Podcasts about georgia o keeffe museum

Jaune Quick-to-See Smith calls herself a cultural arts worker. She uses humor and satire to examine myths, stereotypes and the paradox of American Indian life in contrast to the consumerism of American society. Her work is philosophically centered by her strong traditional beliefs and political activism. Smith is internationally known as an artist, curator, lecturer, printmaker and free-lance professor as well as a mentor for she believes that Giving Back is a life philosophy. She was born at St. Ignatius Mission, raised by her father who was an illiterate horse trader, she had her social security card at age eight when she started work as a field hand year round, she worked as a waitress and in the canneries through high school. Smith earned an Art Ed degree at Framingham State, MA (now University) and a Master’s in art at the University of NM. Before completing her degree, Smith began exhibiting in NY at the Kornblee Gallery and organizing Native exhibitions. Smith organized and curated over thirty Native exhibitions in 40 plus years. Smith has given over 200 lectures at museums and universities internationally and has shown in over 125 solo exhibits and over 650 group exhibits. Her work is in collections such as Victoria and Albert Museum, London; the Brooklyn Museum; the Museum of Modern Art, Quito Ecuador; the Whitney Museum NY; the Walker, Berlin Museum of Ethnology, Germany; University of Regina, Canada; the Museum of Modern Art in NY. Smith holds 5 honorary degrees and numerous awards such as: 1987 Academy of Art and Letters, Purchase Award, NY;1995 Painting Award, Fourth International Bienal, Cuenca, Ecuador S.A.; 1996 Joan Mitchell Foundation Award; 1997 Women’s Caucus for Art, Lifetime Achievement; 2005 New Mexico Governor’s Award; 2011 Inducted into the National Academy of Design; 2012 Georgia O’Keeffe Museum, Living Artist of Distinction; Honorary BA Degree, Salish Kootenai College, MT; 2018 Montana Governor’s Award; 2018 Lifetime Achievement Award in Printmaking, Southern Graphics Council International; 2019 Murray Reich Award, NY; 2020 United States Artists Fellowship. 2021 Brazilian Biennial.

Dr. Caroline Silby shares how “strategies to align sports performance with capability” on PHIT for a Queen podcast: The Sports Scene should be used to model and develop confident, healthy adults. Align sports performance with capability. We have to identify the qualities that make you successful but also identify the qualities that need to have balance. Works with the American Girl company on projects empowering young girls through books You can find Dr. Silby and her books at: https://www.drsilby.com/ https://www.drsilby.com/sports-fitness/   So you know she is legit: Caroline Silby, Ph.D. holds a Doctorate and Master Degree of Sports Psychology from the University of Virginia. She is a nationally recognized expert on the development of elite athletes, author of, Games Girls Play: Understanding and Guiding Young Female Athletes (St. Martin’s Press, 2000, 2001), contributing author to, Sports Secrets and Spirit Stuff (American Girl Company, 2006) and The Female Athlete (Boston Children’s Hospital Harvard & Springer Publishing, May 2016) and just released A Smart Girls Guide: Sports and Fitness: How to Use Your Body and Mind To Play and Feel Your Best (American Girl Company, February, 2018). Dr. Silby spent twelve years as adjunct faculty at American University and continues to serve as a consultant to their sports teams. She has worked on an individual basis with two Olympic Gold Medalists, over 20 Olympians, two Paralympian Gold Medalists, four World Champions, fifteen National Champions, dozens of professional dancers and hundreds of National Team members and Division I student-athletes, teams and their coaches.            As an elite athlete, Dr. Silby was a member of the National Figure Skating Team. She later served on the U.S. Figure Skating Association Board of Directors, Athlete Advisory Council and Sports Medicine Committee. Dr. Silby was appointed to the U.S. Olympic Committee Athlete Advisory Council, Collegiate Sports Council and Finance Committee.   Currently, she serves on the Sports Medicine Committees for the United States Figure Skating Association as well as the Professional Skater’s Association and is a member of the Medical Advisory Board for American Ballet Theatre. Formerly, she served as President of the Board of the Southwest Women’s Law Center and on the Education Committee for the Georgia O’Keeffe Museum. Dr. Silby has served as a spokesperson and consultant to the American Girl Company and is completing her second book with the company. She is a speaker for the US Department of State Sports United program. She has been a contributing writer to Sports Illustrated, Pointe Magazine, CheerProfessional and is an expert advisor to Faith Popcorn’s BRAINRESERVE, Center for Sports Parenting and Title IX Sports. In her role as a featured speaker for SportsUnited, a US Department of State program, Dr. Silby has worked with basketball, tennis and soccer athletes and coaches from Morocco, Swaziland, Australia, Iraq, Saudi Arabia and Colombia. Dr. Silby is also a curriculum creator for Winning Play$, a financial education program for high school students, focusing on the psychological, emotional, and behavioral aspects of money. The program won the U.S. Department of Education’s Excellence in Economic Education Award in 2010. She also serves on the Advisory Board for FabLab, a Fox television series, aimed at encouraging girls to become engaged in the fields of science, technology, engineering, and mathematics. Dr. Silby is a sought-after expert and has appeared on numerous radio and television programs including the Oprah Winfrey Show, CNN, Tru-Television, ABC-Wide World of Sports, Oxygen Television, NPR and the Mitch Albom Show. She resides in Annapolis, Maryland where she has an active national practice.  

In this episode, Natalia, Niki, and Neil discuss the history of high school yearbooks, how the Trump administration is defining immigrants as “public charges,” and the awful misogyny of Barstool Sports. Support Past Present on Patreon: https://www.patreon.com/pastpresentpodcast Here are some links and references mentioned during this week’s show:  High school yearbooks have been in the spotlight during the investigation of Brett Kavanaugh. Niki cited this Atlantic article that historicizes yearbooks and Natalia recommended historian Paula Fass’ book Outside In: Minorities and the Transformation of American Education for its use of yearbooks as historical sources. President Trump came to power promising to tighten immigration legislation, and a recent proposal promises to deny citizenship to those who make use of public services. Natalia recommended this Atlantic interview with historian Hidetaka Hirota about how today’s policies are rooted in 19th-century policies that targeted the Irish. If sports has always been a “boys’ club,” Barstool Sports has taken this sexism to new levels. Natalia recommended this Daily Beast article on the controversial website. In our regular closing feature, What’s Making History: Natalia shared her experience visiting the Storm King Art Center in Cornwall, NY. Neil commented on touring the Georgia O’Keeffe Museum in Abiquiú, New Mexico. Niki discussed historian Sarah Milov’s Washington Post piece, “Like the Tobacco Industry, E-Cigarette Manufacturers Are Targeting Children.”

Love of, love in, and love as art - the colorful love story of Georgia O’Keeffe and Alfred Stieglitz. (*) Sharon and Scott Jacobs. Lovin SoDak’s and Wayne Porter’s take on sculpture gardens - and that’s no bull. And, our Tales from The Heart of America original narrative reveals that like art, love is in the eye of the holder in a story called Love is Art. CREDITS: http://lovin-america.blubrry.net/the-art-of-love-046 All this and more on this episode of Lovin America. (Like the podcast? For as little as $1 a month you can Become a Patron of Love in America and help keep the lovin’ comin’! https://www.patreon.com/lovinamerica)  Links: Lead in song: Lovity Love by Something Underground; Wayne Porter, Porter Sculpture Park, Montrose, SD (http://portersculpturepark.com/);  Georgia O’Keeffe & Alfred Stieglitz:  From DesignSponge.com - Wild Love: Alfred Stieglitz & Georgia O’Keeffe, by Mary Kathryn Paynter (http://www.designsponge.com/2012/09/wild-love-alfred-stieglitz-georgia-okeeffe.html);  From Harper’s Bazaar - Georgia O'Keeffe's Younger Man (https://www.harpersbazaar.com/culture/features/a14033/georgia-okeeffe-0316/);  From Mental Floss - 15 Things You Should Know About Georgia O’Keeffe, by Kristy Punchko (http://mentalfloss.com/article/63175/15-things-you-should-know-about-georgia-okeeffe);  Georgia O’Keeffe Museum (https://www.okeeffemuseum.org/about-georgia-okeeffe/timeline/);  From Wikipedia:  Georgia O’Keeffe (https://en.wikipedia.org/wiki/Georgia_O'Keeffe);  Alfred Stieglitz (https://en.wikipedia.org/wiki/Alfred_Stieglitz);  From Amazon.com - My Faraway One: Selected Letters of Georgia O'Keeffe and Alfred Stieglitz: Volume One, 1915-1933, by Sarah Greenough (https://goo.gl/txR1Yo);   Lovin America website: https://www.LovinAmerica.us;  Lovin America YouTube Channel: https://tinyurl.com/YouTube-LovinAmerica 

In “Georgia O’Keeffe: At Home in the Wonderful Nothing,” a text accompanying the exhibition catalogue Georgia O’Keeffe: Watercolors 1916-1918 (Radius Books and the Georgia O’Keeffe Museum, 2016), Amy Von Lintel investigates a lesser studied period in O’Keeffe’s life and work: the artist’s time in West Texas. In 1916, at the age of twenty-eight, O’Keeffe moved to Canyon, Texas to accept a position as founding faculty of the West Texas State Normal College. O’Keeffe had first journeyed to West Texas in 1912 to teach in the newly founded Amarillo City Public School District. During her time in Canyon, she produced 51 watercolors (46 of which are reproduced in the book), characterized by a level of experimentation that foreshadows her later work. The dry, flat lands of the region, and the stark horizons with their dramatic shadows and sunsets, appealed to O’Keeffe. From 1916-1918, she used watercolor to render landscapes, abstract images, and nude studies of her own body while learning to live in an American West so different from other parts of the United States. Some of the watercolors were shown by Alfred Stieglitz at the 291 Gallery in New York City but O’Keeffe kept many of them in her private collection for the duration of her life. Von Lintel’s discussion of O’Keeffe is framed by the author’s study of letters and records from the O’Keeffe archive at Yale University’s Beinecke Library made available in 1986, as well as correspondence between O’Keeffe and Stieglitz released in 2006. O’Keeffe’s observations are carefully documented throughout the text and offer insight into her personality and aesthetic ideas. Von Lintel also introduces readers to O’Keeffe as a teacher, another part of the artist’s identity that took form in the influential Texas years. Kirstin L. Ellsworth has a Ph.D. in the History of Art from Indiana University (2005) and currently, is an Assistant Professor of Art History at California State University Dominguez Hills. Email: kellsworth@csudh.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

In “Georgia O’Keeffe: At Home in the Wonderful Nothing,” a text accompanying the exhibition catalogue Georgia O’Keeffe: Watercolors 1916-1918 (Radius Books and the Georgia O’Keeffe Museum, 2016), Amy Von Lintel investigates a lesser studied period in O’Keeffe’s life and work: the artist’s time in West Texas. In 1916, at the age of twenty-eight, O’Keeffe moved to Canyon, Texas to accept a position as founding faculty of the West Texas State Normal College. O’Keeffe had first journeyed to West Texas in 1912 to teach in the newly founded Amarillo City Public School District. During her time in Canyon, she produced 51 watercolors (46 of which are reproduced in the book), characterized by a level of experimentation that foreshadows her later work. The dry, flat lands of the region, and the stark horizons with their dramatic shadows and sunsets, appealed to O’Keeffe. From 1916-1918, she used watercolor to render landscapes, abstract images, and nude studies of her own body while learning to live in an American West so different from other parts of the United States. Some of the watercolors were shown by Alfred Stieglitz at the 291 Gallery in New York City but O’Keeffe kept many of them in her private collection for the duration of her life. Von Lintel’s discussion of O’Keeffe is framed by the author’s study of letters and records from the O’Keeffe archive at Yale University’s Beinecke Library made available in 1986, as well as correspondence between O’Keeffe and Stieglitz released in 2006. O’Keeffe’s observations are carefully documented throughout the text and offer insight into her personality and aesthetic ideas. Von Lintel also introduces readers to O’Keeffe as a teacher, another part of the artist’s identity that took form in the influential Texas years. Kirstin L. Ellsworth has a Ph.D. in the History of Art from Indiana University (2005) and currently, is an Assistant Professor of Art History at California State University Dominguez Hills. Email: kellsworth@csudh.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

In “Georgia O’Keeffe: At Home in the Wonderful Nothing,” a text accompanying the exhibition catalogue Georgia O’Keeffe: Watercolors 1916-1918 (Radius Books and the Georgia O’Keeffe Museum, 2016), Amy Von Lintel investigates a lesser studied period in O’Keeffe’s life and work: the artist’s time in West Texas. In 1916, at the age of twenty-eight, O’Keeffe moved to Canyon, Texas to accept a position as founding faculty of the West Texas State Normal College. O’Keeffe had first journeyed to West Texas in 1912 to teach in the newly founded Amarillo City Public School District. During her time in Canyon, she produced 51 watercolors (46 of which are reproduced in the book), characterized by a level of experimentation that foreshadows her later work. The dry, flat lands of the region, and the stark horizons with their dramatic shadows and sunsets, appealed to O’Keeffe. From 1916-1918, she used watercolor to render landscapes, abstract images, and nude studies of her own body while learning to live in an American West so different from other parts of the United States. Some of the watercolors were shown by Alfred Stieglitz at the 291 Gallery in New York City but O’Keeffe kept many of them in her private collection for the duration of her life. Von Lintel’s discussion of O’Keeffe is framed by the author’s study of letters and records from the O’Keeffe archive at Yale University’s Beinecke Library made available in 1986, as well as correspondence between O’Keeffe and Stieglitz released in 2006. O’Keeffe’s observations are carefully documented throughout the text and offer insight into her personality and aesthetic ideas. Von Lintel also introduces readers to O’Keeffe as a teacher, another part of the artist’s identity that took form in the influential Texas years. Kirstin L. Ellsworth has a Ph.D. in the History of Art from Indiana University (2005) and currently, is an Assistant Professor of Art History at California State University Dominguez Hills. Email: kellsworth@csudh.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

In “Georgia O’Keeffe: At Home in the Wonderful Nothing,” a text accompanying the exhibition catalogue Georgia O’Keeffe: Watercolors 1916-1918 (Radius Books and the Georgia O’Keeffe Museum, 2016), Amy Von Lintel investigates a lesser studied period in O’Keeffe’s life and work: the artist’s time in West Texas. In 1916, at the age of twenty-eight, O’Keeffe moved to Canyon, Texas to accept a position as founding faculty of the West Texas State Normal College. O’Keeffe had first journeyed to West Texas in 1912 to teach in the newly founded Amarillo City Public School District. During her time in Canyon, she produced 51 watercolors (46 of which are reproduced in the book), characterized by a level of experimentation that foreshadows her later work. The dry, flat lands of the region, and the stark horizons with their dramatic shadows and sunsets, appealed to O’Keeffe. From 1916-1918, she used watercolor to render landscapes, abstract images, and nude studies of her own body while learning to live in an American West so different from other parts of the United States. Some of the watercolors were shown by Alfred Stieglitz at the 291 Gallery in New York City but O’Keeffe kept many of them in her private collection for the duration of her life. Von Lintel’s discussion of O’Keeffe is framed by the author’s study of letters and records from the O’Keeffe archive at Yale University’s Beinecke Library made available in 1986, as well as correspondence between O’Keeffe and Stieglitz released in 2006. O’Keeffe’s observations are carefully documented throughout the text and offer insight into her personality and aesthetic ideas. Von Lintel also introduces readers to O’Keeffe as a teacher, another part of the artist’s identity that took form in the influential Texas years. Kirstin L. Ellsworth has a Ph.D. in the History of Art from Indiana University (2005) and currently, is an Assistant Professor of Art History at California State University Dominguez Hills. Email: kellsworth@csudh.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

On August 27 this year, the Smithsonian’s Cooper-Hewitt, National Design Museum in NYC announced that it had acquired Planetary, an iPad app, which was also the Museum’s first acquisition of code. But how can such an acquisition be conserved for the future? What does it mean to acquire these kinds of highly-networked, ‘living’ objects? As Seb Chan and Aaron Cope of the Cooper-Hewitt wrote in their blog post on the acquisition: "Museums like ours are used to collecting exemplary achievements made manifest in physical form; or at least things whose decay we believe we can combat and slow. To that end we employ highly trained conservators who have learned their craft often over decades of training, to preserve what would often be forgotten and more quickly turn to dust. But preserving large, complex and interdependent systems whose component pieces are often simply flirting with each other rather than holding hands is uncharted territory. Trying to preserve large, complex and interdependent systems whose only manifestation is conceptual – interaction design say or service design – is harder still." In response to these questions, the Cooper-Hewitt made the decision to open-source the source code for Planetary, uploading it to GitHub. In this episode, the Punks dig into some of the questions that these kinds of acquisitions and conservation processes could mean for the museum, and for how we think about objects in general. We ask how digital technologies are changing the practice of conservation? In this episode, the Punks dig into this question with the Cooper-Hewitt’s Seb Chan (Director of Digital & Emerging Media) and Aaron Cope (Senior Engineer), and Dale Kronkright (Head of Conservation at the Georgia O’Keeffe Museum). Fair warning: it’s a long episode, but a super interesting one.

Can virtual connections and digital media yield tangible benefits for heritage resources? Dale Kronkright says “yes.” And, that’s based on his experience as head of conservation at the Georgia O’Keeffe Museum in Santa Fe New Mexico. In this interview, he’ll talk about the Georgia O’Keeffe Imaging Project. The project field-tested three technologies in “Computational Imaging” and brought its audiences along for the ride with real-time updates on the social web. Their approach was profoundly effective, without being too complex from the production standpoint. There’s a takeaway here for most any heritage project.