Podcasts about Flash art

Is it a bird, is it a plane? No, it's another anti tech book. In Against Platforms: Surviving Digital Utopia, digital activist Mike Pepi argues that major tech companies like Meta, Amazon, Tesla, and OpenAI are all driven by "platform logic" - a business model focused on creating intermediary layers that mediate human activities while collecting data and maintaining control. While different tech leaders may have different political views, Pepi contends they are all ultimately "prisoners of the platform" driven by growth imperatives. Pepi distinguishes his critique from other tech criticism by arguing that even proposed solutions often fall into the "digital utopian" trap - the belief that better technology can fix technology's problems. Instead, he advocates for strengthening traditional institutions rather than trying to replace them with platforms. He cites journalism as an example where platforms have weakened traditional institutions rather than improved them. While not exactly anti-technology, Pepi believes that unchecked platform capitalism is problematic. He suggests that technology should be developed within institutional frameworks rather than allowing platforms to operate with minimal constraints. Convinced? If not, it's probably because you, like everyone else, is a prisoner of platform capitalism. Mike Pepi writes about art, culture, and technology. MHiswork has appeared in frieze, e-flux, Flash Art, Art in America, DIS Magazine, The Straddler, The New Inquiry, Artforum, The Art Newspaper, this is tomorrow, 艺术界 LEAP, the Apollo Magazine Blog, Spike Art, The Brooklyn Rail, Rhizome, and The New Criterion. He organized Cloud-Based Institutional Critique (CBIC), a reading group focused on emerging digital technologies and their relationship to cultural institutions. In 2015 he guest edited the Data Issue of DIS Magazine with Marvin Jordan. In 2018, I guest-edited a special issue of Heavy Machinery at SFMoMA's Open Space. 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.Keen On is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

Adriano Altamira"Remo Bianco: il periodo 3D"Electawww.electa.itIl volume avvia una collaborazione fra Electa e la Fondazione Remo Bianco volta a promuovere l'attività dell'artista milanese, fra i protagonisti dell'avanguardia dagli anni '50 fino alla metà degli anni '70. Grande sperimentatore e artista fecondo, si è confrontato con soluzioni e linguaggi diversi che hanno reso ardua una lettura unitaria del suo lavoro e che dunque richiedono un'attività di approfondimento e studio in grado di restituire i suoi momenti più geniali e avviare una lettura critica sistematica che presenti la sua opera in una chiave inedita e complessiva. Il primo capitolo di questo progetto è a firma di Adriano Altamira, amico personale di Bianco e fra i maggiori conoscitori della sua opera, e affronta gli esordi dell'artista, con una mostra, presentata da Lucio Fontana nel 1953, in cui furono esposti i 3D. Queste opere erano cassette disegnate o dipinte su più strati di plastiche trasparenti che offrivano allo spettatore suggestioni spaziali e cinetiche decisamente innovative per il contesto coevo. Il “periodo 3D” durò fino alla fine di quel decennio, quando l'artista raggiunse la fama coi suoi “Tableaux Dorés”.Adriano Altamira, dopo la laurea in Storia dell'Arte, intraprende contemporaneamente una doppia carriera di critico d'arte e d'artista. Scrive su numerose riviste, tra cui NAC, Flash Art, Le Arti, e in seguito Artistes, Tema Celeste, FMR e altre. Esplora dal suo punto di vista critico/artistico sia il mondo delle Avanguardie, sia i meccanismi dell'analogia e dei collegamenti inconsci fra percezione e memoria. Fino a tempi recenti Adriano Altamira ha sempre lavorato con la fotografia. Conceptual Rigoletta pur esplorando, come è solito per l'autore, il mondo dell'analogia e delle ricorrenze iconiche, segna un ritorno al disegno, ed apre la strada ad un nuovo tipo di concettualità.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

30 Dec 2024. We look at what the market needs in terms of a smart rental index with real estate expert Rami Tabbara, Co founder and co-CEO at stake. Plus, Dubai Ruler Sheikh Mohamed pledged to make Hatta a “global model”, while reviewing 61 projects worth Dhs3.6 billion - we look at what this will mean for tourism industry with Deborah Thomson, Cluster General Manager - Terra Cabins & JA Hatta Fort Resort, JA Resorts & Hotels. And we talk fireworknomics with the man who makes things go bang - Tony Samuel of Flash Art.See omnystudio.com/listener for privacy information.

This conversation between Shana Moulton and e-flux Film curator Lukas Brašiškis was recorded live at e-flux following a screening on Thursday, April 4, 2024. Weaving feminist undertones with surrealist imagery and sound, Shana Moulton's work explores the nuances of the contemporary psyche. Her Whispering Pines series, in particular, delves into the intricacies of self-help culture, the quest for spiritual meaning, and the often comedic absurdity of personal wellness rituals. In her performances, videos, and installations, Moulton, through the experiences of her alter ego, Cynthia, writes a narrative that is both personal and universally resonant, probing the boundaries between the mundane and the mystical in the time of global digital capitalism. The screening featured a selection of Shana Moulton's works: Whispering Pines Zero (2002, 6 minutes, a collaboration with Jacob Ciocci), Whispering Pines 1 (2002, 2 minutes), Whispering Pines 2 (2003, 4 minutes), Whispering Pines 5 (2005, 6 minutes), Repetitive Stress Injuries (2008, 12 minutes), The Galactic Pot Healer (2010, 8 minutes), Every Angle is an Angel (2016, 6 minutes), and the film-opera Whispering Pines 10 (2018, 35 minutes, a collaboration with Nick Hallett).  Moulton has had solo exhibitions at international institutions including Palais De Tokyo in Paris, Yerba Buena Center for the Arts in San Francisco, Kunsthaus Glarus in Switzerland, the Museum of Fine Arts in St. Petersburg, and the Museum of Modern Art in New York. Her work has been featured in Artforum, the New York Times, Art in America, Flash Art, BOMB, and Frieze, among others. Her work has been featured on Art21 and her single-channel videos are distributed by Electronic Arts Intermix. An edited version of this conversation was published on e-flux Film Notes. Film Notes, launched in June, features conversations with artists and filmmakers, scripts, and experimental writing on the moving image.

In this episode of Turning Points, Patricia Killeen welcomed Jeff Rian, writer, musician, and associate editor of Purple fashion magazine – to play a few new songs from his most recent albums ‘Sketches' and ‘Such is Life'– Jeff has lived in Paris for almost three decades; he talks about how his music, art and writing all found harmony in the City of Light.   Jeff has written numerous essays and exhibition catalogues on art and was a long-time contributor to Art in America, Flash Art, Frieze, and Artforum magazines. He is the author of Buckshot Lexicon, Purple Years, and monographs on contemporary artists (among them, Vito Acconci, Robert Smithson, Robert Rauschenberg, Bruce Nauman, Lewis Baltz, Richard Prince, Philip Lorca di Corcia, to name a few).    As a guitarist/composer, his albums include Everglade, with Jean-Jacques Palix; Battle Songs and Méteo, with Bob Coke; four albums on major labels with French singer Alexandra Roos; and, in 2024, Such Is Life, a selection of songs, released by Coriolis Sounds, and Sketches, a selection of guitar tracks with one song, curated by photographer Giasco Bertoli for his magazine Roses Tatouées.    SHOW NOTES:  Songs played in episode: Oh God – Such is Life(2024)  These Are the Times – Such is Life(2024)  Sleep – Sketches (2024)

Video Link: https://youtu.be/96_PikXsj7QRafaël Rozendaal (born 1980) is a Dutch-Brazilian visual artist currently living and working in New York City. He is known as a pioneer of Internet Art.Exhibitions: Times square, Museum Folkwang, Centre Pompidou, Whitney Museum, Valencia Biennial, Casa Franca Brasil Rio, Seoul Art Square, Stedelijk Museum. Press: Time Magazine, Wall Street Journal, Flash Art, Dazed & Confused, Interview, Wired, Purple, McSweeney's, O Globo, Vice, Creators Project, Artreview, Vogue. Lectures: Yale, DLD conference, Ecole des Beaux Arts, NYU, Vivid Sydney. Collections: Whitney Museum, Centre Pompidou, Stedelijk Museum. Galleries: Upstream Amsterdam – TSCA Tokyo

Allison Miller was born in Evanston, Illinois and lives and works in Los Angeles. She received a BFA in Printmaking at the Rhode Island School of Design and an MFA in Painting from the University of California, Los Angeles. She is represented by Susan Inglett Gallery, NY and has had solo shows at The Pit, Los Angeles, The Finley, Los Angeles and ACME. Los Angeles. Group exhibitions of note include: The Holographic Principle, Philip Martin Gallery, Los Angeles, The Los Angeles Museum of Art (LAMOA) presents Mülheim/Ruhr and the 1970's, Kunstmuseum Mülheim an der Ruhr, Germany; “six memos for the next…”,  NOW-ism: Abstraction Today, Pizzuti Collection, Columbus, OH, Magazin 4 – Bregenzer Kunstverein, Bregenz, Austria and Made in L.A. 2012, Hammer Museum in collaboration with LAXART, Los Angeles. Miller's work can be found in the permanent collections of the Frances Lehman Loeb Art Center, Vassar College; the Orange County Museum of Art, Newport Beach; the Pizzuti Collection, Columbus; the Santa Barbara Museum of Art; and the Neuberger Museum of Art, Purchase, among others. Her work has been reviewed in The New Yorker, Artforum, Frieze, The Los Angeles Times, Flash Art, The Brooklyn Rail, and Hyperallergic, among others.

KUNSTKAMERA - šéfredaktorka Lýdia Pribišová predstavuje 69 číslo časopisu FLASH ART  Czech and Slovak edition časopisu Flash Art prichádza so 69. číslom, venovaným teme GAMING. Nájdete tam mnoho zaujímavých článkov, recenzií a news zo sveta súčasného výtvarného umenia. Čo zaujímavé si môžete prečítať v tomto čisle prišla do nášho podcastu predstaviť už tradične šéfredaktorka Lýdia Pribišová.   Flash Art nájdete tu: https://flashart.cz/   Kunstkameru môžete sledovať na Instagrame:  https://www.instagram.com/kunstkamerapodcast/ alebo na Facebooku: https://www.facebook.com/Kunstkamera/ alebo na Youtube: https://www.youtube.com/channel/UCaNbO_M_Cz_l8XZ5lOWzPeA   Taktiež môžete sledovať naše ďalšie podcasty: Silný výber  https://silnyvyber.podbean.com/

Thieves (Fence Books, 2023) is an autofictional account of a gallery girl named Valerie – an art worker in the big city, a product of an American childhood in a small place where she learned to value objects and their promise. The magic of being, thinking, speaking, and writing is all bound up for Valerie, a self-conscious creature, in the ways she can acquire and be acquired. She lives and works in a storm of things, many of which are commodities, including herself. In whip-smart, sharply humorous prose, the consumption and reflectivity of a white American young-womanhood lived in a phenomenological endzone comes delicately to life out of the sharp particulars thefted and loved in this urbane, semi-psychedelic bildungsroman. Valerie Werder is an art writer, a fiction author, and a doctoral candidate in film and visual studies at Harvard University. Her critical, creative, and scholarly work has been published in Public Culture, BOMB, Flash Art, and various exhibition catalogues, and has been performed at Participant Inc in New York City, and Artspace in New Haven. Werder is a 2023-23 PEN America Prison and Justice Writing Program Mentor, and was previously a 2021 Art & Law Fellow. Her debut novel, Thieves (2023), was winner of the Fence Modern Prize in Prose. Iva Glisic is a historian and art historian specialising in modern Russia and the Balkans. Liz Bradtke is a writer, editor, and communications specialist who works for the Australian Library and Information Association. Liz has studied and taught in the English departments of the University of Melbourne and New York University. Her poetry has been featured in The Age, Voiceworks magazine and Gutcult. Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Thieves (Fence Books, 2023) is an autofictional account of a gallery girl named Valerie – an art worker in the big city, a product of an American childhood in a small place where she learned to value objects and their promise. The magic of being, thinking, speaking, and writing is all bound up for Valerie, a self-conscious creature, in the ways she can acquire and be acquired. She lives and works in a storm of things, many of which are commodities, including herself. In whip-smart, sharply humorous prose, the consumption and reflectivity of a white American young-womanhood lived in a phenomenological endzone comes delicately to life out of the sharp particulars thefted and loved in this urbane, semi-psychedelic bildungsroman. Valerie Werder is an art writer, a fiction author, and a doctoral candidate in film and visual studies at Harvard University. Her critical, creative, and scholarly work has been published in Public Culture, BOMB, Flash Art, and various exhibition catalogues, and has been performed at Participant Inc in New York City, and Artspace in New Haven. Werder is a 2023-23 PEN America Prison and Justice Writing Program Mentor, and was previously a 2021 Art & Law Fellow. Her debut novel, Thieves (2023), was winner of the Fence Modern Prize in Prose. Iva Glisic is a historian and art historian specialising in modern Russia and the Balkans. Liz Bradtke is a writer, editor, and communications specialist who works for the Australian Library and Information Association. Liz has studied and taught in the English departments of the University of Melbourne and New York University. Her poetry has been featured in The Age, Voiceworks magazine and Gutcult. Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

Thieves (Fence Books, 2023) is an autofictional account of a gallery girl named Valerie – an art worker in the big city, a product of an American childhood in a small place where she learned to value objects and their promise. The magic of being, thinking, speaking, and writing is all bound up for Valerie, a self-conscious creature, in the ways she can acquire and be acquired. She lives and works in a storm of things, many of which are commodities, including herself. In whip-smart, sharply humorous prose, the consumption and reflectivity of a white American young-womanhood lived in a phenomenological endzone comes delicately to life out of the sharp particulars thefted and loved in this urbane, semi-psychedelic bildungsroman. Valerie Werder is an art writer, a fiction author, and a doctoral candidate in film and visual studies at Harvard University. Her critical, creative, and scholarly work has been published in Public Culture, BOMB, Flash Art, and various exhibition catalogues, and has been performed at Participant Inc in New York City, and Artspace in New Haven. Werder is a 2023-23 PEN America Prison and Justice Writing Program Mentor, and was previously a 2021 Art & Law Fellow. Her debut novel, Thieves (2023), was winner of the Fence Modern Prize in Prose. Iva Glisic is a historian and art historian specialising in modern Russia and the Balkans. Liz Bradtke is a writer, editor, and communications specialist who works for the Australian Library and Information Association. Liz has studied and taught in the English departments of the University of Melbourne and New York University. Her poetry has been featured in The Age, Voiceworks magazine and Gutcult. Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Grace Graupe-Pillard speaks with us about ambition, showing work in the internet era, activism in art, body acceptance in your 70s, and windows as vaginas. Bio: Grace Graupe-Pillard has exhibited her artwork throughout the USA with one-person exhibitions in Hartford, CT., Jackson MS., Chicago Ill., Newark, NJ, in addition in NYC at The Untitled Space,The Proposition, Bernice Steinbaum, Donahue/Sosinski, Hal Bromm, The Frist Center in Nashville, TN, The NJ State Museum, NJ Center for Visual Arts, Carl Hammer Gallery in Chicago, Payne Gallery at Moravian College, PA., Aljira Gallery, Newark, NJ., Rupert Ravens Contemporary in Newark, NJ, and Rider University, NJ, and Bernard Heller Museum, NYC. She will be having a solo show at David Richard Gallery, Chelsea, NYC in the Fall of 2023. Grace Graupe Pillard has participated in Group Exhibitions at Arsenal Gallery, NYC, Cheim & Read Gallery, NYC., Ringling Gallery of Art and Design, Sarasota, Fla., Hebrew Union College Museum, NYC., Hal Bromm Gallery, NYC., P.S. 1, NYC., Bass Museum, Miami Beach, Fl., Indianapolis Museum, Indianapolis, Ind., The Maier Museum, Lynchburg, VA., The Aldrich Museum, Ridgefield Ct., The Drawing Center, NYC., The Hunterdon Art Museum, Hunterdon, NJ., The National Academy Museum NYC., Editions/Artists' Book Fair, NYC., Puffin Cultural Forum, NJ., Project for Empty Spaces, Newark, NJ, Art Chicago, Scope London, Carl Hammer, Chicago, ILL., The Untitled Space, NYC, and Kunstpakhuset, Ikast, Denmark, Museum of Rheda-Wiedenbruck, Westphalia, Germany. Graupe-Pillard has also been the recipient of many grants including four from The NJ State Council on the Arts, and one from The National Endowment for the Arts. She has received Public Art commissions from Shearson Lehman /American Express, AT&T, KPMG, Wonder Woman Wall at The Port Authority Bus Terminal, Robert Wood Johnson Hospital, New Brunswick, NJ and the City of Orange, NJ. Commissions from NJ Transit for the Hudson-Bergen Light Rail Transit System at Garfield Station in Jersey City, and 2nd Street Station in Hoboken, and Aberdeen-Matawan Station in Aberdeen, NJ. Her work has been written about in The Village Voice, The NY Times, Art News, The StarLedger, Newsday, Flash Art, ArtForum, Art in America, Arts, and Tema Celeste. On-line publications include Women's Voices for Change, Hyperallergic, Daily Beast, Vice Creator's Project, Paste Magazine, Persimmons, Yahoo Voices, and Huffington Post. Wikipedia Page: http://en.wikipedia.org/wiki/Grace_Graupe-Pillard

This is the first of 10 episodes that I recorded and produced at The Space Program Residency in San Francisco. The first in the series is a conversation with artist and educator Libby Black. We talk about sobriety, lesbian visibility, teaching before and after the pandemic, and that time she swam The Rock, yes Alcatraz. About Libby Black Libby Black is a painter, drawer, and sculptural installation artist living in Berkeley, CA. Her artwork charts a path through personal history and a broader cultural context to explore the intersection of politics, feminism, LGBTQ+ identity, consumerism, addiction, notions of value, and desire. She has exhibited nationally and internationally, with such shows as “California Love” at Galerie Droste in Wupertal, Germany; “Bay Area Now 4” at Yerba Buena Center for the Arts; “California Biennial” at the Orange County Museum of Art; and at numerous galleries in New York, Los Angeles, and San Francisco. Black has been an artist-in-residence at Headlands Center for the Arts in Sausalito, CA; Montalvo Arts Center in Saratoga, CA; and Spaces in Cleveland, OH. Her work has been reviewed in Artforum, Art in America, ARTnews, Flash Art, and The New York Times. She received a BFA from the Cleveland Institute of Art in 1999 and an MFA at the California College of the Arts in 2001. Libby is an Assistant Professor at San Francisco State University. About The Side Woo Host & Creator: Sarah Thibault On-site Producer: Bryan Lovett Sound & Content Editing: Sarah Thibault Intro and outro music: LewisP-Audio found on Audio Jungle The Side Woo is a podcast created through The Side Woo Collective. To learn more go to thesidewoo.com For questions, comments, press, or sponsorships you can email thesidewoo@gmail.com --- Send in a voice message: https://podcasters.spotify.com/pod/show/thesidewoopodcast/message

KUNSTKAMERA - šéfredaktorka Lýdia Pribišová predstavuje 67 číslo časopisu FLASH ART  Czech and Slovak edition časopisu Flash Art prichádza so 67. číslom, venovaným teme QUEERing anebinárna spoločnosť. Nájdete tam mnoho zaujímavých článkov, recenzií a news zo sveta súčasného výtvarného umenia. Čo zaujímavé si môžete prečítať v tomto čisle prišla do nášho podcastu predstaviť už tradične šéfredaktorka Lýdia Pribišová.   Flash Art nájdete tu: https://flashart.cz/   Kunstkameru môžete sledovať na Instagrame:  https://www.instagram.com/kunstkamerapodcast/ alebo na Facebooku: https://www.facebook.com/Kunstkamera/ alebo na Youtube: https://www.youtube.com/channel/UCaNbO_M_Cz_l8XZ5lOWzPeA   Taktiež môžete sledovať naše ďalšie podcasty: Silný výber  https://silnyvyber.podbean.com/ Hybadlo: https://hybadlo.podbean.com/

In this episode Barbara shares some amazing stories and dives into how she was initially drawn toward spirituality and art throughout her life. We spoke about her journey becoming an art historian and her move to NYC where she became a well known gallerist and art dealer. We spoke about her experiences with spiritual giants like Maharishi Mahesh Yogi,  Swami Satchidananda, and Yogi Bhajan.  We also dialogue about the current shift in the art world, the reasons why spirituality might have been taboo in the past, along with  the potential the spiritual in art holds for our collective future.  Barbara has so much wisdom and insight to share around these subjects and I know you all are going to absolutely love this episode!!  ------------------------ Barbara Braathen is an art historian, curator, dealer and writer.  She had galleries in New York from 1980-2005, programming an eclectic mix of contemporary styles and media.  Exhibitions included graffiti personality Rammellzee, language artist Guy de Cointet, abstract painter Joan Waltemath, sculptor Donald Lipski, Surrealist legend Charles Henri Ford, spiritual expressionist Hunt Slonem,  magic painter Peter Grass, mystic John Wells, plus tombstone rubbings by the infamous Scott Covert, paintings and sculpture of the actor Fred Gwynne, a group show "Surrealismo" co-curated with "The Godfather of Gallerists" Leo Castelli, a collaboration with the French Embassy, Richard Osterweil paintings of the Romanov family at the Russian Embassy on New York's upper east side, as well as readings in the gallery by poet laureate John Ashbery,.  Group exhibitions included works by Marcel Duchamp, Man Ray, Jean Cocteau, Roy Lichtenstein, Andy Warhol, Jean-Michel Basquiat, Keith Haring, and many others.  Barbara Braathen Gallery was reviewed in Artforum, Artnews, Art in America, Flash Art, The New Yorker, The Atlantic Monthly, and a host of other publications.  She holds a PhDC in modern art history from UCLA. Interest in spiritual subjects began while a college student in the 1960s.  Experiences in Los Angeles included close interfacing with Maharishi Mahesh Yogi, Swami Satchidananda, Yogi Bhajan who brought Kundalini yoga to the west, and innumerable other spiritual leaders.  She as well participated in study groups with a close circle, the principle readings being in Theosophy (Blavatsky, Besant, Leadbetter), plus Cayce, Gurdjieff, and Hindu and Buddhist writings.  She has experienced several miraculous healings.  Current studies include the anthroposophical teachings of Rudolf Steiner.  She is on the Board of Directors of Spring River School, a Waldorf-inspired outdoor school in Jacksonville Florida where she currently resides. https://en.wikipedia.org/wiki/Barbara_Braathen https://nyweekly.com/?s=Barbara+braathen https://www.readersdigest.co.uk/culture/art-theatre/barbara-braathen-an-aesthete-in-the-art-industry https://www.laprogressive.com/sponsored/barbara-braathen See More from Martin Benson *To stay up on releases and content surrounding the show check out ⁠⁠⁠⁠my instagram⁠⁠⁠⁠ *To contribute to the creation of this show, along with access to other exclusive content, consider joining ⁠⁠⁠⁠my Patreon⁠⁠⁠⁠! Credits: Big Thanks to Matthew Blankenship of ⁠⁠⁠⁠The Sometimes Island ⁠⁠⁠⁠ for the podcast theme music! --- Support this podcast: https://podcasters.spotify.com/pod/show/martin-l-benson/support

Aaron Moulton is a seasoned art world veteran who worked as a curator for the Gagosian gallery, an editor for Flash Art International and founded Feinkost gallery in Berlin, only to start engaging in anthropological work and start researching the impact SCCA (Soros Centres for Contemporary Art) network's impact on Eastern European art scene. This research formed the core of his exhibition "The Influencing Machine" which was on show in Ujazdowski castle in Warsaw. We discussed the peculiarities of the Eastern European art scene, the relationship between art, politics and money during the "transition", the conflicts between liberalism and freedom, the true value of art and how Bruce Lee of Mostar epitomises everything strange and wrong with the transition efforts. Support at Patreon.com/belgrade Notes: On the Influencing machine u-jazdowski.pl/en/programme/publ…ons/aaron-moulton podcasts.apple.com/us/podcast/aaro…i=1000591534712 podcasts.apple.com/us/podcast/aaro…i=1000597716377 drive.google.com/file/d/1I9eEcJea…9i7_zTRjuzy/view www.youtube.com/watch?v=E6UPLrw43Uw On the Ujazdowski castle thecritic.co.uk/what-is-the-point…of-political-art/ Aaron's Flash Art articles flash---art.it/contributor/aaron-moulton/

Aaron Moulton is a seasoned art world veteran who worked as a curator for the Gagosian gallery, an editor for Flash Art International and founded Feinkost gallery in Berlin, only to start engaging in anthropological work and start researching the impact SCCA (Soros Centres for Contemporary Art) network's impact on Eastern European art scene. This research formed the core of his exhibition "The Influencing Machine" which was on show in Ujazdowski castle in Warsaw. We discussed the peculiarities of the Eastern European art scene, the relationship between art, politics and money during the "transition", the conflicts between liberalism and freedom, the true value of art and how Bruce Lee of Mostar epitomises everything strange and wrong with the transition efforts. Notes: On the Influencing machine https://u-jazdowski.pl/en/programme/publications/aaron-moulton https://podcasts.apple.com/us/podcast/aaron-moulton-the-influencing-machine/id1615827295?i=1000591534712 https://podcasts.apple.com/us/podcast/aaron-moulton/id1535634480?i=1000597716377 https://drive.google.com/file/d/1I9eEcJea2oZ-m8HXn533v9i7_zTRjuzy/view https://www.youtube.com/watch?v=E6UPLrw43Uw On the Ujazdowski castle https://thecritic.co.uk/what-is-the-point-of-political-art/ Aaron's Flash Art articles https://flash---art.it/contributor/aaron-moulton/

Jeffrey Deitch has been a prominent player in contemporary art for over fifty years. Born in 1952 and raised in Hartford, Connecticut, Deitch went on to study at Wesleyan University, turning his primary attention from economics to art history. As a college student, he opened his first gallery in 1972 in Lenox, Massachusetts. In 1978 Deitch received his MBA from Harvard Business School, where he authored his thesis on Andy Warhol as a business artist and sought to find synergy between aesthetics and economics. Such interest led him to Citibank, where he developed the art consultation division, the first professionally organized art advisory service attached to an international financial institution. Deitch has also contributed significantly to art criticism, becoming a regular columnist of Flash Art in 1980 and having his work published in Artforum, Garage, Interview magazine, and Paper magazine. In 1996, Deitch opened the Deitch Projects gallery in Soho, with shows including works from Vanessa Beecroft, Nari Ward, and Mariko Mori. Deitch has made a resounding impact on the art scene of Southern California. In 2010 he received the honor of being named the director of MOCA, relocating from New York to Los Angeles. As an early advocate of graffiti art in the 1980s, his first curated show, "Art in the Street," sold over 200,000 tickets- more than any previous show in MOCA history. In 2018 he opened a 15,000-square-foot space in Hollywood designed by Frank Gehry, where he presents museum-level exhibitions in a gallery setting. Further, in 2020, Deitch created the Gallery Association Los Angeles (GALA for short) to generate excitement about the LA gallery scene. He has also launched galleryplatform.la, an online program that serves the dynamic Los Angeles arts community with editorial content and rotating online viewing rooms. Deitch continues to operate galleries in New York and Los Angeles while advising private art collectors and institutions. As his number of shows, exhibition spaces, and artists exhibited surpass any art dealer in history, he has crafted a unique role that merges his curatorial profile with the business side of art. He and Zuckerman spoke about a daily practice of looking at art, the physicality of looking, feeling objects, time with artists, seeking communities, running an art museum and why “All Surface. No Structure.” matters!

KUNSTKAMERA - šéfredaktorka Lýdia Pribišová predstavuje 66 číslo časopisu FLASH ART  Czech and Slovak edition časopisu Flash Art prichádza so 66. číslom, venovaným teme toxic. Nájdete tam mnoho zaujímavých článkov, recenzií a news zo sveta súčasného výtvarného umenia. Čo zaujímavé si môžete prečítať v tomto čisle prišla do nášho podcastu predstaviť už tradične šéfredaktorka Lýdia Pribišová.   Epizódu sme nahrávali ešte v decembri.   Flash Art nájdete tu: https://flashart.cz/   Kunstkameru môžete sledovať na Instagrame:  https://www.instagram.com/kunstkamerapodcast/ alebo na Facebooku: https://www.facebook.com/Kunstkamera/ alebo na Youtube: https://www.youtube.com/channel/UCaNbO_M_Cz_l8XZ5lOWzPeA   Taktiež môžete sledovať naše ďalšie podcasty: Silný výber  https://silnyvyber.podbean.com/ Hybadlo: https://hybadlo.podbean.com/

The cost of New Year fireworks displays in Dubai have doubled over the past two year- largely due to rising shipping costs, Tony Samuel of Flash Art explains. Plus, as China opens up, economist Jeanne Walters from Emirates NBD joins us to explain what it means for your business in the UAE. And the UAE made up more than 10% of the world's IPO value this year - but can we do it again? We ask Sameer Lakhani of Global Capital Partners.See omnystudio.com/listener for privacy information.

Jessica Bell Brown is the Curator and Department Head for Contemporary Art at the Baltimore Museum of Art. Her recent exhibition projects include How Do We Know The World?, Thaddeus Mosley: Forest, Stephanie Syjuco: Vanishing Point (Overlay), and A Movement In Every Direction: Legacies of the Great Migration co-organized with the Mississippi Museum of Art. Prior to the BMA she was the Consulting Curator at Gracie Mansion Conservancy in New York, where she curated She Persists: A Century of Women Artists in New York, 1919-2019 with First Lady Chirlane McCray. Previously, she held roles at the Museum of Modern Art, New York, the Brooklyn Academy of Music, and Creative Time. Her writing has been featured in several artist monographs and catalogues, including Janiva Ellis, Thaddeus Mosley, Baldwin Lee, Lubaina Himid, Matthew Angelo Harrison, as well as Flash Art, Artforum, Art Papers, Hyperallergic, and The Brooklyn Rail.Photo by Christopher MyersAbout A Movement in Every Direction: Legacies of the Great MigrationThe Great Migration (1915–1970) saw more than six million African Americans leave the South for destinations across the United States. This incredible dispersal of people across the country transformed nearly every aspect of Black life and culture. A Movement in Every Direction: Legacies of the Great Migration explores the ways in which its impact reverberates today through newly commissioned works across media by 12 acclaimed Black artists, including Akea Brionne, Mark Bradford,  Zoë Charlton, Larry W. Cook, Torkwase Dyson, Theaster Gates Jr., Allison Janae Hamilton, Leslie Hewitt, Steffani Jemison, Robert Pruitt, Jamea Richmond-Edwards, and Carrie Mae Weems.The exhibition is co-curated by Jessica Bell Brown, Curator and Department Head of Contemporary Art at the BMA and Ryan N. Dennis, Chief Curator and Artistic Director of the Center for Art & Public Exchange (CAPE) at the Mississippi Museum of Art.The exhibition is co-organized by the Mississippi Museum of Art and the Baltimore Museum of Art.This exhibition is supported by a grant from the Ford Foundation.Mentioned in this episode:A Movement in Every Direction: Legacies of the Great MigrationTo find more amazing stories from the artist and entrepreneurial scenes in & around Baltimore, check out my episode directory. Stay in TouchNewsletter sign-upSupport my podcastShareable link to episode ★ Support this podcast ★

KUNSTKAMERA - šéfredaktorka Lýdia Pribišová predstavuje 65 číslo časopisu FLASH ART  Czech and Slovak edition časopisu Flash Art prichádza so 65. číslom, venovaným spontánnemu umeniu. Nájdete tam mnoho zaujímavých článkov, recenzií a news zo sveta súčasného výtvarného umenia. Čo zaujímavé si môžete prečítať v tomto čisle prišla do nášho podcastu predstaviť už tradične šéfredaktorka Lýdia Pribišová.   Flash Art nájdete tu: https://flashart.cz/   Kunstkameru môžete sledovať na Instagrame:  https://www.instagram.com/kunstkamerapodcast/ alebo na Facebooku: https://www.facebook.com/Kunstkamera/ alebo na Youtube: https://www.youtube.com/channel/UCaNbO_M_Cz_l8XZ5lOWzPeA   Taktiež môžete sledovať naše ďalšie podcasty: Silný výber  https://silnyvyber.podbean.com/ Hybadlo: https://hybadlo.podbean.com/

KUNSTKAMERA - šéfredaktorka Lýdia Pribišová predstavuje najnovšie 64. číslo časopisu FLASH ART    Czech and Slovak edition časopisu Flash Art prichádza so 64. číslom, venovaným odchodu z mesta. Nájdete tam mnoho zaujímavých článkov, recenzií a news zo sveta súčasného výtvarného umenia. Čo zaujímavé si môžete prečítať v tomto čisle prišla do nášho podcastu predstaviť už tradične šéfredaktorka Lýdia Pribišová.   Flash Art nájdete tu: https://flashart.cz/   Kunstkameru môžete sledovať na Instagrame:  https://www.instagram.com/kunstkamerapodcast/ alebo na Facebooku: https://www.facebook.com/Kunstkamera/ alebo na Youtube: https://www.youtube.com/channel/UCaNbO_M_Cz_l8XZ5lOWzPeA   Taktiež môžete sledovať naše ďalšie podcasty: Silný výber  https://silnyvyber.podbean.com/ Hybadlo: https://hybadlo.podbean.com/

Andrew Ross received his BFA from The Cooper Union in 2011, where he was awarded the Gelman Trust Award for Excellence in Sculpture. He attended Skowhegan School of Painting and Sculpture in 2011. He's been a resident and/or fellow of programs including The Triangle Arts Association, The Drawing Center's Open Sessions, LMCC's Swing Space, The Macedonia Institute, The Bruce High Quality Foundation, and he is a current awardee of Two Trees' Cultural Space Subsidy Program. Ross has exhibited in group exhibitions at The Hessel Museum, The Drawing Center, The Studio Museum in Harlem, Artists Space, Center for the Humanities at CUNY, White Columns, and Greene Naftali. He has staged solo exhibitions at Signal (Brooklyn, NY), American Medium (NY, NY), Clima Gallery (Milan, Italy), and False Flag (Long Island City, NY). Ross' work has been reviewed in Artforum, Art in America, Cultured, Flash Art, Mousse, and the Brooklyn Rail. Ross is a sculptor and new media artist who creates fragmentary constructions with figurative elements and everyday objects. With attention to metaphoric associations that his imagery elicits Ross' tableau scenes oscillate between speculative fiction and cartoonish satire. His figures are chimeric and mythical in appearance yet typically occupied with some form of work and juxtaposed with commonplace detritus. Joining traditional sculpture, assemblage and digital imaging, Ross's works capture existential issues regarding the conundrum of representation in our age of many avatars.

Episódio 3 da temporada especial do Appleton Podcast - 15 anos MACE - Aqui somos rede - numa parceria com a Colecção António CacholaJoão Pinharanda Vive e trabalha em Lisboa. Em 2022 assume a direcção artística do MAAT.Foi professor auxiliar convidado do Departamento de Arquitectura, na Universidade Autónoma de Lisboa; trabalhou como professor auxiliar convidado do Mestrado de Gestão de Mercados de Arte (ISCTE, Lisboa); foi presidente da Secção Portuguesa da Associação International dos Críticos de Arte (AICA); director de programação do Museu de Arte Contemporânea de Elvas (2007-2010) – Colecção António Cachola, que tinha organizado em 1999; participou em numerosos júris de exposições e Prémios de Arte em Portugal, Espanha e Brasil; em numerosas conferências em Portugal, Espanha, México, Brasil, Rússia e França; colaborou na imprensa como crítico de arte entre 1984 e 2001 (no jornal Público foi responsável pela secção de artes plásticas entre 1990-2000); tem também colaboração em revistas especializadas portuguesas e internacionais (Arte Ibérica, Flash Art, Neue Kunst in Europa, Spazio Umano, Arena...). É consultor artístico e responsável pela programação de exposições da Fundação EDP, desde 2000, onde organizou mais de uma centena de exposições e catálogos; organizador dos Prémios de Arte da Fundação EDP (Prémio EDP – Novos Artistas e Grande Prémio EDP); responsável pela Colecção de Arte da Fundação EDP; comissário e coordenador do Programa da Fundation EDP «Arte e Arquitectura em Barragens»; comissário e coordenador do Programa de Arte Pública do Parque de Escultura Contemporânea do Parque Almourol (Vila Nova da Barquinha); projecto de intervenção na paisagem na zona da Barragem do Alqueva (Aldeia da Luz/Museu da Luz); é comissário de numerosas exposições individuais e colectivas em museus nacionais e internationais (Espanha, França, Rússia, México, Brasil). António AlbertinoAlbertino dos Santos, mandou construir um armazém e escritórios para as suas empresas de produtos de pintura e reparação automóvel, e antes de o ocupar com o necessário para as suas funções industriais, apresentou nesse espaço a sua colecção de arte contemporânea, durante uns dias, em Maio de 2015, na exposição “Primeira Pessoa Plural”.A colecção de arte contemporânea de Ana Cristina e Albertino dos Santos é composta por obras de artistas portugueses e estrangeiros, escolhidas pessoalmente pelos colecionadores, junto dos artistas. Os colecionadores anunciam a intenção de criar um museu, que «terá de ser desagarrado do mainstream da lógica do funcionamento público, estatal, de tudo o que isso transportaria de ”dificuldades, constrangimentos de horários, incompetência nos lugares de destaque, burocracia…”» afirma Ana Cristina dos Santos. Será um «museu particular, permanentemente aberto às instituições, comunidade artística, escolas e amigos». Em 2021 a Colecção AA é a escolhida para a 4ª edição de “Arte em São Bento” apresentando um total de 41 peças.Links:https://expresso.pt/cultura/2022-01-27-faltam-nos-milionarios-cultos-que-apostem-em-arte.-grande-entrevista-a-joao-pinharandahttps://rr.sapo.pt/noticia/politica/2021/10/05/costa-diz-que-vira-do-porto-a-proxima-arte-em-sao-bento-um-investimento-para-continuar/255737/Episódio gravado a 22.06.2022 http://www.appleton.pt Mecenas Appleton:HCI / Colecção Maria e Armando Cabral Financiamento:República Portuguesa - Cultura / DGArtes Apoio:Câmara Municipal de Lisboa

Marina Kappos received an MFA from the Yale University School of Art in 1997 and a BFA from the California Institute of the Arts in 1995. She lives and works in NYC. Her solo exhibitions include "You You You" at SHRINE in NYC (2022), “Transfigured" at Foyer/LA in Los Angeles (2020),  “Peep Show” at China Art Objects in Los Angeles (2011) and “Marina Kappos” at Tokyo Wonder Site, Institute of Contemporary Art (2007). Group exhibitions include "Resonant Frequencies" at Jonathan Levine Projects. NJ (2021), "Show Me The Signs" at Blum & Poe, CA (2020) and "Animal Crossing" at Inman Gallery, TX (2020). Catalogues were published for her 2007 exhibition at Tokyo Wonder Site, Institute for Contemporary Art, and also for her two solo exhibitions at I-20 gallery in NY in 2002 and 1998. Kappos has been reviewed in publications including artforum.com, Time Out New York, The Japan Times, and Flash Art. In the winter of 2020, she participated in the artist residency program at Lighthouse Works on Fishers Island. She also attended the Tokyo Wonder Site Creator-In-Residence program twice, first in 2007, and then again in 2013, where she spent several months painting and living in Tokyo. She also has a show titled "Sun Up Sun Down" at Lighthouse Works through July 16th and a group show at Nathalie Karg gallery opening June 28th titled "Painting As Is II" curated by Heidi Hahn and Tim Wilson. Order the S&V book: http://atelier-editions.com/store/why-i-make-art $25 full of inspiration

Sarah Slappey (b. 1984, Columbia, South Carolina) is a painter based in Brooklyn, NY. Slappey received her MFA from Hunter College in 2016. She has had solo exhibitions at Maria Bernheim Gallery (Zurich, Switzerland) and Sargent's Daughters (New York, NY). Her work has been included in group exhibitions at the Schlossmuseum (Linz, Austria); Carl Kostyal Gallery (London, UK); Deanna Evans Projects (New York, NY); König Galerie (Berlin, Germany); White Cube (Paris, France); The Pit (Los Angeles, CA); and Andrew Edlin Gallery (New York, NY). Her work is included in the permanent collections of the Museum of Modern and Contemporary Art (MAMCO) Geneva, Switzerland; the Institute of Contemporary Art, Miami, FL; The Columbus Museum of Art, Columbus, OH; and the Hirshhorn Museum, Washington, DC. Slappey's work has been reviewed by Artforum, The New Yorker, The Art Newspaper, Artnet, Artsy, ArtSpace, Vogue Italia, and Flash Art, among others. She is represented by Sargent's Daughters.  Sarah Slappey, Blue Gingham, 2021, oil and acrylic on canvas, 80 x 100 inches Sarah Slappey, Shower Scene, 2021, oil and acrylic on canvas, 72 x 62 inches  

KUNSTKAMERA - šéfredaktorka Lýdia Pribišová predstavuje najnovšie 63. číslo časopisu FLASH ART    Czech and Slovak edition časopisu Flash Art prichádza so 63. číslom, venovaným subjektívnemu obratu u umelca. Nájdete tam mnoho zaujímavých článkov, recenzií a news zo sveta súčasného výtvarného umenia. Čo zaujímavé si môžete prečítať v tomto čisle prišla do nášho podcastu predstaviť už tradične šéfredaktorka Lýdia Pribišová.   Flash Art nájdete tu: https://flashart.cz/   Kunstkameru môžete sledovať na Instagrame:  https://www.instagram.com/kunstkamerapodcast/ alebo na Facebooku: https://www.facebook.com/Kunstkamera/ alebo na Youtube: https://www.youtube.com/channel/UCaNbO_M_Cz_l8XZ5lOWzPeA   Taktiež môžete sledovať naše ďalšie podcasty: Silný výber  https://silnyvyber.podbean.com/ Hybadlo: https://hybadlo.podbean.com/

Matteo Innocenti"Super Futuro"Transeuropa Edizionihttp://www.transeuropaedizioni.it/Una scritta verniciata in modo provocatorio e anonimo su vari monumenti storici di Firenze è il punto di inizio di una parabola: l'ascesa e la caduta di un “superfuturo” possibile, collettivo ombra avviato da Alessandro, artista di media carriera al limite della totale disillusione, insieme a un gruppo ristretto di giovani creativi, incerti sull'avvenire. Dai primi video social alle azioni illegali e al successo mediatico, dal consenso delle folle nella piazze italiane all'abbraccio della politica, così si realizza un piano imprevisto, finché il passo ulteriore e inevitabile per Superfuturo diventa la scelta tra l'asservimento o l'eliminazione.Alessandro tra pittura e dipendenza, Erveo lo stratega, il gallerista Costa, Alizeh in fuga dall'Iran, Michela di famiglia benestante, la gente sul palco, i ragazzi disoccupati e i carcerati. Il confronto in fondo è tra mondi inconciliabili, il potere esige ancora (e forse esigerà sempre) che ci siano alcuni forti e molti deboli – e in tale dialettica, fatta di continui assestamenti e mutamenti di ruolo, resta poco spazio, quasi nulla, per una reale innocenza.Matteo Innocenti (Firenze, 1981) è curatore e critico d'arte, docente. Come curatore ha collaborato con musei e istituzioni, spazi no-profit, gallerie private italiane ed estere, residenze d'artista. Ideatore e direttore dello spazio d'arte La Portineria (Firenze), è tra i fondatori del collettivo Estuario project space presso Officina Giovani (Prato); è inoltre curatore delle residenze artistiche Vacant Zone (online) e Vis à Vis Fuoriluogo (Molise). In ambito critico e giornalistico ha scritto e scrive per testate d'arte quali Artribune, ATP Diary, Exibart, Flash Art, Mimesis Scenari, oltre che per cataloghi e altre pubblicazioni. Insegna all'interno di corsi Accademici e Master. Questo è il suo primo romanzo edito.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

Luca Bertolo"Lo strano posto della religione nell'arte contemporanea" di James ElkinsJohan & LeviA chi ama l'arte non sarà sfuggito un fatto tanto eclatante quanto poco dibattuto: l'assenza nelle gallerie e nei musei di arte contemporanea di opere genuinamente religiose, in cui il sentimento religioso non sia inquinato, cioè, da ironia o irriverenza. La frattura fra arte e religione non è effetto di una congiura del mondo dell'arte, ha radici profonde. Avviata per gradi durante il Rinascimento, si è accentuata nel XIX secolo fino ad arrivare a quel divario che oggi ci appare insanabile. Per ricucire lo strappo bisognerebbe smantellare il discorso su cui si è edificato l'intero progetto modernista.Questo libro, in cui rigore e sperimentazione vanno a braccetto, rompe l'assordante silenzio che avvolge una questione particolarmente difficile da affrontare, tanto nei circuiti ufficiali dell'arte quanto nel campo dell'educazione artistica. Un silenzio che lascia gli studenti a coltivare la loro religiosità di nascosto, pena l'esclusione dal sistema. Forte della sua esperienza alla School of the Art Institute of Chicago, James Elkins affronta con innovativo pragmatismo un ginepraio di pratiche, opinioni e fraintendimenti, e sceglie cinque tra i suoi studenti a rappresentare altrettante posizioni di artisti: cinque racconti esemplari che tracciano una cartografia del travagliato rapporto tra religione e arte contemporanea.Affinché l'abisso di incomprensione fra i due schieramenti possa colmarsi, come si augura l'autore, non basta la buona volontà di figure isolate, servono nuove forme di dialogo, conversazioni inclusive che lascino spazio al portato emozionale ed esperienziale dei partecipanti. Elkins va già in questa direzione, fornendo ad artisti, studenti, docenti e studiosi la strumentazione necessaria per iniziare un dibattito costruttivo e appassionante.James ElkinsStorico e critico d'arte americano, docente alla School of the Art Institute of Chicago, è da sempre impegnato nella decostruzione dei canoni della storia dell'arte accademica attraverso una prospettiva critica originale e interdisciplinare. Si occupa in particolare di scrittura e di teoria dell'immagine. Tra le sue numerose pubblicazioni, La pittura cos'è. Un linguaggio alchemico (1998), Dipinti e lacrime (2001), Why Art Cannot Be Taught (2001), What Heaven Looks Like (2017), What is Interesting Writing in Art History? (2017) e Visual Worlds (con Erna Fiorentini, 2019).Luca Bertolo è pittore. Ha vissuto a Milano, San Paolo, Londra, Berlino e Vienna. Dal 2015 insegna pittura all'Accademia di Belle Arti di Bologna. Tra le numerose mostre in istituzioni pubbliche e private si segnalano: Luca Bertolo, Mart, Rovereto (2018); Se non qui dove, MAN, Nuoro (2017); Oltreprima, Fondazione del Monte, Bologna (2017), Le Belle Parole, SpazioA, Pistoia (2017); Everybody Is Always Right, Arcade, Londra (2017); If Anything, Marc Foxx, Los Angeles (2016); Recto Verso, Fondazione Prada, Milano (2015); Il metodo. Ci interessa il metodo, GAM, Torino (2014); Figura 2: natura morta, GNAM, Roma (2013); La figurazione inevitabile, Centro per l'Arte Contemporanea Luigi Pecci, Prato (2013); A Painting Cycle, Nomas Foundation, Roma (2012). I suoi testi sono apparsi su cataloghi monografici e riviste, tra cui «Flash Art», «Il Giornale dell'Arte», «exibart», «Artribune», «Warburghiana», «doppiozero», «Le parole e le cose», «ATP Diary».IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

KUNSTKAMERA - šéfredaktorka Lýdia Pribišová predstavuje najnovšie 62. číslo časopisu FLASH ART    Czech and Slovak edition časopisu Flash Art prichádza so 62. číslom, venovaným politike identit. Nájdete tam mnoho zaujímavých článkov, recenzií a news zo sveta súčasného výtvarného umenia. Čo zaujímavé si môžete prečítať v tomto čisle prišla do nášho podcastu predstaviť už tradične šéfredaktorka Lýdia Pribišová.   Flash Art nájdete tu: https://flashart.cz/   Kunstkameru môžete sledovať na Instagrame:  https://www.instagram.com/kunstkamerapodcast/ alebo na Facebooku: https://www.facebook.com/Kunstkamera/ alebo na Youtube: https://www.youtube.com/channel/UCaNbO_M_Cz_l8XZ5lOWzPeA   Taktiež môžete sledovať naše ďalšie podcasty: Silný výber  https://silnyvyber.podbean.com/ Hybadlo: https://hybadlo.podbean.com/

I spoke with curator, writer, art critic, and Perez Art Museum Miami's (PAMM) director Franklin Sirmans about the importance of deep, layered cultural representation - one that goes beyond optics and into every fiber of his work. Previously Franklin served as department head and curator of contemporary art at LACMA, as well as the Artistic Director of the 2014 Prospect New Orleans biennial. He was also the curator of modern and contemporary art at the Menil Collection in Houston and before that a curatorial advisor at MoMA PS1 and a lecturer at Princeton University and Maryland Institute College of Art. He is the 2007 recipient of the David C. Driskell Prize presented by the High Museum. Prior to his curatorial career, Franklin was the U.S. Editor of Flash Art and Editor-in-Chief of ArtAsiaPacific magazines, Sirmans has written for several journals and newspapers on art and culture, including NYT, Art in America, ArtNews, VIBE, and Essence Magazine. For Sirmans, it's about addressing the community at every level so that communities of color feel like they are being included authentically and seeing themselves represented and engaged from the work that hangs on the walls to the programming behind it.

Filipa Oliveira é desde 2018 Curadora e Programadora de Artes Visuais da Câmara Municipal de Almada, tendo a seu cargo a direcção artística da Casa da Cerca, Galeria Municipal de Almada e Convento dos Capuchos. É a curadora fundadora e coordenadora do Prémio Navigator Art On Paper. Entre 2015 e 2017 foi diretora artística do Fórum Eugénio de Almeida em Évora. Trabalhou como curadora independente durante 12 anos, colaborando com instituições como Centro Cultural de Belém (Lisboa), Kettle's Yard (UK), John Hansards Gallery (UK), Tate Modern (UK), Fundação Calouste Gulbenkian Centro de Arte Moderna (Lisboa), Fundação Carmona e Costa (Lisboa), Fondation Calouste Gulbenkian (França), Museu Colecção Berardo (Lisboa), Crac Alsace (França), Kunstverein Springhornhof (Alemanha), Ffotogallery (UK), Mead Gallery (UK), Frieze Projects (UK), Stills Gallery (UK), entre outros. Foi curadora assistente na 28ª Bienal de São Paulo em 2010 e em 2012 foi curadora convidada do projecto Satellite no Jeu de Paume, Paris onde comissariou exposições individuais de Jimmy Robert, Tamar Guimarães, Rosa Barba e Filipa César. Tem uma extensa lista de participações em catálogos e publicações. Escreveu ensaios e críticas de exposições para Arte Contexto, Contemporary, Flash Art, L+Arte, Revista Contemporânea, e Artforum. Links:https://pt.linkedin.com/in/filipa-oliveira-81b8a47 https://umbigomagazine.com/pt/blog/2019/05/06/entrevista-a-filipa-oliveira-curadora-do-navigator-art-on-paper-prize-2019/ https://expresso.pt/cultura/2018-07-20-Espero-que-seja-um-alento-para-os-artistas-portugueses-diz-Filipa-Oliveira https://www.publico.pt/2012/02/17/jornal/curadora-portuguesa-no-jeu-de-paume-23982028 https://www.instituto-camoes.pt/sobre/comunicacao/noticias/franca-curadora-portuguesa-no-jeu-de-paume https://www.publico.pt/2021/11/04/culturaipsilon/noticia/bienal-anozero-regressa-dividida-dois-momentos-curadoria-feminino-1983677 https://www.sistemasolar.pt/pt/autor/1793/filipa-oliveira https://www.fea.pt/index.php?pag=centrodearteecultura/3782-forum-eugenio-de-almeida-inaugura-duas-novas-exposicoes https://www.publico.pt/2017/11/10/culturaipsilon/noticia/como-mostrar-uma-coleccao-privada-ou-duas-1791816 https://observador.pt/programas/k4/fazer-curadoria-com-a-famosa-vista-sobre-lisboa/ https://www.buala.org/pt/palcos/anozero-21-22-bienal-de-coimbra-meia-noite Episódio gravado a03.12.2021 http://www.appleton.pt Mecenas Appleton:HCI / Colecção Maria eArmando Cabral Financiamento:República Portuguesa -Cultura / DGArtes Apoio:Câmara Municipal de Lisboa

KUNSTKAMERA - šéfredaktorka Lýdia Pribišová predstavuje najnovšie číslo časopisu FLASH ART    Czech and Slovak edition časopisu Flash Art prichádza so 61. číslom, venovaným umeleckým kolektívm, skupinám a spoluprácam okrem zaujímavých článkov, recenzií a news tam nájdete aj novú rubriku editorial. Čo zaujímavé si môžete prečítať v tomto čisle prila do nášho podcastu predstaviť už tradične šéfredaktorka Lýdia Pribišová.   Flash Art nájdete tu: https://flashart.cz/   Kunstkameru môžete sledovať na Instagrame:  https://www.instagram.com/kunstkamerapodcast/ alebo na Facebooku: https://www.facebook.com/Kunstkamera/ alebo na Youtube: https://www.youtube.com/channel/UCaNbO_M_Cz_l8XZ5lOWzPeA   Taktiež môžete sledovať naše ďalšie podcasty: Silný výber  https://silnyvyber.podbean.com/ Hybadlo: https://hybadlo.podbean.com/  

Ketta Ioannidou with Black Spring painting Ketta Ioannidou (b. Nicosia, Cyprus) lives and works in New York, NY. Ioannidou holds an MFA from School of Visual Arts and a BA (Honours) from Central Saint Martins College of Art and Design. Ioannidou represented Cyprus in the Cairo and Alexandria Biennales in Egypt and the 18th Asian Biennale in Bangladesh. She has had solo exhibitions at The Yard, Brooklyn, NY; South Oxford Space, Brooklyn, NY; Diatopos Centre of Contemporary Art, Nicosia, Cyprus; chashama 266, New York, NY. Ioannidou has participated in group exhibitions at Thierry Goldberg, New York, NY; Superchief Gallery NFT, New York, NY; SPRING/BREAK Art Show, New York, NY; the Bronx Museum of the Arts, Bronx, NY; NARS Foundation, Brooklyn, NY; KUSTERA PROJECTS RED HOOK, Brooklyn, NY, Islip Art Museum, NY, and Local Project Art Space, Long Island City, NY. Residencies include Lower Manhattan Cultural Council's Swing Space, AIM at the Bronx Museum, I-Park, and Aljira Emerge. Her work has been reviewed in The New York Times, Art in America, Flash Art, the Brooklyn Rail, and Hyperallergic. "Black Rainbows", 2020, Oil on canvas, 43 x 34 inches "Black Spring", 2021, Oil on canvas, 72 x 55 inches "TARDIS_Time and Relative Dimensions In Space", 2020, Oil on canvas, 43 x 34 inches  

Moderasyon: Prof. Dr. Marcus Graf Konuşmacı: Dr. Öğr. Üyesi Fırat Arapoğlu Fırat Arapoğlu sanat tarihçisi, eleştirmen ve bağımsız küratör olarak İstanbul'da yaşamaktadır. Altınbaş Üniversitesi'nde Dr. Öğr. Üyesi olarak çalışmaktadır. “Sosyal Süreçleriyle Fluxus ve Ötesi” başlıklı yüksek lisans tezini 2009 yılında, “Disiplinlerarasılık, Coğrafi Kavramlar ve Sanatsal Bir Edim Olarak Yürümek” başlıklı doktora tezini 2018 yılında bitirmiştir. Türkiye ve yurtdışında birçok serginin küratörlüğünü yapmıştır. 2019-2020 projeleri arasında: “Future Unforgettable”, Krassimir Terziev solo sergisi (2019, Versus Art Projects, İstanbul), İzler (2019, Mod, Moda), “İçimizdeki Şeytan” (2019, Artist İstanbul Sanat Fuarı), ve “Değişen Perspektif” (2020, Simbart, Taksim) sayılabilir. 3. Çanakkale Bienali'nin ve 3. ve 4. Uluslararası Mardin Bienalleri'nin eş-küratörlüğünü yapmıştır. Türkiye'de ve yurtdışında katkıda bulunduğu sanat dergileri arasında Genç Sanat, Art-İst Modern & Actual, ICE, ARTAM, Art Unlimited, Critical Culture, RH+, İstanbul Art News, Sanat Dünyamız ve Flash Art sayılabilir. Birgün, Cumhuriyet ve SOL gazetelerinde yazıları yayınlanmıştır. Ulusal ve uluslararası alanda sanat ve sanat eğitimi üzerine akademik makaleler yazmış ve sempozyumlara katılmıştır. Aynı zamanda İstanbul Modern Sanat Müzesi, Moda Sahnesi, Narmanlı Sanat, F: Akademi, İstanbul Bilgi Üniversitesi'nde atölyeler düzenlemiş ve konuşmalar yapmıştır. Uluslararası Sanat Eleştirmenleri Derneği AICA'nın 2020-2023 genel başkan yardımcılığını yapmaktadır.

See here for full episode: patreon.com/aqnbIn this episode Jared speaks with Alice Bucknell, an artist and writer whose video work using game engines explores topics spanning big tech mythologies and magic, ecology, architecture and AI.Raised in Florida and now based in London, Alice's works have been exhibited by Ars Electronica with König Galerie, the Venice Architecture Biennale, and White Cube, with texts written for Flash Art, Mousse, Whitechapel's Documents of Contemporary Art series and more.Alice also runs New Mystics, an experimental publishing platform that examines the links between magic and technology through written collaborations between herself and other artists along with the language AI GPT-3, and for which AQNB is co-publishing texts on our site through September.

Rubén Ortiz-Torres es un artista nacido en México que vive y trabaja en Los Ángeles desde 1990. Comenzó su carrera como fotógrafo, grabador y pintor en la década de 1980, mucho antes de que recibiera su MFA en el California Institute of Arts en 1992. Ortiz-Torres es considerado uno de los artistas contemporáneos mexicanos más relevantes hoy, creador de una forma específicamente mexicana del posmodernismo durante la década delos ochenta. En los últimos diez años ha producido un cuerpo de trabajo en una amplia gama de medios— series de fotografías, de readymades alterados, una película, varios videos (incluyendo tres en 3D), instalaciones de video a gran escala, importantes series de pintura, esculturas, coches personalizados y máquinas, collages fotográficos, performance y también ha curado exhibiciones. Desde 1982, el trabajo de Ortiz-Torres ha sido presentado en 25 exposiciones individuales, más de 100 exposiciones colectivas en Estados Unidos, Europa, Australia, Nueva Zelanda y Canadá, y más de 50 proyecciones de sus películas y obras de vídeo. Los Angeles Times, The New York Times, Reforma (México), La Jornada (México) y El País (España), así como importantes publicaciones del mundo del arte como Artforum, Art Imágenes, Frieze, New Art Examiner, Poliester, Bomb, Flash Art y Art in America han escrito numerosos artículos sobre su trabajo. Ortiz-Torres ha sido el destinatario de numerosos premios y becas como Andrea Frank Foundation, Foundations for Contemporary Performance Art, U.S. Mexico Fund for Culture, Louis Comfort Tiffany Foundation, the Banff Center for the Arts, y la beca de la Fullbright Foundation por mencionar algunas. Tracklisting DJ Dewey Decibel - Manhattan Dub / Sister Mantos, Gabriela Ortiz, Saúl Hernández - Como TV Gabriela Ortiz - El suicidio de Eleazar / Gabriela Ortiz - Las fronteras del mundo Rubén Ortiz - La Internacional --- Send in a voice message: https://anchor.fm/dominiopublico/message

Rubén Ortiz-Torres es un artista nacido en México que vive y trabaja en Los Ángeles desde 1990. Comenzó su carrera como fotógrafo, grabador y pintor en la década de 1980, mucho antes de que recibiera su MFA en el California Institute of Arts en 1992. Ortiz-Torres es considerado uno de los artistas contemporáneos mexicanos más relevantes hoy, creador de una forma específicamente mexicana del posmodernismo durante la década delos ochenta. En los últimos diez años ha producido un cuerpo de trabajo en una amplia gama de medios— series de fotografías, de readymades alterados, una película, varios videos (incluyendo tres en 3D), instalaciones de video a gran escala, importantes series de pintura, esculturas, coches personalizados y máquinas, collages fotográficos, performance y también ha curado exhibiciones. Desde 1982, el trabajo de Ortiz-Torres ha sido presentado en 25 exposiciones individuales, más de 100 exposiciones colectivas en Estados Unidos, Europa, Australia, Nueva Zelanda y Canadá, y más de 50 proyecciones de sus películas y obras de vídeo. Los Angeles Times, The New York Times, Reforma (México), La Jornada (México) y El País (España), así como importantes publicaciones del mundo del arte como Artforum, Art Imágenes, Frieze, New Art Examiner, Poliester, Bomb, Flash Art y Art in America han escrito numerosos artículos sobre su trabajo. Ortiz-Torres ha sido el destinatario de numerosos premios y becas como Andrea Frank Foundation, Foundations for Contemporary Performance Art, U.S. Mexico Fund for Culture, Louis Comfort Tiffany Foundation, the Banff Center for the Arts, y la beca de la Fullbright Foundation por mencionar algunas. Tracklisting Rubén Ortiz - La zamba del Ché / Rubén Ortiz Torres - La Zamba del Chevy. Clorofila - llantera / Gabriela Ortiz - El jardín de las delicias. Professor Angel Dust - Leda y el Cisne. --- Send in a voice message: https://anchor.fm/dominiopublico/message

KUNSTFILTER - 60. FLASH ART Minulý týždeň vyšlo nové číslo časopisu Flash Art, tématický venované stavu núdze. Šéfredaktorka českej a slovenskej edície Lýdia Pribišová nám toto aktuálne číslo predstavila v rozhovore.    Ďalšie informácie o časopise Flash Art nájdete na: www.flashart.cz   Sledovať nás môžete aj na instagrame: https://www.instagram.com/kunstfilterpodcast/ 

Carl D'Alvia received a B.F.A. from the Rhode Island School of Design in 1987 and splits his time between Connecticut and New York City. He works in a sculptural idiom that is decidedly hyper-visual, artisanal and history laden. He has developed proprietary sculptural processes that co-opt existing means of traditional and industrial production. Drawing on sources that include megalithic monuments, toy design and the Baroque, the work encapsulates seemingly antithetical motifs such as minimal/ornate, industrial/handmade, comic/tragic, progress/destruction and attraction/repulsion. He has had recent solo shows at Hesse Flatow, Nathalie Karg Gallery and Regina Rex in New York and Galerie Papillon in Paris as well as previous solo shows at Mulherin + Pollard ( 2013) and Derek Eller Gallery, New York (2008 & 2006) . His work has appeared in group exhibitions at numerous venues including: Helena Anrather, Regina Rex, Mother Gallery, The deCordova Sculpture Park an Museum, Art OMI, The Journal Gallery (2016), Feature Inc. (2004), and White columns(2000). His work has been reviewed in Artforum, Flash Art, The New York Times, Hyperallergic, The Boston Globe, Time Out and the Village Voice. He was awarded the Rome Prize for Visual Arts for 2012-2013 from the American Academy in Rome.

Derica Shields joins Nikita Gale and Alexander Provan to speak about the value of listening to Black peoples' accounts and analyses of their own lives. They discuss Shields's book-length oral history of Black experiences of the welfare state, “A Heavy Nonpresence,” recently published by Triple Canopy. Shields reflects on her effort to share the stories of Black people who are mistreated and monitored by the state, while also being made to feel that they should be grateful for receiving the assistance to which they're entitled. Her work shows how, in Britain, liberal nostalgia for the so-called care of the state is premised on not listening to those who receive benefits—and how politicians and journalists enable Black people to be shamed for doing so by upholding the age-old distinction between the deserving and undeserving poor (as if colonialism never happened).With Gale and Provan, Shields listens to and discusses excerpts from “A Heavy Nonpresence,” which includes accounts of seven Londoners whose lives are entwined with the welfare system. Shields advocates for oral history as a way of enabling marginalized people to be heard—and to hear each other—as well as to mitigate shame and circulate survival strategies. She notes that government assistance for Black people tends to be thought of as contingent on “good behavior,” but observes a recent shift in public opinion and political discourse, due to a reckoning with Britain's history of colonialism and racism. Rather than act thankful for the rewards of navigating an inhumane bureaucracy, more and more people are saying: “We are here, and the same rights accrue to us.” Derica Shields is a writer, researcher, and cultural worker living in London. She is the author of the forthcoming book Bad Practice (Book Works, 2021). Her work has been published by Frieze, Flash Art, Cell Project Space, and the New Inquiry, and presented by the Institute for Contemporary Arts (London) and Spectacle Theater (Brooklyn), among other publications and institutions.With Gale and Provan, Shields speaks about Beverly Bryan, Stella Dadzie and Suzanne Scafe, The Heart of the Race (Virago Press, 1985); Johnnie Tillmon, “Welfare Is a Women's Issue,” Ms., spring 1972; a video of the Labour MP David Lammy lambasting the British government for deporting immigrants on April 16, 2018; and a newsreel of West Indian workers, including the famed calypso musician Lord Kitchener, arriving in London aboard the SS Empire Windrush in 1948.Medium Rotation is produced by Alexander Provan with Andrew Leland, and edited by Provan with Matt Frassica. Tashi Wada composed the theme music. Matt Mehlan acted as audio engineer and contributed additional music.Medium Rotation is made possible through generous contributions from the Andy Warhol Foundation for the Visual Arts and Nicholas Harteau. This season of Medium Rotation is part of Triple Canopy's twenty-sixth issue, Two Ears and One Mouth, which receives support from the Stolbun Collection, the Shelley & Donald Rubin Foundation, Agnes Gund, the National Endowment for the Arts, the New York State Council on the Arts, and the New York City Department of Cultural Affairs in partnership with the City Council.

Istituto Marangoni Firenze presenta Tailor Made: un podcast dove i ruoli convenzionali si ribaltano. Sono, infatti, gli studenti e porre le domande ai loro docenti, per approfondire le loro carriere, scoprire i loro interessi e condividere idee riguardo il mondo dell'arte e della moda.Il primo ospite è Davide Daninos, critico e curatore d'arte indipendente con un particolare interesse sugli studi d'artista, nonché giornalista per Flash Art. Durante questa puntata, insieme a Elena Tortelli, studentessa del secondo anno del corso Arts Curating, racconterà della coralità del lavoro di curatela e delle nuove frontiere dell'esposizione nel contesto delle mostre digitali.

KUNSTFILTER - 59. FLASH ART Minulý týždeň vyšlo nové číslo časopisu Flash Art, tématický venované detstvu. Šéfredaktorka českej a slovenskej edície Lýdia Pribišová nám toto aktuálne číslo predstavila v rozhovore.    Vynovenú stránku a ďalšie informácie o časopise Flash Art nájdete na: www.flashart.cz   Sledovať nás môžete aj na instagrame: https://www.instagram.com/kunstfilterpodcast/ 

https://artsfuse.org/224483/visual-arts-review-letter-from-new-york-goya-grief-and-grievance/https://www.newmuseum.orgMassimiliano Gioni  is the Edlis Neeson Artistic Director of the New Museum and the director of the Trussardi Foundation, a nomadic museum in Milan  which organizes exhibitions by contemporary artists in forgotten buildings, public monuments and abandoned palazzos across the city.  He has curated numerous international exhibitions and biennials including the 55th Venice Biennale (2013), the 8th Gwangju Biennale (2010), the first New Museum Triennial (co-curated with Lauren Cornell and Laura Hoptman in 2009), the 4th Berlin Biennale (co-curated with Maurizio Cattelan and Ali Subotnick in 2006) and Manifesta 5 (co-curated with Marta Kuzma in 2004).At the New Museum Massimiliano Gioni has curated  both solo  and group exhibitions. In 2018 in London at The Store X Gioni organized “Strange Days – Memories of the Future”, an anthology of video works originally presented at the New Museum. In 2019 he curated “The Warmth of Other Suns,” a collaboration between the New Museum and the Phillips Collection in Washington DC, and at Museo Jumex in Mexico City he curated “Appearance Stripped Bare: Desire and the Object in the Work of Marcel Duchamp and Jeff Koons, Even”, the first exhibition to bring in dialogue the works of Marcel Duchamp and Jeff Koons – with nearly 500,000 viewers, the exhibition was the most visited in the museum's history.  Since 2015 he has organized the presentations of the Tony and Elham Salame Collection at the Aishti Foundation in Beirut. Gioni has contributed to many publications and magazines including Artforum, Flash Art (for which he served as US editor from 1999 to 2003), Frieze, Parkett, Tate Etc., among others. He co-founded the “Wrong Gallery” with Maurizio Cattelan and Ali Subotnick, with whom he has directed the independent art magazines “The Wrong Times” and “Charley”. He is the commissioning editor of “2000 Words,” a series of monographic books published by the Dakis Joannou Collection/Deste Foundation, with which he has frequently collaborated, co-curating numerous exhibitions in Athens.      

Gabriele Sassone"Uccidi l'unicorno"Epoca del lavoro culturale interioreIl Saggiatorehttps://www.ilsaggiatore.com/Un insegnante d'arte quasi quarantenne riceve una telefonata a tarda sera: l'ospite d'onore del convegno che ha organizzato il suo istituto ha perso il volo, e toccherà a lui sostituirlo la mattina dopo. Gli si spalanca un abisso di panico: come spiegare di fronte a tanti studiosi che cosa differenzia l'artista da una persona comune nell'epoca dei social media? E con così poco margine per preparare l'intervento? L'unica via è intraprendere un viaggio interiore attraverso le immagini, quelle private e quelle del contemporaneo, dalle sue stesse fotografie alle opere che ha più studiato e amato, da Van Gogh a Pollock, da Duchamp a Beuys, dalle pitture delle grotte di Lascaux alle illustrazioni dei libri di Jules Verne. Un percorso esistenziale che si trasforma in una riflessione sui lati oscuri del sistema dell'arte e del lavoro culturale.Romanzo di formazione, saggio sull'industria della cultura, meditazione estetica, memoir: con Uccidi l'unicorno Gabriele Sassone ci offre un travolgente esordio narrativo. Un racconto in prima persona sul potere delle immagini e sulla macchina infernale che le produce.Gabriele Sassone (1983) insegna Critical Writing alla Naba – Nuova Accademia di Belle Arti. Collabora con diverse riviste, tra cui Mousse Magazine, Camera Austria e Flash Art.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

L.A. based artists Amanda Ross-Ho and Erik Frydenborg talk about shifting focus and priorities after a year of the pandemic. As teachers, the two discuss what it's been like to work with students over the last year, and they also find common threads across their art practices: attention to detail, engaging with time and archival material, and inviting the viewer into an open-ended dialogue. "The craft element was not just about a well-made object, but a way to see other objects with precision and close attention to form. Like reading the contexts in which objects come into the world, and where they've been—I think of craft as being not just a tool, but a way to respect materiality. It's a respectful ceremony for objecthood, so thereby it entends to other things in the world that you have not made... For us it's also like a church of—it's devotional. It's totally ritual, devotional, it's reverence, it's a world view." –Amanda Ross-Ho and Erik FrydenborgAmanda Ross-Ho holds a BFA from the School of the Art institute of Chicago and an MFA from the University of Southern California. She has exhibited widely, both nationally and internationally. Solo exhibitions include Cherry and Martin, Los Angeles, Hoet Bekaert, Belgium,The Pomona Museum of Art, Mitchell-Innes and Nash New York, The Visual Arts Center, Austin, TX, Shane Campbell Gallery, Chicago, The Museum of Contemporary Art Los Angeles, Vleeshal Center for Contemporary Art, Middelburg, Netherlands, the Bonner Kunstverein, Bonn, Germany, Tramway, Glasgow, Scotland, The Approach, London, Praz-Delavallade, Paris, and Mary Mary, Glasgow, and Kunsthall Stavanger, Norway. Group exhibitions include Artists Space, New York, The Henry Art Gallery, Seattle, The Orange County Museum of Art, The Museum of Contemporary Art, Los Angeles, The Yerba Buena Center for the Arts, San Francisco, The Museum of Contemporary Art, Chicago, The Walker Art Center, Minneapolis, The New Museum, New York, and The Museum of Modern Art, New York. She was included in the 2008 Whitney Biennial, and the 33rd Ljubljana Biennial of Graphic Arts, curated by Slavs and Tatars. She has presented commissioned public works at The Museum of Contemporary Art, Chicago, City Hall Park, New York City, the Parcours Sector of Art Basel Switzerland, and the Crystal Bridges Museum of American Art. Ross-Ho's work has been featured in Artforum, The New York Times, ArtReview, Modern Painters, Art in America, Flash Art, Art + Auction, and Frieze among others. She is Professor of Sculpture at the University of California, Irvine and lives and works in Los Angeles.Erik Frydenborg was born in 1977 in Miami, Florida. He holds a BFA from MICA in Baltimore, MD, and an MFA from the University of Southern California. Frydenborg has held solo exhibitions at The Pit, Glendale, CA, Andrew Rafacz Gallery, Chicago, IL, Albert Baronian, Brussels, BE, The Suburban, Oak Park, IL, and Cherry and Martin, Los Angeles, CA. Previous group exhibitions include NADA House, New Art Dealers Alliance, Governor's Island, New York, NY, 100 Sculptures, Anonymous Gallery, Paris, FR, Divided Brain, LAVA Projects, Alhambra, CA, Real Shapes, Dateline, Denver, CO, Skip Tracer, M. LeBlanc, Chicago, IL, Knowledges, Mount Wilson Observatory, Los Angeles, CA, Re-Planetizer, Regina Rex, New York, NY, TRAUMA SAUNA, ASHES/ASHES, Los Angeles, CA, Full House, Shanaynay, Paris, FR, BAD BOYS BAIL BONDS ADOPT A HIGHWAY, Team Gallery, New York, NY, Trains, Night Gallery, Los Angeles, CA, Set Pieces, Cardi Black Box, Milan, IT, and The Stand In (Or A Glass of Milk), Public Fiction, Los Angeles, CA. Frydenborg's work has been reviewed in Artforum, FlashArt, and The Los Angeles Times, among other publications. From 2017 through 2019, Frydenborg was a partner in the cooperative artist-run Los Angeles gallery AWHRHWAR. Erik Frydenborg lives and works in Los Angeles.

In questo audio vi proponiamo la preziosa intervista con Marco Senaldi filosofo e storico dell'arte e Luisa Cazzaro owner Cusa meccanica di precisioneL'intervista a Marco Senaldi e Luisa Cazzaro è nel progetto Contemporaneamente a cura di Mariantonietta Firmani. Il podcast pensato per Artribune. Incontri tematici con autorevoli interpreti del contemporaneo tra arte e scienza, letteratura, storia, filosofia, architettura, cinema e molto altro. Per approfondire questioni auliche ma anche cogenti e futuribili. Dialoghi straniati per accedere a nuove letture e possibili consapevolezze dei meccanismi correnti: tra locale e globale, tra individuo e società, tra pensiero maschile e pensiero femminile, per costruire una visione ampia, profonda ed oggettiva della realtà. Marco Senaldi e Luisa Cazzaro ci raccontano di filosofia e meccanica tra visioni cristallizzate e realtà inconsuete. Con generosa narrazione di teorie e dettagli, dalla meccanica pulita, all'importanza della reazioni che provoca l'opera d'arte. Dalle icone bizantine alle tecnologie immersive, passando per la TV sperimentale degli anni 70. Dal lusso del seguire le proprie passioni al lusso delle relazioni affettive. Dalla curiosità, alla fluida instabilità con un po' di pazzia. La storia è adesso. Marco Senaldi PhD filosofo e teorico d'arte contemporanea presso Université Paris 3, collabora con gallerie e spazi alternativi (Care Of, Viafarini). Dagli anni '90 ha insegnato estetica e arte contemporanea in varie istituzioni accademiche tra cui Accademia di Belle Arti Carrara, Bergamo, IED Milano, Domus Academy Milano, Politecnico di Milano, Università Statale di Milano Bicocca. Dal 2011 al 2013 ha insegnato Storia dell'arte contemporanea e media allo IULM di Milano, e attualmente Estetica dei Media all'Accademia di Brera. Scrive sui principali quotidiani nazionali e su riviste come Flash Art, Alfabeta2, Juliet; dal 2012 firma la rubrica “In fondo in fondo” su Artribune. Ha scritto di molti artisti contemporanei e ha pubblicato numerosi saggi tra cui “Enjoy! Il godimento estetico” 2003, “Van Gogh a Hollywood. La leggenda cinematografica dell'artista”2004-2021, “ Doppio sguardo. Cinema e arte contemporanea”, vincitore Limina Award 2008 come miglior saggio di cinema; “Definitively Unfinished. Filosofia dell'arte contemporanea” 2012. Ultima opera Duchamp. La scienza dell'arte, giudicato il miglior saggio sull'arte del 2019. Senaldi è anche autore televisivo di programmi culturali per Canale 5, Italia Uno e RAI Tre e nel 2019 ha realizzato Genio & Sregolatezza, programma televisivo a puntate sulla storia d'Italia vista dagli artisti, 1950-2000, andato in onda su RAI Storia. Luisa Cazzaro dal 1982 è Amministratore della CUSA SNC, di cui è socia con il fratello Claudio, e fondata dal padre Silvano grande sognatore, instancabile, lottatore. L'azienda si occupa di Lavorazioni speciali e di precisione nel settore della Metalmeccanica, realizzando prodotti su misura. I principali clienti nei settori: Aeronautica, Automotive, Costruttori di Macchine, Stampisti, Biomedicali. Presidente AIDDA Lombardia, ha fatto parte di diverse associazioni come: Delegazione Nazionale Imprese Che Resistono, Centro Benessere, Associazione Primato Milano, Società Unique. ha partecipato all'organizzazione di molteplici eventi culturali e conviviali all'interno di diverse realtà come: AIDDA, Lançome, Vanity Fair, Corriere della Sera, Psycologies, Mercedes, Franciacorta, Associazione Amici Centro Dino Ferrari. Ha partecipato a convegni di AIWA Associazione Donne Italiane e Arabe ( presso il Ministero degli Esteri Roma ) “ Donne e Media: Giornaliste Italiane e del Mondo Arabo a confronto” con la presenza delle più note giornaliste Italiane e Arabe.

See here for full episode: patreon.com/aqnbIn this episode Jared talks with Huw Lemmey, a writer whose novels create alternate imaginings of the present, casting a critical and at times satirical eye on topics from politics to belief systems, gay culture to psychotropic drugs.Having relocated from the UK to Barcelona, Huw is the author of novels including Unknown Language via Ignota Books, Red Tory: My Corbyn Chemsex Hell from Montez Press, and a prolific critic having written for the Guardian, Frieze, Flash Art as well as his regular essay series on the Substack platform, Utopian Drivel.

KUNSTFILTER - 58. FLASH ART Minulý týždeň vyšlo nové číslo časopisu Flash Art, ktoré má podtitul reduce / reuse / recycle / restore. Šéfredaktorka českej a slovenskej edície Lýdia Pribišová nám toto aktuálne číslo predstavila v rozhovore.    Ďalšie informácie o časopise Flash Art nájdete na stránke: www.flashart.cz   Sledovať nás môžete aj na instagrame: https://www.instagram.com/kunstfilterpodcast/ 

Paul Laster is a writer, editor, independent curator, artist, and lecturer. He is a New York desk editor at ArtAsiaPacific and a contributing editor at Whitehot Magazine of Contemporary Art. He was the founding editor of Artkrush and Artspace; started The Daily Beast's art section; and was previously art editor of Flavorpill and Russell Simmons OneWorld Magazine. He is a frequent contributor to Art & Object, Time Out New York, Harper’s Bazaar Arabia, Galerie, Sculpture, Architectural Digest, Surface, Garage, New York Observer, Cultured, ArtPulse, Upstate Diary, Conceptual Fine Arts, and has written for Art in America, Artnet, Interview, Paper, Flash Art, Newsweek, Modern Painters, Bomb Magazine, Flatt Magazine, ArtInfo, Avenue, Tema Celeste, amNew York, 99 Percent, Two Coats of Paint and On-Verge. A former Adjunct Curator at New York’s P.S.1 Contemporary Art Center (now MoMA PS1), Laster has organized exhibitions for galleries and nonprofit institutions since 1985. His curatorial projects from the past five years include Santero: Sculptural Works by Jorge A Valdes (2015) at Corridor Gallery, Brooklyn; Adam Frezza & Terri Chaio: Paper Islands (2015) at Humanities Gallery, LIU Brooklyn; A Weekend in the Country (2015) at Magnan Metz Gallery, New York; Maker, Maker (2017) at Children’s Museum of the Arts, New York; Mohamed Ahmed Ibrahim (2019) at Outsider Art Fair, Paris; Relishing the Raw: Contemporary Artists Collecting Outsider Art (2020) at Outsider Art Fair, New York; Five Artists, Five Mediums, Five Days – A Curated Selection for One Thing (2020) at Intersect Aspen; An Alternative Canon: Art Dealers Collecting Outsider Art (2020) at Andrew Edlin Gallery, New York; Now's the Time: Eight African Painters (2020) at Scope Immersive; and The Desire for Transparency: Contemporary Artists Working with Glass (2020) at Intersect Chicago. An exhibiting artist, Paul Laster has had 17 solo exhibitions in the United States and Europe, and participated in numerous group shows worldwide. His works are in many public and private collections, including the Art Institute of Chicago, Los Angeles County Art Museum, Smithsonian American Art Museum, National Gallery of Art, Philadelphia Art Museum and Whitney Museum of American Art. As a lecturer and visiting critic, Laster has spoken on art and curatorial practices and the use of the Internet and social media for building careers at Gerrit Rietveld Academy, Sandberg Institute, New York University, New York’s School of Visual Arts, Pratt Institute, California Institute of the Arts, Otis Art Institute, University of California in Riverside and Santa Barbara, Florida Atlantic University, Ewha Womans University in Seoul, Kutztown University of Pennsylvania, Brooklyn Museum, National Academy Museum, P.S.1 Contemporary Art Center, Cyan Museum of Art, Hudson Valley Center for Contemporary Art, Art Omi, Expo Chicago, the Armory Show, Art Chicago, Marc Straus Gallery, New York Academy of Art, Tyler School of Art, Residency Unlimited, Soho Beach House, Rizzoli Bookstore, Wave Hill, ESKFF at Mana Contemporary, Outsider Art Fair, Trestle Art Space, Pioneer Works, Intersect Aspen, Scope Art Fair and Intersect Chicago. Relatedly, Laster worked in Publications (1977-88) at the Museum of Modern Art, New York and was Publications Manager (1995-98) at Tony Shafrazi Gallery, New York. LINKS to writing online: https://www.artandobject.com/authors/paul-laster https://whitehotmagazine.com/contributors/paul-laster/750 https://www.galeriemagazine.com/author/paul-laster/ https://muckrack.com/paul-laster --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

KUNSTFILTER - 57. FLASH ART Minulý týždeň vyšlo nové číslo časopisu Flash Art, ktoré je venované strednej a východnej európe. Šéfredaktorka českej a slovenskej edície nám toto aktuálne číslo predstavila v rozhovore.    Ďalšie informácie o časopise Flash Art nájdete na stránke: www.flashart.cz   Sledovať nás môžete aj na instagrame: https://www.instagram.com/kunstfilterpodcast/ 

In this episode of "Between Two Palms," critic and author Barry Schwabsky speaks with painter Marina Adams about her new series of prints created at Two Palms in New York. Their conversation—recorded six feet apart in East Hampton, New York—touches on the color and energy in Adams' work, which Schwabsky says "is never agitated or frantic but rather feels steady, relaxed, and spontaneously responsive. Viewing her work is like being in the passenger seat next to a driver who knows how to take the road with supreme dexterity and implicit attentiveness; you feel safe at any speed.” Barry Schwabsky is the art critic for The Nation and co-editor of international reviews at Artforum. He is also a noted poet and author whose essays have appeared in Flash Art, London Review of Books, Hyperallergic and Art in America. He has taught at Yale University, the School of the Art Institute of Chicago, Pratt Institute and Goldsmiths College. Marina Adams is a painter based in Brooklyn and Parma, Italy. In 2016 she was awarded a Guggenheim Fellowship, and her large-scale abstract paintings have been commended for their “undulating, interlocking shapes that reveal an internal rhythm” as she “fluently pushes color into form.” © 2020 Two Palms. All Rights Reserved.

April 21, 2020 I had the pleasure of reconnecting with my friend Jerry Saltz on AM art radio for a long meandering exploration of art in the time of the plague and the future of art. Please enjoy. ________ Jerry Saltz is the senior art critic at New York Magazine and its entertainment site Vulture.com, a leading voice in the art world at large, and an innovative user of social media. He joined the magazine’s staff in 2007, and his writing ranges from cover stories to reviews to quick online commentaries. He won a National Magazine Award for Columns & Commentary in 2015 and was a finalist for the same award in 2011. Saltz was previously the senior art critic at the Village Voice since 1998, where he was twice a finalist for the Pulitzer Prize in criticism (in 2001 and 2006) and was the recipient of the 2007 Frank Jewett Mather Award in Art Criticism from the College Art Association. A frequent guest lecturer at major universities and museums, Saltz was also the sole adviser on the 1995 Whitney Biennial. Saltz has written for Frieze, Modern Painters, Parkett, Art in America, Time Out New York, Flash Art, Arts magazine, and many others. His Village Voice columns were compiled into a book Seeing Out Loud: The Village Voice Art Columns, 1998-2003 (Figures Press). The second volume of his criticism, Seeing Out Louder, was published by Hardpress Editions. ________ Big thanks to the Facebook Artist in Residence program (@fbairprogram) for supporting the creation of this content––stay tuned for more..." --- Send in a voice message: https://anchor.fm/jerrygogosian/message

Paul Laster is a Brooklyn-based editor, critic, independent curator, artist and lecturer. Paul is the New York desk editor at ArtAsiaPacific and a contributing editor at Whitehot Magazine of Contemporary Art. He was the founding editor of Artkrush and Artspace, started TheDailyBeast's art section, and was the art editor of Flavorpill and Russell Simmons’ OneWorld Magazine. He’s a contributor to Time Out New York, Harper’s Bazaar Arabia, Galerie Magazine, Art & Object, Architectural Digest, Cultured Magazine, Art Review Asia, Ocula, Observer, ArtPulse, ConceptualFineArts and Glasstire. He has also written for Art in America, artBahrain, Interview, Modern Painters, Paper, Flash Art, Newsweek, Bomb Magazine, Avenue, Tema Celeste, amNew York, Artnet and ArtInfo. A former curator at P.S.1 Contemporary Art Center (now MoMA PS1), his recent curatorial projects include Relishing the Raw: Contemporary Artists Collecting Outsider Art at the Outsider Art Fair, New York; Mohamed Ahned Inrahim at the Outsider Art Fair, Paris; Maker, Maker (with Renée Riccardo) at the Children’s Museum of the Arts, New York; A Weekend in the Country at Magnan Metz Gallery, New York; Adam Frezza & Terri Chaio: Paper Islands at Humanities Gallery, LIU Brooklyn; and The Garden at 4AM (with Renée Riccardo) at Gana Art New York. Paul reflects on the changes he is navigating in a sudden halt to his many travels and seeing art in different platforms now.

Sarah Slappey is a painter who lives and works in Brooklyn, NY. She received her MFA from Hunter College in 2016 and BA from Wake Forest University in 2006. Her paintings have been exhibited in solo and group exhibitions in New York, Italy, London, Denmark, and Switzerland. In 2015, Sarah was awarded at Kossak Painting Grant and a Hunter MFA award for Outstanding Achievement. Her work has been covered in such publications as The New Yorker, Flash Art, Two Coats of Paint, ArtSpace, ArtMaze Magazine, Social Life, Long Island Pulse, and Hamptons Art Hub. She just had a solo show up, called Power Play at Sargent's Daughters Gallery in New York City. Sponsored by Frederix Canvas and Golden Artist Colors.

This is Jerry Gogosian AM art radio. Listen in on my phone calls as I try to figure out what is going on in with the world! 2020 is exhausting. This episode I speak to Sarah Douglas, ARTnews editor-in-chief. Sarah Douglas was appointed editor-in-chief of ARTnews in July 2014. She has been an art journalist and editor for numerous publications for 20 years, beginning with four years running the US editorial office of the Art Newspaper, after a stint writing exhibition reviews and previews for the New York Times online. Before ARTnews, she was culture editor at the New York Observer, and she launched a visual art site called Gallerist. Prior to that, she spent six years as a staff writer at Art+Auction magazine and its website, Artinfo.com. Sarah has contributed to the New York Times, New York magazine, the Economist, Flash Art, and the National, among other publications, writing about art, the art market, and the art world. She has also participated in and led numerous panel discussions on topics ranging from art collectors’ estate planning to museum funding. Douglas has been interviewed about the art market on the NPR programs “Marketplace” and “Studio 360 with Kurt Andersen.” Books about the art world and the art market that cite her work include Don Thompson’s $12 Million Stuffed Shark: The Curious Economics of Contemporary Art and Michael Shnayerson’s Boom: Mad Money, Mega Dealers, and the Rise of Contemporary Art. In 2013 Sarah received ArtTable’s New Leadership award. She is not to be confused with the English actress Sarah Douglas who played the Kryptonian supervillian Ursa in Superman and Superman II. She tweets at @SarahLDouglas. --- Send in a voice message: https://anchor.fm/jerrygogosian/message

Marco Senaldi"Duchamp"La scienza dell'arteMeltemi Editorewww.meltemieditore.itIn un mondo in cui l'occhio e tutti gli altri sensi umani sono sottoposti ogni giorno a una serie di prove psicologiche in forme e modalità accresciute, continue e per lo più inconsapevoli, l'arte di Duchamp rappresenta, ancora oggi, un esercizio per collaudare non solo la nostra capacità di vedere e percepire, ma anche di esistere. Se vivere significa emanciparsi dall'incatenamento a uno scopo determinato, allora l'arte, quando funge da “test”, può servire a misurare, di tanto in tanto, quanto siamo davvero consapevoli della nostra libertà. A partire da questo presupposto, Marco Senaldi ci conduce in un inedito e avvincente viaggio “a ritroso” nellʻopera di Marcel Duchamp.“In questa affascinante ricerca Marco Senaldi ci consegna un ritratto inedito di Marcel Duchamp, mostrando lo stretto legame tra la sua arte, l'estetica sperimentale e la ricerca psicofisiologica. Il principio ideo-motore diviene così un fil rouge per interpretare la produzione artistica di Duchamp, rivelandone aspetti fin qui trascurati. Un libro imperdibile.”Vittorio Gallese"Duchamp non usa le scoperte della psicologia della percezione per produrre “dipinti” con tecniche tratte dalla psicofisiologia, ma ancorati al valore della “rappresentazione” tradizionale; egli usa i dispositivi o le pratiche di “laboratorio” direttamente come un'opera d'arte e, di conseguenza, trasforma la nozione di “opera d'arte” da “oggetto contemplativo” immobile a test dinamico e “ideo-motorio”. Questo gesto radicale sovverte anche il senso generale dell'Arte, trasformandola da attività individualista dedita alla ricerca della bella forma, a un “esperimento psicologico” intersoggettivo il cui scopo è la liberazione da ogni stereotipo visuale, e anche esistenziale."Marco Senaldi è critico, teorico dʻarte contemporanea e ricercatore indipendente. Ha pubblicato, fra l'altro, Doppio sguardo. Cinema e arte contemporanea (2008), Rapporto confidenziale. Percorsi tra cinema e arti visive (2009; 20122). Con Meltemi: Enjoy! Il godimento estetico (2003; 20062), Van Gogh a Hollywood. La leggenda cinematografica dell'artista (2004). Collabora con ˮFlash Artˮ e ˮArtribuneˮ.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.it

Actively involved in the contemporary art world throughout her career, Crista Cloutier has been called “The Artist Whisperer” by many of the artists who have learned from her. Working internationally as a visual story-teller, artist and educator, Crista is the founder of The Working Artist, a unique online business experience for artists and other creatives. Through her program, Crista has served artists in over 60 different countries. Crista is a firm believer that any artist can succeed—if they do the work. She’s passionate about filling the world with creative people who take their mission seriously. Honored as an "Influencer in the Contemporary Art World" by LinkedIn, Crista has collaborated with some of the most significant contemporary artists showing today. She's taught and lectured throughout the world, helping aspiring artists to take the steps necessary to become working artists and established artists to up their game. Crista’s resume includes time spent as a gallerist, award-winning documentary filmmaker, fine-art publisher, and she has curated dozens of exhibitions, receiving reviews in Art in America, Huffington Post, and Flash Art. Her own essays have been published by The Guardian, Yale Press and the renowned French art publisher Gallimard. To learn more about how Crista can help you, visit theworkingartist.comPassionate Painter Podcast listeners will save 25% off of Crista's masterclass when by using the code CAROLINE when they register at theworkingartist.com

I had such a great time talking to the LA-based painter, Tomory Dodge. Tomory is a painter's painter and I felt like I was hanging out in his studio talking about his painting process, life, and where the two overlap. From talking about how he works in his studio, to how time constraints from having kids can push your work into weird unknown places, it was a pleasure to hear about his process.   Tomory recently had a show at Phillip Martin in L.A. You can read a review of the show in the Los Angeles Times here.   Tomory Dodge (b. 1974, Denver, CO) received his BFA from the Rhode Island School of Design in 1998 and his MFA from the California Institute of the Arts in 2004. His work is in the collections of such museums as Berkeley Art Museum (Berkeley, CA); Henry Art Gallery (Seattle, WA); Dallas Museum of Art (Dallas, TX); Knoxville Museum of Art (Knoxville, TN); Los Angeles County Museum of Art (Los Angeles, CA); Nerman Museum of Contemporary Art (Overland Park, KS); Orange County Museum of Art (Newport Beach, CA); Orlando Museum of Art (Orlando, FL); RISD Museum, Rhode Island School of Design (Providence, RI); San Francisco Museum of Modern Art, (San Francisco, CA); Smithsonian American Art Museum (Washington, DC); Whitney Museum of American Art (New York, NY); Weatherspoon Art Museum (Greensboro, NC); Yale University Art Gallery (New Haven, CT). In 2018, Dodge’s work was the subject of a solo exhibition at LUX Art Institute (Encinitas, CA). His work has been included in recent solo and group exhibitions at Rhode Island School of Design Museum (Providence, RI); Pizzuti Collection (Columbus, OH); National Museum (Oslo, Norway); Neuberger Museum of Art (Purchase, NY); Nerman Museum of Contemporary Art (Overland Park, KS); Sheldon Memorial Gallery, University of Nebraska (Lincoln, NE). Dodge’s work is the subject of several monographic catalogs and has been discussed in such publications as Art Forum, Flash Art, Modern Painters, Art Review, Los Angeles Times and New York Times. Dodge lives and works in Los Angeles, CA.    

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Rafaël Rozendaal is a dutch-brazilian visual artist based out of new york city who uses the internet as his canvas. He also creates installations, tapestries, lenticulars, haiku and lectures. Exhibitions: Times square, Centre Pompidou, Venice Biennial, Valencia Biennial, Postmasters Gallery, the Hole gallery. TSCA Gallery Tokyo, Seoul Art Square, NIMk Amsterdam, Stedelijk Museum. Press: Time Magazine, Wall street Journal, Flash Art, Dazed & Confused, Interview, Wired, Purple, McSweeney’s, O Globo, Vice, Creators Project, Artreview, Vogue. Lectures: Yale (New Haven), DLD (Munich), AIT (Tokyo), Ecole des Beaux Arts (Paris), NYU (New York), Here (London), Vivid (Sydney). Collections: Whitney Museum, Stedelijk Museum Sound and Vision is supported by Golden Artist Colors. Golden is an employee owned company based in upstate New York committed to making the highest quality artist materials.

'At satirizing pop-celebrity culture Ms. Tak is on the mark'. - Grace Glueck, The New York Times Elise Tak is a visual artist based in Brooklyn, New York. In her work she uses the imagery of film and popular culture to create a rich fictional and visionary world, while at the same time discussing contemporary, sociopolitical issues. Elise Tak works in both traditional media and in modern digital media using 3D software (such as Cinema4D, zBrush and several renderers) and image editors like Photoshop. By continually experimenting with new developments she continually pushes her own artistic skill to new limits. For over 30 years already she has dedicated herself to the creation of an ever-growing body of work, featuring the lives and careers of more than 10 fictional, yet ‘world famous’, movie actors. It is an intricate play between reality and fiction, between life and art, because whereas in the movies, real living actors create a false existence, in Tak’s work even these actors are pure fiction. Up to now Elise Tak has 'given birth' to 10 movie actors, with different ages and from different backgrounds. Their names are: Michael Okada, Thomas Kirby, Marian Xiao, Pete Banich, Marvin Dunbar, Forough Amirshahi, Jeni Wright, Roy Rebergen, Charlie Pep and Anita Carbajal. Elise Tak was born in the Netherlands and lives and works in Brooklyn, New York. Since the early 1990s her work has been shown in leading galleries, museums and art institutes like Museum Boijmans van Beuningen, Stedelijk Museum Bureau Amsterdam, Frans Hals Museum/De Hallen, Museum Helmond (The Netherlands); Palm Beach Institute of Contemporary Art (USA); Musée de Luxembourg, Musée d'Art Moderne Contemporain Strasbourg, FRAC Poitou-Charentes, Le Consortium (France). Articles on her work have appeared in The New York Times, Flash Art, Der Spiegel, Art Press and many more. In addition, she has several large-scale public art projects to her credit, commissioned by leading institutes in the field like SKOR Foundation for Art and Public Space and Stroom Den Haag, both in The Netherlands. Her animation short ‘Suicide Notes’ was produced in collaboration with the two-time Emmy-award winning composer Patricia Lee Stotter. Elise Tak was the projection designer for the play ‘Flashback’, which ran in a New York City theater in 2007. Her series of stills illustrating Gogol's ‘The Nose’ originally was made for the short film ‘Here's What I Like... Russian Literature. And Now I'll Tell You Why’, directed by Abigail Zealy Bess and written and conceived by Amy Staats. In 2019 she was the director of imagery and projection designer of the staged reading of the play ‘Paging Doctor Faustus’, written by Paul Genega and Patricia Lee Stotter and directed by Mary Chang. Elise Tak is also active as a curator. Het latest exhibition 'A New York State of Mind (Stories from the unusual suspects)' was shown at Cacaofabriek in Helmond, The Netherlands in 2018 and featured a selection of artists from New York. The book mentioned in the interview that she is reading is ‘Moment of Clarity’ by Lee Camp. (Lee Camp is a comedian who is sharply critical of the US political system and he can make the darkest of the dark funny). ‘Pent Up’ (1982) Marvin Dunbar as Green Peaz Digital 3D art, Cinema4D, Plugins 4D, zBrush, 3dCoat, Corona Render for Cinema4D, Affinity Photo © Elise Tak, 2019 Green Peaz is a Vietnam War combat veteran. Since Green Peaz has come home to Chicago, he has been suffering from paranoid delusions. Green Peaz is convinced that he is ‘The Savior’ of the city. Things get out of hand! ‘The Spirit of Not’ (2011) Charlie Pep as The Astronaut; and Marian Xiao, Forough Amirshahi, Jeni and Naomi Wright, Anita Carbajal as the five Spirits.Digital 3D art, C-print on paper, Cinema4D, Plugins 4D, zBrush, Substance Painter, Corona Render for Cinema4D, Affinity Photo, Luminar© Elise Tak, 2018. In his quest for signs of life on Saturn,

SONIC ACTS FESTIVAL 2019 – HEREAFTER Sasha Litvintseva, Beny Wagner – Universal Syntax 22 February – De Brakke Grond, Amsterdam, The Netherlands with an introduction by Victoria Douka-Doukopoulou. This talk will introduce a long-term collaborative project, Universal Syntax, by Sasha Litvintseva and Beny Wagner which seeks to untangle the human tendency to read the natural world as a text. The long and remarkably consistent history of the use of text as a metaphor for the interpretation of the natural world, present from ancient Babylonian observational practices, to Galileo’s reading of the solar system all the way to the human genome project, is ultimately the history of the human inability to experience the world unmediated. This is as much a history of media and technology as it is of science, culture and philosophy. As an entry point into the project, Litvintseva and Wagner will unpack some predominant theories of narrative structure and the metaphors they are based on, as a way to elaborate on alternative narrative models capable of responding to the complexities of contemporary perceptual realities. Sasha Litvintseva is an artist, filmmaker and researcher. Her work has been exhibited worldwide, including at Berlinale, Rotterdam International Film Festival, Videobrasil and Wroclaw Media Art Biennale, as well as solo presentations at Institute of Contemporary Art, London, Berlinische Galerie, Museum of Contemporary Art, Chicago and Courtisane Film Festival, Ghent, among many others. She is a lecturer in Film Studies at Queen Mary University of London and is currently completing a PhD at Goldsmiths, University of London. Her academic writing has appeared in special issues of Environmental Humanities and Transformations journals, and numerous book volumes. Beny Wagner is an artist, filmmaker and writer. His research themes include the cyclical regeneration of media technologies, history of science, thresholds of human and nonhuman life, affective feedback, agricultural production and politics of waste. He has presented his work internationally, including at International Film Festival Rotterdam, Berlin Atonal, Media Art Biennale WRO, Movimenta Biennale, Haus der Kulturen der Welt, Eye Film Museum, Impakt Festival and Venice Biennale, among many others. His work has been featured in Artforum, Spike Art Magazine, Frieze, Kaleidoscope, Flash Art and Die Zeit. Wagner graduated from Bard College in 2008. He was a researcher at Jan van Eyck Academy and is currently a senior lecturer at the Gerrit Rietveld Academy in Amsterdam. He is working with Sasha Litvintseva on a long-term collaborative project Universal Syntax.

As an artist, academic, and a cofounder to an art technology company called Monograph, Kevin McCoy brings a unique perspective to the idea of authorship & ownership in its application to the digital and internet art scene. Established in 2014, Monegraph aimed to solve issues of provenance and legitimacy artists and collectors face when selling and buying digital art works. In this episode, we speak with Kevin about how Monegraph was received in its initial years, why provenance matters in the art world, and what some of the hurdles are facing digital and new media artists today.-About Kevin McCoy-His artworks take many diverse forms including video sculpture and installation, photography, long-form film, curatorial practice and performance, kinetic sculpture and software-driven on-line projects. Thematically, his work explores changing conditions around social roles, categories, genres and forms of value. His primary research questions ask 'What counts as new,’ 'How is meaning established,' and 'How are cultural memories formed'. He has worked collaboratively with Jennifer McCoy for many years to try to answer what it means to speak together, often finding that experience outstrips available modes of presentation and discourse. To these ends their work has adopted many methodological approaches: exhaustive categorization, recreation and reenactment, automation, miniaturization, and most recently remote viewing and speculative modeling.In New York City, his work has been exhibited at The Metropolitan Museum of Art, P.S.1, Postmasters Gallery, The Museum of Modern Art, The New Museum, and Smack Mellon. International exhibitions include projects at the Pompidou Center, the British Film Institute, ZKM, the Hanover Kunstverien, the Bonn Kunstverein, and F.A.C.T. (Liverpool, UK). Grants include a 2002 Creative Capital Grant for Emerging Fields, a 2005 Wired Rave Award, and a 2011 Guggenheim Fellowship. Articles about his work have appeared in Art in America, Artforum, Flash Art, Art News, The New York Times, The Washington Post and Newsweek. Residencies include work at the Headlands Center for the Arts, and the Lower Manhattan Cultural Council.His artwork is represented by in New York by Postmasters Gallery and in Geneva by Gallerie Guy Bartschi and can be seen in the collections of the Museum of Modern Art, The Metropolitan Museum of Art, the Milwaukee Art Museum, and MUDAM in Luxembourg.In 2014 he co-founded monegraph.com a platform that uses the technology underlying Bitcoin to provide a mechanism for validating, owning and trading digital media assets. The project was presented at The New Museum as part of Rhizome's seven on seven conference and at Tech Crunch Disrupt in New York.His teaching engages both undergraduate and graduate students in studio art and related arts professions and addresses practical and theoretical uses of digital media technology together with surveys of related theoretical and philosophical texts. The current semester's coursework can be found at mccoyspace.com/nyu.Learn more at:auxillaryprojects.commonegraph.comcorespace.com

Horwitz was born in 1932 and died in 2013, and lived and worked in Los Angeles. She studied graphic design in the early 1950s at Art Center College of Design and Fine Art at California State University, Northridge, in the early 1960s. In 1972 Horwitz received a BFA from the California Institute of the Arts, studying alongside John Baldessari and Allan Kaprow, participating in some of Kaprow’s ‘Happenings’, as well as creating her own performances. In 1968, Horwitz submitted a proposal called Suspension of Vertical Beams Moving in Space to LACMA's ‘Art and Technology’ exhibition. The proposal was for a sculpture with eight moving beams, suspended in the air by magnetism and lit at varying intensities. The sculpture was never realised – the project, in the end, included work by only 67 male artists. Yet the attempt to graphically describe the movement of the beams with the rules and systems of eight that Horwitz developed for the proposal became the foundation for numerous bodies of work, including the Sonakinatography series, comprised of drawings, performances and musical compositions. In a 1976 article published in Flash Art, Horwitz described the system by saying “I have created a visual philosophy by working with deductive logic, I had a need to control and compose time as I had controlled and composed two-dimensional drawings and paintings. To do this, I chose a graph as the basis for the visual description of time...Using this graph, I made compositions that depicted rhythm visually.” Sonakinatography is discussed in detail in this episode that takes the form of a conversation between Channa Horwitz’s daughter Ellen Davis and Lisson Gallery’s Ossian Ward in advance of an exhibition of her work in London, titled 'Rules of the Game'. Former Ford Foundation scholarship student at the School of American Ballet in NYC and dancer with the Stuttgart Ballet Company, Ellen Davis has been teaching classical ballet internationally for over 40 years. She has also been the artistic director of numerous ballet and performing arts academies. In 1977 Ellen founded “Yoga of Ballet”, classical ballet taught with a mindful, living yoga approach that can be extended to all of life. Ellen is the daughter of the late conceptual artist Channa Horwitz, and is the archivist and manager of her estate. As a long time collaborator with Horwitz she continues to choreograph, direct and oversee performances in conjunction with her mother’s work. Ellen created the text and sound track of Horwitz’s seminal work “At the Tone," which Horwitz published. “At the tone the time will be .... one moment past the point of seeing anything other than now”. Ellen offers living yoga coaching and is an avid photographer. She writes about the creative process, living the timeless in time and new paradigm teaching and learning approaches. Lisson...ON AIR is written and presented by Hana Noorali

On this episode we have round 2 with the guys in Stone Witch . We get into some tattoo talk then we get to their upcoming release, Desert Oracle. Before we get into it don't forget Sundays 6-9PM EST on www.craniumradio.com The Doom Tomb Radio show .  We have track by track discussions, gear, smoke machine hacks, movies, Howard Stern talk and who is the best dancer in the group ? (Hint , he's also known as "The Hot Meal" of the band) Join us . Put us on in the background while roasting chestnuts, sipping on spiked eggnog and anticipating the first family fight at the big get together.  Links: Stone Witch : https://www.facebook.com/Stonewitchband/ https://stonewitchband.bandcamp.com/releases Flash Art : https://en.wikipedia.org/wiki/Flash_(tattoo) Hollow Earth Theory(one of many docs on YouTube): https://youtu.be/bTH7JGzXlg0 The Smoky God (free download link, public domain): https://librivox.org/search?title=The+Smoky+God&author=EMERSON&reader=&keywords=&genre_id=0&status=all&project_type=either&recorded_language=&sort_order=catalog_date&search_page=1&search_form=advanced Smoke machine hack: http://www.sowderingabout.com/2013/10/day-10-fog-machine-chiller-guest-post.html Scrapple : https://en.wikipedia.org/wiki/Scrapple Red Mesa: https://www.facebook.com/redmesaband/ Goliathan(last song): https://www.facebook.com/thebeastgoliathan/     doomtombpodcast@gmail.com Hit us up. We like that. Eat,drink and be merry or something like that . Send us pics of stoner/doom/sludge gifts !     

No guest this episode! Just Rob and Taylor making it to Episode 41!!! "Hate" is our challenge this episode! We talk about gamifying meat popsicles for the big cats and Taylor gives two thumbs up to the new film Hereditary. Taylor adopts his least favorite style and rocks it! Rob gets a smart home device. He also lets us know how dumb he was when he was in high school. This episode is one embarrassment after another for Rob. You can check out our projects at http://projects.opposablepodcast.com Props to Blondihacks, Nik, Walter, Federico, Kelly, Luke, Mike and Tim! They're our top Patreon supporters! Join 'em at: https://www.patreon.com/opposablethumbs

Here is a bonus episode of the Comic News Podcast I do over at our PATREON account.  If you like what you hear and want to hear this and over 100 more exclusive shows, head on over and check it out.  This week's Patreon Exclusive Spotlight will be Batman: Creature of the Night #1 and Justice League of America Annual #1. 

Bonnie Collura is an artist born in Long Island who currently lives, works and teaches in central Pennsylvania. Boonie makes sculptures from various materials that often approach the figure with an element of abstraction. She received her BFA from Virginia Commonwealth University in 1994 and her MFA from Yale University in 1996. She is the recipient of a 1997 Emerging Artist Award from the Aldrich Museum of Contemporary Art, a 2003 Rolex Protégé nomination, a 2005 John Simon Guggenheim Memorial Foundation Fellowship, a 2010 United States Artists Fellowship nomination, and a 2010 MacDowell Colony Fellowship. Bonnie’s sculptures, drawings, and outdoor works have been exhibited in domestic and international galleries and museums spanning the United States, France, Italy, Belgium, Germany, and India. Her work has been reviewed in The New York Times, The New Yorker, Art Forum, Art in America, Art News, Flash Art, BOMB magazine, Beautiful Decay, Tema Celeste, Sculpture Magazine, Time Out New York, Up & Coming: The Emerging Art Scene in New York, and several other print and on-line publications. Bonnie is currently an Associate Professor at Penn State University, teaching in the Sculpture Department. Brian met up with Bonnie to talk about her early childhood, her days in school, her time working as an assistant for Robert Gober and her recent work.

Mitchell performs her piece, One Shot, shooting a single arrow through sheets of paper where it stays, suspended. Mitchell's piece, Limousine. Acrylic latex on wood panel and black neoprene. 72 X 180 in. ZNP welcomes multi-media artist and all around warm spirit, Kirstin Mitchell, to talk about her most recent exhibit, Midnight at the Oasis (at Hathaway Gallery until July 11) and her re-entry into the art world using her given name, having performed as Kiki Blood for years. She describes the Kiki Blood years as a necessary time for exploring aggression and the return to herself as permission for softness. Staying busy a must for excitable types- and working on immense pieces keeps the whole body involved. We talk meditating on color and the need for sharing food and laughs with friends at dinner parties. Please enjoy this vibrant episode!Official Bio:Kirstin Mitchell is a multi-media artist living in Atlanta, GA.In 2017, Mitchell has shown at University of Georgia and been selected as a highlight in Art in America for an experimental studio exhibition during her Eyedrum Studio Fellowship. She performed a solo show at the Atlanta Contemporary in March 2016, and has performed with the support of the Franklin Furnace Fund and the Brooklyn International Performance Art Festival. She has shown in galleries and art centers in Atlanta, New Orleans, Manhattan, Brooklyn, and internationally in Austria and Italy. Mitchell's work has also been reviewed in Art Papers and Flash Art magazines. Find out more and keep informed on what's next at www.kirstinmitchell.com

Sean Paul was born and raised in Salt Lake City, Utah. He received his BFA from MICA and his MFA from Columbia Univeristy in New York. He lives and works in NY. His solo echibitions include Adversaries, Inc at David Lewis Gallery, Communication of the Present Noise at Thomas Duncan in Los Angeles, as well as shows at Campoli Press in Paris, Front Desk Apparatus in NYC,COMA in Berlin, Elizabeth Dee Gallery and Sutton Lane Gallery. He’s had group shows at TCNJ Gallery in New Jersey, Laurel Gitlen, New York, JTT Gallery, New York, Blum & Poe in Los Angeles, Massimo De Carlo in Milan, Le Confort Moderne/Contemporary Art Center in France, John ConnellyPresents in New York amongst many others. His work has been written about in the NY Times, Hyperallergic, Art in America, Flash Art, ARTslant, Artnet, Artforum, ArtInfo, and the Miami Herald to name just a few. He’s in the collection of the Whitney Museum of American Art and has been teaching at the School of Visual Arts since 2009. Brian met up with Sean at David Lewis Gallery at his solo show to talk about his youth in Salt Lake City, his path from the west coast to the east coast, elections, doomsdays and a lot more.

Franklin Evans creates painting installations with his studio as his subject. He was born in Reno, Nevada and has degrees from Stanford University, the University of Iowa where he got an MFA in painting and Columbia University where he received an MBA. Since 2005, he has had twenty solo exhibition in the United States and Europe and numerous group exhibitions at venues, which include, among others: MoMA PS1, New York, NY; Nevada Museum of Art, Reno, NV; deCordova Sculpture Park and Museum, Lincoln, MA; DiverseWorks, Houston, TX; RISD Museum, Providence, RI; Weatherspoon Art Museum, Greensboro, NC, The Drawing Center, New York, NY; amongst many others. His work has been featured and reviewed in The New York Times, The Boston Globe, Art in America, New York Magazine, Artforum, The New Yorker, Modern Painters, Brooklyn Rail, Flash Art, Hyperallergic, among other publications. Awards and grants include the Pollock- Krasner Foundation Grant a NYFA Fellowship in Painting, the PM Foundation, Yaddo, The Marie Walsh Sharpe Art Foundation Space Program and LMCC Workspace Program. Franklin’s work is included in the public collections of the Orlando Museum of Art, the Yale Univesity Art Gallery, the Museo del Barrio, the Weatherspoon Art Museum, and many others. He is represented by Ameringer McEnery Yohe in New York, FL Gallery in Milan, and Steven Zevitas Gallery. Brian stopped by Franklin’s Lower East Side studio and they talked about the speed of society, the realization of being an artist, Robert Smith hair and art as work and art as play.

Timothy Hull is an artist who was born 1979 in New York, NY. He received an MFA from the Parsons School of Design in New York, and a BA from New York University. Recent solo exhibitions include: “For Ammonis Who Died at 29 in 610” at ASHES/ASHES, Los Angeles, Painting in the Imperfect Tense, Klaus von Nichtssagend Gallery, New York in 2016 and Pastiche Cicero at Fitzroy Gallery in New York in 2014. His work has been included in group exhibitions at Mitchell-Innes and Nash, The Hole, the Tate Modern, the Morris Museum of Art, and the Nomas Foundation. His work has been featured and reviewed in the New York Times, Artforum, Art in America, Flash Art, Interview Magazine, the Los Angeles Times, and the San Francisco Chronicle. Brian visited Timothy’s studio in Greenpoint and we talked about the imp ortance of seeing work in person to the current role of criticism to the lure of the Hudson Valley and much more.

Was it dance quitting the stage - the museum entering the opera? The piece 20 Dancers for the XX century by Boris Charmatz, performed at the Opera Garnier this October, scattered dance solos everywhere but on stage - in the lobby, on the stairs, at the bar. It was an unprecedented use of space of the “world’s most famous opera”, upsetting all the rules of classical dance presentations. The public walked, the dancers talked, and it looked like an exhibition more than a spectacle - a “living exhibition”, in Charmatz’s own words. The abundant commentaries on the piece were controversial - some celebrated the audacity of the presentation of dance, others were rather frustrated by it. Elena Sorokina is curator and art historian, alumna of the Whitney Museum of American Art ISP in New York. Throughout her career, she was invited to organise exhibitions and projects at the Musee d’Art Moderne de la Ville de Paris; WIELS, Brussels; Stedelijk Museum Amsterdam, Musée Picasso Paris and other institutions. She published in numerous catalogs, and has been writing for Artforum, Flash Art, Cabinett Magazine, Manifesta Journal, and other publications.

As a crowd-pleasing finale they will attempt to answer the age old questions ‘Does hope really spring eternal?’ and 'How much is that doggy in the window-the one with the waggley tail?’ Andrew Marsh has a BA in Fine Art from Norwich School of Art and Design, and an MA in Fine Art Administration and Curatorship from Goldsmiths. He teaches curatorial practice across all three years of BA Communication, Criticism and Curation at Central Saint Martins. He is also a freelance exhibition organiser and has curated and managed exhibitions and events in London, Birmingham, Dusseldorf and New Delhi (to mention a few); he has written for ‘Flash Art’, various artists’ monographs and other publications. http://anoccasionaljournal.tumblr.com/ Simon Hollington is an artist working in a range of media from painting and drawing to interactive narrative environments. His work has been exhibited widely in the UK including Tate Modern and the ICA London as well as internationally including The 51st Venice Biennale as well as shows in mainland Europe, North and South America and Australia. He has been a guest speaker at Tate Britain, The Royal College of Art and The Royal Society for the Arts. He has been teaching at Central St Martins since 2000 where he is currently an associate lecturer in Contextual Studies. www.electronicsunset.org

Reclamation Artist Kristin Posehn will discuss her new book Reclamation, about her public artwork of the same name, with Frieze contributing editor and art critic Jonathan Griffin. Reclamation is both a novella and an exhibition catalogue. The book tells the story of an ephemeral public artwork through the experiences of a fictional narrator. The artwork Reclamation was an elaborate reproduction of a ruin: a one-to-one scale replica of the last remaining facade from the ghost town of Metropolis, USA. The installation took place in the newly constructed city of Almere, the Netherlands. At this event, Kristin Posehn and Jonathan Griffin will be in conversation about the book and artwork, architecture, photography, public vs private space, and the peculiar story of the ghost town of Metropolis. Kristin Posehn is an artist based in Los Angeles. She has produced numerous commissioned works, including installations for Museum De Paviljoens, Netherlands, the Bonnefanten Museum, NL, Aspex, UK, and Netwerk Center for Contemporary Art, Belgium. She received a Ph.D. in Fine Art from the Winchester School of Art, Winchester, UK, and did a two year research and production residency at the Jan van Eyck Academie, Maastricht, NL. In 2010, she was a Visiting Tutor at Oxford University, UK. Reclamation is her first book. Jonathan Griffin is a writer, art critic and editor. Born and raised in London, he now lives in Los Angeles. He is a Contributing Editor of Frieze magazine, and has also written for publications including Art Review, Texte Zur Kunst, Flash Art and The Art Newspaper. He has contributed essays for a number of books, including a monograph on British painter Ross Chisholm, published by JRP Ringier, and Vitamin P2, published by Phaidon. Forthcoming books include a monograph on Hernan Bas, published by Rizzoli, and Vitamin D2, published by Phaidon. Photo of Posehn by Aaron Farley. THIS EVENT WAS RECORDED LIVE AT SKYLIGHT BOOKS MARCH 22, 2013.

This week: 7 effing years! Our NADA series continues with Los Angeles based artist Matt Greene. (b. 1972, lives and works in Los Angeles) Past Exhibitions: "Defenders of Reality," Peres Projects, Los Angeles "Eden's Edge," curated by Gary Garrels, Armand Hammer Museum, Los Angeles, Forthcoming Solo Exhibition, Deitch Projects, New York Group Show, Stuart Shave/Modern Art, London, England "Swallow Harder: Selections from the Collection of Ben and Aileen Krohn," Frye Art Museum, Seattle, Washington, curated by Robin Held "the wilderness is gathering her children once again," Peres Projects, Berlin, Germany "LAXed: Paintings from the Other Side," Peres Projects, Berlin, Germany "Panic Room" works from the Dakis Joannou Collection, Deste Foundation Centre For Contemporary Art, Athens "We Are the Dead," Modern Art Inc., London, UK "She Who Casts the Darkest Shadow on Our Dreams," Peres Projects, Los Angeles, California "JT Leroy, Origins of Harold," Deitch Projects and Art Production Fund, New York, NY "Translation," Palais de Tokyo, Paris, France "Traum/Trauma Works from the Dakis Joannou Collection, Athens," Kunsthalle Vienna, Austria "Gravity's Rainbow," Peres Projects Athens, Greece Greene has been featured in Art Forum, Flash Art, The Believer, Frieze, I-D, The New York Times, and recently catalogues of his work were published by Peres Projects ("She Who Casts the Darkest Shadow on Our Dreams") and The Moore Space ("Scream"). Catalog available for the solo exhibition at Deitch Projects, New York. Greene's work is in the permanent collection of the Museum of Modern Art, New York; The Art Gallery of Ontario, Toronto; and the Honart Museum, Terhran.

Keeping up with Paul Chan could be two peoples full time job. This time out he and Paul talk about the context of publishing, Documenta, and what Paul has been up to since 2010. Check out Paul's site here... http://www.nationalphilistine.com/ the followoing was borrowed from Paul. He really is a lovely fellow. Paul Chan is an artist who lives and works in New York. His work has been exhibited widely in many international shows including: Documenta 13, Kassel, 2012;Before The Law, Ludwig Museum, Cologne, 2011-12; Making Worlds, 53rd Venice Biennale, Venice, 2009; Medium Religion, ZKM, Karlsruhe, 2008; Traces du sacrê, Centre Pompidou, Paris, 2008 and the Whitney Biennial, Whitney Museum of Art, New York, 2006. Recent solo exhibitions include Paul Chan: The 7 Lights, Serpentine Gallery, London and New Museum, New York, 2007–2008. In 2007, Chan collaborated with the Classical Theatre of Harlem and Creative Time to produce a site-specific outdoor presentation of Samuel Beckett’s play Waiting for Godot in New Orleans. Chan’s essays and interviews have appeared in Artforum, Frieze, Flash Art, October, Tate etc, Parkett, Texte Zur Kunst, Bomb, and other magazines and journals. Chan founded Badlands Unlimited, a press devoted to publishing artists writings and writings about art in paper and digital forms in 2010. 

Beck (Chronicle Books) Photographer Autumn de Wilde (Elliott Smith, Death Cab for Cutie) will discuss and sign her brand-new collection of photographs of Beck, based on a 15-year collaboration between the two, and including portraits, photo sessions, and images from recording sessions and live performances. Autumn de Wilde is a photographer and a director best known for her portrait and documentary work in music, fashion and film. Some of her album covers include The White Stripes, Elliott Smith, Beck, Wilco, Norah Jones, and The Decemberists. Documenting the life and work of Kate and Laura Mulleavy of Rodarte has been an ongoing project since the designer's explosive beginning. Her portraits of actors, directors, designers, musicians and artists have been featured in Vogue, L'Uomo Vogue, Lula, Zoetrope All-Story, Interview, Elle, Flash-Art, Purple, Paper, Nylon, Black Book, Tar, The Lab, Spin, and Rolling Stone. She lives in Los Angeles. See more of her work at autumndewilde.tumblr.com. THIS EVENT WAS RECORDED LIVE AT SKYLIGHT BOOKS NOVEMBER 11, 2011.