Podcasts about Hokusai

O Museu Guimet apresenta em Paris a exposição “Mangá. Uma arte completa!”, uma imersão nas origens e na evolução do mangá. A mostra reúne obras raras, revistas históricas e peças das coleções japonesas para revelar tradições, influências ocidentais e a força criativa de mestres dos séculos 20 e 21 — uma viagem ao universo que transformou o mangá em verdadeiro fenômeno global.  Márcia Bechara, da RFI em Paris Em vitrines e painéis, visitantes percorrem séculos de narrativas gráficas japonesas, do teatro nô às primeiras experiências com animação, passando pelo humor satírico da imprensa e pela explosão de gêneros que marcou o século 20. A curadoria é assinada por Estelle Bauer, que sublinha o ineditismo da iniciativa. “Eu acho que é a primeira vez que mangás são expostos em um museu de Belas Artes, numa instituição parisiense. Eles estão muito curiosos no Japão com os resultados dessa exposição”, refletiu. A declaração resume o impacto institucional dessa entrada definitiva do mangá no circuito das artes visuais da capital francesa. Especialista em arte japonesa, Bauer explica como buscou evidenciar a profunda ligação entre os mangás contemporâneos e a iconografia ancestral do Japão. “Eu sou historiadora da arte japonesa, então olho os mangás com essa referência e esse conhecimento da arte antiga do país. Isso era uma evidência, existe uma imensidão de relações entre o Japão antigo e os personagens do mangá que usam, por exemplo, máscaras de teatro antigas", exemplificou. "Há cenas que são tiradas diretamente de lendas japonesas. Foi umpouco isso que tentamos mostrar.” A exposição revela esse diálogo ao aproximar obras do acervo tradicional do museu — esculturas, máscaras, pinturas — das narrativas visuais dos mangakás modernos", destaca. Conexões estruturais dos mangás Para Bauer, essas conexões não são apenas estilísticas, mas estruturais para o trabalho de criação dos autores. “Os mangakás se inspiraram muito de sua tradição, de sua cultura visual, e foi isso que tentamos mostrar na exposição, criando uma espécie de diálogo entre as obras do museu, as obras de coleções patrimoniais e os mangás.” Em um dos núcleos mais comentados da mostra, uma escultura rara exemplifica essa relação direta com o imaginário pop. “Acho que o autor de Dragon Ball se inspirou de aspectos variados da tradição japonesa, mas uma das referências possíveis é o dragão que caça a Pérola da Sabedoria. Apresentamos, durante a exposição, uma escultura que faz referência a isso, e que, na verdade, foi um presente do antepenúltimo Shogun do Japão ao imperador Napoleão 3° em 1864.” Um olhar complementar sobre a mostra é o de Valentin Paquot, especialista em mangás e consultor do catálogo da exposição. Ele chama atenção para a dimensão industrial e econômica desse universo, frequentemente esquecida em debates artísticos. “Houve uma abordagem realmente industrial e não somente artística na criação dos mangás. É claro que se trata de um gênero artístico legítimo, mas, por trás dos mangás, existe também muito dinheiro... Apenas em 2024, esse mercado gerou 704 bilhões de yens somente no Japão, ou seja, um total equivalente a € 4 bilhões, é uma soma colossal. Nós adoraríamos dispor de um orçamento igual para os quadrinhos na França”, compara.  Leia tambémDiva do mangá, japonesa é segunda mulher a vencer o Festival Internacional de HQ da França Paquot lembra que o boom editorial japonês, impulsionado pelo pós-guerra e pelo baby boom, foi decisivo para a consolidação de um mercado de larga escala. “É um segmento muito mercantilizado, com um volume enorme de revistas. Essa explosão começou na época do baby boom japonês, com mais de 80 revistas mensais na época. E, além disso, o mangá também foi muito usado como veículo de publicidade.” Paquot também destaca a presença marcante dos yōkai, seres sobrenaturais do folclore japonês que atravessam tanto mangás quanto animes. “Se nos voltarmos ao que chamamos de yokais, ou seja, aos monstros japoneses, que estão muito bem sublinhados nessa exposição, podemos ver o incrível bestiário presente nesse repertório japonês, e, na verdade, trata-se de uma gramática muito conhecida lá. Isso quer dizer que, se usamos um determinado personagem, sabemos com antecedência a mensagem que se quer passar...” Segundo ele, essa gramática visual não impede liberdade criativa — ao contrário. “E se o mangaká tiver vontade de brincar, ele pode criar o que chamamos de ‘gap', uma surpresa, ou seja, ele vai utilizar um monstro do qual é esperado um determinado comportamento, mas que vai fazer exatamente o oposto. Os mangakás adoram nos surpreender desse jeito...” Tradição e cultura pop em diálogo “Manga. Tout un art!” ocupa três andares do Museu Guimet e foi concebida para apresentar o mangá em paralelo às coleções asiáticas da instituição — de máscaras do teatro Nô, vestes de samurais e katanas a desenhos originais de Dragon Ball, One Piece, Naruto e Astro Boy. A curadoria apostou em uma montagem dinâmica que atrai o público jovem sem perder densidade histórica.  Um dos pontos altos é a sala dedicada à Grande Onda, um clássico de Katsushika Hokusai (1830/1831), onde se discute como o “traço claro e estruturado” do mestre "antecipa códigos narrativos dos quadrinhos modernos" — e como essa iconografia segue influenciando autores e estilistas.  A mostra também destaca o papel de Osamu Tezuka, cujas séries Astro Boy e A Princesa e o Cavaleiro ajudaram a revolucionar linguagem e formatos, abrindo caminho para gêneros como o shōjo (voltado originalmente para meninas) e para movimentos mais adultos como o gekiga.  Como gesto de ponte com novas gerações, o cartaz da exposição foi encomendado ao mangaká francês Reno Lemaire (Dreamland), reforçando o diálogo entre tradição japonesa e produção contemporânea. De onde vem o mangá: raízes, encontros e viradas Embora o termo “mangá” tenha sido popularizado por Hokusai no século XIX e hoje seja associado às HQs japonesas, suas raízes remetem aos emaki (rolos narrativos) da era medieval e ao repertório do ukiyo‑e. A exposição em Paris parte exatamente dessa genealogia para ler o mangá como herdeiro de séculos de visualidade.  O encontro com o Ocidente, no fim do século XIX, incorporou a tradição de caricatura e sátira dos jornais europeus, catalisando o nascimento do mangá moderno com autores como Kitazawa Rakuten. Já na primeira metade do século 20, o kamishibai — o “teatro de papel” de rua — refinou a narrativa seriada e a relação direta com o público, elementos que migram depois para as revistas e, mais tarde, para o anime televisivo.  O kamishibai tem raízes nos emaki e em práticas de narração pictórica (etoki); sua “era de ouro”, nas décadas de 1930–50, antecede a popularização da TV — não à toa apelidada de “kamishibai elétrico”. Muitos artistas transitaram do kamishibai para o mangá e o anime, sedimentando técnicas e modos de contar histórias que hoje são marca do quadrinho japonês.  Uma paixão brasileira? O Brasil tem uma relação de longa data com o mangá e o anime. Lobo Solitário chegou ao país em 1988, e a consolidação do formato “de trás para frente” se deu de forma massiva com Dragon Ball, no início dos anos 2000. A partir daí, editoras especializadas e selos de grandes grupos aceleraram a oferta e profissionalizaram a distribuição.  O resultado aparece nas vendas: entre julho de 2023 e julho de 2024, 71% dos 100 quadrinhos mais vendidos em livrarias brasileiras foram mangás — com liderança da Panini, seguida pela JBC (adquirida pela Companhia das Letras em 2022), entre outros selos. Em outro recorte, os mangás concentraram 46,7% das vendas do mercado de quadrinhos no país, confirmando o apelo da cultura pop japonesa.  Esse interesse transborda para eventos e streaming. A CCXP, maior festival de cultura pop do mundo em público, reuniu 287 mil pessoas em 2023; e a Crunchyroll anunciou, em 2024, que o Brasil já é seu segundo maior mercado de assinantes globais — impulsionando dublagens, estreias em cinema e ativações de grande porte.  Mesmo num cenário em que o hábito de leitura geral encolheu — o país perdeu cerca de 6,7 milhões de leitores em quatro anos, segundo a pesquisa Retratos da Leitura 2024, organizada pelo Instituto Pró‑Livro (IPL) — o mangá mantém tração ao se apoiar em uma cadeia multimídia (animes, games, produtos licenciados) e em comunidades de fãs muito engajadas.  Números, gêneros e linguagem do mangá Para além do rótulo “quadrinho japonês”, o mangá se organiza por segmentação etária e temática (shōnen, shōjo, seinen, josei etc.) e por gêneros que vão do épico de ação à introspecção psicológica, passando por romance escolar e ficção científica — uma diversidade que facilita identificação e renovação de leitores. A transposição para anime e o modelo em formato de série na publicação ajudam a sustentar fidelização e vendas recorrentes.  No Brasil, essa dinâmica se reflete em listas de mais vendidos dominadas por franquias como One Piece, Demon Slayer e Jujutsu Kaisen, ao lado dos clássicos nacionais infantis — um arranjo que mostra coexistência de perfis geracionais e explica o espaço dos mangás nas prateleiras e nos eventos. 

The Great Wave is perhaps the most famous piece of Japanese artwork: a roaring blue wave and three boats on the ocean. And far in the background is Mt. Fuji. And that's actually what Hokusai's famous woodprint is about: Mt. Fuji, volcano and Japan's tallest mountain. Andrew Bernstein tells the story of Mt. Fuji–from its geographic origins as a violent volcano through to its present day status as Japan's national symbol and a world heritage site—in his latest book Fuji: A Mountain In The Making(Princeton UP, 2025). Andrew is professor of history at Lewis & Clark College and the author of Modern Passings: Death Rites, Politics, and Social Change in Imperial Japan (University of Hawaii Press: 2006) You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of Fuji. Follow on Twitter at @BookReviewsAsia. Nicholas Gordon is an editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at @nickrigordon. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/environmental-studies

The Great Wave is perhaps the most famous piece of Japanese artwork: a roaring blue wave and three boats on the ocean. And far in the background is Mt. Fuji. And that's actually what Hokusai's famous woodprint is about: Mt. Fuji, volcano and Japan's tallest mountain. Andrew Bernstein tells the story of Mt. Fuji–from its geographic origins as a violent volcano through to its present day status as Japan's national symbol and a world heritage site—in his latest book Fuji: A Mountain In The Making(Princeton UP, 2025). Andrew is professor of history at Lewis & Clark College and the author of Modern Passings: Death Rites, Politics, and Social Change in Imperial Japan (University of Hawaii Press: 2006) You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of Fuji. Follow on Twitter at @BookReviewsAsia. Nicholas Gordon is an editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at @nickrigordon. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The Great Wave is perhaps the most famous piece of Japanese artwork: a roaring blue wave and three boats on the ocean. And far in the background is Mt. Fuji. And that's actually what Hokusai's famous woodprint is about: Mt. Fuji, volcano and Japan's tallest mountain. Andrew Bernstein tells the story of Mt. Fuji–from its geographic origins as a violent volcano through to its present day status as Japan's national symbol and a world heritage site—in his latest book Fuji: A Mountain In The Making(Princeton UP, 2025). Andrew is professor of history at Lewis & Clark College and the author of Modern Passings: Death Rites, Politics, and Social Change in Imperial Japan (University of Hawaii Press: 2006) You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of Fuji. Follow on Twitter at @BookReviewsAsia. Nicholas Gordon is an editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at @nickrigordon. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/east-asian-studies

The Great Wave is perhaps the most famous piece of Japanese artwork: a roaring blue wave and three boats on the ocean. And far in the background is Mt. Fuji. And that's actually what Hokusai's famous woodprint is about: Mt. Fuji, volcano and Japan's tallest mountain. Andrew Bernstein tells the story of Mt. Fuji–from its geographic origins as a violent volcano through to its present day status as Japan's national symbol and a world heritage site—in his latest book Fuji: A Mountain In The Making(Princeton UP, 2025). Andrew is professor of history at Lewis & Clark College and the author of Modern Passings: Death Rites, Politics, and Social Change in Imperial Japan (University of Hawaii Press: 2006) You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of Fuji. Follow on Twitter at @BookReviewsAsia. Nicholas Gordon is an editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at @nickrigordon.

The Great Wave is perhaps the most famous piece of Japanese artwork: a roaring blue wave and three boats on the ocean. And far in the background is Mt. Fuji. And that's actually what Hokusai's famous woodprint is about: Mt. Fuji, volcano and Japan's tallest mountain. Andrew Bernstein tells the story of Mt. Fuji–from its geographic origins as a violent volcano through to its present day status as Japan's national symbol and a world heritage site—in his latest book Fuji: A Mountain In The Making(Princeton UP, 2025). Andrew is professor of history at Lewis & Clark College and the author of Modern Passings: Death Rites, Politics, and Social Change in Imperial Japan (University of Hawaii Press: 2006) You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of Fuji. Follow on Twitter at @BookReviewsAsia. Nicholas Gordon is an editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at @nickrigordon. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/asian-review

The Great Wave is perhaps the most famous piece of Japanese artwork: a roaring blue wave and three boats on the ocean. And far in the background is Mt. Fuji. And that's actually what Hokusai's famous woodprint is about: Mt. Fuji, volcano and Japan's tallest mountain. Andrew Bernstein tells the story of Mt. Fuji–from its geographic origins as a violent volcano through to its present day status as Japan's national symbol and a world heritage site—in his latest book Fuji: A Mountain In The Making(Princeton UP, 2025). Andrew is professor of history at Lewis & Clark College and the author of Modern Passings: Death Rites, Politics, and Social Change in Imperial Japan (University of Hawaii Press: 2006) You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of Fuji. Follow on Twitter at @BookReviewsAsia. Nicholas Gordon is an editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at @nickrigordon. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/japanese-studies

For many of us, travel to Japan is something we do once in a while. We save and plan, then journey to a country that offers so much to our mokuhanga practice. But for others, the trip becomes extended, and Japan becomes a place to build a life and make work. Japan becomes central to who they are and how they see the world. On this episode of The Unfinished Print: A Mokuhanga Podcast, I speak with Sarah Brayer, a visual artist who has made her home in Kyoto, where she has created a wide range of visual art such as mokuhanga, poured washi, fusuma murals, and aquatint. In our interview, we focus on Sarah's mokuhanga history, her studies with Toshi Yoshida, her life in Kyoto and how the city shapes her work. We also discuss her mokuhanga work, how she views the medium and where it fits into her life today.  Sarah Brayer - website, Instagram River Mist Kyoto (1982) 7" x 21" aquatint - is an intaglio printmaking technique used to create rich tonal effects rather than lines alone. By dusting a metal plate with fine resin particles and then heating it to adhere the grains, the artist creates a textured, acid-resistant surface. When the plate is placed in acid, the exposed areas etch around the resin particles, producing a range of tones similar to watercolor washes. By stopping out areas and etching in stages, printmakers can build subtle gradients, deep shadows, and layered atmospheres, making aquatint especially popular for expressive, painterly prints. etching - is an intaglio printmaking process in which an image is created by using acid to bite lines into a metal plate. The plate is first coated with a waxy, acid-resistant ground, and the artist draws through this ground with a needle to expose the metal beneath. When the plate is submerged in acid, the exposed lines are etched into the surface. After the ground is removed, ink is worked into these incised lines, the surface is wiped clean, and dampened paper is pressed onto the plate with a high-pressure press, transferring the inked image. Etching allows for incredibly fine detail, expressive line quality, and a wide range of textures. raku yaki - raku ware is a traditional Japanese pottery style that originated in 16th-century Kyoto and is closely tied to the tea ceremony. Characterized by hand-shaped forms, low-temperature firing, and simple glazes that embody wabi-sabi, it was historically cooled in the open air and produced by the Raku family lineage. In contrast, Western raku refers to a later adaptation in which red-hot pieces are placed into combustible materials to create dramatic crackle and metallic effects, a process distinct from the original Japanese method.  Kyoto Seika University - located in Kyoto, Japan, is a leading private institution specializing in art and design education. It offers undergraduate and graduate programs in fields such as painting, sculpture, graphic design, and manga. Known for its rigorous curriculum, Kyoto Seika emphasizes both practical skills and creative expression. With a strong tradition of nurturing talented artists and designers, the university fosters a dynamic environment that encourages innovation and artistic growth. ukiyo-e - is a multi colour woodblock print generally associated with the Edo Period (1603-1867) of Japan. What began in the 17th Century as prints of only a few colours, evolved into an elaborate system of production and technique into the Meiji Period (1868-1912). With the advent of photography and other forms of printmaking, ukiyo-e as we know it today, ceased production by the late 19th Century. Torii Kyomasu II (1706-1763)  Mary Cassatt (1844–1926) was an American painter and printmaker who became a prominent figure in the French Impressionist movement. Known for her intimate portrayals of women and children, she used soft yet expressive color, loose brushwork, and innovative printmaking techniques to capture everyday domestic life. Living much of her career in Paris, she exhibited with artists like Degas, who influenced her approach to composition and perspective. Cassatt's work remains celebrated for its sensitivity, modernity, and groundbreaking representation of women's experiences. Ren Brown Collection -  is gallery in Bodega Bay, California featuring contemporary Japanese prints, handmade ceramics and jewelry, Japanese antiques, and works by California artists and sculptors. Each piece reflects a dedication to quality, cultural heritage, and creative expression. Micah Schwaberow (1948-2022) - was an American mokuhanga printmaker who fused Western and Eastern imagery to create a unique perspective. His work often featured landscapes, portraits, and cultural themes. Celebration (2015) 10" x 5 1/2" bokashi - is a mokuhanga technique, where the pigment fades from a heavy colour to a softer, broad colour. Made famous by prints designed by Hokusai and Hiroshige, this technique is, for me, the most popular technique utilized by  mokuhanga printmakers. There are various types: Ichimoji-bokashi or straight line graduation, used in the above mentioned Hiroshige and Hokusai prints. Ichimoji-mura-bokashi or straight line gradation with uneven edge. Ō-bokashi or wide gradation, Ate-nashi-bokashi or gradation without definition. Futa-iro-bokashi or two tone gradation, and ita-bokashi or softer-edge gradation, where the block is cut in a specific way to achieve this style of gradation. All of these styles of bokashi technique take practice and skill but are very much doable. A wonderful example of bokashi in the sky can be found below, in a print by Paul Binnie.  Acropolis - Night (2007) 11.85" × 16.46" Utagawa Hiroshige (1797-1858) - born in Edo, Hiroshige is famous for his landscape series of that burgeoning city. The most famous series being, One Hundred Famous Views of Edo (1856-1859), and the landcape series, Fifty-Three Stations of the Tōkaidō (1833-1834). His work highlights bokashi, and bright colours. More info about his work can be found, here.  Sumidagawa (from Forty-Eight Famous Views of Edo)  (ca. 1861) 8 7/8" x 6 7/16" Kawase Hasui (1883-1957), a designer of more than six hundred woodblock prints, is one of the most famous artists of the shin-hanga movement of the early twentieth century. Hasui began his career under the guidance of Kaburaki Kiyokata (1878-1971), joining several artistic societies early on. However, it wasn't until he joined the Watanabe atelier in 1918 that he began to gain significant recognition. Watanabe Shōzaburō (1885-1962) commissioned Hasui to design landscapes of the Japanese countryside, small towns, and scenes of everyday life. Hasui also worked closely with the carvers and printers to achieve the precise quality he envisioned for his prints. Honmonji Temple in Snow at Ikegami (1931) 15.5" x 10.25" Daniel Kelly - is a visual artist and printmaker based in Kyoto, Japan. Daniel Kelly has shown all over the world, and is many museum collections as well. More information can be found, here. Three Persimmons (2015) 12″ x 40.5″ nezumi ban - otherwise known as the "mouse block" or "grey block," this is usually the first base color in a mokuhanga design. Because mokuhanga relies on building color through layered printing, the grey block forms the foundation of the image. This technique was widely used during the golden age of ukiyo-e in the Edo period (1603–1868) and the shin-hanga (new print) period (1910-1960). Mendocino Art Center - is a creative retreat and cultural landmark and is a place where artists and visitors alike can explore art, and connect in a profoundly inspiring coastal environment. More info, here.  sizing/dosa - is a liquid form (prepared) animal glue which is brushed onto your washi, hanji, or other natural papers to stiffen the paper and prepare it for keeping the colour in your woodblock print. It has come to pass that size tends to be acidic and will break down the print over time. It's a bit of a double edged sword. Recipes for size can be found, here. arches - is a brand of Western watercolour paper that is acid-free. Tōsai Pigment Paste - is a brand of pigments manufactured by Holbein, Japan. They were conceived by mokuhanga printmaker Richard Steiner. Tōsai is the name given to Richard by his teacher. Richard's invteriew with The Unfinished Print can be found, here. Kathy Caraccio - is a master printer, artist, curator, professor, and collector who has collaborated with hundreds of artists from around the world. Through her studio, she has fostered a vibrant, supportive community rooted in shared creativity and craft. More info can be found, here.  Oriental Bleak  - mixed media collage 22" x 22" fusuma - is a traditional Japanese sliding panel used as a door or room divider in homes, temples, and tea rooms. Made with a wooden frame covered in layers of paper or cloth, fusuma slide along wooden tracks and can be removed or rearranged to change the layout of a space. They are often decorated with painted landscapes, patterns, or calligraphy.  © Popular Wheat Productions logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :)    

Welcome to the Art, Life, Faith Podcast, and I’m your host, Roger Lowther. Today, I’m excited to share with you a project that our team has been working on for quite some time now. Our new children’s book, The Tsunami Violin, comes out on November 24, 2025. Back in 2020, I wrote my first children’s book called “Pippy the Piano and the Very Big Wave”. Based on a true story, it tells how a church finds their beloved piano upside down and covered in mud and debris. But rather than throw it out, they decide to spend the enormous amounts of time and money necessary to fix it, and they give the piano new life. And even today, the church continues to tell this story through the many concerts they host there. Now we are releasing our second children’s book, which this time tells the story about a violin. A young tree protects her town from the cold and harsh ocean winds. But when the tsunami comes, everything is washed away: family, friends, town. She's lost everything, but then a master craftsman comes, a violin maker from Tokyo, and transforms her into something beautiful. Through her music and through her story, she brings encouragement and healing to all who hear it, a story of hope out of despair, life out of death, and new beginnings. Like Pippy the Piano, this book too is based on a true story. I'm fortunate to know Nakazawa-sensei, the violin maker, and also to have had the privilege of being involved in quite a few concerts with that violin. It’s such a powerful story of redemption that I had to get it out there. This is a story worth telling. In this episode, I have a conversation with some of the members of our team who made this book possible, the beginnings of the book and the process along the way, and especially with the very talented Holly Rose Wallace, whose images and illustrations so powerfully tell this story. So anyway, I know you’re going to love the book, and I hope this conversation into some of the background will help you enjoy it even more. Roger Well, today we are excited to share with all of you about this project we’ve been working on for quite some time now called The Tsunami Violin. And we have a number of us who are key players in getting this project together with us on the podcast. Can you all introduce yourselves one by one? Maybe Diane, you served as the project manager for this. Can you tell us a little bit about yourself? Diane Yes, I’m Diane Bakelaar, and I live in Nagoya, Japan. My husband and I run an arts ministry through an art gallery and meet people through the art gallery. I served as the project manager for this book. Roger Awesome. Now, most importantly, Holly Rose Wallace as the illustrator. Can you introduce yourself? Holly I don’t know about most important, but I’m Holly. I’m from Cleveland, Ohio. I did about a two-year internship in Nagoya, Japan, working with Diane and Peter Bakelaar, and then working on this project with Roger and others. This is my first illustration project, so it was really exciting to get to add this to my resume and work with the team on this project. But I’m a self-taught illustrator, and I’ve always loved the arts, so this is an exciting project for me. Roger Awesome. And, Verity, you’re on this call. Can you tell us your role in this project? Verity Hi, I’m Verity. I’m a London-based illustrator and designer specializing in book design. And I’m also preparing to move to Tokyo next year to work with Community Arts Tokyo as an arts missionary. Roger Very cool. Last but not least, we also have Tsumugu Misugi on the call. Can you introduce yourself? Tsumugu Yeah. Hello. My name is Tsumugu. I’m a violinist and a composer living in Japan. I write music and record for Japanese animation and Korean dramas and things like that. I was happy and so privileged to be able to play on the tsunami violin with Roger a couple of years ago. Roger Now, in the introduction to this episode, I’ve given a little summary of what this book is about. But really to capture the essence of it, I wanted all of us here together because I think there’s something really special about this project, in how it all came together. There were many pieces. It wasn’t like I wrote this story and then passed it on to Holly to illustrate and then published it, but there were so many moving parts. And as each part came in, it made the book all that much more special. So why don’t we just start right at the beginning? So, Tsumugu, why don’t you tell us a little bit about how you were first introduced to the tsunami violin? Tsumugu I served as a volunteer in Ishinomaki from 2012 and went back every summer until 2016. And so I had first-hand experience helping with relief work. And then I went to the States for college, and then I decided to move to Japan after college to pursue my work. And that was when I reconnected with Roger. And within the first, I think, maybe three months of me moving back to Japan, Roger was like, “Hey, there’s this project where we want to give about 10 concerts in Japan, and it would be awesome if you could play on this tsunami violin.” And that was the first time I had heard of the violin, but it’s very famous here in Japan, and I was very honored to be asked to play on the violin. Roger Yeah, I had gotten to know it at previous concerts, and then there was this church, a group of churches actually, up in Iwaki, who asked us to come and give concerts on the violin. And it really wasn’t until that time that it came together. I was like, “this is an amazing story to be told.” I mean, everywhere the violin goes, it doesn’t just give a concert, but its story is an essential part of that concert. Just bringing that hope, bringing that idea that there’s life out of death, that all things can be redeemed, even when you’re in the pit of despair. And to continually bring that violin into any crowd of people, really, it spoke, it said something. And I was like, “How can we tell this to more people, not just those at the concerts. What would that look like?” And that was when the idea came forth about making a children’s book. Now, of course, I am not a visual artist. I don’t have the means to do that, but it just so happened that God provided Holly at just the right time to begin having this conversation. Holly, what do you remember about those early conversations about this book? Holly I remember the first time that I met you, I was showing you some of my work, and you looked really excited. You’re like, I have an idea for my next children’s book, and I’ve been looking for an illustrator. And you asked if I do that. I was like, “Well, I haven’t, but it’s always been a dream of mine.” And so it was this perfect partnership of you needed an illustrator, and I wanted to illustrate. It all came together from there. Roger It started first with the two of us working on this project, but then I think things really got special when we brought in Anna, who isn’t on this call, and Diane to be part of the process as well. Actually, Diane, just before we started recording, you said something about that, just the idea of having more people involved in the project somehow made it better. Diane Yes, I’ve always been fascinated with the idea, the wisdom of the group, and how it’s statistically shown that when people as a group, when they’re working together well, they can make better decisions than an individual, even if that individual is an expert in the area. I certainly saw that with this project. Everybody was bringing their strengths to the table, and everyone in the group was able to listen and not hold on to their parts so tightly that they weren’t able to hear suggestions and improvements. That was really impressive to me how everyone was very humble and very willing to work together, and it just made the project so much better. Roger Yeah, I really enjoyed our times together. Once every two weeks or so, we all had our roles. Mine was officially words. Holly was images. Verity was, I think, everything artistic. Verity Not at first… Roger At first, what was your role? Verity At first, I was thinking when I came in that I'd be taking on a design role of doing stuff with how the text looked and how the cover looked. Then my input grew from there, for sure. Roger Yeah, it sure did. It was fun to see this project be born out of our time together. The idea was, how do we tell this story in the best possible way? What words do we use? What images? Are there things we can do with the text? Maybe we should add a frame here or take one out here. To be talking about that creatively as a group was some of the magic of this project, I think. Verity Yeah, definitely. I think the first ever meeting we had about this project, Diane was there on Zoom, we were sitting on the floor in this apartment which had no furniture, which is why we were sitting on the floor. But we were going through some of the sketches that Holly had done and some of the writing and stuff. For a while, I’d been working in the creative industries. In the creative industries, I definitely feel like your role gets isolated from the rest of the creative process, particularly as a designer, where you do your thing that you’re told to do, but you don’t have any input in how the rest of a creative project, a book, for example, looks like. I was coming from that into this project where we were all like, you were asking my opinion on the text and stuff, and I was a little bit worried about stepping on your toes. That was a really special moment for me. It was, I think, maybe my first week or two in Japan. I was like, Oh, this is something different here. What the team is doing here is different. It was a good moment. Roger Yeah, it was. Anna said you can’t publish a book without a cat in it. And that was just so much better. So we had this cat, and there’s this yellow bird that flies through the scenes and came to represent the Holy Spirit flying through and having a presence all throughout the story. And I think we were just having fun with it. It wasn’t just about practical things, but about what we can creatively do that would be fun, not just for us, but for the reader as well. Verity For me, I feel like it is something that’s natural to the creative process, but I feel like it came together in quite a non-linear way. I remember we brought in the idea of the music as in the images of music in the text, not right at the beginning, one of the opening paragraphs of the book is about the music of nature that the tree hears, which obviously it’s a book called the Tsunami Violin, so it makes sense to have those musical images. But it wasn’t something that we came up with until we talked through the project a little bit, and then we started thinking about how we could bring in those images and make it flow more cohesively. Roger Yeah, it became a theme throughout the whole book. It was actually someone else who wasn’t on this call who came up with an idea. They said, “One of the special things about children’s books is when phrases are repeated over and over.” It has a special power when you’re reading a children’s illustrated book. And I was like, oh, that’s like choruses in songs, right? I mean, you sing the verse and then the chorus, verse, chorus, verse, chorus, and the chorus keeps getting repeated. And I think that’s one of the beauties of this book now. It didn’t start that way at all, but to have this repeating course of the music of the town. In fact, we have it on the back cover here, “The rhythm of the waves, the song of the birds, the whistling of the wind, and the hum of the town,” She has it in the beginning, and then she loses it because of the tsunami. And then how does she get that back? And it’s through the work of this master craftsman, this violin maker who makes her into this beautiful thing that she didn’t know was possible. Through her music and through her story, the people are hearing the music of her town again. Verity I think that was another thing that I found quite exciting about working on The Tsunami Violin. I've never done a kid’s book before. Community Arts is not like a publishing house that specializes in children’s books. But it was quite exciting to just be like, “Well, let’s figure out how to do this,” exploring all of these ideas. I guess, I think for me, coming into that, I felt like I was breaking new ground creatively, having to think outside of the box that I find it easy to put myself in, having to think more broadly about what could I do and what can we do as a team. Diane Two creative challenges that I remember: the one in particular was when the violin maker looks into the box and visually how to do that and how poor Holly was trying so hard to do this. Verity Yeah, we really messed her up. Diane But anyway, and I think that is an example of where the group working together really helped. The page, I think, is very successful looking. But boy, that was a lot of hard work. Then the other aspect was because this is both in English and Japanese and how when it’s translated into Japanese, the words are longer, takes that much more space. Then again, having to adjust visually for creating more room. Anyway, there are just a lot of challenges along the way. Roger Holly, what do you think about all that as the illustrator of this book? Holly It’s all true! It was hard, but it’s all part of the creative process, is the back and forth and trying to work out how to make it look best. I think for me, it was a challenge because I wouldn’t really consider myself a digital artist, primarily. That’s not really my preferred medium. So this was a new experience for me in that sense. I had done digital work before, but I have very little experience and all self-taught. So that was one learning curve for me. And then the theme of the book being with a violin, but she starts out as a tree. For me, that was another challenge because I haven’t spent much time drawing trees. And so I’m like, Okay, I need to figure out the anatomy of a tree, and not just any tree, but specifically a Japanese pine. So there was a lot of back and forth trying to figure out what style to use and how to translate that into a children’s style. And then when she becomes the violin, coming up with that character design was a lot of fun for me. I had to watch a documentary on how violins are created because that was another thing. I don’t usually draw violins for fun. So that was another challenge to overcome, but it’s so much fun to do. And I think the cat, too, was a lot of fun to incorporate. And I went back and forth a lot with thoughts and ideas of how to design the cat and the bird. But I think what I finally came down to was just designing the cat to look like my cat, especially since I was living in Japan at the time, and my cat was back in America. So it was a fun way to feel connected to my cat. Verity My favorite is at the back when the cat is actually playing the violin. Roger It’s like one of my favorite scenes in the whole book. Holly That was one of my favorites to draw. Roger Actually, to the right of the cat is a young man that looks like Tsumugu to me. I don’t know, Holly, if you were actually looking at a picture of Tsumugu at the time, but it looks really like him. So that makes me happy. Verity Your moment of fame, Tsumugu. Tsumugu Yes, just happy to make a cameo in the book. Verity Yeah, you’re not getting any commission for this, by the way. We’re just using your image. Tsumugu That’s fine. I give full consent. Verity How generous. Actually, one of the things that I really like that you did, Holly, is the illustration of the tsunami. And that was something that we went back and forth on quite a lot. But there’s a scene in the book where the tsunami first appears, and it’s quite scary. I’m holding up a picture for these guys. It’s supposed to be quite a scary moment of this huge wave towering on the horizon. We went back and forth a lot on how to… First of all, how to make it look scary, but also should this tsunami be sentient? Should it be anthropomorphic the way that the tree and the violin are? We ended up settling on a design that references the Great Wave, the Hokusai famous woodprint. I think that it’s a really effective image as a result because it’s a very clear reference. The image in the Great Wave is also tsunami, I think. But then I think it’s interesting to how that connects people who aren’t as familiar with Japan and with Japanese culture because it’s such an internationally recognized image. I was speaking in front of a church on Sunday and I showed them the cover. People came up to me at the end and they were like, Oh, yeah, the wave. We reused the image in a composite with some other illustrations on the cover. And people were like, Oh, yeah, the wave is really cool. They remembered the connection with the great wave. And I feel like it’s just an interesting way of how you can connect with different audiences through those visual references. Holly Yeah, I agree. I’m so glad that people recognized it and saw that that was the inspiration. That panel was so challenging because I didn’t want to do a direct copy of the Hokusai wave, but I definitely wanted to draw inspiration from it. And it’s also the angle that it’s at, the wave is coming right at you. And I think that adds to make it scarier, make it more frightening for readers because it’s like, Oh, the wave is coming directly at me, off the page in a sense. But typically when you see illustrations of waves, like when I was looking for references, there are no pictures of waves coming directly at you. It’s always at some angle. And so that was something that took a lot of time to figure out, Okay, how do I interpret this into a visual representation of just this? But I’m really happy with how it turned out and happy for all of your guys’ input. Roger When I’ve shown that image to beta readers, they’re like, wow. I mean, wow. They were just speechless because it’s just so effective. But my favorite image is the one where you only did the two big eyes, where she’s at the low point of her life. She’s lost everything, and now she’s been cut up, and she’s thrown in this box, and doesn’t know where she’s going. The way you’re able to express all of that in just the two eyes, I think, is so effective. When I’ve been showing it to people, that’s always the page I show first. Like, look at these eyes. They’re like, oh, it’s just so cool. In this whole medium of children’s illustrated art, how you’re not trying to be literal. You can through the medium, through the language of children’s art, you can tell something in different ways. I think just looking at the eyes tells the whole story. Holly That’s so funny that’s your favorite page because that was the easiest one to do. That was one of the things in the character design for me that it’s so important, the eyes, because that’s what people are going to look at the most and what’s really going to bring the character to life. So I spent a lot of time trying to design those eyes and the eyelashes specifically, I was inspired by the F hole on the violin, so you could see that on the eyelashes of the character. But I thought that that was a fun little thing to add. Diane Holly, I was wondering about the colors that you chose. I love the colors in the book. Just what was your hope or thinking behind how you chose your colors? Holly I feel like it was really a team effort choosing the colors. But then, of course, some of the colors just come naturally. Because this is based on a true story, I was pulling colors a lot from just the reference images, but then trying to brighten them to make it more visually pleasing and more exciting for children. And all readers. But it was really interesting how naturally a palette came to be. It was a lot of browns and blues and greens, and just looking at them all side by side, it was like, yeah, there’s definitely a clear palette. But that came about really naturally, which was cool. Roger Yeah. Verity I have the actual physical book with me now, and the colors feel very alive. So it’s really nice to see it. Very vibrant. Tsumugu Nice. Can I talk a bit about the audience? I find it really interesting that you picked a children’s book as the medium to publish this because people who are older than teenagers would have experienced or would have seen the tsunami. But children, the target audience for this book, are people who’ve never experienced. They haven’t seen the tsunami. Roger They weren’t alive when it happened. Tsumugu Yeah, exactly. I think it’s so interesting that you picked children to spread this story and this message. I feel like it’s a good way for them to learn about the tsunami as well as the aftermath of what happened. Also, especially for international audiences, I feel like it might be something that is so far away and so detached from them, but there’s still such a powerful story in the aftermath of it. Roger Yeah, the violin maker, he met with the Emperor himself, and the Emperor said, “Oh, I’m so glad that you’re doing this because people are going to forget, and they need to remember what happened.” And that is essentially what his project, the violin, tsunami violin, continues to do, and that’s what we’re trying to do through this. Diane I was telling one of my Japanese friends that this was in the middle of the project, and I’m working on this project. She’s Japanese, and she had no idea about the tsunami violin. She didn’t know what it was. So I explained the story. She just looked at me and said, This is such an important story. This is part of our history. We’ve got to keep it alive. That was her reaction to the whole thing. Verity I think that it’s interesting. Perhaps we haven’t talked about this as a group, but it’s interesting to think about how this being a real event that really shapes people’s lives, all of the tragedy. And also, I feel like shapes the Japanese consciousness as well. I feel like it’s very much something in the minds and hearts of Japanese people. When we think about going through such a traumatic event, even as children, when children go through traumatic events, then there is this process of not being able to go back to what you were before. So experiencing something that is irreversible and coming out of that as a changed person. And that’s what happens to the tsunami violin is that the story is of her, not like she’s able to go back to the way she was when she was a happy and innocent child, but that she goes through something and she becomes something beautiful and something recognized by other people, but that she’s not able to go back to the way that she was. I feel like that’s actually a realistic view of trauma. I think that that’s quite a good thing to acknowledge, even for children, that just because you go through something doesn’t mean that you’re irreversibly broken, but that you can become something else. Roger Yeah, so good. I think we better end our time here. Thank you all so much for sharing with me and with our listeners. It’s just really a special project. We are excited to be able to launch it to all of you on November 24, and I hope that you’ll be able to pass it on to your friends as well. This story of redemption in a way that I think can reach audiences in any culture, any country, is just so important and we need to be repeating this story to others as well. You’ve been listening to the Art, Life, Faith podcast. The Tsunami Violin is available for sale on November 24 wherever you buy your books online. Please pick up a copy for yourselves and tell your family and friends about it as well. In fact, maybe it will also make a great Christmas present. As we say in Japan, “Ja, mata ne!” We’ll see you next time. BUY “THE TSUNAMI VIOLIN”

“Manga, Tout un art !” au Musée national des arts asiatiques – Guimet, Parisdu 19 novembre 2025 au 9 mars 2026Entretien avecEstelle Bauer,conservatrice des collections Japon – musée Guimet,et commissaire de l'exposition,par Anne-Frédérique Fer, à Paris, 18 novembre 2025, durée 21'22,© FranceFineArt.https://francefineart.com/2025/11/22/3672_manga_musee-national-des-arts-asiatiques-guimet/Communiqué de presseCommissariat :Estelle Bauer,conservatrice des collections Japon au musée Guimet.Didier Pasamonik, éditeur et journaliste.Avec MANGA, TOUT UN ART !, les héros mondialement célébrés de la bande-dessinée japonaise affluent place d'Iéna dans une exposition qui replace les mangas dans le contexte culturel où ils sont nés, dans un face-à-face étonnant avec les oeuvres du musée. Exceptionnelle par son ampleur, MANGA, TOUT UN ART ! investie les trois galeries d'exposition du musée Guimet.MANGA, TOUT UN ART ! lève le voile sur la naissance et l'évolution complexe de la bande dessinée japonaise de la fin du 19e siècle à nos jours. Après avoir exploré les influences occidentales, la presse satirique, les premiers pas du dessin animé, le kamishibai (forme de théâtre de rue pour enfant) et la créativité d'Osamu Tezuka, le père du Manga moderne, l'exposition nous plonge dans la contre-culture et les revues qu'elle a suscitées, les nouvelles narrations et les jeux entre les genres ; elle revisite les titres bien connus de la pop culture japonaise établissant un dialogue entre leurs personnages et les collections du musée. Le premier volet de l'exposition se termine sur la présentation de robes de haute-couture inspirées par la culture manga.En écho à cette première galerie, une salle sera consacrée à la mondialement célèbre estampe de Hokusai, Sous la grande vague au large de Kanagawa, et à ses reprises dans les mangas et la BD franco-belge.Le troisième volet de l'exposition invite le visiteur à la découverte de l'univers méconnu des rouleaux peints et livres illustrés des 18e et 19e siècles, considérés pour l'occasion du point de vue de l'art des mangas et de ses procédés graphiques. Des bulles de rêve et des dialogues dans les images aux représentations des rayons de lumières et des flatuosités explosives, ces oeuvres témoignent de l'étendu des registres de l'art narratif japonais, de l'humour le plus désopilant aux récits les plus édifiants.Catalogue d'exposition – Manga. Tout un art ! Co-édition musée Guimet x Glénat. Collection Beaux livres Patrimoine. Couverture : © Tezuka Productions. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

LW1479 - Photography Lessons from Japanese Woodblock Prints I've been an admirer of Japanese woodblock prints (known as ukiyo-e) for quite some time now. Everyone is familiar, for example, with Hokusai's image The Great Wave Off Kanagawa from his project 36 Views of Mount Fuji. One of the things that's fascinating about these artists' work is how many times they did numbered series, e.g. 53 Stages of the Tokaido by Hiroshige, or one of my all-time favorites, 100 Aspects of the Moon by Yoshitoshi. There's a great deal to learn that we can adapt to photography about working in series. All previous episodes of our weekly podcast are available to members of LensWork Online. 30-day Trial Memberships are only $10. Instant access, terabytes of content, inspiration and ideas that expand daily with new content. Sign up for instant access! You might also be interested in. . . Every Picture Is a Compromise, a series at www.brooksjensenarts.com. and... "How to" tutorials and camera reviews are everywhere on YouTube, but if you're interested in photography and the creative life, you need to know about the incredible resources you can access as a member of LensWork Online.

Collecting mokuhanga has never been easier. You no longer need to visit galleries as often; you can purchase prints online from anywhere in the world, all from the comfort of your own home. But you'd be doing yourself a disservice to stop there. Seeing prints in person at galleries is a wonderful experience — it allows you to get up close to the work, to see what your potential investment looks like under the lights, and to speak with the people who work in the galleries and collections, who can help guide you toward the right decision. One such gallery is in Tokyo and New York and has a long history of showcasing wonderful contemporary prints — from mokuhanga and aquatint to lithography and other mediums. The Tolman Collection Tokyo, located in the Shibadaimon district of Minato, Tokyo, has been operating for over 50 years and enjoys a strong reputation both in Japan and around the world. In this episode of The Unfinished Print: A Mokuhanga Podcast, I speak with Allison Tolman of The Tolman Collection Tokyo. We discuss how the gallery began — from the hope and a dream of Allison's parents, Mary and Norman Tolman, who built a life and a    business in a new country, to their friendships with many of the most important printmakers of their time. Allison shares why prints remain so vital today, emphasizing their democratic nature. She also discusses the differences between contemporary printmakers in Japan and those in the West, as well as the unique experiences of selling prints in Tokyo versus at The Tolman Collection in New York. Please follow The Unfinished Print: A Mokuhanga Podcast and my own mokuhanga work on Instagram @andrezadoroznyprints or email me theunfinishedprint@gmail.com Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note if available. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Print publishers are given if known.  The Tolman Collection - Tokyo, New York Machida City of Graphic Arts - is a print gallery located in Machida City, Tokyo, Japan. More info can be found, here.  Kitaoka Fumio (1918-2007) - was a painter who moved onto mokuhanga later in life. Kitaoka was a sōsaku hanga printmaker whose works touched on anti-war themes and Japanese society, emigres and the working class.  Tsukiji Fish Market (1988)  Tadashige Ono (1909-1990) - was a socially conscience printmaker of Post-War Japan. Tadashige's early works were influenced by the west with German Expressionism and later in his career, as his personal politics began to change, Tadashige;'s prints began to focus on an industrial Japan.  House (Hiroshima) (1957) Tōkō Shinoda (1913-2021) - was a calligrapher and painter in Japan. Shinoda saw herself as an artist who combined painting and calligraphy together defying categorization. More information can be found, here from The Royal Ontario Museum, Toronto.  Sound (ca 1990) lithograph on paper 17 5/8" h x 23 3/8" w Clifton Karhu (1927-2007) -  was a mokuhanga printmaker based in Japan. Karhu lived in Japan for most of his life after studying with Tetsuo Yamada and Stanton Macdonald-Wright. HIs themes were of his home city of Kyoto, Japan. More information can be found, here.  Black Robe (1976)  shin hanga - is a style of Japanese woodblock printmaking that emerged in the early 20th century, marking the end of the nishiki-e period. Originating around 1915 under the direction of Watanabe Shōzaburō (1885-1962), the art form responded to the foreign demand for "traditional" Japanese imagery. Shin hanga artists focused on motifs like castles, bridges, famous landscapes, and bamboo forests. The style was initiated when Watanabe discovered Austrian artist Fritz Capelari (1884-1950) and commissioned him to design prints for Watanabe's budding printing house. This collaboration led to the evolution of shin hanga into a distinctive new style of Japanese woodblock printing. The shin hanga movement thrived until its inevitable decline after the Second World War (1939-1945). Shōzaburō Watanabe (1885-1962) - was one of the most important print publishers in Japan in the early 20th Century. His business acumen and desire to preserve the ukiyo-e tradition were incredibly influential for the artists and collectors in Japan and those around the world. Watanabe influenced other publishers, but his work in the genre is unparalleled. The shin-hanga (new print) movement is Watanabe's, collecting some of the best printers, carvers and designers to work for him. A great article by The Japan Times in 2022 discusses a touring exhibition of Watanabe's work called Shin Hanga: New Prints of Japan, which can be found here.  Kawamura Sayaka - is a mokuhanga printmaker based in Japan. Her work has an ethereal quality of mystery and fantasy. More information can be found on her Instagram.  Bon Voyage IV (2019) 27.56 " × 27.56 " AP - stands for Artist's Proof. When a printmaker is almost ready to print an edition, they will create a few prints that serve as proofs of the final image before the edition is printed. Gotō Hidehiko (b.1953) - is a mokuhanga printmaker and tool maker based in Japan. He makes and teaches seminars about the construction of the mokuhanga tool, the baren.  Sound Of The Waves (2016) 15" × 12" Zōjōji Daimon - is a Buddhist temple in Minato, Tokyo of the Jōdo-shū (Pure Land) sect of Buddhism David Rockefeller (1915-2017) - was an American economist and investment banker who led Chase Manhattan Corporation as its chairman and CEO. From 2004 until his passing in 2017, he was the oldest living member of the Rockefeller family. The youngest of five sons, he was the child of John D. Rockefeller Jr. and Abby Aldrich Rockefeller, and the grandson of John D. Rockefeller and Laura Spelman Rockefeller.  Hasegawa Yuichi (1945-2025) - was a woodblock printmaker from Aizu in Fukushima Prefecture. He was from a family of lacquerware makers. Hasegawa incorporated lacquer resin and metallic paints into his reduction woodblocks, giving them a distinctive texture and gleam. Deeply influenced by Zen and the natural world, he aimed to capture the power and splendor of nature in his prints.  Night Sky No. 5 (2000) Seiko Kawachi - is a mokuhanga printmaker and painter based in Japan. His work is known for its rich use of color and dynamic energy. A longtime printmaking instructor at Tama Art University, he experienced a turning point in his middle age when he began exploring the influence of Hokusai. Using contemporary materials, his large, powerful prints capture the movement and vitality of the natural world. Object: The Flying: Ki (The Flying: Introduction) (1985) mokuhanga and intaglio, 65" × 36" Tama Art University - located in Tokyo, Japan, is one of the country's leading institutions for art and design education. Founded in 1935, it offers programs in fine arts, design, architecture, and media arts, fostering both traditional and contemporary approaches to creativity. Known for its strong emphasis on experimentation and individual expression, Tama has produced many influential artists, designers, and educators who have shaped Japan's modern art scene. More info, here.  © Popular Wheat Productions logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :)    

Living life means opening ourselves to the wounds that come with it. Jan shares the story of a Japanese artist whose approach to his art carries lessons for how to live life with everything we have.

On this edition of The Arts Section, host Gary Zidek profiles a Chicago organization dedicated to keeping the tradition of film projection alive. He'll talk to executive director of the Chicago Film Society. The Dueling Critics, Kelly Kleiman and Jonathan Abarbanel, join Gary to review the musical adaptation of CATCH ME IF YOU CAN. Later in the show, Gary catches up with bestselling author Kerri Maher. And we'll revisit the Cleve Carney Museum of Art's Hokusai exhibit before it closes.

The Daily Quiz - Art and Literature Today's Questions: Question 1: Which author wrote 'J'accuse…!'? Question 2: What is the name of the sculpture by Rodin that portrays Paolo and Francesca, lovers from the Middle Ages? Question 3: Whose smile remained after the rest of it had vanished? Question 4: The painting "The Great Wave off Kanagawa" by Hokusai is a part of which art movement? Question 5: The painting "The Gleaners" by Jean-François Millet is a part of which art movement? Question 6: Which piece of written work starts with the line 'The family of Dashwood had been long settled in Sussex.'? Question 7: In which book series would you find the character 'Jacob Black'? Question 8: Who is the protagonist of Milton's Paradise Lost? This podcast is produced by Klassic Studios Learn more about your ad choices. Visit megaphone.fm/adchoices

#137 La gran ola” de Hokusai – Historia del arte con KenzaUn episodio dedicada a la famosa obra del Maestro Katsushika Hokusai. Historia del arte con Kenza - Obras que encienden el asombro. Una serie sobre el arte a través de la historia y las culturas. Se presentarán obras que trascienden el tiempo por su belleza y por lo que nos cuenta. En youtube y spotify. Nos puedes seguir a través de la página www.historiadelarteconkenza.wordpress.com para descubrir las obras del podcast y muchas más. Para mayor información sobre los cursos en línea favor de escribir a arte.kenza@gmail.com Producido por @RojoVenado #historiadelarte #historiadelarteconkenza #podcastdearte #podcastenespañol #HistoriaDelArte #ArteClásico #ArteVisual #ArteCultural #HistoriaYArte #MuseosDelMundo #GrandesArtistas #ArquitecturaHistórica #MovimientosArtísticos #PinturaClásica #EsculturA #HistoriaDeLaPintura #ArteYCultura #CuriosidadesDelArte #ArtistasFamosos #ObraMaestra #CulturaVisual Hosted on Acast. See acast.com/privacy for more information.

Welcome back to Artbit , we're diving into the heart of Tokyo's Sumida Ward—a place that's not only home to the modern hustle and bustle but also to an iconic artist whose influence is felt not just here, but across the globe. We're talking about none other than Katsushika Hokusai, the master of ukiyo-e, whose work has shaped not only the landscape of Japanese art but also the world of manga and modern visual storytelling.

The Daily Quiz - Art and Literature Today's Questions: Question 1: Who wrote "The Ugly Duckling" and "The Emperor's New Clothes"? Question 2: Which author wrote 'The Master and Margarita'? Question 3: The painting "The Great Wave off Kanagawa" by Hokusai is a part of which art movement? Question 4: Which author wrote 'The Labours of Hercules'? Question 5: Which author wrote 'And Quiet Flows the Don'? Question 6: Which author wrote 'Gulliver's Travels'? Question 7: Which artist painted "Portrait of Madame Recamier" Question 8: Who is the protagonist of Milton's Paradise Lost? This podcast is produced by Klassic Studios Learn more about your ad choices. Visit megaphone.fm/adchoices

Hal LaCroix discusses with Ivan six things which should be better known. Hal LaCroix lives outside Boston with his wife, Elahna. He has worked as a journalist at newspapers in New England, a reporter and editor at Harvard Medical School, a conservation writer for non-profits and an instructor at Boston University. Here and Beyond is his first novel, which is available at https://www.bloomsbury.com/uk/here-and-beyond-9781526678249/. Senator Charles Sumner. Sumner was a mid-19th century senator with laser focus on one issue: slavery. He had a profound impact on Lincoln, pushing him to expand rights of African Americans after emancipation. Sumner became epic villain in Confederacy, where souvenir canes commemorated the beating were hot items. Hokusai's 36 Views of Mt. Fuji. Fuji is sacred, a symbol of Japan. The 36 mostly long-range views, all around the compass, provide a wraparound view of Japanese life in 1831. Exoplanets. More than 5,000 have been confirmed so far, out of hundreds of billions of planets in the Milky Way galaxy. Until the 1990s no one even knew if there were any planets outside our solar system! Wingspan. This is a board game about birds that my wife and I are a bit obsessed with. Each player has a board with forest, grassland and water habitats. Boston Cream Pie and Boston Cream Donuts. My grandfather used to bring cakes and pies when he visited us on Cape Cod. He'd pull up in his Oldsmobile Cutlass with all these white boxes tied with string from Montilio's bakery. We Need a Global, Unifying Mission. We live on a planet with 8.2 billion people and the vast majority of us just know our neighborhood, our route back and forth to work. But on the spinning ark ship in Here and Beyond, the entire world is visible within the sphere. You look up and see buildings upside down, people upside down. This podcast is powered by ZenCast.fm

Dans cette édition :Le président Macron reçoit le Premier ministre et des ministres clés pour discuter des pistes d'économies budgétaires envisagées par Matignon, dans un contexte de pression permanente sur les finances publiques.Le ministre de l'Intérieur prépare un projet de loi visant à étendre et renforcer les pouvoirs de la police municipale, suscitant des réactions contrastées de la part des syndicats.Le vice-président des Républicains, François-Xavier Bellamy, dénonce l'ignorance de l'Union Européenne sur le cas de l'écrivain franco-algérien Boualem Sansal, toujours détenu en Algérie.Le président américain Donald Trump se dit confiant sur la libération prochaine d'otages israéliens retenus à Gaza, alors que des négociations sont en cours.Une influenceuse marseillaise a été violemment agressée à son domicile par trois hommes, un acte qualifié de "barbarie" par son avocat.Le musée du Château des Ducs de Bretagne à Nantes accueille une exposition consacrée aux œuvres du maître japonais de l'estampe Hokusai.Notre équipe a utilisé un outil d'Intelligence artificielle via les technologies d'Audiomeans© pour accompagner la création de ce contenu écrit.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

In this episode of Around the School Table, host Steve Davis speaks with Anthony Rowe, principal of Huntingdale Primary School in Melbourne — a pioneering bilingual school where students navigate their learning in both English and Japanese from their very first day. With half the curriculum delivered in Japanese, including subjects like mathematics—the school challenges traditional education models and is achieving remarkable academic outcomes. Rowe explains that far from being a barrier, bilingual education enhances student capability, building resilience and cognitive flexibility. Mathematics, often described as a language in itself, proved the ideal entry point for the school’s 50/50 bilingual programme. The results speak for themselves: Huntingdale’s mathematics outcomes significantly outperform similar schools across Victoria, a testament to both pedagogy and perseverance. Beyond the numbers, Huntingdale fosters cultural fluency and global citizenship. With students from over 40 cultural backgrounds, the school community embraces traditions such as the Japanese Undōkai sports day, classroom rituals like bowing, and artistic exploration of Japanese masters like Yayoi Kusama and Hokusai. These daily experiences cultivate curiosity, respect, and connection. The discussion also touches on the challenges of integrating students who join in later years without Japanese language foundations, and how the school’s robust support structures—including tailored learning plans and dedicated language support—help bridge the gap. Rowe reflects on leading a bilingual teaching team, the cultural nuances that shape collaboration, and the importance of aligning language programmes with local community needs and secondary pathways. For Huntingdale graduates, bilingualism isn’t just an academic asset—it’s a springboard to future studies, global careers, and enriched worldviews. This episode is a fascinating exploration of how language, culture, and education can combine to create more than just dual fluency—they can create confident, adaptable learners ready for a complex world.See omnystudio.com/listener for privacy information.

In this episode of Around the School Table, host Steve Davis speaks with Anthony Rowe, principal of Huntingdale Primary School in Melbourne — a pioneering bilingual school where students navigate their learning in both English and Japanese from their very first day. With half the curriculum delivered in Japanese, including subjects like mathematics—the school challenges traditional education models and is achieving remarkable academic outcomes. Rowe explains that far from being a barrier, bilingual education enhances student capability, building resilience and cognitive flexibility. Mathematics, often described as a language in itself, proved the ideal entry point for the school’s 50/50 bilingual programme. The results speak for themselves: Huntingdale’s mathematics outcomes significantly outperform similar schools across Victoria, a testament to both pedagogy and perseverance. Beyond the numbers, Huntingdale fosters cultural fluency and global citizenship. With students from over 40 cultural backgrounds, the school community embraces traditions such as the Japanese Undōkai sports day, classroom rituals like bowing, and artistic exploration of Japanese masters like Yayoi Kusama and Hokusai. These daily experiences cultivate curiosity, respect, and connection. The discussion also touches on the challenges of integrating students who join in later years without Japanese language foundations, and how the school’s robust support structures—including tailored learning plans and dedicated language support—help bridge the gap. Rowe reflects on leading a bilingual teaching team, the cultural nuances that shape collaboration, and the importance of aligning language programmes with local community needs and secondary pathways. For Huntingdale graduates, bilingualism isn’t just an academic asset—it’s a springboard to future studies, global careers, and enriched worldviews. This episode is a fascinating exploration of how language, culture, and education can combine to create more than just dual fluency—they can create confident, adaptable learners ready for a complex world.See omnystudio.com/listener for privacy information.

Presentación de Maxi Guerra en vivo en el Festival Estación Podcast (Madrid).Libros citados:Tata Vizcacha y Hokusai, Washington BenavidesEl secreto de la comida japonesa, Ryoko SekiguchiCanciones:El instrumento, Darnauchans/BenavidesSuzanne, You Want It Darker y The Goal, Leonard CohenInfinitas gracias a Maxi Martínez, Vermut Flores y a los colegas podcasters y equipo técnico del Festival.

On this edition of The Arts Section, host Gary Zidek sits down with the new artistic director of the 90-year-old Grant Park Music Festival. The Dueling Critics, Kelly Kleiman and Jonathan Abarbanel, stop by to preview all the summer plays and musicals they're most looking forward to seeing. Later in the show, Gary previews the new Hokusai exhibition that's opening in the western suburbs.

La vita e le opere principali di Katsushika Hokusai, celebre artista giapponese, autore della Grande Onda. Stile, temi e analisi della sua arte.

Back by popular demand, our second-ever live show!! Dr Kasia Tee and Dan Hancox take you behind the scenes of their recently opened exhibition ‘Cursed Objects in Museum Shops' at the Peltz Gallery. What does the history of neon signs, Hokusai's The Great Wave off Kanagawa and Lewis Chessmen socks have in common? As ever, expect the answer to be how life under late capitalism is producing some highly questionable tat. Sound production by the amazing Jade Bailey. ——- If you missed this event, don't worry - we have two more coming up! Millennium Tat - Wed 28 May, 7-8.30pm Join Dan and Kasia and two special guests - artist Darren Cullen and writer Imogen West-Knights – as they explore the spirit of the millennium via the museum gift shop. Book your place here. War, Memory and Tat - Wed 11 June, 7-8.30pm Join Kasia, Dan and three special guests – historian Dr Charlotte Lydia Riley, author Luke Turner and curator Kate Clements – as they explore the presence of war in the museum shop. Book your place here. We hope to see some of you IRL in the next two months! And don't worry, the actual full podcasts are going to keep on coming - there will be recordings of the above on your feeds soon, and a new flurry of fresh episodes... For more Cursed Everything: https://www.patreon.com/c/cursedobjects

We'd love to hear from you. Send us a text! The Naked Texture Artist is a podcast where VFX/animation veterans have deep and honest conversations about their challenges and growth as working artists.  Welcome to the sixth and penultimate slice from my conversation with the Dragon Lady. In this part I finally bring up the reason I wanted to talk to her: Is Myriam Catrin the world's best texture artist? Her work speaks for itself, but more than ability and talents, it is Myriam's humanity that make her one of the great and truly special artists. I am sure you will agree, when you have listened to her take on all the greatness talk. There is no sunshine without occasional darkness: Myriam shares a very personal episode, where her work broke her and how she managed to steer herself back to health again.  If you want to know the innerworkings of one of the best texture artists in VFX today, the highs and the lows, Myriam shares very generously and fearlessly of her experience. Enjoy! Myriam is a fantastic artist, who's work and interests reach far beyond VFX.  Do yourself a favour, please, and explore and support the amazing work Myriam also does:  https://www.artstation.com/myriamcatrin  Sadly her amazing comic book, Passages, is currently sold out. But look out for new print runs here:  https://shop.publicdomain.paris/product/passages-myriam-catrin  Myriam has also recently contributed beautiful artwork to the Modern Calligraphy Bible:  https://schifferbooks.com/products/modern-calligraphy-bible  As well as the exciting project Nariko's Voyage, which is in development for TV: https://www.narikosvoyage.com/  We also talk about the multi-facetted Martin Hill, who's excellent pottery can be found here: https://www.martinhillceramics.com/ Hokusai of legend:  https://images.app.goo.gl/S1PvUoHf7wVptqNJ6  We refer back to Steven Pressfield's indispensable book The War of Art. Read it many, many times. It will enable you to do your best work: https://stevenpressfield.com/books/the-war-of-art/  Myriam refers to the breakthrough style of Alberto Mielgo, who of course created the seminal Jibaro episode for Love Death + Robots  https://www.albertomielgo.com/  The Naked Texture Artist is produced by Marque Pierre Sondergaard. Support us on https://ko-fi.com/thenakedtextureartist Contact us on thenakedtextureartist@gmail.com Follow us on https://www.instagram.com/thenakedtextureartist/ Music copyright belongs to Tycho for the song Awake - https://tychomusic.com/ Additional sound effects from https://www.zapsplat.com

Before Monet painted water lilies or Degas sketched ballerinas, a wave was crashing in from the East. In this episode, we explore how Japanese woodblock prints—especially Hokusai's ‘The Great Wave off Kanagawa'—reshaped the way Western artists thought about space, subject, and form. From flattened perspective to everyday scenes, ukiyo-e wasn't just decorative—it was revolutionary. We'll unpack the rise of Japonisme, its deep (and sometimes uneasy) influence on Impressionism, and how one iconic wave helped turn the tide of art history. Today's image: Katsushika Hokusai, ‘Under the Wave off Kanagawa (Kanagawa oki nami ura),' (1830-32). Woodblock print; ink and color on paper. Metropolitan Museum of Art, New York. ______ New episodes every month. Let's keep in touch! Email: artofhistorypod@gmail.com Instagram: @artofhistorypodcast | @matta_of_fact

Hai mai sentito parlare di chi svuotò il mare… per un pizzico di sale?Dalle isole Fiji, una fiaba antica ci racconta di una vecchina, una zucca vuota e un incontro magico con l'oceano.

It's time for some hidden history, dear one!! Did you know one of Japan's most famous artists had a secret weapon? And no, it wasn't just his paintbrush! In this episode, we uncover the fascinating, overlooked story of Katsushika Oi, the daughter (and possible secret collaborator) of the legendary Hokusai! Oi wasn't just any artist—she was a bold, brilliant painter who worked in the shadow of her famous father. Her work, including the stunning 'Night Scene in the Yoshiwara,' showcased her mastery of light and color. But was she merely an assistant, or did she play a far bigger role in Hokusai's masterpieces? Join us as we dive into her life, her art, and the reasons history nearly erased her. Spoiler: This is hidden women's history at its finest! What You'll Learn in This Episode:

durée : 00:04:01 - L'ami.e du vendredi - par : Guillemette Odicino - Hommage à O-Ei, la troisième fille du peintre japonais Hokusai, ensevelie sous la vague de l'Histoire et de l'invisibilisation des femmes.

 https://www.iservalan.com https://www.taletellerclub.comChapter 2: Classical Antiquity – Pleasure, Power, and Myth(Greece, Rome, India, China, Japan)Erotic Art in the Classical World: Sensuality, Divinity, and the Human FormThe civilizations of Greece and Rome profoundly shaped Western attitudes toward eroticism, beauty, and the human body. Meanwhile, in Asia, India, China, and Japan developed their own rich traditions of erotic art, where sexuality was intertwined with spirituality, aesthetics, and philosophy. Across these cultures, erotic imagery was not just about desire—it was deeply connected to mythology, religious devotion, and social identity.The Greek Celebration of the Nude and the DivineAncient Greek art (c. 800–146 BCE) is renowned for its idealized representations of the human form, including sensual and erotic depictions. Unlike later Western traditions, which often moralized sexuality, the Greeks saw eroticism as an essential aspect of life, closely tied to their gods, heroes, and social structures.The Male Nude and Homoeroticism in Greek ArtGreek sculptures and vase paintings frequently depicted the nude male body as a symbol of beauty, strength, and divine perfection. The kouroi (statues of young men) and later the works of sculptors like Phidias, Polykleitos, and Praxiteles showcased a balance of realism and idealism.Homoeroticism played a significant role in Greek culture, particularly in the institution of pederasty, where older men (erastai) mentored and formed relationships with younger men (eromenoi). While controversial today, these relationships were embedded in Greek education, social bonding, and military camaraderie. Erotic vase paintings and sculptures, such as those on the Warren Cup, openly depicted same-sex relationships without stigma.Aphrodite and the Feminine EroticThe goddess Aphrodite, associated with love and beauty, was a central figure in Greek erotic art. The first known fully nude female sculpture, Aphrodite of Knidos by Praxiteles (c. 360 BCE), marked a shift in the portrayal of female sensuality. While earlier depictions of women were clothed, this work introduced the eroticized nude female body as an artistic norm in Western art.Rome: Eroticism, Excess, and Moral ContradictionsThe Romans inherited much from Greek artistic traditions but added their own flair for luxury, satire, and explicit eroticism. Roman erotic art ranged from refined frescoes in wealthy villas to bawdy graffiti in brothels, revealing a culture that embraced sexuality in both elite and everyday contexts.Pompeii and Herculaneum: A Window into Roman EroticismThe eruption of Mount Vesuvius in 79 CE preserved vast amounts of erotic art in Pompeii and Herculaneum, offering an unparalleled glimpse into Roman attitudes toward sexuality. Frescoes from the Villa of the Mysteries and Lupanar (brothel) depict explicit scenes, suggesting that sexuality was not hidden but woven into public and private life.One of the most famous artifacts, the Priapus fresco, shows the god Priapus weighing his exaggerated phallus against a bag of money—a humorous but symbolic image of fertility and prosperity. Romans often associated large phallic imagery with protection, luck, and virility.Satire and Social Commentary in Roman EroticaWhile erotic art was common, Rome also saw moral pushback against sexual excess. Writers like Ovid (Metamorphoses, Ars Amatoria) celebrated love and seduction, while others, like Juvenal, satirized the decadence of Roman society. The Augustan moral reforms (1st century BCE) attempted to impose sexual restraint, yet erotic art continued to flourish, reflecting the contradictions within Roman attitudes toward pleasure.Erotic Art in Ancient India: The Sacred and the SensualEroticism in ancient India was deeply entwined with spirituality, particularly through Hinduism and Tantra. Unlike in the West, where sexuality was often seen in opposition to religious purity, Indian art frequently depicted sensuality as an extension of divine energy.Temple Eroticism: Khajuraho and KonarkThe Khajuraho temple complex (c. 950–1050 CE) and the Konark Sun Temple (c. 13th century CE) feature intricate sculptures of deities, lovers, and erotic acts. These reliefs, far from being mere decoration, reflect the Hindu belief that sexual union mirrors cosmic unity and divine creation.The Kama Sutra and Indian Erotic TextsAttributed to Vātsyāyana, the Kama Sutra (3rd century CE) is one of the most famous texts on love and eroticism. Contrary to its popular perception as a sex manual, it is a sophisticated treatise on pleasure, relationships, and aesthetics. Accompanying illustrations in later manuscripts helped visualize its teachings, making it one of the most influential works of erotic literature.Erotic Art in Ancient China: Daoism and Sensual BalanceIn China, erotic art was shaped by Confucian ideals, Daoist philosophy, and later Buddhist influences. While Confucianism promoted restraint, Daoism embraced sexuality as a path to harmony and longevity.Daoist Sexual Arts and Painted ScrollsDaoist texts, such as the "Art of the Bedchamber", describe sexual practices believed to extend life and health. Erotic scroll paintings from the Tang (618–907 CE) and Song (960–1279 CE) dynasties often depicted intimate scenes with poetic inscriptions, emphasizing sensuality rather than crude explicitness.Later, during the Ming (1368–1644) and Qing (1644–1912) dynasties, erotic books known as "spring pictures" (春宫图) became popular among the elite, blending humor, philosophy, and eroticism.Japan's Shunga: The Floating World of SensualityJapanese erotic art, or Shunga (春画), flourished during the Edo period (1603–1868). These woodblock prints, created by masters such as Hokusai and Utamaro, depicted erotic encounters with both aesthetic refinement and explicit detail. Unlike in the West, where erotic art often faced suppression, Shunga was widely enjoyed across social classes.Shunga as Art, Satire, and InstructionShunga prints were not just pornographic; they served multiple purposes, including sexual education, humor, and even political satire. Some depicted fantastical elements, such as Hokusai's famous "The Dream of the Fisherman's Wife", blending eroticism with mythology.Conclusion: Classical Eroticism as a Reflection of CultureThe erotic art of classical antiquity reveals a diversity of attitudes toward sexuality:Idealized beauty and divine connection – Greek and Roman art celebrated the nude as an emblem of perfection.Religious and cosmic symbolism – Hindu and Daoist traditions saw sexuality as a path to spiritual enlightenment.Humor and satire – Roman and Japanese art often infused eroticism with wit and social commentary.While some traditions embraced erotic art as sacred, others saw it as a source of indulgence or controversy. The tension between openness and censorship would continue to shape erotic art in the centuries to come.The Warren Cup (1st century CE, Roman) A silver drinking cup featuring detailed homoerotic scenes, the Warren Cup provides insight into Roman attitudes toward male-male relationships. Hidden for centuries, it is now a key artifact in LGBTQ+ art history.Khajuraho Temple Reliefs (10th–11th century CE, India)These intricate sculptures depict a range of erotic acts, reinforcing the Hindu belief in sexuality as a divine force. Unlike Western art, which often separated the sacred from the sensual, Khajuraho integrates both seamlessly.The Frescoes of the Villa of the Mysteries (1st Century BCE, Pompeii, Roman Empire)The Villa of the Mysteries in Pompeii contains one of the most famous and enigmatic fresco cycles from ancient Rome. While not explicitly erotic, many scholars believe the images depict a Dionysian initiation ritual, potentially related to sacred sexuality and mystery cults. The frescoes feature semi-nude figures, suggestive interactions, and themes of divine ecstasy, linking sexuality to spiritual transformation. This example highlights how Romans often blended eroticism with religious and ritualistic themes rather than treating it as purely physical pleasure.Shunga by Kitagawa Utamaro (1753–1806, Edo Period, Japan)Kitagawa Utamaro, one of the most celebrated ukiyo-e artists, created numerous Shunga (春画, "spring pictures"), which depicted intimate encounters with exquisite detail and elegance. His prints, such as Poem of the Pillow, emphasized the sensuality of touch, fabric, and movement, offering a refined and almost poetic take on erotic imagery. His work also often featured women's pleasure and agency, making it a significant contribution to the study of feminine desire in erotic art.#stencilart #originalart #investment art #blinkfrictionart #blinkfrictionfashion #reclaimart #reclaimfashion

Vielen Dank an alle, die uns auch diesmal wieder so viel spannendes Feedback geschickt haben. Wir besprechen in diesem FeedGAG die Folgen ab GAG477 bis GAG489. Aus Zeitgründen haben wir die Postkarten aufgeteilt, der andere Teil landet im nächsten FeedGAG. Alle Infos zur 500. Folge: https://www.geschichte.fm/allgemein/jubilaeumsfolge-gag500/ /// Podcasts des Monats * MAMMUT - Ein Mord in meiner Familie und meine Suche nach Antworten: https://www.ardaudiothek.de/sendung/mammut-ein-mord-in-meiner-familie-und-meine-suche-nach-antworten/13862515/ * Food Crimes - Was schmeckt dahinter? – https://food-crimes.podigee.io/ /// Tools * GAG Tools – https://gag.tools * Chronologisch Hören – https://docs.google.com/spreadsheets/d/1NTHLJ2dXjYzTl28tmD_aj-8g-lZU00N_I18T0v9nFoo/edit?gid=681791364#gid=681791364 * Zufällige Folgen Bookmarklet: Hier der Code als `copy-paste-fire-and-forget` Version (öffnet neuen Tab): ``` javascript:(()=>{var url="[https://www.geschichte.fm/archiv/](https://www.geschichte.fm/podcast/)";var maxEpisode;var now=new Date();var first=new Date("2015-10-01");var diff=(now.getTime()-first.getTime())/1000; diff/=(60*60*24*7);maxEpisode = Math.abs(Math.round(diff));var episode = Math.floor(Math.random()*maxEpisode);if(episode270){url=" "+url+"gag"+episode;}window.open(url,"_blank");})(); ``` // Museen & Ausstellungen Okinawa Prefectural Museum & Art Museum – Ausstellung zur Geschichte Ryukyus und Okinawas Website des Museums: https://www.museums.pref.okinawa.jp/en/oki_museum Brooke Heritage Museum, Kuching – Über die weißen Rajas von Sarawak Website des Museums: https://www.brookemuseum.com/ Bayerische Staatsbibliothek, München Ausstellung: https://www.bsb-muenchen.de/veranstaltungen-und-ausstellungen/article/farben-japans-holzschnitte-aus-der-sammlung-der-bayerischen-staatsbibliothek-6502/ Sumida Hokusai Museum, Tokio – Alles über Hokusai & Ukiyo-e Offizielle Website: https://hokusai-museum.jp/ British Museum: „The Great Wave and its 111 Versions“ YouTube-Video: https://youtu.be/U_025NB8alw Artikel Japan Times: Warum die Ryukyu-Sprachen vom Aussterben bedroht sind Artikel lesen: https://www.japantimes.co.jp/community/2020/06/15/voices/okinawan-language/ BBC: Der schwierige Status Okinawas in Japan Artikel lesen: https://www.bbc.com/news/world-asia-49182716 Der Halley'sche Komet und die Panik von 1910 NASA-Artikel: https://solarsystem.nasa.gov/asteroids-comets-and-meteors/comets/halley/in-depth/ „Der Jupiter-Effekt“ – Das Pseudowissenschafts-Buch von 1974 Wikipedia-Seite: https://en.wikipedia.org/wiki/The_Jupiter_Effect DailyArt: „How Japanese Woodcuts Were Made“ Artikel lesen: https://www.dailyartmagazine.com/how-japanese-woodcuts-are-made/ Popkultur & Empfehlungen Film „Profound Desires of the Gods“ (1968) IMDb-Seite: https://www.imdb.com/title/tt0063538/ „Europa Universalis IV“ – Three Mountains Achievement Spielinfos auf Paradox: https://www.paradoxinteractive.com/games/europa-universalis-iv/about Dokumentation „The Pen: Mightier Than The Sword“ – Die Geschichte des Kugelschreibers YouTube-Video: https://www.youtube.com/watch?v=w6wCrBqHdxs TV-Serie „Sandokan – Der Tiger von Malaysia“ (1976) – Über Piraten und britische Kolonialherrschaft in Borneo IMDb-Seite: https://www.imdb.com/title/tt0073977/ Film „Edge of the World“ (2021) – James Brooke als Abenteuerfilm mit Jonathan Rhys Meyers Trailer & Infos: https://www.imdb.com/title/tt3006472/ Animationsfilm „Miss Hokusai“ (2015) IMDb-Seite: https://www.imdb.com/title/tt3689910/ Fast Forward Science: Die Ausschreibung läuft noch bis 30. April 2025 https://fastforwardscience.de/ Methodisch inkorrekt! sprechen in ihrer Folge über die IG-Nobelpreise über eine Studie, in der es um die Blauen Zonen geht https://minkorrekt.de/mi328-ig-nobelpreise-2024/

En este episodio de nuestro podcast, exploramos la fascinante vida y obra de Katsushika Hokusai, uno de los artistas más influyentes del movimiento ukiyo-e. Sumérgete en el mundo del arte japonés tradicional mientras analizamos sus icónicas estampas, como la famosa "Gran ola de Kanagawa". Descubre cómo Hokusai revolucionó el grabado japonés y cómo su estilo único ha dejado una huella indeleble en la historia del arte. Además, hablaremos sobre el contexto cultural del ukiyo-e, sus temas recurrentes y cómo este arte refleja la vida cotidiana y la belleza efímera del período Edo. ¡No te pierdas este viaje visual y sonoro a través de la maestría de Hokusai y el ukiyo-e!

Wir springen in dieser Folge in die 1830er Jahre. Es ist jenes Jahrzehnt, in dem der zu jenem Zeitpunkt schon über 70-jährige Künstler Katsushika Hokusai ein Bild kreiert, das bald nicht nur in Japan, sondern auf der ganzen Welt Berühmtheit erlangen wird. Wir sprechen in dieser Folge über die sogenannte "Große Welle", einen Holzschnitt, der wie kaum ein anderes Kunstwerk die Fantasie der Menschen beflügelt – und zwar bis heute. //Erwähnte Folgen - GAG228: Berliner Blau – die Erfindung einer Farbe - https://gadg.fm/228 - GAG255: Die 47 Ronin - https://gadg.fm/255 - GAG311: Der Imjin-Krieg - https://gadg.fm/311 - GAG478: Das Königreich Ryukyu - https://gadg.fm/478 - GAG323: Die Republik Ezo und das Ende des Shogunats - https://gadg.fm/323 - GAG34: Tee, Silber und Rauschmittel - https://gadg.fm/34 Literatur - Christine M. E. Guth. Hokusai's Great Wave, 2015 - C.J. Holmes. Katsushika Hokusai, 2023 - Diverse Hokusai Manga Ausgaben gibt's auf archive.org. Eine davon ist diese hier: https://archive.org/details/hokusaimangathes10kats/mode/2up Das Episodenbild zeigt einen Teil des Holzschnitts "Unter der Welle vor Kanagawa" von Katsushika Hokusai. //Aus unserer Werbung Du möchtest mehr über unsere Werbepartner erfahren? Hier findest du alle Infos & Rabatte: https://linktr.ee/GeschichtenausderGeschichte //Wir haben auch ein Buch geschrieben: Wer es erwerben will, es ist überall im Handel, aber auch direkt über den Verlag zu erwerben: https://www.piper.de/buecher/geschichten-aus-der-geschichte-isbn-978-3-492-06363-0 Wer Becher, T-Shirts oder Hoodies erwerben will: Die gibt's unter https://geschichte.shop Wer unsere Folgen lieber ohne Werbung anhören will, kann das über eine kleine Unterstützung auf Steady oder ein Abo des GeschichteFM-Plus Kanals auf Apple Podcasts tun. Wir freuen uns, wenn ihr den Podcast bei Apple Podcasts oder wo auch immer dies möglich ist rezensiert oder bewertet. Wir freuen uns auch immer, wenn ihr euren Freundinnen und Freunden, Kolleginnen und Kollegen oder sogar Nachbarinnen und Nachbarn von uns erzählt! Du möchtest Werbung in diesem Podcast schalten? Dann erfahre hier mehr über die Werbemöglichkeiten bei Seven.One Audio: https://www.seven.one/portfolio/sevenone-audio

Bob Pop responde en su consultorio a una oyente enamorada de un hombre muchos más joven. Rafa Cabeleira y Galder Reguera repasan la lista de jugadores que odian el fútbol. El Artesano nos enseña a mirar con otros ojos  'La gran ola de Kanagawa', de Hokusai . Y en 'Mitos 2.0' preguntamos a los oyentes si es cierto que los taxistas son los que más saben sobre todo el mundo.

Pablo Ortiz de Zárate, nuestro Arte-Sano, nos trae la "Gran ola" de Hokusai: Una representación de superación y resistencia como antídoto al estrés y la ansiedad 

This week: the Los Angeles wildfires. The Art Newspaper's West Coast contributing editor in LA, Jori Finkel, tells our associate digital editor, Alexander Morrison, about the devastation in Southern California, and its effect on artists and institutions. The World Monuments Fund (WMF), the independent organisation devoted to safeguarding global heritage has released its biennial World Monuments Watch, a list of 25 sites that are potentially threatened. The aim of the list is, according to the WMF to “mobilise action, build public awareness, and demonstrate how heritage can help communities confront the crucial issues of our time”. Ben Luke talks to John Darlington, the director of projects for WMF Britain, who also reflects on the future of the organisation's project to train Syrian refugees in stonemasonry skills, in the wake of the change in government in Syria. And this episode's Work of the Week is All About Painting in Colour: An Illustrated Book, a portfolio in two volumes made by the leading artist of the late Edo period in Japan, Katsushika Hokusai. The last of his drawing manuals, made by the artist at the very end of his life, it features in a new book, Hokusai's Method. We talk to Ryoko Matsuba, one of the authors of the new book.Hokusai's Method, with texts by Kyoko Wada and Ryoko Matsuba, is published by Thames and Hudson. It is out on 23 January in the UK, and priced £35, and on 4 February in the US, priced $45.The Art Newspaper's book The Year Ahead 2025, an authoritative guide to the year's unmissable art exhibitions, museum openings and significant art events, is still available to buy at theartnewspaper.com for £14.99 or the equivalent in your currency. Buy it here. Hosted on Acast. See acast.com/privacy for more information.

Mes chers camarades, bien le bonjour ! Vous pourrez écouter dans quelques jours sur votre plateforme de podcast préférée un nouvel entretien, en compagnie de Delphine Mulard, une spécialiste de l'art japonais de la période Edo, entre le 17e et le 19e siècle. Cet entretien a été l'occasion de discuter livre, imprimerie, édition, et estampes au Japon à cette époque. Et justement en parlant d'estampes japonaises, n'avez-vous pas en tête l'une d'entre-elles, sur laquelle on voit une grande vague ? C'est la grande vague de Kanagawa, qui fait partie d'une série réalisée par Hokusai au 18e siècle. Et cette vague, elle a rencontré énormément de succès parmi les collectionneurs occidentaux de l'époque, au point que le British Museum a consacré une étude à ses différentes reproductions il y a quelques années. Alors comment expliquer un tel engouement ? C'est ce que va nous révéler Delphine dans un instant, alors bonne écoute ! Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

durée : 00:28:58 - Les Pieds sur terre - par : Sonia Kronlund, Elise Andrieu - À Saint-Dizier, l'équipe municipale a transformé tous les panneaux publicitaires en œuvres d'art. À la place des réclames, des reproductions de Cézanne, Van Gogh, Hokusai, Manet, Delacroix, Botticelli… La ville devient un musée à ciel ouvert pour contourner la morosité ambiante. - réalisation : Emmanuel Geoffroy

Wir springen in dieser Folge ins 14. Jahrhundert. Ort unserer Geschichte ist das Ostchinesische Meer, wo sich in jener Zeit zwischen China und Japan ein kleines Königreich zu einer der größten Wirtschaftsmächte der Region emporschwingt. Wir sprechen in dieser Folge über das Königreich Ryukyu, das in den Jahrhunderten seiner Existenz eine der wohl außergewöhnlichsten Positionen der Zeit innehatte. //Erwähnte Folgen - GAG311: Der Imjin-Krieg – https://gadg.fm/311 - GAG323: Die Republik Ezo und das Ende des Shogunats – https://gadg.fm/323 - GAG151: Manjirō, der erste Japaner in Amerika – https://gadg.fm/151 //Literatur - George Kerr. Okinawa: The History of an Island People. Tuttle Publishing, 2018. - Gregory Smits. Maritime Ryukyu, 1050–1650. University of Hawaii Press, 2018. - Mamoru Akamine. The Ryukyu Kingdom: Cornerstone of East Asia. University of Hawaii Press, 2016. - 白瑞唐 Thomas P. Barrett トーマス・バレット. „Okamoto Takashi, “Rethinking the ‘Dual Dependence' of the Ryukyu Kingdom,” Trans. Thomas P. Barrett, The International History Review (August 2024): 1–13.“ The International History Review, 1. Januar 2024. Das Episodenbild zeigt eine Darstellung Ryukyus von Hokusai aus dem 19. Jahrhundert. //Aus unserer Werbung Du möchtest mehr über unsere Werbepartner erfahren? Hier findest du alle Infos & Rabatte: https://linktr.ee/GeschichtenausderGeschichte //Wir haben auch ein Buch geschrieben: Wer es erwerben will, es ist überall im Handel, aber auch direkt über den Verlag zu erwerben: https://www.piper.de/buecher/geschichten-aus-der-geschichte-isbn-978-3-492-06363-0 Wer Becher, T-Shirts oder Hoodies erwerben will: Die gibt's unter https://geschichte.shop Wer unsere Folgen lieber ohne Werbung anhören will, kann das über eine kleine Unterstützung auf Steady oder ein Abo des GeschichteFM-Plus Kanals auf Apple Podcasts tun. Wir freuen uns, wenn ihr den Podcast bei Apple Podcasts oder wo auch immer dies möglich ist rezensiert oder bewertet. Wir freuen uns auch immer, wenn ihr euren Freundinnen und Freunden, Kolleginnen und Kollegen oder sogar Nachbarinnen und Nachbarn von uns erzählt! Du möchtest Werbung in diesem Podcast schalten? Dann erfahre hier mehr über die Werbemöglichkeiten bei Seven.One Audio: https://www.seven.one/portfolio/sevenone-audio

Nous sommes au début de années 1830 à Edo, aujourd'hui Tokyo. Âgé de 75 ans environ, Katsushika Hokusai, peintre, dessinateur et graveur, préfaçant l'une de ses séries les plus célèbres, « Les Cent vues du mont Fuji », dont la fameuse « Vague » est extraite ou « Grande vague de Kanagawa », Hokusai qui se fait appeler « le vieillard fou de dessin » écrit : « Depuis l'âge de six ans, j'avais la manie de dessiner les formes des objets. Vers l'âge de cinquante, j'ai publié une infinité de dessins ; mais je suis mécontent de tout ce que j'ai produit avant l'âge de septante ans. C'est à l'âge de septante-trois ans que j'ai compris à peu près la forme et la nature vraie des oiseaux, des poissons, des plantes, etc. Par conséquent, à l'âge de nonante ans, j'aurai fait beaucoup de progrès, j'arriverai au fond des choses ; à cent, je serai décidément parvenu à un état supérieur, indéfinissable, et à l'âge de cent-dix, soit un point, soit une ligne, tout sera vivant. Et l'artiste de conclure très malicieusement : Je demande à ceux qui vivront autant que moi de voir si je tiens parole. » Au cours de sa très longue carrière, Hokusai a pourtant réalisé une œuvre considérable que l'on estime à 3 000 tirages couleur, des illustrations pour plus de 200 livres, des centaines de dessins et plus de 1 000 peintures, sans compter les pièces détruites ou disparues. Mais c'est pour l'une d'entre elle, en particulier, qu'il est devenu une icône : « La vague » qui est, aujourd'hui comme « La joconde » de l'art japonais, reproduite à l'infini sur toute sortes de supports : T.shirts, vaisselles, posters, montres etc. Hokusai, dans son pays, est une révolution à lui tout seul et au-delà, une source capitale d'influence en Occident, pour les Impressionnistes, notamment. Alors, laissons-nous porter, aujourd'hui, par la vague Hokusai … Avec nous : Anne Hustache, historienne de l'art. Sujets traités : Katsushika Hokusai, peintre, dessinateur , graveur, Tokyo, Kanagawa, vague Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be :https://auvio.rtbf.be/emission/5936 Intéressés par l'histoire ? Vous pourriez également aimer nos autres podcasts : L'Histoire Continue: https://audmns.com/kSbpELwL'heure H : https://audmns.com/YagLLiKEt sa version à écouter en famille : La Mini Heure H https://audmns.com/YagLLiKAinsi que nos séries historiques :Chili, le Pays de mes Histoires : https://audmns.com/XHbnevhD-Day : https://audmns.com/JWRdPYIJoséphine Baker : https://audmns.com/wCfhoEwLa folle histoire de l'aviation : https://audmns.com/xAWjyWCLes Jeux Olympiques, l'étonnant miroir de notre Histoire : https://audmns.com/ZEIihzZMarguerite, la Voix d'une Résistante : https://audmns.com/zFDehnENapoléon, le crépuscule de l'Aigle : https://audmns.com/DcdnIUnUn Jour dans le Sport : https://audmns.com/xXlkHMHSous le sable des Pyramides : https://audmns.com/rXfVppvN'oubliez pas de vous y abonner pour ne rien manquer.Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

Ο Δημήτρης μιλάει για την εμπειρία του στην Ιαπωνία και σχετικά με το ταξίδι με γκρουπ σε σύγκριση με το τα ταξιδεύει κανείς μόνος του. Σημειώσεις εκπομπής Calle 13 από Ματίλντ (https://www.youtube.com/watch?v=DkFJE8ZdeG8) Spotted by Locals (https://www.spottedbylocals.com) Tzapanesk (https://www.facebook.com/tzapanesk/?locale=el_GR) Hokusai (https://en.wikipedia.org/wiki/Hokusai) Βίντεο με ελάφια Νάρα (https://www.youtube.com/watch?v=UQ3yFq9vWM8) Miyajima (https://en.wikipedia.org/wiki/Itsukushima) Atom Bomb Dome (https://en.wikipedia.org/wiki/Hiroshima_Peace_Memorial) Απομαγνητοφώνηση Δημήτρης: [0:16] Γεια σας και καλώς ήρθατε στο Easy Greek Podcast, το podcast που σας μαθαίνει ελληνικά με καθημερινούς αυθεντικούς διαλόγους. Είμαι ο Δημήτρης και έχω μαζί μου σήμερα μετά από κάποιες εβδομάδες την... Μαριλένα: [0:34] Πολύ καιρό, ε; Πόσος καιρός έχει περάσει; Δημήτρης: [0:37] Δεν είπες το όνομά σου, δεν πειράζει όμως. Μαριλένα: [0:38] Α, ναι. Γεια σας, παιδιά! Είμαι η Μαριλένα του Easy... Ε, έφυγε και η βέρα. Είμαι η Μαριλένα τoυ Easy Greek! Μετά από καιρό πίσω στο στούντιο μαζί με τον Δημήτρη. Δημήτρης: [0:53] Πώς το λένε στα ιαπωνικά... είναι μια λέξη που μ' αρέσει πολύ. «Hisashiburi». Μαριλένα: [1:00] Α, ξεκινήσαμε! Τι είναι το «Hisashiburi»; Δημήτρης: [1:05] Σημαίνει «σαν τα χιόνια», κάπως έτσι. Καιρό έχουμε να τα πούμε. Μαριλένα: [1:08] Α, οκέι! Τέλεια. Δημήτρη, γιατί έχουμε τόσο καιρό να κάνουμε podcast; Πού ήσουνα; Τι έκανες; Δημήτρης: [1:16] Κοίτα. Έγινε ένα μπέρδεμα γενικά. Το podcast που 'χαμε βγάλει το τελευταίο που ήτανε για τους κήπους (α!) που είχα πει ότι θα έβγαινε όσο ήμουνα στο Κιότο, τελικά δεν βγήκε όσο ήμουνα στο Κιότο, γιατί έγινε μια βλακεία και δεν πήρα μαζί μου τη μέρα που έφυγα τα αρχεία του podcast, οπότε... και δεν κατάφερες να μου τα στείλεις εσύ, οπότε έπρεπε να το βγάλω τώρα που γύρισα, χτες γύρισα από την Ιαπωνία... (Τι ωραία!), όπως αναφέραμε την τελευταία φορά. Ναι, ήμουνα στη Ιαπωνία δύο εβδομάδες, γύρισα σήμερα... ε, όχι σήμερα, γύρισα χθες. Για την υπόλοιπη απομαγνητοφώνηση, γίνετε μέλη μας! (https://bit.ly/EaGrPodcast)

When embarking on your mokuhanga journey, whether through making or collecting, one name stands out above the rest: (pause) Yoshida. The Yoshida family of artists have helped create some of the most important and exciting mokuhanga prints of the last 100 years. Their designs, techniques, and marketing transformed the perception of prints in Japan and around the world.   I speak with Dr. Monika Hinkel, Lecturer in the Arts of East Asia at SOAS (the School of Oriental and African Studies) at the University of London and an Academic Member of the Japan Research Centre. Dr. Hinkel is also the curator of the current exhibtion (at the time of recording)  about the Yoshida family of artists, titled Yoshida: Three Generations of Printmaking, being held at the Dulwich Picture Gallery in London, England.   Dr. Hinkel joins me to discuss the Yoshida family, from Hiroshi to Ayomi, the exhibition at the Dulwich Picture Gallery—the first of its kind in the United Kingdom—the Yoshida family's history, and their impact on the global art community.   Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me at theunfinishedprint@gmail.com  Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note if available. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Print publishers are given if known. Dulwich Picture Gallery - located in London, England the Dulwich Picture Gallery is the worlds first public "purpose-built" public art gallery founded in 1811.  Robert Rauschenberg (1925–2008) - was an American artist known for his innovative and boundary-defying work that blurred the lines between painting, sculpture, and everyday life. Emerging in the 1950s, Rauschenberg challenged the conventions of traditional art with his "Combines," a series of works that incorporated found objects, photographs, and non-traditional materials into paintings, creating dynamic, multi-dimensional pieces. Characterized by a spirit of experimentation and a desire to break down the distinctions between art and the real world, Rauschenberg played a crucial role in the transition from Abstract Expressionism to Pop Art. Charlene (1954) mixed media Pop Art - was an art movement from the 1950s and 1960s that incorporated imagery from popular culture, such as advertising, comic books, and consumer goods. It challenged traditional art by blurring the lines between high art and everyday life. Key figures like Andy Warhol and Roy Lichtenstein used bold colors and familiar icons to both celebrate and critique consumer culture, making Pop Art one of the most influential movements in modern art. Yoshida: Three Generations of Japanese Printmakers - is the current exhibition at the Dulwich Picture Gallery from June 19, 2024 -  November 3, 2024.  Yoshida Hiroshi (1876-1950) - a watercolorist, oil painter, and woodblock printmaker. Is associated with the resurgence of the woodblock print in Japan, and in the West. It was his early relationship with Watanabe Shōzaburō, having his first seven prints printed by the Shōzaburō atelier. This experience made Hiroshi believe that he could hire his own carvers and printers and produce woodblock prints, which he did in 1925.  Kumoi Cherry Tree 23" x 29 1/8 " (1926) Yoshida Fujio (1887-1997) - the wife of Hiroshi Yoshida and the mother of Tōshi Yoshida (1911-1995) and Hodaka Yoshida. Fujio was so much more than a mother and wife. She had a long and storied career as a painter and printmaker. Fujio's work used her travels and personal experiences to make her work. Subjects such as Japan during The Pacific War, abstraction, portraits, landscapes, still life, and nature were some of her themes. Her painting mediums were watercolour and oil. Her print work was designed by her and carved by Fujio.  Flower - B (1954) 15 3/4" x 10 5/8" Yoshida Tōshi (1911-1995) - was the second child of Hiroshi Yoshida and Fujio Yoshida, although the first to survive childhood. Beginning with oil paintings and then apprenticing under his father with woodblock cutting. By 1940 Tōshi started to make his mokuhanga. After his father's death in 1950, Tōshi began to experiment with abstract works and travel to the United States. Later travels to Africa evolved his prints, inspiring Tōshi with the world he experienced as his work focused on animals and nature.  American Girl A (1954) 15 7/8" x 11 1/8" Yoshida Chizuko (1924-2017) - was the wife of painter and printmaker Hodaka Yoshida. Beginning as an abstract painter, Chizuko, after a meeting with sōsaku hanga printmaker Onchi Kōshirō (1891-1955), Chizuko became interested in printmaking. Chizuko enjoyed the abstraction of art, and this was her central theme of expression. Like all Yoshida artists, travel greatly inspired Chizuko's work. She incorporated the colours and flavours of the world into her prints. Jazz (1953) 15 3/4" x 11" Yoshida Hodaka (1926-1995) - was the second son of woodblock printmaker and designer Hiroshi Yoshida (1876-1950). Hodaka Yoshida's work was abstract, beginning with painting and evolving into printmaking. His inspirations varied as his career continued throughout his life, but Hodaka Yoshida's work generally focused on nature, "primitive" art, Buddhism, the elements, and landscapes. Hodaka Yoshida's print work used woodcut, photo etching, collage, and lithography, collaborating with many of these mediums and making original and fantastic works. Outside of prints Hodaka Yoshida also painted and created sculptures. Abstract (1958) 11" x 15 7/8" Yoshida Ayomi - is the daughter of Chizuko and Hodaka Yoshida. She is a visual artist who works in mokuhanga, installations and commercial design. Ayomi's subject matter is colour, lines, water, and shape. Ayomi's lecture referred to by Jeannie at PAM can be found here. She teaches printmaking and art. You can find more info here.  Spring Rain (2018) woodblock installation  Kawase Hasui (1883-1957), a designer of more than six hundred woodblock prints, is one of the most famous artists of the shin-hanga movement of the early twentieth century. Hasui began his career under the guidance of Kaburaki Kiyokata (1878-1971), joining several artistic societies early on. However, it wasn't until he joined the Watanabe atelier in 1918 that he began to gain significant recognition. Watanabe Shōzaburō (1885-1962) commissioned Hasui to design landscapes of the Japanese countryside, small towns, and scenes of everyday life. Hasui also worked closely with the carvers and printers to achieve the precise quality he envisioned for his prints. Spring Rain at Sakurada Gate (1952) 10 3/8" x 15 3/8" Shōzaburō Watanabe (1885-1962) - was one of the most important print publishers in Japan in the early 20th Century. His business acumen and desire to preserve the ukiyo-e tradition were incredibly influential for the artists and collectors in Japan and those around the world. Watanabe influenced other publishers, but his work in the genre is unparalleled. The shin-hanga (new print) movement is Watanabe's, collecting some of the best printers, carvers and designers to work for him. A great article by The Japan Times in 2022 discusses a touring exhibition of Watanabe's work called Shin Hanga: New Prints of Japan, which can be found here.    Impressionism - was an art movement that emerged in France in the late 19th century, characterized by a focus on capturing the fleeting effects of light and color in everyday scenes. Instead of detailed realism, Impressionist artists like Claude Monet, Pierre-Auguste Renoir, and Edgar Degas used loose brushwork and vibrant colors to convey the atmosphere and momentary impressions of their subjects. This movement broke from traditional art by often painting en plein air (outdoors) and prioritizing personal perception over exact representation, leading to a revolutionary shift in modern art. Wassily Kandinsky (1866–1944) - was a key figure in the development of abstract art, known for using color and form to express emotions and ideas without representational content. His influential writings and innovative approach helped shape modern art, making him a central figure in movements like Expressionism and the Bauhaus. Stars (1938) 13 7/8" x 10 1/4" colour lithograph  Charles Freer (1854–1919) - was an American industrialist and art collector, best known for his significant contributions to the field of art through the establishment of the Freer Gallery of Art. Freer was a wealthy entrepreneur who made his fortune in the railroad industry. In his later years, he became an avid collector of art, particularly Asian art, including Chinese and Japanese ceramics, paintings, and sculptures. Nakagawa Hachiro (1877-1922) - was a close friend of Yoshida Hiroshi and traveled to the United States together for the first time in 1899. He was a yōga painter and showed primarily in Japan. Landcape in The Inland Sea 13.94" x 20.87" colour on watercolour  The Great Kanto Earthquake - struck Japan on September 1, 1923, with a magnitude of approximately 7.9. It devastated the Kanto region, including Tokyo and Yokohama, causing widespread destruction and fires that led to the deaths of over 100,000 people. The earthquake also resulted in significant infrastructure damage, homelessness, and economic disruption. In the aftermath, the disaster prompted major rebuilding efforts and urban planning changes. Additionally, the earthquake led to social and political unrest, including widespread anti-Korean sentiment, as rumors falsely blamed Korean immigrants for the disaster. Utagawa Hiroshige (1797-1858) - born in Edo, Hiroshige is famous for his landscape series of that burgeoning city. The most famous series being, One Hundred Famous Views of Edo (1856-1859), and the landcape series, Fifty-Three Stations of the Tōkaidō (1833-1834). His work highlights bokashi, and bright colours. More info about his work can be found, here.  Thirty Six Views of Mount Fuji No. 21 Lake at Hakone 14" x 9 1/4" Kawase Hasui (1883-1957) - a designer of more than six hundred woodblock prints, Kawase Hasui is one of the most famous designers of the shin-hanga movement of the early twentieth century. Hasui began his career with the artist and woodblock designer Kaburaki Kiyokata (1878-1971), joining several artistic societies along the way early in his career. It wasn't until he joined the Watanabe atelier in 1918 that he really began to gain recognition. Watanabe Shōzaburō (1885-1962) had Hasui design landscapes of the Japanese country-side, small towns, and everyday life. Hasui also worked closely with the carvers and printers of his prints to reach the level Hasui wanted his prints to be.  Selection of Views of the Tokaido (1934) Bishu Seto Kilns 15 3/4"  x 10 3/8" Itō Shinsui (1898-1972) - Nihon-ga, and woodblock print artist and designer who worked for print publisher Watanabe Shōzaburō (1885-1962). Shinsui designed some of our most famous shin hanga, or “new” prints of the early 20th century. One of my favorites is “Fragrance of a Bath” 1930. Kasumi Teshigawara Arranging Chrysanthemums (1966) 21 7/8" x 16 1/2" Katsushika Hokusai (1760-1849) - is one of the most famous Japanese artists to have ever lived. Hokusai was an illustrator, painter and woodblock print designer. His work can be found on paper, wood, silk, and screen. His woodblock print design for Under The Wave off Kanagawa (ca. 1830-32) is beyond famous. His work, his manga, his woodblocks, his paintings, influence artists from all over the world.  Tama River in Musashi Province from 36 Views of Mount Fuji (1830-32) 9 7/8" x 14 7/8"  Boston Museum of Fine Arts - a museum with a rich history with Japanese artwork, especially woodblock prints. It holds the largest collection of Japanese art outside of Japan. Many of their woodblock prints are held online, here. A video on YouTube found, here, describing the MFA's history, and its collections.  Onchi Kōshirō (1891-1955) - originally designing poetry and books Onchi became on of the most important sōsaku hanga artists and promotor of the medium. His works are highly sought after today. More info, here. Nijubashi Bridge to the Imperial Palace from Scenes of Lost Tokyo (1945) 7.8" x 11.1" published by Uemura Masuro Tarō Okamoto (1911–1996) was a prominent Japanese artist known for his avant-garde works and dynamic use of color and form. His art, which includes painting, sculpture, and public installations like the "Tower of the Sun," often explores themes of chaos and modernity. Okamoto was influential in Japanese contemporary art and also made significant contributions as a writer and cultural commentator. More info, here.  Seashore (1976) lithograph 5.55" × 22.05" Oliver Statler (1915-2002) -  was an American author and scholar and collector of mokuhanga. He had been a soldier in World War 2, having been stationed in Japan. After his time in the war Statler moved back to Japan where he wrote about Japanese prints. His interests were of many facets of Japanese culture such as accommodation, and the 88 Temple Pilgrimage of Shikoku. Oliver Statler, in my opinion, wrote one of the most important books on the sōsaku-hanga movement, “Modern Japanese Prints: An Art Reborn.” St. Olaf College - is a private liberal arts college located in Northfield, Minnesota. Founded in 1874 by Norwegian-American settlers, it has a strong emphasis on a comprehensive liberal arts education, integrating rigorous academics with a commitment to fostering critical thinking, leadership, and global citizenship. The college is known for its vibrant community, strong programs in the humanities, social sciences, and natural sciences, and its affiliation with the Evangelical Lutheran Church in America (ELCA). St. Olaf is also recognized for its strong music program, including its acclaimed choir and music ensembles. More info, here. The Detroit Institute of Arts (DIA) -  is an art museum in Detroit, Michigan, founded in 1885. It is known for its extensive collection of artworks from various cultures and periods, including significant American, European, and African art. The DIA is particularly famous for Diego Rivera's Detroit Industry Murals and serves as a major cultural center with diverse exhibitions and educational programs. More info, here.   baren - is a Japanese word to describe a flat, round-shaped disc, predominantly used in creating Japanese woodblock prints. It is traditionally made of a cord of various types and a bamboo sheath, although baren have many variations.    Jeannie Kenmotsu, PhD - is the Arlene and Harold Schnitzer Curator of Asian Art at the Portland Art Museum in Portland, Oregon. She specializes in early modern Japanese art, with a focus on painting, illustrated books, and prints. Her interview with The Unfinished Print about her work about the Joryū Hanga Kyōkai can be found, here.    © Popular Wheat Productions opening and closing credit - by Gordon Lightfoot - Affair on 8th Avenue from the album Back Here On Earth (1968) on United Artists. logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Українi If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***                        

いらっしゃいませ, Irasshaimase, WELCOME to our HOKUSAI epic-sode! We FUCKING LOVE this guy and are so excited to share his life story with YOU ALL. Our most beloved friends and listeners. This one has it all... ghost stories, fellatio performing squid, and more! Come join us as we go through the long life of our dear Hokusai. There will be sake, there will be badly pronounced Japanese words, and there will be SYPHILIS! As always with love... The Baroque B*tches ***DISCLAIMER*** This episode does contain stories of violence. Please be mindful when and where and with whom you listen, and please if these themes are at all triggering for you skip this one, take care of yourself, and know that we LOVE YOU!

Mokuhanga has the ability to take the artist or craftsperson anywhere they would like to be. From the subject matter in their studio to physical movement around the world, teaching, exploring, and discovering. Wonder and beauty is what makes mokuhanga so special.   In this episode of The Unfinished Print, I speak with printmaker Jacqueline Gribbin, who has spent years honing her craft in mokuhanga and other printmaking techniques across Japan, Southeast Asia, and Australia. We discuss her deep connection with Indigenous communities, collaborating with the late Ralph Kiggell, and exploring the nuances of water-based and oil-based mokuhanga. Jaqueline explains her experiences traveling to isolated communities, conducting workshops, and sharing her passion for printmaking. We'll explore her teaching methods, the importance of community in her work, and how she balances creating and selling her prints.   Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me at theunfinishedprint@gmail.com  Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note if available. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Print publishers are given if known. Jacqueline Gribbin - website  Shifting Tides (2022) Nagasawa Art Park (MI Lab) Awaji City - Nagasawa Art Park was an artist-in-residence program located in Awaji City, Hyōgo Prefecture, Japan. It was open for 12 years before evolving into MI Lab in 2012. More info, here.    Keiko Kadota (1942-2017) - was the director of Nagasawa Art Park at Awaji City from 1997-2011, and then of MI Lab at Lake Kawaguchi from 2011 until her passing.   Toru Ueba - was a print instructor at Nagasawa Art Park, and was one of Yoonmi's instructors in 2004.   Ralph Kiggell (1960-2022) -  was one of the most important mokuhanga practitioners. Originally from England, Ralph lived and worked in Thailand. Ralph pushed the boundaries of mokuhanga with extremely large pieces, jigsaw carving, and by using fantastic colour. He also worked with the International Mokuhanga Conference to promote mokuhanga around the world. He will be greatly missed. Ralph's work can be found, here. His obituary in The Guardian can be found, here. His interview with The Unfinished Print can be found, here.     Orange Flower On Blue    Hiroki Satake - is a mokuhanga printmaker, and instructor based in Japan. He has taught at MI Lab, as well as given demonstrations regarding tool sharpening, around the world. Instagram   赤絵（アンドレ・マルティ「狼よ！」より) (2022) 34.7cm×28.4cm   registration - there are several registration methods in mokuhanga. The traditional method is called the kentō registration, where you carve two notches, straight another an "L." There is also a "floating kentō," which is where the notches are cut in a piece of "L" shaped wood and not on the wood where you are cutting your image, hence "floating." Lastly, there are removable "pins," such as ones made by Ternes Burton.    bokashi - is a mokuhanga technique, where the pigment fades from a heavy colour to a softer, broad colour. Made famous by prints designed by Hokusai and Hiroshige, this technique is, for me, the most popular technique utilized by  mokuhanga printmakers. There are various types: Ichimoji-bokashi or straight line graduation, used in the above mentioned Hiroshige and Hokusai prints. Ichimoji-mura-bokashi or straight line gradation with uneven edge. Ō-bokashi or wide gradation, Ate-nashi-bokashi or gradation without definition. Futa-iro-bokashi or two tone gradation, and ita-bokashi or softer-edge gradation, where the block is cut in a specific way to achieve this style of gradation. All of these styles of bokashi technique take practice and skill but are very much doable. Below is a fine example of bokashi by Paul Binnie:     The Torii Gate at Miyajima (2009) 37.5 x 26cm sizing paper - at times mokuhanga printmakers will size their paper. Size is made from water, animal glue (rabbit, horse), and alum. What the size does is keep the pigments the artist uses from “bleeding” into the outer edges of the paper. There are many recipes of size, here is one that artist Walter J. Phillips used.   intaglio printing - is a printing method, also called etching, using metal plates such as zinc, and copper, creating “recessed” areas which are printed with ink on the surface of these "recesses.” More info, here. The MET has info, here.     serigraphy - is another word for the art of silk screen printing. Silk screen printing can be in on various materials, silk, canvas, paper.    lithography: A printing process where images are transferred onto a surface using a flat plate or stone.   Yoshitaka Amano (b. 1952) - is a character designer for the Final Fantasy video game series. He uses ukiyo-e and Japanese woodblock prints as insirpation for some of his work.    Takashi Murakami (b. 1962) is a contemporary artist best known for his fine art works and contributions to the commercial market. His works are heavily influenced by manga and anime, characterized by their bright colors and distinctive style. Multicolour Superflat Flowers - archival pigment print, silkscreen, 45 cm x 17.7cm   Margaret Thatcher 1925-2013) -  was the Prime Minister of the United Kingdom from 1979 to 1990. She was the first woman to hold the office and remains one of the most influential figures in British political history. Leading the Conservative Party, Thatcher implemented a series of economic policies known as "Thatcherism," which emphasized deregulation, privatization of state-owned industries, and reducing the power and influence of trade unions. Her tenure was marked by significant economic transformation, as well as controversial measures that sparked widespread debate and protest.    Tamarind Institute - was originally founded in Los Angeles in 1960 by June Wayne, and is a world renowned center for fine art lithography. Established to revive and sustain the art of lithography, which was in decline in the United States, Tamarind quickly became a leader in the education and promotion of lithographic techniques. In 1970, the institute moved to the University of New Mexico in Albuquerque, where it continues to thrive as a key institution in the printmaking world. Dedicated to advancing the lithographic arts through rigorous education, collaborative projects, and the production of high-quality prints, the Tamarind Institute's influence extends globally, contributing significantly to the development and appreciation of lithography as a vibrant art form. More info, here.    STPI Creative Workshop & Gallery - which stands for Singapore Thailand Print Institute is an educational gallery and workshop, based in Singapore. More info, here.    International Mokuhanga Conference, 2011 - was the first international conference on mokuhanga which was separated in two parts, Kyoto and the Awaji Islands in Japan.    MI Lab - is a mokuhanga artists residency located in Kawaguchi-ko, near Mount Fuji. More info can be found, here.    Hiroki Morinoue - is a mokuhanga printmaker and artist living in Holualoa, Big Island, Hawai'i. He is a co-founding member of the Holualoa Foundation For Arts & Culture, the establishment of the Donkey Mill Art Center and Studio 7 Fine Arts. Hiroki's interview with The Unfinished Print can be found, here.    Incoming Tide 30.5 x 30.5cm   Keiko Hara - is an artist and Professor of Art Emerita at Whitman College in Walla Walla, Washington. She is a painter, and printmaker in various relief mediums, such as mokuhanga. Keiko also leads the Mokuhanga Project Space based in Walla Walla, Washington. More info on Keiko's work can be found, here. More info regarding the Mokuhanga Project Space, here.   Verse Space M-1, lithography and stencil, 55.8 cm x 76.2 cm   Yamanashi Prefecture - (山梨県, Yamanashi-ken) is located in the Chūbu region of Honshu, Japan, and borders Saitama Prefecture to the northeast, Nagano Prefecture to the northwest, Shizuoka Prefecture to the southwest, Kanagawa Prefecture to the southeast, and Tokyo to the east. The capital and largest city is Kōfu. Yamanashi is one of only eight landlocked prefectures in Japan, with most of the population residing in the central Kōfu Basin, surrounded by the Akaishi Mountains. 27% of its land area is designated as Natural Parks, and it is home to many of Japan's highest mountains, including Mount Fuji, the country's tallest peak and a significant cultural icon, which is partially located on the border with Shizuoka Prefecture.   Tiwi Islands - which means "two islands," are part of the Northern Territory, Australia, located 80 km (50 mi) north of Darwin. They comprise Melville Island, Bathurst Island, and nine smaller uninhabited islands, with a combined area of 8,320 square kilometers (3,212 sq mi). The islands have been inhabited by the Tiwi, an Aboriginal Australian people, since before European settlement, with a population of 2,348 recorded in the 2021 census. The Tiwi Land Council, one of four land councils in the Northern Territory, serves as a representative body with statutory authority under the Aboriginal Land Rights (Northern Territory) Act 1976 and holds responsibilities under the Native Title Act 1993 and the Pastoral Land Act 1992.   Charles Darwin University - was established in 2003 in the Northern Territory of Australia, and resulted from the merger of Northern Territory University, Centralian College, and the Menzies School of Health Research. Named after naturalist Charles Darwin, CDU focuses on research and education tailored to the unique challenges of the region, with strong emphasis on Indigenous education and partnerships. The university offers a broad range of programs across disciplines like health, education, engineering, business, and environmental science, and is recognized for its research in desert knowledge, Indigenous systems, tropical health, and sustainable development. With campuses in Darwin, Alice Springs, Katherine, and Nhulunbuy, CDU plays a crucial role in the educational, economic, and social development of the Northern Territory. The More Than Human World: North Australian Ecologies was the exhibit which Jacqueline speaks on in her episode. The exhibit catalogue can be found, here.    Balgo - also known as Wirrimanu, is a remote Aboriginal community in the Kimberley region of Western Australia. Home to the Kukatja people and other desert groups like the Ngarti and Warlpiri, Balgo is renowned for its vibrant art scene, particularly through the Warlayirti Artists art center, which produces art reflecting the rich cultural heritage of the local people. The community, accessible mainly via local roads and air, provides essential services such as a health clinic, school and plays a vital role in preserving and promoting Indigenous culture and traditions. A description of Wirrimaru can be found, here via Deutscher and Hackett.    Printmaking Today - is a magazine published by Cello Press in England, and is published quarterly. The magazine focuses on printmaking themes and artists. More info, here.   Arnhem Land - is located in the northeastern Northern Territory of Australia, and is a vast and culturally rich region covering approximately 97,000 square kilometers. Bordered by the Arafura Sea, the Gulf of Carpentaria, and Kakadu National Park, it is one of the largest Aboriginal reserves in Australia, home to around 16,000 Indigenous people, primarily the Yolngu. Known for its stunning natural landscapes, including rugged coastlines, rainforests, and wetlands, Arnhem Land is also a cultural treasure, famous for Indigenous art, music, and traditions. Access is restricted to protect its heritage, and the region plays a crucial role in Indigenous land rights movements and the preservation of Aboriginal culture.   Foundry Vineyards - based in Walla Walla, Washington is a vineyard and art space. It has been hosting artists from all types of media such as painting and printmaking since 2010. It has exhibited The Mokuhanga Project Space, printmaker Mike Lyon,  and the International Mokuhanga Print Exhibit. More info about this space and the good it does for the art community at large can be found, here.    Ozu Washi - is a paper store located in the Nihonbashi district of Tokyo. website, Instagram   Wood Like Matsumura - is an online and brick and mortar store, for woodblock printmaking, located in Nerima City, Tōkyō.   uwa senka long - is a Thai kozo machine made paper which can be used for mokuhanga.    The Japanese Paper Place- is a Toronto based Japanese paper store servicing the Mokuhanga community for many years.  Interview with the Nancy Jacobi of the JPP can be found, here.   gouache: is a water-based paint known for its opaque and vibrant colours. Made from pigment, water, and gum arabic as a binder, it offers artists versatility in creating both translucent washes and opaque layers. Gouache can be reactivated with water and comes in a range of colors, making it a popular choice for various painting techniques.   The Adelaide River - is a significant waterway in the Northern Territory of Australia, extending approximately 180 km from its source in the Litchfield National Park to its mouth at the Timor Sea. The river flows through  lush wetlands, dense mangroves, and open floodplains, providing a rich habitat for diverse wildlife. It is particularly renowned for its large population of saltwater crocodiles.    © Popular Wheat Productions opening and closing credit - Stardust by Lester Young, Oscar Peterson Trio. (1956) © UMG Recordings logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Українi If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***                                                

On this edition of The Arts Section, host Gary Zidek has details on a big art exhibit coming to the western suburbs next summer. The Dueling Critics, Kelly Kleiman and Jonathan Abarbanel, reviewed a new play that mines 80s & 90s nostalgia for comedy. Later in the show, Gary looks at the history of Little Orphan Annie, who is turning 100 this summer. A new exhibit is shining a light on the character's long history. And we'll hear from the author of a book that dives into the history of one of the country's most popular bourbons.

Maarten van Rossem⁠⁠⁠⁠⁠ en ⁠⁠⁠Tom Jessen⁠⁠ bespreken de eenvoudige maar verbluffende Japanse prentkunst. Centraal staan Hokusai en Hiroshi. Kijk hier de video aflevering voor optimale beleving. - Abonneer je hier op ons YouTube-kanaal. - Meer achtergronden, hier op WhatsApp. - Download Luisterboek minister-presidenten. - Steun ons en houd deze podcast advertentie-vrij. Shownotes⁠

Alex Schmidt and Katie Goldin explore why "The Great Wave Off Kanagawa" by Hokusai is secretly incredibly fascinating.Direct link to see the art: https://images.metmuseum.org/CRDImages/as/original/DP130155.jpg Visit http://sifpod.fun/ for research sources and for this week's bonus episode.Come hang out with us on the new SIF Discord: https://discord.gg/wbR96nsGg5

Timecodes: 0:00 - Start 17:29 The Whale has the funniest opening scene 22:05 Feits almost got k*lled 36:34 Jackie went door to door looking for a charger 46:05 Was Ted Kaczynsk.... 56:54 The world isn't ready to hear about aliens 01:07:28 Taylor Swift may be bigger than The Beatles 01:13:43 I-95 Overpass Collapsed 01:14:18 Bridge inferno Video - https://twitter.com/stefanielaine/status/1667933663605161985?s=20 01:14:25 Philly Guy Interview - https://twitter.com/MarcusFOX29/status/1667914696534507520 01:17:03 British Guards Passed Out - https://twitter.com/itvnews/status/1667568403073171458?s=20 01:20:48 Zion is getting called out 01:26:03 Feits' Hokusai museum trip 01:29:56 Freddie Gibbs 01:32:42 Bill Murray and Kelis Are Dating 01:36:32 VanderPump Rules 01:47:15 A Day in the Life Guy 01:54:33 Video Voicemails 02:19:31 Feits ate a BAG of apples at The Dozen Live ++++++++++++++++++++++++++++++++ Omaha: Don't wait - go to https://OmahaSteaks.com and type KFC into the search bar and order the Dad's Favorite Gift package for Father's Day today! Pirate Water: Go to drink piratewater.com to find pirate water in a location near you or order on gopuff Turo: Find your drive. Forget boring rental cars at https://bit.ly/3Lwerc1You can find every episode of this show on Apple Podcasts, Spotify or YouTube. Prime Members can listen ad-free on Amazon Music. For more, visit barstool.link/kfcr