Podcasts about Getty Research Institute

In this talk, the speaker will explore a series of objects that highlight the tension between two divergent ways of understanding the Indian Ocean: as a maritime thoroughfare shaped by the forces of trade and intrepid merchants, and as a deep, watery, and populated space brought into focus by the urgencies of rising ecological devastation. The talk discusses how these competing frameworks continue to shape oceanic thinking today. Speaker Nancy Um, Associate Director for Research and Knowledge Creation, Getty Research Institute

Erika Gangsei has run the interpretive media team at SFMOMA for nearly two decades, and for 15 of those years she's been quietly building one of the most coherent game-based programming initiatives inside any major cultural institution in the country.In this conversation, we get into the origins of Play SFMOMA, which launched in 2011, before games as an art form had any real institutional legitimacy, and what it actually took to sustain a program built on deliberate experimentation rather than proven outcomes. Erika talks about the decision to treat game designers the way SFMOMA treats sound artists and filmmakers: as essential creative collaborators, not afterthoughts. She makes a sharp distinction between gamification (which museums were chasing then, and still are) and authentic game-based programming — and explains why that difference matters for visitors.We also talk about the institutional immune system. Erika uses the phrase literally: museums have white blood cells that attack unfamiliar things, and Play SFMOMA has spent 15 years slowly inoculating SFMOMA to interactivity. That means running an AR game jam knowing none of the prototypes would go into production, because the goal was to socialize the idea internally, not ship a product.Other topics: why interpretive departments may actually be a better entry point for games than curatorial, the case for analog and paper-based work in a screen-fatigued world, what it means when a founder-driven program finally becomes an entity unto itself, and the LARPocracy research project—an EU Horizon-funded study using Nordic LARP as a model for deliberative democracy.This one is essential listening if you're inside an institution trying to build something with games and doing it without a clear mandate from above.(00:00) - Meet Erika and Play (01:08) - Broadway Trip Catch Up (03:19) - Origin Story to SFMOMA (08:14) - Why Play SFMOMA Started (13:38) - Where Games Belong (29:01) - Analog Play and Fatigue (34:48) - Scaling Up and Larpocracy For more insights, signup for my newsletter.Jamin Warren founded Gameplayarts, an advisory that helps museums and cultural organizations engage with the world of gaming. He provides them with the research, strategy, and execution they need to reach gamers for the first–or millionth–time. Gameplayarts' past and present clients organizations like MoMA, the Getty Research Institute, Tribeca Enterprises, and PBS.

Casey Baltes led the effort to build the Tribeca Games Festival from the ground up—and she'll tell you the hardest part wasn't the games. It was building internal credibility. In this episode, we talk about curation, community, and why institutions that try to do everything in games end up doing nothing well.For more insights, signup for my newsletter.Jamin Warren founded Gameplayarts, an advisory that helps museums and cultural organizations engage with the world of gaming. He provides them with the research, strategy, and execution they need to reach gamers for the first–or millionth–time. Gameplayarts' past and present clients organizations like MoMA, the Getty Research Institute, Tribeca Enterprises, and PBS.

Casey Baltes, VP of Games at Tribeca Enterprises, breaks down why most institutional game-based programs stall — and the structural decisions that have made Tribeca Games one of the few that hasn't. We get into executive buy-in, curatorial focus, the case for interpretive content over exhibitions, and why financial sustainability is the conversation no one in the cultural sector wants to have.For more insights, signup for my newsletter.Jamin Warren founded Gameplayarts, an advisory that helps museums and cultural organizations engage with the world of gaming. He provides them with the research, strategy, and execution they need to reach gamers for the first–or millionth–time. Gameplayarts' past and present clients organizations like MoMA, the Getty Research Institute, Tribeca Enterprises, and PBS.

Wie wird ein Kunstwerk zum Produkt? Und wie funktioniert der Markt dazu? Kunsthistoriker Christian Huemer hat durch die Jahrhunderte hindurch nach Antworten auf diese Fragen gesucht - und in der Ausstellung „Noble Begierden. Eine Geschichte des Europäischen Kunstmarkts“ im Gartenpalais Liechtenstein in Wien zusammengetragen. In dieser Folge des WELTKUNST Podcast „Was macht die Kunst?“ spricht der Kunsthistoriker und Kurator über die Anfänge des europäischen Kunstmarkts, die Anpassung der Künstler und ihrer Werkstätten an die Bedürfnisse des Marktes und über den wissenschaftlichen Umgang mit historischen Datenkonvoluten. Christian Huemer ist seit 2017 Leiter des Belvedere Research Center, studierte Kunstgeschichte in Wien, Paris und New York und leitete von 2008 bis 2017 die Abteilung Collecting & Provenance am Getty Research Institute in Los Angeles. Der WELTKUNST-Podcast „Was macht die Kunst?“ wird in Partnerschaft mit Volkswagen Group Culture produziert.

Today, we're bringing you a special feed drop from ReCurrent, a podcast from the Getty that explores how art, history, and culture shape the world around us. In this episode of ReCurrent, host Jaime Roque takes us back to 1980s Los Angeles, when civil wars in El Salvador, Guatemala, and Nicaragua sent hundreds of thousands of people north and helped turn LA into “Little Central America.” With professor and longtime participant Rubén Martínez as our guide—someone who lived through this moment firsthand—we follow the Sanctuary Movement as churches quietly, and then publicly, open their doors to refugees the U.S. refused to recognize. Sanctuary meant food and a place to sleep, but it also meant music, theater, poetry, and posters that challenged U.S. policy while helping people process their grief. From there, we step inside Echo Park United Methodist Church, where artist and performer Elia Arce and a circle of Central American poets, musicians, and organizers transform the basement into a cultural home. We also sit with Rev. David Farley, pastor emeritus of Echo Park United Methodist, who was there to witness it all. Upstairs, families try to stay invisible on classroom floors; downstairs, performances inspired by banned writers, songs from back home, and handmade banners turn fear and exile into shared story. Our last stop is the Getty Research Institute, where researcher Jasmine Magaña—a Salvadoran Angeleno herself—is helping build a new, expansive record of this era.  Learn more about the episode here: https://www.getty.edu/podcasts/recurrent/central-american-art-and-resistance-in-1980s-la/ Learn more about your ad choices. Visit megaphone.fm/adchoices

Most cultural institutions know games matter. Very few know what to do about it. Kristian Volsing is one of the people who figured it out — and built the path in real time.As part of the V&A's contemporary design team, Kristian co-curated Design/Play/Disrupt, one of the most significant museum exhibitions ever dedicated to game design. He navigated studio NDAs, convinced the National Gallery of Art to lend a Magritte for a game show, and flew a colleague to Kyoto — where Nintendo showed her exactly one meeting room.In this conversation, we go deep on what it actually takes to build a sustainable games program inside a cultural institution: why live events beat collection-building as a starting point, how to work with an industry that guards its IP fiercely, and what experimental game designers actually need from institutions like yours. If you're a champion inside an organization who sees the opportunity but doesn't yet have the authority to act on it — this one is for you.(00:00) - Why Cultural Institutions Can't Afford to Ignore Games Anymore (01:36) - Kristian Volsing's Path From Film Student to V&A Curator (05:27) - How a New Director Opened the Door for Digital Design at the V&A (09:20) - Inside Design/Play/Disrupt: Why Depth Beats the "50 Games on a Wall" Approach (17:32) - Nintendo, NDAs, and What It Actually Takes to Partner With Game Studios (27:55) - The Hard Truth About Collecting and Preserving Digital Work (40:50) - Where Your Institution Should Start: Practical Advice From Someone Who Built the Path For more insights, signup for my newsletter.Jamin Warren founded Gameplayarts, an advisory that helps museums and cultural organizations engage with the world of gaming. He provides them with the research, strategy, and execution they need to reach gamers for the first–or millionth–time. Gameplayarts' past and present clients organizations like MoMA, the Getty Research Institute, Tribeca Enterprises, and PBS.

Dr. Jerry Moore is an archaeologist, writer, editor, and professor of Emeritus in anthropology at California State University Dominguez Hills in Carson, CA. Moore has conducted archaeological research in Peru, Mexico, and southern California. Moore's principal expertise is on the prehistoric architecture and cultural landscapes in the Andes. He has written the books, "Architecture and Power in the Prehispanic Andes: The Archaeology of Public Buildings" (1996 Cambridge University Press), "Cultural Landscapes in the Prehispanic Andes: Archaeologies of Place" (2005 University Press of Florida), "The Prehistory of Home" (2012, University of California Press, recognized with the 2014 Society for American Archaeology Book Award), "A Prehistory of South America: Ancient Cultural Diversity on the Least-Known Continent" (2014, University Press of Colorado), and "Incidence of Travel: Recent Journeys in Ancient South America" (2017, University Press of Colorado). He is currently working on a new book, "Ancient Andean Houses: Making-Inhabiting-Studying." Moore is the co-editor with Donald Laylander of "The Prehistory of Baja California: Advances in the Archaeology of the Forgotten Peninsula" (2006 University Press of Florida) which was chosen as a 2007 Choice Distinguished Book. Also, Moore has written one of the leading textbooks on anthropological theory, "Visions of Culture: An Introduction to Anthropological Theories and Theorists" (2018, 5th edition, Rowman and Littlefield) and he edited a companion collection of primary materials, "Visions of Culture: An Annotated Reader" (2018, 2nd edition, Rowman and Littlefield). Moore's writings have been translated into Spanish, French, Han Chinese, Turkish, and Croatian. Moore is also the editor of "Ñawpa Pacha: Journal of Andean Archaeology". Moore is also the editor for the series, Archaeologies of Landscape in the Americas, published by the University of New Mexico Press. Moore has been a Fellow in Precolumbian Studies at Harvard's Dumbarton Oaks Research Libraries and Collections in Washington D.C. (1992-93 and 2017), a senior scholar at the Sainsbury Centre for the Visual Arts at the University of East Anglia (1994), a Fellow at the Getty Research Institute (2001-2002), and a Fellow at the Institute of Advanced Studies, Durham University, UK (2013). He lives with his family in Long Beach, California, and provides food service to four cats.

Hey there -- if you subscribed to the Twofivesix podcast, we've made some changes to our focus. I'm working with museums, collections, galleries, and cultural orgs on the same big problems I used to help corporate clients with. Hope you enjoy! What does it actually take to exhibit game-based art in a museum? Beyond the romantic notion of "games as art" lies a complex reality of technical requirements, development timelines, and institutional infrastructure that most cultural organizations simply aren't prepared for.Today, I'm speaking with Theo Triantafyllidis, an artist who builds what he calls "performative systems where natural and synthetic intelligences rehearse their coexistence." Working with games, live simulations, performances, and installations, Theo creates darkly playful procedural worlds that turn phenomena like ecological collapse and networked desire into experiences that can be felt rather than verbally explained.Theo has exhibited at major institutions including the Whitney Museum, Centre Pompidou, and was part of the Venice Biennale's Hyper Pavilion. His work ranges from Pastoral, an intimate anti-game about a muscular orc running through an infinite hayfield, to Feral Metaverse, an ambitious eight-player multiplayer game with a custom medieval catapult rig that's been in development for over three years.In this conversation, we go deep on the practical realities of exhibiting interactive work: Why IT staff aren't the same as technical infrastructure. How institutions fund physical installations but not digital development, or vice versa. Why a game that takes two weeks to build might tour internationally while a three-year project struggles to find the right venue. And what it means when audiences bring their player psychology into the gallery space—that instinct to test boundaries and break systems that makes games fundamentally different from other art forms.If you're a cultural institution thinking about game-based programming, an artist navigating this landscape, or simply curious about what happens when the art world meets interactive media, this conversation offers a rare, unvarnished look at what it really takes to do this work well.(00:00) - The Infrastructure Gap: Why Museums Can't Show Interactive Work (00:43) - Theo Triantafyllidis on Building Performative Systems (01:30) - Beyond IT: What Game-Based Art Actually Requires (03:55) - The Funding Paradox: Digital vs. Physical Production (08:59) - Technical Realities: Maintenance, Testing, and Player Psychology (15:39) - Case Studies: From Two-Week Prototypes to Three-Year Developments (25:41) - Building Institutional Literacy for Game-Based Practice For more insights, signup for my newsletter.Jamin Warren founded Gameplayarts, an advisory that helps museums and cultural organizations engage with the world of gaming. He provides them with the research, strategy, and execution they need to reach gamers for the first–or millionth–time. Gameplayarts' past and present clients organizations like MoMA, the Getty Research Institute, Tribeca Enterprises, and PBS.

Richard Neutra and the Making of the Lovell Health House, 1925–35 (Getty Research Institute, 2025) tells the story of the Lovell Health House, designed and built by Austrian-American architect Richard Neutra (1892–1970). Perched on a steep hillside with panoramic views of Los Angeles, the home pioneered the use of concrete and steel; radically advanced the ideals of hygienic, carefree, and open-air living; and explored new relationships between space, structure, the natural world, and physical and psychological well-being. It was widely documented and written about in leading architectural journals when it was erected, and these publications elevated the house to the status of an icon in the history of modernism and an essential work of the international modern movement. It also helped to launch the global career of one of the central figures of twentieth-century architecture.The book includes new texts by Edward Dimendberg, Crosby Doe, and Nicholas Olsberg, a chronology by Thomas Hines, and historic texts by Willard D. Morgan and Richard Neutra. At the heart of the book are six narrated portfolios of visual and textual documentation on the background, design, making, circulation, reception and resonance of this seminal house. Featuring historical photography by Morgan and contemporary photography by Grant Mudford, this volume will help bring Neutra's masterpiece to an entirely new audience. 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

Richard Neutra and the Making of the Lovell Health House, 1925–35 (Getty Research Institute, 2025) tells the story of the Lovell Health House, designed and built by Austrian-American architect Richard Neutra (1892–1970). Perched on a steep hillside with panoramic views of Los Angeles, the home pioneered the use of concrete and steel; radically advanced the ideals of hygienic, carefree, and open-air living; and explored new relationships between space, structure, the natural world, and physical and psychological well-being. It was widely documented and written about in leading architectural journals when it was erected, and these publications elevated the house to the status of an icon in the history of modernism and an essential work of the international modern movement. It also helped to launch the global career of one of the central figures of twentieth-century architecture.The book includes new texts by Edward Dimendberg, Crosby Doe, and Nicholas Olsberg, a chronology by Thomas Hines, and historic texts by Willard D. Morgan and Richard Neutra. At the heart of the book are six narrated portfolios of visual and textual documentation on the background, design, making, circulation, reception and resonance of this seminal house. Featuring historical photography by Morgan and contemporary photography by Grant Mudford, this volume will help bring Neutra's masterpiece to an entirely new audience. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/architecture

Richard Neutra and the Making of the Lovell Health House, 1925–35 (Getty Research Institute, 2025) tells the story of the Lovell Health House, designed and built by Austrian-American architect Richard Neutra (1892–1970). Perched on a steep hillside with panoramic views of Los Angeles, the home pioneered the use of concrete and steel; radically advanced the ideals of hygienic, carefree, and open-air living; and explored new relationships between space, structure, the natural world, and physical and psychological well-being. It was widely documented and written about in leading architectural journals when it was erected, and these publications elevated the house to the status of an icon in the history of modernism and an essential work of the international modern movement. It also helped to launch the global career of one of the central figures of twentieth-century architecture.The book includes new texts by Edward Dimendberg, Crosby Doe, and Nicholas Olsberg, a chronology by Thomas Hines, and historic texts by Willard D. Morgan and Richard Neutra. At the heart of the book are six narrated portfolios of visual and textual documentation on the background, design, making, circulation, reception and resonance of this seminal house. Featuring historical photography by Morgan and contemporary photography by Grant Mudford, this volume will help bring Neutra's masterpiece to an entirely new audience. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-west

In this episode, we go back to 1980s Los Angeles, when civil wars in El Salvador, Guatemala, and Nicaragua sent hundreds of thousands of people north and helped turn LA into “Little Central America.” With professor and longtime participant Rubén Martínez as our guide—someone who lived through this moment firsthand—we follow the Sanctuary Movement as churches quietly, and then publicly, open their doors to refugees the U.S. refused to recognize. Sanctuary meant food and a place to sleep, but it also meant music, theater, poetry, and posters that challenged U.S. policy while helping people process their grief.From there, we step inside Echo Park United Methodist Church, where artist and performer Elia Arce and a circle of Central American poets, musicians, and organizers transform the basement into a cultural home. We also sit with Rev. David Farley, pastor emeritus of Echo Park United Methodist, who was there to witness it all. Upstairs, families try to stay invisible on classroom floors; downstairs, performances inspired by banned writers, songs from back home, and handmade banners turn fear and exile into shared story.Our last stop is the Getty Research Institute, where archivist Jasmine Magaña—a Salvadoran Angeleno herself—is helping build a new, expansive record of this era. Through in-depth oral histories with artists and organizers, she and her colleagues work to preserve stories that were never formally recorded but continue to shape Los Angeles today.Together, Rubén, Elia, and Jasmine show how the art around the Sanctuary Movement didn't just document a moment—it held people together, reshaped Los Angeles, and still offers a blueprint for solidarity in our own tense times.Special thanks to Rubén Martínez, Elia Arce, and Jasmine Magaña. Deep gratitude to Lindsey Gant and Diana Carroll for their generous support in publishing and creating the web pages and Gina White for her work on rights and clearances.

Jaime Roque follows photographer George Rodriguez through two LAs at once—red carpets and street marches.Hollywood assignments put him beside movie stars and musicians; lunch breaks send him to East LA walkouts, the Chicano Moratorium, and UFW marches. One camera, two worlds. Jaime meets the people and places keeping that record alive. At the Getty Research Institute, curator Idurre Alonso opens thirty boxes—the first Chicano archive to enter the collection—and together they handle images that feel both historic and close to home. You see the craft: studio light brought to sidewalks, composition in the middle of a moving crowd, patience for the breath between chant and silence. In Santa Ana, photographer and educator William Camargo traces how George's example shaped his own work—celebrity gigs by day, community documentation by night—and how a new generation is mapping their neighborhoods before the stories are erased. Join Jaime as he follows the images that built a city's memory. Hear how archives, street corners, and studio lots weave one Los Angeles.See more of George's photography on the Getty website (https://www.getty.edu/art/collection/person/105RWY).Special thanks to George Rodriguez, Idurre Alonso, William Camargo, Marcia Prentice, and Nicole Belle.

In an extraordinarily rare interview, artist Raymond Pettibon discusses his journey, from early punk rock works to present day artistic themes, technique and rhythms, the Getty archives and more. Topics Include: Raymond Pettibon has been drawing constantly since childhood, "always with a pen in hand" Started with crayons, pastels, pencil - India ink came later as too messy Early influences included Albrecht Dürer, etchings, and comic book art equally Self-taught artist who learned through trial and error, never attended art school Studied economics in college, bringing analytical thinking to his art practice Approaches work as fine art, not commercial art, values creative freedom Rarely takes commissions - the more constraints, the less he likes it Band artwork usually selected from existing drawings rather than commissioned pieces Black Flag's "Nervous Breakdown" images came from his "Captive Chains" book Artwork inspired by "Blackboard Jungle" film - students destroying teacher's jazz records Has experience teaching, can identify with teacher-student conflicts from that period Left SST Records in 1985-86 due to oppressive environment Describes certain subjects he returns to repeatedly over the decades Works on multiple drawings simultaneously, some remaining unfinished for years Enters a meditative "fugue state" when drawing or writing Never experiences artist's block - blank paper doesn't intimidate him Believes he can write about any subject with natural fluency Doesn't plan series - they develop organically through returning to themes Sometimes works directly on gallery walls during exhibitions for coherence Used to work all day and night when deeply engaged Dislikes deadlines - they make work harder, not easier for him Sees deadlines as triggering psychological rebellion despite wanting to please collectors Hates when people suggest ideas - it "breaks the spell" Admits he's not the greatest draftsman but learned on the job Recently donated personal archive to Getty Research Institute for scholarly access Participated in Getty's research scholar program, one artist among academics Program reconnected him with economics after years away from the discipline Still has unfinished drawings in studio, some over 30 years old Currently creating less due to frustrations with art world dynamics Values complete artistic freedom - no curator has ever asked him to change High resolution version of this podcast is available at: www.Patreon.com/VinylGuide Photo by John Newsom Apple: https://tinyurl.com/tvg-ios Spotify: https://tinyurl.com/tvg-spot Amazon Music: https://tinyurl.com/tvg-amazon Support the show at Patreon.com/VinylGuide

We challenge contemporary perceptions of Yemen as a "backwater" by revealing the pivotal role of its port city, Mocha, in the making of our modern world. Historian Nancy Um delves into the fascinating history of coffee, from its origins in 15th-century Yemen to its global spread and the economic transformations it spurred. She explores the rich maritime trade routes of the Indian Ocean, highlighting Yemen's centrality as a crossroads for goods, ideas, and people long before European influence. Um discusses the Ottoman Empire's cultivation of coffee in Yemen, the rise and decline of Mocha as a trade hub, and the unique cultural adaptations of coffee consumption within Yemen itself, such as the popular Qishr drink. We also touch upon the broader impact of hot beverages and porcelain on global social and consumption patterns, revealing how these everyday items were once revolutionary technologies. Um shares insights into the ongoing efforts to revive Yemen's coffee industry and offers recommendations for further reading on Yemen's vibrant history. 0:00 Mocha: A Bustling 17th-18th Century Trade Center0:50 Yemen's Monopoly on Coffee2:46 Nancy Um's Interest in Maritime Trade and Yemen3:40 Yemen's Historical Significance Beyond Recent Decades5:51 What Made Mocha a Prime Trade Hub?7:58 Mocha's Rival: Aden8:11 The History of Coffee as a Drink10:01 Debunking Coffee Origin Myths: The Story of Kaldi and the Goats12:20 Coffee as a Hot Brewed Beverage from Yemen12:32 The Evolution of Coffee as a Commodity and Social Habit13:21 Early Suspicion and Prohibitions Against Coffee14:41 The Global Journey of the Coffee Plant15:57 The Dutch and Coffee Cultivation in Java17:22 Yemen's Shifting Coffee Fortunes18:14 The Ottomans and Yemen's Coffee Cultivation19:06 Ottoman Control of the Red Sea Trade20:37 Diversification of Trade Beyond Coffee21:37 European Influence on Mocha's Popularity22:21 Qishr: Yemen's Unique Coffee Husk Drink (aka Cascara)24:19 Efforts to Rebuild Yemen's Coffee Industry26:01 The Red Sea Trade Route's Enduring Importance29:02 The Indian Ocean: A Space of Exchange and Imagination30:51 Reconsidering Land-Based vs. Water-Based Cultural Identities33:20 Nationalizing Watery Metaphors and Icons35:10 Historical Naming Conventions and Cultural Continuities37:39 Coffee, Tea, and Chocolate: Technologies Reshaping Society40:30 The Coffee House and the Enlightenment42:07 The Decline of Mocha as an Economic Hub43:10 Beneficiaries of Mocha's Decline44:58 Challenge of Contradictory Stories in Historical Narratives47:20 Disproving Coffee Plant Smuggling Myths50:27 Misunderstandings About Yemen's History51:34 Book Recommendations on Yemen53:56 Access to Local Historical Documents in Yemen Nancy Um is Associate Director for Research and Knowledge Creation at the Getty Research Institute. Her research program explores art, architecture, and material culture around the Indian Ocean, the Red Sea, and the Arabian Peninsula, with a focus on trade and cross-cultural exchange in the early modern era. She is also the author of "The Merchant Houses of Mocha: Trade and Architecture in an Indian Ocean Port," and "Shipped but Not Sold: Material Culture and the Social Protocols of Trade during Yemen's Age of Coffee."Connect with Nancy Um

Trust in universities has cratered, ideological divisions are deepening, and the future of higher education is hotly contested. How do we repair our academic institutions without tearing them down entirely? Today on Heterodox Out Loud, host John Tomasi welcomes Michael Roth, President of Wesleyan University, historian, and esteemed thought leader on liberal education, for a frank and probing dialogue. Drawing on recent Gallup polling data, Michael and John examine the collapse of public trust in higher education, particularly among conservatives, and the orchestrated efforts across the spectrum to delegitimize academic institutions. Michael discusses the double bind facing universities: the hard-won gains in gender, racial, and religious inclusion overlaying a stark decline in viewpoint and ideological diversity among faculty and students. The discussion traverses the enduring tensions between diversity, equity, and inclusion (DEI) initiatives and the imperative of open inquiry. Roth critiques both anti-elitist grievance-mongering and the insularity of academic circles, arguing for an educational environment that prizes rigorous debate, intellectual pluralism, and genuine mutual respect. Together, Tomasi and Roth confront thorny questions: How do universities maintain their relevance in a polarized society? Is the narrowing of acceptable discourse stifling academic innovation? And what role should university leaders play amid mounting political interventions and societal pressures? In This Episode:

Curator Sukanya Rajaratnam and biographer Jon Ott weld together African American culture and 20th century Western/European modernism, through Richard Hunt's 1956 sculpture, Hero's Head.Born on the South Side of Chicago, sculptor Richard Hunt (1935-2023) was immersed in the city's culture, politics, and architecture. At the major exhibition, Sculpture of the Twentieth Century, which travelled from the Museum of Modern Art (MoMA) in New York in 1953, he engaged with the works of artists Julio González, Pablo Picasso, and Constantin Brâncuși - encounters with Western/European modernism, that ‘catalysed' his use of metal, as the medium of his time and place.Hero's Head (1956), one of Richard's earliest mature works, was the first among many artistic responses dedicated to the legacy of Emmett Till. The previous year, Hunt joined over 100,000 mourners in attendance of the open-casket visitation of Till, a 14-year-old African American boy whose brutal lynching in Mississippi marked a seismic moment in national history. Modestly scaled to the dimensions of a human head, and delicately resting on a stainless-steel plinth, the welded steel sculpture preserves the image of Till's mutilated face. Composed of scrap metal parts, with dapples of burnished gold, it reflects the artist's use of found objects, and interest in ancient Greek and Roman mythology, which characterise his later works.With the first major European exhibition, and posthumous retrospective, of Richard's work at White Cube in London, curators Sukanya Rajaratnam and Jon Ott delve into the artist's prolific career. We critically discuss their diasporic engagement with cultural heritage; Richard collected over one thousand works of 'African art', referenced in sculptures like Dogonese (1985), and soon travelled to the continent for exhibitions like 10 Negro Artists from the US in Dakar, Senegal (1965). Jon details the reception of Richard's work, and engagement with the natural environment, connecting the ‘red soil' of Africa to agricultural plantations worked by Black slaves in southern America. We look at their work in a concurrent group exhibition at the Centre Pompidou, which retraces the presence and influence of Black artists in Paris, and considers the city as a ‘mobile site', highlighting the back-and-forth exchanges between artists, media, and movements like abstract expressionism. Shared forms are found in the works of French painters, Wangechi Mutu's Afrofuturist bronzes, and Richard's contemporaries practicing in France, Spain, Italy, and England.Plus, LeRonn P. Brooks, Curator at the Getty Research Institute, details Richard's ongoing legacies in public sculpture, and commemorations of those central to the Civil Rights Movement, including Martin Luther King Jr., Ida B. Wells-Barnett, Mary McLeod Bethune, Hobart Taylor Jr., and Jesse Owens.Richard Hunt: Metamorphosis is at White Cube Bermondsey in London until 29 June 2025.Paris Noir: Artistic circulations and anti-colonial resistance, 1950 – 2000 is at the Centre Pompidou in Paris until 30 June 2025.Listen to Sylvia Snowden at White Cube Paris, in the EMPIRE LINES episode on M Street (1978-1997).Hear more about Wangechi Mutu's This second dreamer (2017), with Ekow Eshun, curator of the touring exhibition, The Time is Always Now (2024).For more about Dogonese and ‘African masks' from Mali, listen to ⁠Manthia Diawara⁠, co-curator of The Trembling Museum at the Hunterian in Glasgow, part of ⁠PEACE FREQUENCIES 2023⁠.For more about ‘Negro Arts' exhibitions in Dakar, Senegal, read about Barbara Chase-Riboud: Infinite Folds at the Serpentine in London.For more about Black Southern Assemblage, hear Raina Lampkins-Felder, curator at the Souls Grown Deep Foundation and Royal Academy in London, on the Quiltmakers of Gee's Bend (20th Century-Now).

A 70-year-old person with cystic fibrosis. It's a phrase that wasn't just uncommon a few decades ago—it was virtually unheard of.When Luanne McKinnon was diagnosed in 1969 at just 13 years old, doctors told her parents she might live to be 19 years old. Today, Luanne stands on the edge of her 70th birthday—a milestone that not only redefines possibility but embodies resilience, creativity, and purpose.Born in Dallas, Texas in 1955, Luanne was diagnosed at a time when cystic fibrosis was still barely understood. No vests. No targeted medications. No community. And yet, she carved out a life of profound impact. “I stand as a witness to the possible.” says Luanne McKinnonAfter earning a Master of Fine Art in Painting and a PhD in Art History, she launched a celebrated career in the visual arts—owning an art dealership in New York City, directing major university museums, publishing works, and curating over 35 exhibitions. She even became a Fellow at the prestigious Getty Research Institute.And while that would be more than enough for most of us, Luanne continued to pour herself into advocacy—serving as Co-chair for Stanford's Patient and Family Advisory Committee, raising awareness for CF patients before and after transplant. In 2011, she underwent a successful double-lung transplant at Stanford, and fourteen years later, she is still very much living proof.This episode is not about her equally remarkable husband—EMMY award-winning filmmaker Daniel Reeve—though we'll mention him later. This is about Luanne—her life, her art, her truth, and her refusal to let a diagnosis define the limits of her possibility. She says, “I stand as a witness to the possible.”And after listening to this conversation, I think you'll believe in the possible, too.Welcome, to a very special episode of the Living with cystic fibrosis podcast and our incredible guest, Luanne McKinnon. Please like, subscribe, and comment on our podcasts!Please consider making a donation: https://thebonnellfoundation.org/donate/The Bonnell Foundation website:https://thebonnellfoundation.orgEmail us at: thebonnellfoundation@gmail.com Watch our podcasts on YouTube: https://www.youtube.com/@laurabonnell1136/featuredThanks to our sponsors:Vertex: https://www.vrtx.comViatris: https://www.viatris.com/en

In this Le Random discussion we are so pleased to speak to a scholar of art history in Dr. Nancy Perloff from the Getty Research Institute. She joins Le Random's editor-in-chief Peter Bauman. Perloff recently curated Sensing the Future: Experiments in Art and Technology (E.A.T.), showing at the Getty Center as part of PST Art. The pair explores E.A.T.'s influential role in merging art, technology and engineering, a movement founded in 1966 by Bell Labs engineer Billy Klüver and artists like Robert Rauschenberg and John Cage. Dr. Perloff shares insights on E.A.T.'s success, including as an early digital art network, as well as its collaborations between artists and engineers (mostly from Bell Labs). This included performances like Nine Evenings: Theatre and Engineering and immersive experiences at the 1970 Osaka World Expo's Pepsi Pavilion. They touch on curatorial challenges, EAT's experimental nature, its role in building interdisciplinary networks, and its lasting, yet underappreciated, impact on art and technology.

Beatrice Verri"I paesaggi nella crisi tra memoria, ecologia e azione"www.radis-crt.itIl convegno è parte delle iniziative del public program di Radis, progetto di arte pubblica promosso e ideato dalla Fondazione per l'Arte Moderna e Contemporanea CRT, con la collaborazione della Fondazione CRC sabato 14 settembre 2024, ore 10-17.30Borgata Paraloup (1.360 mt Rittana, CN), Baita BarberisI paesaggi nella crisi tra memoria, ecologia e azione Ecomemoria e progetti di futuro sostenibileSguardi e parole ripensate devono raccontare i nostri paesaggi segnati come sono sempre più dalle minacce della società del rischio, ecologico in primis, con i suoi mantra della crescita infinita e del progresso ineluttabile. Tanto più in un Paese, l'Italia, stretto tra i troppo pieni delle città e delle coste e i troppo vuoti delle aree interne e della montagna povera. I nostri sono paesaggi resi fragili dalle dinamiche accelerate della finanziarizzazione come dall'abbandono. Dove tuttavia l'Ecomemoria, fin dalla sua etimologia (richiama l'abitare anche nella sua dimensione ecocompatibile) tenta di ridare una forma al paesaggio smarrito nel tempo, ridisegna il senso degli antichi abitati, ricostruisce anzitutto il «lavoro» della convivenza di uomini e donne con l'ambiente circostante. Ricorda, al nostro futuro, orientando piani e progetti, le forme della coevoluzione tra gli uomini e la natura circostante nel rispetto dei limiti e delle risorse ambientali.Il convegno si propone come un'occasione di confronto a livello nazionale e interdisciplinare fra studiose, studiosi, istituzioni e associazioni che a vario titolo oggi sono impegnati nel campo della lotta al cambiamento climatico, della protezione del paesaggio e della valorizzazione della memoria ed è significativo il suo svolgersi nella Borgata Paraloup, luogo alpino che nel settembre 1943 vide riunirsi quasi duecento giovani partigiani (fra i primi, quelli appartenenti alla Banda Italia Libera di Giustizia e Libertà) oggi recuperato a nuova vita dalla Fondazione Nuto Revelli, si propone come laboratorio di cambiamento per un futuro giusto, consapevole e sostenibile.            Il convegno è parte delle iniziative del public program di Radis, progetto di arte pubblica promosso e ideato dalla Fondazione per l'Arte Moderna e Contemporanea CRT, con la collaborazione della Fondazione CRC (www.radis-crt.it).        Salvatore SettisHa diretto il Getty Research Institute di Los Angeles (1994-99) e la Scuola Normale Superiore di Pisa (1999-2010) e ha presieduto il Consiglio Superiore dei Beni Culturali (2007-09) e il Consiglio Scientifico del Louvre (2010-23). Ha avuto a Madrid la Cátedra del Prado, a Mendrisio (Svizzera) la Cattedra Borromini, è stato Warburg Professor ad Amburgo e ha tenuto le Isaiah Berlin Lectures a Oxford e le Mellon Lectures alla National Gallery of Art in Washington. Ha scritto di arte classica (La Colonna Traiana, 1988; Laocoonte. Fama e stile, 1999), moderna (La Tempesta interpretata, 1978; Raffaello tra gli sterpi, 2022) e contemporanea (Incursioni, 2020). Fra i suoi libri di politica culturale, Futuro del ‘classico', 2004; Paesaggio Costituzione cemento, 2010; Se Venezia muore, 2014; Architettura e democrazia, 2017. Suoi scritti sono stati tradotti in diciotto lingue.Vanda BonardoAmbientalista fin dalla giovane età, è laureata in Scienze Naturali. È stata presidente di Legambiente Piemonte e Valle d'Aosta dal 1995 al 2011. Formatrice ed educatrice, è stata insegnante di materie scientifiche e Consigliere Nazione della Pubblica Istruzione. Ha pubblicato testi e articoli di carattere ambientale e dossier su temi come la montagna, le risorse idriche e i ghiacciai, i trasporti, la difesa del suolo, il turismo montano, lo sviluppo locale in montagna e l'educazione ambientale. Attualmente è Copresidente del Comitato Scientifico Nazionale di Legambiente, Responsabile nazionale Alpi di Legambiente e Presidente CIPRA Italia.Giorgio Brizio, 22 anni, è autore e attivista. Ha vissuto a Berlino, Istanbul e Torino, dove frequenta un corso di laurea in Scienze internazionali dello sviluppo e della cooperazione. Da quattro anni si occupa di crisi climatica e migrazioni portando avanti battaglie politiche e opere di sensibilizzazione. I suoi articoli e commenti sono apparsi su «La Stampa», «Domani», «TPI».   Maurizio DematteisSi è laureato in Scienze politiche Indirizzo sociologico presso l'Università di Torino. Giornalista e scrittore, si occupa di temi sociali e ambientali e di tematiche legate ai territori alpini. Attualmente dirige l'Associazione Dislivelli ed è direttore responsabile della rivista web mensile Dilsivelli.eu.Pubblicazioni: Mamma li turchi. Le comunità straniere delle Alpi si raccontano, 2010; Via dalla città. La rivincita della montagna, 2017; Montanari per forza. Rifugiati e richiedenti asilo nella montagna italiana, (di M. Dematteis, A. Di Gioia, A. Membretti), 2018; Inverno liquido. La crisi climatica, le terre alte e la fine della stagione dello sci di massa, premio speciale Leggimontagna Dolomiti Unesco 2023.Andrea FenoglioDocumentarista. Ha al suo attivo diversi progetti culturali multidisciplinari. In questi anni ha raccontato Nuto Revelli e la memoria contadina, le origini dell'artista svizzero Alberto Giacometti e, nel lavoro dal titolo La Terra che connette, storie di braccianti africani nelle campagne del cuneese. Tra i suoi documentari L'isola deserta dei carbonai, Il popolo che manca e Su campi avversi hanno conseguito diversi riconoscimenti nei festival del documentario italiano. Dal 2022 è socio della Cooperativa di comunità Viso a Viso di Sant'Antonio di Ostana.Anna MarsonProfessoressa Ordinaria di Pianificazione e progettazione del territorio all'Università Iuav Venezia, dove coordina l'ambito di dottorato in pianificazione territoriale e politiche pubbliche. Componente del Consiglio scientifico della Fondazione nazionale Scuola beni attività culturali. Dal 2010 al 2015 è stata Assessore della Regione Toscana, ricevendo molteplici riconoscimenti per il Piano paesaggistico approvato nel 2015 e per la legge sul Governo del territorio 65/2014. Dal 2018 coordina per la Fondazione Compagnia di San Paolo una Sperimentazione sull'attuazione dei contenuti strategici del Piano paesaggistico per il Piemonte. È tra i soci fondatori della Società dei territorialisti/-e. Tra i suoi libri: Barba Zuchòn Town (Angeli 2001); Archetipi di territorio (Alinea 2008); a cura di, La struttura del paesaggio. (Laterza 2016); a cura di, Urbanistica e pianificazione nella prospettiva territorialista (Quodlibet 2020).Bruno MurialdoFotografo, collabora come freelance per diverse testate giornalistiche nazionali e internazionali. Il suo archivio personale è uno dei più ricchi di storia dagli anni Settanta ai Novanta e comprende foto reportage dall'America Latina - in particolare Cuba, Argentina e Cile - dagli Stati Uniti, dalla Russia e da diversi paesi dell'Europa. Ha raccontato la Langa degli anni Settanta, accompagnando Nuto Revelli nella raccolta delle testimonianze. Diversi sono i reportage realizzati anche su scrittori o registi, da Nuto Revelli a Mario Rigoni Stern. Ha collaborato con Sandro Bolchi nei suoi primissimi sceneggiati televisivi, con Mario Soldati nei Racconti del Maresciallo e con il regista Joseph Tito. Collabora con il quotidiano La Stampa da tre decenni e con l'agenzia Ropi in Germania. Si è cimentato in racconti fotografici dedicati alla letteratura tra i quali Tartarino sulle Alpi e I raccolti di Cerkaski di Giordan Radickov pubblicati sulla rivista Infinito. Tantissimi sono i libri fotografici pubblicati. Collabora con l'Alba USA Music Festival, diverse mostre dedicate alla musica e ai suoi protagonisti sono in mostra negli USA in Giappone e in siti o gallerie private.Marco RevelliHa insegnato Scienza della politica all'Università del Piemonte orientale. Fra i suoi libri: Le due destre: le derive politiche del postfordismo e La sinistra sociale, 1996 e 1997; Sinistra destra, l'identità smarrita e Post-Sinistra, 2009 e 2014. Per Einaudi ha pubblicato Oltre il Novecento, 2001; La politica perduta, 2003; Poveri, noi, 2010; Finale di partito, 2013; Non ti riconosco, 2016; Populismo 2.0, 2017; La politica senza politica, 2019 e Umano Inumano Postumano, 2020. È presidente della Fondazione Nuto Revelli Onlus.Giulia SeraleOperatrice nel terzo settore dal 2013, prima con esperienza di animazione giovanile in Estonia, poi presso l'ong LVIA Cuneo con esperienze in fundraising e progettazione nella cooperazione internazionale allo sviluppo e laboratori di Educazione alla mondialità nelle scuole. Dal 2017 ad oggi operatrice culturale presso la Fondazione Nuto Revelli: segreteria, comunicazione e fundraising, coordinamento del concorso Scrivere altrove. Partecipazione a numerosi scambi europei e progetti di mobilità internazionale. Laureata in Comunicazione interculturale, master in europrogettazione.Antonella TarpinoÈ storica, saggista ed editor. Tra i suoi libri: Geografie della memoria. Case, rovine, oggetti quotidiani (Einaudi 2008); Spaesati. Luoghi dell'Italia in abbandono tra memoria e futuro (Einaudi 2012, Premio Bagutta 2013); Il paesaggio fragile. L'Italia vista dai margini (Einaudi 2016, premio internazionale The Bridge Book Award 2017 per la saggistica italiana) Memoria imperfetta. La Comunità Olivetti e il mondo nuovo (Einaudi 2020). L'ultimo, Memoranda. Gli antifascisti raccontati dal loro quotidiano (Einaudi 2023). È vicepresidente della Fondazione Nuto Revelli Onlus.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

On this episode I'm joined by LaToya M. Hobbs. LaToya M. Hobbs is an artist, wife, and mother of two from Little Rock, AR, who is currently living and working in Baltimore, MD. She received her B.A. in Painting from the University of Arkansas at Little Rock and M.F.A. in Printmaking from Purdue University. Her work deals with figurative imagery that addresses the ideas of beauty, cultural identity, and womanhood as they relate to women of the African Diaspora. Her exhibition record includes numerous national and international venues, including the National Art Gallery of Namibia, Windhoek, Namibia; SCAD Museum of Art; Albright Knox Museum, and Sophia Wanamaker Galleries in San Jose, Costa Rica, among others. Her work is housed in private and public collections such as the Harvard Art Museum, Petrucci Family Foundation Collection of African American Art, the National Art Gallery of Namibia, the Getty Research Institute, and the Baltimore Museum of Art. Other accomplishments include the 2020 Janet and Walter Sondheim Artscape Prize, a nomination for the 2022 Queen Sonja Print Award and a 2022 IFPDA Artis Grant. Hobbs is also a Professor at the Maryland Institute College of Art and a founding member of Black Women of Print, a collective whose vision is to make visible the narratives and works of Black women printmakers, past, present and future. 

Descarga del libro (facsímil): https://drive.google.com/file/d/1cuMM6zdJ6t8FPyerSMEZIEQ82gpThKvt/view?usp=sharing Hay otro libro extraño, de formato triangular, que también se suele asociar con la figura de Saint Germain. Las dos copias conocidas de este Manuscrito Triangular están actualmente en el Getty Research Institute de Los Ángeles (California). El primero, MS 209, está datado en el año 1775 y fue realizado para Antoine Louis Moret, un masón francés que emigró a los Estados Unidos en el siglo XVIII. Pasó por varias manos, entre ellas las del ocultista Stanislas de Guaita, hasta que en el año 1934 fue comprado en una subasta por Manly Palmer Hall. De la trazabilidad del segundo manuscrito, MS 210, se sabe muy poco pero está fechado en 1750 y fue comprado, también por Hall, en 1934 en un remate de Sotheby's.

In s3e51, Platemark host Ann Shafer talks with Chris Santa Maria, artist and gallery director at Gemini G.E.L. at Joni Moisant Weyl. As director of the New York gallery, Chris is responsible for showcasing and selling the print output of the storied LA workshop to enable it to keep working with amazing artists and producing incredible editions. Chris and Ann touch on Gemini's history, the structure of the workshop, how artists get to work there, and Julie Mehretu, Julie Mehretu, and Julie Mehretu. They also talk about Chris' side hustle as an artist and his intricate paper collages. Josef Albers. White Line Square IV, 1966. 53.3 x 53.3 cm (21 x 21 in.). 2011. The Josef and Anni Albers Foundation / Artists Rights Society (ARS), New York; ©Gemini G.E.L. and the Artist. Chris Santa Maria wrangling prints at Gemini G.E.L. at Joni Moisant Weyl, New York. Sidney Felsen, co-founder of Gemini G.E.L. Photo by Alex Berliner. Gemini G.E.L. at Joni Moisant Weyl, 535 West 24th Street, third floor, New York. ©Gemini G.E.L., Los Angeles, California. Chris Santa Maria hanging Julie Mehretu's print at Art Basel Miami, 2019. Julie Mehretu's etching installed at the New York gallery, June 8–August 24, 2023. ©Gemini G.E.L., Los Angeles, California. Julie Mehretu at work at Gemini G.E.L., Los Angeles. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California. Julie Mehretu at work at Gemini G.E.L., Los Angeles. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California. Analia Saban working at Gemini workshop. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California. Robert Rauschenberg working on the limestone for Waves from the Stoned Moon series with Stanley Grinstein in the background. Photograph by Sidney B. Felsen, 1969. From the collection of Getty Research Institute. Jasper Johns deleting imagery from a lithography plate for Cicada, November 1981. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California, 2001. Richard Serra at work on his etchings and Paintstik compositions, November 1990. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California, 2001. Ellsworth Kelly (left) and NGA curator Mark Rosenthal at Gemini; Ellsworth canceling a print from the Portrait Series, February 1990. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California, 2001. Works by Richard Serra and Julie Mehretu at the IFPDA Print Fair, October 2023. ©Gemini G.E.L., Los Angeles, California. Joni Weyl and Sidney Felsen at the 2019 IFPDA Print Fair, New York. Tacita Dean at work at Gemini G.E.L., Los Angeles. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California. Roy Lichtenstein at work at Gemini G.E.L., Los Angeles. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California. Julie Mehretu at Gemini G.E.L.'s booth at the IFPDA Print Fair, October 2023.         Tacita Dean. LA Magic Hour 1, 2021. Hand-drawn, multi-color blend lithograph. 29 7/8 x 29 7/8 in. (75.88 x 75.88 cm). ©Gemini G.E.L., Los Angeles, California. Chris Santa Maria. Field 31, 2023. Paper college on 4-ply ragboard. 10 x 10 in. Chris Santa Maria's studio. Chris Santa Maria's studio. Chris Santa Maria. President Trump, 2020. Paper collage. 72 x 72 in. Chris Santa Maria. No. 5, 2014. Paper collage on MDF. 58 x 60 in. in the window of Jim Kempner Fine Art, New York. Ellsworth Kelly. The River (state), 2003 and River II, 2005. Lithographs. Installed during the exhibition Ellsworth Kelly: The Rivers, October 25–December 8, 2007 at Gemini G.E.L. at Joni Moisant Weyl, New York. Julie Mehretu's etchings installed at the New York gallery, June 8–August 24, 2023. ©Gemini G.E.L., Los Angeles, California. Bruce Nauman in the curating room canceling a copperplate by drawing a sharp tool across it to destroy the image with assistance from William Padien, 1983. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California, 2001. Julie Mehretu at work at Gemini G.E.L., Los Angeles. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California. Works by Ann Hamilton and Tacita Dean in the exhibition at the New York gallery, Selected Works by Gemini Artists. January 2–February 24, 2024. ©Gemini G.E.L., Los Angeles, California. Daniel Buren at Gemini workshop, August 1988. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California, 2001.   USEFUL LINKS Gemini G.E.L. at Joni Moisant Weyl. | (joniweyl.com) Gemini G.E.L. Graphic Editions Limited (geminigel.com) Chris Santa Maria Instagram accounts @chrisantamaria @geminigel @joniweyl    

Mediterranean maritime art and the forced labour on which it depended were fundamental to the politics and propaganda of France's King Louis XIV (r. 1643–1715). Yet most studies of French art in this period focus on Paris and Versailles, overlooking the presence or portrayal of galley slaves on the kingdom's coasts. The Sun King at Sea: Maritime Art and Galley Slavery in Louis XIV's France (Getty Research Institute, 2022) by Dr. Gillian Weiss & Dr. Meredith Martin changes that. By examining a wide range of artistic productions—ship design, artillery sculpture, medals, paintings, and prints—Meredith Martin and Gillian Weiss uncover a vital aspect of royal representation and unsettle a standard picture of art and power in early modern France. With an abundant selection of startling images, many never before published, The Sun King at Sea emphasises the role of esclaves turcs (enslaved Turks)—rowers who were captured or purchased from Islamic lands—in building and decorating ships and other art objects that circulated on land and by sea to glorify the Crown. Challenging the notion that human bondage vanished from continental France, this cross-disciplinary volume invites a reassessment of servitude as a visible condition, mode of representation, and symbol of sovereignty during Louis XIV's reign. This interview was conducted by Dr. Miranda Melcher whose forthcoming book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

This episode marks the second time featuring artist and friend Raven Chacon on Broken Boxes. The first time I interviewed Raven was in 2017, when I visited with him at the Institute of American Indian Arts where he was participating in a symposium on Indigenous performance titled, Decolonial Gestures. This time around, we met up with Raven at his home in Albuquerque, NM where recurring host and artist Cannupa Hanska Luger chatted with Raven for this episode. The conversation reflects on the arc of Ravens practice over the past decade, along with the various projects they have been able to work on together, including Sweet Land (2020), an award-winning, multi-perspectival and site-specific opera staged at the State Historical Park in downtown Los Angeles, for which Raven was composer and Cannupa co-director and costume designer. Raven and Cannupa also reflect on their time together traveling up to Oceti Sakowin camp in support of the water protectors during the resistance of the Dakota Access Pipeline. Raven provides context to his composition Storm Pattern, which was a response to being onsite at Standing Rock, and the artists speak to the long term impact of an Indigenous solidarity gathering of that magnitude. Raven speaks about being named the first Native American composer to win the Pulitzer Prize or Voiceless Mass, and shares the composition's intention and performance trajectory. To end the conversation, Raven shares insight around staying grounded while navigating the pressures of success, travel and touring as a practicing artist, and reminds us to find ways to slow down and do what matters to you first, creatively, wherever possible. Raven Chacon is a Pulitzer Prize-winning composer, performer, and installation artist from Fort Defiance, Navajo Nation. As a solo artist, Chacon has exhibited, performed, or had works performed at LACMA, The Renaissance Society, San Francisco Electronic Music Festival, REDCAT, Vancouver Art Gallery, Haus der Kulturen der Welt, Borealis Festival, SITE Santa Fe, Chaco Canyon, Ende Tymes Festival, and The Kennedy Center. As a member of Postcommodity from 2009 to 2018, he co-created artworks presented at the Whitney Biennial, documenta 14, Carnegie International 57, as well as the two-mile-long land art installation Repellent Fence. A recording artist whose work has spanned twenty-two years, Chacon has appeared on more than eighty releases on various national and international labels. His 2020 Manifest Destiny opera Sweet Land, co-composed with Du Yun, received critical acclaim from the Los Angeles Times, the New York Times, and The New Yorker, and was named 2021 Opera of the Year by the Music Critics Association of North America. Since 2004, he has mentored over 300 high school Native composers in the writing of new string quartets for the Native American Composer Apprenticeship Project (NACAP). Chacon is the recipient of the United States Artists fellowship in Music, The Creative Capital award in Visual Arts, The Native Arts and Cultures Foundation artist fellowship, the American Academy's Berlin Prize for Music Composition, the Bemis Center's Ree Kaneko Award, the Foundation for Contemporary Arts Grants to Artists Award (2022) and the Pew Fellow-in-Residence (2022). His solo artworks are in the collectIons of the Whitney Museum of American Art, the Smithsonian's American Art Museum and National Museum of the American Indian, Los Angeles County Museum of Art, Getty Research Institute, the Albuquerque Museum, University of New Mexico Art Museum, and various private collections. Music Featured: Sweet Land, Scene 1: Introduction (feat. Du Yun & Raven Chacon) · Jehnean Washington · Carmina Escobar · Micaela Tobin · Du Yun · Raven Chacon · Lewis Pesacov. Released on 2021-09-24 by The Industry Productions

“So I wrote this book and it was a lot of fun because I had to learn so much. The book examines three iconic teachers: Confucius, Socrates, and Jesus. And I look at how each of those teachers encourage a certain kind of student. The student as follower, someone who will take on the path that you've developed. In the case of Socrates, the student as critical interlocutor or critical conversation partner, someone who will, in dialogue with you, learn what they don't know, how to take things apart. And in the case of Jesus and the apostles, I look at trying to imitate a way of life to transform themselves to strive towards being the kind of person that Jesus incarnated. And so that's the beginning of the book, these models of studenthood, if I could use that word, and being a teacher. And then I look at the way in which these ideas reverberate in the West across a long period of time. So I'm interested in the idea of the student before there were schools. What did we expect young people to learn even when they weren't going to school?”What is the purpose of education? How are we educating students for the future? What is the importance of the humanities in this age of AI and the rapidly changing workplace?Michael S. Roth is President of Wesleyan University. His books include Beyond the University: Why Liberal Education Matters and Safe Enough Spaces: A Pragmatist's Approach to Inclusion, Free Speech, and Political Correctness on College Campuses. He's been a Professor of History and the Humanities since 1983, was the Founding Director of the Scripps College Humanities Institute, and was the Associate Director of the Getty Research Institute. His scholarly interests center on how people make sense of the past, and he has authored eight books around this topic, including his latest, The Student: A Short History.https://www.wesleyan.edu/academics/faculty/mroth/profile.htmlhttps://yalebooks.yale.edu/book/9780300250039/the-student/www.wesleyan.eduhttps://twitter.com/mroth78www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

“So I wrote this book and it was a lot of fun because I had to learn so much. The book examines three iconic teachers: Confucius, Socrates, and Jesus. And I look at how each of those teachers encourage a certain kind of student. The student as follower, someone who will take on the path that you've developed. In the case of Socrates, the student as critical interlocutor or critical conversation partner, someone who will, in dialogue with you, learn what they don't know, how to take things apart. And in the case of Jesus and the apostles, I look at trying to imitate a way of life to transform themselves to strive towards being the kind of person that Jesus incarnated. And so that's the beginning of the book, these models of studenthood, if I could use that word, and being a teacher. And then I look at the way in which these ideas reverberate in the West across a long period of time. So I'm interested in the idea of the student before there were schools. What did we expect young people to learn even when they weren't going to school?”What is the purpose of education? How are we educating students for the future? What is the importance of the humanities in this age of AI and the rapidly changing workplace?Michael S. Roth is President of Wesleyan University. His books include Beyond the University: Why Liberal Education Matters and Safe Enough Spaces: A Pragmatist's Approach to Inclusion, Free Speech, and Political Correctness on College Campuses. He's been a Professor of History and the Humanities since 1983, was the Founding Director of the Scripps College Humanities Institute, and was the Associate Director of the Getty Research Institute. His scholarly interests center on how people make sense of the past, and he has authored eight books around this topic, including his latest, The Student: A Short History.https://www.wesleyan.edu/academics/faculty/mroth/profile.htmlhttps://yalebooks.yale.edu/book/9780300250039/the-student/www.wesleyan.eduhttps://twitter.com/mroth78www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

“So I wrote this book and it was a lot of fun because I had to learn so much. The book examines three iconic teachers: Confucius, Socrates, and Jesus. And I look at how each of those teachers encourage a certain kind of student. The student as follower, someone who will take on the path that you've developed. In the case of Socrates, the student as critical interlocutor or critical conversation partner, someone who will, in dialogue with you, learn what they don't know, how to take things apart. And in the case of Jesus and the apostles, I look at trying to imitate a way of life to transform themselves to strive towards being the kind of person that Jesus incarnated. And so that's the beginning of the book, these models of studenthood, if I could use that word, and being a teacher. And then I look at the way in which these ideas reverberate in the West across a long period of time. So I'm interested in the idea of the student before there were schools. What did we expect young people to learn even when they weren't going to school?”What is the purpose of education? How are we educating students for the future? What is the importance of the humanities in this age of AI and the rapidly changing workplace?Michael S. Roth is President of Wesleyan University. His books include Beyond the University: Why Liberal Education Matters and Safe Enough Spaces: A Pragmatist's Approach to Inclusion, Free Speech, and Political Correctness on College Campuses. He's been a Professor of History and the Humanities since 1983, was the Founding Director of the Scripps College Humanities Institute, and was the Associate Director of the Getty Research Institute. His scholarly interests center on how people make sense of the past, and he has authored eight books around this topic, including his latest, The Student: A Short History.https://www.wesleyan.edu/academics/faculty/mroth/profile.htmlhttps://yalebooks.yale.edu/book/9780300250039/the-student/www.wesleyan.eduhttps://twitter.com/mroth78www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

“So I wrote this book and it was a lot of fun because I had to learn so much. The book examines three iconic teachers: Confucius, Socrates, and Jesus. And I look at how each of those teachers encourage a certain kind of student. The student as follower, someone who will take on the path that you've developed. In the case of Socrates, the student as critical interlocutor or critical conversation partner, someone who will, in dialogue with you, learn what they don't know, how to take things apart. And in the case of Jesus and the apostles, I look at trying to imitate a way of life to transform themselves to strive towards being the kind of person that Jesus incarnated. And so that's the beginning of the book, these models of studenthood, if I could use that word, and being a teacher. And then I look at the way in which these ideas reverberate in the West across a long period of time. So I'm interested in the idea of the student before there were schools. What did we expect young people to learn even when they weren't going to school?”What is the purpose of education? How are we educating students for the future? What is the importance of the humanities in this age of AI and the rapidly changing workplace?Michael S. Roth is President of Wesleyan University. His books include Beyond the University: Why Liberal Education Matters and Safe Enough Spaces: A Pragmatist's Approach to Inclusion, Free Speech, and Political Correctness on College Campuses. He's been a Professor of History and the Humanities since 1983, was the Founding Director of the Scripps College Humanities Institute, and was the Associate Director of the Getty Research Institute. His scholarly interests center on how people make sense of the past, and he has authored eight books around this topic, including his latest, The Student: A Short History.https://www.wesleyan.edu/academics/faculty/mroth/profile.htmlhttps://yalebooks.yale.edu/book/9780300250039/the-student/www.wesleyan.eduhttps://twitter.com/mroth78www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

“So I wrote this book and it was a lot of fun because I had to learn so much. The book examines three iconic teachers: Confucius, Socrates, and Jesus. And I look at how each of those teachers encourage a certain kind of student. The student as follower, someone who will take on the path that you've developed. In the case of Socrates, the student as critical interlocutor or critical conversation partner, someone who will, in dialogue with you, learn what they don't know, how to take things apart. And in the case of Jesus and the apostles, I look at trying to imitate a way of life to transform themselves to strive towards being the kind of person that Jesus incarnated. And so that's the beginning of the book, these models of studenthood, if I could use that word, and being a teacher. And then I look at the way in which these ideas reverberate in the West across a long period of time. So I'm interested in the idea of the student before there were schools. What did we expect young people to learn even when they weren't going to school?”What is the purpose of education? How are we educating students for the future? What is the importance of the humanities in this age of AI and the rapidly changing workplace?Michael S. Roth is President of Wesleyan University. His books include Beyond the University: Why Liberal Education Matters and Safe Enough Spaces: A Pragmatist's Approach to Inclusion, Free Speech, and Political Correctness on College Campuses. He's been a Professor of History and the Humanities since 1983, was the Founding Director of the Scripps College Humanities Institute, and was the Associate Director of the Getty Research Institute. His scholarly interests center on how people make sense of the past, and he has authored eight books around this topic, including his latest, The Student: A Short History.https://www.wesleyan.edu/academics/faculty/mroth/profile.htmlhttps://yalebooks.yale.edu/book/9780300250039/the-student/www.wesleyan.eduhttps://twitter.com/mroth78www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

“So I wrote this book and it was a lot of fun because I had to learn so much. The book examines three iconic teachers: Confucius, Socrates, and Jesus. And I look at how each of those teachers encourage a certain kind of student. The student as follower, someone who will take on the path that you've developed. In the case of Socrates, the student as critical interlocutor or critical conversation partner, someone who will, in dialogue with you, learn what they don't know, how to take things apart. And in the case of Jesus and the apostles, I look at trying to imitate a way of life to transform themselves to strive towards being the kind of person that Jesus incarnated. And so that's the beginning of the book, these models of studenthood, if I could use that word, and being a teacher. And then I look at the way in which these ideas reverberate in the West across a long period of time. So I'm interested in the idea of the student before there were schools. What did we expect young people to learn even when they weren't going to school?”What is the purpose of education? How are we educating students for the future? What is the importance of the humanities in this age of AI and the rapidly changing workplace?Michael S. Roth is President of Wesleyan University. His books include Beyond the University: Why Liberal Education Matters and Safe Enough Spaces: A Pragmatist's Approach to Inclusion, Free Speech, and Political Correctness on College Campuses. He's been a Professor of History and the Humanities since 1983, was the Founding Director of the Scripps College Humanities Institute, and was the Associate Director of the Getty Research Institute. His scholarly interests center on how people make sense of the past, and he has authored eight books around this topic, including his latest, The Student: A Short History.https://www.wesleyan.edu/academics/faculty/mroth/profile.htmlhttps://yalebooks.yale.edu/book/9780300250039/the-student/www.wesleyan.eduhttps://twitter.com/mroth78www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

“So I wrote this book and it was a lot of fun because I had to learn so much. The book examines three iconic teachers: Confucius, Socrates, and Jesus. And I look at how each of those teachers encourage a certain kind of student. The student as follower, someone who will take on the path that you've developed. In the case of Socrates, the student as critical interlocutor or critical conversation partner, someone who will, in dialogue with you, learn what they don't know, how to take things apart. And in the case of Jesus and the apostles, I look at trying to imitate a way of life to transform themselves to strive towards being the kind of person that Jesus incarnated. And so that's the beginning of the book, these models of studenthood, if I could use that word, and being a teacher. And then I look at the way in which these ideas reverberate in the West across a long period of time. So I'm interested in the idea of the student before there were schools. What did we expect young people to learn even when they weren't going to school?”What is the purpose of education? How are we educating students for the future? What is the importance of the humanities in this age of AI and the rapidly changing workplace?Michael S. Roth is President of Wesleyan University. His books include Beyond the University: Why Liberal Education Matters and Safe Enough Spaces: A Pragmatist's Approach to Inclusion, Free Speech, and Political Correctness on College Campuses. He's been a Professor of History and the Humanities since 1983, was the Founding Director of the Scripps College Humanities Institute, and was the Associate Director of the Getty Research Institute. His scholarly interests center on how people make sense of the past, and he has authored eight books around this topic, including his latest, The Student: A Short History.https://www.wesleyan.edu/academics/faculty/mroth/profile.htmlhttps://yalebooks.yale.edu/book/9780300250039/the-student/www.wesleyan.eduhttps://twitter.com/mroth78www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

Michael S. Roth is President of Wesleyan University. His books include Beyond the University: Why Liberal Education Matters and Safe Enough Spaces: A Pragmatist's Approach to Inclusion, Free Speech, and Political Correctness on College Campuses. He's been a Professor of History and the Humanities since 1983, was the Founding Director of the Scripps College Humanities Institute, and was the Associate Director of the Getty Research Institute. His scholarly interests center on how people make sense of the past, and he has authored eight books around this topic, including his latest, The Student: A Short History.“So I wrote this book and it was a lot of fun because I had to learn so much. The book examines three iconic teachers: Confucius, Socrates, and Jesus. And I look at how each of those teachers encourage a certain kind of student. The student as follower, someone who will take on the path that you've developed. In the case of Socrates, the student as critical interlocutor or critical conversation partner, someone who will, in dialogue with you, learn what they don't know, how to take things apart. And in the case of Jesus and the apostles, I look at trying to imitate a way of life to transform themselves to strive towards being the kind of person that Jesus incarnated. And so that's the beginning of the book, these models of studenthood, if I could use that word, and being a teacher. And then I look at the way in which these ideas reverberate in the West across a long period of time. So I'm interested in the idea of the student before there were schools. What did we expect young people to learn even when they weren't going to school?”https://www.wesleyan.edu/academics/faculty/mroth/profile.htmlhttps://yalebooks.yale.edu/book/9780300250039/the-student/www.wesleyan.eduhttps://twitter.com/mroth78www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

Michael S. Roth is President of Wesleyan University. His books include Beyond the University: Why Liberal Education Matters and Safe Enough Spaces: A Pragmatist's Approach to Inclusion, Free Speech, and Political Correctness on College Campuses. He's been a Professor of History and the Humanities since 1983, was the Founding Director of the Scripps College Humanities Institute, and was the Associate Director of the Getty Research Institute. His scholarly interests center on how people make sense of the past, and he has authored eight books around this topic, including his latest, The Student: A Short History.“I've been President now for more than 15 years, and we've created I think six new interdisciplinary colleges in that period. There were two when I started, and they had been there for 50 years, but we've created a College of the Environment, a College of Film and the Moving Image, a College of Education, College of Integrated Sciences, College of East Asian Studies, and a College of Design and Engineering, the newest one. And I love these things because they bring different disciplines. In the College of the Environment, you can have a biologist, a dancer, an anthropologist, and an economist, and they're all worrying about a certain problem in environmental studies, but they come at it from different perspectives, and they join together in their work. That's extremely exciting.”https://www.wesleyan.edu/academics/faculty/mroth/profile.htmlhttps://yalebooks.yale.edu/book/9780300250039/the-student/www.wesleyan.eduhttps://twitter.com/mroth78www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

What is the purpose of education? How are we educating students for the future? What is the importance of the humanities in this age of AI and the rapidly changing workplace?Michael S. Roth is President of Wesleyan University. His books include Beyond the University: Why Liberal Education Matters and Safe Enough Spaces: A Pragmatist's Approach to Inclusion, Free Speech, and Political Correctness on College Campuses. He's been a Professor of History and the Humanities since 1983, was the Founding Director of the Scripps College Humanities Institute, and was the Associate Director of the Getty Research Institute. His scholarly interests center on how people make sense of the past, and he has authored eight books around this topic, including his latest, The Student: A Short History.“So I wrote this book and it was a lot of fun because I had to learn so much. The book examines three iconic teachers: Confucius, Socrates, and Jesus. And I look at how each of those teachers encourage a certain kind of student. The student as follower, someone who will take on the path that you've developed. In the case of Socrates, the student as critical interlocutor or critical conversation partner, someone who will, in dialogue with you, learn what they don't know, how to take things apart. And in the case of Jesus and the apostles, I look at trying to imitate a way of life to transform themselves to strive towards being the kind of person that Jesus incarnated. And so that's the beginning of the book, these models of studenthood, if I could use that word, and being a teacher. And then I look at the way in which these ideas reverberate in the West across a long period of time. So I'm interested in the idea of the student before there were schools. What did we expect young people to learn even when they weren't going to school?”https://www.wesleyan.edu/academics/faculty/mroth/profile.htmlhttps://yalebooks.yale.edu/book/9780300250039/the-student/www.wesleyan.eduhttps://twitter.com/mroth78www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

Michael S. Roth is President of Wesleyan University. His books include Beyond the University: Why Liberal Education Matters and Safe Enough Spaces: A Pragmatist's Approach to Inclusion, Free Speech, and Political Correctness on College Campuses. He's been a Professor of History and the Humanities since 1983, was the Founding Director of the Scripps College Humanities Institute, and was the Associate Director of the Getty Research Institute. His scholarly interests center on how people make sense of the past, and he has authored eight books around this topic, including his latest, The Student: A Short History.“I've been President now for more than 15 years, and we've created I think six new interdisciplinary colleges in that period. There were two when I started, and they had been there for 50 years, but we've created a College of the Environment, a College of Film and the Moving Image, a College of Education, College of Integrated Sciences, College of East Asian Studies, and a College of Design and Engineering, the newest one. And I love these things because they bring different disciplines. In the College of the Environment, you can have a biologist, a dancer, an anthropologist, and an economist, and they're all worrying about a certain problem in environmental studies, but they come at it from different perspectives, and they join together in their work. That's extremely exciting.”https://www.wesleyan.edu/academics/faculty/mroth/profile.htmlhttps://yalebooks.yale.edu/book/9780300250039/the-student/www.wesleyan.eduhttps://twitter.com/mroth78www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

What is the purpose of education? How are we educating students for the future? What is the importance of the humanities in this age of AI and the rapidly changing workplace?Michael S. Roth is President of Wesleyan University. His books include Beyond the University: Why Liberal Education Matters and Safe Enough Spaces: A Pragmatist's Approach to Inclusion, Free Speech, and Political Correctness on College Campuses. He's been a Professor of History and the Humanities since 1983, was the Founding Director of the Scripps College Humanities Institute, and was the Associate Director of the Getty Research Institute. His scholarly interests center on how people make sense of the past, and he has authored eight books around this topic, including his latest, The Student: A Short History.“There's definitely a shift that occurs in the West from education is really giving you the ability to take your place in society, to education as being able to create your space in society. And so for most of human history in the West, education was to show you where you would fit in, and you may have had a couple of options or not, but you were going to fit in, and you were educated in such a way as to enable that fitting. In the modern period that changes. It's less about fitting in than it is about opening a space for flourishing or for creativity or freedom. And I spend a fair amount of time in the book on college students and those privileged folks who get to extend their formal education in ways that are supposed to open themselves up to creativity, transformation, and eventually participation in the system. That creates their schools in the first place.”https://www.wesleyan.edu/academics/faculty/mroth/profile.htmlhttps://yalebooks.yale.edu/book/9780300250039/the-student/www.wesleyan.eduhttps://twitter.com/mroth78www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

What is the purpose of education? How are we educating students for the future? What is the importance of the humanities in this age of AI and the rapidly changing workplace?Michael S. Roth is President of Wesleyan University. His books include Beyond the University: Why Liberal Education Matters and Safe Enough Spaces: A Pragmatist's Approach to Inclusion, Free Speech, and Political Correctness on College Campuses. He's been a Professor of History and the Humanities since 1983, was the Founding Director of the Scripps College Humanities Institute, and was the Associate Director of the Getty Research Institute. His scholarly interests center on how people make sense of the past, and he has authored eight books around this topic, including his latest, The Student: A Short History.“So I wrote this book and it was a lot of fun because I had to learn so much. The book examines three iconic teachers: Confucius, Socrates, and Jesus. And I look at how each of those teachers encourage a certain kind of student. The student as follower, someone who will take on the path that you've developed. In the case of Socrates, the student as critical interlocutor or critical conversation partner, someone who will, in dialogue with you, learn what they don't know, how to take things apart. And in the case of Jesus and the apostles, I look at trying to imitate a way of life to transform themselves to strive towards being the kind of person that Jesus incarnated. And so that's the beginning of the book, these models of studenthood, if I could use that word, and being a teacher. And then I look at the way in which these ideas reverberate in the West across a long period of time. So I'm interested in the idea of the student before there were schools. What did we expect young people to learn even when they weren't going to school?”https://www.wesleyan.edu/academics/faculty/mroth/profile.htmlhttps://yalebooks.yale.edu/book/9780300250039/the-student/www.wesleyan.eduhttps://twitter.com/mroth78www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

I'm shining the spotlight on Chris Norris, the exec from Electronic Arts who's dialing up the positive play in gaming communities. Chris is the Senior Director of Player Connection at EA.I had a great conversation, treading the path of evolution of social interactions in video games - from the cozy comfort of couch co-op play to making friends in the far reaches of the globe. We also explored how game makers developers can inspire better behavior in players and debunk the widespread belief that gamers are antisocial. Chris and I also delve into the exciting prospects of how using cues from physical spaces can create palpable experiences in the digital world. We're not just talking about games; we're talking about fostering positive social interactions in gaming spaces, and you're invited to join the conversation.This episode was hosted by Jamin Warren. Music was provided by Lusine.For more insights, signup for my newsletter.Jamin Warren founded Gameplayarts, an advisory that helps museums and cultural organizations engage with the world of gaming. He provides them with the research, strategy, and execution they need to reach gamers for the first–or millionth–time. Gameplayarts' past and present clients organizations like MoMA, the Getty Research Institute, Tribeca Enterprises, and PBS.

“African American history is American history. You can't tell it without talking about the contributions, the questions, the very heart of the creativity of African American culture.” As a poet and director of the Smithsonian's National Museum of African American History and Culture , Kevin Young thinks a lot about how African American culture is a crucial part of American culture. From blues music to poetry, from cakewalk dances to Black Twitter, Young draws connections across time as he discusses a wide range of art forms and cultural phenomena. In this episode, hosted by Getty Research Institute associate curator Dr. LeRonn Brooks, Young discusses his poetry and the visibility and influence of African American art across mediums and history. Young is the Andrew W. Mellon Director of the Smithsonian's National Museum of African American History and Culture and the poetry editor of The New Yorker. He has published fifteen books of poetry and prose and is the recipient of numerous awards and honors, including the Graywolf Press Nonfiction Prize and the PEN Open Book Award, and fellowships from the Guggenheim Foundation and MacDowell Colony. He was also finalist for the National Book Critics Circle Award for criticism. For images, transcripts, and more, visit https://blogs.getty.edu/iris/art-and-poetry-connecting-stories-at-the-national-museum-of-african-american-history-and-culture/ or http://www.getty.edu/podcasts To learn more about Kevin Young, visit https://kevinyoungpoetry.com/

“What I tell my students—and most of them are writers—is that the only way for them to get to a place where they're making what they should be making, writing what they should be writing, is to work from a place of courage.” Claudia Rankine is a skilled poet, playwright, essayist, and professor. She explores, across genres, how the act of witnessing is necessary in maintaining the social contract. During this period of immense global change, witnessing as an act is a powerful act for artists, who can incisively question the moral trajectory of a nation. In this episode, hosted by Getty Research Institute associate curator Dr. LeRonn Brooks, Rankine shares her thoughts on the role art and artists play in determining the course of history, her approach to teaching a new generation of artists, and the importance of introspection and intention in shaping our collective future. Rankine is professor of creative writing at New York University. She is the author of three plays and six collections, including Citizen: An American Lyric and Don't Let Me Be Lonely; she has also edited several anthologies, including The Racial Imaginary: Writers on Race in the Life of the Mind. In 2016, she co-founded The Racial Imaginary Institute (TRII). Her most recent book is Just Us: An American Conversation (Graywolf, 2020). She is a recipient of numerous awards and honors, including MacArthur, Lannan Foundation, and Guggenheim fellowships. For images, transcripts, and more, visit https://blogs.getty.edu/iris/art-and-poetry-how-to-witness-the-world/ or http://www.getty.edu/podcasts To learn more about Claudia Rankine, visit https://as.nyu.edu/faculty/claudia-rankine.html

“I think you can see that from my work, that I try to put everything I know in there and everything I don't know. I'm looking for stuff that I don't know, in that pursuit of, like, a daily practice.” Terrance Hayes is fascinated by creating records of daily life. With a background in visual art and poetry, he has a nuanced understanding of what constitutes writing and reading across mediums. His work as a teacher also touches everything he does. In this episode, hosted by Getty Research Institute associate curator Dr. LeRonn Brooks, Hayes discusses his creative practice, as well as the possibilities of radical imagination in recording one's life. Hayes is professor of creative writing at New York University. He is the author of the National Book Award finalist How to Be Drawn (Penguin, 2015) and Lighthead (2010), which won the 2010 National Book Award and was a finalist for the National Book Critics Circle Award. His numerous honors include a Whiting Writers Award and fellowships from the National Endowment for the Arts, United States Artists, the Guggenheim, and the MacArthur Foundation. For images, transcripts, and more, visit https://blogs.getty.edu/iris/art-and-poetry-recording-everyday-life/ or http://www.getty.edu/podcasts To learn more about Terrance Hayes, visit https://terrancehayes.com/

Episode No. 598 features artist Faye HeavyShield and curator Glenn Phillips. The Pulitzer Arts Foundation in Saint Louis is presenting "Faye HeavyShield: Confluences," a career-spanning presentation of HeavyShield's work that includes drawings, sculptures and installations, and two commissions that engage the landscapes and histories of the Saint Louis region. HeavyShield's spare, often minimal vocabulary and use of modest materials often addresses land, traditional Kainai stories, and HeavyShield's experiences in the residential school system. The exhibition, which was curated by Tamara Schenkenberg, will be on view through August 6. A member of the Kainai (Blood) Nation, part of the Blackfoot Confederacy, Heavyshield lives and works in the foothills of southern Alberta. Phillips discusses "Barbara T. Smith: The Way to Be," a presentation of work from the first 50 years of Smith's career (1931-81). Phillips co-curated the exhibition with Pietro Rigolo. It's on view at the Getty Research Institute in Los Angeles through July 16. Smith is a pioneering second-wave feminist artist whose work addressed the seemingly limited options available to women from Smith's class and racial background. Phillips worked with Smith to present the exhibition in her own voice, which coincides with the Getty's publication of Smith's memoir, "The Way to Be: A Memoir." Amazon and Bookshop offer it for $24-46.

durée : 00:41:59 - Les Nuits de France Culture - par : Albane Penaranda - La fabrique de l'histoire - Reims, ville martyre. 1918-1924 Au micro d'Emmanuel Laurentin, l'historien de l'art Thomas Gaehtgens revenait sur l'événement qu'avait été la destruction de la cathédrale de Reims, sur la manière dont son bombardement marqua profondément la suite du conflit et la relation entre les peuples français et allemand. Reims a été, au début de la Grande Guerre, le lieu d'un moment déterminant de l'histoire entre la France et l'Allemagne. Peut-être davantage encore que la destruction à 60% de la ville de Reims, le bombardement de la cathédrale du sacre des rois de France en septembre 14, fut, côté français, la preuve irréfutable de la barbarie allemande. * C'était une manifestation flagrante de la guerre sans merci que déclarait la Kultur germanique à la Civilisation française. Un événement qui marquait alors l'acmé d'un affrontement passionné de plusieurs décennies autour de la paternité de l'art gothique. En novembre 2018, "La fabrique de l'histoire_"_ accueillait Thomas Gaehtgens - historien de l'art, et directeur du Getty Research Institute à Los Angeles jusqu'à fin 2018 - dont venait de paraître La cathédrale incendiée. Reims, septembre 1914.  Au micro d'Emmanuel Laurentin, Thomas Gaehtgens revenait sur l'événement qu'avait été la destruction de la cathédrale de Reims, sur la manière dont son bombardement marqua profondément la suite du conflit et la relation entre les peuples français et allemand, y compris pour ceux que l'on supposait les moins sujets aux aveuglements nationalistes. Avec Thomas Gaehtgens (historien de l'art, premier directeur du Centre allemand d'histoire de l'art de Paris et directeur du Getty Research Institute à Los Angeles). Par Emmanuel Laurentin  Réalisation Thomas Dutter Extrait : La fabrique de l'histoire - Reims, ville martyre. 1918-1924 (1ère diffusion : 06/11/2018) Indexation web : Documentation Sonore de Radio France

Ep.144 features Dr. Tiffany E. Barber is a prize-winning, internationally-recognized scholar, curator, and critic whose writing and expert commentary appears in top-tier academic journals, popular media outlets, and award-winning documentaries. Her work spans abstraction, dance, fashion, feminism, film, and the ethics of representation, focusing on artists of the Black diaspora working in the United States and the broader Atlantic world. Her latest curatorial project, a virtual, multimedia exhibition for Google Arts and Culture, examines the value of Afrofuturism in times of crisis. Dr. Barber is currently Assistant Professor of African American Art at the University of California-Los Angeles as well as curator-in-residence at the Delaware Contemporary. Prior to joining the faculty at UCLA, she was Assistant Professor of Africana Studies and Art History at the University of Delaware. She has completed fellowships at ArtTable, the Delaware Art Museum, the University of Virginia's Carter G. Woodson Institute for African-American and African Studies, and the Getty Research Institute. Dr. Barber is the recipient of the Smithsonian's 2022 National Portrait Gallery Director's Essay Prize. Photo credit: Jawara King Website Tiffany E. Barber – Scholar/Curator/Writer (tiffanyebarber.com) National Portrait Gallery https://www.si.edu/newsdesk/releases/national-portrait-gallery-announces-winner-2022-directors-essay-prize-scholars UCLA https://arthistory.ucla.edu/faculty-profiles/tiffany-barber/ University of Delaware https://www.arthistory.udel.edu/people/barber Hyperallergic https://hyperallergic.com/738214/national-portrait-gallery-directors-essay-prize-winner-2022/ Culture Type https://www.culturetype.com/tag/tiffany-e-barber/ Southern Cultures https://www.southerncultures.org/article/looking-for-abolition/ LinkedIn https://www.linkedin.com/in/tiffanyelizabethbarber/ Frieze https://www.frieze.com/article/blondell-cummings-moving-pictures-2022-review Book Print Collective https://www.bookprintcollective.com/tiffany-e-barber Mixed Race Studies https://mixedracestudies.org/?tag=tiffany-barber Quarantine Public Library https://www.quarantinepubliclibrary.com/how-to-break-up-with-white-supremacy-by-tiffany-barber

Guest: Andrew D. Turner is a senior research specialist at the Getty Research Institute, his work focuses on ancient Mesoamerican material culture, religion, and symbolism.  He is the editor of Códice Maya de Mexico; Understanding the Oldest Surviving Book of the Americas. Images: Getty Research Institute The post KPFA Special- Códice Maya de Mexico, the Oldest Surviving Book of the Americas appeared first on KPFA.

Episode No. 566 of The Modern Art Notes Podcast features artist B. Ingrid Olson and curator Idurre Alonso. The Carpenter Center for the Visual Arts at Harvard University is presenting two concurrent B. Ingrid Olson exhibitions, "History Mother," and "Little Sister" through December 23. Each exhibition is on a separate floor of CCVA's building. Olson's exhibitions feature site-specific presentations that engage with doubling and mirroring, gendered forms, the interplay between photography and sculpture, and between the body and the built environment. The exhibitions were curated by Dan Byers. A catalogue will be available. This week, the Secession in Vienna closed an exhibition of Olson's work titled "Elastic X." In addition, Olson's work has previously been featured in solo presentations at the Albright-Knox Art Gallery in Buffalo, NY and at The Renaissance Society at the University of Chicago. Alonso discusses her new exhibition "Reinventing the Américas: Construct. Erase. Repeat" at the Getty Research Institute in Los Angeles. The exhibition considers the ways in which artists have helped construct ideas about the Western Hemisphere, particularly in the decades after the arrival of Europeans. It is on view through January 8, 2023. Instagram: B. Ingrid Olson, Idurre Alonso, Tyler Green.

For the second half of the 20th century, Ebony Magazine and Jet Magazine were the sources of news and entertainment for the African American community. It was in these magazines, put out by the Johnson Publishing Company, where you could find news and images of Black celebrities, writers, artists, and political activists, as well as snapshots of Black life in our own neighborhoods. The Johnson Publishing Company was founded in 1942 by John and Eunice Johnson. This week, ownership of the Ebony and Jet photo archives was transferred over to the Smithsonian National Museum of African American History and Culture and the Getty Research Institute. And as a result, millions of images as well as audio and video recordings from the Johnson Publishing archives will be preserved and eventually available to the public. The Takeaway spoke with Dr. Carla Hayden, the 14th Librarian of Congress and the first African American and the first woman to hold the post. Dr. Hayden led a board of experts who helped determine where and how to preserve these archives.