Podcasts about Exhibition

Gina Debinski has long held a special connection to Bondi, travelling there several times a year to paint its beach life and scenery. After the terror attack, Gina watched on television as Bondi's surfing community formed a huge memorial circle in the water - a moment that made her pick up her paints and recreate the scene on canvas. She spoke to SBS Hebrew about returning to Bondi after months of avoiding it.

News, Czech priests executed by communist regime beatified, Vamberk bobbin lace first Czech craft to receive European protected geographical indication status.Vojtech Naprstek exhibition in Prague.  

A unique new exhibition opening in Ennis next week is aiming to challenge perceptions, spark conversation and shine a light on the lived experiences of people with disabilities in Ireland today.   It's Not Me, It's YOU! is the culmination of a six-month creative residency at Glór by Ennis-based multidisciplinary artist Rachel MacManus.   Developed in collaboration with members of Clare Leader Forum and young adult service users from Clare Crusaders, the multimedia installation combines contemporary art, experimental drawing, disability rights and personal storytelling.  The exhibition opens on June 9th and explores themes of inclusion, identity and the barriers that people with disabilities often face, with organisers hoping it will encourage audiences to reflect on attitudes and assumptions in society.  To tell us more about the project, the creative journey behind it and what visitors can expect, Alan Morrissey was joined by artist Rachel Macmanus, Glór Programmes Manager Niamh Collins, and Peter Kavanagh from Clare Leader Forum. Photo (c) Clare FM

He's been described as a prodigy of African-American art. Khalif Tahir Thompson combines vibrant colours and family photos in portraits painted for his new exhibition, "Beautiful Land" at Paris' Zidoun-Bossuyt gallery. He talks to us about the two movements which inspired his work, Fauvism and the Harlem Renaissance and why Beauford Delaney inspired him artistically. He also talks about his upbringing and self-identity through his work.

After more than four years of conflict, the war in Ukraine has produced an unprecedented body of data on rapid innovation, emerging technology, and the evolving role of drone warfare and unmanned systems on the modern battlefield. The pressing question for U.S. defense planners is which of those lessons can be translated to the U.S. way of war, and which, if applied too directly, risk misdirecting future force development.In this episode, host Dr. Arun Seraphin is joined by Anna Kim, Associate Research Fellow at the Emerging Technologies Institute (ETI), and Matt Dooley, President and CEO of Fidelium and Chair of the NDIA Robotics Division, to discuss their ETI white paper, "Beyond Attrition: Interpreting the Limits of Lessons from Ukraine for Future US Force Development." The paper examines what full integration of drone technologies, autonomous systems, and emerging military technologies into the U.S. Joint Force would actually require.The conversation explores why Ukraine's battlefield innovation and drone-driven "iteration under fire" model cannot be copied wholesale into the U.S. statutory and industrial environment, the enduring importance of combined arms warfare, and why the future force depends on integrating attritable unmanned systems with legacy maneuver platforms rather than choosing between them. Kim and Dooley also discuss the Army's Transformation in Contact (TiC) and Human Machine Integrated Formation (HMIF) initiatives, Project Convergence, and the Pentagon's Drone Dominance program, along with the production, sustainment, and training challenges of fielding robotic, autonomous, and emerging technology-enabled warfare capabilities at the scale a future fight will demand.Read ETI's White Paper "Beyond Attrition: Interpreting the Limits of Lessons from Ukraine for Future US Force Development": https://www.emergingtechnologiesinstitute.org/publications/brief-series/beyond-attritionLearn more about NDIA's Robotics Division: https://www.ndia.org/divisions/roboticsFor updates on our content, sign up for our weekly mailer: https://www.emergingtechnologiesinstitute.org/sign-upSAVE THE DATE:2026 NDIA Future Force Capabilities Conference & Exhibition, June 8–10, 2026, at Caesars Forum in Las Vegas, NV — where Anna and Matt will continue the conversation: https://ndiaffc.org2026 NDIA Emerging Technologies for Defense Conference and ExhibitionSeptember 9-10, 2026, at the Walter E. Washington DC Convention Center: ndiatechexpo.orgBe sure to follow us on social media for updates, early access to upcoming events, inside scoops, & more:LinkedIn: https://bit.ly/4htROo0Twitter: https://bit.ly/48LHAx3Facebook: https://bit.ly/47vlht8And for more podcasts, articles, & publications on emerging technology, check out our website at: ndiaeti.org

Your daily news in under three minutes. At Al Jazeera Podcasts, we want to hear from you, our listeners. So, please head to https://www.aljazeera.com/survey and tell us your thoughts about this show and other Al Jazeera podcasts. It only takes a few minutes! Connect with us: @AJEPodcasts on Twitter, Instagram, Facebook, and YouTube

The team chats with Hamish Sawyer, curator of the Linden New Art gallery, about the Postcard show which returns for its 36th year on 6 June. Exhibition dates: Saturday 6 June – Saturday 1 August 2026. 26 Acland Street, St Kilda https://www.lindenarts.org/exhibitions/linden-new-art/linden-postcard-show-2026/ The post Sunday Arts Magazine: Hamish Sawyer – May 24th, 2026 appeared first on Sunday Arts Magazine.

Not sure which part of your cycling training is actually working?Start with the SEMIPRO Training X-Ray:

We hear from several big cat witnesses at the Dean Heritage Centre, recorded at the Art & Science of British Big Cats event in April-May 2026. Key guests include Will, a 16-year-old investigator who has had three big cat encounters in the Forest of Dean area, and 10-year-old George, who travelled from Somerset with his mun Louise to take part. George looks for evidence in southwest England, and with his dad he recently observed a big cat skulk away at dusk as they were watching beavers.Artist Rob Amos describes chatting with visitors at the event while he produced his oil painting of a ‘Gloucestershire black leopard at dusk' to engage people for the final three days. See photos on Big Cat Conversations website Refs & Links page, and a video with snippets from the event will soon be available via the Big Cat Conversations YouTube  channel. Words of the week:   weird is cool   31 May 2026

The Topic: Marilyn Monroe’s life and career has been dissected and displayed for almost a century. But for such a pervasive and enduring figure, Monroe’s true internal life remains mysterious: was she forced into her “dumb blonde,” “bimbo” persona, or did she use it to her advantage? Perhaps the truth lies somewhere in-between. The exhibit: In honor of what would be her 100th birthday, the Academy Museum of Motion Pictures attempts to portray Monroe as she was with their exhibition Marilyn Monroe: Hollywood Icon. The exhibition displays Monroe’s most famous costumes and other paraphernalia from her most iconic films as well as personal items that may help reveal the woman behind the camera. Details: The exhibition opens May 31st and will run through February 28, 2027. You can find more information here. The guest: Sophia Serrano, associate curator for the Academy Museum of Motion Pictures who curated the Marilyn Monroe: Hollywood Icon exhibition. Visit www.preppi.com/LAist to receive a FREE Preppi Emergency Kit (with any purchase over $100) and be prepared for the next wildfire, earthquake or emergency

After laying her own flowers at the site of the December 2025 Bondi terror attack, Dr. Ella Dreyfus was invited by her colleague, artist Nina Sanadze, to photograph the memorial bouquets she collected and stored in a warehouse. Those images later became part of the Holding Light exhibition at Bondi Pavilion.

In John 4:46–54, Jesus encounters a desperate father whose son is at the point of death. The official travels a great distance, pleading for Jesus to come and heal his child. But instead of going with him, Jesus simply speaks a word—and the man is faced with a choice: will he trust what Jesus has said, or will he demand proof before he believes? This passage challenges us to consider the nature of genuine faith. Is our trust in Christ dependent on what we can see, or are we willing to take Him at His word? The official's faith grows from desperation to confidence as he learns that Jesus' power is not limited by distance, circumstance, or human understanding. This message explores what it means to trust God when we cannot yet see the outcome, and how faith is strengthened when we learn to rest in the promises of Christ rather than our own certainty. Sometimes the greatest miracles begin with simply believing what Jesus has said.

Bill Crews speaks with Bishop Tony Percy about Sistine Chapel ExhibitionSee omnystudio.com/listener for privacy information.

In this episode we explore the Revolution 250 exhibit at The National Archives in Kew, from 24 June 2026 to 29 November 2026: [Revolution 250](https://www.nationalarchives.gov.uk/whats-on/exhibitions/revolution-250-americas-independence-story-1763-1783/) America's Independence Story 1763–1783 Britain and America. One Story, Two Nations Topics include the following: -the story of the distribution of the Declaration first around the Colonies and then around the world -a description of the National Archive's collection of early prints of the Declaration, including the extremely rare Dunlap Broadsides -the fascinating stories of how these prints arrived in London, enclosed in letters from various British officials in the Colonies, such as Admiral Richard Howe and General William Howe -an overview of the historical scope of the exhibition from 1763 to 1783 -the practicalities of preserving, sorting, and storing records in the National Archives -the importance of intelligence gathering by Imperial officials in the Colonies, including the interception of letters and the creation of lists of likely rebels and loyalists -an overview of the intercepted letters at the exhibition and an assessment of the British intelligence operation during the run up to the war and the war itself -the Parliamentary debate in Britain in 1778 about the substance of the complaints in the Declaration of Independence -the experience of indigenous people and enslaved people during this period The cover image features a Dunlap broadside, printed in Philadelphia on the night of the 4th of July 1776.

In this episode of The Knight Report podcast, hosts Mike Broadbent, Richie O'Leary, and Alec Crouthamel discuss the latest commitment to Rutgers Basketball in transfer guard Rasheed Jones from Coastal Carolina. 0:00 – Intro & Today's Topic 3:15 – Rasheed Jones: Who Is He? 5:00 – How Rutgers Landed Jones 6:30 – Film & Stats Breakdown 10:00 – Advanced Metrics Deep Dive 13:00 – Roster Fit & Point Guard Concerns 16:00 – Building the Starting Five 21:00 – Bench Rotation Discussion 27:30 – Julius Mays Connection & Jones Family Background 29:00 – Dylan Harper Playoff Praise 32:00 – Football QB Recruiting: Logan Flaherty to Florida State 36:00 – New QB Board Reset & Targets 39:00 – Rutgers vs. Syracuse at Barclays Center 41:30 – St. John's Exhibition & NIL Incentives 43:00 – Rutgers Rowing Update Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Josh, Dustin, and Raul are back to cover an assortment of Duke-related topics: Home-and-home series with Illinois announced Exhibition with Tennessee in the works If Michigan can't secure permission from Big 10 to play on Amazon Prime, who should Duke replace them with? Final 247Sports rankings released for the class of 2026 Why Cam Williams has the clearest path to playing time of the incoming freshmen NBA Draft lottery results Best team fits for Cam Boozer and Isaiah Evans? Duke alumni show out at the NBA Draft Combine John Blackwell performs well in scrimmage Maliq Brown gets invite to work out with Dallas Mavericks To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

How do you build a museum?How do you build the right project team? How do you engage with community? What does it mean to plan a museum? What does it mean to design a museum? How do you align your budget with your purpose? How do you build the story of your museum project?Jamē Anderson, Monteil Crawley, Sarah Ghorbanian, and Chris Wood from SmithGroup discuss “Building a Museum: This is Not a Manual (the New Book)” with MtM host Jonathan Alger (Managing Partner, C&G Partners | The Exhibition and Experience Design Studio).Along the way: a one-year process that took ten years, a mystery fifth guest, and branching out to herbal supplements.Talking Points:1. Why a book like this?2. How do I build the right project team, and what does it mean to engage with the community?3. What does it mean to plan and design a museum?4. How do I align budget with purpose?5. How do you write a book?6. How do I learn more from my network?How to Listen:Listen on Apple Podcasts:https://podcasts.apple.com/us/podcast/making-the-museum/id1674901311  Listen on Spotify:https://open.spotify.com/show/6oP4QJR7yxv7Rs7VqIpI1G  Listen at Making the Museum, the Website:https://www.makingthemuseum.com/podcast  Links to Every Podcast Service, via Transistor:https://makingthemuseum.transistor.fm/Guest Bios:Jamē Anderson is a vice president and director of SmithGroup's national team of architects, planners, and engineers who focus exclusively on cultural capital projects. Her career is dedicated to cultural institutions, having held roles at the National Gallery of Art and Smithsonian Institution in addition to her tenure at SmithGroup. Monteil Crawley is a senior principal at SmithGroup and a leading expert in the design of museums and cultural facilities, shaping a unique design vision for each facility and institution. He has spent his career with SmithGroup designing prominent spaces and places that celebrate and reveal the history and culture of the United States. Sarah Ghorbanian is a principal at SmithGroup who specializes in the planning and project management of complex cultural projects. She is an expert at coordinating the intersection of architecture and exhibition design to create compelling, holistic, and engaging experiences for museum audiences. Chris Wood is a vice president at SmithGroup and leads the firm's Washington, D.C., studio of design and engineering specialists devoted to cultural projects. He leads design teams for cultural capital projects of all scales and is a recognized expert in the planning and design of museums and collections facilities. About Making the Museum:Making the Museum is a newsletter and podcast on exhibitions, written and hosted by Jonathan Alger. MtM is a project of C&G Partners | The Exhibition and Experience Design Studio.Learn more about the creative work of C&G Partners:https://www.cgpartnersllc.com/ Links for This Episode:The Book: https://www.smithgroup.com/buildingamuseum  SmithGroup: https://www.smithgroup.com  Jamē Anderson: Jame.Anderson@smithgroup.com Monteil Crawley: Monteil.Crawley@smithgroup.com  Sarah Ghorbanian: Sarah.Ghorbanian@smithgroup.com  Chris Wood: Chris.Wood@smithgroup.com Links for Making the Museum, the Podcast:Contact Making the Museum:https://www.makingthemuseum.com/contact Host Jonathan Alger, Managing Partner of C&G Partners, on LinkedIn:https://www.linkedin.com/in/jonathanalger Email Jonathan Alger:alger@cgpartnersllc.com C&G Partners | The Exhibition and Experience Design Studio:https://www.cgpartnersllc.com/ Making the Museum, the Newsletter:Like the show? You might enjoy the newsletter. Making the Museum is also a free weekly email about exhibitions for museum leaders and teams. (And newsletter subscribers are the first to hear about new episodes of this podcast.)Join hundreds of your peers with a one-minute read, three times a week. Invest in your career with a diverse, regular feed of planning and design insights, practical tips, and tested strategies — including thought-provoking approaches to technology, experience design, audience, budgeting, content, and project management.Subscribe to the newsletter:https://www.makingthemuseum.com/ 

Creative Director of the Titanic Exhibition at the Park Expo joins Bo and Beth to share some insight into the exhibit. For more information and to purchase tickets, go to thetitanicexhibition.com/charlotteSee omnystudio.com/listener for privacy information.

Good Morning BT with Bo Thompson and Beth Troutman | Monday, May 18th, 2026. 6:05 Beth’s Song of the Day 6:20 Weekend Graduation speeches recap (Eric Church and Tom Brady) 6:35 Bo and Beth talk "best" commencement speakers 6:50 RAM Biz Update; Commencement speeches cont. 7:05 Remembering Jack Szoke | Aaron Rai wins PGA Championship 7:20 Radio Host and Producer replaced by A.I. In Andon Labs experiment 7:35 Steve's A.I. Show description for GMBT 7:50 GMBTeam included in A.I description 8:05 80 Pizza Hut locations to undergo major revival 8:20 Pizza Hut news cont. 8:35 Guest: Thomas Dismukes (SC Senate Candidate) 8:50 Guest: Thomas Dismukes 9:05 In-Studio Guest: Mark Lach (Creative Director of the Titanic exhibition at the Park Expo) 9:20 Mark Lach cont. - Inside the Titanic Exhibition 9:35 Mark Lach cont. - Titanic Exhibition 9:50 Mark Lach cont. | Show wrapSee omnystudio.com/listener for privacy information.

The stories that made the Ancient Egypt headlines over the third week of MayNew Discoveries in Dra Abu el-NagaTwo Tombs Opened in el-KhokhaThe Nile: Pulse of Egyptian Civilization ExhibitionLuxor Cache Hall Reopened in Luxor MuseumTreasures of the Pharoah's Exhibition to Tour U.S.Zahi Hawass and Piers MorganAncient Egypt News - a Weekly Catch-Up is #2 in the Top 5 Egypt History Podcasts according to FeedSpot.comhttps://podcast.feedspot.com/egypt_history_podcasts/These news stories are taken from various public internet sources including:http://english.ahram.org.eg/Portal/9/Heritage.aspxhttps://egyptianstreets.com/tag/cairo/http://www.egyptindependent.com/https://www.facebook.com/moantiquities/https://dailynewsegypt.com/https://see.news/category/antiques/https://khentiamentiu.blogspot.com/https://www.facebook.com/luxortimesmagazine/https://www.facebook.com/pg/CairoScene/posts/https://egymonuments.gov.eg/https://www.heritagedaily.comhttps://www.al-monitor.com/culture-societyhttps://www.asor.org/anetodayhttps://livescience.com https://newsweek.com https://www.archaeology.org https://www.sis.gov.eg/Home/EgyptTodayThese stories may have been edited.We are currently planning a tour for September/October 2026. For more info and to prebook visit https://gnttours.comThe GEM is open for visitors and we have added an extra day to accomodate that. But Egypt is not just museums and there is so much more to see. There are tombs that will blow your mind when you first walk inside. There are temples so magnificent you will be lost for words. It is indeed a magical place!We begin in Cairo with the first pyramids, then fly south to Luxor for 6 days before returning to Cairo for your chance to venture inside the Great Pyramid. Plus a day at the GEM.The tour cost (2,299USD) covers everything from your arrival in Cairo to your departure (Ts&Cs apply)  - and if you get on board as a couple or friends sharing; we will give you an extra discount each.It's an adventure you'll never forget! We are also offering the same tour as a group booking for dates that suit you (min 6 pax)More info and to book:https://gnttours.com This podcast is bought to you by Ted Loukes and GnT Toursted@tedloukes.comhttps://tedloukes.comFacebookGnTtours (@GnTtours) / X (twitter.com)Music: "Vadodora Chill Mix" Kevin MacLeod (in...

Our guest is the 2026 recipient of the SLAS Innovation Award, Steven Finkbeiner, MD, PhD, of Gladstone Institutes and the University of California, San Francisco. Steven won the prestigious award for his podium presentation, “Development and Application of AI-powered Label-free Imaging for Assays and Screening."Our discussion takes us through his lab's development of an AI-powered, label-free imaging and a closed-loop "thinking microscope" that uses optogenetics and reinforcement learning to perform thousands of single-cell experiments in a single well, dramatically accelerating research into neurodegenerative diseases and beyond.Key Learning Points:AI-powered label-free imaging for assaysDeep learning models in biomedical researchPrognostic markers and disease diagnosis using AIClosed-loop automated microscopy platformsOvercoming challenges and limitations of AI in researchStay connected with SLAS:www.slas.org | Facebook | X | LinkedIn | Instagram | YouTubeAbout SLASSLAS (Society for Laboratory Automation and Screening) is an international professional society of academic, industry and government life sciences researchers and the developers and providers of laboratory automation technology. The SLAS mission is to bring together researchers in academia, industry and government to advance life sciences discovery and technology via education, knowledge exchange and global community building.Upcoming Events:SLAS Europe 2026 Conference and Exhibition (19-21 May 2026 | Vienna, Austria)SLAS Meet-UpsChicago, Illinois (June 18, 2026)Leiden, Netherlands (10 September 2026)Tübingen, Germany (20 October 2026)SLAS 2026 Sample Management Symposium (October 21-22, 2026 | South San Francisco, California)SLAS2027 International Conference & Exhibition (January 30 - February 3, 2027 | San Diego, California)View the full events calendar

Learn more at TheCityLife.org

In our first episode of Thrive in Science: Women's Leadership Edition, hosts Ginger Cooper, CEO of Summit Success Group, and SLAS Scientific Director Madeline Farley, PhD, introduce themselves, share their career journeys, and share the inspiration behind launching this new podcast spotlighting women in science. They talk about what it means to thrive in the field, the many paths to leadership, and what's ahead in upcoming conversations. They also share where you can meet the hosts in person at SLAS Europe 2026 in Vienna, 19–21 May. Want to learn more? Check out our press release. We're always looking to highlight inspiring women in science. If there's someone you think should be featured on Thrive in Science, we'd love to hear from you. Please fill out this form. Stay connected with SLAS:www.slas.org | Facebook | X | LinkedIn | Instagram | YouTubeAbout SLASSLAS (Society for Laboratory Automation and Screening) is an international professional society of academic, industry and government life sciences researchers and the developers and providers of laboratory automation technology. The SLAS mission is to bring together researchers in academia, industry and government to advance life sciences discovery and technology via education, knowledge exchange and global community building.Upcoming Events:SLAS Europe 2026 Conference and Exhibition (19-21 May 2026 | Vienna, Austria)SLAS Meet-UpsChicago, Illinois (June 18, 2026)Leiden, Netherlands (10 September 2026)Tübingen, Germany (20 October 2026)SLAS 2026 Sample Management Symposium (October 21-22, 2026 | South San Francisco, California)SLAS2027 International Conference & Exhibition (January 30 - February 3, 2027 | San Diego, California)View the full events calendar

Do your boobs hang low, can you tie them in a bow? This is basically the energy levels we're bringing to you this week. Bex is fresh off her UK photography tour for our upcoming exhibition (although is far from being actually fresh) and the girls chat about the tour itself, the exhibition in October at the vagina museum & how you can get involved. It's a very lighthearted one, with LOTS of singing, bickering and LOL's. You can find details on our campaign and exhibition here: https://www.justgiving.com/campaign/justbecauseIf you would like to find out more about how you can get involved, please email info@twgge.co.uk with Exhibition in the subject line. We are also looking for sponsors & Partnerships xxxWe are The Worst Girl Gang Ever Foundation. We're all about bringing people together who are going through the tough stuff — baby loss, infertility, and everything in between — and making sure no one has to face it alone. Our community is full of honesty, compassion, and real talk, offering support, understanding, and hope when it's needed most. You can find out more and connect with us over at www.theworstgirlgangever.co.uk

Starting in the 1880s, Black performers, and those invested in telling stories centering Black people, attempted to counter the dehumanizing and harmful stereotypes used to portray Black characters. Shows began touting “All Colored Revues” to indicate that a cast was made up of actual Black performers rather than white people in blackface, and that these spectacles aimed to build stories around the perception of Black experiences. Although these performances were sometimes flawed, and even overly prejudiced, they represented a significant form of Black American cultural development and expression. Since theatrical performances were rarely recorded, and many of the movies that featured all Black casts are now considered “lost films,” films for which no copy is known to survive, advertising posters often provide the only remaining evidence of the most important productions featuring Black performers between the 1870s and 1940s. These posters, and the historic innovations of playwrights, composers, directors, producers, and the Black performers behind them, are the subjects of the exhibition, Act Black: Posters From Black American Stage and Screen, curated by our guest for this episode, Assistant Curator of Collections at New York City's Poster House museum, Es-pranza Humphrey. Act Black: Posters from Black American Stage & Screen is on view at Poster House through September 6, 2026. Exhibition resources are also available via the Bloomberg Connects app until September 6, and at the Poster House online exhibition archive thereafter. Es-pranza's recommended reading list is available at the Additions to the Archive Substack. Subscribe, like, follow, and rate Additions to the Archive with Sullivan Summer on Instagram, Substack, and wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

Starting in the 1880s, Black performers, and those invested in telling stories centering Black people, attempted to counter the dehumanizing and harmful stereotypes used to portray Black characters. Shows began touting “All Colored Revues” to indicate that a cast was made up of actual Black performers rather than white people in blackface, and that these spectacles aimed to build stories around the perception of Black experiences. Although these performances were sometimes flawed, and even overly prejudiced, they represented a significant form of Black American cultural development and expression. Since theatrical performances were rarely recorded, and many of the movies that featured all Black casts are now considered “lost films,” films for which no copy is known to survive, advertising posters often provide the only remaining evidence of the most important productions featuring Black performers between the 1870s and 1940s. These posters, and the historic innovations of playwrights, composers, directors, producers, and the Black performers behind them, are the subjects of the exhibition, Act Black: Posters From Black American Stage and Screen, curated by our guest for this episode, Assistant Curator of Collections at New York City's Poster House museum, Es-pranza Humphrey. Act Black: Posters from Black American Stage & Screen is on view at Poster House through September 6, 2026. Exhibition resources are also available via the Bloomberg Connects app until September 6, and at the Poster House online exhibition archive thereafter. Es-pranza's recommended reading list is available at the Additions to the Archive Substack. Subscribe, like, follow, and rate Additions to the Archive with Sullivan Summer on Instagram, Substack, and wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Starting in the 1880s, Black performers, and those invested in telling stories centering Black people, attempted to counter the dehumanizing and harmful stereotypes used to portray Black characters. Shows began touting “All Colored Revues” to indicate that a cast was made up of actual Black performers rather than white people in blackface, and that these spectacles aimed to build stories around the perception of Black experiences. Although these performances were sometimes flawed, and even overly prejudiced, they represented a significant form of Black American cultural development and expression. Since theatrical performances were rarely recorded, and many of the movies that featured all Black casts are now considered “lost films,” films for which no copy is known to survive, advertising posters often provide the only remaining evidence of the most important productions featuring Black performers between the 1870s and 1940s. These posters, and the historic innovations of playwrights, composers, directors, producers, and the Black performers behind them, are the subjects of the exhibition, Act Black: Posters From Black American Stage and Screen, curated by our guest for this episode, Assistant Curator of Collections at New York City's Poster House museum, Es-pranza Humphrey. Act Black: Posters from Black American Stage & Screen is on view at Poster House through September 6, 2026. Exhibition resources are also available via the Bloomberg Connects app until September 6, and at the Poster House online exhibition archive thereafter. Es-pranza's recommended reading list is available at the Additions to the Archive Substack. Subscribe, like, follow, and rate Additions to the Archive with Sullivan Summer on Instagram, Substack, and wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Rather than simply bringing works by Japanese artists over, this is a new initiative in which young Japanese artists create works inspired by Australia and exhibit them in a Sydney gallery. We spoke to Kosuke Nagata, a multimedia artist from Kanagawa Prefecture, and Tomoya Iwata, a Tokyo-based curator, about the current exhibition, ‘Suddenly This Overview'. Why did Mr Nagata choose Cowra—a place known as a symbol of reconciliation between Japan and Australia—as his subject? - 日本の作家の作品をそのまま持ってくるのではなく、日本の若きアーティストがオーストラリアを題材に作品を制作し、シドニーのギャラリーで発表するという新しい試み。開催中の展覧会「Suddenly This Overview」より、神奈川県のマルチメディアアーティスト永田康祐さんと東京拠点のキュレーター岩田智哉さんにお話を聞きました。日豪和解の地として知られるカウラを題材に選んだのはなぜでしょうか。

Europe's most notorious art forger now exhibiting in Prague, new app to help cities adapt to climate change, history of Czechia's Šumperaky houses 

Starting in the 1880s, Black performers, and those invested in telling stories centering Black people, attempted to counter the dehumanizing and harmful stereotypes used to portray Black characters. Shows began touting “All Colored Revues” to indicate that a cast was made up of actual Black performers rather than white people in blackface, and that these spectacles aimed to build stories around the perception of Black experiences. Although these performances were sometimes flawed, and even overly prejudiced, they represented a significant form of Black American cultural development and expression. Since theatrical performances were rarely recorded, and many of the movies that featured all Black casts are now considered “lost films,” films for which no copy is known to survive, advertising posters often provide the only remaining evidence of the most important productions featuring Black performers between the 1870s and 1940s. These posters, and the historic innovations of playwrights, composers, directors, producers, and the Black performers behind them, are the subjects of the exhibition, Act Black: Posters From Black American Stage and Screen, curated by our guest for this episode, Assistant Curator of Collections at New York City's Poster House museum, Es-pranza Humphrey. Act Black: Posters from Black American Stage & Screen is on view at Poster House through September 6, 2026. Exhibition resources are also available via the Bloomberg Connects app until September 6, and at the Poster House online exhibition archive thereafter. Es-pranza's recommended reading list is available at the Additions to the Archive Substack. Subscribe, like, follow, and rate Additions to the Archive with Sullivan Summer on Instagram, Substack, and wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Starting in the 1880s, Black performers, and those invested in telling stories centering Black people, attempted to counter the dehumanizing and harmful stereotypes used to portray Black characters. Shows began touting “All Colored Revues” to indicate that a cast was made up of actual Black performers rather than white people in blackface, and that these spectacles aimed to build stories around the perception of Black experiences. Although these performances were sometimes flawed, and even overly prejudiced, they represented a significant form of Black American cultural development and expression. Since theatrical performances were rarely recorded, and many of the movies that featured all Black casts are now considered “lost films,” films for which no copy is known to survive, advertising posters often provide the only remaining evidence of the most important productions featuring Black performers between the 1870s and 1940s. These posters, and the historic innovations of playwrights, composers, directors, producers, and the Black performers behind them, are the subjects of the exhibition, Act Black: Posters From Black American Stage and Screen, curated by our guest for this episode, Assistant Curator of Collections at New York City's Poster House museum, Es-pranza Humphrey. Act Black: Posters from Black American Stage & Screen is on view at Poster House through September 6, 2026. Exhibition resources are also available via the Bloomberg Connects app until September 6, and at the Poster House online exhibition archive thereafter. Es-pranza's recommended reading list is available at the Additions to the Archive Substack. Subscribe, like, follow, and rate Additions to the Archive with Sullivan Summer on Instagram, Substack, and wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Rystad reports offshore turbine prices have jumped 45% since 2020, plus data centers squeeze US grids, Fortescue chases real zero by 2030, and GE Vernova battles Vineyard Wind in court. Sign up now for Uptime Tech News, our weekly newsletter on all things wind technology. This episode is sponsored by Weather Guard Lightning Tech. Learn more about Weather Guard’s StrikeTape Wind Turbine LPS retrofit. Follow the show on YouTube, Linkedin and visit Weather Guard on the web. And subscribe to Rosemary’s “Engineering with Rosie” YouTube channel here. Have a question we can answer on the show? Email us! The Uptime Wind Energy Podcast, brought to you by StrikeTape, protecting thousands of wind turbines from lightning damage worldwide. Visit striketape.com. And now, your hosts.  Allen Hall 2025: Welcome to the Uptime Wind Energy Podcast. I’m your host, Allen Hall, and I’m here with Rosemary Barnes, who’s been busy in Australia up in Sydney at a energy conference. Rosemary, what happened this past week?  Rosemary Barnes: Oh, yeah. I’ve been up in Sydney for the Smart Energy Conference and Exhibition. It’s a big… I don’t know if it’s the biggest. I think they get about 12,000 people or something through the doors. So yeah, it’s, it’s one of the big, maybe the biggest, um, energy conference in Australia. It’s really focused on distributed energy households. So in the past, it was, like, nearly all solar, um, like rooftop solar. There used to be lots of installers that were there and, yeah, there’s heaps of solar [00:01:00] panels around in the exhibition hall. And over the last few years it’s been a mix of batteries and solar, and then now this year it was basically 99% batteries, 1% EV chargers, and almost not a solar panel to be seen. I didn’t actually spend that much time in the exhibition this year. I mostly was, um, attending sessions. Andrew Forrest from Fortescue headlined, and that was really good. I haven’t seen him speak live before. Y- you know, he, he told about all the, like, good plans that Fortescue’s doing to get to real zero by 2030. So he’s on a real rampage at the moment to try and get rid of the diesel rebate that we pay at the moment. We pay diesel users a, a, yeah, a fuel, fuel rebate. It was just cool to hear about y- you know, all of Fortescue’s plans, why they’ve got this big green grid that they’re building out in the Pilbara. Um, I really liked when he said, you know, it’s not, it’s not magic, it’s, um, it’s just, what did he say? Like, maths, physics, engineering, and [00:02:00]economics, and a bit of courageous leadership. That’s what you need to make a green, a green electricity grid. So I really like that the, you know, engineering was mentioned, was mentioned there. I did actually get the chance to ask him a question, too. Wanted to know, um, you know, like, Fortescue is, is really one of the most interesting things about the company is that they are using brand-new technologies or even not quite there yet technologies. I asked, uh, Andrew Forrest, I asked him, you know, like, how you make these bold, bold decisions, does it ever, you know, worry you that it’s not gonna work out? And I was assuming he would say, “It doesn’t worry me,” um, because, you know, he has that kind of brash, confident personality. So I, you know, my follow-up was, what, what steps do you take so that you aren’t worried by it? And he said it does worry him, and he s- stays awake every night worrying, worrying about if these technologies aren’t going to work. And that, uh, basically they try and have a really, really solid plan B that isn’t a [00:03:00] brand-new technology. So, um, you can, you know, infer from that, that if the– I mean, first of all, he said, “We don’t invest in the technology until they have demons- demonstrated with a good prototype that it’s likely to work.” Um, but I guess that, you know, assuming that they’ve ran into problems in the rollout of all of these Naberebo towers, that, um, they have a backup of some conventional towers.  Speaker 2: Yeah, uh, the, the Fortescue people, when we talked to them about, pfoof, probably six months ago, maybe a little bit longer, we were helping to build a farm out in Western Australia. It was a small team, much smaller than anything you would see in the US, and it does sort of align with the Australian approach to it, is that you don’t need a massive team of people to do these projects. You just need to know what you’re doing, and that was really remarkable. So e- I’m not surprised that Fortescue is continuing on in, in different aspects. It does seem like they’re pretty bold about their engineering approach and taking on massive projects that otherwise wouldn’t be [00:04:00] done and-  Rosemary Barnes: It, it’s also really cool to hear, uh, Andrew Forrest or anyone from Fortescue talk because they’re talking about things that they’ve done. You know, like we have so much when you’re at these, uh, events and, you know, everyone’s doing these inspiring talks, it’s always about, “Oh, this is the possibility for the future.” But Fortescue has actually, has actually done it. Yeah, there was a lot of, like, actual progress discussed at this conference. It wasn’t, “This is what we could do if we all joined hands and sang Kumbaya.” It wasn’t like that, you know? It’s like, this is what’s happening when the engineering is there, the economics are there, and the government isn’t standing in the way. Um, y- you know, you can make a lot of, a lot of progress. And you know what? Like now we’ve got so much distributed energy in Australia. It’s the rooftop solar that we’ve been building for, you know, 20 years by now. Um, and it’s the, the batteries especially. Like it is a- starting to have a noticeable impact on electricity prices, and co- coal and gas are both reducing in the grid. I think the last quarter of gas use in Australia was the lowest it’s [00:05:00] been since 1999. Like, um, yeah, so it’s, yeah, it’s, it, it’s dropping, you know? And so I think that that’s a really unique story for Australia is that households can actually really change the dial.  Speaker 2: Well, can I ask you about that? Because the data center issue is popping up again in the United States, and one of the things about data centers is they feel like you, you’re gonna need a good amount of batteries to support if the grid hops on or turns off, that they wanna be able to support this data center, so having a buffer and batteries would make a lot of sense. However, there’s not a lot of battery storage in the US at the minute versus a place like Australia where there’s a lot of it. Doesn’t it make a lot of sense to start putting data centers in Australia? I still don’t understand Why that hasn’t been done? Because electricity prices are cheaper, the land is available, the infrastructure’s there. It’s going [00:06:00] to be, you would think, easier to build in Australia than it would be in the United States. What’s the dilemma there?  Rosemary Barnes: I think certainly there are plenty of plans to build big data centers in Australia. Um, and now I’m gonna go, like, move a little bit outside my expertise, but I think that one of the issues is that at the moment, a lot of the data centers need to be quite close to where the work is happening. So I mean, you’re always gonna need data centers close to any big city where people are, are using the internet. Um, but aside from that, you know, like, the tech sector in the US is much bigger, so the people actually developing, um, you know, training, um, uh, yeah, training AI models, um, are more likely to be sitting in the US and, you know, need a large amount… Not all of their compute needs to happen nearby, but a fair chunk of it. And so I think that that is one reason why so far that’s where it is. Um, but it also doesn’t mean… I mean, there’s [00:07:00] plenty of smart, um smart computer types in Australia as well as the US, so you could start to see more companies moving, um, moving to where electricity is cheap. I think that– And grid connections are fast.  Speaker 2: The one thing you notice about using any of the AI platforms today is, like, there’s a built-in delay. Unlike when you’re on Amazon or any other s- active site, when you click, you want something to happen immediately. With AI, they, they build in a little wait process, which means you can have a data center anywhere, because you’re not expecting an instantaneous response from it. That means, in a sense, they’re setting it up to be a global industry. There is more of a delay now than there was a month ago. And I assume that has to do with usage, and they’re trying to manage all the data usage, right? So electricity is one of the limitations in the United States. That’s evident right now. The amount of data centers is a problem, so they’re trying to spread out the usage, and they are definitely… At least Anthropic is slowing it down. [00:08:00] I’d imagine all the other ones are doing the same thing. So it does open up the world to cheaper electricity.  Rosemary Barnes: There’s heaps of really interesting work happening in trying to get, um, AI and data centers to be better grid citizens, not probably primarily out of the goodness of their heart, but because of two things. One, grid connections are really slow, and so there’s a strong incentive that you can save, in some places, years off your development time if you can just bring in enough batteries, enough smart tech to make sure that you’re never going to, um, you know, add to peak, peak load in the grid, then you can- You know, change how things go. It’s also a matter of, like, social license as well, because at the moment it’s probably not too bad. People don’t realize too much. But if people’s electricity prices start going up because, you know, grid had to be built out because of da- data centers, they’re gonna start getting pissed as soon as they realize what that is. So I think [00:09:00] that, um, you know, these big companies, what do they call them? Hyperscalers. I think that they’re aware that that is gonna come and that that is a really strong incentive to do the right thing before they are made to do the right thing. Because, you know, like, if people got really upset then, um, you could easily have the rug pulled out from underneath a project that you thought was all set to go ahead, you know, could very easily be delayed indefinitely. I mean, we’ve definitely seen in the US that-  Speaker 2: Right. In 30 states in the US have already put prohibitions or limitations on data centers. That means there’s only 20 states left. Alaska is probably not a prime choice, Hawaii is not either, so you even have fewer. It does seem odd that when these limitations pop up that the discussion doesn’t move to other countries. Australia being an easy one, because electricity there is practically free. It seems like a smart move, but they haven’t made it yet.  Rosemary Barnes: Yeah, I mean, it’s not, it’s not [00:10:00] practically free in Australia yet, but I think that the, um, horizon, um, like the, you know, the outlook is it’s, it’s getting cheap. We… And we are finally seeing wholesale prices actually start to come down. But there’s this really awkward middle period though, you know, like, because, um, at the moment we’ve still got all of the… nearly all of the coal generation there, nearly all of the gas generation is there, and you need to have it there until you build out the other stuff. But it’s like prices drop and drop and drop when you’ve got this oversupply problem. But you’re gonna have the oversupply problem until you’ve got enough to start turning off, you know, gigawatt, two gigawatt, um, thermal generators. So it is a really weird middle, um, mid- mid-transition, I think is the term for it. You need planning. You know, you need… You actually do need… At some point you need a plan, and you need to execute it and expect that, like, every step you take is not gonna be better. Y- you know, like [00:11:00] some steps you’re gonna take that are gonna make it, um, economically worse for the short term. But, you know, like, if you’ve got a mountain range in between you and your destination, then yeah, like it’s, it’s really hard going for a while. But you’ve gotta climb that mountain if you wanna get to the other side and, um, you, and you, you can’t do that without a plan. Speaker 2: Well, what other place on the planet has or will have shortly unused gigawatts of old generation? I don’t think I know of one. It, it’s gonna be Australia So th-those gigawatt plants that were thermal plants that won’t be needed ’cause the price of electricity is so low, it does seem like a smart person would put a data center right next door to it. Rosemary Barnes: No, but we wanna turn ’em off. I  Speaker 2: don’t think you’re gonna be able to, Rosemary. I’m just saying, the world needs, uh, AI and it’s coming.  Rosemary Barnes: We’ll see. I think that, um, you know, I did get quite energized by the event, the, um, SSE event that I was at this week because it’s like there are a few things that [00:12:00] Australia, um, you know, really has, like, an opportunity to be world leaders in. And when you get to be the leader, then it means that the technologies that you invent to solve the problems that, you know, the early adopters have, you have the headstart on that. And, you know, as other countries follow in your footsteps, you have the opportunity to lead, lead those technologies.  Speaker 2: As wind energy professionals, staying informed is crucial, and let’s face it, difficult. That’s why “The Uptime Podcast” recommends PES Wind Magazine. PES Wind offers a diverse range of in-depth articles and expert insights that dive into the most pressing issues facing our energy future. Whether you’re an industry veteran or new to wind, PES Wind has the high-quality content you need. Don’t miss out. Visit peswind.com today. So if you want to build an offshore wind farm in Europe right now, you had better be ready to pay. A new analysis from Rystad Energy shows that the turbine selling prices have jumped between 40% and 45% [00:13:00] since 2020. And here’s the thing, manufacturing costs only went up about 20% to 25% over the same period. The difference is pure pricing power. And with GE Vernova out of the new offshore order book and only Siemens Gamesa and Vestas left to supply Western markets, developers are facing a seller’s market in the most critical of components. Nacelles and blades are where the bottleneck hits hardest, and there is no quick fix in sight. So Rosemary, Siemens Gamesa and Vestas are leveraging the, the lack of com- competition, particularly from China at the moment, to gather market share and to raise prices, which I think everybody would agree if you’re on the engineering side of wind turbines, the prices needed to come up because there’s some work that needs to be done, and the engineering side has been pretty thin. To make these turbines more resilient, [00:14:00] you’re gonna need more engineering, it can be a little bit more on the manufacturing side. That takes money So prices had to come up  Rosemary Barnes: Yeah, I mean, I, I, I agree. It’s definitely n- not the case that everyone would agree. Anybody who has a spreadsheet and they’re trying to get the number, number right so that they can develop a new project is gonna say that it’s a bad thing, and it will also probably slow down development a little bit. Although, I guess if there was a supply constraint, then that was already a natural, um, handbrake, so maybe there’s no difference. But I do think that, um, you know, and I’ve said it a lot of times, like, you know, wind power reduced, it had a really steep cost reduction curve through the 20-teens, and I think that it was just artificial. You know, like it was driven by competition rather than true cost reductions in the technology. I think we undershot the price level that it needed to go for, and there just wasn’t enough money to do proper engineering, and, you know, w- we see that. Y- you know, you and I work in O&M, and we deal ev- every day with, with things where it’s like how did, [00:15:00] uh, how, how did they think that this technology was ready when they went and sold thousands of turbines with it? And I know that the answer is not that, um, engineers were lazy or stupid or just didn’t s- see the problems coming up. It was just too, too fast a pace of technology, um, rollout, like new technologies combined with just relentless focus on, on cost. You know, like all of my projects, it’s just like you just have to reduce cost and reduce it and reduce it and reduce it and, you know, to the point where you’re making changes that you don’t have time to fully check. Um, and, you know, then you have quality problems in the field.  Speaker 2: What’s the effect of an Indian manufacturing company in Europe on the offshore marketplace? If like an Adani or one of the other, Suzlon, one of the, one of the big manufacturers in India decides to make offshore wind turbines at scale, [00:16:00] wouldn’t that dramatically shift the marketplace in Europe? Rosemary Barnes: Yeah, I guess if you’ve got a new player, it’s always gonna shift things a bit. I don’t think it matters specifically that it’s Indian. Um, but a new player is gonna wanna be making sales and probably, you know, setting their price at the point that, that they need to, to, um, get those sales, maybe not initially worried so much about profits. If we were talking about Chinese manufacturers in Europe, and we have in the past, if we’re talking about that, then I think that that is a bit more relevant which, which country it is because China, you know, has just like essentially infinite money to put behind it and can keep on going long enough. You know, like they don’t need to make a, a profit every single year or every single five-year period even. They can think longer term. I, I, as far as I know, India is not quite the same as that, so I would expect it to be a bit more short-lived, but that’s always the risk that, you know, someone comes in and [00:17:00] undercuts, um, undercuts for long enough that it- causes the local local, uh, manufacturers to not be able to compete and shut down  Speaker 2: Well, just knowing some of the operators that were doing offshore wind projects and their desire to bring in a alternative to keep prices to the level that they could accept, with Mingyang being shut out at the minute, they’re gonna have to look somewhere else. So I think the only place they can find an alternative lower price competitor is gonna be India. Although the turbines aren’t at scale yet, I, I think you’ll see somebody make noise about it in the next six months on the operations side.  Rosemary Barnes: I think the European manufacturer is a probably better place to just scale up. Speaker 2: Well, let’s talk about GE Vernova for a minute, because the legal fight over America’s first large off-scale wind farm just got more complicated because Vineyard Wind reached commercial operations on April 24th, about a week or [00:18:00] two ago, and activated its purchase power agreement. Well, uh, now GE Vernova is using those very milestones against Vineyard Wind in court. GE Vernova filed an emergency motion arguing that the activation of those contracts undermines Vineyard Wind’s claims of irreparable harm. But Vineyard Wind’s attorney says the project is generating at less than half of its 806 megawatts capacity, and GE Vernova’s work is still needed to get it there. The next court hearing is set for this week. This little battle continues, and it’s– Although it seems fairly quiet, you don’t hear a lot of news reports about it in, uh, particularly the mainstream press, not too much about it, it– this has huge ramifications because as we talked about offshore wind over in Europe, if, if GE is truly getting out, and particularly if they’re in a fight with one of their largest purchasers of turbines, it’s gonna [00:19:00] disincentivize Europeans from even considering GE. In my opinion, I don’t know how you would think that GE would be one of the options. Although you would like to have three competitors bidding on every project in Europe, I think GE’s taken itself out of the marketplace because of this, this lawsuit.  Rosemary Barnes: Mm. You know what it reminds me of? It, um, it reminds me of the Justin Baldoni versus Blake Lively lawsuit that’s ongoing at the moment, where it’s just, like, mutually assured destruction. Speaker 2: But at least they settled, Rosemary. They’re, they’re not fighting anymore.  Rosemary Barnes: They settled, but they didn’t settle all aspects of it.  Speaker 2: The only reason I know about that is because you keep mentioning it. So when I see it pop up, I would normally just let it go. But I figured Rosemary’s focused on this, I should probably at least dabble in it briefly. That wraps up another episode of the Uptime Wind Energy podcast. If today’s discussion sparked any questions or ideas, we’d love to hear from you Reach out to us [00:20:00] on LinkedIn, and don’t forget to subscribe so you never miss an episode. And if you found value in today’s conversation, please leave us a review. It helps other wind energy professionals follow the show. For Rosie, I’m Allen Hall, and we’ll see you next week on the Uptime Wind Energy Podcast.

Starting in the 1880s, Black performers, and those invested in telling stories centering Black people, attempted to counter the dehumanizing and harmful stereotypes used to portray Black characters. Shows began touting “All Colored Revues” to indicate that a cast was made up of actual Black performers rather than white people in blackface, and that these spectacles aimed to build stories around the perception of Black experiences. Although these performances were sometimes flawed, and even overly prejudiced, they represented a significant form of Black American cultural development and expression. Since theatrical performances were rarely recorded, and many of the movies that featured all Black casts are now considered “lost films,” films for which no copy is known to survive, advertising posters often provide the only remaining evidence of the most important productions featuring Black performers between the 1870s and 1940s. These posters, and the historic innovations of playwrights, composers, directors, producers, and the Black performers behind them, are the subjects of the exhibition, Act Black: Posters From Black American Stage and Screen, curated by our guest for this episode, Assistant Curator of Collections at New York City's Poster House museum, Es-pranza Humphrey. Act Black: Posters from Black American Stage & Screen is on view at Poster House through September 6, 2026. Exhibition resources are also available via the Bloomberg Connects app until September 6, and at the Poster House online exhibition archive thereafter. Es-pranza's recommended reading list is available at the Additions to the Archive Substack. Subscribe, like, follow, and rate Additions to the Archive with Sullivan Summer on Instagram, Substack, and wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In this episode, we're joined by Anneke Mühlebach, Director Marketing Lab Productivity Innovation of Agilent Technologies, to preview the company's upcoming NexusXp Flash Talk at SLAS Europe 2026.The discussion explores the NexusXp theme of "the connected lab," which blends hardware, software, and human ingenuity across three levels of lab automation: guided workflows in the human-operated lab, fully automated work cells, and vendor-neutral data access. Anneke highlights Agilent's integration of hardware, software, and human factors in lab automation, real-world applications, progress through smart partnering and customer collaborations, and future industry trends. Key Learning Points:Lab productivity and automationRole of data standards and vendor-neutral formatsCollaboration with partnersCustomer-centric innovation and co-creationRegister for SLAS Europe 2026 (19-21 May | Vienna, Austria)Lean More — featuring 135+ exhibitors, keynote and podium speakers, behind-the-scenes access to a leading biotech campus, a rich ­networking program and more!Thank you to our Sponsor: Agilent TechnologiesAgilent supports scientists in 110 countries in cutting-edge life science research; patient diagnostics; and testing required to ensure the safety of water, food and pharmaceuticals. Our advanced instruments, software, consumables, and services enable our customers to produce the most accurate and reliable results as well as optimal scientific, economic, and operational outcomes. DE-014621 Stay connected with SLAS:www.slas.org | Facebook | X | LinkedIn | Instagram | YouTubeAbout SLASSLAS (Society for Laboratory Automation and Screening) is an international professional society of academic, industry and government life sciences researchers and the developers and providers of laboratory automation technology. The SLAS mission is to bring together researchers in academia, industry and government to advance life sciences discovery and technology via education, knowledge exchange and global community building.Upcoming Events:SLAS Europe 2026 Conference and Exhibition (19-21 May 2026 | Vienna, Austria)SLAS Meet-UpsChicago, Illinois (June 18, 2026)Leiden, Netherlands (10 September 2026)Tübingen, Germany (20 October 2026)SLAS 2026 Sample Management Symposium (October 21-22, 2026 | South San Francisco, California)SLAS2027 International Conference & Exhibition (January 30 - February 3, 2027 | San Diego, California)View the full events calendar

Why the new Queen Elizabeth fashion exhibition in London is worth booking a flight for, and pieces of the Eiffel Tower are up for sale. We revisit where we were when Joan Rivers and Lisa Marie Presley died, pay tribute to Jim Whittaker – the first American to summit Mount Everest – and unpack Lori's latest tech adventure with her new phone. We also talk “Love on a Stick,” the new Minnesota State Fair musical, a hilarious quiz on the many meanings of the S word, and a reminder that your next chapter can still be your best after “rewirement.”See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Sudeten German Congress in Brno stirs controversy, WWII paratroopers get lindent tree memorial, Vojta Náprstek Reloaded exhibition

The Serial Killer Exhibition explores the dark history, the psychology, the criminology, and some of the most popular and lesser popular serial killings that have happened across history. From Jack The Ripper to Charles Manson and everybody else who held the title of "serial killer" will be presented (and I mean from every era of humanity). Going on until May 31st of 2026 and will be traveling across the United States of America, step inside and learn about the horrors and true monsters of what humanity can simply achieve.

Ronan Donovan–a wildlife biologist turned visual storyteller, whose work is featured in an exhibition, Wolves: Photography by Ronan Donovan, on display at the James Museum of Western & Wildlife Art, in St. Petersburg—recalls a lifelong love of animals, and exploring the wilderness, that he forged growing up in rural Vermont. Give or take a detail, […] The post Ronan Donovan, visual storyteller first appeared on Talking Animals.

AP correspondent Julie Walker reports the Venice Biennale is in chaos as conflicts in Ukraine and the Middle East affect the art world's oldest exhibition.

Georges River Council has organised an exhibition at Hurstville Museum and Gallery showcasing the art, culture, and stories of the local Nepali community. The display highlights Nepal's heritage and the community's growth in the region. Running until 30 August, it features traditional art, attire, and migrant stories. SBS Nepali spoke with attendees about why cultural preservation is important. - सिड्नीको दक्षिणमा रहेको जर्जेस रिभर काउन्सिलले त्यहाँ बसोबास गर्ने नेपाली समुदायको कला, संस्कृति र विविध कथाहरूलाई समेटेर एक प्रदर्शनी आयोजना गरेको छ। हर्स्टभिल म्युजियम एन्ड ग्यालरीमा जारी उक्त प्रदर्शनीले नेपालको ऐतिहासिक, सामाजिक र सांस्कृतिक पृष्ठभूमिलाई उजागर गर्नुका साथै यस क्षेत्रमा विकसित हुँदै गएको नेपाली समुदायलाई प्रतिबिम्बित गर्ने लक्ष्य राखेको छ। शुक्रबार, १ मे मा उद्घाटन गरिएको उक्त प्रदर्शनी ३० अगस्टसम्म चल्नेछ। प्रदर्शनीमा नेपाली कला, संस्कृति, परम्परागत पोसाकहरूसँगै अस्ट्रेलियामा बसाइँ सरेका पहिलो पुस्ताका नेपालीहरू, यस क्षेत्रमा सञ्चालनमा रहेका व्यवसायहरू लगायतका जानकारीहरू पनि समेटिएका छन्। उक्त प्रदर्शनीमा उपस्थित नेपाली भाषीहरूसँग एसबीएस नेपालीले गरेको कुराकानी सुन्नुहोस्।

In this episode of The Truth In This Art, the guest is Douriean Fletcher!About Douriean Fletcher: An acclaimed jewelry designer and artisan whose work bridges adornment and storytelling. She was the specialty jeweler for Marvel's Black Panther and Black Panther: Wakanda Forever, and became the first jewelry artist to be part of an Academy Award–winning costume design team—an honor she achieved twice. Douriean has expanded into spacial adornment art, creating large-scale installations and immersive environments.In our conversation, Douriean Fletcher discusses her exhibition, Douriean Fletcher: Jewelry of the Afrofuture, at the Walters Art Museum and how a ring in the museum's collection became a touchstone for the show. Years ago, she found an ancient Egyptian brass and red jasper ring online—covered in hieroglyphics and telling a story of religious belief, culture, and tradition. She saved the image, not knowing it belonged to the Walters. When putting together the exhibition, she showed the curator that same image—and found out it was part of the museum's collection all along.Fletcher also talks about the parallels between her pieces and objects in the Walters' collection, including a sculpture of Isis and Horus that reminded her of the Dogon sculptures she referenced in the Ramonda dress for Wakanda Forever. She discusses her move from wearable jewelry to larger spacial adornment that transforms gallery spaces.Be sure to check out Douriean Fletcher: Jewelry of the Afrofuture at the Walters Art Museum — https://thewalters.org/exhibitions/douriean-fletcher/Photo courtesy of subject. The Truth In This Art is supported by William G. Baker, Jr. Memorial Fund, the Maryland State Arts Council's Creativity Grant and Mayor's Individual Artist Award - Creative Baltimore Fund (Baltimore). Host: Rob LeeMusic: Original music by Daniel Alexis Music with additional music from Chipzard and TeTresSeis.Production:Produced by Rob Lee & Daniel AlexisEdited by Daniel AlexisShow Notes courtesy of Rob Lee and TransistorPhotos:Rob Lee photos by Vicente Martin for The Truth In This Art and Contrarian Aquarian Media.Guest photos courtesy of the guest, unless otherwise noted.Support the podcastThe Truth In This Art Podcast Fractured Atlas (Fundraising): https://www.fracturedatlas.orgThe Truth In This Art Podcast Bluesky: https://bsky.app/profile/thetruthinthisart.bsky.socialThe Truth In This Art Podcast Instagram: https://www.instagram.com/truthinthisart/?hl=enThe Truth In This Art Podcast Website: https://www.thetruthinthisart.com/The Truth In This Art Podcast Shop: Merch from Redbubble ★ Support this podcast ★

Join us for SHE IN THE TOWER, my solo show and curatorial project in Brooklyn on May 7th: https://events.humanitix.com/she-in-the-towerView my new work in SHE IN THE TOWER when it drops on May 1st: www.jessicalibor.com/sheView all work in the show on May 7th: www.eracontemporary.comRead & subscribe to my substack, Painting the Realm of Forms: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://jessicalibor.substack.com/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Check out all of my courses and coaching: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.thecreativeheroines.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠You can explore my art here! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.jessicalibor.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Thanks for listening!!

Rob Morgan, son of Father Ted's Dermot Morgan, discusses his father being added to the "Extra-Ordinary Lives exhibition" at Glasnevin Cemetery.

Public service media debate escalates: Employees in strike alert as Babiš meets Chudárek, Young Czech pianist Jan Schulmeister wins prestigious BBC music award, Dancing House exhibition marks 30 years of Prague landmark, A Czech Harry Potter collector: the Weasley twins are the quickest to send their autographs

In this programme, we are going to take you inside a powerful photography project by Depaul Slovakia, where people experiencing homelessness document their own lives and journeys toward stability. Through personal stories, interviews, and authentic images, it reveals both the harsh realities and the hope behind starting over. You are going to hear from a Slovak documentary photographer Gabriela Teplická, PR Manager from Depaul Slovakia Dominika Uhlárová, Mr. Eugen and some visitors. The exhibitions Cesta Domov and Nebývam, ale žijem offer a rare and human perspective on homelessness, challenging stereotypes and highlighting the impact of support and resilience.

A new exhibit at The Drawing Center spotlights the work of Ceija Stojka, a Roma artist and Holocaust survivor who did not begin making art until the 1990s, when she was in her mid 50s. Laura Hoptman, executive director of The Drawing Center, discusses the exhibit "Ceija Stojka: Making Visible," open through June 7. Untitled, 05/01/2006, Acrylic on cardboard; Photo by Diego Castellano Cano

Primavera, a new film about Vivaldi tells the story of his composing for pupils of an institution for abandoned girls. We speak to the film's director Damiano Michieletto, better known as an award-winning opera director, about his film and about Vivaldi himself. The Music is Black is the inaugural exhibition at London's new V&A East Museum and it celebrates 125 years of Black British music. Lead curator Jacqueline Springer joins us to discuss the show and wealth of music it showcases, from the early days of jazz via calypso, reggae, two-tone, pop and grime. Ben Lerner, the Pulitzer-nominated author of Leaving the Atocha Station and The Topeka School, discusses his latest novel Transcription; an exploration of loss, technology and “fiction”. The Schwarzman Centre for the Humanities in Oxford officially opens its doors next weekend. It combines seven academic faculties with performance spaces including the world's first ‘Passivhaus' concert hall, certifying its sustainability.Presenter: Tom Sutcliffe

A new proposal  to make parking more affordable around Petco Park is going back to the drawing board. Plus, the unveiling of a new five acre native garden in Paradise Hills. And, the art collection from a pair of famous musicians is on loan at the Museum of Contemporary Art in La Jolla. NBC 7's Dana Williams has these stories and more including meteorologist Brooke Martell's forecast for April, 19, 2026.