Podcasts about guggenheim collection

 On this episode, I'm joined by Shinique Smith.  Born in Baltimore, Maryland, and now Los Angeles based,  Shinique Smith is best known for her visual poetry,  monumental fabric sculptures, and paintings of calligraphy and collage that engage abstraction. Her work gained critical acclaim and widespread attention through her participation in important group exhibitions, including Frequency at the Studio Museum in Harlem, 30 Americans organized by the Rubell Family Collection and Unmonumental at the New Museum.  Last fall, Smith unveiled a new monumental aluminum sculpture for Miami Arts in Public Spaces at the Port of Miami. She currently has work on view in several shows across the US, including By Way Of: Material and Motion in the Guggenheim Collection, curated by Naomi Beckwith, Poetics of Dimensions at the ICASF, curated by guest curator Larry Ossei-Mensah, and earlier this month, Smith opened up a two person show celebrating the 10th anniversary of the Nigerian Rele Gallery, Social Fabrics, Magic and Memory, features Smith's work in conversation with Lagos-based artist. Marcelina Acpojotor. Over the last twenty years, Smith has gleaned visual poetry from clothing and explored concepts of ritual using breath, bunding and calligraphy as tools toward abstraction. Her layered works range from palm-sized bundled microcosms to monolithic bales to massive chaotic paintings that contain vibrant and carefully collected mementos from her life. Smith's practice operates at the convergence of consumption and spiritual sanctuary, balancing forces and revealing connections across space and time, race, gender and place to suggest the possibility of new worlds. 

A few years ago, I met Marianne Costa in a garden in Avon, France, along with a mutual friend who was on a pilgrimage to George Gurdjieff's grave, located just around the corner from where I live. We had a fascinating conversation, during which she spoke insightfully about Tarot and her collaboration with Alejandro Jodorowsky, among other topics. Though I was impressed by her depth of knowledge, I remained somewhat indifferent toward Tarot at the time. A few years later, my wife gifted me The Way of Tarot, which Costa co-authored with Jodorowsky. It turned out to be the most practical and compelling book I had ever read on the subject, sparking a personal journey to explore the symbolism of the Tarot. It wasn't until a few years after that, during a psycho-magic reading in a smoky bar in Paris, that I realized I had encountered Tarot symbolism before. Synchronicities abound! Bio: Marianne Costa, born 1966, holds a M.A. in comparative literature and is a renowned Tarot expert. She has published several books translated in various languages, among which : No Woman's Land (novel, Grasset 2004), The Way of Tarot (with Jodorowsky, Inner Traditions 2005, German edition Windpferd 2008) and Metagenealogy (France 2011, USA 2014, a study of family as both a treasure and a trap, also with Jodorowsky).  She collaborates with institutions and museums as a symbology expert — most recently with the Guggenheim Collection in Venice and Accademia di Belle Arti in Palermo. Her last opus, an essay on Tarot's history, symbolism and iconography Le Tarot pas à pas («Tarot step by step ») is already available in French, Spanish and Italian. Her polyfacetic carreer includes being a professional actress and singer, writing and translating poetry, novels and essays, and teaching groups worldwide in Tarot, transgenerational psychology and what she calls « healing fictions », an original technique that combine and surpasses therapy, self-development and artistic expression. She is the translator of Lawrence Ferlinghetti's poetry in French. Her base is in Paris and she has been a passionate tango dancer and singer for the last decade. Homepage: https://www.parallax-media.com/ Academy: https://www.parallax-media.com/2024-courses-and-events Substack: https://parallax.substack.com/ Parallax Network: https://parallax-media-network.mn.co/share/ND8NVO1oMB3RjEyi?utm_source=manua

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Learn more at TheCityLife.org --- Send in a voice message: https://podcasters.spotify.com/pod/show/citylifeorg/message Support this podcast: https://podcasters.spotify.com/pod/show/citylifeorg/support

Jenny Holzer was born in 1950 in Gallipolis, Ohio. She received a BFA in printmaking and painting from Ohio University, Athens, Ohio, in 1972, and an MFA in painting from the Rhode Island School of Design, Providence, in 1977. Holzer then moved to New York and enrolled in the Independent Study Program at the Whitney Museum of American Art. That same year, she created her first text-based works, initiating an ongoing artistic investigation of language in which she presents both original and appropriated texts to deconstruct how personal and political meaning are created in Western culture's patriarchal, consumer-oriented society. For Truisms, her series comprising terse one-liners written between 1977 and '79, and Inflammatory Essays, which were composed between 1979 and '82, Holzer anonymously pasted posters of unswerving, declarative statements around New York City. Since then her text-based work has evolved in numerous mediums. In the 1980s Holzer used electronic signs to present her work in such prominent public spaces as Times Square in New York and Piccadilly Circus in London, as well as in sport stadiums. She began producing engraved marble and granite benches, initially bearing text from Under the Rock (1986), and stone sarcophagi inscribed with Laments (1988–89), a moving reflection on the devastating repercussions of the AIDS crisis. For her 1989–90 retrospective at the Solomon R. Guggenheim Museum in New York, Holzer created a site-specific LED sign that wound its way around the parapet of the Frank Lloyd Wright–designed rotunda, displaying aphorisms and declarations from all of her work to date. She represented the United States at the Venice Biennale in 1990 and was awarded the Golden Lion for her Venice Installation, where she presented a series of her writings—including Mother and Child (1990), an account of motherhood—incised on a marble floor and emanating from LED signs.Holzer has produced public memorials as well as outdoor nighttime projections, such as Arno (1996), presented on the surface of the Arno River in Florence. Her texts have also been projected on Rio de Janeiro's cityscapes and oceans (Xenon for Rio de Janeiro, 1999), on beach shores and mountainsides (For San Diego, 2007), and on building facades across the world. Most recently, Holzer has returned to her earlier practice of using declassified American government documents as a subject for her art. Silkscreened on oil-painted backgrounds, these new works denounce acts of brutality and military practices conducted during the Iraq war. Holzer has had solo exhibitions at the Kunsthalle Basel (1984); Brooklyn Museum, New York (1988); Dia Art Foundation, New York, and Solomon R. Guggenheim Museum (both 1989–90); Haus der Kunst, Munich (1993); Art Tower Mito, Japan (1994); Contemporary Arts Museum Houston (1997); Neue Nationalgalerie, Berlin (2001, 2011); Kunsthaus Bregenz, Austria (2004); MAK, Vienna (2006); Museum of Contemporary Art Chicago (2008–09; travelled to the Whitney Museum of American Art [2009], and Fondation Beyeler, Riehen, Switzerland [2009–10]); Tate Modern, London (2018–19); and the Guggenheim Museum Bilbao (2019), among other institutions. Select group exhibitions include Eating Friends, Artists Space, New York (1981); Around 1984: A Look at Art in the Eighties, MoMA PS1 (2000); and Surprise, Surprise, Institute of Contemporary Arts, London (2006). Her works have appeared in Documenta (1982, 1987); Whitney Biennial (1983, 1985); Carnegie International (1985); Sculpture Project, Münster (1987); Venice Biennale (1990, 2005, 2007, 2015); Florence Biennial (1996); Singapore Biennial (2006); and Gwangju Biennial (2012). She has been the recipient of several important awards, and in 2016 she was made an Officier of the Order of Arts and Letters by the French government. Holzer is one of the six artist-curators who made selections for Artistic License: Six Takes on the Guggenheim Collection, Solomon R. Guggenheim Museum (2019–20). She lives and works in New York.From https://www.guggenheim.org/artwork/artist/jenny-holzer. For more information about Jenny Holzer:“5 ways Jenny Holzer brought art to the streets”: https://www.tate.org.uk/art/artists/jenny-holzer-1307/5-ways-jenny-holzer-brought-art-streets“Jenny Holzer”: https://projects.jennyholzer.com“Jenny Holzer”: https://www.interviewmagazine.com/art/jenny-holzer

Episode SummaryThe Guggenheim Museum is one of the greatest art institutions in the United States, and in the world. Who works there? Who are these people we know as “curators?” What goes on behind the scenes in preparing exhibitions? The Sydcast goes on a road trip to the NY Guggenheim (pre-COVID) to talk to curator Megan Fontanella, who shares her passion for the stories behind the historic artworks in the collection, her journey to art and curatorship, and what it takes to create exhibits that bring art to life for patrons, critics, and general audiences.Syd Finkelstein Syd Finkelstein is the Steven Roth Professor of Management at the Tuck School of Business at Dartmouth College. He holds a Master's degree from the London School of Economics and a Ph.D. from Columbia University. Professor Finkelstein has published 25 books and 90 articles, including the bestsellers Why Smart Executives Fail and Superbosses: How Exceptional Leaders Master the Flow of Talent, which LinkedIn Chairman Reid Hoffman calls the “leadership guide for the Networked Age.” He is also a Fellow of the Academy of Management, a consultant and speaker to leading companies around the world, and a top 25 on the Global Thinkers 50 list of top management gurus. Professor Finkelstein's research and consulting work often relies on in-depth and personal interviews with hundreds of people, an experience that led him to create and host his own podcast, The Sydcast, to uncover and share the stories of all sorts of fascinating people in business, sports, entertainment, politics, academia, and everyday life. Megan FontanellaMegan Fontanella joined the curatorial staff in 2005 and conducts collections research for the Guggenheim, focusing on institutional history and the provenance of artworks. In addition to her research work, she has co-organized several collection-based exhibitions, including Art of Another Kind: International Abstraction and the Guggenheim, 1949–1960; The Great Upheaval: Modern Art from the Guggenheim Collection, 1910–1918; and From Berlin to New York: Karl Nierendorf and the Guggenheim. Her co-organized international presentations for the Guggenheim include From Private to Public: Collections and the Guggenheim and Painterly Abstraction, 1949–1969: Selections from the Guggenheim Collections, both at the Guggenheim Museum Bilbao; she likewise curated Visions of Modernity, the final presentation of the Deutsche Guggenheim, Berlin. More recently, Fontanella supported the traveling retrospective Alberto Burri: The Trauma of Painting; curated Visionaries: Creating a Modern Guggenheim, and co-curated Giacometti. She has also helped organize numerous presentations in the museum's former Kandinsky Gallery and currently maintains the Thannhauser Gallery, a permanent display of 19th- and early 20th-century art. For the Guggenheim Bilbao she organized Van Gogh to Picasso: The Thannhauser Legacy. Megan graduated from Dartmouth College with a BA in art history modified with history and received her MA in art history from the Courtauld Institute of Art, London, where she specialized in late 19th-century French art. She is a member of the Board of Advisors at the Hood Museum of Art at Dartmouth.Insights from this episode:Details on how exhibitions are determined and created, what happens once the exhibit has launched, and what happens if the show is a flop.Strategies used to create exhibits, how to get pieces on loan from other museums, and how reframing shows to present them differently to the audience gives them new life.Details on artists like Kandinsky, Cézanne, and Van Gogh, how they were influenced by their time period and surroundings, and how those influences can be seen in their art.How to determine the provenance of a piece of artwork, how the journey of the object can influence exhibits, and dealing with sensitive issues surrounding pieces. Benefits of incorporating art into your life and encouraging children to appreciate art through exposure and respect.Quotes from the show:On building relationships: “So much in life is socially based, no matter how ‘scientific' or ‘technical' something is, the personal connection is so important.” – Syd FinkelsteinOn creating an exhibition: “It really, genuinely takes a village. There are so many colleagues that I rely upon to make sure that things go off without a hitch.” – Megan Fontanella“Some of the most special, fantastic shows maybe don't connect with our visitors but connect with art historians and critics or vice-versa; it doesn't connect with critics but is wildly successful [with audiences].” – Megan FontanellaOn building exhibits: “First and foremost, we strive for scholarship behind our work, we strive to do justice to the artists' work.” – Megan FontanellaOn exhibits featuring art from a living artist versus ancient artwork: “It's an interesting dynamic to think about when the artist is living and this is part of his or her brand and what they are trying to accomplish.” – Syd Finkelstein“An exhibit is a work of art in itself.” – Syd Finkelstein“Every object tells a story, it has lived a life, and I very much relish pulling out those stories.” – Megan Fontanella“You don't have to be an art historian or think you are going to pursue a future career in the art world to hone your visual literacy.” – Megan Fontanella“Variety of experience creates more talented people in whatever area they end up in.” – Syd Finkelstein“There are so many different ways that art can affect us and I would just love for the arts to become something that everyone feels is part of their life.” – Megan FontanellaStay Connected: Syd FinkelsteinWebsite: http://thesydcast.comLinkedIn: Sydney FinkelsteinTwitter: @sydfinkelsteinFacebook: The SydcastInstagram: The Sydcast Megan FontanellaBook: Visionaries: Creating a Modern Guggenheim Website: www.guggenheim.orgLinkedIn: Megan FontanellaInstagram: @meganfontanellaSubscribe to our podcast + download each episode on Stitcher, iTunes, and Spotify.This episode was produced and managed by Podcast Laundry (www.podcastlaundry.com)

We talk to Michael Shnayerson about his book Boom, following the big art dealers from the 1940s to now. Plus, we speak to Nancy Spector, the organiser of Guggenheim in New York’s Artistic Licence: Six Takes on the Guggenheim Collection, and Paul Chan, one of the six artist-curators invited to mine the museum’s collection. See acast.com/privacy for privacy and opt-out information.

Dr Valerie Hillings, Curator of the exhibition Guggenheim Collection: 1940s to Now, discusses the curatorial process that she undertook with colleagues at the Guggenheim and the National Gallery of Victoria.

Canadian artist Sarah Anne Johnson, represented in the exhibiition Guggenheim Collection: 1940s to Now, offers a unique and humourous insight into the production of two of her recent works, Tree Planting and The Galapagos Project.

Narrator Geraldine Doogue introduces the exhibition Guggenheim Collection: 1940s to Now and the diversity of artists and artworks it presents.

Amy Barclay interviews Dr Valerie Hillings, Assistant Curator at the Guggenheim Museum, New York. Dr Hillings discusses the 'Late Pop and Constructed Worlds' section of the exhibition Guggenheim Collection: 1940s to Now.