Podcasts about flux factory

As I've mentioned before, one of the great things about doing a show like this is the fascinating people I get to talk to who are coming at experience design from many different approaches, perspectives, and backgrounds. One of the groups that I perhaps enjoy talking to the most (no offense to anyone else) is artists. I've always admired the ability to turn imagination and passion into something that expresses one's soul in a way that can move others. Talking to artists about their work kind of creates a sense of purity of work in terms of representing an authentic self. I don't want to overly dramatize or prematurely canonize them. But artists can do really cool stuff that brings life and light into the world.And it feels like every day more and more, we need some life and light brought into the world. While art changes, our need for art never changes.My guest today is artist Will Owen. Looking at Will's website, it lists his primary mediums as sound, sculpture, and food. That's right. Food. Without that is a larger preoccupation of culture and the world in which we live, seeking to represent it in ways that stimulate thought, expose us to its beauty, and contemplate its possibilities. Growing up in Appalachia provided an opportunity to explore how to have fun and create with whatever was available. Before we had the concept of a ‘maker space,' his childhood was a maker space in which risks could be take in the pursuit of having fun and filling time. Out of that comes a creative spark and fundamental appreciation for the natural world. He describes himself as being ‘obsessively curious' and being promiscuous with materials, which he owes to his childhood and the collaborative explorations with his friends.Today he is part of many different collectives around the world. He is part of the Flux Factory in New York, and has worked with artists in Russia and Taipei,We talk about making something loud with no budget, the indelible reciprocity of making together, the porousness needed to engage with performative audiences, and his obsession with supertemporary communities. We also talk about the bus experiment, a traveling exhibit from Manhattan to Philly. Will Owen - https://willowen.netFlux Factory - https://www.fluxfactory.org/

For this special episode of The Art Career we travel behind the scenes of SPRING/BREAK Art Show to speak with co-directors Ambre Kelly, Andrew Gori, in addition to chatting with artists, Dani Klebes about her installation this year. SPRING/BREAK Art Show is an internationally recognized exhibition platform using underused, atypical, and historic New York City exhibition spaces to activate and challenge the traditional cultural landscape of the art market, typically but not exclusively during Armory Arts Week New York and Frieze Week LA. The 12th Edition of SPRING/BREAK Art Show New York City will be held from September 6th - 11th, 2023, with details on their 5th LA Exhibition to come. Founded by Andrew Gori and Ambre Kelly in 2009, The They Co. creative supergroup has organized, curated, facilitated and produced events with the New Museum, Brooklyn College, Art Hamptons, Flux Factory, Collective Show, Nuit Blanche New York, Silvershed, The Metric System, The Underground Library, Gowanus Studio Space, and numerous other community-based arts organizations. In May of 2011 and 2013, the group organized the SCHOOL NITE exhibition event for the New Museum's Festival of Ideas for the New City, and in September 2011 intercepted the city's San Gennaro Festival with a 90-foot sculptural interpretation of the Roman oculus, created by SOFTlab. Under the gender-melding moniker BOYFRIENDGIRLFRIEND, Gori and Kelly have collaborated on several formal projects, most recently their ongoing SIGHTSEERS photographic series since 2016. In 2017, SPRING/BREAK launched it's biannual IMMERSIVE program, with large-scale sculptural installations at a mall for the BKYLN IMMERSIVE in May 2017, followed by TIMES SQUARE IMMERSIVE, a Times Square Plaza takeover with monumental sculptures created onsite in each public plaza of Times Square in March 2019, and UPSTATE IMMERSIVE in 2021 with ten unique sculptures to create a sculpture garden in Poughkeepsie, NY during Upstate Arts Weekend. And another OLD SCHOOL IMMERSIVE Secret Show during Frieze Week. Gori and Kelly have new projects forming in the film and tv landscape and in the published written word in 2024 with collaborations upcoming with The Portland Museum of Art & more. Danielle Klebes lives and works at Wassaic Project in Wassaic, NY. Danielle has exhibited in notable galleries and museums throughout the United States, Europe, and Canada. These include Keeping Company (2023), a solo show at NARS Foundation in Brooklyn, NY, Midnight Adventure Club (2022), a solo show at AVA Gallery in Lebanon, NH, House Fire House Party (2020), a solo show at Installation Space in North Adams, MA, Aimless Pilgrimage (2020), a solo show at L'Atelier Silex Gallery in Trois- Rivières, Quebec, Canada, Fifty (2022), a group show at MoCA Jacksonville, Jacksonville, FL, Summer (2022), a group show at Galleri Christoffer Egelund in Copenhagen, Denmark, Portraiture Today (2021), a group show at the Springfield Museums, Springfield, MA, and Confluence of Tongues (2021), a group show at Grove Collective in London, UK. Danielle's work has appeared on the cover of many publications including Cream City Review, Artscope Magazine, Studio Visit Magazine, Gertrude Press, and Prairie Schooner. Danielle received her MFA in Visual Arts from Lesley University College of Art and Design in Cambridge, MA, in 2017. 

Alison Kudlow (b. 1981) lives and works in Brooklyn. She earned a BA from the University of Southern California, a post-baccalaureate degree from Brandeis University and an MFA from the School of the Art Institute of Chicago in Studio Art. She has shown at galleries including Swivel, Parent Company, Field Projects, Tiger Strikes Asteroid, Flux Factory, UrbanGlass, Deanna Evans Projects, Doppelgänger Projects, Paradice Palase, Wavelength Space, and at Fullerton College in California. She is a member of Underdonk, an artist-run gallery. She presented a solo show, Meaningful Rituals in Irrational Times, at Elijah Wheat Showroom's Brooklyn location in 2019. She was an invited resident at the Art Ichol Center in Maihar, Madhya Pradesh, India in January 2023. She is presenting a solo show at Deanna Evans Projects in Tribeca, NY May 17 - June 22, 2024. Suture, 2024, Ceramic, glass, rubber, 14 1/2 x 11 1/2 x 3 1/2 in. 36.8 x 29.2 x 8.9 cm. Bolbos, 2024 Ceramic, rubber, glass, iron hardware 28 x 22 x 13 in 71.1 x 55.9 x 33 cm.   Thoracic Surge, 2024 Ceramic, glass, mother-of-pearl, bronze hardware 20 x 22 x 6 in 50.8 x 55.9 x 15.2 cm.

Ep.151 features Layo Bright. Mining personal archives and collective experiences, her sculptural practice interrogates how materials shape perception, culture, and politics. Bright's work explores specific themes of migration, inheritance, legacy and identity through hybrid portraits, textiles, and mixed media that call on natural forms and ancestral memory. Employing a range of materials such as glass, clay, wood and textiles, these forms mirror fragile yet complex relationships with the personal, natural, and built environment. Bright's work with plastic, checkered bags—often linked to migrants around the world—combines the material with crushed glass to critically address the inevitability of migration and loss in our current global climate. In fusing these and other materials, Bright's practice carefully considers the legacy of suppressed histories within inequitable class structures.  Bright (b.1991, Lagos, Nigeria) received her LL. B (Hons.) from Babcock University (2014), was called to the Nigerian Bar Association (2015) and received her MFA in Fine Art (Hons.) from the Parsons School of Design (2018). Bright has exhibited work both internationally and nationally. Solo and group exhibitions include: Rockhaven, moniquemeloche, Chicago, IL (2022); Undercurrents, Sean Kelly Gallery, New York, NY (2022); Lubeznik Center for the Arts, Michigan City, IN (2022); Bode Projects, Berlin, Germany (2022); Phillips, New York, NY (2021); Welancora Gallery, New York, NY (2021); Mike Adenuga Centre, Lagos, Nigeria (2021); Anthony Gallery, Chicago, IL (2021); Parts & Labor, New York, NY (2020); Meyerhoff Gallery at MICA, Baltimore, MD (2020); Untitled AWCA, Lagos, Nigeria (2019); Mana Contemporary, Chicago, IL (2019); and Smack Mellon, New York, NY (2019), among others. In fall of 2023 Bright's work will be included in A Two Way Mirror: Double Consciousness in Contemporary Glass by Black Artists, Museum of Glass, Tacoma, WA. She is the recipient of honors and awards including the UrbanGlass Winter Scholarship Award (2021/2020), the International Sculpture Center's 2018 Outstanding Student Achievement in Contemporary Sculpture Award (2018), and the Beyoncé Formation Finalist Scholarship (2017). Previous residencies include Tyler School of Glass, Philadelphia, PA; Art Cake Residency in Brooklyn, NY; NXTHVN Fellowship in New Haven, CT; Triangle, Brooklyn, NY; Flux Factory, Queens, NY; The Studios at Mass MoCA, North Adams, MA; Tritryagain Studio Residency, Brooklyn, NY; International Studio Center Sculpture Residency at Grounds for Sculpture, Hamilton Township, NJ. Bright lives and works in New York, NY. Photo credit: Daniel Greer Artist https://layobright.com/ moniquemeloche https://www.moniquemeloche.com/ Welancora Gallery https://www.welancoragallery.com/artists/38-layo-bright/works/ Superposition Gallery http://superpositiongallery.com/layo-bright Museum of Glass https://www.museumofglass.org/a-two-way-mirror ARTnews https://www.artnews.com/list/art-news/market/art-basel-hong-kong-2023-best-booths-1234661821/ ArtReview https://artreview.com/discover-arcuals-pioneering-blockchain-technology/ Artsy https://www.artsy.net/article/artsy-editorial-10-best-booths-art-basel-miami-beach-2022 okayafrica https://www.okayafrica.com/layo-bright-interview/ Bode Gallery https://bode.gallery/artists/109-layo-bright/overview/

Betty Yu is a multimedia artist, photographer, filmmaker and activist born and raised in NYC to Chinese immigrant parents. Ms. Yu integrates documentary film, new media platforms, and community-infused approaches into her practice, and she is a co-founder of Chinatown Art Brigade, a cultural collective using art to advance anti-gentrification organizing. Ms. Yu has been awarded artist residencies and fellowships from the Laundromat Project, A Blade of Grass, International Studio & Curatorial Program, Intercultural Leadership Institute, Skidmore's Documentary Storytellers' Institute, KODA Lab, Asian American Arts Alliance, En Foco, China Residencies, Flux Factory and Santa Fe Art Institute. Her work has been presented at the Brooklyn Museum, Queens Museum, NY Historical Society, Artists Space, SPACE Gallery, Margaret Mead Film and Video Festival, Tribeca Film Festival's Interactive Showcase, 2019 BRIC Biennial; Old Stone House, and Squeaky Wheel Film and Media Art Center. In 2018 she had a solo exhibition at Open Source Gallery in New York. In 2017 Ms. Yu won the Aronson Journalism for Social Justice Award for her film "Three Tours" about U.S. veterans returning home from war in Iraq, and their journey to overcome PTSD. She holds a BFA from NYU's Tisch School of the Arts, a MFA in Integrated Media Arts from Hunter College and a One-Year Certificate from International Center Photography New Media Narratives program. Ms. Yu teaches video, social practice, art and activism at Pratt Institute, Hunter College, and The New School, in addition she has over 20 years of community, media justice, and labor organizing work. In the Fall 2020, Betty had her curatorial debut as she presented Imagining De-Gentrified Futures, an exhibition that featured artists of color, activists and others along with her own work at Apexart in Tribeca, NYC. Betty sits on the boards of Third World Newsreel and Working Films; and on the advisory board of More Art. The current project that was discussed in the interview: We Were Here: Unmasking Yellow Peril The book mentioned in the interview was Race for Profit. My grandparents in New York City in the 1950s with the cut out of 1882 Chinese Exclusion Act in the Background, Digital Collage, 2020. (Dis)Placed in Sunset Park: My Personal Story from Betty Yu on Vimeo.

How many times have we seen artist-centered communities loose their grass roots identity when they buy property? High profile organizations that have shed their founders vision as they gained visibility such as the New Museum and Meow Wolf serve as cautionary tales.   Talk to Flux Factory Executive Director Nat Roe, and it becomes clear, though, that this path is a choice and not an inevitable destiny. In his role, Nat recently secured $5 million from the city to purchase the building the organization has been working out of since 2009, along with the 3000 square foot ground floor gallery space on the ground floor of Gotham Point's South Tower building set to house the new satellite location, Flux IV. Flux Factory, a gross roots artist organization and residency program is now a permanent beacon of creative energy, in the midst of a homogenized tech-enclave for Manhattan commuters.   Can the DCLA support other smaller arts organizations in New York by helping them purchase real estate? Nat Roe gives us the skinny, going  full wonk on city policy, while offering a history of Flux Factory and its place in the New York City arts landscape.    SHOW LINKS   Help Launch Flux Factory's new venue, Flux IV    The Western Queens Community Land Trust—artist Jenny Dubnau is a co-chair of the board.    NY Times Tribeca Art Galleries, June   NY Times Tribeca Art Galleries, October article    How many times have we seen artist-centered arts organizations lose their NYC Club Scene debt? New York Times   Secret Project Robot    NYC Commercial Rent Law 

Dana Turkovic, Curator of Laumeier Sculpture Park, and Aida Šehović, Independent Artist stopped by to talk about Aida's exhibition ŠTO TE NEMA, which  runs through December 19, 2021. Aida Šehović is an artist and founder of the ŠTO TE NEMA nomadic monument. The project began as a one-time performance with a presentation of the first 923 collected porcelain cups (fildžani) in 2006. Since then, ŠTO TE NEMA has evolved into a participatory community art project organized in close collaboration with Bosnian diaspora communities in a different city each year. For the past 13 years, ŠTO TE NEMA has traveled throughout Europe and the United States, and currently consists of more than 7,500 donated cups (fildžani). This year Šehović worked with Bosnian diaspora communities in Switzerland to bring ŠTO TE NEMA to Helvetia Platz in Zürich on July 11, 2018. Aida Šehović was born in Banja Luka, Bosnia and Herzegovina, and like thousands of fellow Bosnian Muslims, fled her country due to threat of systematic violence and persecution in 1992. She lived as a refugee in Turkey and Germany before immigrating to United States in 1997. Šehović earned her BA from the University of Vermont in 2002 and her MFA from Hunter College in 2010. She received the ArtsLink Award in 2006, the Jacob K. Javits Fellowship in 2007, the Emerging Artist Fellowship from Socrates Sculpture Park in 2013, and the Fellowship for Utopian Practice from Culture Push in 2017. She was an artist-in-residence at the Santa Fe Art Institute, the Vermont Studio Center, the Grand Central Art Center, and the Lower Manhattan Cultural Council. Her work has been exhibited extensively including at Flux Factory, Socrates Sculpture Park, and Queens Museum in New York City, where the artist is based.    About ŠTO TE NEMA: When Bosnia and Herzegovina declared its independence from Yugoslavia in 1992, ethno-national divisions plunged the country into war. In July of 1995, Bosnian Serb forces invaded a United Nations Safe Area that included the town of Srebrenica, where thousands of Bosnian Muslims had sought refuge from the surrounding violence. While Bosnian Muslim women and girls were forcibly displaced from Srebrenica following the invasion, the remaining 8,373 men and boys were systematically executed. In 2006, the International Court of Justice officially ruled that these events qualified as genocide. Today, ethnic divisions still divide the region. Serbian and Bosnian Serb leaders continue to deny that the Srebrenica Genocide ever took place. In response to this denial, Bosnian-American artist Aida Šehović created ŠTO TE NEMA [lit. “Why are you not here?”], a nomadic monument commemorating the 8,373 Bosnian Muslims who died in the Srebrenica Genocide. Šehović has been collecting the porcelain cups traditionally used for coffee service in Bosnia and Herzegovina, with the goal of having one cup for each victim. For the past 13 years, on July 11th – the anniversary of the Srebrenica Genocide – Šehović partners with local communities around the world to organize the ŠTO TE NEMA monument in the public square of a new city.   Each successful annual rendition of the monument represents a triumph over the forces of rejection, exclusion, and denialism that encourage societies to look away from past atrocities and prevent vital communal remembrance and healing processes from taking place. Reflecting the inclusive and universal spirit of the monument, passersby are invited to participate in the construction of ŠTO TE NEMA by filling cups with Bosnian coffee and leaving them in the square, undrunk, in memory of the victims of the Srebrenica Genocide.   KDHX #Turkovic              

To open this episode I rebroadcast a reading by Anaïs Duplan of his recent new work Blackspace: on the Poetics of an Afrofuture, and which took place through Harvard Book Store's virtual event series in November 2020. Anaïs Duplan is a trans* poet, curator, and artist. He is the author of a book of essays, Blackspace: On the Poetics of an Afrofuture (Black Ocean, 2020), a full-length poetry collection, Take This Stallion (Brooklyn Arts Press, 2016), and a chapbook, Mount Carmel and the Blood of Parnassus (Monster House Press, 2017). He has taught poetry at the University of Iowa, Columbia University, Sarah Lawrence College, and St. Joseph's College.  His video works have been exhibited by Flux Factory, Daata Editions, the 13th Baltic Triennial in Lithuania, Mathew Gallery, NeueHouse, the Paseo Project, and will be exhibited at the Institute of Contemporary Art in L.A in 2021.  As an independent curator, he has facilitated curatorial projects in Chicago, Boston, Santa Fe, and Reykjavík. He was a 2017-2019 joint Public Programs fellow at the Museum of Modern Art and the Studio Museum in Harlem. In 2016, he founded the Center for Afrofuturist Studies, an artist residency program for artists of color, based at Iowa City's artist-run organization Public Space One. He works as Program Manager at Recess. Song featured: Court Of Love  by Durand Jones & The Indications Connect With The Artist This episode first aired June 28, 2021 for Broken Boxes on Radio Coyote, a project initiated by Raven Chacon and CCA Wattis Institute, on the occasion of Chacon's 2020-21 Capp Street Artist-in-Residency. Radio Coyote is currently produced by Atomic Culture and will transition to new programming Summer, 2021. www.radiocoyote.org

To open this episode I rebroadcast a reading by Anaïs Duplan of his recent new work Blackspace: on the Poetics of an Afrofuture, and which took place through Harvard Book Store's virtual event series in November 2020. Anaïs Duplan is a trans* poet, curator, and artist. He is the author of a book of essays, Blackspace: On the Poetics of an Afrofuture (Black Ocean, 2020), a full-length poetry collection, Take This Stallion (Brooklyn Arts Press, 2016), and a chapbook, Mount Carmel and the Blood of Parnassus (Monster House Press, 2017). He has taught poetry at the University of Iowa, Columbia University, Sarah Lawrence College, and St. Joseph's College.  His video works have been exhibited by Flux Factory, Daata Editions, the 13th Baltic Triennial in Lithuania, Mathew Gallery, NeueHouse, the Paseo Project, and will be exhibited at the Institute of Contemporary Art in L.A in 2021.  As an independent curator, he has facilitated curatorial projects in Chicago, Boston, Santa Fe, and Reykjavík. He was a 2017-2019 joint Public Programs fellow at the Museum of Modern Art and the Studio Museum in Harlem. In 2016, he founded the Center for Afrofuturist Studies, an artist residency program for artists of color, based at Iowa City's artist-run organization Public Space One. He works as Program Manager at Recess. Song featured: Court Of Love  by Durand Jones & The Indications Connect With The Artist This episode first aired June 28, 2021 for Broken Boxes on Radio Coyote, a project initiated by Raven Chacon and CCA Wattis Institute, on the occasion of Chacon's 2020-21 Capp Street Artist-in-Residency. Radio Coyote is currently produced by Atomic Culture and will transition to new programming Summer, 2021. www.radiocoyote.org

Dr. Fred and co-host Sam Morris sit down for a mind-blowing conversation with Sam Friedman, an “artist and scientist working with electricity, trying to find a starry synthesis of the mysterious speedy electron and the soft slow human.” A Machine Learning Scientist in the Data Sciences platform at the Broad Institute of MIT and Harvard, Sam is keenly interested in how machine learning can help advance our understanding of cardiovascular disease and make an impact in the clinic. As tech lead for the Machine Learning for Health group, his days are spent developing model architectures, interpreting learned features and trying to fuse multiple modalities into meaningful representations.   If you haven’t explored machine learning before, prepare to be astounded. Here are some of the topics Dr. Fred and Sam Morris explore with today’s guest: How Sam’s artist background prepared him to behold the beauty of machine learning The difference between machine learning and AI Risks posed by bias in working with neural nets What can humans learn from machines? Can machines become self-aware? How machines can have “beautiful thoughts and experiences” What it means to be “carbon chauvinistic” How do neural nets dream? The incredible intersection of machine learning and psychedelics Interoception and exteroception vs. ego dissolution Where does the experience of ego dissolution map in the brain?    Episode Length: 00:52:05   SAM FRIEDMAN’S RESOURCES Twitter > https://twitter.com/lucidtronix GitHub > https://github.com/lucidtronix Sam’s Bio > see below   ALSO MENTIONED ON TODAY’S SHOW Broad Institute > https://www.broadinstitute.org The Paperclip Apocalypse > https://voxeu.org/article/ai-and-paperclip-problem AlphaZero > https://en.wikipedia.org/wiki/AlphaZero   WELCOME TO HUMANITY RESOURCES Podcast Website >  http://www.welcometohumanity.net/podcast PURCHASE DR. FRED’S BOOK (paperback or Kindle) > Creative 8: Healing Through Creativity & Self-Expression by Dr. Fred Moss http://www.amazon.com/Creative-Healing-Through-Creativity-Self-Expression/dp/B088N7YVMG   FEEDBACK  > http://www.welcometohumanity.net/contact   Sam Friedman Bio > Sam Freesun Friedman is an artist and scientist working with electricity, trying to find a starry synthesis of the mysterious speedy electron and the soft slow human. Studying obsolete technology Freesun explores our potential lives as elderly cyborgs. Sam makes digital art, videos and algorithms. The works ask strange electric questions, and have been exhibited at FrostBite, IndieX, Figment Detroit, Seton Hall University, New York University, Flux Factory, Burning Man, and Dorkbot NYC. Sam is also a Machine Learning Scientist in the Data Sciences platform at the Broad Institute of MIT and Harvard. He is keenly interested in how machine learning can help advance our understanding of cardiovascular disease and make an impact in the clinic. As tech lead for the Machine Learning for Health group, his days are spent developing model architectures, interpreting learned features and trying to fuse multiple modalities into meaningful representations.   Sam was born and raised in New York City where he earned a BS in Electric Media and Obsolescence at Hunter College and a PhD in Computer Science at the Graduate Center at the City University of New York. His thesis presented algorithms for object detection and registration in 3D point clouds. Prior to the Broad, Sam worked at Apple building machine learning tools for semantic segmentation and 3D modeling at massive scales.

In this episode, I dive deep into one poem with its authors, Anaïs Duplan and imogen xtian smith. Tune in for our conversation about of art, love, and utopias. Anaïs Duplan is a trans* poet, curator, and artist. He is the author of a book of essays, Blackspace: On the Poetics of an Afrofuture (Black Ocean, 2020), a full-length poetry collection, Take This Stallion (Brooklyn Arts Press, 2016), and a chapbook, Mount Carmel and the Blood of Parnassus (Monster House Press, 2017). He has taught poetry at the University of Iowa, Columbia University, Sarah Lawrence College, and St. Joseph’s College. His video works have been exhibited by Flux Factory, Daata Editions, the 13th Baltic Triennial in Lithuania, Mathew Gallery, NeueHouse, the Paseo Project, and will be exhibited at the Institute of Contemporary Art in L.A in 2021. As an independent curator, he has facilitated curatorial projects in Chicago, Boston, Santa Fe, and Reykjavík. He was a 2017-2019 joint Public Programs fellow at the Museum of Modern Art and the Studio Museum in Harlem. In 2016, he founded the Center for Afrofuturist Studies, an artist residency program for artists of color, based at Iowa City’s artist-run organization Public Space One. He works as Program Manager at Recess. An's website An's Twitter An's Instagram imogen xtian smith (fka xtian w) is a poet & performer. Recent work is featured or forthcoming in Peach Mag, Cosmonauts Ave, the Rumpus, & WE WANT IT ALL: An Anthology of Radical Trans Poetics. They live in Brooklyn. imogen's Twitter imogen's Instagram Places, people, art, books etc. mentioned in this episode: We Want It All: An Anthology of Radical Trans Poetics, ed. by Andrea Abi-Karam and Kay Gabriel An interview I did a while back with Kay Gabriel and the other editors of Vetch An interview I did with Andrea Abi-Karam Berl's Brooklyn Poetry Shop Take This Stallion An and imogen's Trans Oral History project Mohammed Zenia's Tel Aviv imogen's review for Tel Aviv for the Poetry Project Posthumous selected works of Wanda Coleman, Wicked Enchantments Bernadette Mayer's Midwinter Day Terrance Hayes Bahar Orang's Where Things Touch: A Meditation on Beauty Editor and Social Media Manager: Mitchel Davidovitz The Sound of Waves Breaking is "Gymnasium, Class Reunion in Distance" by ecfike. Meeting people in-person and hugging after a long period of time? I miss that and them.

Alison Ward is a multimedia artist based in Kingsbury, Texas.  Her work spans the gamut from vaudeville to multimedia installation sculptures, but in everything she does she creates pieces that involve a larger audience, getting them directly involved and participating in the work.  She is currently working on a collective project called Habitable Spaces.  Habitable Spaces is part ecovillage, part living sculpture.  It is a continually evolving project that invites a community of artists and farmers in to help visualize utopia. Before arriving in Kingsbury, Alison lived and worked in New York city showing and performing at the Queens Museum, The Dumbo Arts Center, the Bronx Museum, the CCCB Museum in Spain, RAW Space Gallery in Australia, Castlefield Gallery in England, and the Ponce Museum in Puerto Rico. She has done residencies at Raw Space in Australia, The Artist in the Marketplace Program, the LMCC studio program, Swing Space, Flux Factory and the Islington Mill in Manchester.  She has received grants and awards from the Brooklyn Arts Council, the Lewisham Arts council in London, the Idea fund in Houston, the GVEC Power up grant, Union Pacific, the San Antonio Area Foundation and the Texas Commission on the Arts.

Have you ever heard someone speak and you could feel your brain firing off neurons, making connections and just going wild with excitement? That person is saying something you need to pay attention to. That was my reaction to an artist talk given about 9 years ago by today’s artist. Katerina Lanfranco helped spark my curiosity regarding the connection of nature and art which led me to start this podcast. Gold star for sparking this fire and a reminder that you never know what impact your actions can have on the future! You can check out Katerina’s work currently up at the Nancy Hoffman Gallery and the Sweet Lorraine Gallery in NYC. What is this work all about? Here’s more about her and her work:At the core of my art practice is the act of exploring aspects of nature, science and fantasy. I collect, organize, and recombine images and objects from nature and everyday life. I make art as a way to ask questions about the world that I live in:                      How do I make the invisible visible?          At what point does fantasy become reality?   How is our concept of nature a cultural construct?What can we learn from natural forms, cycles, and rhythms?My work seeks to explore the apparent duality of culture and nature, and the ways in which our understanding of nature informs our own identities. With each of my exhibitions I consider in the aesthetic experience of the viewer, and how the site-specificity of the show will evolve and develop in dialogue to the architectural setting of the space. I reference culture-specific modes of representing nature, such as botanical illustrations, floral fabric patterns, curio cabinets, scientific notes, dioramas, and panoramas. Symbolist and Visionary art traditions along with Romanticism and colorists such as the Fauvists and Les Nabis are great influences on my work. Landscapes, sacred geometry, natural disasters, natural history, biological structures, and genetic engineering are recurring themes. I am also interested in cultural conceptions of progress, systems of knowledge, and the problem of creating meaning in relation to the natural world.My current body of work explores geometry and patterns found in nature combined with portraiture and landscape painting that explores emotions and psychology.Katerina Lanfranco is an NYC-based artist who lives and works in Brooklyn, New York where she makes paintings, drawings, mixed media works, and sculptures. She was born in Hamilton, Ontario, Canada, and spent her early childhood in Berlin, Germany. As a teenager, she lived in Bangalore (Bangaluru), India. Lanfranco earned her BA in Art (Painting) and in Visual Theory and Museum Studies from UC Santa Cruz, and her MFA in Studio Art (Painting) from Hunter College, City University of New York. Her work is in the permanent collections of the Museum of Modern Art, the Kupferstichkabinett (Museum of Prints and Drawings) in Berlin, and the Corning Museum of Glass.She is the recipient of several awards and residencies including Japan-US Creative Exchange Fellowship Artist-in-Residence Award; DNA Artist Residency, Sugar Shack Artist-in-Residence; Vermont Studio Center; Pollock Krasner Fellowship at the Byrdcliffe Artist Residency; Elizabeth Foundation for the Arts Studio Artist in Residence with Flux Factory; Tony Smith Award (Hunter College); Hunter College Exchange Scholarship (UdK Berlin, Germany); William Graft Memorial Fund Travel Grant (to research High Baroque Italian painting). She has been invited as a guest artist and critic to colleges and residency programs in California, New York, Tennessee, and Florida. She writes NYC art reviews for the Art Blog based out of Philadelphia. Her work has been represented by the Nancy Hoffman Gallery since 2006. Lanfranco’s work has been exhibited throughout the United States, and internationally in Toronto, Canada; Berlin, Germany; Milan, Italy; and Kyoto, Japan.  Lanfranco founded Rhombus Space in 2013, and was Chief Curator at Trestle Gallery from 2015 to 2018, where she is on the advisory board for the gallery. Recent shows include solo shows "Mystic Geometry" at the Nancy Hoffman Gallery, "Efflorescence" at the SCPS Gallery at Pratt Manhattan, “Talk to the Moon” at Day & Night Projects in Atlanta, Georgia, and “Shadow Light” at HOUSEGallery in Philadelphia. Her work has been reviewed in ARTnews, ARTinfo, and the New York Times.Links:https://www.instagram.com/katerinalanfranco/https://www.instagram.com/sweetlorrainegallery/https://www.instagram.com/nancyhoffmangallery/https://www.instagram.com/povarts/https://www.katerinalanfranco.com/Thyme in the Studio links:https://www.patreon.com/thymeinthestudiohttps://www.etsy.com/shop/AidaZeaArtshttps://www.instagram.com/thymeinthestudiopodcast/https://www.instagram.com/aida.zea.arts/https://www.facebook.com/groups/403582056803336/www.thymeinthestudio.comhttps://www.aidazea.comContact me: sara@aidazea.comMusic by Aaron Travers!@aa.travers

Rebekah Bergman's fiction appears or is forthcoming in Joyland, Hobart, DIAGRAM, Cosmonauts Avenue, and Passages North, among other journals. She was a 2018 Tennessee Williams Scholar at the Sewanee Writers Conference and a 2018 winner of The Masters Review Anthology Prize. She lives in Brooklyn and is at work on a novel. Read more at: rebekahbergman.com Gabriel Don is a multidisciplinary artist who works in a variety of mediums: a filmmaker, artist, photographer, musician and writer. She has been published in numerous online and print publications. She received her MFA in creative writing at The New School, where she worked as the Reading Series and Chapbook Competition Coordinator and currently teaches writing at BMCC. Her short stories are forthcoming in publications such as Gargoyle 70 and her poetry collection, Living Without Skin, was just released with A Gathering of The Tribes, Fly By Night Press. Born in Australia, raised in Singapore and Dubai, Don now resides in New York City. www.facebook.com/gabrieldoninnoparticularorder/ Laurie Stone is author most recently of My Life as an Animal, Stories. https://www.amazon.com/My-Life-Animal-Stories-Triquarterly/dp/0810134284 She was a longtime writer for the Village Voice, theater critic for The Nation, and critic-at-large on Fresh Air. She won the Nona Balakian prize in excellence in criticism from the National Book Critics Circle and two grants from the New York Foundation for the Arts. She has published numerous stories in such publications as N + 1, Tin House, Evergreen Review, Fence, Open City, Anderbo, The Collagist, Your impossible Voice, New Letters, TriQuarterly, Threepenny Review, and Creative Nonfiction. In 2005, she participated in "Novel: An Installation," writing a book and living in a house designed by architects Salazar/Davis in the Flux Factory's gallery space. She is at work on Postcards from the Thing that is Happening, a collage of hybrid narratives. Her website is: lauriestonewriter.com.

Starting off 2019, we take a spotlight on New York City's DJ PlayPlay. PlayPlay initially reached out to us for an opportunity to do a guest mix; our first listen to their productions and mixes ended with an immediate "Yes, absolutely feature this work". Mixes and productions featuring samples of known work intermixed with genre bending beats gave hint towards a deeper drive in PlayPlay's music. The real delicacy of an artist's drive like that of PlayPlay's comes from the diverse angles to which they approach understanding music: academia and teaching of the art of DJing, research in oppressed communities and dance music, activism and expansion of female and gender non-conforming artists, an expansive multi-genre understanding of music, and residency at Queen's Flux Factory where these factors are utilized to instill an informed approach to their mixes. In addition to their current residency at Flux Factory, you can find PlayPlay's work on Knightwerk records, Worst Behavior, and Cybersonic LA. We thank PlayPlay not only for their wonderful mix, but for their depth in approach to the art of music and culture itself. These elements are deeply understood by this artist and presented in a clear, beautiful, and intricate manner. Please keep this artist on your radar, and find out more about PlayPlay and their consequent connections here: https://soundcloud.com/dj-playplay https://soundcloud.com/knightwerk https://buildingbeats.org/jess-dilday/ Track list: Materia Primoris - The X-Files Theme (Lars Warn Club Edit) M Bootyspoon - New Clash Leikeli47 - Look Green Velvet & Gary Beck - Stronger DJ Lag - Trip to New York Wiwek - Run Enur feat. Natasha - Calabria Branko - 2 Nice B. Ames - Vogue Rich Girl Todd Terry - Bango (MikeQ Remix) WILHELMINA - She's Mad PlayPlay - Bondage Bored Lord - BoDiEs FJAAK - Matte Ase Manual - Big Shot Galtier - Barren Sphere Chrissy - We Need Love DIVORCE - Tea Lizard's Lament Aerotonin & Black Mags - Ashes Of Ariendel Divoli S'vere - Feelin' It T5UMUT5UMU - Curiosity Jesse Perez - Fake (DJ Madd 160 version) NO EYES - mourning (fml) Sully - Fire

Nikolas Kasinos is a multidisciplinary artist, born in Cyprus in 1988, currently based in Berlin. Having as a core performance and video art, his artistic practice involves the exploration of identity, gender, transformation and mutation through the observation of human behaviour, media, popular culture within socio-political structures. Using his body as a subject - Nikolas explores the collective representation of ‘the self’ within these contexts. Works includes live and video performances, audio-visual installations, sound design, dance and photography.   He received his degree in Film & Video from University of The Arts, London, where he was based for 7 years. Within that period he experimented with video art while venturing into performance and developed work which is on-going until now. Through the years he collaborated with many artists such as Ron Athey, Chadd Curry, Ernesto Tomassini, Hector De Gregorio, Anton Mirto, Lina Lapelyte, in multimedia performance based projects. In 2014 he co-founded Ouroboros with visual artist Jeremy Carne focusing on creative and commercial video works until present. In 2016 he initiated RELAPSE collective with artists Vasiliki Antonopoulou and Dimitrios Michailidis aiming to give artists from different disciplines and geographic locations, the opportunity to come together and create a space for discourse.   He has exhibited and performed at several venues internationally, including his solo exhibition at EA Gallery at the University of Colorado, at Weld and Museum of Modern Art in Stockholm, Galeria Zé dos Bois in Lisbon, The Performance Shop in Limassol, Flux Factory in New York; Chelsea Theatre, Peltz Gallery, Royal College of Art, David Roberts Art Foundation, Cafe OTO in London. Residencies include The Yard in Cyprus, ImPulsTanz in Vienna, Dance4 in Nottingham, Skogen in Gothenburg. The book mentioned in the interview is The Agony of Eros by Byung-Chul Han.   @nikolaskasinos // nikolaskasinos.com Courage in the Face of Reality, 2016, Three Channel Video Installation 20:20 minutes Sometimes I’m ARrt, 2010–Present, Performance & Multimedia

This episode was recorded during the weekend we went to NYC for Mark for Redaction at Flux Factory.  This is a queer MENA art exhibit that we got to experience.  Join us for a slice of the beautiful surroundings we found ourselves in.  The art brought us all together and we all felt so understood and the deepest sense of belonging.  We are honored to have been part of something this profound and meaningful.  Please check this event out in person if you are in NYC this weekend!

Photo by Gunnar Tufta Emireth Herrera is an independent Mexican curator based in New York. She is currently studying the Graduate Program in Art History and Archaeology at the Institute of Fine Arts of New York University. Her focus is on Latin America and Curatorial Studies. Her curatorial practice objective is to build a strong discourse to foster diverse conversations through strategies that invite spectators to reflect and establish a critical posture, dialogue and dream. Emireth explores the production of art through multiple formats that are essential to initiate social transformation through democratic processes. In 2018 she started the project “From the Vulnerable Territories to the Utopia”, a series of workshops that highlights the importance of collaboration worldwide, beyond borders, language and ethnic groups. She holds an MA in Art from the Universidad Autónoma de Nuevo León, and a Bachelor of Architecture from Universidad Autonoma de Coahuila, where she works as a research professor in the arts. "3459" Curated by Emireth Herrera and Relapse Collective, New York and London, August 2016 Photo by Jung In Jung Workshop "Between the Vulnerable Territory and the Utopia" by Emireth Herrera in collaboration with Open Place, at Flux Factory, October 2018.Photo by Yuriy Kruchak

Miraculum Monstrum (Red Hen Press) Miraculum Monstrum is a hybrid narrative about fictitious female artist Tristia Vogel, who experiences a radical physical transformation, beginning with the excrescence of apparent wings. Though her affliction is possibly an anomalous mutation resulting from worldwide ecological upheaval, the bird/woman is co-opted by a religious cult and written as the central figure of their scriptural text. Miraculum Monstrum contains fragmentary verse, scraps of lore, cult propaganda, curatorial commentary and images in a catalog for an exhibit of Vogel's visual artifacts and writings that chronicle this speculative history. Praise for Miraculum Monstrum "Enter in: here is that familiar moment when someone on the sidewalk, someone we maybe call schizophrenic, or deranged, yells out to her (our?) demons, or to eternity, to just leave her the fuck alone, and for once you hear it, and for once you agree, and wonder what would happen if everyone yelled out what they really felt, and why don't they, and what's lost in the silence. Enter: here is sadness and resistance and wings--a life (re)created, pieced together from the fragments we all become."--Nick Flynn, author of The Reenactments "Miraculum Monstrum by Kathline Carr is a remarkably inventive, audacious debut collection that unfolds as poems, stories, fragments, drawings, paintings, mixed media pieces, and quotes to document and illustrate the life of Tristia Vogel, a visual artist who transforms dramatically and traumatically into a bird, and becomes an unintentional prophet. . . . This book is a unique and brilliant contribution to contemporary dystopic literature."--Jan Conn, author of Tomorrow's Bright White Light "Kathline Carr's Miraculum Monstrum joins ranks with Gabriel García Márquez's story 'A Very Old Man with Enormous Wings' and Remedios Varo's painting Creation of the Birds, among other significant works, in an artistic (oracular) tradition that invokes the artist-figure as bird, art-making as flight. The poetic voice and sheer inventiveness of this book as a response to our current environmental crisis is breathtaking. Its deft word-play tangles like filigree amid the heaviness of sickness. Miraculum Monstrum's architecture, in its interplay of word and image, post-apocalyptic Ovidian myth, documentary fiction, feminist magical realism, taxonomy, and sensuousness, is a tour de force of hybrid poetics."--Shira Dentz, author of door of thin skins "A visionary's warning, a topographical map of the mind, a manual of survival in the face of apocalyptic odds. Kathline Carr's imagined curatorial chronicle of Tristia Vogel?s metamorphosis is devastating--and transcendent."--Jane Denitz Smith, playwright "In Miraculum Monstrum, Kathline Carr chronicles the story of Tristia Vogel, an early twenty-first century painter who suffers a mutation that begins with a bony, feather-like protrusion from her scapula. Her condition defies diagnosis, and eventually brings her to full bird-body transformation, persecution and adoration, disaster and the joy of flight. Carr reaches far down and back into our deepest shared stories, of messianic hopes, apocalyptic-climactic disaster, and body-wracking metamorphosis, to move human imagination itself forward toward its own evolution and possible survival. Readers, like the pilgrims who flock to Tristia, will be leveled by a strange kindred impossible beauty in these pages which piece the story together with poems, pieces of Tristia's art, and all manner of records and responses to the story of her life. Miraculum Monstrum is truly visionary, an act of the imagination of mythic scope."--Diane Gilliam, author of Dreadful Wind & Rain As Burning Leaves (Red Hen Press) Gabriel will be reading from As Burning Leaves and from an in-progress hybrid work Entry for Exits, a book of interlocking prose poems with a floating essay. This new manuscript looks at trauma, trans* embodiment(s) and strategies for resilience and healing.  As Burning Leaves offers spaciousness and breath. Both homesick and sick of home, it chronicles a landscape of longing scored with traces of film, contemporary art, and song. Vivid and vital, Jesiolowski's queer insight lends a critical voice to the fleeting: 'wind moves the leaves across the water / they do not gather / do not cling.' A brave and elegant debut. Praise for As Burning Leaves [W]hat if there is no ghost realm? asks Gabriel Jesiolowski in the quietly arresting, steadily confident As Burning Leaves. But what if a ghost realm does in fact exist, and we are the ghosts both haunting and haunted who wander those causeways between/fucking & nothingness that lie in the wake of betrayal, violation, abandonment? These poems speak from and into that very realm, sifting memory's restless evidence in a quest for answers to what leads / / devotion / astray. Add to this a harder quest, for belief itself, the belief that somehow, the body ceases grieving. These poems are at once the enactment and the proof of belief's healing power. They stir; they shine. Carl Phillips, author of The Rest of Love, finalist for the National Book Award The geography of the body changes; its landmarks temporary; its border shifting, in Gabriel Jesiolowski's As Burning Leaves, a cartography of new forms, new ways of being. These poems constitute a healing atlas, a journey of utmost compassion, marked by both formal elegance and artful eloquence. What a remarkable book; it will astonish and enchant you. D. A. Powell, author of Lunch and A Guide for Boys What Gabriel Jesiolowski is up to in their life their installation art and their photography and their writing too is built from a push and pull between a politics of accumulation that is full of abandoning and giving away. It makes sense then to think of As Burning Leaves as a sort of writing that takes a life and ties many parts of it together with a thin string to make a beautiful package. This is in many ways a book of love poems. But what it loves is all sorts of things, everything from bark to humans to folk songs to steam and smoke. It is a work that is quiet and a work that is attentive and one that is resonant with care and grace. Juliana Spahr, author of This Connection of Everyone With Lungs From wordless, our bodies. From nameless, our memories. An image, a yearning every landscape, and certain people. The gesture, the wingspan, in quiet, and all across the page. Each scratch and smudge accrues the diary of As Burning Leaves, Gabriel Jesiolowski s wonderful, haunting, elementally human presence! Ralph Angel, author of Neither World, winner of the James Laughlin Award from the Academy of American Poets Kathline Carr is a visual artist and writer living in North Adams, Massachusetts. She has exhibited her work in New York City, New England, and Canada, and her writing and art appear in various publications and online at www.kathlinecarr.com. Gabriel Jesiolowski works in a research-based practice that uses text, land, the body, installation, print, and film. They were a 2016 MacDowell writing fellow and have shown their work at The Alice Gallery, Flux Factory and Dumbo Arts Center. Their debut collection of poetry, As Burning Leaves, won the Benjamin Saltman Award. Their current work deals with accumulation and distribution, trauma/healing, and civic projects that tangle justice with beauty. New writing is out from Volt, Territory & Milkweed Zine. They live and work in Los Angeles.

Will Owen is an artist working primarily with design, interactive media, sound...and FOOD! He's a Little Berlin member who I met in 2014 for a show he curated at that space. He's a bit of a nomad, living between Philadelphia and New York, where he is an artist in residence at Flux Factory in Queens. So it's kind of no surprise that some of his curating involves transit, especially subways (he did an audio piece for the Copenhagen subway system) and buses (he's curated exhibitions on the Chinatown buses between New York, Philadelphia, Boston and Baltimore).

Will Owen is an artist working primarily with design, interactive media, sound...and FOOD! He's a Little Berlin member who I met in 2014 for a show he curated at that space. He's a bit of a nomad, living between Philadelphia and New York, where he is an artist in residence at Flux Factory in Queens. So it's kind of no surprise that some of his curating involves transit, especially subways (he did an audio piece for the Copenhagen subway system) and buses (he's curated exhibitions on the Chinatown buses between New York, Philadelphia, Boston and Baltimore).

Brian catches up with Jen Carlile, Co-Founder of Flux Factory at the at the Design Modelling Symposium in Copenhagen.   SHOW NOTES.   On Designalyze, we analyze what makes thought leaders in design technology tick through informative, insightful, and often humorous interviews. Designalyze is hosted by Zach Downey and Brian Ringley and recorded in DUMBO, Brooklyn. For design technology tutorials and content visit us at http://designalyze.com

Friday Reading Series Jeff Kurosaki and Tara Pelletier are a collaborative duo based in Brooklyn, New York. They build multi-layered narrative projects using sculpture, video, music and performance. Their work explores the tension between the fundamental rhythms of life and the ordered systems that humans design to make sense of these rhythms. Kurosaki and Pelletier met in graduate school at Cranbrook Academy of Art, Bloomfield Hills, Michigan and have been working together since 2006. They have recently exhibited and performed at Bric Arts Media, NY; Vox Populi, PA; Space Gallery, ME, Wave Hill Gardens, NY; Abrons Arts Center, NY; Flux Factory, NY; Dumbo Arts Festival, NY; a 2010 European and Scandic performance tour; among others. They have held residencies through the Lower Manhattan Cultural Council; Painting Space 122; and Sculpture Space. Oki Sogumi was born in Seoul, Korea and currently resides in Philadelphia. She is the author of The Island of Natural History (forthcoming from Publication Studio), and a chapbook, Salt Wedge. Her poetry has been included in HiZero (UK), LIES Journal, 11×11, and appears in little boxes on the internet sometimes.