Podcasts about gallerist

Dan has returned from ATOM 25 and has the latest roundup of gaming news for you! Show your thanks to Major Spoilers for this episode by becoming a Major Spoilers Patron at http://patreon.com/MajorSpoilers. It will help ensure Munchkin Land continues far into the future! Join our Discord server and chat with fellow Spoilerites! (https://discord.gg/jWF9BbF) Contact us at podcast@majorspoilers.com NEWS Czech Edition Games has announced an expansion AND storage solution in one, Lost Ruins of Arnak: Adventure Chestout Q3 ‘25 ($80) Preorder Steamforged Games announced the tabletop version of their massively popular PC game. Helldivers 2 Board Game will be on crowdfunding next month (Gamefound). More on it once it is up on next month's Munchkin Land Eagle Gryphon has Released House of Fado, a lighter version of Vital Lacerda's Gallerist. Order ($60) After a successful KS Paverson Games will release Luthier a followup to their amazing 1st game Distilled into retail Q2 ‘25 (~$70) Restoration Games previewed Battle Monsters, to go up on Kickstarter 25 (Sign up to be reminded). Link to BGG for Battle Masters to see what it was like. AllPlay has announced Sail Legacy, which is a take on their regular 2p coop trick-taker. They haven't said a whole lot more other than a KS campaign later in the year and some details on the game. Hachette games will release Mythical Dice, a version of the original Mino Dice by Iello here in US  May ‘25 (~25) I will give 2 a show till I cover them all. 1st up today NerdIncorrect which is the Twitch Channel who does Codenames Live! Tim Riel hosts this 2 on 2 Codenames each week with a regular cast and a new cast which is guests to it. And it's great to watch, NSF (language) but amazing. And our 2nd creator today is  Tabletop Vibes This one is a youtube channel doing some reviews, unboxings top 10 lists a lot of great content Crowdfunding KICKSTARTER Marrakesh Expansion 2: Gems & Experts Formaggio -- Fromage reprint and stand alone expansion Tiny Epic Dungeons Adventures Alpha Clash Cosmic Conquest [su_signoff]

Dan has returned from ATOM 25 and has the latest roundup of gaming news for you! Show your thanks to Major Spoilers for this episode by becoming a Major Spoilers Patron at http://patreon.com/MajorSpoilers. It will help ensure Munchkin Land continues far into the future! Join our Discord server and chat with fellow Spoilerites! (https://discord.gg/jWF9BbF) Contact us at podcast@majorspoilers.com NEWS Czech Edition Games has announced an expansion AND storage solution in one, Lost Ruins of Arnak: Adventure Chestout Q3 ‘25 ($80) Preorder Steamforged Games announced the tabletop version of their massively popular PC game. Helldivers 2 Board Game will be on crowdfunding next month (Gamefound). More on it once it is up on next month's Munchkin Land Eagle Gryphon has Released House of Fado, a lighter version of Vital Lacerda's Gallerist. Order ($60) After a successful KS Paverson Games will release Luthier a followup to their amazing 1st game Distilled into retail Q2 ‘25 (~$70) Restoration Games previewed Battle Monsters, to go up on Kickstarter 25 (Sign up to be reminded). Link to BGG for Battle Masters to see what it was like. AllPlay has announced Sail Legacy, which is a take on their regular 2p coop trick-taker. They haven't said a whole lot more other than a KS campaign later in the year and some details on the game. Hachette games will release Mythical Dice, a version of the original Mino Dice by Iello here in US  May ‘25 (~25) I will give 2 a show till I cover them all. 1st up today NerdIncorrect which is the Twitch Channel who does Codenames Live! Tim Riel hosts this 2 on 2 Codenames each week with a regular cast and a new cast which is guests to it. And it's great to watch, NSF (language) but amazing. And our 2nd creator today is  Tabletop Vibes This one is a youtube channel doing some reviews, unboxings top 10 lists a lot of great content Crowdfunding KICKSTARTER Marrakesh Expansion 2: Gems & Experts Formaggio -- Fromage reprint and stand alone expansion Tiny Epic Dungeons Adventures Alpha Clash Cosmic Conquest [su_signoff]

Peggy's art is generated out of the site of her home studio at Portuguese Bend in Rancho Palos Verdes, California where she has resided since 1996. Her practice has incorporated sculpture, mixed media, drawing, painting, and assemblage across figuration and abstraction. Peggy's body of work utilizes equestrian and architectural motifs as embodiments of memory and lived experience. Peggy has had regular exhibits at Art galleries throughout Los Angeles and internationally in South Korea, Thailand, and Japan. She has been founder, curator and director for several nonprofit art galleries in Los Angeles.The artist also addresses the land movement upheaval where she lives. Her home is adjacent to a nature preserve that is part of an ancient landslide. Overlooking the Pacific Ocean, it is a haven for nature and wildlife and a crisis of broken land. Her work often explores the dichotomy between the broken and the flourishing.The breakdown is where she feels compelled to begin and explore.LINKS to ReviewsIntroducing the artwork of Peggy Sivert, an artist compelled to find meaning of ‘in the broken', through her workPeggy Nichols, Gallery C, Nov. 10, 2024Tijuana Triennial – Exciting International Art Just Across the Border, DiversionsLA review, Jan. 15, 2025~ ‘The Horses' poem: ~https://allpoetry.com/poem/8496359-The-Horses-by-Edwin-MuirWebsite:https://peggysivert.com/ 

Why not buy a board game from our sponsors Kienda: kienda.co.uk/polyhedroncollider Warning: This podcast contains strong language and adult content  In this episode of the Polyhedron Collider Cast, the team dives into a mix of science, board games, and digital adventures. We kick things off with a discussion on SETI: Search for Extraterrestrial Intelligence, exploring the latest big board game from CGE searching the solar system for extraterrestrial intelligence. Shifting gears, we tackle Slay the Spire: The Board Game, a card game translation of the beloved deck-building roguelike, breaking down its strategic depth, replayability, and asking the question what it offers over its digital lineage.   The conversation then moves to Perch a cute but ruthless area control game about flocking birds, and House of Fado, a Gallerist inspired game of enticing punters to your restaurant and promoting musicians. Games Mentioned 00:00:00 Agricola: Dead Harvest, Labyrinth: Chronicles, and This War of Mine: The Board Game – Second Edition  00:08:08 Airecon https://www.airecon.co.uk/ 00:12:52 SETI: Search for Extraterrestrial Intelligence 00:32:24 Slay the Spire: The Board Game 00:48:15 Perch 00:58:22 House of Fado   ⭐Show Sponsor: Kienda When you sign up to an account with Kienda use this link to bag yourself a wee discount and help support the show.  Let's face it, you were going to buy a board game anyway

Episode 506 - Lisa F Rosenberg - Author of Fine, I'm A Terrible Person - a funny, heart wrenching, adult mother daughter storyLisa F. Rosenberg has a B.A. from U.C. Berkeley in Art History, a M.A. in Graduate Humanities and a MFA in Creative Writing from Dominican University of California. Her early professional career was in the blue-chip retail art world as a Gallerist for several prominent San Francisco art dealers including Crown Point Press and John Berggruen Gallery.She was most recently a public guide at SFMOMA and Museum Educator on staff at the Contemporary Jewish Museum in San Francisco.Her writing up until now has been in her professional life, primarily non-fiction, essays for exhibition catalogs, art criticism, tours, and public talks. Her short story, Family Footnotes, was recently featured in the summer 2024 edition of Amaranth: a journal of food writing, art and design, and she was a quarterfinalist in the Driftwood Press in house short story contest for the Spring of 2024.Fine, I'm a Terrible Person is her debut novel. Her family heritage is Rhodeslis, Ladino speaking Sephardic Jews from the island of Rhodes. Her deep affection for her cultural legacy is reflected in the novel's historical accuracy of language, cultural authenticity, and descriptions of mouthwatering cuisine.About the BookFine, I'm a Terrible Person73-year-old, worn out, former beauty, Aurora Hmans Feldenburg, a hapless, perpetually broke, eccentric, divorcee living in the wealthy enclave of Tiburon in Marin County in Northern California, is wakened by a phone call informing her that her father's widow, has died. Her last chance at solvency, she decides to drive to Los Angeles to see if there is a will. Aurora is always ready for the next get rich scheme.Aurora's high-strung daughter, 43-year-old Leyla Feldenburg Rothstein, is a hypersensitive, insecure, perfectionist, insomniac, emotionally damaged from her father's lifelong abuse and rejection. She is married to a wealthy, Jewish prince charming, investment banker who specializes in the legal Cannabis industry.Aurora and Leyla's separate quests intersect and enmesh in Los Angeles over the course of a weekend, where they both end up staying with cousins, quirky, endearing, Sephardic Jews who speak Ladino, mostly in proverbs and cook prodigious quantities of delicacies from the old country, the island of Rhodes.When Aurora's meager inheritance is stolen, she drags Leyla into a ludicrous chase. Unable to resist the pull from the trauma bond she shares with her infuriating mother, Leyla fails to adhere to her boundaries, even after years of therapy. She risks losing everything to another one of Aurora's harebrained schemes.Their entangled journeys and the chaotic, catastrophic outcome are the last straw for Leyla who must break free from her mother's toxic dependency and destructive attachment to save herself, her marriage, and her young family.https://lisafrosenberg.com/Support the show___https://livingthenextchapter.com/podcast produced by: https://truemediasolutions.ca/Coffee Refills are always appreciated, refill Dave's cup here, and thanks!https://buymeacoffee.com/truemediaca

Today I talked to Lisa F. Rosenberg about Fine, I'm a Terrible Person (Sibylline Press, 2025). The pain of 73-year-old Aurora's divorce over thirty years before continues to reverberate – she's eccentric, filled with schemes, and only able to function with help from her daughter. Born in the 500-year-old Jewish community of Rhodes, she mixes Judeo-Espanol (Ladino) aphorisms into her speech and thinks she speaks Spanish, but few can understand her. With an expired license and an ancient car, she drives to Los Angeles hoping to find a treasure after the death of her father's last wife. Aurora's daughter Leyla is also affected by her father's abrupt departure and spends her life seeking perfection, trying not to let her mother make her crazy, and striving to fit into their wealthy San Francisco community. When she learns that her husband might be having an affair, she takes her two young sons for a madcap weekend in Los Angeles where she'll have to bend a few rules, grapple with her mother, sneak into her husband's conference, and learn a bit about going with the flow. This is a charming mother-daughter novel about immigrants, overcoming family dysfunction, the cuisine of the Jewish community of Rhodes, and learning to overcome obstacles. Lisa F. Rosenberg earned a B.A. from U.C. Berkeley in Art History, an M.A. in Graduate Humanities, and an MFA in Creative Writing from the Dominican University of California. Her early professional career was in the blue-chip retail art world as a Gallerist for several prominent San Francisco art dealers including Crown Point Press and John Berggruen Gallery. She was most recently a public guide at SFMOMA and a Museum Educator on staff at the Contemporary Jewish Museum in San Francisco. Her writing up until now has been primarily non-fiction essays for exhibition catalogs, art criticism, tours, and public talks. Her short story, Family Footnotes was recently featured in the summer 2024 edition of Amaranth: a journal of food writing, art, and design, and she was a quarterfinalist in the Driftwood Press in-house short story contest for the Spring of 2024. Her family heritage is “Rhodeslis,” Ladino-speaking Sephardic Jews from the island of Rhodes. Her deep affection for her cultural legacy is reflected in the novel's historical accuracy of language, cultural authenticity, and descriptions of mouthwatering cuisine. When she is not writing, she is reading, hiking, practicing yoga, or traveling with her husband of 35 years. 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

Today I talked to Lisa F. Rosenberg about Fine, I'm a Terrible Person (Sibylline Press, 2025). The pain of 73-year-old Aurora's divorce over thirty years before continues to reverberate – she's eccentric, filled with schemes, and only able to function with help from her daughter. Born in the 500-year-old Jewish community of Rhodes, she mixes Judeo-Espanol (Ladino) aphorisms into her speech and thinks she speaks Spanish, but few can understand her. With an expired license and an ancient car, she drives to Los Angeles hoping to find a treasure after the death of her father's last wife. Aurora's daughter Leyla is also affected by her father's abrupt departure and spends her life seeking perfection, trying not to let her mother make her crazy, and striving to fit into their wealthy San Francisco community. When she learns that her husband might be having an affair, she takes her two young sons for a madcap weekend in Los Angeles where she'll have to bend a few rules, grapple with her mother, sneak into her husband's conference, and learn a bit about going with the flow. This is a charming mother-daughter novel about immigrants, overcoming family dysfunction, the cuisine of the Jewish community of Rhodes, and learning to overcome obstacles. Lisa F. Rosenberg earned a B.A. from U.C. Berkeley in Art History, an M.A. in Graduate Humanities, and an MFA in Creative Writing from the Dominican University of California. Her early professional career was in the blue-chip retail art world as a Gallerist for several prominent San Francisco art dealers including Crown Point Press and John Berggruen Gallery. She was most recently a public guide at SFMOMA and a Museum Educator on staff at the Contemporary Jewish Museum in San Francisco. Her writing up until now has been primarily non-fiction essays for exhibition catalogs, art criticism, tours, and public talks. Her short story, Family Footnotes was recently featured in the summer 2024 edition of Amaranth: a journal of food writing, art, and design, and she was a quarterfinalist in the Driftwood Press in-house short story contest for the Spring of 2024. Her family heritage is “Rhodeslis,” Ladino-speaking Sephardic Jews from the island of Rhodes. Her deep affection for her cultural legacy is reflected in the novel's historical accuracy of language, cultural authenticity, and descriptions of mouthwatering cuisine. When she is not writing, she is reading, hiking, practicing yoga, or traveling with her husband of 35 years. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

The Boardgame Specialist Podcast Episode 111: Top 100: 20 to 11 https://discord.gg/NCCQxb9kyBCarla IG: boardgamespecialist FB: Red Deer Board Game Fanatics Mel IG: mels_boardgame_room FB Mel's Board Game Room YouTube: Mel's Board Room[1:04] Lone Wolves[5:52] Terror Below[10:44] Magnificent[16:24] Le Havre: The Inland Port[20:21] Orleans[24:35] Century[28:49] Unfair [33:34] Downforce[38:16] Azul[43:02] Champion of Midgard [46:28] The Gallerist[50:54] Destinies[55:42] Forest Shuffle[59:12] Wyrmspan[1:02:33] The White Castle[1:07:44] Chronicles of Crimes [1:10:18] Rococo[1:15:58] Five Tribes[1:19:44] Lost Ruins of Arnak[1:24:46] Ra[1:27:42] Ark Nova[1:33:19] Tinner's Trail

Established in 2022 by Frenchwoman Julie Thai, The Gallerist is a commercially curated art space with an enunciation on Cambodian artisans.Read more...

Charles Ninow is a new gallery space that has recently opened at 102/203 Karangahape Road.  Ninow is a dealer, auctioneer, and promoter of fine art in Aotearoa who draws inspiration from the first-principles approach of New Zealand's earliest commercial galleries of the 1960s and 1970s, believing in the transformative power of art by committing to expanding its audience. Ralph Paine: Leaves from a Pillow Book is Ninow's first and opening exhibition in this new space, continuing on from some of the less well known artists and projects he worked on and championed at his former boutique gallery and auction house, Bowerbank Ninow.  Sofia caught up with Charles about the new space and the exhibition by Paine.

Episode 593: Listen to my chat with Lauri Dewhurst-Summers. She’s the owner of Coffey & Thompson Gallery, the oldest gallery in Charlotte. We talk about Art Consulting & other services. I learn lots about running a gallery. All images used with permission. This episode is brought to you by: The post My chat with Gallerist, Lauri Dewhurst-Summers about art consulting appeared first on Let's Talk Art With Brooke.

LON Gallery in Melbourne began as a project space in 2016 based on a non-profit model that primarily supported emerging artists. The gallery established it's formal program in 2019, which provided the opportunity to work with a select number of artists in depth and to foster the critical development of their practices. At Sydney Contemporary in 2024,  LON gallerist Adam Stone devoted their stand entirely to the work of Devi Seetharam, paintings that reflect a world where men wield the authority to occupy public space, while women are reduced to symbolic figures of beauty and desire. In this episode, anthropologist and curator Pedram Khosronejad investigates the connection between gallerist and artist, seeking to uncover the unique qualities that draw them together.  LON Gallery at Sydney Contemporary 2024 Devi Seetharam: Website A transcript of this conversation is available HERE, thanks to the Australian Arts Channel  

Heute habe ich einen Wiederkehrer: Christian Pfaff, Texter und Gallerist des Kunstraums OBERFETT, wurde zuhause in seinem Büro besucht. Wir haben uns direkt in die Frage gestürzt: Was passiert, wenn künstliche Intelligenz auf Kunst trifft? Christian hat spannende Einblicke aus der Szene parat, und wir fragen uns, ob Maschinen in Zukunft tatsächlich den kreativen Prozess übernehmen können – oder ob die menschliche Hand am Ende doch unschlagbar bleibt. Diese Folge wird präsentiert von GESUND.de - der E-Rezept App: Die App verbindet den User mit seiner Lieblingsapotheke. So können alle Apothekengänge digital, aber trotzdem lokal erledigt werden. http://gesund.de/erezept und **HOLY** Gutscheincode 5€ Rabatt: ZIEL5 Gutscheincode 10% Rabatt: ZIEL Hier Klicken: [Hol Dir hier Dein HOLY!](https://weareholy.com/daszielistimweg) https://weareholy.com/daszielistimweg Mehr über den Podcast: FB: https://www.facebook.com/daszielistimweg Instagram: https://www.instagram.com/andreas.loff

Antonia Stassi speaks with Michael Lacey, Manager of Deadink Bookshop in Liverpool, about fostering a book community and running a successful shop , producing an engaging programme of events, and how his experience as an Artist and Gallerist has helped him foster the literary community in his City and beyond. "Audiobooks have been an absolute lifelife- as a retalier it's great to do something more accessible".

Nate and Benjamin are back in the saddle (finally) to discuss a yuuuge week back in New York. We talk art fairs, gallery openings, fashion week and the US OPEN. We are then thrilled to be joined by Los Angeles gallerist Sebastian Gladstone along with an artist from his roster, Tristan Unrau. Sebastian has forgone any New York fairs this season and taken a short term lease on a downtown space for a series of exhibitions, the first of which is an exceptional solo show by Tristian. We discuss Sebastian's evolution as a gallerist, this innovative program in New York and then Tristian's intricate and seductive painting project. AND WE EVEN BREAK SOME NEWS. All that AND MORE on THE ONLY ART PODCAST! --- Support this podcast: https://podcasters.spotify.com/pod/show/benjamin-godsill/support

In this engaging episode, Dave had the immense pleasure of sitting down with the talented Maxine Orange, a beloved artist and curator from Fort Walton Beach. Our conversation covered Maxine's inspiring journey from her beginnings in Montgomery, Alabama, to her vibrant presence in the art scene along the Emerald Coast. We delved into the unique challenges and triumphs that shaped her path, including her initial foray into graphic design at the University of Alabama, her transformative experiences in New York and California, and her eventual return to the South. Maxine shared her fascinating transition from graphic design to creating handbags out of painted canvas, a venture that ultimately led her to embrace her true calling as an artist. Her story is a testament to following one's passion and the serendipitous moments that guide us along the way. We also discussed her beloved gallery in Fort Walton Beach, which has become a hub for local artists and a testament to her unwavering commitment to fostering community and creativity. Maxine's dedication to her craft shines through in her unique live wedding paintings, a niche she stumbled upon and has since perfected, bringing joy to countless couples on their special day. In this episode she shares heartfelt stories about her artistic process, the inspiration she draws from her surroundings, and the collaborative spirit that defines her work. Throughout our conversation, Maxine emphasizes the importance of community, collaboration, and the joy of creating art that resonates with others. Her infectious enthusiasm and genuine love for her craft are truly inspiring. Discover more about Maxine Orange and her work at Maxine Orange and her bridal page Abstract Bridal Portraits. Explore opportunities to visit her gallery or inquire about studio space by reaching out via her website or social media.

In this episode, Dave had the pleasure of chatting with Brooke and Francisco Adaro, the creative forces behind Adaro Art Gallery, and their gallerist, Nicole Upchurch. We explored their fascinating journey from Buenos Aires to South Walton, their unique artistic style, and their vibrant gallery that brings a touch of whimsy and deep personal storytelling to the local art scene. Brooke, originally from South Walton, shared her story of traveling to Argentina as a young wine expert and discovering Francisco's artwork. Francisco, an artist known for his whimsical and deeply personal paintings, recounted how their paths crossed again ten years later, leading to a whirlwind romance and a shared passion for art. Their love story is as captivating as their art, with Brooke's business acumen complementing Francisco's creative talent. We talk about Francisco's artistic journey, from creating large-scale murals in Buenos Aires to developing a distinctive style that blends pop culture, earth tones, and folk art. We also discussed the unique approach of their gallery, which features not only Francisco's work but also curated pieces from artists around the world. This global perspective brings a rich diversity to their gallery, making it a must-visit destination for art lovers. We touched on the personal elements in Francisco's work, where each piece tells a story from their life, filled with recurring characters and whimsical scenes. The gallery is not just a business for them; it's a labor of love that reflects their life together and their deep connection to the art community of South Walton. Visit Adaro Art Gallery at The Big Chill, formally known as The Hub, to experience their whimsical and captivating artwork. Learn more about Brooke and Francisco Adaro and their gallery at Adaro Art. 

For years, one space in New York's SoHo neighborhood was considered hallowed ground for lovers of design: Moss. It mixed high and low, introduced radical new talents to the industry, was beloved by the media, and changed the conversation and level of expectations forever. On this episode, Dan speaks with its founder, Murray Moss, on how it all happened, his first career in fashion, living with Parkinson's, and the one thing he loves in his collection that's absolutely worthless. Hosted on Acast. See acast.com/privacy for more information.

In this engaging episode of the Arts Two Hearts podcast, host Charuka Arora interviews Reena Lath from Aadprocard Gallery. Reena shares her journey from a non-art background into the realm of art curation and gallery management. They delve into topics such as the evolution of the art market, the influence of digital media, the role of young buyers, and the spiritual aspect of art creation. Reena's insightful perspective sheds light on the intersection of tradition and modernity in the art world. Key themes include Reena's early encounters with art, the changing landscape of art collecting, the blending of utilitarian and spiritual elements in Indian art, and the significance of consistent practice for artists. The discussion highlights the importance of passion, dedication, and a deep connection to one's work in the art industry. Call For Art: Art and Woman Edition 1-2024- Win US $10,000 worth prizes and cash award. So, have a look at 

On this episode, Anupam delves into the intersection of art and business alongside Ayesha Parikh. She unveils her remarkable transition from strategy consultant to renowned photographer and gallerist. Explore the hurdles artists encounter in gaining acknowledgment and examine the multifaceted realm of art collection from various viewpoints. Navigate through the complex domain of counterfeit art and examine the evolving trends that mold the landscape of the art industry.Get in touch with our host Anupam Gupta on social media: Twitter: ( https://twitter.com/b50 ) Instagram: ( https://www.instagram.com/b_50/ ) LinkedIn: (https://www.linkedin.com/in/anupam9gupta/ )You can listen to this show and other awesome shows on the IVM Podcasts website at https://www.ivmpodcasts.com/ You can watch the full video episodes of PaisaVaisapodcast on the YouTube channel.Do follow IVM Podcasts on social media. We are @ivmpodcasts on Facebook, Twitter, & Instagram.See omnystudio.com/listener for privacy information.

UGallery is an online art gallery that aims to help emerging artists gain exposure and connect with buyers. The platform was founded in 2006 and has since focused on selling one-of-a-kind paintings. UGallery curates its portfolio and maintains personal relationships with both artists and clients. The gallery emphasizes storytelling and marketing to create a unique experience for buyers. While UGallery primarily operates in the US, it is working on expanding its international sales. The platform differentiates itself from other online galleries and competes more directly with physical galleries. https://www.facebook.com/Ugallery https://www.ugallery.com/ https://www.instagram.com/ugallery Music by Old Romans: https://www.instagram.com/old_romans --- Send in a voice message: https://podcasters.spotify.com/pod/show/a4ps/message Support this podcast: https://podcasters.spotify.com/pod/show/a4ps/support

In this episode I chat with Zoë Goetzmann, an Arts and Fashion Writer, Curator, Gallerist, and Podcast Host. She shares about her creative upbringing and her thesis "Artists on Instagram" that sparked a blossoming career in the arts. Her interviews with art world-related entrepreneurs like Ashley Longshore , Julia S Powell, & Dan Lam, uncover how they used Instagram as a way to promote and sell their art on Instagram. She shared her findings on Artsy.net and also writes for Create! Magazine. We talk feminism, art history, gallery pop ups, starting a platform, artist statements, and of course instagram. Instagram (@byzoesera): https://www.instagram.com/byzoesera/ (@theartistworkspacegallery) https://www.instagram.com/theartistworkspacegallery/ Website (AWS Gallery): https://www.theartistworkspacegallery.com Facebook (AWS Gallery): https://www.facebook.com/theartistworkspacegalleryPodcast (@theunethicalconsumerpodcast): https://www.instagram.com/theunethicalconsumerpodcast/

Back in late February we attended another convention called the Devon Board Game Weekend which was hosted at the Fox & Hound Country Hotel in Eggesford and jointly ran by the hotel and Meeples Corner.  THE PLAYERS: JP, Adrian & DaveyIn this episode you'll learn:- all about the cosy and intermit convention that is Devon Board Game Weekend- JP & Robs misfortunate mistake in hotel room bookings- that there was no rum spilling incidents this year- more about the games we played across the weekend - what makes this convention different to others we've attendedLINKS REFERENCED IN THE SHOWDevon Board Game Weekend Website - https://foxandhoundshotel.co.uk/devon-board-game-weekend/Fox & Hound Country Hotel Website - https://foxandhoundshotel.co.uk/Meeples Corner Website - https://meeplescorner.co.uk/EPISODE CHAPTERS0:00 - TURN 1 - Player Count4:59 - TURN 2 - The Devon Board Game Weekend 20249:53 - Dog friendly atmosphere11:37 - Dune Imperium Uprising19:32 - Point City & Tussi Mussie23:22 - Furnace25:20 - Ticket to Ride Europe28:31 - Merlin34:50 - Dice Forge40:40 - In the Hall of the Mountain King44:31 - A brief aside on JP & Robs loveshack48:06 - Viking See-saw49:00 - The Gallerist59:10 - Senjutsu: Battle for Japan1:04:18 - Cosmoctopus1:08:22 - Paladins of the West Kingdom1:15:20 - The Saturday Night Event Dinner1:23:05 - Imperium: Horizons1:30:19 - Brass: Lancashire1:35:24 - War of the Ring The Card Game1:43:08 - TURN 3 - Final thoughts on Devon Board Game Weekend 20241:47:09 - TURN 4 - The Final TurnWe're LIVE at the UK Games Expo this year and we can't wait to bring one of our episodes to our listeners in person. We're running the show on Friday 31st 13:30 - 14:30 in the Dice Room (Piazza 4).You can find out more information about the show right here.https://www.ukgamesexpo.co.uk/events/1415-whose-turn-is-it-anyway-live-podcast/Support the showSUPPORTING THE SHOW- Support us on Ko-FiENGAGING WITH THE SHOWWe want your questions so engage with the show through our channels below:- Email Us - BoardGameGeek - Facebook - Instagram- Youtube - TikTok

Randy talks with legendary photographer Pat Graham. He has documented the 90's DC scene of music. Shooting iconic photos of bands like: Fugazi, Bikini Kill, Nation of Ulysseys as well as extensively covering the career of Modest Mouse. https://www.instagram.com/instapatgraham/ https://patgraham.bigcartel.com/ https://www.amazon.com/stores/Pat-Graham/author/B004XIK6IQ?ref=ap_rdr&isDramIntegrated=true&shoppingPortalEnabled=true

In this episode, host Marina Press Granger speaks with Onyedika Chuke, a seasoned art professional who brings over two decades of experience running his own art studio. He opened Storage, his exhibition space (in New York City's Tribeca neighborhood),  in 2020 and it is rooted in the values of community, discovery, and connoisseurship. Acting as a curated archive, Storage showcases a diverse array of makers working with various materials, representing a broad demographic spectrum. Chuke opened a second space, Storage APT, on Valentine's Day in 2024 on the Bowery. Tune in to learn more about Chuke's journey and the unique ethos behind Storage. Learn more about Storage here: https://www.storageartgallery.com/ Follow Storage on Instagram: https://www.instagram.com/storage.archive/

Tune in as host Marina Granger brings you an interview with gallery owner Maryana Kaliner. Kaliner founded The Form Art House, "The FORMah" for short, in New York City's Lower East Side. FORMah specializes in exhibiting women-identifying artists who may have been overlooked due to their race or age. Coming into the art world with an extensive background in Finance, Kaliner speaks about how she guides collectors towards sustainably investing in art. Learn more about The FORMah at https://theformah.com/ Follow The FORMah on Instagram: https://www.instagram.com/theformah/

In this episode Jacob and I go over our thoughts on the games we played this year, including ones from the BGG top 100. YouTube channel: https://www.youtube.com/channel/UCTL_pP6m2xgrA2MQ4Xw2KgA BGG blog: https://boardgamegeek.com/blog/11733/board-gaming-doctor 00:00 Intro 04:38 Games we loved from the top 100: Mombasa, Lisboa, Le Havre 17:43 Games we liked from the top 100: The Gallerist, On Mars, Earth, The Crew: Mission Deep Sea, Clank! Legacy 28:24 Games that were ok from the top 100: Anachrony, Underwater Cities, Heat: Pedal to the Metal, The Search for Planet X, Nemesis 38:00 Games we are excited to play next: Raiders of the North Sea, Lord of the Rings: Journeys in Middle-Earth, Sleeping Gods, Power Grid 43:00 Favorite games from 2023: Oranienburger Kanal, Earth, Forest Shuffle, Waypoints, Trailblazers: The John Muir Trail, Voyagers, Aquamarine 50:42 Favorite games new to us in 2023: Trekking through History, Meadow, Age of Civilization 59:37 Games we are excited for their release next year: Amazonian Trail (not official title, sequel to Trailblazer), Rolling Realms Redux, Nusfjord expansions

What you'll learn in this episode:   How studying and apprenticing abroad helped Ilona push the limits of her work How objects carry memories, and why that can influence someone's desire to buy a vintage piece Why the most important thing a gallerist can do is choose pieces that resonate with them How art jewelry galleries create a channel of communication from artist to wearer to observer Why jewelry artists have more freedom that other types of artists   About Ilona Schwippel Ilona Schwippel has run the gallery Viceversa, in Lausanne, Switzerland, with her husband Christian Balmer for 20 years. She holds a bachelor in product design, jewelry and accessories from the High School of Arts and Design (HEAD) in Geneva and a diploma in luxury creations and artistic crafts from the University of Geneva. Since 2017, Ilona has lectured at the University of Applied Science, in Lucerne, in the XS Schmuck department.   Additional Resources: Vice Versa Website Vice Versa Instagram Vice Versa Facebook   Photos Available on TheJewelryJourney.com Transcript Gallerists have a unique position in the jewelry world as the connectors between artist and wearer—and Ilona Schwippel holds sacred this responsibility. As co-owner of jewelry gallery Viceversa in Lausanne, Switzerland, she is always looking for the pieces that resonate with her and her clients. She joined the Jewelry Journey Podcast to talk about why jewelry carries the memories of its previous owners; why jewelry gives artists more freedom than any other medium; and how giving context to a piece can change a customer's perception of it—for better or worse. Read the episode transcript here.   Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please head to TheJewelryJourney.com.   I went on Art Jewelry Forum's trip to Switzerland to find Swiss jewelers that I didn't know about. Art Jewelry Forum has an international trip every year, and they're usually very interesting and very good. There I met Ilona Schwippel and her partner, Christian, who are owners of the gallery Viceversa. Welcome back.   If you see somebody who is interested and keeps looking at the piece, they keep coming back and looking at it, let's say, do you then explain what the artist was trying to do?   Ilona: If I have the chance, which I think is great and I really appreciate, I tell him the first time, or I tell that person my idea and the context of the piece at the very beginning. It depends on the person sometimes, how open they are at the moment to see what kind of discussion, what kind of dialogue we can have, whether the person wants to hear it or not. This is always very unpredictable.   Sharon: Do you think art jewelry tells a deeper story than other kinds of jewelry?   Ilona: I think so. Yes, absolutely. I also think that a piece of contemporary jewelry tells a very different story to the observer once its worn. It's a different kind of communication.   Sharon: It's interesting. It's probably true that once it's worn, it tells a different story. Do you concentrate on certain artists? Do they have to be known? Are they up-and-comers? Any particular kind of artist?   Ilona: We have both. Next spring, for example, we will prepare an exhibition with Karl Fritsch. We've been working with him for many, many years. Maybe it's the third or fourth solo exhibition that we've done with him. It's always incredible how he continues to surprise us by only making rings. This is really incredible.   Sharon: Karl Fritsch?   Ilona: Karl Fritsch. For instance, sometimes he works with already existing jewelry, and he interferes; he changes the piece in my eyes. He doesn't only change the aspect of the piece by enhancing it or by improving the design in a humoristic way, the way they improve the design of very classical pieces with fantastic design. Some of them have just been turning the piece into something else, and they said it was like improving the piece.   With Karl Fritsch, I think he is somewhere else. What I think is really interesting and very touching is that he changes it. For example, he takes an existing ring—each ring has a story. Each ring has its pedigree in terms of ownership. Sometimes you know; sometimes you don't. Some people want to know; some people absolutely don't want to know. What I think is interesting in his work is he takes this ancient piece, for example, and he changes the path of this ring. It doesn't continue its way of living from owner to owner in a straight way. He takes a very sharp, radical turn. All of a sudden, it's not only the piece that changes; it's many things. The definition of the owner changes. I think that's a very interesting part of his work.   Sharon: I'm surprised to hear people don't want to hear what it was originally and what it means today. Why wouldn't people want to know? Do you have any idea?   Ilona: Maybe they're just more comfortable with something unknown than to know the stories. They would like to wear the piece, but they don't want to carry the story of the piece or the story of the ancient owner with them. I think there is a very strong relationship between the owner and jewelry. Some pieces are really marked by the story of the ancient owner. It's something personal.   There's this German-Vietnamese philosopher who is talking about objects. They are a souvenir of people, of situations. That's where he says it's a dramatic difference between data and tangible objects. I think objects really have the capacity to carry on memories, and I can understand that not everybody is comfortable with that. I think this is an incredible quality of jewelry.   Sharon: If somebody comes to you and they want to exhibit or have their pieces in the gallery, does it matter to you if nobody has ever heard of them if you like the piece?   Ilona: If you like the work, yes. The distinction between pieces of work—as a gallery, we like to build up a long-term relationship with the artists. We love following the work, seeing the evolution of the artist and seeing the new work in relation to the pieces that were there before. If you see only one piece, it's difficult to read, and it's difficult to talk about the universe. I think it's always exciting and important to see the universe, to have a body of work. Not just single pieces, but a body of work that tells a story. Then, if the person is known or unknown, it doesn't matter. It's about the quality and the content of this body of work.   Sharon: So, if they want to exhibit in your gallery but they only bring one work or one piece, you tell them to come back and show four or five so you get the connection.   Ilona: Yeah, and it's also to know about the artist's aim, about the content of the pieces, to feel the intention of the artist, why he or she did these pieces. Why do these pieces exist? Why was it important to create them? Why do they have to exist?   Sharon: Has it changed your mind when they bring one piece and you think, “Oh, well, that's not so great,” but then they bring four or five and it's the connection you see?   Ilona: Yes, absolutely. You can really see a story and also see it more in depth. With one piece, it's more difficult to see the depth of the intention. If it's only one piece, it's less evident, maybe.   Sharon: You operate the gallery with your husband. Do you have a division of labor? Do you look at the pieces and he writes the catalogue?   Ilona: A lot of things we do together. This gallery is something really personal. It's also incredible that each gallery you visit is so different from the other. It reflects the passion of each gallerist. I think it's important that Christian and I work together. There are many questions we have to discuss, to talk about the artist, about the pieces and the exhibitions we would like to build up. Inside, we do some tasks separately for sure, but a lot of decisions we have to make together. It's very enriching to have discussions about artists' work that we don't agree on. This is very interesting.   Sharon: Can you walk into different galleries and feel a different—I don't know what to call it—an air, a different feeling when you go into different galleries? Some of them are passionate and some are more utilitarian, let's say. Can you tell?   Ilona: I think so, yes. I think it really reflects the gallerist who made this choice. I think it's important that you see that. It's not important that you see the difference, but it is important that the choice of the pieces and the works of the artists is something authentic with the gallerist.   Sharon: I guess I skipped a question. I wanted to ask why you like art jewelry.   Ilona: Good question. I think I'm fascinated with the power that pieces have, the power of this non-personal communication. I think there are two aspects. On the one hand, I am aware as a wearer, so I want to make these pieces on my body communicate to the person in front of me. It's like being a team with this piece of art. We have the same bond; we have the same message to give.   On the other hand, as a gallerist, you have a different view of the piece. There, I see more of a connection to the artist, and I leave it open as to whom it will talk to, who is going to fall in love with it. Sometimes it's myself. I think it is the content, and it's something essential in communication.   Sharon: Have you seen a piece that you might want to put in your gallery, but you don't wear it yourself?   Ilona: Yes and no.   Sharon: It just doesn't communicate what you want it to communicate.   Ilona: Yes. There are pieces I really love, but I don't feel this connection when I wear it. I guess this just happens. I think this is healthy.   Sharon: But some other people might still see a connection.   Ilona: Absolutely.   Sharon: Have you ever worked in another gallery?   Ilona: I did work at one when I was in Lisbon. I worked in the gallery at Artefacto3. At the time, it was Tereza Seabra that ran the gallery.   Sharon: Was there a difference in the air or in the feeling of the gallery compared to your gallery?   Ilona: It's hard to say because at the time, I didn't have any other experience with galleries, with contemporary jewelry galleries especially. But it was different, and I think that's important. I think that's something very important, these differences.   Sharon: When you say contemporary jewelry galleries, it makes me think that in Europe or Switzerland, there are more contemporary jewelry galleries. There are very few in the States. They exist, but there are very few. I wonder if there are more in Europe. I don't know. Would you say that in the time you studied art jewelry, the market has grown in Europe?   Ilona: I think so. I think it's also due to the schools. They are very active in communicating. The students are studying the works at the museums that collect, that show the connections, that have exhibitions or design exhibitions where they mix objects and jewelry. I see this as a precious education to make contemporary jewelry become more known by a larger public.   Sharon: Are they doing that on purpose?   Ilona: I think they choose the pieces because they have to be in the exhibition with the content they want to communicate and the pertinence of the piece. Maybe the side effect is that it is an education, that there is educational value in it, but I don't think this is the first purpose. If we talk about education, it might be a principal purpose when they organize workshops, lectures, guided tours, meeting artists at roundtable discussions, something like that. This is actively finetuned. It keeps the discussion lively and brings people together to talk about these subjects and about this not-very-much-known field.   Sharon: When you talk about it, it sounds very exciting. What is it that's kept your attention on art jewelry over the years?   Ilona: I think it captures the questions that come from society. If it seems that society is worried about something, they can communicate with the pieces. It's a very lively art. I think it's also something exceptional and precious, the freedom that jewelry artists have. They can really do the piece. Most of them can make the piece from the very first moment to the very last moment. So many are capable of finishing the piece all by themselves, which means during the thinking and creation process, they continue to evaluate. I think this is an enormous freedom, and this freedom also gives them a place for really absurd and surrealist things that you would never dream about in the field of jewelry. Jewelry is performance. It is linked so much to the body; it's linked so much to the lively body, to the vivid communication that is part of the daily performance we do.   Sharon: That is very interesting. Ilona, thank you very much for taking the time to talk with us and to let us know about art jewelry in Switzerland.   Ilona: I'm very happy that we had the chance to talk and that you were curious about our gallery. We were really happy to talk to you in Switzerland. It was great to feel your enthusiasm and this energy you have. Thank you very much.   Sharon: Thank you. We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out.   Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.    

What you'll learn in this episode:   How studying and apprenticing abroad helped Ilona push the limits of her work How objects carry memories, and why that can influence someone's desire to buy a vintage piece Why the most important thing a gallerist can do is choose pieces that resonate with them How art jewelry galleries create a channel of communication from artist to wearer to observer Why jewelry artists have more freedom that other types of artists   About Ilona Schwippel Ilona Schwippel has run the gallery Viceversa, in Lausanne, Switzerland, with her husband Christian Balmer for 20 years. She holds a bachelor in product design, jewelry and accessories from the High School of Arts and Design (HEAD) in Geneva and a diploma in luxury creations and artistic crafts from the University of Geneva. Since 2017, Ilona has lectured at the University of Applied Science, in Lucerne, in the XS Schmuck department.   Additional Resources: Vice Versa Website Vice Versa Instagram Vice Versa Facebook   Photos Available on TheJewelryJourney.com Transcript Gallerists have a unique position in the jewelry world as the connectors between artist and wearer—and Ilona Schwippel holds sacred this responsibility. As co-owner of jewelry gallery Viceversa in Lausanne, Switzerland, she is always looking for the pieces that resonate with her and her clients. She joined the Jewelry Journey Podcast to talk about why jewelry carries the memories of its previous owners; why jewelry gives artists more freedom than any other medium; and how giving context to a piece can change a customer's perception of it—for better or worse. Read the episode transcript here.   Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the first part of a two-part episode. Please make sure you subscribe so you can hear part two as soon as it's released later this week.   Many of you know that I went on Art Jewelry Forum's trip to Switzerland to find Swiss jewelers that I didn't know about. Art Jewelry Forum has an international trip every year, and they're usually very interesting and very good. There I met Ilona Schwippel and her partner, Christian, who are owners of the gallery Viceversa. The gallery has a mix of up-and-comers as well as those who are familiar names. They're located in the center of Lausanne. It's a great place to be located because there's a lot of foot traffic. People must stop in the store never having heard of it, but they are attracted by the windows. I was really taken with the name of the gallery, which is Viceversa, and thought about what it could mean. Since I couldn't come up with anything on my own, I'll let Ilona tell you. Ilona, welcome to the podcast.   Ilona: Hi Sharon. Thank you so much for this wonderful invitation.   Sharon: I'm glad you're here.   Ilona: Actually, to explain the name, I have to talk about the story of Viceversa gallery. Christian Balmer —actually my husband; we're married—opened a small gallery in 1991. A couple of years later, in 1998, with a colleague, they opened a new store, a new gallery. All of a sudden, there existed these two stores. It was like vice versa—one of them in the other store. That's why when I'm talking about organizing and summing up this whole project, each of them came up with the word, vice versa and vice versa. So, they stuck to the name and selected it for the new gallery.   I came to Lausanne. We had met a couple of years before. At the time, I was still living in Lisbon. I'm a jewelry maker, and I had an internship, a practice, in Tel Aviv with an Israeli jewelry maker. During a show we had in Basel, Christian came as a visitor, and that's how we met. It was a professional meeting.   Sharon: I was surprised because in reading about it, the name of the gallery had been around for a long time, it seemed.   Ilona: Yes, this year in November, in three weeks, we will celebrate 25 years of the galleries.   Sharon: Wow! It's a hallmark. There are not many galleries that can say that. So, you're married. My next question was why did you and Christian decide to have the gallery together, your own art gallery? You are married. You studied in Lisbon?   Ilona: I did an apprenticeship. I started doing an apprenticeship in jewelry making with a master, as you can do in many places. It's quite usual to do that. Also, in order to find my own way of working, of thinking, of seeing things, I wanted to go abroad and feel the edges, feel the limits, and go beyond them. I had chosen Lisbon to experience this new context and to work there as an independent jewelry maker and designer. Since there is a very good school, I had the chance to participate in several workshops. It was my first contact with contemporary jewelry at the time.   Once in a while, I had questions that I didn't find the answers to. I was seeking dialogues. So, I saw in a magazine at the time an article about this Israeli jewelry maker, and I thought, “Well, these are the forms, the look he puts on jewelry and on the wearer.” I think it really taught me, even at that point. So, I got in contact with her. I did an internship with her for three months, and that's when we prepared the exhibition. At the exhibition, they were paying her a visit.   Sharon: You said that was your first contact with contemporary jewelry, in Lisbon?   Ilona: Yeah, I would say so. I had a wonderful master to follow through my apprenticeship, very extraordinary pieces, only one-of-a-kind pieces. That was something completely spectacular and very generous. He is a wonderful person. I'm very grateful that I could work with him, that I could have this first contact with jewelry with him. But if you have such a strong master, it's really important to find your own way of working, your own way of seeking, of questioning, to have your critical eye on your own work. It was important to me to go abroad and do something completely different, to jump into the cold water and to find my own task.   Sharon: Were you able to do that in going abroad?   Ilona: I guess so, yes. It was great. It was a wonderful time there, very special. It was the first time I was really imposing some limits or—how do you say—subjects and restrictions. I gave myself restrictions in my work to make it go to the essence of what I wanted to do, where I wanted to go while working, just getting step-by-step closer to what I really seek.   Sharon: Up until that time, did you look at antique jewelry, vintage jewelry, other kinds of jewelry?   Ilona: Yes, I did. I always thought it was really beautiful and touching, the care that was put into these incredible pieces and what they represented, not only for the person who wore it, but also for the people who saw it. It has this important symbolism, this important status, and this non-verbal communication to really tell things about yourself and your status with pieces.   I needed this freedom that jewelry can offer, or that the material and the body can offer, to seek something else. I thought it was beautiful and I appreciated it, but it was not really an inspiration. For example, my master, when I did the apprenticeship, was working with incredible stones. It was very spectacular and colorful and joyful. To find my own way, and so I didn't continue doing his work, I restricted myself by saying, “Don't do pieces with stones. No stones.” That was maybe my first restriction.   Sharon: So, you didn't do anything with stones until now.   Ilona: Yes.   Sharon: Did he use a lot of stones?   Ilona: Yeah, incredible. It's very colorful, exceptional stones. Like many stone cutters, like the most knowing ones, the most famous ones, they have with the most exceptional stones, first of all. His studio designed the very best stones, and then they went to other places. So, it was really old and very big.   Sharon: Do you show the stuff your master does in the gallery?   Ilona: Quite a while ago, we did a group exhibition and he was invited. He participated, and that was really nice.   Sharon: Do you have different kinds of exhibitions of jewelers that you didn't know before you picked them for your exhibitions?   Ilona: Yeah. For example, for the 25th anniversary, we worked with five great artists of 25 years, five very exceptional artists. The first man is Sigurd Bronger, a Norwegian artist, who had a solo show at the in Munich in the spring of 2024. So, they were very excited that he's in the show. He's from Norway. Katrin Feulner from Germany, and a Korean artist, Ji Hee Hong, also someone we never worked with before.   Eric Loubser from South Africa is the only we've already worked with. In 2021, we organized a big double exhibition which was called Tangible Dialogue with 11 Japanese artists that are based in Japan. These 11 artists showed their work here in Lausanne. That was a wonderful, great exhibition. It was a very nice event. The year after, 11 Swiss jewelry artists were showing their work in Tokyo. So, we had this double exhibition, and that was where we had the first contact with Shinji Nakaba. So, we're really happy that he's in the show for 25 years now.   Sharon: Wow! What were your trepidations? Were you nervous about having people in the show that you hadn't worked with before?   Ilona: That's a very good question. It's very exciting. We are really looking forward to setting up the show and organizing everything and then celebrating. Once you get the parcel and open it, it's always this incredible discovery. If it's the first time you've worked with somebody and you discover the piece, if it's the first time you've touched it, you can see that it's round and see the volume and the details, it's always a very special moment. It's very emotional.   Sharon: How do you find all these people?   Ilona: Schmuck in Munich. We're so lucky, and I guess the whole jewelry world is so lucky, that it exists with such great enthusiasm and this great dynamic, and also this incredible quality. I think this is something very exceptional. Then we go see exhibitions abroad, like in Paris, to have a look at jewelry. This is always interesting to see artists that are not yet known, to discover talents. I think also that AJF is a great platform to discover, to get information. It is really fantastic. Yeah, there are different channels.   Sharon: Do you have to go out to find these people or do they come to you?   Ilona: Both.   Sharon: Both? How do they come to you, with photos?   Ilona: Either they come directly to the gallery or they email us, or we know each other. They talk to us in Munich. Different ways exist, but I would say mostly it's by email because people are informed. They inform themselves; they read. Also, there's Instagram. It's the same, either Instagram or email.   Sharon: That's interesting, Instagram. Did you have a slowdown during Covid? I don't know how it was in Switzerland.   Ilona: Yes, we did. We had a shutdown twice. This was the first lockdown we had. We had moved into our new place and had our first exhibition to celebrate this new gallery, which was the exhibition with these 11 wonderful Japanese artists. Then a couple of weeks together, boom, it was a lockdown. It was really hard. Even though we couldn't open the gallery, we came every day. Of course, there was a lot of email and things to do, but I had the impression that without the clients, without these people passionate about art jewelry, that the pieces were all orphans. They needed us to look at them and touch them, to manipulate them. That was a very strong feeling. So, we came and started to organize the next exhibition. It was also to have the artists keep believing in it. Yeah, it was really terrible.   Sharon: How do you decide which exhibitions you're going to have?   Ilona: What is really important for us is always the fact that we have to be touched by the work. It's a great pleasure for us to show this work, and we really look forward to proudly presenting it to our public. I think it's a very important point to believe in the work and to be able to transmit that to the visitors. I see our work as governance. I see it as the link between the artist and the person that will fall in love with the piece. Without us, they might not meet. We can also give peace. We talk about the pieces; we talk about the artists. We give people peace to read the piece, to find details, to read the details of the piece and to see it in a certain context that was wanted by the artist. I think it's important to have this emotional contact.   Sharon: We didn't have that much time to spend at your gallery. Do you think there are pieces that people like, but you tell them what the artist meant, and they look at it in a totally different way? Somebody once said they have to meet the artist first, which I don't believe in, but they said that. I have to like the piece. That's important to me, but if somebody explained what they were trying to say, that might be different.   Ilona: I guess so. Every artwork, if you have the title or you see it in a certain context, like an exhibition with a theme or a subject, then you look differently at the piece. You read it differently. I think it can change the perception in both ways. It can make you more open towards the piece. It can also repulse you, because maybe it's a story or a context that is not what you feel comfortable with. So, both ways exist.   Sharon: We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out.    

On this episode of The Loathe List, Justin recounts his Charlotte York gallerist era, Cohzy chats stress levels (shoutout OURA RING), and we discuss the only two girls in pop right now: Troye Sivan and Britney Spears. And ew, Justin Timberlake. --- Send in a voice message: https://podcasters.spotify.com/pod/show/the-loathe-list/message Support this podcast: https://podcasters.spotify.com/pod/show/the-loathe-list/support

About the guestJen has a passion for building businesses centered around art and artists. She has a studio and commercial art background and a BFA in Sculpture.Jen founded her Gallery in the San Francisco Bay Area in February 2017 and moved to Santa Fe just prior to the Covid Pandemic. She quickly pivoted by creating an online artist community called Artist Alliance. Gallery https://jentough.com/Artist Studios https://www.airstudios.art/Artist Alliance https://www.artistalliance.community/c/generaldiscussionRachel Rodgers Book “We should all be millionaires” https://amzn.to/46XjNq9Destination Art Retreats https://uptrek.com/retreats/artMarcel Dzama https://www.davidzwirner.com/artists/marcel-dzamaMust Have Tools For Visual Artists Resource linkGrants for Visual Artists https://artbizconsulting.com/blog/professional-development-grants-for-visual-artists/  Subscribe to the Art Biz Talk NewsletterApply to be a guest Ask a question for the show Become part of the community for professional visual artistsIf you're a late emerging or mid-career visual artist earning $5K or more a month and are ready to scale your studio practice, Art Biz Pro is the place for you. (Re) Emerging ArtistsStarting to build your full time studio practice and need a DIY guide with templates for your artist statement, Press Kit and pricing your art? Sounds like you need our Artist Starter Kit. CREDITSOriginal Music composed by Hillary Albrecht at Rhapsody on MarsArt Biz Talk is hosted by Andrea La Valleur-Purvis, Artist and Art Business Coach at Vivid Creative

If you're a longtime listener of our podcast, you already know NOT REAL ART strives to make art accessible to everyone—not just a privileged few. Today's guest shares a similar mission: As the co-founder of UNREPD, a cutting-edge L.A. gallery that seeks to represent the underrepresented, Sarah Griffin offers a safe space for artists to sell their work without the pretense that comes with typical “white cube” galleries. “As long as we're doing what feels great, what we like, what we're excited about, that's how we stay on the right path,” she says. In today's podcast episode, host and NOT REAL ART founder Scott “Sourdough” Power sits down with Sarah Griffin to discuss the consultant's ongoing work with marginalized artists and communities. “People have been told that there's a ‘right' way to do [art],” she says. “Somewhere along the line, people are told that there's a way to make real art. There's a way to make good art. There's a way to look at art. There's a way to understand art. This is what you're supposed to feel about this artist because this is a good artist—all of that is bullshit. None of that is real.”Sarah co-founded UNREPD in 2019 after she met Tricia Benitez Beanum, an estate sale specialist and interior stylist who owns the Pop Up Home vintage showroom. The two quickly bonded over their shared vision to advance the careers of overlooked artists by introducing them to a new collector base. “[Tricia and I] are both outsiders,” Sarah says. “Neither of us came through the art world. We think that that works to our benefit because we have something a little bit different to say.” In this episode, Sarah explains how UNREPD sets itself apart from the cold, unfriendly galleries that intimidate artists and buyers alike. She also shares advice for emerging artists and waxes poetic about the artists who call UNREPD home. Don't miss our conversation with a true trailblazer, gallerist Sarah Griffin.Key Points From This Episode:How Sarah and Tricia discovered their mutual passion for representing the unrepresented. The different perspectives that they bring to the art world as “outsiders.”Why she believes that art should be about feeling, not knowing.The “buy it because you love it” approach that she takes with collectors.Reframing art as a necessity, not a luxury.How to find high-quality, original, affordable art that fits any budget.The special place that Chicago holds in Sarah's heart.Overcoming the unique challenges that come with running a gallery like UNREPD.Ways that UNREPD sets itself apart from typical “white cube” spaces.Highlighting some of the incredible artists that Sarah is working with.Insight into how UNREPD has built its stable of artists.Why Sarah emphasizes that there is no “right” way to make or consume art.The role that relationship management plays for gallery owners.For more information, please visit http://notrealart.com/sarah-griffin

I had Christine Mollring on today. For those who don't know who she is, you need to. Christine is one of the backbones of Western art. She started her own gallery early on in the 1970s and owned Trailside Gallery until about 94. Think back on what kind of individuals were running Western art galleries back in that era. They were pretty much all men.  We talked about it a little, not a lot, because she felt like it was just what she had to do. It didn't stop her from becoming the best of the best. Christine represented some real heavy hitters back then too. People like Charles Loloma who was a very important Hopi artist and silversmith.So I think you'll have a great time. I really enjoyed it. Christine is a remarkable person and we're so fortunate to have her in the world of Western and native art. Christine Mollring on episode 256 of Art Dealer Diaries Podcast.

This week Wes and Todd sit down with Colorado Springs Artist, Clay Ross. Clay discusses growing up in Colorado Springs, his journey as an Artist, being color blind, the “ache” to make art, working in acrylic, his two series, being a cheerleader for his community, True North Art Gallery, mixed media, abstract work, cityscapes, his current exhibition, Colorado Springs pride, light, pricing, selling art, Yobel, and The Look Up Gallery. Check out Clay's work at his website www.clayross.artClay's exhibition “City Series” opens Friday, August 4th at The Look Up Gallery inside Yobel.Yobel and The Lookup Gallery are located at:11 E. Bijou StreetColorado Springs, CO 80903 Follow Clay on social media:Instagram - www.instagram.com/719clay/@719clayFacebook - www.facebook.com/719clay  You can check out The Look Up Gallery at www.thelookupgallery.comFollow The Look Up Gallery on social media:Instagram - www.instagram.com/thelookupgallery/@thelookupgallery Facebook - www.facebook.com/thelookupgallery Check out Clay & Emily's fair trade, ethically sourced boutique, Yobel, via the website www.shopyobel.comFollow Yobel on social media:Instagram – www.instagram.com/shopyobel/@shopyobelFacebook - www.facebook.com/shopyobel

What you'll learn in this episode:   How the artists represented by BABS translate their artistic vision to jewelry Why showing art and jewelry outside of the traditional gallery setting can make it less intimidating for non-collectors Why artist jewelry has yet to catch on with Italian consumers, and how Barbara hopes the industry evolves Why Barbara thinks there should be no division between art and art jewelry, and how she is trying to solve this issue What Barbara looks for in the pieces she selects for her gallery   About Barbara Lo Bianco Barbara Lo Bianco is the CEO and Owner of BABS (Beyond Art Before Sculpture) Art Gallery in Milan, Italy. An art enthusiast with a long-time passion for artist jewelry, Barbara opened BABS in October 2018. As the first gallery in Italy dedicated to artists' jewels, BABS collaborates with contemporary artists to create wearable art.   Photos Available on TheJewelryJourney.com   Additional Resources: Website: www.babsartgallery.it Artists Page: https://www.babsartgallery.it/maestri-gioiello-milano/ Barbara's LinkedIn: https://www.linkedin.com/in/barbara-lo-bianco-a1330a/ Instagram: https://www.instagram.com/babsartgallery/ Facebook: https://www.facebook.com/babsartgallery.gioiellidartista/ Twitter: @BabsGallery   Transcript   Barbara Lo Bianco's mission is to smash the arbitrary line that divides art and jewelry. As owner of BABS (Before Art Beyond Sculpture) Art Gallery in Milan, she works with fine artists to create their first pieces of jewelry and translate their vision to a new medium, breaking all the rules of what art or jewelry are supposed to be. Barbara joined the Jewelry Journey Podcast to talk about how she's trying to change the way art jewelry is displayed at fairs; the types of artists she likes to represent; and some of her favorite pieces from BABS. Read the episode transcript here.  Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please head to TheJewelryJourney.com.    We've had a lot of entrepreneurs on The Jewelry Journey. Barbara Lo Bianco is an entrepreneur, but in a different category. Her forays before art and jewelry and having a gallery were in unrelated fields. She was involved in a fitness center and was a real estate investor. Welcome back.   I look at art. I give a cursory glance at the art that might not be at a gallery, let's say, but at a jewelry store. It's decoration, but it's not to sell.   Barbara: You see a lot of restaurants in Milan that exhibit artworks by artists that are just there for the exhibition, so I think Italians are more acquainted with it. They do see it, and they might even ask questions because it's another environment. They're talking to somebody that is not doing that for business. They knew I was not going to sell to them. I was just saying, “You like it? Look, this is the business card of the artist. Just call him.” They feel free to ask him questions about it.   Sharon: That is different. It's different from the experience I've had here. How do you divide historical contemporary from contemporary? I was surprised to see on your website what I would consider contemporary, but they were maybe historical. You had some Dalí. I can't remember exactly.   Barbara: Yeah, we have Dalí. You cannot say it's contemporary. He's dead, so I cannot work with him anymore, unfortunately. He was last century. He's modern; he's not contemporary. There is this small distinction between modern and contemporary. There are some artists that are modern and others that are contemporary. Contemporaries are the ones that are living now and the ones that are working still. Those who are no longer working cannot be called contemporary. They are modern, yes, but they're not contemporary.    Then there are some that are contemporary, but they're already established. Some others are emergent or mid-career. What I'm focusing on now is mid-career, moving a little bit towards established. I'm between that field. I don't do emerging, and I don't do contemporary jewels. I do contemporary art, yes.    Sharon: It seems like a tremendous incentive. They show their art and a jewel or two they have made for you, and they talk with people who are aficionados.    Barbara: Yes, what is nice is that when we finish the project with the artist, we do an exhibition. I do exhibit works the artist is usually known for so you can recognize his style; you can recognize his message alongside the jewels he or she created. You can see the starting point or the inspiration point and the actual work they did, the new project, which is not often just a small reduction. It is something else, but you can still recognize the style and the message of the artist.    They do come to the exhibition, of course; they do speak with the people, but during the period of the exhibition, I always try to organize another talk or some sort of small event by appointment. There are 20, 40 people at most, so they get a chance to talk with the artist and ask them questions if they want—even if, most of the time, artists like to have their works speak for them. They are not so keen on speaking, especially in a larger group. In a small group, it works better.   Sharon: Do people see the connection?   Barbara: Yes, once they see them outside, they do. You do understand it. If you see the work by itself, it probably is not that easy, but if you see the works alongside the jewels, you do see the same end, the same meaning. It is like a speech that works within different media.   Sharon: Would you give us an example where you saw the connection?   Barbara: For example, there is an artist we work with. She made a sculpture which is about two meters high. It was treated as if it were a mirror in a bronze cage in front that looked like a medieval prison. So, you walk in front of this sculpture and suddenly you see yourself within a prison. You should start asking yourself, “Am I free or not? Why do I see myself within a cage?”   The piece of work is called The Golden Cage, because even if we are free, we are actually closed in a golden cage, more or less, because of all the limitations we give ourselves, because of all the routine, because of all the relations we have, because of all the boundaries we give ourselves, because of where our family or our business or our everyday life leads us. We wanted to give the same idea within a jewel.    It was quite hard because of the sizes. You cannot reflect yourself entirely within a cage. We tried and it came out very nice, but then we had an idea, “O.K., why don't we put something precious in it?” We started putting in a precious stone, and that gave the message. The stone doesn't get any light from anywhere, so it doesn't follow the rules of jewelry where you have to give light to stone; you have to embellish it; you have to make it shiny; you have to show that it's worth it. In this case, we put this stone within a cage, and it doesn't get any light from anywhere. You can see it because it's huge. The message is no matter how beautiful you are, you can never shine if you are within a cage. So, you get the same feeling; you get the same taste of the poetry of the artist, but in a different way.   Sharon: Do the artists you exhibit have favorite stones that they work with more than others?   Barbara: It depends. Some of them don't want to work with any type of stone. Some work with stone. It depends. They are totally free. Another one is Alex Pinna. His bigger sculptures are usually made in big rope, like the ones for boats and other ships. We made the jewels with ebony, gold, silver, even rope. They give exactly the same feeling of his sculptures but made in a different way and with different shapes. He makes mixed sculptures. He's a little bit individual. He makes these very thin human beings, but not in detail, that are sort of waiting for something that will happen or just happened; you don't know. He captured exactly the same sense of being suspended in his sculptures and in his jewels.    Sharon: Do you tell the artist what you're looking for? Do you tell them, “I want bracelets”?   Barbara: No.   Sharon: You don't tell them. They have free reign.    Barbara: I tell them, “Don't try to do what is easy; try to do what you think would be good, and leave it to me and the goldsmith to try to figure out the way to realize it. Don't go for the easy thing.” The medallion would be the easiest way, but it's banal; it's something that has been seen tons of times. I think that in some way, art has to go beyond, has to go a little bit further. That's what I tell them.   Sharon: It's in your name, Beyond Sculpture.   Barbara: Yeah, that's right.   Sharon: When I hear the word unique, it means I won't see anything like it. Is that different at your gallery?   Barbara: No, that's right. We work with unique pieces, unique within a series, or we work with very small editions. That means if it is unique, it is just one piece and that's it. No way are we ever going to have another one again. If it is unique within a series—for example, we worked with one artist that made 13 rings which were all similar, but all very different. They are unique within a series. The series is of those 13 rings, but they are all different from one another. They differ in color. They differ in material. They are different in treatment. They are different because one might be made with enamel; the other might be without. It depends.    Otherwise, it can be a small series. We usually work with eight pieces because in the sculpture world it can still be defined as unique, but we do declare that it is one out of eight or two out of eight. In some cases, we talk with the artist, especially if they want to make the price a little bit lower. We might be working with a series of 20 or 30. In three cases, we did something for charity, so we worked in a series of 99.   Sharon: Do your artists care if it's a unique piece? Is it important to them that they have a small series of 12 or eight?   Barbara: Some of them do want to keep it unique or in a very small series because that's how they work with their art. Some others don't mind. For example, Emilio Isgrò, who is one of the most accredited artists in Italy now, didn't mind working with the larger series. So, we worked with 30 pieces. He doesn't really mind. If it helps spread it and makes it something people would wear more, let's do it. It depends.   Sharon: Do your clients come from all over Europe or from Italy?   Barbara: We have clients from Japan, from the U.S., from Canada, from the U.K., Belgium. We do work everywhere because with the technologies now, that's a little bit easier. With some clients, they ask us to ship it. We wear it and do some videos to show how the ring looks or how the necklace looks, and then we ship it. We are doing some fairs. Last year we did Basel, the design fair. We had great contacts and clients from all over the world. It depends.   Sharon: You did Design Basel?   Barbara: Sorry if I interrupted you. Actually, I might say that more clients are foreigners than Italians. The Italians are still a little bit more toward traditional jewels.   Sharon: I'm surprised to hear that.    Barbara: Yes, there's still not too much of a culture for artist jewelry.   Sharon: Do you see that changing?   Barbara: There's a little bit more interest, but it's still quite hard because in Italy there's the tradition. Jewelry is often a present, and jewels by artists is something you buy for yourself because it's a liaison between you and the artist and the piece of art. Usually if somebody gives it to you, it's because they know you very well; they know you like that artist. Otherwise, no. It is a little bit harder that way. Italian women especially don't buy too many jewels by themselves.   Sharon: So, most of the jewelry you're seeing is run of the mill, the kind you'd give as a gift. It's not what you carry.   Barbara: Yeah.   Sharon: O.K.   Barbara: What were you asking before?   Sharon: I was just going to ask what your dream would be for the business, what the next step is.   Barbara: The next step is to keep working with major artists. The thing I would really like is to make it easier to exhibit at fairs. Last year, as I was telling you, we exhibited at Basel, but we were in the bazaar in the pavilion, because the business was considered an applied art, which I don't think is fair. It is art. It is just a small size that can be worn. The same artists that were exhibiting their jewelry, they were in the art pavilion with other works of art. Why can't they stay together? That's one thing.    Another thing is that they often tell me, “No, you have to exhibit either the piece of art or the jewelry,” and I don't see why. Art should have no limits. If it is an art exhibit, it is art. That's something I'm really trying to make the curator of the fairs understand, but it's hard.   Sharon: That sounds like a big hurdle, a big one to get over and get past.   Barbara: Yeah, I don't see why. We had pieces from artists and their other artwork was on the other side. We had Gilardi, and Gilardi was on the other side. Why can't they be in the same space, in the same location? Applied art doesn't mean it's less valuable than normal art.   Sharon: That's interesting. It's been about four years since the first time we talked to you. I hope by the next time, you will have resolved a lot of these issues.   Barbara: Thank you. I'll try.    Sharon: Thank you very much.   Barbara: I'll keep trying. Thank you very much for having me. It was a pleasure to see you again.   Sharon: It's nice to see you. Thank you. We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out.   Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.

What you'll learn in this episode:   How the artists represented by BABS translate their artistic vision to jewelry Why showing art and jewelry outside of the traditional gallery setting can make it less intimidating for non-collectors Why artist jewelry has yet to catch on with Italian consumers, and how Barbara hopes the industry evolves Why Barbara thinks there should be no division between art and art jewelry, and how she is trying to solve this issue What Barbara looks for in the pieces she selects for her gallery   About Barbara Lo Bianco Barbara Lo Bianco is the CEO and Owner of BABS (Beyond Art Before Sculpture) Art Gallery in Milan, Italy. An art enthusiast with a long-time passion for artist jewelry, Barbara opened BABS in October 2018. As the first gallery in Italy dedicated to artists' jewels, BABS collaborates with contemporary artists to create wearable art.   Photos Available on TheJewelryJourney.com   Additional Resources: Website: www.babsartgallery.it Artists Page: https://www.babsartgallery.it/maestri-gioiello-milano/ Barbara's LinkedIn: https://www.linkedin.com/in/barbara-lo-bianco-a1330a/ Instagram: https://www.instagram.com/babsartgallery/ Facebook: https://www.facebook.com/babsartgallery.gioiellidartista/ Twitter: @BabsGallery   Transcript   Barbara Lo Bianco's mission is to smash the arbitrary line that divides art and jewelry. As owner of BABS (Before Art Beyond Sculpture) Art Gallery in Milan, she works with fine artists to create their first pieces of jewelry and translate their vision to a new medium, breaking all the rules of what art or jewelry are supposed to be. Barbara joined the Jewelry Journey Podcast to talk about how she's trying to change the way art jewelry is displayed at fairs; the types of artists she likes to represent; and some of her favorite pieces from BABS. Read the episode transcript here.    Sharon: Hello, everyone. Welcome to The Jewelry Journey Podcast. This is the first part of a two-part episode. Please make sure you subscribe so you can hear part two as soon as it's released later this week.    We've had a lot of entrepreneurs on The Jewelry Journey. Barbara Lo Bianco is an entrepreneur, but in a different category. Her forays before art and jewelry and having a gallery were in unrelated fields. She was involved in a fitness center and was a real estate investor, but her passion has always been in art and jewelry. BABS stands for Beyond Art Before Sculpture. She opened a gallery which showcases artists she knew. They were doing sculpture, but she convinced them to do jewelry. They didn't know their creativity was also in this area until she gave them the space and encouragement to do it. We'll hear all about her art gallery today.   Barbara: Hello, Sharon. Thank you for having me again.   Sharon: I'm so glad that we connected. Why did you decide to locate in Milan?   Barbara: It's very normal. It's just that I live here. It's the easiest thing. Milan has a long tradition in artist jewelry. Actually, artist jewelry in Italy started in Rome right after World War II, when some of the sculptors were commissioned to do unique pieces in order to recreate an interest in our jewelry, which was not something necessary right after the war, when everything had to be reconstructed again. So, you had to make jewelry that was a little bit different.   Then, in the 60s, it moved to Milan. In Milan, there was GEM by Montebello, who has been the biggest and most famous editor of jewelry by artists in Italy. They worked with more than 50 artists and created more than 200 jewelry pieces. So, there is a tradition, but there had never been a gallery doing that. So, I was in Milan. Why not? Actually, I'm still the only gallery in Italy.   Sharon: In Italy?   Barbara: Yes.   Sharon: I'm thinking about Thereza Pedrosa. She gathers pieces she likes, not pieces that have been commissioned for the gallery.   Barbara: Yeah, this is a little bit different. We don't focus on contemporary; we focus on jewels made by artists, visual artists, painters, sculptors, photographers. We ask them to do a piece of jewelry. We also exhibit some historical pieces, but it's not our major business.   Sharon: I was wondering if you live in Milan. I don't know that much about Italy, but I've heard Milan is the fashion capital.   Barbara: It is. It's so busy.   Sharon: Did you have a reason to start there?   Barbara: It's the most motivational and vibrant city in Italy. It is very European, although in size, it's quite nice. It still has a local atmosphere although it's quite international. The other cities in Italy are more for tourists. This is one is more a business city, and it's more where you do things. It's the most business city we have, but it's nice.   Sharon: I've heard it's an up-and-coming city. It was industrial and now it's really changed.   Barbara: Yes, in the 70s, it used to be a little bit more industrial. Now, it's mainly services.   Sharon: Was that one reason you decided to open in Milan, besides the fact that you lived in Milan? Did you consider other places?   Barbara: No, honestly, I did not. I think it is quite a good location because a lot of the expertise, especially for goldsmiths, is in this area anyway. I would have had to work mostly from here. Plus, it is quite convenient if you do road shows or if you want to do exhibitions. It's very logistically easy. There are some cities in Italy which might be a little bit more artistic, like Florence or Venice or Rome, but I still think working in Milan would be the best place.   Sharon: Did you consider other artists you didn't know, or artists that were in other parts of Italy?   Barbara: Oh, yes. We do work with them. I started with just a few whom I knew. I had been buying their work because I am an art enthusiast. I did buy some pieces of artists I liked. That was just the beginning, but I'm still working and starting to get work from other artists, not only Italians, but also foreigners.    Sharon: Did you find it difficult to start because they didn't know who you were?    Barbara: Yes. I have to say yes, because at the beginning I was totally new and a very young gallery. It was the only gallery doing this in Italy, so it was quite strange to approach an artist and ask, “Excuse me, would you like to do this?” Second, it was because I don't come from the art world. I've not been in the system. My husband is not a collector. He's not a gallerist nor is my family. We've always been very enthusiastic about it, but we're not related to anyone and haven't worked with museums or galleries. So, connections were not that easy at the beginning.    I'm usually a little bit humble, but this time I have to say it because I've been having a lot of appreciation lately. I'm working a lot and trying to work well and consistently, so people are now approaching me, and once I approach them, they're willing to work with me. So, it's getting easier.    Sharon: What did you do during Covid, when nobody would talk to anybody?   Barbara: Well, we needed to work. We worked at trying to build up an archive. We were organizing, taking pictures and trying to exploit social media and what technology gave us. We were quite a young gallery because we opened in the autumn of 2018. After a year and a half, we were already closed for the pandemic, but that gave us some time to slow down a little bit. We had been doing exhibitions every two months, which was a lot. So, we had time to slow down and reorganize the archive, reorganize the website, reorganize the Instagram, and try to understand how all those types of media work, because I had never been using them. I didn't need them in my previous business. So, there was everything to learn.   Sharon: Is this what you focus on mainly, besides the gems? Have you given up the gems? Have you given up the real estate investing? Is this your main business?   Barbara: No, this is my main business. I gave up fitness. I'm still doing real estate and financial investments because that's a family company. I work for them, but that doesn't take too much time. I have to say that the gallery absorbs 90% of my working time.   Sharon: Wow! Do you have people who work for you in the gallery?   Barbara: Yes, I have a couple of assistants.   Sharon: How do you find new artists? Do they submit things to you?   Barbara: Sometimes they submit them. Sometimes I work with curators and consultants. I explore new artists and try to see what's new in this world, plus I go to classes. I'm doing a class with an art historian with a focus on contemporary artists. So, I see the artists I like or artists I might find interesting for what they have to say. I always get inspiration.    Sharon: Is that an official class, or is that something you do because you like to?   Barbara: No, that's just because I like to. At this time in my life, I'm doing things just because I like them. It's always been an interest, so I want to pursue it; I want to do it. I do study a lot of art because that's not my background. My background is in law and then taking classes for an MBA. I've been working in a totally different field, so there's always a need to learn more. Of course, I've grown up surrounded by art, but that's mostly ancient art. That helps you build a critical eye and makes you a little more curious about exploring things, but somehow you have to continue pursuing what you like. So, I do study.   Sharon: Do people send photos to you of things you've never heard of?   Barbara: Yes, artists do propose. There are not that many, I have to say. They propose themselves mostly if they are emerging artists. A lot of contemporary jewelers do promote themselves, but I do not work with them most of the time because that's not my business. That is a very nice type of art, but it's not what I'm focusing on. What I do in the gallery is work with regional artists that usually do not do jewelry. I ask them to create something with their poetic position, with their aesthetic eye, with their meaning, and with the message they usually try to correlate with their art. I propose that they exploit a new medium to convey the same type of art, which is a small sculpture.   Sharon: Do they understand what you're after?   Barbara: Yes.    Sharon: And if you're low on rings or bracelets, let's say, and you need more, you don't tell them that.   Barbara: No, usually not. I ask them to do something and leave them free—at least at the beginning, I let them feel free to explore, to draw, to create a prototype in paper, in concrete, in clay, in wax, in whatever they like. That's a starting point. From that starting point, we start creating things. Maybe we say, “O.K., this one doesn't work as a bracelet, but maybe we can transform it into a necklace or into a pendant,” or “This doesn't work as a ring, but it could be an earring or vice versa.” It depends.    Sharon: Are they open to your changes, if you have changes?   Barbara: Sometimes yes, sometimes no. If they do not want to change the work, but the work is not wearable, sometimes we discharge that project. We do another thing.   Sharon: If it's not wearable?   Barbara: Yeah, because there are some limitations. If you want to create a ring in gold and in a particular size, but it doesn't fit because it would be way too heavy, then I cannot make it. If you want to make an earring and it weighs too much so that your ear falls down, there is no way we can do an earring. We can do something else, or we can change the material and try to find something lighter. Sometimes they do accept it; sometimes we just don't do that piece.    Sharon: You mentioned that you like the fact that you can show your art and jewelry in different places where you don't usually see it, like a gym.    Barbara: Since I've always been passionate about art, I've always thought people are quite shy about walking into a regular art gallery, especially in Italy. You have some sort of fear. “What if they ask me to buy it and I cannot afford it? What if I don't understand and I ask the wrong question?” Especially with contemporary art, it's always harder to approach it.    I had a chain of very high-end fitness centers. Very nice people were coming to the gym, and they were coming quite often. I had a lot of walls, so I said, “Why not exhibit some young artists or some contemporary artists?” I did, and it was appreciated by other people. They did approach the art and they liked it. Twice a year, I was doing a bigger exhibition with sculptures. For the rest, I was just exhibiting flatworks. It was quite a successful experience for everyone. We had nicer spaces for the clients that were seeing something new, and the artists sold pieces quite a few times. It was a win/win situation.   Sharon: Wow! We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out.

If we told you how many jewels of knowledge Los Angeles based Gallerist Carlye Packer gives us in this episode, you would accuse us of exaggerating, but we aren't! She goes over her incredible career, from unsuspecting pop-ups and installations, to general advising, to finally setting up the eponymous space! We get into what her role is as a gallerist to her artists, how she finds artists, what she looks for in a practice and more! LOCATE YOUR HOSTS UPON THE INTERNET Carlye Packer - carlyepacker.xyz/, @carlyepacker Alexis Hyde - @hydeordie, alexishyde.com, Art/Practice: Creative prompts to develop your art practice Dr. Erika Wong; - @topractisepractice, www.topractisepractice.com  Email us: hydeorpractise@gmail.com Music by Alexander Rossi: AlexanderRossi.me

LaiSun Keane is a contemporary art gallery located at Sowa Art District in Boston with a focus on providing a platform for non-mainstream voices. The gallery was born in the Covid19 pandemic so it has a strong focus on producing online content and new ways of art presentation and art sales through price transparency. Our stable of artists consists of both local and International artists, and we mount eight to nine virtual and in-person exhibitions annually.   Today, LaiSun joins me to chat about opening a gallery during the pandemic and how she was able to use technology and social media to grow the gallery's presence.    Links: www.laisunkeane.com   @laisun_keane     I Like Your Work Links: This summer is the perfect time to work on moving your art career forward! Sign up for the I Like Your Work Membership this month with the coupon below to save! See you in The Works! Use code SUMMERYEAR23 for $50 off The Works Yearly Membership Use code SUMMER23 for $10 off your first month of The Works Monthly Membership https://theworksmembership.com/    Radiate and Repeat Exhibition  Submit Your Work Check out our Catalogs! Exhibitions Studio Visit Artist Interviews I Like Your Work Podcast Say “hi” on Instagram

Steven CW Taylor is a Software Engineer, Gallerist, and Contemporary Fine Art Photographer specializing in the documentation and archiving of Black Life during this time.  His love for photography was birthed by his background in engineering.  "Learning the machine called a camera, allowed me to be confident in the Art I am creating." Born and raised in the East Germantown section of Philadelphia, PA, this non-formally trained photographer makes it his business to provide his community with access to Fine Art “without the need to travel to more affluent spaces”.  Having traveled to 18 countries, and 4 US National Parks, it is important for Steven to share his photography intentionally with his community. He is the founding artist and curator of Ubuntu Fine Art -Philadelphia's first and only Fine Art Photography Gallery of a single artist.  As “The Time Thief” I steal moments of time to preserve the feeling and emotion of the instance in which the picture was taken.  “I want the photographs I've taken over my lifetime to be the lens that future generations view the past.  Similar the Gordon Parks before me, my legacy will transcend generations!” “Be it an animal, person, or place, the process is the same…I don't take pictures, I feel the emotions of space and steal that time.”Creators & Guests Rob Lee - Host Steven CW Taylor - Guest National Photo MonthThis episode of The Truth In This Art is part of National Photo Month, which is celebrated every May by professional and amateur photographers alike, as well as selfie enthusiasts. During this month-long celebration, people dedicate themselves to learning about the rich history of photography, honing their skills and techniques, and researching which cameras to invest in.To support the The Truth In This Art: Buy Me Ko-fiUse the hashtag #thetruthinthisartFollow The Truth in This Art on InstagramLeave a review on Apple Podcasts, Spotify or wherever you get your podcasts. ★ Support this podcast ★

Jenna Ferrey is a gallerist who founded Trotter&Sholer Gallery in 2020. She holds a PhD focused on multiculturalism and religious diversity from the University of Calgary and a Masters Degree in Art Business from Sotheby's Institute of Art. Ferrey's professional experience spans the energy industry, non-profit work with the United Nations in India, and fine art galleries in Manhattan. Ferrey is the proud parent to a delightful Norfolk Terrier named Birdie, a little dog who guards the gallery's treasures.   Jenna joins me on the podcast to talk about her experience as a gallerist, how her diverse background has influenced her role in the arts and what's new at the gallery.     Links: trotterandsholer.com     @trotterandsholer   Artist Shoutout:   Jessica Frances Grégoire Lancaster   Derek Weisberg   Azzah Sultan   Ezra Cohen           I Like Your Work Links: Creativity Matters Coaching Radiate and Repeat Exhibition  Join The Works Membership! https://theworksmembership.com/ Submit Your Work Check out our Catalogs! Exhibitions Studio Visit Artist Interviews I Like Your Work Podcast Say “hi” on Instagram

In this episode the guys take a trip over to Patrick Parrish Gallery to meet with Gallerist, and vintage watch enthusiast Patrick Parrish and talk his love for vintage, art, design, and his secret watch shop tucked away in this lower Manhattan art gallery. Tune into another episode of Wrist Check Pod and enjoy!

The Moneywise Guys Wednesday, April 5th BE MONEYWISE. Moneywise Wealth Management I "The Moneywise Guys" podcast call: 661-847-1000 text in anytime: 661-396-1000 website: www.MoneywiseGuys.com facebook: Moneywise_Wealth_Management linkedin: MoneywiseWealthManagement Guest: Rachel Wainwright, Owner/Curator of the RAM Art Gallery  website: www.galleryram.com/  

Tune in as Marina Granger interviews Gallerist Ki Smith on the history of his gallery, how he comes to work with artists, and also …sports? Learn more about Ki Smith Gallery: www.KiSmithGallery.com Apply here to their Open Call: KiSmithGallery.com/Apply   Learn More about The Artist Academy: www.TheArtistAdvisory.com/The-Artist-Academy12 Use code EARLY by March 10 @ Midnight PST to get 20% Off If you're one of the first 5 people to register after hearing this on the podcast, you get a FREE 45 minute one-to-one session with Marina. Just respond to the registration email telling us you heard this on the podcast. Get Closed Captions to this episode on Youtube: https://youtu.be/sKvpdA3z2bk

Sally Morgan Lehman is the founder and director of Morgan Lehman Gallery, which has been based in Chelsea since 2005. Ms. Lehman has a diverse background in the visual arts, which includes museum education, exhibitions design, state and citywide public art placement, and private and corporate collections management. Ms. Lehman is an active member of Art Table, POWArts and NADA, and has served as a visiting critic and juror at Wave Hill, Guttenberg Arts, the Wassaic Project and the Hunter MFA program among many others. She has been invited to participate in panel discussions about the current state of the art world, and is a regular guest presenter to art and art history students at FIT, the New School and Pratt. MORGAN LEHMAN is a contemporary art gallery representing a small group of emerging and mid-career American artists working across media. Founded by Sally Morgan and Jay Lehman, the gallery opened in 2002, and has continuously provided a platform for original and press worthy exhibitions. Gallery artists have consistently received coverage in the New York Times, the Wall Street Journal, The New Yorker, Art in America, Hyperallergic, and The Brooklyn Rail among others. In addition to its represented artists, the gallery collaborates directly on exhibitions and public projects with many other artists, and offers extensive art advisory services to curators, art consultants, designers and corporate and private collectors. Links: www.morganlehmangallery.com   Instagram: @morganlehmangallery     I Like Your Work Links: https://www.ilikeyourworkpodcast.com/retreat Notions of Beauty Exhibition Join The Works Membership waitlist! https://theworksmembership.com/ Submit Your Work Check out our Catalogs! Exhibitions Studio Visit Artist Interviews I Like Your Work Podcast Say “hi” on Instagram  

Today on the podcast I sync up with Katrina Moldova, Gallerist, Entrepreneur and Owner of Katrina Moldova Boutique Gallery in Boca Raton, where she showcases many talented artists across fine art and painting, photography, mixed media and more.   Thanks to one of her abstract expressionist fine artists, my mother, Karen Salup, whose work is in her gallery (Karen Salup on  Episode #60) I had the opportunity to meet her and get the inside scoop on where the inspiration for starting a gallery began,  the types of artists she looks to showcase,  how she markets the artists, and of course the exercise that fuels her for success.  PS- if you are looking for amazing art, head over to her website or visit her in Boca at 1717 Avenida Del Sol.   Shout out to Tom Grill, videographer for this podcast convo and also an incredibly talented photographer who's art is also featured in the Katrina Moldova Boutique Gallery. CONNECT Katrina Moldova Boutique Gallery on Instagram Marni On The Move Instagram, Facebook, TikTok, LinkedIn, or YouTube Marni Salup on Instagram and Spotify OFFERS AG1 by Athletic Greens: Get 5 free travel packs and a year's supply of vitamin D with your first purchase at AthleticGreens.com/MarniOnTheMove SUPPORT THE PODCAST Leave us a review on Apple. It's easy, scroll through the episode list on your podcast app, click on five stars, click on leave a review, and share what you love about the conversations you're listening to. Tell your friends to what you love on social. Screenshot or share directly from our stories the episode you're listening to, tag us and the guests, and use our new Marni on the Move Giphy! SUBSCRIBE TO OUR NEWSLETTER Sign up for our newsletter, The Download, for Marni on the Move updates, exclusive offers, invites to events, and exciting news!

Episode 251: Our Favorite Board Game Artists Introduction:  News:  Holy Grail Games shutting down (Museum, Encyclopedia, Rallyman, Rising 5, Titan) Bigfoot Board Game - 6 days, $60 TRICKTAKERs KINGs - 11 days, $20 Games played:  Skate Summer Bonsai  Our Favorite Board Game Artists:  Jason 3 - The Mico: Endless Winter, North Sea, West Kingdom, South Tigris, Valeria games, Spell Smashers Katie 3 - Ryan Laukat: Artifacts, Inc., Above and Below, Near and Far, Sleeping Gods, Islebound, Megaland, Deep Vents Jason 2 - Andrew Bosley: Everdell, Tapestry, Merchants of the Dark Road, Unconscious Mind, Santa's Workshop (second edition), Tungaru Katie 2 - Ian O'Toole: Carnegie, Weather Machine, Rococo, Lisboa, Clinic, Scarlet Pimpernel, The Gallerist, Fool's Gold Jason 1 - Weberson Santiago: The Bloody Inn, Whirling Witchcraft, Fuji, Coup, Quest, Sail Katie 1 - Vincent Dutrait:  Atlantis Rising, Broom Service, Elysium, Jaipur, Madame Ching, Museum, The One Hundred Torii, Rising 5, Unconscious Mind, Lewis and Clark Closing: Jason: Dennis Lohausen, Manny Trembley, Beth Sobel, Piero  Katie: Jeremie Fluery (Yamatai), Miguel Coimbra (Wonderbook, Sea of Clouds, Small World) , Luan Huynh (Canvas), Jade Mosch (Kanagawa)

This week I'm sharing the interview I did with Garrett Klein of Massey Klein Gallery. I got a chance to meet with Garrett at the gallery when I was visiting New York City where we chatted about his experience with art and starting the gallery. In this episode, Garrett also shares about the important aspect of partnership between artists, gallerists and collectors.  Massey Klein is a contemporary art gallery located in the Lower East Side of NYC. The gallery supports both local and international mid-career and emerging artists. Husband and wife team, Garrett Klein and Ryan Massey, believe in the collaborative partnership between artist, gallery, and collector. The gallery functions as a meeting place where collectors and the general public can experience carefully curated exhibitions and foster meaningful relationships with art. Links: www.masseyklein.com   Instagram: @MasseyKleinGallery     I Like Your Work Links: https://www.ilikeyourworkpodcast.com/retreat Notions of Beauty Exhibition Join The Works Membership waitlist! https://theworksmembership.com/ Submit Your Work Check out our Catalogs! Exhibitions Studio Visit Artist Interviews I Like Your Work Podcast Say “hi” on Instagram

It's a new year, but the list must go on. The list, that is, of our top fifty greatest games of all time! It's part three, which everyone knows is the dark middle chapter of every pentalogy, so expect some swoops, some turns, some revelations. Brace yourself for another thirty incredible games that we can't wait to tell you all about. 02:03 - Mark #30 - Genoa 03:17 - Kellen #30 - Splendor 04:50 - Neilan #30 - Azul 06:06 - Mark #29 - Modern Art 07:44 - Kellen #29 - Taj Mahal 09:06 - Neilan #29 - Gaia Project 10:43 - Mark #28 - Blue Lagoon 12:30 - Kellen #28 - Boast or Nothing 14:33 - Neilan #28 - Kemet 17:06 - Mark #27 - Pictomania 18:31 - Kellen #27 - Krass Kariert/Dealt! 19:41 - Neilan #27 - Werewords 21:31 - Mark #26 - The Gallerist 22:34 - Kellen #26 - Hansa Teutonica 24:33 - Neilan #26 - Patchwork 26:29 - Mark #25 - Glen More II: Chronicles 28:16 - Kellen #25 - Startups 29:53 - Neilan #25 - Codenames 31:21 - Mark #24 - Lords of Vegas 32:49 - Kellen #24 - Keyflower 34:36 - Neilan #24 - Ra 36:37 - Mark #23 - Marvel Champions: The Card Game 38:39 - Kellen #23 - Fuji Flush 40:32 - Neilan #23 - The Search for Planet X 42:20 - Mark #22 - Lancaster 44:59 - Kellen #22 - Babylonia 46:47 - Neilan #22 - The Quest for El Dorado 49:18 - Mark #21 - El Grande 51:25 - Kellen #21 - Rumble Nation 53:14 - Neilan #21 - Decrypto Check out our wiki at: https://boardgamebarrage.com/wiki Join the discussion at: https://boardgamebarrage.com/discord Join our Facebook group at: https://boardgamebarrage.com/facebook Get a Board Game Barrage T-shirt at: https://boardgamebarrage.com/store

In this episode, Alicia Puig interviews fine artist JJ Galloway. Galloway is an internationally collected artist known for whimsical paintings and sculptures of people, animals and food or any combination of the three! Carefully executed in a traditional style using oils, watercolors or mixed media. Her art can be found in both public and private collections worldwide. After years of selling her own work out of her studio and at pop-up events, she eventually launched JJ Galloway Studios in order to be able to showcase other artists' work at fairs and events both across the US and abroad. https://jjgalloway.com/ www.createmagazine.com