Podcasts about Gagosian Gallery

Cecilia Alemani is an Italian curator based in New York City who is currently at work curating the 12th SITE SANTA FE International, titled Once Within a Time and opening in June 2025.  Since 2011, she has been the Donald R. Mullen, Jr. Director & Chief Curator of High Line Art, the public art program presented by the High Line in New York City. From 2020 to 2022, she served as Artistic Director of the 59th Venice Biennale, where she curated the acclaimed exhibition The Milk of Dreams, which received over 800,000 visitors. More recently, she has curated several exhibitions, including Tetsuya Ishida: My Anxious Self, the Japanese painter's first American retrospective, presented at Gagosian Gallery in New York (2023); Making Their Mark, the first public presentation of the Shah Garg Collection (New York, 2023; Berkeley Art Museum and Pacific Film Archive, 2024); and Anu Põder: Space for My Body, Poder's first solo exhibition presented outside of Estonia at Muzeum Susch, Switzerland (2024). Alemani also served as Artistic Director of the inaugural edition of Art Basel Cities: Buenos Aires in 2018 and was the curator of the Italian Pavilion at the 57th Venice Biennale in 2017. Over the past twenty years, Alemani has developed expertise in commissioning and producing ambitious artworks for public space and unusual sites. She and Zuckerman discuss the act of learning, not being curatorially snobby, the rhythm of nature, giving up control, objects having their own life, the realness of cultural uncertainty, the 1948 Venice Bienniale and moving between the past and the future, female voices, the artist as client, the land of enchantment, and that art matters because it is our life!

Mark and Kenny begin Season Seven: Defending the Crown with a detailed discussion of Madonna's most politically urgent (and last - for now!) film project, in collaboration with Steven Klein as well as the debut of a now oft-covered Elliott Smith song. Topics include channeling the source and upping security, Instagram, VICE and BitTorrent, cutting edge lingerie, Danny Tull, troublesome rollouts and surprise drops, the illusions of the mid-2010s, the Daddy Syndrome, Jean-Luc Goddard, The Night Porter, David Lynch's influences, rebirth and performance, Anne Sexton, Ariana Grande, the Gagosian Gallery, Rocco Ritchie, Anderson Cooper and the GLAAD Awards, the importance of props, Amnesty International, Pussy Riot and the continuing struggle and fight to protect human rights and the freedom of speech - globally. Madonna's in the kitchen getting dragged across the floor and getting sued for one million dollars! Thank you - as always - for listening. We are so excited to be resuming our conversations with each and every one of you. It's a Revolution of Love!

Welcome back to PART 5 of my series ‘Art of the Deal' and the final episode of Season 3. This time I'm taking you on a whistle-stop tour of the life of contemporary mega dealer Larry Gagosian. Larry Gagosian, best known as the founder and owner of Gagosian Gallery, a now chain of 19 galleries and spaces across the world, is arguably one of the greatest living dealers ever to grace the art world . In this episode I discuss Gagosian's humble beginnings, his venture into the art world and a rise within in industry which is nothing short of sensational. Enjoy!! Thank you so much to everyone who has listened to the podcast.  We'll be back soon after a short and well deserved break! Links to resources used: ⁠https://en.wikipedia.org/wiki/Larry_Gagosian⁠ ⁠https://www.wsj.com/articles/larry-gagosian-board-succession-11668624005⁠ ⁠https://www.theartnewspaper.com/2022/11/16/larry-gagosian-announces-new-board-of-directors-including-lvmh-director-delphine-arnault-and-actor-sofia-coppola⁠ ⁠https://www.newyorker.com/magazine/2023/07/31/larry-gagosian-profile⁠ ⁠https://www.ft.com/content/eefe7a73-7798-4e56-b8f9-70c35a9e68e9⁠ Host: Jo McLaughlin Instagram: ⁠⁠https://www.instagram.com/josarthistory/⁠⁠ Website: ⁠⁠https://www.josarthistory.com/podcast

Welcome back to PART 5 of my series ‘Art of the Deal' and the final episode of Season 3. This time I'm taking you on a whistle-stop tour of the life of contemporary mega dealer Larry Gagosian. Larry Gagosian, best known as the founder and owner of Gagosian Gallery, a now chain of 19 galleries and spaces across the world, is arguably one of the greatest living dealers ever to grace the art world . In this episode I discuss Gagosian's humble beginnings, his venture into the art world and a rise within in industry which is nothing short of sensational. Enjoy!! Thank you so much to everyone who has listened to the podcast.  We'll be back soon after a short and well deserved break! Links to resources used: https://en.wikipedia.org/wiki/Larry_Gagosian https://www.wsj.com/articles/larry-gagosian-board-succession-11668624005 https://www.theartnewspaper.com/2022/11/16/larry-gagosian-announces-new-board-of-directors-including-lvmh-director-delphine-arnault-and-actor-sofia-coppola https://www.newyorker.com/magazine/2023/07/31/larry-gagosian-profile https://www.ft.com/content/eefe7a73-7798-4e56-b8f9-70c35a9e68e9 Host: Jo McLaughlin Instagram: ⁠https://www.instagram.com/josarthistory/⁠ Website: ⁠https://www.josarthistory.com/podcast --- Send in a voice message: https://podcasters.spotify.com/pod/show/jos-art-history-podcast/message

NYC Artist Kat Chamberlin is a main conspirator in The Gagosian Gallery Girl Scam that used young women in an attempt to set up men around the NYC art world. But worse than that she is an educator of young people at College Staten Island and Vantage Points. So now we have very serious questions about her participation in this scandal, as an older adult, in a scam that in our opinion was abusing young people.

In August of 2022 we fired Juliana Nalerio from our show. She demanded we remove her episodes. We declined. So Julie Nalerio used her Stanford connections, Adam Lehrer and Gagosian Gallery in a 15 month stalking spree in an attempt to destroy the women in our lives. Sounds illegal right? Mental health issues and violence against women with Juliana Nalerio from City College and Stanford University.

Episode Notes Arnason, H. H. (2014). History of Modern Art: Painting, Sculpture, Architecture, Photography (7th ed.). Pearson. - [https://www.pearson.com/us/higher-education/program/Arnason-History-of-Modern-Art-Vol-1-Paperback-Plus-MySearchLab-with-eText-Package-7th-Edition/PGM270428.html](https://www.pearson.com/us/higher-education/program/Arnason-History-of-Modern-Art-Vol-1-Paperback-Plus-MySearchLab-with-eText-Package-7th-Edition/PGM270428.html) - - Celant, Germano. (1997). Damien Hirst. Fondazione Prada. - URL: [https://www.fondazioneprada.org/prodotto/damien-hirst/](https://www.fondazioneprada.org/prodotto/damien-hirst/) Gagosian Gallery. (2006). Damien Hirst: A Thousand Years. Gagosian Gallery. URL: https://gagosian.com/shop/books/2006-damien-hirst-a-thousand-years/ Hirst, Damien. (1992). I Want to Spend the Rest of My Life Everywhere, with Everyone, One to One, Always, Forever, Now. Thames & Hudson. URL: https://thamesandhudson.com/i-want-to-spend-the-rest-of-my-life-everywhere-with-everyone-one-to-one-always-forever-now-9780500276600 Hirst, Damien. (1997). Damien Hirst: I Want to Spend the Rest of My Life Everywhere, with Everyone, One to One, Always, Forever, Now. Booth-Clibborn Editions. URL: https://www.booth-clibborn.com/product/damien-hirst-i-want-to-spend-the-rest-of-my-life-everywhere-with-everyone-one-to-one-always-forever-now/ Schama, Simon. (1997). Dead Right: The Great Adventure of Damien Hirst. The New Yorker, 73(26), 46-55. URL: https://www.newyorker.com/magazine/1997/09/22/dead-right Livingstone, Marco. (2000). Damien Hirst. Tate Publishing. URL: https://shop.tate.org.uk/damien-hirst/15967.html Heartney, Eleanor. (2004). Damien Hirst. Taschen. URL: https://www.taschen.com/pages/en/catalogue/art/all/45308/facts.damien_hirst.htm Smith, Karen. (2012). Who's afraid of Damien Hirst? Visual Culture in Britain, 13(3), 359-383. URL: https://www.tandfonline.com/doi/abs/10.1080/14714787.2012.707529 Stallabrass, Julian. (1999). High Art Lite: British Art in the 1990s. Verso. URL: https://www.versobooks.com/books/498-high-art-lite Bishop, Claire. (2006). The Social Turn: Collaboration and Its Discontents. Artforum International, 44(6), 178-183. URL: https://www.artforum.com/print/200604/the-social-turn-collaboration-and-its-discontents-12309 Hirst, Damien. (1993). Some Went Mad, Some Ran Away. Boxtree. URL: https://www.goodreads.com/book/show/566545.Some_Went_Mad_Some_Ran_Away Graham-Dixon, Andrew. (2001). Damien Hirst. Harry N. Abrams. URL: https://www.penguinrandomhouse.com/books/116562/damien-hirst-by-andrew-graham-dixon/ Jones, Jonathan. (2001). Damien Hirst: On the Way to Work. Faber & Faber. URL: https://www.faber.co.uk/9780571219112-damien-hirst.html Gompertz, Will. (2015). What Are You Looking At? The Surprising, Shocking, and Sometimes Strange Story of 150 Years of Modern Art. Plume. URL: https://www.penguinrandomhouse.com/books/308087/what-are-you-looking-at-by-will-gompertz/ Ferguson, Russell. (1996). The Young British Artists. Thames & Hudson. URL: https://www.thamesandhudson.com/the-young-british-artists-0-500-28039-1 Kent, Sarah. (1999). Young British Art: The Saatchi Decade. Booth-Clibborn Editions. URL: https://www.goodreads.com/book/show/5464349-young-british-art Kent, Sarah. (2001). Shark-Infested Waters: The Saatchi Collection of British Art in the 90s. Thames & Hudson. URL: https://www.thamesandhudson.com/shark-infested-waters-9780500282328 Barber, Fionna. (1999). The Art of Medicine. BMJ: British Medical Journal, 319(7223), 1580. URL: https://www.ncbi.nlm.nih.gov/pmc/articles/PMC1117243/ Gompertz, Will. (1997). The Other Hirst. The Guardian. Retrieved from https://www.theguardian.com/education/1997/sep/16/arts.highereducation Schama, Simon. (1997). Dead Right: The Great Adventure of Damien Hirst. The New Yorker, 73(26), 46-55. URL: https://www.newyorker.com/magazine/1997/09/22/dead-right Walker, John A. (2000). Art in the Age of Mass Media. Pluto Press. URL: https://www.plutobooks.com/9780745316422/art-in-the-age-of-mass-media/ Curtis, Penelope. (2001). Sculpture 1900-1945. Oxford University Press. URL: https://global.oup.com/academic/product/sculpture-9780192842057?cc=us&lang=en& Dorment, Richard. (2012). Damien Hirst: Why the artist is more important than the art. The Telegraph. Retrieved from https://www.telegraph.co.uk/culture/art/9572193/Damien-Hirst-Why-the-artist-is-more-important-than-the-art.html King, Elliott H. (2008). Damien Hirst and the Death of Art. New England Review, 29(3), 139-144. URL: https://www.jstor.org/stable/30042283 Mullins, Edwin. (2006). The Painted Word: British Conceptualism 1964-1989. Ridinghouse. URL: https://www.ridinghouse.co.uk/publications/44/ Knight, Christopher. (1999). For Art's Sake: An Open Letter to Charles Saatchi. Los Angeles Times. Retrieved from https://www.latimes.com/archives/la-xpm-1999-jun-20-ca-48476-story.html Wullschlager, Jackie. (2009). The Stuckists: punk art rebels. Financial Times. Retrieved from https://www.ft.com/content/0c413354-9299-11de-aed2-00144feabdc0 Morris, Catherine. (2003). Strange Pilgrimages: Damien Hirst's “End of an Era” and the Production of British Art History. Oxford Art Journal, 26(1), 35–52. URL: https://academic.oup.com/oaj/article/26/1/35/1346697 Molloy, Sean. (2008). Hirst's animal art under investigation. The Independent. Retrieved from https://www.independent.co.uk/arts-entertainment/art/news/hirsts-animal-art-under-investigation-771465.html Cohen, Patricia. (2009). Art Review: Death Be Not Proud? The New York Times. Retrieved from https://www.nytimes.com/2009/06/01/arts/design/01hirst.html Gleadell, Colin. (2010). Damien Hirst: What's the Big Idea? The Telegraph. Retrieved from https://www.telegraph.co.uk/culture/art/artsales/7626885/Damien-Hirst-whats-the-big-idea.html Dorment, Richard. (2008). Damien Hirst: This artist's a sensation, but is he a great artist? The Telegraph. Retrieved from https://www.telegraph.co.uk/culture/art/3673577/Damien-Hirst-This-artists-a-sensation-but-is-he-a-great-artist.html Chilvers, Ian, and Glaves-Smith, John. (2009). A Dictionary of Modern and Contemporary Art (2nd ed.). Oxford University Press. URL: https://global.oup.com/academic/product/a-dictionary-of-modern-and-contemporary-art-9780199239658?cc=us&lang=en& Robertson, Jean. (2006). The Art Business. Routledge. URL: https://www.routledge.com/The-Art-Business/Robertson/p/book/9780415364796 Find out more at https://three-minute-modernist.pinecast.co

Episode Notes Resources for info on Cy Twombly The Cy Twombly Foundation Website (cytwombly.org) The Museum of Modern Art (MoMA) (moma.org) The Gagosian Gallery (gagosian.com) Tate Modern (tate.org.uk) The Whitney Museum of American Art (whitney.org) Artforum (artforum.com) The Art Story (theartstory.org) The Guardian Art & Design Section (theguardian.com/artanddesign) The New York Times Art Section (nytimes.com/section/arts) Google Arts & Culture (artsandculture.google.com) Support our Patreon - https://www.patreon.com/3MinModernist Find out more at https://three-minute-modernist.pinecast.co

A conversation with Lissa McClure, Executive Director of the Woodman Family Foundation about the life and work of Francesca Woodman and her organization's new partnership with Gagosian Gallery to represent Woodman's work beginning with an exhibition at Gagosian's 555 West 24th Street location in New York which opens March 13. In the conversation, Lissa discusses Woodman's prodigious work, her fondness for allegory, her fascination with surrealism, and the legacy that the organization is focused on preserving and growing.https://woodmanfoundation.org/https://gagosian.com/exhibitions/2024/francesca-woodman/

Derek Blasberg, a dynamic force in the worlds of fashion and media, boasts a multifaceted career as a writer, editor, and a New York Times bestselling author. Previously YouTube's head of fashion and beauty and director of public figures, Blasberg transformed the platform, earning praise from industry luminaries like Tom Ford. His influence extends to the Gagosian Gallery, where he spearheaded the relaunch of Gagosian Quarterly and collaborated with renowned image makers, especially in celebrating the life and work of legendary American photographer Richard Avedon. After his 2023 Gagosian landmark exhibition Avedon 100 in New York, Blasberg follows with the launch of Iconic Avedon: A Centennial Celebration of Richard Avedon in Paris on January 22, 2024. A graduate of NYU with degrees in dramatic literature and journalism, Blasberg comments on his journey from Vogue assistant to front-row favorite, underlining his extroversion, passion for the fashion industry, and the importance of never saying no—and that's what's contemporary. Episode Highlights: Sweet nostalgia: Blasberg remembers his upbringing in St. Louis, Missouri, as typical and all-American, but not one that facilitated a knowledge of fashion from the get-go. Surrounded by manuscripts: With a mother who was the managing editor of a medical journal, Blasberg had his first connection to documents and texts through medicine and later as a prolific note-passer at school.  Contrasts: “I had a fundamental lack of understanding or loose grasp of the fashion industry, as I now know it today,” Blasberg says. Beginnings: Being predigital but a natural extrovert, Blasberg found an agency and advocated for himself, with his first foray into the fashion world writing biographies for models, later working for Vogue and W magazines.  Hired and fired from Vogue: Blasberg calls it an educational process and experience, even though managing and assisting “was probably not the best fit for me.” The evolving role of the journalist: Though the traditional writer role doesn't exist in the same form it did two decades ago, Blasberg sees the ability to express oneself in written language as more important than ever.  Do readers exist?: Regardless of form, people may not be reading but are still consuming content and “still curious what people have to say and what they have to write,” Blasberg notes. Bazaar Models: Blasberg's books explore successful models and muses in a form that fuses literature, journalism, and sheer curiosity about the lives of talents. Man About Town: Blasberg has a unique freedom and independence in navigating the fashion industry, which he sees as a result of open-minded optimism.  Perspective as a “trader in culture”: Blasberg notes that live streams, online and resale marketplaces, and influencer culture are ways in which the fashion industry, in particular, has changed over the course of just the last few years.  Full-circle moment: A career highlight is the Paris centennial celebration of Richard Avedon, Blasberg's childhood hero.  Driven by passion: Inspired by icons like Richard Avedon and Marilyn Monroe, Blasberg's work at the Gagosian Gallery is unique in its capability to portray other elements of culture and history, such as the Civil Rights Movement. His enthusiasm for the subject matter shines through.  What's contemporary now: For Blasberg, it's never saying ‘no.'

Lee Miller may have been best known in life as a beautiful muse of the legendary Surrealist Man Ray yet, shortly after her passing, a lucky accident led her family to an attic treasure trove, which made her a photography legend in her own right. During this week's podcast, we unpack the details of this extraordinary tale, and hear many other anecdotes from Miller's adventurous life, in a chat with her son and biographer, Antony Penrose. From her swift ascent as a '20s-era Vogue fashion model—and the ad campaign that sidelined her appeal—to her audacious exploits as an accredited war correspondent for the very same magazine, Penrose sheds light on a woman who lived many lives, as exemplified in the title of his first book. Miller's remarkable bravery as a World War II combat photographer was recently immortalized in the feature film “Lee,” starring Kate Winslet, which is another facet of our chat. Penrose describes what it was like to work with the actress as she plumbed Miller's archive for her character development, how she mastered the operation of a custom-made Rolleiflex, and how the camera became a personality in itself as part of the film. Penrose had a troubled relationship with his mother during much of her life, as she struggled with PTSD and the enduring effects wartime atrocities had on her psyche. His reflections on her struggles and her accomplishments reveal the very human core of a creative powerhouse who lived in the moment, in true Surrealist fashion. “This person who I had dismissed as being a useless drunk, now had other dimensions to her, which I was totally astonished by,” recounts Penrose about the treasures she left behind in the attic. “… it had never occurred to me that her career was so distinguished, and so varied, and so absolutely groundbreaking in terms of being a woman war correspondent. And so, that's how it began.”  So, pop in your earbuds and listen in… this is an episode you won't want to miss! Above photograph © 2023 Lee Miller Archives, England. All rights reserved. www.leemiller.co.uk Guests: Antony Penrose For more information on our guest and the gear he uses, see: https://www.bhphotovideo.com/explora/podcasts/photography/lee-miller-combat-photographer-fashion-model-muse-with-antony-penrose Stay Connected: Lee Miller Archives at Farleys House: https://www.leemiller.co.uk/ Lee Miller: Photographs book:  https://www.thamesandhudsonusa.com/books/lee-miller-photographs-hardcover The Lives of Lee Miller biography:  https://www.thamesandhudsonusa.com/books/the-lives-of-lee-miller-softcover The film “Lee” on IMDB: https://www.imdb.com/title/tt5112584/ “Surrealist Lee Miller”” exhibit in Melbourne, Australia: https://www.heide.com.au/exhibitions/surrealist-lee-miller/ “Lee Miller in Print” exhibit in Rotterdam: https://www.boijmans.nl/en/exhibitions/lee-miller-in-print “Seeing is Believing: Lee Miller & Friends” exhibit at Gagosian Gallery: https://gagosian.com/exhibitions/2023/seeing-is-believing-lee-miller-and-friends/

On this episode I'm joined by Lisa Kim. Kim is the director of the Ford Foundation Gallery, an exhibition space within the Ford Foundation Center for Social Justice. A former Gagosian Gallery staffer, Kim's previous post before joining the Ford Foundation Gallery was as director of cultural affairs at Two Trees Management Company, a real estate development firm in Brooklyn, where she oversaw the company's arts philanthropy, public art initiatives, produced the annual DUMBO Arts Festival (2011-2014).Let's dive into my latest episode with Lisa Kim where we'll learn more about her passions, why she believes art is important, and what she loves about collaboration.

This week the painter and curator Kristin Calabrese. Kristin was born in 1968 in Mountain View, a suburb of San Jose, CA and spent her childhood moving back and forth between Massachusetts and Arizona. Her father, Bill, was an engineer and her mother, Karen, a housewife. Kristin has a younger brother Greg and they grew up in the 70s in a middle-class white American suburb with an abundance of children in the neighborhood. However, Kristin's childhood was not easy; her father was an authoritarian and she was bullied by children in school. She says her family environment was very sexist and she vowed to live a very different life to her mother's. In 1995, Kristin graduated with a Bachelor in Fine Arts from the San Francisco Art Institute and Master of Fine Arts from the University of California, Los Angeles in 1998. She found her way as an artist after exploring a variety of mediums in college, venturing into graphic design and creating websites before eventually concentrating on oils. She says: “My paintings speak plainly, make jokes, and are irreverent. I paint to make my thoughts, feelings, and experience into monuments that mark my small and large, personal existence.” The focus of Kristin's work includes psychology, humor, politics and formal issues of composition and representation, primarily through painting. Since the mid 90's, Kristin has held numerous shows in the US and Europe. Solo exhibitions include Gagosian Gallery in Los Angeles, Brennan & Griffin in New York, and Michael Jansen in Cologne. She has also curated many group exhibitions, including at the Los Angeles Contemporary Exhibitions and Honor Fraser Gallery. Her work is featured in numerous collections, including Saatchi and The Armand Hammer Museum. Together with her husband, artist Joshua Aster, they have a small business for art supplies, such as canvases and framing, and then they spend the evenings painting. Kristin says that she is now in a happy place as an artist and curator at home in Los Angeles.Women artists whose work Kristin admires:Mary WeatherfordSusanna CoffeyMichelle GrabnerAnne HarrisDeb SokoloLucy BullLauren QuinKristin's Playlist“I don't listen to music in the studio. I listen to podcasts and books on tape. Once I recognize a song, I find it annoying and distracting, so I listen to podcasts and books on tape. I'm pretty interested in history right now, stuff I never learned in school like the 30 Years War, The Reformation, even more current American history, like J. Edgar Hoover and the FBI. I play podcasts all day long, need it to sort of distract myself from being antsy, they help me focus on the painting.Kristin's Podcasts:American PrestigeBackground BriefingKnow Your EnemyThe MajorityReport ChapoTrap HouseThe Tom Hartman ShowLeft ReckoningLetters and PoliticsAndI've adopted a couple astrology podcasts:Chani Nicholas Astrology of the Week AheadAnne Ortelee weekly weatherAlso some comedy podcasts, here's one: Thought Spiral".Kristin's website: https://kristincalabrese.com/Instagram: @only_future_thingHost: Chris StaffordFollow @theaartpodcast on InstagramEmail: hollowellstudios@gmail.comThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/4769409/advertisement

Jessica Beck - Director at Gagosian Gallery, Bevery Hills and former Milton Fine curator of The Andy Warhol Museum. Paige Dirkes-Jacks -Director, La Femme Bohème with Ouroboros Opera and The Valkyrie Ensemble

This week the painter and curator Kristin Calabrese. Kristin was born in 1968 in Mountain View, a suburb of San Jose, CA and spent her childhood moving back and forth between Massachusetts and Arizona. Her father, Bill, was an engineer and her mother, Karen, a housewife. Kristin has a younger brother Greg and they grew up in the 70s in a middle-class white American suburb with an abundance of children in the neighborhood. However, Kristin's childhood was not easy; her father was an authoritarian and she was bullied by children in school. She says her family environment was very sexist and she vowed to live a very different life to her mother's. In 1995, Kristin graduated with a Bachelor in Fine Arts from the San Francisco Art Institute and Master of Fine Arts from the University of California, Los Angeles in 1998. She found her way as an artist after exploring a variety of mediums in college, venturing into graphic design and creating websites before eventually concentrating on oils. She says: “My paintings speak plainly, make jokes, and are irreverent. I paint to make my thoughts, feelings, and experience into monuments that mark my small and large, personal existence.” The focus of Kristin's work includes psychology, humor, politics and formal issues of composition and representation, primarily through painting. Since the mid 90's, Kristin has held numerous shows in the US and Europe. Solo exhibitions include Gagosian Gallery in Los Angeles, Brennan & Griffin in New York, and Michael Jansen in Cologne. She has also curated many group exhibitions, including at the Los Angeles Contemporary Exhibitions and Honor Fraser Gallery. Her work is featured in numerous collections, including Saatchi and The Armand Hammer Museum. Together with her husband, artist Joshua Aster, they have a small business for art supplies, such as canvases and framing, and then they spend the evenings painting. Kristin says that she is now in a happy place as an artist and curator at home in Los Angeles. Women artists whose work Kristin admires: Mary WeatherfordSusanna CoffeyMichelle GrabnerAnne HarrisDeb SokoloLucy BullLauren Quin Kristin's Playlist “I don't listen to music in the studio. I listen to podcasts and books on tape. Once I recognize a song, I find it annoying and distracting, so I listen to podcasts and books on tape. I'm pretty interested in history right now, stuff I never learned in school like the 30 Years War, The Reformation, even more current American history, like J. Edgar Hoover and the FBI. I play podcasts all day long, need it to sort of distract myself from being antsy, they help me focus on the painting.Here are some or my current podcast faves: American PrestigeBackground BriefingKnow Your EnemyThe MajorityReport ChapoTrap HouseThe Tom Hartman ShowLeft ReckoningLetters and Politics AndI've adopted a couple astrology podcasts:Chani Nicholas Astrology of the Week AheadAnne Ortelee weekly weather Also some comedy podcasts, here's one: Thought Spiral".Kristin's website: https://kristincalabrese.com/ Instagram: @only_future_thingHost: Chris StaffordProduced by Hollowell StudiosFollow @theaartpodcast on InstagramEmail: hollowellstudios@gmail.com

Anna Weyant is a Canadian-born painter who lives in New York. She holds a BFA in painting from the Rhode Island School of Design and studied at the China Academy of Art in Hangzhou. She is the youngest artist represented by Gagosian Gallery and in 2022, she had her debut solo show with Gagosian (which featured a painting of Eileen). She and Eileen discuss the ins and outs of her artistic practice — and for the first time, she publicly opens up about her boyfriend and dating life, the backlash she's received, sexism in the art world, and how it all affects her mental health.     Check Out squarespace.com/goingmental for a free trial, and when you're ready to launch, use OFFER CODE: GOINGMENTAL to save 10% off your first purchase of a website or domain.   For listeners of the show, Dipsea is offering an extended 30 day free trial when you go to DipseaStories.com/mental. That's 30 days of fulla ccess for free.   This episode is brought to you by BetterHelp. Give online therapy a try at betterhelp.com/GOINGMENTAL to get 10% off your first month and get on your way to being your best self.  Show links:   Follow @eileen on Instagram Follow @killerandasweetthang on Instagram Follow @eileeninparis on TikTok  More information at: Goingmental.com     Produced by Dear Media.

Péjú Oshin is the Associate Director of Gagosian Gallery and curator of Rites of Passage the exhibition featuring work by nineteen contemporary artists who share a history of migration.Rites of Passage explores the idea of “liminal space,” a coinage of anthropologist Arnold van Gennep (1873–1957). It is structured in correspondence with liminality's three stages: separation, transition, and return. Each of these phases addresses the act of movement, not only through individual experience, but also in the broader context of community. The exhibition examines the status of postcolonial Black identity, specifically the “triple consciousness” experienced by members of the African diaspora when encountering counterparts who identify with local majority populations. Péjú shares the personal and professional journey behind curating this exhibition, plus the impact and legacy of BLM 2020 on her previous role as Curator of Young People's Programmes at Tate and beyond. We round up exploring the visible public positioning of a curator and how the contemporary media landscape informs working practices.Shade Podcast is written, hosted and produced by Lou MensahMusic Shaded is composed by Brian Jackson Thank you for listening and for supporting Shade, a Black independent art show via Patreon and Ko-fiShade InstagramShade websiteRites of Passage at Gagosian Péjú Oshin InstagramSee you next time! Become a member at https://plus.acast.com/s/shadepodcast. Hosted on Acast. See acast.com/privacy for more information.

In the 1990s, a network of twenty Soros Centres for Contemporary Art sprung up across Eastern Europe: Almaty, Belgrade, Budapest, Kiev, Ljubljana, Prague, Riga, Sarajevo, Tallinn, Warsaw, and Zagreb among them. These centres, funded as their name suggests by Geroge Soros' Open Society Foundation, had as their mission the cataloguing of dissident pre-1989 art and the introduction of new forms of artistic practice to the art scenes of post-Eastern Block states. Within a decade, the centres wound up their operation and their histories have been forgotten but not because they made a mark on Eastern European art and societies. The Influencing Machine, Aaron Moulton's exhibition and book traces the network's history and evaluates its outsized impact on its host societies. Through the use of template annual exhibitions and synchronised open calls, the Centres pioneered forms of socially engaged practice that preceded the form's development in Western art capitals and gave artists access to unprecedented production budgets, international networking opportunities, and access to new media technologies. Moulton proposes that the Centres played an underappreciated role in orienting artists ideologically in pro-Western and pro-neoliberal directions, a that the extent of their influence has been underappreciated. In societies making the transition from socialism to free-reign capitalism, the actions of a single NGO which habitually outspent all other funders appear to have been glossed over if not outright expunged from memory. The book invites a conversation about the global art world, the role of activism in art, and the power of institutional critique. Its proposals should be a warning to anyone attempting to understand the role of capital in forming cultural consciousness today. If a single NGO could be credited with creating the cultural values of a whole region without once being called to account, what other ideologies is contemporary art producing and on whose orders? Aaron Moulton speaks to Pierre d'Alancaisez about the legacy of the Soros Centers of Contemporary Art Network, gonzo anthropology and conspiratorial theorising as methods for writing art history from neglected vantage points, and the antisemitic, bogeyman tropes which appear along the way. Aaron Multon trained at the RCA, London and was the editor of Flash Art International and a curator at Gagosian Gallery. He founded the Berlin exhibition space Feinkost. The Influencing Machine exhibition at CCA Ujazdowski Castle Pierre d'Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In the 1990s, a network of twenty Soros Centres for Contemporary Art sprung up across Eastern Europe: Almaty, Belgrade, Budapest, Kiev, Ljubljana, Prague, Riga, Sarajevo, Tallinn, Warsaw, and Zagreb among them. These centres, funded as their name suggests by Geroge Soros' Open Society Foundation, had as their mission the cataloguing of dissident pre-1989 art and the introduction of new forms of artistic practice to the art scenes of post-Eastern Block states. Within a decade, the centres wound up their operation and their histories have been forgotten but not because they made a mark on Eastern European art and societies. The Influencing Machine, Aaron Moulton's exhibition and book traces the network's history and evaluates its outsized impact on its host societies. Through the use of template annual exhibitions and synchronised open calls, the Centres pioneered forms of socially engaged practice that preceded the form's development in Western art capitals and gave artists access to unprecedented production budgets, international networking opportunities, and access to new media technologies. Moulton proposes that the Centres played an underappreciated role in orienting artists ideologically in pro-Western and pro-neoliberal directions, a that the extent of their influence has been underappreciated. In societies making the transition from socialism to free-reign capitalism, the actions of a single NGO which habitually outspent all other funders appear to have been glossed over if not outright expunged from memory. The book invites a conversation about the global art world, the role of activism in art, and the power of institutional critique. Its proposals should be a warning to anyone attempting to understand the role of capital in forming cultural consciousness today. If a single NGO could be credited with creating the cultural values of a whole region without once being called to account, what other ideologies is contemporary art producing and on whose orders? Aaron Moulton speaks to Pierre d'Alancaisez about the legacy of the Soros Centers of Contemporary Art Network, gonzo anthropology and conspiratorial theorising as methods for writing art history from neglected vantage points, and the antisemitic, bogeyman tropes which appear along the way. Aaron Multon trained at the RCA, London and was the editor of Flash Art International and a curator at Gagosian Gallery. He founded the Berlin exhibition space Feinkost. The Influencing Machine exhibition at CCA Ujazdowski Castle Pierre d'Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/political-science

In the 1990s, a network of twenty Soros Centres for Contemporary Art sprung up across Eastern Europe: Almaty, Belgrade, Budapest, Kiev, Ljubljana, Prague, Riga, Sarajevo, Tallinn, Warsaw, and Zagreb among them. These centres, funded as their name suggests by Geroge Soros' Open Society Foundation, had as their mission the cataloguing of dissident pre-1989 art and the introduction of new forms of artistic practice to the art scenes of post-Eastern Block states. Within a decade, the centres wound up their operation and their histories have been forgotten but not because they made a mark on Eastern European art and societies. The Influencing Machine, Aaron Moulton's exhibition and book traces the network's history and evaluates its outsized impact on its host societies. Through the use of template annual exhibitions and synchronised open calls, the Centres pioneered forms of socially engaged practice that preceded the form's development in Western art capitals and gave artists access to unprecedented production budgets, international networking opportunities, and access to new media technologies. Moulton proposes that the Centres played an underappreciated role in orienting artists ideologically in pro-Western and pro-neoliberal directions, a that the extent of their influence has been underappreciated. In societies making the transition from socialism to free-reign capitalism, the actions of a single NGO which habitually outspent all other funders appear to have been glossed over if not outright expunged from memory. The book invites a conversation about the global art world, the role of activism in art, and the power of institutional critique. Its proposals should be a warning to anyone attempting to understand the role of capital in forming cultural consciousness today. If a single NGO could be credited with creating the cultural values of a whole region without once being called to account, what other ideologies is contemporary art producing and on whose orders? Aaron Moulton speaks to Pierre d'Alancaisez about the legacy of the Soros Centers of Contemporary Art Network, gonzo anthropology and conspiratorial theorising as methods for writing art history from neglected vantage points, and the antisemitic, bogeyman tropes which appear along the way. Aaron Multon trained at the RCA, London and was the editor of Flash Art International and a curator at Gagosian Gallery. He founded the Berlin exhibition space Feinkost. The Influencing Machine exhibition at CCA Ujazdowski Castle Pierre d'Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

In the 1990s, a network of twenty Soros Centres for Contemporary Art sprung up across Eastern Europe: Almaty, Belgrade, Budapest, Kiev, Ljubljana, Prague, Riga, Sarajevo, Tallinn, Warsaw, and Zagreb among them. These centres, funded as their name suggests by Geroge Soros' Open Society Foundation, had as their mission the cataloguing of dissident pre-1989 art and the introduction of new forms of artistic practice to the art scenes of post-Eastern Block states. Within a decade, the centres wound up their operation and their histories have been forgotten but not because they made a mark on Eastern European art and societies. The Influencing Machine, Aaron Moulton's exhibition and book traces the network's history and evaluates its outsized impact on its host societies. Through the use of template annual exhibitions and synchronised open calls, the Centres pioneered forms of socially engaged practice that preceded the form's development in Western art capitals and gave artists access to unprecedented production budgets, international networking opportunities, and access to new media technologies. Moulton proposes that the Centres played an underappreciated role in orienting artists ideologically in pro-Western and pro-neoliberal directions, a that the extent of their influence has been underappreciated. In societies making the transition from socialism to free-reign capitalism, the actions of a single NGO which habitually outspent all other funders appear to have been glossed over if not outright expunged from memory. The book invites a conversation about the global art world, the role of activism in art, and the power of institutional critique. Its proposals should be a warning to anyone attempting to understand the role of capital in forming cultural consciousness today. If a single NGO could be credited with creating the cultural values of a whole region without once being called to account, what other ideologies is contemporary art producing and on whose orders? Aaron Moulton speaks to Pierre d'Alancaisez about the legacy of the Soros Centers of Contemporary Art Network, gonzo anthropology and conspiratorial theorising as methods for writing art history from neglected vantage points, and the antisemitic, bogeyman tropes which appear along the way. Aaron Multon trained at the RCA, London and was the editor of Flash Art International and a curator at Gagosian Gallery. He founded the Berlin exhibition space Feinkost. The Influencing Machine exhibition at CCA Ujazdowski Castle Pierre d'Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

In the 1990s, a network of twenty Soros Centres for Contemporary Art sprung up across Eastern Europe: Almaty, Belgrade, Budapest, Kiev, Ljubljana, Prague, Riga, Sarajevo, Tallinn, Warsaw, and Zagreb among them. These centres, funded as their name suggests by Geroge Soros' Open Society Foundation, had as their mission the cataloguing of dissident pre-1989 art and the introduction of new forms of artistic practice to the art scenes of post-Eastern Block states. Within a decade, the centres wound up their operation and their histories have been forgotten but not because they made a mark on Eastern European art and societies. The Influencing Machine, Aaron Moulton's exhibition and book traces the network's history and evaluates its outsized impact on its host societies. Through the use of template annual exhibitions and synchronised open calls, the Centres pioneered forms of socially engaged practice that preceded the form's development in Western art capitals and gave artists access to unprecedented production budgets, international networking opportunities, and access to new media technologies. Moulton proposes that the Centres played an underappreciated role in orienting artists ideologically in pro-Western and pro-neoliberal directions, a that the extent of their influence has been underappreciated. In societies making the transition from socialism to free-reign capitalism, the actions of a single NGO which habitually outspent all other funders appear to have been glossed over if not outright expunged from memory. The book invites a conversation about the global art world, the role of activism in art, and the power of institutional critique. Its proposals should be a warning to anyone attempting to understand the role of capital in forming cultural consciousness today. If a single NGO could be credited with creating the cultural values of a whole region without once being called to account, what other ideologies is contemporary art producing and on whose orders? Aaron Moulton speaks to Pierre d'Alancaisez about the legacy of the Soros Centers of Contemporary Art Network, gonzo anthropology and conspiratorial theorising as methods for writing art history from neglected vantage points, and the antisemitic, bogeyman tropes which appear along the way. Aaron Multon trained at the RCA, London and was the editor of Flash Art International and a curator at Gagosian Gallery. He founded the Berlin exhibition space Feinkost. The Influencing Machine exhibition at CCA Ujazdowski Castle Pierre d'Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In the 1990s, a network of twenty Soros Centres for Contemporary Art sprung up across Eastern Europe: Almaty, Belgrade, Budapest, Kiev, Ljubljana, Prague, Riga, Sarajevo, Tallinn, Warsaw, and Zagreb among them. These centres, funded as their name suggests by Geroge Soros' Open Society Foundation, had as their mission the cataloguing of dissident pre-1989 art and the introduction of new forms of artistic practice to the art scenes of post-Eastern Block states. Within a decade, the centres wound up their operation and their histories have been forgotten but not because they made a mark on Eastern European art and societies. The Influencing Machine, Aaron Moulton's exhibition and book traces the network's history and evaluates its outsized impact on its host societies. Through the use of template annual exhibitions and synchronised open calls, the Centres pioneered forms of socially engaged practice that preceded the form's development in Western art capitals and gave artists access to unprecedented production budgets, international networking opportunities, and access to new media technologies. Moulton proposes that the Centres played an underappreciated role in orienting artists ideologically in pro-Western and pro-neoliberal directions, a that the extent of their influence has been underappreciated. In societies making the transition from socialism to free-reign capitalism, the actions of a single NGO which habitually outspent all other funders appear to have been glossed over if not outright expunged from memory. The book invites a conversation about the global art world, the role of activism in art, and the power of institutional critique. Its proposals should be a warning to anyone attempting to understand the role of capital in forming cultural consciousness today. If a single NGO could be credited with creating the cultural values of a whole region without once being called to account, what other ideologies is contemporary art producing and on whose orders? Aaron Moulton speaks to Pierre d'Alancaisez about the legacy of the Soros Centers of Contemporary Art Network, gonzo anthropology and conspiratorial theorising as methods for writing art history from neglected vantage points, and the antisemitic, bogeyman tropes which appear along the way. Aaron Multon trained at the RCA, London and was the editor of Flash Art International and a curator at Gagosian Gallery. He founded the Berlin exhibition space Feinkost. The Influencing Machine exhibition at CCA Ujazdowski Castle Pierre d'Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/eastern-european-studies

In the 1990s, a network of twenty Soros Centres for Contemporary Art sprung up across Eastern Europe: Almaty, Belgrade, Budapest, Kiev, Ljubljana, Prague, Riga, Sarajevo, Tallinn, Warsaw, and Zagreb among them. These centres, funded as their name suggests by Geroge Soros' Open Society Foundation, had as their mission the cataloguing of dissident pre-1989 art and the introduction of new forms of artistic practice to the art scenes of post-Eastern Block states. Within a decade, the centres wound up their operation and their histories have been forgotten but not because they made a mark on Eastern European art and societies. The Influencing Machine, Aaron Moulton's exhibition and book traces the network's history and evaluates its outsized impact on its host societies. Through the use of template annual exhibitions and synchronised open calls, the Centres pioneered forms of socially engaged practice that preceded the form's development in Western art capitals and gave artists access to unprecedented production budgets, international networking opportunities, and access to new media technologies. Moulton proposes that the Centres played an underappreciated role in orienting artists ideologically in pro-Western and pro-neoliberal directions, a that the extent of their influence has been underappreciated. In societies making the transition from socialism to free-reign capitalism, the actions of a single NGO which habitually outspent all other funders appear to have been glossed over if not outright expunged from memory. The book invites a conversation about the global art world, the role of activism in art, and the power of institutional critique. Its proposals should be a warning to anyone attempting to understand the role of capital in forming cultural consciousness today. If a single NGO could be credited with creating the cultural values of a whole region without once being called to account, what other ideologies is contemporary art producing and on whose orders? Aaron Moulton speaks to Pierre d'Alancaisez about the legacy of the Soros Centers of Contemporary Art Network, gonzo anthropology and conspiratorial theorising as methods for writing art history from neglected vantage points, and the antisemitic, bogeyman tropes which appear along the way. Aaron Multon trained at the RCA, London and was the editor of Flash Art International and a curator at Gagosian Gallery. He founded the Berlin exhibition space Feinkost. The Influencing Machine exhibition at CCA Ujazdowski Castle Pierre d'Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices

In the 1990s, a network of twenty Soros Centres for Contemporary Art sprung up across Eastern Europe: Almaty, Belgrade, Budapest, Kiev, Ljubljana, Prague, Riga, Sarajevo, Tallinn, Warsaw, and Zagreb among them. These centres, funded as their name suggests by Geroge Soros' Open Society Foundation, had as their mission the cataloguing of dissident pre-1989 art and the introduction of new forms of artistic practice to the art scenes of post-Eastern Block states. Within a decade, the centres wound up their operation and their histories have been forgotten but not because they made a mark on Eastern European art and societies. The Influencing Machine, Aaron Moulton's exhibition and book traces the network's history and evaluates its outsized impact on its host societies. Through the use of template annual exhibitions and synchronised open calls, the Centres pioneered forms of socially engaged practice that preceded the form's development in Western art capitals and gave artists access to unprecedented production budgets, international networking opportunities, and access to new media technologies. Moulton proposes that the Centres played an underappreciated role in orienting artists ideologically in pro-Western and pro-neoliberal directions, a that the extent of their influence has been underappreciated. In societies making the transition from socialism to free-reign capitalism, the actions of a single NGO which habitually outspent all other funders appear to have been glossed over if not outright expunged from memory. The book invites a conversation about the global art world, the role of activism in art, and the power of institutional critique. Its proposals should be a warning to anyone attempting to understand the role of capital in forming cultural consciousness today. If a single NGO could be credited with creating the cultural values of a whole region without once being called to account, what other ideologies is contemporary art producing and on whose orders? Aaron Moulton speaks to Pierre d'Alancaisez about the legacy of the Soros Centers of Contemporary Art Network, gonzo anthropology and conspiratorial theorising as methods for writing art history from neglected vantage points, and the antisemitic, bogeyman tropes which appear along the way. Aaron Multon trained at the RCA, London and was the editor of Flash Art International and a curator at Gagosian Gallery. He founded the Berlin exhibition space Feinkost. The Influencing Machine exhibition at CCA Ujazdowski Castle My interview with Geert Lovink The Influencing Machine Aaron Moulton Published by CCA Ujazdowski Castle, 2022 ISBN 9788367203050 ************* Find many more interviews, projects, and my writing at https://petitpoi.net/ You can sign up for my newsletter at https://petitpoi.net/newsletter/ Support my work: https://petitpoi.net/support/

As a host of new exhibitions of the work of Lucian Freud opens across London to mark his centenary, this episode is all about this leading figure in post-war British painting. Ben Luke takes a tour of the major show at the National Gallery, which promises new perspectives on his work, with its curator, Daniel Herrmann. Martin Gayford discusses Freud's little-explored letters, gathered in Love Lucian, a new book that Gayford has co-edited with Freud's former assistant David Dawson. And this episode's Work of the Week is the painting Mare Eating Hay (2006). The gallerist Pilar Ordovas, who worked closely with Freud in his later years, discusses the centrepiece of her new exhibition, Horses and Freud.Lucian Freud: New Perspectives, National Gallery, London, 1 October– 2 January 2023David Dawson and Martin Gayford (eds), Love Lucian: The Letters of Lucian Freud 1939-1954, Thames & Hudson, 392 pp, £65/$95 (hb)Freud and Horses, Ordovas, until 16 December.Other Freud exhibitions in London this autumn:Lucian Freud: The Painter and His Family, Freud Museum, until 29 January 2023; Lucian Freud: B.A.T, Lyndsey Ingram, until 4 November; Lucian Freud: Interior Life, with photographs by David Dawson, Hazlitt Holland-Hibbert, 6 October-16 December; Lucian Freud: Plant Portraits, Garden Museum, 14 October-5 March 2023; Friends and Relations: Lucian Freud, Francis Bacon, Frank Auerbach, Michael Andrews, Gagosian Gallery, 18 November-28 January 2023 Hosted on Acast. See acast.com/privacy for more information.

In questo audio il prezioso incontro con Alberto Di Fabio artista e Virna Cerne manager R&SL'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.Con Alberto di Fabio e Virna Cerne parliamo di arte e cibo, nutrimento della mente e del corpo. Ci raccontano di montagne metafisiche, antenne per captare l'universo come in un sogno, e dei maestri che sono fondamentale nella vita. Dell'argomento alimentazione, diviso tra caratteristiche nutrizionali indispensabili per la salute e piacere, del gusto e della condivisione, nella dimensione conviviale del cibo. Siamo corpi magnetici che si collegano all'universo quantico, se fermiamo la mente, che un po' ci mente, e ascoltiamo l'anima, riusciamo a collegarci con mondi paralleli. La tradizione millenaria dell'alimentazione si era centrata sul frumento dimenticando lo sviluppo gastronomico degli altri cereali che invece rivelano preziose peculiarità nutritive e di gusto. L'arte intuisce distanze matematiche tra galassie. Il settore agro alimentare vive di margini minimi, la cultura del cibo si è persa negli anni con gravi danni sulla salute pubblica e individuale. E molto altro.ASCOLTA L'INTERVISTA! BREVI NOTE BIOGRAFICHE DEGLI AUTORIAlberto Di Fabio di Avezzano, maturità artistica e Accademia di Belle Arti a Roma, vive e lavora tra Roma e New York. Dopo l'esordio con la Galleria Bonomo molte mostre internazionali: Rupertinum Salisburgo (1996); Magazin 4 Kunstverein Bregenz (1997). Ed anche T-19 Galerie für zeitgenössische Kunst Vien (1999). Ed anche alla Galerie Jan Wagner Berlin (2001); Briggs Robinson Gallery New York (2002). Nelle sue opere forme astratte e organiche vibrano di colori brillanti e puri, creano contrasti, scale armoniche e variazioni tonali, coinvolgendo l'occhio in visioni cinetiche. Traendo ispirazione da cosmo e natura, tra arte, scienza e spiritualità, la sua pittura indaga reazioni chimiche, fusioni minerarie, atomi e sistema neuronale comparato all'astrofisica. Entra nella scuderia Gagosian Gallery esponendo a Ginevra, Atene, New York, Londra, Beverly Hills. Inoltre stabilisce un lungo sodalizio con Umberto Di Marino Napoli e Luca Tommasi Arte Contemporanea Milano. Negli anni espone alle Galerie Vedovi Bruxelles, Galerie Steinle Munich, Fondazione Bullukian Lione, Estorick Collection London, Mairie du 4 arrondissement Parigi, Cerrn di Ginevra. Mostre personali anche in Italia: Galleria Pack Milano; Reale Accademia Di Spagna, Museo Macro e Galleria Nazionale d'Arte Moderna e Contemporanea di Roma. Ed anche al Palazzo dei Diamanti Ferrara, Mart Rovereto, Castel Sant'Elmo Napoli, e molto altri. Virna Cerne direttore Ricerca&Sviluppo Dr. Schär S.p.A., laurea in Scienze e Tecnologie Alimentari, Università degli Studi di Udine, tesi all'Università degli Studi di Gembloux, Belgio. Nel periodo 1994-1996 è Project Leader nel reparto R&D della Zuegg Frucht AGa Berlino. Dal 1996 entra in Schär come responsabile dei reparti Controllo Qualità e R&S, membro del CdA nel triennio 2015-2018. In fine, dal 2003 dirige il Schär Centre di Trieste, reparto di riferimento R&D dell'intero gruppo Schär. Conduce molte ricerche con riscontri internazionali. Nel 2013 il brevetto di “Procedimento per la produzione di proteine di mais, e loro uso nella produzione di prodotti da forno e pasta acida senza glutine”. Brevetto selezionato dall'EPO (European Patent Office) come finalista per lo European Inventor Award 2016. Tra gli ultimi brevetti, nel 2021 quello per la “Composizione per la preparazione di un prodotto da forno, in particolare pane, per l'uso nella dieta chetogenica”. Presenta studi e ricerche in meeting e congressi della comunità medica internazionale: San Francisco, Baltimora, Londra. Partecipa al 21° e 32° Meeting Analisi Prolamina e tossicità; alla 2° conferenza sulla chimica alimentare, al 17° Euro Fed Lipid Congress and Expo, Siviglia 2019. Inoltre è due volte membro della commissione giudicatrice del European Inventor Award di EPO.

In this episode, artist Fay Ray and I have a beautiful and honest conversation about the art world, what it means to be both an artist and a parent, and how designers can better understand and incorporate art into spaces. Fay Ray also reminds us of the challenges of building a life as an artist, and she shares how she has remained devoted to her work over the years.  There's so much here to talk about that we could do a part two to this episode, so stay tuned! In the meantime, enjoy this wonderful conversation. Guest Bio Los Angeles-based artist Fay Ray explores the fetishization of objects and the construction of female identity through high-contrast, monochrome photomontages and metallic sculpture. For her three-dimensional works, Fay Ray compiles cast aluminum objects, bored volcanic rocks, wire, chain, and natural materials into suspended sculptural masses. Conflating worlds of worship and desire, the works across mediums borrow from the symbolism and composition of traditional religious relics and the visual language of the occult. Ray's sculptures and collages hint at the presence of a rematerialized body through a mysterious yet systematic organization of abstract form. Fay Ray (b. 1978, Riverside, CA) received her BFA from Otis College of Art and Design in 2002, and her MFA from Columbia University in 2005. She has exhibited at galleries within the US and internationally, including Shulamit Nazarian, Los Angeles (2016 & 2018); Thaddaeus Ropac, Paris (2016); Louis B James Gallery, New York (2016); JOAN, Los Angeles (2015); Honor Fraser Gallery, Los Angeles (2012); and Gagosian Gallery, Beverly Hills (2011) and New York (2007), among others. Featured in this episode Featured candle: Beeswax candle fromhttps://www.mithrascandle.com/ ( Mithras Candle) Featured brew: https://funearthco.com/products/mushroom-mocha (Mushroom Mocha) from Fun Earth Co Featured Tarot deck: https://angelamarymagick.com/product/moon-bb-magick-tarot-deck-3rd-edition/ (Moon BB Magick Tarot) by Angela Mary Magick Connect with Fay Ray https://oolongallery.com/ (Oolong Gallery) See Fay Ray's work at Oolong Gallery in Solana Beach! Please reach out to the gallery with any inquiries about the show. https://www.fay-ray.com/ (Fay Ray Studios Website) https://www.instagram.com/fayraystudio (Fay Ray Studios Instagram) https://www.instagram.com/fayrayclay/ (Fay Ray Clay Instagram) Are you an interior designer or are you interested in Holistic Interior Design? Check out my membership program, thehttps://bewitching.txfunnel.com/ ( Design Coven)! This program is a real-world industry mentorship for Holistic Interior Designers that has everything you won't find in traditional design school curriculum. You'll learn from practicing interior designers working on real life projects, and get access to cutting edge vendors, suppliers, furniture makers, textile designers, and design resources that I've curated over my 17 years of design experience. As a member, you'll have the opportunity to build valuable relationships of your own.https://bewitching.txfunnel.com/ ( Learn more). Connect with Rachel Larraine https://www.rachellarraine.com/ (Website) https://www.instagram.com/rachellarraine/ (Instagram) https://www.patreon.com/Bewitching (Patreon) https://crawfordpallini.com (Interior Design Services)

Andrew Fabricant became Chief Operating Officer of Gagosian Gallery a year before the global pandemic radically transformed the business of dealing art. In this podcast, Fabricant discusses the recent auctions in New York, the unexpected surge in the art market during the pandemic and what that means for the future of the art market as the global economy rebalances toward a post-pandemic world. We also delve into the opportunities and challenges involved in running an art-dealing enterprise with more than 300 employees, 19 locations and reputation as an aggressive sales organization. I hope you enjoy the conversation.

Coinciding with London Gallery Weekend, Gagosian opened an exhibition of new and recent works by the Spanish sculptor Cristina Iglesias. ...

Subscribe to Quotomania on Simplecast or search for Quotomania on your favorite podcast app!Sally Mann (born in Lexington, Virginia, 1951) is one of America's most renowned photographers. She has received numerous awards, including NEA, NEH, and Guggenheim Foundation grants, and her work is held by major institutions internationally. Her many books include At Twelve (1988), Immediate Family (1992), Still Time (1994), What Remains (2003), Deep South (2005), Proud Flesh (2009), The Flesh and the Spirit (2010), Remembered Light (2016) and Sally Mann: A Thousand Crossings (2018). In 2001 Mann was named “America's Best Photographer” by Time magazine. A 1994 documentary about her work, Blood Ties, was nominated for an Academy Award and the feature film, What Remains, was nominated for an Emmy Award in 2008. Her bestselling memoir, Hold Still (Little, Brown, 2015), received universal critical acclaim, and was named a finalist for the National Book Award. In 2016 Hold Still won the Andrew Carnegie Medal for Excellence in Nonfiction. The National Gallery of Art presented a critically lauded show, Sally Mann: A Thousand Crossings, in 2018. Comprised of 109 prints and several videos, A Thousand Crossings addresses complex issues relating to the American South and will travel internationally until the beginning of 2020. Mann is represented by Gagosian Gallery, New York. She lives in Virginia.From https://www.sallymann.com/new-page. For more information about Sally Mann:Hold Still: https://www.sallymann.com/new-page-2“The Color of Humanity in Sally Mann's South”: https://www.newyorker.com/culture/photo-booth/the-color-of-humanity-in-sally-manns-south“Making Art Out Of Bodies: Sally Mann Reflects on Life and Photography”: https://www.npr.org/transcripts/405937803Photo by Michelle Hood

Episode 89 features Antwaun Sargent. He is a writer, curator, art critic and director at Gagosian Gallery in New York City. He is the author of “The New Black Vanguard: Photography between Art and Fashion” (Aperture 2019) and the editor of “Young, Gifted and Black: A New Generation of Artists” (DAP 2020). Mr. Sargent was the guest editor of “Art In America” magazine's, New Talent Issue, May/June 2021. His writing has appeared in the New York Times, The New Yorker, and in museum and gallery publications for artists Mickalene Thomas, Arthur Jafa, Meleko Mokgosi, Nick Cave, Yinka Shonibare and Ed Clark, among many others. In mid-2021, Gagosian New York City, presented Social Works I, a group exhibition curated by Antwaun with participating artists David Adjaye, Zalika Azim, Allana Clarke, Kenturah Davis, Theaster Gates, Linda Goode Bryant, Lauren Halsey, Titus Kaphar, Rick Lowe, Christie Neptune, Alexandria Smith, and Carrie Mae Weems. In late 2021, Antwaun curated the sequel, Social Works II, Gagosian located in Grosvenor Hill, London. “The New Black Vanguard” and “Young, Gifted and Black” are currently on view. Photo credit: Chase Hall Gagosian https://gagosian.com/exhibitions/2021/social-works-curated-by-antwaun-sargent/ Gagosian Quarterly https://gagosian.com/quarterly/2021/06/25/interview-social-works-rick-lowe-and-walter-hood/ Vulture https://www.vulture.com/2020/08/young-gifted-and-black-artists-book.html New York Times https://www.nytimes.com/2021/06/23/arts/design/gagosian-antwaun-sargent-social-works.html Culture Type https://www.culturetype.com/2021/09/05/on-view-social-works-curated-by-antwaun-sargent-at-gagosian-in-new-york-exhibition-will-have-a-sequel-in-london-in-october/ Forbes https://www.forbes.com/sites/chaddscott/2020/10/18/antwuan-sargent-curated-just-pictures-exhibition-proves-to-be-much-more/?sh=e2e8b1d15b3c ARTnews https://www.artnews.com/art-news/news/antwaun-sargent-artnews-live-interview-1234579985/ Projects+Gallery http://www.projects-gallery.com/just-pictures-antwaun-sargent i-D https://i-d.vice.com/en_uk/article/5dmwdd/antwaun-sargent-bernard-lumpkin-young-gifted-black-davey-adesida Fad Magazine https://fadmagazine.com/2021/10/05/social-works-ii-curated-by-antwaun-sargent/ DAZED https://www.dazeddigital.com/art-photography/article/48097/1/antwaun-sargent-bernard-lumpkin-on-curating-for-the-black-community

I interview Sofia Costaldi, Artist Liason at Gagosian Gallery, a gallery that exhibits some of the most influential artists of the 20th and 21st centuries including Pablo Piccaso, Willem de Kooning, Andy Warhol, Damien Hirst, Rachel Whiteread, Francis Bacon, Tatiana Trouvé, Jenny Saville and Roy Lichtenstein to name a few. Sofia is also Co-Founder of ArtBasiC.

Nate joins from London to fill Benjamin in on all that he is missing out on during Frieze week. They also cover Larry Gagosian's attendance at a party Nate hosted and Benjamin's shocking ban from Instagram (F*ck Zuck). Benjamin is then joined by interm co-host Mills Moran and artist Kon Trubkovich to discuss being self taught, the trials and tribulations of an art career, their relationship as artist and gallerist and Kon's current show at Gagosian Gallery. All that and more only on Nota Bene: the ONLY art podcast. --- Support this podcast: https://anchor.fm/benjamin-godsill/support

“There's a real potential in art making to have someone reassess everything that they had thought about a history.” Curator, critic and writer, Antwaun Sargent engages Helga in a discussion around the motivations behind his work as a curator and the circuitous path that led him to a life in and around art.  Antwaun Sargent is writer, editor and curator living in New York City. Sargent is the author of “The New BlackVanguard: Photography between Art and Fashion” (Aperture) and the editor of “Young, Gifted andBlack: A New Generation of Artists” (DAP). Recently, he was hired as a director at Gagosian Gallery.

Writer, editor and curator, Antwaun Sargent, joins our hosts for this episode of The Accutron Show. Together they discuss the fabric of his role as Director of the iconic Gagosian Gallery and redefining the rules of art curation today. For most of his career, Antwaun has written about and curated exhibitions devoted to Black artists. His 2019 book titled, The New Black Vanguard: Photography Between Art and Fashion, which examined growing Black representation in fashion photography, was met with acclaim. Tune in to learn more.Episode Highlights:7:30 I am always after works that have certain originality, tension, and uniqueness. You have to examine each artist and artwork within the context that's being produced. 19:40 At the moment we are featuring an installation of Theaster Gates, steward of the Frankie Knuckles record collection who is engaging with the late DJ and musician's archive of records, playing and digitizing them live at the gallery.47:09 The book and exhibition The New Black Vanguard explores a group of Black photographers around the world that created a community centered around their work, publishing it only on Instagram and not in museums or galleries. Learn more about the Accutron watch here, and follow @AccutronWatch:InstagramTwitterFacebook Subscribe to this podcast on Apple Podcasts and Spotify to hear new episodes as soon as they're released.Follow our hosts on social media:Bill McCuddy: Facebook  / TwitterDavid Graver: Instagram  / TwitterAntwaun Sargent: Instagram / Facebook  / Twitter

On this episode of Next with Novo, I sit down with Tom Sachs, native New Yorker, artist, & NFT newbie. For those not familiar, Tom is on a mission to revolutionize the art industry by creating his version of “outer space” and challenging our perception of reality. His “Space Program” exhibition first reimagined the moon landing at the Gagosian Gallery in LA, then took on colonization of Mars at the Park Avenue Armory in NYC. Tom also has an ongoing partnership with Nike, where he designed high-performing, space-themed equipment. In this episode, Tom tells us all about his next project – his first entry into the NFT space – called Rocket Factory, which will consist of 3,000 unique, digital rocket components that can be combined to form 1,000 completed rockets. If desired, those with completed rockets can choose to have a physical rocket created and actually launched towards the atmosphere. As an out-of-the-box thinker, Tom explains how he's taking his creative expertise into NFTs, as well as growing & developing the NFT space in the process. This is definitely an episode you won't want to miss – be sure to tune in to learn more. Make sure to subscribe to my YouTube and Apple Podcasts channels so you don't miss out on future episodes, and follow me: Twitter: https://twitter.com/novogratz YouTube: www.youtube.com/c/mikenovo/ Spotify: https://spoti.fi/3sdPneD Next with Novo is the go-to resource for what's new and what's next. In this series, Mike Novogratz, influential investor, Wall Street Veteran, and CEO at Galaxy Digital, invites viewers to learn with him from the brightest minds behind disruptive businesses, prolific social movements, and technologies powering permissionless innovation. This podcast was recorded on July 20, 2021. The Next with Novo podcast is for informational purposes only. Nothing in this podcast constitutes an offer to buy or sell, or a solicitation of an offer to buy or sell, any securities. The information in the podcast does not constitute investment, legal, or tax advice. The host is an affiliate of Galaxy Digital (host and Galaxy Digital together, the “Parties”), and the podcast represents the opinions of the host and/or guest and not necessarily that of Galaxy Digital. The Parties do not make any representation or warranty, express or implied, as to the accuracy or completeness of any of the information therein. Each of the Parties expressly disclaims any and all liability relating to or resulting from the use of this information. Certain information in the podcast may have been obtained from published and non-published sources and has not been independently verified. The Parties may buy, sell or hold investments in some of the companies, digital assets or protocols discussed in this podcast. Except where otherwise indicated, the information in this video is based on matters as they exist as of the date of preparation and will not be updated.

Elinor Carucci and I talk about her book Midlife, an autobiographical exploration of life, ageing, mortality, and the challenges women face as they get older to not become invisible. We talk about the hard work and stresses involved with making personal and commercial work, raising children, and teaching. Elinor talks about her mentors, and the ways in which she has changed as an educator and how she learns from her students.   http://www.elinorcarucci.com   Born 1971 in Jerusalem, Israel, Elinor Carucci graduated in 1995 from Bezalel Academy of Arts and Design with a degree in photography, and moved to New York that same year. In a relatively short amount of time, her work has been included in an impressive amount of solo and group exhibitions worldwide, solo shows include Edwynn Houk gallery, Fifty One Fine Art Gallery, James Hyman and Gagosian Gallery, London among others and group show include The Museum of Modern Art New York and The Photographers' Gallery, London.   Her photographs are included in the collections of The Museum of Modern Art New York, the Brooklyn Museum of Art, Houston Museum of Fine Art, among others and her work appeared in The New York Times Magazine, The New Yorker, Details, New York Magazine, W, Aperture, ARTnews and many more publications.   She was awarded the International Center of Photography Infinity Award for Young Photographer in 2001, The Guggenheim Fellowship in 2002 and NYFA in 2010. Carucci has published two monographs to date, Closer, Chronicle Books 2002 and Diary of a dancer, SteidlMack 2005 and MOTHER, Prestel 2013. In fall of 2019 Monacelli Press published her fourth monograph, Midlife.   Carucci teaches at the graduate program of Photography and Related Media at School of Visual Arts and is represented by Edwynn Houk Gallery.

We have Justin Mariano and Eunice Chun from the very first Wear Many Hats episode coming back on to do an exclusive “Where ya at” episode. This is very exciting because a lot has changed since 2018 and I mean a lot. Justin was a flower boy no Tyler although we saw Tyler, the creator at the Garden in 2019 and that was the last time he worked as a flower dealer at the Canal Street Market and also did flowers for our Dahsar Commercial Type release. Eunice was slinging coffee at city of saints which I somehow still get at Foster Sundry shout out to Hannah and was an assistant at the Gagosian Gallery. They've all grown into big hotshots now that it was so hard to track these guys down. Ones on Instagram the other is not. I had to slide into ones DMs to get to and surprisingly it wasn't Eunice's. I was so glad to have them back on the show, please welcome back Justin Mariano and Eunice Chun to Wear Many Hats. instagram.com/justin.mariano instagram.com/wearmanyhatswmh instagram.com/rashadrastam rashadrastam.com wearmanyhats.com dahsar.com

This week: after four long months, commercial art galleries are open again in England. We discuss some of the London shows with Louisa Buck, The Art Newspaper’s contemporary art correspondent, and take a tour of Rachel Whiteread’s exhibition at the Gagosian Gallery in Grosvenor Hill, London. And we talk to the artist Idris Khan, who has a new exhibition at the Victoria Miro gallery, about his oil, watercolour and collage works made in the English countryside and using sheet music from Vivaldi's The Four Seasons. And in this episode’s Work of the Week we talk to the artist James Welling, whose latest photographic projects stem from direct encounters with ancient Greek objects, about Kore 674, an ancient Greek sculpture from 500 BCE in the Acropolis Museum, Athens. See acast.com/privacy for privacy and opt-out information.

This Week In Ciccone we have a chat with Marc Sifuentes, Editor-in-Chief of Iris Covet Book Magazine. When Marc isn't watching over the world of fashion and pop culture, he's having close encounters with the Queen of Pop! He tell us the story of his chance encounter with Madonna and daughter Lourdes, as well as what it was like being inside the Gagosian Gallery for M's Secret Project Revolution event.  You can find Marc on Instagram @marc.sifuentes, @iriscovetbook and www.iriscovetbook.com Follow MLVC on Twitter & Instagram: @mlvcpodcast

Please join us this week for "The Creative Show" where we talk to Christina Roughan and Whitney Kraus, two designers who approach the business of design from completely opposite places. Whitney Kraus designs spaces for a future owners she might never meet. She is part of the new development team planning multi-family projects. Whitney has to predict how design is going to set it apart when it finally comes to market. Her clients build new buildings or renovate old ones and rely on Whitney to know what the buyers of those apartments will want years in advance.  Christina Roughan in contrast, is about high-end custom design. She knows her clients and designs for them across a great range of properties. She is equally comfortable designing for her client's country estates in The Hamptons, Telluride and Connecticut, apartments and townhouses in NY, LA, and London and personal luxury yachts in Italy as well as high-end corporate and hospitality properties.Christina Roughan - Roughan (pronounced ROWAN) is the international design firm of acclaimed interior designer Christina S. Roughan. Designing since 1994, Christina's vast experience and keen eye has enabled her to create warm, sophisticated interiors that are timeless and tailored while remaining friendly and approachable. Christina believes that interiors are to be lived in and reflect the people who reside in the space. “Every interior should be functional while remaining aesthetically purposeful and elegant.” Roughan's design portfolio is known for deft combinations of texture and subtle color while combining modern traditional accents to create livable, crisp interiors. She has designed interiors throughout the world and her client range is as diverse as their locations. With a reputation for listening carefully to the needs of clients, attention to detail, and discretion, Roughan has become a favorite of international celebrities as well as design editors at Interior Design magazine, House Beautiful, Elle Décor, CT Cottages & Gardens and AtHome Magazine to name a few. Christina lives with her husband and two daughters in a 200-year-old house in Weston, CT, which is, no surprise, in a constant state of renovation. Whitney Kraus - Director of Architecture & Planning, BHS Development Marketing Whitney is responsible for guiding the design vision and execution for all developments. Combining architecture and design insights with project management expertise, she works directly with developers and their design teams to offer project specific recommendations and advise throughout the design and marketing phases. In her role, Whitney recommends potential collaborations with architects and designers, assists in feasibility, zoning, and massing studies; and helps guide direction on unit mix, floorplan layouts, finishes, amenity programming and sales gallery layouts.  Whitney is a registered architect in New York and holds a U.S. Green Building Council LEED-AP certification. She joined the BHSDM team after serving as Project Architect at Selldorf Architects, where she worked on residential developments, high-end private residences, retail, and commercial buildings. She was responsible for development and delivery of drawings in all design phases, daily management of architectural team members, and coordination with consultants and contractors. She oversaw projects for the William Macklowe Company, CBSK Ironstate, Gagosian Gallery, The Robert Rauschenberg Foundation, Hauser & Wirth, Yves Saint Lauren, and Aman Resorts. Whitney has a Master of Architecture from Yale University and Bachelor of Science in Architecture from the University of Michigan. Originally from North Carolina, Whitney currently resides in Gramercy Park.

Rebecca Anne Proctor is the former Editor-in-Chief of Harper’s Bazaar Art and Harper’s Bazaar Interiors, a role she held since January 2015. She is now an independent journalist and broadcaster covering contemporary art and current affairs in the Middle East and Africa. Her writing has been published in The New York Times Style Magazine; Bloomberg Businessweek, The Forward, Artnet News, Frieze, BBC, The Art Newspaper, The Forward, Arab News, Galerie, Ocula, The National, ArtNews and The Business of Fashion. She is an international consultant for Rizzoli Books and also regularly writes texts for books and catalogues on Middle Eastern and African art and culture. Rebecca obtained her M. Litt from Christie’s London in Modern and Contemporary Art History after which she worked at Gagosian Gallery before moving to Paris to pursue a double MA in Middle Eastern and Islamic Studies and Conflict Resolution from the American University of Paris and a Master’s in Sociologie des Conflits (Sociology of Conflicts) from the L’Institut Catholique, also in Paris. She is a highly in-demand speaker and moderator on art, culture and current affairs throughout the Middle East, Africa, Europe and the US. Through her work Rebecca argues that art and culture are a means to enhancing cross-cultural dialogue and peace in conflict burdened areas.  

Bumped back into Lockdown in England we've been whiling away our time engrossed in art documentaries and wishing we were back in the galleries. Toyin Ojih Odutola at the Barbican and Tu Hongtao at Levy Gorvy Gallery particularly caught our interest, whilst the stories of Maggi Hambling, Artemisia Gentileschi and the world's biggest art theft have been on the small screen. Meanwhile, the news doesn't stop and we discuss misconduct allegations at Gagosian Gallery, the closure of Marian Goodman's London gallery, fresh criticism of the National Trust for its research into racism and slavery, and the anger at Grayson Perry's claim that Covid-19 will clear the arts of 'dead wood'. Our Artist Focus this episode is one of the leading surrealists: René Magritte. Instantly recognisable, the Belgian painter is synonymous with the surrealist period of the 1920s and 30s in Europe. We consider whether the mass distribution of his work has now lessened the impact of his work, and the influence Magritte has had on music, pop culture and conceptual art. SHOW NOTES:Toyin Ojih Odutola 'A Countervailing Theory' at the Barbican, until 24 January 2020: https://www.barbican.org.uk/whats-on/2020/event/toyin-ojih-odutola-a-countervailing-theoryToyin Ojih Odutola's tantalising drawings tell us stories about ourselves: https://www.standard.co.uk/culture/a-countervailing-theory-at-the-barbican-review-toyin-ojih-odutolas-tantalising-drawings-tell-us-stories-about-ourselves-a4521676.htmlInterview: Artist Toyin Ojih Odutola 'I'm interested in how power dynamics play out': https://www.theguardian.com/artanddesign/2020/aug/01/artist-toyin-ojih-odutola-through-drawing-i-can-cope-with-racism-sexism-cultural-friction#img-1The Billion Dollar Art Hunt documentary: https://www.bbc.co.uk/iplayer/episode/m000nnzl/the-billion-dollar-art-hunt 'The Art of Forgery' by Noah Charney: https://www.phaidon.com/store/art/the-art-of-forgery-9780714867458/Maggi Hambling: Making Love with Paint documentary: https://www.bbc.co.uk/programmes/m000nx23Tu Hongtao 'Twisting and Turning' at Levy Gorvy until 24 November 2020: https://www.levygorvy.com/exhibitions/tu-hongtao-twisting-and-turning/Inside Museums: Artemisia Gentileschi: https://www.bbc.co.uk/iplayer/episode/m000ng7w/inside-museums-series-1-4-artemisia-gentileschi Gagosian Gallery Director Sam Orlofsky Terminated Amid Misconduct Investigation: https://www.artnews.com/art-news/news/sam-orlofksy-terminated-gagosian-misconduct-investigation-1234574899/Anger after Grayson Perry claims Covid will clear arts of 'dead wood': https://www.theguardian.com/artanddesign/2020/nov/02/grayson-perry-coronavirus-covid-19The interview originally appeared in The Arts Society Magazine: https://theartssociety.org/magazine Hundreds of arts organisations rejected for emergency funding: https://www.artsprofessional.co.uk/news/hundreds-arts-organisations-rejected-emergency-fundingMarian Goodman on closing her London gallery: https://www.artnews.com/art-news/market/why-marian-goodman-closed-london-gallery-1234574818/Criticism of the National Trust reached a new low this weekend: https://www.civilsociety.co.uk/voices/the-telegraph-headline-about-the-national-trust-is-a-distraction-from-real-issues-and-that-is-a-big-problem.htmlThe Surreal Legacy of Adman-Turned-Fine-Artist René Magritte: https://news.artnet.com/art-world/rene-magritte-373310

The Art of Captivation... For many industries, 2020 was the catalyst for ingenuity, and pivoting became a most valuable asset. Today's special guest, Derek Blasberg, is a master of innovation and embracing change. He holds several titles, but in his position as Head of Fashion and Beauty Partnerships at YouTube, Blasberg facilitated a dramatic shift to bring the latest fashion and beauty directly to people's homes, laptops, and cell phones in real-time. His tremendous efforts helped elevate YouTube to an international window that creates instantaneous connections. His up to the minute work extends to the Gagosian Gallery and showcasing fine art in a virtual setting. Blasberg proves time and time again that an old school industry can be on the cutting edge without sacrificing its essential anatomy and charm. Blasberg joined Wallace in a virtual conversation before an audience of SCAD students and community members as part of SCAD's ongoing Guests and Gusto program. The two explore the differences between social media platforms, how a channel can set itself up for success, and how the current fashion and beauty trajectories will continue in the near future.

This week on The Treatment, Elvis Mitchell speaks with photographer Gregory Crewdson about his new exhibition of photographs "An Eclipse of Moths" currently at the Gagosian Gallery in Beverly Hills. The images depict decaying industrial environments encountering the natural world with figures in minimal, ragged clothing, but they manage to also portray the possibility of hope and redemption.

To Joanna Cohen, art is a way to see the world. Joanna speaks of turning 40 in the context of the art world, coming back to it after a very different time in her life. She talks of the challenges – sometimes life changes that ironically happen on your 40th birthday (talk about a sign!) and teach you to find humor and beauty in the darkest moment – that this is not just a skill, it’s an art and like anything you created that is incredibly individual, it's always yours to call on and draw strength from. Joanna and I hit it off because as a true New Yorker she has that unbeatable resilience New York has, which I miss, admire and love so much!Joanna skinned her knees in the art world at Christie's working her way up to Larry Gagosian, she continued her career in Paris, but that’s where the real adventure began. And we’re talking the stuff that at 40 makes you laugh out aloud at the absurdity and cry at the loss but then put on your superwoman cape and maybe get a tattoo!Inspired to start your own art collection? See Joanna's cheat sheet for our fans hereMore about JoannaJoanna Cohen is a Paris-based art advisor for private collectors and corporate clients, specializing in global contemporary art and emerging art markets. She founded Straight-Arrow Art Advisory in 2019, offering her clients a sur-measure investment strategy to acquire emerging and established contemporary international artists. She offers galerie tours, international art fairs , private studio visits and other exclusive art events. Joanna started her career at Christie’s New York as a Senior Sales Administrator in the Post War Art Department. She then joined Gagosian Gallery, as Assistant to the Director at its Madison Avenue headquarters. While at Gagosian, Joanna worked closely with Gagosian executives, curators and collectors, facilitating sales, exhibitions and business administration. A French native, Joanna returned to Paris in 2004 as Director of Galerie Maisonneuve. She later served as Director of Galerie Eric Mircher. Joanna has worked independently on site specific projects with galleries such as Nils Staerk Gallery and Sommer Gallery. Education is a very important aspect to Joanna’s advisory business; in 2011, she created and developed a bilingual art history program for the College Sainte Marie de Neuilly. She has been piloting the program ever since, educating future generations of artists and art collectors. Facebook: https://www.facebook.com/thisis40podcast/Website: https://www.thisis40podcast.com/Insta: https://www.instagram.com/this_is_40_podcast/

Tom Wilmott selects 'The Exorcist' by William Peter Blatty. Published in 1971, the novel portrays the wildly disturbing behaviour of 12 year old Regan, whose mother seeks help from a plethora of medical specialists until, in desperation, she arranges a priest to perform an exorcism of her daughter to cast out the devil. In a fascinating and deeply personal reading of the book, Tom sees the devil as a stand in for depression. We discuss the lengths to which he has shaped his practice in a dedicated effort to keeping his own destructive side at bay and maintain mental wellness. Resulting in a non-commercial art practice, his unique approach has also given rise to charitable initiatives including Painting Pro Bono and Painting Per Diem. (Mixed Tapes is an introductory series recorded in lockdown with variations in audio quality.)   TOM WILMOTT   - tomwilmott.co.uk - instagram tomrtwilmott   BOOKS   - 'Tell Them I Said No' by Martin Herbert - 'On Being an Artist' by Michael Craig-Martin - 'On Truth' by George Orwell   ARTISTS / GALLERIES   - Agnes Martin 1912-2004 - After Nyne Gallery - Bedwyr Williams (featured on 'Chats in Lockdown' with Emma Cousin podcast Episode 11 May 2020) - Douglas Gordon b.1966 (represented by Gagosian Gallery, '24 Hour Psycho' 1993, 'What Have I Done' solo exhibition at Hayward Gallery, Between Darkness and Light (After William Blake) 1997 featured double sided film showing 'The Exorcist', 1973 directed by William Friedkin and 'The Song of Bernadette', 1943 directed by Henry King) - Ed Harris (directed and starred in 'Pollock' 2002) - Robert Motherwell 1915-1991 - Helen Frankenthaler 1928-2011 - Robert Ryman 1930-2019 - Rosalind Davis (featured on 'Art Fictions' podcast Episode 2)

On this episode of the TBG Real Estate, we head into the Co-Working space with Amir Mortazavi, co-founder and CEO of CANOPY, a network of exceptional shared workspaces in San Francisco. We talk about his journey, his entrepreneurial spirit, his thought process behind founding Canopy and how Covid-19 is affecting owners like himself.EPISODE NOTES:01:57 - What is Canopy?04:46 - Evicted from home office12:20 - Growing up in real estate21:03 - Working with dad24:50 - The design studio26:35 - The difference between thinking and doing28:58 - “I thrive off of risk…”31:38 - The journey to understanding a target audience34:26 - Expansion37:46 - What does it take to run a co-working space?39:50 - Coming up with the Canopy Way42:00 - “The most challenging” situation48:59 - Landlords and Covid52:55 - The Hot Seat Presented by KK ResetAmir is also the founder of STUDIO MORTAZAVI, an architectural design firm that focuses on innovative properties and products. He has also developed and built over $100 million in properties in the Bay Area and has worked for notable clients such as Gagosian Gallery and the French American Artist Residence in San Francisco.Amir has deep interests in the future of the built living and working world and serves as being a board member and investor of Outsite with 30 co-living locations around the world. Building economically and environmentally sustainable companies and spaces is the core value in his entrepreneurial and creative pursuits. A LEED certified licensed general contractor with a degree in Engineering from UC Santa Barbara, Mortazavi is also a highly regarded art collector and supporter of the arts where he serves on the board of Yerba Buena Center for the Arts. When he’s not building or designing he’s chasing down waves in the ocean or snow in the mountains.

On this week's podcast, as galleries in London re-open amid a pandemic, we ask: what does the new normal look like for the art world?Ben Luke takes his first steps in an art gallery for three months and talks to Stefan Ratibor and Millicent Wilner at the Gagosian Gallery in London as they plan to re-open on the 15 June. We look at the ways that galleries across the British capital have joined together to share information and plan for the future. Is this a new, kinder era for commercial galleries? Jo Stella-Sawicka from the Goodman Gallery offers her views. And in the latest in our series of Lonely Works behind the doors of closed museums, the artist Deborah Roberts explores Benny Andrews’s No More Games in the Museum of Modern Art, New York. See acast.com/privacy for privacy and opt-out information.

In episode 74 UNP founder and curator Grant Scott is in his shed considering Instagram requests for image usage, young photographers starting out on a photography education, the documentation of self and the death of photographer John Cohen. Plus this week photographer Elinor Carucci takes on the challenge of supplying Grant with an audio file no longer than 5 minutes in length in which she answer's the question ‘What Does Photography Mean to You?' If you have enjoyed this podcast why not check out our A Photographic Life Podcast Plus. Created as a learning resource that places the power of learning into the hands of the learner. To suggest where you can go, what you can read, who you can discover and what you can question to further your own knowledge, experience and enjoyment of photography. It will be inspiring, informative and enjoyable! You can find out here: www.patreon.com/aphotographiclifepodcast You can also access and subscribe to these podcasts at SoundCloud https://soundcloud.com/unofphoto on iTunes https://itunes.apple.com/gb/podcast/a-photographic-life/id1380344701 on Player FM https://player.fm/series/a-photographic-life and Podbean www.podbean.com/podcast-detail/i6uqx-6d9ad/A-Photographic-Life-Podcast Elinor Carucci was born 1971 in Jerusalem, Israel, and graduated in 1995 from the Bezalel Academy of Arts and Design, Jerusalem with a degree in photography, the same year that she moved to New York. Her work has been included in an impressive amount of solo and group exhibitions worldwide, including solo shows at the Edwynn Houk Gallery, New York, the Fifty One Fine Art Gallery, Antwerp and the James Hyman and Gagosian Gallery, London among others. Her work has also been included within group shows at The Museum of Modern Art New York and The Photographers' Gallery, London. Her photographs are included in the collections of The Museum of Modern Art New York, the Brooklyn Museum of Art, Houston Museum of Fine Art, among others and her work has appeared in The New York Times Magazine, The New Yorker, Details, New York Magazine, W, Aperture, ARTnews and many more publications. She was awarded the International Center of Photography, New York, Infinity Award for a Young Photographer in 2001, The Guggenheim Fellowship in 2002. Carucci has published three monographs to date, Closer, in 2002, Diary of a Dancer, in 2005 and MOTHER in 2013. Her latest book titled Midlife, chronicles one woman's passage through ageing, family, illness, and intimacy and will be published by Monacelli Press in October this year. Elinor has held teaching positions at Princeton University, Harvard University and ICP, New York and currently teaches on the graduate programme of photography at the School of Visual Arts, New York. She is represented by the Edwynn Houk Gallery, New York. www.elinorcarucci.com Grant Scott is the founder/curator of United Nations of Photography, a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, a working photographer, and the author of Professional Photography: The New Global Landscape Explained (Focal Press 2014) and The Essential Student Guide to Professional Photography (Focal Press 2015). His next book New Ways of Seeing: The Democratic Language of Photography will be published by Bloomsbury Academic in 2019. His documentary film, Do Not Bend: The Photographic Life of Bill Jay can now be seen at www.youtube.com/watch?v=wd47549knOU&t=3915s. © Grant Scott 2019

Als Teenager war Johann König noch "tierisch genervt von Kunst". Heute, mit 38 Jahren, ist er Pächter einer ehemaligen Kirche in Berlin-Kreuzberg und gilt bereits seit einigen Jahren als einer der erfolgreichsten Galeristen Deutschlands. Künstler wollte er selber nie werden. Im OMR Podcast spricht er über das Geschäftsmodell einer Galerie, erklärt, weshalb Deutschland in Sachen Kunst einen riesigen Standort-Nachteil hat und verrät, wie er über besondere Aktionen Aufmerksamkeit erzielt. Alle Themen des Podcasts mit Galerist Johann König im Überblick: Wer ist Galerist Johann König eigentlich? Und was machen die anderen Mitglieder der Künstler-Familie König? (ab 03:30) Wie ein Unfall mit zwölf Jahren König fast das Augenlicht gekostet hätte – und ihm der Kunstlehrer in einer Blindenschule einen neuen Zugang zur Kunst ermöglicht hat (ab 05:00) Deshalb hat König 2002 seine erste Galerie eröffnet – und ist nicht selber Künstler oder Kurator geworden (ab 07:30) Das Startkapital hat König Investitionen in den neuen Markt, seinem Onkel und dem Integrationsamt Berlin zu verdanken (ab 08:15) Weshalb Johann König nicht Kunstgeschichte studiert hat (ab 10:20) Für den Galeristen ist es ein Wunder, dass er heute von seiner Arbeit leben kann (ab 12:50) Wie König in einer Anzeige in der Zeitschrift „Texte zur Kunst“ mit seiner Sehbehinderung gespielt und für seine erste Ausstellung geworben hat (ab 13:30) Nachdem der Galerist in seinen ersten drei Ausstellungen nichts verkaufen konnte, lies er in der vierten eine Stahlkugel mit 70 Zentimeter Durchmesser die Galerie zerstören – ohne, dass er das Geld für die Aktion hatte (ab 16:20) Obwohl viele die Ausstellung der Kugel für verrückt hielten, wurde sie zu Königs Durchbruch (ab 18:45) Mit welchen Künstlern arbeitet Johann König heute vor allem zusammen? (ab 22:20) Wie viel Umsatz generiert die König Galerie im Jahr? (ab 24:40) Die Fashion-Linie Cos von H&M hat 2016 Bildhauer Michael Sailstorfer beauftragt – und damit auch Marketing für die König Galerie gemacht (ab 29:10) So will Johann König Menschen für Kunst begeistern (ab 33:30) Deshalb hängt im Berghain ein Gemälde aus der König Galerie von Norbert Bisky – laut König einer der besten Deals, den er je abgeschlossen hat (ab 35:10) Wie viele (aktive) Kunden hat Johann König? (ab 36:30) Zu seinen Kunden zählt König unter anderem den Instagram-Gründer Mike Krieger (ab 37:40) Gibt es direkte Wettbewerber von Johann König? (ab 43:10) Galerien als Inkubator für neue Kunst und Königs Vorwurf an die Politik (ab 47:35) Weshalb sind riesige Galerien wie die Gagosian Gallery in New York nicht in Deutschland möglich? (ab 48:50) Wie nutzt Johann König Kunstmessen wie die Art Basel für seine Künstler? (ab 52:30) Ist Königs guter Draht zu Unternehmern sein Erfolgsgeheimnis? (ab 54:30) Johann König hat fast 35.000 Abonnenten bei Instagram. Wie hat er die Reichweite aufgebaut und wie nutzt er sie? (ab 57:10) Sieht er sich selber als Brand? (ab 59:00) Wie haben Kritiker sein Buch „Blinder Galerist“ bewertet? (ab 1:01:15) So steht Johann König zum Kunsthandel über Auktionshäuser (ab 1:03:20) Wie sehen Johann Königs langfristige Pläne aus? (ab 1:07:30) Aus dem Galerie-Spinoff „König Souvenir“ ist unter anderem der Europa-Kapuzenpullover „EUnify“ entstanden (ab 1:09:30) Macht sie Johann König Sorgen um die Konjunktur und Auswirkungen auf den Kunsthandel? (ab 1:12:00) Königs Meinung zu Banksy (ab 1:14:15)

We discuss the intimate relationship between fashion and interiors, as expressed in couture salon and stores, and how these relate to “backstage” areas where the garments are made. Jess Berry, House of Fashion: Haute Couture and the Modern Interior (Bloomsbury Visual Arts 2018): https://www.bloomsbury.com/uk/house-of-fashion-9781474283403/ John Pawson’s Jigsaw Store, London (1995-1996): http://www.johnpawson.com/works/jigsaw-store Nigel Coates’ Jigsaw Stores, London (1990): https://nigelcoates.com/projects/project/jigsaw British Movietone, Victor Stiebel’s Salon (1958): https://www.youtube.com/watch?v=rHdtgslRAXo Beatrice Behlen, ‘A Fashionable History of the King's Road’, in Anjali Bulley (ed), Cadogan & Chelsea: The Making of a Modern Estate (Unicorn 2017): https://www.press.uchicago.edu/ucp/books/book/distributed/C/bo28498331.html Helmut Lang shop, New York (1997): http://www.gluckmantang.com/projects/helmut-lang/#2 Helmut Lang Perfumerie, New York (2001): http://www.gluckmantang.com/projects/helmut-lang-parfumerie/#1 Images of Maison Myrbor on Gallica: https://tinyurl.com/y3fa7wca Olivia Chuba, ‘Making Fashion: Humphrey Jennings, Norman Hartnell, And Fashion As Documentary’, Documenting Fashion (10 April 2018): http://blog.courtauld.ac.uk/documentingfashion/tag/documentary/ Erving Goffman, The Presentation of Self in Everyday Life (1956): https://monoskop.org/images/1/19/Goffman_Erving_The_Presentation_of_Self_in_Everyday_Life.pdf Mark Shaw Photographic Archive: https://markshawphoto.com Taryn Simon, ‘Paperwork and the Will of Capital’, Gagosian Gallery (2 January – 2 February 2019): https://gagosian.com/exhibitions/2019/taryn-simon-paperwork-and-the-will-of-capital/ Samantha Erin Safer, ‘Designing Lucile Ltd: Couture and the Modern Interior 1900-1920s’, The Journal of the Decorative Arts Society 1850 - the Present, No. 33, Decorative Art and the World of Fashion (2009), pp. 38-53

On this week's episode of the World's Greatest Action Sports Podcast, our two very jet-lagged hosts push through their travel-haze and talk about Vans Park Series Paris, Cory Juneau getting his first park series win, ten year old, Kokona Hiraki winning women's park, the epic Paris skate scene, Gabriel Rodriguez R.I.P., Todd scoring in Cape Cod, Josh Kerr winning the fanciest surf contest ever, the Four Seasons Maldives Surfing Champions Trophy, Kai Lenny making the CT, Fletcher: A Lifetime in Surf at the Gagosian Gallery in New York City, Ben Gravy Surfed his 5oth state, WSL Studios “Transformed” featuring a surfer from Aphganistan, Afrin Amu, Seth Moniz “Fruition”, Coco Ho STAB Mag Guest Ed, DC Transitors in Chile, action sports power couples, and more. Then in Nerd News, Todd gets all butt-psyched and Butt-excited about a couple of new Amazon's new superhero show, Bad Boys, Chris talks Derry Girls, and then the guys fall in to listener questions where things dissolve in to butt-talk about butt-naps, butt-froth, and more butt-stuff. Presented by: Ogio Bags NanocraftCBD Active Skin Repair Wave Soda Chemistry Surfboards Pannikin Coffee And Tea The Folklore Project X Quincy Woodwrights YewOnline.com

Photo by Zach Gross William J. Simmons is Provost Fellow in the Humanities at the University of Southern California. Simmons did his BA at Harvard University and spent three years at the Graduate Center, CUNY and taught at the City College of New York. His criticism and essays have appeared in numerous periodicals and books internationally. This is his second interview for this series, the first interview can be found here. During the interview, three pieces of writing were mentioned; A review of the Jenny Saville show at Gagosian Gallery that was not published but can be found here, also an article on Lena Dunham and Jill Soloway.

The photographers, David Bailey and Don McCullin, came to prominence in the 1960s but their pictures did more than define a decade. Don McCullin's work in Vietnam, Biafra, Northern Ireland, Cyprus and the Middle East have come to epitomise what we mean by war photography and David Bailey's portraits of Jean Shrimpton, Mick Jagger and Catherine Deneuve established a new idiom for glamour. Yet fame has tended to obscure the full range of both men's work. Bailey, for example, has produced a huge volume of images conjuring up a spectral London as well as his portraits while McCulllin has infused the Somerset levels where he now lives with a haunted beauty. As Philip Dodd discovered when he visited David Bailey in his studio and caught up with Don McCullin on the eve of his Tate show both men have vivid memories of the Blitz and were transformed by their experience of National Service. Don McCullin is on show at Tate Britain until May 6th 2019. David Bailey: The Sixties is on show at Gagosian Gallery, Davies Street in London until March 30th. Producer: Zahid Warley

The world-class designer talks about his new show at Gagosian Gallery in New York City, why he's drawn to timepieces, and what it's like to make something used by millions. Show Notes (1:50) Marc's Gagosian Exhibition (10:13) Marc's NikeLab Air VaporMax Design (18:20) Gunnar Asplund (18:30) Antoni Gaudi (27:15) Marc's Pod Watch (28:00) Jaeger-LeCoultre Memovox And Atmos Clock Customized By Sir Jonathan Ive And Marc Newson For Sale At Sotheby's (RED) Auction (30:05) Marc's Ikepod watches (31:00) The Baume & Mercier Clifton Baumatic COSC (41:05) The ‘Aquariva by Marc Newson’ (44:35) The Marc Newson Hourglass For HODINKEE (52:28) Ressence Watches (57:05) Apple Watch Series 4 (59:49) 'Jewelry: The Body Transformed' at The Met

By The Way: A Contemporary Art News Podcast is back with episode #12 “Something is rotten in the state of Denmark” Join Eric Wall and Ando again as they discuss the basis' of the lawsuit that accuses Jeff Koons and Gagosian Gallery of running a "Ponzi-like scheme". We talk a little about how editions are works are produced, the difference between an art investor and an art collector, is Jeff Koons an artist or manufacture of art, and he is using his current collector's money as interest-free loans. Hope you enjoy the bashing of Jeff Koons in this episode.   For more By The Way, follow us on Twitter@ByTheWay_ArtPod, Facebook@By The Way: A Contemporary Art News Podcast, and Instagram@Bythewaypodcast. Or on our website www.Culturalbandwidth.com. By The Way: A Contemporary Art News Podcast is created by Eric Wall and Ando. Links: Hyperallergic - https://bit.ly/2vqZDrc Art Forum - https://bit.ly/2qUlbYJ Music credits: Favorite Secrets by Waylon Thornton is licensed under a Attribution-Noncommercial-Share Alike 3.0 United States License and permission of the artist.  

In this week's episode of the ArtTactic Podcast, Adam Popescu, writer for The New York Times, joins us to discuss Damien Hirst's exhibition at Gagosian Gallery in Los Angeles featuring his abstract, colorful paintings from his new series of work. First, Adam talks about the scene at the opening of the exhibition and tells us how much clout Hirst still possesses both inside and outside of the art world. Then, Adam tells us how important it is to Hirst and to art collectors that the artist personally painted the works in the exhibition, rather than his studio assistants, who have painted many of his older paintings. Also, he reveals what Hirst says is the message behind the new works, how the paintings are being received by the art world and if the show is viewed as a success for Hirst.

英国艺术杂志《ArtReview》主导的2010年世界艺术界影响力排行第一英国艺术杂志《ArtReview》主导的2010年世界艺术界影响力前一百人名单新近出炉。美国画廊主拉里·高古轩（Larry Gagosian）拔得头筹。算上他刚在巴黎开业的画廊，高古轩画廊帝国目前占据了全世界包括纽约、伦敦在内的9个大都市。用《ArtReview》的话来说，这些画廊展出的作品“让人惊叹……具有将其他对手远远甩在后面的无可比拟的力量”。这位在艺术品市场里翻云覆雨的高古轩先生，极少出现在公众的视野里，然而江湖上却流传着诸多关于他的传说。很多人崇拜他，还有很多的人害怕他、敬畏他。所有人都无法否认的一点是：他就是当今艺术市场的教父级人物。 高古轩画廊是导演拉里·高古轩所拥有的当代艺术画廊。 全球一共有十五家画廊空间：纽约五个; 伦敦三个; 巴黎两个; 比佛利山庄 、罗马、 雅典 ，、日内瓦和香港。

Eric Doeringer comes by for a session before his opening. He's already gotten the thumbs up in person from art critics Jerry Saltz NY Mag) and Roberta Smith (NY Times) so I'm not feeling too much pressure to keep Eric from nerves which he keeps in check no matter what. Eric explains his work which has multiple and amusing layers while fielding my questions about what he was going to wear tonight and confirming that he had recently gotten his hair cut. I asked Eric to send me his version of the part of the session centering on his work-thanks Eric! "Return guest Eric Doeringer and I discuss his exhibition “Matson Jones & Co.” at Mulherin New York, which features Eric's recreations of artworks by Jasper Johns and Robert Rauschenberg. Often described as “close friends” or “neighbors”, Johns and Rauschenberg were also lovers from 1954 to 1961- a relationship they kept secret at the time. This was a pivotal period for both: the era when Rauschenberg made his first Combines and Johns painted his first American flag. Eric and I talk about Johns and Rauschenberg's relationship and their influence on one another's artwork and the artists who followed them. We also chat about Eric's experience of remaking their artwork and how his “copies” engage both the originals and our current time." And look at Eric's bio! Eric Doeringer is a New York-based artist who remakes works by other artists. Known for selling his "Bootleg" versions of contemporary art outside of art fairs and galleries, Doeringer has also exhibited at institutions including MoMA PS1, The Whitney Museum, The Brooklyn Museum, MassMoCA, La Musée d'Art Moderne de la Ville de Paris, and MUSAC (Spain). Doeringer's artist's books are held in the collections of numerous museum and university libraries and were recently featured in the exhibition Ed Ruscha: Books & Co., which travelled to the Museum Brandhorst in Munich and three branches of Gagosian Gallery. His exhibtion “Matson Jones & Co.” continues at Mulherin New York, 124 Forsyth Street, through December 31, 2016. Here's my previous Dr. Lisa with Eric during his En Kawara phase which was pretty heavy: https://audioboom.com/posts/3430838-dr-lisa-gives-a-sh-t_episode-1509_dr-lisa-separately-psychoanalyzes-artists-eric-doeringer-and-carla-gannis #EricDoeringer #JerrySaltz #RoberaSmith #art #comedy#psychotherapy #phillipglass #JasperJohns #RobertRauschenberg

Perhaps the most permanent - and essential - character in Sally Mann’s work is that of place: the American South. Her home of Lexington, VA is not just the set for her most powerful work; it is also the place where she met fellow artist and friend, Cy Twombly. The photographs from her new book, Remembered Light: Cy Twombly in Lexington, are featured in an exhibition at Gagosian Gallery; and she had many stories to tell when she sat down for a conversation NYPL’s Paul Holdengräber.

Jonas and I talked about refugees and memory, about ambient noise, poetry, the new film I Had Nowhere To Go, and why he's spent a lifetime ignoring Hollywood. For more information on I Had Nowhere To Go (IMDB) and TIFF. Synopsis Internationally acclaimed multimedia artist Douglas Gordon (24 Hour Psycho, Zidane: A 21st Century Portrait) returns to the Festival with this intimate portrait of avant-garde cinema legend Jonas Mekas. "An adventurer can always return home; an exile cannot. So I decided that culture would be my home." Jonas Mekas Internationally acclaimed multimedia artist Douglas Gordon returns to the Festival with an intimate portrait of Jonas Mekas, the legendary poet, film critic, risk-taking curator, "the godfather of the American avant-garde cinema" -- and, at 93 years old, among the remaining few to have escaped and survived Nazi persecution. I Had Nowhere to Go plunges us into both a collective and individual space of memory via long, imageless stretches over which Mekas narrates, in his inimitable voice, excerpts from his memoir (which lends the film its title). An extraordinary life story emerges as the film zigzags between Mekas' early years in a forced labour camp and a Displaced Person centre during WWII and his arrival in New York as a young Lithuanian émigré. With an immersive sound environment and intermittent, fleeting images that stand in evocative juxtaposition to Mekas' anecdotes, Gordon's film reveals in its subject a puckish humour that outweighs despair, and an unabated zest for life that both illuminates and softens the sadness. A deeply moving tribute from one great artist to another and a singular work in its own right, I Had Nowhere to Go has timely resonance today as mass migratory movements are displacing millions of people throughout the world as refugees, exiles, and stateless persons. While Mekas is certainly no ordinary person, the story he tells is a profoundly humble one, as much about daily survival as it is about aspiring to accomplish so much more. Gordon, who is ingenious at activating memory and the cinematic imaginary, compellingly presents quotidian moments outside of Mekas' famous film-related activities in order to reveal the desires, impulses, melancholy, and perseverance that inform Mekas' filmmaking and infectious love of cinema. Even when truly having nowhere to go, Mekas always saw brief glimpses of beauty as he was moving ahead. Biography Jonas Mekas - Writer Jonas Mekas born December 24, 1922, is a Lithuanian-born American filmmaker, writer, and curator who has often been called "the godfather of American avant-garde cinema." His work has been exhibited in museums and festivals across Europe and America. In 1944, Mekas left Lithuania because of war. En route, his train was stopped in Germany and he and his brother, Adolfas Mekas, were imprisoned in a labor camp in Elmshorn, a suburb of Hamburg, for eight months. The brothers escaped and were detained near the Danish border where they hid on a farm for two months until the end of the war. After the war, Mekas lived in displaced person camps in Wiesbaden and Kassel. From 1946-48, he studied philosophy at the University of Mainz and at the end of 1949, he emigrated with his brother to the U.S., settling in Williamsburg, Brooklyn, New York. After his arrival, he borrowed the money to buy his first Bolex 16-mm camera and began to record moments of his life. He discovered avant-garde film at venues such as Amos Vogel's pioneering Cinema 16, and he began screening his own films in 1953 at Gallery East on Avenue A and Houston Street, and a Film Forum series at Carl Fisher Auditorium on 57th Street. In 1954, he became editor of Film Culture, and in 1958, began writing his "Movie Journal" column for The Village Voice. In 1962, he co-founded Film-Makers' Cooperative (FMC) and the Filmmaker's Cinematheque in 1964, which eventually grew into Anthology Film Archives, one of the world’s largest and most important repositories of avant-garde films. The films and the voluminous collection of photographs and paper documents (mostly from or about avant garde film makers of the 1950-1980 period) were moved from time to time based on Mekas' ability to raise grant money to pay to house the massive collection. He was part of the New American Cinema, with, in particular, fellow film-maker Lionel Rogosin. He was heavily involved with artists such as Andy Warhol, Nico, Allen Ginsberg, Yoko Ono, John Lennon, Salvador Dalí, and fellow Lithuanian George Maciunas. In 1970, Anthology Film Archives opened on 425 Lafayette Street as a film museum, screening space, and a library, with Mekas as its director. Mekas, along with Stan Brakhage, Ken Kelman, Peter Kubelka, James Broughton, and P. Adams Sitney, begin the ambitious Essential Cinema project at Anthology Film Archives to establish a canon of important cinematic works. Mekas' own output ranging from narrative films (Guns of the Trees, 1961) to documentaries (The Brig, 1963) and to "diaries" such as Walden (1969); Lost, Lost, Lost (1975);Reminiscences of a Voyage to Lithuania (1972) and Zefiro torna (1992) have been screened extensively at festivals and museums around the world. In 2001, he released a five-hour long diary film entitled As I Was Moving Ahead. Martin Scorsese said once: "Jonas Mekas is the one that gave me the desire and strength to be a director." Douglas Gordon - Director Douglas Gordon's practice encompasses video and film, installation, sculpture, photography, and text. Through his work, Gordon investigates human conditions like memory and the passage of time, as well as universal dualities such as life and death, good and evil, right and wrong. Gordon's oeuvre has been exhibited globally and his film works have been presented at many competitions, including the Festival de Cannes, the Toronto International Film Festival, and the International Venice Film Festival. Gordon received the 1996 Turner Prize, the Premio 2000 prize for best young artist at the 1997 Venice Biennale, and the 1998 Hugo Boss Prize. Most recently, in May 2008 he was awarded the Roswitha Haftmann Prize by the Kunsthaus Zurich and, in 2012 the KätheKollwitz Prize from the Akademie der Künste, Berlin. Gordon was the International Juror at the 65th International Venice Film Festival, and in 2012 he was the Jury president of CinemaXXI at the 7th International Rome Film Festival. In December 2014 Douglas Gordon and pianist Hélène Grimaud have joined forces to explore the beauty of water in an extraordinary performance at Armory on Park, New York. The collaboration continued when Gordon directed the theatre performance Neck of the Woods starring Charlotte Rampling and Hélène Grimuaud at the 2015 MIF - Manchester International Festival, Manchester. Born in Scotland, Gordon lives and works in Berlin and Glasgow and teaches film at the Städelschule in Frankfurt am Main. He is represented internationally by Gagosian Gallery, as well as Untilthen in Paris, Galerie Eva Presenhuber in Zürich, and Dvir Gallery in Tel Aviv See acast.com/privacy for privacy and opt-out information.

英国艺术杂志《ArtReview》主导的2010年世界艺术界影响力排行第一英国艺术杂志《ArtReview》主导的2010年世界艺术界影响力前一百人名单新近出炉。美国画廊主拉里·高古轩（Larry Gagosian）拔得头筹。算上他刚在巴黎开业的画廊，高古轩画廊帝国目前占据了全世界包括纽约、伦敦在内的9个大都市。用《ArtReview》的话来说，这些画廊展出的作品“让人惊叹……具有将其他对手远远甩在后面的无可比拟的力量”。这位在艺术品市场里翻云覆雨的高古轩先生，极少出现在公众的视野里，然而江湖上却流传着诸多关于他的传说。很多人崇拜他，还有很多的人害怕他、敬畏他。所有人都无法否认的一点是：他就是当今艺术市场的教父级人物。 高古轩画廊是导演拉里·高古轩所拥有的当代艺术画廊。 全球一共有十五家画廊空间：纽约五个; 伦敦三个; 巴黎两个; 比佛利山庄 、罗马、 雅典 ，、日内瓦和香港。

Filmmaker Dave Markey The Year Punk Broke, Desperate Teenage Love Dolls) and Ben Lee Ritchie Handler of the world renowned Gagosian Gallery join Cris for a lively discussion about the DIY punk rock aesthetic, its continued influence on high art and culture along with wild stories from the glorious past.

Topics: Talitha Wall, Lyme Disease, LA, Gagosian Gallery, Biking, PKD, Tragedy, Valis, Marko Rodin, Raiders, Tom Campbell, Truth, Eric Dollard, Canard, David Plate

42 Minutes 185: Dennis Koch - The World Is A Square Toroid - 05.19.15 Today is a bit of a Catch 22xTwo, that is, a double fantasy times a double paradox. Doug & Will share 42 minutes with visual [sync] artist, Dennis Koch who draws inspiration from Always Record & Mark LeClair. Topics Include: Talitha Wall, Lyme Disease, LA, Gagosian Gallery, Biking, PKD, Tragedy, Valis, Marko Rodin, Raiders, Tom Campbell, Truth, Eric Dollard, Canard, David Plate. Purchase: Catch 22 x Two from http://www.denniskochstudio.com/new-products/catch-22-x-two Vist: http://www.denniskochstudio.com Visit: http://wrongwaywizard.blogspot.com Visit: http://www.talithawall.com

Elizabeth Peyton uses rich, gem-like colors and masterful graphic precision to create visually arresting portraits of fellow artists, friends, and cultural icons. She is widely recognized for bringing new dimensions to figurative painting in the 1990s and is among the most celebrated painters of her generation. Her works reflect intense emotional fascination with her subjects, while contemplating the modern nature of fame and celebrity. In 2011, she was featured in solo exhibitions at the Mildred Lane Kemper Art Museum in St. Louis; the Opelvillen Foundation in Rüsselsheim, Germany; Gallery Met in New York City; and the Gagosian Gallery in Paris. She has shown extensively in exhibitions worldwide, and her works are included in major public collections such as the Solomon R. Guggenheim Museum and MoMA in New York City; Centre Georges Pompidou in Paris; SFMOMA in San Francisco; the Walker Art Center in Minneapolis; and the Whitney Museum of American Art in New York City. Peyton was born in Danbury, CT and lives and works in New York City.

‘Refugee-centered Versus State-centred Approaches to Refugee Integration?’ is the topic for discussion at the Human Rights Consortium, UCL, led by Dr Maja Korac-Sanderson of UEL and chaired by the Director of the Royal Commonwealth Society on Wednesday; More poetry with Ruth Callaghan Presents… on Friday at 1 Buck Street, Camden Town; Claire Tomalin Booker Prize Winner, discusses her new book, on Charles Dickens at the British Library 01937 546 546 . A shirt signed by the Arsenal team is among the items for auction at the Calthorpe Project; Paul Noble’s drawings of Nobson Newtown are the highlight at The Gagosian Gallery in Kings Cross – not to be missed. Recorded by: Vicki Battison Read By: Marita Hutson, Vicki Battison, DJ Rudeboy P Tosh and Martin Lim Edited by: Marian Larragy School of Advanced Studies, UCL :: British Library :: Calthorpe Project :: Ruth Callaghan Presents :: Paul Noble at Gagosian Gallery :: Back to Camden Community Radio :: CCRadio on Twitter :: File Download (4:00 min / 9 MB)

Patrick Cariou, Richard Prince, Canal Zone, Gagosian Gallery, Suffolk University, Suffolk University Law School, Boston, MA, New York City, Appropriations Art, Copyright Law, Intellectual Property Law, Fair Use

Salomón Huerta is known for revealing identity by obscuring it. He has painted collections of finely detailed portraits of the backs of heads, florid but unemotional masked lucha libre wrestlers, and unassuming suburban homes stripped of individuality. Huerta, who was born in Tijuana and raised in Boyle Heights, has exhibited at the Whitney Biennial, the Gagosian Gallery, and LACMA, and is beginning to paint new works with no unifying theme. But Huerta remains committed to his unusual creative process — destroying each piece several times with a sander, and then repainting on the same canvas. In an event made possible by the Los Angeles Department of Cultural Affairs and the National Endowment for the Arts, Huerta visited Zócalo to discuss with art critic David Pagel his method and what it says about art, ego, and creativity.

Where can you see a mangled jet, writhing orgy and Afghan space station all in one place? At a new art exhibition at London's Gagosian Gallery, where an eye-popping collision of sex and technology pays homage to JG Ballard's dystopian vision. Adrian Searle gives us a guided tour In pictures: See images from the show here