Podcasts about fotofest

Linda Troeller joins me to talk about her book, SEX. DEATH. TRANSCENDENCE., published by TBW. Linda has a storied life in photography from her early self-portraiture, to her book, The Erotic Lives of Women, and now to Sex. Death. Transcendence., Linda has been exploring the female gaze since the early 1970's. We talk about her ideas on self-portraiture, healing waters, and her amazing time at the Chelsea Hotel, all of which have led to their own publications. https://sites.google.com/view/lindatroeller/sex-death-transcendence?authuser=0 https://tbwbooks.com/collections/single-titles/products/sex-death-transcendence This podcast is sponsored by the Charcoal Book Club Begin Building your dream photobook library today at https://charcoalbookclub.com Linda Troeller's art projects focus on self-portraits, women's and social issues. She made the Chelsea Hotel her base for 20 years, curating an exhibition for the 125thAnniversary, “Chelsea Hotel Through the Eyes of Photographers,” and publishing a monograph, “Chelsea Hotel Atmosphere – An Artist's Memoir,” 2007 and a new book, “Living in the Chelsea Hotel, Schiffer Publishing, 2015 that won the International Photo Award, 2016. She had a major exhibition at Leica Gallery, Los Angeles, Ilon Art Gallery, Harlem, 2018 and Laurence Miller Gallery, NYC and Museum of.Sex, NYC. Aperture published her Pictures of the Year award winning images in “Healing Waters,” exhibited at their Burden Gallery, NYC and powerhouse Books published her next book, ‘Spa Journeys,” 2004. Her book, “Erotic Lives of Women,” Scalo, Zurich, 1998 was reviewed as one of the “most gutsy and imaginative books of the decade,” NYTimes. The exhibition opened at Fotohof Gallery, Salzburg traveling to Berlin and Weimar, Germany. Her second book on women, Orgasm, Daylight, 2014 was introduced at the Filter Photography Festival and is in major libraries from Kinsey to Harvard to National Museum of Women in the Arts.' She received a New Jersey Arts Grant and the Woman of Achievement Award from Douglass College, in 1991 for her TB-AIDS DIARY, a series of photo-collages in Color Polaroid that helped prevent discriminative stamping of HIV in passports. It was exhibited at Fotofest, Houston and over fifty galleries and covered in the Asbury Park Press and Trenton Times to European Photography Magazine. The set of 19 prints was recently acquired by the Norton Museum of Art permanent collection, West Palm Beach, Florida. She photographed three Fashion Catalogues for the Apolda Museum, Germany and exhibited “Apolda Fashion, 2005” at Centro Colombo Gallery, Medellin in 2006. She returned to Colombia to teach self-portraiture to women in poverty in 2010 for the University of Antioquia. She has an ongoing series of self-portraits, “Self-Reflection.” She has lectured at School of Visual Arts, NYU, Parsons, Yale, Salzburg Summer Art Academy, New Orleans Photo Alliance, Ryerson University, Toronto and was a professor of photography at Stockton College of New Jersey, Indiana University, and Bournemouth College, England. She has a MFA, School of Art, and MS, Newhouse School, Syracuse University and BS from Reed School of Journalism, West Virginia University. She was an assistant at the 1974 Ansel Adams Workshops for Ralph Gibson and in 1987 for Annie Leibovitz and David Hockney. Her photographs are in corporate and private collections such as the Museum of Fine Arts, Houston, American Express, Johnson & Johnson, Library of Congress and is in archives such as Special Collections Bird Library, Syracuse University. She graduated from Toms River High School which named her to their Hall of Fame, and resides in New York City and New Jersey.  Support Real Photo Show with Michael Chovan-Dalton by contributing to their tip jar: https://tips.pinecast.com/jar/real-photo-show

Independent owner-operator Debbie Desiderato, long hauling with her authority as Walkabout Transport, probably needs no introduction to regular Overdrive readers. Her insight around customer relationships and so much more has featured in Overdrive multiple times through the years, and last year she was one of our Truckers of the Month in the Trucker of the Year program: https://www.overdriveonline.com/15541324 At the top of the podcast, Desiderato describes the seven years that have elapsed since she first met photographer/author Anne-Marie Michel. The owner-operator's one of 40 female truck drivers and owner-operators in America interviewed for the Britain-based Michel's “Sisters of the Road” book. Long in the making, as owner-operator Desiderato made clear, yet it's been out a couple of years now, and making something of a splash around the country right now with a photo-exhibit trailer being pulled behind Desiderato's Western Star. She's run with the exhibit clear across the country from an origin point in San Francisco to start Women's History Month on the way to the Mid-American Trucking Show, coming up here shortly, March 21-23 in Louisville, Kentucky. Preview MATS happenings, and access coverage in the aftermath, via this collection: https://www.overdriveonline.com/t/4372607 Overdrive Radio spoke with Debbie about the experience thus far on the tour, which to date has offered up no shortage of opportunity to school the uninitiated on the ins and outs, the struggles and triumphs, of truck drivers of all stripes. Plenty share-the-road talk, too. "The blind spots," Desiderato offered. "and how I've got a hood on this truck. They can see now if they're by my passenger steer tire how I couldn't see them if they're driving a small car. They got a big education." She was referring mostly to 100s of international and otherwise trucking-uninitiated attendees of FotoFest in Houston, where her Western Star was parked up with the exhibit trailer for plenty public interaction through Wednesday, March 13, this week. She's due to arrive in Louisville March 18 for MATS, with stops along the way in Arkansas at Uber Freight headquarters and Saturday, March 16, at the Idella Hansen Petro in Little Rock. All in all, she notes, the tour and her inclusion in the "Sisters of the Road" book has been an opportunity to sit right at the intersection between the business and work of trucking, and the wider U.S. and world cultures. Read more about "Sisters of the Road" via Long Haul Paul's 2022 review of the book: https://www.overdriveonline.com/overdrive-extra/article/15296897/iconographic-fiercely-resilient-portraits-sisters-of-the-road Also in the podcast: Owner-operators Lee and Lisa Schmitt detail recent similar share-the-road opportunities the pair of founding members of CDL Drivers Unlimited got with the entire Mudflap app staff. Revisit recent talks with the Schmitts about CDLDU's Driver Advocacy Network at this link: https://www.overdriveonline.com/overdrive-radio/podcast/15665521/truckers-new-chance-at-affordable-health-insurance

On Wednesday's show: Nancy Sims joins us to discuss local, state, and national politics. Also this hour: It's been four years since the COVID pandemic started--we talk with Dr. Peter Hotez about where we are today and what's in store for the future. Then, Troy Schulze talks with some of the folks behind this year's FotoFest Biennial festival.

Originally from Honduras, Daniel Handal lives and works in New York City. He received his BS in Applied Sciences from Rutgers University and studied photography at the International Center of Photography. His work centers on portraiture and explores issues of gender, sexuality, identity, and community. He has had a solo exhibition at the Brooklyn Public Library (Flatbush Branch) and has been shown in group exhibitions at the New Mexico Museum of Art, FotoFest in Houston, and the Center for Photography in Woodstock, among others. His work has been exhibited internationally at the Australian Centre for Photography and MKII in London. Handal's photographs have been published in HuffPost, Slate, and Hyperallergic. He has been awarded residencies at The Millay Colony for the Arts, Virginia Center for the Creative Arts, and VCAA—France. Handal currently serves on the board of directors of Baxter St at the Camera Club of New York. His work is represented in the permanent collections of the Worcester Art Museum, 21c Museum and Hotels, Transformer Station Contemporary Art, Kala Art Institute, Kimmel Harding Center for the Arts, and more.   Here is a link to Daniel's exhibition where you will find the exhibition press release and more details. © Daniel Handal; “Tulip Thijs Boots (Misty Gray),” 2023; Pigment print on gesso-coated aluminum, painted museum box (Edition of 3 + 2 APs); 16 x 20 x 1.5 inches, Courtesy of CLAMP, New York. © Daniel Handal; “Red Hobbit Columbine (Rustic Wood),” 2023; Pigment print on gesso-coated aluminum, painted museum box (Edition of 3 + 2 APs); 16 x 12 x 1.5 inches; Courtesy of CLAMP, New York. © Daniel Handal; “Bunny Tails (Black Iron Silhouette,” 2022; Pigment print on gesso-coated aluminum, painted museum box (Edition of 3 + 2 APs); 13.5 x 9 x 1.5 inches, Courtesy of CLAMP, New York.

On Monday's show: Last week, President Biden issued pardons for thousands of people convicted under federal law for marijuana possession. The move will clear the records of those convicted since simple possession of the drug since became illegal in the 1970s. We learn more about who the pardons apply to and discuss changing attitudes about marijuana laws in Houston and the rest of the state. Also this hour: Between 2017 and September of this year, more than 100 cyclists have been killed on Harris County roads, including 11 this year. That's according to the Houston Chronicle's recent analysis of TxDOT data. And the numbers have trended upward since 2018. What can be done to improve safety for people riding their bikes around the region?  Then, we learn what's taking place during Fotofest, the biennial celebration of photography and visual art. And we preview the Astros' playoff series against the Seattle Mariners, which begins Tuesday.

Rev. Colin uses the photographs of Libuše Jarcovjáková's from our current Fotofest exhibition, and the imperfections found in them, as a metaphor to how we can live more authentically to ourselves.

William Sarradet and Jessica Fuentes discuss the implications of an AI-generated painting's recent art competition win. "What does it mean to create art using AI? How is writing a phrase for AI software different than text-based artwork?" See related readings here: https://glasstire.com/2022/09/11/art-dirt-should-ai-generated-art-compete-against-human-made-art If you enjoy Glasstire and would like to support our work, please consider donating. As a nonprofit, all of the money we receive goes back into our coverage of Texas art. You can make a one-time donation or become a sustaining, monthly donor here: https://glasstire.com/donate This week's podcast is sponsored in part by FotoFest and their 2022 Biennial exhibition "If I Had a Hammer," which will be on view September 24 through November 6, 2022 in Houston, Texas. Additionally, FotoFest is presenting the exhibitions "African Cosmologies: Redux," an adaptation of its 2020 Biennial, and "Ten by Ten," featuring selected artists from the 2020-21 FotoFest International Meeting Place Portfolio Review programs. Learn more here: https://fotofest.org/fotofest-biennial-2022

What you'll learn in this episode: How Cindi helped the Museum of Fine Arts, Houston secure one of the country's most important art jewelry collections  Why jewelry is a hybrid of craft and art that doesn't fit just in one category Why the art world began to question the value of craft in the 80s, and why that perspective is changing now Why museum and gallery visitors shouldn't ask themselves, “Would I wear this?” when looking at art jewelry About Cindi Strauss Cindi Strauss is the Sara and Bill Morgan Curator of Decorative Arts, Craft, and Design and Assistant Director, Programming at the Museum of Fine Arts, Houston (MFAH). She received her BA with honors in art history from Hamilton College and her MA in the history of decorative arts from the Cooper-Hewitt/Parsons School of Design. At the MFAH, Cindi is responsible for the acquisition, research, publication, and exhibition of post-1900 decorative arts, design, and craft. Jewelry is a mainstay of Cindi's curatorial practice. In addition to regularly curating permanent collection installations that include contemporary jewelry from the museum's collection, she has organized several exhibitions that are either devoted solely to jewelry or include jewelry in them. These include: Beyond Ornament: Contemporary Jewelry from the Helen Williams Drutt Collection (2003–2004); Ornament as Art: Avant-Garde Jewelry from the Helen Williams Drutt Collection (2007); Liquid Lines: Exploring the Language of Contemporary Metal (2011); and Beyond Craft: Decorative Arts from the Leatrice S. and Melvin B. Eagle Collection (2014). Cindi has authored or contributed to catalogs and journals on jewelry, craft, and design topics, and has been a frequent lecturer at museums nationwide. She also serves on the editorial advisory committee for Metalsmith magazine. Additional Resources: Museum of Fine Arts Houston Transcript: For the uninitiated, jewelry, art and craft may seem like three distinct (and perhaps, unfortunately, hierarchical) entities. But Cindi Strauss, Curator of Decorative Arts, Crafts and Design at the Museum of Fine Arts in Houston, Texas, wants us to break down these barriers and appreciate the value of jewelry as an art in its own right. She joined the Jewelry Journey Podcast to talk about how she helped MFA Houston establish one of the largest art jewelry collections at an American museum; why jewelry artists should be proud of their studio craft roots; and why wearability shouldn't be the first consideration when looking at art jewelry. Read the episode transcript here.      Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is a two-part Jewelry Journey Podcast. Please make sure you subscribe so you can hear part two as soon as it comes out later this week.    Today, our guest is Cindi Strauss, the Sara and Bill Morgan Curator of Decorative Arts, Crafts and Design at the Museum of Fine Arts in Houston, Texas, where she's been responsible for a number of exhibits and has written extensively. She coauthored the recent book “Influx: American Jewelry and the Counterculture.” In addition, she's on the Board of Directors of Art Jewelry Forum. We'll hear more about her jewelry journey today. Cindi, welcome to the program.   Cindi: Thank you, Sharon. I'm delighted to be here.   Sharon: So glad to have you. Tell us about your jewelry journey. Did you like jewelry, or did you come to it through decorative arts? How did that work?   Cindi: Well, the story has been heard. I have told it before, about how I was introduced to art jewelry through Helen Drutt through a serendipitous meeting with her. Prior to that, we only had one piece of art jewelry in the museum's collection, a terrific Art Smith necklace from 1948. Personally, I come from a family who loves jewelry, but I have not been as much of a lover of it. I have always worn very minimal jewelry myself, so it's sort of ironic that I am the curator of this phenomenal jewelry collection, the foundation of which is the acquisition in 2002 of Helen Drutt's private collection. At that time, we acquired a little over 800 pieces, including sketchbooks and some drawings of international art jewelry dating from about 1963 to, at that point, the early 2000s. Helen continued to add to that collection up through 2006, when we were in the final preparation for the Ornamentist art exhibition and catalogue. That opened in 2007 in Houston and traveled to Washington, D.C., to Charlotte, North Carolina, and then to Tacoma, Washington. That is, from a publications point, a great point of demarcation in terms of art jewelry collections. Since then, not only has Helen continued to add pieces to the museum, but we have worked with a lot of national and local collectors, and our jewelry collection continues to grow through acquisitions and gifts.    I would say that in graduate school, I had the barest introduction to jewelry, and it was really historical jewelry as part of a larger decorative arts education, in terms of looking at styles and how they reflected themselves in historical jewelry. At the time I was in graduate school at the Cooper Hewitt, there was not a seminar on contemporary art jewelry or art jewelry in general, so my knowledge of it has really been built and continues to be built based on our collection, our commitment to it going forward, and trying to keep up with the bare minimum of what's been happening in the field. I have to say Art Jewelry Forum is an amazing way for me to do that through their website, through the articles, through the artist awards, through the artist maker pages. It's a very easy snapshot of what's happening in the field, and then I can take that research and interest into other directions.   Sharon: I can't imagine being an aficionado, whether it's to study or just being a jewelry lover, and not being involved in Art Jewelry Forum. There's no other place like it.    Cindi: There isn't. Honestly, nine times out of 10, if I am interested in learning more about an artist and I plug in the artist's name in Google, the first search that comes up is always Art Jewelry Forum. It's either an interview or an article or something. For me, it has always been a one-stop initial research location.   Sharon: How did you come to study decorative arts? How did you become a professional in the area? Was that something you had always wanted to do? What was your training?   Cindi: It really happened, I would say, serendipitously. I grew up in a family where my father was in the design field, particularly in textiles. My parents' preferred style was that of Scandinavia and Italian modern. I grew up in a contemporary house, so there was a certain amount of osmosis with this field. I grew up in Connecticut, which is more oriented towards colonial architecture and traditional interiors, and I knew our house was different and it kind of stuck out. I remember asking my parents when I was young why our house didn't look like everybody else's, and their answer was very simple: because this is what we like, and this is why we like it.   I went off to college and thought I was going to be an English major. I took an intro to art history survey and found I loved it, but it wasn't until my senior year in college that a survey of the history of decorative arts was offered, and that completely ignited my fire. As much as I loved art history, I wanted to be able to touch paintings, which I can't do. I was interested in the tactile qualities of art and texture and being able to feel and understand value. This introduction to the history of decorative arts was my gateway. That ignited a passion not only for the decorative arts, but when I was going to the museums and such during that time, I started to pay attention to decorative arts galleries more than I had in my museum billing previously. I thought, “This is what I want to do; this is where I want to be. I want to be in a museum and I want to be doing decorative arts.”   My first year out of college, I had an academic year fellowship at the Met. It was in a subset of the registrar's office called the cataloguing department, and that gave me a bird's eye, in-depth view of what was happening at the Met. At that time, I knew I was going to have go to graduate school, and I learned about Cooper Hewitt's program in the history of decorative arts. At that point, I chose Cooper Hewitt. There was no graduate center yet, and I knew I didn't want to do early American decorative arts. I wanted to have a broader art education, so I went to Cooper Hewitt. Interestingly, my thesis and a large chunk of my classes were on 18th-century European art, particularly porcelain, and I thought I would spend my career there because that's where all the research was happening. With the exception of design museums or modern art museums like MOMA, a lot of the big, encyclopedic institutions were not really paying attention to decorative arts beyond the Arts and Crafts movement. But I took as many classes as I could in 20th-century design and took decorative arts because that was what my personal passion was.   I got lucky, because my first position after graduate school was curatorial assistant here in Houston. I was split between two departments, the decorative arts department and our not-yet-opened house museum, Rienzi. It was the perfect job for me because Rienzi was all about the 18th century, whereas the decorative arts department was just starting to move past the Arts and Crafts movement into modern and contemporary. Ultimately, I was able to determine the pathway for that and create a separate department, and I made my way out of the 18th century to focus completely on the 20th and 21st centuries. So, it was a pathway of following my heart and my curiosity within this larger field.   Sharon: What were your thoughts when you were presented with this 800+ piece collection by Helen Drutt and they said, “O.K., put this exhibit together”?   Cindi: First of all, it was completely daunting. Anyone who knows Helen knows her knowledge is so vast, and she is so generous with it, but at the beginning, it's all brand new. So, it's rather intimidating, and you're doing so much looking and listening. In my initial conversations with Helen about the possibility of this acquisition, it was focused on the “Jewelry of Our Time” catalogue that she had cowritten, which featured a lot of the collection. There was a lot of study of that, trying to get myself up to speed to even make the presentations for the acquisition to not only my director, but our trustees.    It's funny; I have my initial notebooks from my first visit to Philadelphia with Helen, where I spent a number of days just sitting next to her as she held up different pieces, talked about different people, gave insight. Because I didn't know anything about the field—all the artists' names are spelled phonetically—there are a lot of notes to myself saying, “What does this really mean?” or a question mark with “follow up” or something like that, and I was drawing. I think I had a cell phone, but there was no cell phone camera. I didn't have an iPhone or iPad. I don't even know if they existed in 2002, but I would draw little pictures next to something she was talking about. Anyone who knows me knows I am quite possibly the world's worst draftsperson, so the pictures are hilarious. But I go back to those notebooks periodically, and you can see how I am intent on wrapping my head around this and trying to understand which countries, who were the major players, where things had gone.   We built a library at the museum with Helen's help. She seeded our library intending to send books. We were ordering catalogues nonstop, and I spent the better part of four years immersing myself in art jewelry and talking to artists. At that point, it was all done through these forms we would mail to artists. I tried to meet artists, and Helen's archives with all the correspondence were an incredible resource. There were interviews with artists and things like that. I would travel to the American Craft Council to see their incredible library and artist archive. I would do all of this plus travel to meet artists. I did a number of trips to Europe and across the U.S., trying to get my head around this field as seen through Helen's collection. The collection represents not only her eye and experiences and viewpoint, but truly the birth and development of the field over decades, not just in America, but globally as well.   Sharon: What's her connection to Houston? How is it she came to your museum?   Cindi: She didn't have any real connection to Houston. At the time, her son, Matthew, was the Chief Curator of the Manil Collection, which is a terrific, incredible museum here in Houston. She also had a very close and longstanding friendship with our then-photography curator, Anne Tucker. They met in a cute way over a slide table at Moore College of Art in the 70s, when they were both teaching there.    We have a festival every other year in Houston called FotoFest. It's one of the U.S.'s largest photography festivals, and all the institutions do exhibitions for FotoFest and their popup shows and galleries. The Houston Center for Contemporary Craft was only a year old at that point, but through connections, they met Helen. She curated a small show of photo-based, image-based jewelry for FotoFest, so of course she came down, and that's where I met her.    I met her at the opening. We had coffee separately during her visit. I was really ramping up our craft collection in terms of acquisitions and representation. As I said, we only had this one piece of art jewelry. I knew enough about what I didn't know to say to Helen at the time, “This is a field I'm interested in starting to acquire works from. Would you guide me?” She pointed me towards the “Jewelry of Our Time” catalogue and said, “Well, you know I have a collection.” I, of course, said, “Well, yes, it's famous, and it's in Philadelphia. It's so lucky they're going to get it.” She said, “Not necessarily. Nothing's been done. There's nothing in writing.” I seized on that and said, “Well, will you provide me with more information, and may I speak to my director about this?” She said, “Sure.”    It was, at the time, sort of a lark. I thought, “I don't know whether this will happen,” because it was not a field we were familiar with and certainly my director, Peter Marzio, was not familiar with it. I showed him the book. I talked to him with my little knowledge. He was intrigued, because he saw in it what he referred to as a “visual index” of modern and contemporary art in small scale. He saw all the connections and the creativity, and he said, “I'd like to learn more.” I arranged for him to go to Philadelphia, where he spent half a day with Helen and they talked and looked at pieces. He came back and said to me, “I want to figure this out. I want to do this,” and the rest is history.   Sharon: Wow! It's funny; when you were saying you were spelling things phonetically, I thought of Gijs Bakker. That's the name that came to mind. For people listening, it's G-i-l-s-b—   Cindi: G-i-j-s B-a-k-k-er. Gijs is one of the most important Dutch jewelry artists. He, along with his late wife, Emmy van Leersum, completely turned the idea of art jewelry on its head in the 60s. He and a number of other Dutch artists in the 60s and 70s revolutionized the field. Helen was such a great supporter, and he's one of her dearest friends. We have something like 34 or 35 of his pieces in the collection, not just from Helen, but from a couple of others that we've added along the way. I think outside of the Netherlands, we have the largest collection of Gijs' work.   Sharon: Wow! My first Art Jewelry Forum trip was to Amsterdam. I had just come to art jewelry myself, and his studio and his house were the first stop. When I think about it now, I think, “Oh, my god!” I had no idea. At the time, I didn't know which way was up when it came to art jewelry.   Cindi: I think that is a lot of people's first experience. It's visually compelling, and then you start to learn more. Quite often, you realize after the fact you met one of these super-important people, or you were in their studio or what have you.    Sharon: Yeah, it really is. I'm backing up a little. When you were studying, were there museums studies? Did you expect to be working in a museum or to be a curator? Was that part of your career field?    Cindi: Yeah, I always wanted to work in a museum, and I wanted to work in a curatorial capacity. The Cooper Hewitt's program at that time was geared towards museum curatorial careers. Also, a lot of people went into education. It was not geared towards working in the commercial sector. There were a handful of people who might have gone to an auction house or to a gallery, but it was focused on developing museum curators. That was something I knew I wanted and was really important to me in terms of being at the Cooper Hewitt. The program is embedded in the museum physically and has a lot of faculty from the museum and also, during my time, a lot of faculty from the Met, from the Brooklyn Museum. We had people teaching from MFA Boston, from Winterthur.    It was very much a program equally based on not only research and history and study, but on connoisseurship. Connoisseurship is essential to being a museum curator. You need to be able to delineate and understand the differences between different objects made by the same designer as well as within any larger aspect of the field. Cooper Hewitt was very much geared towards that, which was perfect for me. Because we were in the museum and we had faculty from other New York area museums, it was also possible to have internships with prominent curators from the various museums, again, moving you through this curatorial path.    The trick is always getting a job, and for me that was a lot of luck, I think. When I was in my second year, my last year of graduate school, I was working as an intern for one of the premier curators at the Metropolitan Museum of Art, particularly in late 19th-century ceramics and glass but also furniture. Her co-curator on an upcoming exhibition was my future boss at Houston. There was a job opening. Katherine Howe sent a fax, at that time, of the job description, and she handed it to me and said, “I know you still have a semester to go, but here, take a look at it.” I thought, “Well, I need to get a résumé in order. I need to start thinking about this.” I applied not thinking anything other than this is good exercise, and it obviously worked out for me.    I think in my graduating class from Cooper Hewitt—I think there were about 15 of us—there were only three of us who actually got museum jobs. A lot of it is timing because positions come open so rarely. I'm pretty sure I'm the only one from my graduating class left in a museum. It's not for everybody, and there aren't always jobs, but it was all I ever wanted to do. I also only wanted to work in a big institution, so Houston fit the bill for me. I love doing what I do within an encyclopedic institution, being able to contextualize, in this case, art jewelry, whether it's historical works of art, the idea of adornment, showing it within a particular geographical context. We exhibit the jewelry not only on its own and with other contemporary craft and design, but we exhibit it next to painting, sculpture, photography, works on paper. We embed it, and that is something my colleagues are very much used to and see it as being a vital art form.   Sharon: This is a two-part Jewelry Journey podcast. Please make sure you subscribe so you can hear part two as soon as it comes out later this week.

Conversamos con Salvador Saavedra sobre la convocatoria de la 9na versión del FOTOfest 2021 "Pulsos".

In this episode of PhotoWork with Sasha Wolf, Sasha and photographer, Alejandro Cartagena, talk about finding motivation from within and not counting on the art world at large to propel or inspire your creative output. Alejandro talks about how his early work as an archivist has come back around to be a key part of his current practice and how he juggles multiple bodies of work at once. Alejandro's incredible passion for his craft, his good humor and high spirits keep this conversation moving at warp speed. https://alejandrocartagena.com Alejandro Cartagena, Mexican (b. 1977, Santo Domingo, Dominican Republic) lives and works in Monterrey, Mexico. His projects employ landscape and portraiture as a means to examine social, urban and environmental issues. Cartagena’s work has been exhibited internationally in more than 50 group and individual exhibitions in spaces including the the Fondation Cartier pour l’art contemporain in Paris and the CCCB in Barcelona, and his work is in the collections of several museums including the San Francisco MOMA, the Museum of Contemporary Photography in Chicago, the Portland Museum of Art, The West Collection, the Coppel collection, the FEMSA collection, Museum of Fine Arts in Houston, the George Eastman House and the Santa Barbara Museum of Art and among others. Alejandro is a self publisher and co-editor and has created several award wining titles including Santa Barbara Shame on US, Skinnerboox, 2017, A Guide to Infrastructure and Corruption, The velvet Cell, 2017, Rivers of Power, Newwer, 2016, Santa Barbara return Jobs to US, Skinnerboox, 2016, Headshots, Self-published, 2015, Before the War, Self-published, 2015, Carpoolers, Self-published with support of FONCA Grant, 2014, Suburbia Mexicana, Daylight/ Photolucida 2010. Some of his books are in the Yale University Library, the Tate Britain, and the 10×10 Photobooks/MFH Houston book collections among others. Cartagena has received several awards including the international Photolucida Critical Mass Book Award, the Street Photography Award in London Photo Festival, the Lente Latino Award in Chile, the Premio IILA-FotoGrafia Award in Rome and the Salon de la Fotografia of Fototeca de Nuevo Leon in Mexico among others. He has been named an International Discoveries of the FotoFest festival, a FOAM magazine TALENT and an Emerging photographer of PDN magazine. He has also been a finalist for the Aperture Portfolio Award and has been nominated for the Santa Fe Photography Prize, the Prix Pictet Prize, the Photoespaña Descubrimientos Award and the FOAM Paul Huff Award. His work has been published internationally in magazines and newspapers such as Newsweek, Nowness, Domus, the Financial Times, The New York Times, Le Monde, Stern, PDN, The New Yorker, and Wallpaper among others.

Founded in Houston in 1983, FotoFest is the first and longest running photographic arts festival in the United States. Today it is considered one of the leading international photography biennials in the world. Next month, FotoFest will present its 18th biennial. Here tell us about FotoFest and this year’s biennial is executive director Steven Evans and communications director Vinod Hopson.

Pärnu Linnagalerii poolt kolm aastat tagasi ellu kutsutud Pärnu Fotofest on võtnud eesmärgiks elavdada kunstielu talvisel madalhooajal ning avada kunstipublikule fotokunsti eri tahke.

Pärnu Linnagalerii poolt kolm aastat tagasi ellu kutsutud Pärnu Fotofest on võtnud eesmärgiks elavdada kunstielu talvisel madalhooajal ning avada kunstipublikule fotokunsti eri tahke.

This episode was recorded live at FotoFest 2019 in September and features 4 top UK photographers across a range of genres. In the landscape sector we have Rachael Talibart and Nigel Danson, Tom Way covers wildlife and Martin Parr from a documentary point of view.We get into some hot photography topics and take questions from the live studio audience. We cover lots of aspects of being a photographer, creating your own unique work and much more. We'll be back in a couple of weeks time with our next guest Lizzie Shepherd. - - - - - - - - - - - - - - -  The Togcast is hosted by Sam Gregory and Paul Sanders. The show is supported by WEX Photo Video and Fotospeed.com

David Ward is one of Britain's most notable landscape photographers. His eye for shape and form is without equal and produces work that is startling in its clarity and intensity. We caught up with David at his 'Overlooked' exhibition which is currently on display at the Joe Cornish Gallery.We chat about his visual motivations, theories about composition and dealing with the smaller details. This is a deep dive into his photographic pursuits, what drives them and how he sees the position of landscape photography in the wider context of art. "David Ward's camera looks deep into the landscape; revealing texture, detail, rhythm and subtleties that most of us miss." - Joe Cornish - - - - - - - - - - - - - In the show we featured an exhibition by Margaret Soraya called ‘Quiet’ at the Bosham Gallery running from October 5th - 14th December which celebrates the untouched beauty of the remote Scottish Isles and how solitude and quiet is a catalyst for creativity. There are various events running alongside the exhibition including a wild swimming talk and taster session! For full details check out the show notes where we’ve listed the dates and events. 3rd Nov - Quiet dip at West Wittering beach - a wild swimming talk and taster  4th Nov - Ladies day workshop  - “ Finding solitude through photography”  5th Nov - Introvert / extrovert questionnaire day at Bosham Gallery  30th Nov - Artists talk and afternoon at the Bosham Gallery “ Finding your own creative space”  We also mentioned the ‘Distinctly’ exhibition at the Williamson Art Gallery & Museum on the Wirral on until 24th November: “This show takes a unique approach to the depiction of Britain and its distinct landscapes, industries, social and economic changes, cultural traditions, traits and events as seen through the eyes of ten of the most significant and impactful established and emerging photographers working in Britain over the last six decades. The exhibition looks at the gentle, the humorous, the starkness, the beauty and the realities experienced and captured by the photographers around their lives living and working in Britain. Artists: Martin Parr, Chris Killip, Marketa Luskacova, John Myers, Tish Murtha, Niall McDiarmid, Daniel Meadows, Ken Grant, Robert Darch & Kirsty Mackay.” Thanks as ever to WEX Photo Video & Fotospeed for supporting the show. We’ll be back in in a couple of weeks time with the live Q&A from Fotofest 2019 featuring Martin Parr, Rachael Talibart, Nigel Danson and Tom Way.  

This is the second live Q&A session from the Connected 2019 exhibition. On this panel we feature the legendary John Blakemore, Professor Tim Allott and our very own Sam Gregory. This is a great Q&A session which features a nice mix of some heavy-hitting topics and plenty of practical advice. Amongst other points we discuss whether landscape photography is stuck in something of a time-warp, what our relationship with the land is and how we might (or might not!) be able to use photography to convey messages, be they emotional or political. We also cover some practical topics including getting inspiration and shooting in projects as well as a little about curating and understanding your own work and motivations. There’s plenty to get your teeth into in this episode! Episode Timings: 00:48 - Introduction 05:15 - Main Q&A Section 49:28 - News & Exhibition Section 52:02 - Next Guest Info (Tom Walker - Wildlife Cameraman, Planet Earth II) News & Exhibition Info: A new exhibition of seascape images called ‘Where the Land Meets the Sea’ which is presented by a group of photographers (Phil Edwards, Lisa Mardell, Jo Pannifer) called ‘Light & Form’, it’s being held at New Ashgate Gallery in Farnham. It runs from September 17th – 28th 2019 (Closed 22nd and 23rd) Elizabeth Roberts (editor B&W Photography Mag + Episode #62 guest) has some new images showing at ‘The Old Forge, South Heighton’ over the next 3 weekends as part of the ‘Art Wave’ festival which is artwavefestival.org in Sussex featuring artists & makers. FotoFest at the University of Bath is coming very soon on Sunday Sep 8th featuring Martin Parr, Rachael Talibart, Tom Way and Nigel Danson. More info via fotofest.co.uk Thanks as ever to WEX Photo Video & Fotospeed for supporting the show. The Togcast is hosted by Sam Gregory & Paul Sanders.  

El Fotofest Bolivia 2019 se lanzó oficialmente en La Paz. Las convocatorias ya se encuentran disponibles para que el público pueda participar de ellas con sus obras. Las exposiciones se realizarán en el mes de septiembre.

El Fotofest Bolivia 2019 se lanzó oficialmente en La Paz. Las convocatorias ya se encuentran disponibles para que el público pueda participar de ellas con sus obras. Las exposiciones se realizarán en el mes de septiembre.

We welcome Marianthi Lainas to the show this week. Marianthi is a fine art and landscape photographer who has exhibited  and displayed her work across the UK. She is known for her careful compositions, often based around the changing coast and tides, and now is building quite a following for her beautiful hand-made books which she produces in limited editions. Sam chats with Marianthi about her yearning for certain landscapes to suit her aesthetic, and getting underneath the skin of locations to understand them more deeply with a view to making more meaningful work. To see more of Marianthi's work check out www.marianthilainas.com Also on the show we look back at the recent FotoFest event in Bath, and look forward to our next episode with experienced pro photographer Paul Gallagher. The Togcast is hosted by Sam Gregory and Paul Sanders. We're grateful to both WEX Photo Video and Fotospeed for supporting the show. Check out www.thetogcast.com for more info and past episodes, or via our Podbean channel.

This episode features Mark Littlejohn, Charlie Waite, Ted Leeming, Morag Paterson and Tom Way in a Q&A session live with Sam. Hosted at the recent FotoFest Central event in Nottingham, this is a great chance to hear from multiple top photographers on one stage. We cover various topics including the importance of photography as a medium and how it's progressing, along with the photographers own approach to shooting and approaching locations. We also take a few questions from the live audience. We hope you enjoy this group chat and can take some inspiration from their words and advice. We'll be back in two weeks with the fantastic Karl Mortimer as our guest. The Togcast is hosted by Sam Gregory & Paul Sanders. We are ever grateful for the support we receive from WEX Photo Video & Fotospeed which keeps the show on the road. Check out www.TheTogcast.com for more info on the show.

The Menil Collection and surrounding nonprofit organizations presented their annual Menilfest community arts festival, a free afternoon of exhibitions, performances, and readings that extends across the Menil neighborhood. In collaboration with Menilfest, the Rothko Chapel activated the Chapel and the plaza between the hours of 11am-6pm with a music performance, interactive labyrinth dance, on-site tours, and refreshments by SweetCup Gelato. 3-4:30pm Anecdote of the Spirit Music created by Misha Penton, soprano, and Thomas Helton, double bass Misha Penton, soprano and experimental vocal composer, and Thomas Helton, composer and double bassist, created music through spontaneous and improvised compositional techniques, yielding quiet, spacious, beautiful and intense sounds, in keeping with the sacred environment of the Chapel. The audience was invited to wander in and out of the Chapel for a quiet, introspective, and contemplative experience. “Anecdote of the Spirit” is a direct quote from Mark Rothko, and in full reads: “Art to me is an anecdote of the spirit, and the only means of making concrete the purpose of its varied quickness and stillness.” Rothko’s quote speaks to the inarticulable in art and music: the essential and transformational experience of the work not communicable with descriptive words. About the performers Misha Penton is a contemporary opera singer, experimental vocal composer, and writer. Her work explores the intersection of new music performance; new opera theater; soundscape composition; and classical and extended vocal techniques. She is the founder, artistic director of Divergence Vocal Theater, a Houston-based opera, new music and multi-performing arts ensemble. Misha's performance work has appeared at the Museum of Fine Arts Houston, Dallas Museum of Art, Menil Collection, University of Houston Center for Creative Work, and DiverseWorks Arts Space Houston; organizations and ensembles she has sung with include Houston Grand Opera, Mercury, and Foundation for Modern Music. Misha's recordings include Selkie (2013, composer Elliot Cole), ravens & radishes (2014, composer George Heathco), and The Captured Goddess (2015, composer Dominick DiOrio). www.mishapenton.com Thomas Helton is a composer and bassist who writes and performs music in both solo and ensemble settings. As a composer Mr. Helton was awarded a Houston Arts Alliance Individual Artist Fellowship Grant in 2007. He was awarded an artist residency for the commission and premiere of Pride from DiverseWorks ArtSpace in Houston in October 2004 in collaboration with video artist Maria del CarmenMontoya. Other new music commissions include 5 works for the Michele Brangwen Dance Ensemble. His work, Black Rain (2005) was chosen to be performed as part of FotoFest’s 2006 Biennial dedicated to the themes of The Earth and Artists Responding to Violence. As a bassist, Thomas Helton performs with his own ensemble, The Core Trio, as well as with many celebrated jazz and free improv artists. www.thomashelton.org

This week's Cultures of Energy podcast is a double episode focusing on two art shows that CENHS has sponsored for Houston's FotoFest 2016 biennial, “Changing Circumstances: Looking at the Future of the Planet” (http://2016biennial.fotofest.org). In the intro segment, Cymene and Dominic talk to Rice English Professor Joseph Campana, Director of CENHS's Arts & Media Research Cluster. Joe curated the CENHS-FotoFest show and realized it in collaboration with the Rice Building Workshop. We discuss the concept for the show and it's many reinventions and creative partnerships along the way. Then we delve deeper with the artists themselves. First, (12:53) we speak to Marina Zurkow about the collaborative project Dear Climate (http://dearclimate.net) that she has developed together with Una Chaudhuri, Oliver Kellhammer, and Fritz Ertl. Dear Climate juxtaposes punky agitprop posters with podcasts encouraging meditation and compassion for our environment. It unfolds from the certainty that no paradigmatic changes are coming without changing how we think about the world. With Marina, we talk about how art should hybridize instead of proselytize, creating material encounters that can short-circuit expectations. Jellyfish and dandelions also make special guest appearances. In the final segment (44:46) we interview Judy Natal about her latest multimedia project, Another Storm is Coming. Judy describes her research adventures in East Texas and Southern Louisiana. She talks about the beautiful people she met in places like Port Arthur and Cameron Parish and how they have struggled to remain resilient in one of the world's most active hurricane corridors. We talk about the cultural complexity of storms, about the entanglements of oil culture and nature, and what is fascinating about shorelines and other liminal spaces. Judy asks us (all): What kind of light and air do we want to live with in the future?