Podcasts about fine arts boston

Albert Bierstadt’s story runs counter to the romanticized idea of a passionate starving artist. He was strategic in his career, selecting imagery that he knew would appeal to U.S. audiences, and monetizing his art outside of selling paintings. Research: Appman, Sarah Bean. “How One Building Turned Greenwich Village Into an Artists’ Mecca.” Greenwich Village Society for Historic Preservation. August 6, 2019. https://www.villagepreservation.org/2019/08/06/how-one-building-turned-greenwich-village-into-an-artists-mecca/ “Albert Bierstadt Dead.” Indianapolis News. Feb. 19, 1902. https://www.newspapers.com/image/37784929/?match=1&terms=Albert%20Bierstadt Avery, Kevin J. “Hudson River School.” The Met. Oct. 1, 2004. https://www.metmuseum.org/essays/the-hudson-river-school “Bierstadt Painting Surfaces After 100 Years.” Greenville News. June 7, 1990. https://www.newspapers.com/image/192068392/?match=1&terms=Albert%20Bierstadt%20Lucerne “Dealer Gets Bargain on Lost Art.” The News Tribune. Oct. 14, 1990. https://www.newspapers.com/image/738127494/?match=1&terms=Albert%20Bierstadt%20Lucerne The Editors of Encyclopaedia Britannica. "Düsseldorf school". Encyclopedia Britannica, 7 Mar. 2016, https://www.britannica.com/topic/Dusseldorf-school “Fine Paintings.” Boston Evening Transcript. May 26, 1857. https://www.newspapers.com/image/734940677/?match=1&terms=Albert%20Bierstadt Hassrick, Peter H., et al. “Albert Bierstadt: Witness to a Changing West.” University of Oklahoma Press. 2018. “Jan. 7, 1830, Albert Bierstadt was born.” Boston Evening Transcript. Jan. 7, 1902. https://www.newspapers.com/image/735167933/?match=1&terms=Albert%20Bierstadt “Look at This.” Boston Evening Transcript. Dec. 19, 1850. https://www.newspapers.com/image/735037015/?match=1&terms=Albert%20Bierstadt “Meet the artists of the Hudson River School and visit the places in nature that they painted and made famous.” Hudson River School Art Trail. https://www.hudsonriverschool.org/artists “Albert Bierstadt.” The Art Story. https://www.theartstory.org/artist/bierstadt-albert/ “Mission.” National Academy of Design. https://nationalacademy.org/the-academy/about-us Quinn, Karen. “American Landscape Painting: Albert Bierstadt and the American Land.” Museum of Fine Arts Boston. February 13, 2014. https://www.youtube.com/watch?v=phAETFErwRU&t=9s “Roman Fish Market. Arch of Octavius.” Fine Arts Museums of San Francisco. De Young Museum. https://www.famsf.org/artworks/roman-fish-market-arch-of-octavius See omnystudio.com/listener for privacy information.

Lana Z Caplan works across various media – including single-channel films or videos in essay form, interactive installations, video art, and photography. Her recent photographic monograph, Oceano (for seven generations) published by Kehrer Verlag in 2023, contrasts the historic inhabitants of California's Oceano Dunes – the Indigenous Chumash and a colony of depression-era artist and mystic squatters – with the current ATV riding community which is the source of a public health crisis in neighboring communities. Oceano (for seven generations) is in the collection of museums including Los Angeles County Museum of Art, The Getty Museum, Museum of Fine Arts Boston and The Cleveland Museum of Art. Her work has been reviewed and featured in publications such as ARTnews, LA Times, , and The Boston Globe and she has received several grants including from Massachusetts Cultural Council and the Film/Video Studio Program Fellowship at the Wexner Center for the Arts in Columbus, OH. Caplan earned her BA and BS from Boston University, her MFA from Massachusetts College of Art and is currently an Associate Professor of Photography and Video at Cal Poly, San Luis Obispo. Resources Lana Z. Caplan Websites Photo Workshops Tokyo Exploration Workshop with Ibarionex Perello Sponsors Playpodcast Podcast App Charcoal Book Club Chico Review Photobook Retreat Frames Magazine Education Resources: Momenta Photographic Workshops Candid Frame Resources Download the free Candid Frame app for your favorite smart device. Click here to download it for . Click here to download Contribute a one-time donation to the show thru Buy Me a Coffee Support the work at The Candid Frame by contributing to our Patreon effort.  You can do this by visiting or the website and clicking on the Patreon button. You can also provide a one-time donation via . You can follow Ibarionex on and .

In this episode, artists Meghann Riepenhoff and Penelope Umbrico chat with MoCP curator, Kristin Taylor. The two artists discuss their backgrounds and shared interests in experimenting and pushing the indexical qualities of photography, as well as the work of Alison Rossiter and Joanne Leonard.Meghann Riepenhoff is most well-known for her largescale cyanotype prints that she creates by collaborating with ocean waves, rain, ice, snow, and coastal shores. She places sheets of light-sensitized paper in these water elements, allowing nature to act as the composer of what we eventually see on the paper. As the wind driven waves crash or the ice melts, dripping across the surface of the coated paper, bits of earth sediment like sand and gravel also become inscribed on the surface. The sun is the final collaborator, with its UV rays developing the prints and reacting with the light sensitizing chemical on the paper to draw out the Prussian blue color. These camera-less works harness the light capturing properties of photographic processes, to translate, in her words, “the landscape, the sublime, time, and impermanence.” Rieppenhoff's work has been featured in exhibitions at the High Museum of Art, the Museum of Fine Arts Boston, the Denver Art Museum, the Portland Museum of Art, Crystal Bridges Museum of Art, among many others. Her work is held in the collections of the High Museum of Art, the Museum of Fine Arts Houston, Harvard Art Museum, Amon Carter Museum of American Art, and the San Francisco Museum of Modern Art. She has published two monographs: Littoral Drift + Ecotone and Ice with Radius Books and Yossi Milo Gallery. She was an artist in residence at the Banff Centre for the Arts and the John Michael Kohler Center for the Arts, was an Affiliate at the Headlands Center for the Arts, and was a 2018 Guggenheim Fellow.Penelope Umbrico examines the sheer volume and ubiquity of images in contemporary culture. She uses various forms of found imagery—from online picture sharing websites to photographs in books and mail order catalogs—and appropriates the pictures to construct large-scale installations. She states: "I take the sheer quantity of images online as a collective archive that represents us—a constantly changing auto-portrait." In the MoCP permanent collection is a piece titled 8,146,774 Suns From Flickr (Partial) 9/10/10. It is an assemblage of numerous pictures that she found on the then widely used image-sharing website, Flickr, by searching for one of its most popular search terms: sunset. She then cropped the found files and created her own 4x6 inch prints on a Kodak Easy Share printer. She clusters the prints into an enormous array to underscore the universal human attraction to capture the sun's essence. The title references the number of results she received from the search on the day she made the work: the first version of the piece created in 2007 produced 2,303,057 images while this version from only three years later in 2010 produced 8,146,774 images. Umbrico's work has been featured in exhibitions around the world, including MoMA PS1, NY; Museum of Modern Art, NY; MassMoCA, MA; San Francisco Museum of Modern Art, CA; Milwaukee Art Museum, WI; The Photographers' Gallery, London; Daegu Photography Biennale, Korea; Gallery of Modern Art, Brisbane Australia; among many others, and is represented in museum collections around the world. She has received numerous awards, including a Guggenheim Fellowship; Sharpe-Walentas Studio Grant; Smithsonian Artist Research Fellowship; New York Foundation of the Arts Fellowship; Anonymous Was a Woman Award. Her monographs have been published by Aperture NYC and RVB Books Paris. She is joining us today from her studio in Brooklyn, NY.

In which Theo and Brian discuss the inception of the Museum of Fine Arts Boston. 

In the 78th episode of Perceived Value, host Sarah Rachel Brown takes listeners to the Penland School of Craft, where she's participating in their Winter Residency. Leading up to the residency, Sarah had heard from a few fellow artists attending, but overall, she had no idea who she would cross paths with. To her delight, the residency allowed her to meet many artists she's admired from afar. Among them is the guest for this episode, Lauren Kalman, who has been on Sarah's interview wishlist for some time. After sharing a few meals, Sarah asked for an interview.The two women sat down to discuss how Lauren unexpectedly got her first teaching position, the art of negotiation and why it's a crucial skill, how to sell work when your work is challenging to sell, and how an artist's work is not always representative of their personality.OUR GUESTLauren Kalman is a visual artist based in Detroit whose practice is rooted in craft, sculpture, video, photography, and performance. She completed her PhD in Practice-led Research from the School of Art and Design at the Australian National University. She earned an MFA in Art and Technology from Ohio State University and a BFA with a focus in Metals from Massachusetts College of Art.Her work has been featured in exhibitions at the Renwick Gallery at the Smithsonian Museum of American Art, Museum of Arts and Design, Museum of Contemporary Craft, Cranbrook Art Museum, Contemporary Art Museum Houston, Museum of Fine Arts Boston, Mint Museum, World Art Museum in Beijing, and the Musée d'Art Moderne de la Ville de Paris among others. Her work is in the permanent collection of the Françoise van den Bosch Foundation at the Stedelijk Museum Amsterdam, Museum of Fine Arts Boston, Smithsonian Museum of American Art, Detroit Institute of Art, Museum of Arts and Design, and the Korean Ceramics Foundation. In 2020 she received the Françoise van den Bosch Award for her career's impact on the jewelry field; in 2022, she received the Raphael Founders Prize in Glass from Contemporary for Craft; and in 2023 she was named a Kresge Arts in Detroit Fellow.She is a dedicated educator and is currently a Professor and the Chair of the Department of Art, Art History, and Design at Wayne State University in Detroit.www.laurenkalman.comInstagram: @laurenkalmanFacebook: @LaurenKalmanArtDon't forget to Rate AND Review us on iTunes!SUPPORT PERCEIVED VALUE!www.patreon.com/perceivedvalueMORE WAYS TO SUPPORTInstagram + Facebook: @perceivedvalueInstagram: @sarahrachelbrownThe music you hear on Perceived Value is by the Seattle group Song Sparrow Research.All You Need to Know off of their album Sympathetic Buzz.Find them on Spotify!

Ep.202 Adebunmi Gbadebo (b. 1992 in Livingston, NJ) is a multidisciplinary artist working with paper, ceramics, sound, and film, exploring Gbadebo explores the archival record of her family's ancestry. Through her research, material selection, and technical process, the artist emphasizes the prejudice of the historical record, activating her practice to restore Black subjectivity. She received a BFA from the School of Visual Art, New York. In 2023, she was the recipient of the Maxwell and Hanrahan Craft Fellowship and the Keynote speaker for the American Ceramic Circle annual conference. In 2022, she was a Pew Fellow at the Pew Center for Arts & Heritage. Gbadebo is currently an Artist in Residence at The Clay Studio and has exhibited across the US and internationally in Africa, Europe, Asia and Australia. Her work is now on view in major exhibitions such as the 24th Sydney Biennale: Ten Thousand Suns; Minneapolis Museum of Art: Collage/Assemblage Part II: 1990-Now; and Hear Me Now: The Black Potters of Old Edgefield, South Carolina, which opened at the Metropolitan Museum of Art, New York, in 2022, and has traveled to the Museum of Fine Arts Boston, University of Michigan Museum of Art, and is now at the High Museum of Art in Atlanta. Gbadebo's work is in the public collections of the Smithsonian National Museum of African Art, Washington, D.C.; Smithsonian National Museum of African American History and Culture, Washington D.C.; Boston Museum of Fine Arts, Boston, MA; Minnesota Museum of American Art, St. Paul, MN; Minneapolis Institute of Art, Minneapolis MN; Weisman Museum of Art, Minneapolis, MN; Newark Museum of Art, Newark, NJ; and South Carolina State Museum, Columbia, SC. Her public commissions include an ongoing sculpture project in collaboration with students and faculty from Clemson University, SC, and the Harriet Tubman Monument (2021), Newark, NJ. Photo Credit:Tobias Truvillion Articles ● Past Present Projects Magazine: Past Present No. 4 ● The Pew Center For Arts and Heritage: Fellow to Fellow: Adebunmi Gbadebo and Odili Donald Odita on Meaning in Materiality ● WHYY: Philly artist wins $100K craft prize for her work remembering Black ancestors ● PBS: Treasures of New Jersey ● Penn Today: Ritual and Remembrance ● The Boston Globe At the MFA, enslaved Black potters' work brings lives into the light in ‘Hear Me Now' ● The Post and Courier At the Met, in Harlem and beyond, acclaimed artist honors enslaved SC ancestors ● Forbes, Haunting Generational Trauma In “Remains” By Adebunmi Gbadebo At Claire Oliver Gallery In Harlem ● Brooklyn Rail, Abstraction in the Black Diaspora ● New York Times, Critic's Pick: The Magnificent Poem Jars of David Drake, Center Stage at the Met ● New York Times, New Shows That Widen the Beaten Path

Lauren Quin draws from a pool of the unformed and the entropic to render shapes caught in a process of emergence or recession. Parts grow out of other parts. And like bacteria, material starts to infect and invade. Her mark-making implies a passage between dimensions that generate sensuality and movement. Quin holds an MFA from the Yale School of Art, and a BFA from the School of the Art Institute of Chicago. Her work has been the subject of several solo exhibitions including her first US museum show, My Hellmouth, at the Nerman Museum of Art in 2023. Her work is held in numerous public collections including the Columbus Museum of Art, Dallas Museum of Art, High Museum of Art, ICA Miami, Museum of contemporary art, Los Angeles, Museum of Fine Arts Boston, Nerman Museum of Art; Pérez Art Museum, Phoenix Art Museum, Walker Art Center, and the Hirschorn Museum. Lauren opens her first solo show in New York on May 3rd at 125 Newbury.

Luanne Stovall is an artist and color theorist with an MFA in painting from Tufts University and the School of the Museum of Fine Arts Boston. She attended the New York Studio School of Drawing, Painting, and Sculpture (New York City), and Skowhegan School of Painting and Sculpture (Skowhegan, Maine).Luanne is a member of the Steering Committee of the global Colour Literacy Project and a visiting lecturer in the School of Design and Creative Technologies at the University of Texas in Austin. Currently she is teaching Color Literacy as an upper level interdisciplinary course in the School of Design and Creative Technologies at the University of Texas at Austin. She has taught color courses and workshops in many locations including UT Austin, The Contemporary Austin; School of the Museum of Fine Arts, Boston; Wellesley College, MA; and MIT Sloan School of Business. Her paintings and works on paper have been exhibited widely, and are in private and public collections, including the Art Museum of South Texas; El Paso Museum of Art; Blanton Museum, Austin, TX; Moakley Cancer Care Center, Boston; and the Estee Lauder Collection.Luanne's website: https://www.luannestovall.com/The Colour Literacy Project, Steering Committee member:https://colourliteracy.org/Inter-Society Color Council, Board of Directors member; Team leader, Fluorescent Fridayshttps://www.iscc.org/2023 International Colour Association (AIC), volume 33, Special issue on contributions by the Colour Literacy Project Team:https://aic-color.org/journal-issuesLuanne's contribution to the 2023 AIC volume 33:Prologue: one artist's journey from traditional colour theory to the Colour Literacy Project (PDF)University of Texas Color Literacy courseDesigned as four modules:Color PerceptionColor InteractionColor PsychologyColor Design / Portfolio Project.University website: AET Courses (Search under the Upper Division tab.) Flower Color Theory, by Darroch and Michael PutnamPlease find more information to each episode on the Chromosphere website.

Ep.176 Gisela McDaniel is a diasporic, Indigenous Chamorro artist who explores the effects of trauma, displacement and colonisation through portraiture and oral histories. Interweaving audio interviews, assemblage and oil painting, she intentionally incorporates the portrait sitters' voices in order to subvert the traditional power relations of artist and sitter. Working primarily with women and non-binary people who identify as Black, Micronesian, Indigenous to Turtle Island, Asian, Latinx, and/or mixed-race, her work disrupts and responds to the systemic silencing of subjects in fine art, politics and popular culture. McDaniel received her BFA from the University of Michigan in 2019. Recent solo and group shows include: The inescapable interweaving of all lives, Kunsthalle Düsseldorf, Düsseldorf (2023); Tender Loving Care, Museum of Fine Arts Boston, Boston (2023); Thinking of You, FLAG Art Foundation, New York (2023); Manhaga Fu'una, Pilar Corrias, London (2022); A Place for Me: Figurative Painting Now, ICA Boston (2022); The Regional, Kemper Museum of Contemporary Art, Kansas City (2022); Sakkan Eku LA, The Mistake Room, Los Angeles (2021); How Do We Know the World?, Baltimore Museum of Art, Baltimore (2021); The Regional, CAC Contemporary Art Centre Cincinnati (2021); Dual Vision, MOCAD (2021); Making WAY/FARING Well, Pilar Corrias, London (2020); Dhaka Art Summit, Dhaka, Bangladesh (2020); On the Road II, Oolite Arts, Miami (2019); Save Art Space, Playground Detroit, Detroit (2019); Lush P(r)ose, Playground Detroit, Detroit (2019); Virago, Detroit Art Babes Collective, Detroit (2019) and Theotokos: New Visions of the Mother God, The Schvitz, Detroit (2018). Photo Credit: Gisela McDaniel in her studio, 2023, Photo by Rachel Stern. Courtesy the artist and Pilar Corrias, London Artist https://www.giselamcdaniel.com/ Pilar Corrias https://www.pilarcorrias.com/artists/53-gisela-mcdaniel/ Perez Art Museum Miami https://www.pamm.org/en/artwork/2020.216/ MFA Boston https://www.mfa.org/article/2022/tiningo-si-sirena-a-conversation-with-gisela-charfauros-mcdaniel-and-antoinette i.D Vice https://i-d.vice.com/en/article/akvywb/gisela-mcdaniel-art-interview Elephant https://elephant.art/gisela-mcdaniel-gauguins-paintings-of-pacific-islanders-felt-like-theft-to-me-18022022/ Artnet https://news.artnet.com/art-world/chamorro-painter-gisela-mcdaniel-interview-2064002 Playground Detroit https://playgrounddetroit.com/portfolio/gisela-mcdaniel/ Galleries Now https://www.galleriesnow.net/shows/gisela-mcdaniel-manhaga-fuuna/ Washington Informer https://www.washingtoninformer.com/armory-week-contemporary-art-dc/ Wikipedia https://en.wikipedia.org/wiki/Gisela_McDaniel Kresge Arts in Detroit https://kresgeartsindetroit.org/artist/gisela-mcdaniel/ Kadist https://kadist.org/people/gisela-mcdaniel/ She Curates https://www.she-curates.com/interviews/artists/gisela-mcdaniel/ Metro West https://metrowestcle.org/community-art/ Guam Pacific Daily News https://www.guampdn.com/lifestyle/gisela-mcdaniels-portraits-of-chamoru-diaspora-shown-in-london-gallery/article_c149e9ac-8e05-11ec-8f91-333179b3d301.html The Hopper News https://hopperprize.org/gisela-mcdaniel/ Seen https://www.seenthemagazine.com/culture/arts_entertainment/the-power-of-a-paintbrush-gisela-mcdaniel-transforms-trauma-into-art/article_c071f946-0477-5e8a-a116-6e6adc2605cf.html

In this episode of The Directors' Take podcast, your hosts Oz Arshad and Marcus Anthony Thomas are joined by Writer/Director Tomisin Adepeju. Tomisin is a Nigerian-British Filmmaker based in London whose work has travelled to several major film festivals including Sundance and BFI London Film Festival. He also is the founder and curator of the film event DAILIES which platforms the exceptional work of emerging filmmakers. In this conversation we dig down into his journey to talk about the following:   -Why he began filmmaking. -What he believes directing is. -Why he felt the need to go to film school. -How he got into Sundance. -What happened after. -Finding his voice. -The struggles with the industry pathway. -What the future looks like for him now.   Biography Tomisin Adepeju is a Nigerian-British Filmmaker based in London, England. His multi award-winning shorts, The Good Son & Super 16mm graduation film, Marianne have been selected at over 100 International film festivals, these include; Oscar-Qualifying Urbanworld Film Festival, the 25th New York African Film Festival, Smalls Film Festival & Triforce Film Festival. Both shorts have also screened at several prestigious institutions including: Cinematheque Suisse, the Charles H. Wright Museum of African American History, The Museum of Fine Arts Boston, the Film Society of Lincoln Center, the British Film Institute & BAFTA. His award winning short, The Right Choice had its World Premiere at the 2018 Sundance Film Festival, it was also selected to screen as part of Sundance London. The film has screened at over 45 International Film Festivals, these include; Oscar-Qualifying; Pan African Film Festival 2018, Cleveland International Film Festival & HollyShorts Film Festival. Tomisin is a 2018 Edinburgh Talent Lab alumnus, in 2019, he was one of the 12 filmmakers selected to take part in the annual NETWORK@LFF development programme at the BFI London Film Festival. His most recent short Appreciation had its World Premiere at the Oscar-Qualifying Pan African Film Festival 2019 & it's North American Premiere at Oscar-Qualifying Aspen Shortsfest. The film was also an official selection of BFI London Film Festival 2019. He is currently developing his debut feature. He is represented by United Agents in the UK and Creative Artists Agency (CAA) in the US.   Nuggets of the week Oz: Diarmuid Goggin Twitter (X) Marcus: Timothée Chalamet & Martin Scorsese Have an Epic Conversation | GQ Tomisin: 'Film as dream, film as music. No art passes our conscience in the way film does, and goes directly to our feelings, deep down into the dark rooms of our souls.' by Ingmar Bergman   Credits Music by Oliver Wegmüller   Socials Instagram: @TheDirectorsTakePodcast Twitter: @DirectorsTake Tomisin's socials: Twitter (X) & Instagram Dailies socials: Website, Twitter (X) & Instagram   If you have any questions relating to the episode or have topics you would like covering in future releases, reach out to us at TheDirectorsTake@Outlook.com.

Ep.174 Yvette Mayorga is a multidisciplinary artist based in Chicago, Illinois. Her work links feminized labor and the aesthetics of celebration to colonial art history and racialized oppression through the guise of using pink as a weapon of mass destruction. Mayorga holds an MFA in Fiber and Material Studies from the School of the Art Institute of Chicago. Mayorga's first solo museum exhibition What a Time to be at the Momentary, Crystal Bridges Museum of American Art, is on view through October 2023. Mayorga's first East Coast solo museum exhibition Dreaming of You at The Aldrich Contemporary Art Museum, is on view through March 2024. Her work has been exhibited at the Museum of Art and Design, New York, NY; Vincent Price Art Museum, Monterey Park, CA; El Museo del Barrio, the Center for Craft, Asheville, NC; Museo Universitario del Chopo, Mexico City, MX; and Los Angeles Museum of Contemporary Art, Los Angeles, CA. Currently, Mayorga is working on a large-scale installation for the City of Chicago's permanent public art collection at O'Hare International Airport's Terminal 5. Mayorga has been featured in Artforum, Artnet, Art in America, Art News, Cultured Magazine, DAZED, Galerie Magazine, Hyperallergic, Latina Magazine, Teen Vogue, The Guardian, The New York Times, Vogue, W Magazine, and Women's Wear Daily. Her works are in the permanent collections of 21c Museum Hotels, Crystal Bridges Museum of American Art, DePaul Art Museum, El Museo del Barrio, John D. and Catherine T. MacArthur Foundation, Museum of Fine Arts Boston, and New Mexico State University Art Museum. Photo credit : Kevin Penczak Artist https://www.yvettemayorga.com/ The Alridrich https://thealdrich.org/exhibitions/yvette-mayorga-dreaming-of-you MAZ https://maz.zapopan.gob.mx/sala-abierta-20/ Hyperallergic https://hyperallergic.com/790993/decolonizing-rococo-yvette-mayorga/ Latinx Project https://www.latinxproject.nyu.edu/intervenxions/in-her-bag-yvette-mayorgas-first-solo-museum-exhibition-what-a-time-to-be-is-a-declaration-of-latina-artist-autonomy W Magazine https://www.wmagazine.com/culture/yvette-mayorga-interview-artist Cultured Mag https://www.culturedmag.com/article/2023/09/07/women-artist-exhibitions-new-york-armory Vogue https://www.vogue.com/article/must-see-american-art-exhibitions-fall-2023 Art For Change https://artforchange.com/collections/yvette-mayorga The Momentary https://themomentary.org/calendar/yvette-mayorga-what-a-time-to-be/ Invisible Culture Journal https://www.invisibleculturejournal.com/pub/yvettemayorga/release/1 Fondazione Imago Mundi https://fondazioneimagomundi.org/en/webdoc/yvette_mayorga/ SAIC https://www.saic.edu/news/alum-yvette-mayorga-highlighted-in-wwd University of Illinois https://art.illinois.edu/about-us/news/alumna-yvette-mayorga-feature-in-vogue/ Chicago Gallery News https://www.chicagogallerynews.com/events/the-politics-of-desire-yvette-mayorga David b Smith Gallery https://www.davidbsmithgallery.com/cn/artists/65-yvette-mayorga/works/4182-yvette-mayorga-smile-now-from-the-vase-of-the-century-2023/ Geary https://geary.nyc/yvette-mayorga 3Arts https://3arts.org/artist/Yvette-Mayorga/ Hyde Park Art https://www.hydeparkart.org/directory/yvette-mayorga/

When making mokuhanga and producing The Unfinished Print, I have looked towards various online tools for research and inspiration. One of these tools is ukiyo-e.org. A Japanese woodblock print database which collects and archives woodblock print collections from around the world.  John Resig is the chief software architect at the Khan Academy who, in 2013, for his love of mokuhanga and the Japanese woodblock print, and through his own  collection, developed ukiyo-e.org.  Those researching, collecting, and making mokuhanga can explore some of the best Japanese print collections at the click of a button. In this episode of The Unfinished Print, I speak with ukiyo-e.org developer John Resig about why he decided to create the website and how his collecting of mokuhanga and making mokuhanga affected that decision. We also discuss the evolution of the humanities in mokuhanga, archiving prints, tradition, and the copywriting of images, as well as John's work with the Japanese Art Society of America.  Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me at theunfinishedprint@gmail.com  Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. John Resig  - Ukiyo-e.org, Digital Humanities Research, John's personal mokuhanga collection on Airtable,   Sky Above Clouds IV: After Georgia O'Keefe (2019) Utagawa Kuniyoshi (1798-1861) - is considered one of the last “masters” of the ukiyo-e genre of Japanese woodblock printmaking. His designs range from landscapes, samurai and Chinese military heroes, as well as using various formats for his designs such as diptychs and triptychs.  Five portraits of the actor Ichikawa Danjuro VIII (1823-1854) in various roles (1849) yakusha-e - (役者絵) is the Japanese term for actor prints in mokuhanga.  Utagawa Kunisada (1786-1865) Tsukioka Yoshitoshi  1839-1892 (月岡 芳年) was a mokuhanga designer who is famous for his prints depicting violence and gore. His work is powerful, colourful, and one of the last vibrant moments of the ukiyo-e genre of woodblock prints. More information about Yoshitoshi's life and his copious amount of work can be found, here.   Iga no Tsubone and the Ghost of Fujiwara Nakanari, from the series One Hundred Ghost Stories from China and Japan (1865) Annie Bissett - is an American mokuhanga printmaker and graphic designer based in Rhode Island, USA. Her work touches on politics, and beauty. Her interview with The Unfinished Print can be found, here. Annie's work can be found, here. Irene (2023) Onchi Kōshirō (1891-1955) - originally designing poetry and books Onchi became on of the most I important sōsaku hanga artists and promotor of the medium. His works are saught after today. More info, here. Portrait of a Poet: Hagiwara Sakutarō (1886-1942) Meiji Era Prints - The Meiji Era of Japan was between 1868-1912 CE. This was a period of immense modernization and industrialization in Japan, where the Japanese economy was booming. New ideas within mokuhanga was occurring as well. Perspective, colour, through new pigments (gamboge, certain yellows), the advancement of photography, and new topics and themes (war, industry, architecture), the Meiji era print designer and publisher had a lot of choice when producing their prints.  Shigeru Kuriyama (1912-2010) - was a sōsaku hanga  printmaker who worked with Onchi Kōshirō (1891-1956), and U'nichi Hiratsuka (1895-1997). He founded the print magazine Yukari and Kasuri. His prints were focused on folk arts.   Fragrance of Lavender (1996) sōsaku-hanga - or creative prints, is a style of printmaking which is predominantly, although not exclusively, prints made by one person. It started in the early twentieth century in Japan, in the same period as the shin-hanga movement. The artist designs, carves, and prints their own works. The designs, especially in the early days, may seem rudimentary but the creation of self-made prints was a breakthrough for printmakers moving away from where only a select group of carvers, printers and publishers created woodblock prints.  Your First Print: David Bull - this was the first DVD I ever purchased on how to make mokuhanga. This was in and around 2007. While I look back at that time thinking about why I didn't take it up as seriously as I do now, I sometime wonder, "Where would I be now in my Mokuhanga journey?" I realize that that is a redundant way of thinking. I am where I am now today, and to be happy with just that. You can still find this product on Dave's website.  Takuji Hamanaka - printmaker based in Brookly, NY. Uses bokashi,  a printmaking technique, predominately in his works. Unique and powerful. website Instagram Collapse (2016) April Vollmer - is an established artist who works predominantly in mokuhanga. Her book Japanese Woodblock Print Workshop is one of the most authoritative books on the subject and has influenced many mokuhanga artists. April's interview with The Unfinished Print can be found, here. Wood Like Matsumura - is an online and brick and mortar store, for woodblock printmaking, located in Nerima City, Tōkyō. Yoshida Hiroshi (1876-1950) - a watercolorist, oil painter, and woodblock printmaker. Is associated with the resurgence of the woodblock print in Japan, and in the West. It was his early relationship with Watanabe Shōzaburō, having his first seven prints printed by the Shōzaburō atelier. This experience made Hiroshi believe that he could hire his own carvers and printers and produce woodblock prints, which he did in 1925.  Kiso River (1927) kabuki - is a traditional form of Japanese theatre which started in Kyoto on the banks of the Kamo River in the 17th Century. Today it is a multi million dollar business and is almost exclusively run, professionally, by The Shochiku Company. Kabuki, the word, is separated into three different sounds; ka - meaning to sing, bu - meaning to dance, and ki- meaning skill. There are various families in kabuki which generate actors, passing down tradition throughout the lineage. For more information please read this fine article from Nippon.com. There are many books written on the subject of kabuki, but in my opinion, to begin, one needs to read Leonard Pronko's work Theatre East & West, Kawatake Toshio's Kabuki, and Earl Ernst's The Kabuki Theatre. Online, please visit Kabuki21.com, who's site is unparalleled. On YouTube there is the new(ish) Kabuki In-Depth which is updated regularly on kabuki information and history, and is very well done.  Georgia O'Keeffe (1887 – 1986) was a renowned American artist, known for her pioneering contributions to modern American art, particularly in the realm of abstract and contemporary art. Lake George Reflection (1921) bokashi - is a mokuhanga technique, where the pigment fades from a heavy colour to a softer, broad colour. Made famous by prints designed by Hokusai and Hiroshige, this technique is, for me, the most popular technique utilized by  mokuhanga printmakers. There are various types: Ichimoji-bokashi or straight line graduation, used in the above mentioned Hiroshige and Hokusai prints. Ichimoji-mura-bokashi or straight line gradation with uneven edge. Ō-bokashi or wide gradation, Ate-nashi-bokashi or gradation without definition. Futa-iro-bokashi or two tone gradation, and ita-bokashi or softer-edge gradation, where the block is cut in a specific way to achieve this style of gradation. All of these styles of bokashi technique take practice and skill but are very much doable.  Bertha Lum (1869-1954) - was born in Iowa. Having begun travelling to Japan in 1903, Bertha Lum noticed the decline of the Japanese woodblock print in Japan in the early 20th Century, deciding to take up the medium. Lum began making woodblock prints after learning in Japan from an unknown teacher during her first trip to Japan. Japan, Lafcadio Hearn (1850-1904), and China influenced Bertha Lum's prints. Lum's work focused on these themes through an American lens.  Winter (1909) Frances Gearhart (1869-1958) - Born in Illinois, Gearhart was a self-taught artist who spent most of her life in California. Originally a watercolorist, Frances Gearhart began experimenting with Japanese woodblock and linoleum in and around 1913. The themes of her work are predominately landscapes of the Pacific Coast and other areas of California. Her work is associated with the Arts and Crafts movement in California. A fine article on Frances Gearhart's life can be found, here.  In The Sun (1930) Fujio Yoshida (1887-1997) - the wife of Hiroshi Yoshida and the mother of Tōshi Yoshida (1911-1995) and Hodaka Yoshida (1926-1995). Fujio was so much more than a mother and wife. She had a long and storied career as a painter and printmaker. Fujio's work used her travels and personal experiences to make her work. Subjects such as Japan during The Pacific War, abstraction, portraits, landscapes, still life, and nature were some of her themes. Her painting mediums were watercolour and oil. Her print work was designed by her and carved by Fujio.  Roses (1925) TinEye - is an image search and recognition company. They use technology which allows the user to search an image creating a reverse image match. More information can be found, here.  The Metropolitan Museum of Art - is the largest art museum in North and South America. It began to be assembled by John Jay (1817-1894) in the late 19th century. Incorporated in 1870, the museum has collected many essential pieces, such as the works of Henri Matisse (1869-1954) and Pierre-Auguste Renoir (1841-1919). For more information about the MET, you can find it here. Waseda University  - is a private research university located in Tōkyō, Japan. It was established in 1882. Waseda has one of the largest woodblock print databases in the world, and are free to use. More information can be found, here.  Ristumeikan - is a university founded in 1869, and located in Kyoto and Ōsaka. Like Waseda it holds one of the largest collection of Japanese woodblock prints. You can search their database, here.  Mike Lyon  -  is an American artist. His medium has been varied throughout his career such as "square tiles," or "pixels," through to making mokuhanga, monoprinting, and machine-assisted etching, drawing and mezzotint. Mike Lyon also has a large woodblock print collection which he has curated for the public, here. More information about his work can be found, here.  Linda In Black (2019) Frick Reference Library - is a reference library in the Frick Museum in New York City. The museum was once the mansion of wealthy American industrialist Henry Clay Frick (1849-1919). The museum houses some of the finest pieces of sculpture, paintings, and art in the United States. There is also the public Frick Reference Library located on 10E 71st Street in New York City. More information can be found, here.  Hokusai: Inspiration and Influence - was an exhibition held from March 26 - July 16, 2023 at the Museum of Fine Arts Boston. More information can be found, here.  Japanese Art Society of America (JASA) - Starting in 1973 by a small group of collectors of ukiyo-e in New York City, JASA has expanded to cover many Japanese arts. Their magazine Impressions is a biannual magazine that discusses in a scholarly way various Japanese arts. More information can be found, here.  Utagawa Hiroshige (1797-1858) - born in Edo, Hiroshige is famous for his landscape series of that burgeoning city. The most famous series being, One Hundred Famous Views of Edo (1856-1859), and the landcape series, Fifty-Three Stations of the Tōkaidō (1833-1834). His work highlights bokashi, and bright colours. More info about his work can be found, here. Below is, Coastal Landscape In Moonlight (1857) Kingfisher and Iris Scholten Japanese Art - is a mokuhanga-focused art gallery in midtown Manhattan. René Scholten, an avid collector of the Japanese print, founded it. You can find more info here. Katherine Martin is the managing director of Scholten Japanese Art. Katherine has written extensively for the gallery and conducted lectures about Japanese prints. Her interview with The Unfinished Print can be found, here.  International Mokuhanga Conference - is a bi-yearly conference dedicated to mokuhanga which started in 2011 by the International Mokuhanga Association. Each conference is themed. The latest conference was in 2021, delayed a year because of the pandemic. More information can be found, here.   Cameron Bailey - is a mokuhanga woodblock printmaker based in Queens, New York. His work is predominantly reduction woodblock. Camerons work has shown around the world. You can listen to one of his earliest interviews on The Unfinished Print, here. His work can be found, here.  Reflection (2020) sumo - while sumo wrestling has been known to Western audiences for quite some time, it is only in the past several years that the Japan Broadcasting Corporation (NHK) has created content for Western audiences to watch tournaments and engage with wrestlers through videos, such as YouTube.  Sumo prints were being produced in the Edo Period (1603-1868), with the Kastukawa school of artists beginning to create prints in the vein of actor prints of the day (yakusha-e).  Utagawa Kunisada (1786-1865) A portrait of Inoyama Moriemon (1846) Acolytes of The Baren  - is the Facebook group dedicated to Dave Bull and Mokuhankan. It can be found, here. Emerging Hanga - is a Facebook group dedicated to new mokuhanga, and sharing information. It can be found, here.   Brush & Baren  - is a Facebook group dedicated to sharing the history of mokuhanga of the late 19th and early 20th Century. It can be found, here.  Friends of Baren Forum - is a Facebook group dedicated to those interested in mokuhanga and woodblock printing in general. it can be found, here.  © Popular Wheat Productions opening and closing musical credit - Flowers & Fire by BLITZ. From the album Second Empire Justice (1983), first released on Future Records.  logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Українi If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***                    

Town Hall Seattle and Gage Academy of Art present Preston Singletary: Honoring Stories Through Glass-Blowing. The art of Preston Singletary has become synonymous with the relationship between European glass-blowing traditions and Northwest Native art. His artworks feature themes of transformation, animal spirits, and shamanism through elegant blown glass forms and mystical sand-carved Tlingit designs. Singletary learned the art of glass blowing by working with artists in the Seattle area including Benjamin Moore and Dante Marioni. As a student and assistant, he initially focused on mastering the techniques of the European tradition. In 1993 he traveled to Sweden and was immersed in the Scandinavian design community where he met his future wife Åsa and lived there for 6 months. Throughout his over thirty years of glass-blowing experience, he has also had opportunities to learn the secrets of the Venetian glass masters by working with Italian legends Lino Tagliapietra, Cecco Ongaro, and Pino Signoretto. In 2010, he was awarded an honorary Doctor of Arts degree from the University of Puget Sound. Now recognized internationally, Singletary's artworks are included in museum collections such as The British Museum (London, UK), The Museum of Fine Arts (Boston, MA), The Seattle Art Museum (Seattle WA), the Corning Museum of Glass (Corning, NY), the Mint Museum of Art and Design (Charlotte, NC), the Heard Museum (Phoenix, AZ), and the Smithsonian Institution (Washington, DC). Preston Singletary maintains an active schedule by teaching, lecturing, and exhibiting internationally. In 2009, the Museum of Glass in Tacoma, WA, launched a major mid-career survey of his work, entitled “Preston Singletary: Echoes, Fire, and Shadows”. In 2018 he launched a new traveling exhibition with the Museum of Glass, titled “Preston Singletary: Raven and the Box of Daylight”, which pushes the boundaries of glass as a medium for storytelling. His latest work is a large Killer Whale Totem created entirely in lead crystal and standing at nearly eight feet tall.

Flemish painter Michaelina Wautier's style was realistic and detailed, with a dark, almost somber color palette. And for a long time, she remained an unknown, even among art historians. Research: Atkins, Christopher D.M. and Jeffrey Muller, editors. “Michaelina Wautier and The Five Senses: Innovation in 17th-Century Flemish Painting.” CNA Studies. December 2022. Museum of Fine Arts, Boston. 2022. Atkins, Christopher and Alyssa Trejo. Email correspondence. Center for Netherlandish Art, Museum of Fine Arts Boston. 4/12/2023. “Six Paintings by 17th-Century Artist Michaelina Wautier Sought by Rubens House.” 4/26/2017. https://www.codart.nl/art-works/six-paintings-17th-century-artist-michaelina-wautier-sought-rubens-house/ Dill, Vithória Konzen. “5 Things You Should Know About Michaelina Wautier.” Daily Art Magazine. 1/8/2023. https://www.dailyartmagazine.com/michaelina-wautier/ Esterow, Milton. “For Centuries, Her Art Was Forgotten, or Credited to Men. No More.” New York Times. 12/5/2022. https://www.nytimes.com/2022/12/02/arts/design/michaelina-wautier-artist-boston.html Kairis, Pierre-Yves. “Interview with Pierre-Yves Kairis.” MAS. https://mas.be/en/page/interview-pierre-yves-kairis Kimball, Jill. “Student-curated MFA Boston exhibition spotlights long-forgotten female Flemish painter.” Brown University. 12/7/2022. https://www.brown.edu/news/2022-12-07/wautier Kunsthistorisches Museum Wien. “Looking at the Overlooked: A live conversation on the life and work of Michaelina Woutier.” Via YouTube. 12/9/2020. https://www.youtube.com/watch?v=HJArJm9kR7Q “Michaelina Baroque's Leading Lady.” Exhibition pamphlet. 2018. McCouat, Philip. “Forgotten Women Artists #4: Michaelina Wautier: Entering the Limelight After 300 Years.” Journal of Art in Society. 2019. https://www.artinsociety.com/forgotten-women-artists-4-michaelina-wautier-entering-the-limelight-after-300-years.html Museum of Fine Arts Boston. “Michaelina Wautier and ‘The Five Senses'.” https://www.mfa.org/gallery/michaelina-wautier-and-the-five-senses Needleman, Sam. “Michaelina's Boys.” The New York Review. 3/12/2023. https://www.nybooks.com/online/2023/03/12/michaelinas-boys/ Nordenfalk, Carl. “The Five Senses in Late Medieval and Renaissance Art.” Journal of the Warburg and Courtauld Institutes , 1985, Vol. 48 (1985). Via JSTOR. https://www.jstor.org/stable/751209 Van der Stighelen, Katlijne. “CHAPTER 6 Anna Francisca de Bruyns (1604/5–1656), Artist, Wife and Mother: a Contextual Approach to Her Forgotten Artistic Career.” Women and Gender in the Early Modern Low Countries, 2019. Via JSTOR. https://www.jstor.org/stable/10.1163/j.ctvrxk3hp.12 Van der Stighelen, Katlijne. “‘Doing justice to an artist no one knows is quite an undertaking'.” Apollo Magazine. 7/2/2018. https://www.apollo-magazine.com/doing-justice-to-an-artist-no-one-knows-is-quite-an-undertaking/ Van der Stighelen, Katlijne. “Michaelina Wautier 1604-1689: Glorifying a Forgotten Talent.” Rubenshuis and BAI Publishers. Translated. 2018. See omnystudio.com/listener for privacy information.

WBZ's Carl Stevens reports.

Welcome, Chris Donovan, a shoe designer! Chris lives in Fairhaven, Massachusetts, and has had a passion for shoe design since high school. Chris says, that he never thought, "it was a feasible career for me." So, Chris Donovan did the "sensible thing" and got a job at the phone company. He worked there as a repairman for 25 years. However, he says that "all those years I never stopped sketching shoes." At 50 Chris was diagnosed with cancer but it was caught early and cured. He says, "It changed my priorities." He left his job and went to Italy to pursue a Masters's Degree in Footwear from the Polimoda Fashion Institute in Florence, Italy, "one of the best fashion schools in the world. After graduating he started his own shoe line because he wanted the world to see his designs.  Chris Donovan has shown at Dutch Design Week, the Museum of Fine Arts Boston. He has also been on Project Runway and met Tim Gunn. The Artists Index co-founder and Visual Arts Podcast Host, Ron Fortier, talks with Chris Donovan about his background, passion, and path to his dream. This episode was recorded with Zoom in 2023. We continue using Zoom, our podcast host's studios, and our studio at the Spectrum Marketing Group in Howland Place in New Bedford. The In-Focus Podcasts are up close and personal conversations with the makers, performers, supporters, and cultural impresarios of the remarkable creative community of South Coast Massachusetts including New Bedford, Dartmouth, Fairhaven, Westport, and beyond.     music courtesy of www.bensound.com 

In this episode of PhotoWork with Sasha Wolf, Sasha and artist, Meghann Riepenhoff discuss her book Ice, published by Radius Books. Meghann talks about how she makes work collaboratively with the environment and how she uses moments of failure as a signal that she is moving in a new direction. http://meghannriepenhoff.com https://www.radiusbooks.org/all-books/p/meghann-riepenhoff-ice Meghann Riepenhoff's work has been exhibited and is held in the collections at the High Museum of Art, the Museum of Fine Arts (Houston), the Museum of Contemporary Photography (Chicago), and the Worcester Art Museum. Additional collections include the Albright-Knox Art Gallery and the San Francisco Museum of Modern Art, which holds Riepenhoff's 12'x18' unique cyanotype. Additional exhibitions include Yossi Milo Gallery, Jackson Fine Art, Galerie du Monde, Euqinom Projects, the Aperture Foundation, San Francisco Camerawork, the Denver Art Museum, the New York Public Library, and the Museum of Fine Arts (Boston). Her work has been featured in ArtForum, Aperture PhotoBook Review, The New York Times, Time Magazine Lightbox, Wall Street Journal, The Guardian, Oprah Magazine, Harper's Magazine, Wired Magazine, and Photograph Magazine. Her first monograph Littoral Drift + Ecotone was co-published by Radius Books and Yossi Milo Gallery.

What you'll learn in this episode: Why ancient Nubian jewelry is still significant today How the Kingdom of Kush rose and fell How ancient jewelry motifs, techniques and materials were shared and adapted between cultures Why the Museum of Fine Arts Boston has a significant collection of ancient Nubian art, and why it's being exhibited at the Getty Villa Why jewelry is often one of the only pathways to understand ancient cultures About Dr. Sara E. Cole Sara E. Cole is Assistant Curator of Antiquities at the J. Paul Getty Museum (Villa). She holds a PhD in Ancient History from Yale University. At the Getty, she is part of the Classical World in Context initiative, which seeks to highlight cross-cultural interactions in antiquity and explore the diversity and interconnectedness of the ancient Mediterranean and Near East through a series of special exhibitions and related publications and public programs. She has curated or assisted with exhibitions of Egyptian, Mesopotamian, Neo-Assyrian, Persian, and Nubian art. About “Nubia: Jewels of Ancient Sudan” from the Museum of Fine Arts, Boston October 12, 2022 - April 3, 2023 Getty Villa Museum For nearly 3,000 years a series of kingdoms - collectively known as the Kingdom of Kush - flourished in ancient Nubia (present-day southern Egypt and northern Sudan). The region was rich in sought-after resources such as gold and ivory and its trade networks reached Egypt, Greece, Rome, and central Africa. This exhibition presents highlights from the Museum of Fine Arts, Boston's extensive collection of Nubian objects and features superbly crafted jewelry, metalwork, and sculpture exhibiting the wealth and splendor of Nubian society. Learn more about the exhibit at https://www.getty.edu/art/exhibitions/nubian_jewelry/ Photos available on TheJewelryJourney.com Transcript: Nubian jewelry is often overshadowed by Egyptian and Greco-Roman jewelry, but the ancient Nubians were the world's first jewelry pioneers. Their influential work is currently on display at “Nubia: Jewels of Ancient Sudan,” an exhibit at the Getty Villa featuring pieces from the collection of the Museum of Fine Arts in Boston. Dr. Sara E. Cole, assistant curator of the exhibit, joined the Jewelry Journey Podcast to talk about how Nubians developed their own enameling techniques; why jewelry is the key to understanding ancient cultures; and how iconography was shared and adapted throughout the ancient world. Read the episode transcript here.   Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please head to TheJewelryJourney.com. Today, my guest is Sara Cole, who's the Assistant Curator of Antiquities at the Getty Villa in Malibu, California. She's the curator of “Nubia: Jewels of Ancient Sudan,” an exhibit at the Museum of Fine Arts in Boston which showcases Nubian material. These finds were jointly executed early in the last century by Harvard and the Museum of Fine Arts. The exhibit is now open until April 3. Welcome back. Can you look at a piece of jewelry and say, maybe not exactly where it came from, but the period? It's late; it's early? Can you look at one and know? Sara: To put it in a bigger perspective, something about this collection of material that makes it so special is that it is all from documented archaeological excavations that were carried out in the early 20th century. Jewelry can be quite challenging if you have no context for a piece other than by comparing it stylistically to other known examples. It can be quite difficult sometimes to try to approximate when and where something was made, or to say with 100% certainty that it's even ancient if you have no context for it. A lot of the same materials and techniques that were used in antiquity are used or can be mimicked today. But with all of this material, it came from documented archaeological excavation, so we know exactly where it was found. Thanks to that context, we are able to say approximately the time period in which it must have been made and used and placed in the tomb. I suppose you could compare other surviving examples with what we now know from the archaeological record, but with this material, we are able to be absolutely certain of its authenticity and the time period in which it was being made and used because we have that archaeological context. Because Nubia had such a close relationship with Egypt and they engaged in so much exchange, there are some pieces that are found in Nubian contexts that might have been made in Egypt and imported to Nubia. It's often very difficult to say precisely where something was made because they were using very similar techniques and materials and iconography. So, there are a number of pieces in the exhibition that we think might have been manufactured in Egypt and then imported into Nubia. But even where that's the case, those objects clearly have value to the Nubians because they speak to their cultural and religious beliefs and priorities. Sharon: So, people would wear this jewelry in life, the pectorals or amulets. Did they have the same thing in their grave? Were they buried with what they wore, or did they have something special for it? Is it something made just to be buried with? Sara: It's both, actually. These royal tombs contained rich assemblages of jewelry. Some of the items do appear, based on signs of wear, to have actually been worn in life and then placed in the tomb with the deceased. There are also pieces that appear to have been made specifically to go in the burial, things that are very, very delicate and seem like they would not have been able to work in real life, or certain objects that are made specifically for funerary contexts. There's one piece in the exhibition from the Napatan Period that's really exquisite. It's this large, gold repoussé image of the goddess Isis, who is kneeling and stretching her wings out in a protective gesture, but at the tips of her wings and below her legs are these little tabs that each have a hole punched in them. The piece is too delicate, it seems, to have been something that someone would wear in life. And because of those little tabs with the punched holes, we believe it was probably manufactured specifically for this king's burial, and that it was meant to be sewn into the linen mummy wrappings that were used to mummify his body. Often there were amulets, protective icons, pieces of jewelry that were incorporated into the wrappings during the mummification process. So, it's both. Some of these pieces were probably worn in life and then taken to the tomb, and some of them were made specifically for the burial context. Sharon: I'm surprised you can even tell the difference between Egypt and Nubia with the cross-pollination. You talk about Isis. Being an expert, how does somebody know it was Egyptian? The only thing I've heard is that earrings were Egyptian. There weren't earrings before that. Sara: It's actually the other way around. This is one of the areas where the Nubians may have influenced the Egyptians. Earrings appear in Nubia before they appear in Egypt, so it's possible the Egyptians got the idea for earrings from the Nubians. As I mentioned, too, the fly pendant ornament originates in Nubia and gets adopted by the Egyptians. So, there is influence going in both directions, and where the Nubians incorporate Egyptian religious ideas, religious iconography, protective icons, they're still adapting it. They're not directly copying it necessarily. They're adapting it to their local traditions, to the types of materials they work with, to the types of objects and ornaments they make. It's not necessarily just a direct copy. In some instances, it is hard to tell whether a specific piece was made in Nubia versus Egypt. But with the burials themselves, we know these are Nubians and not Egyptians because we're looking not just at the jewelry, but at the overall burial itself, the whole object assemblage, the types of materials they're being buried with. In addition to the jewelry, there would be things like vessels, pottery, tools, weapons, things that give us a bigger picture. The cultural identity is not just the jewelry, but also the way in which they're buried and the place in which they're buried. In the Kerma Period, they used a very distinctive type of burial. They used tumulus burials, these big, beehive-shaped mounds, which was a distinctive type of burial. Over time those mounds get larger and larger, and we can tell that some of them must have belonged to Kerma rulers. Even though there are now written records during that period, we're going strictly by the archaeological record. In the Napatan Period, they actually used Egyptian hieroglyphs for monumental inscriptions. We do start to get some written records that we can read, and when these kings' and queens' tombs were excavated, there were often items within the tomb inscribed with their names. So, we know who these tombs belonged to, and they belonged to Nubian and Napatan kings and queens. It's really looking at the big picture and not just at the jewelry specifically to identify who these items belonged to and whose burials they come from. Sharon: First, I want to know how anybody even knew these tombs were there. Everything you're describing, at least from the description of what was in the tombs, is what Carter found when he opened the tomb just a few years later, maybe 10 years later. I'm just wondering how they knew these tombs were there. How did they know that? Was it just the beehives that were standing on a farm? Sara: The material that's in the MFA Boston was all excavated in the early 20th century, from 1913 to 1932, by a joint Harvard/MFA Boston expedition led by an American archaeologist named George Reisner, who worked in both Egypt and Sudan. He took a team to Sudan that ended up excavating at Kerma, Napata and Meroë. He was tremendously successful in what he discovered, and he essentially rediscovered the city of Kerma. There have been excavations within the city itself, but they also discovered this vast cemetery outside of the city containing tens of thousands of these tumulus burials. Then at Napata and Meroë, they're utilizing pyramid burials, which are still visible on the landscape. You can walk up to them. He was really the first to do these rigorously documented, professional archaeological excavations of these places, and he found a tremendous amount of material. I should also mention the way it ended up in Boston is that, at the time, Sudan practiced the partage system, so he finds would essentially be split 50-50. About half the materials remain in Sudan, where it is now in the national museum in Khartoum, and about half the material was allowed to be taken back to Boston by Reisner, where it became part of the MFA collection. So, the MFA is now home to the largest and most significant collection of Nubian archaeological material in the world outside of Khartoum. Sharon: Did they suspect that there were these kingdoms, but nobody ever found them? Is that what happened? How did he start digging? Sara: To be perfectly honest, I would have to go back and double check how he determined exactly where he wanted to begin. Sharon: Why should we care about the Nubians? Why should we care about these kingdoms? You describe how it kept moving further south. That's usually because of agriculture. What caused them to move, besides invasion? Sara: That's a broad question. I don't know that we necessarily know for certain what was motivating them to move from one city to the next. In terms of the question of why we should care, that's something we could ask about any ancient civilization. It does raise this broader question about relevance that a lot of audiences are asking. I would say for Nubia especially, this is the region in northeastern Africa where some of the earliest civilizations of ancient Africa are arising. This is an incredibly important region that was also a real crossroads for international trade, given their connections to the Red Sea, into central Africa, into sub-Saharan Africa, and eventually out into the broader Mediterranean world. This was a very interconnected place with rich natural resources where some of the earliest complex civilizations of ancient Africa arise, so I think we absolutely should care about it. Speaking in terms of jewelry specifically, this is the place where some of the most exquisitely crafted, sophisticated pieces of ancient jewelry in the world were produced. They were incredibly skilled artisans who developed techniques for working with these materials that in some cases, like I mentioned with the enameling, were believed to have been invented in the modern era until recently. Sharon: That's amazing. I always have to think about the fact that they didn't have electric lights and they had to work by candlelight. They had to deal with sunlight only. I don't know exactly how to phrase this, but most of the time, if I were to take a piece from the little room of jewelry at the Getty Villa, and I want to take it out and put it on my wrists, nobody would know the difference. Would you say that's the same with a lot of this? Sara: I think so. It always strikes people how contemporary some of these pieces look. They look like things that could have been made today. Sharon: Were they going back or was this the start of it? Were they going back and building on what had been done before? Sara: They were really pioneers. They were developing new techniques and new styles for working with this material. In the pre-Kerma phase, in the archaeological record, there are items of personal adornment that are made from things like shell or imported faience sometimes, simple strings of beads, that kind of thing. But then as they develop kiln technology to make pottery, they're also able to apply that to making faience and eventually glass. They develop, as I mentioned, these very sophisticated techniques for working with different semiprecious stones, for working with gold, for working with glass and enameling. They're really not looking back to any existing precedent. They are developing these techniques for the first time. Sharon: That's amazing. You wonder why each civilization or each culture seems to have certain things that are ubiquitous, like a ram's head. You wonder, where did it start? What keeps your attention about all of this? Is it the cross-pollination? Sara: I don't even know where to begin answering that. I find this material endlessly fascinating. Every time you look at it, you see or appreciate something new, the intricacy of it, or as I mentioned, the ways in which this jewelry for the ancient Nubians is not just a status item. It's not just something beautiful to look at and wear. It's imbued with all of these layers of meaning. It reflects so many aspects of Nubian society and Nubian beliefs and Nubian practices. Because of the relative lack of written records from ancient Nubia, we are reliant on the archaeological record. So much of this jewelry helps us more broadly understand ancient Nubian society. I think you can come back to it and look at it over and over again and find new levels of meaning in it every time, as well as being able to appreciate how beautiful it is. Sharon: But you must have seen a lot of ancient jewelry. You've seen Greek and Roman and Egyptian and Nubian. What keeps your attention? What's so fascinating that it would keep your attention for so long? Sara: I think everything I just mentioned. The jewelry across ancient societies is fascinating for those same reasons, that it typically is not just about beauty and personal adornment. It's also reflective of cultural and religious beliefs, but I think it's the fact that this material is some of the earliest of its kind as well. As I mentioned, they're pioneers in developing new techniques or adopting techniques from other places and reengineering them as they did with faience, which was being made in Egypt prior to Nubia. They reengineered it, figured out how to make it for themselves. They were developing these unique techniques like the glazed quartz, the enameling techniques. It's incredible to think that 3,000, 4,000 years ago, people were making these items and developing these technologies and with handmade tools and natural light, and it would be very difficult to control temperatures of a kiln. It's incredible. Sharon: It is incredible. I know the Getty Villa is different than the Getty Center. The Getty Villa is a replica of a Roman villa, and it has a little room that has just jewelry. It's very small. It's a jewel box of a room, really. Do they have Nubian jewelry in there? Sara: We do not. We do not own any ancient Nubian jewelry in our permanent collection at the Villa. The Villa is a separate site from the Getty Center. We are home to the Getty Museum's Antiquities Collection specifically. Our permanent collection of antiquities is predominantly Greek, Roman and Etruscan. This Nubian exhibition is part of a broader initiative we've been engaged in in recent years, where we're trying to bring in special exhibitions featuring material from other ancient cultures and civilizations so our visitors can get a bigger picture of the ancient world. It's also so we're not perpetuating this idea that in antiquity, Greek and Roman are all there is. There's so much more than that. What's reflected in our permanent collection is Greek and Roman. So, through this special exhibition program, we're able to highlight other cultures. We also recently had a big exhibition on ancient Persia that included some stunning items of Persian jewelry. Sharon: I missed that one. Sara: We don't have any Nubian or Egyptian jewelry in our antiquities collection, so this is a unique opportunity. As I mentioned, this material is housed at the MFA Boston, so it's a unique opportunity for people on the West Coast to see a major exhibition of ancient Nubian material, but it is quite different. You can see some stylistic similarities like I mentioned with the Meroitic Period, when they have those trade connections to the Greco-Roman world. You can see stylistic similarities between some of our Greco-Roman pieces and some of the pieces in the Meroitic section of the exhibition, but it is very distinctive. It's a nice counterpoint. We have at the Getty a pretty significant collection of ancient, engraved gemstones as well as some Hellenistic gold jewelry and finger rings. You can see similarities. Finger rings with carved bezzles became very popular during the Meroitic Period as well, so you can see some similarities there with the rings being made in the Greco-Roman world. Sharon: If you haven't seen the little room with jewelry there, you could take any piece from the Greco-Roman era—and it's probably true of the Nubian era, too—and put it on, and nobody would know the difference if you went to the market. Sara: Yeah. Sharon: Something I came across mentioned the role of women in Nubia, that there was a stronger role. Can you tell us something about that? Sara: Yes, it seems throughout ancient Nubian history, in the Kingdom of Kush, royal women held particularly high status. We can see that in a few different ways. We can see that in their burials. We can see it some of their individual items of jewelry, which I'll mention, and we also see it in some of the practices that were being implemented, the roles that royal women had. In the Napatan period, there were a group of royal women who became associated with the god Amun and were sent to Thebes in Egypt, which was the Egyptian center of the worship of Egyptian Amun. These women were made into high priestesses of the god at his temple there. So, they held these very high-ranking, powerful positions, and these were royal women who were relatives of the Napatan kings who were also ruling in Egypt. They had great religious significance in this very important role, where they were sent to Egypt as god's wives of Amun, what we call them, or high priestesses of Amun. During the same period, there are some items of jewelry in royal women's tombs at Napata that speak to their importance. For instance, there's a piece in the exhibition that is easy to overlook because it's very small, but it's definitely worth taking the time to look at. It's a little silver pendant that shows the goddess Hathor, who I mentioned previously is the goddess of love and fertility and motherhood who gets adopted and becomes very important in the Nubian culture. It's an image of Hathor, and she is nursing a Nubian queen named Nefrukakashta. The item was found in her tomb. So, she is receiving, essentially, divine lifeforce from Hathor through being nursed by her. This is important because this was also a composition we see in Egypt,  but there it's only the kings who appear being nursed by Hathor. The king is embodying a divine role as pharaoh, so he receives divine lifeforce from Hathor. You never see royal women in ancient Egypt in this pose being nursed by Hathor, but in Nubia, we see it. The status of royal woman is higher there. They're considered worthy of being show in this position of being nursed by the goddess herself. By the time we get to the Meroitic Period, the final phase of the kingdom, there's actually a series of queens who take the throne for themselves and they rule as sole rules. These were very powerful women ruling over the Kingdom of Kush in its final phase, one of whom even famously fought off attempts at invasion by the Roman emperor Augusts. She signed a peace treaty with him to protect the border between Nubia and Egypt, which at that time had become a Roman province. So, royal women in ancient Nubia achieved very high status. Sharon: I think that's very interesting. I could talk to you for hours about the history of women and what happened after that. Thank you so much, Sara, for being with us today. I just want to remind you about the exhibit. I listened to a webinar and looked at the press release. It looks like it will be a very interesting exhibit. I look forward to seeing it in person live. It's through April 13. Dr. Sara Cole is the assistant curator. Thank you very much for being here today. Sara: Thank you so much for having me. We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out. Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.

What you'll learn in this episode: Why ancient Nubian jewelry is still significant today How the Kingdom of Kush rose and fell How ancient jewelry motifs, techniques and materials were shared and adapted between cultures Why the Museum of Fine Arts Boston has a significant collection of ancient Nubian art, and why it's being exhibited at the Getty Villa Why jewelry is often one of the only pathways to understand ancient cultures About Dr. Sara E. Cole Sara E. Cole is Assistant Curator of Antiquities at the J. Paul Getty Museum (Villa). She holds a PhD in Ancient History from Yale University. At the Getty, she is part of the Classical World in Context initiative, which seeks to highlight cross-cultural interactions in antiquity and explore the diversity and interconnectedness of the ancient Mediterranean and Near East through a series of special exhibitions and related publications and public programs. She has curated or assisted with exhibitions of Egyptian, Mesopotamian, Neo-Assyrian, Persian, and Nubian art. About “Nubia: Jewels of Ancient Sudan” from the Museum of Fine Arts, Boston October 12, 2022 - April 3, 2023 Getty Villa Museum For nearly 3,000 years a series of kingdoms - collectively known as the Kingdom of Kush - flourished in ancient Nubia (present-day southern Egypt and northern Sudan). The region was rich in sought-after resources such as gold and ivory and its trade networks reached Egypt, Greece, Rome, and central Africa. This exhibition presents highlights from the Museum of Fine Arts, Boston's extensive collection of Nubian objects and features superbly crafted jewelry, metalwork, and sculpture exhibiting the wealth and splendor of Nubian society. Learn more about the exhibit at https://www.getty.edu/art/exhibitions/nubian_jewelry/ Photos available on TheJewelryJourney.com Transcript: Nubian jewelry is often overshadowed by Egyptian and Greco-Roman jewelry, but the ancient Nubians were the world's first jewelry pioneers. Their influential work is currently on display at “Nubia: Jewels of Ancient Sudan,” an exhibit at the Getty Villa featuring pieces from the collection of the Museum of Fine Arts in Boston. Dr. Sara E. Cole, assistant curator of the exhibit, joined the Jewelry Journey Podcast to talk about how Nubians developed their own enameling techniques; why jewelry is the key to understanding ancient cultures; and how iconography was shared and adapted throughout the ancient world. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the first part of a two-part episode. Please make sure you subscribe so you can hear part two as soon as it's released later this week. Today, my guest is Sara Cole, who's the Assistant Curator of Antiquities at the Getty Villa in Malibu, California. She's the curator of “Nubia: Jewels of Ancient Sudan,” an exhibit at the Museum of Fine Arts in Boston which showcases Nubian material. These finds were jointly executed early in the last century by Harvard and the Museum of Fine Arts. The exhibit is now open until April 3. Sara received her Ph.D. from Yale, which is amazing. She's an expert in ancient history and a specialist in material culture of Greco-Roman Egypt. She has studied the cross-pollination of cultures, and we'll hear a lot more about it today. Sara, welcome to the program. Sara: Thank you for having me. Sharon: So glad to have you. Tell us about your own journey. Did you come to jewelry through antiquities or archaeology, or the other way around? Sara: Yes, through my study of archaeology and Egyptology as a graduate student. That was primarily my introduction to this material. I became familiar with Nubia primarily through the MFA Boston's tremendous archaeological collection of Nubian material. When I was a graduate student at Yale back in, I think, 2011, I took a graduate seminar on Nubian archaeology with a Nubian specialist named Maria Gatto. In one of our classes, we took the train to Boston and got to spend a day going through the storerooms of the MFA looking at Nubian material. We were primarily looking at pottery that day, but we did get to see some other objects as well. In 2014, MFA put on its own small exhibition featuring their Nubian jewelry collection, so that brought that material a little bit more into public view. Then in 2019, the MFA did a big exhibition bringing out highlights of their full Nubian collection that was called “Ancient Nubia Now.” Since 2019, they very generously sent parts of this collection to different museums for exhibitions around the world. We're very fortunate at the Getty Villa that we were able to borrow some of these stunning pieces of jewelry and personal adornment from that collection for this current exhibition. Sharon: I have to ask you. When you were younger, you say you were interested in Egypt and ancient periods, but very few people go into archaeology. How is it that you stuck with it? Sara: Museums were really my entry point to the ancient world as a child, which I think is true for a lot of us. I grew up in a small town in Virginia and wasn't exposed to major museum collections as kid, but we had a small, local museum. It featured mostly local contemporary artists, but one summer they put on view a small touring exhibition of Egyptian material from the Virginia Museum of Fine Arts in Richmond. I was probably 11 or 12 years old. That was my first exposure to ancient Egyptian material, and I just found it incredibly captivating and compelling, and I stuck with that interest. I ended up doing a bachelor's degree in classics and then my Ph.D. in ancient history, where I studied a combination of Egyptology, classics and art history. But I've always had a great passion for museums in particular because it was my personal entry point to the ancient world. We do have the opportunity, through putting on exhibitions like this, to reach such wide audiences and to bring this material to their attention, things they've maybe never seen or considered before. It's a really wonderful opportunity. Sharon: It really is. When you say Nubia, a lot of us haven't really thought about Nubia or Nubian jewels. That's the entry point or the foundation. What is Nubia? What do you mean by Nubian? Sara: That's a great question, because I think a lot of people have heard of Nubia but they're not quite sure what it is. Traditionally it has received a lot less attention than ancient Egypt, which is this huge, looming civilization. When we talk about ancient Nubia, we're really talking about a geographical region that was located immediately south of ancient Egypt. They were neighbors. In terms of modern-day geography, it reached essentially from Aswan in what is now southern Egypt down to about Khartoum in present-day Sudan. The contemporary political border between Egypt and Sudan cuts across part of what was ancient Nubia, when the border was located further north between Nubia and Egypt. So, it's essentially this geographical region going across part of what is today southern Egypt and northern Sudan. For parts of its ancient history, Nubia as a region was actually home to several different cultural groups. It wasn't always a single, unified culture. So, when we talk about Nubia, we're talking about the geographical area, and then there were different cultures that lived within Nubia. Around the third millennium B.C., a political institute called the Kingdom of Kush—because the region was known as Kush in antiquity—arose at the city of Karma in what is today Sudan. It eventually came to conquer essentially all of the region of Nubia. The Kingdom of Kush lasted on and off for a period of almost 3,000 years, and it moved to different capital cities in different phases. It first arose at Kerma in the third millennium B.C., then moved further south to a capital called Napata, which was also along the Nile River, around 750 B.C. Then in its final phase, starting around 350 B.C., it was centered at a city even further south on the Nile River called Meroë. So, when we talk about ancient Nubia, we're talking about that region, but for this exhibition, we're really focusing on items of jewelry that were worn by royalty and the elite of the Kingdom of Kush that were found at these three successive capital cities. Sharon: I was going to ask you if Napata and—is it Morocco? Sara: Meroë. Sharon: Meroë. I've heard so much about it, but did they all have jewelry? Did the royalty all have jewelry at all three of these sites? Sara: Yes, absolutely. Throughout human history, I think in all cultures we see personal adornment as a universal means of self-expression. It's a means of expressing status and power. But also in antiquity, much of this jewelry, either the materials themselves or the iconography incorporated into it, had symbolic religious significance. Items of jewelry were often amuletic and protective, or they could signify one's status in society, one's role. They reflect a lot about an ancient culture's social organization, religious beliefs, communities, etc. These items of jewelry speak to so much more than being aesthetically beautiful status items. So, yes, even very early in Kerma and even in pre-Kerma archaeology, we find items of jewelry in the archaeological record. Jewelry was very essential, especially for rulers and for individuals of high status, to express themselves in ancient Nubia. Sharon: Did both men and women have jewelry? Sara: Yes, they did. Men, women, children, and sometimes even very prized royal animals were adorned with jewelry. Sharon: Were these from tombs or graves? Sara: Yes, essentially all of the items in this exhibition were excavated from royal and wealthy burials. This was material that people valued in life but also chose to take with them to the grave. As a I mentioned, a lot of these pieces have iconography that is protective or amuletic, which would have particular significance in the context of the tomb. These are images that are going to protect you as you are making your transition to the afterlife. So, all of the material was excavated from burials. That is primarily where we find these high-status jewelry items still surviving. They survive because they were buried, and people didn't have the opportunity to reuse them or repurpose the materials. Sharon: First of all, I think I forgot to say that this exhibit is only on until April 3, which comes up quickly. I can't remember if I said that or not. Sara: Yes, two more months to go see it at the Villa. Sharon: When you say it's like a dynasty or the Kingdom of Kush lasted 3,000 years, I have this idea that it rose high and then it was—I don't want to say nothing, but they weren't reading. It was like the Dark Ages in a sense, really dark, and then it rose again in a different place. How did that work? Sara: The Kingdom of Kush went through fluctuations over that 3,000-year period. I wouldn't necessarily call it dark ages. The Nubians simply never developed the same tradition of extensive written records like we get from Egypt, so much of our knowledge of Nubia comes from the archaeological material. We just don't have extensive written historical documentation from this region. It wasn't part of the culture. They had a very complicated relationship with their neighbor to the north, Egypt, which is largely the reason for these periods of rise and fall. The Kingdom of Kush arose, like I mentioned, at Kerma in Sudan, during which time in northern Nubia, there were other cultural groups inhabiting that region who were in conflict with Egypt. The Kingdom of Kush eventually was able to take that region and unify Nubia under its rule. Kerma flourished for almost 1,000 years, from about 2,400 B.C. until roughly 1,550 B.C. But what happened around 1,550 was that Egypt entered into a very powerful period in its history, the New Kingdom, the rise of the Eighteenth Dynasty, and those kings invaded Nubia and took over. They occupied Nubia for about 500 years, during which time we don't have a tremendous amount of archaeological evidence for what was going on. But it seems like Nubians and Egyptians were essentially coexisting in Nubia during this period. As you can imagine, over 500 years, there's a huge amount of cross-cultural exchange as a result of the Egyptian presence in Nubia. Some Egyptian religious ideas get incorporated into local Nubian tradition, as does a lot of iconography. There are a lot of ways in which the Nubians start adapting some Egyptian concepts to their own local practices. Then the Egyptians get pushed out of Nubia around 1,000 B.C. approximately. The Kingdom of Kush starts to regroup and rebuild itself, and it reappears fully around 750 B.C., now at the capital city of Napata. What's interesting at the beginning of the Napatan phase is that the Nubians turn the tables on Egypt and invade them. They take over Egypt and rule for about 80 years. For that 80-year period, staring around 725 B.C., the Kingdom of Kush is at its greatest extent, going all the way from what is today Sudan up to the Mediterranean coast, ruling over both Nubia and Egypt. After that 80-year period, they get pushed out of Egypt but are still ruling the Kingdom of Kush from Napata. We see some really interesting ways in which the rulers of that 80-year period adapted an Egyptian mode of self-presentation. They're trying to present themselves as legitimate pharaohs in Egypt. They start presenting themselves in a way that is adapted from earlier pharaonic styles of self-presentation. Even though the Nubian kings are spending some time in Egypt, they choose to be sent back to Napata for their royal burials, and they start using pyramid tombs during this period. They start practicing mummification and incorporating some Egyptian-style object assemblages into their burials. We see some of those practices get adapted during this 80-year period, including the incorporation of a lot of Egyptian religious iconography into their jewelry. We see those trends continue later, even when they're no longer ruling in Egypt. Then during this Napatan phase, which lasts roughly 400 years, they start to gradually shift the capital further south to this third city of Meroë. By around 350 B.C., both the administrative capital and the royal cemetery have moved to Meroë, and this is the final phase of the Kingdom of Kush. This is a phase that lasts from roughly 350 B.C. to 350 A.D., when the Kingdom of Kush falls. It corresponds with the conquests of Alexander the Great throughout the eastern Mediterranean and ancient Near East, the rise of his successor kingdoms and then the rise of the Roman Empire. But throughout all of this, the Kingdom of Kush maintained its political independence. It never became part of Alexander's territories; it never became part of the Roman Empire, unlike Egypt, which did. They had a complex relationship with Rome, who at times tried to take Nubia unsuccessfully, but they were also connected to these vast trade networks that connected the Mediterranean and the Near East throughout the Roman Empire. It was a very cosmopolitan place, ancient Meroë. They were very closely connected through trade networks to the rest of the world. They were also producing some incredibly high-status pieces of jewelry with really exquisite craftsmanship. Then the Kingdom of Kush falls around 350 A.D. That's the big picture of what we're looking at here, with the history of the Kingdom of Kush and its different phases. Sharon: When you say Nubia, is that the same as the Kingdom of Kush? Do you mean the Kingdom of Kush or Nubia are one in the same, I guess? Sara: Nubia in antiquity was known as Kush, and then the Kingdom of Kush is the political entity ruling over that region. Sharon: Did the jewelry change over the years? Sara: It did, yes. We do see that even across these different phases, each one has a distinctive aesthetic. There is no single, unified Nubian look to the jewelry. Different fashions change over time. Different popular materials come in and out of fashion. In Kerma, in the earliest phases, we see jewelers making items out of locally available and imported organic materials. They're making use of things like hippo and elephant ivory to create cuff bracelets. They're making use of shells they imported from the Red Sea coast and fashioned into different items. They were also importing faience from Egypt. Ancient faience was a man-made, blue-green, glazed, quartz-based ceramic material that was very popular in Egypt. The Kermans were importing it initially, but then they developed their own faience-making technology and were able to produce their own. So, we start to see the use of this man-made material. They're using gold. Nubia in antiquity is known primarily as a land of gold because of their rich gold resources in the Eastern Desert. That was their main coveted natural resource. They had incredibly skillful techniques in working with gold. We see them using locally available semiprecious stones, things like carnelian and amethyst. They work with quartz in some really interesting ways. Quartz is found alongside gold, so it was probably symbolically associated with gold. Gold was valued not only because it was this very prized economic resource, but it was also an imperishable material. It was associated with immortality and the sun, and it was very highly symbolically valued. They would take quartz and do an interesting treatment that, as far as I am aware, is distinctive to ancient Kerma. They would take the quartz, either shaping it into spherical beads or taking chunks of it in its raw form to use as pendants, and they would put a blue-green glaze over it and fire it in a kiln to create a hard, shiny, translucent blue surface that creates this stunning, glass-like appearance when it's done successfully. It was a delicate technique. You had to be very careful, because if you raised the temperature in the kiln too quickly, the quartz would fracture and burst, and you would lose your item of jewelry you were making. They had to be very careful in this process, but again, as far as I know, this is a distinctive Kerman technique, a distinctive way of working with quartz. Those were the types of materials they were utilizing to make items of jewelry. There's also a particular ornament we start to see in Kerma that is really interesting and later gets adopted by the Egyptians, which is the fly pendant. They are these large pendants that were often worn in pairs strung around the neck, and they represent flies. We have an example in the exhibition where the head is made of gilded bronze and the wings are carved out of ivory. These are found in soldiers' tombs. They appear to have been given as a medal of honor to high-status members of the Nubian military. We can ask why they would choose a fly of all things to honor a member of the military, and we believe it's because if you go to Egypt, if you go to the Nile Valley, you will experience that the flies are very big and mean and aggressive. So, we think these fly pendants are a way of associating the aggression and the tenacity of the Nilotic flies with the aggression and the tenacity of Nubian warriors. Later these fly pendants actually get adopted in Egypt as well as a military medal of honor. So, those were the kinds of things we find at Kerma. As I mentioned, that period comes to an end with this big invasion of the Egyptians around 1,500 B.C. Then when the Kingdom of Kush rearises at Napata around 750 B.C., they invade Egypt. They take over, and we start to see how this 500-year period of intense cross-cultural interaction has resulted in the introduction of a lot of Egyptian iconography into the royal jewelry. We start to see a lot of images of goddesses like Hathor and Isis, who became very important in the Nubian pantheon. There is an Egyptian god called Amun who becomes introduced as the supreme god of ancient Nubia, but in his Nubian form specifically, he takes the form of a ram or a man with a ram's head. We believe that before this period, there was probably an indigenous ram god who Amun became assimilated with. So, we see a lot of ram iconography in the jewelry. There's a lot of iconography associated with the goddess Hathor, who was this Egyptian goddess of love, fertility, beauty and motherhood with whom Nubian queens and royal women became particularly associated. We see a lot of that kind of iconography. We see protective icons that have been introduced from Egypt, things like the Eye of Floridus, the scarab beetle, that kind of thing. They're working a lot in faience still. There are some queens' tombs from this period where these large faience plaques are very popular, again in the shapes of religious protective imagery, amuletic icons, gods and goddesses. They were big plaques that were strung on strings of beads and worn around the neck, essentially meant to sit over the chest to protect the pectorals. We see a lot of that kind of thing, this incorporation of new iconography, new religious ideas, sometimes a very Egyptian mode of self-presentation that they've adopted from the Egyptians. They're working in faience; they're working in gold. We do see some silver during this period. Silver was not locally available; it was an imported material, but we do see a lot of skilled gold work during this phase. They are developing some very sophisticated techniques for how to fashion items of jewelry, but also things like golden vessels. This is a phase where we start to see that Egyptian influence and some increasing sophistication in the techniques with which they're working, with both these man-made and locally available resources. In the Meroitic Period, we see those gold working techniques really hit their stride. There is some tremendously sophisticated gold work made during the Meroitic Period, where they're using techniques like granulation and filigree and very delicate wirework. At Meroë, they also start producing glass. Glass beads start to appear in the jewelry. Something that Meroë distinctively is also known for is the use of a wide range of enameling techniques. They would take powdered glass and apply it to the surface of items of jewelry, and then heat it to fuse it and create it a hard, shiny, colorful surface. There were multiple enameling techniques they developed at Meroë, some of which, prior to their discovery at Meroë, were thought to have not been invented until the modern era. There were techniques they developed at Meroë, and the knowledge of that technology was lost and rediscovered in modern times. This is also a phase during which we see, as I mentioned, a kind of cosmopolitan international style developing. We do see some Greco-Roman influences coming into play in the form of large, dangly pendant earrings and the development of new color schemes, for instance. There was a color scheme at Meroë that was especially popular, which was red, white and black. They would use cornelian, which was a popular material, to achieve the red and then import obsidian for black and travertine for white. Each phase has its own distinctive repertoire of objects and iconography and manufacturing techniques that were being used. Sharon: We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out. END OF PART ONE

In which Theo and Brian sit down with artist, educator, muralist, bunny parent, and “Jill of all trades” Alexandra Adamo, owner of Alexmakesart LLC and Lead Artist of the Museum of Fine Arts Boston's Community Arts Initiative. https://linktr.ee/alexmakes_art

The importance of passion cannot be understated.  It can be a wonderful and beautiful thing, and if it's made into a positive part of not only one's own life but for others as well; it's a passion worth pursuing.  On this episode of The Unfinished Print I speak with mokuhanga collector, self taught scholar and instructor, Carol Dorman. Having seen her work and lectures with the Japan Foundation Toronto, on various topics on ukiyo-e history and culture, I found her knowledge and story to be of great interest. I speak with Carol about her journey from working at the CBC for the national news, to working side by side with Stuart Jackson, a mokuhanga gallery owner here in Toronto. Carol speaks on her love of the ukiyo-e period of Japanese woodblock prints, her collecting, how that world has changed dramatically during her time at The Stuart Jackson Gallery, and we discuss her work at the LIFE Institute of Toronto where she teaches and instructs age 50+ students about ukiyo-e history.  Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me at theunfinishedprint@gmail.com  Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note. Pieces are mokuhanga unless otherwise noted. Regina, Saskatchewan - is the capital of the Canadian Province of Saskatchewan. Located on the land of the Cree, Saulteaux, Dakota, Nakota, Lakota, and Métis peoples, it is the 16th most populace city in Canada.  The city has many restaurants, museums, and other places of interest. More info can be found at Tourism Regina, here.  University of Toronto -  considered a public research university, U of T is located in the city of Toronto, Ontario, Canada, and was founded in 1827. It has educated any number of famous Canadian authors, scientists, politicians, and the like. More info, here.  Stuart Jackson Gallery - is a ukiyo-e specific gallery located at 882 Queen Street W. in Toronto, Ontario, Canada. It has been doing business in Toronto for almost fifty years. More info, here.  The Royal Ontario Museum - also known as The ROM, is an art, world culture, and natural history museum in the city of Toronto, and is one of the oldest museums in the city. More info, here.  The Canadian Broadcasting Corporation - also known as the CBC, is a Canadian Federal Crown corporation and is the oldest broadcasting network in Canada. Founded in 1936, the CBC broadcasts news, original programming, and sports throughout Canada and the world. They broadcast via various digital platforms as well as terrestrial platforms such as television and radio.  More info, here. Meiji Period of Japan (1868-1912)- the Meiji Period in Japanese history is synonymous with turmoil and regime change. The Meiji Period is named after Prince Mutsuhito (1852-1912), who became Emperor after his fathers death, Emperor Kōmei (1846-1867). Mutsuhito's reign came at the end of the Keiō Era, (1865-1868), until his own death in 1912.    Utagawa Kuniyoshi (1798-1861) - is considered one of the last “masters” of the ukiyo-e genre of Japanese woodblock printmaking. His designs range from landscapes, samurai and Chinese military heroes, as well as using various formats for his designs such as diptychs and triptychs.    Tsuzoku Suikoden Goketsu Hyakuhachi-nin no Hitori (津属水滸伝後けつ百八人にの一人 ca. 1827)   Utagawa Kunisada (1786-1865) - arguably one of the more important woodblock print designers, Kunisada designed many types of prints, from landscape, books, erotica, sumo etc.  Kunisada worked during the period of ukiyo-e history with Andō Hiroshige (1797-1858), Katsushika Hokusai (1760-1849), and the above mentioned Kuniyoshi. Defintely a rich and abundant period in Japanese woodblock print history.  Oni Azami Seikichi (鬼あざみ清吉) 1859   Yorkville, Toronto - Yorkville is a neighbourhood located in the heart of Toronto. It has a rich history, politically and culturally. It has become a high end neighbourhood in the city, with many expensive shops,  luxury homes and condos. It is famous for once being the hotbed of folk music in the world, outside of New York City, in the 1960's. Performers such as Neil Young, Joni Mitchell, Bob Dylan amongst others performed in the various clubs in the neighbourhood.    2008 Financial Crisis - was a world wide financial crisis which started in 2007 and lasted throughout 2008 and onwards. This crisis affected housing, mortgages, the automotive industry, and world economic markets.    David Kutcher is the owner and operator of Moonlit Sea Prints, located in Easthampton, Massachusetts. His interview with The Unfinished Print can be found, here.    Fading of Japanese woodblock prints - certain colours, especialy in ukiyo-e period prints (beni), are known to fade over time. Since pigments in mokuhanga are generally water based, they will fade naturally, but more quickly if located near sunlight. There are many reasons why your print will fade, so the website Viewing Japanese Prints has written a fine article regarding those very reasons, amongst other ways you can protect your mokuhanga collection. You can find that article, here.    The Kentler International Drawing Space - is an art gallery located in Red Hook, Brooklyn, New York. It has hosted several mokuhanga centred exhibitions. The most recent was Between Worlds as hosted by The Mokuhanga Sisters, from July 17 - July 31, 2022. More info, here.    Red Hook, Brooklyn, NY - is a neighbourhood in Brooklyn, New York. Once called South Brooklyn and once an industrial area, Red Hook has evolved over time to house many New Yorkers who are looking to be close to Manhattan and still be able to afford a home. There is a great New York Times article, here, which explores the history of this fascinating area.    Doi Hangaten -  is a mokuhanga print publisher located in Tōkyō, Japan. Once a publisher of prints associated with the shin-hanga movement of the ealry twentieth century, the company continues to publish reproductions of famous Japanese prints, in the old ways. Most recently, the Doi family have collaborated with David Bull and Mokuhankan to publish new verions of some of the old blocks from almost 100 years ago. More info about the Doi Hangaten can be found here, here and here. The collaboration videos produced by Mokuhankan regarding the Doi family and the subsequant collaboration can be found, here.    LIFE Institute - is a learning facility for adults age 50+.  The LIFE Institute began in 1991, and has a membership of 2500 today. The institute offers high quality education in the Arts, Humanities, Science and Technology, amongst others. Courses are conducted in person or online. More info can be found, here.    The National Gallery of Art - is a free art gallery located in Washington D.C. Founded by financier Andrew W. Mellon. The West building was constructed in 1941. The gallery houses more than 150,000 pieces of art and is dedicated to education and culture. More info can be found, here.    Itō Jackuchū (1716-1800) - was a Japanese painter who painted in silk. His work can be seen in scrolls (kakemono), sliding doors (fusuma), and folding screens (byōbu). Known for his wild style of painting, Jackuchū's most popular theme is of birds. There are many books wirtten about Jackuchū and his life and times. More info can be found, here , to get you started.  Rooster (18th Century)   Nishiki-e (錦絵) - is the Japanese phrase for colour woodblock prints, otherwise known as brocade pictures.    Ogata Gekkō (1859-1920) - was a painter, illustrator and mokuhanga designer. Gekkō's work has a delightful water colour style, where the subjects seem to be floating and light, regardless of whether the subject is a beautiful woman or a ghostly fox. Gekkō's subject matter ranged from landscapes, to mythology. Ogata Gekkō had a full career, from working with many publishers for his print designs to founding various art associations. More information about the life and career of Ogata Gekkō can be found, here, on David Humphries' fantastic website about the artist.  Drawing Water from Yoro Waterfall — 養老孝子瀧を汲の図 (1896)   Prussian Blue - is a dark blue pigment, which has been used by painters, and mokuhanga printmakers. The pigment has been used in Europe since the 18th Century, and in Japan since around 1820, having been imported by Europeans into Japan.    Evolution of Pigments in Mokuhanga - the evolution of pigments in mokuhanga began with hand painting in the later 17th Century, to the multi coloured prints of ukiyo-e, shin hanga, and sōsaku hanga. More info regarding the pigment evolution can be found, here, at the Library of Congress.    The Japan Foundation - is a not for profit organization established in 1972, with many offices located around the world. The Japan Foundation Toronto has been active in the city since 1990. More info, here for the JF worldwide, and here for Toronto.    Elizabeth Forrest - is an award-winning Canadian artist and mokuhanga prinmaker. She has been producing mokuhanga since the late 1980's when she lived and studied in Kyoto. She has studied with the late Akira Kurosaki (1937-2019).  More info about Elizabeth's work can be found, here.  And It Began To Rain (2014)   Akira Kurosaki 黒崎彰 (1937-2019) - one of the most influential woodblock print artists of the modern era. His work, while seemingly abstract, moved people with its vibrant colour and powerful composition. He was a teacher and invented the “Disc Baren,” which is a great baren to begin your mokuhanga journey with. At the 2021 Mokuhanga Conference in Nara, Japan there was a tribute exhibit of his life works. Azusa Gallery has a nice selection of his work, here. Taurus (1973)   Barbara Wybou - is a Canadian mokuhanga artists who lived, worked, and studied in Japan for twenty years. Her home these days is Toronto where she continues to work on her mokuhanga. Notably she studied with the late Tōshi Yoshida (1911-1995). Her work can be found, here.  Rats 3   Toyohara Kunichika (1835-1900) -  was a Japanese woodblock designer of the Utagawa School of artists. His work flourished in the Meiji Period (1868-1912) of Japanese history, a period of immense change politically, economically, and industrially. Some of Kunichika's works can be found, here.    Onoe Kikugorō V as The British Spencer (1894)   War prints & Japanese Imperialism - as Japan entered the Pacific Theatre of war (1941-1945) with the United States, the fascist military government had complete power in Japan at the time, and used woodblock prints, as well as other mediums such as lithography and photography, to propagandize their war effort. Printmakers such as Kawase Hasui (1883-1957) even got involved in producing prints that helped the war effort. He designed several war prints during this time period. Prints such as The Red Setting Sun, is a prime example of how the times and aesthetic show a relatively innocuous scene of figures (Japanese soldiers) riding on horses with a setting sun back drop. For more detailed information regarding war time prints I suggest, Conflicts of Interest: Art and War in Modern Japan, ed. Philip K. Hu w/ Rhiannon Paget, and The Politics of Painting by Asato Ikeda. My interview with Rhiannon Paget PhD can be found, here.    Russo-Japanese War (February 8, 1904 - September 5, 1905) - was a war between two colonial powers, the Imperial Russian and Imperial Japanese military, taking place in China. Information about its background can be found here at history.com, and here.    bijin-ga - (美人画) is the Japanese term for beautiful women in mokuhanga.  Itō Shinsui (1898-1972) After Washing Her Hair (1936)   yakusha-e - (役者絵) is the Japanese term for actor prints in mokuhanga.  Utagawa Yoshiiku (1833-1904) Oyama Doll - Ichikawa Udanji (1893)   Taishō Period  (1912-1926) - a short lived period of Japanese modern history but an important one in world history. This is where the militarism of fascist Japan began to take seed, leading to The Pacific War (1931-1945). More info can be found, here.   hanmoto system - is the Edo Period (1603-1868) collaboration system of making woodblock prints in Japan. The system was about using, carvers, printers, and craftsmen by various print publishers in order to produce woodblock prints. The system consisted of the following professions; publisher, artist, carver, and printer.   Yamato Take no Mikoto with His Sword Kusanagi - is the print by Ogata Gekkō which Carol mentions as one of her favourite prints.     Oliver Statler (1915-2002) -  was an American author and scholar and collector of mokuhanga. He had been a soldier in world war 2, having been stationed in Japan. After his time in the war Statler moved back to Japan, where he wrote about Japanese prints. His interests were of many facets of Japanese culture such as acoomodation, and the 88 Temple Pilgrammage of Shikoku. Oliver Statler, in my opinion, wrote one of the most important books on the sōsaku-hanga movement, “Modern Japanese Prints: An Art Reborn.”   John Stevenson -  is an American author who has written extenisvely on Tsukioka Yoshitoshi (1839-1892).    Tsukioka Yoshitoshi (月岡 芳年) was a mokuhanga designer who is famous for his prints depicting violence and gore. His work is powerful, colourful, and one of the last vibrant moments of the ukiyo-e genre of woodblock prints. More information about Yoshitoshi's life and his copious amount of work can be found, here.    The Flower of Edo (1858) Utagawa Kuniyoshi (歌川 國芳) - was a print designer and painter known for his triptychs, yoko-e (horizontal landscape prints), Yokohama-e (prints with Yokohama as its subject), and yakusha-e (actor prints). Considered as one of the last of the "golden age" print designers of the ukiyo-e genre.  Ichikawa Kodanji IV as the ghost of Asakura Togo (possibly 1851) Kunisada/Kuniyoshi Exhibit - was an art exhibition held at the Museum of Fine Arts Boston from August 11 - December 10, 2017. There was also an excellent catalogue printed for this show and would add to any woodblock print fan's library. more info, here. The book I reference about Toyohara Kunichika is "Time Present and Time Past of a Forgotten Master: Toyohara Kunichika 1835-1900"  There are various online print collections that the aspiring mokuhanga scholar can seek out to help in their studies. The Library of Congress has their collection online, as does ukiyo-e.org, who have various impressions af their prints throughout their website.  Scholten Japanese Art - is a mokuhanga focused art gallery located in midtown Manhattan. It was founded by René Scholten, an avid collector of the Japanese print. More info can be found, here. Acadia Books - is a vintage and unique used bookstore located at Sherbourne and Queent St. East in Toronto, Ontario, Canada. In my opinion it is one of the best bookstores I have had the priviledge to visit. More info, here.  © Popular Wheat Productions opening and closing musical credit - intro music is Spill Yer Lungs and outro music is Tailor  both by Julie Doiron from her album I Can Wonder What You Did With Your Day (2009) on Jagjaguar Records logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Україну If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***                

As one of the most influential musicians in Turkish history and the first modern pop star of Turkey, Zeki Müren gained huge popularity beginning in the 1950s across all different communities in Turkey, in spite of his groundbreaking behaviors like cross-dressing, and can be seen as an LGBTQ+ trailblazer. Even now, Zeki Müren continues to have a profound influence on Turkish society and on the Turkish people. We begin discussing how he became so popular with such a wide audience, then Beyza and Jeff talk about their own experiences with Zeki Müren, and what led them to create the interactive documentary Zeki Müren Hotline. After that, we compare the pop culture background while Zeki was performing with the current Turkish pop culture environment, and also discuss how Zeki kept the balance of pushing boundaries and also being conservative, how he used some survival behaviors, and what made him a national hero. Finally, our guests Beyza and Jeff share some stories from the Zeki Müren Hotline. Beyza Boyacıoğlu is an award-winning documentarian and film editor from Istanbul, currently based in Brooklyn. Her work has been exhibited at MoMA, IDFA, Anthology Film Archives, RIDM, MoMA PS1, Museum of Fine Arts Boston, Venice Biennial, Creative Time Summit, Barbican Centre, UnionDocs, Maysles Cinema, Morelia International Film Festival, !f Istanbul and many others.She created the interactive documentary Zeki Müren Hotline at the MIT Open Documentary Lab with Jeff Soyk.Jeff Soyk is an award-winning media artist with experience in storytelling, direction, UX design, UI design, front-end development, animation, and film/video. His credits include co-director and UI & UX designer on Zeki Müren Hotline (2022 Webby Award Honoree: NetArt, 2017 !f Istanbul exhibit, 2017 RIDM exhibit, 2016 IDFA DocLab nominee), co-creative director and UI & UX designer on PBS Frontline's Inheritance (2016 News & Documentary Emmy Award winner, 2016 Peabody-Facebook Award winner), and art director, UI/UX designer and architect on Hollow (2014 News & Documentary Emmy Award nominee, 2013 Peabody Award winner).A full transcript of this episode will be available soon!Here are some of the references from this episode, for those who want to dig a little deeper:Zeki Müren HotlineZeki Müren Hotline Kickstarter (w/ background info)The Republic of Love: Cultural Intimacy in Turkish Popular MusicTurkey as Major Television Exporter"Letter of Sorrow"MIT Open Documentary LabShare your thoughts via Twitter with Henry, Colin and the How Do You Like It So Far? account! You can also email us at howdoyoulikeitsofarpodcast@gmail.com.Music:“In Time” by Dylan Emmett and “Spaceship” by Lesion X.––––––––––––––––––––––––––––––In Time (Instrumental) by Dylan Emmet  https://soundcloud.com/dylanemmetSpaceship by Lesion X https://soundcloud.com/lesionxbeatsCreative Commons — Attribution 3.0 Unported — CC BY 3.0Free Download / Stream: https://bit.ly/in-time-instrumentalFree Download / Stream: https://bit.ly/lesion-x-spaceshipMusic promoted by Audio Library https://youtu.be/AzYoVrMLa1Q––––––––––––––––––––––––––––––

Why does an American-born Chinese philanthropist want to help young Chinese in America reconnect with their roots? Why is that important? What seeded that passion?  Tune into my conversation with Carolyn Hsu-Balcer in Episode #3 “Reconnecting with Your Roots.” Carolyn Hsu-Balcer is a designer, philanthropist, and art collector based in Los Angeles and New York.   Having lived in Hong Kong, Thailand, and the Philippines, she returned to America (her birthplace) obligingly for college. Her mother told her America is her future because they didn't have a home in China anymore.  How did Carolyn's Chinese parents shape her love for country, history, art and culture? Why was Carolyn so inspired by her great-granduncle Dr. Kuo Ping-Wen - the first Chinese to have earned a PhD in America?? Why does Carolyn believe young Chinese in America should become global-minded?  Music used: One In a Billion Theme Song by Brad McCarthy Youk Ra Lom Ai Oh by Les Cartes Postales Sonores Lullaby by the Ghost in Your Piano A Yankees Southern Blues by HoliznaCC0 Mountain Monk C by Lobo Loco Driving Through Tunnels by Daniel Birch The Armys March by MMFFF The Things That Connect Us by Independent Music Licensing Collective Carolyn graduated from Wheaton College (Mass.) with a BA in  Economics and a minor in Chinese Language. After working as a  financial analyst on Wall Street and as a Retail Product Developer, Carolyn launched SnoPea Inc. in 1997, a baby clothes company based in  New York. SnoPea manufactures and markets infantwear for sale online  and in specialty stores across the US, Canada and Japan.  Carolyn has worked to foster Sino-American understanding through  education and culture. She has organized seminars on Education in  China at major universities in the US and China.  She supports  educational scholarships at universities in Shanghai, Nanjing and  Taiwan, and at rural schools in Yunnan Province in China. In 2008, she  received the Blue Cloud Award for outstanding achievement from the  China Institute in New York. Carolyn has co-edited and co-published the historical biographies Kuo  Ping Wen Scholar, Reformer, Statesman (2016) and C.T. Wang: Looking  Back and Looking Forward (2008); the artbook A Token of Elegance (2015), a historical and photo survey of cigarette holders as objets de  vertu; and Chow! Secrets of Chinese Cooking (2020), an updated edition  of a timeless classic about Chinese cuisine and culture and winner of a  2021 Gourmand World Cookbook Award.  Carolyn has organized ground-breaking exhibits of Chinese art including  Xu Bing Tobacco Project Virginia (2011 VMFA), Light Before Dawn (2013  Asia Society Hong Kong), Blooming in the Shadows (2011 China Institute NY), Ming Cho Lee: A Retrospective (2011 Ningbo Museum), and Oil and  Water: Re-Interpreting Ink (2014 MOCA NY).   She has sponsored the publication of a 13-volume catalogue of the  works of the Wuming group of Chinese artists, and the publication of “Ai  Wei Wei: New York Photographs 1983-1993”.   Carolyn has produced award-winning documentaries on China and  Chinese art, including “Above the Drowning Sea”, “The No Name Painting  Association” and “Xu Bing Tobacco Project Virginia”.   Carolyn is currently a member of the Board of Overseers at the MFA  Boston, the Guggenheim Museum Asian Art Circle, the Board of  Directors of the Wolfsonian-FIU, the Arts Council of the Asia Society, the  Board of Friends of Channel 13, and honorary trustee of the Ningbo  Museum (China) where she has forged ties with American art & cultural  institutions to bring curatorial training to the Ningbo Museum.  Carolyn and her husband have assembled important collections of  Chinese Contemporary art, Japanese Shin-Hanga, Inuit art and objets de  vertu, which have been the subjects of numerous publications and  exhibitions worldwide, including at the Museum of Fine Arts Boston,  Los Angeles County Museum of Art, The Louvre (Paris), Virginia  Museum of Fine Arts, Aldrich Museum, Wellin Museum, Cooper Hewitt,  Asia Society Hong Kong, Lenbachhaus Museum Munich, and the Taipei  Fine Arts Museum. 

For this episode, I caught up with Chance Haki, the director of Providence World Music. Since starting this project a few years back Chance has done a tremendous amount of work to highlight and promote traditional and indigenous music. In our conversation, we learn more about their mission and what they want to achieve, plus the numerous shows and styles of music they promote around Rhode Island. Please visit pvdworldmusic.com to get active and support this organization. Interlude song order: Yacouba Diabate plays the kora at Farm Fresh, April 2022 Steven Sogo plays the inanga at the Museum of Fine Arts Boston, May 2022 Mambo Pa Ti at Providence Salsa Bachata Festival, November 2019 Steven Sogo plays the umuduri at the Museum of Fine Arts Boston, May 2022 // Interview recorded June 20th, 2022 at James' house in Providence, RI // Intro music by Cedros // Hosted by James Toomey // /// If you enjoy the episode please leave a rating or review wherever you're listening right now! ///

In episode 219 UNP founder and curator Grant Scott is in his shed reflecting on embracing experiences and life, empathy and context in photographic documentation, and protecting your legacy through your own actions. Plus this week, photographer Arne Svenson takes on the challenge of supplying Grant with an audio file no longer than 5 minutes in length in which he answer's the question ‘What Does Photography Mean to You?' Arne Svenson is a self-taught photographer with an educational and vocational background in special education, whose photographic practice aims to seek out the inner life, the essence, of his subjects, whether they be human, inanimate, or something in between. He says that he uses his camera as a reporter uses text, to create a narrative that facilitates the understanding of that which may lie hidden or obscured. In the years 2012-1016, Svenson was artist-in-residence at Wesley Spectrum High School, a program in Pittsburgh for children on the autism spectrum. In partnership with The Andy Warhol Museum and the Cognitive Psychology Department at the University of Victoria, BC, he was involved in a long-term project exploring the science of facial recognition skills with subjects on the spectrum. The resultant work was shown in its entirety at The Andy Warhol Museum. He is the author/photographer of numerous books, including Unspeaking Likeness, The Neighbors, Prisoners and Sock Monkeys and in 2016 he received the Nannen Prize in photojournalism for his project The Neighbors. Svenson's photographs have been shown extensively in the United States, Europe and Asia and are included in numerous public and private collections, including SFMOMA, Carnegie Museum of Art, Modern Art Museum of Fort Worth, Museum of Fine Arts Boston and the Norton Museum of Art. His work has been profiled in the New York Times, Artforum, Art in America and The New Yorker, among other publications. Recent solo exhibitions of his images have been held at the Museum of Contemporary Art Denver, Western Washington University, and as a two-person show with the work of Andre Kertesz at Galerie Miranda, Paris. Over the past few years Svenson has given numerous lectures in universities and museums, mostly on the issue of free speech in the arts and how this topic relates to his series The Neighbors, the subject of a protracted legal battle. He was the defendant in a lawsuit involving privacy issues and therefore uniquely qualified to speak about the ramifications of censorship and the protections guaranteed by the First Amendment. https://arnesvenson.com Dr. Grant Scott is the founder/curator of United Nations of Photography, a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, a working photographer, documentary filmmaker, BBC Radio contributor and the author of Professional Photography: The New Global Landscape Explained (Routledge 2014), The Essential Student Guide to Professional Photography (Routledge 2015), New Ways of Seeing: The Democratic Language of Photography (Routledge 2019). His film Do Not Bend: The Photographic Life of Bill Jay was first screened in 2018 www.donotbendfilm.com. He is the presenter of the A Photographic Life and In Search of Bill Jay podcasts. © Grant Scott 2022

Visual artist Alex Dodge lives and works in Brooklyn, New York and Tokyo, Japan. His studio practice has consistently explored the promise of technology as it intersects with and shapes human experience. His work is deftly located between new media and traditional fine art disciplines including painting, printmaking, and sculpture. His work is in the collections of the Museum of Modern Art, the Whitney Museum of American Art, the Metropolitan Museum of Art, and the Museum of Fine Arts Boston. He holds degrees from the Rhode Island School of Design (BFA Painting) and New York University, Interactive Telecommunication Program (MPS). I spoke to Alex about early days in his noise band, figuring out how to make paintings, working in a gallery, going back to school and much more. Why I Make Art. the book based on the Sound & Vision podcast is now available. Many thanks to all those who have preordered the book. It's 336 pages filled with quotes by the many artists on this podcast, words of wisdom, features on 30 artists, some of the guest book artist sketches, color images of the work an introduction by Hrishikesh Hirway of the Song Exploder podcast. It's out on Atelier Editions, distributed by Artbook DAP and available on their websites as well as Amazon, Target, Barnes & Noble and other p[laces you can get books. It's 25 dollars and in my opinion well worth it. Order a copy today. You can find it at atelier-editions.com or artbook.com.

This episode is also available as a blog post: https://thecitylife.org/2022/04/16/museum-of-fine-arts-boston-and-san-francisco-museum-of-modern-art-announce-tour-dates-for-frank-bowlings-americas/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/citylifeorg/message Support this podcast: https://anchor.fm/citylifeorg/support

Lynita Shimizu's prints are ambitious, colourful; and most importantly, bring the viewer into their fantastic world.  On this episode of The Unfinished Print, I speak with mokuhanga printmaker Lyniyta Shimizu, about her history as a mokuhanga working printmaker, her teachers from Japan as well as her experiences in that country. Lynita speaks on her varied print subjects, her materials and her mokuhanga process.  Please follow The Unfinished Print and my own print work on Instagram @andrezadoroznyprints Twitter @unfinishedprint, or email me at theunfinishedprint@gmail.com Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Lynita Shimizu - website, Instagram, New Leaf Gallery video. Chinese University Hong Kong - is a public research university based in Hong Kong, and established in 1963. more, info here.  JET Programme - a teaching programme created in 1978, which is sponsored by the Japanese government, and various Japanese ministries. This organization brings people from around the world to teach English to Japanese students in grade school, junior high, and high schools throughout the country.  More info, here. nengajō -  (年賀状) what began as a way for Japanese nobility to communicate with faraway friends and family during the New Year festive period, has become a way for all people to send New Year greetings to their own friends and family. More info, here. Books Kinokuniya - is a Japanese chain of bookstores located throughout every Prefecture in Japan and around the world. More info, here.  Tomikichiro Tokuriki (1902-1999) - was a woodblock printmaker based in Kyōto, Japan. His prints were considered sōsaku hanga (creative prints), and shin-hanga prints (new prints). More info, here.  David Stones - was a student of Tokuriki in Japan. His woodblock prints are bright in colour and have traditional Japanese themes. His website has more information, as well as this really well produced video that came out late last year. Margaret Stein Nakamura - is a designer and illustrator who studied three years under Tomikichiro Tokuriki in the 1970's. Her Tumblr of her projects can be found, here.  sizing/dosa - is a liquid form (prepared) animal glue which is brushed onto your washi, hanji, or other natural papers to stiffen the paper and prepare it for keeping the colour in your woodblock print. It has come to pass that size tends to be acidic and will break down the print over time. It's a bit of a double edged sword. Recipes for size can be found, here. Yoshisuke Funasaka - is a woodblock printmaker in the sōsaku hanga style of printmaking. His work revolved around colour, fruit, and abstract shapes. More info, here.  Sho Kidokoro (1934-1988) - was a woodblock printmaker from Tōkyō, Japan. His prints were colourful, abstract, and he too focused on fruit, such as apples and pears.  reduction printing - is a method of printing where one block is used and is subsequently carved little by little and printed every time, until there is nothing left to carve. Cameron Bailey's recent prints are in this style.  floating kentō - is a removable registration system attached to the block when printing. As the kentō isn't affixed to the block; blotting, and very clean borders are one of the positives of using this method of registration.  Annie Bissett - is a woodblock printmaker based in the United States. Her work focuses on themes of sexuality, magic, politics, and nature. Her work can be found, here. Her interview with The Unfisnihed Print can be found, here.  Artelino - is an online woodblock print repository run by Dieter Wanczura. It is a website that educates about woodblock prints, as well as sells and buys. More info, here. Hankyu-Ōsaka-Umeda Station - is a train station located in the city of Ōsaka, Japan. It is a major transit hub which connects Ōsaka City, to Kobe, Kyōto, Nara, as well as the rest of Japan. In my opinion it's one of the busiest stations in the country. More info, here. kabuki theatre - is a traditional Japanese theatre begun in Kyōto in the 17th Century. It has always been considered, much like Japanese woodblock prints, as a lower form of art in Japan. Over time kabuki theatre has developed into a very sanitized theatre run by the Shōchiku Entertainment Company. For more information about its rich history please check out Kabuki21.com. I wrote (write) a blog about kabuki called Kabuki Live, and that can be found, here.  Kabuki-za - is a kabuki focused theatre located in Tōkyō, Japan. It has been at the same spot in the Ginza, in different constructions, since 1889. More info can be found, here. Linda J. Beeman - is a mokuhanga printmaker based in Michigan. Considered an environmental artist, Linda's subjects are of the environment through landscape representation. More info, here. luan wood - is a type of hardwood native to the Philippines and other parts of South East Asia. More info can be found, here. magnolia wood - a straight grained hard wood located in North America and Asia. more info, here. katsura wood - is a straight grain hard wood from China and Japan. It is pretty good for fine line cutting in mokuhanga and is cheaper than cherry wood. More info can be found, here.  Sennelier pigments - created by Gustave Sennelier in Paris, 1887, Sennelier has become a seller of pigments of all types. More info can be found, here.  Jerry's Artarama - originally founded in 1968 Long Island, New York, and now based in Raleigh, North Carolina. Jerry's Artarama sells various art supplies at reasonable princes. More info, here.  Dick Blick art supplies - is an art supply store with various brick and mortar stores throughout the United States, as well as online. Founded in 1911 by Dick Blick in Galesburg, Illinois, BLICK, as it's more commonly known, sells various types of art supplies, much like Jerry's Artarama. More info, here. tokonoma - is an ascribed area in a Japanese home which is used as a way to make visitors and guests appreciate the home they are visiting, even more. It usually displays scrolls or other forms of art, flowers, or other ephemera connected to those living in the home, the seasons, or general likes.  More info, here. yamaka paper - is a type of fusuma paper, soft and textured and quite thick, around 40g-60g New Leaf Gallery - is a brick and mortar, relief print focused gallery located in  Keane, New Hampshire. It was created by Taryn Fisher and Matt Brown. more info, here. Matt Brown - is a mokuhanga printmaker based in Lyme, New Hampshire. He has been making woodblock prints for over thirty years. Matt's interview with the Unfinished Print can be found, here. His website can be found, here. Kunisada/Kuniyoshi Exhibit - was an art exhibition held at the Museum of Fine Arts Boston from August 11 - December 10, 2017. There was also an excellent catalogue printed for this show and would add to any woodblock print fan's library. more info, here. manga - is a style of comical imagery that started in and around the 19th Century in Japan. Hokusai's manga has made a resurgence as of late and has inspired artists of all types, around the world. Other artists who made manga in Japan and are worth a look at are, Osamu Tezuka (1928-1989), Kawanabe Kyōsai (1831-1889), Naoko Takeuchi, and Eiichirō Oda, amongst many others. More info, here, and here. Sumi-Fusion - was the theme of the 2021 International Mokuhanga Conference where entries, into the juried exhibition, created works that used sumi ink in their mokuhanga. More info, here.  opening and closing credit music - Time's Up (Instrumental) by O.C (2022) © Popular Wheat Productions logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Україну If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***          

Princeton AAS Podcast S2 E07 A Painter's Eye In this episode, we sit down with the legendary historian and artist Nell Painter to discuss her career and its connections to Black Studies. From reckoning with historical figures as individuals, to her life and work at Princeton, to her own works-in-progress, this podcast has something for everyone. Our hosts dive deep into Painter's legacy and the lessons she has for our present moment. The Culture of __ “This new and 'old' artist offers a self-portrait in starting over,” PBS NewsHour, July 23, 2018 “Nell Painter: Old In Art School,” GBH Forum Network, July 31, 2018 The Breakdown - Guest Info Nell Irvin Painter (nellpainter.com)  Nell Irvin Painter is Edwards Professor of American History, Emerita at Princeton University. She was Director of Princeton's Program in African-American Studies from 1997 to 2000. In addition to her doctorate in history from Harvard University, she has received honorary doctorates from Wesleyan, Dartmouth, SUNY-New Paltz, and Yale. Prof. Painter has published numerous books, articles, reviews, and other essays, including The History of White People. She has served on numerous editorial boards and as an officer of many different professional organizations, including the American Historical Association, the Organization of American Historians, the American Antiquarian Society, the Association for the Study of Afro-American Life and History, and the Association of Black Women Historians. Nell Painter (the painter formerly known as the historian Nell Irvin Painter) lives and works in Newark, New Jersey. Her work carries discursive as well as visual meaning, and is made in a manual and digital process. Using found images and digital manipulation, she reconfigures the past and self-revision through self-portraits. After a life of historical truth and political engagement with American society, her artwork represents freedom, including the freedom to be totally self-centered. See, Hear, Do “The Extraordinary Women of AAS Featuring Nell Painter,” Princeton University Department of African American Studies, March 28, 2022 Nell Irvin Painter, Southern History Across the Color Line (Chapel Hill: University of North Carolina Press, 2021 [2002]) Nell Painter, “American Whiteness Since Trump,” James Fuentes Gallery, 2020 “Nell Painter and Black Power in Print,” Museum of Fine Arts Boston, November 15, 2021 “Nell Irvin Painter to Deliver the Charles Homer Haskins Prize Lecture,” American Council of Learned Societies Annual Meeting, Friday, April 29, 2022 @ 6:00 PM EST (registration in link)

Wisconsin-based ROB STANGROOM, a former marine biologist turned intuitive painter, gets a thrill having one foot in the known and the other in the unknown. From tracking whale migration to landscape architecture, Rob has learned to see the “open doors” in life and never hesitates to explore what is on the other side. Inspired by a lifelong love of nature and a persistent desire to work with his hands, Rob shares how he has crafted his art career, never being afraid to ask for help to get to the next level. This is a particularly great listen for anyone who is new or returning to art a bit later in life.Find Rob:Website:  www.robstangroom.comFacebook: robstangroomartMentioned:Princeton Catalyst tools (buy) Keep Going, Austin Kleon (2019) (read)  also the author of Steal Like An Artist and Show Your Work!Saint Croix National Scenic Riverway (explore) The Adjacent Possible: Evolve Your Art from Blank Canvas to Prolific Artist, Nancy Hellis (2021) (read)Isabelle Alessandra, artist (see) Writing the Future: Basquiat and the Hip-Hop Generation, Museum of Fine Arts Boston exhibit (watch video) Futura 2000, artist (learn) Futura Teaches Spray-Painting & Abstract Art, MasterClass trailer (watch) Cadillac Ranch, outside Amarillo, Texas (explore) Don't Go To Art School,”Noah Bradley, artist-writer (read) The Gifts of Imperfection, Brene Brown (read)Find Me, Kristy Darnell Battani:Website:    https://www.kristybattani.comInstagram:  kristybattaniartFacebook:  kristybattaniartDid you enjoy this episode? If so, please take a moment to leave a rating and a comment: https://lovethepodcast.com/artishplunge Music:"Surf Guitar Madness," Alexis Messier,Licensed by PremiumBeat.comSupport the show (https://www.buymeacoffee.com/artishplunge)

https://entrearchitect.com/wp-content/uploads/2021/12/ScreenShot2021-12-16at1.48.13PM.png ()RODE Architects Kevin Deabler began studying design at North Carolina State University's College of Design in Raleigh, North Carolina where he graduated with Bachelor degrees in Environmental Design in 1995 and Architecture in 1996. While enrolled at NCSU, Kevin also managed an internship with the sculptor Thomas Sayre and the architectural studio at Clearscapes PA. After arriving in Boston in 1996, Kevin held positions at Benjamin Thompson Associates, Perry Dean Rogers, and CBT/Childs Bertman Tseckares. His project work included a theater complex in New York's Times Square, the master planning of a new campus for Olin College, and several mixed-use urban developments in Greater Boston such as Russia Wharf and Kendall Square. At CBT, Kevin also worked as a project manager on high-profile museums with renowned architects such as Renzo Piano for the Isabella Stewart Gardner Museum, Norman Foster for the Museum of Fine Arts- Boston, and Daly Genik for the Harvard University Art Museums. In 2004, Kevin completed an MBA at Northeastern University. Eric J. Robinson began studying design at North Carolina State University's College of Design in Raleigh, North Carolina where he graduated with a Bachelor degree in Environmental Design in 1994. Eric then participated in a two-year internship with BCW+H Architects in Richmond, VA. Following this internship Eric attended the University of Virginia, successfully finishing his Master of Architecture in 1999. Upon completion of his Masters, Eric was offered a position at Charles Rose Architects (formerly Thompson and Rose) where he worked as a Senior Designer/Architect for 9 years. His diverse body of work includes projects at the University of South Dakota, the University of Massachusetts Dartmouth, the Florida Gulf Coast Museum of Art, the Federal Port of Entry in Del Rio, TX, residences on Martha's Vineyard, and a summer camp in Wyoming. Eric's projects at Charles Rose Architects have received multiple professional awards. Eric and Kevin Deabler founded RODE Architects in 2005. Since 2006, Eric also serves as a visiting lecturer at Northeastern University. Eric is a LEED Accredited Professional and brings to the firm an integrated, design-oriented approach to the profession. Kevin is also LEED accredited and brings to the firm a professional and organized approach to problem solving. This week at EntreArchitect Podcast, RODE Architects with Eric Robinson & Kevin Deabler.  Connect with Kevin & Eric online at https://www.rodearchitects.com (RODE Architects), or find them on https://www.linkedin.com/company/rodearchitects (LinkedIn), https://www.facebook.com/RODEArchitects/ (Facebook), https://www.instagram.com/samrichter/ (Instagram), and https://www.instagram.com/rodearchitects/ (Twitter). Please visit Our Platform Sponsors https://arcat.com (ARCAT) is the online resource delivering quality building material information, CAD details, BIM, Specs, and more… all for free. Visit ARCAT now and subscribe to http://arcat.com (ARCATECT Weekly and ARCATAlert). http://EntreArchitect.com/Freshbooks (Freshbooks) is the all in one bookkeeping software that can save your small architecture firm both time and money by simplifying the hard parts of running your own business. Try Freshbooks for 30 days for FREE at http://EntreArchitect.com/Freshbooks (EntreArchitect.com/Freshbooks). Visit our Platform Sponsors today and thank them for supporting YOU… The EntreArchitect Community of small firm architects. Mentioned in this Episode https://yougotthenews.com (YouGotTheNews.com) The post https://entrearchitect.com/podcast/entrearch/rode-architects/ (EA434: Eric Robinson & Kevin Deabler – RODE Architects) appeared first on https://entrearchitect.com (EntreArchitect // Small Firm Entrepreneur Architects).

Torniamo a parlare d'arte, e lo facciamo con Alessandro!Se qualche episodio fa ci eravamo discostati dalle stampe ukiyo-e, questa settimana ci addentriamo invece proprio nel "mondo fluttuante" e l'influenza che i capolavori di Hiroshige e Hokusai hanno avuto sull'arte impressionista attraverso il fenomeno del “giapponismo”.E poi ancora, approfondiamo la vicenda storica e culturale del maestro di spada Miyamoto Musashi, stratega assolutamente brillante nonché autore di "Il libro dei cinque anelli".L'immagine di copertina è "Miyamoto Musashi" di Utagawa Kuniyoshi, dalla serie "Honchō Kendō Ryakuden", Museum of Fine Arts (Boston).

In this episode Sherri has the pleasure to speak with Jeniffer Swope, curator of the "Fabric of a Nation: American Quilt Stories" exhibition at the Museum of Fine Arts, Boston. Jennifer shares information about the exhibition (which is currently up and running now) as well as a publication that can be purchased from the MFA's website. She then shares 8 different quilts that are being featured in the exhibition and speaks on the cultural and historical significance of each quilt. More information on this exhibition can be found below.Show Notes Blog Post: https://www.aquiltinglife.com/2021/10/a-quilting-life-podcast-episode-40-show-notes.html/Under the Tree (Quilt on the Wall): https://tidd.ly/3m4ZCBuPlaza (Quilt on the Table): https://tidd.ly/3prRvkyFabric of a Nation Exhibition Website (Where tickets can be purchased): https://www.mfa.org/exhibition/fabric-of-a-nationFabric of a Nation Publication: https://www.mfa.org/publication/fabric-of-a-nationFabric of a Nation: American Quilt Stories InformationQuilts and coverlets, used in North America since the 17th century, have a unique capacity to tell stories. Their tactile making by hand and their traditional use in the home impart deeply personal narratives of their creators, and the many histories they express reveal a complex record of America. Upending expectations about quilt displays—traditionally organized by region, form or motif—Fabric of a Nation: American Quilt Stories is a loosely chronological presentation that is divided into seven thematic sections and incorporates the perspectives of artists, educators, academics and activists.More than 50 works on view include remarkable examples by an under-recognized diversity of artistic hands and minds from the 17th century to today, including female and male, known and unidentified, urban and rural makers; immigrants; and Black, Latinx, Indigenous, Asian and LGBTQ+ Americans. Standouts include Pictorial Quilt (1895–98), an icon of the MFA's collection and one of only two known surviving quilts by Harriet Powers, an exceptional artist and storyteller born into slavery in 1837, and the recently acquired To God and Truth (2019), a vibrantly colorful and elaborately patterned work by contemporary artist Bisa Butler. While celebrating the artistry and intricacy of quilts and coverlets and the lives they document, the exhibition also invites visitors to consider the complicated legacies ingrained in the fabric of American life.Visit the A Quilting Life YouTube channel for more great video content: https://www.youtube.com/channel/UCmSR-jDR956ATQe30JHX87wEnjoy what you heard? Be sure to rate and review us on Apple Podcasts and your review could be read on the show! 

Today my guest is Jennifer Swope, the David & Roberta Logie Associate Curator of Textile and Fashion Arts at the Museum of Fine Arts, Boston. Their latest exhibit called Fabric of a Nation - American Quilt Stories is a rich historical presentation that spans 300 years of American Quilts. And I'll quote the website directly to share that “the remarkable examples on view are by an under recognized diversity of artistic hands and minds from the 17th century to today, including female and male, known and unidentified, urban and rural makers; immigrants; and Black, Latinx, Indigenous, Asian, and LGBTQIA+ Americans."The exhibition invites visitors to celebrate the artistry and intricacy of quilts and coverlets and the lives they document, while also considering the complicated legacies ingrained in the fabric of American life. I cannot even imagine the research and work involved in pulling together a project like this.Link to The Youtube Podcast Trailer: https://youtu.be/aEoSjj2qoTILink to the weekly giveaway: https://kingsumo.com/g/qy1g0e/qof-episode-42-giveawayLink to the Museum of Fine Arts, Boston: https://mfa.org/

Show Notes:0:57 - David and Roberta Logie Department of Textile and Fashion Arts1:01 - Museum of Fine Arts, Boston1:07 - Boston 3:08 - Winterthur Program, American Material Culture 5:29 - MFA (Museum of Fine Arts, Boston)5:36 - Fabric of a Nation: American Quilt Stories5:46 - Grab tickets to visit the Fabric of a Nation: American Quilt Stories exhibition 5:48 - MFA (Museum of Fine Arts, Boston)6:14 - Logan International Airport7:30 - Quilts and Color. The Pilgrim / Roy Collection 7:40 - Quilts and Color. The Pilgrim / Roy Collection catalogue 7:52 - MFA (Museum of Fine Arts, Boston)7:57 - Quilts of Gee's Bend8:26 and 8:44 - The Pilgrim / Roy collection 8:47, 8:51 and 9:33 - Gerald Roy8:48, 8:56 and 9:38 - Paul Pilgrim9:06 - Josef Albers9:48 - Brimfield10:02 and 10:05 - Amish12:11- Quilt and craft revival 12:23 - Studio craft movement14:24 - Carla Hemlock14:26 - Kahnawake Mohawk14:33 - Beading work 15:39 - Ivy league school17:46 - The Ann and Graham Gund Gallery19:17 - Foam core galleries19:29 - Quilts and Color. The Pilgrim / Roy Collection 19:44 - Fabric of a Nation: American Quilt Stories exhibition 20:09 - Foam core galleries20:15 - Kyla Hygysician22:48 - Poston Internment Camp22:50 - Arizona22:52 - World War II22:52 - Masako Hirata22:53 - Quilt by Japanese American kids in the Poston Internment Camp22:56 - Masako Hirata's fourth grade class 23:04 - National Japanese American Historical Society 23:05 - San Francisco23:35 - Harriet Powers's Bible Quilt23:39 - MFA (Museum of Fine Arts, Boston)23:40 - Harriet Powers's Pictorial quilt23:49 - Harriet Powers24:30 - Michael Thorpe (@iversonsdurag)24:21 - New York 24:23 - Newton, Massachusetts24:31 - Longarm quilting machine 24:37 - George Floyd24:46 - Michael Thorpe's quilt and poem 25:00 - Applique26:48 - Poston Internment Camp fourth grade class quilt 26:56 - World War II27:03 - Civil War27:10 - Applique 28:12 - Civil War29:10 - Harriet Powers29:53 - Harriet Powers's Pictorial quilt29:55 - Memphis World Fair of 189731:07 - Museum of Fine Arts, Boston32:43 - Steely Dead32:46 - Denver33:24 - John and Hank Green 33:34 - Indiana33:47 - Quilt Buzz34:10 - Log Cabin traditional quilt block 34:14 - Four-Patch traditional quilt block 34:16 - Nine-Patch traditional quilt block34:30 - Gerald Roy34:34 - Paul Pilgrim34:57 - Resist-dyed textile techniques 36:22 - Wholecloth quilts 36:23 - Victorian Crazy quilts 36:25 - Traditional sampler quilts 36:53 - Harriet Powers36:59 - Fabric of a Nation: American Quilt Stories exhibition 37:05 - Quilts and Color. The Pilgrim / Roy Collection exhibition 37:11 - Faith Ringgold's quilt, Dream 2: King of the Sisterhood (1988)37:36 - Fabric of a Nation: American Quilt Stories exhibition 37:38 - Applique37:47 - Tie dye37:53 - Faith Ringgold37:54 - Sharpie28:05 - Dr Martin Luther King 38:09 - Fannie Lou Hamer38L10 - Rosa Parks38:16 - Civil Rights movement38:25 - Sylvia Hernández38:26 - Williamsburg, Brooklyn38:44 and 38:54 - Connecticut 39:42 - Faith Ringgold39:45 - Harriet Powers39:55 - Susan Hoffman 40:02 - Bisa Butler 40:08 - Fabric of a Nation: American Quilt Stories exhibition 40:56 - Museum of Fine Arts, Boston website41:21 - MFA (Museum of Fine Arts, Boston)Click here for more information on Fabric of a Nation: American Quilt Stories and how to visit the museumFollow us:Amanda: @broadclothstudio https://broadclothstudio.com/Wendy: @the.weekendquilter https://the-weekendquilter.com/Anna: @waxandwanestudiohttps://www.waxandwanestudio.com/Quilt Buzz: @quilt.buzzhttps://quiltbuzzpodcast.com/Intro/Outro Music:Golden Hour by Vlad Gluschenko

The 15th episode of the Quilting Stories podcast features an interview with Jennifer Swope, the David and Roberta Logie Associate Curator of Textile and Fashion Arts at the Museum of Fine Arts Boston. Swope is the curator of the new MFA Boston exhibit - Fabric of a Nation: American Quilt Stories.

This week we're joined by the talented Julia S. Powell, an acclaimed Cambridge, MA-based artist who specializes in oil and watercolor paintings. Julia's work has been featured in publications like Marie Claire, Boston Magazine, and Architectural Digest. In 2017, she was chosen as the VIP print artist for the Museum of Fine Arts Boston 2017 Summer Gala. Julia's work has also sold at auction at the New Britain Museum of American Art and the Peabody Essex Museum. On today's episode, Julia will be sharing the inspiration behind her work and what tools artists need to turn their passions into full-time careers. Follow Julia's Journey: Instagram: @juliaspowellart Learn more about her work: https://www.juliaspowell.com/

Guest Info/Bio: This week I welcome Dr. Lisa Fagin Davis. We talk all about the history and mystery behind the Voynich Manuscript. Dr. Davis received her PhD in Medieval Studies from Yale University in 1993. She has catalogued medieval manuscript collections at Yale University, the University of Pennsylvania, the Wallers Art Museum, Wellesley College, the Museum of Fine Arts Boston, the Boston Public Library, and several private collections. Guest (select) Publications: The Catalogue of Medieval and Renaissance Manuscripts at Beinecke Rare Book and Manuscript Library; The Gottschalk Antiphonary, and numbers articles in the fields of manuscript studies and codicology.Guest Website/Social Media:https://manuscriptroadtrip.wordpress.com Twitter: @Lisafdavis Stay on top of all the latest by following the show at:Instagram: @thefromthevoidpodastFacebook: @thefromthevoidpodcastTwitter: @thefromthevoidpodcast The From the Void Podcast is written, edited, mixed, and produced by John Williamson. 

Artist Bisa Butler at the Art Institute of Chicago. phot: John J. Kim. Bisa Butler was born in Orange, NJ, the daughter of a college president and a French teacher. She was raised in South Orange and the youngest of four siblings.  Butler's artistic talent was first recognized at the age of four, when she won a blue ribbon in an art competition. Formally trained , Butler graduated Cum Laude from Howard University with a Bachelor's in Fine Art degree.  It was during her education at Howard that Butler was able to refine her natural talents under the tutelage of lecturers such as Lois Mailou Jones, Elizabeth Catlett, Jeff Donaldson and Ernie Barnes. She began to experiment with fabric as a medium and became interested in collage techniques. Butler then went on to earn a Masters in Art from Montclair State University in 2005. While in the process of obtaining her Masters degree Butler took a Fiber Arts class where she had an artistic epiphany and she finally realized how to express her art.   "As a child, I was always watching my mother and grandmother sew, and they taught me. After that class, I made a portrait quilt for my grandmother on her deathbed, and I have been making art quilts  ever since." Bisa Butler was a high school art teacher for 10 years in the Newark Public Schools and 3 years at Columbia High School in Maplewood, New Jersey. In February 2021 Bisa was awarded a United States Artist fellowship.Butler's work is currently the focus of a solo exhibition at the Art Institute of Chicago, the second stop of a traveling exhibit which began at the Katonah Museum of Art. She is represented by the Claire Oliver Gallery of New York. Butlers work has been acquired by many private and public collections including The Smithsonian's National Museum of African American History and Culture,The Los Angeles County Museum of Art, The Art Institute of Chicago, The Museum of Fine Arts Boston, The Nelson-Adkins Museum , 21cMuseum Hotels, The Kemper Museum of Art, The Orlando Museum of Art, The Newark Museum, The Toledo Museum of Art and the Minneapolis Institute of Art. *Don't Tread On Me , God Damn, Let's Go! ; The Harlem Hellfighters, 2021 Cotton, silk, wool and velvet * a work in progress, Photo by Bisa Butler I Go To Prepare A Place For You, Harriet Tubman's last words ,2021 Cotton, silk ,wool and velvet 120” x 120” Quilted and appliquéd Photo by John Butler

Mark Joshua Epstein is a gifted storyteller and artist. If you want a great evening, hang out with Mark and talk about what you are working on and be prepared to laugh and think differently about what you have created. Born in Rockville, Maryland, Mark spent his early school years at a conservative Jewish Day School and his summers at a progressive camp learning about Third Wave Feminism. This duality in his formative years hints at his later exploration for a new and alternative space in his work. Something that pushes back and asks why it must be one way or another, both or neither. He achieves this by stacking fiberglass shapes to create new forms that function as a shaped canvas but also protrude slightly to make you question if it is also a sculpture. What is the line? Is there a line and if so, should it be there?   This questioning also arises in the pattern that is applied to the work. Some of the pattern points to op-art while other areas remind us of the hand and tools making the piece. In Nothing Matters When We’re Dancing, Ink splotches are dripped onto the surface and encapsulated by a line forming a circle. This pattern radiates out and brings to mind cells in the body.  His knack for storytelling comes through in his titles such as Small Talk at the Salad Bar. These titles add another level to his work. The seemingly abstract pieces begin to shift just enough for us to see a figure, or what could be a stand in at least, challenging us to wonder, does the piece have to be either or?   Mark Joshua Epstein is an artist, educator and curator. He received an MFA from the Slade School of Fine Arts, University College London, and a BFA from the School of the Museum of Fine Arts Boston. Epstein has had solo or two person shows at Ortega y Gasset Projects’ Skirt Space (Brooklyn, NY) SPRING/BREAK Art Show (NY, NY), Handwerker Gallery, Ithaca College (Ithaca, NY), NARS Foundation Project Space (Brooklyn, NY), Caustic Coastal (Salford, England) Vane Gallery (Newcastle, England), Demo Project (Springfield, IL), Biquini Wax Gallery (Mexico City, Mexico), Breve (Mexico City, Mexico) and Brian Morris Gallery (New York, NY).    Selected group shows include Arlington Arts Center (Arlington, VA), Des Moines Art Center (Des Moines, IA), Collar Works (Troy, NY), Good Children Gallery (New Orleans, LA), Monaco (St Louis, MO), DAAP Galleries at the University of Cincinnati (Cincinnati, OH), and Beverly’s (New York, NY).    Epstein has been a resident at Vermont Studio Center, Millay Colony, Jentel Foundation, Macdowell Colony, KHN Center for the Arts, I-Park and Saltonstall Foundation amongst others. His work has appeared in publications such as New American Paintings, Art Maze Magazine and Dovetail. He works as a lecturer at the Penny Stamps School of Art and Design, at the University of Michigan.   “Reckoning with the change that accompanies a new studio and landscape, new shaped paintings, my largest to date, delve deeper into queer ornament and graphic excess, while limiting their color schemes. Taking inspiration from pattern and decoration, op art, and furniture design, these works continue the use of ornate patterning and overlapping panels that confound perception, while relishing in a new discomfort of compositional order. One painting’s title, Finding refuge in inefficiency (2021), nods to the pleasures found in the laborious and time-consuming nature of pattern-making exemplified in these recent works. And, as with earlier paintings, these works continue to challenge a viewer’s sense of taste and orientation.   Recent photographs, stemming from an interest in index and documentation, further emphasize my painting process. The images reproduce hand-made cut-outs, created from scraps of paper, which I often use to generate repetitive patterns within my paintings. Normally meant to deliver flatness and depth, shape and form to my fiberglass surfaces, the cut-outs in these photographs reframe the landscape immediately surrounding my studio.   My current work, both in painting and photography, refuses the either/or of binary polarities and opposing geographic pulls. All the while, by latticing together different planes, motifs, and marks, my work never forgets its own amusement.”-MJE   TAKEAWAYS FROM THIS EPISODE:   -Growing up with progressive summers and a conservative school year -Dealing with anxiety due to change -Moving to Canada to pursue a different major -Gap Year - “Leap and then Look” -Graduate School in London -Working in museum education -Interior Spaces and being inspired by his grandfather -Excubert rooms and wild interiors -Hustling in the art world -Making work that takes time -Bathroom colors -Leaving NYC -Leaving a little bit at a time -his current show -Staying open when curating a space   ARTIST SHOUTOUTS: Christian Maychack @cmaychack Yvette Molina @yvette_molina Adam Liam Rose @adamliamrose Zahar Vaks @zaharvaks Elizabeth McMahon @elizabethwmcmahon   LINKS:  Website: www.markjoshuaepstein.com Instagram: @markjoshuaepstein Current solo show at Ortega y Gasset: www.oygprojects.com/the-skirt-current Current group show at Arlington Arts Center: www.arlingtonartscenter.org/exhibits/2021/stretched/ Upcoming outdoor group show in New York: www.bravinlee.com/regrowth-riverside     I Like Your Work Links:   I Like Your Work Podcast Studio Planner Instagram Submit Work Observations on Applying to Juried Shows

Vincent Desiderio is a titan of contemporary painting. He is a Senior Critic at the New York Academy of Art and has been a visiting professor at numerous universities both in the US and abroad. He is the recipient of honorary doctorates from both the New York Academy of Art and the Lyme Academy. His work can be found in some of the most important public collections in the world, including: The Metropolitan Museum of Art, The Guggenheim Museum, The Hirshhorn Museum, the Museum of Fine Arts Boston, and many more. Numerous articles about Vincent have appeared in notable publications such as The New York Times, The New Yorker, Art Forum, Art in America, Art News, and more.For more from Vincent Desiderio:Website: http://www.vincent-desiderio.com/Instagram: https://www.instagram.com/vincent_desiderio/ For more from Ken Goshen:Website: https://www.kengoshen.comInstagram: https://www.instagram.com/kengoshen/Patreon: https://www.patreon.com/kengoshenYouTube: https://www.youtube.com/kengoshenTo support the ART'S COOL podcast please visit: https://www.patreon.com/kengoshenMusic by Adaam James

Victoria Chapman founded VC Projects in 2014, out of a desire to aide artists and curators with both gallery and museum exhibitions. Her services also include art advisory, proposal writing, and social media outreach. Victoria studied at The School of the Museum of Fine Arts Boston, at Tufts University, starting her professional career early, working at the college art gallery and at The Isabella Stewart Gardner Museum. Over the course of the next 30 years she worked with Victoria and Albert Museum, London, Laguna Art Museum and Orange County Museum of Art, Newport Beach. As an Art Director for Daniel Fine Art Services, Laguna Beach she curated art collections domestically and internationally for the hospitality sector. She was then an Associate Director at Art Cube Gallery, Laguna Beach. In 2019 she co-authored a book with Los Angeles based International artist Shane Guffogg, and now divides her time supporting Shane and other artists, assisting Hollywood galleries including The Lodge, and with curatorial support for  Italian based, Cultural Institutions; Casa Regis: Center for Culture and Contemporary Art, and Villa Emma artist residency.Last year, she introduced many new initiatives, including the 'Artists in Isolation' series on Instagram TV, which consisted of detailed interviews about each artists state during lockdown. 

Art can be both intellectually rigorous and conceptually accessible without compromising either value—I think it comes closest to its purpose when it is.”Dave Cole was raised on his family's farm in New Hampshire, and grew up working in his grandfathers blacksmith shop.  As a sculptor, Cole has become known for his large-scale work and his unconventional uses of industrial machines and materials. His installation work especially is known for its ability to successfully engage diverse audiences with conceptually challenging contemporary art.Cole has exhibited nationally and internationally including Museum shows at The Smithsonian American Art Museum, The Museum of Arts And Design (New York) The Museum of Fine Arts (Boston), MASS MoCA, The DeCordova Sculpture Park and Museum; The Aldrich Museum, The Norwegian National Museum, The Haifa Museum of Art  and The National Museum of the Netherlands. Cole's work is included in both public and private collections internationally, including the permanent collections of the Smithsonian American Art Museum, The Museum of Fine Arts Boston, and Brown University. ConnectFollow us on Instagram @curiousdrivenoutliersEmail us: info@kairoscognition.comwebsite: https://www.kairoscognition.comFree Cognitive Preference Surveyhttps://www.kairoscognition.com/surveys/da21b793beb5de

With several Boston city councilors eyeing the mayor's office, contenders are gathering support to fill their soon-to-be-empty seats. Plus, as the April deadline of the CDC's eviction moratorium closes in, subletters find themselves stuck in the legal margins. And Gov. Baker's administration plans a study to re-imagine work after the pandemic. Those stories and more in our Local News Roundtable. Guests: Gin Dumcius - digital editor for the Boston Business Journal. Seth Daniel - senior reporter with the Independent News Group, which includes the Chelsea Record and Revere Journal. Sue O'Connell - political commentator for NECN and co-publisher of Bay Windows and South End News. Later in the show: Across pop culture and sports, there's a resurgence of posthumus recognition for Jean-Michel Basquiat, the graffiti artist turned Manhattan art scene sensation. The work of the Afro-Latino artist and his influence on today's hip hop culture is highlighted in a new exhibition at Boston's Museum of Fine Arts called “Writing the Future: Jean-Michel Basquiat and the Hip Hop Generation.” Guests: Greg Tate- writer, musician, and co-curator of the Museum of Fine Arts Boston's exhibition. Jordana Moore Saggese- associate professor of American art at the University of Maryland, College Park and author of ‘Reading Basquiat: Exploring Ambivalence in American Art.' Credits: Under the Radar with Callie Crossley is a production of GBH, produced by Wes Martin and Hannah Uebele and engineered by Dave Goodman and Gary Mott. Angela Yang is our intern. Our theme music is FISH AND CHIPS by #weare2saxys', Grace Kelly and Leo P.

Molly Segal is an artist and teacher from Oakland, California who lives and works in Los Angeles. Her use of watercolour on a slick, plastic paper highlights her artistic process and results in powerful paintings that provoke a lasting visceral response for the viewer. Segal describes her paintings as works “that explore fragile connections and limited reserves, both environmentally and emotionally. Segal’s work has appeared in exhibitions throughout the US including Charlie James Gallery, The Museum of Fine Arts Boston, Zevitas Marcus, and Northeastern Gallery 360. Her work has also been in publications including Full Blede, Venison Quarterly, Beautiful Decay, and Lapham’s Quarterly. Note: Correction; in the episode, Molly refers to the 'London Calling' exhibition, which was at The Getty in 2016, rather than the Hammer Museum.

This episode also has a fantastic video version on our Youtube ( https://www.youtube.com/channel/UC7c7uZzekX3Q-nF4ew0KlOg/featured ) channel You can find the step-step origami tutorials on Facebook ( https://www.facebook.com/Polydott ) and Instagram ( https://www.instagram.com/polydott/ ) , we have a lot more interesting content on there, so just follow us and stay tuned ! :)

This week we met with interdisciplinary artist Kate Wildman. Currently based in Boston, MA, Kate has attended artist residencies in New England and Denmark and has shown in various galleries all across greater Boston. In this episode we discussed her recent exhibition of The Unborn Selves of the Invisible Pleasure Plane at The Museum of Fine Arts Boston. We also touched upon the frustrating myth that people need to academically understand art to enjoy it, the unseen labor of artists, and how art institutions can both drive and limit creativity. You can follow her on instagram @k8_wildman and view her breadth of work on katherinewildman.com. Kate's Artist picks of the week: Anthony Peyton Young, Kim Barnes, and Henry Kunkel.

Steve and Katie discuss the recent deaccessioning controversies at the Brooklyn Museum, Baltimore Museum of Art, and Everson Museum of Art in light of the ethical guidelines, new AAMD guidance, and the economic and social climate. They also discuss the recent postponement of the Philip Guston retrospective at the National Gallery, Tate Modern, Museum of Fine Arts Houston, and Museum of Fine Arts Boston due to its depiction of white nationalism and the criticisms of that decision. Please note there have been developments on all these topics since our recording, so please see the resources links for up to date information. Resources: AAMD: https://aamd.org/for-the-media/press-release/aamd-board-of-trustees-approves-resolution-to-provide-additional https://www.theartnewspaper.com/news/aamd-sends-a-warning-note-to-museum-directors-on-deaccessioning Brooklyn Museum: https://www.nytimes.com/2020/09/16/arts/design/brooklyn-museum-sale-christies-coronavirus.html https://www.theartnewspaper.com/news/brooklyn-museum-steams-ahead-on-deaccessioning https://www.artforum.com/news/brooklyn-museum-continues-deaccessioning-spree-84242 https://www.artmarketmonitor.com/2020/10/16/brooklyn-museum-to-sell-monet-miro-degas-and-more-at-sothebys-in-second-deaccesioning-round/ Everson Museum of Art: https://www.latimes.com/entertainment-arts/story/2020-09-14/syracuse-museum-jackson-pollock-auction https://www.wsj.com/articles/an-art-museum-sells-its-soul-11600808127 https://www.christies.com/features/Expert-view-Jackson-Pollock-Red-Composition-10893-7.aspx https://www.syracuse.com/entertainment/2020/10/everson-museums-jackson-pollock-painting-sells-for-12-million-at-auction.html https://www.theartnewspaper.com/news/to-mirror-and-support-community-everson-museum-board-chair-defends-deaccessioning-of-a-pollock Baltimore Museum of Art: https://www.nytimes.com/2020/10/02/arts/design/baltimore-museum-deaccessioning.html?smid=tw-nytimesarts&smtyp=cur https://www.artnews.com/art-news/market/baltimore-museum-of-art-deaccessioning-works-sothebys-1234572422/ https://www.theartnewspaper.com/comment/bma-curators-letter-response-to-deaccessioning https://www.artnews.com/art-news/news/baltimore-museum-of-art-deaccession-open-letter-1234574032/ https://www.theartnewspaper.com/news/former-trustees-and-donors-ask-state-to-block-sale-of-three-important-works-by-the-baltimore-museum-of-art https://hyperallergic.com/595171/baltimore-museum-of-art-deaccessions-condemn/?utm_campaign=Daily&utm_content=20201019&utm_medium=email&utm_source=Hyperallergic%20Newsletter https://www.latimes.com/_preview?_cms.db.previewId=00000175-37f8-da10-a57d-b7f976590000&_date= Philip Guston: https://www.artnews.com/art-news/news/philip-guston-postponement-tate-national-gallery-directors-1234572527/ https://docs.google.com/document/d/1LVXTB30hp2oNz1Vm4P8jpXgg4sIieWNbdaqWqffHcN4/edit https://www.washingtonpost.com/entertainment/museums/national-gallery-postponement-guston-show-klan-images/2020/10/07/a35adb32-0831-11eb-a166-dc429b380d10_story.html https://www.newyorker.com/magazine/2020/10/19/philip-guston-and-the-boundaries-of-art-culture https://www.nytimes.com/2020/10/28/arts/design/philip-guston-retrospective-date.html https://www.theartnewspaper.com/news/tate-suspends-senior-curator-over-guston-controversy Additional: https://www.latimes.com/entertainment-arts/story/2020-10-07/palm-springs-art-museum-deaccession-frankenthaler https://www.artnews.com/feature/most-controversial-museum-deaccessioning-plans-1234575019/

This week's guest is performance artist and educator Danielle Abrams. Danielle often embodies a cast of characters in her work that represent cross-sections of races, ethnicities, genders, and cultures. This web (or quilt, or weave as eloquently stated in the episode introduction...) of personifications embody the complexity of her own identity. Danielle is the Professor of the Practice in performance art at the School of the Museum of Fine Arts Boston. She has performed across the country including the Detroit Institute of the Arts, ICA Boston, Jewish Museum, Bronx Museum of the Arts, University of Michigan Museum of Art, Queens Museum, University of Michigan Museum of Art. Along with her collaborator Mary Ellen Strom, Danielle was recently received a residency at the Boston Center for the Arts. Every week this podcast includes a guest who is not a fine artist. This week's "Bridge to Outside of the Fine Art World" is Eric Schwartz. He is a Chicago based comedian, board member of The Playground Theater, and host of Dumb Comic Creators Podcast. Some links: http://www.danielleabrams.com/Danielle's upcoming performance at the USC Live Artists Live III: Despair/Repairhttps://calendar.usc.edu/event/live_artists_live_iii_despairrepair#.X48GTUJKhR4Danielle's performance of Great: https://www.youtube.com/watch?v=-8a5FqD8cvM&feature=youtu.beThe SMFA Art Sale: https://smfa.tufts.edu/artsale The Lemon Ice King of Corona:https://www.facebook.com/TheLemonIceKingOfCorona/ Thanks for listening! Remember to hit subscribe!    

What you’ll learn in this episode: Why Taxco became a hotbed for silver design and innovation. How the Mexican Silver Renaissance began, and what factors influenced it. How William Spratling’s silver jewelry designs made their way around the world. Which Taxco silver artists you should be following today. About Penny Morrill: Dr. Penny Morrill has developed a history of modern Mexican silver, using primary sources. She participated in establishing the Sutherland Taxco Collection at Tulane University’s Latin American Library and has assisted in the development of modern Mexican silver collections at the Los Angeles County of Museum of Art and at the Museum of Fine Arts Boston. Morrill’s books include Mexican Silver, Silver Masters of Mexico, the exhibit catalog Mastros de Plata, and Margot Van Voorhies. She remains committed to supporting contemporary Mexican silver designs. Morrill’s other passion, colonial Mesoamerican art, is revealed in her monograph on a sixteenth century urban palace in Puebla, Mexico, The Casa Del Deán. Additional Resources: Margot Van Voorhies: The Art of Mexican Enamelwork Dreaming in Silver Transcript Check out the book here! William Spratling. Carved green stone shell necklace, cuff bracelet, earrings, and ring. c. 1940-44. earl Zubkoff, photographer William Spratling.Stela 1 cuff bracelet. c. 1940. John McCloskey, photographer. Photographer: John McCloskey. (second view) Margot de Taxco. Encircled Lines. Necklace and bracelet #5652. Enamel on silver. c. 1955. Luisa DiPietro, photographer Los Castillo (Margot Van Voorhies). Surrealist Fish. c. 1940-44.  Luisa DiPietro, photographer

Fine artist and painter Brooke Stewart is the guest this week on "Fine" Art Podcast! Brooke is a painter and printer, with an MFA from The School of the Museum of Fine Arts at Tufts University. She is currently a lecturer Northeastern University. Her work addresses female identity, gender roles and sports. She has recently shown work in the Museum of Fine Arts Boston, Contemporary Print in Austin TX,  The St. Louis Artist Guild in Missouri, and at the North American Print Biannual at the Jewett Art Center at Wellesley College. She is published in edition #41 and #42 of New American Paintings. She was selected by the Art Department at Wellesley College for the 2020-2021 Alice C. Cole ’42 Merit Grant in Studio Art. In this episode we talk about how Brooke got started in the arts, her college basketball career, her masters program and her influences. We also discuss her upcoming show at the Distillery Gallery in Boston and her new work that will be in that show. Plus, we talk about her love of floors!Follow along with the paintings being discussed on her website https://brookestewartart.com  They are right on her homepage. We tried to keep it podcast-friendly but it might help if you want to see the paintings she's talking about. Find her on Instagram! @brooke_stewart_art

Stage Manager Supply Co Podcast Episode 8 // James Kennedy ✨This week I chat with James Kennedy about his career as a playwright, composer, and director in New York. Hot topics include: discerning your vocations, James’s creative process, how mentorship and personal relationships intertwine, and of course, working with Stage Managers! The Okra Project: https://www.theokraproject.comJames’s Website: https://www.jameshkennedy.comJames’s Twitter: https://twitter.com/jamesholod✨ l i n k s ✨The Defining Decade: Why Your Twenties Matter--And How to Make the Most of Them Now: https://amzn.to/32DrIsz (Claire Book Rec)Actors Theatre of Louisville: https://www.actorstheatre.orgHumana Festival of New American Plays: https://www.actorstheatre.org/humana-festival/Washington National Opera: https://www.kennedy-center.org/wno/home/The Kennedy Center https://www.kennedy-center.orgWilliamstown Theatre Festival https://wtfestival.orgMuseum of Fine Arts Boston https://www.mfa.orgSuperhero Clubhouse http://www.superheroclubhouse.orgPlaying for Others https://playingforothers.orgThe Orchard Project http://secure.orchardproject.comThe Lark Play: https://www.larktheatre.orgHartford Stage: https://www.hartfordstage.org✨ c r e d i t s ✨Music by Mark Generous - Pure Chamomile - https://thmatc.co/?l=7E4C5D3B

What if we were to say that Buffy the Vampire Slayer is a Modern Medieval text, and that Buffy is a modern day saint, where 'saint' does not necessarily imply religion or notions of faith, but rather someone who has had a lasting impact on the people, culture & society around them? Or what about Twin Peaks' Laura Palmer? Penny Dreadful's Vanessa Ives?Intrigued?Then tune in this week to hear co-Host Meaghan Allen discuss her future PhD research on all things Buffy, Gothic-Horror and the Medieval by examining the connections between medieval saints' lives and modern day Final Girl "victim-heroes"..Icon image is a detail from "The Mystic Marriage of Saint Catherine" by Barna da Siena, about 1340. Museum of Fine Arts Boston.

On  this episode we have Rob "Problak" Gibbs. Rob is a visual artist, and organizer who grew up in Roxbury. He's one of the co-founder's for Artist For Humanity, teaching young people creative skills. He's also one of the Artist in Residence at the Museum of Fine Arts Boston. See omnystudio.com/policies/listener for privacy information.

This one goes a bit deeper into the art that was made in Ancient Egypt. Intro/Outro music is called "Creative Minds from www.bensound.com. Cover photo come from Google Images. Research: https://en.wikipedia.org/wiki/Art_of_ancient_Egypt Berman, Lawrence, Freed, Rita E., and Doxey, Denise. Arts of Ancient Egypt. p.193. Museum of Fine Arts Boston. 2003. ISBN 0-87846-661-4 Smith, W. Stevenson, and Simpson, William Kelly. The Art and Architecture of Ancient Egypt, 3rd ed. 1998, Yale University Press (Penguin/Yale History of Art), ISBN 0300077475 The Art of Ancient Egypt. A resource for educators (PDF). New York: The Metropolitan Museum of Art. p. 44. Retrieved July 7, 2013 Historical Atlas of Ancient Egypt, Bill Manley (1996) p. 83 "Color in Ancient Egypt". Ancient History Encyclopedia. Retrieved 2018-10-04. Lacovara, Peter; Markowitz, Yvonne J. (2001). "Materials and Techniques in Egyptian Art". The Collector's Eye: Masterpieces of Egyptian Art from the Thalassic Collection, Ltd. Atlanta: Michael C. Carlos Museum. pp. XXIII–XXVIII. "Egyptian Book of the Dead". Ancient History Encyclopedia. Retrieved 2019-04-23. Sweeney, Deborah (2004). "Forever Young? The Representation of Older and Ageing Women in Ancient Egyptian Art". Journal of the American Research Center in Egypt. 41: 67–84. doi:10.2307/20297188. JSTOR 20297188. Jenner, Jan (2008). Ancient Civilizations. Toronto: Scholastic. Social Networks: Twitter: https://twitter.com/Wolfiebits99 Facebook: https://www.facebook.com/wolfiesartadventure/ YouTube: https://www.youtube.com/user/shadowwolfform99

Thank you for tuning in to Episode 177 of the Down Cellar Studio Podcast. Full show notes and photos can be found on my website. Click here.  This week’s segments included: Off the Needles On the Needles Brainstorming From the Armchair KAL News Events Ask Me Anything Life in Focus On a Happy Note Quote of the Week Thank you to this episode’s sponsor: Holly Press Fibers Off the Needles Velvet Bear for Ella  Pattern: Velvet Valentine Crochet Bear by Sarah Zimmerman Yarn: Bernat Velvet in the Burgundy Mulled Rose & Violet colorways Hook: H Velvet Bear for Carina Pattern: Velvet Valentine Crochet Bear by Sarah Zimmerman Yarn: Bernat Velvet in the Burgundy Mulled Rose & Violet colorways Hook: H The Parker Baby Booties Pattern: The Parker Baby Booties by Ashleigh Kiser (free crochet pattern) Yarn: Sirdar Snuggly Crofter DK Baby Fair Isle Effect Hook: D (3.25 mm) Cadet Colors Socks Pattern: OMG Heel by Megan Williams Yarn: Patons Kroy FX in the Cadet Colors Colorway Needles: US 1.5 (2.5 mm) Millie and Riley knit on these socks for Uncle Dan which is special. Hattie’s Hedgehog  Pattern: Hedley the Hedgehog by by Moji-Moji Design Hook: B Yarn- Mystery yarn from stash (maybe wool/alpaca from Long Island Livestock co) Ross Farm Blanket Square  Irongate Square by Jessica Ryan (free crochet pattern). Yarn: Ross Farm Henrietta Shetland Wool 3ply sport 250 yards for 100g Hook: I 5.5 mm Bought this skein because we had a lawn ornament bunny growing up w/ same name. Sentimental May even be my first purchase from Ross Farm.  On the Needles Mom’s Frozen Socks Pattern: OMG Heel by Megan Williams Yarn: Fibernymph Dye Works Needles: US 1.5 (2.5 mm) Creepy Grafiti Socks Pattern: OMG Heel by Megan Williams Yarn: Asylum Fibers Twisted sock yarn in the Creepy Graffiti Colorway Needles: US 1.5 (2.5 mm) Front Loop Newborn Hat Pattern: Front Loop Newborn Hat by Cream of the Crop Crochet (free) Yarn: leftover fingering weight in a light blue Hook: D (3.25 mm) I’m also knitting on a new design- the details of which I can’t share yet. Pigskin Party ‘19 Brainstorming I’d like to make a sweater with DK weight mustard yarn I bought during yarn haul in Sept. My plan is to swatch to get a gauge I like and then use the advanced Search on Ravelry to find a sweater that’s knit at that gauge. Hat for my brother for his birthday. Monkey for Millie’s 8th birthday- leaning towards the Chinese New Year Monkey by Stephanie Jessica Lau.   I need to repair a pair of Mom’s socks & Jeff’s Ice Time hat.   From the Armchair I shared my review of the Yarnable Subscription Box.  Knitwise09 asked what I thought of Paintbox yarn. So far I’m really liking my socks with this yarn. Keep in mind, socks are usually knit at a tighter gauge which can help prevent pilling. KAL News I announced the winner for the last of the Slay the Stash KAL months. Tune in to see if you won! New for 2020: Quarterly Quests! Get all of the details here.  January 1- March 31 – sQuelch the Queue Knit any projects you had in your queue (prior to January 1). Knit as many as you can. You will receive extra entries for any patterns that have been sitting in your queue for over 5 years. Fine print* NO WIPS are allowed for these quests. Cast on the first day of the quest and whatever is finished by the last day will count. We are looking for Prizes for this KAL. If you’re interested- please let me know! I’m also offering a discount on ads if you sponsor this KAL, Splash Pad or Pigskin. Emails went out to those on my newsletter this week. Sign up for my email newsletter to be informed about sponsor options. Pigskin Party ’19! Not familiar? It’s a ridiculously fun make-a-long that runs all through the NFL football season. We typically have a couple hundred participants each year. For each FO you finish, you earn touchdown & field goal points. You also earn points for using sponsor products & fulfilling other challenges. For every 100 points earned, you get an entry into our Grand Prize drawing. We also have lots of prizes reserved for participation on Ravelry and Instagram to keep it fun and light. Everything you need to know is linked in the Start Here Thread in the Down Cellar Studio Podcast Ravelry Group including the Rules, Questions Thread, End Zone Dance Thread where you post your FOs, Coupon Code Thread, List of Prizes, Exclusive Items from our Sponsors! Pro Shop Sponsors  2 Guys Yarn Company Abstract Fiber AdoreKnit agirlandherwool Designs of Acadia (Pigskin Logo Bag) Fibernymph Dye Works Holly Press Fibers Imagined Landscapes Designs Infinite Twist JDStudios480 Jennifer Lassonde Designs Knitosophy Designs Knitters Brewing Company Knit Style Yarns Prairie Bag Works Progress Keepers by Meliabella Sunsoaked Yarns Yarn Love Snack Shack Sponsors Anne Beady Designs APLCrafts Birch Hollow Fibers Brenda Castiel Designs Creations of the Anomalous Mind Designs by Meliabella Fish Belly Fiber Works Geektastic Fibers IrocKnits Designs Kino Knits Kitchen Counter Crafter Knit/Wit Designs Leading Men Fiber Arts Legacy Fiber Artz Lilliput Yarn Lolodidit Love in Stitches Mint Rain Hand Dyed Yarns Nicole Simmons Designs Queen City Yarn Remade By Hand Designs Shanalines Designs Tangerine Designs Teal Torch Knits The Project Bag Tin Can Knits UNICORN CLEAN Wild Branch Design Windswept Designs Woodsy and Wild   Tune in to hear if you’re a December Participation Winner. Our January Interception posted & is kindly sponsored by designer Windswept Designs (Monique Leonard)!   To be eligible to win   Complete a project of at least 100 yards that does not contain any sheep’s wool. Project must have been cast on on/after 1/1/20 and completed by 1/31/20 Post your FO in this thread with a description and/or photo that shows how you’re meeting the challenge. Events Vogue Knitting Live NY is January 17-19, 2020 Wayland Winter Farmers Market Fiber Days – Jan 26 & Mar 1 2/9/20: 3rd Annual Boston Farm & Fiber Festival  at the Boston Public Market 2/28-3/1/20: NETA Spa Weekend in Freeport, ME 3/14-3/17/20: Knit North Yarn Crawl (north of Boston). Website not yet working. Stitches United – March 26-29, 2020 in Hartford, CT 3/28/20: Woolapalooza  in Lincoln, MA Ask Me Anything Knitwise09- Would you please share more details on the Christmas Open House? Is food offered? Gifts?  Adoreknitsteph: your plans for 2020, knitting wise, travel, events, health plan. Design process. And why crochet over knitting.  Tune in to hear my answers. Life in Focus Tune in to hear how I do my 2019 personal year in review. Design/Podcast/Knit  Most Proud of- exceeding my goal of 10 patterns for the year. Yarn bombing project. Really cool fun project and event. $337 National Alliance on Mental Illness Massachusetts for 103 hat sales. World of Difference Campaign in February – Sold 49 copies & donated $100 to The World of Difference Institute. I designed 2 crochet patterns. GoodReader Tutorial FINALLY published. Hosted 3 successful KALs- Slay the Stash, Splash Pad and Pigskin Parties. Participation better than ever. Growing Ravelry Group. So much engagement. New skills or knowledge. Learned crochet cables and how to make crocheted hats. Made my first top down triangular crochet shawl. Learned how to use newer version of Garageband on my laptop. First experience yarn bombing. Had to figure out how to make it big but still light and workable. My friend Beverly taught me some basic embroidery.  New habits I incorporated: Keeping better track of designs. Kept things organized in Evernote with Folders for notes about: Active Designs, Design Ideas and Stitches, Next Designs I want to work on etc. Then I also created checklists or workflows for what I always need to do when I open up a design to test, steps for publishing, steps for promoting a pattern so I can check things off as I go (or choose not to do things but if I don’t do it, its not because I forget).  New experiences– being part of collaboration with Christy Houghton. December of Designers. So honored to be asked to be a part of that!  Wish I did more of: garment knitting for me. I’m loving my handknit sweaters this winter. I’d be happy to have another in the rotation.  Wish I spent less on this year: I can’t think of any regrets in how I spent my time. You could argue I spent too much money on yarn but I usually end up loving my stash and making beautiful things.   Lessons Learned. I really enjoy designing even when it is a lot of work and a lot of math which typically I don’t enjoy. When I began my year with 10 pattern goal I wasn’t sure I’d love it but I knew designing consistently would force me into good habits and give me that chance to see how I felt.  Events & Milestones.  Participated in the 1st Annual Cape & South Shore Yarn Haul and hosted a cast on party at Yarns End. Went to Rhinebeck. Needles Up and Indie Untangled. In November- I attended Lady Dye’s 2020 Tour kick off at Gather Here! I got a spinning wheel!! Results: More email subscribers. More Instagram followers. Sold 1916 patterns in 2019 doesn’t include free pattern- Ball Band Cozy.  Knitting- 2019 FOs- 139 Gifts: 106 Socks- 24 Shawls-11 Toys- 18 Hat- 18 Sweaters- 3 2020 Goals  3 times a week (average) exercise of 20 min or more (focus on strength training)= 156 workouts 7 published patterns on Ravelry 10% more sales of designs compared to 2019 Equals 20- for 2020  20 in 2020 (Gretchen Rubin)– these are more of a bucket-list type list of things I think will enrich my life. Use up 5 gift cards  Visit 2 new cities  Kayak at Jacob’s pond  Kayak at one other new place  Get car detailed Take 4 classes/lectures (ideas: spinning, knitting, embroidery, sewing, painting) Learn to spin Pay off my car  Visit the Museum of Fine Arts Boston at least once Submit a pattern to at least 1 publication  Go camping Do 1 in-store class or event at a local yarn shop Do Plastic Free July Challenge again  Finish 2018 photo album & print Purge at least 40 things from the house Maintain my weight range Take a yoga class Go to at least 4 musicals/plays Go to the library at least twice At least 12 massages  My word of the Year for 2020: FLOURISH. This year is a year of building on the progress and successes from 2019. I will design more. I will lift more. I will be stronger. I will truly flourish.  Flourish: Verb: (of a person, animal, or other living organism) grow or develop in a healthy or vigorous way, especially as the result of a particularly favorable environment. Noun: an instance of suddenly performing or developing in an impressively successful way. Questions from Listeners: ZTphotos asked about new designs for 2020. TaraT580: New stuff you want to try your hand at designing- new stitches/combinations etc?  Phoenixknitter3 & Anna.lenzmeier- Your knitting goals for the year! TUNE IN to hear the answers. Do you have goals for 2020? How will you measure? Do you have a Word for the year? Let’s chat! Come on over to the Down Cellar Studio Podcast Ravelry Group! On a Happy Note Binging the Australian tv show Wentworth on Netflix.  My friend Laura visited over New Year’s. I brought her to the shore in my town for the first time in countless visits! We hiked together at my local state park. My favorite Zumba teacher is back teaching twice a month so made a point to get there the first Saturday of the year. I just had my annual physical and my doctor was very happy. All blood work even better than last year. I saw the new Star Wars movie with Dan  I visited my best friend who was home sick. caught up with her and brought lunch and then got to hang out with my niece Aila for the afternoon. We worked on her science project and had a monster drawing challenge. It was 66 degrees on Sunday! We opened up the house. Cleaned & organized together. Quote of the Week Doing great work is not about never making mistakes or failing. It’s about making sure those mistakes have the minimum impact on those you serve, and that your failures inspire and inform new strategies in the future.” – Cy Wakeman Thank you for tuning in! Contact Information: Ravelry: BostonJen & Down Cellar Studio Podcast Ravelry Group Twitter: Instagram: BostonJen1 Facebook: https://www.facebook.com/downcellarstudio Sign up for my email newsletter to get the latest on everything happening in the Down Cellar Studio!

What you’ll learn in this episode: How Nonie views a curator’s role within a museum. Origins of the Arts & Crafts movement and major players. Why the Arts and Crafts Movement didn’t have a particular artistic style. Why MFA is focused on showing Arts and Crafts pieces from all of the Americas in its collection. Overview of the “Boston Made: Arts and Crafts Jewelry and Metalwork” exhibit. About “Boston Made Arts and Crafts Jewelry and Metalwork” Exhibit The “Boston Made: Arts and Crafts Jewelry and Metalwork” exhibit focuses exclusively on the Arts and Crafts metalsmiths in Boston and highlights the contributions of newly empowered women artists such as Josephine Hartwell Shaw and Elizabeth Copeland, among others. “Boston Made” brings together more than 75 works, including jewelry, tableware, decorative accessories and design drawings that illuminate the passions and philosophies of this interwoven community of jewelry makers and metalsmiths. The exhibit is on display until March 29, 2020. About Nonie Gadsden Nonie Gadsden is the Katharine Lane Weems Senior Curator of American Decorative Arts and Sculpture at Museum of Fine Arts, Boston (MFA). She helped plan and install the MFA’s award-winning Art of the Americas Wing comprised of 53 galleries featuring the arts of North, Central and South America (opened 2010). Her exhibitions include “Nature, Sculpture, Abstraction and Clay: 100 Years of American Ceramics” (2015), “Sisters in Art: Women Painters and Designers from the Museum of Fine Arts, Boston” (2013) and “A New and Native Beauty: The Art and Craft of Greene & Greene” (2009). In addition to numerous articles, essays and book reviews, Nonie is the author of Art and Reform: Sara Galner, the Saturday Evening Girls and the Paul Revere Pottery (2006) and Louis Comfort Tiffany: Parakeets Window (2018), and co-author of Boston Arts and Crafts Jewelry: Frank Gardner Hale and His Circle (2018). She heads the Collections Committee of the Nichols House Museum on Boston’s Beacon Hill, serves as a Governor for the Decorative Arts Trust, and is a member of the Council of the Colonial Society of Massachusetts. Additional resources: Museum of Fine Arts, Boston Website “Boston Made: Arts and Crafts Jewelry and Metalwork” exhibit on display until March 29, 2020 Boston Arts and Crafts Jewelry: Frank Gardner Hale and His Circle (2018, MFA Publications)

Boston's Museum of Fine Arts is about to turn 150. But hitting that big round anniversary doesn't mean it's a fossilized cultural organization. Just the opposite. The MFA attitude is young, vital, experimental. We learned this when we partnered with this storied institution to redesign their membership program. In this episode of *The Resonance Test,* Brandon Tirrell, our Associate Director of Innovation Consulting, talks about the project with Katie Getchell, Chief Brand Officer and Deputy Director at the MFA, and Julia Propp, Director of Membership. What happened when we showed up slinging human-centered design? Getchell says she and Propp were surprised in that “everybody around the table kind of lit up at the idea. It wasn't as hard as maybe we might have feared.” Listen to Getchell and Propp talk about how the MFA did some bold, improvisational prototyping all on their own! This story proves than a venerable-yet-open-minded org can learn new kinds of flexibility. Or as Propp puts it: “Being comfortable with ambiguity was a muscle that we had to learn how to flex.” Hosts: Brandon Tirrell and Pete Chapin Editor: Kyp Pilalas Producer: Ken Gordon

SHOWNOTES FOR EPISODE 18:Take a virtual trip to the MFA through Google Arts & CultureLaura's favorite museum in India: Jawahar Kala Kendra, the cultural institution designed by Charles Correa in JaipurThe Zimmerli Art Museum at Rutgers University in New Brunswick, NJ, some of whose works are included in the Google Art ProjectA NYT review of “The Sultans of Deccan India: Unearthly Treasures of a Golden Age”, the 2015 exhibition and the related 2008 Symposium at the Metropolitan Museum of Art. Check out their beautiful catalogues and the lecture videos I loved for a deep dive into this world.More on Ragamala paintingsA History of God The 4,000-Year Quest of Judaism, Christianity and Islam By Karen ArmstrongA History of Boston in 50 Artifacts By Joseph M. BagleyFollow us on Instagram for more on Laura and the places, events and work we discussed in this episode!Special thanks to Aman Moroney @ Flying Carpet Productions for audio post-production engineering!

In this special guest episode, I am joined by Dr. Phoebe Segal, Mary Bryce Comstock Curator, Greek and Roman Art, at Museum of Fine Arts (Boston, MA). She gave me a one-on-one tour of their new “Daily Life in Ancient Greece” exhibit (in Gallery 212A-B) and allowed me to record our conversation while doing it.   Show Notes: http://www.thehistoryofancientgreece.com/2019/03/special-guest-episode-at-mfa-boston.html  

Dr. Emily Stoehrer is the Rita J. Kaplan and Susan B. Kaplan Curator of Jewelry at the Museum of Fine Arts (MFA), Boston, where she oversees a collection that spans 6,000 years and includes more than 22,000 objects. Over the last decade, Emily has curated numerous exhibitions at MFA Boston, lectured internationally on jewelry-related subjects, and taught courses on fashion and design. Most recently, Emily co-curated “Boston Made: Arts and Crafts Jewelry and Metalwork” and co-authored the related publication Arts and Crafts Jewelry in Boston: Frank Gardner Hale and His Circle. She was also a contributor to Maker as Muse: Women and Early Twentieth Century Art Jewelry and On and Off: Jewelry in the Wider Cultural Field. Emily is a member of the board of directors for the Society of North American Goldsmiths and is currently writing a book on jewelry and celebrity culture. She has a Ph.D. in Humanities from Salve Regina University and a master’s degree in Fashion & Textile Studies from Fashion Institute of Technology. What you’ll learn in this episode: How MFA Boston came to be one of the few museums in the United States to have a jewelry curator. The inspiration behind the “Boston Made: Arts and Crafts Jewelry and Metalwork” exhibit and the process for bringing it to life. How the historical Boston Arts and Crafts scene developed its own bold and unique jewelry style. How the recent “Past Is Present” exhibition highlighted MFA Boston’s revival jewelry collection. Advice for starting out in the field of jewelry history and curation. Additional resources: Website: www.mfa.org Boston Made: Arts and Crafts Jewelry and Metalwork exhibit: https://www.mfa.org/exhibitions/boston-made Arts and Crafts Jewelry in Boston: Frank Gardner Hale and His Circle:https://www.mfa.org/collections/publications/arts-and-crafts-jewelry-in-boston MFA Boston Facebook: https://www.facebook.com/mfaboston MFA Boston Twitter: @mfaBoston MFA Boston Instagram: @mfaBoston Emily’s Instagram: @jewelcurator Emily’s LinkedIn: https://www.linkedin.com/in/emily-stoehrer-9b9b3014/

Brendan Ciecko is the founder and CEO of Cuseum. Ciecko founded Cuseum in 2014 with the mission of helping museums, public attractions, and nonprofits engage their visitors and members using the power of digital. Today, Cuseum works with over 100 cultural institutions around the globe, has raised over $1.4M in funding, and is backed by Techstars, one of the world's top startup accelerators. Prior to Cuseum, Ciecko started Ten Minute Media, an agency that specializes in digital media and creative services for the music entertainment industry. Since its official establishment in 2003, Ten Minute Media has acquired a flourishing list of clients including some of the biggest names in entertainment. Ciecko's entrepreneurial career and projects have gained the attention of the national press. In October of 2008, Ciecko appeared on the cover of Inc. Magazine in the feature article, Cool, Determined, Under 30: Meet the brains behind America's smartest new companies. He has also appeared in Entrepreneur Magazine, Fast Company, New York Times, The Guardian, BMW Magazine, Boston Globe, PC Magazine and was a national finalist of the Global Student Entrepreneur Awards. He holds two patents in the area of mobile technology. He currently sits on the Steering Committee of the Museum Council at Museum of Fine Arts Boston, the Digital Advisory Board at the Neue Galerie New York, and Community Advisory Board for the Massachusetts International Festival of the Arts. Ciecko has also served on the Massachusetts "It's All Here" Advisory Board, Board of Washington Gateway Main Streets, Boston's ONEin3 Council, and Regional Leadership Team of Technology for Obama. Ciecko's work has been exhibited at the Commonweath Museum in Boston, MA and is in the digital archives of the Klingspor Museum in Germany. Brendan currently lives in Boston, MA with his wife Elizabeth and their little dog Misiu. Learn more about your ad choices. Visit megaphone.fm/adchoices

Sedrick Huckaby is a Fort Worth-based artist known for his large-scale, impasto paintings that reflect his faith, his family history and his community. A native of Fort Worth, Sedrick studied art initially at Texas Weslyan before obtaining his BFA from Boston University and his MFA from Yale. He has gained notoriety nationwide for his large-scale portraits of family and community members, as well as large-scale paintings of family quilts which serve as allegory for themes of family and faith. Widely exhibited and collected, Sedrick’s work resides in the permanent collections of a variety of private and public institutions, including the Amon Carter Museum of American Art, The Art Institute of Chicago, the Museum of Fine Arts – Boston, SFMOMA, and the Whitney Museum of American Art. Sedrick is represented in Dallas by Valley House Gallery.I recently sat down with Sedrick at his grandmother’s former residence in Fort Worth which he has converted into an artist studio where we discussed growing up in Fort Worth, the work of Henry O. Tanner, authenticity, faith, family, heritage and “The Pit.”

Sedrick Huckaby is a Fort Worth-based artist known for his large-scale, impasto paintings that reflect his faith, his family history and his community. A native of Fort Worth, Sedrick studied art initially at Texas Weslyan before obtaining his BFA from Boston University and his MFA from Yale. He has gained notoriety nationwide for his large-scale portraits of family and community members, as well as large-scale paintings of family quilts which serve as allegory for themes of family and faith. Widely exhibited and collected, Sedrick’s work resides in the permanent collections of a variety of private and public institutions, including the Amon Carter Museum of American Art, The Art Institute of Chicago, the Museum of Fine Arts – Boston, SFMOMA, and the Whitney Museum of American Art. Sedrick is represented in Dallas by Valley House Gallery.I recently sat down with Sedrick at his grandmother’s former residence in Fort Worth which he has converted into an artist studio where we discussed growing up in Fort Worth, the work of Henry O. Tanner, authenticity, faith, family, heritage and “The Pit.”

Naija Beta is a documentary that follows a team of Nigerian and Nigerian-American MIT students who dream of shaking up education in Nigeria and head to Lagos one summer to teach technology to high-schoolers through a competitive robotics camp. As they seek to contribute to a new and better Nigeria, their ideals are tested by reality. Arthur Musah is the film's director and hails from Ghana and Ukraine. Naija Beta premiered in 2016 at the Pan African International Film Festival in Cannes, and won Best Documentary Feature at the Urban Mediamakers Film Festival in Atlanta, an Achievement in Documentary Film Award at the Silicon Valley African Film Festival, and the High Output Director Award at the Arlington International Film Festival. Naija Beta was also screened at the Museum of Fine Arts Boston, where it won Best Documentary Short Film at the Roxbury International Film Festival. Arthur continues his exploration of African identities in a globalised age through his upcoming feature One Day I Go Fly. Arthur studied filmmaking in the MFA program at the University of Southern California as an Annenberg Fellow, and holds a bachelor͛s and a master͛s in Electrical Engineering and Computer Science from the Massachusetts Institute of Technology.

Each June 19, thousands of people across America and around the world, including right here in Boston, will celebrate Juneteenth – first celebrated on June 19, 1865 – 152 years ago. That is the day when enslaved people in Texas found out they were free. The event, which first had most meaning for the people of Texas, has now become an observance that recognizes the history but embraces the broader issue of freedom today. Guests: Barry Gaither, director and curator of the Museum of the National Center of Afro-American Artists, and special consultant at the Museum of Fine Arts Boston; Malia Lazu, president of Epicenter Community Inc., and former executive director and co-founder of Future Boston Alliance; and Napoleon Jones-Henderson, visual artist and early member of the historic African-American artist collective known as AfriCOBRA.

This week we are joined by Kristen Gresh, curator of the new exhibit at the Museum of Fine Arts Boston: "Memory Unearthed: The Lodz Ghetto Photographs of Henryk Ross." This exhibit, now on display, tells the intimate story of life in the ghetto through the lens of one of the few individuals who survived it. Episode 0145 April 28, 2017 Yiddish Book Center Amherst, Massachusetts

In this episode, we learn about the exciting new changes coming to the Cincinnati Shakespeare Company and also take a look at Ophelia and Laertes by Benjamin West. Other talking points include: impressing teens with Pearl Jam, winning at Shakespeare, Royal Looky-loos, Santa stick man, the birth of puke, King Lear in Detroit. Hosted by Russell Ihrig. Theme song: Offrande Musicale by Bacalao For more info and other programs, visit: cincinnatiartmuseum.org/ Links: Cincinnati Shakespeare Company: https://cincyshakes.com/ Detroit's King Lear: http://www.dia.org/object-info/1f5a75ba-5312-48bc-9613-7e448f36622a.aspx?position=4 Museum of Fine Arts Boston's larger King Lear painting: http://www.mfa.org/collections/object/king-lear-34327

Jesse is joined by Laura Mandel, executive director of the Jewish Arts Collaborative, to discuss “Memory Unearthed: The Lodz Ghetto Photographs of Henryk Ross” with Kristen Gresh, the Estrellita and Yousuf Karsh Curator of Photographs at the Museum of Fine Arts Boston. This upcoming exhibition tells the story of Henryk Ross, the bureaucratic photographer for the Jewish Administration inside Poland's Lodz Ghetto. Unofficially—and at great risk—Ross documented the complex realities of life under Nazi rule, from the relative privileges enjoyed by the elites to the deportation of thousands to death camps at Auschwitz and Chelmno. Hoping to preserve a historical record, Ross buried his negatives in 1944. He returned to them after Lodz's liberation, discovering more than half of the original 6,000 survived. We talk about how Ross was able to save these photos, how he took them and what photography means to us today. Find more on the exhibition here: http://www.mfa.org/exhibitions/memory-unearthed

Kristen Hoskins, Curator of Lectures, Courses, and Concerts at the Museum of Fine Arts Boston, stops by to talk about the fall season of exhibitions, including Frances Stark and Christian Marclay’s 24-hour film The Clock. Air date: September 9, 2016

It's easy to think of globalization as a new invention, but it really has its roots in the 16th century. Museum of Fine Arts Boston curator Dennis Carr talks to us about Asian influences on art in the colonial Americas thanks to this global trade. Learn more about your ad-choices at https://news.iheart.com/podcast-advertisers

This week: Duncan and Abigail talk to Sam Gould. Sam Gould is co-founder of Red76, a collaborative art practice which originated in Portland, Oregon in 2000. Along with his work as the instigator and core-facilitator of many of the groups initiatives, Gould is the acting editor of its publication, the Journal of Radical Shimming. He full-time visiting faculty within the Text and Image Arts Department of the School of the Museum of Fine Arts Boston, as well the Director of Education for the Institute of Contemporary Art at the Maine College of Art in Portland, ME. Formerly Gould was a senior lecturer at the California College of the Arts in San Francisco, Ca. within the Graduate Fine Arts Dept. for Social Practice. He is a frequent guest lecturer at schools and spaces around the United States and abroad, and has activated projects and lectures on street corners, in laundromats, bars, and kitchen tables, as well as through collaborations with museums and institutions such as SF MoMA; the Walker Arts Center; the Drawing Center; the Bureau for Open Culture; Institute for Art, Religion, and Social Justice at Union Theological Seminary; ArtSpeak; Printed Matter; the Cooper Union; the New Museum/Rhizome; Manifesta8; and many other institutions and spaces worldwide. He was one of nine nominees for the de Menil Collection's 2006 Walter Hopps Award for Curatorial Achievement, is a founding "keyholder" of MessHall in Chicago, IL., and was the 2008 Bridge Resident at the Headlands Center for the Arts.

Brent R. Benjamin, Director, Museum of Fine Arts, Boston

All this week, Dr. Erica Hirshler joins us to talk about the sartorial stylings of one of history's great painters of fashion, John Singer Sargent. In part one of this two-part episode, we learn a bit about Sargent's international upbringing and career as well as his sometimes dictatorial role in styling his sitters. The exhibition Fashioned by Sargent is currently on view at the Museum of Fine Arts Boston through January 15, 2024.Recommended reading: Hirshler, Erica, et al eds. Fashioned by Sargent. Boston: MFA Publications, 2023.Want more Dressed: The History of Fashion? Our websiteOur InstagramOur bookshelf with over 100 of our favorite fashion history titles!Our Sponsors:* Check out HelloFresh: http://hellofresh.com* Check out Rosetta Stone and use my code TODAY for a great deal: https://www.rosettastone.com/* Check out Warner Bros Discovery - Max: https://podcasts.apple.com/us/podcast/the-official-gilded-age-podcast/id1605253822Support this podcast at — https://redcircle.com/dressed-the-history-of-fashion/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy