Podcasts about fogg museum

In this episode of the UIndy Potluck Podcast, where we host conversations about the arts, ENGLISH 479 students Sophia Atkinson, Abby Bailey, Sierra Durbin, Desteni Guidry, Sam Jackson, Alex Philips-Hedge, Ethan Thurston, and Dylan Torres interview the 2022 Whirling Prize winner. Etchings Press, a student-run publisher at University of Indianapolis, awards The Whirling Prize in Prose to a book that demonstrate an excellent and compelling response to a theme selected by students. The 2022 theme was Young Adults Exploring the Mysterious, and in this podcast, the student judges have a conversation with novelist Donna Gordon, author of the winning book, What Ben Franklin Would Have Told Me. Special thanks to Music Technology majors Jesse Wallace and Mikayla Crider for editing this episode's audio. Donna Gordon is a fiction writer and visual artist from Cambridge, Massachusetts. In addition to her debut novel What Ben Franklin Would Have Told Me, her short stories have appeared in Tin House, Ploughshares, The Boston Globe Magazine, Story Quarterly, and other magazines. Her work with former political prisoners culminated in “Putting Faces on the Unimaginable: Portraits and Interviews with Former Prisoners of Conscience,” exhibited at Harvard's Fogg Museum. We thank you for listening to UIndy's Potluck Podcast, which is hosted by students and faculty of the University of Indianapolis. We would like to thank our guests and the Shaheen College of Arts and Sciences. To learn more about UIndy's Potluck Podcast and hear other episodes, please visit etchings.uindy.edu/the-potluck-podcast. Thank you for your support.

Known for his alluring sound, expressivity, and eloquence at the keyboard, pianist/composer George Ko has appeared on stages around the world, from 2000 seat auditoriums to Carnegie Hall. His music has been heard at film festivals, television broadcasts of ABC and CBC, and at music festivals in Italy, Germany, Luxembourg, and China. His recordings have appeared on films at the Tribeca Film Festival, Sundance Film Festival, and on Netflix. His current discography encapsulates his musical style inspired by classical, jazz, R&B, and pop genres. It is in the pursuit of this style, George has created his very own improvisational technique, blending the virtuosity of classical and flexibility of jazz. As a composer, George developed his artistry at Harvard University, where he received his bachelor's and honors in music. There, George debuted his first composition, which was premiered by the Grammy award-winning Parker Quartet. Recently, George is an active film composer and had his piano and thematic compositions debuted in the recently released Salt-N-Pepa Biopic on Lifetime in 2021. He was also the keynote artist performer for TEDx's 2020 global sustainability conference, “COUNTDOWN”, co-hosted by Happily. George is also a successful entrepreneur, having founded several companies and non-profits, in which he received the CES Innovation Award in Robotics in 2019 and the Harvard Gov 2.0 Award for innovation in politics. George was also the co-founder of Giant Robot Media, an Asian-American digital magazine that discovered groundbreaking creatives throughout the world. George has given inaugural concerts for the Museum of Fine Arts in Boston, the Bowers Museum, and the Fogg Museum. He was invited to play at the request of President Joe Biden, Governor Arnold Schwarzenegger, and Senator Barbara Boxer. In recognition of his artistic talent, George was awarded the David McCord Prize from Harvard University. He is also a 5-time laureate of the Bradshaw and Buono International Piano Competition. George currently resides in Los Angeles, California. He is a Young Steinway Artist. You can find his music on all streaming platforms. George is on the Sonder House label. George is also a member of the Society of Composers and Lyricists and ASCAP. Media Links (Speaking Videos, Interviews, Online Articles, Social Media Links) Press Kit: https://www.georgeko.co/epk-george-ko-electronic-press-kit Spotify: http://tinyurl.com/georgekospotify Clubhouse: https://www.clubhouse.com/@georgeko Instagram: https://www.instagram.com/_georgeko/ Facebook: https://www.facebook.com/georgekocreative Twitter: https://twitter.com/_georgeko YouTube: https://youtube.com/c/georgekocreative --- Send in a voice message: https://anchor.fm/feisworld/message Support this podcast: https://anchor.fm/feisworld/support

Mermaids had been surfacing in art for thousands of years when, in the 1880s, Edward Burne-Jones began painting them as avatars of a radical new female identity in the corseted Victorian era. A story of desire and danger as legendary as the creatures themselves. You can see one of Burne-Jones' early mermaid paintings, "A Sea-Nymph," at the Minneapolis Institute of Art: https://collections.artsmia.org/art/99878/a-sea-nymph-edward-coley-burne-jones. His best-known mermaid work, "The Depths of the Sea," is at the Fogg Museum at Harvard University: https://harvardartmuseums.org/art/298102 Special thanks to Grace Nuth and Sarah Peverley for sharing their expertise on this episode. Grace Nuth is a writer, artist, and fine-art model living in central Ohio. She is the senior editor of Enchanted Living magazine and the co-author of The Faerie Handbook. She regularly writes on a variety of topics at her blog at www.gracenuth.com. Sarah Peverley is a professor of English at the University of Liverpool and a BBC New Generation Thinker. She is writing a cultural history of mermaids, and is the author of several radio programmes, media features, and podcasts about merfolk. You can follow her work at her website (www.sarahpeverley.com), on Twitter at https://twitter.com/Sarah_Peverley, and on Instagram at https://www.instagram.com/sarahpeverley/.

Mark A Roglan Episode 2 Show NotesOur conversation was taped on June 5, 2020.In this episode, I speak with Mark A Roglan, the Linda P. and William A. Custard Director of the Meadows Museum at Southern Methodist University in Dallas.We discuss his career path, projects, and the role of university museums and the Meadow’s status as a satellite embassy for Spanish culture. About the Meadows Museum:The Meadows Museum is the leading U.S. institution focused on the study and presentation of the art of Spain. In 1962, Dallas businessman and philanthropist Algur H. Meadows donated his private collection of Spanish paintings, as well as funds to start a museum, to Southern Methodist University. The museum opened to the public in 1965, marking the first step in fulfilling Meadows’s vision to create “a small Prado for Texas.” Today, the Meadows is home to one of the largest and most comprehensive collections of Spanish art outside of Spain. The collection spans from the 10th to the 21st centuries and includes medieval objects, Renaissance and Baroque sculptures, and major paintings by Golden Age and modern masters.Meadows Museum: https://meadowsmuseumdallas.org About Mark:Dr. Mark A. Roglán is the Linda P. and William A. Custard Director of the Meadows Museum and Centennial Chair in the Meadows School of the Arts at Southern Methodist University. He has been director of the Museum since January 1, 2006. He joined the Meadows Museum as interim curator and adjunct assistant professor of art history in October 2001. He became curator of collections in January 2002 and senior curator in June 2004. He also serves as adjunct associate professor in the Division of Art History at SMU's Meadows School of the Arts. Under his leadership the museum has increased its attendance; has developed a major program of international exhibitions; has created meaningful fellowships; produced insightful publications; constructed a new sculpture garden and outside spaces; made major acquisitions; formed new ways of educating and connecting with art for impaired people; as well as established strategic alliances with major museums, most importantly with the Museo Nacional del Prado. Before coming to the Meadows Museum, Dr. Roglán worked as a curatorial fellow and a research associate in the 19th-century painting and sculpture department of the Museo Nacional del Prado in Madrid, Spain. Prior to his tenure at the Prado, Dr. Roglán served as a drawings department assistant with the Fogg Museum at Harvard University. During the previous academic year, he studied at Tufts University through a Universidad Autónoma de Madrid Scholarship. Among other fellowships and honors, Dr. Roglán was awarded an Erasmus European Union Scholarship for a year-long study at the Université Libre de Bruxelles in Belgium. Dr. Roglán received master's degrees in both world history and art history and a doctorate in 19th-and 20th-century art from the Universidad Autónoma de Madrid. In 2013 he obtained an MBA from the Cox Business School at SMU. Dr. Roglán has contributed to many publications in the areas of19th-and 20th-century Spanish art, has given many national and international lectures, and has curated important exhibitions. He has many distinctions and awards, including being knighted with the Encomienda de la Orden de Isabel la Católica, a knighthood sanctioned by King Juan Carlos I for his contributions to Spanish art.Music credit: Maurice Ravel's String Quartet in F major - II. Assez vif, très rythmé produced by the Isabella Stuart Gardener Museum (issued under a Creative Commons License).

Episode Twelve features John E. Dowell, Jr., a nationally recognized artist. His work captures the pulse of cities and agricultural landscapes of America in his large-scale photographs. Working primarily from sunset until dawn, he focuses on the surface of buildings, the reflections of their exteriors and, quietly, their interior spaces. Illuminating the unseen, he brings awareness to a single moment. In this episode we focus on 'COTTON: THE SOFT, DANGEROUS BEAUTY OF THE PAST' and the history of slavery in New York City. An artist and master-printer for more than four decades, Dowell’s fine art prints, paintings and photographs have been featured in more than 50 one-person exhibitions, and represented in the permanent collections of 70 museum and public collections. Among them are the Museum of Modern Art and the Metropolitan Museum of Art in New York City, the Museum of Fine Arts, Boston, the San Francisco Museum of Modern Art, and the Bibliothèque Nationale in Paris, France. Dowell’s photographs are in the Houston Museum of Fine Arts and have been added to his work in the collections of the Fogg Museum of Harvard University, the Museum of the Rhode Island School of Design and the Lehigh University Museum. John Dowell is a Philadelphia native and Professor Emeritus of Printmaking at the Tyler School of Art at Temple University. https://johndowell.com/ http://www.laurencemillergallery.com/exhibitions/john-dowell https://hyperallergic.com/485798/cotton-the-soft-dangerous-beauty-of-the-past/

It’s probably a familiar tale… Late at night, after the museum is closed, a man talks the guard into unlocking the door. Once inside, he pulls out a gun, and within seconds, the guard is tied up and blindfolded, while a gang roams through the museum, picking out rare masterpieces. By the time the guard gets himself free and calls the police, the gang has made off with millions of dollars in stolen artworks, in a case considered the largest art heist in US history. Yes, the tale may sound familiar, but we’re not talking about the Isabella Stewart Gardner Museum case, we’re talking about a different art heist, one that was carried out 17 years earlier and across the river in Cambridge. This is the story of the Fogg Museum coin heist. Support us on Patreon: http://patreon.com/HUBhistory Complete show notes: http://HUBhistory.com/126

Andrew McClellan and Sally Anne Duncan’s book offers a behind-the-scenes exploration of the career of Paul J. Sachs (1878-1965) and the graduate program he developed at Harvard University and the Fogg Museum that came to be known as the “museum course.” Sachs and the course played a major role in training students who became museum directors and curators at American art museums from the late 1920s through the 1960s. By drawing upon archival correspondence, class notes, and oral histories, The Art of Curating: Paul J. Sachs and the Museum Course at Harvard (Getty Research Institute, 2018) delves into the practical training in connoisseurship, the art market, exhibition planning, conservation, and financial management as well as the philosophical discussions that made up the class.  Participants’ training and insider connections gained at Harvard had a profound impact on the development of American art museums in the first half of the twentieth century. While the book looks into some of the male students that went on to distinguished careers, it and also addresses the women who took the course and the challenges they faced in terms of the museum positions that were open to them at the time. This book is a compelling read for curators, academic art historians, museum studies scholars, and anyone interested in the history of art museums, the people behind them, and the historiography of art history. Noelle Giuffrida is research associate and affiliate faculty at the Center for East Asian Studies at the University of Kansas. Learn more about your ad choices. Visit megaphone.fm/adchoices

Andrew McClellan and Sally Anne Duncan’s book offers a behind-the-scenes exploration of the career of Paul J. Sachs (1878-1965) and the graduate program he developed at Harvard University and the Fogg Museum that came to be known as the “museum course.” Sachs and the course played a major role in training students who became museum directors and curators at American art museums from the late 1920s through the 1960s. By drawing upon archival correspondence, class notes, and oral histories, The Art of Curating: Paul J. Sachs and the Museum Course at Harvard (Getty Research Institute, 2018) delves into the practical training in connoisseurship, the art market, exhibition planning, conservation, and financial management as well as the philosophical discussions that made up the class.  Participants’ training and insider connections gained at Harvard had a profound impact on the development of American art museums in the first half of the twentieth century. While the book looks into some of the male students that went on to distinguished careers, it and also addresses the women who took the course and the challenges they faced in terms of the museum positions that were open to them at the time. This book is a compelling read for curators, academic art historians, museum studies scholars, and anyone interested in the history of art museums, the people behind them, and the historiography of art history. Noelle Giuffrida is research associate and affiliate faculty at the Center for East Asian Studies at the University of Kansas. Learn more about your ad choices. Visit megaphone.fm/adchoices

Andrew McClellan and Sally Anne Duncan’s book offers a behind-the-scenes exploration of the career of Paul J. Sachs (1878-1965) and the graduate program he developed at Harvard University and the Fogg Museum that came to be known as the “museum course.” Sachs and the course played a major role in training students who became museum directors and curators at American art museums from the late 1920s through the 1960s. By drawing upon archival correspondence, class notes, and oral histories, The Art of Curating: Paul J. Sachs and the Museum Course at Harvard (Getty Research Institute, 2018) delves into the practical training in connoisseurship, the art market, exhibition planning, conservation, and financial management as well as the philosophical discussions that made up the class.  Participants’ training and insider connections gained at Harvard had a profound impact on the development of American art museums in the first half of the twentieth century. While the book looks into some of the male students that went on to distinguished careers, it and also addresses the women who took the course and the challenges they faced in terms of the museum positions that were open to them at the time. This book is a compelling read for curators, academic art historians, museum studies scholars, and anyone interested in the history of art museums, the people behind them, and the historiography of art history. Noelle Giuffrida is research associate and affiliate faculty at the Center for East Asian Studies at the University of Kansas. Learn more about your ad choices. Visit megaphone.fm/adchoices

Andrew McClellan and Sally Anne Duncan’s book offers a behind-the-scenes exploration of the career of Paul J. Sachs (1878-1965) and the graduate program he developed at Harvard University and the Fogg Museum that came to be known as the “museum course.” Sachs and the course played a major role in training students who became museum directors and curators at American art museums from the late 1920s through the 1960s. By drawing upon archival correspondence, class notes, and oral histories, The Art of Curating: Paul J. Sachs and the Museum Course at Harvard (Getty Research Institute, 2018) delves into the practical training in connoisseurship, the art market, exhibition planning, conservation, and financial management as well as the philosophical discussions that made up the class.  Participants’ training and insider connections gained at Harvard had a profound impact on the development of American art museums in the first half of the twentieth century. While the book looks into some of the male students that went on to distinguished careers, it and also addresses the women who took the course and the challenges they faced in terms of the museum positions that were open to them at the time. This book is a compelling read for curators, academic art historians, museum studies scholars, and anyone interested in the history of art museums, the people behind them, and the historiography of art history. Noelle Giuffrida is research associate and affiliate faculty at the Center for East Asian Studies at the University of Kansas. Learn more about your ad choices. Visit megaphone.fm/adchoices

Andrew McClellan and Sally Anne Duncan’s book offers a behind-the-scenes exploration of the career of Paul J. Sachs (1878-1965) and the graduate program he developed at Harvard University and the Fogg Museum that came to be known as the “museum course.” Sachs and the course played a major role in training students who became museum directors and curators at American art museums from the late 1920s through the 1960s. By drawing upon archival correspondence, class notes, and oral histories, The Art of Curating: Paul J. Sachs and the Museum Course at Harvard (Getty Research Institute, 2018) delves into the practical training in connoisseurship, the art market, exhibition planning, conservation, and financial management as well as the philosophical discussions that made up the class.  Participants’ training and insider connections gained at Harvard had a profound impact on the development of American art museums in the first half of the twentieth century. While the book looks into some of the male students that went on to distinguished careers, it and also addresses the women who took the course and the challenges they faced in terms of the museum positions that were open to them at the time. This book is a compelling read for curators, academic art historians, museum studies scholars, and anyone interested in the history of art museums, the people behind them, and the historiography of art history. Noelle Giuffrida is research associate and affiliate faculty at the Center for East Asian Studies at the University of Kansas. Learn more about your ad choices. Visit megaphone.fm/adchoices

KEVIN APPEL was born, lives and works in Los Angeles. He received his BFA from Parsons School of Design in New York in 1990 and his MFA from the University of California, Los Angeles in 1995. Kevin has had numerous solo exhibitions both nationally and internationally, which include Miles McEnery Gallery in NYC, Christopher Grimes Gallery in Santa Monica, ACME., Los Angeles, Marianne Boesky Gallery, New York, Wilkinson Gallery, London, England, Angles Gallery, Santa Monica, and The Museum of Contemporary Art, Los Angeles, CA, among others. His group exhibitions include “Endless House: Intersections of Art and Architecture,” Museum of Modern Art, New York, NY; “XL: Large-Scale Paintings from the Permanent Collection,” The Frances Lehman Loeb Art Center, Vassar, Poughkeepsie, NY; “Black/White,” LaMontagne Gallery, Boston, MA; “Los Angeles Nomadic Division ‘Painting in Place,’” Farmers and Merchants Bank, Los Angeles, CA; “Painting Two,” Two Rooms Gallery, Auckland, New Zealand; “Kevin Appel, Canon Hudson, Betsy Lin Seder,” Samuel Freeman Gallery, Los Angeles, CA; “LANY,” Peter Blum Gallery, New York, NY; “Beta Space: Kevin Appel and Ruben Ochoa,” San Jose Museum of Art, San Jose, CA; “L.A. NOW,” Galerie Fiat, Paris, France; “California Modern,” Orange County Museum of Art, Newport, CA; and “Drawing Now: Eight Propositions,” The Museum of Modern Art, New York, NY, among others. Appel’s work may be found in the permanent collections of The Museum of Modern Art, New York, NY; the Los Angeles County Museum of Art, Los Angeles, CA; the Museum of Contemporary Art, Los Angeles, CA; the Portland Art Museum, Portland, OR; Minneapolis Institute of Art, Minneapolis, MN; The New York Public Library, New York, NY; the Walker Art Center, Minneapolis, MN; the Rhode Island School of Design, Providence, RI; the Misumi Corporation, Tokyo, Japan; the Fogg Museum, Harvard University, Cambridge, MA; the Logan Collection, Vail, CO; and the Saatchi Collection, London, England. Kevin was in town for his installation of works at the ADAA ART SHOW up through March 3rd with Miles McEnery Gallery and he stopped by Brian’s apartment in Brooklyn and they chatted about painting, jazz, architecture and more.

Paul Gauguin, the Bitterness and the Beauty Paul Gauguin in Breton attire. From his very first days, Gauguin's life was filled with a volatile instability that must have affected his development.  He was born in Paris on June 7, 1848.  His father, Clovis, was a journalist, his mother, Aline, the daughter of Flora Tristan, a seminal feminist writer of the early nineteenth century.  Aline's father had been imprisoned for the attempted murder of Flora, an indication of the chaos surrounding Gauguin's immediate family.  Flora Tristan died in 1844, and in 1847 Aline married Clovis and soon settled down to married life and the birth of a daughter in 1847 and Paul in 1848.  But the political unrest of Paris forced the young family to think about heading into exile. Mette Gauguin and her five children. It was at the home of Gustave Arosa that Gauguin, in November of 1872, met two female guests, travelling from Denmark.  One of these woman, Mette-Sophie Gad, was immediately attracted to Gauguin and a yearlong courtship began.  Mette was no great beauty, but all accounts indicate that she had a great deal of personality and a practically masculine outlook that could handle the rough edges of an ex-sailor.  A year later the couple would be married and Mette would rapidly become pregnant, Paul's stock market employment providing a comfortable lifestyle. Gauguin's iconoclastic "Vision After the Sermon." With the death of Theo Van Gogh and the realization that none of his compatriots would leave France for the exotic destinations that he continually fantasized about, Gauguin became fixated on a newer and even more remote destination: Tahiti.  Again he held out for a major sale and a large check that would get him out of France.  He had maintained this fantasy for decades but this time his growing reputation and a newspaper article published the day before a planned sale at the prestigious auction house at the Hotel Druout insured that his paintings would generate a substantial sum.  In all thirty paintings were sold on February 23, 1891, including “Vision After the Sermon” and the portrait “Beautiful Angela” which was purchased by Degas. Van Gogh's jade self-portrait dedicated to "Mon Ami Paul", sold by Gauguin to raise money for Tahiti, auctioned by the Nazi's as "degenerate art", today it hangs in Harvard's Fogg Museum. Vincent Van Gogh had spent the summer writing to all of the artists of Pont-Aven, imploring them to participate in a “colony” in Arles, where he had already relocated.  Gauguin repeatedly put him off by claiming that he would have to wait until he sold some paintings and raised the money to pay off his debts in Brittany.  But when Theo Van Gogh sent him some money and promised more if he would merely agree to join Vincent in the south of France, Gauguin acquiesced.  The overjoyed artist sent him a remarkable, jade green self portrait dedicated to “mon ami Paul” and typically began to fixate on when Gauguin would arrive or if he would even show up at all. Thus the stage was set for one of the most notoriously tragic incidents in art history. Gauguin's painting of Vincent painting sunflowers which caused their final row. A sequence of events in late December brought about Gauguin's inevitable departure.  As the weather kept them painting indoors, Van Gogh returned to his familiar motif of sunflowers, Gauguin painted a portrait of Vincent at work.  The result horrified and angered Van Gogh.  “It is certainly I, but it's I gone mad!”  That night at a cafe an argument culminated in Van Gogh throwing a glass of absinthe at Gauguin, who dragged him home and put him to bed.  Although Van Gogh tried to apologize, Gauguin responded by saying he could no longer stay because he might respond to such future outbursts by strangling Vincent. The "Yellow House" in Arles, France. It was destroyed in 1940, rebuilt and repainted in cement to resemble the original building. A terrible rainy season insured that Gauguin and Van Gogh would spend most of their time shut up in the Yellow House, unable to paint outside.  They spent much of their time in philosophical discussions that ultimately became hostile, Gauguin condescendingly dismissive towards all of Van Gogh's opinions especially when it came to art. Gauguin's "Two Women" Gauguin's deteriorating health affected his productivity but he still would produce some of his greatest works during this time period, especially,  “Two Tahitian Women”, now in the permanent collection of the Metropolitan Museum of Art. Gauguin's "Where Are We Going?" He also produced the allegorical “Where do we come from? What are we? Where are we going? that is now in the Boston Museum of Fine Arts.

Philip Zimmermann has been making artists’ books under the imprint Spaceheater Editions since 1979 and making books since 1974. He now teaches at the University of Arizona but taught for 24 years at Purchase College, State University of New York. His work may be found in The Joan Flasch Artist Book Archive at the School of the Art Institute of Chicago, the Special Collection at Yale University, The Fogg Museum at Harvard. The Museum of Modern Art, the Victoria & Albert Museum and shown and collected by many other institutions and libraries. He is the author of Options for Color Separation, High Tension, Nature Abhors and Shelter, among many other books. He has been the recipient of National Endowment for the Arts Individual Fellowship, two New York Foundation for the Arts Fellowships, a Lila Auchincloss Foundation Fellowship and a Mid-Atlantic Individual Artist Fellowship through the NEA.