ NYTimes https://www.nytimes.com/2024/10/18/arts/sfmoma-exhibit-sports-art.html ARTnews https://www.artnews.com/art-news/news/for-freedoms-activates-art-installations-democratic-national-convention-chicago-1234714497/ WBEZ | NPR https://www.wbez.org/arts/2024/07/22/jake-troyli-artist-chicago-mural-dnc-democratic-national-convention-art Cité internationale des arts https://www.citedesartsparis.net/en/jake-troyli Chicago Sun Times https://chicago.suntimes.com/murals-mosaics/2024/07/26/chicago-murals-jake-troyli-dnc-democratic-national-convention-skyart-east-garfield-park Chicago Gallery News https://www.chicagogallerynews.com/news/2024/8/anticipating-a-season-of-art-five-to-talk-to-jake-troyli White House Magazine https://whitehotmagazine.com/articles/slow-clap-at-monique-meloche/5358It's Nice That https://www.itsnicethat.com/articles/jake-troyli-art-170222 Chicago Reader https://chicagoreader.com/arts-culture/jake-troyli-contains-multitudes/ Mana Contemporary https://www.manacontemporary.com/jake-troyli/ Kavi Gupta https://kavigupta.com/artworks/10328-jake-troyli-portrait-of-the-artist-with-hors-doeuvre-2020/ The Province Town Independenthttps://provincetownindependent.org/arts-minds/2020/03/12/show-and-tell-with-jake-troyli/ The TRiiBE https://thetriibe.com/2022/04/painter-jake-troyli-invites-us-into-the-spectacle-of-black-skin-at-expo-chicago/

Tim See began working in clay while an art student at Onondaga Community College and completed a Bachelor of Fine Arts in Ceramics with Honors at Syracuse University in 2004. Tim's work has been shown at the Smithsonian Museum in Washington, D.C, the Everson Museum in Syracuse, NY, the Memorial Art Gallery in Rochester, NY, and, at Baltimore Clayworks in Maryland – as well as many other galleries and shows. The work has been recognized with awards every year since 2003. Social media has provided Tim many platforms to communicate with more than 11,000 potters nationally and internationally. Since 2007, Tim has produced 92 educational videos on pottery that have been viewed almost 2 million times and attracted more that 13,000 subscribers. http://ThePottersCast.com/1065

Ep.206 David Huffman (b. 1963, Berkeley, CA) has work in the collections of SFMOMA, San Francisco; LACMA, Los Angeles; Berkeley Art Museum, CA; Studio Museum, Harlem; Minneapolis Institute of Art, MN; Oakland Museum of California; Crocker Art Museum, Sacramento, CA; San José Museum of Art, CA; Palo Alto Art Center, CA; Eileen Norton Collection, Los Angeles; Birmingham Museum of Art, AL; Frederick R. Weisman Art Museum, Minneapolis, MN, Arkansas Art Center; ASU Art Museum, Tempe, AZ; Lodeveans Collection, London; and the Embassy of the United States of America, Dakar, Senegal, among others. Huffman enjoyed a recent solo exhibition at the Museum of the African Diaspora, San Francisco and has been included in recent group exhibitions at the de Young Museum, San Francisco; Everson Museum of Art, NY; Weatherspoon Museum of Art, NC; and The Write Museum, MI. He is the recipient of numerous awards and residencies including the Eureka Fellowship, ARTADIA San Francisco, Palo Alto Public Arts Commission, and the Barclay Simpson Award. He studied at the New York Studio School and received his MFA at California College of the Arts & Crafts, San Francisco. Huffman lives and works in Oakland, CA; he is currently on the board at SFMOMA. Huffman is represented by Jessica Silverman, San Francisco and Casey Kaplan, New York. Photo credit: Francis Baker Artist http://david-huffman.com/ Casey Kaplan https://caseykaplangallery.com/artists/david-huffman/ | https://caseykaplangallery.com/?exhibitions=david-huffman Jessica Silverman https://jessicasilvermangallery.com/online-shows/david-huffman-odyssey/ SFMOMA https://www.sfmoma.org/artist/David_Huffman/ BAMPFA https://bampfa.org/event/artists-curatorial-gallery-talks-david-huffman MOAD SF https://www.moadsf.org/exhibitions/david-huffman-terra-incognita KQED https://www.kqed.org/arts/13911456/at-moad-david-huffmans-terra-incognita-explores-black-trauma-among-the-stars Studio Museum in Harlem https://www.studiomuseum.org/artists/david-huffman PAFA https://www.pafa.org/museum/collection-artist/david-huffman Hyperallergic https://hyperallergic.com/678893/david-huffman-afro-hippie-berkeley-art-center/ Berkeley Side https://www.berkeleyside.org/2021/08/13/david-huffman-berkeley-art-center U.S. Dept of State https://art.state.gov/personnel/david_huffman/ California College of the Arts https://www.cca.edu/newsroom/faculty-spotlight-david-huffman-paintingdrawing-fine-arts/ Open-Editions https://open-editions.com/collections/david-huffman Miles McEnery https://www.milesmcenery.com/exhibitions/david-huffman Templon https://www.templon.com/exhibitions/cosmography/ Artforum https://www.artforum.com/events/david-huffman-3-250228/ ARTnews https://www.artnews.com/art-in-america/aia-reviews/david-huffman-protest-paintings-casey-kaplan-1234707187/ Daily Art Fair https://dailyartfair.com/exhibition/18000/david-huffman-casey-kaplan

The Annual Ceramic Arts Lecture is a co-presentation of Syracuse University College of Visual and Performing Arts, the Everson Museum of Art, and the Chronicles of American Ceramics Foundation. The lecture series has been transcribed and prepared for publication by Studio Potter.

The Annual Ceramic Arts Lecture is a co-presentation of Syracuse University College of Visual and Performing Arts, the Everson Museum of Art, and the Chronicles of American Ceramics Foundation. The lecture series has been transcribed and prepared for publication by Studio Potter.

For a limited time - Check out our archives at https://www.saysyou.net/store/   From the Everson Museum of Art in Syracuse, NY with host Richard Sher Stereo Left: Carolyn Faye Fox, Arnie Reisman, Paula Lyons Stereo Right: Tony Kahn, Lenore Shannon, Barry Nolan Music: Dan Duggan, Tom Hodgson, Henry Jankowitz, Dana Paul   Round 1: Definitions & Derivations Round 2: Bluff (rhagon) Round 3: The Play's The Thing Round 4: Bluff (hish) Round 5: New York songs

In place of our regular Hudson Mohawk Magazine programing, today we share this episode of The Aunties Dandelion podcast called "Auntie Katsitsionni Fox (Kanyen'kehà:ka) Filmmaker, Artist, Potter." Show Notes: AUNTIE: Wa'tkwanonhweráton. Greetings, love, and respect from me to all of you. On this edition of The Aunties Dandelion we're visiting with Katsitsionni Fox who is a beloved Bear Clan filmmaker, potter, and artist from our Kanyenkehà:ka territory of Akwesasne. After decades of teaching Indigenous media and Rotinonhsyón:ni culture in her community's schools – Katsitsionni has become an independent artist and filmmaker after receiving the Nia Tero's storytelling fellowship in 2021 that unleashed her unique storytelling skills and perspective onto a global stage. She's created two movies that aired on PBS with another on its way to completion and each film is profoundly tied to our Onkwehonwe teachings and practice. KATSITSIONNI: I am not telling the story and disappearing. I'm going to be here. People come into the communities and try to harvest our stories and then it is not coming from the inside because they don't have that connection and respect and that way of being I guess that comes from living in the community. AUNTIE: Back in the day Katsitsionni trained at the acclaimed Institute for American Indian Arts in Santa Fe and her art installations and films have been featured at the Museum of Art and Design in New York, Musée Du Quai Branly in Paris, Everson Museum in Saracusev, the Ganondagan Seneca Museum and beyond. Her art extends to new variations on traditional Rotinonhsyón:ni pottery and Katsitsionni attributes her prolific storytelling and art to the relationships she tends to in everything she does. KATSITSIONNI: Whether its, you know, having a relationship with that clay. It is not something you just grab and slap together. For me I always greet that clay and I say “Nyá:wen” to the clay and I put my intention in there. What am I making? I have that intention. I share it with the clay before I start. AUNTIE: I'm Kahstoserakwathe and we are Yéthi Nihsténha ne Tekarónyakénare. The Aunties Dandelion. We're focused on revitalizing our communities through stories of land, language, and relationships. And we want to say Nyá:wenkò:wa – or big thanks – to Canada's Indigenous Screen Office – teyonhkiwihstekénha – for making this podcast possible through their New Media fund. Learn more about https://www.theauntiesdandelion.com

*Please note, this show is no longer in live production. Any live shows advertised within the episode have already concluded.   From the Everson Museum in Syracuse, NY with host Richard Sher Stereo Left: Carolyn Faye Fox, Arnie Reisman, Paula Lyons Stereo Right: Tony Kahn, Lenore Shannon, Barry Nolan Music: Dan Duggen & Gang   Rounds Played: Round 1: Definitions and Derivations Round 2: Bluff (rhagon) Round 3: The Play's the Thing Round 4: Bluff (Hish) Round 5: Musical Numbers about NY

The Everson Museum of Art is featuring the work of Onondaga painter Frank Buffalo Hyde in a new exhibition, whose work meshes Native themes with pop culture images, such as sports mascots, corporate logos, celebrities, and fast food. His colorful paintings often infuse a heavy dose of satire. He recently appeared on the reality competition TV show “The Exhibit”. Today on Native America Calling, he is our Native In The Spotlight and taking your calls.

The Everson Museum of Art is featuring the work of Onondaga painter Frank Buffalo Hyde in a new exhibition, whose work meshes Native themes with pop culture images, such as sports mascots, corporate logos, celebrities, and fast food. His colorful paintings often infuse a heavy dose of satire. He recently appeared on the reality competition TV show “The Exhibit”. Today on Native America Calling, he is our Native In The Spotlight and taking your calls.

Natalie Frank was born in Austin, TX and received her Master of Fine Arts in 2006 from Columbia University, New York, NY and her Bachelor of Arts in 2002 from Yale University, New Haven, CT. In 2004, Frank was awarded a Fulbright Scholarship to the National Academy of Fine Art, Oslo, Norway. Natalie has been the subject of recent solo exhibitions at Miles McEnery Gallery, New York, NY; the Kemper Museum of Contemporary Art, Kansas City, MO; Brattleboro Museum & Art Center, Brattleboro, VT; Madison Museum of Contemporary Art, Madison, WI; Salon 94, New York, NY; Lyles & King, New York, NY; Half Gallery, New York, NY; Lora Reynolds Gallery, Austin, TX; Rhona Hoffman Gallery, Chicago, IL; University of Kentucky Art Museum, Lexington, KY; ACME., Los Angeles, CA; Galleria Marie-Laure Fleisch, Rome, Italy; Blanton Museum of Art, University of Texas, Austin, TX; and The Drawing Center, New York, NY. She has been included in group exhibitions at numerous international institutions including the Bowdoin College Museum of Art, Brunswick, ME; Brattleboro Museum of Art, Brattleboro, VT; The Corcoran, Washington, D.C.; FLAG Art Foundation, New York, NY; London Museum of Design, London, United Kingdom; The Metropolitan Museum of Art, New York, NY; Modern Art Museum of Fort Worth, Fort Worth, TX; National Academy Museum, New York, NY; New York Academy of Art, New York, NY; Wellin Museum of Art, Hamilton College, Clinton, NY; Tang Teaching Museum, Skidmore College, Saratoga Springs, NY; Weatherspoon Art Museum, University of North Carolina, Greensboro, NC; and the Yale University Art Gallery, New Haven, CT, among others. Her work may be found in the collections of the Art Institute of Chicago, Chicago, IL; Blanton Museum of Art, University of Texas, Austin, TX; Bowdoin College Museum of Art, Brunswick, ME; Brooklyn Museum of Art, Brooklyn, NY; The Bunker, Beth Rudin DeWoody Collection, Palm Beach, FL; Everson Museum of Art, Syracuse, NY; Tang Teaching Museum, Skidmore College, Saratoga Springs, NY; Kemper Art Museum, St. Louis, MO; Pennsylvania Academy of the Fine Arts, Philadelphia, PA; Weatherspoon Art Museum, University of North Carolina, Greensboro, NC; Whitney Museum of American Art, New York, NY; Williams College Museum of Art, Williamstown, MA; the Yale University Art Gallery, New Haven, CT, and elsewhere.

In this episode of "Here, There, and Everywhere", Jack Lawless sits down with May Pang, a renowned photographer, music industry executive, and the former girlfriend of John Lennon. May recently released a new film called "The Lost Weekend: A Love Story", which explores the 18-month romantic relationship between her and the legendary musician. In this exclusive interview, May shares never-before-heard stories about her life with John Lennon and her memories of "The Lost Weekend". May and Jack talk about how she started working for Yoko & John, her memories of living with John, jamming with John and Paul McCartney, how she encouraged John to re-connect with loved ones, John's opinions on the music of the other Beatles, and more! If you're interested in seeing "The Lost Weekend: A Love Story" in theaters, be sure to get tickets here: https://www.thelostweekendtickets.com/ Follow May Pang Twitter: https://twitter.com/maypang Instagram: https://www.instagram.com/themaypang_official/   If you like this episode, be sure to subscribe to this podcast! Follow us on Twitter and Instagram. Or click here for more information: Linktr.ee/BeatlesEarth   ---   The Beatles were an English rock band, formed in Liverpool in 1960, that comprised John Lennon, Paul McCartney, George Harrison and Ringo Starr. They are regarded as the most influential band of all timeand were integral to the development of 1960s counterculture and popular music's recognition as an art form. Rooted in skiffle, beat and 1950s rock 'n' roll, their sound incorporated elements of classical music and traditional pop in innovative ways; the band later explored music styles ranging from ballads and Indian music to psychedelia and hard rock. As pioneers in recording, songwriting and artistic presentation, the Beatles revolutionised many aspects of the music industry and were often publicised as leaders of the era's youth and sociocultural movements. Led by primary songwriters Lennon and McCartney, the Beatles evolved from Lennon's previous group, the Quarrymen, and built their reputation playing clubs in Liverpool and Hamburg over three years from 1960, initially with Stuart Sutcliffe playing bass. The core trio of Lennon, McCartney and Harrison, together since 1958, went through a succession of drummers, including Pete Best, before asking Starr to join them in 1962. Manager Brian Epstein moulded them into a professional act, and producer George Martin guided and developed their recordings, greatly expanding their domestic success after signing to EMI Records and achieving their first hit, "Love Me Do", in late 1962.   Lennon, McCartney, Harrison and Starr all released solo albums in 1970. Their solo records sometimes involved one or more of the others; Starr's Ringo (1973) was the only album to include compositions and performances by all four ex-Beatles, albeit on separate songs. With Starr's participation, Harrison staged the Concert for Bangladesh in New York City in August 1971. Other than an unreleased jam session in 1974, later bootlegged as A Toot and a Snore in '74, Lennon and McCartney never recorded together again. Two double-LP sets of the Beatles' greatest hits, compiled by Klein, 1962–1966 and 1967–1970, were released in 1973, at first under the Apple Records imprint. Commonly known as the "Red Album" and "Blue Album", respectively, each has earned a Multi-Platinum certification in the US and a Platinum certification in the UK. Between 1976 and 1982, EMI/Capitol released a wave of compilation albums without input from the ex-Beatles, starting with the double-disc compilation Rock 'n' Roll Music. The only one to feature previously unreleased material was The Beatles at the Hollywood Bowl (1977); the first officially issued concert recordings by the group, it contained selections from two shows they played during their 1964 and 1965 US tours. The music and enduring fame of the Beatles were commercially exploited in various other ways, again often outside their creative control. In April 1974, the musical John, Paul, George, Ringo ... and Bert, written by Willy Russell and featuring singer Barbara Dickson, opened in London. It included, with permission from Northern Songs, eleven Lennon-McCartney compositions and one by Harrison, "Here Comes the Sun". Displeased with the production's use of his song, Harrison withdrew his permission to use it.Later that year, the off-Broadway musical Sgt. Pepper's Lonely Hearts Club Band on the Road opened. All This and World War II (1976) was an unorthodox nonfiction film that combined newsreel footage with covers of Beatles songs by performers ranging from Elton John and Keith Moon to the London Symphony Orchestra. The Broadway musical Beatlemania, an unauthorised nostalgia revue, opened in early 1977 and proved popular, spinning off five separate touring productions. In 1979, the band sued the producers, settling for several million dollars in damages. Sgt. Pepper's Lonely Hearts Club Band (1978), a musical film starring the Bee Gees and Peter Frampton, was a commercial failure and an "artistic fiasco", according to Ingham. Accompanying the wave of Beatles nostalgia and persistent reunion rumours in the US during the 1970s, several entrepreneurs made public offers to the Beatles for a reunion concert.Promoter Bill Sargent first offered the Beatles $10 million for a reunion concert in 1974. He raised his offer to $30 million in January 1976 and then to $50 million the following month. On 24 April 1976, during a broadcast of Saturday Night Live, producer Lorne Michaels jokingly offered the Beatles $3,000 to reunite on the show. Lennon and McCartney were watching the live broadcast at Lennon's apartment at the Dakota in New York, which was within driving distance of the NBC studio where the show was being broadcast. The former bandmates briefly entertained the idea of going to the studio and surprising Michaels by accepting his offer, but decided not to. May Fung Yee Pang (born October 24, 1950) is an American former music executive. She worked for John Lennon and Yoko Ono as a personal assistant and production coordinator, and when Lennon and Ono separated in 1973, Pang and Lennon began a relationship that lasted more than 18 months. Lennon later referred to this time as his "Lost Weekend". Pang subsequently produced two books about their relationship—a memoir called Loving John (Warner, 1983) and a book of photographs, Instamatic Karma(St. Martin's Press, 2008). A documentary about their relationship, The Lost Weekend: A Love Story, was produced in 2022. Pang was married to producer Tony Visconti from 1989 to 2000 and has two children. Pang was born in Manhattan, New York City, New York. She is the daughter of Chinese immigrants and grew up in New York's Spanish Harlem with an elder sister and an adopted brother, both of whom were born in China. Pang's mother had a laundry business in the area. The Pang family left when the tenements where they lived were scheduled to be razed, and moved to an apartment near 97th Street and 3rd Avenue in Manhattan. After graduating from Saint Michael Academy, Pang attended New York City Community College. She wanted to be a model, but the modeling agencies told her she was too "ethnic". Pang's early jobs included being a song-plugger, which meant encouraging artists to record songs written by songwriters. In 1970, she began work in New York as a receptionist at ABKCO Records, Allen Klein's management office, which at that time represented Apple Records and three former Beatles: Lennon, George Harrison, and Ringo Starr. Pang was asked to help Lennon and Ono with their avant-garde film projects, Up Your Legs Forever and Fly, in December 1970. Pang was then asked to be Lennon and Ono's secretary and factotum/gofer in New York and Britain, which led to a permanent position as their personal assistant when the Lennons moved from London to New York in 1971. Pang coordinated an art exhibition in Syracuse, New York, on October 9, 1971, for Ono's This Is Not Here art show at the Everson Museum. Ono's show coincided with Lennon's 31st birthday, and a party was held at the Hotel Syracuse, which was attended by Ringo Starr, Phil Spector, and Elliot Mintz, among others.   In mid-1973, Pang was working on the recording of Lennon's Mind Games album. Lennon and Ono were having marital problems and Ono suggested to Pang that she become Lennon's companion. Ono explained that she and Lennon were not getting along, had been arguing and were growing apart, and said that Lennon would start seeing other women. She pointed out that Lennon had said he found Pang sexually attractive. Pang replied that she could never start a relationship with Lennon, as he was her employer and married. Ono ignored Pang's protests and said that she would arrange everything. Ono later confirmed this conversation in an interview.[9] At the time Lennon had his 18-month relationship with Pang, he was in a period of his life that he would later refer to as his "Lost Weekend", in reference to the film and novel of the same title. In October 1973, Lennon and Pang left New York for Los Angeles to promote Mind Games, and decided to stay for a while, living at lawyer Harold Seider's apartment for a couple of days and then Lou Adler's house. While there, Lennon was inspired to embark on two recording projects: to make an album of the old rock 'n' roll songs that inspired him to become a musician, and to produce another artist. In December 1973, Lennon collaborated with Phil Spector to record the oldies album Rock 'n' Roll. The alcohol-fueled recording sessions became legendary. Every musician in L.A. wanted to participate, but soon Lennon's drinking and Spector's erratic behavior (which included his firing a gun in the studio control room) caused the sessions to break down. Then Spector, who claimed to have been in a car accident, took the session tapes and became unreachable. In March 1974, Lennon began producing Harry Nilsson's Pussy Cats album, thus named to counter the "bad boy" image the pair had earned in the media with two drinking incidents at The Troubadour. The first was when Lennon placed a Kotex on his forehead and scuffled with a waitress at a concert given by Ann Peebles, who had released one of Lennon's favorite records at the time, 'I Can't Stand The Rain'; and the second, two weeks later, when Lennon and Nilsson were ejected from the same club after heckling the Smothers Brothers. Lennon thought it would be a good idea for the musicians to live under one roof to ensure they would get to the studio on time, so Pang rented a beach house in Santa Monica for her, Lennon, Nilsson, Ringo Starr and Keith Moon to live in. At this time, Pang encouraged Lennon to reach out to family and friends. He and Paul McCartney mended fences and played together for the first and only time after the breakup of the Beatles (see A Toot and a Snore in '74). Pang also arranged for Julian Lennon to visit his father for the first time in almost four years. Julian began to see his father more regularly. Lennon bought Julian a Gibson Les Paul copy guitar and a drum machine for Christmas in 1973, and encouraged Julian's interest in music by showing him some chords. "Dad and I got on a great deal better then," recalls Julian. "We had a lot of fun, laughed a lot and had a great time in general when he was with May Pang. My memories of that time with Dad and May are very clear—they were the happiest time I can remember with them." The cover of Julian's seventh album, Jude,features a childhood photo of him taken by Pang.  

Episode 94 Electronic Drone Music   Playlist Yves Klein, “Monotone-Silence Symphony” written in 1947. I could not find any recorded versions of this piece, so I produced this realization of my own to capture the feel and nature of this drone work. Klein conceived this as performance art in which an orchestra would only play a single note, continuously, for 20 minutes followed by another 20 minutes of silence. I've examined the score and can see that Klein also intended that the same note could be played in different octaves. The playing would have been staged so that one group of musicians could overlap another, both for reasons of fatigue but also to allow smooth transitions for the wind instruments because players would need to take a breath. My version includes electronic instruments for multiple parts, each part playing the same note, often in different octaves. The introduction of instrumental groups was planned in stages, each overlapping the previous grouping, gradually shortening in duration as the piece goes on. La Monte Young and Marian Zazeela, “31 VII 69 10:26 - 10:49 PM” from 31 VII 69 10:26 - 10:49 PM / 23 VIII 64 2:50:45 - 3:11 AM The Volga Delta (1969 Edition X). Eponymous untitled album popularly known as "The Black Record" or "The Black Album" Mine is an original copy. The cover is black gloss print on matt black and very hard to read. Numbered edition limited to 2800 copies of which numbers 1-98 are dated and signed by the artists. This work “was recorded at the date and time indicated in the title, at Galerie Heiner Friedrich, München. The work “31 VII 69 10:26-10:49 PM” is a section of the longer work: Map Of 49's Dream The Two Systems Of Eleven Sets Of Galactic Intervals Ornamental Lightyears Tracery. Play this side at 33 1/3 rpm only.” Early work employing electronic drones. By the mid-sixties, Young and his partner Marian Zazeela were creating music for electronic drones as an extension of their group, The Theatre of Eternal Music. Using a Heathkit sine wave oscillator and later Moog modules as sources, they created drone pieces that employed “extended duration time signatures” and “long sustained tones, intervals, triads and chords to create the musical texture.” A reissue has now occurred on the label Super Viaduct. Tony Conrad, “Process Four of Fantastic Glissando” from Fantastic Glissando (2006 Table of The Elements). Dating from 1969, this recording contains various versions of the same sound piece, each processed slightly differently. “Process Four” accumulates the processed applied to the previous three processes. The first glissando recording was made using a sine wave oscillator processed through pump counter with a stereo-phase glissando. Recorded December 12, 1969, on a Revox reel-to-reel tape recorder set at 3¾ ips. Conrad was in LaMonte Young's circle of friends and performers and joined him on many productions of The Theatre of Eternal Music. Teresa Rampazzi , “Duodeno normale” and “Duodeno Patologico” from Musica Endoscopica (1972). Here we have two short electronic works from this remarkable women composer that emphasize the drone. The pulsing tones and textures were played manually using audio oscillators. Music produced by the N.P.S. (Nuove Proposte Sonore) group for the documentary entitled "Gastroscopia" (Gastroscopy) realized in 1972 by Prof. Domenico Oselladore, University of Padova, in collaboration with Istituto De Angeli s.p.a., Milan. This documentary was presented at the Scientific Film Festival, Policlinico Universitario di Padova, 1972. “Duodeno Normale” begins with a drone consisting of two continuous tones: a low-pitched buzz from a sawtooth wave accompanied by a pulsating higher-pitched tone. The drone is joined at the 11-second mark by a high-pitched ringing tone played on a third oscillator. This ringing tone is repeated every 5–8 seconds and sustained for two or more seconds each time. The irregular timing of the tone suggests that Rampazzi was manually playing it by turning the dial of an oscillators. The ringing tone is sustained for the duration of the piece, creating a three-part drone. The drones fade out, beginning with the lower buzzing tone. “Duodeno Patologico” uses a similar process. The Taj-Mahal Travelers, “The Taj-Mahal Travelers Between 6:20~6:46P.M.” from July 15, 1972 (1972 CBS/Sony). Released in Japan. Early album by the group founded by experimental electronic musician and violinist Takehisa Kosugi. Electronic Contrabass, Suntool, Harmonica, Performer Sheet Iron, Ryo Koike; Guitar Electronic Quiter, Percussion, Michihiro Kimura; Electronic Trumpet, Harmonica, Castanets, Seiji Nagai; Vibraphone, Santoor Suntool, Yukio Tsuchiya; Electronic Violin, Electronics, Radio Oscillators, Voice, Takehisa Kosugi; Vocals, Tokio Hasegawa. This album was recorded live at Sohgetsu Hall, Tokyo, Japan, July, 1972. Originally released using Sony's SQ quadraphonic system. Yoshi Wada, “Earth Horns with Electronic Drone”(1974) from Earth Horns with Electronic Drone (2009 EM Records). Recorded at Everson Museum of Art, Syracuse, New York, February 24, 1974. Electronics, Liz Phillips; Pipehorn Players, Barbara Stewart, Garrett List, Jim Burton, Yoshi Wada; Electronic equipment designed by, Liz Phillips, Yoshi Wada; Pipehorns constructed by, composed by, recorded by, Yoshi Wada. Combining four of Wada's self-made "pipehorns" (constructed of plumbing materials, over three meters in length), with an electronic drone tuned to the electrical current of the performance space, this is a lost masterpiece of early drone/minimalism. The performance filled the space with complex overtones generated by the ever-shifting interplay of the breathing horns and the constant electronic drone. Lou Reed, “Metal Machine Music” (1975 RCA). All music and electronics by Lou Reed. Inspired by LaMonte Young, this is what I would call a noise drone! Reed himself points to the influence of Young in his lean liner notes. "SPECIFICATIONS: No Synthesizers, No ARP, No Instruments?” Sony 1/2 track; Uher 1/4 track; Pioneer 1/4 track; 5 piggyback Marshall Tube Amps in series; Arbitor distortor (Jimi's); Marantz Preamps; Marantz Amps; Altec Voice of America Monitor Speakers; Sennheiser Headphones; Drone cognizance and harmonic possibilities vis a vis Lamont Young's Dream Music; Rock orientation, melodically disguised, i.e. drag; Avoidance of any type of atonality.; Electro-Voice high filter microphones; Fender Tremolo Unit; Sunn Tremolo Unit; Ring Modulator/Octave Relay Jump; Fender Dual Showman Bass Amp with Reverb Unit (Pre-Columbia) white. Eliane Radigue, “Triptypch” Part 2” (1978). (2009 Important Records). Electronic Instrumentation: ARP 2500 modular synthesizer and analog, multitrack tape composition. The piece uses real-time ARP programming, tape loops, and recorded acoustic sounds. This piece is characteristic of Radigue's fervent exploration of gradually changing layers of harmonically intersecting tones. It is the kind of drone work that can easily dip the listener into a pool of trance and is one of the composer's many works grounded by her dedication to Tibetan Buddhism. Note the overall slowly evolving changes formed by overlapping sustained tones presented without any clearly articulated beginnings and endings. John Cage, Gary Verkade, “Organ2/ASLSP” from The Works for Organ (2013 Mode). John Cage composed “Organ2/ASLSP” in 1987 for solo organ. This piece has been realized at a variety of lengths, from about 30 minutes, to 8 hours, and what is arguably the longest interpretation of music ever played, now 23 years into its projected run of 639-years being performed now in Halberstadt Cathedral, Germany where a special organ was created to perform the piece unattended until a chord change is called for. This work is not electronic, although the pipe organ may be thought of by some, including me, as the first synthesizer. Although I won't be playing this work except in the background of this introduction, I needed to mention it because of its significance in the canon of drone music. “This composition consists, like Cage's ASLSP, of 8 pieces. Unlike ASLSP, however, all pieces here should be played. Any of the 8 pieces may be repeated, and these repetitions may be played subsequent to any of the other pieces. The published score consists of a title page, brief instructions, and 4 leaves with music. Each page contains 2 pieces.” Phill Niblock, “Guitar, too, for four—The Massed Version” from G2,44+/x2 (2002 Moikai). 24-track mix of guitar samples from Rafael Toral, Robert Poss, Susan Stenger, David First. Guitarists adding 2 live parts each to the 24 track mix version: Kevin Drumm, Lee Ranaldo, Thurston Moore, Robert Poss, Alan Licht. Niblock's usually works with acoustic instruments, so this venture with electric guitar is somewhat unique in his body of work. He asks musicians to play parts that are first recorded and then reworked in the mixing and editing process, largely to eradicate pauses and silences so that the sounds can be blended without such interruptions. Pauline Oliveros and Reynols, "Half a Dove in New York, Half a Dove in Buenos Aires" (1999) (2022 Smalltown Supersound). Reynols is an Argentinian experimental band that began in 1993 as Burt Reynols Ensamble. Band member Alan Courtis wrote to me, saying, “First of all, thanks a lot for mentioning our Pauline Oliveros in the arms of Reynols collaboration in your book Electronic & Experimental Music. She was a great musician/composer and friend.” After which he pointed me to a “recent release of an old project we made with Pauline back in 1999.” This is it! Opening background music: Tony Conrad, Arnold Dreyblatt, Jim O'Rourke, “Side 1” from Tonic 19-01-2001 (2023 Black Truffle). Performers, Arnold Dreyblatt, Jim O'Rourke, Tony Conrad. Recorded January 19,2001 at Tonic, New York City. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For additional notes, please see my blog, Noise and Notations.

Today on the Tales of a Red Clay Rambler Podcast I have an interview with Rebecca Hutchinson. Her 2022 installation Re-Generation at the Everson Museum featured cocoon-like vessels that were surfaced with drawings of a rare central New York Orchids done by artist Mallory Wetherell. This work highlights environmental sustainability and hybridity, two themes that recur throughout Hutchinson's career. In our interview we talk about structural concepts she's learned from observing animal habitats, blending paper and clay, as well as her role as a professor at the University of Massachusetts Dartmouth. For more information visit www.rebeccahutchinson.com.   I'm happy to announce that I'll be jurying The Clay Center of New Orleans upcoming exhibition “Less is More”. This juried exhibition is open to ceramic vessels, sculptures, and wall-mounted works, and celebrates earthenware clay and low-fire surface techniques. Application deadline is April 15th so visit www.nolaclay.org/calls-for-entries to apply today.   Today's episode is brought to you by the following sponsors:   For the past 100 years, AMACO Brent has been creating ceramic supplies for our community ranging from underglazes to electric kilns, and they have no plans of slowing down. www.amaco.com   The Bray is actively committed to promoting, celebrating, and sustaining the ceramic arts through its residency program, education center, and gallery. www.archiebray.org   The Rosenfield Collection of Functional Ceramic Art is an on-line source for research and inspiration, featuring images of thousands of objects made by over 900 artists. www.Rosenfieldcollection.com.

While JBarber is out giving a Tedx talk at Wake Forest we're flashing back to one of the classic Studio Noise episodes with the one and only Vanessa German! Vanessa tells us about her mother and all the lessons she taught her about art and making space for art practice. She talks about the power of objects and how she turned from making singular Power Figures to a community of figures. Vanessa gives a great perspective on how she relates to her art, how she sees all the different mediums she uses, and her commitment to making art. Listen, subscribe, and share!Episode 160 topics include:Vanessa German inspired by her mothercreating power figuresincluding the community in your art practicetelling stories with artVanessa German is a visual and performance artist based in the Pittsburgh neighborhood of Homewood. Homewood is the community that is the driving force behind German's powerful performance work, and whose cast-off relics form the language of her copiously embellished sculptures. As a citizen artist, German explores the power of art and love as a transformative force in the dynamic cultural ecosystem of communities and neighborhoods. She is the founder of Love Front Porch and the ARThouse, a community arts initiative for the children of Homewood. Her work is in private and public collections including Everson Museum of Art, Figge Art Museum, Flint Institute of Arts, Spelman College Museum of Fine Art, Crystal Bridges Museum of American Art, David C. Driskell Center, Snite Museum of Art, Wadsworth Atheneum Museum of Art and Wellin Museum of Art at Hamilton College. German's fine art work has been exhibited widely, most recently at the Figge Art Museum, The Union for Contemporary Art, The Fralin Museum of Art at the University of Virginia, Flint Institute of Arts, Mattress Factory, Everson Museum of Art, Spelman College Museum of Fine Art, Wadsworth Atheneum Museum of Art, Studio Museum, Ringling Museum of Art and Crystal Bridges Museum of American Art. Her work has been featured on CBS Sunday Morning, NPR'sAll Things Considered and in The Huffington Post, O Magazine and Essence Magazine. She is the recipient of the 2015 Louis Comfort Tiffany Foundation Grant, the 2017 Jacob Lawrence Award from the American Academy of Arts and Letters, the 2018 United States Artist Grant and most recently the 2018 Don Tyson Prize from Crystal Bridges Museum of American Art.See more: pavelzoubok.com/artist/vanessa-german/ + @vanessalgermanPresented by: Black Art In AmericaFollow us:StudioNoizePodcast.comIG: @studionoizepodcastJamaal Barber: @JBarberStudioSupport the podcast www.patreon.com/studionoizepodcast

What is up Shaping Nation on this episode of Shaping Your Pottery I got to interview Natalia Arbelaez. Natalia Arbelaez is a Colombian American artist, born and raised in Miami, Florida to immigrant parents. Her work has been exhibited internationally, in museums, galleries, and included in various collections, such as the Everson Museum, MAD Museum, Fuller Museum and The ICA Miami. You can learn more about Natlia by checking out her Instagram @natalia_arbelaez_  Top 3 Value Bombs  Taking inspiration from your heritage  Using stories to help you find your voice Taking Time experiment with your pottery and so much more The Questions we ask will determine how our pottery will look like that's why I created a Free 15 questions to help you discover your voice template go grab it here www.shapingyourpottery.com/questions Support the podcast by signing up for the Shaping Your Pottery Patreon here

About the Podcast The Stevens Group has been presenting the PR Masters Series Podcast for more than two years now.  This series is part of the ongoing partnership between The Stevens Group and CommPRO to bring to PR, digital/interactive and marketing communications agencies the wisdom of those who have reached the top of the PR profession.  Today's special guest is Eric Mower, Chairman, & Chief Executive Officer, Mower.     About Our Guest Eric Mower has guided the privately-held Mower (formerly Eric Mower + Associates) over the past 54 years, growing it from a single location with a staff of four to one of the largest independent, digitally integrated, full-service marketing, advertising and public relations firms in the United States. Mower functions from ten US cities: Albany (New York), Atlanta, Boston, Buffalo, Charlotte, Chicago, Cincinnati, New York City, Rochester (New York) and Syracuse. Earlier this year Mower was named Midsize Agency of the Year for B2B by the Association of National Advertisers. In the last decade, Ad Age magazine twice-named the agency one of the Top-10 “Best Places to Work.” In addition to serving as Mower's chairman and CEO, Eric served the Business Council of New York State as co-chair of the board for two years followed by two years as chair of the board. He and his firm joined the Business Council in 1986. Eric is chair emeritus of the Advertising Self-Regulatory Council (ASRC) and a past director and secretary/treasurer of the American Association of Advertising Agencies (4A's), and he continues to serve in his 30th year as chair of the 4A's Government Relations Committee. 0ther board leadership positions include seven-years as president of the International Network of Advertising Agencies (IN); director of the International Council of Better Business Bureaus; director of the American Advertising Federation; eight years as the Founding Chair of the federal Erie Canalway National Heritage Corridor Commission. In addition to being inducted into the Association of National Advertisers' B2B Hall of Fame in 2019, Eric has been recognized by Ernst & Young as a Master Entrepreneur of the Year, and by City & State Reports, which bestowed on him the Lifetime Achievement Award and later named him to its “Responsible 100” list. In 2022 City & State Reports designated Mower as number 14 on “The 2022 Political PR Power 50 in New York.” Also in 2022, 100 Black Men of New York honored him with its J. Bruce Llewellyn Excellence in Philanthropy Award. Over many years Eric provided leadership to, and was recognized by, numerous community philanthropic and civic organizations in Upstate New York, including the SUNY Health Science Center at Syracuse, United Way, Community Foundation of CNY, Centerstate CEO, Syracuse Stage, Everson Museum, Boy Scouts, Junior Achievement, the Syracuse and Buffalo Philharmonic Orchestra, and others. Eric earned a bachelor's degree in English from Syracuse University's College of Arts and Sciences in 1966 and a master's degree in public relations from the S.I. Newhouse School of Public Communications in 1968. And he serves as a Life Trustee of Syracuse University and sits on several of its committees (Academic Affairs, Advancement and External Affairs, Athletics, and Facilities). He is also a member of the university's Subcommittee for Marketing and Communications. Mower joined SU's board in 1990 and served as Vice Chair from 1997-2001. In 2018 he received the Dritz Life Trustee of the Year Award for outstanding Board service.  His Syracuse University service includes ongoing membership on the Newhouse Advisory Council and he is a former member of the Whitman School of Business Advisory Council. Mower is a 2015 recipient of the George Arents Award, the University's highest alumni honor, and a 2012 co-recipient with his wife, S.U. trustee Judith C. Mower, of the University's Orange Circle Award.  He also received the University's Outstanding Alumni Award in 1995.  

About the Podcast The Stevens Group has been presenting the PR Masters Series Podcast for more than two years now.  This series is part of the ongoing partnership between The Stevens Group and CommPRO to bring to PR, digital/interactive and marketing communications agencies the wisdom of those who have reached the top of the PR profession.  Today's special guest is Eric Mower, Chairman, & Chief Executive Officer, Mower.     About Our Guest Eric Mower has guided the privately-held Mower (formerly Eric Mower + Associates) over the past 54 years, growing it from a single location with a staff of four to one of the largest independent, digitally integrated, full-service marketing, advertising and public relations firms in the United States. Mower functions from ten US cities: Albany (New York), Atlanta, Boston, Buffalo, Charlotte, Chicago, Cincinnati, New York City, Rochester (New York) and Syracuse. Earlier this year Mower was named Midsize Agency of the Year for B2B by the Association of National Advertisers. In the last decade, Ad Age magazine twice-named the agency one of the Top-10 "Best Places to Work." In addition to serving as Mower's chairman and CEO, Eric served the Business Council of New York State as co-chair of the board for two years followed by two years as chair of the board. He and his firm joined the Business Council in 1986. Eric is chair emeritus of the Advertising Self-Regulatory Council (ASRC) and a past director and secretary/treasurer of the American Association of Advertising Agencies (4A's), and he continues to serve in his 30th year as chair of the 4A's Government Relations Committee. 0ther board leadership positions include seven-years as president of the International Network of Advertising Agencies (IN); director of the International Council of Better Business Bureaus; director of the American Advertising Federation; eight years as the Founding Chair of the federal Erie Canalway National Heritage Corridor Commission. In addition to being inducted into the Association of National Advertisers' B2B Hall of Fame in 2019, Eric has been recognized by Ernst & Young as a Master Entrepreneur of the Year, and by City & State Reports, which bestowed on him the Lifetime Achievement Award and later named him to its "Responsible 100" list. In 2022 City & State Reports designated Mower as number 14 on “The 2022 Political PR Power 50 in New York.” Also in 2022, 100 Black Men of New York honored him with its J. Bruce Llewellyn Excellence in Philanthropy Award. Over many years Eric provided leadership to, and was recognized by, numerous community philanthropic and civic organizations in Upstate New York, including the SUNY Health Science Center at Syracuse, United Way, Community Foundation of CNY, Centerstate CEO, Syracuse Stage, Everson Museum, Boy Scouts, Junior Achievement, the Syracuse and Buffalo Philharmonic Orchestra, and others. Eric earned a bachelor's degree in English from Syracuse University's College of Arts and Sciences in 1966 and a master's degree in public relations from the S.I. Newhouse School of Public Communications in 1968. And he serves as a Life Trustee of Syracuse University and sits on several of its committees (Academic Affairs, Advancement and External Affairs, Athletics, and Facilities). He is also a member of the university's Subcommittee for Marketing and Communications. Mower joined SU's board in 1990 and served as Vice Chair from 1997-2001. In 2018 he received the Dritz Life Trustee of the Year Award for outstanding Board service.  His Syracuse University service includes ongoing membership on the Newhouse Advisory Council and he is a former member of the Whitman School of Business Advisory Council. Mower is a 2015 recipient of the George Arents Award, the University's highest alumni honor, and a 2012 co-recipient with his wife, S.U. trustee Judith C. Mower, of the University's Orange Circle Award.  He also received the University's Outstanding Alumn...

May Pang is a former music executive and an eyewitness to key moments in rock ‘n' roll history, particularly in terms of the lives and times of the former members of the Beatles, especially John Lennon. After growing up in Spanish Harlem and Manhattan, Pang's early jobs included working as an old-school record-plugger and at Allen Klein's management office, which represented Apple Records and three former Beatles: Lennon, George Harrison, and Ringo Starr. In December 1970, Pang was invited to assist Lennon and his wife Yoko Ono with their film projects, “Up Your Legs Forever” and “Fly.” Pang was then asked to be Lennon and Ono's secretary in New York and Great Britain, which led to a permanent position as their personal assistant when the Lennons moved from London to New York in 1971. That October, Pang famously coordinated an art exhibition for Ono's This Is Not Here art show at the Everson Museum in Syracuse. When Lennon and Ono separated in 1973, Pang and Lennon began a relationship that lasted more than 18 months. Lennon later referred to this time as his "Lost Weekend". In addition to acting as Lennon's muse, she served as production coordinator for him on such hit LPs as “Rock ‘n' Roll” and “Walls and Bridges,” which included “Whatever Gets You Thru the Night,” John's only number-one solo hit during his lifetime. After Lennon returned to Ono in 1975, Pang began working as PR manager for record companies. Pang subsequently authored two books about her relationship with Lennon—a memoir entitled “Loving John” (in 1983) and a book of photographs, “Instamatic Karma” (in 2008). She was recently the subject of a critically acclaimed documentary, “The Lost Weekend: A Love Story,” which debuted at the Tribeca Film Festival this past June. --- Support this podcast: https://anchor.fm/everythingfabfour/support

Jeff Gibson is an Australian-born artist and occasional critic who has worked in a variety of media and contexts—photography, collage, video, prints, posters, banners, and books for galleries and public spaces. Gibson moved to New York in 1998 to work for Artforum magazine, where he has been the managing editor since 2004. Since arriving in New York, he has exhibited on the Panasonic Astrovision screen in Times Square as part of Creative Time's “59th Minute” program and mounted solo shows at the New York Academy of Sciences, Stephan Stoyanov, and Theodore. In 2011, two of the artist's videos were projected onto the facade of the Everson Museum of Art in Syracuse, New York, as part of a curated series presented by Light Work and the Urban Video Project. His video Metapoetaestheticism was exhibited in the 2014 Whitney Biennial. In 2016, Gibson produced a billboard, titled Armagarden, for the I-70 Sign Show, a curated program of artworks occupying advertising sites on the Missouri interstate. Gibson's work was also included in the “Digital Infinity” section of the 2018 Front International: Cleveland Triennial for Contemporary Art. And in June of this year, the Griffith University Art Museum in Brisbane, Australia, staged a survey show of Gibson's art, titled “Countertypes,” featuring a selection of works spanning 1980 to the present. Jeff Gibson, Untitled, 2022, decoupage on wood panel, 24 x 24”. Jeff Gibson, Untitled, 2022, decoupage on wood panel, 24 x 24”. Jeff Gibson, Untitled, 2022, decoupage on wood panel, 24 x 24”.

Anthony Akinbola Photo by Fredrick Nwosu Anthony Akinbola is an interdisciplinary Nigerian- American, Brooklyn-based artist. Born in Columbia, Missouri, Anthony Akinbola, is a first-generation American raised by Nigerian parents in the United States and Nigeria. His layered, richly colored compositions celebrate and signify the distinct cultures that shape his identity. The artist's signature Camouflage paintings, consisting of single and multi-panel works, utilize the ubiquitous du-rag as their primary material. Universally available and possessed of significant cultural context, the du-rag represents for Akinbola a readymade object that engages the conceptual strategies of Marcel Duchamp and other significant artistic predecessors. Throughout his work Akinbola unpacks the rituals and histories connecting Africa and America, addressing the power of fetishization around cultural objects. Anthony Akinbola was selected for the Anderson Ranch Art Center Residency in 2017 and created a monumental wall collage for The Queens Museum in 2018. In 2019, Akinbola was awarded the Van Lier Fellowship and named the eighth Museum of Arts and Design Artist Fellow, which resulted in a solo exhibition at the museum. In September 2022, Anthony Akinbola was awarded the Silver Arts Project residency in New York. Akinbola's work is currently featured in a group exhibition at the Kalamazoo Institute of Arts. His work will be included in a group exhibition at the Baltimore Museum of Art in March 2023. His work has been featured in exhibitions at The Queens Museum, NY; the Bronx River Art Center, NY; The Zuckerman Museum of Art, GA; and The Verbeke Foundation, Belgium, amongst others. Following his exhibition at the Museum of Art and Design, NY in 2020, Akinbola mounted a significant solo exhibition in early 2021 at the Kohler Arts Center, WI. Akinbola received a BA in communications and media from SUNY Purchase College. His work is included in the Pizzuti Collection, Columbus, OH, the Beth Rudin DeWoody Collection, and The Everson Museum of Art, Syracuse, NY amongst others. Installation view of Anthony Akinbola: Natural Beauty at Sean Kelly, New York, September 8 - October 22, 2022, Photography: Adam Reich, Courtesy: Sean Kelly Anthony Akinbola White Bronco, 2022 durags, acrylic on wood panel overall: 110 x 72 inches © Anthony Akinbola Courtesy: Sean Kelly Anthony Akinbola Camouflage Study "Lilac/Green", 2022 durags, acrylic on wood panel 48 x 96 inches © Anthony Akinbola Courtesy: Sean Kelly Anthony Akinbola Lift Every Voice, 2022 durags, acrylic on wood panel overall: 149 x 73 1/2 inches © Anthony Akinbola Courtesy: Sean Kelly

Ep.114 features Dawn Williams Boyd, She was born in 1952 in Neptune, New Jersey. She earned her BFA at Stephens College in Columbia, MO in 1974. The artist's self-described “cloth paintings” masterfully reinterpret the traditional craft of quilt-making in a contemporary context. Working on a monumental scale, Boyd employs a collage-like technique, stitching together scraps of fabric into intricate compositions. Utilizing art historical references, current events, and religious tropes as narrative frameworks, her cloth paintings chronicle seminal moments in African American history and quotidian scenes of Black American life. Inventively combining textures and patterns, Boyd's compositions weave together history and allegory to create multivalent meanings from disparate sources. Boyd's work is included in the collections of the Metropolitan Museum of Art in New York, NY; Equal Justice Initiative in Montgomery, AL; Birmingham Museum of Art in Birmingham, AL; Columbus Museum in Columbus, GA; Everson Museum of Art in Syracuse, NY; and the Richardson Family Art Museum at Wofford College in Spartanburg, SC. Her art has been exhibited at Wofford College in Spartanburg, SC; Southwest Art Center in Atlanta, GA; Hammonds House Museum in Atlanta, GA; Bulloch Hall in Roswell, GA; Agnes Scott College in Decatur, GA; Callanwolde Fine Arts Center in Atlanta, GA; and Contemporary Craft in Pittsburgh, PA. A multi-venue solo exhibition of the artist's work, Dawn Williams Boyd: Woe, was recently on view at the Lamar Dodd School of Art's Dodd Galleries, at the University of Georgia and at the Everson Museum in Syracuse, NY and will be on view at Sarah Lawrence College in Bronxville, NY in September 2022. Photo Credit: Ron Witherspoon Artist https://www.dawnwilliamsboyd.com/ Fort Gansevoort Gallery https://www.fortgansevoort.com/ Sarah Lawrence https://www.sarahlawrence.edu/news-events/galleries/heimbold-gallery/on-exhibit.html Everson Museum of Art https://everson.org/connect/virtual-talk-with-dawn-williams-boyd-ben-green/ Daily Orange https://dailyorange.com/2022/02/dawn-williams-boyds-exhibit-woe-crafts-fiber-art-timeless-historical-portrayals/ Atlanta Magazine https://www.atlantamagazine.com/news-culture-articles/dawn-williams-boyds-cloth-paintings-tell-stories-of-black-life-in-america/ Ocula https://ocula.com/artists/dawn-williams-boyd/exhibitions/ Metal Magazine https://metalmagazine.eu/en/post/interview/dawn-williams-boyd Elephant Art https://elephant.art/dawn-williams-boyd-faith-ringgold-inspired-me-to-change-my-art/

Dr. Laura Reeder is an artist, a teacher, and a human who encourages young people and adults to use creativity as a form of activism to make meaningful change in the world. Her recent installation at the Everson Museum of Art titled "Now More Than Ever" re-shaped a gallery with thousands of cell phone photos taken from her walks through everyday life. Her miles-long "Cultivators", labyrinths that she creates by walking in snow, sand, and leaves invite us to pay closer attention to the natural environment. Find out more here: https://laurakreeder.com/ Check out https://copenotes.com/zestful for an innovative app that supports mental health. Find out more about the Zestful Aging Podcast at ZestfulAging.com.

It's time to hear from some working artists in this Making Money + Making Art series! Today I chat with Detroit-based fibers artist, Katie Shulman. In our conversation we talk about Katie's trajectory as an artist and how she's dealt with the big questions of "How do I make a living? and how do I make my art?" She'll share the various ways she's answered these questions. She'll talk about her feelings on selling her work, her relationship to nine-to-fives, and the value of moving to an affordable city. Listen in for so much wisdom. Come take Katie's workshop at the school: All About Rope: Transforming Line to Form on May 19th, 2022. Bonus: Snag a 30-minute discounted coaching call with Katie if you sign up for the class! ++++ About Katie Shulman Katie Shulman is an artist from Washington, DC who currently resides in Detroit, Michigan. She holds an MFA in Studio Art from Syracuse University and a BFA in Fine Art from The University of Michigan in Ann Arbor. Her work has been shown wildly in New York State including at the Everson Museum in Syracuse, NY and The Strohl Art Gallery in Chautauqua, NY. In addition to her art practice, Katie has an over nine-year career as an arts administrator. She has worked in various institutions of higher learning and nonprofit art spaces in New York City like The 92nd Y, The Studio Institute and Hunter College. She currently teaches at College for Creative Studies and serves as a Pre-College Counselor at her alma mater, the Penny W. Stamps School Of Art & Design. Find her on instagram: @katie.shulman. --- Support this podcast: https://anchor.fm/amightypractice/support

Cristina Cordova received a Bachelor of Arts from the University of Puerto Rico and continued to earn a Master of Fine Arts in Ceramics from the New York State College of Ceramics at Alfred University. In 2002 she entered a three-year artists residency program at Penland School of Crafts where she later served on the board of trustees from 2006 to 2010. Recognitions included a USA Artist Fellowship, and American Crafts Council Emerging Artist Grant, a North Carolina Arts Council Fellowship, a Virginia Groot Foundation Recognition Grant and several International Association of Art Critics Awards. Her work is part of the permanent collections of the Renwick Gallery of the Smithsonian American Art Museum, the Fuller Craft Museum, the Mint Museum of Craft and Design, the Museum of Contemporary Art of Puerto Rico, the Everson Museum and the Mobile Museum, among others. She currently lives and works at Penland. You can follow along with her work on Instagram. Find and follow your hosts Katie Freeman and Katie Thompson on Instagram.

Cozy Winter GetawaysMike O'Brian has the cure for your winter blues, with some cozy Winter Getaways, that aren't that far away from Rochester - and are great for the whole family!Plus, a #Flashback Getaway from Mike's visit to the Everson Museum in Syracuse!Don't forget to 'Like' & 'Subscribe' so you don't miss an episode of "Tales of the Getaway Guy" - and if you want to contact the show, email MikeTheGetawayGuy@Gmail.com

Our first episode follows John and Paul's reconciliation in 1972-1973, John & Yoko's decision to separate, John's move to Los Angeles with May Pang and John's steps toward self-acceptance. --- TW: violence SOURCES Interview w/ Barbara Graustark for Newsweek (1980) This Is Not Here Press Conference, Everson Museum in Syracuse, NY (October 8, 1971) Gary Von Syock, LiveforLiveMusic.com  (2015) Lennon: the Man, the Myth, the Music TIM RILEY (2011) You Never Give Me Your Money, PETER DOGGETT (2009) Elliot Mintz Interview w/ John and Yoko (1973) John Lennon on Weekend World  (April 8, 1973) Paul McCartney to Nicky Horne (1973) JOHN LENNON THE LIFE, Philip Norman (2008) Daily Beast, YOKO ONO (Oct 13, 2015) John Lennon, interview w/ Lisa Robinson for Hit Parader (December, 1975)  The Gay Liberation Book (1972) Loving John, MAY PANG (1983) John Lennon on Women's Hour (May 28, 1971) John Lennon Interview w/ Sandra Shevey (1972) John Lennon Interview for PLAYBOY (1980) Paul McCartney Interview, Telegraph UK (Aug 25, 2009) PLAYLIST I Know, I Know JOHN LENNON Silly Love Songs WINGS New York City JOHN & YOKO Get On the Right Thing PAUL McCARTNEY & WINGS Mamunia Paul McCartney & WINGS I Know I Know (demo) JOHN LENNON No Words PAUL McCARTNEY & WINGS Mind Games JOHN LENNON I Can't Stand the Rain ANN PEEBLES When the Night (Newcastle 73) WINGS Move on Fast YOKO ONO

Despite COVID-19, maybe even bacause of it, interesting things are happening at the Everson Museum of Art in Syracuse. This week, Grant Reeher speaks with the museum's executive director and CEO, Elizabeth Dunbar, and Syracuse artist Jaleel Campbell, who has a solo exhibition at the museum titled "Homecoming."

Despite COVID-19, maybe even bacause of it, interesting things are happening at the Everson Museum of Art in Syracuse. This week, Grant Reeher speaks with the museum's executive director and CEO, Elizabeth Dunbar, and Syracuse artist Jaleel Campbell, who has a solo exhibition at the museum titled "Homecoming."

We are grateful and humbled to have the fantastic Vanessa German on Studio Noize! We lucked up to end the year with one of the best contemporary artists in the world. Vanessa tells us about her mother and all the lessons she taught her about art and making space for art practice. She talks about the power of objects and how she turned from making singular Power Figures to a community of figures. Vanessa gives a great perspective on how she relates to her art, how she sees all the different mediums she uses and her commitment to making art. The last conversation of the year is guaranteed to take you into the new year with some world-class inspiration. Vanessa German is a visual and performance artist based in the Pittsburgh neighborhood of Homewood. Homewood is the community that is the driving force behind German's powerful performance work, and whose cast-off relics form the language of her copiously embellished sculptures. As a citizen artist, German explores the power of art and love as a transformative force in the dynamic cultural ecosystem of communities and neighborhoods. She is the founder of Love Front Porch and the ARThouse, a community arts initiative for the children of Homewood. Her work is in private and public collections including Everson Museum of Art, Figge Art Museum, Flint Institute of Arts, Spelman College Museum of Fine Art, Crystal Bridges Museum of American Art, David C. Driskell Center, Snite Museum of Art, Wadsworth Atheneum Museum of Art and Wellin Museum of Art at Hamilton College. German's fine art work has been exhibited widely, most recently at the Figge Art Museum, The Union for Contemporary Art, The Fralin Museum of Art at the University of Virginia, Flint Institute of Arts, Mattress Factory, Everson Museum of Art, Spelman College Museum of Fine Art, Wadsworth Atheneum Museum of Art, Studio Museum, Ringling Museum of Art and Crystal Bridges Museum of American Art. Her work has been featured on CBS Sunday Morning, NPR'sAll Things Considered and in The Huffington Post, O Magazine and Essence Magazine. She is the recipient of the 2015 Louis Comfort Tiffany Foundation Grant, the 2017 Jacob Lawrence Award from the American Academy of Arts and Letters, the 2018 United States Artist Grant and most recently the 2018 Don Tyson Prize from Crystal Bridges Museum of American Art.See more: Pavelzoubok Gallery - Vanessa German + @vanessalgermanFollow us:StudioNoizePodcast.comIG: @studionoizepodcastJamaal Barber: @JBarberStudioSupport the podcast www.patreon.com/studionoizepodcast

Vintage Electronic Music from Japan, Part 2 Western Influence to Eastern Identity: Electronic Music in Japan between 1960 and 1975. Playlist: Toru Takemitsu, “Water Music” (1960) for magnetic tape (1969, RCA Victrola). Matsuo Ohno, Takehisa Kosugi, “B.G.M. Parts A-F” from Roots Of Electronic Sound (1963). Music and effects later used for Astroboy. Maki Ishii, “Kio-oo” for piano, orchestra and electronic sounds (excerpt) from Mt. Fujiyama Suite and Dipol For Orchestra (1968, Aries). Toshi Ichiyanagi, “Love Blinded Ballad (Enka 1969)” from the Opera "From The Works Of Tadanori Yokoo" (1969). Tape collage. Toshi Ichiyanagi, “Electric Chant” from the Opera "From the Works of Tadanori Yokoo" (1969). Military music with electronic tones. Toshi Ichiyanagi, Music for Living Space (1969, Bijutsu Shuppan-Sha), composed for the Electric Faculty of Engineering of Kyoto University. Early Computer Music combined with Gregorian chant for Osaka Expo '70. Shibata, “Improvisation for Electronic Sounds” (1968) from Japanese Electronic Music (1971, Philips). Toru Takemitsu, “Stanza II” (1971) for harp, tape, and natural sounds from Miniatur II: Art Of Toru Takemitsu (1973, DGG) Yoshi Wada ‎– Earth Horns with Electronic Drone, excerpt, (1974, Edition Omega Point) Electronics by Liz Phillips. Pipehorn players Barbara Stewart, Garrett List, Jim Burton, Yoshi Wada. Composed by, recorded by Yoshi Wada. Recorded at Everson Museum of Art, Syracuse, New York, Sunday 2-5pm, February 24, 1974. Joji Yuasa, “My Blue Sky (No. 1)” (1975. Tape parts realized at NHK Electronic music studio. NHK = Nippon Hoso Kyokai (Japanese Broadcasting Corp.)   The Archive Mix in which I play two additional tracks at the same time to see what happens. Here are two more tracks of vintage Japanese electronic music: Toshi Ichiyanagi, “Sound Materials for Music for Tinguely” (1963). Makoto Moroi, “Shōsanke”for electronic sounds and Japanese traditional instruments (1968).   For more information about the history of Japanese electronic music, read my book: Electronic and Experimental Music (sixth edition), by Thom Holmes (Routledge 2020).    

Images speak louder than words and Ghanaian visual artist, curator and art educator, Yvonne Osei, is applying over 10 years of her intercontinental artistic experience to train business professionals across the Midwest. As an Arts-Based Corporate Training Business Coach for COCAbiz, she has worked with Commerce Bank, Saint Louis University, TEDxGatewayArch, Barnes-Jewish Hospital, Ameren Missouri among other institutions, providing workshops in the areas of leadership, communication, collaboration, and ideation. Her TEDx talk, “The Artist Learns to Roar” addresses the impact of colonialism on the West African psyche. She has performed and exhibited nationally and internationally, including Everson Museum of Art (Syracuse, NY), Lambert International Airport (St. Louis, MO), Cité Internationale des Arts (Paris, France) and Padrão dos Descobrimentos (Lisbon, Portugal). https://www.linkedin.com/in/yvonneosei/