Podcasts about expressionistic

This week, Nathan and Clint are pleasantly surprised to find two non-stinkers in Cage's 2010s output! First, there's The Trust, a darkly-comic heist thriller about two amoral cops (A mustachioed Nicolas Cage alongside a wiry, disaffected Elijah Wood) who plot to steal a mysterious stash from unknown criminals, only to find themselves wayyy in over their heads. Cage and Wood are fantastic together as two losers forging a curious, fractious partnership out of economic necessity, and there are some great little moments from Cage as a corrupt father figure of sorts. Then there's the Eddie Bunker novel adaptation Dog Eat Dog, Paul Schrader's semi-redemption from the execrable Dying of the Light. This time, Cage plays a Bogey-obsessed ex-con who ropes in his fellow criminal pals (Christopher Matthew Cook and Willem Dafoe, the latter doing his damndest to out-Cage Cage with his wily psychopath Mad Dog) into a hapless plan to kidnap the baby of a local gangland rival. Things go to pot as predicted, and Schrader paints their eventual fall with all the Expressionistic verve of his later works.  Pledge to our Patreon at patreon.com/travoltacage Follow us on Twitter @travoltacage Email us questions at travoltacagepod@gmail.com Podcast theme by Jon Biegen Podcast logo by Felipe Sobreiro  

Bergman at his most Expressionistic.

THIS WEEK on the GWA Podcast, we interview Sonal Khullar on one of the most acclaimed artists of the 20th century, AMRITA SHER-GIL! Amrita Sher-Gil (1913–41) was India's foremost artist in the early twentieth century. Her paintings give prominence to real people at real moments, and exude pathos and strength. “I can only paint in India, Europe belongs to Picasso, Matisse, Braque and the rest. But India belongs only to me.” Born in Budapest and raised in Shimla, northern India, between 1929 and 1932 Sher-Gil attended the École des Beaux-Arts in Paris, as the first Indian student to do so, where she was able to study from nude models. Acclaimed for her Expressionistic figurative painting, she exhibited at the Paris Salon. Soon enough, she was drawn back to India: "I began to be haunted by an intense longing to return to India, feeling in some strange inexplicable way that there lay my destiny as a painter." Abandoning her European style, Sher-Gil's figurative work transformed into studies of saturated colour with fluorescent fabrics and glittering textures. The subject of solo exhibitions, and a recipient of multiple prizes, Sher-Gil showed her work in Delhi and Bombay. But soon after set- tling in Lahore with her new husband, she was overcome with illness and died at the age of twenty-eight. Her acute sensibility is evident in her paintings, which capture not just the electricity of colour, and the merging of global styles, but also the world of her sitters, no matter what their status. Dr Sonal Khullar received her BA from Wellesley College, and her MA and PhD from the University of California Berkeley in art history, and has taught in the History of Art and Gender Studies departments of the University of Washington, and since 2020, at the University of Pennsylvania. Her research, specialising in work from the 18th century onwards, focuses on conflict, collaboration and globalisation in contemporary art from South Asia, and has looked at postcolonial art worlds, feminist geography, and the anthropology of art. LINKS: https://www.nytimes.com/2018/06/20/obituaries/amrita-shergil-dead.html?smid=tw-nytobits&smtyp=cur http://amrita-sher-gil.com https://artsandculture.google.com/story/amrita-sher-gil-artworks-from-the-collection-of-national-gallery-of-modern-art-national-gallery-of-modern-art-ngma-new-delhi/twWRBeSmWwQA8A?hl=en https://web.archive.org/web/20210121160223/https://www.tate.org.uk/whats-on/tate-modern/exhibition/amrita-sher-gil/amrita-sher-gil-room-1-early-years-paris Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Research assistant: Viva Ruggi Sound editing by Nada Smiljanic Artwork by @thisisaliceskinner Music by Ben Wetherfield https://www.thegreatwomenartists.com/ -- THIS EPISODE IS GENEROUSLY SUPPORTED BY CHRISTIES: www.christies.com

Today, Jean-Michel Basquiat is unquestionably one of the most recognizable and beloved artists on the planet. A native New Yorker of Haitian and Puerto Rican descent, Basquiat first attracted attention as a teenage graffiti writer in the late 1970s, before rapidly transitioning into the role of international sensation in the newly glamorous, increasingly global gallery world of the 1980s. Although the main draw was his inimitable artistic practice, which merged cryptic poetry and symbology with antic, Expressionistic figures, Basquiat quickly became a downtown celebrity of the first order, walking the runway, collaborating with musicians, and famously dating Madonna. Tragically, Basquiat died from an overdose at the age of 27. His short artistic career makes it all the more remarkable that his work and his visage seem to be everywhere in the 21st century. Of course, I'm not just talking about his actual paintings, which reliably sell for tens of millions of dollars at auction. Licensed reproductions of Basquiat's work now fuel a wide range of products and branding opportunities, from affordable t-shirts and keychains, to an unprecedented collaboration with the NBA's Brooklyn Nets resulting in a Basquiat-inspired home court design and team uniform. But as licensing has become a lucrative revenue stream for contemporary artists and estates, it has also intensified age-old criticisms about the corrosive powers of commercialization on creative integrity. The Basquiat estate's approach has made Jean-Michel's work one of the focal points of this tension, especially after the opening of “King Pleasure,” a major exhibition about the artist's life and work now on view in Manhattan. To sort through this tangled web, Artnet News art business editor Tim Schneider spoke to market guru Katya Kazakina about her look into Basquiat and the increasingly big business of artwork licensing.

Today, Jean-Michel Basquiat is unquestionably one of the most recognizable and beloved artists on the planet. A native New Yorker of Haitian and Puerto Rican descent, Basquiat first attracted attention as a teenage graffiti writer in the late 1970s, before rapidly transitioning into the role of international sensation in the newly glamorous, increasingly global gallery world of the 1980s. Although the main draw was his inimitable artistic practice, which merged cryptic poetry and symbology with antic, Expressionistic figures, Basquiat quickly became a downtown celebrity of the first order, walking the runway, collaborating with musicians, and famously dating Madonna. Tragically, Basquiat died from an overdose at the age of 27. His short artistic career makes it all the more remarkable that his work and his visage seem to be everywhere in the 21st century. Of course, I'm not just talking about his actual paintings, which reliably sell for tens of millions of dollars at auction. Licensed reproductions of Basquiat's work now fuel a wide range of products and branding opportunities, from affordable t-shirts and keychains, to an unprecedented collaboration with the NBA's Brooklyn Nets resulting in a Basquiat-inspired home court design and team uniform. But as licensing has become a lucrative revenue stream for contemporary artists and estates, it has also intensified age-old criticisms about the corrosive powers of commercialization on creative integrity. The Basquiat estate's approach has made Jean-Michel's work one of the focal points of this tension, especially after the opening of “King Pleasure,” a major exhibition about the artist's life and work now on view in Manhattan. To sort through this tangled web, Artnet News art business editor Tim Schneider spoke to market guru Katya Kazakina about her look into Basquiat and the increasingly big business of artwork licensing.

Sam Noland is back on Extra Milestone after a week's respite to take on, along with friend and coworker Robert Wilkinson, two radically different classics. First up is Charles Laughton's gothic thriller The Night of the Hunter, which stars Robert Mitchum as a psychopathic priest hunting down two children during the Great Depression. Next up on our itinerary is the landmark spoof comedy Airplane!, the laugh-a-minute lampooning of pop cinema celebrating 40 years of making the world howl with laughter. SHOW NOTES: 00:05:00 - The Night of the Hunter 00:46:25 - Airplane! NEXT WEEK: Adonis Gonzalez returns to discuss two immense classics from the year 1985: Robert Zemeckis's Back to the Future and Elem Klimov's Come and See! Music in this episode: Theme from The Night of the Hunter by Walter Schumann, "Stayin' Alive" by the Bee Gees, music from the trailers for The Night of the Hunter and Airplane! Cinemaholics in this episode: Sam Noland and Robert Wilkinson Support the show on Patreon: https://www.patreon.com/cinemaholics See omnystudio.com/listener for privacy information.

Sam Noland is back on Extra Milestone after a week's respite to take on, along with friend and coworker Robert Wilkinson, two radically different classics. First up is Charles Laughton's gothic thriller The Night of the Hunter, which stars Robert Mitchum as a psychopathic priest hunting down two children during the Great Depression. Next up on our itinerary is the landmark spoof comedy Airplane!, the laugh-a-minute lampooning of pop cinema celebrating 40 years of making the world howl with laughter. SHOW NOTES: 00:05:00 - The Night of the Hunter 00:46:25 - Airplane! NEXT WEEK: Adonis Gonzalez returns to discuss two immense classics from the year 1985: Robert Zemeckis's Back to the Future and Elem Klimov's Come and See! Music in this episode: Theme from The Night of the Hunter by Walter Schumann, "Stayin' Alive" by the Bee Gees, music from the trailers for The Night of the Hunter and Airplane! Cinemaholics in this episode: Sam Noland and Robert Wilkinson Support the show on Patreon: https://www.patreon.com/cinemaholics See omnystudio.com/listener for privacy information.

With all of the uncertainty swirling about today, it’s easy to lose focus, fall into fear, and to react out of desperation. This does not have to be your story!In this special episode of the Thriving Christian Artist podcast, I share 7 really practical things you can do right now for free to thrive during these trying times we are facing.Take a few minutes to listen on your app of choice like ApplePodcasts, Stitcher, Spotify, GooglePlay or online at http://www.MattTommeyMentoring.com/podcastOk, enjoy the podcast!MattPS - Did you review the podcast yet? Screenshot the review, post the screenshot to your Instagram feed, and tag @matttommeymentoring. Do that, and I’ve got a surprise for you if you do…. #justsayinSupport the show (https://matttommeymentoring.mykajabi.com/p/createdtothrivemembership)

“But the reason why the grave-digger made music must have been because there was none in his spade”As always you can subscribe at:https://feeds.buzzsprout.com/739238.rssIn your browser at:http://fistofsatan666.buzzsprout.com/Or search for us on iTunes, Google Podcasts and podcast apps such as Overcast, Pocket Cast and Castbox!All music and no talking! A mixtape for the modern day!--0:00 - Warmoon Lord - Victory of Irreverend MightFinnish black metal done the traditional way.https://warmoonlord.bandcamp.com/6:45 - Krzysztof Drabikowski - Песнь 2The sound of the guitars with mid-doom touches and the unmistakable atmospherehttps://sphieratz.bandcamp.com/14:18 - Havukruunu - NoidanhautaA powerful storm of finnish pagan heavy black metal mixed with darkness and sorrow. https://naturmachtproductions.bandcamp.com/album/kelle-surut-soi21:18 - Saiva - NordanSwedish black metal with traditional folk elements.https://saiva.bandcamp.com/30:07 - Vilkacis - Beyond the Mortal GateBlack Metal with a raw produktion and old school vocals.https://vilkacis.bandcamp.com/40:05 - Vanum - Watcher in the Eastern SkyBlack metal as a spiritual war!https://vanum.bandcamp.com/48:39 - Vukari - The True King Is DeathHigh art. Expressionistic, great, scope, a landscape of sound.https://vendetta-records.bandcamp.com/album/aevum54:42 - Ayyur - The Lunatic CreatureA black metal specter of distant and magnificently wretched esotericismhttps://vendetta-records.bandcamp.com/album/the-lunatic-creature

As a physical education major, let me explain German Expressionism to you… In part 2 of our discussion of Metropolis, things go off the rails quickly and often. Once again, the curse of this movie has reduced us to 80% capacity, but our B- strength is still enough for an A+ performance. OK, maybe an A-. […]

As a physical education major, let me explain German Expressionism to you… In part 2 of our discussion of Metropolis, things go off the rails quickly and often. Once again, the curse of this movie has reduced us to 80% capacity, but our B- strength is still enough for an A+ performance. OK, maybe an A-. […]

In the Gaming Hut beloved Patreon backer Walter Manbeck asks how to do El from Stranger Things as a player character. Expressionistic shadows flit across the Cinema Hut as we take a look at F. W. Murnau’s Nosferatu. Then Ken and/or Robin Talk To Someone Else, this time Atlas Games’ Michelle Nephew, who shares her […]

In this episode, Matt talks with artist and teacher, Pat Butynski on how she overcame childhood abuse through her relationship with Jesus and art practice. Now she's walking in incredible favor as a painter and teacher, more in love with Jesus than ever before. To connect with Pat online, visit her website at www.PatButynski.com and on Instagram @patbutynskiarttalk To connect with Matt, visit his website at www.MattTommeyMentoring.com and on Instagram or Facebook @matttommeySupport the show (https://matttommeymentoring.mykajabi.com/p/createdtothrivemembership)

RootedA balanced human being takes time to explore his own unconscious self. He does that by engaging in protracted self-exploration. Consequently, his conscious self is rooted in his subject. Lacan talks about how the ego, which is the focus of the objective, conscious self, is alienated from his subjective self. The separation between consciousness and subject is rooted in linguistics. The subject organizes itself syntactically. It forms sensory associations which reflect meaning, whereas consciousness forms linguistic networks of meaning through the mother tongue and an objective approach to experience. In order for the conscious self to access the subject, it must listen carefully to the associations of meaning that the unconscious forms. The consciousness then discovers new depths of meaning within what is already familiar. The ego recognizes the roots of the objects of its experience, as well as their true, hidden meanings.Exploring the unconscious subject is necessary. It is necessary for someone to know themselves intimately, and live a balanced, aware life. It is not possible to be truthful to others if, because of self-ignorance, you habitually deceive yourself. One must carefully observe and honestly assess one's emotional responses because these emotional responses reveal the true self. Some Notes on "Rooted"This is a solo keyboard improvisation. It is mostly in a minor, although it wanders quite a bit.This piece is "paratonal." "Paratonal" is my own term. It means that any given bar appears to be (mostly) tonal, however, the harmonic structure of the melody and the piece overall is far from tonal. It tends not to dwell on one key for long. There is a lot of suggested polytonality, as well as some unresolved dissonance.You can hear a certain impressionistic influence, as well. This piece is not dissimilar to something Debbusy, Satie, or Ravel might have created. There is also a little bit of Stravinsky influence, as well as some Rachmaninov.I use paratonality in this piece to express a certain familiar weirdness. This expresses the strangeness, yet familiarity of the unconscious mind. I also use a lot of close intervals (mostly thirds) to portray a hiddenness. This makes the piece sound very closed in.Copyright, Philip John Cornell, 2018, some rights reserved. You may download this content freely. If you share it, it must be prominently attributed to "PJ Cornell," and if shared online, a link to the original content must be provided in a prominent location. This audio and video content may not be used for commercial purposes or modified in any way without permission from the copyright owner. Follow me on Soundcloud: https://soundcloud.com/pj-cornellFollow me on iTunes: (Asterisk Piano Podcast)Follow me on Steemit: https://steemit.com/@pjcomposerJoin the conversation on my site: http://pjcornell.com

RootedA balanced human being takes time to explore his own unconscious self. He does that by engaging in protracted self-exploration. Consequently, his conscious self is rooted in his subject. Lacan talks about how the ego, which is the focus of the objective, conscious self, is alienated from his subjective self. The separation between consciousness and subject is rooted in linguistics. The subject organizes itself syntactically. It forms sensory associations which reflect meaning, whereas consciousness forms linguistic networks of meaning through the mother tongue and an objective approach to experience. In order for the conscious self to access the subject, it must listen carefully to the associations of meaning that the unconscious forms. The consciousness then discovers new depths of meaning within what is already familiar. The ego recognizes the roots of the objects of its experience, as well as their true, hidden meanings.Exploring the unconscious subject is necessary. It is necessary for someone to know themselves intimately, and live a balanced, aware life. It is not possible to be truthful to others if, because of self-ignorance, you habitually deceive yourself. One must carefully observe and honestly assess one's emotional responses because these emotional responses reveal the true self. Some Notes on "Rooted"This is a solo keyboard improvisation. It is mostly in a minor, although it wanders quite a bit.This piece is "paratonal." "Paratonal" is my own term. It means that any given bar appears to be (mostly) tonal, however, the harmonic structure of the melody and the piece overall is far from tonal. It tends not to dwell on one key for long. There is a lot of suggested polytonality, as well as some unresolved dissonance.You can hear a certain impressionistic influence, as well. This piece is not dissimilar to something Debbusy, Satie, or Ravel might have created. There is also a little bit of Stravinsky influence, as well as some Rachmaninov.I use paratonality in this piece to express a certain familiar weirdness. This expresses the strangeness, yet familiarity of the unconscious mind. I also use a lot of close intervals (mostly thirds) to portray a hiddenness. This makes the piece sound very closed in.Copyright, Philip John Cornell, 2018, some rights reserved. You may download this content freely. If you share it, it must be prominently attributed to "PJ Cornell," and if shared online, a link to the original content must be provided in a prominent location. This audio and video content may not be used for commercial purposes or modified in any way without permission from the copyright owner. Follow me on Soundcloud: https://soundcloud.com/pj-cornellFollow me on iTunes: (Asterisk Piano Podcast)Follow me on Steemit: https://steemit.com/@pjcomposerJoin the conversation on my site: http://pjcornell.com

This week, we lean into the everlasting arms of special guest Adam Kempenaar of Filmspotting as we discuss the Expressionistic style and intriguing moral center of Charles Laughton's acclaimed 1955 noir thriller The Night of the Hunter! ANNOUNCEMENT: For the month of January 2017, we'll be pre-empting new episodes of the podcast in favor of bringing you our long-awaited full-cast radio drama Indiana Jones and the Monkey King! Don't worry, our spinoff shows Twin Cinema and Alcohollywood On Tap will run as scheduled.  Related Links: Get your tickets for Filmspotting, Filmspotting: SVU, CinemaJaw and The Next Picture Show’s live podcast performances at the Chicago Podcast Festival!Clint’s guest spot on the Kill By Kill Podcast (Episode 14) Get Tickets for VStheUniverse’s Holiday Geek Show (featuring Alcohollywood!)PUNCH Drink's article on movie drinking games, feat. Alcohollywood (Thanks to our sponsor Basecamp as part of the Chicago Podcast Coop!)