Podcasts about gladstone gallery

Episode 475 / Banks VioletteBanks Violette is an artist born in Ithaca, NY who lives and works in Ithaca, NY. He recieved his BFA from the School of Visual Arts  and an MFA from Columbia University. He's had numerous solo shows including ones at MoCa, Connecticut, Gladstone Gallery, Blum & Poe, Thaddeus Ropac, Maureen Paley, Team Gallery, Rodolphe Janssen, and the Whitney Museum to name just a few. He's had scores of group shows all over the globe from the Museum of Modern Art to the Warhol Museum and his work is in the collections of The Coppel Foundation, MexicoThe Ellipse Foundation, Portugal, The Centre Pompidou, Paris, France, Frank Cohen Collection, Manchester, England The Jumex Foundation, Mexico, Los Angeles County Museum of Art, Los Angeles, Migros Museum für Gegenwartskunst, Zurich, Switzerland Musée d'Art Moderne et Contemporain, Geneva, Switzerland Museum of Contemporary Art, Los Angeles, Museum of Modern Art, New York, The OverHolland Collection, Amsterdam, The Netherlands The Saatchi Collection, London, UK, The Solomon R. Guggenheim Museum, New York, Frederick R. Weisman Art Foundation, Los Angeles and the Whitney Museum of American Art, New York. 

First published in Heavy Traffic V (Fall 2024), Mark Leckey's kaleidoscopic, transhistorical sojourn into the Eikonomachia (the 'image struggle') is presented here in radio play form w/ sound design and production also by Leckey. This reading is part of Heavy Traffic's New Models residency, which features pieces from the magazine read aloud by their authors. Heavy Traffic V of is out now. https://heavytrafficmagazine.com See also: 

This is a preview — for the full episode, subscribe. | https://newmodels.io https://patreon.com/newmodels https://newmodels.substack.com _ British artist Mark Leckey — creator of famed club culture docu-hallucination, Fiorucci Made Me Hardcore (1999), winner of the 2008 Turner Prize, and longtime NTS Radio host — discusses the terms of art-making in our technological present and our increasingly medieval relationship to representation. His show “3 Songs from the Liver” was on view at Gladstone Gallery, NY, Nov 2024 - Feb 2025. “AI outputs are not “images” as we know them. And if we try to understand them in that way, then we're really…. f*cked, you know?” Following this conversation, keep listening for “Enter Through Medieval Wounds” a radio play by Mark Leckey, which first appeared in essay form in Heavy Traffic V (Fall 2024). For more: https://markleckey.com https://www.nts.live/shows/mark-leckey https://www.gladstonegallery.com/exhibition/13694/3-songs-from-the-liver/installation-views Episode image adapted from Mark Leckey, "Carry Me into The Wilderness" (Icon), 2022

Keith Haring: Untitled (FDR NY) #5-22, 1984. Martos Gallery, Gladstone Gallery at Art Basel 2024 Unlimited. Basel (Switzerland), June 13, ...

Ep. 256: Amy Taubin on Leos Carax's It's Not Me, The Shrouds, Charles Atlas, Arthur Jafa, Man Ray, and More Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. The one and only Amy Taubin comes back to The Last Thing I Saw for a wide-ranging conversation about what she's been watching. That includes at least a couple of Cannes titles—Leos Carax's It's Not Me and David Cronenberg's The Shrouds—and New York repertory highlights from the spring: the enormous Charles Atlas retrospective at Anthology Film Archives (which is still ongoing through June), the Man Ray restorations touring with new Jim Jarmusch–led score, and Arthur Jafa's shattering reimagining of the brutal ending to Taxi Driver, titled “*****”, shown at the Gladstone Gallery. There are also shout-outs to the Antoinetta Angelidi revival in Prismatic Ground, a new Blu-ray of Too Much Sleep, and more. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

We meet artist Brook Hsu. We discuss other worlds, the power of storytelling, the colour green, the drive to make paintings and making art at your own pace.BROOK HSU (b. 1987 Pullman, Washington) deploys and weaves the autobiographical and the mythopoetic into paintings using an array of materials, including ink, oil paint, industrial carpets, and off-cuts of ready-made lumber. The sources for Hsu's imagery come from her own observations, sometimes arising from art history, film and literature.Working across painting, drawing, sculpture and writing, her works aim to question how we define representation today, producing abstract and figurative works that employ a host of signs and motifs, recounting stories of love, pain and humor. Hsu says of her practice, 'I seek to understand what we value in life by asking how we value the world.' Taiwanese-American artist Brook Hsu grew up in Oklahoma, received her BFA from the Kansas City Art Institute in 2010 and her MFA from Yale University in 2016. Hsu currently lives and works in New York and Wyoming. Recent solo exhibitions include: Kiang Malingue, Hong Kong (2022); Kraupa-Tuskany Zeidler, Berlin (2021); Manual Arts, Los Angeles, USA (2021); Bortolami Gallery, New York (2019). Group exhibitions include: Reference Material, Adler Beatty, New York (2022), The Practice of Everyday Life, Derosia Gallery, New York (2022), Sweet Days of Discipline, Hannah Hoffman, Los Angeles (2022); kaufmann repetto, New York and Milan (2021), More, More, More (curated by Passing Fancy), TANK, Shanghai (2020); LIFE STILL, CLEARING, New York (2020); The End of Expressionism, Jan Kaps, Cologne (2020); Polly, Insect Gallery, Los Angeles (2019-2020); A Cloth Over a Birdcage, Château Shatto, Los Angeles (2019); Finders' Lodge, in lieu, Los Angeles (2019); and Let Me Consider It from Here, The Renaissance Society, Chicago (2018-2019).Her work is part of the collections of X Museum, Beijing; Long Museum, Shanghai.Follow @Broooooooooooooook on Instagram. Thanks to Brook's galleries @KraupaTuskanyZeidlerand @KiangMalingueVisit KT-Z: https://www.k-t-z.com/artists/94-brook-hsu/Visit Kiang Malingue: https://kiangmalingue.com/artists/brook-hsu/See also Gladstone Gallery: https://www.gladstonegallery.com/exhibition/10551/brook-hsu/infoand this article from Various Artists: https://various-artists.com/brook-hsu/ Hosted on Acast. See acast.com/privacy for more information.

This week I want to return to the Seeda School newsletter originally published on December 4th, 2023 titled, “What is Your Creative Offer?”, subtitle: “A Questionnaire to Oneself”. In it I share why worldbuilding has been such an essential method for me. But “Why Worldbuilding?” is a question I've been getting again lately so I wanted to revisit the question inside this podcast in order to invite you to join me in building worlds as containers for actualizing our audacious desire. How? Stay tuned for the strategy, tip and affirmations to remember towards the end of the episode. Resources: Download the ⁠Creative Offer Questionnaire to Oneself⁠ Subscribe to ⁠Seeda School Substack⁠ for weekly podcast releases straight into your inbox Follow Ayana on Instagram: ⁠@ayzaco⁠ Follow Seeda School on Instagram: ⁠@seedaschool⁠ Revisit Newsletter — ”What is Your Creative Offer?: A Questionnaire to Oneself” Audre Lorde, “Uses of the Erotic: The Erotic As Power” (1978) Toni Morrison's Nobel Lecture from December 7, 1993 Cover Art: Wangechi Mutu, In Two Canoe, 2022. Bronze, 180 × 68 × 72 in (457.2 × 172.7 × 182.9 cm). Courtesy the artist and Gladstone Gallery. © Wangechi Mutu

On this episode I'm joined by Alteronce Gumby. Alteronce Gumby is an artist and local of New York City. His artistic practice includes painting, ceramics, installation and performance. Gumby's work has been exhibited at galleries such as Hauser & Wirth, Gladstone Gallery and Camden Arts Centre. Gumby graduated from the Yale School of Art with an MFA in Painting and Printmaking in 2016.  Using shards of tempered glass, gemstones, resins, and other unconventional materials, Alteronce Gumby creates luminous paintings that operate at the intersection of abstraction and representation. In his work, Gumby employs color as both material and metaphor, deftly harnessing its subtle effects and rich tonal relationships while also exploring color's capacity to create and convey meaning. His prismatic fields add new perspectives to the history of abstract painting by proposing deliberate connections between color, society and the universe. Alteronce conducts extensive research on his materials, examining their historical uses, kinetic abilities and ocular qualities. Once coalesced, these materials form unpredictable surfaces, alluding to the greater forces at play in the universe.Let's dive into my latest episode with Alteronce Gumby. It's filled with lots of lots as we talk all things, traveling, hip hop and doing what we do so kids who look just like us are inspired to realize their creative ambitions. 

In this episode of PhotoWork with Sasha Wolf, Sasha and photographer, Shirin Neshat discuss her latest multimedia project, Land of Dreams which combines photographs, video installation, and a feature length film. Shirin and Sasha talk about what brought Shirin back to making art after an 11 year hiatus and how Shirin thinks about her identity as an Iranian artist. https://www.gladstonegallery.com/artist/shirin-neshat/ https://www.instagram.com/shirin__neshat https://www.radiusbooks.org/all-books/p/shirin-neshat-land-of-dreams Shirin Neshat is an Iranian-born artist and filmmaker living in New York. Neshat has held numerous solo exhibitions at museums internationally including the Pinakothek der Moderne, Munich; Modern Art Museum of Fort Worth; The Broad, Los Angeles; Museo Correr, Venice, Italy, Hirshhorn Museum, and the Detroit Institute of Arts. Neshat has directed three feature-length films, Women Without Men (2009), which received the Silver Lion Award for Best Director at the 66th Venice International Film Festival, Looking For Oum Kulthum (2017), and most recently Land of Dreams, which premiered at the Venice Film Festival (2021). Neshat was awarded the Golden Lion Award, the First International Prize at the 48th Biennale di Venezia (1999), and the Praemium Imperiale award for Painting in (2017). She is represented by Gladstone Gallery in New York and Goodman Gallery in London.

Today we are visiting with the one and only Shirin Neshat, who hardly needs introduction. If you've ever taken an art history class that covers video art, photography, international cinema, or for that matter contemporary opera, you've definitely seen Shirin's work. Since her debut exhibition in 1993 at Franklin Furnace, Shirn's work has offered a deeply personal yet universal perspective on womanhood, power, corruption, trauma, and the female body as the battleground of social and political manipulation. All of this in Shirin's work is of course informed very much by her experience as an Iranian immigrant, who moved to the US at age seventeen just prior to the revolution, and since then has lived ostensibly in exile. These themes in her work however are quite universal, which is something Shirin spoke to expensively in our chat when we discussed her latest work which just so happens to be on view as we speak. Her latest exhibition at Gladstone Gallery titled The Fury is on view until March 4th, you've got a whole month to check it out, and this show features new works including a photo series and a large video installation in Shirin's signature black and white with two channels of video on opposite walls, that harkens all the way back to her iconic 1998 video installation Turbulent. We discuss all this and more in our chat, as well as Shirin's perspective on the ongoing protests and movement in Iran sparked by the death of Masha Amini — which of course is deeply related to the themes that have been present in Shirin's work for decades.Today's episode, and the many more artist interviews coming your way this year was made possible thanks to generous support from wonderful folks at the Kramlich Art Foundation.Links from the conversation with Shirin> The Fury: https://www.gladstonegallery.com/exhibition/10596/the-fury/installation-views Get access to exlusive content - join us on Patreon!> https://patreon.com/artobsolescenceJoin the conversation:https://www.instagram.com/artobsolescence/Support artistsArt and Obsolescence is a non-profit podcast, sponsored by the New York Foundation for the Arts, and we are committed to equitably supporting artists that come on the show. Help support our work by making a tax deductible gift through NYFA here: https://www.artandobsolescence.com/donate

Ben Luke talks to Anicka Yi about her influences—from the worlds of literature, music and, of course, art—and the cultural experiences that have shaped her life and work. Yi creates installations and objects that sit on the borders of art and science. Drawing on research into biology, and particularly macrobiotics, but embedded in geopolitics, Yi's work calls for a deep sensory engagement from the viewer, with smell as important as sight. In fusing different categories of knowledge, she questions what she calls “the increasingly hazy taxonomic distinctions between what is human, animal, plant and machine”. She discusses being “possessed” by the formal language of Isamu Noguchi and inspired by the breadth of Rosemarie Trockel's work; she reflects on the impact of John Ashbery's poetry and how Donna Haraway prompted her series When Species Meet (2016). Plus, she gives insight into life in her studio (and how it compares to a laboratory) and answers our usual questions, including: what is art for?Anicka Yi, Gladstone Gallery, 24th Street, New York, 6 October-12 November Hosted on Acast. See acast.com/privacy for more information.

This week on the show we're in the artist's studio visiting the one and only Arthur Jafa. From his extensive work in cinema, to his video art, sculpture, and other mixed media work shown in a contemporary art context – AJ's work is often an embodiment of Black identity in America, and he is often cited with being a leader among a generation of artists creating defining a distinctly Black cinematic language. This extends as well into current projects on the more infrastructural / business side of the film industry in the form of his project Sun Haus. Visiting with AJ and hearing his story was a real treat, and it is one with many twists and turns – in our chat we trace his story all the way from growing up in Tupelo Mississippi in the 60s and 70s to today. and he takes us deeply inside the full kaleidoscope of influences, vibrations, and inspirations that he picked up along the way, and has integrated into his work as an artist and film maker: From gospel music – to James White and the Contortions, and from Oscar Micheaux to 2001 a Space Odyssey. Tune in to hear AJ's story!This episode is brought to you thanks the generous support of the Kramlich Art FoundationLinks from the conversation with Arthur Jafa> SunHaus: https://sunhaus.us/> Gladstone Gallery: https://www.gladstonegallery.com/artist/arthur-jafa/worksGet access to exlusive content - join us on Patreon!> https://patreon.com/artobsolescenceJoin the conversation:https://twitter.com/ArtObsolescencehttps://www.instagram.com/artobsolescence/Support artistsArt and Obsolescence is a non-profit podcast, sponsored by the New York Foundation for the Arts, and we are committed to equitably supporting artists that come on the show. Help support our work by making a tax deductible gift through NYFA here: https://www.artandobsolescence.com/donate

This episode is also available as a blog post: https://thecitylife.org/2022/04/01/times-square-arts-presents-joan-jonas-wolf-lights-for-april-midnight-moment-co-presented-with-gladstone-gallery/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/citylifeorg/message Support this podcast: https://anchor.fm/citylifeorg/support

Jessica Dickinson was born in St. Paul, MN and has lived and worked in Brooklyn, New York since 1999. She received an MFA from Cranbrook Academy of Art in 1999 and BFA from Maryland Institute College of Art in 1997. Dickinson has presented solo exhibitions at James Fuentes, New York; Altman Siegel, San Francisco; David Petersen Gallery, Minneapolis; and Maister raval buena, Madrid. Group exhibitions include “New Ruins,” American University Art Museum, Washington D.C.; “See Sun and Think Shadow,” Gladstone Gallery, New York; “Room by Room: Monographic Presentations from The Faulconer and Rachofsky Collections,” The Warehouse, Dallas; “Come Through,” Sikkema Jenkins, New York; and “Besides, With, Against, and Yet: Abstraction and The Ready Made Gesture,” The Kitchen, New York. Works by Dickinson are held in the collections of the Solomon R. Guggenheim Museum, New York and The Rachofsky House, Dallas. Dickinson's awards include a residency at Steep Rock Arts in Washinton, CT (2017), an individual grant from the Belle Foundation (2013), Farpath Residency in Dijon, France (2008), Change Inc Grant (2003) and The Marie Walsh Sharpe Art Foundation Space Program in New York (2001).  Last summer James Fuentes presented “from”, an online exhibition of Dickinson’s notebook drawings made during New York City’s stay-at-home orders, and her current solo exhibition “With” is on view at James Fuentes in New York through Feb. 28, 2021

ArtXPuzzles is the brainchild of Rachel Vancelette who is currently the owner of Vancelette Global Art Acquisitions Corp, a multi-faceted contemporary art and fashion creative agency dedicated to uniting contemporary and modern art, art, travel, lifestyle, design, and fashion. Vancelette provides global art acquisition services focusing on both modern and contemporary art markets and provides consultation to international art collectors and art and fashion industry clientele. She has remained a contributor for Vogue Italia since 2010, along with Vogue International reaching multiple global markets. She continues to contribute as a top art industry specialist for both arts and fashion industry magazines including Metropolitan Magazine, Mandatory, Urban Mindz, Sculpture among others, focusing on the ongoing conversation between the art and fashion industries. With experience in the international art market in France, Italy, Spain, London, Korea, Japan and New York, Ms. Vancelette has held positions as senior director including Curatorial Director De Buck Gallery, NYC, Managing Director at fordPROJECT, Curator/Manager of the Domus Collection Beijing/New York, Senior Director of Barbara Gladstone’s 21st Street Gallery, and Senior Director for Yvon Lambert, New York. In 2007, she opened Yvon Lambert Gallery 21st Street location with artist Richard Jackson, working alongside noted architect Richard Gluckman. Ms. Vancelette launched the Gladstone Gallery 21st Street location in 2008 with artist Anish Kapoor, a gallery designed by architect Annabelle Selldorf. With a certification in art appraisal and expertise in blue-chip, mid-career and emerging artist sectors of the contemporary art market, she has provided private art consultation services including acquisition, sales, appraisal, and curatorial management for leading art collectors, artists and art advisors; multiple private and public art collections; non-profits, art foundations and museums in Asia, Europe, South America and the United States. ArtXPuzzles.com for more info --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Amidst a climate of uncertainty and social distancing due to COVID-19, writer and e-flux journal contributing editor Elvia Wilk and artist Anicka Yi discuss various changing global ecologies, viral and otherwise. Their original in-person conversation was planned on the occasion of Tate Modern’s selection of Yi for the annual Hyundai / Turbine Hall commission.  A symbiotic organism in its own right, Anicka Yi's work fuses multi-sensory experience with synthetic and evolutionary biology to form lush bio-fictional landscapes. Utilizing a “biopolitics of the senses,” Yi challenges traditional approaches to the human sensorium, emphasizing olfaction as well as microbial and embodied intelligence. Through her research and “techno-sensual” artistic exploration, Yi is opening new discourse in the realms of cognition, artificial intelligence and machine learning, introducing concepts of the sensorial ecology of intelligence, the machine microbiome, machine ecosystems, and “biologized” machines. Maintaining a practice focused on co-subjectivity, Yi’s projects include collaborations with engineers, robots, synthetic and microbiologists, computer scientists, perfumers, ant and bacterial colonies, algae, tempura-fried flowers, and snails.  Anicka Yi lives and works in New York City. Her recent solo exhibitions include Gladstone Gallery, Brussels; the Solomon R. Guggenheim Museum, New York; Fridericianum, Kassel; Kunsthalle Basel; List Visual Arts Center, Cambridge, Massachusetts; The Kitchen, New York; and The Cleveland Museum of Art. Yi’s work was also featured in the 58th Venice Biennale, 2019. Yi has screened her film, The Flavor Genome, at the 2017 Whitney Biennial and the International Film Festival of Rotterdam, 2017. In 2016, she was awarded the Hugo Boss Prize for outstanding achievement in contemporary art. She is represented by Gladstone Gallery and 47 Canal, New York.  Yi's Hyundai Commission at Tate’s Turbine Hall is scheduled to open in October 2020. It will be curated by Mark Godfrey, senior curator; Petra Schmidt, production manager; and Carly Whitefield, assistant curator.

It's our 50th episode! Listen as we play dead with superstar stylist, creative director of Interview Magazine, and New York City legend-in-the-making Mel Ottenberg and writer, director of the Gladstone Gallery, and co-host of the podcast The C Word with Lena Dunham, Alissa Bennett! We lounge around in Mel's ultrafabulous apartment right before the Oscars to discuss death, glamour, and rap sheets, along with topics as varied and psychically harrowing as haunted botany, possessed rats, 1970s design, Jim Walrod, IF Boutique Soho, Kenny Kenny, Candy Charms, Voluma Galore, Astro Erle, lip injections, dying alone, scary dolls, Sculptra, Alissa's late '90s modeling career, i-D magazine, Hussein Chalayan, dangerous beauties, bad actresses, Blake Lively, Judy Garland, Janis Joplin, Jackie Jorpjump, gossip, gangbangs, J.Lo's halftime show, O.J.'s bronco chase, Sante Kimes, Vanity Fair, Dominick Dunne, glamour grifters, our own personal arrest records, Renee Zellweger's Oscar dresses, Jennifer Lopez's acting career, Rosie Perez on the witness stand, Harvey Weinstein's trial, and so much gossip between the lines we had to make this two episodes! Head over to patreon.com/notreally for Part 2, our very first MURDER SPECIAL you won't want to miss. 

Yi Liu is a US-based Chinese(Mandarin)-English bilingual actress, trained in NYC and has credits in theater, films, documentaries, and contemporary art. The short film Joy Joy Nails, starring Yi Liu,  premiered at Tribeca Film Festival in April of 2017.  She also starred in“Li-Yan, 2016”, directed by world-renowned French artist Philippe Parreno, which was exhibited in Gladstone Gallery in New York, 2016. She also starred in the short film “The Daydreaming Bunny”, which received millions of viewers after it was released, and had a principle role the short film “The Walker” which won Best Short in 2016 Alicante Film Festival. Yi used to follow the crowd and wanted to be liked by everyone.  When started learning to say no to things that don't serve her, that is when she started to stand up for herself and showcased her authentic self versus the Asian woman stereotype. Check out thetaoofselfconfidence.com for show notes of Yi's episode, Yi's website, resources, gifts and so much more.

Ellen Berkenblit is a painter who was born in Paterson, New Jersey and graduated from the Cooper Union in 1980. She received an Arts and Letters grant from the American Academy of Arts and Letters in 2013, and a Guggenheim Fellowship in the following year. She has solo shows at the Anton Kern Gallery, The Drawing Center, Rodolphe Janssen, Susanne Vielmetter, White Columns and group exhibitions at many venues including Gladstone Gallery, MOMA, Brand New Gallery, the MCA in Chicago, the Centre Pompidou, Derek Eller, Essex Flowers and the New Museum. Her work has been covered in just about every art publication and she’s in the collections of the Aspen Art Museum, the Brooklyn Museum, MoMa, the Whitney Museum and many more. Brian went to Ellen’s Gowanus studio to talk to her about early East Village days, punk rock, fabrics, process and physicality in painting and much more. Sound & Vision is sponsored in part by Charter Coffeehouse located on Graham Avenue in East Williamsburg, Brooklyn, one block from the Graham L Stop. Charter combines dedication and skill, refined over a decade in some of the most detail-oriented dining experiences in the world, and applies them to your daily coffee experience. Find out more at www.chartercoffee.com or follow them on Instagram at @charter_bk Sound & Vision is also sponsored by Kensington Panel and Stretcher who offers high quality custom surfaces for painting and mixed media artwork. All products are hand made and designed to meet the highest standards of strength and stability. To learn more or place an order, visit them online at kensingtonpanels.com.

“There's no goal to being an artist—you keep doing it and then, in theory, one dies,” says Carroll Dunham, who Allan Schwartzman describes as one of the greatest painters of the past 40 years. Art is a “kind of lustful driving forwards” for Dunham, who has moved from abstraction to figuration over the course of his varied career. Works from his “Wrestlers” series are currently on show at Gladstone Gallery in New York (until 16 June). “I wanted to try to find a male equivalent to the women that I had been drawing and painting, which I had thought of as being rather primeval in some way,” Dunham says. “They are naked white guys beating the crap out of each other. I'm not claiming any special relevance or meaning for these things. They just allow me to keep making paintings.” Dunham talks to Schwartzman and host Charlotte Burns about how his life and work—and the broader art community—have changed since moving from the bustle of New York, where he spent his early career, to the solitude of rural Connecticut. Known for his incisive writing about other artists' work, Dunham discusses how this exercise has helped his practice. The essays included in the recently published Into Words: The Selected Writings of Carroll Dunham (2017) represented "a diagram of my issues with myself and things I was grappling with in my own work”, he says. For this, and much more, tune in today.  Transcript link: http://www.artagencypartners.com/transcript-carroll-dunham/ “In Other Words” is a presentation of AAP and Sotheby's, produced by Audiation.fm.

“There’s no goal to being an artist—you keep doing it and then, in theory, one dies,” says Carroll Dunham, who Allan Schwartzman describes as one of the greatest painters of the past 40 years. Art is a “kind of lustful driving forwards” for Dunham, who has moved from abstraction to figuration over the course of his varied career. Works from his “Wrestlers” series are currently on show at Gladstone Gallery in New York (until 16 June). “I wanted to try to find a male equivalent to the women that I had been drawing and painting, which I had thought of as being rather primeval in some way,” Dunham says. “They are naked white guys beating the crap out of each other. I’m not claiming any special relevance or meaning for these things. They just allow me to keep making paintings.” Dunham talks to Schwartzman and host Charlotte Burns about how his life and work—and the broader art community—have changed since moving from the bustle of New York, where he spent his early career, to the solitude of rural Connecticut. Known for his incisive writing about other artists’ work, Dunham discusses how this exercise has helped his practice. The essays included in the recently published Into Words: The Selected Writings of Carroll Dunham (2017) represented "a diagram of my issues with myself and things I was grappling with in my own work”, he says. For this, and much more, tune in today.  Transcript link: http://www.artagencypartners.com/transcript-carroll-dunham/ “In Other Words” is a presentation of AAP and Sotheby’s, produced by Audiation.fm.

This week: San Francisco checks in with a great interview. Bad at Sports contributors Brian Andrews and Patricia Maloney sat down with artist Takeshi Murata and sound designer Robert Beatty on November 9, 2013, at Ratio 3, in San Francisco, to discuss Murata’s most recent digitally animated video, OM Rider (2013). OM Rider follows two animated creatures: a wizened old man that Andrews describes as “half the Curious George Man in the Yellow Suit, half like the butler from Rocky Horror Picture Show,” and a hipster wolf, which rides a moped through a barren landscape and performs other aimless tasks. The video begins with the creature playing a synthesizer that gives the video its title. Om Rider contains Murata’s characteristic absurd humor and aesthetic, which mixes highly attuned lighting and composition with more retro modeling and minimalist, almost antiseptic spaces. Takeshi Murata was born in 1974 in Chicago. In 1997, he graduated from the Rhode Island School of Design, where he studied film, video, and animation. He currently lives and works in Saugerties, New York. Murata has exhibited at the New Museum, New York; the Museum of Modern Art, New York; the Museum of Fine Arts, Houston; the Fondazione Sandretto Re Rebaudengo, Turin, Italy; Sikemma Jenkins & Co., New York; Gladstone Gallery, New York; and Salon 94, New York. Murata’s work is featured in the collections of the Hirshhorn Museum and Sculpture Garden, Washington DC; DESTE Foundation for Contemporary Art, Athens; and The Smithsonian Museum of American Art. FYI, AP will post an excerpted text version of this interview on Dec. 3, and the link for that conversation should be: http://www.artpractical.com/column/interview-with-takeshi-murata/ And here is a related review Brian wrote for his previous show: http://www.artpractical.com/review/get_your_ass_to_mars_andrews/

Konstnär Cecilia Edefalk är den nu levande, svenska, konstnär som säljer för högst summor. Redan vid sin första utställning 1988 såldes alla tavlorna innan utställningen öppnade. I Sommar i P1 berättar hon om hur uppmärksamheten och de höga priserna påverkat henne negativt. - Jag hade svårt att glädjas åt det, det blev ett krav istället. I programmet påpekar Edefalk också felaktigheter som står om henne i Nationalencyklopedin. Att hon utgår från sitt eget självporträtt, att hon jobbar med ”massmediernas och reklamens upprepningar” är helt felaktiga beskrivningar av hennes måleri menar hon. - Det förödande är att en felaktighet till sist blir en sanning om den upprepas tillräckligt många gånger, säger Edefalk i Sommar i P1. Jag kommer öppna en ny burk inom kort och då kommer det bli ett annat ljud i skällan. Dessutom avslöjar hon att hon för samtal med August Strindbergs ande.  - Han har haft åsikter om mitt måleri, mitt kärleksliv och min konst. Om Cecilia Edefalk En av Sveriges mest internationellt kända konstnärer. Beskrivs ofta som landets dyraste nu levande konstnär. Har skapat såväl tavlor som skulpturer, fotografi och videoverk – ofta med människor och natur som motiv. Började på Konstfack i Stockholm som 18-åring och hade sin första separatutställning i Malmö 1988. En av målningarna därifrån, Baby, såldes för 6,9 miljoner kronor 2010. Har ställt ut flera gånger USA, bland annat på prestigefyllda Gladstone Gallery i New York. Är väldigt svag för dans. Producent: Karsten Thurfjell