Podcasts about Getty Foundation

Being a Black architect in the white-male-dominated 20th century was tough.  You were paid less, worked harder, and rarely got any credit.  That is, if you could get hired at all. For example, by 1950 there were only two Black architects registered in North Carolina, both male. By 1980 the number was only 65 out of 1909. Even by 1993, Black architects made up only 7.5% nationally.  Today we'll hear from Charles McAfee, considered by many to be the greatest living African-American architect. The National Trust for Historic Preservation, supported by the Getty Foundation in Los Angeles, is working to share and elevate the achievements of African-American architects, both men and women.  We'll talk with the director that program, Brent Leggs.  Later on, great jazz with Jaimee Paul.

U ovoj epizodi serijala o kulturnom aktivizmu gošća je direktorica Historijskog muzeja BiH, Elma Hašimbegović. Historijski muzej BiH jedna je od 7 nacionalnih kulturnih institucija koja je nažalost, nakon 1995. godine, slučajnim ili namjernim izostavljanjem iz državnog budžeta unutar Daytonskog sporazuma, prepušten sam sebi na brigu o kulturnom blagu koje je naslijedio od nekadašnjeg Muzeja revolucije. Nastao je 1945. godine na temelju antifašističkog narativa iz II svjetskog rata i NOB u Jugoslaviji na osnovu kojeg se gradilo tadašnje jugoslovensko socijalističko društvo. Zgrada Historijskog muzej je jedan od najboljih primjera socijalističke arhitekture moderne iz 20. vijeka i kao takvu ju je Getty Foundation iz NY 2018. svrstao među 10 najvažnijih objekata moderne u svijetu. Historijski muzej BiH baštini sjajnu tradiciju antifašizma na prostorima bivše Jugoslavije i BiH i čuvar je sjajnog kulturnog nasljeđa naroda s ovih prostora. Neki od najznačajnijih umjetničkih artefakata koje čuva u svojim kolekcijama su djela Voje Dimitrijevića, Antuna Augustinčića, Michelangela Pistoleta, Nandora Glida, Mladena Srbinovića i drugih. Na čelu Historijskog muzeja Elma je od 2012. godine i u posljednjih 12 godina sa svojim vrijednim timom suradnika bori se za opstanak Muzeja koji u financijskom budžetu države BiH nije prepoznat kao važna kulturna institucija od nacionalnog značaja. U ovoj epizodi ćete saznati sve o problemima s kojima se suočavaju, o nedostaku centralnog grijanja u zgradi Muzeja tokom zime do svih pozitivnih priča koje su proizveli svih ovih godina. Sve informacije o Historijskom muzeju naći ćete na https://muzej.ba/YT link je u opisu profila.Produkcija: Kolektiv znanjaAudio: Nino ŠkiljićMuzika: Alan OmerovićDesign: Effect AgencyJednokratne Pay Pal donacije: https://www.paypal.me/KolektivZnanjaPatreon donacije: https://patreon.com/Kolektivznanja?utm_medium=clipboard_copy&utm_source=copyLink&utm_campaign=creatorshare_fan&utm_content=join_link Pratite nas na društvenim mrežama: FB: https://www.facebook.com/kolektivznanja IG: https://https://www.instagram.com/kolektiv_znanja/X : https://twitter.com/AnisaSerakAudio platforme:Podcast rs, Apple podcast, Spotify,Deezer#kolektivznanjapodcast #kulturniaktivizam#HistorijskimuzejBiH #elmahašimbegović

Back in the 1980's, architect Richard Meier got a commission for a series of buildings in Los Angeles.  The Getty Foundation, sourced from the prestigious family of oil fame, wanted a huge new complex on land they owned off the 405.  This would turn out to be one of the largest private commissions in the world at the time, costing about 1.3 billion by the time it opened in the 1990's.  Of course, the neighbors fought it, as neighbors do with just about anything Modernist, and now it's a source of pride for all of Los Angeles.  If you're into architecture, art, history, or research, the Getty is a must-see Modernist complex, all-white, of course, that's a Richard Meier thing.  Admission is free, and it's an astonishing accomplishment and gift to the world, especially the gardens.  On the show, we've got Chandler McCoy, the Getty's Senior Project Specialist with Conserving Modern Architecture Initiative.  Later we'll talk AI with Michael Gilbride and how it's affecting architecture and design.

In this episode, Eric sits down with Executive Director of the nonprofit Museum of African American Art in Los Angeles; Keasha Dumas Heath. They discuss her passion for storytelling, affinity for poetry and the interconnectivity of the arts. The history and legacy of the museum, including the founder Dr. Samella Lewis… the role that MAAA has played in the community as a cultural institution and sharing African American art and culture with the public. The various permanent collections in their possession, including an extensive archive and their important restoration work. The current exhibition on show “From the HeArt”, the exciting activities and upcoming events in store. . For more visit: www.ericsperspective.comGuest Bio: Keasha Dumas Heath is Executive Director of the Museum of African American Art in Los Angeles; a small nonprofit museum where she helps guide communications, member engagement, visitor experience, community outreach, and program development. Keasha is also a member of the board of directors for the California Association of Museums, a statewide museum advocacy organization, where she is a Vice President and serves on the Government Relations, Membership, and Executive committees. She is a past participant in the annual Museums Advocacy Day hosted by the American Alliance of Museums in Washington, DC, and her interests include arts education, museum/school collaborations, public/private partnerships in the arts, and issues affecting community arts organizations. Keasha holds an M.A. in English from Howard University, and she is an alumna of the Getty Foundation's Multicultural Internship Program.MAAA was founded in 1976 by noted artist and art historian Dr. Samella Lewis and a group of academic, artistic, business, and community leaders whose goal was to increase public awareness of and support for African American art.About Eric's Perspective: A podcast series on African American art with Eric Hanks — African American art specialist, owner of the renowned M. Hanks Gallery and commissioner on the Los Angeles County Arts Commission; offers his perspective on African American art through in-depth conversations with fellow art enthusiasts where they discuss the past, present & future of African American art.For more on Eric's Perspective, visit www.ericsperspective.com#ERICSPERSPECTIVE #AFRICANAMERICAN #ART SUBSCRIBE: http://bit.ly/2vVJkDn LISTEN ON: Apple Podcasts: https://apple.co/2B6wB3USpotify: https://spoti.fi/3j6QRmWGoogle Podcasts: https://bit.ly/3fNNgrYiHeartRadio: https://ihr.fm/2KtYGXv Pandora: https://pdora.co/38pFWAmConnect with us ONLINE: Visit Eric's Perspective website: https://bit.ly/2ZQ41x1Facebook: https://bit.ly/3jq5fXPInstagram: https://bit.ly/39jFZxGTwitter: https://bit.ly/2OMRx33 www.mhanksgallery.comAbout Eric Hanks: African American art specialist and owner of the renowned M. Hanks Gallery, Eric Hanks is one of the leading representatives of Black artists, promoting and selling their works nationally to individual and museum collections, publishing exhibition catalogues, teaching art appreciation classes, and writing articles and essays appearing in prestigious art books and various other publications. 

David is Professor of Religious Studies and Director of Graduate Studies in the doctoral program in Religion at Duke University with an additional appointment in the Department of Art, Art History, and Visual Studies at Duke. He is a recipient of many grants and fellowships, including support from the National Endowment of the Humanities, the Getty Foundation, the Henry Luce Foundation, the Lilly Endowment, and fellowships at Yale University and Princeton University. David has explored various religious traditions and sought to theorize the study of visuality in two books: "The Sacred Gaze and The Embodied Eye: Religious Visual Culture and the Social Life of Feeling." In 2018, he published "Images at Work: The Material Culture of Enchantment," a study of the role that images play in producing enchantment in religion, magic, and everyday life during the modern era. His latest book, "The Thing about Religion," which appeared last year, is an introduction to the material study of religion. In this episode, David and I discussed the nature of visual culture, both secular and religious, and the ways our beliefs and ideas about the world are influenced by the images we consume. We also explored how ideas about the sacred, enchantment, and revelation function through different modes of visual culture.

Noé Montes is an award-winning photographer based in Los Angeles. The themes of his work are race and power. He has been making images for 20 years with a strong focus on community and social justice issues, and has extensive experience working with educational, cultural and civic institutions and non-profit organizations. Montes' list of commissions includes work for the Annenberg Foundation, the California Community Foundation, the University of Southern California, the Los Angeles Police Foundation, L.A. Metro and The Getty Foundation.

In this episode, guest interviewer Anne Helmreich (The Getty Foundation) speaks with Koenraad Brosens, professor of art history at the University of Leuven in Belgium, and Blake Stimson, professor of art history at the University of Illinois Chicago, about the future of universities in a digital age. They discuss the benefits and challenges of teaching at public institutions, the concept of “the third generation university,” and potential pitfalls to the vogue for interdisciplinarity. Reflecting particularly on the past two years of the pandemic, Koenraad and Blake share how they are navigating the newly digital and remote world of teaching and mentoring, and muse about the possibilities of the new trend towards building virtual education infrastructure rather than investing principally in physical campuses. This fourth season of In the Foreground is a special series of five roundtable conversations dedicated to “the Grand Challenges” – a phrase frequently adopted in the sciences to refer to the great unanswered questions that represent promising frontiers – of bringing together digital and computational methods and the social history of art. This series grows out of a colloquium on this topic convened by Anne Helmreich (Associate Director of the Getty Foundation) and Paul B. Jaskot (Professor of Art History at Duke University) at the Clark's Research and Academic Program in April 2019. Anne and Paul serve as the guest interviewers for this podcast series, for which they have invited back colloquium participants to reflect further on how digital art history might help us explore social history of art's future, and which digital methods might be effective at analyzing large scale structural issues and modes of visual expression. 

In this episode, guest interviewer Paul B. Jaskot (Duke University) speaks with Jacqueline Francis, a scholar of contemporary art and chair of the Graduate Visual and Critical Studies Program at the California College of the Arts, and Susan Elizabeth Gagliardi, a specialist of the arts of Africa and associate professor of art history at Emory University, on the topic of collaboration and interdisciplinary in art history and digital humanities. They articulate a shared experience of “falling into” collaborative, digital practices out of necessity, led by the kinds of questions they wanted to answer. Throughout the discussion, all three speakers return to the idea of shifting away from paradigms of hierarchy and authority, whether through partnering with students and colleagues outside the academy, rethinking what is recognized as “scholarly” within the humanities and academic publishing, making visible the intellectual exchanges and collaborative labor that makes research projects, artworks, and museum exhibitions possible, and how these attitudes might fundamentally change how we approach the canon of art history. This fourth season of In the Foreground is a special series of five roundtable conversations dedicated to “the Grand Challenges” – a phrase frequently adopted in the sciences to refer to the great unanswered questions that represent promising frontiers – of bringing together digital and computational methods and the social history of art. This series grows out of a colloquium on this topic convened by Anne Helmreich (Associate Director of the Getty Foundation) and Paul B. Jaskot (Professor of Art History at Duke University) at the Clark's Research and Academic Program in April 2019. Anne and Paul serve as the guest interviewers for this podcast series, for which they have invited back colloquium participants to reflect further on how digital art history might help us explore social history of art's future, and which digital methods might be effective at analyzing large scale structural issues and modes of visual expression. 

The creative force behind the globally acclaimed Pacific Standard time: Art in L.A. 1945-1980 and of the upcoming 2024 PST Series, Getty Foundation Director Joan Weinstein's passion for the visual arts, art history, philanthropy, conservation and preservation is unmatched. Join us as we delve into how “art matters in our understanding of one another and in preserving the cultural heritage of mankind.”

In this episode, guest interviewer Anne Helmreich (Getty Foundation) speaks with Niall Atkinson, associate professor of art history at the University of Chicago, and Min Kyung Lee, assistant professor of Growth and Structure of Cities at Bryn Mawr College, to reflect on the canon of art history. They discuss how the canon as a narrative offers a shared framework for discussion, analysis, and exchange, but problems arise when the canon becomes fixed or an imposition. Niall and Min describe how they approach using archives in more varied ways, to capture “different voices,” and they revel in the collaborative nature of computational practices, the scale of which – both zooming out and zooming in – demands that scholars work across disciplines and as a team. Finally, both  emphasize the importance of being aware of how we define the data we use, and how we in fact produce the data we use – a reflexive approach that may allow us to confront and correct implicit biases, building a more inclusive and heterogeneous approach to data and "the canon.”This fourth season of In the Foreground is a special series of five roundtable conversations dedicated to “the Grand Challenges” – a phrase frequently adopted in the sciences to refer to the great unanswered questions that represent promising frontiers – of bringing together digital and computational methods and the social history of art. This series grows out of a colloquium on this topic convened by Anne Helmreich (Associate Director of the Getty Foundation) and Paul B. Jaskot (Professor of Art History at Duke University) at the Clark's Research and Academic Program in April 2019. Anne and Paul serve as the guest interviewers for this podcast series, for which they have invited back colloquium participants to reflect further on how digital art history might help us explore social history of art's future, and which digital methods might be effective at analyzing large scale structural issues and modes of visual expression. 

Paul B. Jaskot (Duke University) speaks with Hubertus Kohle (professor of art history at Ludwig Maximilian University of Munich in Germany) and Emily Pugh (an art historian and the Digital Humanities Specialist for The Getty Research Institute in Los Angeles) on the relation between the digital humanities and the potential for art history. They reflect on how we work as scholars in terms of accessing and documenting archives and data, and the difference in scale between transferable computational methods as opposed to project-specific solutions. Both guests discuss how engagement with the digital might grant us distance to see our discipline anew, or reveal biases within the history of art, while also expressing some concern about a plateau in innovation, or a resistance in art history to collaborating with practitioners from adjacent fields who might open new directions within the digital. Throughout, the conversation circles around the question of how computational approaches may equip us to become more critical art historians. This fourth season of In the Foreground is a special series of five roundtable conversations dedicated to “the Grand Challenges” – a phrase frequently adopted in the sciences to refer to the great unanswered questions that represent promising frontiers – of bringing together digital and computational methods and the social history of art. This series grows out of a colloquium on this topic convened by Anne Helmreich (Associate Director of the Getty Foundation) and Paul B. Jaskot (Professor of Art History at Duke University) at the Clark's Research and Academic Program in April 2019. Anne and Paul serve as the guest interviewers for this podcast series, for which they have invited back colloquium participants to reflect further on how digital art history might help us explore social history of art's future, and which digital methods might be effective at analyzing large scale structural issues and modes of visual expression. 

 This fourth season of In the Foreground is a special series of five roundtable conversations dedicated to “the Grand Challenges” – a phrase frequently adopted in the sciences to refer to the great unanswered questions that represent promising frontiers – of bringing together digital and computational methods and the social history of art. This series grows out of a colloquium on this topic convened by Anne Helmreich (Associate Director of the Getty Foundation) and Paul B. Jaskot (Professor of Art History at Duke University) at the Clark's Research and Academic Program in April 2019. Anne and Paul serve as the guest interviewers for this podcast series, for which they have invited back colloquium participants to reflect further on how digital art history might help us explore social history of art's future, and which digital methods might be effective at analyzing large scale structural issues and modes of visual expression. In this episode, Anne Helmreich speaks with Paul B. Jaskot and Barbara McCloskey, professor of art history at the University of Pittsburgh and a specialist of twentieth-century German art, on the role of social art history in a digital world. Paul and Barbara consider the simultaneous emergence of both computational methods and social art history in the 1970s and reflect on what drew them personally to both approaches. They discuss the centrality of collaboration and the role played by institutional and disciplinary expectations for how scholarship is produced. Throughout, the conversation turns to questions of scale and sociality, and the speakers ponder the blind spots, limitations, or dangers of the digital as well as the ways in which both social art history and the digital have – and have not – fulfilled their promises.

"You look at the thinking behind the creation of the building, but then also at the material needs. And you merge the two to really build an in-depth understanding of the building, and a path forward to preserving it." From the sculptural curves of the Sydney Opera House to the sliding walls and windows of the Eames House, the hallmarks of modern buildings make them easy to spot. Modernist architecture—with its signature use of industrial materials and innovative, sleek designs—emerged in the early 1900s and dominated the post–World War II building boom. Unfortunately, many of the iconic buildings from this period are now in serious need of repair but lack clear conservation plans due to the use of untested building methods and materials. How do you fix concrete that's been damaged by ocean water, or remove graffiti to preserve stainless steel? In response to such dilemmas, the Getty Foundation created the Keeping It Modern initiative, an international grant program focused on the conservation of significant 20th-century architecture. Launched in 2014, Keeping It Modern has to date supported a total of 77 projects in 40 countries. In this episode, Antoine Wilmering, senior program officer at the Getty Foundation, discusses the importance and ongoing impact of Keeping It Modern. For images, transcripts, and more, visit https://blogs.getty.edu/iris/podcast-protecting-modernist-architecture-for-generations-to-come or http://www.getty.edu/podcasts To learn more about Keeping It Modern, visit https://www.getty.edu/foundation/initiatives/current/keeping_it_modern or https://www.getty.edu/foundation/initiatives/current/keeping_it_modern/report_library/index.html To read about the Patel Stadium conservation project, visit https://www.getty.edu/news/it-is-indeed-a-holy-place To buy the book Concrete: Case Studies in Conservation Practice, visit https://shop.getty.edu/products/concrete-case-studies-in-conservation-practice-978-1606065761https://www.getty.edu/foundation/initiatives/current/keeping_it_modern To buy the book Managing Energy Use in Modern Buildings: Case Studies in Conservation Practice, visit https://shop.getty.edu/products/managing-energy-use-in-modern-buildings-case-studies-in-conservation-practice-978-1606066973

Betty Avila's (she/her) work has centered on the intersection of the arts and social justice, with particular focus on community building, public space, and youth empowerment. She grew up in the Northeast Los Angeles neighborhood of Cypress Park and has held positions with the Getty Research Institute, The Music Center and the Levitt Pavilion. Betty joined Self Help Graphics' leadership in 2015, an organization with a 48-year nationally-recognized artistic legacy of empowering the Chicana/o and Latinx communities of Los Angeles through the arts. She is the Chair of the Latinx Arts Alliance, and sits on the boards of Little Tokyo Service Center, the Center for Cultural Innovation, and was a founding board member of People for Mobility Justice. Betty is a passionate arts advocate, centering equity and justice, and she sat on the inaugural Advisory Committee for Los Angeles County's Cultural Equity and Inclusion Initiative as an appointee of Supervisor Hilda Solis. Betty has been invited to speak for the Ford Foundation, The Getty Foundation, Federal Reserve Bank of San Francisco, California Association of Museums, Western Art Alliance and more. In 2017, Betty was named one of C-Suite Quarterly Magazine's NextGen 10 in Philanthropy, Arts and Culture and an Impact-Maker to Watch by City Impact Labs. She received her B.A. in Literature at Pitzer College, has an M.A. in Arts Management from Claremont Graduate University, and is a 2008 Fulbright Fellow to Korea.

In this episode Caroline Fowler (Starr Director of the Research and Academic Program at the Clark Art Institute) speaks with Anne Helmreich, an art historian and digital humanist. Formerly the Associate Director of Digital Initiatives at the Getty Research Institute in Los Angeles, since April 2020 Anne has been the Associate Director of the Getty Foundation. A specialist of nineteenth-century art, Anne recounts how she veered away from law school to pursue art history. She reflects on how she first encountered digital humanities, and why for nearly fifteen years she has explored the possibilities of what this burgeoning field might open up for art history, and how art history in turn might productively challenge the digital humanities.

Today is a conversation with Sylvia Lavin and we’re discussing her recent book ‘Architecture Itself and Other Postmodernization Effects’. Book Sylvia Lavin is Professor of History and Theory of Architecture at Princeton University. Prior to her appointment at Princeton, Lavin was a Professor in the Department of Architecture and Urban Design at UCLA, where she was Chairperson from 1996 to 2006 and the Director of the Critical Studies M.A. and Ph.D. program from 2007 to 2017.   She is the author of Form Follows Libido: Architecture and Richard Neutra in a Psychoanalytic Culture. Her most recent books include, Kissing Architecture, published by Princeton University Press in 2011 and Flash in the Pan, an AA publication from 2015.   Professor Lavin is also a curator: including, Everything Loose Will Land: Art and Architecture in Los Angeles in the 1970s, was a principal component of the Pacific Standard Time series supported by the Getty Foundation and traveled from Los Angeles to New Haven and to Chicago.  Her installation, Super Models, was shown at the 2018 Chicago Architecture Biennial and most recently Architecture Itself and Other Postmodernists Myths, was an exhibition at the Canadian Center for Architecture. 

Since its inception, Getty has recognized philanthropy in the arts as vital to its mission, with the Foundation as one of its four main programs, alongside the Museum, Research Institute, and Conservation Institute. From its early grants to other LA institutions to its robust, strategic, international grantmaking program today, the work of the Getty Foundation has … Continue reading "The Philanthropy Philosophy of Getty Foundation Director Joan Weinstein"

Before the magic of photography, the dazzle of cinema - there was the Diorama. Frenchman Louis Daguerre is known primarily as one of the inventors of photography - but before the magic of light fixed on paper there was the Diorama, which some call the precursor to the moving image, and cinema. The Diorama offered the well-heeled audience a glimpse into other worlds… where volcanos would erupt on the hour, Roman ruins explored, mountain peaks ascended… not unlike a modern Las Vegas but in the 1820s. Using light, moving apertures, smoke and mirrors, sound and music, to produce unusually realistic effects, he created a new form of entertainment - immersive, dramatic, sensational, and for a brief period, the wonder of the Western world. From New York to Moscow, Dioramas opened their doors to well-heeled customers who would be so delighted with the ‘realism’ of the created scene, they would frequently ask to be led onto the stage - be it a scene from the Alps, the Battle of Trafalgar, Cowes in the Isle of Wight, or a voyage in search of the North-West Passage. By 1850 nearly all had burnt to the ground, probably due to the large number of oil lamps involved, and the highly flammable nature of the stage props and theatres, but hidden by a Nash façade in Regents Park, London, there stands the last of the Diorama Theatres - a Grade 1 listed building, now sadly empty and awaiting ‘reimagining’. Architect Marek Wojiechowski, who is developing plans for the long empty building, takes him on a tour backstage. Award winning writer, drama producer and podcast expert Dr Lance Dann get a chance to visit the original Diorama before setting off on a kaleidoscopic journey through other influential dioramas. He returns to the Denis Severs House in Spitalfields, where he once helped install a sound scape, to bring this detailed recreation of a Huguenot silk weaver’s house, to life. Does the magic still work? Dr Hetta Howes takes him into the immersive atmosphere of Great St Bartholomew’s Church where the worshippers were once drench is sounds, sights and evocative suggestions, and describes the most suggestible of religious texts – the passion meditations. Intriguingly he hears about The Nutshell Studies of Unexplained Death - the murder dioramas created by the brilliant and formidable Chicago heiress Francis Glessner Lee - still used today to teach detectives. Susan Marks has spent a decade researching her - her first film was charmingly titled - The Dolls of Murder, and together they try and solve one of her most famous murder scenes - Barn! Dr Sarah Garfinkle helps us understand how our brains fool us, or decide to play along with immersion, whilst Dr Alistair Good, VR games designer, tempts Dann to jump off a tall building, virtually. Finally Dann visits possibly the last genuine Daguerre diorama in the world – in a small village just outside Paris, Bry-Sur-Marne, where the Mayor Jean Pierre-Spillbauer, and local archivist Vincent Roblin, have dedicated much of the last 20 years trying to restore the small but effective diorama at the back of a provincial church. After contacting Antoine Wilmering at the Getty Foundation, they received a grant of $200,000, matched by the French Government, which saved the last of Daguerre’s dioramas. Producer: Sara Jane Hall Music sourced with the help of Danny Webb.

Every place has a history and a past, but preserving the best of it and keeping it relevant doesn't just happen, you have to work at it. On this show we're very bullish on keeping Baton Rouge vital economically and socially, but today we're talking about looks - keeping Baton Rouge beautiful. We're not being shallow and fixated on appearance, cities can be more attractive economically and socially as they age - with the right approach to beauty and preservation. Michael Desmond is an architect and scholar in the LSU School of Art and Design, with a particular expertise in the history of architecture. For the past decade, Michael has been studying the architecture of the historic LSU campus. Since receiving a grant from the Getty Foundation in 2008,  Michael has produced an architectural history on the buildings, a technical report documenting the external condition of the buildings, a large public exhibition that traveled the state throughout the university's 150th anniversary in 2010 and a book.  Fairleigh Cook Jackson is Executive Director of Preserve Louisiana, a statewide preservation organization was founded back 1963 with the purpose of promoting local interest in the heritage of Baton Rouge and the state of Louisiana. Preserve Louisiana, which was formerly known as the Foundation for Historical Louisiana, works to preserve historical structures and promote cultural awareness, while also encouraging economic growth that revitalizes our communities through historic preservation.   Out to Lunch Baton Rouge is recorded over lunch at Mansurs on the Boulevard . You can find photos from this show by Karry Hosford and more at our website https://link.chtbl.com/6MIjfVRb See omnystudio.com/listener for privacy information.

This week we speak with Photographer Noé Montes. Over the last 25 years, Noé has developed a socially engaged practice in which he creates documentary work around a specific social issue or geographic location. His commissions includes work for The Annenberg Foundation, The California Community Foundation, The University of Southern California, The Palm Springs Art Museum and The Getty Foundation. He is a fellow at the Los Angeles Institute for the Humanities and often lectures at colleges and universities about his practice. Noe has exhibited work in galleries and museums nationally, he lives in Los Angeles with his family and works throughout the state of California.

I have a conversation with my friend and colleague Natalie Bell, who teaches Mindfulness Self-Compassion. She shares wonderful insights on how to cultivate these tools that allow us to heal, be free from our inner critic, and be able to shift our mindset towards how we treat ourselves with greater kindness.    Natalie is the founder of Mindful Wellness, a training and coaching platform to help people find their own source of calm, clarity, and inner resilience. She is the creator of the Thrive Inside Program for Personal Resilience to build an inner voice of support and compassion. As a leading teacher of mindfulness and self-compassion she works with individuals and companies teaching people to be able to manage stress and develop a system of inner support and acceptance. Natalie’s approach brings the benefits of meditation into the practical realm of our daily lives teaching us to discover calm and balance in a common sense, relatable manner.   With over 25 years of experience Natalie has been featured on the Today Show, Travel and Leisure, the LA Times, MSNBC Your Business, and Thrive Global for her passionate embodiment of presence and compassion. She has brought her work to Fortune 500 companies, CEOs and organizations like NBC Universal, the Milken Institute, Getty Foundation, Wharton, and many others.   Natalie is a faculty member of UCLA’s Mindful Awareness Research Center, MARC, as a certified mindfulness teacher. She is one of a distinguished group of certified Mindful Self-Compassion (MSC) teachers and serves on the Healthcare Advisory Board of the Center for Mindful Self-Compassion working closely with MSC founders Kristin Neff and Chris Germer.   You can find out more about what Natalie teaches here, www.nataliebell.com  

Host Camila Montañez and New Latin Wave founder, Sokio, dig into the super cool things that make up Latinx cultural multiverse. In this episode New Latin Wave contributor Melissa Saenz-Gordon interviewed Art Historians Andrea Giunta (based in Buenos Aires) and Cecilia Fajardo-Hill (based in Los Angeles) who curated the groundbreaking exhibition, Radical Women: Latin American Art 1960-1985 and Carmen Hermo, Associate Curator at the Elizabeth E. Sackler Center for Feminist Art at the Brooklyn Museum. Why is an exhibition about radical Latina/Latinx women necessary? What makes the female body political? Was it easy to find a venue? Why were women drawn to new media? These questions are all answered by curators Andrea Giunta, Cecilia Fajardo-Hill and Carmen Hermo. Featuring over 123 artists from 15 countries, Radical Women: Latin American Art 1960-1985 was first shown at the Hammer Museum at UCLA as a part of the Pacific Standard Time: LA/LA initiative by the Getty Foundation, then the Brooklyn Museum, and finally at the Pinacoteca in São Paolo.  New York City-based performance artist Stefa* is our musical guest. The New Latin Wave Podcast is a production of New Latin Wave. podcast@newlatinwave.com www.newlatinwave.com

Every place has a history and a past, but preserving the best of it and keeping it relevant doesn t just happen, you have to work at it, through education, and preservation. Which is exactly what Stephanie s guests on Out to Lunch do every single day. Michael Desmond is an architect and scholar in the LSU School of Art and Design, with a particular expertise in the history of architecture. For the past decade, Michael has been studying the architecture of the historic LSU campus. Since receiving a grant from the Getty Foundation in 2008, Michael has produced an architectural history on the buildings, a technical report documenting the external condition of the buildings, a large public exhibition that traveled the state throughout the university s 150th anniversary in 2010 and a book. Fairleigh Cook Jackson is Executive Director of Preserve Louisiana, a statewide preservation organization was founded back 1963 with the purpose of promoting local interest in the heritage of Baton Rouge and the state of Louisiana. Preserve Louisiana, which was formerly known as the Foundation for Historical Louisiana, works to preserve historical structures and promote cultural awareness, while also encouraging economic growth that revitalizes our communities through historic preservation. Photos at Mansurs on the Boulevard by Karry Hosford. See omnystudio.com/listener for privacy information.

The Roman Empire’s rich and multifaceted visual culture is a manifestation of the sprawling geography of its provinces. In 2011 through the Getty Foundation’s Connecting Art Histories initiative, a group of twenty international scholars began a multi-year research seminar to study, discuss, and ponder the nature and development of art and archaeology in the Roman … Continue reading "Beyond Boundaries: Visual Culture in the Provinces of Ancient Rome"

Friday 2nd September ~ our discussion topic is leadership and we’ll be talking to Dr Trilok Sharma who has been recognised in the Forbes Top 50 list of Indian Leaders in the Arab World (CEO category) for 2014, 2015 and 2016. He manages conservation projects in Udaipur like the World famous City Palace from the GETTY Foundation, US, and is MD of The Sendian Group, based in Doha, Qatar. Together we shed light on a new joint venture for JFI Research where we start to look at combining Western thoughts (about leadership) with Eastern wisdom.

Friday 2nd September ~ our discussion topic is leadership and we’ll be talking to Dr Trilok Sharma who has been recognised in the Forbes Top 50 list of Indian Leaders in the Arab World (CEO category) for 2014, 2015 and 2016. He manages conservation projects in Udaipur like the World famous City Palace from the GETTY Foundation, US, and is MD of The Sendian Group, based in Doha, Qatar. Together we shed light on a new joint venture for JFI Research where we start to look at combining Western thoughts (about leadership) with Eastern wisdom.

The Miracle Girl(Algonquin Books of Chapel Hill) The crowds keep coming. More and more every day it seems . . . drawn by rumor and whisper and desperate wish. Somehow they heard about the little girl on Shaker Street. They come to see eight-year-old Anabelle Vincent, who lies in a comalike state--unable to move or speak. They come because a visitor experienced what seemed like a miracle and believed it was because of Anabelle. Word spread. There were more visitors. More miracles. But is there a connection? And does it matter? Set against the backdrop of the approaching millennium--with all its buzz about reckoning and doom--this impressive debut novel is narrated by Anabelle herself; by her devoted mother, who cares for her child while struggling to make sense of the media frenzy surrounding her; by Anabelle's estranged father, who is dealing with the guilt of his actions; and by the people who come seeking the child's help, her guidance, and her healing. Yet it tells a larger cultural story about the human yearning for the miraculous to be true, about how becoming a believer--in something, anything, even if you don't understand it--can sustain you. Praise forThe Miracle Girl: "To believe or not to believe--that is the question facing all who are touched by the comatose 'miracle girl' at the swirling center ofAndrew Roe'sdazzling debut. But more than an exploration of the mysteries of faith, it's also the unforgettable story of one family's struggle against tragedy. The result is an uplifting miracle of a book." --Will Allison, author ofLong Drive Home "InThe Miracle Girl, we're reminded that the desire for miracles always connotes dissatisfaction, even as it articulates a hope. Roe deftly explores this paradox . . . [and] examines the strange responsibility of being believed in. A stunning, confident debut." --Peter Rock, author ofThe Shelter Cycle "An incisive and insightful critique of America, investigating where we put our faith and why . . . It's a novel about what it means to be human, to be lost or broken, a little or a lot, and to seek connection and hope and maybe even transcendence in the world around us." --Doug Dorst, author ofS. andAlive in Necropolis Born and raised in the Los Angeles suburb of Whittier, California,Andrew Roehas had his fiction published inTin House, One Story,theSun, Glimmer Train, The Cincinnati Review, Slice, Pank, Avery Anthology, Gigantic, Freight Stories, Failbetter,theGood Men Project,and other literary magazines, as well as the anthologiesWhere Love Is Foundand24 Bar Blues.His nonfiction has appeared in theNew York Times, San Francisco Chronicle,Salon.com,SF Weekly, San Francisco Bay Guardian,and elsewhere. An alumnus of the Squaw Valley Community of Writers andTin HouseWriters Workshop, he has received scholarships from the Getty Foundation and the San Francisco Foundation. Three of his short stories were performed by actors as part of the New Short Fiction Series, LAs longest running spoken word series. Dan Chaon selected his story Job History for the Wigleaf Top 50 Very Short Fictions of 2012, and he has been nominated for the Pushcart Prize multiple times, including aOne Storynomination for his story Americas Finest City. He earned a bachelor of arts degree in English/creative writing from San Diego State University, and a master of arts degree in literature from San Francisco State University. For over twenty years, he has worked as a writer and editor in the publishing and software industries. A member of PEN Center USA, he currently lives in Oceanside, California, with his wife and three children.

  This week: Duncan and Richard talk to Madeleine Grynsztejn, the new Director of the Museum of Contemporary Art, Chicago! Stolen liberally from the MCA website, with a bit of BAS embellishment:   Grynsztejn was born in Lima, Peru, and raised in Caracas, Venezuela, and London, England. She studied at the Sorbonne in Paris and received her BA in art history and French from Newcomb College of Tulane University, and her MA in art history from Columbia University. She is a former Helena Rubenstein Fellow at the Whitney Museum of American Art, and a 2007 graduate of the Getty Foundation’s Museum Leadership Institute. Grynsztejn has written, lectured, and taught extensively on contemporary art. She served as a panelist for the National Endowment for the Arts and the Galeria de Arte Nacional in Caracas, among other agencies. She acted as a juror for the Emily Hall Tremaine Foundation, the American Academy in Rome, the Munich Kunstpreis in Germany, and the Tiffany Foundation Biennial Awards. She has also served on the advisory committees for the Brooklyn Academy of Music and the American Center in Paris. She is fluent in English, Spanish, and French. Her husband, Tom Shapiro, is a marketing consultant and a damn nice guy. Yes, Bad at Sports added the “damn nice guy” part, the MCA would never be so inappropriately casual in a blurb! How dare us. The nerve! It's true though, he really is nice.