Podcasts about fine arts school

courtesy of Ruiz-Healy Art, New York / San Antonio Nicolás Leiva is renowned for his exuberant sculptures and paintings that capture various expressive personal visions. Vessels, boats, abstract forms, flying carriages are transformed into ceramics in an explosion of lush primary colors embossed with metals like silver and gold. Animals and vegetables commingle in a garden of flowers amidst otherworldly places of shelter, are replicated as box-like reliquaries, and plate-like medallions in miniature close-up show territories transitioned from his works on paper. His imaginative world unfolds in infinite realms like a Möbius strip. Highly gestural, organic, or geometric, Leiva presents a host of archetypes in his emblems of flight, safety, and delight. Born in 1958 in Tucumán, Argentina, Leiva graduated from the Fine Arts School of the Universidad Nacional de Tucumán. He continued his studies in Buenos Aires and moved to Miami in 1990. In 1996, he extended his practice to sculpture and ceramics. He lives part-time in Faenza, Italy, where he works with a variety of materials at the workshops of Ceramica Gatti. His work is the subject of the 2005 monograph Nicolas Leiva: The Fire of Self and Multiplication with scholarly text by Ricardo Pau-Llosa and Mariza Vescovo published by Bandecchi & Vivaldi in Italy. He has had many important solo and group exhibitions in the US and internationally, notably his 2023 solo exhibition, Historia de un día, Museo de Bellas Artes Laureano Brizuela, Catamarca, Argentina. Leiva was recently selected for the 2023 Miami Individual Artist (MIA) Grant, Miami-Dade County Department of Cultural Affairs in Miami, FL. His works are in the permanent collections of the Museo de Arte Latinoamericano de Buenos Aires (MALBA); The Snite Museum of Art at the University of Notre Dame, Indiana; the Berardo Collection in Lisbon, Portugal; the Gollinelli Collection in Bologna, Italy; and the Museum of Art of Fort Lauderdale in Florida. The Civic Museum of Marble, Carrara, Italy; Museo Maria Zambrano, Malaga, Spain; José Luis Cuevas Museum, Mexico City, México; Museum of Latin American Art, Long Beach, CA; and Fundación Federico García Lorca, Madrid, Spain. Nicolás Leiva, Sopera, 2015 Signed and dated on the underside Majolica ceramic with gold and platinum lustrous Ceramica Gatti, Italy 17 x 18 x 17 in. courtesy of Ruiz-Healy Art, New York / San Antonio. Nicolás Leiva, Sopera, 2015 Signed and dated on the underside Majolica ceramic with gold and platinum lustrous Ceramica Gatti, Italy 17 x 18 x 17 in. courtesy of Ruiz-Healy Art, New York / San Antonio. Nicolás Leiva, Sea Flora, 2024 Signed and dated on the underside Majolica ceramic with gold 35 x 15 x 15 in. courtesy of Ruiz-Healy Art, New York / San Antonio. Nicolás Leiva, Arbol de los Sueños (Tree of Dreams), 2017 Signed and dated on the underside Majolica ceramic with gold and lustrous Ceramica Gatti, Italy 30 in diameter. courtesy of Ruiz-Healy Art, New York / San Antonio.

Bjørn Friborg by Joe Kramm Bjørn Friborg is a Danish glass artist based in Denmark. Friborg challenges traditional methods of glass-making with a physically demanding approach that stretches the limits of both the material and technique. His technique is not a means to an end but a performance, as he fearlessly punches, penetrates, manipulates, and ruptures the molten substance to achieve otherworldly and sublimely beautiful results. Friborg's movements are a tour de force reflective of his mastery. Friborg starts each artwork by blowing a large object that is then penetrated with a mass of silver nitrate-based glass poured on top. The molten nitrate-based glass sculpts the shape, freezes, and becomes an artwork. This process is described as “A blast of energy… all that power that you channel into the material gives it the expression.” Says Friborg. “That's what it contains, and that's what I mean when I say that I'm just trying to find the maximum of honesty that it just has. I'm just trying to push myself to the limits. Everything is just really impulsive; all the mixes … are created at the moment. Creating something is coming closer to yourself, and getting to know yourself better. It's like an addiction, both in terms of doing and not being able to stop doing it.” Friborg began working in the glass industry in 1999 as as a high school drop-out. He then attended the technical school in Kosta for three years and got a job straight out of school at the Orrefors Glassworks where Kosta Boda produced all of their art glass. Friborg received a BFA from The Royal Danish Academy of Fine Arts School of Architecture, Design and Conservation in 2013 after studying in Sweden at the Åfors Glasbruk, V.1 Mästare Ingvar Carlsson “Kalle Pack” and the Kosta Glass School. His work has been exhibited nationally in Denmark and the Scandinavian region and internationally. Installation view of Bjørn Friborg: Imploded, Photo by Joe Kramm Installation view of Bjørn Friborg: Imploded, Photo by Joe Kramm Bjørn Friborg, Implosion, 2023, Hand-blown glass 18" Dia. x 7” D, Photo by Joe Kramm  

Episode 71: Yo-EL Cassell was born in Schenectady, NY with a nerve deafness and discovered that movement at the age of 3 was his organic expressive channel for his personal and creative identity. Instead of his hearing loss getting in the way, he allowed the loss to gratefully show him the way of connecting to all of the five senses (sight, hearing, touch, taste, smell) of human life. His mission, as a performer, director, choreographer, movement director, educator, mentor, and human being, is to provide the same accessible physical entry point to other's inner selves that he supportively received as a child and throughout life. A recipient of the Lotte Kaliski Award for Gifted Artists, Yo-EL Cassell is currently Head of/Assistant Professor of Movement at Boston University College of Fine Arts School of Theatre. He was formerly Resident Choreographer of Commonwealth Shakespeare Company. He has also produced, choreographed and directed the acclaimed Off-Broadway original production of Moonlight Interior at New York's Sande Shurin Theatre, featuring the music of singer songwriter Jann Klose. yo-el.squarespace.com

Find out more on out website: https://bit.ly/3Of1WBK Investors, Boards of Directors, and funders are recognizing the cost and risk of climate inaction, and the urgent need for mitigation and adaptation. Do your stakeholders care about sustainability, and why should you care? How can you reach them more effectively, and what does art have to do with it? Despite increasingly dismal IPCC reports on climate change, with escalating promises of action in response, we are very far from achieving goals set out by scientists. A litany of dire statistics is everywhere, but it isn't working. We are failing at messaging because we are relying too much on data and missing the human element. When images are used, they are typically depressing, like starving polar bears. This presentation will look at why communications fail, why they succeed, and how art is being used to engage stakeholders. See examples of art experiences that move beyond sad images to communicate data and tap into new audiences, break through apathy, build hope, and accelerate change. Speaker: Susan Israel, AIA LEED AP, founded Climate Creatives to engage people on sustainability topics through participatory public art and experiences. Susan's work communicates data and educates people on topics such as flood preparedness, climate adaptation, diversity and equity, public health, and environmental justice. She consults to businesses on engagement, culture change, strategy, team development, and outreach. Susan works with businesses, organizations, universities, boards, NGOs, museums, and municipalities. Her STEAM methodology is used by universities and K-12 schools. Over 500,000 people and 150 partners have benefited from Climate Creatives' work in three countries on-site, and more digitally. Past clients include Harvard Business School, Fidelity Investments, Blue Cross Blue Shield, and her work has appeared at the United Nations. Prior, Susan practiced architecture for over 20 years. She sits on advisory boards and is a lifelong Harvard alumni leader. She holds an A.B. from Harvard College, a Master of Architecture from Harvard University Graduate School of Design, and attended the Boston Museum of Fine Arts School.

This week is our penultimate episode of The Game Dev Show and we are delighted to be joined by Rasmus Poulsen, Franchise Art Director for IO Interactive. Rasmus talks to us straight about his journey from the Royal Danish Academy of Fine Arts – School of Design, to being an Art Director on numerous AAA projects at several Studios. He stresses the importance of establishing art direction early on and how aesthetics matter. We also chat about the creative process, how to activate your inspiration, Hitman, Star Wars and of course Bond, James Bond!

Marcelo Campos nasceu no Rio de Janeiro, Rio de Janeiro, Brasil, em 1972. Professor associado do Instituto de Artes da UERJ. Curador Chefe do Museu de Arte do Rio. Doutor em Artes Visuais pelo EBA/UFRJ. Desenvolveu tese de doutorado sobre o conceito de brasilidade na arte contemporânea. Diretor da Casa França-Brasil, no Rio de Janeiro, entre 2016 e 2017. Autor do livro "Escultura contemporânea no Brasil" (2016). [Marcelo Campos was born in Rio de Janeiro, Rio de Janeiro, Brazil, in 1972. Associated professor at the Arts Institute of the State University of Rio de Janeiro. Chief curator at the Museu de Arte do Rio. He has a PhD in Visual Arts from the Fine Arts School of the Federal University of Rio de Janeiro. He developed a PhD thesis about the concept of Brazilianness in contemporary art. He was the director of Casa França-Brasil, in Rio de Janeiro, from 2016 to 2017. Author of the book "Escultura contemporânea no Brasil" (2016)] ///imagem selecionada|selected image: printscreen de postagem do Acervo da Laje no Instagram, 25 de julho de 2020 [printscreen of a post by Acervo da Laje, on Instagram, July 25th, 2020]/// [entrevista realizada em 07 de setembro de 2020|interview recorded on september 7th, 2020] [link para YouTube: https://youtu.be/TxeyHpzbTaA]

Isabel Portella nasceu no Rio de Janeiro, Rio de Janeiro, Brasil, em 1970. É museóloga e crítica de arte. Doutora e mestra em história e crítica da arte pela Escola de Belas-Artes/UFRJ. Coordenadora e curadora da Galeria do Lago Arte Contemporânea do Museu da República (IBRAM). Crítica e curadora independente desde 2005, com textos e entrevistas em várias publicações, além de ter elaborado textos para diversas exposições. [Isabel Portella was born in Rio de Janeiro, Rio de Janeiro, Brazil, in 1970. She's a museologist and art critic. She holds a PhD and master degree in art history and art critic from the Fine Arts School of the Federal University of Rio de Janeiro. She is the coordinator and curator of Galeria do Lago Arte Contemporânea at Museu da República (Brazilian Institute of Museums). She's a critic and independent curator since 2005, with texts and interviews in many publications, besided texts written for many exhibitions] ///imagens selecionadas|selected images: fotografias do grupo de pais e mães de santo comemorando a Libertação do Sagrado, no Museu da República [photos of a group of pais and mães-de-santo celebrating the "Liberation of the Sacred", at Museu da República], 2020 + pavão do jardim do Museu da República entrando na exposição "Jardim do Éden" [peacock from the Museu da República's garden entering the exhibition "Eden's garden"], Patrizia D'Angello, 2019 /// [entrevista realizada em 06 de novembro de 2020|interview recorded on november 6th, 2020] [link para YouTube: https://youtu.be/oulVewUBrp4]

Divino Sobral nasceu em Goiânia, Goiás, Brasil, em 1966, onde vive e trabalha como artista, crítico de arte e curador independente. Entre 2011 e 2013 dirigiu o Museu de Arte Contemporânea de Goiás. Recebeu diferentes prêmios no campo da curadoria e da escrita crítica como aqueles relativos ao Salão Anapolino das Artes (2017), o Prêmio Marcantonio Vilaça (2015) e o Prêmio Situações Brasília (2014). Tem como áreas de interesse tanto a produção contemporânea brasileira, quanto o modernismo goiano. [Divino Sobral was born in Goiânia, Goiás, Brazil, in 1966, where he lives and works as an artist, art critic and independent curator. Between 2011 and 2013 he directed the Contemporary Art Museum of Goiás. He received many awards in the field of curating and art writing like those related to the Salão Anapolino das Artes (2017), the Marcantonio Vilaça Award (2015) and the Situações Brasília Award (2014). He's deeply interested not only in the contemporary art making but also in the modernism of the state of Goiás]. ///imagem selecionada|selected image: folder da exposição de inauguração da Escola Goiana de Belas Artes [brochure of the opening exhibition of the Fine Arts School of Goiás], 1952./// [entrevista realizada em 31 de agosto|interview recorded on august 31st ] [link para YouTube: https://www.youtube.com/watch?v=rzm7r_EMgcc]

Catherine is the author of the successful book focused on the business of law for legal departments Business Thinking in Practice for In-House Counsel: Taking Your Seat at The Table (Globe Law & Business, 2020). She runs her own company Catherine McGregor Research working as a consultant to law firms and legal departments around the world. Her work focuses on a range of areas including business ideas, the future of law; human centered skills, leadership and inclusion and diversity. Prior to moving into the legal sector, Catherine was a lecturer at universities in the UK and USA, including the Museum of Fine Arts School in Boston. In this episode, Catherine McGregor speaks about how her creative background has inspired her work in law. She shares how these ideas came together in her new book Business Thinking in Practice for In-House Counsel. And why she thinks in-house lawyers are the architects of creative thinking in the legal profession.

Glória Ferreira nasceu no Rio de Janeiro, Rio de Janeiro, Brasil, em 1947. Doutora em História da Arte pela Sorbonne, na França, em 1996. Professora colaboradora da Escola de Belas-Artes da UFRJ, crítica e curadora independente. Foi a responsável pela curadoria de artes visuais da Casa de Cultura Laura Alvim, no Rio de Janeiro, entre 2013 e 2014 e, durante a sua trajetória, organizou diversas exposições, editou livros e coleções de publicações. [Glória Ferreira was born in Rio de Janeiro, Rio de Janeiro, Brazil, in 1947. She finished her PhD in Art History at the Sorbonnne University, from France, in 1996. Colaborator professor at the Fine Arts School of the Federal University of Rio de Janeiro. She's also an art critic and independent curator. She was the responsible for the visual arts program of the Casa de Cultura Laura Alvim, in Rio de Janeiro, between 2013 and 2014. During her career, she organized many exhibitions, edited books and series of publications] ///imagem selecionada|selected image: Walter De Maria, "Arte pelo telefone" ("Art by the telephone"), 1969/// [entrevista realizada em 27 de agosto|interview recorded on august 27th] [link para YouTube: https://www.youtube.com/watch?v=zZGqwGCNogI]

In this episode of #TheNewAbnormal, I interview Ben Hughes, Professor at the Beijing Institute of Technology. (He's also a consultant at, and an ex-professor of, the Central Academy of Fine Arts School of Design in Beijing; and was previously a consultant at the Innovation Centre, Central St Martins + the Course Director MA Ind Design at CSM). In this episode, we discuss his fascinating experience of working in China over the last decade, and of his viewpoints on all things relating to design / creativity / education. Along the way, we cover the different approaches taken to technology, as illustrated by the 'G-Mafia vs the BAT' i.e. Google / Microsoft / Amazon / Facebook / IBM / Apple vs Baidu / Alibaba / Tencent. And of course, Ben talks about design theory, the practicalities of life under the C19 lockdown in Beijing, and of the view from China, looking back to Europe.

When the economy eventually fully reopens—A/E/C firms must be ready to hit the ground running. Those who prepare well will be able to experience a business reawakening. But what will separate those firms that are ready for business to take off on day one from those firms that may never see a full return of business? Post-COVID business will most likely not be business as usual. You will not be able to just pick up where you left off. So how best to develop a plan to navigate the now and be prepared for what will come later? Use the tool you have, update your strategic plan and help your leadership. If you don’t have a plan, there was never a time when you needed one more. Join us and learn how to: • Make decisions that align with your core values • Take advantage of new opportunities • Avoid wasting time on lost causes • Be ready when everything reopens About the Presenter: Susan Israel, AIA, LEED AP, has deep expertise in architecture, strategic planning, sustainability, leadership training, and organizational change. Before joining PSMJ, she founded and led two architecture practices for over 20 years that focused on delivering high end design and architectural services. Susan began her architecture career working for Moshe Safdie, Graham Gund, Finegold Alexander, among other architecture firms. Susan holds an A.B. from Harvard College, Master of Architecture from Harvard University Graduate School of Design, and attended the Museum of Fine Arts School in Boston.

Devin Mahoney is a Utica, NY native who spent a decade working and writing for TV and Film in LA, on shows such as Scrubs, before returning to upstate NY with the mission of taking over the Uptown Theater and turning it into a punk-rock version of a Fine Arts School. The theater is now known as the Uptown Theater for the Creative Arts (UTCA) and has become a hotbed of comedy, improv and music within the city. In our conversation we talk about working and writing for TV, why network TV has gotten so bad, the decentralization of media, and how improv can build a community. To learn more about UTCA visit their website at https://utcany.org and maybe even consider a donation.

Outside a woman walked along the wet street-lamp lit sidewalk through the sleet and snow. Inside in the Fine Arts Institute on the sixth floor of the Y.W.C.A. Building, 1020 McGee Street, a merry crowd of soldiers from Camp Funston and Fort Leavenworth fox trotted and one-stepped with girls from the Fine Arts School while a sober faced you ng man pounded out the latest jazz music as he watched the moving figures. In a corner a private in the signal corps was discussing Whistler with a black haired girl who heartily agreed with him. The private had been a member of the art colony at Chicago before the war was declared. Three men from Funston were wandering arm in arm along the wall looking at the exhibition of paintings by Kansas City artists. The piano player stopped. The dancers clapped and cheered and he swung into "The Long, Long Trail Awinding". An infantry corporal, dancing with a swift moving girl in a red dress, bent his head close to hers and confided something about a girl in Chautauqua, Kas. In the corridor a group of girls surrounded a tow-headed young artilleryman and applauded his imitation of his p al Bill challenging the colonel, who had forgotten the password. The music stopped again and the solemn pianist rose from his stool and walked out into the hall for a drink. A crowd of men rushed up to the girl in the red dress to plead for the next dance. Outside the woman walked along the wet lamp lit sidewalk. It was the first dance for soldiers to be given under the auspices of the War Camp Community Service. Forty girls of the art school, chaperoned by Miss Winifred Sexton, secretary of the school and Mrs. J. F. Binnie were the hostesses. The idea was formulated by J. P. Robertson of the War Camp Community Service, and announcements were sent to the commandants at Camp Funston and Fort Leavenworth inviting all soldiers on leave. Posters made by the girl students were put up at Leavenworth on the interurb an trains. The first dance will be followed by others at various clubs and schools throughout the city according to Mr. Robertson. The pianist took his seat again and the soldiers made a dash for partners. In the intermission the soldiers drank to the girls in fruit punch. The girl in red, surrounded by a crowd of men in olive drab, seated herself at the piano, the men and the gi rls gathered around and sang until midnight. The elevator had stopped running and so the jolly crowd bunched down the six flights of stairs and rushed waiting motor cars. After the last car had gone, the woman walked along the wet sidewalk through the sleet and looked up at the dark windows of the sixth floor. --- Support this podcast: https://anchor.fm/hmphaudiobooks/support

Episode 378with Özlem Gülin Dağoğluhosted by Sam Dolbee and Shireen Hamza Download the podcastFeed | iTunes | GooglePlay | SoundCloudMany myths have accompanied the life of Mihri Rasim, but few are as interesting as her life itself. Born to a wealthy family in Istanbul in the late Ottoman period, Mihri Rasim became a politically connected painter, living in Italy for several years on her own and then Paris, where she played a key role in the salons of Ottoman dissidents known as the Young Turks. In the wake of the 1908 Constitutional Revolution, she returned to Istanbul, and opened the Fine Arts School for Women in Istanbul, where she went on to teach. After the war, she went to Italy, and then the United States, where she continued her work painting and teaching. In addition to many self-portraits, she also painted various powerful figures, among them Mustafa Kemal, Mussolini, and Thomas Edison. Listen for a discussion of art, gender, and migration in a period of momentous political change. « Click for More »

Episode 378with Özlem Gülin Dağoğluhosted by Sam Dolbee and Shireen Hamza Download the podcastFeed | iTunes | GooglePlay | SoundCloudMany myths have accompanied the life of Mihri Rasim, but few are as interesting as her life itself. Born to a wealthy family in Istanbul in the late Ottoman period, Mihri Rasim became a politically connected painter, living in Italy for several years on her own and then Paris, where she played a key role in the salons of Ottoman dissidents known as the Young Turks. In the wake of the 1908 Constitutional Revolution, she returned to Istanbul, and opened the Fine Arts School for Women in Istanbul, where she went on to teach. After the war, she went to Italy, and then the United States, where she continued her work painting and teaching. In addition to many self-portraits, she also painted various powerful figures, among them Mustafa Kemal, Mussolini, and Thomas Edison. Listen for a discussion of art, gender, and migration in a period of momentous political change. « Click for More »

Episode 378with Özlem Gülin Dağoğluhosted by Sam Dolbee and Shireen Hamza Download the podcastFeed | iTunes | GooglePlay | SoundCloudMany myths have accompanied the life of Mihri Rasim, but few are as interesting as her life itself. Born to a wealthy family in Istanbul in the late Ottoman period, Mihri Rasim became a politically connected painter, living in Italy for several years on her own and then Paris, where she played a key role in the salons of Ottoman dissidents known as the Young Turks. In the wake of the 1908 Constitutional Revolution, she returned to Istanbul, and opened the Fine Arts School for Women in Istanbul, where she went on to teach. After the war, she went to Italy, and then the United States, where she continued her work painting and teaching. In addition to many self-portraits, she also painted various powerful figures, among them Mustafa Kemal, Mussolini, and Thomas Edison. Listen for a discussion of art, gender, and migration in a period of momentous political change. « Click for More »