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Episode No. 683 features artist Tala Madani and curator Jamillah James. James is the curator of "The Living End: Painting and Other Technologies, 1970-2020" at the Museum of Contemporary Art Chicago. Madani is among the 60-plus artists included in the exhibition. "The Living End" surveys the arc of painting over the last half-century with a particular focus on artists who have redefined painting by using new technologies, imaging techniques, and their own bodies. The exhibition will be on view through March 16, 2025. Jack Schneider assisted James with the show. The exhibition catalogue is available from the MCA for under $20. The Henry Art Gallery at the University of Washington is presenting "Tala Madani: Be flat," a solo exhibition featuring recent and newly commissioned work that explores the influence of symbols, language, and mark-making on power dynamics and individual agency. It was curated by Shamim M. Momin and is on view through August 17, 2025. Madani makes paintings and painting-informed animations that consider gender, political authority, and representation. Her work typically includes bald, middle-aged men in bizarre, often hilarious circumstances. She has had solo shows at museums such as the Museum of Contemporary Art, Los Angeles; Secession, Vienna; the Contemporary Art Museum St. Louis, and the Mori Art Museum, Tokyo.
Shamim Momin is the Director of Curatorial Affairs at the Henry Art Gallery in Seattle, Washington. In this role since 2018, she has overseen the Curatorial Department and organized numerous exhibitions, including the museum-wide group exhibition In Plain Sight, as well as major commissions by Tala Madani, Gary Simmons, Kelly Akashi, Donna Huanca, Diana Al-Hadid, and others. Prior to joining the Henry, she was director, curator, and co-founder of LAND (Los Angeles Nomadic Division), a nonprofit public art organization committed to curating site- and situation-specific contemporary art projects. In that role, Momin organized over 100 exhibitions, projects, and programs with more than 300 artists, presented across the United States and internationally. Previously, Momin served for more than ten years at the Whitney Museum of American Art (New York) co-curating the 2004 and 2008 Whitney Biennials and overseeing the Contemporary Projects series. In addition to her extensive publication history, she serves regularly as guest lecturer, panelist, and advisor for a wide array of organizations and events. Momin was Adjunct Professor of Contemporary Art for Williams College for the 2007 and 2008 Semester in New York program, and is currently Affiliate Professor of Art at the School of Art, Art History and Design, University of Washington.She and Zuckerman discuss life transformations, never not thinking about something, founder's fatigue, regret, being useful, learning to listen, accepting the world, personal responsibility, purpose driven work, humanity, being a mom, mentorship, what the next generation sees, and art as a means to be human!
A note about the work “Archival” from Patrycja Humienik for the Michigan Quarterly Review's Summer 2024 issue: I wrote this poem (part of my forthcoming book, We Contain Landscapes), in response to Diana Al-Hadid's exhibit “Archive of Longings” at the Henry Art Gallery in Seattle, WA in 2021. I was invited to create a workshop in conversation with the work, for which I led participants in movement and writing experiments engaging page and body as archive. Al-Hadid wrote, in the label for one of her sculptures, “I wondered how much of myself I could lose and still be there.” I remain riveted by the question.
Ep.204 Nina Chanel Abney (b. 1982, Harvey, IL) has been honored with solo exhibitions at the Savannah College of Art and Design, Georgia (2023); the Museum of Contemporary Art, Cleveland (2023); the Institute of Contemporary Art, Miami (2022); the Gordon Parks Foundation, Pleasantville, New York (2022;traveled to Henry Art Gallery, Seattle); the Institute of Contemporary Art, Boston (2019–21); Palais de Tokyo, Paris (2018); and the Contemporary Dayton, Ohio (2021). Additionally, her solo exhibition at the Nasher Museum of Art, Duke University, Durham, North Carolina (2017), toured to the Chicago Cultural Center; Institute of Contemporary Art, Los Angeles, and the California African American Museum, Los Angeles; and the Neuberger Museum of Art, Purchase College, State University of New York. Abney was recently commissioned to transform Lincoln Center's new David Geffen Hall façade in New York, drawing from the cultural heritage of the neighborhood previously known as San Juan hill that comprised African American, Afro-Caribbean, and Puerto Rican families. Abney's recent public mural at the Miami World Center was similarly inspired by Overtown, a historic Black neighborhood in Miami. Abney's work is held in the collections of the Whitney Museum of American Art, New York; the Museum of Modern Art, New York; the Brooklyn Museum, New York; the Bronx Museum, New York; the Dallas Museum of Art, Texas; the Rubell Family Collection, Florida; the Nasher Museum of Art, North Carolina; and the Pennsylvania Academy of the Fine Arts; amongst others. Photo credit: Jesper Damsgaard Lund Artist https://ninachanel.com/ Jack Shainman https://jackshainman.com/ Chronogram https://www.chronogram.com/hv-towns/review-nina-chanel-abneys-lie-doggo-at-jack-shainman-gallerys-the-school-20807734 Blockonomi https://blockonomi.com/super-punk-world-nfts-face-backlash-over-focus-on-race-and-gender/ Cultured Mag https://www.culturedmag.com/article/2024/05/16/nina-chanel-abney-jack-shainman-upstate-show Air Jordan 3 Collaboration https://ninachanel.com/news/10-closer-look-at-nina-chanel-abney-s-air-jordan/ nft now https://nftnow.com/art/cryptopunks-debut-artist-residency-program-with-nina-chanel-abney/ NYTimes https://www.nytimes.com/2024/02/18/arts/design/abney-bey-fordjour-simmons-harlem-renaissance-met.html The Cut https://www.thecut.com/2023/11/where-nina-chanel-abney-gets-her-custom-hats.html Surface Magazine https://www.surfacemag.com/articles/scad-museum-of-art-life-affirming-power-of-personhood-fall-2023-exhibitions/ Juxtapose https://www.juxtapoz.com/news/in-session/big-butch-energy-synergy-a-conversation-with-nina-chanel-abney/ W Magazine https://www.wmagazine.com/culture/nina-chanel-abney-exhibition-big-butch-energy-artist-interview Hyperallergic https://hyperallergic.com/767955/nina-chanel-abney-jacolby-satterwhite-david-geffen-hall-lincoln-center/
I Like Your Work: Conversations with Artists, Curators & Collectors
Jennifer Combe is a mother, artist, and associate professor of art at The University of Montana. Before shifting to higher education, she taught K12 in Washington State public schools for fifteen years. Her artwork investigates gender, contemporary mothering, and children's development. Her visual work has been exhibited at The Missoula Art Museum, Holter Museum of Art, Paris Gibson Square Museum of Art, The Gift Shop exhibition space at The Henry Art Gallery in Seattle, the NAEA gallery in Virginia, and The Washington State Center for Performing Arts. Her work is featured in the book An Artist and a Mother, published by Demeter Press. Her work in art education spans early childhood education, community arts, and social theory. Her educational work has been featured in The Journal of Social Theory in Art Education, The Journal of the Motherhood Initiative for Research and Community Involvement, The Journal of Cultural Research in Art Education, and Visual Arts Research. She has lectured for The National Art Education Association in New York, Chicago, San Diego, Dallas/Fort Worth and New Orleans. She lectured on mothering and art education in Florence, Italy for The Motherhood Initiative on Research and Community Involvement. She lives outside of Missoula, MT with her family. "My research and artistic work explore cultural constructs around gender and mothering, ability, and schooling. Drawing from autobiography, I locate the essence of an experience and then distill my understanding of that experience into simplified, often geometric, forms. This process helps deconstruct cultural paradigms that complicate interpretation and meaning—ultimately how we perceive ourselves. Working in the studio involves a form of meditation and contemplative translation of experiences and anxieties through the direct process of applying paint or fabric to various surfaces such as glass, panel, linen, or paper. Non-objective abstraction allows an ambient space for the ambiguities of memory and the tumult of emotion to be freely realized. Often working in multiples, I process experiences in singular works and then rejoin the simplified forms to make a complex, yet fleeting whole. My hope is to claim control over the ambiguities of experience and emotion, if even for a moment." LINKS: jennifercombe.com @jkcombe I Like Your Work Links: Check out our sponsor for this episode: The Sunlight Podcast: Hannah Cole, the artist/tax pro who sponsors I Like Your Work, has opened her program Money Bootcamp with a special discount for I Like Your Work listeners. Use the code LIKE to receive $100 off your Money Bootcamp purchase by Sunlight Tax. Join Money Bootcamp now by clicking this link: https://www.sunlighttax.com/moneybootcampsales and use the code LIKE. Chautauqua Visual Arts: https://art.chq.org/school/about-the-program/two-week-artist-residency/ 2-week residency https://art.chq.org/school/about-the-program/ 6-week residency Join the Works Membership ! https://theworksmembership.com/ Watch our Youtube channel: https://www.youtube.com/@ilikeyourworkpodcast Submit Your Work Check out our Catalogs! Exhibitions Studio Visit Artist Interviews I Like Your Work Podcast Say “hi” on Instagram
I Like Your Work: Conversations with Artists, Curators & Collectors
Stephanie Pierce's paintings explore relationships between light, time, and perception as it is reconsidered over time. Stephanie's work has been exhibited at The Henry Art Gallery, Seattle; The Staten Island Museum, NY; and Asheville Art Museum, NC. Her work is represented by Jupiter Contemporary in Miami, Alpha Gallery in Boston and Steven Harvey Fine Art Projects in NYC. Stephanie received a Peter S. Reed Foundation Grant in 2018 and a Joan Mitchell Foundation Painters and Sculptors Grant in 2014. Her work has been published in the New Yorker Magazine, Harper's Magazine, and is included in the collections of William Dreyfus, and Joan and Roger Sonnabend among others. Stephanie's upcoming solo exhibition, Simple Pleasures, will be at Jupiter Contemporary, Miami, in October 2023. Stephanie is an Assistant Professor of Painting at the Fashion Institute of Technology in NYC. She lives and works in Brooklyn, NY. “My most recent body of work consists of paintings centered around indulging what can be loved within my day-to-day experience. An intimate world is presented by way of sustained consideration and a reflection of light, time, and shifting perception. These kaleidoscopic paintings record ongoing transitions that crystalize an emotional light and often verge on the hallucinatory.” LINKS: Stephanie-pierce.com @Stephanie_lalaland I Like Your Work Links: Join the Works Membership ! https://theworksmembership.com/ Watch our Youtube channel: https://www.youtube.com/@ilikeyourworkpodcast Submit Your Work Check out our Catalogs! Exhibitions Studio Visit Artist Interviews I Like Your Work Podcast Say “hi” on Instagram
Susan Dory is a Seattle-based artist whose geometric abstractions explore systems of interconnectedness, patterning and her trust of the process. Susan has exhibited widely with exhibitions at Winston Wachter Fine Art in New York and Seattle; Margaret Thatcher, New York; Catharine Clark Gallery, San Francisco; Tew Gallery, Atlanta; Boecker Contemporary, Heidelberg; The Tacoma Art Museum; The Henry Art Gallery, University of Washington; Kittredge Art Gallery, University of Puget Sound, The Western Gallery, Western Washington University; Mills College Art Museum, Oakland; The Contemporary Austin – Jones Center and The Art Gallery of Greater Victoria, Victoria BC, Canada. She received her BA from Iowa State University and studied painting in Vienna, Austria. Susan is a recipient of the Neddy Award, The Pollock Krasner Foundation Grant, GAP grant, the Artist Trust Fellowship Grant, and was a finalist for the Betty Bowen Award. Some public collections include, The Tacoma Art Museum, Ballinglen Museum of Contemporary Art, Ireland; The U.S. Embassy, Vientiane, Laos, Seattle Arts Commission Collection, King County Arts Commission, 4Culture, The Microsoft Collection, Vulcan Enterprises, Swedish Hospital, Hewlett Packard, W. Clements Jr. University Hospital, Dallas, TX, Neiman Marcus and Nordstrom Spontaneous Sights, through March 11th at Winston Wachter Fine Art. Pole Star 1, 2022, acrylic on canvas over panel, 52 x 58" Arena, 2022, acrylic on canvas over panel, 52 x 60" Secret Cave of the Heart 1, 2022, acrylic on canvas over panel, 58 x 52"
Episode No. 589 is a holiday clips episode featuring artist Rose B. Simpson. Rose B. Simpson is included in two ongoing presentations in New England: her Counterculture is installed at Field Farm, a Trustees property in Williamstown, Mass.; and in "Ceramics in the Expanded Field," at MASS MoCA through April 10. Counterculture was organized by Jamilee Lacy and will be on view through April 30, 2023. "Ceramics," which is up until April 10, was curated by Susan Cross. Elsewhere, the Fabric Workshop and Museum in Philadelphia is featuring "Rose B. Simpson: Dream House" through May 7, and Simpson is included with in "Thick as Mud" at the Henry Art Gallery at the University of Washington. The exhibition examines how eight artists use mud as material or subject. Curated by Nina Bozicnik, it's on view through May 7. Across ceramic sculpture, performance, installation, and more, Simpson's work addresses ideas as far ranging as resistance, apocalypse, spirituality, and automobile design. Museums such as the University of New Mexico Art Museum (Simpson lives in Santa Clara Pueblo), Nevada Museum of Art, the Savannah College of Art and Design's SCAD Museum of Art, and the Pomona College Museum of Art have all presented solo exhibitions of her work, and Simpson has been in group shows at the Henry Art Gallery, the Pennsylvania Academy of Fine Arts, the Cleveland Museum of Art, the Denver Museum of Art, and plenty more. The program was taped on the occasion of these shows and the ICA Boston exhibition "Rose B. Simpson: Legacies." From the program: Video from Simpson's 2013 Denver Art Museum performance. For images, see Episode No. 567. Air date: February 16, 2023.
Ep.137 features Hayv Kahraman. She was born in Baghdad, Iraq in 1981 and lives and works in Los Angeles. Recent solo exhibitions include Gut Feelings, The Mosaic Rooms, London (2022); Touch of Otherness, SCAD Museum of Art, Savannah (2022); Not Quite Human: Second Iteration, Pilar Corrias, London (2020); Shangri La Museum of Islamic Art, Culture, and Design, Honolulu, HI (2019); De La Warr Pavilion, Sussex, UK (2019); Pomona College Museum of Art, Claremont, California (2018); and Contemporary Art Museum St, Louis, St. Louis, Missouri (2017). Recent group exhibitions include Reflections: Contemporary Art of the Middle East and North Africa, British Museum, London (2021); Blurred Bodies, San Jose Museum of Art, San Jose (2021); New Time: Art and Feminisms in the 21st Century, Berkeley Art Museum, Berkeley (2021); Henry Art Gallery, Seattle (2019); ICA Boston (2019); and MASS MoCA, North Adams, (2019). Kahraman's work is in several important international collections including the British Museum, London, UK; Museum of Contemporary Art, San Diego, California, US; Los Angeles County Museum of Art (LACMA), California, US; Birmingham Museum of Art, Alabama, US; The Rubell Family Collection, Florida, US; The Barjeel Art Foundation Sharjah, UAE; MATHAF: Arab Museum of Modern Art Doha, Qatar; Pizzuti Collection of Columbus Museum of Art, Ohio, US; North Carolina Museum of Art, Raleigh, US; Pérez Art Museum Miami, Miami, US. Photo ~ Courtesy the artist and Pilar Corrias, London Artist https://hayvkahraman.com/ Book https://www.rizzoliusa.com/book/9780847862627/ Pilar Corrias Gallery https://www.pilarcorrias.com/artists/hayv-kahraman/2/ Jack Shainman https://jackshainman.com/artists/hayv_kahraman Vielmetter https://vielmetter.com/artists/hayv-kahraman The Third Line https://thethirdline.com/ ICASF https://www.icasf.org/exhibitions/7-hayv-kahraman Hyperallergic https://hyperallergic.com/tag/hayv-kahraman/ Financial Times https://www.ft.com/content/ba61f731-e007-4c6c-922f-bc93dd4ad4c8 Perez Art Museum Miami https://www.pamm.org/en/artwork/2020.093/ Rubell Museum https://rubellmuseum.org/nml-hayv-kahraman Art Forum https://www.artforum.com/print/reviews/201909/hayv-kahraman-81120 SCAD https://www.scadmoa.org/exhibitions/the-touch-of-otherness NPR https://www.npr.org/2019/11/27/770452266/iraqi-american-artist-hayv-kahraman-is-building-an-army-of-fierce-women Art Review https://artreview.com/hayv-kahraman-gut-feelings-review/ The Guardian https://www.theguardian.com/artanddesign/2022/feb/21/hayv-kahraman-i-was-brainwashed-into-thinking-anything-euro-american-centric-is-the-ideal Wikipedia https://en.wikipedia.org/wiki/Hayv_Kahraman jdeed Magazine http://jdeedmagazine.com/hayv-kahraman-exhibits-gut-feelings-at-the-mosaic-rooms/ Mosiac Rooms https://mosaicrooms.org/event/hayv-kahraman/
Ask Win: http://ask-win.weebly.com. Ask Win sponsor: https://melodyclouds.com. Please donate to Ask Win by going to Payment Venmo Win1195 at https://venmo.com/. Win Kelly Charles' Books: https://www.amazon.com/Win-Kelly-Charles/e/B009VNJEKE/ref=dp_byline_cont_book_1. Win Kelly Charles' MONAT: https://wincharles.mymonat.com. On Ask Win today (Thursday, January 12, 2023), Best-Selling Author, Win C welcomes Elsa Sjunneson, author of Being Seen: One Deafblind Woman's Fight to End Ableism. Elsa is a Deafblind disability rights activist whose work has been praised as “eloquence and activism in lockstep.” A story on disability icon Helen Keller that she researched and reported for over a year aired on Radiolab in March of 2022, and her work has been published in CNN Opinion and the Boston Globe. Elsa has presented at Microsoft, Google, Slack, the Federal Reserve Board, General Assembly Seattle, the Henry Art Gallery, and the University of Chicago, among others, and collaborated with New Jersey 11th for Change and the New York Disability Pride Parade. She holds a master's degree in women's history from Sarah Lawrence College and served as an adjunct professor in the Department of Humanities at the New Jersey Institute of Technology. A speculative fiction writer who has taught workshops with Clarion West as well as Writing the Other, she's a two-time Hugo Award winner and nine-time finalist. She lives in Seattle, Washington. To learn more about Elsa email her at elsa.s.henry@gmail.com.
Episode No. 579 features artist Uta Barth. The J. Paul Getty Museum in Los Angeles is presenting "Uta Barth: Peripheral Vision," a retrospective of Barth's work. For over forty years Barth has made work about the act of looking, perception, movement and the passage of time. The exhibition debuts Barth's newest work: a project commissioned in celebration of the Getty Center's twentieth anniversary. The exhibition was curated by Arpad Kovacs, and is on view through February 19, 2023. A catalogue is forthcoming in 2023. A previous mid-career survey, "Uta Barth: I Between Places" was organized by the Henry Art Gallery at the University of Washington in 2000. Barth's work is in nearly every major museum collection in North America.
"I just feel there is already a connection, something I have to come to, but that I'm trying to search it out or see what's already there. I feel that we are truly connected as a world. And I'm just trying to make people aware of an existing connection we already have, to send that message out there. And I like to do it in the form of...I guess you'd call it a mundane image, where it's not really about bells and whistles, but it's about something in it makes you want to look, and you want to know why. And it's because you've been there before, regardless of whether you are a dancer or that particular guy in the subway, you know you've been in his head in that mood that he's experiencing."Gloria Pacis is a painter dividing her time between New York City and Hoboken, where she has her studio. She received her BFA from the University of Washington in 1976. She credits her years working as a set designer and scene artist for the dramatic, character-based elements of her paintings. She has participated in exhibitions at public institutions and universities, including Wing Luke Museum, Mana Contemporary, University of Washington, Henry Art Gallery, Monroe Arts Centre, Seattle University, Act Theatreand Seattle Center Art Museum, where her work was chosen to showcase International Women's Day. She has designed sets for many leading theatres, including notable productions of A Christmas Carol, Hamlet, The Doctors Dilemma, Hedda Gabler, and Salome.IG @gloriapaciswww.artofgloriapacis.comwww.creativeprocess.infowww.oneplanetpodcast.orgInstagram @creativeprocesspodcastImage: The Dancers, Acrylic on canvas, Gloria Pacis
Gloria Pacis is a painter dividing her time between New York City and Hoboken, where she has her studio. She received her BFA from the University of Washington in 1976. She credits her years working as a set designer and scene artist for the dramatic, character-based elements of her paintings. She has participated in exhibitions at public institutions and universities, including Wing Luke Museum, Mana Contemporary, University of Washington, Henry Art Gallery, Monroe Arts Centre, Seattle University, Act Theatreand Seattle Center Art Museum, where her work was chosen to showcase International Women's Day. She has designed sets for many leading theatres, including notable productions of A Christmas Carol, Hamlet, The Doctors Dilemma, Hedda Gabler, and Salome."I just feel there is already a connection, something I have to come to, but that I'm trying to search it out or see what's already there. I feel that we are truly connected as a world. And I'm just trying to make people aware of an existing connection we already have, to send that message out there. And I like to do it in the form of...I guess you'd call it a mundane image, where it's not really about bells and whistles, but it's about something in it makes you want to look, and you want to know why. And it's because you've been there before, regardless of whether you are a dancer or that particular guy in the subway, you know you've been in his head in that mood that he's experiencing."IG @gloriapaciswww.artofgloriapacis.comwww.creativeprocess.infowww.oneplanetpodcast.orgInstagram @creativeprocesspodcast
"I've always been fascinated by the interaction of people and why they say and do the things they do. And I could see how theater impacted my work because actually, I have a broad brush when I paint, mainly. And it gets kind of fuzzy as you get close, but as you go further, you see things. That's the discipline of the theater. You're painting up close, but for an image that can be seen from a distance, from the last chair in the theater. So that's kind of my thing.I've got to say, I'm particularly interested in murder mysteries myself. Because murder mysteries, more than any other story, they answer the question: why did this guy do this? And that's what I like, to answer the questions of why people act the way they do it. Now you can find that regardless of what the theatrical production is about. I tend to like classic stuff, but I can't imagine a more fascinating topic than people and what moves them. What makes them act the way they do? I just can't think of anything more interesting. And the goal of my work in particular is to make people just stop enough to look at it and then be reminded of themselves a little bit in what they're looking at, regardless of what they look like compared to the image. And that's it. Sometimes I'm just sitting at a coffee shop, watching people and trying to invent stories. It's just a fascination for me."Gloria Pacis is a painter dividing her time between New York City and Hoboken, where she has her studio. She received her BFA from the University of Washington in 1976. She credits her years working as a set designer and scene artist for the dramatic, character-based elements of her paintings. She has participated in exhibitions at public institutions and universities, including Wing Luke Museum, Mana Contemporary, University of Washington, Henry Art Gallery, Monroe Arts Centre, Seattle University, Act Theatreand Seattle Center Art Museum, where her work was chosen to showcase International Women's Day. She has designed sets for many leading theatres, including notable productions of A Christmas Carol, Hamlet, The Doctors Dilemma, Hedda Gabler, and Salome.IG @gloriapaciswww.artofgloriapacis.comwww.creativeprocess.infowww.oneplanetpodcast.orgInstagram @creativeprocesspodcastImage: Men, Acrylic on Canvas, Gloria Pacis
Gloria Pacis is a painter dividing her time between New York City and Hoboken, where she has her studio. She received her BFA from the University of Washington in 1976. She credits her years working as a set designer and scene artist for the dramatic, character-based elements of her paintings. She has participated in exhibitions at public institutions and universities, including Wing Luke Museum, Mana Contemporary, University of Washington, Henry Art Gallery, Monroe Arts Centre, Seattle University, Act Theatreand Seattle Center Art Museum, where her work was chosen to showcase International Women's Day. She has designed sets for many leading theatres, including notable productions of A Christmas Carol, Hamlet, The Doctors Dilemma, Hedda Gabler, and Salome."I've always been fascinated by the interaction of people and why they say and do the things they do. And I could see how theater impacted my work because actually, I have a broad brush when I paint, mainly. And it gets kind of fuzzy as you get close, but as you go further, you see things. That's the discipline of the theater. You're painting up close, but for an image that can be seen from a distance, from the last chair in the theater. So that's kind of my thing.I've got to say, I'm particularly interested in murder mysteries myself. Because murder mysteries, more than any other story, they answer the question: why did this guy do this? And that's what I like, to answer the questions of why people act the way they do it. Now you can find that regardless of what the theatrical production is about. I tend to like classic stuff, but I can't imagine a more fascinating topic than people and what moves them. What makes them act the way they do? I just can't think of anything more interesting. And the goal of my work in particular is to make people just stop enough to look at it and then be reminded of themselves a little bit in what they're looking at, regardless of what they look like compared to the image. And that's it. Sometimes I'm just sitting at a coffee shop, watching people and trying to invent stories. It's just a fascination for me."IG @gloriapaciswww.artofgloriapacis.comwww.creativeprocess.infowww.oneplanetpodcast.orgInstagram @creativeprocesspodcast
"Sometimes I'll paint images of people watching a parade go by, but nobody takes the pictures of the crowd watching. And just to focus the attention on: this is what you're missing. I like to do stuff like that. And it's just to draw attention to an aspect of humanity that I'm just trying to make people pay attention to, that's all. Like sometimes walking through Times Square, you see all the razzle-dazzle, and then every once in a while you see a dilapidated little section of Times Square. And I'm going: look at that. That's a good...nobody's noticing that. I don't know what it is, my fascination for just zeroing in on stuff that nobody will look at, but I just like that, you know. I'd like to say that another artist I like is Rothko. And my opinion about him is that I just can't help but get sucked into his pictures. I just stare there for the longest time. Everybody has moved on, and I'm sucked in. I want to achieve something to stick people in that place. Just keep them still for a second."Gloria Pacis is a painter dividing her time between New York City and Hoboken, where she has her studio. She received her BFA from the University of Washington in 1976. She credits her years working as a set designer and scene artist for the dramatic, character-based elements of her paintings. She has participated in exhibitions at public institutions and universities, including Wing Luke Museum, Mana Contemporary, University of Washington, Henry Art Gallery, Monroe Arts Centre, Seattle University, Act Theatreand Seattle Center Art Museum, where her work was chosen to showcase International Women's Day. She has designed sets for many leading theatres, including notable productions of A Christmas Carol, Hamlet, The Doctors Dilemma, Hedda Gabler, and Salome.IG @gloriapaciswww.artofgloriapacis.comwww.creativeprocess.infowww.oneplanetpodcast.orgInstagram @creativeprocesspodcast
Gloria Pacis is a painter dividing her time between New York City and Hoboken, where she has her studio. She received her BFA from the University of Washington in 1976. She credits her years working as a set designer and scene artist for the dramatic, character-based elements of her paintings. She has participated in exhibitions at public institutions and universities, including Wing Luke Museum, Mana Contemporary, University of Washington, Henry Art Gallery, Monroe Arts Centre, Seattle University, Act Theatreand Seattle Center Art Museum, where her work was chosen to showcase International Women's Day. She has designed sets for many leading theatres, including notable productions of A Christmas Carol, Hamlet, The Doctors Dilemma, Hedda Gabler, and Salome."Sometimes I'll paint images of people watching a parade go by, but nobody takes the pictures of the crowd watching. And just to focus the attention on: this is what you're missing. I like to do stuff like that. And it's just to draw attention to an aspect of humanity that I'm just trying to make people pay attention to, that's all. Like sometimes walking through Times Square, you see all the razzle-dazzle, and then every once in a while you see a dilapidated little section of Times Square. And I'm going: look at that. That's a good...nobody's noticing that. I don't know what it is, my fascination for just zeroing in on stuff that nobody will look at, but I just like that, you know. I'd like to say that another artist I like is Rothko. And my opinion about him is that I just can't help but get sucked into his pictures. I just stare there for the longest time. Everybody has moved on, and I'm sucked in. I want to achieve something to stick people in that place. Just keep them still for a second."IG @gloriapaciswww.artofgloriapacis.comwww.creativeprocess.infowww.oneplanetpodcast.orgInstagram @creativeprocesspodcast
Gloria Pacis is a painter dividing her time between New York City and Hoboken, where she has her studio. She received her BFA from the University of Washington in 1976. She credits her years working as a set designer and scene artist for the dramatic, character-based elements of her paintings. She has participated in exhibitions at public institutions and universities, including Wing Luke Museum, Mana Contemporary, University of Washington, Henry Art Gallery, Monroe Arts Centre, Seattle University, Act Theatreand Seattle Center Art Museum, where her work was chosen to showcase International Women's Day. She has designed sets for many leading theatres, including notable productions of A Christmas Carol, Hamlet, The Doctors Dilemma, Hedda Gabler, and Salome.“And I try to make my figures not so gender-specific necessarily. Sometimes you can guess, but the image on the left was actually a man. You can't tell really. And the right one was a woman, but the idea that they could be the same person is...I'm just very fascinated also by the whole idea of what gender is because in my head I'm kind of masculine. I don't comport myself as transgender or anything, but I think I operate in the world like a male in a lot of respects. And I just want to bring that out that I think a lot of people do this. They're not, they might look female, act male in a certain way, under a certain spectrum. It's a very fascinating age we live in. It's as if we're just being made aware of all these things that were already there. That we are on the spectrum of things, on the spectrum of female, on the spectrum of male. And then we look a certain way outwardly that's all that is. I think I'm basically, heterosexual female is what I still do, but I know when I'm just by myself, I don't even think of myself as a pronoun. I just think, Hey, this is…I am me in the world doing me things.”IG @gloriapaciswww.artofgloriapacis.comwww.creativeprocess.infowww.oneplanetpodcast.orgInstagram @creativeprocesspodcast
“And I try to make my figures not so gender-specific necessarily. Sometimes you can guess, but the image on the left was actually a man. You can't tell really. And the right one was a woman, but the idea that they could be the same person is...I'm just very fascinated also by the whole idea of what gender is because in my head I'm kind of masculine. I don't comport myself as transgender or anything, but I think I operate in the world like a male in a lot of respects. And I just want to bring that out that I think a lot of people do this. They're not, they might look female, act male in a certain way, under a certain spectrum. It's a very fascinating age we live in. It's as if we're just being made aware of all these things that were already there. That we are on the spectrum of things, on the spectrum of female, on the spectrum of male. And then we look a certain way outwardly that's all that is. I think I'm basically, heterosexual female is what I still do, but I know when I'm just by myself, I don't even think of myself as a pronoun. I just think, Hey, this is…I am me in the world doing me things.”Gloria Pacis is a painter dividing her time between New York City and Hoboken, where she has her studio. She received her BFA from the University of Washington in 1976. She credits her years working as a set designer and scene artist for the dramatic, character-based elements of her paintings. She has participated in exhibitions at public institutions and universities, including Wing Luke Museum, Mana Contemporary, University of Washington, Henry Art Gallery, Monroe Arts Centre, Seattle University, Act Theatreand Seattle Center Art Museum, where her work was chosen to showcase International Women's Day. She has designed sets for many leading theatres, including notable productions of A Christmas Carol, Hamlet, The Doctors Dilemma, Hedda Gabler, and Salome.IG @gloriapaciswww.artofgloriapacis.comwww.creativeprocess.infowww.oneplanetpodcast.orgInstagram @creativeprocesspodcast
"It's because I consider life a dance, really. A dance. Some dancers are clunky, and some dancers are graceful, but it's a dance, a compromise, a puzzle, kind of, and it just has a lot of elements that I can draw comparisons with life. You know, the dance of the planets. There are so many dances all the time, all around us. And do you know what they're all saying? Yes, no, maybe...but that's what we're in. And we're trying to figure out why are we here? Why do I have to do this dancing? And what's animating me? I just like the way there are a lot of analogies between life and dance, between the way people interact. You know, people who are not dancers. I just like that. Lines can be drawn between regular life and dancing. But also the advantage that this art has over dance is it freezes the moment. A moment you miss because time goes by and the dancer has got to keep moving, but you miss something unless somebody freezes it."Gloria Pacis is a painter dividing her time between New York City and Hoboken, where she has her studio. She received her BFA from the University of Washington in 1976. She credits her years working as a set designer and scene artist for the dramatic, character-based elements of her paintings. She has participated in exhibitions at public institutions and universities, including Wing Luke Museum, Mana Contemporary, University of Washington, Henry Art Gallery, Monroe Arts Centre, Seattle University, Act Theatreand Seattle Center Art Museum, where her work was chosen to showcase International Women's Day. She has designed sets for many leading theatres, including notable productions of A Christmas Carol, Hamlet, The Doctors Dilemma, Hedda Gabler, and Salome.IG @gloriapaciswww.artofgloriapacis.comwww.creativeprocess.infowww.oneplanetpodcast.orgInstagram @creativeprocesspodcast
Gloria Pacis is a painter dividing her time between New York City and Hoboken, where she has her studio. She received her BFA from the University of Washington in 1976. She credits her years working as a set designer and scene artist for the dramatic, character-based elements of her paintings. She has participated in exhibitions at public institutions and universities, including Wing Luke Museum, Mana Contemporary, University of Washington, Henry Art Gallery, Monroe Arts Centre, Seattle University, Act Theatreand Seattle Center Art Museum, where her work was chosen to showcase International Women's Day. She has designed sets for many leading theatres, including notable productions of A Christmas Carol, Hamlet, The Doctors Dilemma, Hedda Gabler, and Salome."It's because I consider life a dance, really. A dance. Some dancers are clunky, and some dancers are graceful, but it's a dance, a compromise, a puzzle, kind of, and it just has a lot of elements that I can draw comparisons with life. You know, the dance of the planets. There are so many dances all the time, all around us. And do you know what they're all saying? Yes, no, maybe...but that's what we're in. And we're trying to figure out why are we here? Why do I have to do this dancing? And what's animating me? I just like the way there are a lot of analogies between life and dance, between the way people interact. You know, people who are not dancers. I just like that. Lines can be drawn between regular life and dancing. But also the advantage that this art has over dance is it freezes the moment. A moment you miss because time goes by and the dancer has got to keep moving, but you miss something unless somebody freezes it."IG @gloriapaciswww.artofgloriapacis.comwww.creativeprocess.infowww.oneplanetpodcast.orgInstagram @creativeprocesspodcast
The Creative Process in 10 minutes or less · Arts, Culture & Society
"I just feel there is already a connection, something I have to come to, but that I'm trying to search it out or see what's already there. I feel that we are truly connected as a world. And I'm just trying to make people aware of an existing connection we already have, to send that message out there. And I like to do it in the form of...I guess you'd call it a mundane image, where it's not really about bells and whistles, but it's about something in it makes you want to look, and you want to know why. And it's because you've been there before, regardless of whether you are a dancer or that particular guy in the subway, you know you've been in his head in that mood that he's experiencing."Gloria Pacis is a painter dividing her time between New York City and Hoboken, where she has her studio. She received her BFA from the University of Washington in 1976. She credits her years working as a set designer and scene artist for the dramatic, character-based elements of her paintings. She has participated in exhibitions at public institutions and universities, including Wing Luke Museum, Mana Contemporary, University of Washington, Henry Art Gallery, Monroe Arts Centre, Seattle University, Act Theatreand Seattle Center Art Museum, where her work was chosen to showcase International Women's Day. She has designed sets for many leading theatres, including notable productions of A Christmas Carol, Hamlet, The Doctors Dilemma, Hedda Gabler, and Salome.IG @gloriapaciswww.artofgloriapacis.comwww.creativeprocess.infowww.oneplanetpodcast.orgInstagram @creativeprocesspodcastImage: The Dancers, Acrylic on canvas, Gloria Pacis
Juan Alonso-Rodríguez describes his paintings and sculptures as an on-going exploration of abstraction based on forms both found in nature, and those conceived by human ingenuity. From horizon lines to his father's wrought iron railing designs, memories of sights and sounds of his Caribbean origins always play an integral part in his creativity. He is influenced by the organized balance, pattern, and symmetry found in nature as well as that of architecture that lives in harmony with the natural world. In the first Gage art talk of the season, Scott Méxcal interviews Alonso-Rodríguez about how he “accidentally” became a professional artist, his long career in the Pacific Northwest, being Latinx, the changing Seattle landscape, and the process of art as meditation. Cuban-born Juan Alonso-Rodríguez is a self-taught artist whose transition from music to visual arts coincided with his move to Seattle in 1982. His work has been exhibited throughout the U.S. and is included in permanent collections such as Tacoma Art Museum, Portland Art Museum, and Henry Art Gallery. He has won a Seattle Mayor's Arts Award, The Neddy Fellowship, and the DeJunius Hughes Award for Activism. In 2019 he received an Artist Trust Fellowship and the Washington State Governor's Arts Award for an Individual Artist. He was selected Lecturer for the 2021 University of Washington Libraries' Artist Images. Scott Méxcal (né McCall) is a cultural worker in the genre of socially engaged practice art. Born in Albuquerque, New Mexico, Scott's ancestors have lived on both sides of the Rio Grande for countless generations. Descended from indigenous people and Spanish/European colonizers, he has called the traditional homeland of the Duwamish people, Seattle, Washington, his home for the past 20 years. Scott has contributed to the creative cultural fabric of the city as a graphic designer, a public artist, a youth art mentor, and art activist. His work has hung in numerous exhibitions throughout the city and surrounding area. Presented by Town Hall Seattle and the Gage Academy of Art.
Episode No. 567 features artist Rose B. Simpson and author Brent Martin. The Institute for Contemporary Art, Boston is showing "Rose B. Simpson: Legacies," an exhibition of 14 sculptures Simpson has made over the last eight years. It was curated by Jeffrey De Blois and is on view through January 29, 2023. Rose B. Simpson is included in two other New England presentations: her Counterculture is installed at Field Farm, a Trustees property in Williamstown, Mass.; and in "Ceramics in the Expanded Field," at MASS MoCA. Counterculture was organized by Jamilee Lacy and will be on view through April 30, 2023. "Ceramics," which is up until early March 2023, was curated by Susan Cross. This fall The Fabric Workshop and Museum in Philadelphia will feature "Rose B. Simpson: Dream House." The exhibition opens October 7. Across ceramic sculpture, performance, installation, and more, Simpson's work addresses ideas as far ranging as resistance, apocalypse, spirituality, and automobile design. Museums such as the University of New Mexico Art Museum (Simpson lives in Santa Clara Pueblo), Nevada Museum of Art, the Savannah College of Art and Design's SCAD Museum of Art, and the Pomona College Museum of Art have all presented solo exhibitions of her work, and Simpson has been in group shows at the Henry Art Gallery, the Pennsylvania Academy of Fine Arts, the Cleveland Museum of Art, the Denver Museum of Art, and plenty more. Martin discusses his new book "George Masa's Wild Vision," which was recently published by Hub City Press. Masa was an Asheville, North Carolina-based photographer who had a significant impact on the establishment of Great Smoky Mountains National Park and on determining the Southern route of the Appalachian Trail, the two crown jewels of the eastern United States' natural infrastructure. Amazon and Indiebound offer the book for around $25.
Ep.96 features Barbara Earl Thomas. She is a visual artist with numerous national exhibits to her credit. She is a maker who builds tension-filled narratives through papercuts and prints, placing silhouetted figures in social and political landscapes. Thomas is known for her large-scale installations that use light as the animating force and invites her viewers to step inside her illuminated scenographies. Barbara's works are included in the collections of the Seattle, Tacoma and Portland Art Museums, Chrysler Museum of Art, Minneapolis Institute of Art, Microsoft, and the Bill and Melinda Gates Foundation, Washington State and Seattle City public collections. Barbara has art projects for Seattle's Sound Transit stations and Yale University. She received her BA and MFA from the University of Washington School of Art. She currently has two major exhibits on view; Geography of Innocence at the Seattle Art Museum, and a collaborative exhibit with New York based artist, Derrick Adams, Packaged Black at the Henry Art Gallery at the University of Washington. Photo credit: Jovelle Tamayo Artist https://barbaraearlthomas.com/ Seattle Art Museum https://thomas.site.seattleartmuseum.org/ Claire Oliver Gallery https://www.claireoliver.com/artists/barbara-earl-thomas/ Seattle Met https://www.seattlemet.com/arts-and-culture/2021/03/barbara-earl-thomas-jacob-lawrence-sam-seattle-art-museum-shows-2021-american-struggle-geography-of-innocence Bomb Magazine https://bombmagazine.org/articles/between-fragility-and-strength-barbara-earl-thomas-interviewed/ Henry Art https://henryart.org/exhibitions/packaged-black University of Washington https://artsci.washington.edu/news/2022-02/poetics-barbara-earl-thomas Seattle Times https://www.seattletimes.com/entertainment/visual-arts/barbara-earl-thomas-the-geography-of-innocence-exhibit-at-sam-invites-transformation/ Wikipedia https://en.wikipedia.org/wiki/Barbara_Earl_Thomas
In late 2021, Seattle's Henry Art Gallery invited doubleXposure co-hosts Vivian Phillips and Marcie Sillman to visit the exhibition Packaged Black, featuring artwork by Barbara Earl Thomas and Derrick Adams, and to respond to what we saw. The show is amazing, and we were so moved by what we saw that we thought we'd offer it to you as a bonus episode, a little glimmer of hope for 2022.
Episode No. 531 features artist Beverly Semmes and curator Jeffrey Spier. Beverly Semmes is included in "Witch Hunt," an exhibition that presents how 16 women artists have used feminist, queer, and decolonial strategies to explore gender, power, and the global impacts of patriarchy. It is on view across two venues, the Hammer Museum and the Institute of Contemporary Art, Los Angeles through January 9. On January 9, the JOAN exhibition space in downtown Los Angeles was scheduled to host "Pool," a performance and installation developed as a collaboration between Jennifer Minniti and Semmes' CarWash Collective and Emily Mast. It has been postponed due to the pandemic. The performance will feature a new collection of CarWash garments based on Semmes' Feminist Responsibility Project. In New York, Susan Inglett Gallery will show new work from Semmes beginning February 3. Semmes's multi-disciplinary work explores the body and its representation. Her work has been the subject of solo shows at the Henry Art Gallery at the University of Washington, the Tang Teaching Museum and Art Gallery at Skidmore College, the Irish Museum of Modern Art in Dublin, and more. On the second segment, Spier discusses "Rubens: Picturing Antiquity," a Getty Villa exhibition that looks at how Rubens's work was informed by classical antiquity. It was curated by Anne T. Woollett, Davide Gasparotto, and Spier. It is on view through January 24. The excellent catalogue for the exhibition was published by the Getty. Amazon and Indiebound offer it for $40. Instagram: Beverly Semmes, Tyler Green.
Matthew Ronay Matthew Ronay (b. 1976, Louisville, KY) lives in New York. In 2016, his work was the subject of a solo-presentation at the Blaffer Art Museum in Houston, and the Pérez Art Museum Miami, with a fully-illustrated exhibition catalogue published on the occasion. He has exhibited extensively at major institutions worldwide, including: Crystal Bridges Museum of American Art, Bentonville, AK; Kentucky Museum of Art and Craft, Louisville; Kunstverein Lingen, Germany; University of Louisville, KY; Artspace, San Antonio; Serpentine Gallery, London; Sculpture Center, New York; Center for Curatorial Studies, Bard College, Annandale-on-Hudson, NY, and Parasol Unit Foundation for Contemporary Art, London. Ronay participated in the 2013 Lyon Biennale, curated by Gunnar Kvaran, and the 2004 Whitney Biennial. His work is included in numerous major public collections, including: ARoS Aarhus Kunstmuseum, Denmark; Astrup Fearnley Muset for Moderne Kunste, Oslo; Crystal Bridges Museum of American Art, Bentonville, AK; Dallas Museum of Art; Henry Art Gallery, University of Washington, Seattle; Los Angeles County Museum of Art; Museum of Modern Art, New York; Pérez Art Museum Miami; Whitney Museum of American Art, New York, and Williams College Museum of Art, Williamstown, MA. The artist currently has a solo show at Casey Kaplan entitled Ligatures. Matthew Ronay Recursionizer, 2021 Basswood, dye, gouache, flocking, plastic, steel, epoxy 16.25 x 59 x 12"/ 41.28 x 149.86 x 30.48cm Courtesy the artist and Casey Kaplan, New York Matthew Ronay, Forces, 2020, Basswood, dye, gouache, flocking, plastic, steel14 x 11.5 x 9"/ 35.56 x 29.21 x 22.86cm, Courtesy the artist and Casey Kaplan, New York
Seattle-based artist Barbara Earl Thomas is having a moment. A moment that just keeps getting longer. Thomas's well-reviewed one-woman show at Seattle Art Musem, Geography of Innocence, got held over through the winter holidays. Across town at the Henry Art Gallery at the University of Washington, her show with artist Derek Adams, Packaged Black, shows Thomas' mastery of both her craft and the messaging she imbues into her artworks. Marcie and Vivian visited Thomas in her studio last summer. We decided to bring you this episode again, because we liked it so much.
Episode No. 524 of The Modern Art Notes Podcast features artists Odili Donald Odita and David Hartt. Odili Donald Odita is featured in "Point of Departure: Abstraction 1958-Present" at the Sheldon Museum of Art at the University of Nebraska. The exhibition is drawn from the Sheldon's excellent collection of two-dimensional abstraction and reveals how artists have used abstraction to advance ideas and ideologies from outside art's own history. Odita's abstract paintings marry color and composition to history, sociopolitical investigation and ideology. He has fulfilled major mural commissions for museums such as the Nasher Museum of Art at Duke University, the Philadelphia Museum of Art and the Virginia Museum of Fine Arts in Richmond. Recent exhibitions of his work have included the Laumeier and Jeske Sculpture Parks in Saint Louis and Ferguson, Missouri, the ICA Miami, the Sarasota Museum of Art, the Front International triennial in Cleveland, the Newark Museum of Art, and more. David Hartt is the subject of a Hammer Projects exhibition on view at the Hammer Museum through January 2, 2022. The show features Hartt's 2020 The Histories (Old Black Joe), two jacquard-woven tapestries and a quadraphonic soundtrack arranged by musician Van Dyke Parks. Hartt's work joins and interrogates three nineteenth-century figures : American painter Robert S. Duncanson, Trinidadian painter Michel-Jean Cazabon, and composer Stephen Foster, whose song “Old Black Joe” has endured as a dying slave's lament even though of Foster mostly wrote for blackface minstrel shows. The Hammer presentation was curated by Aram Moshayedi with Nicholas Barlow. Other Hartt museum projects have included "David Hartt: A Colored Garden," which just closed at The Glass House in New Canaan, Conn., and exhibitions at the Art Institute of Chicago, The Graham Foundation in Chicago, LAXArt in Los Angeles, the Henry Art Gallery in Seattle, and the Studio Museum in Harlem.
Bill and Naima Lowe‘s 97 Days Between is the third and final installment in Sonolocations, our three-part series of commissioned works with The Henry Art Gallery. Hear the whole series and learn more at soundcloud.com/sonolocations and henryart.org.
Chenoa Egawa’s Enduring Rhythms: Seven Songs from the Skagit Valley is the second installment in Sonolocations, our three-part series of commissioned works with The Henry Art Gallery. Hear the whole series and learn more at soundcloud.com/sonolocations and henryart.org.
Season 10 continues!!! Russell & Robert meet leading artist Math Bass from their studio in Los Angeles, California. Bass is an artist known for fusing performance with paintings and sculptures using formal elements like solid colors, geometric imagery, raw materials, and visual symbols. Bass has exhibited internationally and is represented by Tanya Leyton, Berlin and Vielmetter, Los Angeles.Math Bass (b. 1981, New York, NY, lives and works in Los Angeles, CA) is an interdisciplinary artist whose practice spans across painting, performance, sculpture, and video. Throughout the work of Math Bass, recognizable forms appear and yet turn abstract, becoming shapes rather than signifiers, like shadows manipulated by the sun. Repetition is used as a tool to foreground these forms as part of a visual lexicon Bass has been developing over the last several years in the Newz! series — where forms and symbols exist in a multitude of perspectives and (re)interpretation — suggesting the possibility of mutable meaning.Though graphic in the flatness of the forms, there is a crispness and lightness to Bass's geometric abstraction–thin layers of opaque paint are delicately applied to the raw canvas. In their artistic practice, the artist explores breaking down the common boundaries found within the medium(s) and modes of presentation in order to actively engage the viewer in both surreal and everyday ways.Bass received a BA from Hampshire College and an MFA from the University of California, Los Angeles. Recent solo exhibitions include: Tanya Leighton, Berlin (2019); Hammer Museum, Los Angeles (2018); Mary Boone Gallery, New York (2018); The Jewish Museum, New York (2017); Yuz Museum, Shanghai (2017); and MoMA PS1, New York (2015). Bass has also participated in selected group exhibitions at Martos Gallery, New York (2019); Fredericks & Freiser, New York (2019); Gordon Robichaux, New York (2018); and the Made in L.A. Biennial at the Hammer Museum, Los Angeles, (2012). They will have a solo exhibition at the Henry Art Gallery at the University of Washington, Seattle, Fall 2021 - Winter 2022.Their work is included in the permanent collections of Los Angeles County Museum of Art, CA; the Hammer Museum, Los Angeles, CA; Museum of Contemporary Art, Los Angeles; Museum of Contemporary Art, San Diego; and Yuz Museum, Shanghai, CN.Follow @MathPearlBass on Instagram.For images of all artworks discussed in this episode visit @TalkArt. Talk Art theme music by Jack Northover @JackNorthoverMusic courtesy of HowlTown.com We've just joined Twitter too @TalkArt. If you've enjoyed this episode PLEASE leave us your feedback and maybe 5 stars if we're worthy in the Apple Podcast store. For all requests, please email talkart@independenttalent.com See acast.com/privacy for privacy and opt-out information.
Byron Au Yong's Pomelo is the first installment in Sonolocations, our three-part series of commissioned works with The Henry Art Gallery. Hear and learn more at soundcloud.com/sonolocations and henryart.org.
Byron Au Yong’s Pomelo is the first installment in Sonolocations, our three-part series of commissioned works with The Henry Art Gallery. Hear and learn more at soundcloud.com/sonolocations and henryart.org.
What would it mean to live out a fair and better future, right now? Join artist Jen Liu and scholar Candace Borders as they explore the complex role that women have played in labor rights and activism in both the US and China. This episode digs into the history of St. Louis's Pruitt-Igoe housing project and the African American women who lived there, organized, and performed everyday acts of resistance. Our guests unpack the radical idea of building community and the immense possibilities that open up when we think together beyond our current circumstances.Jen Liu is a visual artist based in New York and Vermont, working in video/animation, genetically engineered biomaterial, choreography, and painting to explore national identities, gendered economies, neoliberal industrial labor, and the re-motivating of archival artifacts. She is a 2019 recipient of the Creative Capital Award, 2018 LACMA Art + Technology Lab grant, and 2017 Guggenheim Fellowship in Film/Video. She has presented work at The Whitney Museum, MoMA, and The New Museum, New York; Smithsonian American Art Museum, DC; Royal Academy and ICA, London; Kunsthaus Zurich; Kunsthalle Wien; Aspen Museum of Art; Henry Art Gallery, Seattle; MUSAC, León; UCCA and A07 @ 798, Beijing; Times Museum Guangzhou, and the 2014 Shanghai Biennale and 2019 Singapore Biennale.Candace Borders is a PhD student at Yale University in the departments of American Studies and African American Studies. She also works as a Wurtele Gallery Teacher at the Yale University Art Gallery. Currently, her dissertation focuses on the experiences of African American women who grew up in St. Louis, Missouri's Pruitt-Igoe housing project. Through the use of oral history and Black feminist methods, the work accesses Black women's everyday experiences at the nexus of race, gender, class, and public assistance in the mid-20th century. More broadly, Candace is interested in Black Feminist theory, the politics of knowledge production, public humanities, and the intersections between race and architecture. Prior to starting her graduate studies, Candace was the PNC Arts Alive Fellow at the Contemporary Art Museum St. Louis.-As a major component of the Contemporary Art Museum St. Louis's exhibition Stories of Resistance, Radio Resistance assembles the voices of intersecting local and global agents of change. Artists featured in the exhibition are paired with figures from the past, present, and future of St. Louis, coming together to transmit messages of dissent. Eleven episodes will be released over the course of the exhibition, amplifying shared struggles, collective dreams, and models of individual and group action. Using a historically rebellious medium, Radio Resistance broadcasts social narratives of defiance and hope.Selections of Radio Resistance will be broadcast on St. Louis on the Air, the noontime talk program hosted by Sarah Fenske on St. Louis Public Radio. Full episodes will be released biweekly in a listening station at CAM, and on Apple Podcasts, Spotify, and Stitcher. A publication celebrating Stories of Resistance, featuring episode highlights, will be released later this year.
L.A. based artists Amanda Ross-Ho and Erik Frydenborg talk about shifting focus and priorities after a year of the pandemic. As teachers, the two discuss what it's been like to work with students over the last year, and they also find common threads across their art practices: attention to detail, engaging with time and archival material, and inviting the viewer into an open-ended dialogue. "The craft element was not just about a well-made object, but a way to see other objects with precision and close attention to form. Like reading the contexts in which objects come into the world, and where they've been—I think of craft as being not just a tool, but a way to respect materiality. It's a respectful ceremony for objecthood, so thereby it entends to other things in the world that you have not made... For us it's also like a church of—it's devotional. It's totally ritual, devotional, it's reverence, it's a world view." –Amanda Ross-Ho and Erik FrydenborgAmanda Ross-Ho holds a BFA from the School of the Art institute of Chicago and an MFA from the University of Southern California. She has exhibited widely, both nationally and internationally. Solo exhibitions include Cherry and Martin, Los Angeles, Hoet Bekaert, Belgium,The Pomona Museum of Art, Mitchell-Innes and Nash New York, The Visual Arts Center, Austin, TX, Shane Campbell Gallery, Chicago, The Museum of Contemporary Art Los Angeles, Vleeshal Center for Contemporary Art, Middelburg, Netherlands, the Bonner Kunstverein, Bonn, Germany, Tramway, Glasgow, Scotland, The Approach, London, Praz-Delavallade, Paris, and Mary Mary, Glasgow, and Kunsthall Stavanger, Norway. Group exhibitions include Artists Space, New York, The Henry Art Gallery, Seattle, The Orange County Museum of Art, The Museum of Contemporary Art, Los Angeles, The Yerba Buena Center for the Arts, San Francisco, The Museum of Contemporary Art, Chicago, The Walker Art Center, Minneapolis, The New Museum, New York, and The Museum of Modern Art, New York. She was included in the 2008 Whitney Biennial, and the 33rd Ljubljana Biennial of Graphic Arts, curated by Slavs and Tatars. She has presented commissioned public works at The Museum of Contemporary Art, Chicago, City Hall Park, New York City, the Parcours Sector of Art Basel Switzerland, and the Crystal Bridges Museum of American Art. Ross-Ho's work has been featured in Artforum, The New York Times, ArtReview, Modern Painters, Art in America, Flash Art, Art + Auction, and Frieze among others. She is Professor of Sculpture at the University of California, Irvine and lives and works in Los Angeles.Erik Frydenborg was born in 1977 in Miami, Florida. He holds a BFA from MICA in Baltimore, MD, and an MFA from the University of Southern California. Frydenborg has held solo exhibitions at The Pit, Glendale, CA, Andrew Rafacz Gallery, Chicago, IL, Albert Baronian, Brussels, BE, The Suburban, Oak Park, IL, and Cherry and Martin, Los Angeles, CA. Previous group exhibitions include NADA House, New Art Dealers Alliance, Governor's Island, New York, NY, 100 Sculptures, Anonymous Gallery, Paris, FR, Divided Brain, LAVA Projects, Alhambra, CA, Real Shapes, Dateline, Denver, CO, Skip Tracer, M. LeBlanc, Chicago, IL, Knowledges, Mount Wilson Observatory, Los Angeles, CA, Re-Planetizer, Regina Rex, New York, NY, TRAUMA SAUNA, ASHES/ASHES, Los Angeles, CA, Full House, Shanaynay, Paris, FR, BAD BOYS BAIL BONDS ADOPT A HIGHWAY, Team Gallery, New York, NY, Trains, Night Gallery, Los Angeles, CA, Set Pieces, Cardi Black Box, Milan, IT, and The Stand In (Or A Glass of Milk), Public Fiction, Los Angeles, CA. Frydenborg's work has been reviewed in Artforum, FlashArt, and The Los Angeles Times, among other publications. From 2017 through 2019, Frydenborg was a partner in the cooperative artist-run Los Angeles gallery AWHRHWAR. Erik Frydenborg lives and works in Los Angeles.
This episode is part of a series put together by Cleo Woelfle-Erskine and July Hazard to ask “what is queer ecology?” of climate scientists, ecologists, choreographers, poets, and creatives who each share unique perspectives on how queer and trans identities can and do play important roles in shifting the way we think about the sciences and our relations with the more-than-human. This project is part of Woelfle-Erskine and Hazard’s 2019-2020 Centrum Northwest Heritage residencies, made possible by the National Endowment for the Arts. In Part 1, Michelle Hagewood sits down with these creative folks to learn more about what brought them to this work, what it means to them, and what the past couple of years have looked like in their work, play, and pandemic-affected lives. We learn a bit of what we have to look forward to in the interviews that will follow. Cleo Woelfle-Erskine is a Seattle-based artist-scholar whose work includes photography, video, street theater, and scientific investigation as participatory performance. Cleo’s scientific collaborations with tribes and grassroots groups investigate projects to restore rivers and coastal zones to benefit salmon and recharge groundwater to adapt to changing climates, and have been funded by the Northwest Climate Adaptation Science Center and the National Science Foundation. Cleo is the author, most recently, of “Fishy Pleasures: Unsettling fish hatching and fish catching on Pacific frontiers” (Imaginations 2019) and the forthcoming monograph Underflows: Transfiguring Rivers, Queering Ecology (UW Press). July Hazard is a poet from Kentucky who’s currently in Seattle, with parts left behind in a long list of cities, rivers, and truck stops on the way. July’s current research investigates the altered shorelines of the Black and Duwamish rivers, the assembly of poetic voice under the guidance of animals, and the forest relations of trans and queer youth in rural Appalachia. July teaches in the University of Washington’s Comparative History of Ideas Department and Program on the Environment. Together, they collaborate with other artists, scientists, and activists to investigate hidden flows and suppressed ways of being, and to evoke new relations among people and the more-than-human world. Often, these collaborations form uprisings of an ever-shifting art & science collective called the Water Underground. Their shared work has been seen at venues ranging from derelict rail yards and street protests to museums and science conferences—including SomARTS, CounterPulse, the Crocker Museum, and the Henry Art Gallery, the Wild and Scenic Film Festival, and the San Francisco Transgender Film Festival, the Bay Delta Science Conference, on Sproul Plaza during Occupy Berkeley, and wheat-pasted around Oakland, California. Their performance installation “Tell A Salmon Your Troubles” won the inaugural Making and Doing Prize at the 2015 Society for the Social
COVID-19 is an x-ray of racial injustice, inequality, and ineffectual government as well as a rehearsal for climate catastrophe. It exposes a modern mind that maintains the myth of solutions, newness, freedom, and universals. That mind gives authority to new digital technologies, econometrics, and law, to segregate and eliminate problems. COVID graphically models the productive entanglement between problems as well as forms for re-tuning and redesigning those entanglements. Interplay itself is the form—protocols of interplay that resist solutions or modular methodologies. Unfolding over time and indeterminate in order to be practical, they generate lumpy mixtures of different kinds of artifacts in space. Consider design protocols that deal with, among many other things, automation, migration, police defunding, cooperative land tenure, coastal retreat, reforestation and compounding reparations. SPEAKERSKeller Easterling is an architect, writer and professor at Yale. Her most recent book, Extrastatecraft: The Power of Infrastructure Space (Verso, 2014), examines global infrastructure as a medium of polity. A recently published e-book essay titled Medium Design (Strelka Press, 2018) previews a forthcoming book of the same title. Medium Design inverts an emphasis on object and figure to prompt innovative thought about both spatial and non-spatial problems. Other books include: Enduring Innocence: Global Architecture and its Political Masquerades (MIT, 2005) which researched familiar spatial products in difficult or hyperbolic political situations around the world. Organization Space: Landscapes, Highways and Houses in America (MIT, 1999) which applied network theory to a discussion of American infrastructure, and Subtraction (Sternberg, 2014), which considers building removal or how to put the development machine into reverse. Easterling is a 2019 United States Artist Fellow in Architecture and Design. She was also the recipient of the 2019 Blueprint Award for Critical Thinking. Her MANY project, an online platform facilitating migration through an exchange of needs, was exhibited at the 2018 Venice Architecture Biennale. Her research and writing on the floor comprised one of the elements in Rem Koolhaas's Elements exhibition for the 2014 Venice Biennale. Easterling is also the co-author (with Richard Prelinger) of Call it Home: The House that Private Enterprise Built, a laserdisc/DVD history of US suburbia from 1934–1960. She has published web installations including: Extrastatecraft, Wildcards: a Game of Orgman and Highline: Plotting NYC. Easterling has exhibited at Henry Art Gallery, the Istanbul Design Biennale, Storefront for Art and Architecture, the Rotterdam Biennale, the Queens Museum and the Architectural League. Easterling has lectured and published widely in the United States and abroad. The journals to which she has contributed include Domus, Artforum, Grey Room, Cabinet, Volume, Assemblage, e-flux, Log, Praxis, Harvard Design Magazine, Perspecta, and ANY. Shumi Bose is a teacher, curator and editor based in London. She is a senior lecturer in history and theory of architecture at Central Saint Martins, and teaches Critical and Historical Studies at the Royal College of Art. She is also curator of exhibitions at the Royal Institute of British Architects. Exhibitions include Freestyle: Architectural Adventures in Mass Media, a RIBA commission by Space Popular, currently on both virtual and shuttered physical display, and Conservatism, or The Long Reign of Pseudo Georgian Architecture, with Pablo Bronstein in 2017. . Shumi co-curated Home Economics at the British Pavilion, for the 15th Venice Biennale of Architecture in 2016, exploring the future of the home through a series of 1:1 domestic proposals. In 2012, she was curatorial collaborator and publications editor for Sir David Chipperfield on Common Ground, the 13th Venice Biennale of Architecture. Shumi has held editorial positions at Blueprint, Strelka Press, Afterall, Volume and the Architects’ Journal, and contributes to titles including PIN UP, Metropolis and Avery Review. In 2015, she co-founded the publication Real Review, currently run by Jack Self. Recent publications include Spatial Practices: Modes of Action and Engagement with the City (ed. Mel Dodd, Routledge, 2019), Home Economics (The Spaces, 2016), Places for Strangers (with mæ architects, Park Books, 2014) and Real Estates (with Fulcrum, Bedford Press, 2014).
RAINA ROSE returns to the realm of The Pop Oracle to help host ANDRAS JONES decipher her song "Sun Comes Back" as the answer to his question about "fathering" himself on last week's episode. It turns into a very northwest-y show with synchronistic appearances by RICKIE LEE JONES, MARY LOU LORD, KARL BLAU, MT. ERIE & the over-arching influence of CALVIN JOHNSON. To hear ANDRAS's question please join the Patreon campaign. $1 a month gets you the bonus episodes: https://www.patreon.com/radio8ball Featuring: The Radio8Ball Theme Song performed by BEAUTS The Pop Oracle Song of The Day for July 1st, 2020: "Ode To Ocean" by KARL BLAU Calvin Johnson & Mt. Erie on Radio8Ball at Theater Off Jackson in Seattle, WA on January 10, 2010 https://www.youtube.com/watch?v=Wf7zl-WLXTg Featured Music: "Sun Comes Back" by RAINA ROSE "He'd Be a Diamond" by MARY LOU LORD "I Felt Your Shape" by MT. ERIE "One One Thousand" by RAINA ROSE Double Naught Spy Car provides the musical bed with “The Mooche” by Duke Ellington & “In Walked Bud, Out Walked Bud” by Thelonious Monk Thanks to Alan Green for “special projects”. LINKS: RAINA ROSE: www.rainarose.com FOLK POTIONS: www.folkpotions.com RADIO8BALL WEBSITE - www.radio8ball.com RICKIE LEE JONES - https://www.rickieleejones.com/ MARY LOU LORD - www.maryloulord.net KARL BLAU - https://klaps.bandcamp.com/ MT. ERIE - https://www.pwelverumandsun.com/ RADIO8BALL APP - https://apps.apple.com/us/app/radio8ball/id1326738822 RADIO8BALL PATREON - https://www.patreon.com/radio8ball RADIO8BALL FACEBOOK - https://www.facebook.com/radio8ball/ RADIO8BALL TWITTER - @radio8ball RADIO8BALL INSTAGRAM - @theradio8ballshow EPISODE PAGE at WWW.RADIO8BALL.COM - http://www.radio8ball.com/2020/07/05/raina-rose-mt-erie/ Support the show: https://www.patreon.com/radio8ball See omnystudio.com/listener for privacy information.
About Dana Van Nest: Before opening her consulting practice, Dana Van Nest was Associate Director of Marketing, Communications, and Public Relations at Henry Art Gallery where she was responsible for planning and executing the museum's marketing, communications, and public relations plans. She also worked as Marketing Director at the Collins Group, a fundraising consulting firm, where she provided strategic direction for the firm’s business development and marketing communications initiatives. Since 2010, Dana has been a member of the Association for Women in Communications, Seattle Professional Chapter. In 2016, she received the Georgina MacDougall Davis Founder’s Award. This award is given annually to a Seattle Chapter member who consistently exhibits the highest ethics, professional excellence, and personal commitment in everything she does.In 2003, her original co-written screenplay “Turn Right by the Yellow Dog” was produced by the Danish Film Institute and debuted at the San Jose Film Festival. Dana holds a BA in English from the University of Washington and an MFA in Creative Writing from Emerson College.In this episode, Erica and Dana discuss:Getting your ego out of the way when writing for marketing or fundraising communications so you can focus on the mission and the audience.Using words as tactical instruments for content that supports your marketing objectives, which then supports the organizational goals.Making sure any communications you send out right now have a tone that lets your audience know you understand the crisis situation that we're in, without overdoing it.The strategy of always giving somebody three options, so the best option will shine. Key Takeaways:Content strategy is about finding the right words to communicate the right message efficiently on the right platforms.If you don't have anything relevant to say during this crisis, don’t say anything right now.The more transparent you can be about where you are internally, the more engaged your staff is going to be and feel like they actually have a stake in what's happening."An organization should have marketing goals and strategies that map back to whatever their strategic plan is... and how their marketing communications plan is going to augment their greater business goals. But the content itself, you're drilling down a little bit further, and actually looking at what is going to go in each of these platforms in each of these places this week. So it's much more about the actual words, than the outcome." — Dana Van Nest Try out the Wordifier FREE to see if you should stop using a word, use it with caution, or use it all you want? http://www.claxonmarketing.com/wordifier/Connect with Dana Van Nest:Website: www.danavannest.comLinkedIn: https://www.linkedin.com/in/danavannest/ CONNECT WITH ERICA:Website: http://www.claxonmarketing.com/about-erica/http://www.claxonmarketing.com/http://www.wordifier.comTwitter: https://twitter.com/EricaMillsBarnLinkedIn: https://www.linkedin.com/in/ericamillsbarnhart/Email: info@claxonmarketing.com
Photo by Kali Spitzer Demian DinéYazhi´ (born 1983) is an Indigenous Diné transdisciplinary artist born to the clans Naasht’ézhí Tábąąhá (Zuni Clan Water’s Edge) and Tódích’íí’nii (Bitter Water). Growing up in the colonized border town of Gallup, New Mexico, the evolution of DinéYaz´’s work has been influenced by their ancestral ties to traditional Diné culture, ceremony, matrilineal upbringing, the sacredness of land, and the importance of intergenerational knowledge. Through research, mining community archives, and social collaboration, DinéYazhi´ highlights the intersections of Radical Indigenous Queer Feminist identity and political ideology while challenging the white noise of contemporary art. They have recently exhibited at Portland Biennial (2019), Honolulu Biennial (2019), Whitney Museum of American Art (2018), Henry Art Gallery (2018), Pioneer Works (2018), CANADA, NY (2017); and Cooley Art Gallery (2017). DinéYazhi´ is the founder of the Indigenous artist/activist initiative, R.I.S.E.: Radical Indigenous Survivance & Empowerment. They are the recipient of the Henry Art Museum’s Brink Award (2017), Hallie Ford Fellow in the Visual Arts (2018), and Eiteljorg Contemporary Art Fellow (2019). Follow on Instagram @heterogeneoushomosexual "Untitled (Sovereignty)" is a collaboration between Demian DinéYazhi´and artist Noelle Sosaya. The flag is inspired by Indigenous Diné American flag textiles and serves as a sacred object of peaceful protest and political distress in a colonized country. Courtesy: the artist and Cooley Art Gallery, Reed College. Photography: Evan La Londe Demian DinéYazhi´, my ancestors will not let me forget this, 2019, glass, neon, aluminum frame. 106 × 56 × 58 cm. Courtesy: the artist and the Honolulu Biennial Foundation; photograph: Justen Waterhouse The Landing of the Homophobes, 2016. Courtesy: R.I.S.E.: Radical Indigenous Survivance and Empowerment
Lorenzo Triburgo is a Brooklyn-based, multimedia artist employing performance, photography, video, and audio to cast a critical lens on notions of the “natural,” the construct of gender, and the politics of queer representation. Lorenzo has artworks in the permanent collection of the Museum of Contemporary Photography in Chicago, IL, and the Portland Art Museum in Portland, OR. Lorenzo has been featured in Slate, Huffington Post, HuffPo-Live, and the Transgender Studies Reader 2 (Routledge). In 2019 Lorenzo won the Camera Club of New York’s Baxter Street Workspace Residency for Monumental Resistance:Stonewall. Lorenzo has exhibited and lectured in cities throughout the U.S., Europe, and Asia, including Bruce Silverstein, NYC; Photoforum Pasquart, Biel, Switzerland; Kunst und Kulturhaus, Berne, Switzerland; the Dutch Trading Post, Nagasaki, Japan; The Henry Art Gallery, Seattle, WA; the Museum of Contemporary Photography, Chicago, IL; Magazzini del Sale di Palazzo Pubblico, Siena, Italy; and Oude Kerk, Amsterdam, the Netherlands. Lorenzo is a full-time Instructor of Photography and teaches Photography, Critical Theory, and Queer Studies for Oregon State University’s online campus and in the continuing education program at the School of Visual Arts. Lorenzo holds a BA from New York University in Photography and Gender Studies and an MFA in Photography and Related Media from the School of Visual Arts. The curatorial project mentioned in the interview is - CRIMINALIZE THIS! Monumental Resistance: Stonewall, photo/project credit: Lorenzo Triburgo and Sarah Van Dyck. Monumental Resistance: Stonewall, photo/project credit: Lorenzo Triburgo and Sarah Van Dyck.
Alba the Rabbit Glowing bunny rabbits aren't just for Sherlock Holmes reboots and acid trips anymore. Alba was the name of a genetically modified "glowing" rabbit created as an artistic work by contemporary artist Eduardo Kac, produced in collaboration with French geneticist Louis-Marie Houdebine. A mutant glow-in-the-dark rabbit is at the centre of a transatlantic tug of war between an artist who claims he dreamed her up and the French scientists who created her. Alba was born in February 1998 at the National Institute of Agronomic Research (INRA) in Paris, or according to another article Born in April 2000. Edouardo Kac planned to display Alba in Avignon, and then take her to live with his family in Chicago. He intended his green fluorescent bunny project to encapsulate the theme of biotechnology and its relation to family life and public debate. The rabbit is part of a transgenic art project called “GFP Bunny” by Chicago artist Eduardo Kac. The project not only comprises the creation of the fluorescent rabbit, but also the public dialogue generated by the project and the integration of the transgenic animal into society. “GFP Bunny” has raised many ethical questions and sparked an international controversy about whether Alba should be considered art at all. “Transgenic art brings out a debate on important social issues surrounding genetics that are affecting and will affect everyone’s lives decades to come,” Kac is quoted as saying. Kac is an associate professor at the School of the Art Institute of Chicago. Some of his work is featured in “Gene(sis): Contemporary Art Explores Human Genomics” at the Henry Art Gallery in Seattle, Washington, an exhibition that ran from April 4 to August 28, 2002. In daylight, Alba looks like a normal albino rabbit. But each of her cells contains the gene for a fluorescent protein taken from the jellyfish Aequorea victoria. In UV light, her body glows bright green. The French scientists modified the gene to make the glow twice as strong as normal, and inserted it into a fertilised rabbit egg cell. Houdebine used the GFP gene found in the jellyfish, Aequorea victoria, that fluoresces green when exposed to blue light. This is a protein used in many standard biological experiments involving fluorescence. When Alba was exposed to such light, she would literally glow green — though photos by Kac showing the entire organism, including its hair, glowing a uniform green have had their veracity challenged. Kac says the scientists did this “as a labour of love based on our mutual understanding of the importance of developing this project. They know my work and understand my commitment.” But that isn’t the way the scientists see it. In fact, says Olivier Réchauchère of INRA, they had been working on fluorescent rabbits for 18 months before Kac approached them. The work was part of their research into techniques for tagging embryos. Rechauchere says that while the scientists were initially prepared to let Kac display a mutant rabbit in Avignon, at no point did they agree to him taking her home. But the institute refused to hand her over. Animal rights activists and some religious leaders have denounced Alba's creators for exploiting the animal and tampering with nature. Moreover, scientists who investigate legitimate uses for the fluorescent protein criticize the practice of creating art by genetic engineering. The Avignon event was cancelled by the institute’s director, following concerns about the transport and security of a transgenic animal, and protests from animal rights activists. Eduardo Kac has described Alba as an animal that does not exist in nature. In an article published in The Boston Globe, Houdebine admitted creating Alba for Kac and stated that Alba has a 'particularly mellow and sweet disposition.' This article generated a global media scandal, which caused Houdebine to distance himself from Kac's work. All subsequent media articles present variations on Houdebine's disengagement effort. Alba's lifespan is an open question. In 2002, a US reporter called INRA (France), where Houdebine works, and was told that Alba had died. The reporter published an article stating that Alba was dead but the only evidence she provided was to quote Houdebine as saying: "I was informed one day that bunny was dead without any reason. So, rabbits die often. It was about 4 years old, which is a normal lifespan in our facilities." In the 2007 European Molecular Biology Organization Members Meeting in Barcelona, Louis-Marie Houdebine presented in detail his version of the reality of 'The GFP rabbit story', placing emphasis on sensationalism by journalists and the TV media. Scientists from the University of Hawaii recently collaborated with a team from Istanbul, Turkey, where a couple of bright green lab rabbits were just born as part of a larger effort to better understand hereditary illness and make cheaper medicine. Also: Glow-in-the-dark bunnies! This isn't some inhumane magic trick. The rabbits are part of a genetic manipulation experiment, one that the researchers hope will shed some light on hereditary diseases and hopefully lead the way to producing drugs to help cure them. The embryos of the two green rabbits were injected with a fluorescent protein from jellyfish DNA, giving them the "glowing gene" that makes them green under a blacklight. The glowing effect is just to show that the genetic manipulation technique works, and in future experiments, researchers could inject beneficial DNA into the rabbits so that they might be used to produce medicine. But for now, these bunnies just glow. "These rabbits are like a light bulb glowing, like an LED light all over their body," Dr. Stefan Moisyadi from the University of Hawaii told the local KHON news station. "And on top of it, their fur is beginning to grow and the greenness is shining right through their fur. It's so intense." Don't worry. It doesn't hurt the little bunnies. Moisyadi says that the glowing rabbits will live long normal and healthy lives, pointing to a study from CalTech that yielded glowing mice that showed no adverse side effects. And who could forget the glowing dog from South Korea or the radioactive-like kitten from the Mayo Clinic who might hold the key for an AIDS vaccine? GFP is completely harmless; other than emitting the fluorescent light, it doesn't affect the organism in any way. How is this useful to scientists? Cell biologists can genetically modify cells or embryos by adding GFP, and then observe them under UV light. In this way, researchers might observe in real time the effects of a new drug as it moves through the body, or facilitate tumor removal by making certain cancer cells more visible. As they experiment with bigger and bigger animals, the researchers gain a better understanding of how genetic manipulation works. Moisyadi hopes that one day they'll "create bio-reactors that basically produce pharmaceuticals that can be made a lot cheaper." Next up are a batch of glowing sheep that will move the Hawaii-Istanbul team's research forward. And believe it or not, these won't be the first glowing sheep to show up in this weird world we live in. Next thing you know we will have glowing pink elephants everywhere! https://en.wikipedia.org/wiki/Alba_(rabbit) https://www.newscientist.com/article/dn16-mutant-bunny/ http://www.genomenewsnetwork.org/articles/03_02/bunny_art.shtml https://gizmodo.com/these-glow-in-the-dark-rabbits-will-help-cure-diseases-1126757841 http://www.ekac.org/bionews.html The Angora Rabbit Project The Angora project or Angora rabbit project was a Nazi SS endeavor in cuniculture during World War II that bred Angora rabbits to provide Angora wool and fur, as well as meat. The Angora rabbit's hair and pelt is known for strength and durability, and it was also "associated with luxurious evening wear, [and] would be an elegant solution for keeping SS officers and the German military warm and able to endure rough wartime conditions". Angora rabbits were raised in Nazi concentration camps, including Auschwitz, Buchenwald, Dachau, and Trawniki. A bound volume entitled Angora that belonged to Heinrich Himmler, chief of the Nazi SS, was discovered in a farmhouse with his other papers near the end of World War II. It tells the story of the Angora rabbit project that operated in the Nazi death camps. Chicago Tribune war correspondent Sigrid Schultz found the book in its hiding place near Himmler's alpine villa, and described the significance of the Angora project: Inside the album were nearly 150 photographs of bunnies; page after page of well-keep angora rabbits posed alone or with smiling Aryan women or well-groomed SS officers lovingly stroking the bunnies’ pristine white fur. Other pages have photographs of the sanitary, modern huts that the rabbits inhabited, rows of white hutches where the bunnies ate a prescribed diet and received some the best veterinary care available. On the top of one of the pages, beneath three photographs of rabbit hutches, “Buchenwald” is written in elegant script. The photo album that Schultz had uncovered was some of the last remaining evidence of Project Angora, an obscure program begun by Himmler for the purpose of producing enough angora wool to make warm clothes for several branches of the German military. The project officially began in 1941 with 6,500 rabbits. Rabbit breeding wasn’t particularly new to Germany, the angora had been introduced to the country from the United Kingdom sometime in the 17th century and the country took to breeding the rabbits with a typical German rigor. Records show that by the mid-1930s there were between 65 and 100 rabbit breeders registered with the state. Himmler must have seen the native resource as a boon of sorts; angora wool, a fiber associated with luxurious evening wear, would be an elegant solution for keeping SS officers and the German military warm and able to endure rough wartime conditions. Himmler got the idea for utilising rabbits for wool production after reading of a small-scale scheme that was started during the First World War. He wrote at the time: 'Throughout Europe it is my intention to establish breeding stations in concentration camps' and even decreed that they should be kept in pens where they had 'plenty of space.' At one point, a Reich Specialized Group of Rabbit Breeders was formed and customized cutlery was produced for the group–along with the scrapbook, the dinner knives from the set are one of the only material objects that seem to have survived. By 1943, Project Angora had bred nearly 65,000 rabbits, producing over 10,000 pounds of wool. The photo albums shows sweaters produced for the German air force, socks produced for their navy and long underwear for ground troops. It’s hard to gauge whether or not the program was a success, but we do know that the coddled rabbits lived in close proximity to human prisoners. The well-fed rabbits were housed in some of the Nazi regime’s most notorious concentration camps: Auschwitz, Dachau and Mauthausen, and nearly thirty more camps around central Europe. The contrast between the brutality of the camps, with their cruel disregard for human life, and the well-cared for rabbits is deeply unnerving. This jarring context makes the remnants of the program–the book found by Schultz–seem all the more sinister. In the same compound where 800 human beings would be packed into barracks that were barely adequate for 200, the rabbits lived in luxury in their own elegant hutches. In Buchenwald, where tens of thousands of human beings starved to death, rabbits enjoyed beautifully prepared meals. The SS men who whipped, tortured, and killed prisoners saw to it that the rabbits enjoyed loving care. The rabbits were raised for their soft, warm fur, which was shaved and used for, among other things, the linings of jackets for Luftwaffe pilots. Himmler, in a 1943 speech (referring to the prisoners that endured forced labor), stated: "We Germans, who are the only people in the world who have a decent attitude towards animals[,] will assume a decent attitude toward these human animals; but it is a crime against our blood to worry about these people." Few accounts of the Angora project have survived, though American soldiers at one camp reported that when prisoners were asked to slaughter the rabbits at the end of the war to make stew, they couldn't bear to do it. Today, Himmler's Angora book is housed at the Wisconsin Historical Society. Photographs, charts and maps from the book are among the more than 27,000 images available in the Wisconsin Historical Society's digital collections. Angora was featured in a Wisconsin Historical Images online gallery in March 2007 https://en.wikipedia.org/wiki/Angora_project https://www.atlasobscura.com/articles/nazis-secretly-bred-angora-rabbits-at-concentration-camps https://www.dailymail.co.uk/news/article-2433171/Operation-Munchkin-Nazi-plan-breed-giant-Angora-rabbits-clothes.html © Copyrighted
Jason Parker interviews Paula Rimmer about the 125 year anniversary of Martha & Mary. Paula Rimmer is Director of Development at Martha & Mary in Poulsbo, WA, a position she's held since 2011. A Bainbridge Island resident since 2004, she's lived in the Seattle area since 1986, and previously lived in Chicago. She's a native Iowan, but after almost 30 years in the Northwest, this is home. Her career in fundraising has allowed her to work with many different nonprofits, and she's served in major gifts and planned giving roles with Seattle Opera, Seattle Art Museum, and the Henry Art Gallery, among others (or you could say major cultural organizations in Seattle.) Music and singing are life-long passions, and she performs with the Bainbridge Chorale as well as serving on their Board, and she is a member of the Seattle Opera Guild Board. Gardening, her Australian Shepherd Izzy, travel, anything cultural, and time with friends are all important pastimes. To learn more about Martha & Mary please visit www.marthaandmary.org
This balloon exhibit really was exciting. Hope you get to experience it. The artist is Martin Creed, and his exhibit is entitled, 'Work No. 360: Half the air in a given space.' henryart.org/exhibitions/martin-creed-work-no-360-half-the-air-in-a-given-space
An-My Le’s work explores the American military. She presents photographs of landscapes transformed by war or other military activities, blurring the boundaries between Hollywood portrayals and photojournalistic documentation. Much of her work is inspired by her own experiences of war and dislocation. Lê was born in Saigon and moved to the United States as a political refugee when she was fifteen. She received her Bachelor of Applied Science and Master of Science degrees in biology from Stanford University and her Master of Fine Arts in photography from Yale University. Her work has been widely exhibited internationally. Le has had solo exhibitions at the Baltimore Museum of Art; Museum annde Stroom, Antwerp; Dia:Beacon, New York; Henry Art Gallery, Seattle; San Francisco Museum of Modern Art; Museum of Contemporary Photography, Chicago; and MoMA PS1, New York. Le is the recipient of numerous awards including fellowships from the New York Foundation for the Arts, the John Simon Guggenheim Memorial Foundation, the Louis Comfort Tiffany Foundation and the MacArthur Foundation. She is a Professor of Photography at Bard College. Lê is represented by Murray Guy Gallery in New York. The Audain Distinguished Artist-in-Residence Program has a mandate to bring internationally renowned contemporary artists to Vancouver, create curriculum specific to each individual visiting artist and support the creation of new works. The residency program is generously funded by Michael Audain.
A new show at Seattle's Henry Art Gallery invites you to do something museums usually forbid: Touch the art and take it home. Four galleries are filled with photographic images printed on tablets of newsprint. Visitors are invited to tear off the images. That means the galleries are in constant flux, and, at some point, they could be entirely left void.
Panel: The Challenges, Responsibilities, and Opportunities for Teaching Museums in the Twenty-First Century Moderator Michael Taylor, Director, Hood Museum of Art Panelists: Tina Dunkley, Director, Clark Atlanta University Art Galleries; Jessica Nicoll, Director, Smith College Museum of Art; Jock Reynolds, Henry Heinz II Director, Yale University Art Gallery; John R. Stomberg, Director, Mount Holyoke College Art Museum; Sylvia Wolf, Director, Henry Art Gallery, University of Washington, Seattle
This week: Living legend, innovator, visionary, Carolee Schneemann. Working across a range of disciplines, including performance, video, installation, photography, text, and painting, the artist Carolee Schneemann has transformed contemporary discourse on the body, sexuality, and gender. During her recent visit to San Francisco, Schneemann participated in the November 30, 2011 panel discussion, “Looking at Men, Then and Now” [LINK: http://www.somarts.org/manasobject-closes/] at the Somarts SOMArts Culture Cultural Center, in San Francisco, in conjunction with the exhibition, Man as Object: Reversing the Gaze, in which she was also a featured artist. On December 2, 2011 Eli Ridgway Gallery hosted an evening in celebration of the recently published Millennium Film Journal #54: "Focus on Carolee Schneemann." Art Practical’s Liz Glass and Kara Q. Smith had the opportunity to sit down with Schneemann in between the two events to speak with her about her work. Carolee Schneemann [LINK: http://www.caroleeschneemann.com/index.html] has shown at the Los Angeles Museum of Contemporary Art; the Whitney Museum of American Art; the Museum of Modern Art, New York; Centre Georges Pompidou, Paris; and the New Museum of Contemporary Art; among many other institutions. Her writing is published widely, including in Correspondence Course: An Epistolary History of Carolee Schneemann and Her Circle (ed. Kristine Stiles, Duke University Press, 2010) and Imaging Her Erotics: Essays, Interviews, Projects (MIT Press, 2002). She has taught at New York University, California Institute of the Arts, Bard College, the School of the Art Institute of Chicago. Schneemann is the recipient of a 1999 Art Pace International Artist Residency, San Antonio, Texas; two Pollock-Krasner Foundation grants (1997, 1998); a 1993 Guggenheim Fellowship and a NationalEndowment for the Arts Fellowship. The retrospective of her work, Carolee Schneemann: Within and Beyond the Premises, is on view at the Henry Art Gallery, in Seattle, through December 30, 2011. [LINK: http://www.henryart.org/exhibitions] An abridged transcript of this interview appears in Art Practical's "Year in Conversation" issue, which you can see here: http://www.artpractical.com
Born in Nigeria, Okwui Enwezor is a curator, writer, critic, and editor of international acclaim. He has held positions as Visiting Professor in Art History at University of Pittsburgh; Columbia University, New York; University of Illinois, Urbana-Champaign; and University of Umea, Sweden. Enwezor was Artistic Director of Documenta 11, Kassel, Germany (1998–2002) and the 2nd Johannesburg Biennale (1996–1997). He has curated numerous exhibitions in some of the most distinguished museums around the world, including The Short Century: Independence and Liberation Movements in Africa, 1945–1994, Museum Villa Stuck, Munich, Gropius Bau, Berlin, Museum of Contemporary Art Chicago, and P.S.1 and Museum of Modern Art, New York; Century City, Tate Modern, London; Mirror’s Edge, Bildmuseet, Umea, Vancouver Art Gallery, Vancouver, Tramway, Glasgow, Castello di Rivoli, Torino; In/Sight: African Photographers, 1940–Present, Guggenheim Museum; Global Conceptualism, Queens Museum, New York, Walker Art Center, Minneapolis, Henry Art Gallery, Seattle, List Gallery at MIT, Cambridge; David Goldblatt: Fifty One Years, Museum of Contemporary Art, Barcelona, AXA Gallery, New York, Palais des Beaux Art, Brussels, Lenbach Haus, Munich, Johannesburg Art Gallery, Johannesburg, Witte de With, Rotterdam; co-curator of Echigo-Tsumari Sculpture Biennale in Japan; co-curator of Cinco Continente: Biennale of Painting, Mexico City; Stan Douglas: Le Detroit, Art Institute of Chicago. October 15, 2009
Henry Art Gallery
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