Podcasts about Guggenheim

We're in Bilbao this week, and it's got us thinking. How does a football club that refuses to sign non-Basque players manage to qualify for the Champions League, raking in close to €100 million from TV rights, match days, and UEFA money, while Dublin's best bet is a few fivers from the Conference League? The answer is in economics. The Basques were Europe's forgotten industrialists, the only region in Spain to undergo a full-blown Industrial Revolution, powered by local iron ore, steel production, and a shipbuilding boom that made Bilbao Spain's biggest port by 1900. Then they lost it all. Globalisation, China, and the EU opened the floodgates. Unlike post-industrial towns in the UK or Ireland, Bilbao didn't roll over. They moved the port. They built the Guggenheim. They chose ambition. And they proved that even a small, isolated, ancient people, who speak a pre-Ice Age language with no known relatives, can build a modern economy with global reach. What's our excuse? Join the gang! https://plus.acast.com/s/the-david-mcwilliams-podcast. Hosted on Acast. See acast.com/privacy for more information.

Skip the Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them increase their visitor numbers. Your hosts are Paul Marden and Andy Povey.If you like what you hear, you can subscribe on iTunes, Spotify, and all the usual channels by searching Skip the Queue or visit our website SkiptheQueue.fm.If you've enjoyed this podcast, please leave us a five star review, it really helps others find us. Show references:  Anna Preedy, Director M+H Showhttps://show.museumsandheritage.com/https://www.linkedin.com/in/annapreedy/Jon Horsfield, CRO at Centegra, a Cinchio Solutions Partnerhttps://cinchio.com/uk/https://www.linkedin.com/in/jon-horsfield-957b3a4/Dom Jones, CEO, Mary Rose Trust https://maryrose.org/https://www.linkedin.com/in/dominicejones/https://www.skipthequeue.fm/episodes/dominic-jonesPaul Woolf, Trustee at Mary Rose Trusthttps://maryrose.org/https://www.linkedin.com/in/paul-woolf/Stephen Spencer, Ambience Director, Stephen Spencer + Associateshttps://www.stephenspencerassociates.com/https://www.linkedin.com/in/customerexperiencespecialist/https://www.skipthequeue.fm/episodes/stephen-spencerSarah Bagg, Founder, ReWork Consultinghttps://reworkconsulting.co.uk/https://www.linkedin.com/in/sarahbagg/https://www.skipthequeue.fm/episodes/sarah-baggJeremy Mitchell, Chair of Petersfield Museum and Art Galleryhttps://www.petersfieldmuseum.co.uk/https://www.linkedin.com/in/jeremy-mitchell-frsa-4529b95/Rachel Kuhn, Associate Director, BOP Consultinghttps://www.bop.co.uk/https://www.linkedin.com/in/kuhnrachel/  Transcriptions:Paul Marden: Welcome to Skip the Queue, the podcast for people working in and working with visitor attractions. You join me today, out and about yet again. This time I am in London at Olympia for the Museums and Heritage Show. Hotly anticipated event in everybody's diary. We all look forward to it. Two days of talks and exhibitions and workshops. Just a whole lot of networking and fun. And of course, we've got the M and H awards as well. So in this episode, I am going to be joined by a number of different people from across the sector, museum and cultural institution professionals, we've got some consultants, we've got some suppliers to the industry, all pretty much giving us their take on what they've seen, what they're doing and what their thoughts are for the year ahead. So, without further ado, let's meet our first guest. Andy Povey: Hi, Anna. Welcome to Skip the Queue. Thank you for giving us some of your time on what must be a massively busy day for you. I wonder if you could just tell the audience who you are, what you do, a little bit about what museums and heritage is, because not everyone listening to the podcast comes from the museum sector. Anna Preedy: Andy, thanks. This is a great opportunity and always really lovely to see your happy smiley face at the Museums and Heritage Show. So M and H, as we're often referred to as, stands for Museums and Heritage and we're a small business that organises the principal trade exhibition for the Museums and Heritage sector that could be broadened, I suppose, into the cultural sector. We also have the awards ceremony for the sector and an online magazine. So we are Museums and Heritage, but we're often referred to as M and H and we've been around for a very long time, 30 plus years. Andy Povey: Oh, my word. Anna Preedy: I know. Andy Povey: And what's your role within the organisation? Your badge says Event Director today. That's one of many hats. Anna Preedy: I'm sure it is one of many hats because we're a very small team. So I own and manage the events, if you like. M and H is my baby. I've been doing it for a very long time. I feel like I'm truly immersed in the world of museums and heritage and would like to think that as a result of that, I kind of understand and appreciate some of the issues and then bring everyone together to actually get in the same room and to talk them through at the show. So, yeah, that's what we're about, really. Andy Povey: In a shorthand and obviously the show. We're in the middle of West London. It's a beautifully sunny day here at Olympia. The show is the culmination, I suppose of 12 months of work. So what actually goes in? What does a normal day look like for you on any month other than May? Anna Preedy: Yeah, it was funny actually. Sometimes people, I think, well, what do you do for the rest of the year? You just turn up to London for a couple of days, just turn up delivering an event like this. And also our award scheme is literally three, six, five days of the year job. So the moment we leave Olympia in London, we're already planning the next event. So it really is all encompassing. So I get involved in a lot. As I say, we're a small team, so I'm the person that tends to do most of the programming for the show. So we have 70 free talks. Everything at the show is free to attend, is free to visit. So we have an extensive programme of talks. We have about 170 exhibitors. Anna Preedy: So I'm, although I have a sales team for that, I'm managing them and looking after that and working with some of those exhibitors and then I'm very much involved in our awards. So the Museums and Heritage Awards look to celebrate and reward the very best in our sector and shine the spotlight on that not just in the UK but around the world. So we have a judging panel and I coordinate that. So pretty much every decision, I mean you look at the colour of the carpet, that which incidentally is bright pink, you look at the colour of the carpet here, who made the decision what colour it would be in the aisles this year it was me. So I, you know, I do get heavily involved in all the nitty gritty as well as the biggest strategic decisions. Andy Povey: Fantastic. Here on the show floor today it is really busy, there are an awful lot of people there. So this is all testament to everything that you've done to make this the success that it is. I'm sure that every exhibitor is going to walk away with maybe not a full order book, but definitely a fistful of business cards. Anna Preedy: I think that's it, what we really want. And we sort of build this event as the big catch up and we do that for a reason. And that is really to kind of give two days of the year people put those in their diary. It's a space where people can come together. So you know, there'll be people here standing on stands who obviously and understandably want to promote their product or service and are looking to generate new business. And then our visitors are looking for those services and enjoying the talks and everyone comes together and it's an opportunity to learn and network and connect and to do business in the broadest possible sense. Really. Andy Povey: No, I think that the line, the big catch up really sums the show up for me. I've been. I think I worked out on the way in this morning. It's the 15th time I've been to the show. It's one of my favourite in the year because it is a fantastic mix of the curatorial, the commercial, everything that goes into running a successful museum or heritage venue. Anna Preedy: I mean, it's funny when people ask me to summarise. I mean, for a start, it's quite difficult. You know, really, it should be museums, galleries, heritage, visitor, attractions, culture. You know, it is a very diverse sector and if you think about everything that goes into making a museum or a gallery or a historic house function, operate, engage, it's as diverse as the organisational types are themselves and we try and bring all of that together. So, you know, whether you are the person that's responsible for generating income in your organisation, and perhaps that might be retail or it might be catering, it could be any. Any stream of income generation, there's going to be content for you here just as much as there's going to be content for you here. Anna Preedy: If you are head of exhibitions or if you are perhaps wearing the marketing hat and actually your job is, you know, communications or audience development, we try and represent the sector in its broadest scope. So there is something for everyone, quite. Andy Povey: Literally, and that's apparent just from looking on the show floor. So with all of your experience in the museum sector, and I suppose you get to see. See quite an awful lot of new stuff, new products. So what are you anticipating happening in the next sort of 6 to 12 months in our sector? Anna Preedy: I mean, that's a big question because, you know, going back to what were just saying, and the kind of different verticals, if you like, that sit within the sector, but I think the obvious one probably has to be AI, and the influence of that. I'm not saying that's going to change everything overnight. It won't, but it's. You can see the ripples already and you can see that reflected out here on the exhibition floor with exhibitors, and you can also see it in our programme. So this sort of AI is only, you know, one aspect of, you know, the bigger, wider digital story. But I just think it's probably more about the sector evolving than it is about, you know, grand sweeping changes in any one direction. Anna Preedy: But the other thing to say, of course, is that as funding gets more the sort of the economic landscape, you know, is tough. Undeniably so. So generating revenue and finding new ways to do that and prioritising it within your organisation, but not at the expense of everything else that's done. And it should never be at the expense of everything else that's done. And it's perfectly possible to do both. Nobody's suggesting that it's easy, nothing's easy but, you know, it's possible. Anna Preedy: And I think the show here, and also what we do online in terms of, you know, news and features, all of that, and what other organisations are doing in this sector, of course, and the partners we work with, but I think just helping kind of bridge that gap really, and to provide solutions and to provide inspiration and actually, you know, there's no need to reinvent the wheel constantly. Actually, I think it was somebody that worked in the sector. I'm reluctant to names, but there was somebody I remember once saying, well, know, stealing with glee is kind of, you know, and I think actually, you know, if you see somebody else is doing something great and actually we see that in our wards, you know, that's the whole point. Let's shine a spotlight on good work. Well, that might inspire someone else. Anna Preedy: It's not about ripping something off and it's not absolute replication. But actually, you know, scalable changes in your organisation that may have been inspired by somebody else's is only a good thing as well. Andy Povey: It's all that evolutionary process, isn't it? So, great experience. Thank you on behalf of everybody that's come to the show today. Anna Preedy: Well, thank you very much. I love doing it, I really genuinely do and there is nothing like the buzz of a busy event. Jon Horsfield: Yeah, My name is Jon Horsfield, I'm the Chief Revenue Officer of Cincio Solutions. Andy Povey: And what does Cincio do? Jon Horsfield: We provide F and B technology, so kiosks, point of sale payments, kitchen systems, inventory, self checkout to the museums, heritage zoos, aquariums and hospitality industries. Andy Povey: Oh, fantastic. So I understand this is your first time here at the Museums and Heritage Show. Jon Horsfield: It is our first time. It's been an interesting learning curve. Andy Povey: Tell me more. Jon Horsfield: Well, our background is very much within the hospitality. We've been operating for about 20 to 23 years within the sort of high street hospitality side of things. Some of our London based listeners may have heard of Leon Restaurants or Coco Di Mama, we've been working with them for over 20 years. But we're looking at ways of bringing that high street technology into other industries and other Verticals and the museums and heritage is a vertical that we've identified as somewhere that could probably do with coming into the 21st century with some of the technology solutions available. Andy Povey: I hear what you're saying. So what do you think of the show? What are your first impressions? Give me your top three tips. Learning points. Jon Horsfield: Firstly, this industry takes a long time to get to know people. It seems to be long lead times. That's the first learning that we've had. Our traditional industry in hospitality, people will buy in this industry. It's going to take some time and we're happy about that. We understand that. So for us, this is about learning about know about how the industry works. Everybody's really friendly. Andy Povey: We try. Yeah. Jon Horsfield: That's one of the first things that we found out with this. This industry is everybody is really friendly and that's quite nice. Even some of our competitors, we're having nice conversations with people. Everybody is really lovely. The third point is the fact that I didn't know that there were so many niche markets and I found out where my mother buys her scarves and Christmas presents from. So it's been really interesting seeing the different types of things that people are looking for. We've sort of noticed that it's really about preservation. That's one of the main areas. There's a lot of things about preservation. Another one is about the display, how things are being displayed, and lots of innovative ways of doing that. But also the bit that we're really interested in is the commercialization. Jon Horsfield: There's a real push within the industry to start to commercialise things and bring in more revenue from the same people. Andy Povey: Yeah, yeah. I mean, that's all about securing the destiny so that you're not reliant on funding from external parties or government and you taking that control. So what do you do at Centrio that helps? Jon Horsfield: Well, first of all. First of all, I would say the efficiencies that we can bring with back office systems integrations. We're very well aware of what we do, we're also aware of what we don't do. So, for example, we're not a ticketing provider, we're a specialist retail and F and B supplier. So it's about building those relationships and actually integrating. We've got a lot of integrations available and we're very open to that. So that's the first thing. But one of the key things that we're trying to bring to this industry is the way that you can use technology to increase revenue. So the kiosks that we've got here, it's proven that you'll get a minimum average transaction value increase of 10 to 15%. Andy Povey: And what do you put that down to? Jon Horsfield: The ability to upsell. Okay, with kiosks, as long as, if you put, for example, with a burger, if you just have a nice little button, say would you like the bacon fries with that? It's an extra few pounds. Well, actually if you've got an extra few pounds on every single transaction, that makes an incredible difference to the bottom line. From the same number of customers. Some of our clients over in the USA have seen an ATV increase above to 60% with the use of kiosks. Andy Povey: And that's just through selling additional fries. Jon Horsfield: Exactly. People will. I went to a talk many years ago when people started to adopt kiosks and the traditional thing is the fact that people will order two Big Macs and a fries to a kiosk, but when you go face to face, they will not order two Big Macs and a fries. Andy Povey: So you're saying I'm a shy fatty who's basically. Jon Horsfield: Absolutely not. Absolutely not, Andy. Absolutely not. So that's really what it's about. It's about using the sort of the high street technology and applying that to a different industry and trying to bring everybody along with us. Dominic Jones: And you need to listen to the Skip the Queue. It's the best podcast series ever. It'll give you this industry. Paul Marden: Perfect. That was a lovely little sound bite. Dom, welcome. Dominic Jones: It's the truth. It's the truth. I love Skip the Queue. Paul Marden: Welcome back to Skip the Queue. Paul, welcome. For your first time, let's just start with a quick introduction. Dom, tell everybody about yourself. Dominic Jones: So I'm Dominic Jones, I'm the chief executive of the Mary Rose Trust and I'm probably one of Skip the Queue's biggest fans. Paul Marden: I love it. And biggest stars. Dominic Jones: Well, I don't know. At one point I was number one. Paul Marden: And Paul, what about yourself? What's your world? Paul Woolf: Well, I'm Paul Woolf, I've just joined the Mary Rose as a trustee. Dom's been kind of hunting me down politely for a little bit of time. When he found out that I left the King's Theatre, he was very kind and said, right, you know, now you've got time on your hands, you know, would you come over and help? So yeah, so my role is to support Dom and to just help zhuzh things up a bit, which is kind of what I do and just bring some new insights into the business and to develop It a bit. And look at the brand, which is where my skills. Dominic Jones: Paul is underselling himself. He is incredible. And the Mary Rose Trust is amazing. You haven't visited. You should visit. We're in Portsmouth Historic Dock blog. But what's great about it is it's about attracting great people. I'm a trustee, so I'm a trustee for good whites. I'm a trustee for pomp in the community. I know you're a trustee for kids in museums. I love your posts and the fact that you come visit us, but it's about getting the right team and the right people and Paul has single handedly made such a difference to performance art in the country, but also in Portsmouth and before that had a massive career in the entertainment. So we're getting a talent. It's like getting a Premiership player. And we got Paul Woolf so I am delighted. Dominic Jones: And we brought him here to the Museum Heritage show to say this is our industry because we want him to get sucked into it because he is going to be incredible. You honestly, you'll have a whole episode on him one day. Paul Marden: And this is the place to come, isn't it? Such a buzz about the place. Paul Woolf: I've gone red. I've gone red. Embarrassed. Paul Marden: So have you seen some talks already? What's been impressive for you so far, Paul? Paul Woolf: Well, we did actually with the first talk we were listening to was all about touring and reducing your environmental impact on touring, which is quite interesting. And what I said there was that, you know, as time gone by and we had this a little bit at theatre actually. But if you want to go for grant funding today, the first question on the grant funding form, almost the first question after the company name and how much money you want is environmental impact. Paul Marden: Yeah, yeah. Paul Woolf: And so if you're going tour and we're looking now, you know, one of the things that Dom and I have been talking about is, you know, Mary Rose is brilliant. It's fantastic. You know, it's great. It's in the dockyard in Portsmouth and you know, so. And, and the Andes, New York, you know, everywhere. Dominic Jones: Take her on tour. Paul Woolf: Why isn't it on tour? Yeah. Now I know there are issues around on tour. You know, we've got the collections team going. Yeah, don't touch. But nonetheless it was interesting listening to that because obviously you've got to. Now you can't do that. You can't just put in a lorry, send it off and. And so I thought that was quite interesting. Dominic Jones: Two, it's all the industry coming together. It's not about status. You can come here as a student or as a CEO and you're all welcome. In fact, I introduced Kelly from Rubber Cheese, your company, into Andy Povey and now you guys have a business together. And I introduced them here in this spot outside the men's toilets at Museum and Heritage. Paul Woolf: Which is where we're standing, by the way. Everybody, we're outside the toilet. Dominic Jones: It's the networking, it's the talks. And we're about to see Bernard from ALVA in a minute, who'll be brilliant. Paul Marden: Yes. Dominic Jones: But all of these talks inspire you and then the conversations and just seeing you Andy today, I'm so delighted. And Skip the Queue. He's going from strength to strength. I love the new format. I love how you're taking it on tour. You need to bring it to the May Rose next. Right. Paul Marden: I think we might be coming sometimes soon for a conference near you. Dominic Jones: What? The Association of Independent Museums? Paul Marden: You might be doing an AIM conference with you. Dominic Jones: Excellent. Paul Marden: Look, guys, it's been lovely to talk to you. Enjoy the rest of your day here at M and H. Paul Marden: Stephen, welcome back to Skip the Queue. Stephen Spencer: Thank you very much. Paul Marden: For listeners, remind them what you do. Stephen Spencer: So I'm Stephen Spencer. My company, Stephen Spencer Associates, we call ourselves the Ambience Architects because we try to help every organisation gain deeper insight into the visitor experience as it's actually experienced by the visitor. I know it sounds a crazy idea, really, to achieve better impact and engagement from visitors and then ultimately better sustainability in all senses for the organisation. Paul Marden: For listeners, the Ambience Lounge here at M and H is absolutely rammed at the moment. Stephen Spencer: I'm trying to get in myself. Paul Marden: I know, it's amazing. So what are you hoping for this networking lounge? Stephen Spencer: Well, what we're aiming to do is create a space for quality conversations, for people to meet friends and contacts old and new, to discover new technologies, new ideas or just really to come and have a sounding board. So we're offering free one to one advice clinic. Paul Marden: Oh, really? Stephen Spencer: Across a whole range of aspects of the visitor journey, from core mission to revenue generation and storytelling. Because I think, you know, one of the things we see most powerfully being exploited by the successful organisations is that kind of narrative thread that runs through the whole thing. What am I about? Why is that important? Why should you support me? How do I deliver that and more of it in every interaction? Paul Marden: So you're Having those sorts of conversations here with people on a one to one basis. Stephen Spencer: Then we also are hosting the structured networking event. So all of the sector support organisations that are here, they have scheduled networking events when really people can just come and meet their peers and swap experiences and again find new people to lean on and be part of an enriched network. Paul Marden: Absolutely. So we are only half a day in, not even quite half a day into a two day programme. So it's very early to say, but exciting conversations, things are going in the direction that you hoped for. Stephen Spencer: Yes, I think, I mean, we know that the sector is really challenged at the moment, really, the fact that we're in now such a crazy world of total constant disruption and uncertainty. But equally we offer something that is reassuring, that is enriching, it's life enhancing. We just need to find better ways to, to do that and reach audiences and reach new audiences and just keep them coming back. And the conversations that I've heard so far have been very much around that. So it's very exciting. Paul Marden: Excellent. One of themes of this episode that we'll be talking to lots of people about is a little bit of crystal ball gazing. You're right, the world is a hugely, massively disrupted place at the moment. But what do you see the next six or 12 months looking like and then what does it look like for the sector in maybe a five year time horizon? Stephen Spencer: Okay, well, you don't ask easy questions. So I think there will be a bit of a kind of shaking down in what we understand to be the right uses of digital technology, AI. I think we see all the mistakes that were made with social media and what it's literally done to the world. And whilst there are always examples of, let's say, museums using social media very cleverly and intelligently, we know that's against the backdrop of a lot of negativity and harm. So why would we want to repeat that, for example, with generative AI? Paul Marden: Indeed. Stephen Spencer: So I heard a talk about two years ago at the VAT conference about using AI to help the visitor to do the stuff that is difficult for them to do. In other words, to help them build an itinerary that is right for them. And I think until everyone is doing that, then they should be very wary of stepping off the carpet to try and do other things with it. Meanwhile, whilst it's an immersive experience, it is not just sitting in, you know, with all respect to those that do this, A, you know, surround sound visual box, it is actually what it's always been, which is meeting real people in authentic spaces and places, you know, using all the senses to tell stories. So I think we will need to see. Stephen Spencer: I've just been given a great coffee because that's the other thing we're offering in the coffee. It's good coffee. Not saying you can't get anywhere else in the show, just saying it's good here. Yeah. I think just some realism and common sense creeping into what we really should be using these technologies for and not leaving our visitors behind. I mean, for example, you know, a huge amount of the natural audience for the cultural sector. You know, people might not want to hear it, but we all know it's true. It's older people. And they aren't necessarily wanting to have to become digital natives to consume culture. So we shouldn't just say, you know, basically, unless you'll download our app, unless you'll do everything online, you're just going to be left behind. That's crazy. It doesn't make good business sense and it's not right. Stephen Spencer: So I just think some common sense and some. Maybe some regulation that will happen around uses of AI that might help and also, you know, around digital harms and just getting back to some basics. I was talking to a very old colleague earlier today who had just come back from a family holiday to Disney World, and he said, you know, you can't beat it, you cannot beat it. For that is immersive. Paul Marden: Yeah, absolutely. But it's not sealed in a box. Stephen Spencer: No, no. And it really. It's a bit like Selfridges. I always took out. My favourite store is Selfridges. It still does what Harry Gordon Selfridge set out to do. He said, "Excite the mind and the hand will reach for the pocket." I always say. He didn't say excite the eye, he said, excite the mind. Paul Marden: Yeah. Stephen Spencer: The way you do that is through all the senses. Paul Marden: Amazing. Stephen Spencer: And so, you know, digital. I'm sure he'd be embracing that. He would be saying, what about the rest of it? Paul Marden: How do you add the human touch to that? Yeah. I was at Big Pit last week. Stephen Spencer: As they reopened, to see this. Yeah. Paul Marden: And it was such an amazing experience walking through that gift shop. They have so subtly brought the museum into the gift shop and blended the two really well. Stephen Spencer: Yes. And I think that raises the bar. And again, if you want to make more money as a museum, you need to be embracing that kind of approach, because if you just carry on doing what you've always done, your revenue will go down. Paul Marden: Yes. Stephen Spencer: And we all know your revenue needs to go up because other. Other sources of income will be going down. Paul Marden: Sarah, welcome back to Skip the Queue last time you were here, there was a much better looking presenter than, you were in the Kelly era. Sarah Bagg: Yes, we were. Paul Marden: It's almost as if there was a demarcation line before Kelly and after Kelly. Why don't you just introduce yourself for me? Tell the listeners what it is that you do. Sarah Bagg: So I'm Sarah Bagg. I'm the founder of Rework Consulting. The last time I spoke, it wasn't that long after our launch. I think like two and a half years ago. We've just had our third birthday. Paul Marden: Wow. Sarah Bagg: Which is completely incredible. When we first launched rework, were specifically for the visitor attractions industry and focused on ticketing. Paul Marden: Yep. Sarah Bagg: So obviously we are a tech ticketing consultancy business. In the last three and a half years we've grown and now have five verticals. So attractions are one of them. Paul Marden: And who else do you work with then? Sarah Bagg: So the art, the leisure industry. So whether it be activity centres, cinemas, bowling centres and then live entertainment. So it could be anything from sports, festivals etc and the arts, like theatres or. Paul Marden: So closely aligned to your attractions. Then things that people go and do but different kinds of things loosely. Sarah Bagg: Say they're like live entertainment. Paul Marden: I like that. That's a nice description. So this must be Mecca for you to have all of these people brought together telling amazing stories. Sarah Bagg: I think how I would sum up museum and heritage today is that I think we're kind of going through a period of like being transformed, almost like back. People are reconstructing, connecting with real experiences and with people. Paul Marden: Yeah. Sarah Bagg: And I would like to think that tech is invisible and they're just to support the experience. I think there's a lot of things that are going on at the moment around, you know, bit nostalgia and people dragging themselves back to the 90s. And there's a lot of conversations about people and customer service and experience. And although technology plays a huge part in that, I would still like to think that people come first and foremost, always slightly weird from a technology consultant. Paul Marden: Well, nobody goes to a visitor attraction to be there on their own and interact with technology. That's not the point of being there. Yeah. Interesting talks that you've been today. Sarah Bagg: I think one of my favourite was actually one of the first of the day, which was about. Of how do you enhance the visitor experience through either like music and your emotions and really tapping into how you feel through, like all your different senses. Which was one of Stephen's talks which I really enjoyed. Paul Marden: That's really interesting. Sarah Bagg: I think if people like look at the visitor industry and across the board, that's why I'm so keen to stay, like across four different sectors, we can learn so much pulling ideas from like hospitality and restaurants and bars.Paul Marden: Completely. Sarah Bagg: Even if you think about like your best, there's a new bar there, so you can not very far from my home in Brighton and the service is an amazing. And the design of the space really caters for whether you're in there with 10 people or whether you're sat at the bar on your own. It doesn't exclude people, depending on what age you are or why you gone into the bar. And I think we can learn a lot in the visitor attractions industry because there's been a lot of talk about families today. I don't have children and I think that there, you need. Sarah Bagg: We need to think more about actually that lots of other people go to visitor attractions Paul Marden: Completely. Sarah Bagg: And they don't necessarily take children and they might want to go on their own. Yes, but what are we doing to cater for all of those people? There's nothing. Paul Marden: How do you make them feel welcome? How do you make them feel like they're a first class guest? The same as everybody else. Yeah. So where do you see the sector going over the next few years based on what you've seen today? Sarah Bagg: I think there'll be a lot more diversification between sectors. There's definitely a trend where people have got their assets. You know, like if you're looking at things like safari parks and zoos, places that have already got accommodation, but maybe like stately houses where there used to be workers that were living in those cottages or whatever, that they're sweating their assets. I think it would be interesting to see where tech takes us with that because there has been a tradition in the past that if you've got like, if your number one priority to sell is being like your hotel, then you would have like a PMS solution. But if it's the other way around, your number one priority is the attraction or the venue and you happen to have some accommodation, then how is that connecting to your online journey? Sarah Bagg: Because the last thing you want is like somebody having to do two separate transactions. Paul Marden: Oh, completely drives me crazy. Sarah Bagg: One thing I would also love to see is attractions thinking beyond their 10 till 6 opening hours completely. Because some days, like restaurants, I've seen it, you know, maybe they now close on Mondays and Tuesdays so they can give their staff a day off and they have different opening hours. Why are attractions still fixated in like keeping these standard opening hours? Because actually you might attract a completely different audience. There used to be a bit of a trend for like doing museum late. So I was speaking to a museum not very long ago about, you know, do they do like morning tours, like behind the scenes, kind of before it even opens. And I think the museum particularly said to me, like, "Oh, we're fine as we are.". Paul Marden: I've never met a museum that feels fine where it is at the moment. Sarah Bagg: But I guess the one thing I would love to see if I could sprinkle my fairy dus. Paul Marden: Come the revolution and you're in charge. Sarah Bagg: And it's not like, it's not even like rocket science, it's more investment into training and staff because the people that work in our industry are like the gold, you know, it's not tech, it's not pretty set works, it's not like fancy display cases. Yes, the artefacts and stuff are amazing. Paul Marden: But the stories, the people stuff. Yeah. Sarah Bagg: Give them empowerment and training and make the customer feel special. Paul Marden: Yes. Sarah Bagg: When you leave, like you've had that experience, you're only ever going to get that from through the people that you interact with completely. Paul Marden: Jeremy, hello. Welcome to Skip the Queue. We are, we are being slightly distracted by a dinosaur walking behind us. Such is life at M and H show. Jeremy Mitchell: Yeah. Paul Marden: So. Jeremy Mitchell: Well, anything to do with museums and dinosaurs, always great crowd pleasers. Paul Marden: Exactly, exactly. So is this your first time at M and H or have you been before? Jeremy Mitchell: Been before, but probably not for 10 years or more. It was, yes. I remember last time I came the theatres were enclosed so they were partitioned all the way around. Paul Marden: Right. Jeremy Mitchell: But because it's so popular now that would not just not would not work. It's a long time ago. It shows how long I've been volunteering. Paul Marden: In museums, doesn't it? So for our listeners, Jeremy, just introduce yourself and tell everyone about the role that you've got at the Petersfield Museum. Jeremy Mitchell: Okay, so I'm Jeremy Mitchell. I'm a trustee at Petersfield Museum now Petersfield Museum and Art Gallery. I'm actually now chair of trustees. Paul Marden: Paint a little picture for us of Petersfield Museum then. What could someone expect if they came to you? Apart from, as I understand, a very good cup of coffee. Jeremy Mitchell: A very good cup of coffee. Best in Petersfield. And that's not bad when there are 32 competitors. You'll get a little bit of everything you'll get a bit of. You'll get the story of Petersfield, but you'll get so much more. We've got collections of costume going back to the mid 18th century. We've got work of a local artist, Flora Torte, one of those forgotten female artists from between the wars. She's a story that we will be exploring. We've got, in partnership with the Edward Thomas Fellowship, a big archive of books and other artefacts by and about Edward Thomas, who was a poet, writer, literary critic. He's one of the poets killed in the First World War. But he's not well known as a war poet because he was writing about the impact of war on life at home. Jeremy Mitchell: So he's now more well known as a nature poet. Paul Marden: So you're telling the story not just of the place, you're telling the story of the people that have produced great art or had an impact on Petersfield. Jeremy Mitchell: Yes. And their networks and how they might relate to Petersfield in turn. And we've got the costume collection I mentioned going back to the mid 18th century, which came from Bedale School. They've all got stories to them. Paul Marden: Interesting. Jeremy Mitchell: This came from Bedale School, which is a private school on the edge of Petersfield. It was actually collected by their drama teacher between the 1950s and the 1970s. Paul Marden: Wow. Jeremy Mitchell: Because she believed in authenticity. So if she was putting on a 19th century production, she would want genuine 19th century clothes. Paul Marden: Let me tell you, my drama productions in a 1980s comprehensive did not include authentic 19th century costumes. Jeremy Mitchell: If were doing something like that at school, their parents would have been, all right, go down to the jumble sale, buy some material, make something that looks something like it. Paul Marden: Yeah. Jeremy Mitchell: But no, she was, well, if you haven't got anything in your attic that's suitable, please send me some money because there's a sale at Sotheby's in three months. Time off costume from the period. Paul Marden: Excellent. Jeremy Mitchell: And we've got some lovely pieces in there. When we put on the Peggy Guggenheim exhibition, which is what were talking about earlier today here, were able to bring in costume from the 1930s, Chanel dress, other high quality, not. Not necessarily worn by Peggy Guggenheim, but her. Paul Marden: Authentic of the period. Jeremy Mitchell: Authentic of the period. But her son was at Bedale, so she could have been asked to donate. Paul Marden: So. Okay. Jeremy Mitchell: Highly unlikely, but it was similar to items that she had been photographed in or would have been. Would have been wearing. Paul Marden: So tell me about the. The presentation. How was that? Jeremy Mitchell: It went so quickly. Paul Marden: Oh, yes. You get in the zone don't you? Jeremy Mitchell: You get in the zone. But it flowed and Louise was great. Louise had done the bulk of the. The work. She prepared the presentation that visually told the story of the exhibition and its outcomes and impacts. And I filled in the boring book, I call it the BBC, the boring but crucial. How we funded it, how we organised the project, management around it, the planning and getting buy in from the rest of the trustees at the beginning, because it was potentially a big financial commitment if we hadn't been able to fund it. Paul Marden: Isn't it interesting? So coming to an event like this is always. There's always so much to learn, it's always an enriching experience to come. But it's a great opportunity, isn't it, for a small museum and art gallery such as Petersfield? It feels a little bit like you're punching above your weight, doesn't it, to be invited onto this stage to talk about it. But really you're telling this amazing story and it's of interest to everybody that's here. Jeremy Mitchell: We want to share it. If we've been able to do it, then why can't they? Why can't you? Why can't we all do it? And yes, you need the story, but if you dig deep enough, those stories are there. Paul Marden: Absolutely, Absolutely. One of the things that is a real common conversation here, M and H, is looking forward, crystal ball gazing, talking. There's challenges in the sector, isn't there? There's lots of challenges around funding and I guess as a small museum, you must feel those choppy waters quite acutely. Jeremy Mitchell: Definitely. I mean, we're an independent museum, so we're not affected by spending cuts because we don't get any funding from that area. But the biggest challenge is from the funding perspective. Yes, we have a big income gap every year that we need to bridge. And now that so much more of the sector is losing what was its original core funding, they're all fishing in the same pond as us and they've got. Invariably they've got a fundraising team probably bigger than our entire museum team, let alone the volunteer fundraiser that we've got. So, yes, it is a challenge and you are having to run faster just to stand still. The ability to put on an exhibition like Peggy Guggenheim shows that we are worth it. Paul Marden: Yes, absolutely. Jeremy Mitchell: And the Guggenheim was funded by Art Fund Western loan programme and an Arts Council project grant. And it was a large Arts Council project grant. Paul Marden: So although everyone's fishing in the same pond as you're managing to yeah. To stretch my analogy just a little bit too far, you are managing to. To get some grant funding and. Jeremy Mitchell: Yes. Paul Marden: And lift some tiddlers out the pond. Jeremy Mitchell: Yes. But it was quite clear that with Peggy it was a story that had to be told. Paul Marden: So we talked a little bit about challenging times. But one of the big opportunities at M and H is to be inspired to think about where the opportunities are going forwards. You've had a day here today. What are you thinking as inspiration as next big things for Petersfield Museum. Jeremy Mitchell: I'm finding that really difficult because we're small, we're a small site, Arkansas, I think has got to be a way forward. I miss the talk. But they're all being recorded. Paul Marden: Yes. Jeremy Mitchell: So I shall be picking that one up with interest. But AR is something. We've got police cells. Well, we've got a police cell. Paul Marden: Okay. Jeremy Mitchell: Now, wouldn't it be great to tell an augmented reality story of Victorian justice to kids? Paul Marden: Yes. Jeremy Mitchell: While they're sat in a victory in a Victorian police cell on a hard wooden bench. That is the original bench that this prisoners would have slept on. Paul Marden: I've done enough school visits to know there's enough kids that I could put in a jail just to keep them happy or to at least keep them quiet whilst the rest of us enjoy our visit. Yes. I feel like I need to come to Petersfield and talk more about Peggy because I think there might be an entire episode of Skip the Queue to talk just about putting on a big exhibition like that. Jeremy Mitchell: Yeah, no, definitely. If you drop me an email you can skip the queue and I'll take you around. Paul Marden: Oh lovely, Rachel, welcome to Skip the Queue. You join me here at M and H show. And we've taken over someone's stand, haven't we? I know, it feels a bit weird, doesn't it? Rachel Kuhn: I feel like we're squatting but I. Paul Marden: Feel a little bit like the Two Ronnies, cuz we're sat behind the desk. It's very strange. Which one are you? Anyway, just for listeners. Introduce yourself for me. Tell listeners what it is that you do at BOP Consulting. Rachel Kuhn: Yeah, so I'm Rachel Kuhn, I'm an associate director at BOP and we specialise in culture and the creative economy and kind of working across everything that is to do with culture and creative economy globally. But I lead most of our strategy and planning projects, particularly in the UK and Ireland, generally working with arts, heritage, cultural organisations, from the very earliest big picture strategy through to real nitty gritty sort of operational plans and outside of bop. I'm a trustee for Kids in Museums, where we love to hang, and also a new trustee with the Postal Museum. Paul Marden: Given what you do at bop, this must be like the highlight of the year for you to just soak up what everybody is doing. Rachel Kuhn: I love it. I mean, it's so lovely just going around, chatting to everybody, listening in on the talks and I think that spirit of generosity, you know, like, it just comes across, doesn't it? And it just reminds me why I love this sector, why I'm here. You know, everyone wants to, you know, contribute and it's that whole sort of spirit of what do they say? We know when the tide rises, so do all the boats or all the ships. And I feel like that's the spirit here and it's lovely. Paul Marden: It is such a happy place and it's such a busy, vibrant space, isn't it? What have been the standout things for you that you've seen today? Rachel Kuhn: I think probably on that spirit of generosity. Rosie Baker at the founding museum talking about the incredible work they've done with their events, hires, programmes. Obviously got to give a shout out to the Association of Cultural Enterprise. I've been doing a lot of hanging out there at their stage day. So Gurdon gave us the rundown of the benchmarking this morning. Some really good takeaways from that and Rachel Mackay, I mean, like, obviously. Paul Marden: Want to go into. Rachel Kuhn: You always want to see her. Really good fun, but lovely to hear. She's talking about her strategy, the Visitor Experience strategy. And you know what, I spend so much time going into places looking at these sub strategies, like visual experience strategies that just haven't been written in alignment with the overall strategy. So it's lovely to see that linking through, you know, and obviously I'm from a Visitor Experience background, so hugely passionate about the way that Visitor Experience teams can make visitors feel the organization's values. And that alignment was really impressive. So, yeah, really lovely and loads of great takeaways from all those talks. Paul Marden: I will just say for listeners, all of these talks have been recorded, so everyone's going to be able to download the materials. It take a couple of weeks before they were actually published. But one of the questions that I've asked everybody in these vox pops has been, let's do some crystal ball gazing. It's. It stinks at the moment, doesn't it? The, the, the economy is fluctuating, there is so much going on. What do you see 6 to 12 month view look like? And then let's really push the boat out. Can we crystal ball gaze maybe in five years? Rachel Kuhn: Yeah.  I mean, look, I think the whole problem at the moment and what's causing that sort of nervousness is there's just a complete lack of surety about loads of things. You know, in some ways, you know, many organisations have welcomed the extension for the MPO round, the current round, but for many, you know, that's just pushed back the opportunity to get in on that round that little bit further away. It's caused that sort of nervousness with organisations are having to ride on with the same funding that they asked for some years ago that just doesn't, you know, match, you know, and it's actually a real time cut for them. Paul Marden: Absolutely. Rachel Kuhn: So I think, very hard to say, I don't know that there's much I can say. I feel like as at sea as everyone else, I think about what the landscape looks like in the next six months, but I think that never has there been, you know, a better time than something like this like the M and H show. You know, this is about coming together and being generous and sharing that information and I think reaching out to each other and making sure that we're sort of cross pollinating there. There's so much good stuff going on and we've always been really good at that and I think sometimes when we're feeling a bit down, it feels like, oh, I just don't want to go to something like this and meet others and, you know, get into a bit of a misery cycle. Rachel Kuhn: But actually it's so uplifting to be at something like this. And I think, you know, what we've seen here is at the show today, I think, is organisations being really generous with their experience and their expertise. Suppliers and consultants and supporters of the sector being really generous with their time and their expertise and actually just shows just spending a bit of time with each other, asking things of each other. We've just got loads of stuff to share and we're all really up for it. And I think that generosity is so critical and I mean, obviously I'm going to plug, I've got to plug it. Rachel Kuhn: So, you know, if you are a supplier, if you are a commercial business working in this sector, it might be tough times for you, but it's certainly nowhere near as hard as it is for the arts and cultural heritage organisations in the sector. You know, reach out to them and see how you can support them and help them. I mean, you and I have both been on a bit of a drive recently to try and drum up some sponsorship and corporate support for kids in museums who, you know, an Arts council MPO who we're incredible, incredibly proud to represent and, you know, do reach out to us. If you've been thinking, oh, I just want to sponsor something and I'd love to sponsor us. Paul Marden: Exactly. I mean, there's loads of opportunities when you take kids in museums as an example, loads of opportunities for. And this is what Arts Council wants us to do. They want us to be more independent, to generate more of our own funding and we've got a great brand, we do some amazing work and there's lots of opportunities for those commercial organisations who align with our values to help to support us. Rachel Kuhn: So I think you asked me there about what's in the next year. So next year, six months, I don't know is the answer. I think it's just a difficult time. So my advice is simply get out there, connect, learn from each other, energise each other, bring each other up. Let's not get into that sort of doom cycle. That's very easy next five years. You know what, I've had some really interesting meetings and conversations over the last. Well, one particularly interesting one today, some other ones about some funds that might be opening up, which I think is really exciting. You know, we've seen this really big challenge with funding, you know, slowing funding going in much larger amounts to a smaller number of large organisations and that causes real problems. But I think there might be a small turnaround on that. Rachel Kuhn: I'm not crumbs in the earth. I think it's still tough times. But that was really exciting to hear about. I'm also seeing here at the show today. I've been speaking to a lot of suppliers whose their models seem to be shifting a lot. So a lot more opportunities here where it requires no investment from the attraction and a lot more sort of interesting and different types of profit share models, which I think is really interesting. So I think the other thing I'd say is if you're an attraction, don't discount partnering some of these organisations because actually, you know, go and talk to them. Rachel Kuhn: Don't just, don't just count them out because you think you haven't got anything to invest because many of them are visiting new models and the couple that I've spoken to who aren't, learn from your competitors and start doing some different models. And I think that's been really interesting to hear some very different models here for some of the products, which is really exciting. Paul Marden: It is really hard sitting on the other side of the fence, as a supplier, we need cash flow as well. We've got to pay bills and all of those sorts of things. But you're right, there are interesting ways in which we all want to have a conversation. As you say, don't sit back afraid to engage in the conversation because you've got nothing to invest, you've got an important brand, you've got an audience. Those are valuable assets that a supplier like us would want to partner with you to help you to bring a project to life. And that might be on a rev share model, it might be on a service model. There's lots of different ways you can slice it and dice it. Rachel Kuhn: And going back, on a closing note, I suppose, going back to that generosity thing, don't think because you haven't got any money to commission, you know, a supplier to the sector or a commercial company, that you can't reach out to them. Like, you know, we are in this because we really want to support these organisations. This is our passion. You know, many of us are from the sector. You know, I will always connect somebody or introduce somebody or find a way to get a little bit of pro bono happening, or, you know, many of my colleagues are on advisory committees, we're board members. And I think that's the same for so many of the companies that are, like, working with the sector. You know, reach out and ask for freebie, you know, don't ask, don't get. Paul Marden: Yeah, exactly. Rachel, it is delightful to talk to you as always. Thank you for joining us on Skip the Queue and I am sure, I'm sure we'll make this into a full episode one day soon. I do say that to everybody. Rachel Kuhn: Thanks so much. Lovely to speak to you. Paul Marden: Andy. Andy Povey: Paul.Paul Marden: We've just walked out of the M and H show for another year. What are your thoughts? Andy Povey: First, I'm exhausted, absolutely exhausted. I'm not sure that I can talk anymore because I've spent 48 hours having some of the most interesting conversations I've had all year. Paul Marden: No offence, Tonkin. Andy Povey: You were part of some of those conversations, obviously, Paul. Paul Marden: I was bowled over again by just the sheer number of people that were there and all those lovely conversations and everybody was just buzzing for the whole two days. Andy Povey: The energy was phenomenal. I worked out that something like the 15th show, M & H show that I've been to, and I don't know whether it's just recency because it's sitting in the far front of my mind at the moment, but it seems like this was the busiest one there's ever been. Paul Marden: Yeah, I can believe it. The one thing that didn't change, they're still working on Olympia. Andy Povey: I think that just goes on forever. It's like the fourth Bridge. Paul Marden: Talks that stood out to you. Andy Povey: I really enjoyed interpretation One led by the guy from the sign language education company whose name I can't remember right now. Paul Marden: Yeah, Nate. That was an amazing talk, listeners. We will be getting him on for a full interview. I'm going to solve the problem of how do I make a inherently audio podcast into something that's accessible for deaf people? By translating the podcast medium into some sort of BSL approach. So that was the conversation that we had yesterday after the talk. Andy Povey: I know. I really look forward to that. Then, of course, there was the George and Elise from Complete Works. Paul Marden: I know. They were amazing, weren't they? You couldn't tell at all that they were actors. Do you know, it was really strange when George. So there was a point in that talk that George gave where we all had a collective breathing exercise and it was just. It was. It was so brilliantly done and were all just captivated. There must have been. I rechon there was 100 people at theatre at that point. Absolutely. Because it was standing room only at the back. And were all just captivated by George. Just doing his click. Very, very clever. Andy Povey: But massively useful. I've seen the same thing from George before and I still use it to this day before going on to make a presentation myself. Paul Marden: Yeah, yeah. Andy Povey: Just grounding yourself, centering yourself. Well, it's fantastic. Paul Marden: Yeah. But the whole thing that they were talking about of how do we create opportunities to have meaningful conversations with guests when they arrive or throughout their entire experience at an attraction so that we don't just talk about the weather like we're typical English people. Andy Povey: That's great, isn't it? Go and tell a Brit not to talk. Talk about the weather. Paul Marden: But training your staff makes absolute sense. Training your staff to have the skills and the confidence to not talk about the weather. I thought that was really interesting. Andy Povey: It's an eye opener, isn't it? Something really simple, but could be groundbreaking. Paul Marden: Yeah. Andy Povey: Then what was your view on all of the exhibitors? What did you take away from all the stands and everybody? Paul Marden: Well, I loved having my conversation yesterday with Alan Turing. There was an AI model of Alan Turing that you could interact with and ask questions. And it was really interesting. There was a slight latency, so it didn't feel quite yet like a natural conversation because I would say something. And then there was a pause as Alan was thinking about it. But the things that he answered were absolutely spot on, the questions that I asked. So I thought that was quite interesting. Other exhibitors. Oh, there was a lovely point yesterday where I was admiring, there was a stand doing custom designed socks and I was admiring a design of a Jane Austen sock and there was just somebody stood next to me and I just said, "Oh, Jane Austen socks." Paul Marden: Very on Trend for the 250th anniversary of Jane Austen, that all of the museums in Hampshire will be buying those up. And should funnily you should say that I'm the chief executive of Chawton Park House, which is one of the museums in the last place that Jane Austen lived. So very interesting, very small world moment at that point. Andy Povey: I do, it's almost an oxymoron to talk about Jane Austen socks. I don't imagine her having worn anything with nylon or Lycra in it. Paul Marden: Very true. I hadn't tweaked that. Andy Povey: There was a lot of AI there wasn't there AI this, AI that. Paul Marden: And there were some really good examples of where that is being used in real life. Yeah, yeah. So there were some examples where there's AI being used to help with visitor counts around your attraction, to help you to optimise where you need to put people. I thought that Neil at Symantec just talking about what he called answer engine optimisation. That was interesting. There were some brilliant questions. There was one question from an audience member asking, are there any tools available for you to figure out whether how well your organisation is doing at being the source of truth for AI tools? Andy Povey: Yeah, yeah. So almost like your Google search engine ranking. Paul Marden: But exactly for ChatGPT. Andy Povey: And have you found one yet? Paul Marden: No, not yet. There's also quite a lot of people talking about ideas that have yet to find a home. Andy Povey: Yes. What a very beautiful way of putting it. Paul Marden: The people that have. That are presenting a topic that has yet to get a real life case study associated with it. So the rubber hasn't yet hit the road. I don't think on that. Andy Povey: No. I think that's true for an awful lot of AI, isn't it? Not just in our sector. Paul Marden: No. Andy Povey: It's very interesting to see where that's all going to go. And what are we going to think when we look back on this in two or three years time? Was it just another chocolate teapot or a problem looking for a solution? Or was it the revolution that we all anticipate. Paul Marden: And I think it will make fundamentals change. I think it's changing rapidly. But we need more real case studies of how you can do something interesting that is beyond just using ChatGPT to write your marketing copy for you. Andy Povey: Yeah, I mean it's all about putting the guest at the front of it, isn't it? Let's not obsess about the technology, let's look at what the technology is going to enable us to do. And back to the first part of this conversation, looking at accessibility, then are there tools within AI that are going to help with that? Paul Marden: Yeah, absolutely. So there was definitely. There was an interesting talk by Vox. The people that provide, they provide all of the radio boxes for everybody to wear at M and H that provides you with the voiceover of all of the speakers. But they use this technology across all manner of different attractions and they were talking about using AI to do real time translation of tours. So you could. Andy Povey: Very interesting. Paul Marden: Yeah. So you could have an English speaker wandering around doing your tour and it could real time translate up to. I think it was up to four languages. Andy Povey: BSL not being one of those languages. Paul Marden: Well, no, they were talking about real time in app being able to see subtitles. Now, I don't know whether they went on to say you could do BSL. And we know from the other presentation that not everybody that is deaf is able to read subtitles as fast as they can consume sign language. So it's important to have BSL. But there were some parts of that Vox product that did it address deaf people. It wasn't just multilingual content. Andy Povey: So AI people, if you're listening, you can take the idea of translating into BSL in real time and call it your own. Paul Marden: Yeah, we very much enjoyed hosting our theatre, didn't we? That was a lot. And Anna, if you are listening, and I hope you are, because lots of people have said very nice things in this episode about M and H. Andy and I would love to come back next year. Andy Povey: Absolutely. Paul Marden: And host a theatre for you. Any other thoughts? Andy Povey: Just really looking forward to the rest of the week off. Yeah, it's a sign of a good show when you walk away with all that positive feeling and that positive exhaustion and you probably need a week to reflect on all of the conversations that we've had. Paul Marden: Yeah, absolutely. Next up we is AIM Conference at Mary Rose in June. I can't wait very much. Looking forward to that. Thank you ever so much for listening. We will join you again in a few weeks. See you soon. Bye Bye. Andy Povey: Draw.Paul Marden: Thanks for listening to Skip the Queue. If you've enjoyed this podcast, please leave us a five star review. It really helps others to find us. Skip The Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them to increase their visitor numbers. You can find show notes and transcripts from this episode and more over on our website, skipthequeue fm.  The 2024 Visitor Attraction Website Survey is now LIVE! Dive into groundbreaking benchmarks for the industryGain a better understanding of how to achieve the highest conversion ratesExplore the "why" behind visitor attraction site performanceLearn the impact of website optimisation and visitor engagement on conversion ratesUncover key steps to enhance user experience for greater conversionsDownload the 2024 Rubber Cheese Visitor Attraction Website Survey Report

Carmelo Jordá nos lleva de escapada a Bilbao para disfrutar de sus paseos por la ría, de la comida, del Guggenheim o el casco antiguo de la ciudad

Hilma's Ghost is a feminist artist collective co-founded by artists and educators Dannielle Tegeder and Sharmistha Ray that fuses contemporary art with modern spirituality through forms of divination and ritual. Named after the Swedish artist and mystic, Hilma af Klint, the collective's work is a critique of gendered power structures, providing a critical and revolutionary platform for rethinking gender in the arts while recovering feminist histories as its ballast for critique. Their work ranges from the traditional to the esoteric, including paintings and drawings, surrealist games, The Abstract Futures tarot deck, ritual object-based installations, pedagogical workshops, curated exhibitions, community projects, performances, and artist books.
 Hilma's Ghost has been featured in solo, collaborative, and group exhibitions and projects at such esteemed institutions as The Guggenheim, The Armory Show, The Aldrich Contemporary Art Museum, Museu de Arte de São Paulo in Brazil, Galería RGR in Mexico City among many others. Reviews of their work have appeared in The New York Times, The Brooklyn Rail, Artnet, and Hyperallergic. And their brand new mystical mosaic installation, ABSTRACT FUTURES, was created in partnership with NYC's MTA and is on display for the public in perpetuity at the 42nd St – Grand Central Subway Station now. On this episode, Hilma's Ghost speaks about the magic of abstraction, the alchemy of collaborative work, and how art can expand consciousness. (They also give a special Abstract Futures tarot reading to help guide us in this time of tumult and transformation).Pam also talks about the mystical history of the abstract art movement, and answers a listener question about how to be a minimalist witch.Check out the video of this episode over on YouTube (and please like and subscribe to the channel while you're at it!)Our sponsors for this episode are Woodland Magic, Black Phoenix Alchemy Lab, BetterHelp, and TU·ET·AL soap We also have print-on-demand merch like Witch Wave shirts, sweatshirts, totes, stickers, and mugs available now here, and all sorts of other bewitching goodies available in the Witch Wave shop.And if you want more Witch Wave, please consider supporting us on Patreon to get access to detailed show notes, bonus Witch Wave Plus episodes, Pam's monthly online rituals, and more! That's patreon.com/witchwave

The Supreme Court released its landmark parental rights decision in Pierce v. Society of Sisters on June 1, 1925—exactly 100 years ago next month. To celebrate this milestone, we've gathered two special panels on the EPPiC Broadcast, comprised of parental rights champions from either side of the political aisle to protect our children. Today, we speak with the Left Panel: Martin Guggenheim, founder and co-director of New York University School of Law's Family Defense Clinic; Angela Burton, founder and co-chair of the New York City Narrowing the Front Door workgroup; and Josh Gupta-Kagan, a clinical professor of law and director of the Family Defense Clinic at Columbia University's School of Law.The book referenced in our episode is Neglected Stories: The Constitution and Family Values by Peggy Cooper Davis. Find more information here: us.macmillan.com/books/9780809016075/neglectedstories/The EPPiC Broadcast is hosted by Michael Ramey, president of the Parental Rights Foundation. You can sign up for email alerts to keep yourself informed on parental rights news at https://parentalrightsfoundation.org/get-involved/.Support the show

Opening Doors: The Unlikely Alliance Between the Irish and the Jews in America (St. Martin's Press, 2024) tells the extraordinary story of how Irish and Jewish immigrants worked together to secure legitimacy in America.Popular belief holds that the various ethnic groups that emigrated to the United States at the turn of the twentieth century regarded one another with open hostility, fiercely competing for limited resources and even coming to blows in the crowded neighborhoods of major cities. One of the most enduring stereotypes is that of rabidly anti-Semitic Irish Catholics, like Father Charles Coughlin of Boston and the sensationalized Gangs of New York trope of Irish street thugs attacking defenseless Jewish immigrants. In Opening Doors, Hasia R. Diner, one of the world's preeminent historians of immigration, tells a very different story; far from confrontational, the prevailing relationships between Jewish and Irish Americans were overwhelmingly cooperative, and the two groups were dependent upon one another to secure stable and upwardly mobile lives in their new home. The Irish had emigrated to American cities en masse a generation before the first major wave of Jewish immigrants arrived, and had already entrenched themselves in positions of influence in urban governments, public education, and the labor movement. Jewish newcomers recognized the value of aligning themselves with another group of religious outsiders who were able to stand up and demand rights and respect despite widespread discrimination from the Protestant establishment, and the Irish realized that they could protect their political influence by mentoring their new neighbors in the intricacies of American life. Opening Doors draws from a deep well of historical sources to show how Irish and Jewish Americans became steadfast allies in classrooms, picket lines, and political machines, and ultimately helped one another become key power players in shaping America's future. In the wake of rising anti-Semitism and xenophobia today, this informative and accessible work offers an inspiring look at a time when two very different groups were able to find common ground and work together to overcome bigotry, gain representation, and move the country in a more inclusive direction. Hasia R. Diner is a professor emeritus of American Jewish History and former chair of the Irish Studies program at New York University. She is the author of numerous books on Jewish and Irish histories in the U.S., including the National Jewish Book Award winning We Remember with Reverence and Love, which also earned the Saul Veiner Prize for most outstanding book in American Jewish history, and the James Beard finalist Hungering for America. Diner has also held Guggenheim and Fulbright fellowships and served as Director of the Goren Center for American Jewish History. Geraldine Gudefin is a French-born modern Jewish historian researching Jewish family life, legal pluralism, and the migration experiences of Jews in France and the United States. She is currently a research fellow at the Hebrew University's Avraham Harman Research Institute of Contemporary Jewry, and is completing a book titled An Impossible Divorce? East European Jews and the Limits of Legal Pluralism in France, 1900-1939. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

On le dit et c'est souvent vrai : les artistes transportent en eux une blessure abyssale. Dans le cas de Mahi Binebine, sa blessure est devenue peinture, sculpture, romans. Une blessure qui s'ancre à Marrakech entre un père courtisan du roi Hassan II et un frère banni par Sa Majesté dans une geôle du sud. C'est ce qui s'appelle être né dans une famille shakespearienne avec, dans l'ADN, le poison de la trahison. Mais avec aussi la faculté de raconter pour ne pas mourir. Entre Shéhérazade et griot, Mahi Binebine n'est que plume et pinceaux avec la même gourmandise poivrée. Lui qui expose dans le monde entier (de Paris à Rome en passant par Madrid, Dubaï et New York dans la collection permanente du musée Guggenheim), il nous revient avec un quatorzième roman, poignant comme l'enfance La nuit nous emportera (Robert Lafont). Programmation musicale:Léo Ferré – La blessure Maalem Saïd Damir & Gnawa Allstars – Soudani Manayou À écouter aussiÀ Marrakech avec Mahi Binebine, écrivain et artiste marocain

On le dit et c'est souvent vrai : les artistes transportent en eux une blessure abyssale. Dans le cas de Mahi Binebine, sa blessure est devenue peinture, sculpture, romans. Une blessure qui s'ancre à Marrakech entre un père courtisan du roi Hassan II et un frère banni par Sa Majesté dans une geôle du sud. C'est ce qui s'appelle être né dans une famille shakespearienne avec, dans l'ADN, le poison de la trahison. Mais avec aussi la faculté de raconter pour ne pas mourir. Entre Shéhérazade et griot, Mahi Binebine n'est que plume et pinceaux avec la même gourmandise poivrée. Lui qui expose dans le monde entier (de Paris à Rome en passant par Madrid, Dubaï et New York dans la collection permanente du musée Guggenheim), il nous revient avec un quatorzième roman, poignant comme l'enfance La nuit nous emportera (Robert Lafont). Programmation musicale:Léo Ferré – La blessure Maalem Saïd Damir & Gnawa Allstars – Soudani Manayou À écouter aussiÀ Marrakech avec Mahi Binebine, écrivain et artiste marocain

Opening Doors: The Unlikely Alliance Between the Irish and the Jews in America (St. Martin's Press, 2024) tells the extraordinary story of how Irish and Jewish immigrants worked together to secure legitimacy in America.Popular belief holds that the various ethnic groups that emigrated to the United States at the turn of the twentieth century regarded one another with open hostility, fiercely competing for limited resources and even coming to blows in the crowded neighborhoods of major cities. One of the most enduring stereotypes is that of rabidly anti-Semitic Irish Catholics, like Father Charles Coughlin of Boston and the sensationalized Gangs of New York trope of Irish street thugs attacking defenseless Jewish immigrants. In Opening Doors, Hasia R. Diner, one of the world's preeminent historians of immigration, tells a very different story; far from confrontational, the prevailing relationships between Jewish and Irish Americans were overwhelmingly cooperative, and the two groups were dependent upon one another to secure stable and upwardly mobile lives in their new home. The Irish had emigrated to American cities en masse a generation before the first major wave of Jewish immigrants arrived, and had already entrenched themselves in positions of influence in urban governments, public education, and the labor movement. Jewish newcomers recognized the value of aligning themselves with another group of religious outsiders who were able to stand up and demand rights and respect despite widespread discrimination from the Protestant establishment, and the Irish realized that they could protect their political influence by mentoring their new neighbors in the intricacies of American life. Opening Doors draws from a deep well of historical sources to show how Irish and Jewish Americans became steadfast allies in classrooms, picket lines, and political machines, and ultimately helped one another become key power players in shaping America's future. In the wake of rising anti-Semitism and xenophobia today, this informative and accessible work offers an inspiring look at a time when two very different groups were able to find common ground and work together to overcome bigotry, gain representation, and move the country in a more inclusive direction. Hasia R. Diner is a professor emeritus of American Jewish History and former chair of the Irish Studies program at New York University. She is the author of numerous books on Jewish and Irish histories in the U.S., including the National Jewish Book Award winning We Remember with Reverence and Love, which also earned the Saul Veiner Prize for most outstanding book in American Jewish history, and the James Beard finalist Hungering for America. Diner has also held Guggenheim and Fulbright fellowships and served as Director of the Goren Center for American Jewish History. Geraldine Gudefin is a French-born modern Jewish historian researching Jewish family life, legal pluralism, and the migration experiences of Jews in France and the United States. She is currently a research fellow at the Hebrew University's Avraham Harman Research Institute of Contemporary Jewry, and is completing a book titled An Impossible Divorce? East European Jews and the Limits of Legal Pluralism in France, 1900-1939. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Julia Macher www.deutschlandfunkkultur.de, Fazit

Opening Doors: The Unlikely Alliance Between the Irish and the Jews in America (St. Martin's Press, 2024) tells the extraordinary story of how Irish and Jewish immigrants worked together to secure legitimacy in America.Popular belief holds that the various ethnic groups that emigrated to the United States at the turn of the twentieth century regarded one another with open hostility, fiercely competing for limited resources and even coming to blows in the crowded neighborhoods of major cities. One of the most enduring stereotypes is that of rabidly anti-Semitic Irish Catholics, like Father Charles Coughlin of Boston and the sensationalized Gangs of New York trope of Irish street thugs attacking defenseless Jewish immigrants. In Opening Doors, Hasia R. Diner, one of the world's preeminent historians of immigration, tells a very different story; far from confrontational, the prevailing relationships between Jewish and Irish Americans were overwhelmingly cooperative, and the two groups were dependent upon one another to secure stable and upwardly mobile lives in their new home. The Irish had emigrated to American cities en masse a generation before the first major wave of Jewish immigrants arrived, and had already entrenched themselves in positions of influence in urban governments, public education, and the labor movement. Jewish newcomers recognized the value of aligning themselves with another group of religious outsiders who were able to stand up and demand rights and respect despite widespread discrimination from the Protestant establishment, and the Irish realized that they could protect their political influence by mentoring their new neighbors in the intricacies of American life. Opening Doors draws from a deep well of historical sources to show how Irish and Jewish Americans became steadfast allies in classrooms, picket lines, and political machines, and ultimately helped one another become key power players in shaping America's future. In the wake of rising anti-Semitism and xenophobia today, this informative and accessible work offers an inspiring look at a time when two very different groups were able to find common ground and work together to overcome bigotry, gain representation, and move the country in a more inclusive direction. Hasia R. Diner is a professor emeritus of American Jewish History and former chair of the Irish Studies program at New York University. She is the author of numerous books on Jewish and Irish histories in the U.S., including the National Jewish Book Award winning We Remember with Reverence and Love, which also earned the Saul Veiner Prize for most outstanding book in American Jewish history, and the James Beard finalist Hungering for America. Diner has also held Guggenheim and Fulbright fellowships and served as Director of the Goren Center for American Jewish History. Geraldine Gudefin is a French-born modern Jewish historian researching Jewish family life, legal pluralism, and the migration experiences of Jews in France and the United States. She is currently a research fellow at the Hebrew University's Avraham Harman Research Institute of Contemporary Jewry, and is completing a book titled An Impossible Divorce? East European Jews and the Limits of Legal Pluralism in France, 1900-1939. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/jewish-studies

Opening Doors: The Unlikely Alliance Between the Irish and the Jews in America (St. Martin's Press, 2024) tells the extraordinary story of how Irish and Jewish immigrants worked together to secure legitimacy in America.Popular belief holds that the various ethnic groups that emigrated to the United States at the turn of the twentieth century regarded one another with open hostility, fiercely competing for limited resources and even coming to blows in the crowded neighborhoods of major cities. One of the most enduring stereotypes is that of rabidly anti-Semitic Irish Catholics, like Father Charles Coughlin of Boston and the sensationalized Gangs of New York trope of Irish street thugs attacking defenseless Jewish immigrants. In Opening Doors, Hasia R. Diner, one of the world's preeminent historians of immigration, tells a very different story; far from confrontational, the prevailing relationships between Jewish and Irish Americans were overwhelmingly cooperative, and the two groups were dependent upon one another to secure stable and upwardly mobile lives in their new home. The Irish had emigrated to American cities en masse a generation before the first major wave of Jewish immigrants arrived, and had already entrenched themselves in positions of influence in urban governments, public education, and the labor movement. Jewish newcomers recognized the value of aligning themselves with another group of religious outsiders who were able to stand up and demand rights and respect despite widespread discrimination from the Protestant establishment, and the Irish realized that they could protect their political influence by mentoring their new neighbors in the intricacies of American life. Opening Doors draws from a deep well of historical sources to show how Irish and Jewish Americans became steadfast allies in classrooms, picket lines, and political machines, and ultimately helped one another become key power players in shaping America's future. In the wake of rising anti-Semitism and xenophobia today, this informative and accessible work offers an inspiring look at a time when two very different groups were able to find common ground and work together to overcome bigotry, gain representation, and move the country in a more inclusive direction. Hasia R. Diner is a professor emeritus of American Jewish History and former chair of the Irish Studies program at New York University. She is the author of numerous books on Jewish and Irish histories in the U.S., including the National Jewish Book Award winning We Remember with Reverence and Love, which also earned the Saul Veiner Prize for most outstanding book in American Jewish history, and the James Beard finalist Hungering for America. Diner has also held Guggenheim and Fulbright fellowships and served as Director of the Goren Center for American Jewish History. Geraldine Gudefin is a French-born modern Jewish historian researching Jewish family life, legal pluralism, and the migration experiences of Jews in France and the United States. She is currently a research fellow at the Hebrew University's Avraham Harman Research Institute of Contemporary Jewry, and is completing a book titled An Impossible Divorce? East European Jews and the Limits of Legal Pluralism in France, 1900-1939. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

On this week's season nine premiere and 100TH EPISODE, journalist and author, Tyler Wetherall, tells us about the time she did ecstasy with friends at House of Yes and met a boy on the dance floor that she wound up spending the night with!Check out Tyler on InstagramHave fun like TylerDonate to The Center for FictionBuy Tyler's book! & Pic of her on the dance floor that night!This week's Rachel's Recs: Rashid Johnson at Guggenheim & The FrickWhat did you think of this week's episode?They Had Fun on Instagram, YouTube, and our website

As Poetry Month wraps up, poet Traci Brimhall, who is currently serving as the poet laureate of Kansas and the Guggenheim's poet in residence speaks about some of her favorite poems for this moment. Plus, listeners call in with their favorites.

A loaded earnings day meets fresh tariff commentary and broader macro uncertainty. Paul Hickey of Bespoke helps break down the market action. Key earnings include Visa, Starbucks, Booking Holdings, Caesars, Seagate, First Solar, and Snap. Stephen Miran, Chairman of the Council of Economic Advisers, weighs in on the evolving trade backdrop and the latest deal talks. Guggenheim's Gregory Francfort breaks down Starbucks, and Stifel's Mark Kelley offers insight into Snap's results and ad spend trends.Charles Schwab's Liz Ann Sonders joins to lay out the macro setup and the setup during the busiest week of earnings. Plus, Super Micro slides on weak preliminary results. 

Today we're sitting down with Pete Fraser, a former mechanical engineer who successfully pivoted to investment banking after his MBA at Cornell. Pete shares his journey from working in a steel mill in Gary, Indiana to landing a coveted position at Guggenheim in New York City.We discuss: The culture shock of MBA recruitingA cautionary tale about getting cutThe "Zero Defects" philosophyThe importance of having a champion on the inside...and much moreCheck out Pete's book Wall Street Dropout at https://streetdropout.com/You can reach out to him at: peter@streetdropout.comContact: investmentbankinginsights@gmail.com

Tony Hale joins Scott this week to discuss Tony's relationship with his voice, recording messages for children as Forky, and Tony's new podcast "The Extraordinarians" as well as his new movie "Sketch." Then, team building expert Cruchette Dungan leads everyone through some exercises. Finally, "The Night Wolf" drops by to talk about his latest case of vigilante justice. Get access to all the podcasts you love, music channels and radio shows with the SiriusXM App! Get 3 months free using this show link: https://siriusxm.com/cbb

Author Sarah Schulman talks with Emmy Winner Charlotte Robinson host of OUTTAKE VOICES™ about her new book “The Fantasy and Necessity of Solidarity” published by Penguin Random House. Schulman is a longtime social activist from the fight for abortion rights in post-Franco Spain to NYC's AIDS activism in the 1990s to campus protest movements against Israel's war on Gaza and beyond bringing her own experience growing up as a queer female artist in male-dominated culture industries. In these challenging times as our democracy is at a moral crossroad, this must-read book couldn't be more timely. For those who seek to combat injustice, solidarity with the oppressed is one of the highest ideals yet it does not come without complication. In this searing yet uplifting book Sarah delves into the intricate and often misunderstood concept of solidarity to provide a new vision for what it means to engage in this work and why it matters. Here in America with this new administration we're beginning to understand and realize that the only people that will save us from this authoritarian regime are ourselves. Drawing parallels between queer, Jewish, feminist and artistic struggles for justice Schulman challenges the traditional notion of solidarity as a simple union of equals arguing that in today's world of globalized power structures true solidarity requires the collaboration of bystanders and conflicted perpetrators with the excluded and oppressed. Currently in America we are learning that action comes at a cost and it is not always as effective as we would like it to be but doing nothing is far more dangerous. We talked to Sarah about these current issues and her inspiration for writing “The Fantasy and Necessity of Solidarity”.  Sarah Schulman is a novelist, playwright, screenwriter, nonfiction writer and AIDS historian. Her books include The Gentrification of the Mind, Conflict Is Not Abuse and Let the Record Show: A Political History of ACT UP New York, 1987–1993 and the novels The Cosmopolitans and Maggie Terry. Schulman's honors include a Fulbright in Judaic Studies, a Guggenheim in Playwriting and honors from Lambda Literary, the Publishing Triangle, NLGJA: The Association of LGBTQ+ Journalists, the American Library Association and others. Her writing has appeared in The New Yorker, New York, Harper's Magazine, The Atlantic, The Nation, The New Republic, The New York Times and The Guardian. Schulman holds an endowed chair in creative writing at Northwestern University and is on the advisory board of Jewish Voice for Peace.  For More Info… LISTEN: 600+ LGBTQ Chats @OUTTAKE VOICES

Salesforce (CRM) shares are down following an upgrade at Guggenheim. Rachel Dashiell points to a strong downtrend thus far in 2025, and says the $230 level will be a key focal point for investors looking for support. On a longer-term 5-year chart, Rachel notes a significant move off of CRM's 2022-lows but again highlights the $230 level as a historical testing point for this stock.======== Schwab Network ========Empowering every investor and trader, every market day.Subscribe to the Market Minute newsletter - https://schwabnetwork.com/subscribeDownload the iOS app - https://apps.apple.com/us/app/schwab-network/id1460719185Download the Amazon Fire Tv App - https://www.amazon.com/TD-Ameritrade-Network/dp/B07KRD76C7Watch on Sling - https://watch.sling.com/1/asset/191928615bd8d47686f94682aefaa007/watchWatch on Vizio - https://www.vizio.com/en/watchfreeplus-exploreWatch on DistroTV - https://www.distro.tv/live/schwab-network/Follow us on X – / schwabnetwork Follow us on Facebook – / schwabnetwork Follow us on LinkedIn - / schwab-network About Schwab Network - https://schwabnetwork.com/about

A exposição Beatriz Milhazes: Rigor e Beleza, no Museu Guggenheim de Nova York, com curadoria de Geaninne Gutiérrez-Guimarães, oferece uma imersão única no universo artístico da renomada artista brasileira. Composta por 15 obras, sendo cinco delas provenientes da coleção permanente do museu, a mostra traça um panorama da trajetória de Milhazes desde os anos 1990 até os dias atuais. Luciana Rosa, correspondente da RFI em Nova YorkA curadora destaca que a exposição não apenas celebra as "joias" da coleção do Guggenheim, mas também oferece uma visão abrangente do desenvolvimento artístico da artista, que integra a linguagem da abstração geométrica com elementos profundamente enraizados na natureza ao seu redor.Milhazes, que vive e trabalha no Rio de Janeiro, descreve a influência dos jardins botânicos, da floresta da Tijuca, das montanhas e até da praia de Copacabana em seu processo criativo. Esses elementos naturais permeiam suas obras, se transformando em formas geométricas e abstrações que, ao longo dos anos, se consolidaram em sua assinatura visual.A exposição abrange uma variedade de obras, incluindo colagens em papel de 2013 a 2021 e pinturas recentes, como Mistura Sagrada (2022), onde elementos naturais, como folhas de árvores e padrões florais, se encontram representados em cores vibrantes e formas geométricas. A paleta de cores, sempre rica e vibrante, é outro ponto de destaque, refletindo a técnica de transferência que Milhazes desenvolveu em 1989 e que permanece central em sua prática até hoje.Milhazes explica como essa técnica inovadora surgiu, um momento crucial para sua evolução artística: "Na verdade, foi o momento, foi em 89, que é quando eu estava precisando encontrar uma forma de expressar, de utilizar a minha linguagem, crescer e se desenvolver com mais força, e na pintura. Tudo o que eu havia anteriormente trabalhado, começou a me limitar ao invés de abrir portas para esse prosseguimento."Ela continua descrevendo o processo experimental que a levou à descoberta de uma nova técnica: "Eu parei para fazer realmente experimentações, através da monotipia, que é uma técnica de gravura que você trabalha com a tinta molhada. A tinta molhada que você imediatamente imprime, você passa para uma outra superfície. Você pode fazer monotipia utilizando materiais diversos", explica.A partir desses experimentos, Milhazes percebeu algo revolucionário sobre sua técnica: "Eu percebi que a tinta que ficava na folha de plástico, eu podia depois transferir para a tela. E isso foi uma descoberta incrível."Além de representar um marco na carreira de Milhazes, com duas importantes exposições recentes em Londres e sua participação na Bienal de Veneza, esta é a primeira exposição dedicada exclusivamente a ela em Nova York. A mostra no Guggenheim, portanto, não só reforça a importância de Milhazes no cenário global, mas também consolida seu papel essencial na narrativa da arte do século 20, traduzindo suas influências culturais e ambientais em um diálogo com a arte contemporânea internacional."Como um panorama para quem não conhece o trabalho, vai ser interessante ver um confronto entre os anos 90, olhando para 2023", comenta Beatriz Milhazes sobre a exposição. Ela segue: "normalmente, em mostras panorâmicas você tem um percurso sobre a evolução da obra, você vai passando ao longo do tempo, por toda a história daquele artista."Ela também reflete sobre o impacto pessoal de ver sua obra dessa maneira: "Nesse caso existe um confronto entre os anos 90 e as obras super recentes, onde tem, no meio disso, uma pequena passagem da segunda década desse século e uma de 2004 do início do século. Então vai ser uma maneira diferente de observar. Também trouxe reflexões importantes vendo essa situação de confronto de duas épocas distantes."Milhazes compartilha uma visão profunda sobre sua carreira: "Eu fico muito feliz, vamos ver o sucesso que alcancei na carreira, também de mercado, mas realmente a minha grande ambição foi introduzir algo de novo, de inovação dentro do percurso da história da arte abstrata."A exposição é uma oportunidade única de acompanhar a evolução de uma artista que, ao longo de três décadas, conseguiu traduzir sua visão do mundo natural em formas abstratas e universais, que continuam a encantar e inspirar públicos ao redor do mundo.

Today is the opening of the Guggenheim's major survey of artist Rashid Johnson, who was born in Chicago in the late 1970s. "Rashid Johnson: A Poem for Deep Thinkers," displays almost 90 pieces, including paintings, films, sculptures, and a site-specific installation at the top of the museum's rotunda. Johnson discusses his practice alongside Naomi Beckwith, Guggenheim deputy director and chief curator.

We always hear about Benjamin Franklin's accomplishments while he was alive, but his bet on America in his Final Will and Testament truly left a legacy.  Author Michael Meyer joins us and shares this story and more from his book "Benjamin Franklin's Last Bet: The Favorite Founder's Divisive Death, Enduring Afterlife and Blueprint for American Prosperity." Michael Meyer is the author of multiple critically acclaimed books, as well as articles in the New York Times and other outlets. A Fulbright scholar, Guggenheim, NEH, Cullman Center and MacDowell fellow, and the recipient of the Whiting Writers Award, Meyer is a Professor of English at the University of Pittsburgh, where he teaches nonfiction writing. He lives with his family in Pittsburgh. This episode is sponsored by Good Capital, a registered investment advisor focused on families, organizations and businesses that also want to plant seeds for future generations. Simplicity, a foundational wealth plan and investing for decades and generations, not days or quarters. Good People. Good Strategies. Good Capital. Visit www.GoodCapital.pro , if this appeals to you.  Follow us at www.BuildUponTheGood.com and on Facebook, Instagram and Bluesky. *Special thanks to Sean Kelly and the band The Samples for permission to use "Streets in the Rain." Please support them at www.TheSamples.com 

Today, we take you inside a staged reading of The Gulf with the High Meadows Environmental Institute, cover the announcement of this year's Guggenheim Fellowships, and finish out with the class of 2029 pre-read announcement. 

ERIC BOGOSIAN (Playwright) is the author of plays, solos, and novels, including TALK RADIO, subUrbia, and PERFORATED HEART. He received a Drama Desk award, three Obie awards, and a Guggenheim fellowship. He has also been nominated for the Pulitzer and a Tony award. Bogosian earned the Berlin Silver Bear for writing and starring in the film adaptation of his play TALK RADIO. His historical account of "Operation Nemesis," the death squad that avenged the Armenian Genocide, was published by Little, Brown in 2015. As an actor, Bogosian has starred in LAW & ORDER: CI (NBC), BILLIONS (Showtime), SUCCESSION (HBO), the Safdie brothers' UNCUT GEMS, and most recently INTERVIEW WITH THE VAMPIRE (AMC) as the interviewer, Daniel Molloy. He produces a website, 100monologues.com, featuring dozens of New York's most vibrant actors. Bogosian is married to director Jo Bonney. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Architect Michael Dean breaks down the hidden patterns behind the great essays of our time. In this video, we go over his 27-point framework that makes up every world class piece of writing and how he uses the same system to analyze the Guggenheim and Apple Store. We also talk about what skills will still matter as AI continues to improve and why learning to write might be more important than ever. Enjoy! A few links: Join the Essay Architecture beta: https://essayarchitecture.com/ Follow Michael Dean on Substack: https://michaeldean.site/ Hey! I'm David Perell and I'm a writer, teacher, and podcaster. I believe writing online is one of the biggest opportunities in the world today. For the first time in human history, everybody can freely share their ideas with a global audience. I seek to help as many people publish their writing online as possible. Follow me Apple: https://podcasts.apple.com/us/podcast/how-i-write/id1700171470 YouTube: https://www.youtube.com/@DavidPerellChannel X: https://x.com/david_perell Learn more about your ad choices. Visit megaphone.fm/adchoices

Julie NemitzWith over fifteen years of experience in executive sales and marketing leadership roles, Julie Nemitz has a proven track record of driving growth through strategic vision and innovative content marketing. She has partnered with Fortune 500 companies and led teams at award-winning agencies and publishers in New York City. Known for rolling up her sleeves and solving challenges, often by finding the perfect creative messaging that drives people to action, she combines big-picture strategy with hands-on execution to deliver awesome marketing solutions for her clients. In 2020, Julie launched her marketing consultancy. To date, over 2,800 arts organizations and artists have benefitted from the training, content, and group coaching with Julie. We're pretty proud of that. Her signature programs Sell The Show! and Merrily We Roll Out: The Season Reveal Launch Plan have impacted local theatre marketing strategies from Glasgow, Ireland to Melbourne, Australia and everywhere in between. Expanding from there, Julie launched Artist Marketing Lab and Creative Leaders Agency, in 2022. There, Julie works directly with creative arts leaders to elevate their authority and presence in the industry. She has worked with playwright and Guggenheim fellow Christine Masciotti, Broadway director James Rocco, award-winning screenwriter and playwright Marc Ketchem, and playwright Susan Parker /Concord Theatricals to rebrand her company Parker Plays for the digital age. CLA has provided strategy, content, and growth for these and many more clients. Julie's deep desire to empower leaders with a better understanding of the power in their unique branding and marketing abilities speaks directly to her passion for keeping the creative arts thriving everywhere. Julie has also worked with numerous for-profit arts companies to guide them in making a huge impact on their businesses by creating influential marketing content born from innovative strategies. Her work with Musical Theater College Auditions, The Broadway Mentors Program, Camp Broadway, Thirty Saints Productions, and more has delivered growth for these for-profit arts organizations. Julie is also a member of the esteemed Adjunct Faculty at Western Michigan University Department of Theatre and Dance, teaching marketing to the next generation of performing artists and arts leaders.Broad Impact NetworkBroad Impact Network is a membership-based community for women passionate about the creative arts. Whether you are working as an artist or supporting the arts, Broad Impact Network empowers its members to celebrate, support, advocate, and shape an arts and culture that we believe in.Our mission is to build a robust and engaged community of women who actively support female-identifying creators, advocate for freedom of artistic expression, and provide a creative space for women-led projects.We unite women who love the creative arts and care about championing female voices so we can lift up artists, explore our own creativity, and make a real impact to advocate as a community. Broads are stronger together.

Donald Trump ha colpito duro le auto straniere importate negli Stati Uniti imponendo una tassa del 25% "permanente" a partire dal 2 aprile: il giorno della "liberazione dell'America" come l'ha definito il presidente, quando scatteranno anche i dazi reciproci nei confronti di 15 Paesi. Per il tycoon la mossa servirà a stimolare la produzione nazionale, ma rischia di mettere a dura prova le finanze delle case automobilistiche che dipendono dalle catene di forniture globali e tradursi in costi più elevati per i consumatori americani. Così di sicuro pensano i mercati che hanno reagito molto male alla notizia: Wall Street ha chiuso in rosso ancora prima dell'annuncio ufficiale ed è calata ulterioremente dopo, mentre la maggior parte delle azioni delle case automobilistiche hanno lasciato sul terreno circa il 2-3%, da General Motors a Stellantis. La misura del presidente americano potrebbe anche innescare ulteriori scontri commerciali con l'Unione europea, in particolare Paesi come Germania e Italia, ma anche Giappone e la Corea del Sud. Affrontiamo il tema con Mario Cianflone, Il Sole24OreTrump Makes China Attractive Again Mentre aumentano le frizioni tra gli Stati Uniti di Trump e i suoi alleati. C'è un grande attore globale pronto ad approfittarne. Durante il China Development Forum, il premier cinese Li Qiang ha intensificato gli sforzi per provare ad attrarre aziende straniere in Cina, nel tentativo di ravvivare l economia cinese che sta attraversando una fase di deflazione, alti tassi di disoccupazione e crescita economica debole. Qiang ha promesso stabilità e politiche favorevoli alle imprese, sottolineando l impegno di Pechino per la globalizzazione, il multilateralismo e la resistenza al protezionismo. Reuters riporta anche che una rete di aziende gestite da una società tecnologica cinese segreta starebbe cercando di reclutare gli ex dipendenti del governo federale statunitense licenziati nelle ultime settimane. Intanto oggi la Cina rigetta l'offerta del presidente americano Donald Trump di concessioni sul fronte dei dazi in cambio del via libera di Pechino alla vendita di TikTok. E' quanto ha detto il portavoce del ministero degli Esteri Guo Jiakun, secondo cui "i nuovi dazi Usa sulle auto importate violano le regole dell'Organizzazione del commercio (Wto) e minacciano il sistema del commercio basato sulle regole". La posizione di Pechino è "consistente e chiara": le tariffe "non aiuteranno gli Stati Uniti a risolvere i suoi problemi" e "le guerre commerciali non avranno alcun vincitore"; ha aggiunto Guo.Il commento è di Filippo Fasulo, Co-head dell'Osservatorio Geoeconomia dell'IspiOlimpiadi, a Cortina inaugurata la pista da bob delle polemiche Lunedì 24 Marzo è stata inaugurata la nuova pista da bob "Eugenio Monti" di Cortina. La pista da Bob di Cortina viene considerato un "Miracolo olimpico" vista la difficoltà nella realizzazione e lo scetticismo che ha accompagnato il progetto dall'inizio. "La pista da bob è il monumento alla follia". A dirlo è stato il presidente del Veneto, Luca Zaia, durante la cerimonia di inaugurazione della pre-omologazione dello Sliding Centre di Cortina che si è svolta martedì 25 marzo.«Mi dicevano che era una follia», ha aggiunto Zaia, «ed invece abbiamo trasformato una discarica nel Guggenheim del ghiaccio». In questi anni, si era discusso della possibilità di utilizzare impianti in Austria, Svizzera o Germania, che avrebbero eliminato la necessità di costruire una nuova pista. Le parole del CIO a dicembre 2023, quando il primo bando di gara è andato deserto, L ultima stroncatura per le gare olimpiche invernali in Italia arriva direttamente con un comunicato del Comitato Olimpico Internazionale: «in una fase così avanzata devono essere prese in considerazione solo le piste già esistenti e operative». Invece poi il governo è riuscito a convincere una delle più grandi imprese italiane, la Pizzarotti, a raccogliere la sfida e in tredici mesi l'opera ha visto la luce. Un tempo record. Anche per il Comitato olimpico internazionale, che nutriva perplessità sul futuro riutilizzo della struttura, oltre che sulle effettive spese, di fatto lievitate dagli 81,6 milioni di euro del bando di ricostruzione andato deserto alla scadenza del 31 luglio 2023, ai 118,4 milioni euro di investimento complessivo dichiarato da Simico, la società infrastrutture di Milano Cortina 2026. Sul cantiere si sono mosse 135 persone sotto la direzione dell'impresa capofila Pizzarotti che ha stretto accordi con 35 appaltatori ditte principalmente bellunesi e nazionali. Ne parliamo proprio con Paolo Pizzarotti, Presidente Impresa Pizzarotti.

Mai Der Vang is the author of Primordial, Yellow Rain, and Afterland. Her honors include th Lenore Marshall Poetry Prize from the Academy of American Poets, an American Book Award, finalist for the Pulitzer Prize in Poetry, the First Book Award from the Academy of American Poets, among others. The recipient of a Guggenheim and Lannan Literary Fellowship, she teaches in the MFA Program in Creative Writing at Fresno State. Learn more about your ad choices. Visit megaphone.fm/adchoices

We're talking resistance, joy, and queer communities with Brenda Shaughnessy!Please Support Breaking Form!Review the show on Apple Podcasts here.Aaron's STOP LYING is available from the Pitt Poetry Series.James's ROMANTIC COMEDY is available from Four Way Books.NOTES:Click here for Brenda's Queer Resistance Playlist 2025 (Spotify).Check out Brenda's poem "Panopticon" from Interior with Sudden Joy.Visit Brenda Shaughnessy's website . And hear her read from her newest book, Tanya here. Read more about UC Santa Cruz closing the Feminist Studies Dept here. Read more about Maria RessaFor more about Roland Barthes's contribution to literary criticism, read here.While dated, here's a list of creative writing programs that are LGBTQ+ friendly. Read more about Bettina ApthekerRead more about Donna J. HarawayRead on for more about the clubs Brenda mentions: Meow Mix, Clit Club, Henrietta Hudson (still open!), Pandora's Box, and more.Read more about Angela Davis's work here.For more about Wendy Brown, read her Guggenheim citation here.You can learn more about Allan Bérubé here. Learn more about the incredible Urvashi Vaid here.Watch/listen to Cécile McLorin Salvant's "Until" here. Read more about Kate Clinton on her website here.For more about Teresa de Lauretis, click here. 

 A new Olympics Deal for NBC. The tip off of March Madness and MLB's starting pitch is in Japan. NBA tanking, and Jason's Wormbyte on the real NCAA Basketball Tournament and the continuing annals of the Dr. Mike Smith annual spring training sojourn. 

Guggenheim Securities Co-Chairman Jim Millstein discusses the latest on the markets with Bloomberg's Sonali Basak and Matt Miller. See omnystudio.com/listener for privacy information.

Robert Earl Sinclair is a Future Architect & Speculative World-Builder striving to make sense of our rapidly changing world and co-create bold futures. Born in "the hood" of Los Angeles and challenged with dyslexia, Robert became a successful international hip-hop recording artist in his teens and went on to graduate from the Los Angeles County High School for the Arts and NYU's Tisch School of the Arts. Now, this multicultural, classically trained artist, actor and writer uses storytelling to activate the idea that if something is broken, we can fantasize about what it looks like unbroken, and that exercise, in and of itself, can help us to find our way to a solution. This is speculative world-building. In this pursuit, Robert's dyslexia has become an asset, because dyslexic people experience information as story and possess a much higher retention of facts which allows Robert, a voracious reader, to draw from a vast store of resources and disciplines. Dedicated to beauty, justice and inclusive imagination, Robert designs at the crossroads of art, culture and technology and has created original content and world-building workshops for: NYU, Google Creative Lab, Sundance Film Festival, The Guggenheim, the Rockefeller Foundation, Pop Culture Collaborative, The Doris Duke Foundation and For Freedoms, where he co-created For Freedoms News and its month-long residency at the Brooklyn Museum. Robert is an original member of the Guild of Future Architects' celebrated Futurist Writers Room, a diverse community of visionary artists, intellectuals, engineers and technologists. Working with Dot Connector Studio, Robert is working to shape alternative economic models of sustainability and thrivability for everyone. Most recently, Robert has  lectured at USC's School of Cinematic Arts and the ASU Center for Science and the Imagination. He is currently teaching Emergent Expressions at the Harvard Divinity School.Have a Swan Dive to share? Text us!We are always looking for Swan Dive Stories to share so hit us up, send an e mail to Ron: Ron@artbikesjax.com or Stu: Stuart@stuartsheldon.com

Today, Lauren and Traci are talking to Michael James O'Brien, a photographer, teacher, curator, activist, and writer.Michael is an acclaimed photographer and poet known for his wide-ranging work, from still lifes and portraits to commercial and fine art photography. He earned his MFA from Yale University in the 1970s, studying under Walker Evans, and later taught at Kenyon College and the New School. Currently, he serves as Chairman of the Photography Department at the Savannah College of Art and Design.In 1993, O'Brien began a collaboration with artist Matthew Barney, creating a photographic counterpart to Drawing Restraint 7 and the Cremaster cycle, exhibited at the Musée Moderne in Paris and the Guggenheim in New York. His work has been featured in The New Yorker, Rolling Stone, The New York Times, L'Uomo Vogue, and Elle Décor, as well as in campaigns for Bergdorf Goodman, Ralph Lauren, and Thierry Mugler.You can see Michael's years of incredible work on his website. Make sure to follow him on Instagram to keep up with his life and journey!If you would like to get involved with Focus On Women, you can review sponsorship and contribution options here, as well as become a member here.Remember to stay safe and keep your creative juices flowing!---Tech/Project Management Tools (*these are affiliate links)Buzzsprout*Airtable*17hats*ZoomPodcast Mic*

For a topic that's truly "on pointe," our guest today reminds us of the joys and rewards of freedom and discipline, just in time for Lent: ballet dancer and choreographer Silas Farley.We discuss his early journey in discipleship and liturgical dance, holy coincidences that connected him with his Russian ballet hero, how discipline can lead to freedom in the Spirit both in dance and liturgical life, and understanding the meaning of "grace."We hope you've done your work at the barre, because Silas will stretch our imaginations for worship and discipleship, and even what's possible when it comes to dance in church. Hold on to your leotards. Silas is Armstrong Artist in Residence in Ballet in the Meadows School of the Arts at Southern Methodist University in Dallas. He's been a teacher and choreographer at places like the New York City Ballet, the Guggenheim, the Washington Ballet, the Met, and all over the world.More about SilasJoin a Living Church conferenceGive to support this podcast

Should the GSEs be privatized? On the latest Walker Webcast, Willy was joined by three of the industry's leading voices to debate this hot-button issue:  Jim Millstein, Co-Chairman, Guggenheim Securities Jim Parrott, Owner, Parrott Ryan Advisors Mark Zandi, Chief Economist, Moody's Analytics  They covered the pros and cons, potential economic ripple effects, the impact on single vs. multifamily, and the real-world implications for investors, lenders, homebuyers, and taxpayers. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, John Hodgman joins Scott to discuss being the "Radar" O'Reilly of the PC world, boldly asking for drugs, and owning a boat. Then, James Cameron and Jake Sully visit to promote "Avatar: Fire and Ash" as well as wet movies in general, and entrepreneur Kitty Sea-Joy Sage drops by to share some products.  Get access to all the podcasts you love, music channels and radio shows with the SiriusXM App! Get 3 months free using this show link: https://siriusxm.com/cbb

Episode No. 693 is a Presidents' Day weekend clips episode featuring artist John Edmonds.  The Solomon R. Guggenheim Museum in New York recently announced the acquisition of Edmonds's complete 2018 Untitled (Hood) series. The work was included in last year's Guggenheim exhibition "Going Dark: The Contemporary Figure at the Edge of Visibility." Edmonds discussed his Untitled (Hood) series in detail when he came onto the program in 2020 on the occasion of an exhibition at the Brooklyn Museum. Among the institutions that have collected Edmonds' work are the Art Gallery of Ontario, Toronto, the Columbus Museum of Art, the Philadelphia Museum of Art, the Museum of Fine Arts, Houston, and SFMOMA.   For images, see Episode No. 446.  Instagram: John Edmonds, Tyler Green.

Carmen Giménez's poem “Ars Poetica” is a stunning waterfall of words, a torrent of dozens of short statements that begin with “I” or “I'm.” As you listen to them, let an answering cascade of questions fill up your mind. What does this series of confessions reveal to you about poetry? The poet? And yourself?Carmen Giménez is the author of numerous poetry collections, including Milk and Filth, a finalist for the NBCC Award in Poetry, and Be Recorder (Graywolf Press, 2019), a finalist for the 2019 National Book Award in Poetry, the PEN Open Book Award, the Audre Lorde Award for Lesbian Poetry, and the Los Angeles Times Book Prize. She was awarded the Academy of American Poets Fellowship Prize in 2020. A 2019 Guggenheim fellow, she served as the publisher of Noemi Press for 20 years. She is the Publisher and Executive Director of Graywolf Press.Find the transcript for this show at onbeing.org.We're pleased to offer Carmen Giménez's poem and invite you to subscribe to Pádraig's weekly Poetry Unbound Substack newsletter, read the Poetry Unbound book, or listen to past episodes of the podcast. Order your copy of Kitchen Hymns (new poems from Pádraig) and 44 Poems on Being with Each Other (new essays by Pádraig) wherever you buy books.

Imani Perry says that the color blue tells the story of her people, reflecting both oppression and resilience, sorrow and hope. In her new book “Black in Blues,” Perry explores the significance of the color in Black American history and culture – from the indigo trade to the blues music tradition – and stitches together histories that connect the color to spirituality, community, resistance and the complexities of identity. Perry joins us. Guests: Imani Perry, professor in studies of women, gender and sexuality and in African and African American studies, Harvard University; fellowship recipient, MacArthur and Guggenheim; Her previous book ‘South to America' won the 2022 National Book Award for Nonfiction.

Episode No. 690 features curators Vivien Greene and Michael Hartman. With Tracey Bashkoff, Greene is the co-curator of "Harmony & Dissonance: Orphism in Paris, 1910-1930" at the Solomon R. Guggenheim Museum, New York. The exhibition surveys a transnational art movement that joined abstraction to dance, music, and poetry and that engaged with ideas of simultaneity across kaleidoscopic pictures and sculpture. Among the artists included in "Harmony & Dissonance" are Robert Delaunay, Sonia Delaunay, Marcel Duchamp, František Kupka, Francis Picabia, and Stanton Macdonald-Wright. The exhibition is on view through March 9. The Guggenheim published an excellent catalogue for the exhibition. It's available from Amazon and Bookshop for about $60. Hartman is the curator of "Beyond the Bouquet: Arranging Flowers in American Art" at the Hood Museum of Art at Dartmouth College. The exhibition looks at how North American artists have made use of floral beauty. Instagram: Michael Hartman, Tyler Green.

Joaquín Torres-García was Uruguayan-born artist who wanted to bring Constructivism and Modernism to Latin America, and worked for much of his life promoting the idea that Latin-American voices should be part of the Modernist art movement. Research: · Bollar, Gorki. “Primitive Paintings: Connections to Realism and Constructivism.” Leonardo, vol. 17, no. 1, 1984, pp. 17–19. JSTOR, https://doi.org/10.2307/1574851 · Britannica, The Editors of Encyclopaedia. "Joaquín Torres-García". Encyclopedia Britannica, 4 Aug. 2024, https://www.britannica.com/biography/Joaquin-Torres-Garcia · Duncan, Barbara. “Exploring New Horizons in Latin American Contemporary Art.” Revista: Harvard Review of Latin America. Dec. 30, 2001. https://revista.drclas.harvard.edu/exploring-new-horizons-in-latin-american-contemporary-art/ · Grimson, Karen. “JOAQUÍN TORRES-GARCÍA’S CREATIVE PARADOX.” INTI, no. 83/84, 2016, pp. 261–65. JSTOR, http://www.jstor.org/stable/26309985 · Jimenez, Maya, Dr. “Joaquin Torres-Garcia, Inverted America.” Smart History. Aug. 9, 2015. https://smarthistory.org/Torres-Garcia-inverted-america/ · “Joaquín Torres-García.” Art Collection. https://artcollection.io/artist/5ce4801004726600179036b4#:~:text=He%20worked%20on%20the%20first,la%20Sagrada%20Familia%20in%20Barcelona. · “Joaquín Torres García.” Centro Cultura Regoleta. http://cvaa.com.ar/04ingles/04biografias_en/torres_garcia_en.php · “Joaquín Torres-García.” Guggenheim. https://www.guggenheim.org/artwork/artist/joaquin-Torres-Garcia · “Joaquin Torres Garcia (1874-1949).” National Museum of Visual Art. https://mnav.gub.uy/cms.php?a=4 · “Joaquín Torres-García.” National Gallery of Art. https://www.nga.gov/collection/artist-info.2518.html · “Joaquín Torres-García.” Hutchinson Modern & Contemporary. https://hutchinsonmodern.com/artists/40-joaquin-Torres-Garcia/biography/Medina, Alvaro. “Torres-García and the Southern School.” ArtNexus. https://www.artnexus.com/en/magazines/article-magazine-artnexus/5ebf04481ae60a0ea57baa18/3/Torres-Garcia-and-the-southern-school · Museo Torres Garcia. “bio.” https://www.torresgarcia.org.uy/bio.php · ROMMENS, AARNOUD. “Latin American Abstraction: Upending Joaquín Torres-García’s Inverted Map.” Mosaic: An Interdisciplinary Critical Journal, vol. 51, no. 2, 2018, pp. 35–58. JSTOR, https://www.jstor.org/stable/90021965 · Torres, Celia de. “Constructing Abstraction with Wood: Joaquín Torres-García.” Literal. Issue 18. April 18, 2012. https://literalmagazine.com/constructing-abstraction-with-wood-joaquin-Torres-Garcia/ See omnystudio.com/listener for privacy information.