Podcasts about Hyperallergic

Ep.246 Kelly Sinnapah Mary (b. 1981, Saint-François, Guadeloupe) creates paintings, sculptures, and installations that draw upon the complex interrelationships between folklore, literature, inheritance, history, and the natural world. Sinnapah Mary's work is rooted both materially and narratively in the artist's immediate environment of the Caribbean archipelago of Guadeloupe, a French overseas department, and her own evolving understanding of her ancestral origins. Her work has been shown both in Guadeloupe and internationally at institutions including Kunstinstituut Melly, Rotterdam, Netherlands; Peréz Art Museum Miami, Miami, FL; Kiran Nadar Museum of Art, New Delhi, India; and the Osage Foundation, Hong Kong. Photo © Kelly Sinnapah Mary, 2025. Image courtesy of the artist and James Cohan, New York. Photo by Studio Zaigo Artist https://kellysinnapahmary.wixsite.com/kelly-sinnapah-mary James Cohan https://www.jamescohan.com/artists/kelly-sinnapah-mary Kadist https://kadist.org/program/the-plantation-plot/ Hyperallergic https://hyperallergic.com/997002/the-shapeshifting-paintings-of-kelly-sinnapah-mary/ Aicon https://www.aicon.art/exhibitions/kelly-sinnapah-mary Cultured Mag https://www.culturedmag.com/article/2025/03/06/artist-kelly-sinnapah-mary-painting ICI https://curatorsintl.org/about/collaborators/23413-kelly-sinnapah-mary Artnet News https://news.artnet.com/art-world/rising-artist-kelly-sinnapah-marys-spellbinding-works-take-center-stage-2616158 Foyer https://readfoyer.com/article/india-guadeloupe

Why do some processes—like aging, birth, and car crashes—occur in only one direction in time, when by the fundamental symmetry of the universe, we should experience time both forward and backward? Our dominant perception of time owes more to Western history and social order than to a fact of nature, argues writer Rasheedah Phillips, delving into Black and Afrodiasporic conceptions of time, where the past, present, and future interact in more numerous constellations. Phillips unfolds the history of time and its legacy of racial oppression, from colonial exploration and the plantation system to the establishment of Daylight Savings. Yet Black communities have long subverted space-time through such tools of resistance as Juneteenth, tenant organizing, ritual, and time travel. What could Black liberation look like if the past were as changeable as the future? Drawing on philosophy, archival research, quantum physics, and Phillips's own art practice and work on housing policy, Dismantling the Master's Clock: On Race, Space, and Time (AK Press, 2025) expands the horizons of what can be imagined and, ultimately, achieved. Rasheedah Phillips is a queer housing advocate, lawyer, parent, and interdisciplinary artist working through a Black futurist lens. Phillips is the founder of the AfroFuturist Affair, founding member of the Metropolarity Queer Speculative Fiction Collective, and co-creator of the art duo Black Quantum Futurism. Phillips' work has been featured in the New York Times, The Wire, New York Magazine, Boston Review, Hyperallergic, and e-flux. You can find the host, Sullivan Summer, online, on Instagram, and at Substack, where she and Rasheedah continue their conversation. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

Why do some processes—like aging, birth, and car crashes—occur in only one direction in time, when by the fundamental symmetry of the universe, we should experience time both forward and backward? Our dominant perception of time owes more to Western history and social order than to a fact of nature, argues writer Rasheedah Phillips, delving into Black and Afrodiasporic conceptions of time, where the past, present, and future interact in more numerous constellations. Phillips unfolds the history of time and its legacy of racial oppression, from colonial exploration and the plantation system to the establishment of Daylight Savings. Yet Black communities have long subverted space-time through such tools of resistance as Juneteenth, tenant organizing, ritual, and time travel. What could Black liberation look like if the past were as changeable as the future? Drawing on philosophy, archival research, quantum physics, and Phillips's own art practice and work on housing policy, Dismantling the Master's Clock: On Race, Space, and Time (AK Press, 2025) expands the horizons of what can be imagined and, ultimately, achieved. Rasheedah Phillips is a queer housing advocate, lawyer, parent, and interdisciplinary artist working through a Black futurist lens. Phillips is the founder of the AfroFuturist Affair, founding member of the Metropolarity Queer Speculative Fiction Collective, and co-creator of the art duo Black Quantum Futurism. Phillips' work has been featured in the New York Times, The Wire, New York Magazine, Boston Review, Hyperallergic, and e-flux. You can find the host, Sullivan Summer, online, on Instagram, and at Substack, where she and Rasheedah continue their conversation. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

Why do some processes—like aging, birth, and car crashes—occur in only one direction in time, when by the fundamental symmetry of the universe, we should experience time both forward and backward? Our dominant perception of time owes more to Western history and social order than to a fact of nature, argues writer Rasheedah Phillips, delving into Black and Afrodiasporic conceptions of time, where the past, present, and future interact in more numerous constellations. Phillips unfolds the history of time and its legacy of racial oppression, from colonial exploration and the plantation system to the establishment of Daylight Savings. Yet Black communities have long subverted space-time through such tools of resistance as Juneteenth, tenant organizing, ritual, and time travel. What could Black liberation look like if the past were as changeable as the future? Drawing on philosophy, archival research, quantum physics, and Phillips's own art practice and work on housing policy, Dismantling the Master's Clock: On Race, Space, and Time (AK Press, 2025) expands the horizons of what can be imagined and, ultimately, achieved. Rasheedah Phillips is a queer housing advocate, lawyer, parent, and interdisciplinary artist working through a Black futurist lens. Phillips is the founder of the AfroFuturist Affair, founding member of the Metropolarity Queer Speculative Fiction Collective, and co-creator of the art duo Black Quantum Futurism. Phillips' work has been featured in the New York Times, The Wire, New York Magazine, Boston Review, Hyperallergic, and e-flux. You can find the host, Sullivan Summer, online, on Instagram, and at Substack, where she and Rasheedah continue their conversation. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

Why do some processes—like aging, birth, and car crashes—occur in only one direction in time, when by the fundamental symmetry of the universe, we should experience time both forward and backward? Our dominant perception of time owes more to Western history and social order than to a fact of nature, argues writer Rasheedah Phillips, delving into Black and Afrodiasporic conceptions of time, where the past, present, and future interact in more numerous constellations. Phillips unfolds the history of time and its legacy of racial oppression, from colonial exploration and the plantation system to the establishment of Daylight Savings. Yet Black communities have long subverted space-time through such tools of resistance as Juneteenth, tenant organizing, ritual, and time travel. What could Black liberation look like if the past were as changeable as the future? Drawing on philosophy, archival research, quantum physics, and Phillips's own art practice and work on housing policy, Dismantling the Master's Clock: On Race, Space, and Time (AK Press, 2025) expands the horizons of what can be imagined and, ultimately, achieved. Rasheedah Phillips is a queer housing advocate, lawyer, parent, and interdisciplinary artist working through a Black futurist lens. Phillips is the founder of the AfroFuturist Affair, founding member of the Metropolarity Queer Speculative Fiction Collective, and co-creator of the art duo Black Quantum Futurism. Phillips' work has been featured in the New York Times, The Wire, New York Magazine, Boston Review, Hyperallergic, and e-flux. You can find the host, Sullivan Summer, online, on Instagram, and at Substack, where she and Rasheedah continue their conversation. 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

Welcome back to ARTMATTERS: The Podcast for Artists.My guest today is Dennis Kardon. Dennis is a Brooklyn-based painter known for his influential work 49 Jewish Noses and his most recent solo shows at Lubov Gallery and Massimo De Carlo. He has exhibited widely in the US and abroad, received major career grants including a Guggenheim Fellowship, and written for top art publications such as Artforum, Artnet and Hyperallergic to name a few. I sat down with Dennis at his studio in the Brooklyn Navy Yards during a massive rain storm a couple months ago and we had a great conversation. Dennis talked about his studio routine, his approach to painting and decision-making. He discussed consistency, abstraction, learning from other artists and his writing practice. Then we talk favorite mediums, brushes and studio tools before Dennis shares some great advice for young artists.I really enjoyed meeting Dennis, I think his paintings are great, his writing is great and I think this episode is great too. So kick back, relax and enjoy my conversation with Dennis Kardon in the rain.You can now support this podcast by clicking HERE where you can donate using PATREON or PayPal!If you're enjoying the podcast so far, please rate, review, subscribe and SHARE ON INSTAGRAM!  If you have an any questions you want answered, write in to artmatterspodcast@gmail.com host: Isaac Mann www.isaacmann.cominsta: @isaac.mann guest: Dennis Kardonwww.denniskardon.com insta: @denniskardonThank you as always to ARRN, the Detroit-based artist and instrumentalist, for the music.

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

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. In this episode, Emily Wilson interviews painter Emilio Villalba about his personal and professional journey in the art world. Emilio discusses his decision to become a full-time artist, his creative process, and the inspirations behind his latest show, 'Paintings from Home,' at Dolby Chadwick in San Francisco. Emilio, who also teaches Canada College, also shares the challenges and rewards of his artistic practice, his background as an animator, and insights into his creative influences, notably the Bay Area figurative artists. About Artist Emilio Villalba:Born in Southern California in 1984 to Mexican immigrants, Emilio Villalba felt his artistic drive early on. Emilio initially studied animation and received his BFA in 2006 from the Art Institute of California and quickly began work in that field in his early 20's until moving to San Francisco and transitioned to the medium of painting. In San Francisco he received his MFA in Painting in 2012 from the Academy of Art University. Villalba's work reflects his studies in both abstract and figurative painting. At the core of Emilio's painting's there is pure portraiture, but great focus on the disharmony of the self and perception. Pressures from society and the toll it takes on the emotional state of the subject when confronted with benevolence. Raw emotions and the fragility of the soul. Villalba overlaps and repeats human features with a kaleidoscope effect. “Don't Worry” is the 2018 painting of his that I decided to feature. It pulls you in with a sadness at its core and doesn't want to let you go. It reminds me of the face we may give to the world, that all is ok, but the eyes tell a different story. I urge you follow the links below and discover his somber and seductive work.Visit Emilio's Website:  EmilioVillalbaArt.comFollow  on Instagram:  @Emilio_VillalbaFor more on Emilio's work at The Dolby Chadwick Gallery, CLICK HERE.--About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com

Michelle Young discusses with Ivan six things which should be better known. Michelle Young, a journalist and professor of architecture at Columbia University, spent four years researching The Art Spy: The Extraordinary Untold Tale of WWII Resistance Hero Rose Valland, which is available at https://www.harpercollins.com/products/the-art-spy-michelle-young?variant=43046200836130. A veritable female Monuments Man, Valland has, until now, mostly been written out of the annals, despite bearing witness to history's largest art theft. While Hitler was amassing stolen art for his future Führermuseum, Valland secretly worked to stop him. Michelle Young is an award-winning journalist, author, and professor whose writing on looted and lost art has appeared in Hyperallergic, The Forward, and The Wilson Quarterly. She is a graduate of Harvard College in the History of Art and Architecture and holds a master's degree from Columbia University's Graduate School of Architecture, Planning and Preservation, where she is a professor of architecture. Rose Valland was one of the most medalled women from all of WWII Hollywood optioned Rose's memoir and it became the Burt Lancaster caper The Train 3. Rose witnessed the Nazis burn approx 500 modern paintings of art and it really happened Rose was lesbian and started living with Joyce Heer, her life partner, starting in the mid 1930s.  Rose was spying in the field, as well as in the museum. She also worked directly with Resistance operatives, which is how she directly helped sabotage the last train of art intended to leave France, carrying 1000 paintings.  One of the very first things the Nazis did when they occupied a country was to loot its art, in particular from Jewish families. There is a direct line between art looting and the extermination camps This podcast is powered by ZenCast.fm

Fanny Allié was born in Montpellier, South of France. She received her Master's Degree from the Ecole Nationale Supérieure de la Photographie (The National School of Photography) in Arles, France in 2005 and moved to New York City. Princeton University, Equity Gallery, Hyatt Centric (Philadelphia), DOT Art, A.I.R Gallery, New York City Department of Parks & Recreation, Fresh Window, Chashama and St Eustache Church (Paris, France), Hudson Yards Alliance have organized solo exhibitions and public installations of her work. Tappan Gallery, Owen James Gallery, NYU/Gallatin Gallery, Dorsky Gallery, Freight + Volume, BRIC Rotunda Gallery, Dekalb Gallery/Pratt Institute, UConn University, Mana Contemporary, Hamburg Museum of Arts and Crafts, The Bronx Museum, Teachers College Columbia University among others have featured her work in group exhibitions. Fanny is the recipient of various fellowships and residencies including AIM (Bronx Museum), BRIC Lab Fellowship, Emergency Grant (Foundation for Contemporary Arts), A.I.R. Fellowship Program, Robert Blackburn Printmaking SIP Fellowship, Elizabeth Foundation for the Arts Studio Program, Yaddo Residency, Dieu Donné Workspace Residency, NYSCA/NYFA Artist Fellowship (Craft/Sculpture), MacDowell Fellowship, Puffin Foundation Grant, Wildacres Residency and National Arts Club Artist Fellowship. Her work has appeared in the New York Times, The Guardian, Time Out, ARTnews, NY Magazine, Brooklyn Magazine, Hyperallergic, Le Monde Diplomatique, Blouin Art Info, DNA Info, Marie Claire Italy, AM New York among others. Her neon light sculpture “The Glowing Homeless” and sound installation will be exhibited at the Church of St. Eustache in Paris from December 18th 2024 until May 31st 2025. In 2025, Kaliner Gallery in New York City and Giovanni Bonelli Gallery (Milan, Italy) will present her work in solo exhibitions. Fanny lives in Brooklyn and works from her studio at the Elizabeth Foundation for the Arts in Manhattan, NY. Exhibits discussed are KALINER and Giovanni Bonelli. A Longing, March 6 - April 12, 2025, Installation view at Kaliner Gallery, 42 Allen St, NYC Ladder Leg, 2024, found fabric, collagraph print and acrylic paint, 32.5in x 50in The Night the Wind Learned to Dance, April 24 - May 25, 2025, Installation view at Giovanni Bonelli Gallery, Milan, Italy Shelved, 2025, found fabric and collagraph prints, 59in x 38.5in Circles, 2024, found fabric and collagraph prints, 55.5in x 55.5in

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. In this Episode, Emily features artist Laurel Roth Hope. Laurel discusses her journey from a conservation worker to a full-time artist, emphasizing her use of recycled materials in her sculptures. She shares her creative process, influences, and collaborations with her husband, artist Andy Diaz Hope. The episode highlights her current residency at Recology, San Francisco, where she creates art from landfill materials. Laurel's work often reflects themes of ecological impact and human interaction with the natural world. About Artist Laurel Roth Hope:Laurel Roth Hope lives and works in Northern California. Prior to becoming a full-time, self-taught artist she worked as a park ranger and in natural resource conservation. These professional experiences influenced her current work, which centers on the human manipulation of and intervention into the natural world and the choices we must make everyday between our individual desires and the well being of the world at large. Hope was a 2025 SF Recology AIR Artist in Residence, a 2020 Space Program SF Resident Artist, a 2017 Smithsonian Artist Research Fellow, and a 2016 Resident Artist with the Kohler Arts and Industry program in Wisconsin. In 2013 she and her sometime collaborator, Andy Diaz Hope, completed a year-long Fellowship at the de Young Museum of San Francisco examining the history of human cooperation through architecture. Her work is included in the permanent collections of the Smithsonian, the Museum of Art and Design in New York, the Mint Museum, Crystal Bridges Museum of American Art, 21C Museum, the Zabludowics Collection, the Progressive Collection, and the Ripley's Museum of Hollywood, among others. She is represented by Catharine Clark Gallery of San Francisco.Visit Laurel's Website:  LoLoRo.comFollow Laurel on Instagram, CLICK HERE. Learn about the Recology exhibit, CLICK HERE. --About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com

Today Dr. Zandria Robinson drops in to talk about Sinners and why it might be the best movie of the 21st century. We have a spoiler free introduction, a pause, and then a spoiler filled conversation about the Jim Crow South, the Great Migration, WWI, Chicago, Mississippi, the Ku Klux Klan, sex, music, and of course THAT SCENE. This conversation is almost as amazing as this film. Share it widely.About our guest:Dr. Zandria F. Robinson is a writer and ethnographer working on race, gender, sound, and spirit at the crossroads of the living and the dead. A native Memphian and classically-trained violinist, Robinson earned the Bachelor of Arts in Literature and African American Studies and the Master of Arts in Sociology from the University of Memphis and the Doctor of Philosophy in Sociology from Northwestern University. Dr. Robinson's first book, This Ain't Chicago: Race, Class, and Regional Identity in the Post-Soul South (University of North Carolina Press, 2014) won the Eduardo Bonilla-Silva Outstanding Book Award from the Division of Racial and Ethnic Minorities of the Society for the Study of Social Problems. Her second monograph, Chocolate Cities: The Black Map of American Life (University of California Press, 2018), co-authored with long-time collaborator Marcus Anthony Hunter (UCLA), won the 2018 CHOICE Award for Outstanding Academic Title and the Robert E. Park Book Award from the Community and Urban Sociology Section of the American Sociological Association.Robinson is currently at work on an ancestral memoir, Surely You'll Begin the World (Farrar, Straus, & Giroux), a life-affirming exploration of grief, afterlife connections, and how deep listening to the stories of the dead can inform how we move through the world after experiencing loss. Her 2016 memoir essay, “Listening for the Country,” was nominated for a National Magazine Award for Essay.Dr. Robinson's teaching interests include Black feminist theory, Black popular culture, memoir, urban sociology, and Afro-futurism. She is Past President of the Association of Black Sociologists, a member of the editorial board of Southern Cultures, and a contributing editor at Oxford American. Her work has appeared in Issues in Race and Society, The New Encyclopedia of Southern Culture, the Annual Review of Sociology (with Marcus Anthony Hunter), Contexts, Rolling Stone, Scalawag, Hyperallergic, Believer, Oxford American, NPR, Glamour, MLK50.com and The New York Times Magazine.

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. This week, Emily features an interview with curator Ciara Ennis, director of the De Saisset Museum at Santa Clara University. Ciara discusses her evolution from painter to curator, her efforts to challenge traditional museum practices, and her initiatives aimed at fostering inclusivity and dialogue within the art community. Key programs highlighted include the Flat Files of Curiosity Initiative and the Project Room for South Bay artists. She shares insights into her curatorial philosophy, influenced by her studies and experiences, including her impactful first exhibition in London and admiration for artist Joseph Beuys. The episode underscores Ciara's commitment to making museums more accessible and dynamic spaces for diverse audiences.About Curator Ciara Ennis:As Director Professor of Practice in the Department of Art and Art History, Dr. Ennis is responsible for developing the vision, artistic direction, and strategic leadership for the museum including exhibitions, programming, permanent collection, academic integration, and public profile. Ennis oversees museum operations, staffing, finances, and fundraising, and serves as the primary liaison between the museum and Santa Clara University.Prior to directing the de Saisset Museum, Ennis served as Director and Curator of Pitzer College Art Galleries, transforming it into a significant center for contemporary art and discourse through intellectually provocative initiatives focused on diverse communities of artists exploring issues that define our times. A Museum Studies scholar, Ennis' research explores the appropriation of Wunderkammer strategies as a means for rethinking contemporary curatorial practice. Ennis has been a panelist and guest speaker for the College Arts Association, American Studies Association, the International Sculpture Conference, the Association of Academic Museums and Galleries, the California Community Foundation, the Rijksakademie Amsterdam, and the Victoria and Albert Museum. Ennis is a member of Prospect Art's Advisory Board and X-TRA Contemporary Art Quarterly's Advisory Council. She has an MA (RCA) in Contemporary Curatorial Practice from the Royal College of Art, and a PhD in Cultural Studies/Museum Studies from Claremont Graduate University.For more on the exhibit, Maya Gurantz: The Plague Archives CLICK HERE. Follow Ciara on Instagram:  @CiaraEnnis5--About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com

What if joy, trust, and intention were the most powerful tools in your art practice? In this illuminating episode of Art & Cocktails, Kat is joined by Ingrid V. Wells—an artist known for her vibrant, playful still lifes that explore deep themes like resilience, consciousness, and energetic alignment. Her work invites viewers to reconnect with joy as a revolutionary creative force. Together, they explore how to cultivate a powerful internal state before creating, why joy is a radical act, and how to access your highest creative flow. Ingrid shares her approach to creating from consciousness, letting go of pressure, and trusting the energetic pull of your artistic vision. This is a beautiful reminder to return to your own creative truth and show up with more self-trust, presence, and purpose. About Ingrid: Ingrid V. Wells is a San Francisco–based painter whose work has been exhibited internationally and featured in Create! Magazine, W Magazine, Hyperallergic, and more. She is also the founder of TWIRL and serves as Fine Arts Assistant Director at California College of the Arts. Collect Ingrid's artwork at pxpcontemporary.com Follow her on Instagram: @ingrid.v.wells Explore more: www.ingridvwells.com   Work with Kat to Gain Momentum in The Studio: https://aqsociety.com/studio-momemtum Submit your work to Create! Magazine: www.createmagazine.co/call-for-art  

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. In this episode Emily interviews artist and singer Mary Graham about her journey from drawing as a child, to painting in high school and eventually moving to the Bay Area to study at the California College of the Arts. Mary discusses her recent residencies in Maine and Colorado, and exhibitions at the Berkeley Art Center and Jonathan Carver Moore Gallery. She delves into her impactful 'brown paper bag' series, which explores themes of colorism inspired by her father's stories and broader research. Mary also reflects on influential works by artists like David Hammonds and Betty Saar, and shares her inspiration drawn from the streets of San Francisco. The episode highlights Mary's creative process, community experiences, and the significant role of the emerging artists program at the Museum of the African Diaspora in her career.About Artist Mary Graham :Mary W.D. Graham an interdisciplinary artist working in painting, sculpture, and vocal performance. Utilizing art-making methods rooted in traditional techniques, she studies the notion of “the ancestors” as a conceptual medium through which historical, interpersonal, and introspective insight might be gained.Her conceptual development originates from the veneration of her own lineage, an off-shoot of the African American spiritual tradition of ancestor worship. The work expands to encompass themes of generational love, collective human origin, our relationship to history, and our relationship to the future (the unknown). Working primarily in figuration and portraiture, she utilizes a level of precision in her representation. Her compositions are minimal; the subtlety of the substrate, or the intentional application of color intend for focus to be drawn to the subject. The subtlety of this approach is meant to provide a contemplative environment in which significance might be derived. These aesthetic philosophies of simplicity, stillness, and precision are applied to her performance work as well, which is rooted in her training as a classical vocalist. Here, the human voice is utilized as a kind of clarion. The haunting melodies are structured to slowly fill space and time, drawing viewers in so that they might share in what manifests from the collective experience of song.Mary was born in 2000 and grew up in Philadelphia, Pennsylvania amongst a family of artists. She attended California College of the Arts where she received her BFA in Individualized Studies in 2022. Her travels for arts and cultural exchange have taken her around the globe to Mexico, Japan, Kenya, South Africa, Peru, Morocco, Indonesia, and India.Graham has been exhibiting, collaborating and performing nationally since 2006. She was a commissioned artist for projects at Burning Man from 2019 through 2023, performed at the Institute of Contemporary Art + San Francisco in 2022, and in 2024, opened her first solo exhibition at Museum of the African Diaspora as part of their Emerging Artist's Program. Graham's work has been covered by CBS News, 48hills and the MoAD Journal. She has been awarded residencies with Black [Space] Residency in San Francisco, California; Haystack Mountain School of Craft in Deer Isle, Maine; and Anderson Ranch in Snowmass, Colorado.Visit Mary's Website:  MaryDGraham.comFollow  on Instagram:  @Mary.Graham.ArtTo learn more about the Beatiful Scars Exhibit at Jonathan Carver Moore CLICK HERE.For more on Archives Yet To Come at the Berkeley Art Center, CLICK HERE. --About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com

In this episode, I connected with the dynamic duo of Hilma's Ghost, Sharmistha Ray and Dannielle Tegeder, to explore the fascinating intersection of art, spirituality, and community. We dive deep into their collaborative journey, tracing the origins of their partnership that blossomed amidst the challenges of the pandemic and the need for connection. Together we explore the transformative power of art and how spirituality plays a crucial role in their practice.------------------For over five years, the Hilma's Ghost  has conducted experimental pedagogy, transcultural dialogue, and collectivity through the lens of feminism and spirituality to build community and reckon with patriarchal art histories that have excluded women, trans, and nonbinary practitioners. Hilma's Ghost collaborated artistically on ABSTRACT FUTURES TAROT, consisting of 5 paintings, 78 drawings, and an original limited-edition tarot deck that was exhibited at The Armory Show 2021. The exhibition was shortlisted as one of the exhibitions to see by Will Heinrich at The New York Times. In January 2022, the duo curated Cosmic Geometries, a group exhibition of 25 artists at EFA Project Space, whichJillian Steinhauer of The New York Times called “a knockout exhibition.” CHROMAGICK, a series of new collaborative drawings using color magic and crystals was recently exhibited at Expo Chicago 2022. Hilma's Ghost projects have been positively reviewed in The New York Times, Hyperallergic, and Artnet.https://www.hilmasghost.com/https://www.instagram.com/hilmasghosthttps://www.dannielletegeder.com/https://sharmistharay.com/Follow Martin Benson for more insights:*To stay updated on the podcast and related content, check out my Instagram*To support the show and access exclusive content, consider subscribing for $0.99/month on Instagram (link above).Credits: Special thanks to Matthew Blankenship of The Sometimes Island for our podcast theme music!Support this podcast: https://podcasters.spotify.com/pod/show/martin-l-benson/support

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. This week on 'Art is Awesome,' host Emily Wilson chats with Stephanie Robison, a sculptor living in Oakland and the chair of City College of San Francisco's Art Department. The episode delves into Stephanie's background, from growing up in Oregon and being encouraged by a high school counselor to attend college, to falling in love with sculpture, particularly stone. Stephanie discusses her creative process, the resistance she enjoys from materials like marble, and how her grandmother inspired her love for making things. She also shares her experiences with exhibitions and her thoughts on teaching. About Artist Stephanie Robison:Originally from Oregon, Stephanie currently resides in California teaching sculpture and serving as Art Department Chair at the City College of San Francisco. Robison holds a Bachelor of Fine Arts from Marylhurst University and a Master of Fine Arts in Sculpture from the University of Oregon. Her work has been exhibited at Marrow Gallery, Marin Museum of Contemporary Art and Orange County Center for Contemporary Art in California, Robischon Gallery in Denver, Colorado, Houston Center for Contemporary Craft, Joseph A Cain Memorial Art Gallery and Greater Denton Arts Council in Texas, Yeiser Art Center in Kentucky, Site:Brooklyn Gallery in New York, Foster/White Gallery, Whatcom Museum and Tacoma Art Museum in Washington, and Peter Robertson Gallery in Alberta Canada.Stephanie is represented by Marrow Gallery in San Francisco, California and Foster/White Gallery in Seattle, Washington. Her work can also be found at Robischon Gallery in Denver, Colorado.The sculptures of Stephanie Robison plays with multiple oppositional relationships. Working with industrial fabrics and wood, she creates large-scale installations that examine relationships between culture, nature and the built environment. Her latest series of work combines traditional stone carving and the process of needle felting wool. By merging incongruous materials such as wool and marble, she works to synthesize and fuse: organic and geometric, natural and architectural, handmade and the uniform industrial. Focusing on materiality and color with this new work, Robison creates charming, often humorous or awkward forms referencing aspects of the body, relationships and the environment. Visit Stephanie's Website:  StephanieRobison.comFollow Stephanie on Instagram:  @SquishyStoneFor more about Stephanie's Exhibit, "Incantations for the Average Person" CLICK HERE. --About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com

With Nicholas Mirzoeff.  Content Warning: Sexual abuse In this episode we discuss the new book, To See in the Dark: Palestine and Visual Activism Since October 7. Nicholas Mirzoeff shares how experiences of domestic, political and sexual violence - in both his family history and his own childhood - have shaped his understanding of events since October 7th. He talks about what it means to identify as an anti-Zionist Jew in the current moment, and how we can find new anticolonial ways of seeing that reject the drone's-eye-view of ‘white sight'. We also discuss the evolving visual politics of Palestine solidarity, from watermelon emojis and AI-generated images, to the torn canvas of a portrait of Arthur Balfour. Podcast listeners can get 40% off the book on plutobooks.com, using the coupon PODCAST at the checkout. — Among the founders of visual culture as a field, Nicholas Mirzoeff has also written extensively on Jewishness and Palestine. His books include How To See The World, The Right to Look and The Appearance of Black Lives Matter. He has written for the Guardian, Hyperallergic and The Nation. He lives in New York City.

Episode 463 / Rose Nestler (b. 1983, Spokane, WA) is a mixed media sculptor who lives and works in Brooklyn, NY. She holds an MFA from Brooklyn College and BA in Art History from Mount Holyoke College. Recent solo and two-person exhibitions include Public, London, UK (2024), Pangeè, Montreal, QC (2023); Mrs., New York, NY (2022); and Carvalho Park, New York, NY (2022) Selected group exhibitions include Asya Geisberg, New York, NY (2025), Plains Art Museum, Fargo ND (2024); Chart, New York, NY (2024), (The University of Leeds' Stanley & Audrey Burton Gallery, Leeds, UK (2023); Boston University, Boston, MA (2023); Rugby Art Gallery and Museum, Rugby, UK (2022); Perrotin, New York, NY (2022); Hesse Flatow, New York, NY (2021), and Frye Art Museum, Seattle, WA (2021); She was an artist in residence at the Joan Mitchell Center in New Orleans in 2022. Nestler has also conducted residencies at The Fores Project, London, UK, and The Lighthouse Works, Fishers Island, NY, among others. Her work is part of the permanent collection of the Frye Art Museum, Seattle, WA, USA and has been featured and reviewed on Art21, in The Brooklyn Rail, BOMB Magazine, Hyperallergic and New York Magazine. She is part time faculty at Parsons School of Design and College of Staten Island (CUNY). 

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. In this episode, Emily features Daisy Nam, the director and chief curator at the Wattis Institute of Contemporary Arts. Daisy discusses her journey from growing up in Los Angeles to her roles at prestigious institutions like NYU, Columbia, Harvard, and Marfa Ballroom. She shares insights on the significance of art spaces in cities, her love for art books, and memorable exhibitions, particularly the current 'Steady' sculpture show involving artists Esther Partegas and Michelle Lopez. Daisy highlights the unique aspects and challenges of working in the contemporary art world, emphasizing the importance of maintaining art spaces and building partnerships within the art community. Daisy also shares her personal experiences and perspectives on art and nature in Northern California.About Curator Daisy Nam:Daisy Nam is the director and curator of CCA Wattis Institute of Contemporary Art in San Francisco, which opens their new galleries on the expanded campus in Fall of 2024. Previously, she was at Ballroom Marfa, a contemporary art space dedicated to supporting artists through residencies, commissions, and exhibitions, first as the curator in 2020 and then the director and curator in 2022. From 2015–19, she was the assistant director at the Carpenter Center for the Visual Arts, Harvard University, managing the administration  and organizing programs, exhibitions, and publications. From 2008–2015, she produced seven seasons of talks, screenings, performances, and workshops as the assistant director of public programs at the School of the Arts, Columbia University.Curatorial residencies and fellowships include: Marcia Tucker Senior Research Fellow at the New Museum, New York (2020); Bellas Artes, Bataan, Philippines (2020); Surf Point in York, Maine (2019); Gwangju Biennale Foundation, Korea (2018). She holds a master's degree in Curatorial and Critical Studies from Columbia University and a bachelor's degree in Art History and Cinema Studies from New York University. She has taught at RISD, and lectured at Lesley University, Northeastern, SMFA/Tufts, SVA as a visiting critic. She co-edited a publication, Best! Letters from Asian Americans in the arts withPaper Monument in 2021.CLICK HERE to learn more about Daisy. CLICK HERE to connect to The Wattis InstituteCLICK HERE to get more info about the Wattis exhibition 'STEADY' --About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com

Welcome back to ARTMATTERS: The Podcast for Artists.Today we continue our conversation with Julie Harrison, a New York-based artist whose decades-long career has spanned drawing, photography, video, painting, and performance.In this episode we discuss framing and exhibiting works on paper, the overlap between drawing and collage, overcoming creative blocks, exploring new tools, building community and the importance of art history. We also talk laziness, playing tricks with materials, and not waiting for perfection. Harrison's work has been exhibited at MoMA, the Museum of Arts & Design and the Neuberger Museum, with reviews in The New York Times, Hyperallergic, and The Village Voice. Harrison is a recipient of NEA and NYFA grants, she has published with Granary Books and held residencies at the Nordic Arts Center and Cold Spring Harbor Lab. Harrison also founded the Art & Technology B.A. program at Stevens Institute of Technology, where she taught for 18 years.You can now support this podcast by clicking HERE where you can donate using PATREON or PayPal!If you're enjoying the podcast so far, please rate, review, subscribe and SHARE ON INSTAGRAM!  If you have an any questions you want answered, write in to artmatterspodcast@gmail.com host: Isaac Mann www.isaacmann.com insta: @isaac.mann guest: Julie Harrisonwww.julie-harrison.com insta: @julie_harrison_nycThank you as always to ARRN, the Detroit-based artist and instrumentalist, for the music. 

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. Today, Emily chats with Ranu Mukherjee, a painter, textile, and film installation artist, who was recently appointed as Dean of the Film and Video School at CalArts in Los Angeles. Ranu discusses her background, her collaborative work with choreographers, and her latest project designing a curtain for the San Francisco Ballet's 'Cool Britannia'. She shares insights into her inspirations, including forests and their literary forms, and her early experiences that led her to become an artist. The episode concludes with Emily's regular segment, 'Three Questions', discussing influential works and inspiring places.About Artist Ranu Mukherjee:Ranu Mukherjee's work has been the subject of solo exhibitions at the 18th Street Arts Center, Los Angeles (2022-2023) de Young Museum, San Francisco (2018-2019); the Pennsylvania College of Art and Design (2017);  the Asian Art Museum, San Francisco (2016); the Tarble Art Center, Charleston, IL (2016) and the San Jose Museum of Art, CA (2012), among others. Her most recent immersive video installations have been was presented in Natasha, Singapore Biennale 2022-2023, the 2019 Karachi Biennale (2019) and Los Angeles County Museum of Art (2016) as well as in numerous international group exhibitions. Mukherjee has been awarded a 2023 Artadia Award,a Pollock Krasner Grant (2020); a Lucas Visual Arts Fellowship at Montalvo Arts Center, Saratoga, CA (2019-2024); an 18th Street Arts Center Residency, Los Angeles (2022); Facebook Artist in Residence (2020);  de Young Museum Artist Studio Program (2017); the Space 118 Residency, Mumbai (2014); and a Kala Fellowship Award and Residency, Berkeley (2009). Her work is in the permanent collection of the Asian Art Museum, San Francisco; de Young Museum, San Francisco; the Escallete Collection at Chapman University; the JP Morgan Chase Collection, New York; the Kadist Foundation, San Francisco and Paris; the Oakland Museum of California; the San Jose Museum of Art; and the San Francisco International Airport, among others. In 2021 Gallery Wendi Norris released Shadowtime, a major monograph on Mukherjee's work over the past decade featuring a conversation with author and climate activist Amitav Ghosh, and an essay by Jodi Throckmorton, curator of Mukherjee's first solo museum exhibition at the San Jose Museum of Art. Mukherjee co-created Orphan Drift, a London-based cyber-feminist collective and avatar making combined media works since 1994. They have participated in numerous exhibitions and screenings internationally including in London, Oslo, Berlin, Oberhausen, Glasgow, Istanbul, Vancouver, Santiago, Capetown, and the Bay Area.Mukherjee received her B.F.A. in Painting, from the Massachusetts College of Art, Boston, MA in 1988, and her MFA in Painting at the Royal College of Art, London, UK in 1993.  She serves on the Board of Trustees at the San Jose Museum of Art, and the Board of Directors at Bridge Live Arts. She is a Professor and Chair of Film at California College of the Arts, San Francisco. Visit Ranu's Website:  RanuMukherjee.comFollow  on Instagram:  @RanuMukherjeeFor more on 'Cool Britannia' at the San Francisco Ballet - CLICK HERE.For more on Ranu's book, 'Shadowtime' - CLICK HERE--About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com

Phil studied at the Royal College of Art from 1990 to 1992 and is also currently a director at Turps Banana.John Yau's 2024 Hyperallergic review of Phil's NY Miles McEnery show states:"Something about his visual preoccupations speaks to the viewer's mind and eye—the connections and ruptures between physical and visual sensations—working in tandem with our capacity to daydream and reflect upon the bond between the ephemeral and the permanent. His paintings embody the joy of looking and the space of self-reflection that such elation might bring. His fluid approach is unrivaled, and his layered accumulations of imagery evoke the interplay between creation and waste, flights of imagination, and an ever-present awareness of mortality."You can get in touch with us with opinions and suggestions at:Email - tothestudio@gmail.comInstagram - instagram.com/tothestudioThis podcast features an edited version of the song "RSPN" by Blank & Kytt, available under a Creative Commons Attribution license. http://freemusicarchive.org/music/Blank__Kytt/Heavy_Crazy_Serious/Blank__Kytt_-_Heavy_Crazy_Serious_-_08_RSPN

Welcome back to ARTMATTERS: The Podcast for Artists.This week, we're joined by Julie Harrison, a New York-based artist whose decades-long career has spanned drawing, photography, video, painting, and performance.In this episode we discuss Julie's transition from grayscale to color and back again, her interest in scientific imagery, archiving and selecting reference materials, drawing techniques, early artistic influences and her career path. We also discuss her transition to painting in the 1980s, graduate school, the importance of mentorship and the intersection of challenge, doubt and curiousity at play behind her practice. Julie's work has been exhibited at MoMA, the Museum of Arts & Design and the Neuberger Museum, with reviews in The New York Times, Hyperallergic, and The Village Voice. Harrison is a recipient of NEA and NYFA grants, she has published with Granary Books and held residencies at the Nordic Arts Center and Cold Spring Harbor Lab. Harrison also founded the Art & Technology B.A. program at Stevens Institute of Technology, where she taught for 18 years.Enjoy this conversation with the artist Julie Harrison.You can now support this podcast by clicking HERE where you can donate using PATREON or PayPal!If you're enjoying the podcast so far, please rate, review, subscribe and SHARE ON INSTAGRAM!  If you have an any questions you want answered, write in to artmatterspodcast@gmail.com host: Isaac Mann www.isaacmann.cominsta: @isaac.mann guest: Julie Harrisonwww.julie-harrison.com insta: @julie_harrison_nycThank you as always to ARRN, the Detroit-based artist and instrumentalist, for the music. 

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. Today, Emily chats with painter Kirstine Rainer Hansen, as they discusses her transition from design and illustration to becoming a self-taught artist specializing in 'Disrupted Realism.' Born in Denmark, Kirstine has lived across various countries, ultimately settling in Carmel, California. Her path to art was unconventional; due to financial and societal pressures, she initially studied design but shifted to painting after struggling to find work during a recession. Kirstine's work, influenced by artists like Rembrandt, Francis Bacon, and Lucian Freud, is currently on display at the Jack Fisher Gallery at the Minnesota Street Project in San Francisco. She talks about how moving to San Francisco shaped her artistic style, transitioning from classical realism to a more fragmented, collage-based approach. Kirstine also dives into "Three Questions" talking about her artistic identity, influential works, and inspiring locations in the Bay Area.About Artist Kirstine Reiner Hansen:Kirstine Reiner Hansen is an artist based on the Central Coast of California, US. Born in Odense, Denmark, she received a BA in Design and Illustration at Kolding School of Design. Her work has been exhibited in numerous galleries, most recently she had 2-person exhibition at Jack Fischer Gallery, San Francisco. In 2012 she received the Lillian Orlowsky and William Freed Foundation Grant and was twice a semi-finalist for the Outwin Boochever Portrait Competition. She has been featured in Juxtapoz Magazine, BloPop Magazine and the Asian Curator as well as in the book ‘Distrupted Realism' by John Seed, 2019. Her work is featured in the movie ‘Meaning of a Ritual' by Berlin director Natalie MacMahon, 2023.Visit Kirstine's Website:  ReinerHansen.comFollow  on Instagram:  @ReinerHansenArtFor more about her current exhibit "Atmospheric Disruptions" at the Jack Fischer Gallery, CLICK HERE. --About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. In this episode  Emily chats with multimedia artist Tricia Rainwater. Tricia delves into her artistic journey, focusing on self-portrait photography and installations. Her work, seen in exhibitions like 'Allegedly the Worst is Behind Us' at San Jose's Institute for Contemporary Art, addresses themes of political innateness, erasure, and the importance of creating personal archives. She also shares her experiences from childhood photography to her impactful pieces that highlight missing Indigenous women and girls. Their conversation touches on the emotional power and societal responsibilities of art.About Artist Tricia Rainwater:Tricia Rainwater (she/her) is a mixed Choctaw Indigiqueer multimedia artist based on Ramaytush Ohlone land. Tricia's work ranges from self portraiture to large sculptural installations. Her work has been featured nationally and internationally through group shows and artist features. In her work, Tricia, focuses on creating pathways to a resilient and hopeful future by centering the process of grieving and healing. She is a recent recipient of the SF Artists Grant through the SF Arts Commission.Visit Tricia's  Website:  TriciaRainwater.comFollow Tricia  on Instagram:  @TriciaRainwaterArtLearn more about the exhibit, 'Allegedly The Worst Is Behind Us', currently at the ICA San Jose - CLICK HERE. --About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com

Sardines are in vogue. Literally. They are in Vogue magazine. They're delicious (subjectively), good for you, and sustainable… right? Recently, a listener called into the show asking about just that.“I've always had this sense that they're a more environmentally friendly fish, perhaps because of being low on the food chain. But I'm realizing I really have no sense of what it looks like to actually fish for sardines,” Jeannie told us.The Outside/In team got together to look beyond the sunny illustrations on the fish tins. Is there bycatch? What about emissions? Are sardines overfished? If we care about the health of the ocean, can we keep eating sardines?Featuring Jeannie Bartlett, Malin Pinsky, and Zach Koehn.To share your questions and feedback with Outside/In, call the show's hotline and leave us a voicemail. The number is 1-844-GO-OTTER. No question is too serious or too silly.For full credits and transcript, visit outsideinradio.org. SUPPORTOutside/In is made possible with listener support. Click here to become a sustaining member.Subscribe to our (free) newsletter.Follow Outside/In on Instagram or Twitter, or join our private discussion group on Facebook. LINKSIf you're interested in finding sustainable fisheries, our sources recommended checking out Monterey Bay Aquarium Seafood Watch and the Marine Stewardship Council.Sardines (specifically, Fishwife) in Vogue. Why are tinned fishes in every boutique store, and why do all of those stores feel exactly the same? For Grub Street, Emily Sundberg reported on the digital marketplace behind the “shoppy shop.” The documentary about the epic South African sardine run is “The Ocean's Greatest Feast” on PBS.Zach Koehn's paper, “The role of seafood in sustainable diets.” Malin Pinsky's research found that small pelagic fish (like sardines, anchovies, and herring) are just as vulnerable to population collapse as larger, slower-growing species like tuna. Explore the designs of historical Portuguese fish tins (Hyperallergic).An animated reading of The Mousehole CatThe last sardine cannery in the United States closed in 2010. But you can explore this archive of oral histories with former workers in Maine factories (many of them women and children).

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. In this week's Episode, Emily features artist Carrie Ann Plank. Originally inclined towards a medical career, Carrie Ann found her true calling in printmaking. Her work, which combines science and art, is showcased in multiple renowned collections, including the Fine Arts Museums of San Francisco and the Library of Congress. Her latest exhibition, 'Cacophony' at Jonathan Carver Moore, visualizes sound through layered prints. Carrie Ann discusses her process, inspiration from scientific data, and collaboration with scientists. About Artist Carrie Ann Plank:Carrie Ann Plank is a San Francisco based artist working in installation, printmaking, and painting. Focusing on layers of sophisticated geometry, Plank examines the space of intersecting patterns to describe new structures. The work utilizes mathematical equations to create multiple overlapping impressions that reveal additional distinct pattern formations. The resulting forms are space in between, the intercession, of concrete data.Carrie Ann's work is included in multiple collections including the Fine Art Archives of the Library of Congress, Fine Art Museums of San Francisco, Achenbach Foundation for Graphic Arts, the Guanlan Print Art Museum in China, Museum Meermanno in The Hague, Netherlands and Museo Nacional de Bellas Artes, Havana, Cuba. Residencies include Black Church Print in Dublin Ireland, KALA in Berkeley, CA, Konstnärernas Kollektiva Grafikverkstad in Malmö, Sweden, Local Language, Oakland, CA, Taller Experimental de Gráfica de La Habana in Havana, Cuba, the Íslensk Grafík in Reykjavik, Iceland, Edition/Basel in Basel, Switzerland, Mullowney Printing in San Francisco, CA, Haystack Mountain School of Craft in Deer Isle, ME, and Bullseye Glass in Emeryville, CA. Additionally, Plank has had a 20 year teaching career before devoting herself solely to her artist practice in 2018. Plank is active in the Bay Area arts community serving on boards and committees such as Root Division, California Society of Printmakers, and Art for AIDS. She is also a 2024 SECA nominee.Visit Carrie Ann's  Website:  CarrieAnnPlank.comFollow Carrie Ann on Instagram:  @CarrieAnnPlankLearn more about Carrie Ann's exhibit "Cacophony" at Jonathan Carver Moore - CLICK HERE. --About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com

Volvamos a revisar el mercado del arte en este episodio corto. ¡No te pierdas un ANUNCIO

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. This week, we are replaying a conversation from December 2023, as our final drop of the year. It features Emily chatting with artist Rupi C. Tut, whose work focuses on capturing the stories of women like herself and her family. Rupy shares her journey from moving to the U.S. from India, studying pre-med at UCLA, to deciding to pursue art and successfully exhibiting her work in renowned museums, such as the De Young Open and the Institute of Contemporary Art in San Francisco. Rupy discusses her dedication to portraying everyday heroism, belonging, and cultural identity through her art, emphasizing the importance of representation and the significant influence of her background in her creative process. The episode also highlights her training in Pahati painting and her latest show, 'Out of Place,' reflecting on the broader impact of her work on diverse audiences.Rupy is a recent 2024 SECA Art Award recipient, and her work is currently being featured at the SFMOMA with other SECA Award winners. Art is Awesome will return on January 1st with brand new Episodes, featuring artists Carrie Ann Plank and Tricia Rainwater.About Artist Rupy C. Tut:Rupy C. Tut is a painter dissecting historical and contemporary displacement narratives around identity, belonging, and gender. As a descendant of refugees and a first generation immigrant, Rupy's family narrative of movement, loss, and resilience is foundational to her creative inquiries. Tut's artistic practice expands, innovates, and reframes the traditions of Indian miniature painting. She mixes her own pigments and turns to hemp paper and linen to contend and make visible one's place in the world. ​Rupy C. Tut lives and works in Oakland, California. Her work has been presented through exhibitions and talks at the de Young Museum, San Francisco; Asian Art Museum, San Francisco; London City Hall; Stanford University; The Peel Art Gallery and Museum Archives, Toronto; a solo exhibition Rupy C. Tut: A Recipe for Brown Skin at the Triton Museum of Art, Santa Clara; and a solo exhibition Rupy C. Tut: Search and Rescue at Jessica Silverman, San Francisco. Rupy C. Tut is represented by Jessica Silverman.Visit Rupy's Website: RupyCTut.comFollow Rupy on Social Media: @RupyCTutFor more on Rupy's SECA Art Award Exhibit at SFMOMA, CLICK HERE. --About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. In this episode Emily features Lorraine Woodruff-Long, a textile artist from San Francisco who turned to quilting after losing her job during the pandemic. Lorraine's work, rich in cultural heritage and social commentary, gained recognition when her piece was featured in the deYoung Open. She discusses her inspiration, including the iconic 'Quilts of Gee's Bend,' her use of text in quilts, and her focus on issues like gun violence and climate change. Lorraine's journey to becoming a quilter and her passion for teaching are also highlighted.  Lorraine also shares her thoughts on being an artist, influential works, and her favorite creative spot in San Francisco.About Artist Lorraine Woodruff-Long:Lorraine Woodruff-Long is a self-taught San Francisco quilter with a primary focus on color, improvisation, and recycled/repurposed fabrics. Raised in Houston, and educated at University of Texas/Austin, Lorraine served in Peace Corps Kenya and afterwards moved to California as a “bucket list” dream to temporarily experience living in a progressive urban city.  She fell in love with San Francisco and never left.  After a career in marketing and advertising, Lorraine later worked in the nonprofit sector while raising two city kids with her architect husband before spring boarding into a fiber art practice prompted by the pandemic.Lorraine's work has been juried into art exhibitions at the de Young Museum/San Francisco, the California Heritage Museum/Santa Monica, the Sanchez Art Center/Pacifica, Muzeo Museum & Cultural Center/Anaheim, TAG Gallery/Los Angeles the Drawing Room/San Francisco, and the San Francisco Women Artists Network Gallery.  She has received numerous awards for her quilts at local, national and international quilt shows. Quilt exhibitions include the International Quilt Festival/Houston, QuiltCon, the Pacific International Quilt Festival, Visions in Cloth, and Quilt San Francisco among others. Lorraine is a member of the Modern Quilt Guild, San Francisco Quilt Guild, Studio Art Quilt Associates (SAQA), East Bay Heritage Quilters, ArtSpanSF, Northern California Women's Caucus for Art, and a volunteer with the Social Justice Sewing Academy Remembrance Project. Her work is included in the 2021 book, “Stitching Stolen Lives: The Social Justice Sewing Academy Remembrance Project.”She currently teaches quilting at City College of San Francisco Extension and SCRAP-SF and teaches quilting workshops online and to guilds around the country.Visit Lorraine's  Website:  QuiltingInTheFog.comFollow Lorraine on Instagram:  @QuiltingInTheFogAnd for more on Lorraine's Exhibit at St Joseph's Arts Society, CLICK HERE. --About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com

HOO BOY this week Roman historians Dr. Sarah Bond and Dr. Bret Deveraux drop in to talk about Ridley Scott's ode to his first film, uh, ancient Rome, Gladiator II. We talk about the legacy of the first film, our impressions of the new release, and the actual history behind Gladiator II. This discussion is pretty epic. Stay tuned and subscribe.About our guests:Dr. Sarah E. Bond is an Associate Professor of History at the University of Iowa. She is interested in late Roman history, epigraphy, late antique law, Roman topography and GIS, Digital Humanities, and the socio-legal experience of ancient marginal peoples. She earned a PhD in History from the University of North Carolina at Chapel Hill (2011) and obtained a BA in Classics and History with a minor in Classical Archaeology from the University of Virginia (2005). Her book, Trade and Taboo: Disreputable Professionals in the Roman Mediterranean, was published with the University of Michigan Press in 2016. Follow her blog: History From Below.Additionally, Bond is a regular contributor at Hyperallergic, a columnist at the Los Angeles Review of Books, and a section editor at Public Books. She has written for The New York Times, The Chronicle of Higher Education, and The Washington Post.  Bond's latest book, Strike: Labor, Unions, and Resistance in the Roman Empire will be out on February 4, 2025. It is available for preorder here: https://yalebooks.yale.edu/book/9780300273144/strike/Dr. Bret C. Devereaux is an ancient and military historian who currently teaches as a Teaching Assistant Professor at North Carolina State University. He has his PhD in ancient history from the University of North Carolina at Chapel Hill and his MA in classical civilizations from Florida State University.Bret is a historian of the broader ancient Mediterranean in general and of ancient Rome in particular. His primary research interests sit at the intersections of the Roman economy and the Roman military, examining the ways that the lives of ordinary people in the ancient world were shaped by the structures of power, violence and wealth under which they lived and the ways in which they in turn shaped the military capacity of the states in which they lived (which is simply a fancy way of saying he is interested in how the big picture of wars, economic shifts and politics impacted the ‘little' folks and vice versa). More broadly he is interested in many of the nuts-and-bolts of everyday life in the ancient world, things like the production of textiles, the economics of small farming households, and the burden of military service.He is also a lifetime fan of fantasy, science fiction and speculative fiction more generally. Bret enjoys good music, bad jokes and writing about himself in the third person. He is also required, by law and ancient custom, to inform absolutely everyone that he has, in fact, beaten Dark Souls (and now also Elden Ring).

Send us a textWelcome back to ARTMATTERS: The Podcast for Artists. On today's episode we talk with artist Mark Joshua Epstein, whose work has been widely exhibited in the U.S. and internationally. A graduate of the Slade School of Fine Arts, Epstein has held residencies at prestigious institutions like the British School at Rome. His work has appeared in publications such as the New York Times and Hyperallergic, and he is currently an artist-in-residence at the Sharpe Walentas Studio Program in Brooklyn, NY.Today we dive into more of Marks artistic practice starting with flexible tape and it's role in creating borders that carry cultural and compositional weight. We discussed the intimidation of starting a new work, the rhythm and tempo of an artist process and the transformative impact of critiques. This conversation also touches on the books that inspire studio practice, advice for acrylic painters and some thoughtful guidance for younger artists navigating their creative journeys.You can now support this podcast by clicking HERE where you can donate using PATREON or PayPal!If you're enjoying the podcast so far, please rate, review, subscribe and SHARE ON INSTAGRAM! If you have an any questions you want answered, write in to artmatterspodcast@gmail.com ABOUT ARTMATTERS: Host: Isaac Mann www.isaacmann.cominsta: @isaac.mann Guest: Mark Joshua Epsteinwww.markjoshaepstein.com insta: @markjoshuaepstein Thank you as always to ARRN, the Detroit-based artist and instrumentalist, for the music. 

In this installment of the Rock is Lit Season 4 Reading Series, O.F. Cieri reads an excerpt from her novel ‘Backmask' and discusses the inspiration behind the story and the music that shaped it. Inspired by pop music history and written in the style of ‘60s horror pulp, ‘Backmask' is the fake history of a conspiracy theory surrounding the Satanic agenda to control children's minds. Nicholas Hush, 1960s record producer, has a vision for the future of pop music. After a series of prophetic dreams, he wants to combine occult imagery with upcoming trends to create a new, groundbreaking look. His secretary, Valerie Chill, is tasked with finding consultants and funding while he crafts the perfect album. Quickly their project becomes entangled in other, larger machinations, and two teenage pop acts become responsible for international intrigue, brainwashing, and an occult massacre. Taking inspiration from the lives of Joe Meek, Phil Spector, and Timothy Leary, ‘Backmask' is a speculative look at how hidden messages got into pop music. O.F. Cieri is a self-taught writer based out of NYC. She has been published in ‘Ligeia Magazine' and ‘Misery Tourism'. In 2013 she won first place in BMCC's Poetry Competition. In 2016 she won an Honorable Mention in LaborArts Make Work Visible Competition. Her nonfiction has been carried by ‘Hyperallergic' and the ‘Invisible Oranges'. In February of 2023 she published her second book, ‘Lockdown Laureate', with Castaigne Publishing. Her third book, ‘Backmask', was published by Malarkey in June of 2023.   MUSIC IN THE EPISODE IN ORDER OF APPEARANCE: Rock is Lit theme music [Guitar Instrumental Beat] Sad Rock [Free Use Music] Punch Deck—“I Can't Stop” The Moontrekkers – “Night of the Vampire” Bauhaus – “She's In Parties” The Cramps “The Goo Goo Mack” [Guitar Instrumental Beat] Sad Rock [Free Use Music] Punch Deck—“I Can't Stop” Rock is Lit theme music   LINKS: Leave a rating and comment for Rock is Lit on Goodpods: https://goodpods.com/podcasts/rock-is-lit-212451 Leave a rating and comment for Rock is Lit on Apple Podcasts: https://podcasts.apple.com/us/podcast/rock-is-lit/id1642987350 O.F. Cieri's website: https://ofcieri.com/ O.F. Cieri on Facebook: @OFCieri O.F. Cieri on Instagram: @Ossuary O.F. Cieri on Twitter: @ossvary Christy Alexander Hallberg's website: https://www.christyalexanderhallberg.com/rockislit Christy Alexander Hallberg on Instagram, Twitter, YouTube: @ChristyHallberg Rock is Lit on Instagram: @rockislitpodcast Learn more about your ad choices. Visit megaphone.fm/adchoices

In 1915, Marcel Duchamp bought a snow shovel at a hardware store in New York City. He inscribed his signature and the date on its wooden handle. On the evening this episode is released, the fourth version of this classic “ready-made,” which he titled “In Advance of the Broken Arm,” will be auctioned off at Christie's during their 20th Century Evening Sale. It's estimated to sell for $2 million to $3 million.How could a simple snow shovel be valued at such a steep price? Was  Duchamp an unmatched genius, or a product of some of the biggest museums' dirtiest little secrets: the results of pure, unadulterated capitalism?Northeastern University professor, essayist, poet, and editor Eunsong Kim has illuminated the underlying influences of industrial capitalism and racism behind some of the most prized museum collections in her new book, The Politics of Collecting: Race and the Aestheticization of Property. She traces how Duchamp was brought to prominence through the patronage of collectors Louise and Walter Arensberg, heirs of a fortune wrought by the steel industry. Their family operated steel mills in the same setting as titans such as Andrew Carnegie and Henry Clay Frick, whose wealth also underlies their own valuable art collections.And as it turns out, the “death of the author,” celebrated in conceptual art like that of Duchamp, is a convenient idea for the ultrawealthy. Devaluing labor pairs well with violent crackdowns on striking workers to deny them adequate pay. Or even Frederick Winslow Taylor's development of “scientific management,” a system that is still cited today but is based on the idealization of the slave plantation.How much of the Modernist archive was canonized by union-busting bosses? How much of conceptual art in the 20th and 21st centuries has been buoyed by the reverence of scientific management? In this episode, Editor-in-chief Hrag Vartanian sits down to talk with Kim about her new volume, which challenges generations of unquestioned received knowledge and advocates for a new vision of art beyond cultural institutions. In the process, they discuss the craft of writing, how a White artist was counted as a Black artist at the 2014 Whitney Biennial, and how Marcel Duchamp got away with selling bags of air.Subscribe to Hyperallergic on Apple Podcasts, and anywhere else you listen to podcasts.—Subscribe to Hyperallergic NewslettersBecome a member

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. Today, Emily chats with Troy Lamarr Chew II, a talented painter with an ongoing exhibition at San Francisco's Altman Siegel gallery. Troy pursued his passion for art, eventually studying at the California College of the Arts and receiving a prestigious residency at the Headlands Center for the Arts. His recent work explores invisibility,  inspired by his time as an Uber driver. His work can be seen in notable museums and galleries. Troy  discusses his artistic journey, influences, and unique approach to language and representation in his art.About Artist Troy Lamarr Chew II :Troy Lamarr Chew II explores the legacy of the African Diaspora and its reverberations throughout American culture. His work looks methodically at systems of coded communication and how this is translated and mistranslated both within the Diaspora and the mainstream.Chew's rich artistic visual language draws inspiration largely from Black culture and its history. A highly skilled realist, inspired by European painting techniques, Chew uses these art historical traditions to reframe their exclusion of Blackness. In his Out the Mud series, hand dyed and sewn cloths from West Africa are replicated in a trompe l'oeil fashion, their patterns “torn” away to reveal portrayals of contemporary Black culture and resistance. In another series, Slanguage, the artist paints Flemish style vanitas picturing everyday objects, coded in hip-hop lexicon. His Three Crowns series explores the social history of cosmetic dentistry and the use of grills in hip-hop culture. The artist's lush and luminous oil paintings embody the energy of this infinitely re-mixed yet deeply rooted genre.In 2020, Chew was awarded the prestigious Tournesol Residency at Headlands Center for the Arts after becoming a Graduate Fellow from California College of the Arts, San Francisco in 2018. Solo exhibitions include The Roof is on Fire, Altman Siegel, San Francisco, CA (2022), Yadadamean, CULT Aimee Friberg Exhibitions, San Francisco, CA (2020); Fuck the King's Horses and all the King's Men, Parker Gallery, Los Angeles, CA (2020); WWJZD, Cushion Works, San Francisco, CA (2019) and Stunt 101, Guerrero Gallery, San Francisco, CA (2019). Recent group exhibitions include Walk Against the Wind, Micki Meng and Parker Gallery, New York, NY (2023); The Culture: Hip Hop and Contemporary Art in the 21st Century, The Baltimore Museum of Art, Baltimore, MD (2023); Imperfect Paradise, Barbati Gallery, Venice, Italy (2023); Continuum, presented by the Kinsey African American Art & History Collection and Residency Art Gallery at Sofi Stadium, Inglewood, CA (2022-2023); I Yield My Time. Fuck You!, Altman Siegel, San Francisco (2020); California Winter, organized in collaboration with Hannah Hoffman at Kristina Kite Gallery, Los Angeles, CA (2019), Vanguard Revisited, San Francisco Art Institute, San Francisco, CA (2019), Graduation, Good Mother Gallery, Oakland, CA (2019) and Black Now(here), Museum of the African Diaspora, San Francisco, CA (2018). His work is included in the collections of the Kadist Foundation and the San Francisco Museum of Modern Art.See more of Troy's work at the Altman Siegel Gallery HERE.  Follow Troy on Instagram:  @troylamarrchewthesecondTroy at the Parker Gallery CLICK HERE. --About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com

Send us a textWelcome back to ARTMATTERS: The Podcast for Artists. On today's episode I speak with artist Mark Joshua Epstein, whose work has been widely exhibited in the U.S. and internationally. A graduate of the Slade School of Fine Arts, Epstein has held residencies at prestigious institutions like the British School at Rome. His work has appeared in publications such as the New York Times and Hyperallergic, and he is currently an artist-in-residence at the Sharpe Walentas Studio Program in Brooklyn, NY.Today's conversation delves into Mark's artistic development, beginning with his transition from working on paper to using foam and epoxy clay. He describes his process of creating frames using foam, epoxy, and a proprietary gesso mix, and his eventual shift to Aqua resin and fiberglass for larger works. Epstein emphasizes the importance of maintaining a playful, improvisational approach while balancing durability and vulnerability in his work. He also discusses the challenges and joys of his "fabrication season," where he creates panels without even initially envisioning the final paintings.You can now support this podcast by clicking HERE where you can donate using PATREON or PayPal!If you're enjoying the podcast so far, please rate, review, subscribe and SHARE ON INSTAGRAM!   If you have an any questions you want answered, write in to artmatterspodcast@gmail.com host: Isaac Mann www.isaacmann.com insta: @isaac.mann guest: Mark Joshua Epsteinwww.markjoshaepstein.com insta: @markjoshuaepstein Thank you as always to ARRN, the Detroit-based artist and instrumentalist, for the music. 

Visual Artist and educator, Lydia Panas and I have a wonderful conversation about her work including her books, Falling from Grace (self published), The Mark of Abel (Kehrer Verlag), and Sleeping Beauty (MW Editions). We talk about her use of allegorical themes as a way of pushing back against them and we talk extensively about how she works with and connects with her models and how all her work has a deep personal connection to her own epxeriences. http://www.lydiapanas.com ||| https://www.instagram.com/lydiapanas_/ ||| https://www.facebook.com/lydia.panas ||| https://www.kehrerverlag.com/en/lydia-panas-the-mark-of-abel-978-3-86828-229-0 ||| https://mweditions.com/books/lydia-panas-sleeping-beauty/ This podcast is sponsored by the Charcoal Book Club Begin Building your dream photobook library today at https://charcoalbookclub.com Lydia Panas is a visual artist working with photography and video. A first-generation American, she was raised between Greece and the United States. Panas' work looks at identity and what lies below the surface, investigating questions of who we are and what we want to become. Her work is made in the fields, forests, and studio of her family farm in Pennsylvania. The connection she feels to this land is the foundation of her work. Panas' work has been exhibited widely in the U.S. and internationally. Her photographs are represented in public and private collections including the Brooklyn Museum, the Bronx Museum, the Museum of Fine Arts Houston, Palm Springs Art Museum, Michener Art Museum, Allentown Art Museum, Museum of Contemporary Photography Chicago, Museum of Photographic Arts San Diego, the Sheldon Museum, Zendai MoMA Shanghai, among others. Her work has appeared in periodicals such as The New Yorker, the New York Times Magazine, The Village Voice, French Photo, Hyperallergic, Photo District News, Popular Photography, San Francisco Chronicle, Rain Taxi Review of Books, Flavorpill, WSJ Blog, GEO Wissen, Die Volkskrant, Haaretz, and the Philadelphia Inquirer.

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. Today, Emily features a conversation with writer and art historian Bridget Quinn. Bridget discusses her latest book 'Portrait of a Woman,' which delves into the life of Adelaide Le Béliard, a pioneering 18th-century artist. She shares her journey of discovering Adelaide's work, her challenges in a male-dominated Royal Academy, and her rivalry with Marie Antoinette's painter, Elisabeth Vigée Le Brun. The episode also includes an exploration of how art and letters were used to reconstruct Adelaide's story and a touching discussion of how Bridget's own experiences shaped her writing. This episode highlights essential themes of art, feminism, rivalry, and the force of Adelaide's will against significant odds.About Author Bridget Quinn:Bridget Quinn is author of the books She Votes: How U.S. Women Won Suffrage, and What Happened Next, an Amazon Editors' pick for Best History books 2020, and the award-winning Broad Strokes: 15 Women Who Made Art and Made History (in That Order), an Amazon pick for Best Art & Photography Books 2017 and a 2018 Amelia Bloomer List selection of recommended feminist literature from the American Library Association. Translated into four languages, in 2018 Broad Strokes was a national finalist for best art book of the year in Ukraine. NPR's Susan Stamberg calls it “a terrific essay collection” with “spunky attitudinal, SMART writing,” marking the second time “attitudinal” has been used about her work (first: Kirkus 1996). Her current book is Portrait of a Woman: Art, Rivalry & Revolution in the Life of Adélaïde Labille-Guiard, more than thirty years in the making.Raised on the high plains of Montana with six brothers, two sisters, a devout and sporty mother and a WWII Marine-turned-lawyer father, in a home surrounded by cows and nuclear missile silos, she's lived since in Norway, New York, Oregon and California. She's taught art history, history and writing for more than two decades; worked in museums and for galleries and private collections; worked at climbing gyms on both coasts, and was a researcher for the first several ESPN X Games, covering rock climbing, ice climbing, BMX freestyle and downhill mountain biking.A graduate of New York University's Institute of Fine Arts and a regular contributor to online arts magazine Hyperallergic, she's a nationally sought-after speaker on women and art. She is a contributing editor to On the Seawall, and the former co-host of The GrottoPod: Writers on Writing. An avid sports fan and Iron(wo)man triathlete, her Narrative magazine essay “At Swim, Two Girls” was included in The Best American Sports Writing 2013. She lives in the San Francisco Bay Area with her family, dogs, and hella bikes.Visit Bridget's  Website:  BridgetQuinnAuthor.comFollow  on Instagram:  @BQuinnterestLearn more about and purchase Portrait of a Woman - CLICK HERE--About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com

In our continued dissection of the OLD NEWS, Emily Colucci and I discuss: Indicted former art advisor Lisa Schiff and her upcoming bankruptcy auction, to be conducted by Phillips; how Paul McCarthy is slowly throwing out his immense artwork, WS (White Snow), because he can't store the work any longer, and how he failed to get any museums to buy the work, ultimately deciding to throw the work out piece by piece, which is, of course, logistically challenging (it takes up 4000 sq. ft of space and contains some very challenging- (read: yucky) ephemera); the art of Operation Under, a collective of artists who make wall paintings in underground tunnels throughout LA County, in one case the writer (Matt Stromberg of Hyperallergic) encounters racoons both in painted form as well as the in-real-life, glowing-eyes kind; how one museum took to pairing smells with a pre-Raphaelite artwork exhibition (including ‘dewy grass'), and how it led viewers to stay with the work a significantly longer period than traditional scent-less art viewing.

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. This week, Emily features photographer Chloe Sherman, who shares her journey from Portland to San Francisco and her role in capturing the queer community of the 90s. Chloe's work, which portrays a time when the city's rents were affordable and its social spots thriving, has been exhibited internationally and highlighted in a well-received book. The episode also details how Chloe's daughter's social media efforts during the pandemic brought greater visibility to her art. The conversation delves into Chloe's inspirations, daily routines, and creative influences, with a mention of her show 'Renegades' at the Leica store in San Francisco. About Artist Chloe Sherman:Chloe Sherman (b. 1969, New York) is a San Francisco-based fine art photographer known for her vibrant portraits of queer life in San Francisco during the 1990s. As a vehement visual chronicler, Sherman captures an intimacy and vibrancy that brings a unique subculture to life, even decades later. Sherman received her degree in fine art photography from the San Francisco Art Institute in 1999, during which time she began documenting a generation of young self-identified Queers. The community became family, and she reveled in their collective creativity, support, pride, and their strident defiance of cultural norms. This was the catalyst for an entire body of work that would go on to be recognized and shown internationally. Sherman's photographs, all shot on 35mm film, offer a window into an era of defiance, freedom, resilience, and tenderness, shedding light on the energy of San Francisco at a time when it was brimming with possibility. Her images are a throughline, anchoring viewers to a moment in Queer history and immortalizing moments of gender experimentation and joy.Her work has been exhibited internationally, including at F³ Freiraum für Fotografie (Berlin), Schlomer Haus Gallery (San Francisco), Kunsthalle Nürnberg (Nuremberg), Leica San Francisco, and The Diego Rivera Gallery (San Francisco). She has been published extensively in Nothing But the Girl (ed. Susie Bright and Jill Posner; 1996), RESEARCH: Angry Women in Rock (Juno Books; 1996), Out In America (Viking Press; 1994), Rolling Stone Magazine, Interview Magazine, Deneuve, the Advocate, and the New Yorker. Sherman's work is a part of the permanent collections at The National Gallery of Art, SF MOMA, and those of private collectors. In 2023, Hatje Cantz Verlag published a monograph of her work, Renegades: San Francisco – 1990s. Visit  Chloe's Website:  ChloeShermanStudio.comFollow Chloe on Instagram:  @ChloeDShermanLearn more about her Renegades exhibit at Leica Store San Francisco, CLICK HERE. --About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com 

Sponsored by milk_shakehttps://bit.ly/mlkshkpro Interview with Elizabeth L. BlockElizabeth L. Block, an art historian, is a Senior Editor in the Publications and Editorial Department at The Metropolitan Museum of Art in New York.Dr. Block earned her PhD in art history at The Graduate Center, City University of New York, with a focus on 19th-century American painting. She also holds an MA in American Studies from Columbia University, and a BA in English from The George Washington University.Beyond Vanity: The History and Power of Hairdressing (MIT Press) is available now, and has been featured in Forbes, Hyperallergic, Daily Art Magazine, Town & Country, The New York Post, and more.Her book Dressing Up: The Women Who Influenced French Fashion (2021) also published by MIT Press, won the Victorian Society in America book award 2022, and was shortlisted for the Association of Dress Historians 2022 Book of the Year. The book was reviewed widely in journals devoted to fashion history, American history, art history, and business history.Linkshttps://www.forbes.com/sites/rachelelspethgross/2024/09/09/elizabeth-block-goes-beyond-vanity-on-the-history-of-hairdressing/https://www.elizabethlblock.com/ News from TheTease.com:https://www.thetease.com/fastfoils-and-social-art-house-just-launched-an-exclusive-educational-retreat-in-mexico-for-beauty-pros-heres-why-you-should-attend/https://www.thetease.com/innersense-organic-beauty-co-founder-greg-starkman-talks-clean-beauty-building-a-brand-with-authenticity-and-the-need-for-better-cosmetic-regulations/ More from TheTease.comInstagram: https://www.instagram.com/readthetease/ (readthetease)Instagram: https://www.instagram.com/volumeupbythetease/ (volumeupbythetease)Instagram: https://www.instagram.com/kellyehlers/ / (KellyEhlers)Instagram: https://www.instagram.com/eljeffreycraig/ (eljeffreycraig)Web: https://www.thetease.com (TheTease.com)Email: VolumeUp@TheTease.comCredits: Volume Up is a Tease Media production. This episode was produced by Monica Hickey and Madeline Hickey. Brian Daly is our editor and audio engineer. Thank you to our creative team for putting together the graphics for this episode.Thank you to the team who helped create our theme song. Show them some love and check out their other work!Josh Landowski: https://www.instagram.com/josh_landowski/This podcast

Ep.216 Kemar Keanu Wynter (b. Brooklyn, NY) holds a BFA from the SUNY Purchase School of Art and Design. His work was the focus of solo exhibitions at Klaus von Nichtssagend Gallery, New York (2023), Encounter, Lisbon, Portugal (2023), and Tiger Strikes Asteroid, Queens (2021). He has exhibited in several group shows including Mama's in the Kitchen, Anat Ebgi, New York; Visible World, Halsey McKay Gallery, East Hampton; Death of Beauty, Sargent's Daughters, Los Angeles; and Notes on Ecstatic Unity, OTP Gallery, Copenhagen, Denmark. Wynter was a member of the 2023-24 Sharpe-Walentas Studio Program, and has also been in residence at the AAI-LES Studio Program, The Macedonia Institute, Anderson Ranch Arts Center, as well as ARoS Kunstmuseum in Aarhus, Denmark and Art Quarter Budapest in Budapest, Hungary. His work is held in the collection of the Art Galleries at Black Studies at the University of Texas, Austin. Wynter's practice has been written about in Hyperallergic, bon appétit, and the Brooklyn Rail, and discussed on Correspondence Archive and Montez Press Radio. Headshot Credit: Courtesy the Artist Artist https://cowfoot.studio/ Klaus von Nichtssagend Gallery https://klausgallery.com/artist/kemar-keanu-wynter/ | https://klausgallery.com/exhibition/kemar-keanu-wynter-rucken-2024-09-6/ Brooklyn Rail https://brooklynrail.org/2024/10/artseen/kemar-keanu-wynter-rucken/ Hyperallergic https://hyperallergic.com/954814/15-nyc-art-shows-to-see-in-october/ | https://klausgallery.com/press/kemar-keanu-wynter-cooks-up-an-abstract-feast/ Cultured Magazine https://www.culturedmag.com/article/2024/09/04/new-york-young-painters-fall-trends Artforum https://artguide.artforum.com/artguide/klaus-von-nichtssagend-gallery-2985 Artists Alliance https://www.artistsallianceinc.org/kemar-keanu-wynter/ Encounter https://www.encountercontemporary.com/kemar-keanu-wynter Sharpe-Walentas Studio Program https://www.thestudioprogram.com/

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. Today, Emily chats with painter Amrita Singhal, known for her vibrant oil paintings and the Rama Prayer mural in Berkeley. Amrita discusses her background, growing up in a culturally rich city in India, and how her former career as a tax lawyer enriched her artistic practice. After leaving law due to health issues, Amrita pursued painting, finding her voice in oil paints. Her work often explores themes of spirituality, with influences from Giotto and Matisse, and she creates immersive virtual reality experiences based on spiritual practices. Amrita also shares her inspirations and favorite places in the Bay Area. About Artist Amrita Singal:Amrita Singhal is based in Berkeley, California. She had the good fortune to study drawing and art history with the brilliant and reclusive painter Louise Smith who was a contemporary of the Bay Area Abstract Expressionists (Diebenkorn, Park, Bischoff et al.) and a one time student of Hans Hoffman, Erle Loran and Margaret Peterson O'Hagan. Two of Amrita's paintings are in the permanent collection of the UC Berkeley Art Museum (BAM). She has painted a Berkeley Public Works Art mural for Meyer Sound and regularly exhibits her work in solo and juried group shows. Amrita is currently producing one of her painting series in virtual reality and as an immersive exhibit.Visit Amrita's  Website:  AmritaSinghal.comFollow  on Instagram:  @AmritaSinghalStudioCLICK HERE to check out the Rama Mural in Berkeley. --About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com

In honor of WNYC's 100th birthday, All Of It is celebrating 100 pieces of art in New York City. Each month we'll speak with a tastemaker in the arts world about their favorites. Our October segment features Hyperallergic co-founder and editor-in-chief Hrag Vartanian who shares 10 pieces he thinks all New Yorkers should see.

Ep. 214 Kim Dacres is a first-generation American sculptor of Jamaican descent, who lives in Harlem and practices her studio work in the Bronx. She primarily uses rubber from recycled tires to create sculptures celebrating the influential forces in her life such as family, friends, artists and musicians. Dacres was born in the Bronx and has a Bachelor's degree from Williams College in Political Science, Art, and Africana Studies as well as a Masters in Teaching English as a Second Language from Lehman College City University of New York. She spent over a decade in New York City public and charter schools working as a teacher and middle school principal. Now, in her second full time career as an artist, Kim has had solo exhibitions in New York, Los Angeles, and Palm Beach, FL as well group exhibitions internationally and within the U.S., including Surrealism and Us: Caribbean and African Diasporic Artists Since 1940 at the Modern Art Museum of Fort Worth, Texas; Black American Portraits at Spelman College Museum of Fine Art and the Los Angeles County Museum of Art, Sounds of Blackness at The Metropolitan Museum of Manila in the Philippines, Godhead – Idols in Times of Crisis at Lustwarande in the Netherlands, and Bronx Calling Part I at the Bronx Museum as part of the esteemed AIM – Artist in the Marketplace Program. Kim is the recipient of the Artadia New York Award Grant in 2022 and the Bronx Recognizes Its Own (BRIO) Grant in 2023. Her work is in numerous private and public collections including – The Beth DeWoody Collection, the LACMA collection in Los Angeles, The ICA in Miami, the Nasher Museum at Duke University, and the International African American Museum in South Carolina. Portrait: Max Yawney Kim Dacres https://www.kimdacres.com/ Colossal https://www.thisiscolossal.com/2023/07/kim-dacres-tire-busts/ NYTimes https://www.nytimes.com/interactive/2023/06/22/t-magazine/art/kim-dacres-art-exhibit.html Juxtapoz https://www.juxtapoz.com/news/installation/we-insist-upon-ourselves-in-perpetuity-throughout-the-universe-april-bey-and-kim-dacres-in-atlanta/ Hyperallergic https://hyperallergic.com/871489/bronx-museum-sixth-aim-biennial-is-all-about-knowledge-and-agency/ The Hopper Prize https://hopperprize.org/kim-dacres/ Gavlak Gallery https://www.gavlakgallery.com/artists/kim-dacres Welancora Gallery https://www.welancoragallery.com/artists/86-kim-dacres/works/ The Bronx Museum https://bronxmuseum.org/aim-fellow/kim-dacres/ Observer https://observer.com/2023/06/becoming-an-artist-was-a-dream-deferred-for-sculptor-kim-dacres/ Artadia https://artadia.org/artist/kim-dacres/ Office Magazine https://officemagazine.net/skin-hair-muscles-and-bones-kim-dacres Charles Moffett https://charlesmoffett.com/exhibitions/55-kim-dacres-measure-me-in-rotations/ https://charlesmoffett.com/press/65-on-view-bantu-knots-and-braids-sculpted-from/

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. Today, Emily chats with Sculptor & Fiberworks Center founder Gyöngy Laky...Ging shares her incredible journey from being a refugee from Hungary to becoming a pivotal figure in textile arts. She talks about her initial inspiration, work at Fiberworks Center, and a teaching stint at UC Davis. Ging also discusses how her experiences and background influenced her unique approach to textiles, incorporating natural materials and cultural anthropology insights. The episode concludes with Ging reflecting on her artistic milestones and the significant impact of the Bay Area's creative environment.About Artist Gyöngy Laky:Gyöngy Laky's sculptural forms are exhibited in museums and galleries throughout the United States.  Internationally, her work has been included in exhibitions in Canada, Denmark, Sweden, England, Holland, Spain, Germany, Hungary, Poland, Lithuania, Switzerland, France, Belgium, Italy, Columbia, Philippines, Japan and China. Laky has participated in the US Federal Art in Embassies Program in Bangkok, Thailand; NATO, Brussels, Belgium; and Poland. In addition to one-person exhibitions in the U.S., she has had solo exhibitions in England, Denmark, Hungary and Spain. She is also known for her outdoor site-specific installations which have occurred in the US, Canada, England, France, Austria, Bulgaria and Italy.A past recipient of a National Endowment for the Arts grant, Award of Distinction, 11th International Triennial of Tapestry, Central Museum of Textiles, Lodz, Poland; and Award for Artistic Excellence, Women in the Arts, The Women's Foundation, San Francisco, CA, Laky was also one of the first textile artists to be commissioned by the Federal Art-in-Architecture Program.   Her work is in many permanent collections including the San Francisco MOMA, The Smithsonian's Renwick Museum of American Art, the Philadelphia Museum of Art, the Oakland Museum, the Contemporary Museum in Honolulu and others (see “Collections”). In 2002-03, she was one of a team of three to develop a comprehensive Arts Master Plan for the new state-of-the-art, US Federal Food and Drug Administration campus being built in Maryland. In 2003, a book, “Portfolio Series: Gyöngy Laky,” was published by Telos Arts Publishing, UK, and the Bancroft Library at UC, Berkeley, released her oral history. Her personal papers are in the Smithsonian Institution‘s Archives of American Art, Washington, DC. Laky's art has appeared in numerous books, magazines and catalogs in the US and abroad. April 2008, the New York Times Magazine commissioned her to create titles for its environmental issue (the titles received an award from the Type Directors Club).Laky was born in Budapest, Hungary, in 1944 and emigrated to the United States as a small child.  She graduated from Carmel High School and completed undergraduate and graduate studies at the University of California, Berkeley (1967-1971). Postgraduate work followed with the UC Professional Studies Program in India.  Upon her return, she founded the internationally recognized Fiberworks, Center for the Textile Arts, in  Berkeley, with accredited undergraduate and graduate programs.  As of 2005, Laky is Professor Emeritus of UC, Davis, (chair, Dept of Art mid-1990s). She joined the faculty at UCD in 1978 and soon after initiated establishing the independent Department of Environmental Design. In the early 1990's she developed a graduate program.Visit Gyöngy's Website:  GyongyLaky.comFollow  on Instagram:  @Gyongy.LakyFor more about Fiberworks Center for Textile Arts, CLICK HERE. --About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. Today, Emily chats with Ceramic Sculptor Wanxin Zhang...Wanxin discusses his journey from studying art in China, his move to America, and the influence of prominent Bay Area artists on his work. He shares how artists like Robert Arneson and Viola Frey helped shift his perception of ceramics from craft to fine art. Wanxin's sculptures, which blend historical references with contemporary culture, are showcased in several prestigious museums and galleries. He recounts his early inspiration from his mother and the pivotal moment he decided to move to the U.S. Wanxin also talks about how changing his medium from metal to clay allowed him to express his identity and cultural heritage more profoundly.About Artist Wanxin Zhang:Wanxin Zhang was born and educated in China. He graduated from the prestigious LuXun Academy of Fine Art in Sculpture in 1985. In 1992, after Zhang established his art career as a sculptor in China, he relocated to San Francisco with his family and received his Master in Fine Arts from the Academy of Art University. Zhang had been on the faculty of the Academy of Art University, Department of Art Practice at University of California, Berkeley and California College of The Art in Oakland, and the San Francisco Art Institute. Zhang's sculptures represent a marriage between historical references and a contemporary cultural context; they carry messages of social and political commentary. His work is deeply influenced by the Bay Area figurative movement and artists such at Peter Voulkos and Stephen De Staebler. As a studio sculptor and educator, Zhang was the first place recipient of the Virginia A. Groot Foundation Grant in 2006 and the Joan Mitchell Grant in 2004. His sculptures have been shown in San Francisco,  Santa Fe, Miami, Seattle, Palm Desert and New York City. In 2007, his pieces were part of the 22nd UBE Sculpture Biennial in Japan; in 2008, his sculpture was selected by the Taipei Ceramics Biennial in Taiwan; and in 2013, he was part of the Da Tong's 2nd International Sculpture Biennial in China. Zhang had his first solo art museum show at the University of Wyoming Art Museum in 2006, with solo museum exhibitions following at the Arizona State University Art Museum, Boise Art Museum in Idaho, Fresno Art Museum in California, The Alden B. Dow Museum of Science & Art in Michigan, Bellevue Arts Museum in Washington, and Holter Museum of Art in Montana. His works have been selected to be included in Confrontational Ceramics by Judith Schwartz, and can be found in major art magazines such as "Art News," "Art in America," "Sculpture," and "American Ceramics." Zhang has many public collections, and his private collectors are located both nationally and internationally. In 2012, the San Francisco Chronicle picked Zhang's exhibition at the Richmond Art Center to be one of the Top 10 Exhibitions in the San Francisco Bay Area.Visit Wanxin's Website:  WanxinZhang.comFollow Wanxin on Instagram:  @WxZhang25For more about M is for Water at the di Rosa Center for Contemporary Art in Napa, CLICK HERE. For more about the Spirit House exhibition at Stanford University, CLICK HERE. --About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com

Keeping with the art theme this hour, we look at some of the art fairs happening between now and November with Rhea Nayyar and Valentina Di Liscia, editors for Hyperallergic.

In this episode of "The Truth in This Art," host Rob Lee interviews Craig "CM Campbell", an editorial comic artist known for his work in Hyperallergic and The Margins. They discuss Campbell's early influences, his journey in creating CMC Comics, and his commitment to diverse storytelling. Campbell shares insights on originality, the intersection of hip-hop culture and art, and the challenges of being an independent cartoonist. He emphasizes the importance of authenticity and the role of art in society. The conversation also touches on imposter syndrome, the balance between work and life, and the ongoing process of artistic exploration.Episode Highlights:Introducing Craig (00:01:48) Rob Lee introduces Craig "CM Campbell" and welcomes him to the podcast.Self-identification and work description (00:02:38) Craig describes himself as a cartoonist, storyteller, and illustrator.Early memories and influences (00:05:24) Craig shares a childhood memory of drawing comic strips with his sister and his early engagement with comic strips like Garfield and Boondocks.Influences and interests in art and hip-hop culture (00:09:23) Campbell talks about his interests in comic books, graffiti, and hip-hop aesthetics, and the influence of hip-hop culture on his artistic preferences.Challenges in the publishing industry (00:22:12) Insights into the difficulties of breaking into the publishing industry and the impact of market trends on creative expression.Originality and vulnerability in art (00:27:24) Rob and Craig discuss the concept of originality in art, emphasizing the importance of honesty and vulnerability in connecting with audiences.Challenges of being an independent cartoonist (00:32:32) Insights into the challenges faced by independent cartoonists and the complexities of the creative process.Realization of Being an Artist (00:38:45) Craig reflects on the moment he knew he was an artist and the comparison to being an adult.Key Takeaways:1. Embrace Your Identity: Clearly defining and owning your role as an artist helps establish a strong personal brand and stay true to your creative vision.2. Create Your Own Platform: If traditional avenues don't align with your vision, consider self-publishing or creating your own space to tell your stories.3. Originality Through Honesty: Focus on being honest and vulnerable in your work; this personal connection is what makes your art truly original.4. Subvert Genre Expectations: Experiment with blending different genres and cultural influences to create unique and engaging narratives.Website and Socials:cmcampbellart.comInstagram:  mrcplcraig