Podcast appearances and mentions of Francesco Clemente

Founder and Publisher Daniel Power started powerHouse Books in 1995, and was joined by Craig Cohen in 1996. The early years had Power and Cohen tag-teaming on a few books at a time, raising the bar each season when, in 1998, PowerHouse Books had its first best-seller, Women Before 10 A.M. by Véronique Vial. Power and Cohen followed up on that success in 1999 with the critically acclaimed cult monographs X-Ray by François Nars and Life is Paradise by Francesco Clemente and Vincent Katz. In 2000, Cohen became a partner in the company, assuming the title of Vice President and Associate Publisher, serving as Executive Publisher between 2008 and 2019. He quickly signed up for the next company bestseller, Back in the Days by Jamel Shabazz, and in the same year, he developed a packaging deal with Capitol Records to produce the Beastie Boys Anthology: The Sounds of Science. With the publishing program growing rapidly, Power and Cohen hired Sara Rosen, who served as Publicity Director from 2000 to 2009. Since then, the company has redefined the cultural landscape of the illustrated book, becoming the only U.S. independent publishing company to do so. He collaborated with photographer Larry Fink on the latter's posthumous retrospective monograph, Larry Fink: Hands On / A Passionate Life of Looking. Resources: Powerhouse Books Larry Fink: Hands On / A Passionate Life of Looking Larry Fink Altadena Photographers Support Ibarionex & The Candid Frame Websites Photo Workshops & Webinars Breaking Out of a Rut: Tips for Creating Breakthroughs in Your Photography Sponsors Charcoal Book Club Frames Magazine Education Resources: Momenta Photographic Workshops Candid Frame Resources Download the free Candid Frame app for your favorite smart device. Click here to download it for . Click here to download Contribute a one-time donation to the show thru Buy Me a Coffee Support the work at The Candid Frame by contributing to our Patreon effort.  You can do this by visiting or the website and clicking on the Patreon button. You can also provide a one-time donation via . You can follow Ibarionex on and .

Daniel Power of PowerHouse Books and Yolanda Cuomo of Yolanda Cuomo Design join me for my 200th episode to talk about their famed collaborations including their latest, Larry Fink: Hands On / A Passionate Life of Looking (PowerHouse). This was a really fun and enlightening episode. It is filled with great history and great humor from two incredibly influential figures in photography who also happen to be two great friends. Daniel and Yo talk about their own histories and achievements as well as the love and dedication that went into this last book they worked on with Larry Fink before he passed. https://powerhousebooks.com ||| https://yocuomo.com This podcast is sponsored by the Charcoal Book Club Begin Building your dream photobook library today at https://charcoalbookclub.com Founder and Publisher Daniel Power started powerHouse Books in 1995, and was joined by Craig Cohen in 1996. The early years had Power and Cohen tag-teaming on a few books at a time, raising the bar each season when, in 1998, powerHouse Books had its first best-seller, Women Before 10 A.M. by Véronique Vial. Power and Cohen followed up that success in 1999 with the critically-acclaimed cult monographs X-Ray, by François Nars, and Life is Paradise, by Francesco Clemente and Vincent Katz. In Fall 2006, powerHouse Books launched The POWERHOUSE Arena, a laboratory for creative thought: exhibitions, installations, presentations, displays, viewings, performances, readings, and retail therapy—all drawing upon photography and popular culture as sources of inspiration. Located at 28 Adams Street in the DUMBO section of Brooklyn, the 10,200–square foot marquis showroom and retail space is unlike any other in New York City, featuring a soaring 24-foot ceiling on the 5,000–square foot ground floor, and an equally impressive 5,000–square foot mezzanine, with over 175 feet of glass frontage, designed by esteemed architect David Howell Design. Attached by a central staircase is the Arena Skylounge, a 560 square-foot, mezzanine-level, multifunctional gallery, VIP lounge, and green room. These stunning spaces have hosted a series of landmark exhibitions and events, and are now available for private hire. Yolanda Cuomo is an experienced art director and avid educator. As Principal of Yolanda Cuomo Design, she provides the creative vision, direction, and passion behind all of the Studio's work. Cuomo and her team work collaboratively with their clients, which include leading publishers, museums, authors, editors, artists, and photographers, to develop memorable and meaningful cultural and commercial projects. Cuomo's recent projects include the design of two books with photographer Pete Souza OBAMA, An Intimate Portrait and SHADE, A Tale of Two Presidents, a seven hundred page book entitled An Anthology about Paolo Pellegrin curated by Germano Celant that accompanied an exhibition at the Maxxi Museum in Rome, Italy, a book about Bob Dylan called DYLAN BY SCHATZBERG and the book A Life In Pictures: Steve McCurry. Throughout 2013, Cuomo edited and designed a two-volume nine-hundred-page limited-edition box set, The Library of Julio Santo Domingo, which also included a special-edition iPad and private app celebrating this collection. In fall 2012, Cuomo co-authored with Norma Stevens the book New York at Night, a collection of photographs published by PowerHouse Books. In 2011, Cuomo's studio designed the enormously successful Diane Arbus retrospective which was organized by the Jeu de Paume in Paris, and traveled internationally.

I talk to the simply incredible DIANE VON FURSTENBERG. Global fashion icon, entrepreneur, and steadfast advocate for female empowerment, we discuss her first art memory, the miracle of her mother's early life, what is was like hanging out with Andy Warhol and that famous kitchen polaroid, what is was like being painted and photographed by Francesco Clemente, Chuck Close and Li Song Song. That's just the start. We then talk about how she created the iconic wrap dress, if she knew early on that she going to be a huge success, what it means to her to be an icon, how she deals with failure, what her family and staff think about her, and DVF also offers invaluable advice on starting a fashion business and much, much, more.Download, it's filled with LIFE ADVICE and is an absolute MASTERPIECE.Thank you to @therealdvf for being a true icon and fantastic guest.Photo copyright owned by DVFProduced by Martin LumsdenMusic by Robin Katz Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

STILL PUSHING THE BOUNDARIES. Sir Norman Rosenthal celebrated his 80th birthday on November 8th 2024. ​A curator and art historian, he was Exhibitions Officer at Brighton Museum and Art Gallery, a curator at the Institute of Contemporary Arts and for many years Exhibitions Secretary at the Royal Academy in London. Recently he curated Georg Baselitz: The Last Decade at the Sabancı Museum in Istanbul. His Roberto Matta 1911-2002 opened at Ca' Pesaro, Venice on October 25th 2024, and he is curating David Hockney's April 2025 exhibition at Fondation Louis Vuitton, Paris. "Art is a complex story, and one has to pick out the great artists who have their own vision of the world." "I always liked to do things with other people." "I'm very proud to be having a dialogue with David Hockney"

The artist Francesco Clemente may have been born and raised in Naples, but—having lived and worked around the world, including in Rome, India, New York City, and New Mexico—he considers himself a citizen of no place. Widely known for his work across mediums, from drawings and frescoes to mosaics, oils, and sculptures, Clemente makes art that evokes his mystical perspective, with his paintings often featuring spiritual subjects or dreamlike symbols. Beyond exhibiting in galleries and museums, over the years Clemente has also made works for a variety of other venues, including a nightclub, a hotel, a Hollywood film, and the Metropolitan Opera. This fall, his work (and name) will be central to his latest unusual project: the soon-to-open Clemente Bar at chef Daniel Humm's three-Michelin-starred restaurant Eleven Madison Park.On the episode, Clemente discusses his collaboration with Humm, frescoes as the most luminous artistic medium, his deep affinity with India, and the certain timeworn quality to his art.Special thanks to our Season 10 presenting sponsor, L'École, School of Jewelry Arts.Show notes:Francesco Clemente[3:55] Clemente Bar[3:55] Eleven Madison Park[3:55] Daniel Humm[3:55] Alba Clemente[7:50] Murals for the Palladium nightclub[7:50] Hudson Hotel[7:50] Ian Schrager[8:43] Arata Isozaki[8:43] Philippe Starck[8:43] Kenny Scharf[8:43] Keith Haring[8:43] Jean-Michel Basquiat[8:43] Steve Rubell[9:43] Works for Great Expectations (1998)[9:43] “The Sopranos” series[9:43] Portrait of Fran Lebowitz[11:37] Portrait of Toni Morrison[23:12] Jiddu Krishnamurti[23:12] Theosophical Society[24:49] Álvaro Siza[24:49] Museo Madre[32:48] Cy Twombly[32:48] Joseph Beuys's exhibition “We Are the Revolution” (1972)[35:30] Rudolf Steiner[36:56] Letters to a Young Poet by Rainer Maria Rilke[37:57] Swami Vivekananda[39:20] Salman Rushdie[41:31] Nisargadatta Maharaj[46:51] Andy Warhol[46:51] Allen Ginsberg[48:13] William Blake[48:54] Raymond Foye[48:54] Hanuman Books[50:04] “The Four Corners” (1985)[53:36] Saint Francis

PTF is back with you on this show that features two In the Money Media stalwarts, Nick Tammaro and Matt Bernier, as they go over the all-stakes Pick Six for Saturday with thoughts on the likes of Francesco Clemente, Stone Age, Maryquitecontrary, Intrepid Daydream, Star Fortress, Fluffy Socks, Hejazi, Accretive, Warm Heart, Integration, First Mission, National Treasure, and many more.

PTF is back with you on this show that features two In the Money Media stalwarts, Nick Tammaro and Matt Bernier, as they go over the all-stakes Pick Six for Saturday with thoughts on the likes of Francesco Clemente, Stone Age, Maryquitecontrary, Intrepid Daydream, Star Fortress, Fluffy Socks, Hejazi, Accretive, Warm Heart, Integration, First Mission, National Treasure, and many more.

Nuestro primer episodio internacional nos traslada mentalmente a Santa Teresa, Costa Rica, para charlar con Pía Palmas, artista argentina que vive allá desde 2012. Más conocida como @aip.arte en Instagram, Pía es una artista autodidacta que llena lienzos de colores, formas y frases desde estudio en el medio de la selva. Su obra contagia optimismo y nos recuerda que el arte salva. En el episodio de hoy nos comparte sobre su proceso, su camino como artista y sus fuentes de inspiración. Notas del Episodio: Instagram de Pía: https://www.instagram.com/aip.arte/?hl=es Recomendados de Pía: Sen Senra (música), Sobrenatural de Jeo Dispenza (libro), Francesco Clemente (artista) Fondos descargables de Pía: https://www.yagmour.com.ar/ygmryaiparte

No guests this week, so it's time for another clipshow! Catch up on Pixel Pizza with words of wisdom from some of our most popular guests over the past year. This handcrafted 8-slice pie of an episode contains flavors from around the world. And while the interviews may be old, we've got new chiptune music from P-Chip! So get ready to kick back and listen to the following folks: -Bannon Rudis, director of River City Girls 2 -Valerio Bernardino, Francesco Clemente, and Mattheo Chironi, developers of Placid Plastic Duck Simulator -Kay-Lynne Fehr, Community Manager at Noodlecake Studios -Seth Kearsley, director of the Kingdom Hearts animated pilot -Rhea Gupte & Prateek Saxena, developers of Fishbowl -LakeFeperd, developer of the Spark the Electric Jester games -Tony Grayson, director of AntonBlast -Kim Belair, CEO of Sweet Baby Inc. LINKS:

In questo audio il prezioso incontro con Danilo Eccher storico curatore ed Elisabetta Erba geologa. L'intervista è in Contemporaneamente di Mariantonietta Firmani, il podcast pensato per Artribune.In Contemporaneamente podcast trovate incontri tematici con autorevoli interpreti del contemporaneo tra arte e scienza, letteratura, storia, filosofia, architettura, cinema e molto altro. Per approfondire questioni auliche ma anche cogenti e futuribili. Dialoghi straniati per accedere a nuove letture e possibili consapevolezze dei meccanismi correnti: tra locale e globale, tra individuo e società, tra pensiero maschile e pensiero femminile, per costruire una visione ampia, profonda ed oggettiva della realtà. Danilo Eccer ed Elisabetta Erba ci parlano di arte e terra, musei e geologia, tra storia e futuro, di passione per il mare che nasce dalle montagne. I musei contemporanei sono grandi fabbriche di cultura. Il pianeta ha già registrato eccessi di CO2 nell'atmosfera, nelle ere precedenti con surriscaldamenti di oltre 5°C gradi (15°C al Polo Nord. Con l'aumento dell'interazione tra arte e altre discipline la curatela diventa fondamentale per la messa in scena dell'opera. Gli oceani ricoprono il 70% del pianeta, dall'inizio della rivoluzione industriale hanno assorbito il 40% della CO2; prima dell'uomo erano i vulcani che introducevano CO2 nell'atmosfera. E molto altro.ASCOLTA L'INTERVISTA!!! GUARDA IL VIDEO!! https://youtu.be/nwl53ADfPLw BREVI NOTE BIOGRAFICHE DEGLI AUTORI Danilo Eccher storico e curatore, dal 1989 è stato direttore di alcuni dei più autorevoli musei contemporanei italiani come: Galleria Civica di Trento, dove sarà anche Presidente della Fondazione. Poi direttore alla GAM di Bologna, al MACRO di Roma. Fino alla GAM di Torino, dove sperimenta allestimenti tematici temporanei, nel 1993 commissario per la 45ª Biennale di Venezia.La sua ricerca si concentra sulla pittura contemporanea, organizzando mostre personali di autorevoli artisti tra i quali: Anselm Kiefer, Georg Baselitz, Cecily Brown, Francesco Clemente. Ed anche: Roy Lichtenstein, Ettore Spalletti, Jannis Kounellis, Christian Boltanski, Tony Cragg, Hermann Nitsche e molti altri. Curatore indipendente dal 2015, procede con personali e collettive di grande successo come: Love, Enjoy, Dream e Crazi, presso il Chiostro del Bramante di Roma. Nel 2020 ha curato la mostra “Arte Povera: Italian Landscape” al Metropolitan Museum di Manila. Già docente al corso di specializzazione in storia dell'arte all'Università di Bologna, e al corso di management museale alla Luiss di Roma. Inoltre è stato co-direttore del master per curatori di arte contemporanea e architettura, in collaborazione tra MACRO e Università La Sapienza di Roma. In fine, dal 2019 è titolare della cattedra di Museologia al Dipartimento di Filosofia dell'Università di Torino. Elisabetta Erba Professore Ordinario di Paleontologia e Paleoecologia presso il Dipartimento di Scienze della Terra "Ardito Desio" dell'Università degli Studi di Milano. Micropaleontologa specialista di nannofossili calcarei mesozoici, ha partecipato a numerose crociere oceanografiche: sui Bacini Anossici nel Mediterraneo Orientale e in Oceano Pacifico nell'ambito del Progetto Internazionale Ocean Drilling Program.Autore di 180 pubblicazioni su riviste ISI ad alto impatto, 5 drilling proposals con oltre 2000 citazioni, sui top peer-reviewed journals: Science, Nature e Nature Geoscience. Oltre 8800 citazioni e H-Index = 52, nella banca dati SCOPUS. Membro di prestigiose istituzioni come: Accademia Nazionale dei Lincei (dal 2013); Academia Europaea - Section Earth and Cosmic Sciences (dal 2013). Istituto Lombardo di Scienze e Lettere (dal 2019). Presidente della Società Geologica Italiana dal 2015 al 2017, Attualmente è Presidente della Commissione IODP-Italia. In fine, è presente nei (10) TOP Italian Scientists, Earth Sciences dal 2015, ottiene numerosi riconoscimenti tra i quali: Jean Baptiste Lamarck Medal, European Geosciences Union 2022. Ed anche il Premio Tartufari per le Geoscienze - Accademia Nazionale dei Lincei 2012; “Exceptional Reviewer” for the journal GEOLOGY 2006.

This week we have a record-breaking THREE guests! Coming to us all the way from Italy are some of the developers behind the oddly relaxing indie hit, Placid Plastic Duck Simulator. Game designer Valerio Bernardino, composer Francesco Clemente, and programmer Mattheo Chironi break down how this "game about nothing" came to be, the small details they are proudest of, and the importance of committing to your craziest ideas. Plus for the first time we have pizzeria recommendations from the birthplace of pizza itself! Synthwave/chiptune artist Vector Hold brings us some tracks that are just as chill as the game we're discussing! LINKS:

This is LiveArt's Hot List for the second quarter of 2022. Using our comprehensive data, we looked at the sales in April, May and June in London, New York and Hong Kong. We tried to identify the artists with high hammer ratios across multiple sales. Hammer ratio is the hammer price over low estimate. We narrowed that list to a few dozen artists, excluding, for example, the names from the Winter Hot List. Then we boiled it down further to 16 artists whose markets we think are worth paying some attention to right now. To give all 16 artists the time they deserve, along with some related observations from the marketplace by George O'Dell, we split the podcast into two parts. In this episode, George discusses the markets for Ernie Barnes, Anna Weyant, Robert Motherwell, Scott Kahn, Lynda Benglis, Donald Baechler, Francesco Clemente, Roby Dwi Antono, and Katherine Bernhardt. If you want to follow along as we discuss the sales, go to analytics.liveart.io. Type the artist's name in the nav-bar search window in the upper right hand corner. Once you're on the artist's page, scroll down to the search results. In the right-hand corner you can sort by date sold, newest to oldest. Or use the Auction Sales tab to select only the sales for 2022.

C'est un couple extraordinaire que rien ne devait réunir! Adelina arménienne née en Turquie qui étudie en Italie puis les sciences politiques à Genève passionnée d'art et Egon d'une vieille famille aristocratique allemande par son père et de mère mexicaine élevé en France en Espagne et au Kenya qui a fait un peu tous les métiers et après avoir bourlingué sur les mers, piloté des petits avions en Ecosse, découvre que la passion de sa vie est la photographie. Adelina fonde le Centre d'Art Contemporain de Genève, et Egon prend des milliers de photos , mitraille sans cesse. Après un an de collaboration ils se marient et sont toujours amoureux cinquante ans plus tard! Adelina ensuite dirige le Magasin de Grenoble, est curatrice de pavillons à la Biennale de Venise, elle recevra un Lion d'or en 2015, et Egon continue de fixer sur la pellicule les artistes, les assistants, les étudiants qui partagent leur quotidien. Adelina suggère à Egon d'en faire un livre, ce sera deux ans de leur vie pour trier les photos de toute leur vie. Ce livre « Photographing Art » édité chez Skira nous fait partager la jeunesse et les débuts d'artistes alors inconnus qui sont des icônes aujourd'hui. L'attrait de ces photos est qu'ils ne posent jamais mais sont surpris « au naturel ». Au fil des pages, apparaissent Andy Warhol, Francesco Clemente, Rebecca Horn, Marina Abramovic, Christian Boltanski, Daniel Buren, Sol LeWitt et tant de personnages. Egon a constitué au fil des années d'inestimables archives des pionniers des grands mouvements de l'époque, le Pop Art, Fluxus, l'Art conceptuel, l'Art minimal, l'Art Povera et immortalisé tant de performances. Adelina et Egon qui avez eu le privilège de vivre dans l'intimité de ces grands artistes, merci de nous permettre de nous plonger dans l'ambiance de ces années de foisonnement intellectuel et de si grande énergie créatrice.

Avant Garde renaissance man Adam Green made a movie telling the story of Aladdin. It's friggin' out there and has an all-star cast! (Macaulay Culkin, Alia Shawkat, Natasha Lyonne, Bip Ling, Zoë Kravitz, Regina Spektor and many others) Watch Adam Green's Aladdin on YouTube

May is the biggest auction season of the year. It opens with a huge set of sales at Christie's. In this podcast, we'll speak with Christie's Chairman, Marc Porter, about the brother and sister collectors Thomas and Doris Ammann. Johanna Flaum, head of the Contemporary department, tells us about Warhol's Marilyn, the rare large Flowers painting, and a work by Francesco Clemente. Max Carter, Head of Christie's Impressionist and Modern department, talks about an early cubist Picasso bronze being deaccessioned by the Metropolitan Museum before going into detail on the extraordinary collection of Anne Bass. Vancessa Fusco tells us about a $45 million Van Gogh landscape and two more Monets coming to market. Emily Kaplan details the Jackson Pollock drip painting Christie's has on offer. Then she tells us about the many women artists whose work is included in the evening sale, especially a major work by Howardena Pindell who has seen million-dollar sales on the private market but little in the way of large prices in public auctions. Finally, Ana Maria Celis walks us through an important Basquiat triptych, the return of a major Richter abstract that could reset that market and a work by sought-after artist Maria Berrio. Christie's sales begin on May 9th at 7pm in New York. Sales continue on May 10th, 12th, 13th and 14th.

Kania, who grew up in a small town outside of Milwaukee, says she was the black sheep of her family. A child of the 1980s punk/new wave scene, her influences were people like Andy Warhol, Julian Schnabel and Francesco Clemente. So it follows that her first aspiration was to be an artist. But a few semesters at the School of the Art Institute of Chicago convinced Kania she didn't have the talent to make it as a painter. Fortunately, she had a side job as a bookseller.“I can tell you, almost to the day, when I decided to go into publishing,” Kania says. She could, it turns out, get it down to the month—August 1992. That was when Donna Tartt's The Secret History came out. Kania was enthralled not only with the book but also with how it was marketed. “It was her. It was the story of her. It was Bennington. And it was the package.... When you're 21 and you're trying to figure out what your lot in life is, and you wake up and you're like, 'Oh shit, I can't paint,' you know, you panic. I decided I wanted to be a publisher. I didn't want to be anything else.”Although Kania admits she had only a vague idea of what a publisher actually did, she knew enough. She knew about Gary Fisketjon and was as enamored with writers—writers like Raymond Carver, Mark Lindquist and Jay McInerney—as she was with artists. So, with $1,200 and a one-way train ticket, Kania set out for Manhattan. “Bright lights, big city,” she quips. “You know, the whole bit.”Despite a bumpy start in the Big Apple—she was working for a computer programmer, sharing a studio with a drag queen—Kania got a lucky break when she met Michael Morrison at a friend's wedding. “I begged him for a job,” she recounts. “He hired me as his assistant in 1995, and I've been working with him ever since.”Kania's passion for her literary (and visual) idols has served her well professionally. She managed to turn Harper Perennial into a recognizable brand, in part by publishing the kind of literary fiction and nonfiction that turned her on to the business 16 years ago.And while some scoff at the notion that readers notice what's on a book's spine, Kania vehemently disagrees: “If people watch a television show because it's on HBO, if they see a movie because it's a Focus Features release, if they buy an album because it's on Sub Pop Records, then why doesn't the same go for books?” 

Kania, who grew up in a small town outside of Milwaukee, says she was the black sheep of her family. A child of the 1980s punk/new wave scene, her influences were people like Andy Warhol, Julian Schnabel and Francesco Clemente. So it follows that her first aspiration was to be an artist. But a few semesters at the School of the Art Institute of Chicago convinced Kania she didn't have the talent to make it as a painter. Fortunately, she had a side job as a bookseller.“I can tell you, almost to the day, when I decided to go into publishing,” Kania says. She could, it turns out, get it down to the month—August 1992. That was when Donna Tartt's The Secret History came out. Kania was enthralled not only with the book but also with how it was marketed. “It was her. It was the story of her. It was Bennington. And it was the package.... When you're 21 and you're trying to figure out what your lot in life is, and you wake up and you're like, 'Oh shit, I can't paint,' you know, you panic. I decided I wanted to be a publisher. I didn't want to be anything else.”Although Kania admits she had only a vague idea of what a publisher actually did, she knew enough. She knew about Gary Fisketjon and was as enamored with writers—writers like Raymond Carver, Mark Lindquist and Jay McInerney—as she was with artists. So, with $1,200 and a one-way train ticket, Kania set out for Manhattan. “Bright lights, big city,” she quips. “You know, the whole bit.”Despite a bumpy start in the Big Apple—she was working for a computer programmer, sharing a studio with a drag queen—Kania got a lucky break when she met Michael Morrison at a friend's wedding. “I begged him for a job,” she recounts. “He hired me as his assistant in 1995, and I've been working with him ever since.”Kania's passion for her literary (and visual) idols has served her well professionally. She managed to turn Harper Perennial into a recognizable brand, in part by publishing the kind of literary fiction and nonfiction that turned her on to the business 16 years ago.And while some scoff at the notion that readers notice what's on a book's spine, Kania vehemently disagrees: “If people watch a television show because it's on HBO, if they see a movie because it's a Focus Features release, if they buy an album because it's on Sub Pop Records, then why doesn't the same go for books?”  Hosted on Acast. See acast.com/privacy for more information.

This podcast features Vincent Katz class of 1978. Vincent is a poet, translator, critic, editor, and curator. He is the author of fifteen books of poetry, including Broadway for Paul and Previous Glances: an intense togetherness. He won the 2005 National Translation Award, given by the American Literary Translators Association, for his book of translations from Latin, The Complete Elegies of Sextus Propertius. He was awarded a Rome Prize Fellowship in Literature at the American Academy in Rome for 2001-2002. Vincent has done book collaborations with artists, including James Brown, Rudy Burckhardt, Francesco Clemente, Wayne Gonzales, and Alex Katz, and with poets, including Anne Waldman. He writes frequently on contemporary art and has published reviews, articles, and essays on a wide range of visual artists, including Ghada Amer and Reza Farkondeh, Jennifer Bartlett, Janet Fish, Nabil Nahas, Kiki Smith, Beat Streuli, and Cy Twombly. He curated a museum exhibition about Black Mountain College and he curated "Street Dance: The New York Photographs of Rudy Burckhardt" for the Museum of the City of New York.

SEASON 11 begins!!!! Russell & Robert meet legendary musician Nick Rhodes, the founding member of the iconic pop rock band Duran Duran.We discuss Pop Art and Roy Lichtenstein, his early trips to New York where he first met Andy Warhol, Jean-Michel Basquiat, Keith Haring, Debbie Harry and Francesco Clemente, his admiration for Picabia, Warhol, the 17th Century Baroque period, and classical art such as De Ribera and Caravaggio. We explore working with numerous artists for Duran Duran including David Lynch on a live concert film and notably Patrick Nagel for the Rio (1982) album sleeve, collecting art that began when he was aged 17 with his first Dali print, his thoughts on NFTs and his friendships with leading contemporary artists like KAWS and Katherine Bernhardt, buying a Picasso on an Amex card and his experiences visiting art fairs like Frieze!We hear his memories of Mr Chow's legendary restaurant with Grace Jones, Warhol and many iconic creatives, staying at La Colombe d'Or art hotel in France and the brand new Duran Duran album sleeve which he worked on with Japanese photographer Daisuke Yokota. We discover his passion for photography and Polaroids, the differences between analogue vs digital, his fascination with mythology, astronomy, numerology and science which has influenced his new 'Astronomia' project with Wendy Bevan. Finally we chat about his friendship with the late Duggie Fields and his numerous visits to his favourite Ikon gallery in Birmingham.Duran Duran have sold over 100 million records, had 18 American hit singles, 21 UK Top 20 tunes and continue to perform to huge concert audiences around the world since the band first formed in 1980. Consistently fusing art, technology, fashion and a signature sense of style with their unique and infectious brand of music, singer Simon Le Bon, keyboardist Nick Rhodes, bassist John Taylor and drummer Roger Taylor have proven themselves timeless, always innovating and reinventing, to remain ahead of the curve.'Astronomia' is a collaboration between the artists Nick Rhodes and Wendy Bevan. It is a creative collision of analogue synthesizers, violins, voices and orchestral arrangements fueled by their shared attraction to the Universe. 'The Fall of Saturn'; is the first of four albums in the Astronomia project, first released back in March 20, 2021, followed by three further releases, on the equinoxes and solstices for the remainder of the year. Each individual piece is a sonic painting, a tapestry of rich textures and haunting melodies forming soundscapes with an otherworldly atmosphere. Looking to the transcendent beauty of the skies, this genre defying debut album explores the fluidity of human emotions.Follow @AstronomiaVolumes and @DuranDuran on Instagram! Duran Duran's new hit album 'Future Past', and 'Astronomia: The Fall Of Saturn', Nick Rhodes' incredible new collaboration with Wendy Bevan, are both OUT NOW from all good record stores and available to stream online! Visit https://duranduran.com/ and learn more about 'Astronomia' records here: https://duranduran.com/2021/astronomia-by-nick-rhodes-wendy-bevan/For images of all artworks discussed in this episode visit @TalkArt. Talk Art theme music by Jack Northover @JackNorthoverMusic courtesy of HowlTown.com We've just joined Twitter too @TalkArt. If you've enjoyed this episode PLEASE leave us your feedback and maybe 5 stars if we're worthy in the Apple Podcast store. For all requests, please email

Kimberly Brooks is a contemporary American artist and author. Kimberly integrates landscape, figuration and abstraction to address subjects of history, memory and identity. Her work has been exhibited and featured internationality.Kimberly received her bachelor's degree in literature from U.C. Berkeley, and was Valedictorian. She has taught art as a lecturer and adjunct faculty instructor, and was a featured speaker at TEDx Fullerton.In this episode, I talk with Kimberly about her work as an artist, author, and editor. We talk about how she uses ConvertKit to reach and grow her audience. We talk about what people can learn from fine art, and apply it to their newsletters. We also cover the path to becoming a successful creator, and much more.In this episode, you'll learn: The secret to achieving your breakthrough moment A job most creators should charge for, but rarely do What you should be doing instead of blogging Should you be posting on Instagram? Links & Resources Huffington Post ConvertKit Craft and Commerce Steve Jobs John Baldessari Adobe Photoshop Adobe Leonard Shlain Milton Glaser Macworld Walt Disney's Imagineering Warner Music Group Seth Godin Leonardo da Vinci Arianna Huffington Huffington Post: Fine Art Later Anderson Ranch Arts Center Otis College of Art and Design Kimberly Brooks's Links Find Kimberly on Instagram Kimberly's website Kimberly's Ted Talk Huffington Post article, “The Gap Logo, New Coke and the Legendary Walter Landor” Kimberly's book, The New Oil Painting Episode Transcript[00:00:00] Kimberly:The fundamental way to learn is, you imitate, assimilate, and then you can improvise with anything. You're going to be thwarted in the beginning many times, and you can't give up. You have to say, “Okay, well, I don't care if it sucks. I don't care if I'm going to fail. If I'm gonna fail, I'm gonna fail big. Let's just go on.”[00:00:29] Nathan:In this episode I talk to Kimberly Brooks. She is a fine artist. So, painting, she has all of her art in galleries, that whole world, which is super fascinating to me. She also plays in the creative world. Newsletters, podcasts, and interviews.She built the whole art editorial section of the Huffington Post. She built that to millions of readers. She's done all kinds of things in the design community from the early days. So, we riff on that; Mad Men-style ad agencies in the ‘80s and ‘90s. Some great stuff.Then she brings it all the way through to talking about what she does with ConvertKit. How she sets up her sequences, and everything else, and things that people can learn from fine art, and apply to their email newsletters and sequences.So, it's a fun episode. We have to do a part two, because we filled up all the time we had, and I think I only got through half my questions.So, anyway, I'm going to get out of the way and dive in. So, here we go.Kimberly, welcome to the show.[00:01:37] Kimberly:Thank you for having me, Nathan.[00:01:39] Nathan:There's so many things I to talk about, because you come to the creator world from a different perspective than I do, though we both share a love for Photoshop.[00:01:50] Kimberly:Oh, yeah.[00:01:51] Nathan:We'll start with where we met. It was at Craft and Commerce, some number of years ago.I can't even think. Three years ago? Four?[00:02:01] Kimberly:I think it was three years ago, and it was such a random whim. I don't even know how I ended up finding it. I fell in rabbit hole. And then I came upon ConvertKit.I was actively looking for a better way to send art show announcements. Because I'm a painter, I'm an artist.I just felt after my previous experiences, I knew how important having a subscriber-based service was. I don't want to get too nerdy, but I didn't really like the competitor who shall remain unnamed. But, I found you guys, and I started getting the advertisement for the conference, and it was in Boise, Idaho.And so I thought, I'll just go. It was like a Ted conference for really creative nerdy people like me, but it was exactly what I was wanting. It was about marketing, which is really such a weird word because it's really about sharing, and I loved the title.I loved everything about it. I met some of the people that I'm really, really close with now. Then the next year it was canceled because of the pandemic, but it was amazing, and I met you, actually.[00:03:28] Nathan:And, and we had a really fun conversation. one thing that I want to talk about, for you is the intersection between fine art, right. And painting and that world. And then now you're also in this world of being a writer and a creator in the sense, right. You you've been a writer and creative for a long time, but, but it's, it's like a different world of the selling things to your audience.And. Earning money directly in that way. And so I want, like, I want to hear that as you like weave in and out of these two worlds and then just your experience there.[00:04:02] Kimberly:Yeah, it's interesting. I, when I was in elementary school, we had a really competitive game of tetherball constantly going on on the playground. And it was just sort of that pole with a ball attached to a rope we would, people would line up and we would get it, and it was, see how many times, and it was just sort of like, it was very intense and I always felt like being an artist.Being an art to me was it was the pole, you know? So like my pole is art is making art and everything about what I do. I write about it. I interview people about it. I interview other artists about their work. I make paintings 90% of the time in my studio. Like, it's all about art, you know? So that's like the beginning.So I do see myself sashaying between different worlds. And I think everybody kind of does that. And then as the bicycle of technology was being built to use kind of like a vague reference to like Steve jobs is, you know, what happens if you put a man on a bicycle and you know, like how fast can he, as the bicycle was kind of entering our world, I thought, what if you kind of mixed art with the bicycle?You know, what, what happens if you, you know, Make an artist's website. So I was like one of the first people I knew that made an artist's website. And I remember, it was, I had, was having lunch with my mentor. Who's, the late John Baldessari. He was a great, great, great artist. And, he's famous for, you know, he burned all this stuff and graduate school and then became a conceptual painter, you know, very, you know, Howard work in, you know, conceptual anyway.So I brought my laptop to this Mexican restaurant in Venice, and I said, I wanted to show you something. I made a website and our studios were really near each other. And he said, Oh, I, I don't know if I would do that. If I were you, I was like, why not? He said, because you're, you'll piss off the dealers, the galleries, the galleries, you shouldn't be selling directly.It's going to take away from what their job is. You know, when you hang a show and you have art in the gallery, the gallery is selling the artist and it's their job, you know, and artists are supposed to be kind of this, you know, semi mute, black turtleneck wearing, you know, mysterious, mystical ShawMan goddess.I call it goddess on the hill. Like you're not supposed to really get in the way of what your artists about. And so I thought, oh gosh, you know, this is, and I had put the paintings for a show was about to have. And so I started making, so my postcard for that show had the name of the show and it had the name of the website, cause no galleries had website.Then this is in like the two thousands, you know, this is a long time ago. And I remember meeting people when I handed them a postcard. If like I felt comfortable with them, I would like secretly write a password so that they could see the website,[00:07:20] Nathan:Oh was you were, you had the website, but it was[00:07:24] Kimberly:Yeah. So I password protected it. I password protected it because John Baldessari told me that it's probably not a good idea to have a website.This is again, no artists ad website.[00:07:35] Nathan:How did the galleries and the community[00:07:37] Kimberly:The galleries didn't have websites either. And the galleries, I remember. They started it. Like some of them had websites, but it was super janky. It was like sometimes most of the time they did an, and it was just sort of this mysterious world that 99.9, nine, 9% of the public didn't understand.Doesn't understand it's better now. And you'd have to be walking down the street or you'd have to know somebody who knows somebody, you know, it's, it was just a different world then.[00:08:08] Nathan:But did any of those negative things come about? Like, did anyone look down on you on it for having a website and for[00:08:14] Kimberly:No, no, no. Eventually I just said, screw it. And I took the password off.And, interestingly, I don't want to date myself, but I think I already have, but the at the time flash was very. sexy. And it was like, and so artists would have, if they did have website, firstly, they would be horribly designed and they would have like a flash animation of a curtain opening and a door.And it was very like CD rom mentality. Like, you know, it was pre-internet thinking, you know, anyway, like I said, the big nerd here.[00:08:48] Nathan:Flash was big until 2000, like the iPhone 2007.[00:08:52] Kimberly:Until Steve jobs killed it, just took a knife. He took a sword and he just, during a keynote, just, you know,[00:09:01] Nathan:Yeah. Oh, and the two biggest reasons were, that the bandwidth of the phones couldn't handle it. And then also the battery life on the phones couldn't handle it.[00:09:10] Kimberly:Wasn't there another reason there was another technical reason that had to do with plays well with others. I can't remember exactly what it was,[00:09:20] Nathan:Yeah. I mean, it was a restricted technology. Like it was owned Macromedia. And so probably that apple was trying to do to get to play. And Adobe was playing hardball and apple was probably like, okay,[00:09:31] Kimberly:Yeah,[00:09:32] Nathan:You know, we'll play this[00:09:33] Kimberly:Yeah. It was, was, it was, it was just the evolution of, you know, of Photoshop and Adobe products. And so I grew up with Adobe. I learned I was an early adopter, always, you know, I just sort of like analogy. Yeah.[00:09:49] Nathan:I want to dive into all kinds of things. I want to talk about, more in the financial world and the business of that and everything else. But back and maybe start earlier in your career.[00:10:01] Kimberly:Than elementary school.[00:10:04] Nathan:I guess we didn't go to elementary school a little bit after elementary school. What what did the early days of your career look like[00:10:12] Kimberly:I was a, you know, I'm a first, or I guess I'm a second generation American, so, and I'm Jewish. So of course I was supposed to be a doctor. So my, we used to get, you can be anything you want just as long as you're a surgeon first. So I got the makings of a woman's surgeon and, you know, it was just like, as a book that was a book that I received many times in my middle school years.And then, you know, it was like, that's great, you're so talented. But you know, you really, you know, after you get out of medical school, you can, it was just sort of what you did in my family. And, and my father he was a well-known surgeon and he became an, I don't want to say artist. He became a writer, so he's a well-known writer.And he started writing. So he kind of became an artist before my eyes, you know, so as I was getting out, as I was graduating college, he published his first bestselling. That was just, and I would like sit at the book, you know, when he gave a lecture at an art gallery, because it was called art and physics.His name is Leonard Shlain so I would like sell, watch him, sell the books, you know, like give a lecture and then I would check out and I would get, take people's cash and then give them a book, you know, at the end of the lecture. And he used to tell me, he used to say, honey, you have to be shameless.You have to be willing to just talk in front of four people. It doesn't matter. You just need to do it. If it's just, it was just a big, it did. It made an imprint on me because I was watching him grow out of his own discomfort zone, which I still struggle with of talking to people like instead of through your paintings or, you know, talking to an audience saying being on video, it took me six months to figure out how to be on video, but I'm getting ahead of it.So you asked me like my CR about my career. So I was an English major. I went to an English, major architecture, minor at UC Berkeley. And at the time that I was graduating, painting was considered dead. And I know that that for artists today, they don't quite appreciate that. But after abstract expressionism, there was sort of this mood in the art world that everything had been done and like, forget about figuration was the last thing people wanted to see, you know, and I wanted to paint people.So I just figured, okay, I'm going to just do that on my own, but I'm going to, I love reading. I love writing. So I became an English major and I was valedictorian of, of the UC Berkeley English department. And so my first job, I wanted to combine my love for art and literature. So my first job was.Design. So my, so I, was mentored by a gentleman named Walter Lander, who is the founder of landlord associates. And he was sort of the west coast, Milton Glaser, Milton Glaser from a design point of view, like he was, he just recently passed in the last five or so years, but he like did the, I love New York, you know, like he's this famous, famous graphic designer because the field of graphic design is, is relatively new.It's relatively, it's like a century old, you know, like th the serious field of it. And Walter was a pioneer in it. And he did, you know, my first job was like working cause I, cause I minored in architecture was, helping design the shell oil, gas station, you know,So I was doing like architecture design, and then he asked me to write speeches.And so they had, their company was kind of designed like a brain. So they had like a language division and they had like the design division, like they did the loose soon milk and they were so famous then such leaders. They had 1800 people in offices all over the world and it was like a big deal. And they had an office on a ferry boat.So that was my first job out of college. I was a speech writer for Walter and I was in the, I was in the word department. Like I think I designed, I helped name, a cigarette, you know, like was just a weird, but it was fascinating, you know? And it was meeting fascinating people. The grateful dead would like come over on the boat after it was, it was, it was a wild time at, in San Francisco in the late eighties, early nineties.Totally wild. So, So I was like, so all the designers are starting to learn Photoshop. So there was this thing called Photoshop because they were doing everything by hand, you know? And then I was like, oh, so I got Photoshop 1.0, you know, and then I had th there was no layers. So you had to do everything in alpha channels.And it's interesting just to be a big nerd. Cause you're a designer too, right? I mean that's yeah. Yeah. So if you can try to imagine there was Photoshop without layers, it meant that you had to do everything inside the masking tool that's built in that nobody really uses or knows about now called alpha channels.So I had to create everything using masks, but it was very oddly more similar to what you did with your Exacto knife and ruler, know, I still think one of the biggest, the saddest things about Photoshop. I mean, I think everybody should know it, but it has some feature bloat, but I think it kind of buries the power of alpha channels.And I think that if people knew how to use it, it would like, it's like a little thing to know that would hugely leap them out of the more artificial aspects of doing those filters on things.[00:16:00] Nathan:Right.[00:16:01] Kimberly:Anyway, like I you have to be careful with me because I can go into real. I can crawl real deep into these nerdy things.But anyway,[00:16:08] Nathan:Are there other things from those early days of, of the graphic design art agency, like that kind of world, that you still take with you today[00:16:19] Kimberly:Thousands of Gillian percent. One of them is the four DS that every project is discover, design develop, deploy. And I know I lost that. I also saw that, like, if you could name it, you could charge it.[00:16:32] Nathan:Is there a story behind that? If you could name it, you could charge for it.[00:16:35] Kimberly:You know, you'd see these hundreds of thousands of million dollar contracts going out to these major people. And I used to have to help write the proposals and I would see how they would divide they'd phase out, like a lot of designers. Again, I don't, I hope we're so not too off topic, but a lot of designers will not charge for discovery.You know what I mean? Because they haven't named it. They didn't name it They'd Just be like, oh, let me Research all about your company. And then you're going to pay me to give you some designs, and then I'll give you the designs and then hopefully they're smarter. Anyway, like I said, big, big topic.[00:17:10] Nathan:Yeah. But think there are a lot of people listening who are in the either freelance or agency space and they, provide services to newsletters or creators or they're growing their own on the side. And I think it's a really important point that, if you're if you're structuring your proposals and all your interactions with clients around the deliverable, then you're failing to talk about a substantial portion of the work And probably the part of the work that differentiates you from the other freelancers who are just like, oh, you need a logo. And they dive like right into Photoshop or whatever tool. Whereas if you're good at what you do, you're probably taking a step back and looking at the whole landscape and spending probably more than half of your time in that Research discovery and learning stage rather than the deliverable stage.[00:17:56] Kimberly:It's actually the most important time intensive stage of any project. And so not just design. I mean, I think you saw my Ted talk, the creative process in eight stages. And I think I talked about how as an artist, I don't want to give anybody whiplash, but like you, as an artist, you have, a period of time where it's like a rest in music where you don't, you're not making work.It doesn't look like you're doing anything on the outside, but that's the most important part. And it's when. Gathering, but you're doing it in a subconscious, like in many different ways when I'm, when I'm making a painting, I'm having to listen a lot, you know, you have to listen and look and just inhale before you can exhale.So anyway, that, but I mean, we could, I think, I think we could do a whole hour on Landour. Cause that was just a, such an interesting, you know? And, and I was actually, I was actually there, I dunno. Well, you're, you probably weren't born, but there was a, Coke released a new design and they, they, and Landour was the leader of this new design.And I was like in the boardroom, in my. In pantyhose. Cause that's what we that's what, like you had aware that it was very far, it was like mad men. It was like mad men where like everybody smoked and the women were gorgeous and the men would like have these glass offices on the side of the boat. And they would like go in and light up a cigarette and call London, you know, like they were like, or Japan and, and they had, it was just extreme, chic, crazy environment, very male dominated.And I was like, I'll often the lone woman in a room, you know, but anyway, that's a separate side conversation and they were introducing the new Coke and it was a flop. It was like, it was like, there was a backlash against the new design because it had like big fat. It was like, whereas the old Coke kind of has that Victorian, which they still use now that, that very Sarah fee or Nate almost like your create above your head, but more, you know, whereas.Where the new version they were doing was super kind of chunky. It was like new Coke, you know, anyway. But, it was a wild experience. I wrote an essay about it and I'll, I'll give it to you if you, if[00:20:35] Nathan:Yeah, we'll put it the Shona[00:20:36] Kimberly:Yeah,[00:20:38] Nathan:On time on that.[00:20:39] Kimberly:Yeah, no, the whole, here's the thing. I wanted to be an artist, and a lot of times I believe a lot of, and I believe there's a lot of people who have an artist inside them and a lot of times they will, work in a field that brings them near art decisions to make themselves feel better.That they're not being an actual artist. And I was one of those people.[00:21:08] Nathan:Okay. So how did that play out for you of your you're close to the design and that sort of[00:21:14] Kimberly:I was like, yeah, it was, I couldn't be closer. I was like, I was like in, I was behind the curtain of Oz doing the, with the, with the best people and everything. Again, this is so long ago, but, but I felt like technology at the time, again, Photoshop was just starting. There was no whatever. I was like, you know, I needed, I need a break.I need to like push the table over. So I quit. I moved to Paris to paint for a year. I played piano in bars at night. That was like a whole other wild. We could do a whole show on that, but, you know, then I was like, well, I can't, I'm not going to be able to make a living doing this. Like I was painting, I was sitting at the sore bone and I was like, I had this little gig in this bar, but it was a couple of Franks and I wasn't legal in Paris.And I just had this big because of my literature background I have does such a, you know, I love you. I was so somewhat of afraid.[00:22:11] Nathan:So how old were you when you[00:22:14] Kimberly:I was in my early twenties.[00:22:16] Nathan:Okay. When you, quit and said it's time to do painting.[00:22:20] Kimberly:Yeah. I was like, it wasn't a straight line. And that's another thing. Like most artists don't like some artists grow up and everybody goes, oh, you're so talented.Which by the way, like hate that expression. I must like tell people, like don't ever tell people they're talented. Say you have great raw material, you know, just say, you know, just like great mom material, but like, you have to like do it for eight hours a day in order to like express something. Great. And then, then we'll talk about talent, but in any case, so some people have parents that say, you're honey, you're so talented.I want to send you to art school. I want to spend a couple hundred grand and I'm going to send you to art school. Undergrad, let's say a good, let's say a typical artist, a college education is this amount. And then I want you to get an MFA from Yale or the best school and have that checked off. And then I want you to go get in galleries and be an artist there's 0.01% of artists have that route.They have parents that say, we support this. This is good. This is a good plan. I would say that's like a very rarefied small group. Cause you have to have, well, there's so many things that need to happen in order to have that setup. Most people, most artists, even artists that I know, like one of my good friends Enrique he was a PA getting his PhD in physics read my dad's book, art and physics and decided he wanted to be a painter[00:23:49] Nathan:Okay,[00:23:50] Kimberly:So like, there's a whole bunch of artists that were doctors that were lawyer, you know, that, that, that they, they were catching the train of you know, the I'm a good student, I'm a diligent worker and they, they, you get routed onto a track and then you're on that track. And then suddenly you wake up at at 30 or whatever, and you say, you know, I'm here and I'm super successful, but this isn't necessarily really how I want to be spending my time.You know? I mean, th this is the conversation, right? You know, how do you, how do you decide and what you can want changes in your life? You know, but if you know what you're pull, the tether poll is like, if you know what, your deep inner core desires. are And, you know, and you, you have, you're remotely in touch with that and you, you need to go, you need to go towards that light.You need to go towards that center then everything will radiate out from you afterwards.[00:24:58] Nathan:Was there a catalyst that pushed you, you know, you were thinking about it, you're feeling this, but what was the thing that made you go like, all right, I'm[00:25:06] Kimberly:Well, okay. Like I said, we don't have enough time to get into all of this, but there were, I made three huge dramatic, you know what? I don't know. Maybe it's a Monty Python movie, I don't know. But like when you push the table over and you throw all the plates and you break everything, like you just come, it's not a reboot, it's way more violent than that.Just kind of like you take the tablecloth out and you just say I'm out of here. You know, I think I did that three times before I got closer to. You know what it is. And one of them was moving to LA after moving to Paris, I moved to New York and then, then I moved to LA and I was like, okay, this time is going to be it I'm being artist.Like, and you know, it's a couple of years later, it's after Paris. Like, you know, cause you have to get, you have to, I had to make money. You know, I had to make a, I had to have a job. And so I had to kind of like do, do design work and stuff like that. So when I moved to LA, my first, I went to a Mac conference, like it was like 60 booths.It was so small, like Mac was seen a teeny little thing and, and Microsoft was the big thing windows and,[00:26:18] Nathan:Yeah.[00:26:19] Kimberly:And I made a business cards and I said, it said artist. And then when I, I walked, went to this conference and I was practically like often the only woman, you know, and I would say, yeah, I'm an artist.And I know. And so the first job I got was making the first CD rom for apple computer that they said distributed to every single apple. So they distributed over 2 million copies worldwide, and my name was on it. And that kind of, that was a huge breakthrough because suddenly I was being offered insane jobs.And next thing you know, I was anyway, like, I don't want to dwell on this because we haven't talked about newsletters yet.[00:27:01] Nathan:That is okay. that is okay. So you just made a leap from, I went to this conference to,[00:27:08] Kimberly:Yeah, by the way speaking, we started with going to a conference.Yeah.[00:27:12] Nathan:A big deal. We are we talking about that as well, but this leap from going to the conference to your work, being on the CD,[00:27:19] Kimberly:Well, so they were, it was like, again, I was on the bleeding edge. I could not explain to my father Who would come down and visit me. In the warehouse. I, it was, it was an artist and a coder who, but they had both met in art school and they brought me on to be the creative director.And it was like, it was almost no money at first. And then it became like a bigger thing and apple, the more that apple saw it, the more they were like, wow, this is really good. so then the next conference I went to was in San Francisco was Macworld and my art was everywhere, everywhere, and I got job offers from Imagineering. They wanted me to design why the Disney, they wanted to be the head. Of Warner music was doing a new interactive division and digital don't digital.I can't remember the names, but it was very, it was a very heady time. It was very, it was very fun. I felt like, wow, I found this place that has it's the intersection of art design, narrative and technology. And it was exactly where I want it to be. And that was just, that was sort of, and I set up an easel in my office, I had a lot of people working for me and it was just, it got very, it got very fancy, you know, and I, and I took a lot of, I took a lot of like what I knew at Landour to attach in this before email this before the internet.[00:28:45] Nathan:You're talking early nineties at this point,[00:28:48] Kimberly:Yeah. Like you no, like a mid yeah. Mid nineties, you know, 96, maybe. So, yeah. So I took a lot of my, knowledge that I gleaned from working at land or like the discover design develop, deploy to whip these engineers and designers into shape, you know? And anyway, I was still stalking what I really wanted to do, you know?[00:29:10] Nathan:Okay. So tell me more about the difference between what you wanted to do and what you were doing, because you just described your art being on everything.[00:29:17] Kimberly:No, no, no, actually, honestly, honestly like I would listen to like Liz fairs, exile in Guyville, as I drove downtown by the toy factory in downtown Los Angeles back and forth, like every day, like at these, I was a big album listener.And when I was designing, I would listen to full albums and I was just like, wow, this is it. I am so excited and energized and everything. then I started studying painting again. So I started so like I had taken a hiatus. And then I got into the, Otis, which is the art school here, You know, when you get professional, when you become a professional in anything, even being an artist, there's a, single-minded rigor focus and clarity. one brings their whole self to what they're doing, you know? And if you know that if If you've been successful in anything else or anything like that, you can, if you bring that to your art, there's literally nothing that can stop.You. You become a wire cutter. It's like, you're going to munch through like, I, you know, really understanding, painting in the deepest way possible. Like I was thinking if I can understand alpha channels, I can figure out how to tone a canvas. You know, just like I just, because painting is a technology, honestly.I took everything in my being to it. And that was like a third moment. Like that was like another moment I skipped some moments, but there was like where I was knocking at the door, knocking at the door. And then I knew that in my art would become the, that I had when I started painting in full force.Like not just having it in my office, but saying this is what I'm going to do. And I'm going to do it as so ferociously, like stand back, everybody, nothing is going to get in my way.[00:31:13] Nathan:So you were painting, I mean, you had is this like painting a few hours a week, a few hours a day, and then you dove into doing that, just like.[00:31:22] Kimberly:This is like 40 hours. I mean, I basically gave myself an assignment and my assignment was I was going to paint a hundred new. Because that's the hardest thing to do as a body. Cause you have to deal with the translucency of skin. And I could literally talk about painting all day, but you have to deal with light form and shadow and thinking in three dimensions and it creates it's.I don't want to knock marketing and technology and the stuff that you do, but painting is that most people do, but painting is a true, like you have to really, it's a very intellectual as well as mindful and spiritual, but it's a very, it's a very deep, deep, deep way to approach the world. And when you become a painter or you actually like listen to the little voice inside you that says that they want to learn this.It's a skill, it's a skill. And when you do that, your brain expands and your world expands and you see things differently. So it's a very transformative thing and it takes years. It takes years and years. So my assignment was I'm going to paint a hundred nudes and, and if I have like 10 good ones, I can have a show.[00:32:41] Nathan:So I want to tie that to maybe the experience that other creators listening would have, or anyone who's on the fence about getting started. Right. It might not be painting that they're trying to do, but they've had these fits and starts of like, I'm going to, learn to code, start a podcast, start a newsletter, any of these things, you know, learning to play an instrument, whatever it is.And then like start and it goes, maybe it goes well for a week or a month, or like what, what advice would you[00:33:11] Kimberly:Isn't there, isn't there like a guru isn't there like a guru in the subject that calls it, the. Who's that guy. Do you know what I'm talking about? Yeah. Somebody told me that, cause I was saying this to somebody and they were like, oh yeah, that's somebody's Seth, Godin's the dip. But yes. You know, when I was younger and all through all through my, you know, middle school and high school and college, I played piano quite seriously.I was a classical pianist and whenever I would learn a difficult piece, I would play it over and over and over again. And I would have to, like, I would start to suck. I would get better, but then I would start to suck and I'd have to walk away and then come back at it the next day before I would be able to play it perfectly.Like, I mean, you know,[00:34:01] Nathan:Yeah.[00:34:04] Kimberly:Learning an instrument actually teaches you this better than anything, because if you make a painting at first and it sucks, you can be easily thwarted, like a, you know, a drawing or whatever. But, but in order to like worry the bone of like how to get that legato, right. And that Greek piano concerto or something like you got to just sort of do it again and again, and again and again, you know, like it's, the fundamental way to learn is you, you imitate, assimilate, and then you can improvise.So you have to like, you play these pieces. And so with anything, you're going to be thwarted in the beginning many times and you can't give up, you have to say, okay, well, I don't care if it even sucks. I don't care if I'm going to fail. If I'm gonna fail, I'm gonna fail big. Like I'm[00:34:52] Nathan:Right[00:34:52] Kimberly:Go all out.Let's just go on.[00:34:54] Nathan:But that specific assignment that you gave yourself of painting 100 nudes, do you think that an assignment like that is a good way to go as a creator of saying this is the commitment that I'm going to make, I'm going to get to a hundred podcast episodes or I'm going to, I don't know, write a hundred blog posts, and then I can decide if this is something I actually want to pursue.[00:35:13] Kimberly:Absolutely. I think that when you make a commitment like that, to devote your energy into building a body of work of any kind in any media, you, your life will change everything. You are going to gain skills that involve every facet of that media. So like, if you're a podcaster and let's say you record in iMovie you're going to learn iMovie or whatever they, whatever they edit podcasts.In And, and I think if, you know, if Leonardo DaVinci were alive today, trusts me. He would know Photoshop He would know he would be all over this stuff, you know, he would love, he would love it in this nether world space, because there's, I'm, I'm going off topic a little bit because there's a little bit of a prejudice in the art world where people were thinking they were resisting the newer technological versions of artwork.But back to process, what you were saying is that if you do something in a committed way and you basically measure it and say, I'm going to do it until I get to this point, I think a hundred might be excessive, but you're going to get the hang of it.[00:36:28] Nathan:Yeah[00:36:28] Kimberly:I mean, I haven't mixed feelings though, about blogging cause I started a blog again, when I was, really getting into.Consuming. I mean, consuming isn't the right word. When I was throwing my entire body into the art world, one of the things that I did to expand my own knowledge was to write about other artists. And I think that's also something that's super unspoken, especially in the art world, because a lot of artists are just saying Me me me I want attention.I want to get people to focus on my show and my work, and I want a gallery and I want this and that. And I think one of the most important, aspects of breaking through to any next level of anything is generosity. Generosity of your attention to other people who are doing the same thing. And that for me, that general, I mean, I didn't think of this.This is red, this is a in retrospect, but at the time when I look back on it, I was airlifting artists that nobody had heard of and writing about them along with other big art, you know? And so I had a successful weekly column where I was keeping a blog again, this was before social media and that's how, and then the Huffington post came along and then I started publishing it, the, having a post.And that's how I said, I was asked by Arianna Huffington to be the, to found an art section. And so I was like, I was perfectly positioned because I was, I was a big nerd. I had had these other experiences. I was a full-on painter. I was having shows galleries the whole thing. And then she was building this incredible Site to celebrate bloggers. And I was one of the bloggers So I had to build an audience from zero to 10 million people within two years. I didn't have to that's what happened.[00:38:26] Nathan:Right.I have so many things that I want to ask about in this, one thing that I want to highlight that you talked about is as you're doing the painting, there's the side of it, of, Research where you're researching other painters, learning from them and all that. Most people keep that Research to themselves, right?That is not a public thing that happens. And I think a lot of the most successful creators that I see are the ones who do that recent. And, and share their notes and share that and work in public and do the interviews and all of that that you were doing. because it does a couple things. One people follow you, not only for your own work, but then also for your notes on other people.And then too, it's incredible for meeting people. Like when you do a profile, either if they're a, say an upcoming artist or someone who's established either way, they're going to be like, when you, you know, when you send them an email, they'll like respond and be interested and engaged. And, you know, I mean, that's a reason that I do this podcast is so that I can meet and hang out with people that I want to more aboutIt's amazing for network.[00:39:30] Kimberly:Yes. I think you're exactly spot on. This is no different than what I did with artists, this, except for I wasn't involving video, I was writing about it and interviewing them. You're right. You're absolutely right. I also think that you can get too carried away with that though. Like you have to be careful, you have to make sure that you're, you know, I can become easily like Clydesdale the horse.I'm like, well, that's another month and I have to do another,[00:39:57] Nathan:It becomes more important than the art, which was the[00:40:00] Kimberly:Well, yeah,[00:40:01] Nathan:It feels more time than[00:40:02] Kimberly:Yeah, yeah. Like, so eventually I had to leave, because it was just sort of eclipsing. It became so much bigger than everything else I was doing that I had to like go, okay, this isn't, you know, I've got a show coming up. I can't devote all this time and energy. And then of course, social media kind of made it all really different.[00:40:24] Nathan:Like in what way?[00:40:25] Kimberly:Well, because not only we could, you know, writing a really thoughtful piece about an artist and looking at their work and, you know, relating it with art history. And I also found that if I could relate it to like a contemporary event, like there was this one painter who painted battle scenes and we were just going to war with Iraq, I think, anyway, we were going to war somewhere.You know, it was a horrible time, but like, I would talk about going, you know, this contemporary news event. And I would link it with the artist who was painting these battle scenes. And then seeing that it went, go.[00:41:04] Nathan:Right.[00:41:04] Kimberly:Was another, that was another big learning lesson is like, if you put a number in a headline, like 10 things, you, you should tell, you know, 10 rules for your kids and screens, you know, then people would read that more.So I could see the analytics of what people clicked on. You know, that was like a interesting learning experience. But when social media happened, then suddenly you also had to tweet it. You had to post it on Facebook and then you had to tweet about it and then it just got to be social media. here's my take, if I could just say one thing, because I want to get it out there.I think social media is great for first impressions so that when people see you for the first time they're going to go that person's like a real artist or they're a real whatever, and they're legit. And they don't just have like three things that they've said about the subject. They've actually like, I trust that they've done some deep things.Like me painting a hundred nudes, you know, like this person knows how to paint.So I think social media, it's just so easy to get carried away. I hope one day it goes away. Is that terrible to say? I think emails should be everything. It should just go away.[00:42:14] Nathan:I don't think it's terrible to say at all. You have something in your Ted talk. you talked about like the compulsion to paint being taken away by your smartphone and these distractions, And I'd love for you to talk about that because I think there's so many things of like, if I'm on Twitter or checking my email, or even interacting with the ConvertKit team 2,700 times a day, you know, it makes it so much harder as a creator.And so I like, I just want to hear more of your experience there.[00:42:45] Kimberly:Well, I mean, in order to even get into my zone mentally to paint, I have to like have at least 90 minutes where I haven't spoken with anybody. Like I just need to kind of like clear it. Like I need to, I mean, I can be in it and I've got all these, you know, because people everybody's different. Some people like beginnings, some people like middles, other people's like ends.So you have to get in touch with which person you are, you know? So I, I love middles and beginning. I actually like all of them, but like, I'm better at certain things. So whenever I go into the studio, I have to start in paintings that are in the middle, that many going on at once. so you have to get in touch with like what time of day you're best at.And I always begin things at the end of the day when I'm already like nice and a well-oiled machine, well-oiled creating Machine.I never begin things in the morning. I always begin. at the end of the day, I never begin paintings in the morning. I was beginning, you know, I mean, I, I'm not, I know I'm not answering your question.Your question is, compartmentalizing your time to protect it away from social media. I teach a master class and I teach a Masterclass with artists who are building their first body of work, or they, they want to build a body of work in the masterclass.I make them take an oath an Instagram oath Instagram is it's so draining psychologically, emotionally, mentally, and the effort that you put into it that you really have to like commit and, and, and artists feel pressure to post their progress and post once a day and stuff like that.And the truth is, that algorithm, the algorithm is so fraught right now because you really only see the last 20 people that you liked more often than not. And you're not, it it's just, it's not healthy. It's not healthy for a visual artist Because you'll be on it. You check it like a diabetic checking their insulin level.It's just like, oh, did it get enough? Likes all that. It's like, Ugh. So I use, later to post once a week because I don't really want to deal with it. So I'll do like four months at a time. But if like I have a museum show opening up on Saturday, so I have to make a post this week. And so that that's like in my brain, oh God, I got to make a post this week.And when my book was coming out, like that's a whole other topic about promote, you know, how to tell people and that a book is coming out. yeah. So I just kind of look at it like, you know, kind of like a creative sinkhole,[00:45:15] Nathan:Yeah. And so it[00:45:15] Kimberly:So it[00:45:15] Nathan:Makes sense to avoid it. I think we hear that advice from a lot of talented creators and it's easy to be like, yeah. Yeah. But I can, I'm the person who can sit down and write with a moment's notice, you know? And then you you get totally stuck on writer's block or whatever thing, because you're like, you actually didn't create that space.And, like you talked about in the Ted talk of that time to like daydream and to actually be there, present with yourself and your thoughts.[00:45:42] Kimberly:Yeah, it's true. I mean, there's this thing in neuroscience called empathetic mirroring. Do you know about[00:45:48] Nathan:I don't know.[00:45:49] Kimberly:It's this, it's like when you see somebody, for example, write on a chalkboard, the neurons in your brain, I'm not going to say this. Right? So if a neuroscientist says I'm like slightly wrong, but like, it, it, it has this effect where you feel like you're doing it, you know, like, and it's, that's why people love to watch people write things.That's why a chalkboard is an excellent device for, I actually have a chalkboard in my office because I started to. Take videos of me make with my talking points of me writing it on a chalkboard, because even though it's considered like, you know, yesteryear technology, it actually helps people receive the information better to see it written[00:46:34] Nathan:Rather than being next[00:46:36] Kimberly:Rather than just show a PowerPoint slide.Yeah. And so this, the act of seeing it rhythm, but so if, if you think about the power of empathetic mirroring, that's going on in your brain, when you look at something happening, think about how much it can pollute your brain. If you're watching a stream of all these things happening in your Instagram feed or your Facebook feed, it's like dangerous.Like you have to be protective of what is going inside your mind. It's that they say like garbage in, garbage out, you know,[00:47:04] Nathan:I want to hear about you getting into the world of, of like teaching classes and that side of it, and then you have a book as well. There's a lot.[00:47:12] Kimberly:Oh yes. So I have this book,[00:47:15] Nathan:There[00:47:15] Kimberly:So, you know, around a decade into, you know, being a serious painter, I started to feel bad from the fumes because painting isn't really taught the way other things are taught. Painting is sort of like, there's, there's been this somewhat mystical, you know, here's a bunch of art supplies go to the art store and then let's see what you come up with.And then the, the, the classes tend to be more about critiques, about what you've done versus about,[00:47:45] Nathan:How do something.[00:47:46] Kimberly:About the, the true, true granular house, you know, the, how, like the basics, like things that you should know. And, so I started to get sick and I happened to be the arts editor at the time of the Huffington post.And I reached out to, and blogging was a very interesting, it was around 2004 or five, I think. Maybe, maybe it was a little bit later, but it was an interesting time because other people were thinking what I was thinking and I could see it in search for it. Whereas I couldn't, I couldn't have done that a decade earlier.And so I would reach out to leaders in the field, scientists, whatnot, to write about this topic of safety, you know, like that. And, but then when I read and I had, by the way, been consuming, Disneyland books, everything about painting, and I just saw this huge gaping hole of knowledge of how. Communicated. So I started writing this book all about painting and the book that I ended up publishing with Chronicle books is just one small piece of it because it was kind of too big.It was like James Joyce's Ulysses, you know, it was like a tone. It was like a Magnum Opus. and it's one of the key things that people don't realize is that you don't need to use solvent's P many people believe that you need to have like an open can of turpentine or some kind of solvent to dip your brush and defend the oil paint.So it's like super basic and most people when they go to the art store, and this is just my short, my short, skinny on the book. As most people, when they go to the art store, it would be like only buying canned or prepackaged. They don't know what's in it, you know, they don't know like that you don't need all those things.Like, but if you were like learning how to cook, you would know the difference between a garlic and a shallot and when to use canola oil or olive oil extra-virgin, you know, so I wanted to create, to start a book called the Y that was like Strunk and White's elements of style, but for oil paintings. So that's like the famous book that most writers use and just sort of shows you.And it's funny, actually, it's like a great book. So I wrote that book and that's called the new oil painting and it's published by Chronicle and it came out in June and it's like staying at the top, like five books of oil painting, which is great, you know? So I'm very excited about that. But in any way, in that journey of writing the book, the book, the book deal I got was two years ago.It was like a while ago. And so Susan. Did that I thought, you know, I would be a fool to not have a class that went with the book. So to the summer of 2019, I had, I had like four solo exhibitions in a row and I thought, okay, I'm going to devote six months and I'm going to record videos and I'm going to do that.You know? So I created this class that I wish that I had, and it was way bigger than the book. It was like everything I've ever thought about oil painting and that's called oil painting, fluency and flow. And, so yeah, so I launched a class, so the classes are out there[00:50:52] Nathan:Are the classes something that, you know, you're teaching in an online course? Are you there in person or through a partnership with.[00:50:58] Kimberly:So once I, once I learned about. That you can oil paint anywhere like you, Nathan tomorrow could decide, you know what? I w I've got an artist in me. I want to, I want to learn how to paint and you could set it up next year, you know, like in a little side table next to your computer, and there would be no fumes, no nothing.And it's much better for the environment it's not made out of plastic. It's like, you know, you could do it. So I wanted to get the word out. And, so my first class is, and so I was started teaching at major institutions. So the Anderson ranch in Colorado and the Otis where I actually took lessons, I taught there.And then, I just thought to myself, you know, this is highly inefficient because I have to like schlep over there and go there for, you know, hours at a time. And I could reach so many more people if I recorded. Instruction. And so I made these recordings, that's a hybrid of recordings and live sessions and critiques.And I have, you know, I have about 78 students right now. They're from all over the world and it's like the boast enriching wonderful, fabulous thing I've ever done[00:52:08] Nathan:Yeah.[00:52:09] Kimberly:To being an artist, you know,[00:52:11] Nathan:And so how does that interact with the newsletter that you have?[00:52:14] Kimberly:Well, I mean, so all of my experience, just as an artist has taught me that you, your value that you bring to any situation is the people that you can tell about what you do. It's like a tree falls in the forest. Nobody knows you're having a show. You know, you can't just rely on your art dealer.And the The dynamic has changed where. People don't have one, rarely do people have one gallery that represents them. And then they've got a bunch of satellite galleries. So you kind of have to be a little bit more entrepreneurial as an artist. And so you need to gather an email list. And so I stopped blogging and instead I have a newsletter because I want, you know, and I I have a narrative of stories that I tell about creativity about, about like I'll crawl deeply inside the making of a single painting of mine, or maybe another one.And I, and each email I send out, I spend a lot of time on, and it's like a work of art by itself because it's, again, it may be a different thing. a newsletter may be slightly different than a blog, but it's still words and image and it's just how. It's like another work of art, it's another work of art.And I love, using ConvertKit. I mean, I really, really do I tell people about it. I tell people about it all the time, because I think it's, it's the first software I've encountered that, allows you to very easily create a sequence. And, you know, you can I tell people, I say like, if you want to think about it, you could unspool Tolstoy's war and peace.If you wanted, like you could, every week you could give like a little section and you can start at the beginning and it takes the pressure off needing to constantly have every email be a first impression. So you can really get, let people to get, to know you in a much deeper, more personal way, because you create a sequence of letters to them that[00:54:23] Nathan:Right[00:54:24] Kimberly:Over time.[00:54:24] Nathan:Well, I think that's a really important point about starting at the beginning, because when you're sending these one-off emails to your newsletter, you don't know where people are joining. Some people for years and other people that is the very first thing. And so every time I find myself adding these caveats are like, Hey, if you're new here, you know, any of those things and with a, an email sequence, you know, the automated series, it starts at the beginning every time and it works people through it.And so I've had that. I've had so much fun creating those because you can chip away at them. Like I have one that I'm kind of writing now on, I guess it's on personal finance, you know? And it's just things that I wish that I had known as like, Moderately successful creator. Like, Hey, you're now earning a full-time living, what what's next?And so I can just write about that when I feel like it and add to this, that's now like 10 or 12 emails long.[00:55:20] Kimberly:And what's your frequent.[00:55:22] Nathan:That one I said to every week, but if I don't write for it, everyone just kind of pulls up at the end and weights, you know, for the next email. So it's 10 emails And then I add to it. And so like last week I didn't add a new one. And so now there's like a hundred people that are all the way at the end and they didn't get an email last week,[00:55:41] Kimberly:Yeah, no, I have that situation. I have a two year sequence[00:55:45] Nathan:Oh, wow.[00:55:45] Kimberly:I mean, I know like I sound, I probably seem super extroverted and voluble and everything like that, but like, I, I, it's very difficult for me to sell. It's very, it's very not. It's not cool for an artist to be. So like, I mean, it's just hard.It's also just hard for me. It's my personality. Like I even posting on Instagram is like a stressful thing for me. It's like, did I get everything that, you know, like I just, it's just not, I'm not one of those people that just casually throw stuff out there. I just, I'm very thoughtful and I want it, you know, it to be meaningful.And, but anyway, I was having trouble announcing that a workshop was over. Like serious trouble. Like I would put it off and I'd say, I can't do it. I can't press the send button. Like I just, even though you have the schedule feature on the broadcast, I was like, I can't do it. I can't do it. And you know, I, I can't remember the name of the marketing guru who was, have the five day sequence or, you know, basically a launch sequence is a series of emails where you first email is all about it.The second email might address one's reservations about it. The third Emile email might be testimonials. And then the fourth and fifth email are like last chance to get it. Like that to me is like, I would rather have needle eyes surgery than do that, you know, so I built it in, so I basically have the sequence where every quarter there's a launch sequence.Is that crazy[00:57:13] Nathan:No, it's fantastic[00:57:14] Kimberly:Because then, so, so that way, like I can just set it and forget it, like back to the Crock-Pot thinking like, you know, like, you know, just set it and forget it. You're going to sign up. You're going to get an announcement for a walk shop, a workshop a couple months after you've gotten to know me.[00:57:30] Nathan:Do you think that, well actually I guess really quick, the thing that I love about that is you can be completely immersed in your painting, right? And there you are selling a workshop and you're like, you don't, you have to think about it or know about it. Cause you did that work once and now you've finished a whole day of, of painting.Start something new at the end of the day. Cause that's the way that you roll. And then also you can say like finish up and check those sales and check that engagement. See, oh, people.[00:57:58] Kimberly:Yyeah, yeah. I mean, it's, it's just, it's I think people before they're going to buy anything, need to feel. Most people need to feel, you know, a level of comfort about what that person is about. so, you know, I haven't touched you tube. I haven't really, I honestly, I haven't made, I haven't made a huge effort because I've had the book coming out and I F I ha I had a big exhibition in June because, I designed a series of, excuse me.I designed, I painted a series of abstract paintings, for the cover of the book, because I wanted the cover, the book to be stellar and represent like a specified stroke, like hanging in air, like, to just convey the idea of painting and not be like a landscape, because for some crazy reason, if you, if you look up oil, painting, all the books, About oil painting are so poorly designed.It's like, it's strange because you would think people who are artists would care about design, but it's like pink pallet, Tino, bold 14 point font over like a green sunset. it's[00:59:07] Nathan:Yeah, well, design and painting are not necessarily the same thing you happen to come from a world where you have a lot of this. Even those two worlds have intertwined for you a lot over your career. So it makes sense to[00:59:18] Kimberly:Yes, but, but when, when, but if you get, but the painting books, like if you see a PA a painting book that has like a landscape on it, what if you don't like the landscape or they all have a landscape, or it has like the, the, you know, a face that's loosely drawn with, you know, painted with turbine, you know, Alla prima anyway.I've had so many exhibitions and like, I have a, I have a show coming up on Saturday and I've got to tell people about it. So like, I have to be, I'm already out there as an artist. So I have two different sequences and newsletters. I've got like a workshops for people who express interest in a workshop within the main newsletter.Like if, if, like, I'll say like I have this one great newsletter where the subject line is, who is this gorgeous woman? And then I show a picture cause they used to paint these beautiful renditions of the faces of the Egyptian mummies inside the sarcophagus, like beyond gorgeous. Like if you looked it up, you'd say, oh my God, this most beautiful painting I've ever seen.And it looks a lot like Francesco Clemente, which is an artist that like paint uses the same aspect ratio. It's like, you sort of go, oh, that's where that guy got that idea, you know? But. I'll talk about the pigments and that they used to, like, they used to burn mummies and then take the ashes and make a pigment called mummy brown.I know that sounds really kind of gross, but like, but, but they that's what they did. And I I'll say like, if this interests you, you might be interested in like a workshop. then if they say yes, then they'll go into my workshop sequence and they'll get notified when I open them.[01:01:00] Nathan:Are there other things that you do with email and with your newsletter[01:01:04] Kimberly:Yeah. Like I, like, I really want, I really want people to easily update their preferences. So I created a jot form like that simple select, you know, check box check if you're no longer interested in, workshops. No problem. Let me know. And I don't get enough work. Ominous, but hopefully, hopefully you'll put that feature in soon.[01:01:30] Nathan:We're actually working on building that feature now. So,[01:01:33] Kimberly:Are you kidding? When does it come out[01:01:34] Nathan:It's one of those asking where the paintings are done. It'll be done when it's done.[01:01:40] Kimberly:The other thing that I do is I really think gifts are important. And I think the marketer, the marketing community is really cheesy about it. Like they always do like outtakes from friends for reaction shots.And it's just so horrible, but I mean, it's just corny and you know who I'm talking about, but, you know, anyway, a gift is a beautiful thing because it's a movie that plays automatically and it doesn't have sound and. it can be so beautiful and subtle, you know, so every time I make a news that I usually have like an, it's like a work of art to me, you know?And sometimes if I want to emphasize a word, I'll paint a picture of that word and I'll integrate it in it. So like I really spend, I really love making them special. Yeah. I have one about the creative process and about not, not the Ted talk that you saw, but like I have one that's on the lead up to talking about the masterclass.Where it's called the curse of perfection. And I show, I talk about how, when I was a kid, my mother used to always like, she would sometimes wear like super smudge makeup and it was psych, it was called the smoky eye. I mean, they still do it now, but now the beauty people make it super specific, but then it was not that it was a little bit more like, woo.And I found a beautiful GIF of like a smokey eye, like slowly opening and closing. And I then go off on this whole subject about how, you know, it's as a painter, you have to let go of that, of the chains of perfection. You have to let it go in order to.[01:03:22] Nathan:Yeah. Well, I love that you're taking a medium that you know, of email or gifts or any of these things that a lot of people use in one way. And you're bringing those styles in that like class and sophistication and really just the level of effort. I think a lot of people are like hearing. Oh, I'm supposed to have, images or gifts.I'm supposed to be funny. And so they just look for something and slap it in there. And there's a level of effort that's not happening there, but because you're doing these automated sequences and you know that if you put this effort into it, it will last and work for you for years, then it's worth it.You can do a custom painted, you know, word or something like that to illustrate a point.[01:04:04] Kimberly:I mean, I have the luxury of having hundreds of paintings, and pieces of paintings, and video of—there's nothing sexier and more beautiful than watching somebody mix paint. There's literally nothing more gorgeous than that—So, I'm lucky.And I understand that other creators have to find other things, but there's a way to do things that have like a metaphorical—I here's what I would say. I would recommend that people seek to enhance their ability to think in metaphor when they write.So if they're gonna talk about a subject, and they're talking about a roadblock, instead of drawing a boulder on a road, find some other image or GIF. I use a lot of GIFs from ballet. You can find beautiful GIFs just by searching “Swan Lake” GIF, and it implies a physical movement.It goes back into that empathetic mirroring, where you feel that your own body is doing these movements that are surrounding this idea. It's not directly about what you're talking about, but it's like a little bit to the left, or it's just kind of a metaphorical version of it. It creates the space in between what you're literally saying, and what you're actually seeing that ignites the imagination and the view.[01:05:35] Nathan:Yeah. I love that. Just putting that extra bit of effort into defining the thing that's adjacent, rather than blatantly the first thing that came to mind. I think that makes a huge difference.[01:05:46] Kimberly:Yeah,[01:05:46] Nathan:We need to do a part two, because I have like 25 more questions to ask you, and we're out of time.[01:05:52] Kimberly:I'm in. I'm in.[01:05:54] Nathan:This has been amazing. Where should people go to subscribe to the newsletter?[01:05:58] Kimberly:They should go to KimberlyBrooks.com. The newsletter's right there in the footer and on the top. I really love communicating this way, and it's been an honor to be on this podcast, because I really love the product you've created. I really couldn't do it without you—without ConvertKit.So, I just, I'm such a fan, and I'm an evangelist, so kudos to you.[01:06:19] Nathan:Wow, thank you.Well, we're exci

Claudio Musso141 - Un secolo di disegno in ItaliaBologna, Palazzo Paltroni dal 27 aprile al 24 giugno 2021http://fondazionedelmonte.it141 - Un secolo di disegno in Italia è il titolo della grande mostra antologica promossa e organizzata dalla Fondazione del Monte di Bologna e Ravenna nell'ambito del programma di Art City Bologna 2021, che indaga le evoluzioni del segno in cento anni di arte italiana con opere su carta di 141 artisti dalle Avanguardie Storiche ai giorni nostri.L'esposizione aperta al pubblico, nelle sale della Fondazione, in Via delle Donzelle 2 a Bologna, da martedì 27 aprile, in occasione della Giornata Mondiale del Disegno. I visitatori potranno intraprendere un viaggio davvero unico, lungo oltre un secolo, nella storia del disegno italiano tra le opere di artisti straordinari, selezionate una ad una dai curatori Maura Pozzati e Claudio Musso. La mostra offre – a partire da un disegno del 1909 di Boccioni fino a opere del 2020 – uno spaccato delle infinite possibilità offerte da una tecnica antica che, anche in questa occasione, non manca di rivelare la sua incredibile attualità. L'ingresso è gratuito ma, nel rispetto delle norme vigenti a tutela della salute pubblica, è necessaria la prenotazione sul sito www.fondazionedelmonte.it. Con questo percorso espositivo, frutto di una rete di collaborazioni tra archivi, gallerie, collezionisti privati e artisti, Fondazione del Monte sostiene gli artisti, che tanto contribuiscono alla ricchezza del nostro patrimonio culturale, e riapre le porte al pubblico nella ferma convinzione che la cultura sia un bene primario per il benessere della collettività.Nella lista degli artisti in mostra compaiono figure di spicco dei principali movimenti e delle più innovative tendenze del XX secolo: dal Futurismo alla Metafisica, dall'Informale alla Nuova Figurazione passando per la Pop Art, dall'Arte povera al Concettuale. Allo stesso tempo, attraverso l'eterogeneo panorama delle singole ricerche, sono incluse le svariate tecniche dell'arte contemporanea dalla pittura alla scultura, dalla performance ai nuovi media, unite dal denominatore comune del disegno.Come sostiene Maura Pozzati nel suo testo in catalogo Le mani pensano quando disegnano: «questa mostra su un secolo di disegno in Italia in fondo è un omaggio a chi ama il disegno, a chi si fa emozionare dal segno, a chi ricerca nell'arte la traccia di una espressione libera, di una energia accumulata, di un pensiero ossessivo».«Il disegno ‒ spiega Claudio Musso ‒ come il linguaggio, è materia viva, pulsante, brulicante di vita indipendentemente dalla data della sua creazione, tende inoltre a rigettare schemi e regole se non autoimposti e si presenta a tutti gli effetti come un processo creativo che non si esaurisce nel rapporto tra l'artista e la sua creazione, ma che viene sollecitato e riattivato da ogni singolo osservatore». La mostra è accompagnata da un prezioso volume Corraini Edizioni, realizzato dallo Studio Filippo Nostri e pensato come una raccolta di schede organizzate in ordine di nascita in cui ai lavori sono affiancati testi degli artisti legati all'esperienza del disegnare. Oltre alle riproduzioni delle 141 opere in mostra, il catalogo raccoglie il pensiero degli autori in forma scritta affiancando ai paragrafi dedicati ai maestri tratti da libri spesso introvabili, numerosi testi inediti commissionati ai contemporanei. Concludono il tomo le riflessioni dei curatori in lingua italiana e in inglese.141. Un secolo di disegno in ItaliaA cura di: Maura Pozzati e Claudio MussoArtisti: Giacomo Balla, Alberto Martini, Carlo Carrà, Umberto Boccioni, Felice Casorati, Gino Severini, Mario Sironi, Giorgio de Chirico, Giorgio Morandi, Virgilio Guidi, Alberto Savinio, Osvaldo Licini, Filippo De Pisis , Mario Radice, Lucio Fontana, Giuseppe Capogrossi, Marino Marini, Fausto Melotti, Edgardo Mannucci, Scipione, Bruno Munari, Luigi Veronesi, Renato Guttuso, Afro, Giulio Turcato, Carol Rama, Emilio Vedova, Pietro Consagra, Emilio Scanavino, Pirro Cuniberti, Antonio Sanfilippo, Carla Accardi, Enrico Baj, Gianfranco Baruchello, Gastone Novelli, Marisa Merz, Piero Dorazio, Achille Perilli, Emilio Tadini, Lucio Saffaro, Giuseppe Uncini, Rodolfo Aricò, Dadamaino, Giosetta Fioroni, Lucio Del Pezzo, Irma Blank, Mario Schifano, Franco Angeli, Concetto Pozzati, Jannis Kounellis, Paolo Icaro, Corrado Levi, Giuseppe Spagnulo, Claudio Verna, Tano Festa, Marco Gastini, Aldo Mondino, Alighiero Boetti, Eliseo Mattiacci, Maurizio Mochetti, Giulio Paolini, Fabrizio Plessi, Luigi Ontani, Gilberto Zorio, Giuseppe Maraniello, Piero Dosi, Gino De Dominicis, Franco Guerzoni, Luigi Mainolfi, Mimmo Paladino, Enzo Cucchi, Marcello Jori, Piero Manai, Francesco Clemente, Serse, Pinuccia Bernardoni, Antonio Violetta, Omar Galliani, Piero Pizzi Cannella, Arcangelo, Marco Tirelli, Giacinto Cerone, Andrea Fogli, Angiola Gatti, Stefano Arienti, Liliana Moro, Luca Pancrazzi, Sergio Sarra, Bianco-Valente, Luca Caccioni, Roberto Paci Dalò, Mauro Ceolin, Alessandro Pessoli, Sabrina Mezzaqui, Sergia Avveduti, Luca Piovaccari, Karin Andersen, Simone Berti, Andrea Chiesi, Eva Marisaldi, Francesco De Grandi, Marco Neri, Italo Zuffi, Fausto Gilberti, Giovanna Ricotta, Claudia Losi, Margherita Morgantin, Eléna Nemkova, Massimiliano Fabbri, Marzia Migliora, Ivana Spinelli, Andrea Facco, Francesco Pedrini, Federico Pietrella, Giuseppe Stampone, Simone Tosca, Flavio de Marco, Nicola Toffolini, Riccardo Baruzzi, Adelaide Cioni, Marco Di Giovanni, Luigi Presicce, Giovanni De Lazzari, Aldo Giannotti, Nicola Samorì, Sissi, Donato Piccolo, Guido Bisagni (108), DEM, Andrea Mastrovito, Giuseppe De Mattia, Ericailcane, Carola Bonfili, Ester Grossi, Jacopo Casadei, Paola Angelini, Mattia Barbieri, Valentina D'Accardi, Benni Bosetto, Alberonero, Mattia Pajè.Sede: Fondazione del Monte di Bologna e Ravenna, via delle Donzelle 2 – Bologna Durata: 27 aprile - 24 giugno 2021Apertura: dal lunedì al venerdì dalle ore 10 alle 18Ingresso gratuito previa prenotazionePer informazioni: http://fondazionedelmonte.itIL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

Può un proiettile cambiare la storia dell'arte? Sì, se se lo becca Andy Warhol. Dopo aver rischiato di morire per mano della scrittrice Valerie Solanas, infatti, Warhol cambia completamente stile, nell'arte e nella vita. Non si circonda più di artisti derelitti, ma di gente di successo e il tema della morte sparisce dalle sue opere. Ma la morte può essere sinonimo di denuncia, come nel caso di Black Lives Matter e delle opere di artisti com Arthur Jafa e Teresa Margolles. O aprire varchi su altri mondi, come nell'arte di Apichatpong “Joe” Weerasethakul. Infine, Costantino e Francesco ci spiegano perché una vespa può essere molto più letale di uno squalo.In questa puntata si parla di Andrej Tarkovskij, Andy Warhol, Valerie Solanas, Richard Nixon, Mao Tse-Tung, Ronald Reagan, Jean-Michel Basquiat, Francesco Clemente, Jed Johnson, Candy Darling, James Dean, Salvador Dalí, Dorothy Pobder, Matteo Salvini, Alexandre Iolas, Leonardo da Vinci, Arthur Jafa, Steve McQueen, Santiago Sierra, Achille Mbembe, Michel Foucault, Teresa Margolles, Laszlo Thot, Michelangelo Buonarroti, Paolo Bonolis, Damien Hirst, Maurizio Cattelan, Marlene Dumas, Francisco Goya, Agnolo Bronzino, Mohammed Bouyeri, Theo van Gogh, Apichatpong “Joe” Weerasethakul e Tacita Dean.

Lysa Cooper is a powerful embodiment of the Divine Feminine and what it means to live with courage, creativity and an open heart. Lysa is a true visionary and has always been on the cutting edge of creativity in many industries. I deeply appreciate her authenticity and heart felt wisdom.For more than three decades, native New Yorker Lysa Cooper has helped shape the cultural landscape of fashion, hospitality, nightclubs and events on both the East and West coasts. She speaks openly about her reasons for leaving the world of styling and fashion after so many years of such a successful career and becoming the healer that she is today.Lysa Cooper's styling career spanned from Mary J Blige to Mos Def, all the way to her revolutionary relationship with Rihanna. Cooper was responsible for transforming the Bajan pop star into a fashion Icon. Other noteworthy stylist clients have included Beyonce, Aerosmith, Common, Kanye West, and Christina Aguilera. Cooper has also worked often with Directors Anthony Mandler, Mark Romanek, Little X, Hype Williams, and of course her collaborator Ellen Von Unwerth.And throughout the eighties and nineties until today, Cooper has been honored to sit for several respected artists and photographers as muse. Keith Haring, Francesco Clemente,  Alex Katz, Kenny Scharf, Robert Mapplethorpe, Ellen Von Unwerth, Bruce Weber, and Marc Baptiste have all invited her into their worlds, and she's continued to glean inspiration for her own work to this day.Follow Lysa Cooper here:https://www.instagram.com/lysacooper/?hl=enSupport the show (https://stuartwatkins.org/podcast/)

On this episode, it is my great pleasure to be speaking with award-winning, American Jewelry designer and Artist, Pamela Love. Her book Pamela Love: Muses and Manifestations, was published by Rizzoli New York in 2016Pam's Jewelry is inspired by astrology, her travels, astronomy, alchemy, botany, and folklore. She won the Ecco Domani Award in 2011, won the CFDA Lexus Eco Challenge for Sustainable Design in 2012, and in 2013 Won the CFDA Swarovski Award for Accessory Design.You have seen her work in countless music videos and on Television series. She is a favorite designer to many celebrities and music icons.We speak about her moving from Florida to NYC to attend the NYU Tisch School of the Arts to major in Film. Did you know she had originally wanted to be a production designer? We talk about her passion for film, how she began her journey with Jewelry design, and a new hobby of working with pottery. She shares her advice for new designers starting out today as well as her long term relationship with Francesco Clemente, who also officiated at her wedding and her love of music amongst many other surprises. Not to mention, her deeply candid honesty about her family history. She also happens to be one of my favorite cousins.Stay tuned, it's a special episode!You can find her designs here at:https://www.pamelalove.com

Creative Flow And Meaningful Designs. Almost 15 years ago, Pamela Love began making jewelry in her Brooklyn apartment. The one-time film student was once a stylist, a vintage clothing curator, and famously assisted the prolific painter Francesco Clemente. Deeply inspired by her time with him and by their friendship, it’s a little-known fact that to this day, she still mixes his paints for his commissioned portraits. Learning color from Clemente contributed to her restrained yet robust sense of and taste in color, which is evident in her aesthetic and designs. In a market filled with jewelry brands, Love has always been known for unique, distinct design and her intelligent and elevated point of view. Always with her hand firmly on the pulse of style, Pamela Love puts out pieces steeped in symbolism that mean more for the wearer. And she’s collaborated with the best brands…from Opening Ceremony to Nine West, and many more. On this podcast, we talk about her exciting new piercing collection, the store she opened in Paris, her tarot and meditation practices, mall culture and her creativity as a kid in Florida, the business versus creative side of her brand, how she’s fallen in love with clay and ceramics, her book, her sources of inspiration, and the importance of settling into her day to make room for creativity to flow. We delve into the elements of her great taste, getting specific about skincare and many of her favorite things, that you can shop here: 1. Shop Pamela Love's latest collection https://rstyle.me/+NK-92DjSD7LAcE69AMjNhg 2. Pamela Love: Muses and Manifestations book https://rstyle.me/+SMspPRPuTBkY0Xq9ibXa-Q 3. Porcelain Candle in Sueño by Pamela Love x Joya https://www.pamelalove.com/products/porcelain-sueno-candle-black?_pos=1&_sid=27ae3e029&_ss=r 4. Porcelain Candle in Rise by Pamela Love x Joya https://www.pamelalove.com/products/porcelain-candle-rise-pink 5. Great Expectations Directed By Alfonso Cuaron https://rstyle.me/+G9wd9hvAYCIzuFswbSzhKQ 6. Brazil Directed By Terry Gilliam https://rstyle.me/+yPo7yIjnpEUXUi1c1ovYJg 7. Gentle Cleansing Oil Makeup Remover by Sulwhasoo https://rstyle.me/+nf7S8xiHifG9tiI2Q1mbjQ 8. The Rich Cream by Augustinus Bader https://rstyle.me/+jHzkbyUhJeRaUyE785Gb2Q 9. Resurfacing BHA Glow Mask by Tata Harper https://rstyle.me/+phrPgb83rcCVhQbnGYKuCg

Vinnarna skriver historien och det realistiska måleriet gick knappast segrande ur 1900-talet. Karsten Thurfjell reflekterar över ismerna som dukade under, men överlevde ändå. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna. Minns ni transavantgardet? Hm, inget rungande ja, precis. Transavantgardet var en italiensk rörelse inom konsten, som vid 1980-talets inträde lanserades av konstvetaren och kritikern Achille Bonito Oliva, och bland konstnärerna märktes Sandro Chia, Francesco Clemente, Nicola de Maria och Mimmo Paladino. Ringer någon klocka? Jag minns att några av dom var här och visade upp sig då och då under 80-talet, men här på redaktionen tycks jag vara den enda som minns. Transavantgardet ville lösa upp den väg som den moderna konsten tagit under 1900-talet. Man ville bort från tanken att det skulle finnas olika avantgarde, förtrupper som skulle uppfinna nya stilar och uttrycksmedel för att komma åt tidsandan, livsvillkoren och verkligheten. Achille Bonito Oliva hade själv varit en del av det rådande italienska avantgardet, som sedan mitten av 60-talet stavades Arte Povera, den fattiga konsten. Den var konceptuellt präglad och gick ut på att konstnärerna skulle använda material som var mycket billiga eller rentav gratis. Men nu hade Oliva och några av hans konstnärskompisar tröttnat på utställningar med en hög stenar, en repstump, ett par kolsäckar och ett trasigt fönster, och han föreslog att istället för att gå mot en nollpunkt skulle konstnärerna vända om och söka sig tillbaka till traditionen, och där hitta nya kreativa sätt att återanvända dom klassiska uttrycksmedlen, förslagsvis just det ! måleriet. vad hade hänt om det tidiga 1900-talsavantgardet gått andra vägar? Transavantgardisterna ägnade sig åt en sorts nyexpressionism i sitt måleri. Det var ganska poetiskt och föreställande, och det tycktes inte bäras fram av särskilt strikta regler. Rörelsen fick ett gott mottagande i hemlandet, och särskilt bra gick det i USA, där tanken på att befria måleriet ur dom konceptuella bojorna inspirerade nya amerikanska stjärnor som Julian Schnabel och Jean-Michel Basquiat, liksom det nya tyska vilda måleriet blev en parallellrörelse som formligen exploderade. Men som minnesgoda lyssnare vet, öppnades konstvärlden i detta skede för postmodernismen, som när den blommade ut i slutet av 1980-talet gjorde alla dom tidigare absoluta anspråken hos konstens förtrupper omöjliga. Och där någonstans började väl transavantgardets trendvärde ebba ut, för snart var allt tillåtet, och alla konstnärer kunde göra vad som helst på vilket sätt som helst och komma undan med det. Att transavantgardet kördes över av postmodernismen och försvann kan nog förklaras med samtidskonstens enorma expansion sedan dess, men vad hade hänt om det tidiga 1900-talsavantgardet gått andra vägar? Finns det ett sliding doors-tema ruvande inom modernismen? Hur hade konsten sett ut om Hitler kommit in på Konstakademin i Wien 1907? Konstens parallella universum kunde jag inte låta bli att fundera över när jag 2018 under ett besök på Ateneum i Helsingfors, upptäckte en annan ism som också tycks ha gått under och glömts bort, nämligen den magiska realism som frodades i Italien på 1920- och 30-talet. Vadå magisk realism, undrar ni kanske? Konsthistoriens bild av den tidiga modernismen i Italien domineras av Filippo Tommaso Marinetti och hans futuristiska Manifest år 1909, som i princip gick ut på att skrota allt som var gammalt särskilt museerna och deras mossiga innehåll. Marinetti besjöng farten, teknologin och kriget, men tio år senare, efter första världskrigets ödeläggelse kändes futurismens tongångar kanske lite fadda, och avantgardet kom att gå i mer fredliga riktningar. I Paris fortsatte Picasso & Co att bryta upp perspektiven, medan några i stället valde ett klassiskt realistiskt och detaljrikt bildspråk. I Tyskland fick den nya sakligheten ofta ett satiriskt drag av Max Beckman, Otto Dix och George Grosz,  medan man i Italien kom att avbilda en drömlik, liksom avstannad verklighet. Mest känd i den här rörelsen är Giorgio de Chirico med sina teatrala, kulisslika scenerier med klassisk arkitektur. Men huvuddelen av Italiens magiska realister sökte sin magi i ganska vardagliga motiv, där det exakta avbildandet skänkte mer stillhet än dynamik. Redan före kriget, 1912 hade Felice Casorati målat Fröknarna, en sällsam bild i stort format, där fyra unga kvinnor poserar på en sorts friluftsscen framför en stor gran, tre fröknar är påklädda, en naken. Scenen dom står på är beströdd med en väldig mängd symboliska föremål: smycken, vaser, frukter, uppslagna böcker, speglar och lappar i barock stillebentradition. Fröknarna tycks representera fyra klassiska kvinnohållningar, från pliktkänsla och blyghet till munter charm och naken melankoli. Dom verkar tagna direkt ur verkligheten, men svävar i en dröm. Dom magiska realisterna, med namn som Cagnaccio di San Pietro, Antonio Donghi och Leonor Fini målade porträtt av individer, sällskap och föremål, som avbildats i sin miljö, men som stannat upp i sina positioner och tycks bortkopplade från tidens hank och stör. Gruppen var inte särskilt hårt sammanhållen, snarare ett antal besläktade individer, och om dom under 1920-talet fick ställa ut som alla andra, började dom på 30-talet trängas bort av fascismens konströrelse Novecento Italiano med sin politiserade kultursyn, precis som den nya sakligheten dömdes ut bland den entartete, urartade moderna konsten av Hitler och hans nazister på andra sidan Alperna. Flera av konstnärerna gick i inre och yttre exil. Av det realistiska måleriet överlevde delar under det surrealistiska paraplyet, medan somliga socialrealistister skulle komprometteras som medlöpare efter världskrig nr 2, en katastrof som i princip tvingade fram ett abstrakt formspråk, en konst som inte kunde förknippas med krig och förtryck. Och efterkrigstidens abstrakta expressionism är sedan länge inskriven i konsthistorien, som alla andra ismer. Så kanske har 20-talets magiska realism inte alls förpassats till konsthistoriens bakgård  Den magiska realism som försvann på 30-talet är en mindre fotnot i konsthistorien, och några av dom individuella konstnärskap som sökte den exakta avbildningens magiska drag omnämns snarare som solitärer. Men idag ser vi många nya sätt att söka magi i avbildningen. Först i våra trakter med att verkligen gå emot modernismens teser var väl norske Odd Nerdrum som i stor stil bröt med popkonsten på 60-talet, och med gammalmästerlig 1600-talsteknik målar mänskliga varelser i realistisk stil, människor som uppenbarligen befinner sig utanför tid och rum och som väl strängt taget inte ser ut att ha funnits i någon tidsålder. Under samma Finlandsresa som jag upptäckte den magiska realismen, såg jag en utställning med Brasiliansk-finländska Isabella Cabral. Tidigare har jag sett henne ställa ut i Sverige, närgånget avmålade vedklabbar, avbrända tändstickor och hoprullade sedlar, allt med en envetenhet som tycks vilja mana fram föremålens magi. Men den här gången handlade det om skor. Utställningen Shoe story visade nämligen närgångna målningar av skor, rejält slitna promenad- och träningsskor som gåtts ner av ingen mindre än filmaren och författaren Jörn Donner, en man som går långt och mycket. Skorna är minutiöst avmålade i uppförstorad, mer än dubbel skala, med oljemåleri i flera lager som Isabella Cabral lägger på för att återge varje skiftning i dom nerslitna plösarna, sulorna och ovanlädren. Tavlorna var monterade på glas ute på gallerigolvet, som altartavlor, så man såg dukarnas baksida, där Jörn Donner själv skrivit dom titlar han gett målningarna: Perkele förstås, Mammuten, Fanny & Alexander, vilket om inte annat förstärker målningarnas fetischkaraktär. Så kanske har 20-talets magiska realism inte alls förpassats till konsthistoriens bakgård, utan tvärtom åter skakats fram ur modernismens hopvecklade fana och getts ny energi, precis som Achille Bonito Oliva proklamerade för sitt transavantgarde på 1980-talet som ville förnya konsten med dom klassiska måleriska gesterna, ännu en gång. Kanske består konsthistorien helt enkelt av ett antal parallella universum som då och då plötsligt hakar i varann, därinne i ateljéerna. Karsten Thurfjell, medarbetare på kulturredaktionen

Pamela Love is a long-time friend of Capitol -- we are as inspired by her gorgeous jewelry as we are by her unique spirit.  In this episode, Pamela shares her personal journey from her first creative endeavor via an award-winning short film to apprenticing with famed artist Francesco Clemente and eventually launching the Pamela Love collection.  She also offers insight into her dynamic intellectual pursuits from studying the occult to learning tarot as a child.

June 28, 2018 at the Boston Athenæum. As a response to his desire to make a work of art, unique in character and materiality, Aaron Sinift created the Five-Year Plan project. The inspiration came from the artworks printed onto the side of sling bags called “jholas” that are commonly made by Gandhi ashram collectives throughout India. The cloth they are made from, called khadi, is made from hand-spun cotton thread woven on hand-looms, a cloth with deep resonance in India. Sinift commissioned 1.4 kilometers, almost a mile, of khadi from the Manav Seva Sannidhi Ashram in Modinagar, which employs 700 spinners, the majority of whom are women over the age of 55. The ashram also employs 45 weavers, and 35 helpers. Most of these workers are Dalit Muslim or low-caste Hindu, and are the sole providers for their families. The ashrams who created this book made it entirely from khadi cloth featuring screen- and block-printed artworks by 24 artists from 8 countries. He commissioned well-known artists like Francesco Clemente, Yoko Ono, and Chris Martin to contribute one page each. Spinning and weaving the khadi for the Five-Year Plan created more than 2,400 days of work for the ashram and kept 100 families employed for a month.

Ospiti: Daniele Carnevale; Francesco Clemente, Giorgio Pennazza.

Pamela Love, an award winning jewelry designer based in New York City, talks about her obsession with Greek Mythology, and trying to keep up during New York Fashion week without her sleep monster getting in the way, and her apprenticeship with artist, Francesco Clemente.

Chris Hook, Vicky Roach and Elizabeth Fortescue discuss events in the arts this week, including the new Absolutely Fabulous movie, the misogynist reaction to the all-female Ghostbusters reboot and upcoming art exhibitions including Francesco Clemente's Encampment at Carriageworks. See acast.com/privacy for privacy and opt-out information.

L'opera di Francesco Clemente raccontata da Achille Bonito Oliva

The exhibition Warhol Basquiat in the Bank Austria Kunstforum in Vienna provides unique insights into the creative process of two very different artistic personalities.

Einen einmaligen Einblick in die Zusammenarbeit und den Schaffensprozess zweier Künstlerpersönlichkeiten bietet die Schau Warhol Basquiat im Bank Austria Kunstforum in Wien. Ein Ausstellungsporträt.

Frank Santoro is a Pittsburgh-based cartoonist. He self-published his first major work, Storeyville in 1995 while living in San Francisco. Upon its republication twelve years later, Tom Spurgeon wrote, "Frank Santoro's Storeyville may be the book of 2007, which is doubly amazing when you realize that it may have been the book of 1995 as well." After spending time in the New York art scene, where he painted and assisted painter, Francesco Clemente, he returned to making comics in the early 2000s with Cold Heat - an unfinished collaboration with Ben Jones. He cofounded the influential comics criticism blog and publication, Comics Comics, with Dan Nadel and Tim Hodler. In 2011, he founded the Santoro Correspondence Course. He writes a weekly comic for tcj.com and runs comicworksbook (currently in the midst of the comicsworkbook Composition Competition 2013). This fall, Picturebox, Inc. will release Santoro's new graphic novel, Pompeii -- a historical romance set in the days before the eruption.

Die drei Künstler waren das Gesicht der New Yorker Kunstszene der 80er-Jahre: Andy Warhol, Jean-Michel Basquiat und Francesco Clemente. Drei unterschiedliche Temperamente, und doch schufen sie viele Kunstwerke gemeinsam. Die sind jetzt in der Bonner Bundeskunsthalle zu sehen. Reporterin Elena Isayenko spazierte mit der Ausstellungsleiterin Susanne Kleine zu den wichtigsten Werken. Moderation: Stefan Leske.

Paint Made Flesh examines the ways in which European and American painters have used oil paint and the human body to convey enduring human vulnerabilities, among them anxieties about desire, appearance, illness, aging, war, and death. In the tradition of great figure painting stretching back to Rembrandt and Titian, the 34 artists in the exhibition, working in the years since World War II, exploit oil paint's visual and tactile properties to mirror those of the body, while exploring the body's capacity to reflect the soul. Drawn from private and public collections and arranged by chronology and nationality, the 43 paintings in the exhibition reflect a wide range of styles. Strong colors and vigorous brushwork associated with German expressionism give crude life to figures by artists ranging from the San Francisco Bay area painters to a younger generation, including Markus Lüpertz and Susan Rothenberg. Candid depictions of flesh by British painters Francis Bacon and Lucian Freud suggest psychological pain at the margins of society, while paint as skin betrays the inner feelings of Jenny Saville's swollen females. Other artists represented include Karel Appel, Cecily Brown, Francesco Clemente, John Currin, Eric Fischl, Willem de Kooning Leon Kossoff, David Park, Julian Schnabel, and Pablo Picasso. Paint Made Flesh is organized by the Frist Center for the Visual Arts in Nashville, Tennessee. This exhibition is supported by an indemnity from the Federal Council on the Arts and Humanities.

Paint Made Flesh examines the ways in which European and American painters have used oil paint and the human body to convey enduring human vulnerabilities, among them anxieties about desire, appearance, illness, aging, war, and death. In the tradition of great figure painting stretching back to Rembrandt and Titian, the 34 artists in the exhibition, working in the years since World War II, exploit oil paint's visual and tactile properties to mirror those of the body, while exploring the body's capacity to reflect the soul. Drawn from private and public collections and arranged by chronology and nationality, the 43 paintings in the exhibition reflect a wide range of styles. Strong colors and vigorous brushwork associated with German expressionism give crude life to figures by artists ranging from the San Francisco Bay area painters to a younger generation, including Markus Lüpertz and Susan Rothenberg. Candid depictions of flesh by British painters Francis Bacon and Lucian Freud suggest psychological pain at the margins of society, while paint as skin betrays the inner feelings of Jenny Saville's swollen females. Other artists represented include Karel Appel, Cecily Brown, Francesco Clemente, John Currin, Eric Fischl, Willem de Kooning Leon Kossoff, David Park, Julian Schnabel, and Pablo Picasso. Paint Made Flesh is organized by the Frist Center for the Visual Arts in Nashville, Tennessee. This exhibition is supported by an indemnity from the Federal Council on the Arts and Humanities.

THIS WEEK: Duncan and Richard interview James Rondeau, superstar curator and Cecelia Edefalk, superstar artist. We just bought the right to the word "superstar" so we are compelled to use it as much as possible. Stealing liberally from the AIC's press release bank we now paste the following for your enlightenment. "The Art Institute of Chicago presents the first solo U.S. exhibition of Swedish artist Cecilia Edefalk as part of its Focus exhibitions of contemporary art. Double White Venus, a series of 12 paintings all titled Double White Venus, will be on view in Gallery 139 of the museum from February 2 to April 23, 2006. Born in 1954, Edefalk draws viewers in by exploring, through repetition as well as innovative installations, the mechanics of making and looking at painted images. Edefalk works slowly and deliberately, in direct contrast to our high-speed, image-based world; she began Double White Venus in 1999 and completed its 12 paintings over the course of nearly 7 years." James Rondeau is the Frances and Thomas Dittmer Curator of Contemporary Art at the Art Institute of Chicago, and a damn nice guy. He has overseen the significant growth and expansion in recent years of the Art Institute of Chicago's commitment to contemporary art. Brian Andrews our west coast correspondent has really been earning his keep these days. This week he interviews Andrew Bancroft aka the superstar rapper Jelly D. from the brilliant Maximum Wage video. "The son of an ex-pool hustler and former Catholic nun, Andrew Bancroft grew up in Maine, where he developed an early love of acting and music. Andrew graduated with honors from Wesleyan UniversitySan Francisco in 2000. Andrew's many film credits include the title role in Gabriel Angel Of The Lord, as well as directing and starring as rapper "Jelly Donut" in Illbilly's mock music video Maximum Wage . He has many other performance credits, including The Ken and Andy Show and Popcorn Anti-Theater." If you don't go check out www.Illbilly.com your toes will rot off. Names Dropped: Stan Douglas, Anne Goldstein, James Coleman, Michael Asher, Madeleine Grynsztejn, Jeremy Strick, Claude Monet, A. James Speyer, Philip K. Dick, Robert Gober, Francesco Clemente, Robert Ryman, Sean Scully, Buzz Spector, Suzanne Ghez, Francesco Bonami, Thomas Hirschhorn, Lisa Dorin, Chalres Stuckey, Neal Benezra, Anne Rojimer, James Wood, James Cuno, Kenny Taylor, the all important Bob's Donut Shop in San Francisco, CA, and more, more, more NEXT WEEK: Reviews from London, Gallerist Wendy Cooper, maybe some reviews, c'mon I just finished this damn show do I really need to dish about what we have for next week. Sheesh. Cecilia EdefalkStan DouglasAnne GoldsteinJames ColemanMichael AsherMadeleine GrynsztejnJeremy StrickClaude MonetA. James SpeyerPhilip K. DicRobert GoberFrancesco ClementeRobert RymanSean ScullyBuzz SpectorSuzanne GhezFrancesco BonamiThomas HirschhornLisa DorinCharles StuckeyNeal BenezraAnne RorimerJames CunoWendy Cooper