Podcasts about global art

In this episode of Bad at Sports, Daniel Tucker travels to Seoul, South Korea, to attend the Arts in Society conference 2024, where he sits down with two influential figures in the global arts community. Solana Chehtman, a New York-based cultural producer and curator originally from Buenos Aires, joins Daniel as a plenary speaker at the conference. Solana is currently the Director of Artist Programs at Joan Mitchell Foundation, where she focuses on supporting visual artists through unrestricted funding and career development opportunities. Her commitment to equity in the arts has shaped her roles as the inaugural Director of Creative Practice and Social Impact at The Shed and Vice President of Public Engagement at Friends of the High Line. Solana's extensive experience includes teaching at the MA in Arts Administration at Baruch College and collaborating with organizations such as Artadia and Creative Capital. Jaeyong Park, a curator, writer, and translator based in Seoul, shares insights from his work at the Seoul Reading Room and as an organizer at Curating School Seoul. Jaeyong co-founded Work on Work and has curated numerous impactful projects, including "HIT and RUN" and "The Ideological Guide to Venice Biennale." His individual projects, such as "TOTAL RECALL" and "Center for Selfie Studies," explore themes of technology, connectivity, and social context in art. As a researcher, Jaeyong delves into structural changes in the art system in Korea and Asia, emphasizing the intersection of art and society. Join Daniel Tucker as he engages Solana Chehtman and Jaeyong Park in a conversation that delves into their experiences, perspectives, and the evolving landscape of arts and culture on a global scale. https://artsinsociety.com/2025-conference https://artsinsociety.com/ https://www.joanmitchellfoundation.org/solana-chehtman https://www.jaeyongpark.net/  

Alessio Antoniolli, the visionary behind Triangle Network joins Ceri in this episode. Alessio shares his thrilling journey working with artists from every corner of the globe, revealing the trials, triumphs, and transformative lessons that have shaped his remarkable career. Prepare to be inspired and discover how embracing curiosity, resourcefulness, and a fearless approach to challenges can unlock your own creative potential. KEY TAKEAWAYS Immersing yourself in a community of artists can feed your passion and inspire you to pursue your work with unwavering dedication. Resourcefulness and a "yes, I can do that" spirit are crucial when figuring things out as you go, and reimagining possibilities with artists. Embrace trial and error alongside friends and peers, learning from mistakes and building resilience through tough love and honesty. Surround yourself with enablers who encourage you to take action without overthinking, and don't hesitate to ask for help when needed. Dream big and wish for more; with enough determination, those wishes can become reality. View every challenge as an opportunity for transformation, and keep an open mind when encountering art that you don't immediately understand. Stay true to your practice and be motivated by your own research, other artists, and the process of making, rather than solely focusing on financial outcomes. Embrace the fear and discomfort that comes with transitioning to new roles or seasons in your life, as it allows you to redefine who you are and explore new possibilities. BEST MOMENTS  "I realised pretty quickly that what I enjoyed and where I got such satisfaction and my curiosity was fulfilled was to be around artists.” "I think the artists that in my mind are thriving and doing a very solid in their practice are those that don't stop being curious and don't stop thinking about process because, of course, the pressures of the market and the glory that comes out of the, you know, everybody needs to be paid properly." "I am very interested in artists that kind of through their work open new paths for different ways of living. Whether it's your response to the environment, whether it's, which of course it's a massive urgency, whether it's your response to politics, whether it's your, uh, response to gender and sexuality, whether it's your response to identity." "I genuinely value it. And I know that I'm not alone in this. So, if I can continue in some way, in a very small way to keep opening doors, then I'd feel I've fed myself, but I've also given something to something that is bigger than me." "I think the beauty for me of working with artists is that you start to unpick it and you start to have, ‘oh, here's an example of how you can think about yourself, here's an example of how you can think about that'." "I'm also trying to kind of keep a little time to feel the fear of who am I and and see if I can start giving different answers to it." PODCAST HOST BIO Meet Ceri Hand, the driving force behind countless creative success stories. A creative coach, entrepreneur, and dynamic speaker, she's committed to empowering creatives to realise their dreams and make a meaningful impact through her creative coaching, mentoring and training company. With three decades in the arts under her belt, Ceri has ridden the highs, the lows, and everything in between. Now, she's here to help you achieve your goals, your way. **** Book Your Personal Consultation or Explore Group Coaching Options To schedule a personalised 1-2-1 session with Ceri or explore our group coaching options, simply email us at hello@cerihand.com. Join "Unlock Your Artworld Network" Embark on your journey to success in the artworld! Enrol in our 5-step self-study video course, "Unlock Your Artworld Network," and gain the tools and confidence to build a powerful network that opens doors for you. https://cerihand.com/courses/unlock_your_artworld_network/ Discover How We Empower Creative Excellence Unlock your full creative potential with our tailored support. Visit www.cerihand.com to learn more about how we can help you become an extraordinary creative.

The eighth annual Art Basel & UBS Global Art Market Report, authored by renowned cultural economist Clare McAndrew, once again provides a comprehensive, macroeconomic analysis of the state of the global art market in the preceding 12 months. We discuss the findings with McAndrew, Art Basel CEO Noah Horowitz and UBS Global Wealth Management chief economist Paul Donovan.See omnystudio.com/listener for privacy information.

There are many things to talk about this week. A US District Court issued an opinion disrupting the beneficial ownership registry. The UK Financial Conduct Authority issued a letter to CEOs about the inadequacy of compliance with money laundering regulations. An op-ed about avoidance of sanctions in the US art market. An investigative article into facilitating shell companies. John and Elliot discuss all these items and their meaning for the financial crime compliance community.

From its beginnings in the 19th century, flamenco has had a significant international impact. Flamenco artists toured half the world with their art, and foreigners composed many flamenco musical pieces in the 19th century. In this episode, we see some stories showing intense flamenco activity, especially in American and European countries. We also hear flamenco music composed by French composer Gabrielle Ferrari. --- Send in a voice message: https://podcasters.spotify.com/pod/show/forgottensoundsflamenco/message

Marie Vickles tells us about bringing the arts to people — and people to the arts. She is the director of education at the Perez Art Museum and she's also the curator-in-residence at the Little Haiti Cultural Complex.

As Art Basel begins we are discussing this year's Art Basel & UBS Global Art Market Report. It contains annual deep-dive research that provides a comprehensive, macroeconomic analysis of the state of the global art market. So what does the latest edition reveal? Find out with report author and Arts Economics founder Clare McAndrew, Marco Antonini from UBS Art Advisory and UBS chief economist Paul Donovan.See omnystudio.com/listener for privacy information.

The Medicis and Florence, Luxembourg and its Freeport, London and New York with their auction houses. Successful financial centres are also successful centres for art. How are art and finance related to each other? Can art elevate the standing of financial centres? Can financial centres help artists? Can art become an asset class? The World Alliance for International Financial Centres (WAIFC) and its members will be examining this subject this year. Keiichi Aritomo, Executive Director of FinCity, Tokyo and Chair of WAIFC for 2023 and 2024 will discuss why this is an important topic for financial centres and what challenges he wishes to address with WAIFC. Adriano Picinati di Torcello, Director of Deloitte Luxembourg as a financial services practitioner has been working on the intersection between art and finance for more than 20 years and is one of the architects of Luxembourg's art and finance cluster. Dennis Layton, Senior Advisor of McKinsey & Company is launching an art investment platform, Ikon Exchange which he describes as a “stock exchange for fine art” that provides art enthusiasts with an opportunity to own art and museums with cash flow to help them continue their work. We will discuss the following questions and themes: Can art be a financial asset class? Can we expect a return? Protection of artwork and artists as an “S” in ESG Financial centres are expensive and can become inhabitable for artists. How can we balance gentrification and the creative energy artists can bring? Find our more about this event on our website: https://www.zyen.com/events/all-events/international-financial-centres-the-power-of-art/ Interested in watching our webinars live, or taking part in the production of our research? Join our community at: https://bit.ly/3sXPpb5 Speakers: Keiichi Aritomo is the Executive Director of FinCity.Tokyo, which is to continuously promote Tokyo as a leading global financial city. He is also a co-founder and Board Director of JIAM (the Consortium for Japan International Asset Management Center). Keiichi used to be a Partner at McKinsey & Company, Deloitte, and PwC, where he specialized in the financial services industry and technology strategies across North America, Europe, Southeast Asia, and Japan. He has co-authored several books, including “Single View of Customer for Financial Institutions,” published by Kinzai and Shanghai Communication University Press in Japanese and Mandarin, respectively. He earned his MBA from the University of Warwick, in the UK, and his MSc from Nagoya Institute of Technology, majoring in Urban Transportation Planning. Adriano Picinati di Torcello, Director, Management Consulting, Global Art & Finance Coordinator of Deloitte General Services. Adriano is the Art & Finance coordinator for the Deloitte group of member firms and has over 25 years of professional experience. He is the Global Art & Finance Coordinator for the Deloitte network. Consultant for the Finance, Art business and Cultural sectors, he is in charge of Art & Finance at Deloitte Luxembourg, an initiative he has been coordinating since its beginning. Deeply involved in creating awareness of art and finance, Adriano has initiated the international Deloitte Art & Finance Conference, which has become the annual benchmark event in the field. He is the co-author of the Deloitte and ArtTactic Art & Finance report. Being the spokesman of the Art & Finance initiative within Deloitte, he regularly speaks at international conferences. Dennis Layton is a Senior Advisor to McKinsey. His work is focused on large scale Organization Transformation projects across the Financial Services, High Tech, Telco, Defense, Health Care and Private Equity Industries. Dennis has been a senior global leader at Oliver Wyman, EY and McKinsey and Company.

Michael Puck, founder K9 Photo and Global Art Dog Gallery explains that we know dogs are healthful. For example, in hospital, patients do better when dog therapy appears. However, that's not always possible so the next best thing is dog art, even in an office setting to alleviate stress at work.  President Animal Wellness Action and Center for Humane Economy Wayne Pacelle […]

In this episode, Ty Hatch, who started sketchnoting as a practice to pay attention and stay awake shares why he still loves the art and his work on creating headshot illustrations and creating sketchnotes for meetings and conferences.Sponsored by ConceptsThis episode of the Sketchnote Army Podcast is brought to you by Concepts, a perfect tool for sketchnoting, available on iOS, Windows, and Android.Concepts' vector-based drawing feature gives you the power to adjust your drawings — any time you like. You can nudge the curve of a line, swap out one brush for another, or change stroke thickness and color at any stage of your drawing — saving hours and hours of rework.Vectors provide clean, crisp, high-resolution output for your sketchnotes at any size you need — large or small. Never worry about fuzzy sketchnotes again.Concepts is a powerful, flexible tool that's ideal for sketchnoting.SEARCH “Concepts” in your favorite app store to give it a try.Running OrderIntroWelcomeWho is Ty Hatch?Origin StoryTy's current workSponsor: ConceptsTipsToolsWhere to find TyOutroLinksAmazon affiliate links support the Sketchnote Army Podcast.Ty's websiteTy on TwitterTy on InstagramTy on LinkedInTy on MastodonTy on PinterestTy on Artist Trading CardsTy On DribbleUX Week 2008 SketchnotesInktoberTy's Son's Pokémon DrawingsToolsAmazon affiliate links support the Sketchnote Army Podcast. Mechanical pencilBallpoint Rotring 600 pencilKaweco fountain penPost-It-NotesGlobal Art Materials SketchbookMoleskine Art sketchbookSketchnote Idea bookPaper by WeTransferiPad ProApple pencilProcreate Adobe FrescoTipsEverybody is creative in their own way, and that's okay.Enjoy what you do. You can like a range of different things, and that's okay.Set boundaries for the things that are really important to you, in your life that are not work-related. Set those boundaries, talk about them, and live your life in a way that reflects your priorities. CreditsProducer: Alec PulianasTheme music: Jon SchiedermayerShownotes and transcripts: Esther OdoroSubscribe to the Sketchnote Army PodcastYou can subscribe to the podcast through iTunes, Google Podcasts, Spotify, Amazon Music, YouTube or your favorite podcast listening source.Support the PodcastTo support the creation, production and hosting of the Sketchnote Army Podcast, buy one of Mike Rohde's bestselling books. Use code ROHDE40 at Peachpit.com for 40% off!Episode TranscriptMike Rohde: Hey everyone, this is Mike, and I'm here with Ty Hatch. Ty, welcome to the show. It's so good to have you.Ty Hatch: Thanks, Mike. It's great to be here.MR: Ty, we've known each other for years and years. We were talking about when we thought we connected, you had a pretty pinpoint accurate time-point.TH: Yeah. It's funny. Back in 2008, I went to a UX Week, which was a conference put on by, for those that remember Adaptive Path, I think they got purchased and became the in-house UX department for Capital One a few years ago. I was there and I was like, "I need to pay attention." Did some sketch notes, or just did notes, I wasn't thinking about it. Got an email from you after I posted them up on the OG photo-sharing Flickr, and you're like, "Hey, can I put these into my Sketch Note Army?" And so, we just stayed in touch throughout the years since then, so.MR: Yep. Well, that leads right into telling us a little bit about who you are and what you do.TH: You bet. I am a UX manager for O.C. Tanner, which is an employee recognition company. I help create the space for employee recognition. I Work with a team. I have three people on my team. We're part of a larger experience group, and we focus on how can people feel appreciated at work by the employers. It's a really fun thing to do. I also, as you know, do sketch notes at times and random doodles and whatnot when the time allows. That's me. I enjoy UX design. It's a fun problem space to be in.MR: Well, I can relate to that as a UX principle, UX designer. I find it fascinating as well. I focus on software, but there are tons of opportunities to make things better, always, seems like. It's good to hear you're focusing on that, and that's such a critical space, especially now with all the challenges of hiring people and maintaining employees, and having them not leave by recognition. Huge, huge opportunities there, I would think.TH: Yeah. It's huge. You, like me, it's hard to feel sometimes like you're moving the needle and you're making a difference for people. One of the things that really gets me going is knowing that the work that I'm doing is actually helping people feel that appreciation, that they get that recognition from not only their peers, but from their leaders and whatnot.MR: Yep. Super important. It's something that often goes under the radar and managers might not think much about it, but is so critical. Often it doesn't cost you much other than time and a little bit of thoughtfulness. So, that's really cool. I would love to hear a little bit more about how you ended up in the space where you are both professionally, but also as a sketchnoter. Had you always drawn since you were a little kid? What's been your history? Let's start from when you're just a little guy.TH: I spent a lot of time outdoors growing up. I grew up in Southern Idaho and southeastern Washington. Miles outside of my small town. There wasn't much to do there. We were too far out to get TV reception. We often joked we got matching ants on our TV screen because this was back in the days before cable. We had terrible TV reception on our black and white TV. We did have indoor plumbing, and electricity, so that was always good.My brother and I, we would leave the house, go out in the backyard. We didn't have neighbors at the time, and so, we would just go out sometime after breakfast and typically we'd come back around dinnertime 'cause we were hungry. We would always have some sort of adventure and whatnot. I think at some point, a friend of ours introduced us to Dungeons and Dragons and I became a really big fantasy nut.This was the early days of D&D. I used to have a first edition, Monster Manual and Player CanBall and DMS Guide and all that. We colored them, I coloring books 'cause they were all just black and white illustrations. I loved it. Got into reading books and whatnot. Wanted to play football, but didn't seem to get enough interest for college people. We were in a small town, nobody really knows what's going on with a small town.I served a mission for my church for a couple years and then returned home. I was visiting my grandparent's house, and this is probably my favorite story about what got me into what I do today is there was this really awesome a couple of these burly looking pirates on it. I was like, "Well, this is cool, visual stimuli to get someone board at grandma and grandpa's house, right? It said the white family, I said, "Oh, that's a Piratey name."I was like, "Oh, let's read about these pirates." It wasn't pirates. It was a story about the artistic legacy of NC Wyatt and his son Andrew, and his grandson Jamie. I just got hooked and in fact, I have a self-portrait from that issue that I took out of the magazine. I think I found a couple copies over the years. But there was a really little self-portrait that he did that I have hanging on my wall.There was some painters tape. And I was like, "Oh, you get paid doing art? What? Completely radical concept for me. I'd always loved comic books. My brother and I collected comics over the years. I figured, I was like, "Oh, what can I do with art?" I started exploring the different art-related careers and I stumbled upon graphic design because as I learned about illustration as a career, I was like, "That's really competitive. I don't know that I'm good enough to compete there, but I can definitely think visually and solve problems." So, I tended toward that.That was about the time I was a junior at state school in Washington State where I'd met my wife and I applied for an art school in Portland and I'm like, "There's no way they'll let me in." But surprisingly, they did. I finished a BFA in graphic design. My senior capstone project there at the time was a website, this is what? 1998 I wanna say. Right about the time my oldest was born. And my senior project was an informational website on typography, which is still out there.I did a really quick redesign of it the next year 'cause it was a hideous thing when I got looking at it in reality. But it's still fitting there, 20-some-odd years later. It was an informational website about typography. Cause actually, I fell in love with typography in school. That's one of the things I absolutely loved. I was like, "Oh, could I make money doing typography?" I was like, "No, I can't." Type is another one of those professions, it's a very niche specialty.MR: Yeah. You can do it, but you have to really work at it.TH: Yeah. But I love design. I love the visual solving of problems and communicating clearly with design. For several years, I did that and slowly over time morphed into more of an interaction UX designer. Just as the industry changed, I'm like, "This is a good thing. This can provide for me and my family and I enjoy doing it." You slowly over the years gravitated into technology and doing UX.That was the thing that got me where I'm at. Particularly doing sketchnotes, like the sketch note that I did at UX Week was the first time that I actually shared anything that I'd done like that. I would do 'em in my sketchbooks 'cause it helped me process what was being communicated, presentations that I would go to.I really took off though, I wanna say about 2014, 2015 when I got my first iPad. There's this little app that was really cool. I'm like, "This is cool." I was trying to use it with my finger, but the company that made the app, which is Paper. The company at the time was called, FiftyThree.MR: FiftyThree. Yep.TH: I think I got one of their styluses, which looked like a carpenter's pencil. I was like, "This is cool." But I didn't like the drag of the rubber on it, but it made my finger drawings not as crappy. I'd used that stylus. I tried to play around with it a bit more. Then Apple introduced the pencil and it was a game changer for me.I've dabbled a bit with other applications, but the Paper is still my go-to when it comes to sketchiness because of how it works. I still maintain sketchbooks. I have one now. It's more random skulls and patterns and headshots. Like you see I participate in October each year, which is a drawing challenge. If you go over into my Instagram, you'll see that I have a few. I think I actually made it through all 31 days this year.MR: You did.TH: Which is like maybe the second or third time that I've done it. I've completed Inktober. But that's just fun. It's a good challenge to just do random headshots. I enjoy the personalities that come out of those headshots. That's a bit of how I got into it, what I've been doing.MR: Wow. And now, do you still do sketchnoting from time to time?TH: I do. I haven't had as much with the pandemic. Right before the pandemic, I was actually doing a fair amount of it. I was getting contacted by conferences to help with that. I did a Mind the Product conference and did a plural site live as well. They were a lot of fun. Did the thing with—what I like about—my particular process with sketchnotes is I prefer being in person at any one event 'cause processing that real-time is the thing that I did. I've tried to do it with different random, YouTube presentations and stuff like that, but I don't get quite the energy and the vibe off of a live event.MR: Interesting. When I look at your style, I see you have a very unique ink style, I dunno how to describe it, but it looks like you're using a brush pen or something. There is some single-line work, right, but there's some that looks like it's kind of thick and thin. What is the tool that you're using to achieve that? I assume you're still on Paper, right?TH: Yeah. Looking at the ink over stuff, I typically, I'll pencil it out, I'll sketch out in pencil and then I just use fine liners. I use a fine linear and then like a 0.8. Sometimes I'll go in with the smaller one. One little tool that I saw, a Kaweco.MR: Oh, yeah.TH: I was like, I put it in my cart and it's really hard to justify that experience. Not a cheap thing, hey. But it got low enough and I'm like, okay, it was my birthday. And I was like, I told my wife, "I'm gonna splurge and get this." And like, okay. I love it. I haven't done much drawing with it. I got an extra broad nib and it's a little too thick for me. My pen addiction, my writing instrument addiction is breathing and well, and I collect art supplies when I'm trying to figure out something I wanna do. I ordered a broad nib off of Jet pens, which is not a good site if you like ready instruments. It's not good for your wallet. It's a great size.MR: Great site, and yeah, you spend a lot of money there pretty easily.TH: Oh yeah.MR: Paper now is owned by, WeTransfer the file transfer company, and still is maintained and has had some updates. Like you, I use Procreate for illustration work, but if I'm doing sketch notes, I go right to Paper. At this point, it feels really natural, the tools, I'm very aware of them. When you do sketchnoting in Paper, what are the tools that you like to use there? I'm just curious about that. Looking at, just have one of your samples up here on my screen. Looks like you're—TH: I have an iPad Pro that I use with an Apple pencil. Typically, when I do it, I'll—what I love about Paper is the intuitiveness of the tools. They have a paintbrush, they have a ink pen or fountain pen. They have a couple different types of markers and a pencil. Typically, I like to do a little sketch of the presenter. And so, if you look at it, you'll see that most frequently. Then notes around the topics they're talking about.Often, I'll get the sketch of the presenter. I do that in the quiet moments of their presentation. I'll either use the ink pen, the fountain pen version, a medium nib. It's relatively inexpensive to pay for the pro version for Procreate or for the Paper.MR: Right. It's $12 a year, I think.TH: Yeah. I'm more than happy to pay that 'cause it's given me a lot of opportunities. The thing that I love is the color mixing. They've nailed color mixing like nobody else has, and I think it's one of the best things that they've done in software. I'll use that or I'll use a one the fine liner to do the block letters and whatnot.Every now and then, I have little people pop up that are just a head body and arms, legs to sometimes self-characters and concepts that the designers are doing. Because the thing that I found really interesting with sketch notes is that it's that real-time synthesizing of the concepts that they're presenting that I get the most out of 'em. Largely, it started as a selfish practice to pay attention and stay awake, but I found that I still love doing that because it really helps me to get something outta these presentations as well. But yeah, Paper is hands down the most intuitive tool, I think, for just sketching out in general. I love it.MR: I agree. Well, we're talking a little bit about Sketchnoting specifically. We've done who you are and what you do. We got your story of your origin. Tell us a little bit about something you're working on now, whether it's work or personal that you're excited about that you can share with us.TH: Well, let's see. One of the things I'm really excited about, I have no clue how to do it, is I want to try and figure out how I can work a little bit more in conversational device. Conversational device seem to be taken a lot. There's the ChatGPT bot that everybody's talking about. All these AI-based tools, which have their place, I think. But how can I build a conversational way to present my work or to present myself?I've done some really terrible things. Experiments that will never see the light of day. One of the things I love about design is that's experimentation is part of trying to figure out a solution. You and I both know as designers, it's like, you can't really come up with a good solution unless you know what the problem is. And so, trying to figure that out from my perspective, like, okay, how can I make something like this happen and in a way that I can somehow manage, right?I will fully admit to being an old school. It's like my personal psych is there. I think I got a redesign out last year that I'm really happy with. That was the seven-year cycle of refreshing a personal site. It seems like seven to eight years is about the time it takes for me to get around to saying, "I should probably redesign my personal site." And actually, finding the time to do it.I want to, being able to maintain that in a way because with all the different social media things, it's really hard to improvise where your content is in a good way. 'Cause if you post on social media, you don't have a real centralized location for any of the content that you can put out. You have to say, "I'm gonna focus on this platform."That's really the dangerous thing, I think. How do you position yourself not only as a working professional, a design professional like we're as an artist you know, and give yourself a home where people know, "Oh, if I go here, I'll be able to find and go look at all the other things."'Cause as much as I love social media and Instagram, I'm tired of seeing an ad every third post in Instagram as I scroll through my feed. Then you have other social media services that kinda self-destruct. I want to have a good centralized location, and I haven't been able to get that fully done yet.'Cause as much as everybody loves WordPress and it powers so many sites, you have to really want to put in that time and effort to make WordPress work. There's other platforms and stuff too, but it's like, how can you make your content your own and have it in a place that everybody can know, "Okay, if I go here, I'll find their stuff." I'm trying to figure that out for myself.MR: That's something that challenged me as well. Years ago, I decided to go to Squarespace just because I could build what I wanted and not think too much about it, and constrained me a lot. Paper does provide, and it's grown to meet my needs over time. That's been really good to secure as well. I had an instance where I ran websites on WordPress and didn't update, and someone was running a legal pharmaceutical site buried in my website, and I was like, "All right. Not doing that anymore."I was out on WordPress self-hosting and switched to Squarespace, and it's been a good experience. But yeah, I felt the same way you talk about, you know, scrolling through Instagram, it feels like more and more of its ads and less and less of its actual content. I have to really fight through the ads to actually get to my friends for interesting things, and that's frustrating. Someone's going to hopefully solve that problem soon.TH: There's a lot of different platforms out there, you know, Mastodon is taking off, but it's like, in my mind, it's a little too complex for the normal person. Just about everything, you have to feed the algorithm. You have to continually be putting stuff out there to maintain any audience. People have lives outside of posting on social media.One thing I think in general that people don't think about too much is I have a life that is very important to me with my family, and it's like, I'm not gonna be posting all the time for these different platforms. It's great. I love doing it, but it's like, that's not my primary, one of my key focuses.MR: That's the question everybody has to ask, right, to what am I gonna feed this thing? What are its expectations of me? 'Cause sometimes you come to realize that these platforms have expectations for what they want you to do that doesn't align with what you wanna do. You have to make that decision because you only get so much time. It keeps going away. That's really fascinating. Well, I hope that redesigning your website goes well. I know what that feels like. I haven't done it for a while, so I know what a challenge it is.TH: I appreciate that. One thing I'm really interested in trying out, and maybe I'll be doing it a little bit this week a bit if I can, is AWS has this thing called Amplify Studio where they've pre-built some components and whatnot, in React powered by a Figma template. And so, you change your components in the Figma template, connect your account, and you should be able to launch out some app or whatever.I have the template, it's been taunting and mocking me for several months since I discovered it. An inanimate software can't do that. AI might be able to do that, but inanimate software doesn't necessarily do that as you're constant saying, "Hey, you got this, are you gonna do something at some point?"MR: For those who don't know, Figma is a design tool, vector-based design tool where many designers build often their prototypes and their mockups with. What Ty's talking about is he would build a mockup of his site and then use React, which is kind of a backend technology, I think is a fair way to describe it populated by—TH: It's a JavaScript framework—MR: Framework, that's the word I was looking for.TH: Yeah. Just help build out components. AWS is Amazon Web Services, which is the—basically simple way of looking at it is they provide a lot of the Cloud hosting services for a lot of providers. When your services aren't working, there might be an AWS outage somewhere causing some of that stuff. When the internet services go down, sometimes there's outage with some of these cloud providers—MR: Well later in the show, we'll definitely have a link to your website. Maybe by the time this episode launches, you'll have a new site up there that people can look at.TH: It gives me a goal to work on.MR: There you go. There you go. Let's take a little shift now and talk about tools. We've hinted at some, you talked about Paper by WeTransfer as a digital tool. Let's jump back into analog, and more specifically, are there brands of pens that you like, brands of paper, notebooks, pencils, so that people who are listening can dig them up and maybe experiment a little bit?TH: Absolutely. Right now, if I look at my desk, I have a mechanical pencil, and I'll send you some links so you can put these in show notes. It's a mechanical pencil, 0.51 with a metal coral is by Uni. The nice thing is, when you have a metal pencil, you'll often have this little nib that kinda gets bent and breaks. But what's nice about this pencil is that it retracts. It's fairly affordable. I think it's like maybe about 15 bucks. It's not a polymer is on the back of it.I also love fine liners. I've gotten the rounds with a whole bunch, I have some, Copics. The current one that I'm using is a Uni pen fine liner. I've found that I really like these really good waterproof so I can lay down watercolor washes or alcohol on so on. I got this one earlier this year. We did a team offsite. We got a rotating 600.MR: Those beautiful pens.TH: It was a Ballpoint. I'm not such a huge fan of ballpoint pens. But I discovered that Kaweco makes a gel pin insert refill, and so, I got a Kaweco gel pen insert in there. Then have a Kaweco fountain little porch fountain pen. The thing that amazes me-- yeah, it's tinier than I thought it was, but the thing I love about it is that the ink just flows and it's beautiful. It's really great.As far as what do I draw on, in the day, it's often post notes, making lists, and whatnot. I have sketchbooks. Right now, I'm using one. I've been experimenting a little bit with what I want to use for sketchbooks and stuff. This one's by a company, Global Art materials. It's just a generic kinda sketchbook.For years and years, I've used Moleskin's Art sketchbooks, which are great. I love that size. I got a eight by eight, or seven and a half by seven and a half watercolor sketchbook. I found that that was a little too precious. I was like, "Oh, I gotta do art in this stuff." I got the Kickstarter for "The Sketchnote Idea Book."MR: Thank you.TH: I love it, Mike. It's fantastic. The pages are bright white, which I absolutely love and they held all sorts of things. I got some watercolor in my old one. I have one somewhere, an Emergency Kit in case I have to go somewhere. I have another one somewhere that I'm like, lemme experiment with this stuff, and then maybe I'll get back to the Idea book. I found that that notebook that you guys put together was really one of my favorites in recent years.MR: Great.TH: The quality of the paper and the whiteness and the thickness made it really, really flexible. The only thing for me is maybe it was a hair too big, a little too wide. I like a little bit smaller, but I absolutely love the paper quality you guys did on that. Then like sketch notes or not sketch notes, but on the Ink Tobra drawings, I found a five by seven Strathmore 400 pad of paper that's really thick that I absolutely love.All of the years, and 2021s, I only did like 16 of them. I have all those originals hanging out on a piece of paper somewhere. One my goals with my personal site is to be able to set up a way to sell some of these 'cause that's fun or good if this is just sitting and collecting dust in your house. If you do it, I think that one of the real choices of making art is sharing it with people and helping them appreciate it. One of the things I wanna get going as well.MR: That sounds good. As far as digital, you talked about, of course, Paper. We got into that a little bit already. Are there any other tools that you like to play with? Or is that your go-to for pretty much everything?TH: I do have Procreate on my iPad. My kids use it a lot more than I do. One thing I found is I don't like the glossy slide of the Apple pencil on just a make a screen so I have a textured screen protector on it to give it that textural fill of paper. I found that that makes a huge difference for making marks on iPad. That's really it. I've toyed with, Adobe Fresco, Concepts app. There's one that the Icon Factory does, I can't remember it's Ben's go-to tool.MR: I think Ben Crothers likes that—Ben Norris likes that one.TH: Norris, yeah. I dabbled that a little bit. What I like about Paper is the ability to go from pencil to ink to watercolor. The brush that they have in Paper is fantastic. How you can lay your color, make it deeper and rich if you want.I haven't been able to get Procreate to do that. Procreate's a fantastic tool. I love it. But for Sketch notes, to me, it feels like it's a little too powerful. What I love about Paper is Paper's really good at just capturing your flow of thinking, whereas you have to be a lot more deliberate in your usage of Procreate. Although, if you're a Concept artist or somebody that's doing stuff like that, then absolutely that's a great place.My son does a lot of—he loves Pokemon, he loves Mario. He's been doing it. He's gonna be turning 25 this next year. And I'm like, "Dude, you could do commissions of people's Pokemon on teams." He does this fantastic stuff. I'll send you a link to his Pokemon stuff. He'll do characters and whatnot. He's drawn so many Mario things. He's drawn hundreds of Pokemon and he gets them scaled. I just absolutely love looking at his stuff. I'm like, "Dude, you could probably do something with this. "But he's like, "Yeah, I know Dad, but I do this for fun." Which is great.MR: That sounds like a great variety of tools. You had quite a span. Some that I hadn't thought about, especially the Kaweco. I think it was the Kaweco insert that goes into the Rotring, I think you talked about. 'Cause I'm not a ballpoint fan either. There's a Schaffer insert that I use in my Retro 51s that I really like too. Probably a similar insert, I suppose.TH: I really like the Kaweco one. There's another one that seems to get pretty good reviews that I've seen on, I wanna call it Otto.MR: Oh yeah. Otto. I've had otto. Yeah, those are great. That's Japanese, I think.TH: Mark-making on a budget is a big deal for me. It's not necessarily the tools that make the person, it's what you do with the tools that you have. I think having a widely available set of tools is really important, but also making sure that they're budget-friendly, right?MR: Mm-hmm.TH: Is an important thing too.MR: Yep. I totally agree. Let's make one last shift into tips. The way I frame this is to imagine someone's listening. Maybe they're kind of at a plateau, or they just need some inspiration, little inspiration, little boost. What'd be three tips you would give that person to encourage them in their sketchnoting or visual thinking or just thinking, doing visual work experience.TH: The first tip, and I think this is a pretty important one. I've had a lot of people, when they find out I'm a designer, they throw, "Oh, I'm not artistic." And to me, it's not about being artistic. It's about being creative. I like to tell people everyone's creative in their own way. How you express your creativity is going to be different than how I express my creativity.My creativity comes out in the form of sketch notes and these random headshot illustrations that I do. Your creativity may be that you are a fantastic accountant and you can come up with really great ways to make things better and more efficient. Other people may just be fantastic books or bakers. Everybody expresses their creativity differently.It's not about being artistic, it's about expressing yourself in the work that you do. I think it's perfectly okay to admire for somebody's work and say, "Oh, that's fantastic," and be a fan of it, but also not beat yourself up like, "Oh, I'm not that good at because I can't draw like my sorority and illustrate all these school books." I can draw my own thing and I can be happy with it. And so, I think my first one would be, everybody is creative in their own way, and that's okay.With that, it goes to what I would say is my second tip is enjoy what you do. That it's really hard, I think, especially today for people to feel like, oh, I can enjoy this. I think you need to give yourself permission to enjoy those things that you find pleasing. There's so many things out there today, it's easy to get overwhelmed with them.I think it's okay to be nerdy and geeky or really into sports or, you can like a range of different things. If my kids were tell you what I like, they'd rattle off a list of dozens of things 'cause I don't think it's good to limit yourself to liking just one thing. You can like a range of different things, and that's okay. That would be my second one.The third one is, there's a script quote from Iron Glass. You've probably heard this. You can find a YouTube video on it somewhere, but he's talking about the work that you want to do when you—everybody has a particular taste and style in their head that they imagine. But then when you try and do it, it doesn't meet those mental expectations, but you can get there by working at it.I really think that everybody's capable of doing really great stuff, but you need to work to get to that point. Don't give up, but that's the whole—and I think follow your passion is really bad advice, but I think do what you enjoy because it may be that you may not enjoy your job which is providing for you and maybe your family. But if there's something outside of that that brings you joy and that you enjoy doing, do that in a way that helps you be happy.Over time, what you do with that will match what you see in your head. There may be opportunities that come up as a result of doing that because you never know. Opportunity—I forget who said this quote. Opportunity is often masked as hard work. If you're not doing the work to prepare for the thing that you want to do when that opportunity comes, you're gonna be ill-prepared to do that, that you want to do.And so, it's important to do the things that you feel are important that you love and you'll have an opportunity at some point. Timing is really important. I'll do a fourth one because this one I feel—and I've mentioned a little bit. You need set boundaries for yourself on what you do. You need to be able to say, this is what's important to me, and these other things aren't so important.And so, when it comes down to it, you know, I won't be doing this, this, or this because it conflicts with my more important thing. For me, personally, my most important thing is my family, and everything that I do, I do—I love design. I find that an extremely fulfilling, rewarding career, but it's a means to be able to provide for the family and make sure that they're taken care of.I think that a lot of people are like, this is my hustle. This is my thing. If you put so much of yourself into that, that you identify that with that, and if that thing goes away, where are you left? Set the boundaries for the things that are really important to you in your life that are not work-related. Because I can guarantee you everybody has something that's very important to them, that it's not work-related.Set those boundaries, talk about those boundaries, and live your life in a way that reflects your priorities because as you do that, people will see that, they'll understand that, they'll respect that. And as you do those things and you express yourself through whatever creative means you have, you'll gain those opportunities to be able to do those things and then lead a more fulfilling life and that you're you're happy with. You won't be living with regrets if you do those things.MR: I love the fourth tip. That's really great. Really encouraging. Well, thank you for all those tips and we appreciate your wisdom for all of us here. It seems like just minutes and suddenly we're near the end of the show. I'd love to hear where's the best place for people to find you? Websites, social media, whatever you think would be the best place to start and connect.TH: You bet. I do have a personal site as we were talking about. It's at tyhatch.com. That's gonna be where you can find me. I have links off to all my socials. I'm on Twitter for however long that's still up. I'm on Instagram. You can find me at both of those. Most social media, you can find me at Ty Hatch. Instagram, Twitter, those have been my mainstays. I do have a profile on Mastodon as well. You can find me there tyhatch@mastodon.online. And then also most of my schedule archive of at this point in time lives over on Pinterest. You go to pinterest.com/tyhatch.com/sketchnotes. I think I have a collection of about 300 different sketch notes that I've done.MR: Oh, that's great.TH: You can find me there. I'm always happy to field any questions. If you see something you like, send me a note. Say, "Hey Ty, I really like this sketch. Do you have it?" And if it's something from October, happy to do that. I did a thing years ago, oh gosh, it's been almost 10 years. Really, Mike, I'm getting old. I did this thing about 10 years ago called Artist Trading Cards, or ATC. I think it might still be up if you go to apcs.tyhatch.I did a bunch of Artist Trading Cards. It started off ostensibly as like, "I'm gonna do a little Christmas present for coworkers." And it turned into a four-month project that I had a daily post of thumb little sketch that I did. I'm happy to sell these or trade with you if you want to trade physical objects. There's a whole range of those out there as well. It's fun. I enjoy doing random doodles and I think some point, there will be an opportunity for 'em, but until then I get to enjoy them.TH: Yep.MR: Cool. Well, we'll definitely get show notes put into the episode. So if you're anything in or any of these things pique your interest, you can go check it out. We have links to it. And thanks so much, Ty for being on the show. I'm so appreciate the work you do and the representation you put into the world and your leadership really need people like you doing that. And I'm so glad that you do it.TH: Thanks, Mike. It's been a pleasure. It's been fantastic talking with you today.MR: You too. Well, and for everyone listening, that'll wrap another episode of "The Sketchnote Army Podcast." Till the next episode, this is Mike. Talk to you soon. All right. I'm gonna stop my recording.

What you'll learn in this episode: How Noel promotes Canadian and American jewelry artists throughout the world How people who've never seen art jewelry should approach it for the first time Why brooches are the best type of jewelry for artists to express themselves How Noel selects pieces and artists to represent at his gallery Why Noel is hopeful that the financial and artistic value of art jewelry will increase with time About Noel Guyomarc'h Noel Guyomarc'h is the founder of Gallerie Noel Guyomarc'h. Established in 1996, the gallery exhibits outstanding collections of contemporary jewelry and objects created by Canadian and international artists. The only gallery in Canada dedicated specifically to contemporary jewelry, it has presented over 100 exhibitions in its space, which is considered to be one of the largest in the world. This internationally acclaimed gallery is a must for collectors, museum curators, and anyone who wants to discover and become acquainted with art jewelry. Additional Resources: Galerie Noel Guyomarc'h Website Galerie Noel Guyomarc'h Instagram Galerie Noel Guyomarc'h Facebook Photos available on TheJewelryJourney.com Transcript: Although Canada's art jewelry scene is relatively small, it has a devoted champion in Noel Guyomarc'h. Noel founded Galerie Noel Guyomarc'h in 1996 and has spent nearly 30 years bringing art jewelry to Montreal—and bringing Canadian jewelry to the world. He joined the Jewelry Journey Podcast to talk about how he chooses artists and exhibitions for his gallery; how he introduces art jewelry to first timers; and his hopes for the Canadian art jewelry scene. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please head to TheJewelryJourney.com.    Today, we're talking to Noel Guyomarc'h in Montreal. He is the owner and founder of Galerie Noel Guyomarc'h. He wants people to see that artists create works of art and that these pieces, when they're worn, it amplifies their significance. A relationship is established between the person who wears the piece itself and the viewer. He encourages visitors to cast a new eye on jewelry. Welcome back.    Do you travel a lot for your work? Do you go to New York City Jewelry Week or Munich Jewelry Week?   Noel: Yes, in fact, there are two fairs I'm doing now. There are two events. I've done the New York City Jewelry Week three times and I'm going to do my second edition at Munich.   Sharon: Oh, wow!   Noel: I've done it this past July.   Sharon: Munich, for those who don't know, is one of the biggest art jewelry fairs in the world. How do you decide what to show there? Is it larger than your gallery?   Noel: No. Have you been already?   Sharon: Before Covid I went.   Noel: So, you know you have all the events in the city, then you have the fair and the Schmuck exhibition. All around it's galleries, and I'm part of those galleries now. To select the work is quite challenging because you can't represent the same work in other galleries, so we have to do a selection that you can show in fact. I'm showing some Canadians, some Americans and many international as well, but those are very much represented by the other galleries.    Sharon: Have you ever chosen work you thought you would show and then gone and seen—there's the handwerk mesa, which is the back commercial place, and then there are a lot of galleries all over the city. Have you ever gone and thought you'd show something, and then you saw that somebody else was showing the same thing and you changed your mind?   Noel: No, it hasn't happened yet, but it's the artists who have to let me know if they're going to show somewhere else. When I'm doing the handwerk mesa, I have no time to go to the city and look at what's on display because we're doing long hours from 9:00 in the morning to 7:00 p.m. It's very long hours. I don't have time to visit the other shows in town. We have to work with confidence with the artists. Otherwise it's not fair, but it never happened. The artist can tell me, “O.K., I may show some work with this gallery in town. It's not the same work.” It's usually very different. It's not the same connection, so it's not the same work.   Sharon: It's interesting. I always think that for a person who's going to buy just a piece or two, it's a place to see what's going on in the world in terms of art jewelry or art things going on. Do you find that?   Noel: I went a few times to Munich before, but just as a visitor. Yeah, if you want to be aware of what is happening, you have to go there. It's what I did, and I still feel the same. It's very avant garde. If you want to see new ideas, new approaches, it's the place to be and to go.   Sharon: Have you ever seen an artist there and you said, “Oh, that's new. I think I'll ask them if they're represented or if I can carry them in the gallery.” Have you ever done that?   Noel: Oh yeah. I even took some shows. I think it was in 2019, I went and there was a show with Taiwanese artists. I said I wanted that show in my gallery because I found the treatment, the ideas, the way they were working with materials, everything, it was very interesting, and I said, “O.K.” At the end of the fair, we organized everything and I showed the work in my gallery.    I'm meeting a lot of new artists. Last year I met Nikita—I forget his name. He's working with onyx, and he has done great work by carving onyx at Idar-Oberstein. I decided to show his work, and I brought it and showed it in New York City Jewelry Week. I was showing this work there. So, it happens sometimes that I meet new, fabulous artists.    Sharon: Who is it, Idar-Oberstein? That's a gem-cutting center.   Noel: Exactly, yeah.   Sharon: He was cutting onyx there and then he incorporated it into jewelry?   Noel: No, they look a little bit industrial. It's like tubes, but they're quite large tubes carved in onyx. He built it to look like tubing, but it's not only tubing, it's also quiet and calm pieces. At first glance, they look like PVC tubes, but they're made of onyx.   Sharon: Wow, that would be hard to do.   Noel: Yes.   Sharon: Why do you stay in the gallery world? I presume it's difficult, but the gallerists I've talked to say it's hard. Even though they like it, it's hard. Why do you stay?   Noel: Why do I stay? I think I feel like I'm part of something bigger than just me. It's to help the artist pursue what they really want to do, to have a space for them. I like the contact with people also. For me, it's very important to know. Recently I met a young couple that are both living in the Montreal area. They jumped into the gallery by accident, and they found what they really liked. They were so pleased, and they never stopped coming back. Just to meet those people who are so open-minded and open to receive what I show them and explain to them, that's the reason I like to do this shop.    I also like the idea of community, to be all together. I like when students have traditional training, but they come to the gallery and they're curious. I can explain to them what's happening in the field, because sometimes it's not taught when contemporary jewelry is. Also, it changes, communication with people I really like.   Sharon: Do you find that people come from all over Canada or the U.S.?    Noel: All over the world.   Sharon: Yeah?   Noel: It's very nice. Some people recently came from Australia. We talked and I said, “There are really nice galleries in Australia,” and they had never heard about them. It's nice to share that as well, “O.K., you can go to Funaki Gallery. You can go to other galleries there.” They were shocked to learn that they have such places like mine, but in their own country. I think it's nice to share that, to be all of us in the community and support each other. It's nice.   Sharon: Let's say I'm an artist. How do I come to you and say, “Will you carry my stuff?” Do I send a picture, or do I come and bring the actual material to you?   Noel: I like when they make an appointment with their pieces at the gallery. I like it when we have an appointment because we're always working on projects, so we're always busy. Now, I'm working on Munich because Munich is in three weeks, so I have much to do. After that, I have a show with Monica Brigger, a German artist who lives in France. We're always working for the future. We're always working on projects, so that's why for the artist, when they come to the gallery, I like to be ready to receive them. So, it's nice to get an appointment. For sure, it's happened over 27 years. Some artists came and were wearing their pieces, and I said, “O.K., what's that?” and talked to them, but I like when it's organized.   Sharon: Have you seen an interest or understanding of art jewelry growing in Canada and/or around the world?   Noel: It's pretty difficult to answer that question. I think in the past 40 years, there were many collectors and buyers, and I think all the things we've seen have been very dynamic over the past years. Now I think we are in a challenging time because there are fewer and fewer collectors, and I think it's difficult to create new collectors. To pursue what the collectors did in the past and to add new collectors, it's very difficult.    Sharon: Yeah, I think that's something that all jewelry organizations talk about. How do you get young people involved? What do you think? Do you think it's having a young collectors society? What's the demographic of the people who buy from you?   Noel: There are a lot of people because even if I have a gallery, mainly the reason is because I have collectors from outside Canada, not Canadian collectors. I have some very important American collectors, and some are international as well. It's very difficult because in Canada, there are just a few, not many, and they're not buying every month. If they can buy three or four pieces a year, it's already a lot. After that, to create new buyers like the couple I recently met, they're buying quite a lot because I know they want to build a collection. I always give all the right information for them to have and to get in their collection. Also, the pieces I've sold are not just for collectors. They're just people who like that specific piece and they're ready to buy it. So, they can buy a piece every two or three years in their goal to build the collection.   Sharon: How do you build a collection? Is it buying a certain artist? Is it just buying and keeping things? How does one build a collection? How do you build a collector?   Noel: What a challenging question! Because there are two kinds of collectors. I have some collectors that are just buying pieces by an artist. They have pieces not just by one artist, but they focus on a few because they like their work, and they believe in their work. They have bought pieces from different periods of time and different pieces and different collections, and they're building that collection because they like that work. They believe in what has been done and where this work is situated in the field and in the career of the artist.    I have collectors that just fall in love with pieces. They like to buy and add pieces in their collection because it's very different. It's an interesting way of expressing what the artist did, so they're ready to buy that. They're not focusing on a specific artist, but other work. But to build collectors, it's another story. It's very difficult.   Sharon: I know. It's a hard question. It's hard to find them. I understand that. I hear so many definitions, but I've wondered about it myself.   Noel: I think it's different from painting and sculpture because in jewelry, we don't buy for an investment, which is the case sometimes when you buy paintings or sculptures. They feel like, “O.K., over the years, it's going to take a value.” We're not sure that it will happen in this field, even if I can see an auction and think that some jewelry is selling very well and higher than what they were at the beginning. It's a good sign. It's a really good sign. I think you have to share your patience for that, and I think if there is somebody who likes it or receives it very well, you can mention that you are starting a collection.    Sharon: That's interesting. Whether it's jewelry or art or sculpture, I think of a collector as somebody who buys and says, “I like this artist's work. I'm not necessarily going to wear it, but I like what they did,” and then they take it home and put it in a drawer and never take it out again. So, I don't know what a collector is. Is a collector somebody who buys something, or is it somebody who collects because, like you're saying, they want to be able to show a progression or “He did this 20 years ago and this is what he is doing today”?   Noel: Yeah, it's difficult. I know that some very important collectors—you interviewed Susan Cummins not a long time ago. She's a major collector, but she's never worn a piece of jewelry.   Sharon: Yes, I know.   Noel: And she said, “They're in my drawers,” but she's a very important collector. So, it's interesting to see that. Is it the right way to initiate people for contemporary jewelry and to start to collect? Because I think we have to show them. We have to show how they can be worn, what's happening when you wear them, because that's your behavior, the way you start a communication with others. Also, the fact that you're wearing a piece makes it different. So, is it the right way to introduce people to contemporary jewelry? I don't know. It's difficult to say that I like when pieces are worn, not just kept in the drawer.   Sharon: Let's say somebody comes in and doesn't know what your jewelry is and they buy a piece. Let's say it's their first piece. Maybe they have an intention to buy more. They don't know if they will or they won't buy more, but do you talk to them about a collection or say, “This is a great way to start a collection”?    Noel: Yeah, I always mention that. I think for my 20th anniversary, I got some written notes, one from Susan Cummins, one from—   Sharon: Notes?   Noel: Just some words about the fact that it was my 20-year anniversary.   Sharon: Like testimonials?   Noel: Yes, a horrible word.   Sharon: O.K., and Susan Cummins is a very important collector.    Noel: She wrote something about the collection, and then I put it on my wall so people could read the different testimonials I've received on the walls in the gallery. Just the fact that I have that, it's always a very nice way to introduce people. “Oh, O.K., jewelry can be collected.” It's a step. Through that, I think it's nice, because I can't explain much more than those words on the wall. Then people are thinking much more about what they are planning to buy.   Sharon: Whether they are planning to buy a ring to match what they already have, or to buy another piece by the artist? Either way?   Noel: Yes, either way.   Sharon: Not to put you on the spot, but who else? You mentioned Susan Cummins. Who is a big collector in Canada that you can talk about, or anywhere in the world who you say is a big collector?    Noel: There's Deedie Rose. I don't know if you know Deedie.   Sharon: Deedie Rose in Texas, yes.   Noel: She buys very often from the gallery and her sister and daughter-in-law, Catherine, as well. Those are the two that really support the gallery. They really like what I have. From time to time there are other collectors for sure, like Susan Bentley.   Sharon: Do they come in person, or do they come online?   Noel: Online.   Sharon: Online. That's interesting. I don't get to come to Montreal that much, but I hope I can get to see your gallery because I know how many people are going online now. Thank you very much for being with us today. I really appreciate it.   Noel: Thank you very much for the invite. Thank you, Sharon.   We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out.   Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.  

What you'll learn in this episode: How Noel promotes Canadian and American jewelry artists throughout the world How people who've never seen art jewelry should approach it for the first time Why brooches are the best type of jewelry for artists to express themselves How Noel selects pieces and artists to represent at his gallery Why Noel is hopeful that the financial and artistic value of art jewelry will increase with time About Noel Guyomarc'h Noel Guyomarc'h is the founder of Gallerie Noel Guyomarc'h. Established in 1996, the gallery exhibits outstanding collections of contemporary jewelry and objects created by Canadian and international artists. The only gallery in Canada dedicated specifically to contemporary jewelry, it has presented over 100 exhibitions in its space, which is considered to be one of the largest in the world. This internationally acclaimed gallery is a must for collectors, museum curators, and anyone who wants to discover and become acquainted with art jewelry. Additional Resources: Galerie Noel Guyomarc'h Website Galerie Noel Guyomarc'h Instagram Galerie Noel Guyomarc'h Facebook Photos available on TheJewelryJourney.com Transcript: Although Canada's art jewelry scene is relatively small, it has a devoted champion in Noel Guyomarc'h. Noel founded Galerie Noel Guyomarc'h in 1996 and has spent nearly 30 years bringing art jewelry to Montreal—and bringing Canadian jewelry to the world. He joined the Jewelry Journey Podcast to talk about how he chooses artists and exhibitions for his gallery; how he introduces art jewelry to first timers; and his hopes for the Canadian art jewelry scene. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the first part of a two-part episode. Please make sure you subscribe so you can hear part two as soon as it's released later this week. Today, we're talking to Noel Guyomarc'h in Montreal. He is the owner and founder of Galerie Noel Guyomarc'h. He wants people to see that artists create works of art and that these pieces, when they're worn, it amplifies their significance. A relationship is established between the person who wears the piece itself and the viewer. He encourages visitors to cast a new eye on jewelry, which art jewelry really does. We will hear about all of this as well as how he came to operate a gallery and what he thinks about art jewelry in Canada. Noel, welcome to the program. Noel: Thank you. It's nice to be here. Sharon: We just had a long talk about how to say his name because there's an apostrophe before the H. Guyomarc'h. So, tell us about your jewelry journey. Noel: I started about 35 years ago in Montreal. I was working in a jewelry place which showed fashion, some art jewelry and some antiques from Asia. It's there where I started to be more aware of jewelry, but there was no contemporary jewelry or art jewelry, a very small collection, in fact. That place closed, and I decided to support local artists. I said, “O.K., I should open mine,” and it's what I did 27 years ago. Sharon: Wow! That's a long time. You were the only place around. I only know of one other place in Canada that has art jewelry. Noel: Yeah, since the past 25 years, many places have closed. Now I think we have two galleries in Canada which are presenting art jewelry, so it's not much. The other gallery, Lapine Gallery, presents only Canadian artists, but all different crafts, not only jewelry. My gallery is only dedicated to contemporary jewelry. Sharon: Oh, my gosh! Noel: There is not much in Canada. It's really sad. Sharon: When you look at a map, it's a big area. Noel: Oh, yeah. Sharon: We're a smaller area on the West Coast, but we don't have as much as the East Coast does. Tell us a little more. Would people be surprised if they found out this is what you're doing today? Were you artistic? Did you make jewelry? Noel: From the people who knew me a long time ago, yes, they would be surprised because it was not what I was planning to do in my life. I was working in administration. I'm originally from France, and I moved to Canada 25 years ago. My background was more in economy and administration, so nothing to do with art or even jewelry. There were never jewelers in my family. When I moved to Canada, I met people who were making jewelry. In a way, I started to be more introduced to jewelry. Sharon: Tell us about your gallery and how you introduce people to it, because you have very alternative materials in terms of jewelry. How do you introduce people? Noel: I like them to come in. They know already that there's something different because the front windows always display unusual work. So, when they come in, they are surprised by the diversity. They look at things, and when I see that there is some question in their eyes, I go to them and start to explain the work they're looking at. That way, they look at all the works in the gallery differently. Sometimes you're more attracted by one specific thing because of the colors, because of the materials, because of the idea. So, the fact that I explain the work, they understand that all the other works I have at the gallery are in the same group. They all have a specific meaning, a specific way of being done, of being worn, of being realized by artists. It's interesting, the effect. Sharon: Are people attracted because it's work by artists or because it's just different jewelry? Noel: They're curious because the format, the colors, the treatment of materials are very unusual. They're just surprised. It's funny because there are two sides of showing such jewelry. You have people who are curious; they want to learn more. There are others that say it's not jewelry because it's too stylized. It's very interesting to see the two behaviors in front of such work, in fact. Sharon: Do you have people who come in and say, “Oh, this looks interesting,” and they walk out with something they never experienced before? Noel: Exactly, yeah. Very often it's not the first time they're going to buy something. They need to get used to looking at them, to get used to eventually wearing it. It's a process. It's a work in progress, and a working process as well because they have to get used to such pieces. It's very interesting. Sharon: Are most of your customers women? Noel: I can say yes, 75% are female and 25% are men. Sharon: 25% is a pretty large amount. Noel: Yeah, I don't know what's been happening the past 15 years. It's like the men started to wear jewelry or they started to buy for their wives, but they want to buy something they like more than their husband or wife will like. It's very interesting, but it's not the same. I don't know. The past 15 years I've seen a difference. Before, people wanted to buy something to seduce their wives or husbands, and now they're acknowledging—because of me, maybe; I don't know—but they want to be sure that the piece pleases them before it will please their wife or husband. It's a slightly different way of buying, which I like. Sharon: Were you a jeweler? Did you ever make anything? Noel: I took some jewelry classes before I opened the gallery, but I realized that was not for me. That was very fast. After a few years, I realized that no, it's not for me to make them. I had ideas, but I didn't have the patience for the making aspect. I was surrounded by talented people, so why do something I will not be pleased with? But it was a good thing because I learned many techniques that way, so when I look at some work, I know the quality as well. I can see if it's well-made or not because I took those classes. Sharon: What do you consider art jewelry? What do you say when people come in and say, “What's art jewelry?” Noel: I try to explain that it's a result of a vision, of questioning, of reflection by one artist about what jewelry can be. It can be inspired by real jewelry, by the environment, by the field as well. No matter the techniques of the material used, it's the expression, the idea. The main goal is for them to express themselves. Sharon: Do you always say it's art jewelry by jewelers, or do you say it's jewelry by artists? Noel: Most of the time, I say by artists. That's interesting because now—it's not new—there are some people that were in different fields and they started to make jewelry, but they don't have the background of it. Just the fact that they use different kinds of materials, they don't need to have that goldsmith or metalsmith training. They choose jewelry to express themselves. Sometimes they know silver or precious materials. So, it's more the artists than jewelers. It can be jewelry artists, which means they've had the training, and artists. Sharon: Can you look at a piece and tell if it's somebody who has classical training, but then started to make jewelry with paper or plastic? Noel: Oh yeah, we can feel it. But when you have many training experiences, it gives you freedom to do what you want. I think it's nice when you have good training, for sure. Sharon: What was your catalyst for starting the gallery? Why did you decide, after working in these other places, to start a gallery? Noel: I worked in that place for five years, so it's where I learned a lot of things. Slowly, that place was showing more artistic types of work. Among those jewelry artists there, there were a few that I started to be very close to. Then the place I was working at closed because of the economic situation, and I said to those artists, “I've got to open something in a few years to support you and encourage you.” It's what I did after maybe three years that the place where I was working closed. I opened my gallery to support a few Canadian artists at the beginning, but it has grown very fast. We started to invite artists from everywhere and curate shows. Sharon: How do you curate shows? How do you decide somebody warrants a whole exhibition or if it's a group showing? Tell us what you have now and what's upcoming, that sort of thing. Noel: Sometimes it's curated shows. I did a few with invited artists or asked curators to do shows for the gallery. Sometimes, I'm doing a selection of artists because of their work. Sometimes it's from countries. I have done a show last year with Japanese artists. I selected seven with different backgrounds and different aesthetics, but I found it interesting to get them all together. Some of them have been trained in Japan and some outside of Japan, so the results were very different. Now, I have a show called “Animal, Vegetable, Mineral,” and that show has been curated by Melanie Egan. She's the head of the Craft and Design department from the Harbourfront Centre in Toronto. Sharon: What is her name? Noel: Her name is Melanie Egan. She's the head of the Craft and Design department at the Harbourfront in Toronto. She curated that show. It was presented last September. I was part of the project in a way because she wanted that show to travel to Montreal. I said yes, but the show was really big, so I did a short selection of work because we don't have the same space, even if my space is big. It was very interesting to see why she selected specific work. It was about Nordic work. She invited people from Sweden, Norway, Iceland and from Canada, different places from Canada. It was a very interesting show. Sharon: As you were going through to decide what to take from the show, since you couldn't show everything she had, how did you decide? Noel: It was more simple because sometimes she had similar items. I said, “O.K., instead of six necklaces, I'm going to bring four over because I don't have space for more.” They were by an artist from Finland. She has done huge, huge, huge pieces. They're not wearable art pieces. The dimensions are oversize. It's always more jewelry for the wall than jewelry for the body. So, it was big, big, pieces, and I picked the bracelet because it was three meters by two meters big. It was very big. Can you imagine if the bracelet was that size, what was in that piece? So, I just took the bracelet. Sharon: Did you look at the pieces and how they were made? Noel: Yes, I went to the opening in Toronto to look at all the work, to do the selection, to make the right selection for the gallery. Sharon: What do you consider the right selection? What will sell? Noel: Most of the pieces were not for sale because the Harbourfront Centre is a nonprofit organization. They invited the artists and got a grant to bring everything in. So, I have done that show in Montreal, but I'm not supposed to sell because all the pieces have to be returned because of customs issues. Finally, I sold a few so the artist had to ship them back to me, but at the beginning it was not a project to sell the work. But I had demand, so it was nice. It was great. It was a great turnout. Sharon: What's your favorite thing to sell? What do you like most about art jewelry? Do you like brooches? Men like brooches—I call them brooches. When I think of a man wearing jewelry who's not wearing a leather bracelet, I think of the brooches I see men wear, with lapel pins on their lapel. What do you like and what do you sell? Noel: I have a lot of brooches at the gallery because I like the format. It's very nice for the artist. They like to work in that format because they can express themselves. They know much more challenging things. A necklace can't be too heavy, earrings not too heavy, well-balanced, rings not too big. There are always questions of sizes as well, so it's a challenge. The brooches are a very rare form to express themselves. So, I like them, but I don't sell many brooches. It's not the best-selling item, but I have a lot because I like them. The best seller is necklaces and earrings and rings. Those three are very good, but brooches, I'm wearing them a lot. Slowly I succeeded to sell a few because I'm wearing them. When people come in, it's like, “I never thought about wearing brooches,” because they feel that it's not contemporary enough. The perception is like their grandmothers were wearing brooches, not them. But it's changing a little bit. Sharon: I guess when I see art jewelry exhibitions, I always think of brooches. You only do one. With earrings, you have to make sure they match and that sort of thing. It seems better for an artist to do a brooch. Noel: Yeah, but it's a piece that can encapsulate very nice ideas. I think that's why it's a favorite that I like to do. But sometimes, like I said, it's not always the best seller. Sharon: That leads me to the next question. They say that having a gallery, no matter what kind of gallery but especially an art jewelry gallery, is something of a passion. It's not because you want to make a lot of money; it's a passion thing. What do you think about that? Noel: It's absolutely true. I'm pleased because I've succeeded to make a living from it, but for sure, it's not where you're making a lot of money. Even the six or seven first years of the gallery, I had a job outside the gallery just to get an income. It was very challenging at the beginning. Now, I'm glad because it's balancing well, but I do it just because I'm very passionate about jewelry and I like to show the artists' work. I like to present it, but the return is not much. The return comes from the artists or when you meet someone. You like the work and buy it, and that means that you have done a good job. From the beginning, I didn't want to have debts by running a gallery. For me, it was not the purpose. For me, it has to pay for everything, and as long as I can gain a little income from that, I feel O.K. But it's true that we have to be passionate about the selection of work as well. I think for the gallery, I'm not doing easy sales pieces. I always try to challenge myself and challenge the artists themselves, so I have to keep motivated to do it. At times, it's very challenging. Sharon: Do you ever say to an artist, “This would be wonderful if you made it pink or blue or you added this,” or do you just let them do it? Noel: I don't want to be behind them and say, “You should do this because you're going to sell them easier.” No, my job is to create wonderful settings. I really trust them. I believe them. I don't want to influence that. Sharon: Do you see a difference in art jewelry between the U.S. and Canada or the rest of the world? Noel: Yes, there are some differences. It's the fact that we don't have a long story here about art jewelry. It's not that old. And it's the fact that there are not so many schools as well in Canada, and the fact that we don't have so many galleries to show those works, I think it's—what can I say?—it's very challenging for the artist here. So, they're not making the same type of work. Sometimes they're doing a more commercial type of work and one other kind of avant garde of work, but there are not enough galleries to show their work. I think if there were more, it would be more motivating. I'm almost the only one here, and I can't say yes to everybody. It's going better for the jewelry fields because there are some platforms, like the one from Toronto. There are also some events like the New York City Jewelry Week. There are a lot of Canadians going there and going to Europe as well. There are some fairs where the artists can go so they can show their work, not always through a gallery, but they can organize by themselves or pop up at events to promote themselves. I think that helps for the creation as well. Sharon: We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out.

Episode #48 with Onyinye Anyaegbu, Executive Director of ARTSPLIT, which is an art trading technology company driven by one common goal; enhancing the investment status of African art by allowing users to co-own rare and valuable artworks on a platform that guarantees price discovery and market liquidity.Their mission is to position African art & artists as the preferred alternative investment choice by developing the African art ecosystem through technology and co-ownership.What We Discuss With Onyinye AnyaegbuWhat would you say about the current state of African art?What are the key distinctions between the new and old African art worlds?Do you think African art is fairly valued?How do you value art in general—and African art in particular—from your point of view?What, in your opinion, has sparked or driven the recent huge surge in interest in African art?And much more...Full show notes and resources can be found here: Unlocking Africa show notesDid you miss my previous episode where I discuss Using Intelligence and Analysis to Identify True Risks, Trends, and Business Opportunities in Africa with Robert Besseling? Make sure to check it out!Like this show? Please leave us a review here -- even one sentence helps!Connect with Terser on LinkedIn at TerserAdamu, and Twitter @TerserAdamuConnect with Onyinye on LinkedIn at OnyinyeAnyaegbu, and Twitter @ArtsplitglobalSupport the showDo you want to do business in Africa? Explore the vast business opportunities in African markets and increase your success with ETK Group. Connect with us at www.etkgroup.co.uk or reach out via email at info@etkgroup.co.uk

This week on the Connected Podcast, Sue and Sacha sit down with MediaCom's Global Art Director Sam Learmonth. Sam has worked for MediaCom for just over twenty years, starting with helping out on mock ups for new business pitches working as the Joint head of MediaCom Create. Twenty years later he is now the Global Art Director here at MediaCom working across logo design, website design, signage and all business creative.

In the African art scene, Senegalese artist Soly Cissé is a star. For the past four years, he has been living in Normandy, the home of Impressionism. His art mixes local influences with his African roots.

(Lander, WY) – Janet Seeley from the Trinity Episcopal Church in Lander stopped by KOVE 1330 AM / 107.7 FM's Coffee Time to chat with host Vince Tropea about an upcoming art exhibit making its way to the Pioneer Museum, entitled "Grounded: Restoring our world through a sacred harmony with the Earth and each other." Not only does the global tour for the exhibit premiere in Fremont County on October 2, it features local artists as well, with an overall focus on "contemporary Native American artists with art to restore our world through a sacred Harmony with the earth and each other." The exhibit will then be on display through November 14. For more information about the event and to find out who some of the local artists are, check out the full Coffee Time interview with Seeley below. Be sure to tune in to Coffee Time every morning at 8:00 AM on KOVE 1330 AM / 107.7 FM, or stream it live right here.

This week Anita and Sarah are joined by the Founder and Editor-in-Chief at Global Art Daily Magazine, Sophie Arni, who also works for Tokyo-based Startbahn which has built a blockchain infrastructure for issuing and managing NFTs. Tune in to understand Sophie's interest in Japanese and Emirati art in relation to each other or “East-East”, as well as the dos and don'ts for minting NFTs, and of course, we ask her about the elixir behind her boundless energy and creativity! Music composed by Sara Fakhry Podcast powered by The Foundry

Hesam Rahmanian, Rokhni Haerizadeh and Ramin Haerizadeh met in the underground art scene in Tehran in the early 1990s. After the Iranian Cultural Revolution that followed the overthrow of the Shah, free artistic expression could only take place in furtive private gatherings. It was during these meetings that the three were inspired to come together to form a collective, one founded on the principles of sharing and cooperation. The trio have been in the UAE since 2009. Their latest show at the NYUAD Art Gallery, titled Parthenogenesis, offers the audience the opportunity to become immersed in a surreal, multimedia landscape representing what they've been doing since coming to the Emirates. The exhibition includes paintings, sculptures, poetry and dance made by them or in collaboration with other artists, encompassing vast themes of displacement, transformation and their ongoing commitment to working together. This episode of Recorded is brought to you in Partnership with the NYUAD Art Gallery and Arts Centre.

This episode features Matthew Reilly, Assistant Professor of Anthropology at The City College of New York, and CCNY students Catie Hernandez and Eloisa Martinez Jimenez. Prof. Reilly and his students discuss the Hostile Terrain 94 initiative, a participatory global art installation that is part of the Undocumented Migration Project. The installation, located in the North Academic Center of CCNY (160 Convent Avenue, NY, NY), features a map of the US-Mexico border and the toe tags of more than 3,200 lost migrant lives, including those who remain unidentified. Prof. Reilly and the students engage such themes as forced migration stemming from a complex combination of climate change, neoliberal policy, and state fragility, and the process of humanizing mass loss of life resulting from 21st century survival migration and US policy.  

The Venice Biennale was created in 1895 as an international art exhibition and after a year's delay due to Covid, it's just re-opened. Artists from across the globe have descended on the enchanting Italian city of canals and churches. There are over 1400 works on display, as well as the Pavilions from 80 countries, which will become part of the landscape of Venice over the next seven months. Finnish performance artist Pilvi Takala has impersonated a wellness consultant, a trainee at a global accountancy firm and even Snow White for her documentary style videos. For her Venice Biennale commission, Close Watch, Pilvi worked undercover for several months as a guard at one of Finland's largest shopping malls and she explained the thinking behind her project to Lucy Ash. There are 5 countries participating for the first time at the Venice art Biennale - Cameroon, Namibia, Oman, Uganda and Nepal and one of the artists who's representing Cameroon is photographer Angèle Etoundi Essamba. Angèle tells Anu Anand how she challenges the stereotypes of African women in her work and why it's important for Cameroonian artists to be part of this Biennale. In the Patagonian region which covers Chile and Argentina are peatlands, a specific type of wetland that's shaped one of the most remote landscapes in the world. Architect Alfredo Thiermann and filmmaker Dominga Sotomayor are two of the artists who've been collaborating on the Chilean Pavilion and working with the descendants of the Selk'nam people, the ancient indigenous group that inhabited that land many years ago. Their immersive video and sound installation “Turba Tol Hol-Hol Tol,” reflects the relationship between this ancestral culture and the landscapes that surrounds it, as they told reporter Constanza Hola. Like Cameroon, Nepal also has its first ever pavilion this year and the artist representing that country is Tsherin Sherpa. The title of the Pavilion is Tales of Muted Spirits – Dispersed Threads – Twisted Shangri-La, created to help dispel misconceptions about the country and to give Nepali artists and the entire country, a new voice in the world. Paul Waters went to meet Tsherin to hear more about his own work as well as the Nepali art scene. Producer: Andrea Kidd Photo: Dominga Sotomayor and Alfredo Thiermann finalising their immersive instillation. Credit: Dominga Sotomayor and Alfredo Thiermann)

Jason Bailey, CEO at ClubNFT, speaks to Aparajita Jain, founder of terrain.art and Director at Nature Morte Gallery, about how NFTs can unleash the creative economy in India.

The art market is broken – so how can we fix it?Magnus Resch is a trailblazing art market economist, serial entrepreneur, and best-selling author. He's well-known for his bold takes on how the art world operates, many of which were highlighted in his book, "How to Become a Successful Artist." Additionally, he holds the unique distinction of having the most-watched TOA talk of all time.In this episode, Magnus joins Niko Woischnik to discuss the challenges facing up-and-coming artists, whether it's a good idea to start collecting art, and the role that NFTs might play in disrupting the industry. //Looking to level up or enter a new field? Join TOA Klub for cohort-based learning. Four Klubs to chose from, each including Masterclasses, AMA's, and peer-to-peer learning. Apply now: toaklub.comSubscribe to our NL (go.toaklub.com/toaoa-nl), follow us on Instagram (@toaberlin), Twitter (@toaberlin), Linkedin (toa-berlin) and Facebook (TechOpenAir).Support the show (https://paypal.me/TechOpenGmbH?locale.x=en_US)Support the show (https://paypal.me/TechOpenGmbH?locale.x=en_US)

If, perhaps, someone in a trench coat who was smoking a pipe and had a gigantic eyeball for a head were to approach you a street on a particularly sunny night and ask you what surrealism was, you'd probably answer by throwing out a few names—Salvator Dalí, Man Ray, Frida Kahlo—and you wouldn't be wrong. But what if that strange interlocutor were to tell you that everything you know about surrealism is in fact, just the tip of a very large iceberg? And that this lastingly popular movement stretched in fact, far beyond Paris, far beyond Europe, to every corner of the globe, and to countless fascinating artists who you've never heard of before? Well that, in a sense, is exactly what an extraordinary and frankly revelatory exhibition at the Metropolitan Museum of Art is doing right now. Titled "Surrealism Beyond Borders," the exhibition, organized by Met curator Stephanie D'Alessandro together with Tate curator Matthew Gale and closing at the end of this month makes it plain that the riveting story of surrealism has hardly begun to be told, and it's lessons are shockingly relevant to a lot of the biggest debates of our present day. To discuss what we should know about the show and what it changes about the history of art, chief critic Ben Davis joins the podcast to discuss this week.

If, perhaps, someone in a trench coat who was smoking a pipe and had a gigantic eyeball for a head were to approach you a street on a particularly sunny night and ask you what surrealism was, you'd probably answer by throwing out a few names—Salvator Dalí, Man Ray, Frida Kahlo—and you wouldn't be wrong. But what if that strange interlocutor were to tell you that everything you know about surrealism is in fact, just the tip of a very large iceberg? And that this lastingly popular movement stretched in fact, far beyond Paris, far beyond Europe, to every corner of the globe, and to countless fascinating artists who you've never heard of before? Well that, in a sense, is exactly what an extraordinary and frankly revelatory exhibition at the Metropolitan Museum of Art is doing right now. Titled "Surrealism Beyond Borders," the exhibition, organized by Met curator Stephanie D'Alessandro together with Tate curator Matthew Gale and closing at the end of this month makes it plain that the riveting story of surrealism has hardly begun to be told, and it's lessons are shockingly relevant to a lot of the biggest debates of our present day. To discuss what we should know about the show and what it changes about the history of art, chief critic Ben Davis joins the podcast to discuss this week.

Oliver is joined by Dr Daria Melnikova, Robert and Lisa Sainsbury Fellow at the Sainsbury Institute, to discuss the art movement of Futurism in the early 20th century and how collaborating Russian and Japanese artists within the movement challenged its founding principles and Eurocentric nature. Japanese time periods mentioned: Taishō period: 1912-1926 AD Image credits [L] Kinoshita Shūichirō, A Maiko Hitting a Drum (1921) painting, published as a postcard by the Arts and Crafts Association, Tokyo. Work destroyed (photograph provided by Omuka Toshiharu) [R] Fumon Gyo, Deer, Youth, Light, Cross (1920) oil on canvas 64.7 x 80 cm, Nara Prefectural Museum Copyright © 2021 Oliver Moxham, ℗ 2021 Oliver Moxham. May be freely distributed in a classroom setting. --- Send in a voice message: https://anchor.fm/beyond-japan/message

Sales fell some 22% to $50 bln last year, the biggest recession in the art market since the financial crisis. Clare McAndrew, founder of Arts Economics, discusses the impact of Covid-19, taxes and geopolitics, the rise in online sales and how NFTs are attracting nerds to art. See acast.com/privacy for privacy and opt-out information.

President Joe Biden has moved to have the US rejoin the Paris climate accord, but becoming a leader in lowering carbon emissions will not be so easy. Then, a look at how the European Central Bank is bracing for the latest phase of the pandemic-induced economic crisis. Plus, the FT’s art market columnist, Melanie Gerlis, explains how auction houses and galleries are surviving and adapting to the pandemic. The US will rejoin the Paris climate accord — what happens now?ft.com/content/81dd2826-55b6-44c2-b981-88717ec70314?ECB details bond-buying shift as it holds rates and stimulus steadyhttps://www.ft.com/content/14821fa0-0e3e-4a95-8414-53a257ee9142Art market: Predictions for 2021https://www.ft.com/content/86c27d1c-ff65-40a2-b6b2-d4add0209ffa See acast.com/privacy for privacy and opt-out information.

I call this a transition episode. A little small glimpse into the big things that poetic pause has coming for you. Central to this episode is a CALL FOR APPLICATION. Are you an artist? do you dance? sing? write? or play instruments? Do you want to become part of an art piece that is fused with the diversity of global cultural and individuality. If YES! Keeping listen we have just the opportunity for you. The show then concludes with an Afrocentric piece about human skins by Amanda from Uganda. Be sure to share, type out your favorite line in this piece on our socials. That is Insta: Amanda Ainengonzi. Facebook: Words Beautiful Words. Twitter: @PoeticPauseUg or voice note it here on Anchor.

Helen Bulwik is an experienced CEO, board director, strategic advisor and executive mentor. Helen has been the CEO of six middle-market private equity-owned companies. She has led business development and client strategy for the retail management consulting practices of IBM, Accenture and the Tom Peters Group, and she started her career as a merchandiser for Macy’s. Helen has also served on more than a dozen private and public boards, and she has been the only female on every one of them. Helen has a Bachelor of Science and an MBA from the University of California, Berkeley.Helen is also the founder of Pacific Art Group which has over 10,000 images, sold in over 122 countries. As a retail and eCommerce art guru, Helen talks about the art market, recent changes to retail and what company’s like Macy’s need to do be successful going forward. Helen also provides her advice for female executives looking to join corporate boards. Finally, we discuss why only 11% of business school cases involve female protagonists and what needs to take place in order to help change that.Discussion Topics:(2:55) Adjusting to COVID-10 lock downs from a business and personal standpoint.(5:51) The global art market and growth in Chinese contemporary art.(9:22) Trends in online art and the impact of COVID-19 on sales.(15:25) Macy’s Inc. plan to reclaim luxury leadership.(20:21) The future of retail post-COVID-19.(23:04) Advice for female executives looking to join corporate boards.(27:25) Female protagonists in business school cases.

”I have become a chameleon, I got used to change my colors and the way I am to the environment”World-famous Bboy Neguin comes from Paraná, Brazil, and has taken the planet by storm with his unique mix of capoeira, martial arts, and breakin'. Neguin is not only dancing but amongst other things also DJs - a mix of artistic expressions he calls Neguinism. He is one of the most unique dance artists and has already traveled to over 139 countries. Neguin has won the biggest breakdance competition called Red Bull BC and he represents the crews Tsunami All Stars and Red Bull BC One All Stars.Neguin has also done big commercial gigs such as being a dancer on Madonna's world tour and worked with Xzibit, Marcelo D2, Charlie Brown Jr. 2009 he stared and choreographed for the world tour of “Blaze”.In this interview, we get a unique insight into the person who has inspired thousands of dancers around the world: Bboy Neguin!Check out Neguin's social medias Instagram, Facebook Page & Youtube More amazing dancer interviews at Podcast Dance & TALKSA-Live Story Instagram & Facebook

About Emily CheungPassionate about innovation and technology, she is a firm believer that the right technology has the power to enhance consumer experiences and bring positive changes to businesses, society, and our daily life. With over 13+ years of experience in Brand strategy, digital transformation, social media, eCRM & digital communication strategy, she is equipped with the relevant technical know and leadership skills to inspire a team within a 40-people size creative digital agency (CREATEC : www.createcdigital.com). And she founded a technology company mainly focused on cultural tourism (ShaketoWin : www.shaketowin.net) too.Her vision & mission involves working side by side with cultural foundations, Charities, & NGOs to make the world a better place. She believes that we evolve as humans to become better versions of ourselves, and we all can rise as a society by lifting each other by preserving nature and culture and by building mutual understanding and trust between different cultures across the globe. More than commercial benefits, she value humanity benefits, which can bring a sustainable impact in the world.Episode Content:Her secret to keep high energy as an entrepreneurHer journey till nowPromoting cultural preservation at low entry barrier and be a bridge towards Chinese millennialsPreparing Chinese millennials before their travel starts and create cultural awarenessBehavior differences between '85, '90, '95, '00's borns.Innovation and Technology in Cultural Tourism incl. Virtual Reality and Augmented RealityHow to mix non-profit with profit focused businessesChinese tourism behaviorCreating local experiences besides just visiting a spotEpisode Mentions:https://www.shaketowin.net and http://www.createcdigital.comTravel from Home campaign https://www.shaketowin.net/travelfromhome/emily.cheung@shaketowin.nlWeChat ID: emily-backpackerFind Emily on LinkedINWechat, Bilibili, TikTok, WeiboVan Gogh Heritage Foundation: https://www.vangoghsites.com/en/programmas and https://www.vangoghbrabant.com Website: http://www.chinabusinesscast.comFind Jons on LinkedINFind Simon on LinkedINJoin China Business Cast WeChat group Download and SubscribeDownload this episode right click and choose "save as"Subscribe to China Business Cast on iTunesOr check out the full list on subscription optionsAdd Jons ('jslemmer') or Simon ('sraadt') on WeChat to join China Business Cast WeChat group

Eva Ruiz’s eye for Art has been refined over many years of working with artists in her gallery and traveling the world looking at Art. She’s a big advocate for returning to the life blood of the art world which is the gallery and the studios of the artists. Listen in for more of her unique perspective. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Santi Fox is a multidisciplinary art director specialized in brand design for a modern world. As he got involved with competitive esports in his early teens, the teams needed websites. The internet was around, so he learned HTML, CSS and Adobe Photoshop. After a few years of working as an event photographer, graphic designer, coordinator, he grew passionate about working in larger teams, generating larger ideas and exploring life and culture in the Americas. In 2012 he quit my job at Night People Group and traveled to Los Angeles to film a 10-episode travel documentary. Since then he's had the pleasure to work with various clients and in-house for street wear and fashion brands. Santi's Instagram - https://www.instagram.com/iamsantifox/ Santi's Website - https://santifox.gallery/ Santi's YouTube - https://www.youtube.com/user/santifoxco/videos Thanks for listening! Leave us a 5-star review on Apple Podcasts and let us know what you thought of this episode! Brady Morgan's Instagram - https://www.instagram.com/bradymorgan_/ Budgetrek's Instagram - https://www.instagram.com/budgetrek/ Budgetrek's Facebook - https://www.facebook.com/budgetrek/?modal=admin_todo_tour Budgetrek's Website - https://www.budgetrek.com/

In late January, Philip Tinari, the director of Beijing's pioneering UCCA Center for Contemporary Art, was in Davos, Switzerland for the latest outing on the non-stop international carousel of events that has defined the art world for much of the 21st century. It was there, on a ski lift, that he began receiving frantic messages from his team back at the museum: a mysterious disease had begun afflicting an alarming number of Chinese residents, and the government was beginning to shut down borders, cities, and businesses—including museums like theirs—to try to stem the spread. That mysterious illness was, of course, COVID-19, the lethal respiratory disease that roared to life in Wuhan, China and went on to grind much of the global economy and the art industry to a halt. Its emergence gave Tinari, a Philadelphia native who has led the UCCA Center since 2011, a rare front-row view to the societal and cultural impact of the virus near its point of origin, as well as the considerable damage it has done to the already-strained relationship between the United States and China. But just over three months later, China's extreme response to the virus has proven effective enough for the country to begin resuming some semblance of normal life, including visiting art museums and galleries. On May 21, the UCCA Center reopened with "Meditations in an Emergency," a multipart exhibition created in response to the virus, making Tinari and his staff among the first to have to adapt the in-person art experience to a post-pandemic world. On this week's episode, Tinari joins Andrew Goldstein to discuss how the crisis has changed the art landscape in China, the practical challenges of shutting down and restarting museum operations in a crisis, and what the future may hold for the art world at large.

In late January, Philip Tinari, the director of Beijing's pioneering UCCA Center for Contemporary Art, was in Davos, Switzerland for the latest outing on the non-stop international carousel of events that has defined the art world for much of the 21st century. It was there, on a ski lift, that he began receiving frantic messages from his team back at the museum: a mysterious disease had begun afflicting an alarming number of Chinese residents, and the government was beginning to shut down borders, cities, and businesses—including museums like theirs—to try to stem the spread. That mysterious illness was, of course, COVID-19, the lethal respiratory disease that roared to life in Wuhan, China and went on to grind much of the global economy and the art industry to a halt. Its emergence gave Tinari, a Philadelphia native who has led the UCCA Center since 2011, a rare front-row view to the societal and cultural impact of the virus near its point of origin, as well as the considerable damage it has done to the already-strained relationship between the United States and China. But just over three months later, China's extreme response to the virus has proven effective enough for the country to begin resuming some semblance of normal life, including visiting art museums and galleries. On May 21, the UCCA Center reopened with "Meditations in an Emergency," a multipart exhibition created in response to the virus, making Tinari and his staff among the first to have to adapt the in-person art experience to a post-pandemic world. On this week's episode, Tinari joins Andrew Goldstein to discuss how the crisis has changed the art landscape in China, the practical challenges of shutting down and restarting museum operations in a crisis, and what the future may hold for the art world at large.

Painting a picture of the art market using the latest edition of the Art Basel and UBS Global Art Market Report. We’ll hear from its author, renowned cultural economist Dr Clare McAndrew and our regular panelist from UBS Wealth Management.

GLOBAL ART. The art dealer Larry Gagosian has evolved his business into a global network of seventeen exhibition spaces with a vibrant contemporary program that features the work of leading international artists.

It was the passionate amateur painter, Winston Churchill, who introduced one of the Cold War’s key metaphors: The Iron Curtain. As John J. Curley argues in Global Art and the Cold War (Laurence King Publishers, 2019), this provocative image defined the binary logic of the Cold War and speaks to the larger importance of visuals in both the deployment of contemporary propaganda and in political resistance. A meticulously-researched and accessible monograph, Global Art and the Cold War demonstrates the crucial role of art in the greatest geopolitical conflict of the 20th century. Presenting a nuanced investigation of how the Cold War shaped major art movements including Abstract Expressionism, Pop art, and Conceptualism in the West and Socialism realism in the Eastern Bloc, Curley also challenging the traditional history of American Abstract painting in opposition to Soviet Socialist Realism by integrating other regions including Asia, Africa, and Latin America in to the study. Art from the “Cold War peripheries”, writes Curley in his introduction, reveals that the dominant narrative of modernism was a Western construction, simultaneously expressing transnational modernity and nationalism to counter American and Soviet imperialism. Positioning all 20th century art as engaged in an inevitable conflict between two opposed models for modernity, Curley makes a compelling case for broadening the narrative of artistic creation in the period of the Cold War and its aftermath. John J. Curley is Associate Professor of Art History in the Department of Art at Wake Forest University, where he teaches classes on modern and contemporary art history, as well as photographic history. Diana Dukhanova is Visiting Assistant Professor of Russian at the College of the Holy Cross in Worcester, MA. Her work focuses on religion and sexuality in Russian cultural history, and she is currently working on a monograph about Russian religious philosopher Vasily Rozanov. Diana tweets about contemporary events in the Russian religious landscape at https://twitter.com/RussRLGNWatch. Learn more about your ad choices. Visit megaphone.fm/adchoices

It was the passionate amateur painter, Winston Churchill, who introduced one of the Cold War’s key metaphors: The Iron Curtain. As John J. Curley argues in Global Art and the Cold War (Laurence King Publishers, 2019), this provocative image defined the binary logic of the Cold War and speaks to the larger importance of visuals in both the deployment of contemporary propaganda and in political resistance. A meticulously-researched and accessible monograph, Global Art and the Cold War demonstrates the crucial role of art in the greatest geopolitical conflict of the 20th century. Presenting a nuanced investigation of how the Cold War shaped major art movements including Abstract Expressionism, Pop art, and Conceptualism in the West and Socialism realism in the Eastern Bloc, Curley also challenging the traditional history of American Abstract painting in opposition to Soviet Socialist Realism by integrating other regions including Asia, Africa, and Latin America in to the study. Art from the “Cold War peripheries”, writes Curley in his introduction, reveals that the dominant narrative of modernism was a Western construction, simultaneously expressing transnational modernity and nationalism to counter American and Soviet imperialism. Positioning all 20th century art as engaged in an inevitable conflict between two opposed models for modernity, Curley makes a compelling case for broadening the narrative of artistic creation in the period of the Cold War and its aftermath. John J. Curley is Associate Professor of Art History in the Department of Art at Wake Forest University, where he teaches classes on modern and contemporary art history, as well as photographic history. Diana Dukhanova is Visiting Assistant Professor of Russian at the College of the Holy Cross in Worcester, MA. Her work focuses on religion and sexuality in Russian cultural history, and she is currently working on a monograph about Russian religious philosopher Vasily Rozanov. Diana tweets about contemporary events in the Russian religious landscape at https://twitter.com/RussRLGNWatch. Learn more about your ad choices. Visit megaphone.fm/adchoices

It was the passionate amateur painter, Winston Churchill, who introduced one of the Cold War’s key metaphors: The Iron Curtain. As John J. Curley argues in Global Art and the Cold War (Laurence King Publishers, 2019), this provocative image defined the binary logic of the Cold War and speaks to the larger importance of visuals in both the deployment of contemporary propaganda and in political resistance. A meticulously-researched and accessible monograph, Global Art and the Cold War demonstrates the crucial role of art in the greatest geopolitical conflict of the 20th century. Presenting a nuanced investigation of how the Cold War shaped major art movements including Abstract Expressionism, Pop art, and Conceptualism in the West and Socialism realism in the Eastern Bloc, Curley also challenging the traditional history of American Abstract painting in opposition to Soviet Socialist Realism by integrating other regions including Asia, Africa, and Latin America in to the study. Art from the “Cold War peripheries”, writes Curley in his introduction, reveals that the dominant narrative of modernism was a Western construction, simultaneously expressing transnational modernity and nationalism to counter American and Soviet imperialism. Positioning all 20th century art as engaged in an inevitable conflict between two opposed models for modernity, Curley makes a compelling case for broadening the narrative of artistic creation in the period of the Cold War and its aftermath. John J. Curley is Associate Professor of Art History in the Department of Art at Wake Forest University, where he teaches classes on modern and contemporary art history, as well as photographic history. Diana Dukhanova is Visiting Assistant Professor of Russian at the College of the Holy Cross in Worcester, MA. Her work focuses on religion and sexuality in Russian cultural history, and she is currently working on a monograph about Russian religious philosopher Vasily Rozanov. Diana tweets about contemporary events in the Russian religious landscape at https://twitter.com/RussRLGNWatch. Learn more about your ad choices. Visit megaphone.fm/adchoices

It was the passionate amateur painter, Winston Churchill, who introduced one of the Cold War’s key metaphors: The Iron Curtain. As John J. Curley argues in Global Art and the Cold War (Laurence King Publishers, 2019), this provocative image defined the binary logic of the Cold War and speaks to the larger importance of visuals in both the deployment of contemporary propaganda and in political resistance. A meticulously-researched and accessible monograph, Global Art and the Cold War demonstrates the crucial role of art in the greatest geopolitical conflict of the 20th century. Presenting a nuanced investigation of how the Cold War shaped major art movements including Abstract Expressionism, Pop art, and Conceptualism in the West and Socialism realism in the Eastern Bloc, Curley also challenging the traditional history of American Abstract painting in opposition to Soviet Socialist Realism by integrating other regions including Asia, Africa, and Latin America in to the study. Art from the “Cold War peripheries”, writes Curley in his introduction, reveals that the dominant narrative of modernism was a Western construction, simultaneously expressing transnational modernity and nationalism to counter American and Soviet imperialism. Positioning all 20th century art as engaged in an inevitable conflict between two opposed models for modernity, Curley makes a compelling case for broadening the narrative of artistic creation in the period of the Cold War and its aftermath. John J. Curley is Associate Professor of Art History in the Department of Art at Wake Forest University, where he teaches classes on modern and contemporary art history, as well as photographic history. Diana Dukhanova is Visiting Assistant Professor of Russian at the College of the Holy Cross in Worcester, MA. Her work focuses on religion and sexuality in Russian cultural history, and she is currently working on a monograph about Russian religious philosopher Vasily Rozanov. Diana tweets about contemporary events in the Russian religious landscape at https://twitter.com/RussRLGNWatch. Learn more about your ad choices. Visit megaphone.fm/adchoices

It was the passionate amateur painter, Winston Churchill, who introduced one of the Cold War’s key metaphors: The Iron Curtain. As John J. Curley argues in Global Art and the Cold War (Laurence King Publishers, 2019), this provocative image defined the binary logic of the Cold War and speaks to the larger importance of visuals in both the deployment of contemporary propaganda and in political resistance. A meticulously-researched and accessible monograph, Global Art and the Cold War demonstrates the crucial role of art in the greatest geopolitical conflict of the 20th century. Presenting a nuanced investigation of how the Cold War shaped major art movements including Abstract Expressionism, Pop art, and Conceptualism in the West and Socialism realism in the Eastern Bloc, Curley also challenging the traditional history of American Abstract painting in opposition to Soviet Socialist Realism by integrating other regions including Asia, Africa, and Latin America in to the study. Art from the “Cold War peripheries”, writes Curley in his introduction, reveals that the dominant narrative of modernism was a Western construction, simultaneously expressing transnational modernity and nationalism to counter American and Soviet imperialism. Positioning all 20th century art as engaged in an inevitable conflict between two opposed models for modernity, Curley makes a compelling case for broadening the narrative of artistic creation in the period of the Cold War and its aftermath. John J. Curley is Associate Professor of Art History in the Department of Art at Wake Forest University, where he teaches classes on modern and contemporary art history, as well as photographic history. Diana Dukhanova is Visiting Assistant Professor of Russian at the College of the Holy Cross in Worcester, MA. Her work focuses on religion and sexuality in Russian cultural history, and she is currently working on a monograph about Russian religious philosopher Vasily Rozanov. Diana tweets about contemporary events in the Russian religious landscape at https://twitter.com/RussRLGNWatch. Learn more about your ad choices. Visit megaphone.fm/adchoices

It was the passionate amateur painter, Winston Churchill, who introduced one of the Cold War’s key metaphors: The Iron Curtain. As John J. Curley argues in Global Art and the Cold War (Laurence King Publishers, 2019), this provocative image defined the binary logic of the Cold War and speaks to the larger importance of visuals in both the deployment of contemporary propaganda and in political resistance. A meticulously-researched and accessible monograph, Global Art and the Cold War demonstrates the crucial role of art in the greatest geopolitical conflict of the 20th century. Presenting a nuanced investigation of how the Cold War shaped major art movements including Abstract Expressionism, Pop art, and Conceptualism in the West and Socialism realism in the Eastern Bloc, Curley also challenging the traditional history of American Abstract painting in opposition to Soviet Socialist Realism by integrating other regions including Asia, Africa, and Latin America in to the study. Art from the “Cold War peripheries”, writes Curley in his introduction, reveals that the dominant narrative of modernism was a Western construction, simultaneously expressing transnational modernity and nationalism to counter American and Soviet imperialism. Positioning all 20th century art as engaged in an inevitable conflict between two opposed models for modernity, Curley makes a compelling case for broadening the narrative of artistic creation in the period of the Cold War and its aftermath. John J. Curley is Associate Professor of Art History in the Department of Art at Wake Forest University, where he teaches classes on modern and contemporary art history, as well as photographic history. Diana Dukhanova is Visiting Assistant Professor of Russian at the College of the Holy Cross in Worcester, MA. Her work focuses on religion and sexuality in Russian cultural history, and she is currently working on a monograph about Russian religious philosopher Vasily Rozanov. Diana tweets about contemporary events in the Russian religious landscape at https://twitter.com/RussRLGNWatch. Learn more about your ad choices. Visit megaphone.fm/adchoices

It was the passionate amateur painter, Winston Churchill, who introduced one of the Cold War’s key metaphors: The Iron Curtain. As John J. Curley argues in Global Art and the Cold War (Laurence King Publishers, 2019), this provocative image defined the binary logic of the Cold War and speaks to the larger importance of visuals in both the deployment of contemporary propaganda and in political resistance. A meticulously-researched and accessible monograph, Global Art and the Cold War demonstrates the crucial role of art in the greatest geopolitical conflict of the 20th century. Presenting a nuanced investigation of how the Cold War shaped major art movements including Abstract Expressionism, Pop art, and Conceptualism in the West and Socialism realism in the Eastern Bloc, Curley also challenging the traditional history of American Abstract painting in opposition to Soviet Socialist Realism by integrating other regions including Asia, Africa, and Latin America in to the study. Art from the “Cold War peripheries”, writes Curley in his introduction, reveals that the dominant narrative of modernism was a Western construction, simultaneously expressing transnational modernity and nationalism to counter American and Soviet imperialism. Positioning all 20th century art as engaged in an inevitable conflict between two opposed models for modernity, Curley makes a compelling case for broadening the narrative of artistic creation in the period of the Cold War and its aftermath. John J. Curley is Associate Professor of Art History in the Department of Art at Wake Forest University, where he teaches classes on modern and contemporary art history, as well as photographic history. Diana Dukhanova is Visiting Assistant Professor of Russian at the College of the Holy Cross in Worcester, MA. Her work focuses on religion and sexuality in Russian cultural history, and she is currently working on a monograph about Russian religious philosopher Vasily Rozanov. Diana tweets about contemporary events in the Russian religious landscape at https://twitter.com/RussRLGNWatch. Learn more about your ad choices. Visit megaphone.fm/adchoices

It was the passionate amateur painter, Winston Churchill, who introduced one of the Cold War’s key metaphors: The Iron Curtain. As John J. Curley argues in Global Art and the Cold War (Laurence King Publishers, 2019), this provocative image defined the binary logic of the Cold War and speaks to the larger importance of visuals in both the deployment of contemporary propaganda and in political resistance. A meticulously-researched and accessible monograph, Global Art and the Cold War demonstrates the crucial role of art in the greatest geopolitical conflict of the 20th century. Presenting a nuanced investigation of how the Cold War shaped major art movements including Abstract Expressionism, Pop art, and Conceptualism in the West and Socialism realism in the Eastern Bloc, Curley also challenging the traditional history of American Abstract painting in opposition to Soviet Socialist Realism by integrating other regions including Asia, Africa, and Latin America in to the study. Art from the “Cold War peripheries”, writes Curley in his introduction, reveals that the dominant narrative of modernism was a Western construction, simultaneously expressing transnational modernity and nationalism to counter American and Soviet imperialism. Positioning all 20th century art as engaged in an inevitable conflict between two opposed models for modernity, Curley makes a compelling case for broadening the narrative of artistic creation in the period of the Cold War and its aftermath. John J. Curley is Associate Professor of Art History in the Department of Art at Wake Forest University, where he teaches classes on modern and contemporary art history, as well as photographic history. Diana Dukhanova is Visiting Assistant Professor of Russian at the College of the Holy Cross in Worcester, MA. Her work focuses on religion and sexuality in Russian cultural history, and she is currently working on a monograph about Russian religious philosopher Vasily Rozanov. Diana tweets about contemporary events in the Russian religious landscape at https://twitter.com/RussRLGNWatch. Learn more about your ad choices. Visit megaphone.fm/adchoices

If you have worked with the Memory Project any time before, you know what an incredible organization they are and what meaningful opportunities they provide for our students. Today, they are announcing a new program! Listen as Tim talks to Nora Feldman about the Global Art Exchange, including discussion on how the project came about, what they hope to accomplish, and how you can get your students to participate.    Resources and Links  The Global Art Exchange The Memory Project Website How to Change Lives Around the World with the Memory Project Service Learning Projects to Inspire Your Students

Can art build bridges where language and even diplomacy fail? The Global Art Project is a worldwide effort of artists who are breaking through barriers of culture, language and geography. Art professor Jane Camp discusses the grass-roots effort to promote global peace by exchanging artwork with strangers from around the planet.

Based on her 2015 book, Yayoi Kusama: Inventing the Singular, Prof. Midori Yamamura will discuss Japanese-born artist Yayoi Kusama and Jewish art dealer Leo Castelli, who both launched their careers in New Yorks 1950s multicultural downtown scene, where immigrants from diverse backgrounds converged after the Second World War. By the early 1960s, Kusama was exhibiting together with the Pop and Minimal artists during their formative years. In Europe, she showed with the Dutch Nul and the German Zero artists. However, as the global art market fully took root, the so-called New American Art replaced multiculturalism with mostly U.S.-born white male artists, most of whom were represented by a single New York gallery, Leo Castelli, and Kusama became marginalized. This was owing in part largely to the successful efforts of the capitalists transnational activities to establish what was in effect a market monopoly. This experience uniquely shaped Kusamas art, and forced her to invent a singular practice that foreshadowed the politically charged feminist art of the 1970s and queer art, challenging the conventional ideas of gender and sexuality.

Art is once again in the frame as we browse the 2018 edition of the leading annual report and look ahead to the fair in Miami. We talk to the author of the research, catch up with the head of the UBS Art collection and hear from artist Sarah Morris, whose work features extensively in the UBS collection. Morris is reimagining a monumental wall painting, originally commissioned for the bank’s Zürich office, to be revealed early next year at its renovated New York headquarters.

As part of an international program to celebrate the gallery’s 25th Anniversary, Dickinson held a panel discussion at their New York space during Spring TEFAF. Conversation centered on the multiplicity of sources of advice in the art market and how collectors can be best served as they seek to acquire art. On the panel are Megan Fox Kelly, President of the Association of Professional Art Advisors and an advisor with a broad practice that includes helping new collectors to find their bearings in the art market and advising artist's estates and foundations on a market-facing strategy; Todd Levin, who has built noteworthy collections that have achieved verifiable market successes as well as curated his own shows at various galleries in New York, Los Angeles and Berlin; and William O'Reilly, Senior Director with Dickinson in New York where he works with collectors of Old Master through to Contemporary Art. The lively conversation explores the relationship between advisors, collectors and the art market ecosystem, and the joys and pitfalls of building a collection.

American writer and curator Kate Sutton has been regular contributor to artforum.com for a decade. For a long period of time she lived in Moscow and today she is based in Zagreb. Consequently, she has written about many artists located outside of places oftentimes describe as art centres, like London and New York. She mentions a couple of artist, among them Taus Makhacheva from Dagestan.http://www.theartword.com

Was steht hinter dem Global Art Hype? Wir freuen uns auf unsere Gäste Elke Buhr, Chefredakteurin, Monopol Daniel Lieberberg, Sony Music Entertainment, President Continental Europe & Africa Nahed Samour, Juristin und Islamwissenschaftlerin, Humboldt Universität/Harvard Law School Eure Julia Grosse und Julia Voss

South African born actress & humanitarian, Mary-Anne Wright, tells us about her organization – “Unbounded Lioness Creations” - a Global Art & Entertainment Company supporting Mental Health, Education and Humanitarian Issues. Lyla & Mary-Anne were both performers at her Global Connectivity event that took place in Clinton Cameo Studios, 43rd street Times Square, earlier in April. https://www.unboundedlionesscreations.com/about

Episode 1 : Reconstructing Strangelove with Mick Broderick. In this, our very first episode, Professor Mick Broderick speaks to Kubrick's Universe about his new book Reconstructing Strangelove. Mick Broderick is Associate Professor of Media Analysis in the School of Arts at Murdoch University in Perth, Australia, and also Acting Director of the National Academy of Screen & Sound, which a multi-campus research centre specializing in the production of creative works based on research in media, communication and culture.  His first book, published in 1988, was “Nuclear Movies: A Critical Analysis and Filmography of International Feature Length Films Dealing With Experimentation, Aliens, Terrorism, Holocaust”.  He has served as editor of three books, “Hiroshima, Nagasaki, and the Nuclear Image in Japanese Film”; “Interrogating Trauma: Collective Suffering in Global Art and Media” and “Trauma, Media, Art: New Perspectives:.  His current book,“Reconstructing Strangelove: Inside Stanley Kubrick’s ‘nightmare comedy”, which he describes as a “research monograph” is about the movie’s genesis, development, and assumption of its final form, and sets the record straight about much of the lore that and legends that have grown up around the movie.   The Sunday Times title for their review of the book was “Stanley Kubrick’s plan to flee nuclear attack foiled by toilet phobia”. Link : Buy 'Reconstructing Strangelove' book : https://www.amazon.com/Reconstructing-Strangelove-Stanley-Kubricks-Nightmare/dp/0231177097 Buy the Criterion Blu-Ray / DVD : https://www.criterion.com/films/28822-dr-strangelove-or-how-i-learned-to-stop-worrying-and-love-the-bom IMDb : http://www.imdb.com/title/tt0057012/?ref_=nv_sr_1 Wiki : https://en.wikipedia.org/wiki/Dr._Strangelove The Stanley Kubrick Appreciation Society (SKAS) - Facebook Group : https://www.facebook.com/groups/TSKAS/ The Stanley Kubrick Appreciation Society (SKAS) - YouTube Channel : https://www.youtube.com/channel/UCRdeqrFNoOrYtWbxwR_GXPA The Stanley Kubrick Appreciation Society (SKAS) - Twitter Page : https://twitter.com/KubrickAS Contact us : stephenrigg.skas@gmail.com

Timothy Taylor has a space in New York that measures 16 x 34 feet. The intimacy of the gallery appealed to his artist Alex Katz who helped create a show around one of his student sketchbooks. The small works set in a small space offer a very different experience of the artist known for his work at scale. In this podcast, Timothy Taylor talks about the changing ways in which art dealers must operate to represent their artists well while coping with the constraints of ever-rising retail space rents in major metropolitan centers and the growing interest in art from collectors in far-flung cities across Asia and the West. Taylor, who has just opened a show of Ding Yi's new work in his London space, has also brought Alex Katz and Sean Scully to China. He sees the way that dealers represent their artists requires thinking creatively and hints that the future of art dealing may already be upon us.

Issac Julien and Dr. Diamond and Face2Face host David Peck talk about nurturing different artistic experiences, invisibility of issues and race and complex new media projects and porous institutions.   Issac’s latest RoM installation.   Global Experience Project   OCAD University (OCAD U) is launching a trailblazing international initiative, bent on elevating Canada’s prominence in the global communities of art and culture. The Jack Weinbaum Family Foundation Global Experience Project (GEP) will bring four leading international artists to Toronto for a significant residency at OCAD U over the next five years. The GEP will connect selected students with the visiting artists and notable scholars, on campus and abroad.   “We are thrilled beyond words to realize the launch of the Jack Weinbaum Family Foundation Global Experience Project,” said Dr. Sara Diamond, President and Vice-Chancellor, OCAD University. “The opportunity to interact closely with ground-breaking international artists will shape the learning experience for OCAD U students in a way that no classroom ever could, and heighten international awareness of Toronto as a vibrant contemporary art community.” For GEP’s inaugural year, OCAD U is hosting the renowned Isaac Julien as its artist-in-residence. A London-based filmmaker and video installation artist, Julien is working with five students who have access to the behind-the-scenes installation of his current show at the Royal Ontario Museum (Isaac Julien: Other Destinies, now on until April 23, 2017) and will participate in events involving the artist and his work, including the upcoming Images Festival, which will screen Who Killed Colin Roach? andTerritories.   As part of his residency, which extends until the end of March, Julien will engage with students and the arts community through lectures, screenings and discussions. In May, GEP students will travel to London, England to spend time with Julien in his studio and learn about his process. The students will continue to develop their own projects with Julien’s feedback and critical perspective on their work, while immersed in London’s arts community.   Biography Isaac Julien is a Turner prize nominated artist, photographer and filmmaker. He was born in London in 1960, where he currently lives and works. Earlier films and photographic works include “Young Soul Rebels” (1991), which was awarded the Semaine de la Critique Prize at the Cannes Film Festival; the acclaimed poetic film-essay and photographic series “Looking for Langston” (1989); and “Frantz Fanon: Black Skin, White Mask” (1996). Julien has pioneered a form of multi-screen installations, including light-boxes and photographic works with “Western Union: Small Boats” (2007), “Ten Thousand Waves” (2010) and “Playtime: Kapital” (2014). Julien participated in the 56th Biennale di Venezia and worked closely with its curator Okwui Enwezor (2015). He has exhibited his work in major museums and institutions across the world including “Ten Thousand Waves” at Museum of Modern Art, New York (2013-2014), which is currently exhibited at Fondation Louis Vuitton in Paris (2016). In 2015, Julien had a retrospective at the Depont Museum (Tilburg, the Netherlands). In 2016, he showed “Playtime” and “Kapital” at El Museo Universitario Arte Contemporáneo in Mexico City and recently had a solo photographic exhibition titled "Vintage" (Jessica Silverman Gallery, San Francisco) displaying his photographic oeuvre from the 1980's and his seminal "Looking for Langston" series, which is also included in “Made You Look”, at The Photographers' Gallery. Julien’s work is included in the collections of institutions around the globe. In 2013 MoMA published RIOT, a monographic survey of his career to date, featuring his films, photographic and installation works over the period. Julien is currently producing a new work that is a poetic meditation on aspects of the life and architecture of Lina Bo Bardi. The first chapter of this work, “Stones Against Diamonds”, was shown during 2015's La Biennale di Venezia, Art Basel and Art Basel Miami Beach. Amongst forthcoming exhibitions, “Western Union: Small Boats” will be part of “Protest” exhibition at Victoria Miro Gallery (fall 2016). After teaching at Harvard University (1998-2002), Julien was Professor of Media Art at the Staatliche Hochschule für Gestaltung in Karlsruhe (2009-2015) and Chair of Global Art at University of Arts London (2014-2016). ---------- Dr. Sara Diamond is the President of OCAD University, Canada's university of the imagination. She holds a PhD in Computing, Information Technology and Engineering from the University of East London, a Master’s in Digital Media theory from the University of the Arts London and an Honour’s Bachelor of Arts in History and Communications from Simon Fraser University. She is an appointee of the Order of Ontario and the Royal Canadian Society of Artists, and a recipient of the Queen’s Diamond Jubilee Medal and the Digital Pioneer Award from the GRAND Networks of Centres of Excellence. She is also a Senior Fellow at Massey College, University of Toronto. In 2014, Toronto Life described her as one of “Toronto’s 50 Most Influential People.”   While retaining OCAD University's traditional strengths in art and design, Diamond has guided the university in becoming a leader in digital media, design research and curriculum through the Digital Futures Initiative, new research in inclusive design, health and design, and sustainable technologies and design. She also played a leading role in OCAD University's establishment of the unique Indigenous Visual Culture program. These initiatives have built strong partnerships for OCAD University with science, business and communities in Ontario and abroad. Currently, Diamond serves on the boards of Baycrest, ORION (Ontario's high-speed network), Women in Communications and Technology; and i-Canada; and is Chair of the Scotiabank Nuit Blanche Toronto Advisory Committee. She has served the larger university community through: her membership on the Standing Advisory Committee on University Research (SACUR); as a current member of the Standing Advisory Committee on International Relations (SACIR) of Universities Canada; as Chair of the Standing Committee on Relationships with other Postsecondary Institutions for the Council of Ontario Universities (COU); and as a member of the Council of Ontario Universities executive. She was also a member of the 2011-2012 Council of the Canadian Academies' expert panel on the State of Science & Technology in Canada.   Diamond founded the Banff New media Institute in 1995-2005. Diamond is a data visualization, wearable technology and mobile media researcher, artist, designer and scientist. She is founding Chair of the Mobile Experience Innovation Centre (2007-2014) and was co-Chair of Mobile HCI (ACM) in 2014. She is co-principal investigator in the Centre for Innovation in Information Visualization and Data-Driven Design, an OCAD U/York University initiative, and theme leader on the ORF-E funded iCity project as well as a member of the BRAIN alliance. She holds funding from the Social Science and Humanities Research Council and the National Sciences and Engineering Research Council.   Diamond continues to write and lecture on the subjects of digital media history and practice, visual analytics, mobility and design strategy for peer-reviewed journals, and acts as a reviewer and evaluator for IEEE and ACM conferences and journals; SSHRC, CFI and the Canada Research Chair programs. Her artwork is held by prestigious collections such as the Museum of Modern Art, NYC and the National Gallery of Canada. See acast.com/privacy for privacy and opt-out information.

In this week's episode of the ArtTactic Podcast, Clare McAndrew, founder of Arts Economics and author of the recently released Art Basel & UBS Global Art Market Report, joins us to discuss her findings from her report. First, Clare shares some of the major takeaways from the report and puts into context the art market's performance in 2016 versus previous years. Then, she explains the significance of the large disparity between auction sales which fell 26% last year and dealer sales which increased 3%. Also, Clare touches on the discrepancies between her numbers and those witnessed in the competing TEFAF art market report as well as China's current role in the global art market.

Alice Rekab, artist and theorist, is my guest on today’s episode (67 minutes). You can see some her work at her website and an early version of the film we briefly talk about at the Global Art & Ideas Nexus media page. There you can also watch video of Joshua Ramey, Alex Dubilet, and myself discussing recent Laruelle translations.  I won’t pretend that the opening remarks are not raw or that they are incredibly intellectual. Like many of you I am dismayed and enraged by the Ferguson grand jury decision. Divorcing that emotional register from theoretical work strikes me as doing a disservice to both one’s emotional life and their intellectual work. So, I figured let it show.  Music in today’s episode is J. Cole’s tribute to Mike Brown, “Be Free”. 

Join us on November 25th at 8 pm Eastern as Katherine Josten, artist and founder of the Global Art Project for Peace discusses how local communities from across the globe actively join together to promote peace through art.  Hear how this work inspires personal and social evolution through creativity and learn how you can participate in this project with thousands of others to share your own artistic expression of friendship and peace to form a Global Community. Katherine Josten is an artist, educator, speaker and Founder/Director of the Global Art Project for Peace, a multi-cultural celebration of peace and diversity that has involved 130,000 participants in 85 countries on seven continents. The mission of the Project is to joyously create a culture of peace through art. Nominated for a UNESCO-Madanjeet Singh Prize for the Promotion of Tolerance and Non-Violence, the Global Art Project for Peace gives people in local communities an opportunity to join together to form a cooperative Global Community. Stephen Kotev is a Washington D.C. based conflict resolution consultant offering mediation, negotiation and facilitation services, conflict coaching, training and somatic education to private and government clients. He holds a Master of Science degree from George Mason University’s School for Conflict Analysis and Resolution and a black belt in the Japanese martial art of Aikido. Stephen is a nationally recognized expert on how to maintain your performance under pressure and the Chair of the Association for Conflict Resolution’s Taskforce on Safety in ADR. 

Global Studies 2011 | Symposium 10/19/2011-10/20/2011 Abgesehen von der immer noch nicht abgeschlossenen Diskussion darüber, ob die Tradition des Dokumentarfilms (Trinh) überhaupt als „Kunst“ gewertet werden darf/ soll, möchte ich der Frage nachgehen, wann es sich beim Dokumentarfilm um „Global Art“ handelt. Handelt es sich um „Global Art“, wenn ein Film „international“ anerkannt ist? Wenn ja: Welche Institutionen, Filmfestivals, Filmpreise, WissenschaftlerInnen oder Museen legen seinen „künstlerischen Wert“ fest? Wer hat die Macht zur Evaluierung – im Westen und in der so genannten Peripherie? Reicht gar die künstlerische Intention des/der FilmemacherIn, um ihn als „Global Art“ auszuweisen? Oder geht es vielleicht eher um das Zielpublikum, eine möglichst globale Zuseherschaft? Eine weitere Möglichkeit wäre, einen Dokumentarfilm aufgrund seines „globalen Inhalts“ – wie Migration, transnationale Kapital-, Bilder- und Warenströme – zur „globalen Kunst“ zu zählen. Der vorliegende Beitrag möchte sich diesem Fragenkomplex an der Schnittstelle von Macht, Diskurs, „Kunst“ und globalen Interdependenzen aus der Perspektive der postkolonialen Theorie annähern.