Podcasts about fowler museum

This week's episode of then & now is part of a series co-sponsored by the L.A. History Collaborative, in which we examine the effects of the devastating Los Angeles Wildfires in early 2025. Dr. Daisy Ocampo Diaz joins LCHP Assistant Director Dr. Rose Campbell to discuss the Fowler Museum's exhibition Fire Kinship: Southern California Native Ecology and Art, one of the exhibitions associated with the Pacific Standard Time (PST) Art Initiative. The L.A. Wildfires highlighted the urgent need for effective fire management and risk mitigation strategies in the era of climate change. Rarely featured in such discussions, however, are the traditional landscape management methods, such as controlled burns, practiced by many Indigenous communities in North America before European colonization. As head curator of the Fire Kinship exhibition, Daisy underscores the vital role of fire as a regenerative force and explains how a legacy of colonial fire suppression tactics has exacerbated the effects of wildfires in the absence of sustainable landscape management practices. With more frequent and devastating natural disasters intensified by climate change, Daisy asserts that the best way forward is the integration of Indigenous knowledge into large-scale landscape management practices.The Fire Kinship exhibition is on display at the Fowler Museum at UCLA through July 13, 2025. Read more about the exhibition here. Admission to the Fowler Museum is always free!Dr. Daisy Ocampo (Caxcan, or Caz' Ahmo, Indigenous Nation of Zacatecas, Mexico) earned her PhD in History from the University of California, Riverside in 2019. Her research in Native and Public History informs her work with museum exhibits, historical preservation projects, and community-based archives. She is the author of Where We Belong: Chemehuevi and Caxcan Preservation of Sacred Mountains (The University of Arizona Press, 2023) and is currently working on two major projects: “Pá'čapa: A Mt. Rubidoux Story,” a short documentary film which she co-produced, and “Fire Kinship,” an exhibit she curated at the UCLA Fowler Museum sponsored by Getty.Further ReadingNative American Graves Protection and Repatriation Act (NAGPRA)PST ART

We speak with LAist reporter Nick Gerda for an update on his reporting about nepotism in Orange County politics. New rent hikes allowed for renters, but there are exceptions. UCLA's Fowler Museum returned artifacts to an indigenous group in Australia. Plus, more. Support The L.A. Report by donating at LAist.com/join and by visiting https://laist.com.Support the show: https://laist.com

UCLA Arts alumnus and artist Amir H. Fallah M.F.A. ‘05 joins Works In Progress to discuss his initial interests in art, skateboarding, and graffiti; how he has time after time had to sink or swim; the ups and downs of being an independent magazine publisher; and the therapeutic power of his 2023 Fowler Museum exhibition, The Fallacy of Borders.

Episode No. 634 is a holiday clips episode featuring artist Amalia Mesa-Bains.  The Phoenix Art Museum is presenting “Amalia Mesa-Bains: Archaeology of Memory,” the first retrospective of the pioneering Chicana artist. The exhibition includes nearly 60 works including fourteen of Mesa-Bains' major installations. It was curated by María Esther Fernández and Laura E. Pérez and is on view in Phoenix through February 25, 2024. The exhibition originated at the Berkeley Art Museum & Pacific Film Archive. The outstanding catalogue was published by BAMPFA in association with University of California Press. Amazon and Indiebound offer it for about $50. Across a half-century, Mesa-Bains has foregrounded Chicana forms such as altares (home altars), ofrendas (offerings to the dead), descansos (roadside resting places), and capillas (home yard shrines) within contemporary art. Her work often spotlights domestic spaces and the construction of landscape in ways that highlight colonial erasure. Among the museums which have presented solo exhibitions of Mesa-Bains' work are the Whitney Museum of American Art, the Williams College Museum of Art, the Fowler Museum at UCLA, and the San Francisco Museum of Modern Art. As promised on the program: Sandy Rodriguez on Episode No. 532. “New World Wunderkammer” at the Fowler Museum. For more images, see Episode No. 592.

Artist Myrlande Constant from Haiti is the focus of a retrospective of her work at UCLA's Fowler Museum. Born in and working in Haiti, Ms. Contant is know for her stunning and innovative work. For this episode we talk to the curators for Myrlande Constant: The Work of Radiance Jerry Philogene, associate professor of American Studies at Dickinson College, PA. And Katherine Smith, Fowler curatorial and research associate of Haitian arts.

Episode No. 592 of The Modern Art Notes Podcast features artist Amalia Mesa-Bains and curator Michael Duncan. The Berkeley Art Museum and Pacific Film Archive is presenting "Amalia Mesa-Bains: Archaeology of Memory," the first retrospective of the pioneering Chicana artist. The exhibition includes nearly 60 works including fourteen of Mesa-Bains' major installations. It was curated by María Esther Fernández and Laura E. Pérez and is on view through July 23. The outstanding catalogue was published by the Berkeley Art Museum in association with University of California Press. Amazon and Indiebound offer it for about $50. Across a half-century, Mesa-Bains has foregrounded Chicana forms such as altares (home altars), ofrendas (offerings to the dead), descansos (roadside resting places), and capillas (home yard shrines) into contemporary art. Her work often spotlights domestic spaces and the construction of landscape in ways that highlight colonial erasure. Among the museums which have presented solo exhibitions of Mesa-Bains' work are the Whitney Museum of American Art, the Williams College Museum of Art, the Fowler Museum at UCLA, and the San Francisco Museum of Modern Art. As promised on the program: Sandy Rodriguez on Episode No. 532. On the second segment, curator Michael Duncan discusses "Another World: The Transcendental Painting Group, 1938-45," which is at the Los Angeles County Museum of Art through June 19.  The exhibition presents a group of mostly northern New Mexico-based artists, including Raymond Jonson and Agnes Pelton, who built a spiritually-informed abstraction with a painterly language that included symbols and images drawn from the collective unconscious. The show's catalogue was published by the Crocker Art Museum and DelMonico Books. Amazon and Indiebound offer it for about $60.

Nathalie Sánchez is an interdisciplinary artist, social justice arts educator, and arts advocate raised and rooted in Los Angeles. At VPAM, Nathalie provides leadership and support to the Museum Studies Certificate Program at East Los Angeles College, an academic and professional development program aimed at cultivating a new generation of museum professionals. Nathalie firmly believes in the transformative power of arts education and community. She has developed and led visual arts and museum education programs at ArtworxLA, Avenue 50 Studio, ESMoA, Fowler Museum at UCLA, Museum of Contemporary Art, Los Angeles (MOCA), and P.S. ARTS. In 2016, she founded the Art Education + Social Justice Book Club with over 300 members internationally. She graduated with her B.A. in Art History and Studio Arts with an emphasis in education from Loyola Marymount University and received her M.F.A. in Public Practice from Otis College of Art and Design.

The Fowler Museum exhibition Aboriginal Screen-Printed Textiles from Australia's Top End invites us to explore more than 70 distinctive, screen-printed textiles made by contemporary artists at five Aboriginal-owned art centers across northern Australia. These textiles combine traditional cultural knowledge with contemporary production techniques to produce dazzling, unique fabrics. Their bold colors and striking patterns have inspired interior design, furnishings, and fashion apparel.  Joanna Barrkman, Senior Curator of Southeast Asian and Pacific Arts at the Fowler Museum, joins the UCLA Arts podcast Works In Progress to share stories about the artists and inspirations behind these textiles, on view at the Fowler through July 10.  

Hey y'all. Good morning and evening to all my listeners. Not much new with me. Just overall working a lot and juggling many different projects in life, as all of us are. But enough about me. Let's get to this week's guest, the wonderful Nathalie Sánchez, an interdisciplinary artist, social justice arts educator, and arts advocate raised and rooted in Los Angeles. She graduated with her B.A. in Art History and Studio Arts with an emphasis in education from Loyola Marymount University and received her M.F.A. in Public Practice from Otis College of Art and Design. Nathalie has developed and led visual arts and museum education programs at ArtworxLA, Avenue 50 Studio, Fowler Museum at UCLA, Museum of Contemporary Art Los Angeles (MOCA), and P.S. ARTS. In 2016, Nathalie founded the Art Education + Social Justice Book Club as a direct response to the U.S. presidential election and in the hopes of cultivating a community of thought partners and change-makers in arts education. Currently, the Art Education + Social Justice Book Club has over 350 members worldwide and continues to grow. Nathalie and I talk about all these projects, along with how to marry art and community, having advocates, holding accountability, and making friends. Nathalie was a joy to talk to and I hope you can join her in the upcoming book club meetings. Until then, stay safe and healthy and I hope you enjoy this.Links Mentioned:Nathalie SánchezArt Education + Social Justice Book ClubBarbara CarrascoUnited Farm WorkersPatrick MartinezMacha SuzukiVincent Price Art MuseumFollow Seeing Color:Seeing Color WebsiteSubscribe on Apple PodcastsFacebookTwitterInstagram

The Fowler Museum at UCLA has brought together approximately 200 objects from collections across campus for an exhibition called "The Map and the Territory: 100 Years of Collecting at UCLA." The show was set to open last spring to coincide with UCLA's Centennial, and will now open in July.Thematically linked and geographically diverse, the objects – such as a guitar made from an armadillo, a meteorite, a Star Trek manuscript, and the bodies of Arctic terns – tell stories of migration, home, and the unknown.Through their juxtapositions, the objects included in the exhibition make new meanings in exciting and unexpected ways, and also tell a larger story about UCLA's pursuit of knowledge in our global society through its collections.In this episode of the UCLA Arts podcast Works In Progress, we hear from several curators about the special collections at UCLA, and the stories that these remarkable objects tell.

Imagine a society where truth and knowledge have no value, people are glued to their screens, and world war feels imminent. Or think of a place enraptured by the seductive promises of a carnival-hawker con man. Sound familiar? The first, of course, is the dystopia of Fahrenheit 451, the story of a firefighter charged with burning books in order to destroy knowledge. The second is the fictional Green Town, Illinois, the setting of Something Wicked This Way Comes, the story of a sinister traveling carnival leader and the young boys who thwart his plot to enslave their home. They are two of the most famous novels by one of the most brilliant and beloved science fiction writers of all time: Ray Bradbury. The author, who saw the dangers inherent to the modern world, used a variety of genres, including fantasy, horror, and science fiction, to illuminate pressing issues like censorship and xenophobia. Author Lilliam Rivera, Arizona State University Center for Science and the Imagination professor Michael Bennett, and Jonathan R. Eller, Director of the Center for Ray Bradbury Studies at Indiana University, visit Zócalo in honor of what would have been longtime Angeleno Bradbury’s 100th birthday, to discuss what he would make of 2020, and what his work can teach us in the current moment. This discussion was moderated by ZYZZYVA managing editor Oscar Villalon, with opening comments by actor Joe Mantegna, and was co-presented with the Fowler Museum at UCLA on August 27, 2020. Visit www.zocalopublicsquare.org to read our articles and learn about upcoming events. Twitter: twitter.com/thepublicsquare Instagram: www.instagram.com/thepublicsquare/ Facebook: www.facebook.com/zocalopublicsquare

Artists took to the streets to protest government inaction in response to the AIDS crisis. What lessons can a new generation apply to COVID-19?Works In Progress talks to David Gere, a professor in the UCLA Department of World Arts and Cultures/Dance and the director of the UCLA Art and Global Health Center. His center sponsors the UCLA Sex Squad -- a theater troupe that teaches young people about sexual health through music, dance and spoken word -- and organized the recent photographic exhibition "Through Positive Eyes" at the Fowler Museum.Gere moved to San Francisco in 1985 to be a dance critic, and he wrote about theatrical dances and the "choreography of activism" in response to the AIDS crisis in his 2004 book "How to Make Dances in an Epidemic: Tracking Choreography in the Age of AIDS.” 

Dr. Saba Soomekh, American Jewish Committee–LA, speaking at Kehillat Israel’s annual Israel Matters speaker event on November 19, 2019. The event is introduced and moderated by Rick Entin, past Chair of Israel Matters programming at KI. Dr. Soomekh discusses some of the most pressing issues confronting American Jewish support for Israel including: political divisiveness in America, the rise in Anti-Semitism and Anti-Zionism, and the changing demographic landscape in Israel. Saba Soomekh, PhD is the Assistant Director of Interreligious and Intercommunity Affairs at American Jewish Committee (“AJC”) -LA and a lecturer at UCLA, where she teaches Religious Studies, Middle Eastern History, and Women’s Studies courses. She received her BA in Religious Studies from the University of California, Berkeley. Her Masters in Theological Studies from Harvard Divinity School and her Ph.D. in Religious Studies from the University of California, Santa Barbara. Dr. Soomekh teaches and writes extensively on World Religions, Women and Religion, intersectionality and its impact on the Jewish community, and the geo-politics of the Middle East. In the summer of 2019, Dr. Soomekh was a Scholar-in-Residence at Oxford University with the Institute for the Study of Global Antisemitism and Policy. Professor Soomekh is the editor of the book Sephardi and Mizrahi Jews in America (Purdue University Press, 2016) and the author of the book From the Shahs to Los Angeles: Three Generations of Iranian Jewish Women between Religion and Culture (SUNY Press, 2012). Her book was awarded the Gold Medal in the 2013 Independent Publisher Book Award in the Religion category. Besides giving numerous scholarly and public presentations on the Middle East, world religions and women in the developing world, she is also a member of the city of Los Angeles’ Human Resource Commission where she is involved in numerous interfaith and intercultural projects and she is a consultant for numerous schools in Los Angeles focusing on creating honest dialogue about cultural issues. Dr. Soomekh was the Exhibition Coordinator of the exhibition at the Fowler Museum at UCLA entitled: Light and Shadows: The Story of Iranian Jews. She was a consultant and participant for PBS’ documentary “Iranian Americans,” which aired on PBS on Dec. 18, 2012. She was also featured in an NPR story on Iranian Jews in America, and the Times of Israel wrote a piece on her entitled “Iranian Scholar Breaks Stereotypes While Studying Them”. Rick Entin is a long-time member of Kehillat Israel where he formerly served as a Board Trustee and Chair of its Israel Matters Committee. Rick’s past leadership positions in the Los Angeles community include Chairman of the Board of Hillel 818 and Chair of the Real Estate and Construction Division of the Jewish Federation of Greater Los Angeles. He is currently on the LA Leadership Counsel of Birthright. Rick is also a fellow of the Wexner Heritage Foundation. He was recently certified as a facilitator by Resetting the Table, an organization dedicated to creating courageous communication across divides. Rick was also recently selected to participate in a two-year Leadership Summit with the Wexner Foundation to explore key challenges facing the North American Jewish Community and the State of Israel.

HIV. Turns out, it's not that bad. In today's episode we talk to Kelly Gluckman, a 32 year old activist living with HIV. Diagnosed in her 20's, Kelly has turned a heartbreaking diagnosis into a passion to educate. We talk about how she contracted the virus, the coping mechanism that saved her live and the major role Planned Parenthood played in her journey. Oh ya, plus we drank. A lot. To follow Kelly's journey, follow her on Instagram @KellyGluckman. If you enjoyed this episode, please leave us a review on your favorite podcast platform and remember to follow us on Instagram and Facebook @heavytopics! *episode notes* If you need sexual health and family planning services, please go to Planned Parenthood and/or Venice Family Clinic (Los Angles based) For more information about HIV & AIDS: https://www.poz.com/, http://www.hivequal.org/ and https://aidsinfo.nih.gov/ The Through Positive Eyes exhibit at the Fowler Museum at UCLA is going until Feb 16, 2020. If you'd like to see Kelly perform, head over to the website and check the dates and times.

Our guest for the hour today is visual artist Sam Vernon. This episode is a part of our ongoing series of programs focusing on Utah State University's Year of the Arts. Sam Vernon earned her MFA in Painting/Printmaking from Yale University in 2015 and her BFA from The Cooper Union for the Advancement of Science and Art in 2009. Her installations combine xeroxed drawings, photographs, paintings and sculptural components in an exploration of personal narrative and identity. She uses installation and performance to honor the past while revising historical memory. Vernon has most recently exhibited with We Buy Gold, Interstitial Gallery, Coney Art Walls curated by Jeffrey Deitch, Brooklyn Museum, Queens Museum, Fowler Museum at UCLA and Seattle Art Museum. Sam Vernon lives in Oakland, CA and teaches printmaking as an Assistant Professor at California College of the Arts (CCA). She gave a presentation recently at USU as a part of the Communitas Lecture Series in the USU Caine College of the Arts.

Whose Global Village: Rethinking How Technology Shapes Our World (NYU Press) In Whose Global Village?, Ramesh Srinivasan explores how new technologies often reinforce the inequalities of globalization because developers rarely take into account communities outside the Western world. By sharing stories of collaboration with Native Americans in California and New Mexico, revolutionaries in Egypt, and villages in rural India, Srinivasan urge us to re-imagine social media, the Internet, and even mobile phones from the perspective of these diverse cultures.   Praise for Whose Global Village?  “The 2016 election showed us what happens when technologies like Facebook, that are supposed to connect us, actually leave us in bubbles and oblivious to the world that doesn’t agree with us. Whose Global Village?shows that another technology is possible, and in fact exists, through examples across the world that are all about furthering cultural voices and conversations.” --The Yes Men “In the age of video streaming and the internet, indigenous peoples can fight for their rights as we see with the Dakota Pipeline and across the world today. Whose Global Village? points the way forward to a digital world that recognizes the dignity and voices of indigenous peoples.”--Winona La Duke,  Executive Director of Honor the Earth “Upstart successes like The Young Turks are becoming less common, partially as a result of the increasing corporatization and monopolization of social media. Whose Global Village? offers an alternate path, out of the self-selected echo chambers that marginalize non-western and indigenous voices, and into a future where new technology operates in greater harmony with grassroots concerns and culturally diverse populations across the world.”--Cenk Uygar,  Founder of The Young Turks Ramesh Srinivasan isthe Director of the Digital Cultures Lab and Associate Professor of Information Studies and Design and Media Arts at UCLA. His work has been featured by Al Jazeera, The Washington Post, The Young Turks, National Public Radio, and The Huffington Post.   Rigo 23 is an artist living in Los Angeles and working globally. His work has been the subject of solo exhibitions at REDCAT and Fowler Museum in Los Angeles; the New Museum and Artists Space, in New York City and Museu de Arte Contemporanea, Rio de Janeiro in Brasil. His work has been included in the First Kochi-Muziris Biennale in India; 2nd Aichi Triennial in Japan; 3rd Shenzhen Hong-Kong Bi-City Biennial of Urbanism and Architecture, in China; 5th Auckland Triennial in New Zealand; 10th Lyon Biennale in France; the 2006 Liverpool Biennial in the UK, and the 2004 California Biennial, among others.

Whose Global Village: Rethinking How Technology Shapes Our World (NYU Press) In Whose Global Village?, Ramesh Srinivasan explores how new technologies often reinforce the inequalities of globalization because developers rarely take into account communities outside the Western world. By sharing stories of collaboration with Native Americans in California and New Mexico, revolutionaries in Egypt, and villages in rural India, Srinivasan urge us to re-imagine social media, the Internet, and even mobile phones from the perspective of these diverse cultures.   Praise for Whose Global Village?  “The 2016 election showed us what happens when technologies like Facebook, that are supposed to connect us, actually leave us in bubbles and oblivious to the world that doesn’t agree with us. Whose Global Village?shows that another technology is possible, and in fact exists, through examples across the world that are all about furthering cultural voices and conversations.” --The Yes Men “In the age of video streaming and the internet, indigenous peoples can fight for their rights as we see with the Dakota Pipeline and across the world today. Whose Global Village? points the way forward to a digital world that recognizes the dignity and voices of indigenous peoples.”--Winona La Duke,  Executive Director of Honor the Earth “Upstart successes like The Young Turks are becoming less common, partially as a result of the increasing corporatization and monopolization of social media. Whose Global Village? offers an alternate path, out of the self-selected echo chambers that marginalize non-western and indigenous voices, and into a future where new technology operates in greater harmony with grassroots concerns and culturally diverse populations across the world.”--Cenk Uygar,  Founder of The Young Turks Ramesh Srinivasan isthe Director of the Digital Cultures Lab and Associate Professor of Information Studies and Design and Media Arts at UCLA. His work has been featured by Al Jazeera, The Washington Post, The Young Turks, National Public Radio, and The Huffington Post.   Rigo 23 is an artist living in Los Angeles and working globally. His work has been the subject of solo exhibitions at REDCAT and Fowler Museum in Los Angeles; the New Museum and Artists Space, in New York City and Museu de Arte Contemporanea, Rio de Janeiro in Brasil. His work has been included in the First Kochi-Muziris Biennale in India; 2nd Aichi Triennial in Japan; 3rd Shenzhen Hong-Kong Bi-City Biennial of Urbanism and Architecture, in China; 5th Auckland Triennial in New Zealand; 10th Lyon Biennale in France; the 2006 Liverpool Biennial in the UK, and the 2004 California Biennial, among others.

The dazzling array of artworks in Earth Matters serve as inspiration for posing new, cross-disciplinary questions about the politics of conservation in Africa. Bridging the sciences and the humanities in a provocative and fruitful encounter between the fields of law, literature, conservation biology, art history, and the geographies of food production, UCLA scholars consider how we might counteract “business as usual” and imagine new possibilities for a more equitable and sustainable future. Participants are E. Tendayi Achiume, Binder Clinical Teaching Fellow, School of Law; Judith Carney, Professor, Geography; Yogita Goyal, Associate Professor, English; Kevin Njabo, Africa Director, Center for Tropical Research, Institute of the Environment and Sustainability; and moderator Gemma Rodrigues, Curator of African Arts, Fowler Museum.

Since the January 2010 earthquake, Hollywood celebrities, like so many Americans, have given their money and loaned their faces and voices to Haiti. But are they helping the country? In conjunction with the Fowler Museum at UCLA exhibition “In Extremis: Death and Life in 21st-Century Haiti,” this question was posed by journalist Amy Wilentz to a panel of people who have worked in Haiti and philanthropy: Generosity Water CEO Jordan Wagner, UCSB black studies scholar Claudine Michel, and Giving Back Fund president Marc Pollick.

For every commissioned piece of public art there are countless unlawful works — scrawled spray-painted initials, cheeky visual pranks, massive murals soaring up buildings and across rail cars, shrines tucked into unused corners. Street artists have become figures of global recognition, even acceptance. Artist collectives in Berlin take over buildings; London-based Banksy puts on pop-up exhibits around the world and debuted a film at Sundance; Shepard Fairey papered the U.S. with his Andre the Giant sticker campaign and went on to create a much-copied campaign poster for Barack Obama. But street artists also remain the subject of controversy, forcing cities to consider what art is acceptable, who should be allowed to create it, and where. In conjunction with the Fowler Museum's exhibition of Larry Yust’s photographs of street art in Los Angeles, Berlin, and Paris, Zócalo invited arts writer Jori Finkel, Fowler Museum curator Patrick Polk, Aaron Rose, co-curator of MOCA’s forthcoming street art exhibit, street artist Retna, and artist and curator Man One to ask how street art humanizes cities.

Podcast of public lecture by Sanjay Subrahmanyam at the Fowler Museum at UCLA as part of the Steeped in History: The Art of Tea exhibit.

The University of Arizona Museum of Art presented the sculpture of El Anatsui, one of Africa’s foremost living artists, and one who has had enormous impact on a subsequent generation. “El Anatsui: GAWU,” on view at the UA Museum of Art from Nov. 1, 2007 to Jan. 20, 2008, features seven large-scale sculptures by the artist. El Anatsui was recently named by the British publication The Independent as one of the 50 greatest cultural figures shaping the African continent. “El Anatsui: GAWU” is an Oriel Mostyn Gallery touring exhibition and was generously supported by the Arts Council of Wales. Additional funding was provided by Wales Arts International. El “Anatsui: GAWU,” the artist’s first solo exhibition in the United States, visits the UA Museum of Art after presentations at The Hood Museum of Art at Dartmouth College, The Harn Museum of Art at the University of Florida, Gainesville, and The Fowler Museum at UCLA. The exhibition’s final presentation will take place at the Smithsonian’s National Museum for African Art in Washington, DC.