Podcasts about fine arts museums

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.

Episode No. 710 features curator Timothy Anglin Burgard and artist Tony Lewis. Burgard is the curator of "Wayne Thiebaud: Art Comes from Art" at the Legion of Honor in San Francisco. The exhibition details how Thiebaud drew ideas from and reimagined European and US artworks both old and new. It is on view through August 17. A superb catalogue was published by the Fine Arts Museums of San Francisco in association with University of California Press. Amazon and Bookshop offer it for $54-60. Lewis is featured in "What drawing can be: four responses" at the Menil Collection's Menil Drawing Institute, Houston. The exhibition, which also offers work by Jillian Conrad, Teresita Fernández, and Constantin Luser, presents ways in which the four artists stretch the boundaries of drawing and offer new ideas of what it can be. It's on view through August 10. The gallery guide is available here. Lewis' work examines the relationship between semiotics and language as a means to confront subjects such as race, power, communication, and labor. His solo exhibition credits include the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, and the Rose Art Museum, Brandeis University. His work is in the collection of museums such as the Art Institute of Chicago, the Museum of Contemporary Art, Chicago, the Studio Museum in Harlem, and the Museum of Modern Art, New York. Instagram: Tony Lewis, Tyler Green.

As I love to say, empathy isn't just a soft skill—it's a powerful tool for strategic and creative excellence.Joining me today is Vanya du Toit, the Associate Director for Wiedemann Lampe, a brand and business consultancy, who leads with empathy to drive brand transformation, team growth, and meaningful client partnerships.In this episode, Vanya shares how listening—truly listening is the foundation of successful brand strategy and how embedding empathy into both client work and internal culture unlocks innovation, better output, and stronger relationships. We discuss cultureful brands, regenerative economics, and a host of other important new concepts. We also dive into how their own agency is empathically designing their new studio space to support diverse working styles, rejecting the one-size-fits-all open office in favor of an environment where everyone can thrive.To access the episode transcript, please search for the episode title at www.TheEmpathyEdge.comKey Takeaways:A brand is more than just the logo. A brand is how a customer interacts with every aspect of your company, which begins with listening and understanding.Listening is a key component of human respect. Listening builds trust and respect, which makes for a better relationship and better work. Honesty and directness are also empathy. You can have boundaries and give constructive feedback and still be empathetic. Lying is not empathetic. "Without that internal change, you cannot manifest external change. You can't get a team of unwilling employees to live and breathe your values and your vision and your mission." — Vanya du ToitEpisode References: The Empathy Edge: Rebecca Friese: How to Build a “Good” CultureFrom Our Partner:SparkEffect partners with organizations to unlock the full potential of their greatest asset: their people. Through their tailored assessments and expert coaching at every level, SparkEffect helps organizations manage change, sustain growth, and chart a path to a brighter future.Go to sparkeffect.com/edge now and download your complimentary Professional and Organizational Alignment Review today.About Vanya du Toit, Associate Director, Wiedemann Lampe:Vanya is the Associate Director for Wiedemann Lampe, a brand and business consultancy, and she has over 15 years' experience leading client relationships and project management teams in brand strategy, brand development, and brand delivery projects. Their firm creates brands that shape, unite, and inspire the world – harnessing the unifying force of brand to bring people together and inspire change from the inside out, and clients include the Louvre Abu Dhabi, Fine Arts Museums of San Francisco, New York State Parks, Kew Royal Botanical Gardens, and more. She's responsible for all commercial and operational aspects of the business, new business strategy and conversion, and the integration of new clients into project teams, ensuring that the right focus and resources are allocated for every client.Connect with Vanya:Wiedemann Lampe: https://wiedemannlampe.com/LinkedIn: https://www.linkedin.com/in/vanya-du-toit-1068b992/ Connect with Maria:Get Maria's books on empathy: Red-Slice.com/booksLearn more about Maria's work: Red-Slice.comHire Maria to speak: Red-Slice.com/Speaker-Maria-RossTake the LinkedIn Learning Course! Leading with EmpathyLinkedIn: Maria RossInstagram: @redslicemariaFacebook: Red SliceThreads: @redslicemariaWe would love to get your thoughts on the show! Please click https://bit.ly/edge-feedback to take this 5-minute survey, thanks!

Kit O'Toole and I are honored to speak with Sally Martin Katz, the Photo Curator for the Fine Arts Museums of San Francisco as Paul McCartney's "Eyes of the Storm" photo exhibition comes to the deYoung museum in the Bay Area.    We talk about the exhibition, the photos, and the role photography and photographers weave around the life story of Paul McCartney.

Tamara de Lemicka was a trailblazer with an incredible, fresh style that really defined and influenced the development of Art Deco. She lived a life that was focused on originality, both artistically and personally. Research: Bade, Patrick. “Lempicka.” Parkstone International. 2020. Brown, Mark. “Georgia O’Keeffe flower painting sells for record-breaking $44.4m.” The Guardian. Nov. 20, 2014. https://www.theguardian.com/artanddesign/2014/nov/20/georgia-okeeffe-painting-world-record-price-art-woman#:~:text=Georgia%20O'Keeffe%20flower%20painting%20sells%20for%20record%2Dbreaking%20%2444.4m,-This%20article%20is&text=A%20painting%20of%20a%20white,the%20Georgia%20O'Keeffe%20piece. De Lempicka-Foxhall, Kizette. “Passion by Design.” Abbeville Press. New York. 2020. 2nd Edition. MacCarthy, Fiona. “Artist of the Fascist superworld: the life of Tamara de Lempicka.” The Guardian. May 14, 2004. https://www.theguardian.com/artanddesign/2004/may/15/art Mori, Gioia, et al. “Tamara de Lempicka.” Fine Arts Museums of San Francisco and Yale University Press. 2024. Neret, Gilles. “Tamara de Lempicka.” Taschen America. 2017. “Tamara de Lempicka (1898-1980) - Portrait de Marjorie Ferry.” Christies. May 5, 2009. https://www.christies.com/en/lot/lot-6252179 “Tamara de Lempicka, Portraitist.” New York Times. March 20, 1980. https://timesmachine.nytimes.com/timesmachine/1980/03/20/111143617.pdf?pdf_redirect=true&ip=0 Zelazko, Alicja. "Tamara de Lempicka". Encyclopedia Britannica, 23 Oct. 2024, https://www.britannica.com/biography/Tamara-de-Lempicka See omnystudio.com/listener for privacy information.

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. In this week's Episode, Emily features artist Carrie Ann Plank. Originally inclined towards a medical career, Carrie Ann found her true calling in printmaking. Her work, which combines science and art, is showcased in multiple renowned collections, including the Fine Arts Museums of San Francisco and the Library of Congress. Her latest exhibition, 'Cacophony' at Jonathan Carver Moore, visualizes sound through layered prints. Carrie Ann discusses her process, inspiration from scientific data, and collaboration with scientists. About Artist Carrie Ann Plank:Carrie Ann Plank is a San Francisco based artist working in installation, printmaking, and painting. Focusing on layers of sophisticated geometry, Plank examines the space of intersecting patterns to describe new structures. The work utilizes mathematical equations to create multiple overlapping impressions that reveal additional distinct pattern formations. The resulting forms are space in between, the intercession, of concrete data.Carrie Ann's work is included in multiple collections including the Fine Art Archives of the Library of Congress, Fine Art Museums of San Francisco, Achenbach Foundation for Graphic Arts, the Guanlan Print Art Museum in China, Museum Meermanno in The Hague, Netherlands and Museo Nacional de Bellas Artes, Havana, Cuba. Residencies include Black Church Print in Dublin Ireland, KALA in Berkeley, CA, Konstnärernas Kollektiva Grafikverkstad in Malmö, Sweden, Local Language, Oakland, CA, Taller Experimental de Gráfica de La Habana in Havana, Cuba, the Íslensk Grafík in Reykjavik, Iceland, Edition/Basel in Basel, Switzerland, Mullowney Printing in San Francisco, CA, Haystack Mountain School of Craft in Deer Isle, ME, and Bullseye Glass in Emeryville, CA. Additionally, Plank has had a 20 year teaching career before devoting herself solely to her artist practice in 2018. Plank is active in the Bay Area arts community serving on boards and committees such as Root Division, California Society of Printmakers, and Art for AIDS. She is also a 2024 SECA nominee.Visit Carrie Ann's  Website:  CarrieAnnPlank.comFollow Carrie Ann on Instagram:  @CarrieAnnPlankLearn more about Carrie Ann's exhibit "Cacophony" at Jonathan Carver Moore - CLICK HERE. --About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com

This week: two exhibitions in London are showing remarkable works made during the Renaissance. At the King's Gallery, the museum that is part of Buckingham Palace, Drawing the Italian Renaissance offers a thematic journey through 160 works on paper made across Italy between 1450 and 1600. Ben Luke talks to Martin Clayton, Head of Prints and Drawings at the Royal Collection Trust, about the show. At the Royal Academy, meanwhile, the timescale is much tighter: a single year, 1504 to be precise, when Michelangelo, Leonardo and Raphael were all in Florence. We talk to Julien Domercq, a curator at the Academy, about this remarkable crucible of creativity. And this episode's Work of the Week is a magnum opus of Renaissance textiles: the Battle of Pavia Tapestries, made in Brussels to designs by Bernard van Orley, and currently on view in an exhibition at the de Young Museum in San Francisco. Thomas Campbell, the director of Fine Arts Museums of San Francisco, talks to The Art Newspaper's associate digital editor, Alexander Morrison, about the series.Drawing the Italian Renaissance, King's Gallery, Buckingham Palace, London, until 9 March 2025Michelangelo, Leonardo, Raphael: Florence, c.1504, Royal Academy of Arts, London, 9 November-16 February 2025Art and War in the Renaissance: The Battle of Pavia Tapestries, de Young Museum, San Francisco, US, until 12 January; Museum of Fine Arts, Houston, Texas, spring 2025Subscription offer: get three months for just £1/$1/€1. Choose between our print and digital or digital-only subscriptions. Visit theartnewspaper.com to find out more Hosted on Acast. See acast.com/privacy for more information.

I am so excited to say that my guest on today's podcast is the esteemed curator and writer, Emerson Bowyer. Currently the Searle Curator, Painting and Sculpture of Europe, at the Art Institute of Chicago, Emerson is a specialist in 18th- and 19th-century French and British art. He has worked at New York's Frick Collection, the Fine Arts Museums of San Francisco, and the Metropolitan Museum of Art in New York, where his highly-acclaimed curated exhibitions have spanned the spectrum of sculpture, such as 19th century artist Canova to, more recently, the artist we are very excitingly discussing today, the trailblazing, Camille Claudel. …which was staged at the Art Institute of Chicago, and the Getty in LA, as the first major exhibition dedicated to the artist in the US for 35 years. https://www.getty.edu/art/exhibitions/claudel/index.html https://www.artic.edu/exhibitions/9714/camille-claudel Born in France in 1864, Claudel has been hailed for her meticulously rendered and intensely passionate works of mythological and real figures. Hand-carving marble, she defied not just her gender, but the possibilities of sculpture itself – with her intimate and skillful portrayals of human bodies and reworkings of classical tales from a distinctly female perspective. Yet, despite having one of the most extraordinary careers in art history, it took until four decades until after her death, in the 1980s for her work to be properly appreciated, and until now – thanks to people like Emerson – who put her work on the world's stage for all to see. And I cannot wait to find out more! For extra reading, please check out Rachel Corbett's fantastic book, You Must Change Your Life: https://www.barnesandnoble.com/w/you-must-change-your-life-rachel-corbett/1123447512?ean=9780393354928 -- THIS EPISODE IS GENEROUSLY SUPPORTED BY THE LEVETT COLLECTION: https://www.famm.com/en/ https://www.instagram.com/famm_mougins // https://www.merrellpublishers.com/9781858947037 Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Nada Smiljanic Music by Ben Wetherfield

Nicole sits down with Laura Camerlengo, the curator in charge of costume and textile arts for the Fine Arts Museums of San Francisco, to talk about the city's unique fashion history and the current deYoung exhibition, "Fashioning San Francisco: A Century of Style."

Judith Schaechter:  Stain glass artist that has redefined the scope of contemporary art in both materials and subject matter. She has created a startling body of work, using hi-tech and low tech, if not centuries-old techniques. She has chosen for her subject matter an equally archaic focus that seems to bring the suffering and story telling of ancient religious iconography into the 21st century. Her work can be seen all over the world in major museums and galleries including:  Smithsonian Institution, the Museum of Arts and Design in New York City, the Victoria and Albert Museum in London, and the Fine Arts Museums of San Francisco. Schaechter's Bigtop Flophouse Bedspins appeared in the 2002 Whitney Biennial. She has artwork in the collections of the Metropolitan Museum of Art, the Victoria and Albert Museum, the Hermitage Museum, the Philadelphia Museum of Art,

Episode No. 638 of The Modern Art Notes Podcast features artists Saif Azzuz and Maryam Taghavi. The Institute of Contemporary Art San Francisco is presenting "Saif Azzuz: Cost of Living," an exhibition of paintings, sculptures and installation that considers settler colonialism and gentrification as related processes. The exhibition is on view through May 19. Azzuz is a Libyan-Yurok artist based in suburban San Francisco. His work, which often addresses nature, land, and California Native American cultural practices, is in the collections of museums such as the Fine Arts Museums of San Francisco and the North Carolina Museum of Art, Raleigh. He was a 2022 SFMOMA SECA Award finalist. Taghavi's work is on view at the Museum of Contemporary Chicago in "Chicago Works: Maryam Taghavi مریم تقوی." Taghavi's work explores perception, often by wielding or adapting Persian calligraphy. The exhibition was curated by Bana Kattan with Kamala GhaneaBassiri. Taghavi has previously exhibited at museums such as LAXART, Los Angeles and the Queens Museum. Chicago's O'Hare Airport has recently installed a commissioned work by Taghavi in its Terminal Five. Instagram: Saif Azzuz, Maryam Taghavi.

I am so excited to say that my guest on the great women artists podcast is the renowned curator, scholar, and expert in 15th- and 16th-century Italian drawings, Furio Rinaldi to discuss TAMARA DE LEMPICKA! Dubbed “the Baroness with the Brush'', Lempicka at the height of the 1920s found herself at the centre of Parisian life, and constructed some of the most radical, liberal and avant-garde images. From reworking traditional subjects to melding the meticulous techniques of Renaissance painting with cold and shiny art-deco aesthetics to evoke the fast-industrialising world. Born in Poland at the end of the 19th century, Lempicka was raised in Russia, but escaped at the outbreak of the revolution. From there, she settled in Paris: the centre of the avant-garde, and thrived. She painted celebrated characters in the highest fashions of the day, and embraced sexual liberations. Epitomising the modern woman, she was apparently known to break only for “baths and champagne”, this was, of course in her modernist apartment-slash-studio, designed by her equally successful sister, Adrienne Górska. Currently holding the post of Curator of drawings and prints at the Fine Arts Museums of San Francisco, the largest collection of works on paper in Western United States – where he has just staged the most extraordinary Botticelli exhibition – Furio is acclaimed for his work on Leonardo da Vinci, Raphael and Michelangelo. A writer – he has published extensively in The Burlington Magazine, The Metropolitan Museum of Art Journal and more, but perhaps he is best known for his curatorial eye, having organised the fantastic Legion of Honor exhibition Color into Line: Pastel from the Renaissance to the Present, and next year, will curate a groundbreaking exhibition – and the first major show on the West Coast – on the Polish-born painter Tamara de Lempicka – who is very excitingly the artists we will be discussing today. -- THIS EPISODE IS GENEROUSLY SUPPORTED BY THE LEVETT COLLECTION: https://www.instagram.com/famm.mougins // https://www.merrellpublishers.com/9781858947037 ENJOY!!! Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Nada Smiljanic Music by Ben Wetherfield

Episode No. 636 features curators Furio Rinaldi and Jonathan Stuhlman. Rinaldi is the curator of "Botticelli Drawings" at the Fine Arts Museums of San Francisco's Legion of Honor, the first exhibition dedicated to the drawings of Sandro Botticelli. The show follows Botticelli from his time with Fra Filippo Lippi to the establishment of his own workshop in Florence. The exhibition is on view through February 11. The exhibition catalogue was published by FAMSF in association with Yale University Press. Amazon and Bookshop offer it for about $55-70. Stuhlman is the curator of “Southern/Modern,” a survey of modernism from artists who were from, worked in, or visited the American South. The exhibition opens arrives at the Frist Art Museum in Nashville on January 26, and will remain on view through April 28. The exhibition is accompanied by an excellent catalogue published by University of North Carolina Press. Bookshop and Amazon offer it for about $30-75. For images, see Episode No. 606.

The de Young museum has opened its doors and cleared walls to feature the work of Bay Area artists. On exhibit through January, the 2023 de Young Open features 883 artworks across genre and subject matter — the only submission requirement being that the creator lives in one of the nine Bay Area counties. We'll talk with the lead curator of the exhibit, along with other independent curators and artists, about the local art scene today and what Bay Area artists are saying with their work. Guests: Timothy Anglin Burgard, distinguished senior curator and curator-in-charge of American art, Fine Arts Museums of San Francisco Trisha Lagaso Goldberg, artist; independent curator Alice Beasley, fiber artist. Her work is now on exhibit at The de Young Open. She was also included in the 2020 Exhibition. Callan Porter-Romero, artist based in Oakland. One of her paintings is now on exhibit at The de Young Open. She was also included in the 2020 Exhibition. Todd Hanson, artist; founder, Four Chicken Gallery in Bernal Heights

In April of this year, the Museums of Tomorrow Roundtable brought nearly two dozen museum directors from around the world together in Silicon Valley to discuss the evolving role of technology in museums. As dialogs between museum directors and technology leaders in Silicon Valley evolved, it became apparent that planning for the use of artificial intelligence had become a critical need.On today's episode, I'm honored to be joined by four museum executives who are an active part of these conversations about the future of museums:Thomas P CampbellDirector and CEO of the Fine Arts Museums of San Franciscohttps://www.famsf.org/Seb ChanDirector & CEO at the Australian Centre for the Moving Image in Melbourne, Australiahttps://www.acmi.net.au/Amanda de la GarzaDirector General of Visual Arts at the National Autonomous University of Mexico in Mexico City and head of its University Museum of Contemporary Arthttps://muac.unam.mx/acerca-de-nosotros?lang=enSuhanya Raffel Executive Director, M+ Museum in Hong Konghttps://www.mplus.org.hk/en/

The cope, a long, loose-fitting ceremonial cloak worn by a priests or bishops, is a curious object. “Imagine a circle cut in half—a cope is the shape of that half,” explains Thomas Campbell, director of the Fine Arts Museums of San Francisco. Henry VII commissioned thirty of these richly embroidered vestments for the English clergy, helping to lay the foundation for that special blend of religion, power, and material prestige that would mark the reign of his son, the notorious Henry VIII. One of these copes is our focus piece this week. But twenty-nine of its brothers and sisters shared the fate of so many Renaissance textiles: oblivion.

EPISODE 1536: In this KEEN ON show, Andrew talks to the KresusLabs founder and CEO Trevor Traina about his super app in which, he claims, we will store all our Web3 data Technology entrepreneur and private investor Trevor Traina has founded and co-founded several successful enterprises, including the Internet's first comprehensive product-comparison guide, CompareNet. After Microsoft purchased CompareNet in 1999, he stayed on board for two years as the site evolved into MSN's shopping channel.Most recently, Trevor Traina founded and served as Chairman of DriverSide, a resource assisting consumers with all aspects of owning and maintaining vehicles. A major public corporation acquired the firm in 2011. Recognized for his expertise, Trevor Traina was appointed by the Mayor to the Technology Advisory Council of the City of San Francisco. He has also held responsibilities on business and charitable boards for Verdiem Corporation, Swanson Vineyards, the Fine Arts Museums of San Francisco, the Gladstone Institutes, and other organizations. Trevor Traina completed his undergraduate degree at Princeton University and graduate degrees at Oxford University and the Haas School of Business at the University of California, Berkeley. Named as one of the "100 most connected men" by GQ magazine, Andrew Keen is amongst the world's best known broadcasters and commentators. In addition to presenting KEEN ON, he is the host of the long-running How To Fix Democracy show. He is also the author of four prescient books about digital technology: CULT OF THE AMATEUR, DIGITAL VERTIGO, THE INTERNET IS NOT THE ANSWER and HOW TO FIX THE FUTURE. Andrew lives in San Francisco, is married to Cassandra Knight, Google's VP of Litigation & Discovery, and has two grown children. Learn more about your ad choices. Visit megaphone.fm/adchoices

Irvin Ungar is the world's foremost expert on the art of Arthur Szyk and the tireless force behind the Szyk Renaissance. A former pulpit Rabbi fluent in Jewish history and tradition, Irvin is the CEO and founder of Historicana, an antiquarian book firm and small publishing house of Szyk imprints.Beginning in 1987, Irvin first specialized in Szyk's remarkable illustrated books and quickly expanded his repertoire to include original art, fine art prints, and other important Szyk works. He has curated and consulted for numerous Szyk exhibitions at major institutions worldwide, including the New-York Historical Society (New York City); the Fine Arts Museums of San Francisco; the Deutsches Historisches Museum (Berlin); the United States Holocaust Memorial Museum (Washington, DC); and the Library of Congress.Irvin is the author of Arthur Szyk: Soldier in Art (2017 National Jewish Book Award winner) and Justice Illuminated: The Art of Arthur Szyk (1998). His most recent book Arthur Szyk Preserved: Institutional Collections of Original Art was published in 2023. Additionally, Irvin is the co-producer of the documentary film, “Soldier in Art: Arthur Szyk,” and the publisher of the luxury limited edition of The Szyk Haggadah (2008). He also served as the curator of The Arthur Szyk Society (1997-2017) and its traveling exhibition program, and continues lecturing and speaking about Szyk on university campuses, museums and other venues around the world.In this interview we talk about Irvin's transition from the pulpit to book seller to Szyk expert. You'll enjoy some amazing stories about him getting Syzk's work back onto the main stage... for images accompanying this work go to https://www.facebook.com/saul.kayehttp://holysparks.tv/become a Podcast Sponsor, go here!https://www.patreon.com/user?u=85745591For more on Rabbi Irvin Ungar's work and Arthur Szyk go to https://www.szyk.com/

From the hallowed halls of the Fine Arts Museums of San Francisco, Legion of Honor, Alexis and Erika are joined by the esteemed Assistant Curator of Prints, Drawings & Photographs, Sarah Mackay! After running into her at a studio visit during various trips to Los Angeles, she tells us the trajectory of her career, which started off rather differently than most: She was a classical ballet dancer! It's an incredible episode getting into the nitty gritty of hard work, dedication, being available and committing and the proof is in the pudding, it has gotten Mackay FAR! Sarah RECOMMENDS Harry and Meghan DocuSeries Mr. B by Jennifer Homans NPR Podcasts LOCATE YOUR HOSTS UPON THE INTERNET Sarah Mackay: - @s.mackayfecit, famsf.org  Alexis Hyde - @hydeordie, alexishyde.com, Art/Practice: Creative prompts to develop your art practice Dr. Erika Wong; - @topractisepractice, www.topractisepractice.com  Email us: hydeorpractise@gmail.com Music by Alexander Rossi: AlexanderRossi.me

Transcript KEHINDE WILEY: This body of work comes as a direct response to the murder of George Floyd. During that time, so many of us had an opportunity to grieve, to reflect. An Archeology of Silence is an archeology of untold stories and lives wasted. It's an American story about brutality and about erasure. My job is to breathe life back into that erased moment. And through that archeology, create something that's perhaps living. TOM CAMPBELL: That was artist Kehinde Wiley. I'm Tom Campbell, Director of the Fine Arts Museums of San Francisco. This exhibition was premiered in Venice, Italy, last spring. It's an absolute honor to be able to bring it for the first time to the United States, where the issues it raises are so timely and important. ABRAM JACKSON: And I'm Abram Jackson, the Museums' Director of Interpretation. My role is to support the museums in telling the most inclusive stories to the broadest audiences. I'm excited to accompany you on our tour of the exhibition today. We'll be joined by the artist himself, and two other wonderful contributors who have had cause to think deeply about the questions he brings up in his work. Let's get started. Our next stop will be a bronze sculpture of a young man in a hoodie titled “Dying Gaul” – you'll find it right inside the first gallery.

Ramses the Great ruled Egypt more than 3,200 years ago, but he made sure we would still be talking about him today. He ruled for 67 years, probably starting on May 31st (III Season of the Harvest, day 27 to ancient Egyptians) in 1279 BC. He soon set about creating a new capital city in the Nile delta, where he had chariot, weapon and shield factories built. Not long thereafter he defeated the Sherden pirates who were seriously harassing sea traders in the Mediterranean, and “won” the Battle of Kadesh against the Hittites in the largest chariot battle ever fought. He also had enormous temples, obelisks and statues erected all over the New Kingdom, and ordered lots of gold objects. Dozens of those objects are on display until February 12 at the de Young Museum in a state-of-the-art exhibit featuring the greatest collection of Ramses objects and Egyptian jewelry ever to travel to the United States. Along with colossal royal sculpture, the exhibit highlights recently discovered animal mummies and treasures from the royal tombs of Dahshur and Tanis. Visitors can also immerse themselves in multimedia productions that re-create moments from Ramses's life or take a virtual tour of Abu Simbel and Nefertari's tomb. The de Young's ancient art curator, Renée Dreyfus, will share with us the stories of some of these art objects and how the de Young organized this outstanding and rare exhibit. Egyptologist Rita Lucarelli will explain the evolution of the funerary beliefs of ancient Egyptian society from their origins in prehistory to the time of Ramses. She will draw on her scholarly work on the Book of the Dead to discuss the magical texts found in royal and elite tombs and how they compare to the "personal piety" or "popular religion" of the Ramesside period, about which there are many sources to draw upon from that well-documented society. Among those documents is the earliest known peace treaty in world history—between Ramses II and Hattušili III, the Hittite king. It was recorded in two versions―one in Egyptian hieroglyphs and the other in Hittite using a cuneiform script. The two versions are nearly identical, but in the Hittite version the Egyptians are the ones who sue for peace, while in the Egyptian version the Hittites are the ones who sue for peace. Some things never change. SPEAKERS Renée Dreyfus George and Judy Marcus Distinguished Curator, Curator in Charge, Ancient Art, Fine Arts Museums of San Francisco, de Young / Legion of Honor Rita Lucarelli Associate Professor of Egyptology, Department of Middle Eastern Languages and Cultures, University of California, Berkeley; Faculty Curator of Egyptology, Phoebe A. Hearst Museum of Anthropology, University of California, Berkeley; Fellow, Digital Humanities in Berkeley George Hammond Author, Conversations With Socrates—Moderator In response to the COVID-19 pandemic, we are currently hosting all of our live programming via YouTube live stream. This program was recorded via video conference on November 4th, 2022 by the Commonwealth Club of California. Learn more about your ad choices. Visit megaphone.fm/adchoices

"One of the hopes of this exhibition was really to try to enlist visitors' bodily experience in their understanding of these works of art that can sometimes seem a little bit like they live entirely in our heads, a little bit intellectualized." Although Nicolas Poussin is widely regarded as the most influential painter of the 17th century—the father of French classicism—he is not as well-known as many of his contemporaries, such as Rembrandt, Rubens, and Caravaggio. This is due, in part, to Poussin's austere painting style and erudite subject matter, which often came from Roman history or the Bible. As a result, his work can sometimes feel a bit cold or remote to today's audiences. But earlier in his career, Poussin was inspired by dance. His paintings of wild revelry, filled with dancing satyrs and nymphs, emerged as his signature genre from that time. Poussin and the Dance, organized by the Getty Museum and the National Gallery in London, is the first exhibition to explore the theme of dance in Poussin's work. By supplementing his delightful dancing pictures with new dance films by Los Angeles–based choreographers—this unique exhibition invites viewers into the world of Poussin in a fresh, relatable way. In this episode, Emily Beeny, curator in charge of European paintings at the Fine Arts Museums of San Francisco and curator of Poussin and the Dance, joins Sarah Cooper, public programs specialist at the Getty, to delve into Poussin's process and love of dance. The exhibition, which received generous support from the Leonetti/O'Connell Family Foundation and is sponsored by City National Bank, is on view at the Getty Center through May 8, 2022. For images, transcripts, and more, visit https://blogs.getty.edu/iris/podcast-poussin-and-the-dance-shines-new-light-on-french-painter or http://www.getty.edu/podcasts To explore the exhibition Poussin and the Dance, visit https://www.getty.edu/art/exhibitions/poussin_dance/ To watch the contemporary dance films from Poussin and the Dance, visit https://www.getty.edu/art/exhibitions/poussin_dance/video.html To buy the book Poussin and the Dance, visit https://shop.getty.edu/products/poussin-and-the-dance-978-1606066836

  Our guests are Megan Bourne, Chief of Staff at the Fine Arts Museums of San Francisco, and Patricia Arack, leader of "Concerned residents of the Sunset", an organization started in October 2020 in response to the harm that was experienced by residents in the Sunset due to the Great Highway closure. Parkaccess4all believes all SF residents and visitors to our city should be able to enjoy Golden Gate Park. JFK Drive provides access to the East end of Golden Gate Park. At the start of the pandemic, it was closed to provide additional outdoor space for nearby residents while they sheltered-in-place. This initiative was set to expire when the City's shelter-in-place order was lifted. Now that San Francisco is reopening, it is time to restore JFK Drive to its pre-pandemic configuration! The continued closure of JFK Drive restricts access for people with disabilities, seniors, families with young children, those who do not live close to the Park, and those who cannot afford to pay for parking. We believe in – and will keep advocating for – a Golden Gate Park accessible for all. Let's move forward with keeping the road open with shared use on weekdays, while remaining closed Sundays and holidays year-round, with the addition of Saturdays for six months of the year. This was a compromise brokered between stakeholders in 2007 and it has worked well for many years before the pandemic. Reinstating it would provide access for the many people who have been severely affected by the closure. Park Access 4 All is a movement of disability rights activists, seniors and senior groups, community leaders, Park neighbors, first responders, a park institution, and workers who want Golden Gate Park to be accessible for all visitors.  Learn more and join us in advocating for restored access to JFK Drive at parkaccess4all.org See omnystudio.com/listener for privacy information.

Dogs have been painted, sculpted, photographed and made into memes and art depicting our furry best friends are celebrated on screens big and small and given pride of place in galleries, museums and homes. So what is behind this fascination that humans have with immortalizing dogs in art? Why do we immortalize dogs in art? The earliest depictions of dogs are believed to be 9,000 years ago carved into a cliff in what is now Saudi Arabia. Through the Middle Ages, the Renaissance to the modern day, humans across the globe have immortalized dogs in art across changing mediums and media and in all shapes and sizes. The hundreds of thousands of pieces that sit in galleries, museums and homes are a testament to our ongoing love and adoration of dogs, but they also tell a story, the evolution of our relationship with them and how that, and they, have changed over the years. In this episode, we journey through the ages and retrace the paw-steps of dogs of a bygone era. We explore how they have been immortalized, the stories those pieces tell, and their place in art history and in society today as a reminder of the importance humanity places on our best friends. About Alan Fausel, AKC Museum of the Dog Alan Fausel is CEO and Executive Director of the AKC Museum of the Dog. He has more than 30 years of art-world experience as a scholar, curator, and appraiser. His curatorial career began at the Fine Arts Museums of San Francisco in the department of European Sculpture and Decorative Art. He was then appointed curator of the Frick Art Museum in Pittsburgh. He has been with the auction houses Butterfields in San Francisco and Doyle and Bonhams in New York since 1990. Mr Fausel has been a regular on the paintings table of Antiques Roadshow since the series' first season in 1997. He taught at New York University in the Graduate School of Arts Education from 1999-2017. He is a frequent lecturer to groups including the Appraiser's Association of America. AKC Museum of the Dog https://museumofthedog.org/ Antiques Roadshow https://www.pbs.org/wgbh/roadshow/appraisers/alan-fausel/ LinkedIn https://www.linkedin.com/in/alan-fausel-590b699a/ About Erika Bleiberg, pet artist #journalismmatters Erika Bleiberg is a pet artist who started the #journalismmatters series on Twitter, painting the pets of journalists. She is also a public relations specialist and strategic communications professional with a keen ability to synthesize complex content into a compelling and engaging message. She develops and implements internal and external narrative and branded content with a specialty in social media to effectively deliver messages to target audiences, cultivate engagement and assist organizations in achieving their goals and objectives. Twitter https://twitter.com/erikableiberg?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor Instagram https://www.instagram.com/ebleiberg/?hl=en Facebook https://www.facebook.com/paintingpetsEB LinkedIn https://www.linkedin.com/in/erikableiberg/

Bonnie Maclean's story has rather humble beginnings. She was largely a self taught artist and graphic designer. Originally from Philadelphia, she relocated to San Francisco in 1963, during a pivotal time in US history. Maclean started her career as an assistant to Bill Graham before he began working as a concert promoter for the Filmore. She would eventually take over as the in-house poster designer from Wes Wilson, who is often cited as a strong influence on MacLean's work. Her previous design experience included chalkboard announcements and evening lineups for the concert hall. Today her work for the  Filmore is considered an important contribution to the psychedelic music scene of the 1960s. However, despite her contributions, the history of graphic design largely recognizes the “Big Five'' as the most important or iconic figures contributing to the music poster scene of this era. It shouldn't be surprising that the “Big Five'' doesn't include Maclean. However, her psychedelic posters for the Filmore have been collected and exhibited by museums and galleries and recognized for their impact on the music poster scene of 1960s San Francisco.TIMELINE1939 – b Philadelphia1961 – graduated from Penn State university with a degree in French1961 – Moved to New York city, took drawing classes at night at Pratt Institute where she was working1963 – Moved to San Francisco and began work with Bill Graham1967 – Married concert promoter Bill Graham1967 – Wes Wilson left the Filmore and Bonnie became the primary poster designer in his stead.1968 – gave birth to son David1975 – Divorced Bill Graham1981 – married second husband Jacques Fabert (artist)2005 – work was featured at the Tate Liverpool in a show called “The Summer of Love: Art of the Psychedelic era”2013 – Jacques Fabert dies2014 –  headliner at the TRPS Festival of Rock Posters in San Francisco2015 – designs commemorative poster for Hall & Oates to mark the grand opening of the Philadelphia Fillmore 2020 – died in PennsylvaniaREFERENCESAnkeny, J. (ND). “Bonne Maclean”. All Music. https://www.allmusic.com/artist/bonnie-maclean-mn0001841640/biography“Bonnie Maclean” (ND). Fine Arts Museums of San Francisco.  https://art.famsf.org/bonnie-macleanDoyle, M. (2002). “Staging the Revolution: Guerrilla Theater as a Countercultural Practice, 1965-1968”. The Digger Archives. https://www.diggers.org/guerrilla_theater.htmEsmaili, T. (June 2017). “Obscenity”. Legal Information Institute, Cornell Law School.  https://www.law.cornell.edu/wex/obscenityGrushkin, P. (2015). The Art of Rock: Posters from Presley to Punk. Abbeville Press. Kamiya, G. (August 7, 2015). “How A Mime Troupe Arrest Sparked Bill Graham's Promoting Career”. The San Francisco Chronicle. https://www.sfchronicle.com/bayarea/article/How-a-Mime-Troupe-arrest-sparked-Bill-Graham-s-6431937.phpMarks, B. (February 12, 2020). “Bonnie MacLean, 1939-2020”. TRPS (The Rock Poster Society).https://trps.org/2020/02/12/bonnie-maclean-1939-2020/Morley, M. (March 7, 2019) “The Cost of Free Love and the Designers Who Bore It—Meet the Women of Psychedelic Design”. AIGA Eye on Design. https://eyeondesign.aiga.org/women-of-psychedelic-design/Vaziri, A.  (February 12, 2020). “Bonnie Maclean, pioneering rock poster artist and wife of Bill Graham, dies at 80“. Datebook, San Francisco Chronicle. https://datebook.sfchronicle.com/art-exhibits/bonnie-maclean-pioneering-rock-poster-artist-and-wife-of-bill-graham-dies-at-80

En este episodio de Salón de Moda, Laura Beltrán-Rubio entrevista a Laura García Vedrenne sobre la conservación y restauración de textiles e indumentaria.Laura García Vedrenne es Maestra en Conservación de Textiles por el Centre for Textile Conservation and Technical Art History (CTC-TAH) de la Universidad de Glasgow y Licenciada en Restauración de Bienes Muebles por la Escuela de Conservación y Restauración de Occidente (ECRO). Desde el 2019, forma parte del equipo del Laboratorio de Conservación de Textiles del de Young Museum, en los Fine Arts Museums of San Francisco (FAMSF). Antes trabajó en el Museo Nacional de Historia (MNH) “Castillo de Chapultepec” y en el Museo Textil de Oaxaca (MTO).Recibió el Premio Paul Coremans por su tesis de maestría (2018) y de la mención honorífica por su tesis de licenciatura en Premios INAH (2016), así como del Karen Finch Prize (2018), entregado a la excelencia académica en conservación de textiles. Sus principales temas de interés incluyen los objetos textiles vistos como cultura material, la conservación de indumentaria civil y la ética en la profesión de la conservación-restauración. En los últimos años, ha realizado numerosos esfuerzos por reducir las barreras lingüísticas en la profesión al traducir contenido del inglés al español para fomentar que los hispanoparlantes tengan mayor acceso a la información.Entre los proyectos que ha concluido se encuentran la restauración del pañuelo funerario que cubrió el cráneo de Hernán Cortés, el estudio tecnológico y material de un vestido de terciopelo de alta corte de finales del siglo XVIII, una investigación sobre la resistencia al agua del carmín de índigo y, recientemente, el reemplazo de los forros de dos vestidos hechos por Callot Soeurs. Ha participado en el montaje de varias exposiciones, como Hilos de Historia: La Colección del Museo Nacional de Historia (MNH), Intervención: Índigo (MTO) y Frida Kahlo: Appearances Can Be Deceiving (FAMSF). También ha impartido cursos de conservación preventiva y de remoción de manchas con limpieza localizada.**Encuentra el trabajo de Laura en su perfil de Academia: https://independent.academia.edu/LauraGarciaVedrenneReferencias:Jules Prown, “Style as Evidence”, Winterthur Portfolio 15, no. 3 (1980): 197–210. Laura García-Vedrenne, “El reconocimiento tecnológico y material como fundamento para la conservación de un vestido de alta corte del siglo XVIII, perteneciente al acervo del MNH”, tesis de pregrado, Escuela de Conservación y Restauración de Occidente, 2016. Sarah Scaturro, “Confronting fashion's death drive: conservation, ghost labor, and the material turn within fashion curation”, en Fashion Curating: Critical Practice in the Museum and Beyond, editado por Annamari Vänskä y Hazel Clark (Londres: Bloomsbury Visual Arts, 2017), 21–38. Otros documentos y programas mencionados:Maestría en Conservación de Textiles de la Universidad de Glasgow: https://www.gla.ac.uk/postgraduate/taught/textileconservation/. Licenciatura ECRO: http://www.ecro.edu.mx/. Licenciatura ENCRyM: https://www.encrym.edu.mx/principal/licenciatura.php. Documento del ICOM-CC de Nueva Delhi (2008): https://www.ge-iic.com/2008/11/17/2008-terminologia-del-icom-para-definir-la-conservacion-del-patrimonio-cultural-tangible/ (consultado el 22 de octubre de 2021).

Episode No. 517 features author Tyler Green with curator and art historian Elizabeth Kornhauser; and artist Lisa Corinne Davis. Tyler Green is the author of "Emerson's Nature and the Artists," which features a new appraisal of Ralph Waldo Emerson's classic text, new research that reveals how it was informed by Emerson's engagement with American art, and critical analysis of how the ideas Emerson offered in "Nature" informed American art for 100 years after it was published. Green is (usually) the producer/host of The Modern Art Notes Podcast. Green is interviewed by Elizabeth Kornhauser, a curator in the American Wing at the Metropolitan Museum of Art. Along with Tim Barringer, Kornhauser curated "Thomas Cole's Journey: Atlantic Crossings" at New York's Metropolitan Museum of Art and London's National Gallery, which helped motivate his new book. Kornhauser's "Jules Tavernier and the Elem Pomo," which she co-curated with Shannon Vittoria, is on view now at the Met. She discussed it on Episode No. 515 of The MAN Podcast. "Emerson's Nature and the Artists" was published by Prestel. Indiebound and Amazon offer it for $25. For a personalized, signed copy, contact the author. On the second segment, Lisa Corinne Davis discusses her work on the occasion of "Point of Departure: Abstraction 1958–Present" at the Sheldon Museum of Art at the University of Nebraska. The exhibition, drawn primarily from the museum's collection, surveys two-dimensional abstraction and is on view through December 23. Davis' work is in the collection of museums such as the Museum of Modern Art, New York, the Philadelphia Museum of Art, and the Fine Arts Museums of San Francisco. Among her many awards are a National Endowment for the Arts Visual Artist Fellowship and a Louis Comfort Tiffany Foundation award.

Aelst's painting "Flowers in a Silver Vase" (16th century), with its decaying tulip blossom in the center, is a testament to the vast importance of flowers, and tulips in particular, to the economy of the Netherlands at this time in history. Next to the tulip is a yellow European chrysanthemum. Composer Joseph Bonnet's "Lied des Chrysanthèmes" gives a musical illustration of the serene simplicity of flowers. The sweetness and quietness of the music mimics the pondering of a precious, elegant flower in full bloom. Artwork: Willem van Aelst Flowers in a Silver Vase, 1663 Oil on canvas, 26 5/8 x 21 1/2 in. (67.6 x 54.6 cm) Fine Arts Museums of San Francisco, Gift of Dr. and Mrs. Hermann Schuelein, 51.21 Photograph courtesy of the Fine Arts Museums of San Francisco Composition: Joseph Bonnet, "Lied des Chrysanthèmes" (1908)

English pageantry has a special place in art history, at once formal but compelling, depicting the jubilant side of military prowess. John Stanley's wonderful "Trumpet Voluntary" was written for a solo organ demonstrating the trumpet stop. “Voluntaries” were meant to be played before and at the conclusion of church services, so called because organists were not actually paid to play outside of the services themselves. The piece matches the contemporaneous, larger-than-life painting of William Beechey's "Master James Hatch" (1796) as he models noble military attire. Although Hatch was far too young to serve, his station groomed him for this appearance. Artwork: William Beechey Master James Hatch, 1796 Oil on canvas, 73 x 52 1/2 in. (185.4 x 133.4 cm) Fine Arts Museums of San Francisco, Museum purchase by exchange, Mildred Anna Williams Collection, 1942.10 Photograph courtesy of the Fine Arts Museums of San Francisco Composition: John Stanley, "Trumpet Tune" (ca. 1770)

The English countryside calls to mind spaciousness and freedom. English composers have loved this aspect of their native land, perhaps none more than Ralph Vaughan Williams. His depiction of a lark ascending, fluttering, dipping, and gliding immediately conjures images of soaring liberty. Thomas Gainsborough's painting, "Landscape with Country Carts", nearly 150 years earlier, seems to foreshadow what musicians would only later discover: the English countryside is evocative and beautiful. Artwork: Thomas Gainsborough Landscape with Country Carts, ca. 1784–1785 Oil on canvas, 50 3/8 x 40 3/8 in. (128 x 102.6 cm) Fine Arts Museums of San Francisco, Roscoe and Margaret Oakes Collection, 75.2.8 Photograph courtesy of the Fine Arts Museums of San Francisco Composition: Ralph Vaughan Williams, "The Lark Ascending" (1914) Arrangement by Jonathan Dimmock

Two giants of 19th-century Paris, Auguste Rodin and César Franck created masterworks of extensive range. Franck's "Chorale in A Minor", his final composition, is the culmination of his musical work, simultaneously new and old, explosive with virtuosity, heartbreakingly beautiful with melodic sophistication. The monumental Rodin bronzes "The Thinker" (1904) and "The Three Shades" (1898) could be categorized the same way. Artwork: Auguste Rodin The Thinker, 1904 Cast bronze, 72 x 38 x 54 in. (182.9 x 96.5 x 137.2 cm) Fine Arts Museums of San Francisco, Gift of Alma de Bretteville Spreckels, 1924.18.1 Photograph courtesy of the Fine Arts Museums of San Francisco Composition: César Franck, "​Chorale in A Minor" (1890)

Nature has always been an artist's greatest muse, and when combined with human love, as in the High Middle German poem “Unter der linden grüne” (“Under the Linden Green,” ca. 1200), we have perfection. The poem was paired with an old French melody and became quite popular during the Renaissance period. Jan Both's Italian "Landscape with Horsemen" (17th century) focuses more on the tree than the horsemen. Perhaps both artists were observing that all of life exists within the context of trees and nature Artwork: Jan Both Italian Landscape with Horsemen, 17th century Oil on canvas, 381 3/16 x 38 1/16 in. (968.2 x 96.7 cm) Fine Arts Museums of San Francisco, Memorial gift from Dr. T. Edward and Tullah Hanley, Bradford, Pennsylvania, 69.30.216 Photograph courtesy of the Fine Arts Museums of San Francisco Composition: Jan P. Sweelinck (1562 - 1621), Onder een linde groen (variations)

California's arts institutions are dealing with budget cuts and revenue shortfalls due to the pandemic, and a reckoning with systemic racism in the art world. So what progress have they made in diversifying their staffs, their artwork, and their audiences over the past year? And will any of us ever look at art, and the meaning of it, in the same way again? We talk with two people who present great works of art to the public, but do it in very different ways. GUESTS * Thomas Campbell, CEO and director of the Fine Arts Museums of San Francisco, and former CEO/director of the Metropolitan Museum of Art in New York City (https://deyoung.famsf.org/Becoming-an-Anti-Racist-Institution) * Andre Jones, a.k.a. Natty Rebel, designer, muralist and founder/director of the Bay Area Mural Program (https://bamp.netlify.app) PODCAST PLAY-BY-PLAY * O to 4 min - Intro to California Groundbreakers, and to this episode PART ONE: Thomas Campbell * 4 min - Why Campbell, an Englishman who had a prestigious career in London and New York, decided to make the move to California * 7:40 min - How he views art in California, California art, and how we perceive it * 10:25 min - What Campbell learned about leading two top museums through two tough times in U.S. history * 14:20 min - How George Floyd's murder shaped Campbell's view of the art world, and his decision to create an anti-racist institution * 20:05 min - What should California's arts institutions be doing to create "blockbuster" exhibitions of non-white-male California artists? * 26:35 min - Diversifying museum staff and management - do they all need Masters and Ph.D degrees? * 31:15 min - How to make a museum's board of directors more diverse -- and still have a board that brings in the money needed to run the museum * 35:25 min - Using California's role as a technology hub to revolutionize art * 40:50 min - How the inaugural DeYoung Open brought in a new range of art and artists * 46:10 - What art institutions, and us art lovers, can do to support artists and make the art world more accessible PART TWO: Andre Jones * 51:20 min - What brought Jones from the East Coast to the Bay Area, and how his new home has inspired the way he creates art * 57:20 min - His approach to creating public art * 59:45 min - How the Bay Area Mural Program got started and is now expanding * 1hr, 2:25 min - How the events of 2020 made Jones take action as an artist and activist * 1 hr, 6:55 min - Is the new focus on diversity of art turning into more financial success for artists of color? * 1 hr, 10:15 min - Creating the new generation of artists * 1 hr, 13:40 min - Jones' recommendation for public art that really resonates today * 1:16:10 min - Jones' prediction for the future of public art in California, and how Californians can make that future bright RESOURCE GUIDE * Institutional Blog for the Museums of Fine Arts in San Francisco - https://deyoung.famsf.org/blog/category/1494 * Black Liberation Walking Tour in Oakland - https://www.blwt.org IMAGE CREDIT: "United We Rise" Mural in Downtown Oakland by Divya Bala (https://www.instagram.com/artbydivya/?hl=en)

Composition: Léon Boëllmann: Prière à Notre-Dame (1895) Artwork: William-Adolphe Bouguereau (French, 1825–1905) The Broken Pitcher, 1891 Oil on canvas 53 x 33 in. (134.6 x 83.8 cm) Fine Arts Museums of San Francisco Bequest of M.H. de Young 53162

Composition: Johann Sebastian Bach: Mass in B minor: Agnus Dei (1740) Artwork: Franz Anton Bustelli (German, b. Switzerland, 1723–1763) House Altar Containing a Scene of the Crucifixion, ca. 1760 Porcelain figures, cabinet of painted and gilded wood 88 9/16 x 40 3/16 x 24 13/16 in. (225 x 102 x 63 cm) Fine Arts Museums of San Francisco European Decorative Arts Fund 2013.30

Composition: Johann Sebastian Bach: Fugue in G minor, BWV 542,2 (1720) Artwork: Peter Paul Rubens (Flemish, 1577–1640) The Tribute Money, ca. 1610–1615 Oil on panel 56 3/4 x 74 3/4 in. (144.1 x 189.9 cm) Fine Arts Museums of San Francisco Museum purchase, M.H. de Young Art Trust Fund 44.11

Dogs have shown consideration for our feelings over thousands of years. Have we reciprocated? The UK is, when it comes to legal matters … and an art museum in NYC is when it comes to art.   Dogs Get Legal Rights in the UK Be warned, Cruella! Rates of illegal puppy theft and smuggling. skyrocketed in the last year, and the UK is cracking down. New animal welfare plans are in place ... lawmakers must now consider the wellbeing of dogs and other animals when making laws. AKC Museum of the Dog Pam visits the high-tech fine art museum, the AKC Museum of the Dog in New York City. Recently relocated to 101 Park Avenue, this super-swank spot is the Louvre of dog art. Their collection preserves important art featuring dogs as subjects ... not just for their beauty, but for their ability to show breed evolution over the years. There's a bouncy virtual dog named Molly, interactive exhibits, and rotating special collections. You can even find out what breed of dog you most resemble. The Hydrant Jim, Pam, and Caroline stop by the hydrant to sniff out the latest dog gossip, innuendo, @jokes, and notes. Chapters 0:00 Introduction 1:36 Dogs Get Legal Rights in the UK 10:16 AKC Museum of the Dog 18:57 The Hydrant 24:14 On the Next Episode CLAIRE BASS Animal welfare is not just a professional crusade for Executive Director of Humane Society International UK, Claire Bass, it is very personal. Her dog Henry, a Golden Retriever mix, started life in a dog meat farm in South Korea, before she rescued him and brought him home to London. Henry is her daily reminder of the change organisations like hers can make for all animals. In her role with HSI/UK she leads strategic planning for the organisation's national campaigns, works with colleagues overseas on priority campaigns, like the dog meat trade and street dog welfare and manages the donor and supporter care team and oversees staff fundraising in the UK. She also chairs the Animal Welfare Strategy Group and is a lead author and strategist on a joint campaign to government on animal rights post Brexit. t: @sea_l_bass t: @HSIGlobal ln: linkedin.com/in/claire-bass-31656612 f: https://www.facebook.com/hsiglobal DAVID BOWLES As head of public affairs for the RSPCA UK, David Bowles is passionate about representing the oldest and largest animal organisation in the UK which has been at the centre of changing peoples' attitudes to animals and improving animal standards for nearly 200 years. David has worked with the RSPCA for more than 25 years and is also on the Board of the Association of Cat and Dog Homes and the Canine and Feline Scientific Group, the UK government's policy advisors on cat and dog issues. He's a lover and defender of all animals, but especially his cat, who he openly admits tells him what to do and he obeys. t: @RSPCA_official t: @DavidBowles21 f: https://www.facebook.com/RSPCA ln: https://www.linkedin.com/in/david-bowles-716b8119/?originalSubdomain=uk ALAN FAUSEL, Executive Director & CEO AKC Museum of the Dog Alan Fausel brings with him over 30 years of art-world experience as a scholar, curator, and appraiser. His curatorial career began at the Fine Arts Museums of San Francisco in the department of European Sculpture and Decorative Art. He was then appointed curator of the Frick Art Museum in Pittsburgh. He has been with the auction houses Butterfields in San Francisco and Doyle and Bonhams in New York since 1990. Mr. Fausel has been a regular on the paintings table of ANTIQUES ROADSHOW since the series' first season in 1997. He taught at New York University in the Graduate School of Arts Education from 1999-2017. He is a frequent lecturer to groups including the Appraiser's Association of America. https://museumofthedog.org/ Molly Behind-the-Scenes Here's What We Found at The Hydrant Grant's Whiskey Is it Okay to Hug Your Dog? Sally the Civil War Dog

Materials used in art can give us clues to the artist's process, techniques, and ways of thinking. They can also spark our understanding of the artwork. Join our museum ambassadors Elisabeth, Kaitlin, and Leighanna as they discuss how and why various materials are used in three artworks in the Fine Arts Museums' collections. Objects: Gift basket, Blood and Meat: Survival for the World, Hot Water Urn

Patricia Buffa is the Director of Digital Strategy at the Fine Arts Museums of San Francisco. Buffa is kickstarting digital transformation at her institution with a people-first approach - whether they’re colleagues or visitors. It’s “about workshopping and listening and understanding what people are trying to do so [while] technology is a tool, it needs to be really seamless for people to actually want to embrace it and use it.” Listen to our conversation, plus, commentary by Catherine Devine, Global Business Strategy Leader for Libraries and Museums at the end of the episode. Link to full transcript: https://bit.ly/3oK8uLe

Materials used in art can give us clues to the artist’s process, techniques, and ways of thinking. They can also spark our understanding of the artwork. Join our museum ambassadors Elisabeth, Kaitlin, and Leighanna as they discuss how and why various materials are used in three artworks in the Fine Arts Museums’ collections. Objects: Gift basket, Blood and Meat: Survival for the World, Hot Water Urn

What do your beliefs mean to you? How do objects represent your beliefs? Join our museum ambassadors Andrea, Ankhilan, and De'Yani as they highlight the multiple ways that objects in the Fine Arts Museums' collections symbolize belief systems from around the world. Objects: Torso of a God, Hornbill Mask, The Adoration of Magi

What do your beliefs mean to you? How do objects represent your beliefs? Join our museum ambassadors Andrea, Ankhilan, and De’Yani as they highlight the multiple ways that objects in the Fine Arts Museums’ collections symbolize belief systems from around the world. Objects: Torso of a God, Hornbill Mask, The Adoration of Magi

Artwork Credit: Louis XV room (18th cent.) - 1735–1740 Carved oak with gilded ornamentation 365.8 x 762 x 853.4 cm (144 x 300 x 336 in.) Fine Arts Museums of San Francisco Roscoe and Margaret Oakes Collection 51.2.1 Image courtesy of the Fine Arts Museums of San Francisco

Artwork Credit: Rembrandt Harmensz van Rijn, Dutch, 1606–1669 Joris de Caulerij, 1632 Oil on canvas mounted on panel 40 1/2 x 33 3/16 in. (102.9 x 84.3 cm) Fine Arts Museums of San Francisco Roscoe and Margaret Oakes Collection 66.31 Image courtesy of the Fine Arts Museums of San Francisco

Artwork Credit: John Martin The Assuaging of the Waters (1840) Oil on canvas 56 1/2 x 86 1/4 (143.5 x 219.1 cm) Fine Arts Museums of San Francisco Museum purchase, Whitney Warren Jr. Bequest Fund in memory of Mrs. Adolph B. Spreckels 1989.73 Image courtesy of the Fine Arts Museums of San Francisco

Artwork Credit: Paul Bril Landscape with Pan and Syrinx (ca. 1620) Oil on canvas 19 1/8 x 27 3/4 (48.6 x 70.5 cm) Fine Arts Museums of San Francisco Museum purchase, M.H. de Young Memorial Museum 49.11 Image courtesy of the Fine Arts Museums of San Francisco

Artwork Credit: Jean-Léon Gérome The Bath (ca. 1880–1885) Oil on canvas 73.7 x 59.7 cm (29 x 23 1/2 in.); Frame: 95.6 x 82.6 cm (37 5/8 x 32 1/2 in.) Fine Arts Museums of San Francisco Museum purchase, Mildred Anna Williams Collection 1961.29 Image courtesy of the Fine Arts Museums of San Francisco

Artwork Credit: Dirck Hals The Merry Company (1626) Oil on panel 16 3/4 x 30 1/2 (42.5 x 77.5 cm) Fine Arts Museums of San Francisco Gift of Mr. and Mrs. Edward Carter 1957.160 Image courtesy of the Fine Arts Museums of San Francisco

The second inaugural address of George Washington, read by Tim Draper. It is the second inaugural address, as well as the shortest – at a mere 135 words. It was delivered on March 4th, 1793. The covert art is an oil on canvas portrait of George Washington painted by Rembrandt Peale, completed around 1854 – 55 years after the subjects death. It is housed at the Fine Arts Museums of San Francisco. You can get a copy of My Fellow Americans here: Pay-What-You-Want: https://gumroad.com/l/myfellowamericans Kindle ($4.99): https://www.amazon.com/dp/B09DXN4KTM Apple Books ($4.99): https://books.apple.com/us/book/my-fellow-americans/id1540137345 Librecron ($4.99): https://librecron.com/products/my-fellow-americans_yuvraj-singh

Mary Craig Tennille is Summit School's Director of Annual Giving and Stewardship since 2015. Her philosophy that "fundraising is about cultivating relationships for long-term investment," as well as her commitment to Summit's mission of inspiring learning, align perfectly with the strategic direction of the Advancement Office. Mary Craig has worked in a fundraising capacity for more than 15 years at organizations including The Arts Council of Winston-Salem and Forsyth County, the Fine Arts Museums of San Francisco, and most recently at Excalibur Advancement Services. She currently serves on the board of Reynolda House Museum of American Art and holds memberships with Rotary Club of Winston-Salem, Association of Fundraising Professionals, Friends of Brenner Children's Hospital, and Dogwood Garden Club. In 2013 Mary Craig was a recipient of the Triad Business Journal's 40 Under 40 award. She and her husband Andy have two children. I'm thrilled that Mary Craig took the time out of her schedule to sit down via zoom and tell us how she is thriving!