Podcast appearances and mentions of ghada amer

In this episode of Platemark, I talk with Judith Solodkin, a renowned master printer and founder of SOLO Impression. Judith shares her extensive experience, from being the first woman to graduate from the Tamarind Master Printer program to her unique work in digital embroidery. She reflects on her collaborations with notable artists like Louise Bourgeois and Sonya Clark, and her teaching role at various art institutions. We talk bout Judith's passion for wearable art, specifically her creation of one-of-a-kind hats. Additionally, we discuss the technical and collaborative aspects of printmaking and embroidery, as well as the importance of documenting and preserving artistic processes and works. Cover image: Grace Graupe-Pillard USEFUL LINKS https://www.millinersguild.org/ https://www.soloimpression.com/ @judithsolodkin Platemark website Sign-up for Platemark emails Leave a 5-star review Support the show Check out Platemark on Instagram Join our Platemark group on Facebook June Wayne. Near Miss, 1996. Lithograph. 26 x 32 ½ in. Printed and published by SOLO Impression, Bronx. Joyce Kozloff. Now, Voyager I, 2007. Color lithograph with glitter. 31 ½ x 31 ½ in. Printed and published by SOLO Impression, Bronx. James Rosenquist (American, 1933–2017). Paper Clip, 1974. Ten-color lithograph. 36 ½ x 69 in. (92.7 x 175.3 cm.). Published and printed by Petersburg Press. Nancy Spero (American, 1926–2009). Torture in Chile, from the A. I. R. Print Portfolio, 1975. Lithograph. Sheet and image: 22 1⁄4 x 30 in. (56.5 x 76.2 cm.). Smithsonian American Art Museum, Washington, D.C. Dotty Attie. The Forbidden Room, 1998. Lithograph. Sheet: 18 x 24 in. Printed and published by SOLO Impression, Bronx. Howardena Pindell. Peters Squares Waterfall Johnson Vermont, 1986. Color woodcut with collage on various Asian papers. 26 1/2 x 36 in. Printed and published by SOLO Impression, Bronx. Lois Dodd. Mirror, 1975. Stone lithograph. 15 x 18 in. Printed and published by SOLO Impression, Bronx. Alice Neel. Portrait of Judith Solodkin, 1978. Lithograph. 30 x 22 in. Printed and published by SOLO Impression, Bronx. Philip Pearlstein (American, 1924–2022). Iron Bed and Plastic Chair, 1999. Oil on canvas. 59 ½ x 39 1/2 in. Judith Solodkin hats at Winterthur Museum, Garden & Library, Winterthur, DE. Judith Solodkin in one of her own creations. Louise Bourgeois (American, born France, 1911–2010). The Song of the Blacks and the Blues, 1996. Lithograph and woodcut with hand additions. Sheet: 21 ¾ x 96 in (55.3 x 243.8 cm.). Printed and published by SOLO Impression. Museum of Modern Art, NY. Louise Bourgeois (American, born France, 1911–2010). Ode à l'Oubli, 2004. Fabric illustrated book with 35 compositions: 30 fabric collages and 5 lithographs (including cover). Overall: 10 5/8 x 13 3/8 x 3 3/16 in. (27 x 34 x 8.2 cm.). Printed by SOLO Impression, published by Peter Blum Edition. Museum of Modern Art, NY. Elaine Reichek (American, born 1943). Collections for Collectors: 2006 Spring, 2006. Portfolio of 17 digital embroideries on linen. Each: 15 ½ x 12 ½ in. (39.4 x 31.8 cm.). Printed and published by SOLO Impression. Ghada Amer and Reza Farkondeh. The Perfumed Garden, 2006. Lithograph with digitized sewing. 20 ½ x 24 in. Printed and published by SOLO Impression, Bronx. Allan McCollum. The Shapes Project: Threaded Shapes Coll No.21–2883, 2005/2009–10. 144 framed ovals with digitized embroidered shapes on cotton fabric (each shape is unique). Each frame: 11 1/4 x 9 1/4 in. Fabricated by Judith Solodkin, Theodore Yemc, and Rodney Doyle; published by SOLO Impression, Bronx. Kent Henricksen (American, born 1974). White Ghost, Black Ghost, 2012. Two digital embroideries. Each: 8 ½ x 5 in. (21.6 x 12.7 cm.). Printed and published by SOLO Impression. Sonya Clark. The Huest Eye, 2023–24. Embroidered thread on Rives BFK paper. 36 x 24 in. Printed by SOLO Impression, Bronx; published by Goya Contemporary/Goya-Girl Press, Baltimore. Liliana Porter. Red Girl, 2006. Digital embroidery and thread on paper. 22 x 17 ½  in. Printed and published by SOLO Impression, Bronx. Howard Hodgkin (British, 1932–2017). Moonlight, 1980. Lithograph on two sheets. 44 x 55 ¼ in. (111.8 x 140.3 cm). Printed by SOLO Impression, published by Bernard Jacobson Ltd. National Gallery of Australia, Canberra. Michael Mazur. Wakeby Night, 1986. Lithograph with chine collé, woodcut, and monoprint. 66 x 30 in. Printed and published by SOLO Impression, Bronx. Françoise Gilot (French, 1921–2023). Music in Senegal, 2017. Color lithograph. 18 x 24 in. Printed and published by SOLO Impression. Robert Kushner (American, born 1949). Nocturne, 1988. Color lithograph. 25 x 37 in. Printed and published by SOLO Impression. Joe Zucker (American, born 1941–2024). The Awful Heat Wastes Man and Beast No. 4, 1985. Lithograph, silver foil, and varnish. 36 x 48 in. Printed and published by SOLO Impression. Christian Marclay. Untitled, 1991. Unique surface print. 39 x 39 in. Printed and published by SOLO Impression, Bronx. John Hejduk. The Flight, from the series Zenobia, 1990. Lithograph. 25 x 17 in. Printed and published by SOLO Impression, Bronx. John Torreano. Emerald, from the series Oxygems, 1989. Color woodcut with embossing. 30 x 36 in. Printed and published by SOLO Impression, Bronx. Judy Chicago (American, born 1939). What if Women Ruled The World?, 2022. Inket print on fabric with digital embroidery. 33 1/2 × 24 in. (85.1 × 61 cm.). Printed and published by SOLO Impression. Betye Saar. Blow Top Blues, The Fire Next Time, 1998. Color lithograph, hand coloring, photo electric collage. 27 x 22½ in. Printed and published by SOLO Impression, Bronx. Beryl Korot. Weaver's Notation – Variation 1,2013. Embroidery and inkjet print. 21 ¼ x 21 ¼ in. Printed and published by SOLO Impression, Bronx. Artist Ivan Forde in his photo-sensitive paper jacket and Powerhouse Arts Printshop director Luther Davis at IFPDA Print Fair, October 2023. Louise Bourgeois (American, born France, 1911–2010). Henriette, 1998. Lithograph and digital print. Sheet: 45½ x 31½ in. Printed and published by SOLO Impression. Museum of Modern Art, NY.    

Ghada Amer was born in Cairo, Egypt in 1963 and moved to Nice, France when she was eleven years old. She remained in France to further her education and completed both of her undergraduate requirements and MFA at Villa Arson École Nationale Supérieure in Nice (1989), during which she also studied abroad at the School of the Museum of Fine Arts in Boston, Massachusetts in 1987. In 1991 she moved to Paris to complete a post-diploma at the Institut des Hautes Études en Arts Plastiques. Following early recognition in France, she was invited to the United States in 1996 for a residency at the University of North Carolina, Chapel Hill. She has since then been based in New York.   Ghada's work is in public collections around the world including The Arab Museum of Modern Art, Doha; the Art Institute of Chicago, Chicago, IL; the Barjeel Art Foundation, Sharjah; the Brooklyn Museum of Art, New York, NY; Centre Georges Pompidou, Paris; Chrysler Museum of Art, Norfolk, VA; Crystal Bridges Museum of American Art, Bentonville, AR; the Guggenheim Museum, Abu Dhabi; the Israel Museum, Jerusalem; the Samsung Museum, Seoul; among others. She is regularly invited to prestigious group shows and biennials-such as the Whitney Biennial in 2000 and the Venice Biennales of 1999 (where she won the UNESCO Prize), 2005 and 2007. She was recognized with a mid-career retrospective at the Brooklyn Museum of Art in New York in 2008 and a larger, more extensive one at the MUCEM and across other venues in Marseille, France in 2022. Amer studied at the Villa Arson École Nationale Supérieure in Nice, France, at the School of the Museum of Fine Arts in Boston, MA, and at the Institut des Hautes Études en Arts Plastiques in Paris. She lives and works in New York.

As a multidisciplinary artist, Ghada is as comfortable working with a needle and thread as she is with a paintbrush, or forging steel for sculptures or working on one-of-a-kind garden installations. She began exhibiting her work in the 90s, and her art continues to focus on women equality and female sexuality.  Ghada's work has been shown at the world's finest fairs and exhibition spaces, including, the Whitney Biennial and PS1 Contemporary Art Center in New York, at the Venice Biennale where she won the UNESCO Prize, at the Johannesburg Biennial, and the Istanbul Biennale among many others.  If you've enjoyed Ghada's story and want to hear more, we have a bonus episode for members where she tells me about her artistic process, and what's in her creative inbox. You can subscribe in Apple Podcasts or on our website, and you'll also get extra content from all our previous guests where we offer a deep dive into their worlds. Learn more about your ad choices. Visit megaphone.fm/adchoices

Selon la légende, l'île de Porquerolles en Méditerranée, dans le sud de la France, s'est créée alors qu'une princesse fuyant un prédateur mâle s'est transformée en île. Quel meilleur endroit donc pour une exposition dédiée aux femmes ?  Infinite Woman, qui peut se traduire par femme infinie ou indéfinissable, est le titre de la nouvelle exposition de la Fondation Carmignac nichée dans le parc national de l'île. Une exposition qui entend basculer les clichés et carcans dans lesquels sont enfermées les femmes à travers plus de quatre-vingts œuvres.Dès le début de l'exposition, le ton est donné. Deux œuvres se font face : La Vierge à la Grenade de Botticelli, figure de la femme asexuée portant son enfant, et une œuvre de Mary Beth Edelson qui reprend toutes les icônes féminines. Des figures païennes à des représentations contemporaines comme Michelle Obama ou Madonna. D'un côté une peinture conforme aux codes traditionnels patriarcaux, de l'autre une œuvre aux multiples féminités. « On va voulu sortir des oppositions binaires et entrer dans une forme de complexité, explique Charles Carmignac, directeur de la fondation. L'exposition est vraiment sur cette complexité infinie, Infinite Woman. Sur le caractère profondément indéfinissable des femmes. »Ainsi, au fil d'un parcours thématique, une soixantaine d'artistes nous font traverser des figures féminines au-delà du binôme vierge ou tentatrice, la femme est force créatrice, être sexuel en quête de plaisir. Ghada Amer, l'artiste égyptienne, cache des images érotiques de femme au cœur d'une forêt dans son œuvre de broderie.Broderie, céramique, art du tapis, autant de formes artistiques cantonnées à l'artisanat féminin et qui rivalisent ici avec la grande peinture. Celle-ci est toutefois très présente aussi. « L'œuvre marquante, pour moi, est celle de Michael Armitage, un artiste kényan, confesse Charles Carmignac. C'est une peinture extraordinaire dans laquelle on voit un événement qui s'est passé en 2014 à Nairobi, au Kenya. Une femme qui était vêtue de manière incorrecte selon certains hommes là-bas, et qui l'ont déshabillée, molestée sur la place publique. Une peinture extraordinaire. »Une œuvre où l'on voit une femme nue de dos entourée par des jambes d'hommes. Une peinture puissante à l'instar de toute l'exposition.

Selon la légende, l'île de Porquerolles en Méditerranée, dans le sud de la France, s'est créée alors qu'une princesse fuyant un prédateur mâle s'est transformée en île. Quel meilleur endroit donc pour une exposition dédiée aux femmes ?  Infinite Woman, qui peut se traduire par femme infinie ou indéfinissable, est le titre de la nouvelle exposition de la Fondation Carmignac nichée dans le parc national de l'île. Une exposition qui entend basculer les clichés et carcans dans lesquels sont enfermées les femmes à travers plus de quatre-vingts œuvres.Dès le début de l'exposition, le ton est donné. Deux œuvres se font face : La Vierge à la Grenade de Botticelli, figure de la femme asexuée portant son enfant, et une œuvre de Mary Beth Edelson qui reprend toutes les icônes féminines. Des figures païennes à des représentations contemporaines comme Michelle Obama ou Madonna. D'un côté une peinture conforme aux codes traditionnels patriarcaux, de l'autre une œuvre aux multiples féminités. « On va voulu sortir des oppositions binaires et entrer dans une forme de complexité, explique Charles Carmignac, directeur de la fondation. L'exposition est vraiment sur cette complexité infinie, Infinite Woman. Sur le caractère profondément indéfinissable des femmes. »Ainsi, au fil d'un parcours thématique, une soixantaine d'artistes nous font traverser des figures féminines au-delà du binôme vierge ou tentatrice, la femme est force créatrice, être sexuel en quête de plaisir. Ghada Amer, l'artiste égyptienne, cache des images érotiques de femme au cœur d'une forêt dans son œuvre de broderie.Broderie, céramique, art du tapis, autant de formes artistiques cantonnées à l'artisanat féminin et qui rivalisent ici avec la grande peinture. Celle-ci est toutefois très présente aussi. « L'œuvre marquante, pour moi, est celle de Michael Armitage, un artiste kényan, confesse Charles Carmignac. C'est une peinture extraordinaire dans laquelle on voit un événement qui s'est passé en 2014 à Nairobi, au Kenya. Une femme qui était vêtue de manière incorrecte selon certains hommes là-bas, et qui l'ont déshabillée, molestée sur la place publique. Une peinture extraordinaire. »Une œuvre où l'on voit une femme nue de dos entourée par des jambes d'hommes. Une peinture puissante à l'instar de toute l'exposition.

Annemieke Bosman in gesprek met Rebecca Nelemans. Rebecca Nelemans stelde samen met Hendrik Driessen de h3h biënnale samen in de kloosters van de Heilige Driehoek in het Noord-Brabantse Oosterhout. De 3h3 biënnale (voorheen Kunst in de Heilige Driehoek) is een hedendaagse kunst biënnale van internationale allure. Thema dit jaar is 'Geloof'. Op uitnodiging van de curatoren Hendrik Driessen en Rebecca Nelemans tonen 25 kunstenaars uit binnen- en buitenland nieuwe en bestaande werken, geïnspireerd door de unieke locatie en de rijke historische en spirituele tradities. Het zijn onder anderen Ghada Amer, Maarten Baas, David Bade, David Claerbout, Folkert de Jong, Alicja Kwade, Fiona Tan en Dré Wapenaar. Daarnaast is er ook werk geselecteerd van de overleden kunstenaars Piet den Blanken en JCJ Vanderheyden. De kunstwerken die te zijn variëren van schilderijen, sculpturen, (geluids)installaties, fotografie en video, tot monumentale ingrepen in het landschap.

La ville de Marseille ouvre trois de ses grands musées à l'artiste franco-américano-égyptienne Ghada Amer. Le Mucem, la vieille charité et le fond régional pour l'Art contemporain présente les multiples aspects du travail de cette artiste entre Orient et Occident. Celle à qui la classe de peinture avait été interdite a fait de ses broderies sur toile sa marque de fabrique. Rencontre avec l'artiste à Marseille avant son retour à New-York où elle vit et crée depuis 25 ans.

La ville de Marseille ouvre trois de ses grands musées à l'artiste franco-américano-égyptienne Ghada Amer. Le Mucem, la vieille charité et le fond régional pour l'Art contemporain présente les multiples aspects du travail de cette artiste entre Orient et Occident. Celle à qui la classe de peinture avait été interdite a fait de ses broderies sur toile sa marque de fabrique. Rencontre avec l'artiste à Marseille avant son retour à New-York où elle vit et crée depuis 25 ans.

Welcome to the Dior Talks podcast series themed around the seventh edition of Dior Lady Art and hosted by Paris-based journalist Katya Foreman. For this year's event, 11 artists from around the world have participated in a game of metamorphosis by rendering the iconic Lady Dior handbag as a unique piece of art.   Born in Cairo, Egypt, raised in France and now based out of Harlem, New York, artist Ghada Amer — the first Egyptian artist to participate in the project — drew on her anger at women's exclusion from the history of art to develop her own language of painting based on embroidery.   The feminist artist, whose universe celebrates women, women's bodies, and women's rights, and whose mediums range from sculpture to gardening, describes her Lady Dior designs as “protest” pieces.    “That was more interesting for me than just making a beautiful bag,” says Amer who took inspiration from a garden installation titled ‘Women's Qualities,' created in different renditions for different locations around the world.    For the project, the artist used flowers and plants to spell out different qualities used to describe women that she gathered during polls with locals, forming “sculpture gardens.” A selection of these words, including ‘strong,' ‘resilient' and ‘determined,' are embroidered on her Lady Dior bags. One features a textured inside-out effect inspired by the tactile nature of her works.    “I want women to feel all of these qualities. For me, it's important to be empowered,” says Amer. “A bag is a very important object for a woman. It's with her all the time when she's outside. And when you are outside, you are the most vulnerable. So, it's important to always remember these qualities.”   The bags' handles, meanwhile, are based on the artist's ‘Thought Series' which featured sculptures created with her left hand. “They are colourful and abstract; they look like my thoughts,” says the artist whose name features in the bags' iconic charms.     Tune into the episode to learn more about her fascinating world. 

“Always be upset. We can go backwards, we can lose rights. If you don't fight for what you have, you will lose it.” The artist talks to Danielle about her upcoming retrospective at MUCEM in Marseille and how she uses feminism, politics and humour in her work.

Marianne Boesky established her eponymous gallery in New York in 1996. Since its inception, the gallery has represented and supported the work of emerging and established contemporary artists of all media and genres. In its first decade, the gallery was instrumental in launching the careers of major artists including Barnaby Furnas, Takashi Murakami, Yoshitomo Nara, Sarah Sze, and Lisa Yuskavage. The gallery currently represents many significant international artists, including Ghada Amer, Jennifer Bartlett, Sanford Biggers, Pier Paolo Calzolari, Donald Moffett, and Frank Stella. Boesky relocated her flagship gallery from SoHo to Chelsea in 2001, and in 2016, the gallery expanded its flagship location to include its adjacent space on West 24th Street. In 2017, Boesky opened a location in Aspen, Colorado; she has organized temporary exhibition spaces in Europe and in cities across the United States. She and Zuckerman discuss family legacy, audacity, learning from artists, bank loans, consiglieres, vision, looking at everything, being a mom in the artworld, mentoring, and not rushing!

This podcast features Vincent Katz class of 1978. Vincent is a poet, translator, critic, editor, and curator. He is the author of fifteen books of poetry, including Broadway for Paul and Previous Glances: an intense togetherness. He won the 2005 National Translation Award, given by the American Literary Translators Association, for his book of translations from Latin, The Complete Elegies of Sextus Propertius. He was awarded a Rome Prize Fellowship in Literature at the American Academy in Rome for 2001-2002. Vincent has done book collaborations with artists, including James Brown, Rudy Burckhardt, Francesco Clemente, Wayne Gonzales, and Alex Katz, and with poets, including Anne Waldman. He writes frequently on contemporary art and has published reviews, articles, and essays on a wide range of visual artists, including Ghada Amer and Reza Farkondeh, Jennifer Bartlett, Janet Fish, Nabil Nahas, Kiki Smith, Beat Streuli, and Cy Twombly. He curated a museum exhibition about Black Mountain College and he curated "Street Dance: The New York Photographs of Rudy Burckhardt" for the Museum of the City of New York.

This week, Maria talks to Jordan and the listeners about the life and work of Ghada Amer, an Egyptian-born contemporary artist who now resides in New York. Through an in-depth conversation about the complexities of her identity as an artist of the diaspora, in addition to the toxic patriarchal environment she faced in graduate school, find out more about what makes Amer who she is today, and why she so passionately stands by referring to her embroidery as painting.

Today on the Tales of a Red Clay Rambler Podcast I have an interview with Kelly Schnorr. She is an artist and educator based in the San Diego area where she teaches ceramics at Coronado High School. We talk about time management, effective teaching methods for high school age students, and how to design a studio that can cycle through over one hundred and fifty students each day. In addition to her teaching Kelly makes ceramic sculpture about the consumption and disposability built into modern capitalist societies. You can see examples of her work at https://artaxis.org/kelly-schnorr/.   On today’s AMACO Community Corkboard with have the Greenwich House Pottery Residency and fellowship. Greenwich House Pottery is a nonprofit ceramic arts center in the heart of New York City that has been supporting and encouraging a diverse range of ceramic art, and the emerging and underrepresented artists who make it for over 116 years. GHP’s Residency and Fellowship Program has existed since at least the early 1960s when Jane Hartsook invited Peter Voulkos to teach and work in the Pottery, but was relaunched in its current iteration in 2015, when Ghada Amer was invited to be a long-term resident. Applications are due April 1. For more information visit www.greenwichhousepottery.org.   Ceramic Materials Workshop is a proud sponsor of the Tales of a Red Clay Rambler. Ceramic Materials Workshop is a place online to learn about how materials really work. We’ve been teaching about glazes at the most prestigious ceramic universities for years, and now our classes are open to everyone around the world online. Class sessions begin every January, April, July and October 1st, or try our new self-guided online workshop the Middle Glazes: The Story of Mid Temperature Glazes available now. Use the coupon code REDCLAY, all one word, for 25% off the Middle Glazes for a limited time. Find out more and sign up at www.ceramicmaterialsworkshop.com.

Michael Petry, author, artist and Director of the Museum of Contemporary Art in London talks with Emmy Winner Charlotte Robinson host of OUTTAKE VOICES™ about his new book “The Word Is Art” that addresses how contemporary global artists incorporate text and language into their works that speaks to some of the most pressing issues of the 21st century. In the digital and online age words have become more important than ever with text becoming information and information striving to become a free form of expression. “The Word Is Art” looks at the work of a diverse range of artists including Annette Messager, Barbara Kruger, Cerith Wyn Evans, Christian Marclay, Christopher Wool, Chun Kwang Young, eL Seed, Fiona Banner, Ghada Amer, Glenn Ligon, Harland Miller, Jenny Holzer, Kay Rosen, Laure Prouvost, Martin Creed, Rachel Whiteread, Raymond Pettibon, Roni Horn, Tania Bruguera, Zhang Huan and many more interpreting how the digital and online age have made words more important than ever. “The Word Is Art” takes us on a fascinating and richly illustrated tour interpreting these trending global art forms. We talked to Michael about his inspiration for creating this book and his spin on our LGBTQ issues. When asked what his personal commitment is to LGBTQ civil rights Petry stated, “I’m one of the ancients who’s been around fighting for LGBTQ rights since the early eighties and I’ve been involved in so many different ways over the years. I consider myself queer because I think that is a broader term that for me represents who I am and what I think and part of that commitment as a queer who is an artist and who also is an author and a curator is to try and bring queer artists to the foreground of the art world. We only have to think back a few years to realize that LGBTQ artists were very marginalized and that’s still the case for many people. In the LGBTQ movement every year I curate a Pride Exhibition in London which I really hope to introduce LGBTQ artists not only to that community but to the straight community and I work within all the structures that are available whether that’s museums or the corporate structure to get that recognition for LGBTQ people because I think what is at issue in the broader political sphere is this notion of fear. Fear of others and of course that fear is not limited to the general public. It’s also in the art world.” Michael Petry has written a number of books, including “Installation Art”, “The Art of Not Making: the new artist/artisan relationship”, “Nature Morte: Contemporary Artists Reinvigorate the Still-Life Tradition” and his most recent work “The Word Is Art” all published by Thames & Hudson. In 2019 he will be speaking and exhibiting his work worldwide.For More Info: michaelpetry.com Hear 450+ LGBT Interviews @OUTTAKE VOICES

Chit Chat with artist Ghada Amer + Curator Justine Ludwig discussing Amer's exhibition at Dallas Contemporary, "Ceramics, Knots, Thoughts, Scraps."

American identity has been idealized as a homogenous “melting pot” of cultures. Art historian Claudia Mesch explores how cultural exchange has informed artmaking in the Americas. A discussion with artists Jeffrey Gibson and Ghada Amer, follows.

This Week: Lisa Freiman In this weeks episode Duncan talks to Lisa Freiman of the Indianapolis Museum of Art. This wide-ranging discussion looks at her work with the 2011 Venice Biennial/Jennifer Allora and Guillermo Calzadilla, what it takes to make a relevant sculpture park, and what is up with our neighbor in the blogosphere Art Babel. Hold onto your hats it's bound to be a bumpy ride. Lisa appears with the generous support of SAIC's Visiting Artist Program and we thank them for their assistance. And special thanks go out to Andrea Green and Thea Liberty Nichols.  The following bio was "borrowed" remorselessly from the 54th international art exhibition known as the Venice Biennial. Maybe you've heard of it? Lisa D. Freiman is senior curator and chair of the Department of Contemporary Art at the Indianapolis Museum of Art. In fall 2010, Freiman was appointed by the United States Department of State to be commissioner of the U.S. Pavilion in the 54th International Art Exhibition, La Biennale di Venezia. In 2011, she will present six newly commissioned, site-responsive works by Puerto Rico-based artists Allora & Calzadilla, the first collaborative to be presented in the U.S. Pavilion. Under Freiman’s vision and direction, the IMA opened 100 Acres: The Virginia B. Fairbanks Art & Nature Park to international critical acclaim in June 2010. 100 Acres offers a new  resilient model for sculpture parks in the 21st century, emphasizing experimentation, place-making, and public engagement with a constantly changing constellation of commissioned artworks. Inaugural installations included works by eight artists and artist collaboratives from around the world including Atelier Van Lieshout, Kendall Buster, Jeppe Hein, Alfredo Jaar, Los Carpinteros, Tea Mäkipää, Type A, and Andrea Zittel.   During her eight-year tenure at the IMA, Freiman has transformed the experience of contemporary art in Indianapolis. She has created a dynamic and widely  renowned contemporary art program that has become an influential model for encyclopedic museums as they engage the art of our time. Actively seeking out the works of emerging and established international artists, Freiman continues to provide a platform to support artists’ work through major traveling exhibitions, commissions, acquisitions, and publications. She has realized major commissions by artists including Robert Irwin, Kay  Rosen, Tony Feher, Orly Genger, Julianne Swartz, and Ghada Amer, and curated numerous exhibitions of works by international contemporary artists including  Amy Cutler, Ingrid Calame, Maria Magdalena Campos-Pons, Ernesto Neto, and Tara Donovan. Freiman has published extensively on contemporary art, including books on Amy Cutler (Amy Cutler, Hatje Cantz, 2006), and María Magdalena Campos-Pons (María Magdalena Campos-Pons: Everything Is Separated by Water, Yale University Press, 2007), and Type A (Type A, Hatje Cantz, 2010).   Prior to joining IMA, Freiman worked as assistant professor of art history, theory, and criticism at the University of Georgia, Athens and served in the curatorial department of the Institute of Contemporary Art, Boston. She earned her doctorate and master’s degrees in modern and contemporary art history from Emory University and has a bachelor’s degree in art history from Oberlin College. Freiman is currently editing the first collection of Claes Oldenburg’s writings from the Sixties, which will be published by Yale University Press in London in 2013. She is also adapting her dissertation, “(Mind)ing The Store: Claes Oldenburg’s Psychoaesthetics,” into the first scholarly monograph on Claes Oldenburg entitled Claes Oldenburg and the Sixties.