Podcasts about Isamu Noguchi

Episode No. 703 of The Modern Art Notes Podcast features artist Dakota Mace and curator Claire Howard. SITE Santa Fe is showing "Dakota Mace: DAHODIYINII—SACRED PLACES," an investigation of an atrocity during which the United States expelled the Diné people from Dinétah, their ancestral homeland, and forced them to march as many as 400 miles to the Bosque Redondo in central-eastern New Mexico, where they were forced to remain in a concentration camp from 1864-68. The exhibition is organized into themes such as memory, land, and the stars; with each section of the show considering Diné cosmology. The exhibition, which is on view through May 19, was curated by Brandee Caoba. Mace is also featured in "Smoke in Our Hair: Native Memory and Unsettled Time" at the Hudson River Museum, Yonkers, NY. The exhibition examines how Native artists have explored memory and time, including how the past is continually remembered and reimagined. It was curated by Sháńdíín Brown and will remain on view through August 31, 2025. "Smoke in Our Hair" features previous MAN Podcast guests such as Saif Azzuz, Teresa Baker, and Andrea Carlson. Howard is the curator of one section of "In Creative Harmony: Three Artistic Partnerships" an exhibition that considers artistic discourse, at the Blanton Museum of Art, University of Texas at Austin. Howard's section considers the relationship between Arshile Gorky and Isamu Noguchi. Other sections present dialogue between Nora Naranjo Morse and her daughter Eliza Naranjo Morse and José Guadalupe Posada and Artemio Rodríguez. It's on view through July 20. Instagram: Dakota Mace, Claire Howard, Tyler Green.

As I am preparing to attend what is certainly the most anticipated architecture event of the year, Expo 2025 Osaka, I invited New Orleans architect Trey Trahan who created the American Pavilion as my guest today. The World Expo events, also known as World Fairs, have always showcased the most cutting-edge inventions of their time. Eiffel Tower was built for the 1889 Paris Expo, and the Seattle Space Needle, for the 1962 Expo. It is where architecture is experimental, where it is shown at its best, where narrative and symbolism have been expressed in the built form. Expo Osaka has a particularly glorious legacy. In 1970, it was the first world fair held in Asia, featuring some of the most futuristic and visionary architectural expressions of their time. It was remembered by so many icons, including Isamu Noguchi's series of floating fountains.Expo 2025 Osaka is no less exciting. The American Pavilion comes to enable visitors to experience the American spirit. The innovation, culture, and industry of the country, as well as contemporary themes of sustainability, space exploration, education, all shine a light on what makes the American experience so special and wonderful.

Faye Toogood is perhaps best known for her Roly-Poly chair, among the more famous pieces of furniture to come out of the 2010s and take over the zeitgeist, but the London-based designer's artistry and craft runs much deeper and spans much wider. She began finding, collecting, cataloging, producing, and editing her “assemblages” long before she ever had a name for them, and her design career has been marked by exactly that, beginning with the debut of Assemblage 1 (2010) and through to her latest, Assemblage 8: Palette (2024). On the whole, Toogood's creations serve as material investigations and discipline-defying attempts to better understand herself. Without formal training in design, Toogood—who was the Designer of the Year at the Maison&Objet design fair in Paris this past January and the Stockholm Furniture Fair's Guest of Honor in February—uses what she describes as the feeling of being “a fraud in the room” to her advantage. Through her work, she is an enigma; with projects across furniture, interiors, fashion, and homewares, she's unwilling to be defined by a single output and has instead built a multilayered practice and belief system that allows her to be “all heart and hands.” On this week's Time Sensitive—our debut of Season 11—Toogood talks about the acts of creation and connection, and how each underscores the enduring play that's ever-present in her work.Special thanks to our Season 11 presenting sponsor, L'École, School of Jewelry Arts.Show notes:Faye ToogoodToogood[3:49] Assemblage 1[7:43] Assemblage 7[13:28] Seamus Heaney[14:50] Isamu Noguchi[14:50] Kan Yasuda[17:23] Roly-Poly chair[18:06] Rachel Whiteread[20:07] Barbara Hepworth Museum and Sculpture Garden[22:45] Matisse Chapel[25:40] “Ways of Seeing”[29:57] “Womanifesto!”[36:55] Assemblage 8[52:17] “The World of Interiors”

We chatted with filmmakers Dara Resnik and James Takata about their upcoming film California Scenario, a drama exploring intergenerational trauma and resilience within diverse Californian families. Inspired by James' family history and Isamu Noguchi's sculptural garden of the same name, the story weaves past and present narratives, addressing themes like Japanese American internment, the Holocaust, and the enduring legacy of trauma. Dara and James shared their experiences as collaborators, the importance of representation in storytelling, and the power of community in bringing authentic narratives to life.We had the chance to talk to James and Dara about how they met (thank you very much Jon Huertas), and how they work together - especially as two people who have been through a divorce and done a lot of healing. Set against the backdrop of Noguchi's iconic installation, this film is a heartfelt exploration of identity, healing, and the ties that bind families across generations.To support California Scenario, consider contributing to the film's fundraising efforts, sharing its mission, or spreading the word through interviews and features. Together, we can help bring this meaningful story to the screen.Donate to California Scenario here: https://seedandspark.com/fund/californiascenario#storyMentioned in this episode:Join the Fresh Starts Collective!Whether you're an ambitious entrepreneur, a dedicated student, a heads down writer or simply striving to achieve your professional goals, the Fresh Starts Collective is here for you. We believe that surrounding yourself with a supportive community can be the key to unlocking your full potential. The Fresh Starts Collective offers daily community gathering - whether it's VirtualCo-Working and Body Doubling, Open Office Hours or Accountability Hour - community support and growth, networking opportunities and access to marketing, design and writing professionals to bounce ideas off of, pick the brains of or crowd source some ideas. The Fresh Starts Collective is $35/month.Fresh Starts CollectiveBecome a Fresh Starts Expert!What is the Fresh Starts Expert Membership? The Fresh Starts Expert Membership is a business membership for entrepreneurs, experts, and small business owners to support them in business development, marketing efforts, public relations, networking, and community engagement. The membership includes a standalone profile on Fresh Starts Registry's website, weekly virtual coworking, open hours business coaching, and accountability groups, as well as exclusive press and media opportunities, workshops, seminars, a content and video library of resources, a podcast episode, and so much more. Membership is $55/month. Fresh Starts Registry is the first and only support registry platform for people to access the items and experts they need during life transitions. Fresh Starts has been featured in The New York Times, Time Magazine, Forbes, Wall Street Journal, Washington Post, The Today Show, and more. It was founded in 2021 by sisters Olivia Dreizen Howell and Genevieve Dreizen. Who can be an expert? An expert is simply a small business owner, freelancer, entrepreneur, solopreneur, writer, creator, podcaster - or more! See HERE for a list of potential expert types. We are open to any and all expert types. What are the benefits of joining Fresh Starts? Joining Fresh Starts as an expert offers numerous benefits for professionals passionate about guiding individuals through life transitions. For just $55 a month, you gain access to a thriving community, complete with business development support, marketing tools, coaching, and networking opportunities. Your profile will be SEO-optimized, making it easier for clients to find you. You'll also enjoy press and media exposure,...

To the lighting designer Lindsey Adelman, light is at once ubiquitous and precious, quotidian yet miraculous; it can be easily overlooked or taken for granted, but it also has the potential to become transformative or even otherworldly. Through her craft-forward approach, Adelman creates pieces that defy strict labels and explore the tensions between organic and industrial forms and materials, combining hand-blown glass with industrial and machine-milled components. Since launching her eponymous company in 2006, she has built a formidable business, perhaps becoming best known for her Branching Bubble chandeliers, a series that consists of glass “bubbles” elegantly mounted on the ends of brass, bronze, or nickel “branches.” Adelman also runs an experimental space called LaLAB as a means of exploring and meditating on illumination through the creation of one-off and limited-edition pieces, as well as private commissions.On the episode, she discusses her recent decision to shift her company away from a large-scale production operation and toward a smaller, more intimate “studio” model; the great surprise of having one of her designs installed in Vice President Kamala Harris's Washington, D.C., home; and her love of hosting.Special thanks to our Season 10 presenting sponsor, L'École, School of Jewelry Arts.Show notes:Lindsey Adelman[6:05] Ingo Maurer[6:05] Gaetano Pesce[7:55] Burst Chandelier[12:22] “A Realm of Light”[14:55] Isamu Noguchi's Akari light sculptures[17:20] Yosemite National Park[18:41] James Turrell[18:41] House of Light[20:47] Noguchi's “Lunar Infant”[24:40] Writings by Agnes Martin[26:52] Hiroshi Sugimoto[27:46] David Lynch[29:08] “Paul McCarthy: WS”[29:08] Matthew Barney[30:54] Haruki Murakami[33:14] “A Cacao Ceremony That Brought Close Friends Even Closer”[48:13] Branching Bubble chandelier[48:13] Buckminster Fuller[52:01] Adelman's open-source D.I.Y. light project[52:30] David Weeks[52:30] Lunette[52:46] “The Lighting Designer From Everyone's Dream Brooklyn Brownstone”[52:46] Rich People Problems[52:46] Gwyneth Paltrow

This week Reid is coming to you from Sag Harbor and Jeremy remains in their ever demanding home. They also have a surprise visit from podcast historians, Jaime Wright and Derek Smith who make comment on the happenings of the past 2 years though they no longer listen to the podcast. Isamu Noguchi being a perfectionist. ◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠ ⁠⁠➩ WEBSITE⁠⁠ ◦ ⁠⁠YOUTUBE ⁠⁠◦⁠⁠ ⁠⁠⁠⁠INSTAGRAM⁠⁠⁠⁠ ⁠⁠ ⁠➩ SUPPORT ◦ ⁠✨VIA VENMO!⁠⁠✨ ◦ ⁠⁠PATREON⁠⁠ ◦ ⁠⁠THE MERCH⁠⁠ ⁠⁠➩ REID⁠⁠ ◦ ⁠⁠JEREMY⁠⁠ ◦ ⁠⁠JACK⁠⁠ ◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠ ⁠⁠➩ withdanceandstuff@gmail.com⁠

While he may technically practice as a photographer, artist, and architect, Hiroshi Sugimoto could also be considered, from a wider-lens perspective, a chronicler of time. With a body of work now spanning nearly five decades, Sugimoto began making pictures in earnest in 1976 with his ongoing “Diorama” series. In 1980, he started what may be his most widely recognized series, “Seascapes,” composed of Rothko-esque abstractions of the ocean that he has taken at roughly 250 locations around the world. In more recent years, Sugimoto has also built a flourishing architectural practice, designing everything from a café in Tokyo to the currently-under-construction Hirshhorn Sculpture Garden in Washington, D.C. As with his subtly profound work, Sugimoto bears tremendous wisdom and is regarded by many as one of the most deeply perceptive minds and practitioners at the intersection of time and art-making.On the episode, he discusses his pictures as fossilizations of time; seascapes as the least spoiled places on Earth; and why, for him, the “target of completion” for a building is 5,000 years from now.Special thanks to our Season 9 presenting sponsor, L'École, School of Jewelry Arts.Show notes:Hiroshi Sugimoto[5:10] Pre-Photography Time-Recording Devices[39:05] “Theaters”[15:06] “Seascapes”[32:31] “Diorama”[17:16] Caspar David Friedrich[25:14] Odawara[28:52] “Aujourd'hui le monde est mort [Lost Human Genetic Archive]”[44:19] “Abandoned Theaters”[44:19] “Opera Houses”[44:19] “Drive-In Theaters”[49:52] “Architecture”[51:12] Le Corbusier[51:12] Mies van der Rohe[55:30] New Material Research Laboratory[55:30] Tomoyuki Sakakida[59:23] Enoura Observatory[59:23] Hirshhorn Sculpture Garden[1:00:48] Katsura Imperial Villa[1:01:05] Bruno Taut[1:02:14] Donald Judd[1:02:14] “Hiroshi Sugimoto: Five Elements in Optical Glass”[1:06:47] Mingei[1:06:47] Isamu Noguchi[1:06:47] Dan Flavin[1:09:15] Sugimoto Bunraku Sonezaki Shinju: The Love Suicides at Sonezaki[1:09:15] At the Hawk's Well[1:09:15] W.B. Yeats

Born and raised in Pennsylvania, the 97-year-old Pittsburgh-based artist and sculptor Thaddeus Mosley has a deep and enduring obsession with wood. In his late 20s, he began to use the material for art, carving sculptures in his basement studio, and with his sculpture-making now spanning 70 years, his enduring dedication to his craft is practically unparalleled. Represented by Karma gallery since 2019, Mosley has only now, in the past decade or so, begun to receive the international recognition and attention he has long deserved. In his hands, wood sings; he shapes and carves trees into striking abstract forms that often appear as if they're levitating while honoring and preserving their organic, natural character. As with the work of his two main influences, Constantin Brâncuși and Isamu Noguchi, Mosley, too, strives to make sculptures that, in his words, beyond today, “will be interesting in a hundred tomorrows.”On the episode, he talks about the language that poetry, music, and sculpture all share; his early years as a sports writer for a local newspaper; and his life-transforming relationship with the Carnegie Museum of Art in Pittsburgh.Special thanks to our Season 9 presenting sponsor, L'École, School of Jewelry Arts.Show notes:Thaddeus Mosley[4:13] Sam Gilliam[17:24] Carnegie Museum[21:08] Carnegie International[21:08] Leon Arkus[21:08] “Thaddeus Mosley: Forest”[21:08] “Inheritance”[24:20] Isamu Noguchi[27:53] Constantin Brâncuși[28:28] University of Pittsburgh[28:28] Martha Graham[46:15] Floyd Bennett Field[46:23] Ebony magazine[46:23] Sepia magazine[46:23] Jet magazine[46:23] Pittsburgh Courier[54:34] John Coltrane[51:37] Li Bo[51:37] Dylan Thomas[56:21] Bernard Leach[57:45] Langston Hughes[57:45] Countee Cullen[57:45] Harriet Tubman[57:45] Fannie Lou Hamer[57:45] “The Long-Legged Bait”[57:45] “Air Step - for Fayard and Harold Nicholas”[57:45] The Nicholas Brothers

fWotD Episode 2528: Appalachian Spring Welcome to featured Wiki of the Day where we read the summary of the featured Wikipedia article every day.The featured article for Saturday, 6 April 2024 is Appalachian Spring.Appalachian Spring is an American ballet created by the composer Aaron Copland and the choreographer Martha Graham, later arranged as an orchestral work. Commissioned by Elizabeth Sprague Coolidge, Copland composed the ballet for Graham; the original choreography was by Graham, with costumes by Edythe Gilfond and sets by Isamu Noguchi. The ballet was well-received at the 1944 premiere, earning Copland the Pulitzer Prize for Music during its 1945 United States tour. The orchestral suite composed in 1945 was played that year by many symphony orchestras; the suite is among Copland's best-known works, and the ballet remains essential in the Martha Graham Dance Company repertoire.Graham was known for creating the "Graham technique" of dance; in the 1930s, she began commissioning scores from various composers, often related to American history and culture. Around the same time, Copland incorporated relatable and accessible musical characteristics of the Americana style to increase his music's appeal to the general public; he first implemented this in earlier ballets like Billy the Kid and Rodeo. The initial scenario for Appalachian Spring devised by Graham was revised many times by both her and Copland; the title characters' names were changed numerous times and other characters from the early revisions were cut in the final production. Originally orchestrated for a thirteen-piece chamber orchestra, the score was arranged into various suites by Copland for different purposes; the original ballet featured eight episodes, three of which were cut in the well-known orchestral suite.The ballet takes place in a small settlement in 19th-century Pennsylvania. There are four main characters: the Bride, the Husbandman, the Pioneer Woman, and the Revivalist; the last is accompanied by four Followers. Appalachian Spring follows the Bride and the Husbandman as they get married and celebrate with the community. Themes of war are present throughout the story; it is suggested that the Husbandman leaves for war, causing worry and anxiety among the community. Shaker themes also influenced the ballet, notably in the music, where Copland incorporated a theme and variations on the common Shaker tune "Simple Gifts".This recording reflects the Wikipedia text as of 01:11 UTC on Saturday, 6 April 2024.For the full current version of the article, see Appalachian Spring on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm Emma Neural.

Julianne Moore is one of our greatest living actors: an Academy and Emmy award winner, and the first American woman to be awarded top acting prizes at the Cannes, Berlin and Venice film festivals. She is also an avid collector. In this episode, Julianne joins curator and author Glenn Adamson, curator Dakin Hart, gallerist Jean-Gabriel Mitterrand, and Sotheby's Florent Jeanniard, for a conversation about 20th Century designers, including Isamu Noguchi and Claude Lalanne, and the role design plays in our lives.  To see the works discussed in this episode, or to watch an extended version of this talk, visit https://www.sothebys.com/en/series/sothebys-talks/inspirational-living-important-design-with-julianne-moore And, to step further into the world of Sotheby's, you can visit any of our galleries around the world; they're open to the public. For more information, visit sothebys.com. Learn more about your ad choices. Visit podcastchoices.com/adchoices

An original production by ⁠per se⁠ London. Spencer Bailey is host of ⁠Time Sensitive⁠ Podcast and founder of ⁠The Slowdown⁠. Portals, temporal entanglement, graciousness, media, drumming for healing, Isamu Noguchi, the body keeping score - this and so much more, awaits. Thank you for spending time in this isle of peace. H #thearchitectureofcontemplation Support: https://www.patreon.com/hkaur⁠ Spencer Links: https://www.timesensitive.fm/ https://www.slowdown.tv/ https://www.instagram.com/spencercbailey/?hl=en H Links:  ⁠⁠https://www.instagram.com/perse.london/⁠⁠ ⁠https://www.cerebration.tv/thearchitectureofcontemplationpodcast⁠  ⁠https://www.instagram.com/thearchitectureofcontemplation/ ⁠ ⁠https://twitter.com/TAOCPodcast⁠ Audio Producer + Original Soundscape, Ivan d'Avoine: ⁠https://www.instagram.com/ivandavoine/⁠ ⁠https://twitter.com/ivandavoine Spencer Bailey photo credit: Ogata

To Sanford Biggers, the past, present, and future are intertwined and all part of one big, long now. Over the past three decades, the Harlem-based artist has woven various threads of place and time—in ways not dissimilar to a hip-hop D.J. or a quilter—to create clever, deeply metaphorical, darkly humorous, and often beautiful work across a vast array of mediums, including painting, sculpture, video, photography, music, and performance. Among his standout works are “Oracle” (2021), a 25-foot-tall cast bronze sculpture that combines a Greco-Roman form with an African mask; his “BAM” series (2015) of gunshot statuettes; and his ongoing “Codex” series of quilts, which have, over his past decade of making them, become an especially potent and ritualistic part of his art-making.On this episode, Biggers talks about the influence that musicians such as Mahalia Jackson, Ray Charles, and Stevie Wonder have had on his art; why he thinks of himself as a “material polyglot”; and why religious and spiritual works like reliquaries, shrines, and “power objects” are the bedrock of his practice.Special thanks to our Season 8 sponsor, Van Cleef & Arpels.Show notes:[00:26] Sanford Biggers[03:55] “Sanford Biggers with Yasi Alipour”[07:14] “The Playful, Political Art of Sanford Biggers”[12:34] Moon Medicin[13:36] Mahalia Jackson[13:39] Ray Charles[13:40] Charles Mingus[13:41] Thelonious Monk[15:32] Stevie Wonder[16:06] Prince[18:00] Dick Gregory[18:01] Richard Pryor[18:02] Redd Foxx[18:47] “BAM” series[27:17] “re:mancipation”[29:05] Skowhegan School of Painting & Sculpture[30:08] John Biggers[31:41] “Codeswitch” at the California African American Museum[33:28] Dr. Leslie King-Hammond[33:30] Maryland Institute College of Art[37:47] University High School[38:23] Morehouse College[38:33] Art Institute of Chicago[47:34] Isamu Noguchi[47:36] Martin Puryear[49:06] “Lotus”[50:31] “Orin”[55:52] “Meet Me on the Equinox”[55:52] “Back to the Stars”

The London-based artist, master potter, and author Edmund de Waal has an astoundingly astute sense for the inner lives of objects. Each of his works, whether in clay or stone, is imbued with a certain alchemy, embodying traces of far-away or long-ago ancestors, ideas, and histories. This fall, two exhibitions featuring his artworks are on view at Gagosian in New York (through October 28): “to light, and then return,” which pairs his pieces with tintypes and platinum prints by Sally Mann, and “this must be the place,” a solo presentation displaying his porcelain vessels poetically arranged in vitrines, as well as stone benches carved from marble. As respected for his writing as he is for his pots, de Waal is the author of 20th Century Ceramics (2003), The Pot Book (2011), The White Road (2015), Letters to Camondo (2021), and, perhaps most notably, the New York Times bestseller The Hare with Amber Eyes (2010). All that de Waal does is part of one long continuum: He views his pots and texts as a single, rigorously sculpted body of work and ongoing conversation across time.On this episode, de Waal talks about his infatuation with Japan, his affinity for the life and work of the Japanese-American artist Isamu Noguchi (1904-1988), and the roles of rhythm and breath in his work.Special thanks to our Season 8 sponsor, Van Cleef & Arpels.Show notes: [00:28] Edmund de Waal[03:43] Paul Celan[08:12] 2023 Isamu Noguchi Award[08:17] Gagosian[08:20] “this must be the place” [08:22] “to light, and then return”[09:09] Twentieth-Century Ceramics[09:20] The Pot Book[18:23] “Letters to Camondo” Exhibition[20:32] Sally Mann[20:48] The Hare with Amber Eyes[28:00] “The Hare with Amber Eyes” Exhibition[30:56] “Playing with Fire: Edmund de Waal and Axel Salto” Exhibition[40:24] Dr. Sen no Sōshitsu[52:48] The White Road[52:49] Letters to Camondo[01:06:33] In Memory Of: Designing Contemporary Memorials

The renegade British designer Tom Dixon has long had a roving obsession with raw materials—everything from cast iron, steel, and copper; to clay, glass, and stone; to felt, plastic, and marble; to, more recently, cork and aluminum. Entirely self-trained and without any formal design education, Dixon emerged in the design sphere in the 1980s by creating unusual welded salvage furniture that was at once antique, experimental, beautiful, and punk in spirit. Never short of bold, forward-looking ideas, Dixon works from a materials-first perspective. Over the years, he has created an industrial chair with upholstery inspired by the rubber inner tubing of car tires, furniture made of flame-cut steel, and even conceptual pieces grown underwater and built of Biorock. Central to all that he does is a quest for longevity and, in turn, sustainability; he has even, in the past, toyed with the idea of a thousand-year guarantee.On the episode, Dixon talks about how two motorbike accidents transformed his life, his days in the early 1980s as a bass player in the disco-funk band Funkapolitan, why he considers cork a “wonder material,” and the parallels he sees between his design creations and those of a baker.Special thanks to our Season 7 sponsor, Van Cleef & Arpels.Show notes: [00:56] Tom Dixon[07:02] Flame-Cut Furniture[11:27] Design Miami[12:06] Craig Robins[13:50] Wolf Hilbertz[31:14] S-Chair[34:41] Giulio Cappellini[35:12] Marc Newson[35:15] Jasper Morrison[38:56] Isamu Noguchi[38:56] Akari Light Sculptures[39:57] Constantin Brâncuși[40:33] Dixonary[46:34] Funkapolitan[49:16] Funkapolitan's “If Only”[49:17] Funkapolitan's “In the Crime of Life”[50:17] August Darnell[53:56] Guy Pratt[53:58] Rockonteurs with Gary Kemp and Guy Pratt[54:50] Creative Salvage[01:01:06] IKEA[01:03:37] Ronan and Erwan Bouroullec[01:03:50] Enzo Mari[01:03:51] Achille Castiglioni[01:03:52] Verner Panton

Ep.156 features Thaddeus Mosley (b. 1926, New Castle, PA), a Pittsburgh-based artist whose monumental sculptures are crafted with the felled trees of Pittsburgh's urban canopy, via the city's Forestry Division. Using only a mallet and chisel, Mosley reworks salvaged timber into biomorphic forms. With influences ranging from Isamu Noguchi to Constantin Brâncuși—and the Bamum, Dogon, Baoulé, Senufo, Dan, and Mossi works of his personal collection—Mosley's sculptures mark an inflection point in the history of American abstraction. These “sculptural improvisations,” as he calls them, take cues from the modernist traditions of jazz. “The only way you can really achieve something is if you're not working so much from a pattern. That's also the essence of good jazz,” Mosley says of his method. Mosley is the recipient of the 2022 Isamu Noguchi Award. His work has been exhibited and acquired by major museums and foundations since 1959, including the Mattress Factory Museum, Pittsburgh, Pennsylvania (2009); the Carnegie Museum of Art, Pittsburgh, Pennsylvania (2018); Harvard Business School, Boston, Massachusetts (2020); Sculpture Milwaukee, Milwaukee, Wisconsin (2020); Baltimore Museum of Art, Baltimore, Maryland (2021); Bergen Kunsthall, Bergen, Norway (2022) and Art + Practice, Los Angeles, California (2022). His work is held in public collections including the Baltimore Museum of Art, Baltimore, Maryland; the Art Institute of Chicago, Chicago, Illinois; High Museum of Art, Atlanta, Georgia; Whitney Museum of American Art, New York, New York; Brooklyn Museum, New York, New York; Carnegie Museum of Art, Pittsburgh, Pennsylvania; and the Colby College Museum of Art, Waterville, Maine. His traveling solo exhibition Forest, previously at the Baltimore Museum of Art, Baltimore, and Art+Practice, Los Angeles, will continue on to the Nasher Sculpture Center, Dallas May 2023. Photo credit: the gallery Karma karmakarma https://karmakarma.org/artists/thaddeus-mosley/ NYTimes https://www.nytimes.com/2023/02/17/arts/design/thaddeus-mosley-photographer.html Dallas News https://www.dallasnews.com/arts-entertainment/visual-arts/2023/05/25/thaddeus-mosleys-rugged-wooden-sculptures-explore-balances-of-forces-at-the-nasher/ Artforum https://www.artforum.com/picks/thaddeus-mosley-82787 Sculpture Magazine https://sculpturemagazine.art/thaddeus-mosley-2/ Touchstone Center for Crafts https://touchstonecrafts.salsalabs.org/mosleystudiotour/index.html Pitt Magazine https://www.pittmag.pitt.edu/news/wood-work WSJ https://www.wsj.com/articles/a-modern-vision-henri-matisse-etta-cone-claribel-cone-collecting-thaddeus-mosley-forest-sculpture-baltimore-museum-of-art-11636142617 Carnegie Museums (1997) https://carnegiemuseums.org/magazine-archive/1997/mayjun/feat3.htm Noguchi Museum https://www.noguchi.org/museum/support/special-events/benefit/2022-11-17/ Nasher Sculpture Center https://www.nashersculpturecenter.org/press/press-releases/news/id/221 https://www.nashersculpturecenter.org/art/exhibitions/exhibition/id/1981?thaddeus-mosley-forest United States Artist https://www.unitedstatesartists.org/fellow/thaddeus-mosley/ Colby Museum https://museum.colby.edu/2022/08/05/art-break-directional-by-thaddeus-mosley-2/ Baltimore Museum of Art https://artbma.org/exhibition/thaddeus-mosley-forest ARTnews https://www.artnews.com/list/art-news/artists/paris-plus-sites-best-installations-1234643842/alicja-kwade/ A+P https://artandpractice.org/exhibitions/exhibition/thaddeus-mosley-forest/ Ocula https://ocula.com/art-galleries/karma/exhibitions/thaddeus-mosley-recent-sculpture/ Wikipedia https://en.wikipedia.org/wiki/Thaddeus_Mosley Mattress https://mattress.org/works/sculpture-studio-home/

In this final episode of Season three, Siobhan Kiernan from the class of 2021 speaks with Sean O'Connor from the class of 1992. As a fundraiser and member of the Holy Cross Annual Fund Team, Siobhan talks with Sean about his accomplished career in fundraising. Today, he continues to make a difference as the Chief Development Officer at the National Audubon Society. Their conversation gives you a behind-the-scenes look at what it takes to support the nonprofit organizations that we love. The Holy Cross mission of serving others is central to the work that they do. As people foreign with others, their careers modeled the idea of doing well while doing good. Interview originally recorded in August 2022. --- Sean: When I'm being reflective of the relationship between the effort and the work that I've applied my daily profession to the outcome, it completely aligns with my worldview of actually helping other people and helping organizations and helping the world. Whether it's through art, or healthcare or science or human rights or conservation, I feel pretty good about that. Maura: Welcome to Mission Driven, where we speak with alumni who are leveraging their Holy Cross education to make a meaningful difference in the world around them. I'm your host, Maura Sweeney, from the class of 2007, Director of Alumni Career Development at Holy Cross. I'm delighted to welcome you to today's show. In this final episode of Season three, Siobhan Kiernan from the class of 2021 speaks with Sean O'Connor from the class of 1992. As a fundraiser and member of the Holy Cross Annual Fund Team, Siobhan talks with Sean about his accomplished career in fundraising. After a year in the Jesuit Volunteer Corps, Sean accepted a role raising funds for a small Catholic school on the Lower East Side of Manhattan. Thanks to the support and encouragement of some Holy Cross alumni, he accepted a position with CCS fundraising, which brought his fundraising overseas and greatly expanded the scope of his work. Today, he continues to make a difference as the Chief Development Officer at the National Audubon Society. Their conversation gives you a behind-the-scenes look at what it takes to support the nonprofit organizations that we love. The Holy Cross mission of serving others is central to the work that they do. As people foreign with others, their careers modeled the idea of doing well while doing good. Siobhan: Hello everyone. My name is Siobhan Kiernan and I am a 2021 Holy Cross grad, and current member of the Holy Cross Fund Team. And I'm joined here with Sean O'Connor. Hello, how are you? Sean: Hi Siobhan. Good to see you again. Siobhan: Yeah, you too. Where are you zooming from? Sean: I'm zooming from Goldens Bridge, New York, which is Northern Westchester County near Bedford and North Salem. Siobhan: Nice. Oh my gosh. I'm zooming from New York City, so... Sean: Oh wow. Whereabouts? Siobhan: In like little... I'm on the Upper East Side right now. It's where I grew up. Sean: Oh, that's right. I grew... For a while. I lived on 83rd and third when I did all this. Siobhan: Oh yes, we talked about this. Sean: Yeah, right. Siobhan: Oh, that's awesome. Are you from New York? Sean: No, I actually grew up in Worcester, Massachusetts where there's a school called Holy Cross, is there I think. And I in that way was born at St. Vincent Hospital and then grew up really in Holden, Massachusetts, which is just north of Worcester. And I went to Wachusett Regional High School. And I know your next question is why I don't have an accent, but for some reason I dropped the Worcester accent. When I went to Holy Cross, actually, ironically, I think my accent started to go away. Siobhan: They ironed it out of you. Sean: They must have ironed it out of me, yes. I could put on the Worcester accent, but only under severe pressure. Siobhan: That's so funny. I've been told that I don't have a New York accent either. Sean: No, you don't. Siobhan: So I guess there's something about Holy Cross and taking out accents. So you kind of really just started this, I guess, but why Holy Cross? I mean, I know you're from Worcester, but some people I know probably wouldn't have wanted to go to a school in their hometown. So why did you stay, and what about Holy Cross made you want to go there? Sean: It is a family school. For me, my grandfather was class of '31 and my father was class of '66. My uncle was class of '62. I think even have one of my other father's relatives went there. And so I always had heard about Holy Cross. And I lived on campus, I didn't commute even though I was about 10 miles away from Worcester, or from home rather. But it was obviously one of the most important decisions I made as a young person. And then probably, in truth, is probably the best school I got into when I was applying for colleges. That was another part as well. Siobhan: No, but that worked out. The one thing I love about Holy Cross is that you can feel very much away even if you are local. Sean: Right. Siobhan: I have friends who lived off campus and I remember I always lived on campus and my thought process was, you have your whole life to live outside the gates of Mt. St. James. Why would you want to go now? Sean: Right, for sure. But I enjoyed it. It was great. Siobhan: Yeah. So what was your time on campus? What did you do? What did you major in? What activities did you like to do? Sean: I was a history major, and I took my academics semi-seriously, I think. I'm a lifelong reader and I probably am still interested in history and read a lot of William Durant history surveys when I'm on the plane on a tarmac or something like that. So I still enjoy learning, but I spent a lot of time on extracurricular activities. I didn't play sports, and maybe once in a while would play a soccer pickup game if one existed. But I was involved in the radio station, I was the station manager for a year. Siobhan: Oh cool. Sean: And a DJ. And then I was involved, I think in one of the campus activity boards, I think my senior year. Is it called SS or something? I'm trying to remember then what the acronym was. Siobhan: Or is it CAB? I mean, today I think it's probably the equivalent. Sean: Something like that. I would put on concerts at Hogan. I did one concert. I think I almost got kicked off campus because I did not go through the proper channels of getting permits and things like that. So I learned a lot at college about doing things like that. We had a band called The Mighty, Mighty Boss Tones playing in the basement, which was a fun, legendary show. And then when I was at the station, radio station, we did a kind of benefit concert for the Worcester Coalition for the Homeless in Worcester. There was a band named Fugazi that we brought up to Worcester and did a show, which is fun. So we did some fun stuff connecting Worcester where I grew up to Holy Cross. I was also a resident assistant in the Mulledy basement. So yeah, it was a fun four years. Siobhan: Wow. So you mentioned you were a history major. I'm always curious, because I did economics, why history? And did you have a favorite class? Sean: I kind of go back and forth between really US history and European history or world history. And I did take an African history class, which is pretty influential. Professor David O'Brien was my advisor and he's kind of a labor and Catholic historian. And I still am interested in labor history. I can get really geeky I suppose, about history. I just really do enjoy it in terms of understanding patterns and issues and big issues that we're facing now as a country, and what are the historical analogs, and what has happened in the past that informs where you are right now. And all my family were English majors or our English majors. I think my daughter is an English, is going to become an English major, not a history major. My son was a poly sci major at Bucknell and a film major. But history is, I just enjoy it. And I go back and forth. I probably read more non-US history these days, but it's an escapism too for me. Dealing with everything else, it's kind of fun to read about the Age of Enlightenment or something like that, and just learn about different thinkers and different parts of history that you weren't aware of. And then if you get really excited, you can go deep on those things and get really geeky. Siobhan: I took one history class in Holy Cross, and I found that I almost felt like an investigator, like a detective, which as an economics major it is... That's a different way of thinking. So actually I have a lot of respect for the history department. Cause you very much have to tell a story, and really unpack documents and things. And I think that's... Sean: Yeah, for sure. Siobhan: And you mentioned your professor. I always love to hear about, because the school is so small and the community is so great. Is there anyone that comes to mind who had a meaningful impact on you at Hogan? Sean: Academically, David Chu, who is my accounting professor, and I just didn't do as well in accounting, but that taught me a lot about the importance of studying, actually. There was a professor Whall when I took my early survey class in history, which kind of awakened me to academic writing in a different way. And I lifeguarded at the pool, so got to hang out with the late Barry Parenteau who just passed away. And that was fun times there. And then some of the student life people, I think Dean Simon, I'm trying to remember his name, but he was the one that I worked with a little bit in my senior year. He was the Student Life Dean, if I remember correctly, out of Hogan. And then actually career advisors towards the end. I think one of the more influential people in my career, if we segue into that section, is this John Winters, who is there as a career advisor who really got me on the pathway of where I am right now. Siobhan: Oh, fabulous. Actually, that was a great segue. That was actually my next question was going to be, could you just take me through from commencement to where you are? Sean: Sure. Siobhan: Your journey. I did look into your bio a little bit and you had a very vast career so far, but I want to hear about it from you, your whole journey. Sean: So when I got out of school, I remember second semester, senior year, gosh knows what you're going to do. But I think I interviewed, think at some advertising agency, Leo Burnett, that has historically hired Holy Cross grads and did not get the interview. But I was able to go to Chicago for that all day interview, which was kind of fun. Get to stay in the fancy hotel for the first time. And then when I got out of school I ended up going to Jesuit Volunteer Corps. So I did the Jesuit Volunteer Corps in the northwest and was stationed, or placed, I guess is the language in Auburn, Washington, which is between Seattle and Tacoma. And my placement, or my job, the volunteer job was working at a residential youth shelter for physically and sexually abused kids. And I was doing that for a year. And so my job was to take to care of them, drive them to school, make them dinner, take them on field trips, and then talk to them. And then, learning what it meant to be a social worker and would write about my day and my interactions to help the therapists and the psychologists who are helping them connect the dots about what issues they were facing. They were typically there for a couple of weeks. It was transitional short term, before they might have been between foster placements or they might have been just removed from the home. And the state was trying to figure out what to do with them. So it was a very eye-opening experience, making $20 a week living in a community in the Jesuit Volunteer Corps. But that moment I was actually really interested in understanding how nonprofits were financed. I was like, all right, so how did they actually get the money to do the work? How does it actually work? So I was able to understand a little bit about the particular organization I was volunteering at. It was called Auburn Youth Resources. And they would receive a lot of money from the King County, which is the local county outside of Seattle. But the philanthropy piece, that people would give them money was relatively small. And anyways, it was, it's an opportunity for me to think about that. I wanted to do good but also do well. And I think a lot of this has to do with Holy Cross, but also that my parents or both teachers. My brother's a teacher, my sister's a teacher, my other sister who went to Holy Cross works in nonprofits as well, she was class of '95. So I think that, my family upbringing and combined with Holy Cross in terms of its ethos of men and women for others, I think really kind of pushed me into this career, which wasn't really a career back then. I don't know if you want me to keep going, but when I got back from the year of volunteer work and I came back to the East Coast, I didn't know what I wanted to do. I lived in Worcester, outside of Worcester. I thought I wanted to move to Boston where, because I was nearby that was a big city, or move to Washington DC where a lot of my roommates were and friends. But John Winter in the Career Center said, did you ever think about development? And I said, what's development? And we talked more about it, what that actually meant. And he connected me with a guy named Pat Cunningham, who I think is class of '85. And Pat Cunningham worked in New York City, and at the time he worked for the Archdiocese of New York. And the program there was that they were trying to help small Catholic parochial schools become sustainable. So small Catholic schools in New York City were always a big deal for helping teach kids and families who didn't have a lot of money, but get a good education. The outcomes were terrific. Typically, a lot of the kids went on to college. But the financial model was becoming challenging, because the religious communities who would tend to teach at those schools was diminishing. So they would have to hire lay teachers, you don't have to pay a Sister as much as you have to pay a layperson. So I think that caused like, oh my goodness, tuition is not covering the cost. And so they were trying to figure out a way could they raise money? Like private high schools, like St. John's in Shrewsbury or St. John's in Danvers, as BC High or Notre Dame Academy, they tend to raise money from their alums or parents. Pat Cunningham's job was to figure that out with some parochial schools in New York. There was a philanthropist who just passed away a couple of years ago, a guy named Richard Gilder, who was a Jewish, who founded a company Gilder, Gagnon, & Howe. Anyways, he believed in Catholic education and funded a lot of these schools. He believed in the outcomes and giving back in the community. And so he was essentially underwriting director and development positions. So the salary that a director of development would require. So there was an opportunity for me to work at a school called St. Columba Elementary School, which is on 25th between eighth and ninth without any experience at 23 years old. Siobhan: Is it still there? Sean: It is still there. But unfortunately, the school is closed and is now probably a private or a charter school. It Is the school... Had a couple famous alums, Whoopi Goldberg, graduated from... it's the school Whoopi Goldberg graduated from St. Columba, and as well as a singer from the sixties and seventies, Tony Orlando went to St. Colo. He's a guy who sang Tie A Yellow Ribbon and Knock Three Times. You ever hear those songs? No. Knock three times on the ceiling. Siobhan: Maybe. Sean: Yeah. I don't want to sing it. So what I had to do is work with the sisters and figure out a way to help raise money. And I learned a ton. It was fun. I started talking to some of the colleagues who were doing the similar work in the city, and we created a consortium of colleagues, I think we called it ourselves development, gosh, I forgot what we called it. Ourselves like Development Resources, Development Resource Group, I think DRG maybe. In any case, we would meet and just try to do some brainstorming and figure out how to solve problems. And we actually got some funding to actually help our little mini consortium. And I was there for about a year. It was fun. Siobhan: And then I know that you also did some foundation work, correct? Sean: Yeah. So after what? So I was doing that for a year, and then I had heard about this big company called CCS Fundraising and it's called... At the time it was called Community Counseling Service. And it's still around. It's a big, big fundraising company. And at the time, back when I was there, it's probably quadrupled since I was working there. Any case, we didn't have any money at St. Columba for professional development. So there was this big conference in New York called Fundraising Day in New York. And it is held every, it's the third Friday of June every year. So it's like a one day, it's one of the biggest fundraising conferences in New York. But to go to it, you know, it's like $600 or something like that. And we didn't have any money at St. Columba to do that. And so there was a scholarship opportunity. So if I wrote an essay to the committee that they would send scholarships out. So I wrote an essay to the committee and they underwrote my admission. So I was able to go to the event. And at the event I ran into an executive at CCS Fundraising and talked to him. He encouraged me to apply to CCS, which I did. And then I got a job with CCS Fundraising, which really did change my career for the good. And they sent me all around the world and helped train me in fundraising. And it was great. I was there for a long, long time. And that's where I did do some foundation work. So to continue on that, so when I got to CCS, I went to Yorkshire, England to do some work for the Diocese of Leeds and raise money there. So essentially CCS as a company that would get hired by nonprofits to actually help them raise money. Siobhan: Like a consultant. Sean: A hundred percent like a consultant. And it's weird because you'd be 24 years old or 25 years old and you're a consultant. And I remember a lot of my family friends is like, what do you know? You're just a kid. And there was a lot of truth in that, because I didn't know what I was doing. But the way the model worked at CCS was that they would train you, and there was actually different levels of consulting. And actually modern consulting firms like McKinsey have a similar model where you have the partners who are the thought leaders, and the business development people who actually find the clients. And they just need people to do the work. And those are the directors, the associate directors who essentially just took direction from the leadership. And in the case of going to the Diocese of Leeds, my charge was to work with parishes and coordinate, manage, design and execute what I would call mini-campaigns for each of those parishes. So I would go to the priest, I would orient the priest on the plan, we'd recruit a leadership team and go out and raise money. It was a very, very difficult assignment, but I learned a lot about resilience and persuasion and problem-solving and persistence and all that stuff, because it was a very intense five or six months. But it was fun. Get to live in Yorkshire in the middle of the winter when you're 24, 25 years old. That was great. Siobhan: I was going to say, that also just sounds really cool because you kind of get to dabble in so many different types of advancement. I know in development, I remember when I first learned about it, I was like, oh, that's like for schools. And I'm like, wait, no. There's fundraising for hospitals and political campaigns and nature organizations, which I want to get to eventually. Sean: And human rights organizations or arts and cultural groups. I think that that's a really good point, Siobhan, because where I got really lucky was that I, and it really serves me well right now at this stage in my career that I have a very diverse set of experiences and what we call multi-sector kind of experience. I'm not just a higher ed fundraiser, I've done every single type of nonprofit fundraising. And when you do that, you get to see where the commonalities are, and what the challenges are. Everything from a museum on Japanese sculptor named Isamu Noguchi, or to Cold Spring Harbor Laboratory in Long Island, with Dr. Watson, who just basically discovered DNA. So I've been very blessed with having been exposed, and working with very different kinds of organizations. And I know that at this point in my life, there's not a lot of people who have that kind of experience. And so that kind of becomes my professional marker, I guess. So the person who's done a lot of big complex organizations, but also a lot of small organizations too. Siobhan: So I have two questions on that. The first is, it's a soft question. In all of those different types of fundraising, which was your favorite, I guess what kind of fundraising was most enjoyable for you? Sean: I do the arts and cultural world because I find the board and the people to be very interesting and fun to work with. It is perhaps the hardest sector to work on because a lot of what we do is 400 billion is given away by people and corporations and foundations every year. And the top sector, it's religion, is probably the largest recipient of philanthropy, healthcare and education come in pretty close after that. So you're going to get a lot, it's not saying it's easier to raise money in higher ed, in healthcare, but in some ways it is because in healthcare it typically centers around solving a problem or the so-called grateful patient. "Dr X saved my life, I'm going to give him all my money or a lot of my money" and higher education is "professor Y saved my life and got me on the right path, so I'm going to give money there." Arts and cultural tends to be not necessarily the top priority people. It could be second or third or maybe sometimes fourth. And so it's harder sometimes, but I find it to be more interesting. And then in terms of my most enjoyable experience, probably when I worked in London again in 2000, when I got to do some work with the International Accounting Standards Board, which sounds very boring, but the job was very exciting because what the job was, was to raise money for an organization that was trying to harmonize accounting standards around the world. Siobhan: Oh, cool. Sean: I got to travel around Europe to actually interview executives on their willingness to support this cause, this kind of new plan. And it was just fun working on that kind of scale. One of the great things about this, that I've enjoyed about my career is that I have to learn about every kind of thing. I'm not an expert on accounting, but I have to be able to have a conversation about it. I'm not an expert on art museums, but I have to be able to at least have a conversation about it. And here at Audubon, I'm not an ornithologist, but I have to be able to talk about climate change and the importance of eelgrass in San Francisco Bay. Because what I'm doing is representing these organizations, and serving as the middle person between philanthropy and good causes. And that's on thing I think my profession's about. It's not about asking for money, in a weird way. It's really about creating an environment where you create opportunities for people who have money, who want to give away money, to do it in a way that they feel comfortable doing it. Siobhan: No, I feel the same way, especially in connecting with alums. It's not about asking them for money. It's about what did you love about Holy Cross and how can you support that again? Sean: Exactly. Siobhan: But you mentioned Audubon. And I just, so again, with advancement just being so vast, if I'm being honest, I didn't know that such an organization existed. When I saw that that's where you work, I was like, oh my God, of course that would exist. Sean: I'm going to have to do more work then, Siobhan to make sure you hear about this. Siobhan: But it makes sense. Birds are so important, and the environment is such, no pun intended, but a hot topic right now. But how did you, I guess, find that organization and what brought you there? Sean: Yeah. Siobhan: Is that one of your passions too? Is the environment something that strikes... Sean: It is, I think certainly climate change and birds over time. The truth is that they found me and reached out to me. And then, right now at this stage of my career, I think when I was a little younger... And I have some advice about careers too, but, and this is what I share with people, is that you really do want to go to a place where the people, you kind of vibe with the people that you're going to work with. I think mission is very important, but as you're building a career, it's very important to find people that believe in you, give you the resources to be successful in where you can learn. At Audubon, at this stage of my career, because I have a leadership role, I can control some of those things. I can control the type of culture I'm trying to create with my team, and which I think is very, very important for fundraisers. For fundraisers to stay, is actually understanding what makes motivates fundraisers and what motivates development. Because I think a lot of this is, there's some similar aspects I think to a really good fundraising personality. But Audubon, I think the reason why I'm here is because they wanted to grow. And one of the things I've learned about my career recently is that there's some people who are comfortable in a status quo environment. And then there's some people who just like to build things. And I'm certainly in the ladder, and part of this is because of my consulting background. I like to solve problems, and figure out a way to grow. I know that sounds like every organization wants to do that, but not necessarily. Because I think in order to do that, there has to be an alignment between the board and the leadership of the organization, and actually a really good case of why growth is needed. And then of course they need to invest. So you need to spend money to raise money. All those elements were in place when I was talking to Audubon about five and a half years ago with leadership. So if I see alignment between the Chair of the Board and the CEO, and if they kind of align with the Chief Development Officer or the person who's in charge of raising money, that's when really great things can happen. Because this is never, in my view, a money issue. There's plenty of money in this world right now. This is always a strategy problem. How are we getting the money? How are we telling our story? Do we have the mechanical pieces in place? Do we have the right people? Are they trained? Do we have the right leadership in place? Those are the things that staff ultimately control. And if they are in the right spot, and doing it the right way, the money should come. It's very difficult to get all that stuff figured out. And that's really, at the end of the day, that's what the work is. Is that I think good fundraisers have a vision for what the word will look like or feel like. At any given day, I know what kind of meeting I'm trying to design between a board member and my CEO, and I know what I want them to say and I know who I want in the room. So I'm always trying to get to that point. Not as easy as it sounds, because it just takes time to get all those things in place, and to make sure that the conversation's happening. And making sure you have answers to all the questions that funders want. So for instance, at Audubon we're... Bezos gives a wait a lot of money for climate, we spend a lot of time trying to figure out how to make that approach happen the right way. I don't want need to digress, but that's a lot of it how I think of it. Siobhan: No, and that's awesome. Actually, so I have a few questions that are going in different directions, so I'll see if I can loop them all together. So the first one is, I guess, what keeps you in this work? What drives your day? What kept your passion in the work that you're doing? Sean: Well, yeah, there were times, I remember in 2000, 2001 during the first dot com boom, I remember I would've been about 30 or so, there was a lot of people in my peer group trying to go to dotcom and early in internet stage companies. And I did talk to some people, this is after I got back from London. And I remember talking to some, what I would call philtech. Phil, P H I L technology, so philanthropy technology companies that were starting at that time and ultimately did not pursue them. And then on occasion, during the late two thousands or before the 2008 recession, could I parlay this experience into some kind of for-profit thing? I think ultimately, what kept me is, which is what you hear when you hear people give career advice when you're younger is, and I think there's a lot of truth to this, is if you actually like what you do and eventually you become good at it, then everything else takes care of itself. So I really do like what I'm doing, and I've become pretty good at it. And so then everything else takes care of itself. And being intentional about the different moves you make. And because designing a career is... I'm not saying it's a full-time job, but you cannot approach that casually. You have to be attainable about it. And what I mean by that is that whenever you go to an organization, and it doesn't really matter what sector we're talking about, but certainly in the fundraising sector, you want to understand not only how you're going to be successful there, but what will it lead to? What if you're successful at XYZ organization, will it give you an opportunity to grow within the organization or maybe even go to another organization, that type of thing. Depending on what you ultimately want to do. You don't have to become a Chief Development Officer. You can become the best frontline fundraiser in an area that you really, really love. And that's the great thing about this sector is that there's a lot of different diverse job functions. You have the development operations side, which is very much oriented towards tech people and people who are data-driven. The foundation relations kind of world, which really solid writers do well in that sector or that section of the work. And then frontline fundraisers are really usually a kind of sales salesperson orientation. Siobhan: I was going to say, as someone who is on the soliciting end of things, I feel like I'm a salesperson for Holy Cross, which I love because as someone, and you get this as someone who benefited from the product, it almost makes the job easy. But I was curious, so as someone, you weren't on both ends of the spectrum, so the soliciting side, which we've said isn't all about asking for money, but sometimes it comes down to, okay, here's my wallet. And then also the giving away of money. How would you, I guess, compare those roles? Because right now, as someone who's just starting out, I find the idea of grant giving and the other side of the work to be intriguing. Sean: It is intriguing. So my experience and foundations, I did some work with the MacArthur Foundation and the Gates Foundation, both those opportunities, I got to obviously work closely with them to understand more how they work. And over my career, I've got to work closely with some foundations. And over my career, I've probably felt the same thing that you're feeling, oh, it would be fun to get away money. But it's funny, they kind of have the same challenges in some ways because they... And I think that that actually helps you become a good fundraiser with foundations. To kind of boil this down, everyone has a job and everyone has to do things. So if you're a foundation officer, you have to do things, you have to give away money. And it is hard to give away money, because you're going to be evaluated on how the partnerships that you developed, did you squander the money or did you give the money away smartly? And if you gave the money away, did you do a good job following up in a and actually evaluating their efficacy? And that is hard. And there's a lot of pressure. And so if you orient yourself as a, now I'm going on the solicitor side, if you orient yourself to, I'm going to make this person's life easier, then you're talking to them like a person and you're creating a partnership. How can I help you with your job, or what you have to do? We're a good organization, we're going to communicate with you, we're going to spend your money the right way. Then it's a great thing. So you're not really asking them for money, you're really creating a partnership. And I think that that makes all the things in the world. But then if you think about designing strategies for a billionaire who wants to, some billionaire from Holy Cross calls you Siobhan and said, Siobhan, I want you to run a foundation for me and figure out... I want to give away money to human rights organizations and arts organizations in South America, and I'm going to give you a budget and you figure it out. So what would you do? You would probably start creating a network. You would go travel and see some, understand the issue. Go to South America, go visit museums, create a network of people, and then start to give away money. Yes, that would be fun. That would be really fun. But going to a big foundation and running a program, you do have to be a subject matter expert. Oftentimes, not all the time, because now there are a lot of foundations out there that I've been encountering that will hire a friend, someone they trust to actually help them with their foundation. I met this foundation recently where, all of a sudden they found themselves with a whole lot of money and they wanted to create this foundation because that's what the estate had directed them to do. And they're going to find the person that they trust. And so sometimes that person's not a subject matter expert, but they're a trusted advisor to the family. But if you're a subject matter expert in human rights, you're coming at it from a different direction. You're an academic that goes into a foundation. But I do think it's a growing, obviously a growing field as the wealth inequality continues to increase. I'll just give you a little tidbit on, this is one of my favorite facts. When I started in the business, mid-nineties, I would always go to the Hudson News in Grand Central and buy the Forbes 400, which would come out, I guess it would come on the fall. I'm trying to remember when it did. But I always loved that because I would go home on the train and just read it, and learn about the families who had wealth. And I quickly learned that not everybody, wealth and philanthropy are not the same thing. People with money and people who are philanthropic, there's like a Venn diagram in the middle. But to be the four hundredth, wealthiest person on that list, right back in the mid-nineties, the net worth was 400 million or something like that. It's a lot of money. What do you think it is today? Siobhan: It's more. Because I feel like... I was going to say, I feel like, because nowadays, and maybe it's because I work in fundraising, a million dollars doesn't seem like that much money anymore. Sean: Something like 1.7 billion. Siobhan: I was going to say at least a billion dollars. Sean: So why that's extraordinary. Not only how much it's gone up. Might be 1.4, but I know it's something like that. There's a whole lot of people below that. We don't even know who those people are. Siobhan: Wow. Sean: They're not necessarily publicly known. So the amount of people... It used to be rather, you used to be able to understand where the wealth was. And now I think you just don't, A very interesting world we live in now in terms of the relationship between wealth, philanthropy, and our business. There's a lot of new philanthropists coming on board that are coming out of the nowhere, partly because they're just not as well known. It's just more. There's more opportunity. That's why we're not really at a wealthy, it's not about money, it's about strategy. Siobhan: I was also going to say, I find... At least I can relate to least the capacity because sometimes, you use all the data that you have and you assume that someone has this profile, but you could either be over assuming, but then you could also be easily under assuming too. There are probably people that you don't think they would give maybe over a thousand dollars. But if you go about it, as you were saying, strategy, if you talk to them, if they're into music and you talk to them about the new performing arts center, you might inspire their generosity more than if you're talking to them about a new basketball court. Sean: I think that that's a hundred percent right. And I think, that's why I think it sounds a little old school. I think research can be a little overdone. I love research by the way. I think that my research team, they call me an, I'm an honorary researcher because on occasion, if I'm sitting in front of the TV or something like that, I'll go deep on some name and I just love finding these little nuggets of information. I'll send our director of prospect research these random emails. I said, look into this, look into that. Because at least at Audubon, I'm looking into people who care about climate, who care about birds, who care about... Siobhan: Again, that is so unique. Sean: Well, there's one, if you look on... Here's one of the cool things about birds besides the fact they're cool. If you go to... The Fish and Wildlife Service did a report on one of the most common outdoor activity, obviously gardening is actually probably the top. Birding is actually second or so. They estimate over 40 million people at one point in their life have gone out and watched birds, whether it's in their backyard or something like that. It's an awful lot of people. Siobhan: It is a lot of people. That's a fun fact. Sean: Yeah, it drives our work for sure. And we're doing this cool thing. This is kind of a little bit out of sequence, but we have this thing called Bird Song, which is this project we're doing. In fact, you can look on Spotify, and this has been in the New York Times. A music supervisor, a guy named Randall Poster who works with Wes Anderson and Martin Scorsese approached Audubon, and he got the bird bug over the pandemic because he was at home and listening to birds. He approached all of his musician friends, people like Jarvis Cocker and Yo-Yo Ma and Yoko Ono and Karen O and Beck to do songs inspired by Bird Song. And so he has 180 tracks. He's also asked his actor friends like Liam Neeson and Matthew McConaughey and Adrien Brody to read poems that are about birds, including a bird poem written by another Holy Cross alum, Billy Collins, who is a poet who wrote a poem about sandhill cranes in Nebraska. He has Conor Oberst from Bright Eyes reading that poem. Anyways, there's going to be a big album, a box set release, and all the money's going to go to Audubon. Siobhan: That's awesome. Sean: Birds are having a moment. Siobhan: Birds are having a moment. It's a bird's world and we're just living in it. Sean: It is. That's a good way of putting it, I'm going to borrow that. Siobhan: You can totally, as long as you give me copyright credit. Sean: I'll absolutely give you copyright, and all the royalties. Siobhan: Exactly. And I do want to just be cognizant of time, but as the podcast is about Holy Cross's mission and how it influenced your life, and I know you did talk about this a little bit at the beginning. I just wanted to hear more about how Holy Cross impacted your life and your work, and maybe Holy Cross' mission in addition to being men and women for others. Sean: I found a profession that I think in the beginning it might not have made sense, but I have to tell you now, at my age, there's a lot of people, a lot of friends who went to all lacrosse and other places are some ways jealous of this career because... So I have this ability to do well and do good. Use persuasion techniques or skills that could be implied to advertising or banking or some other sales job. But when I'm being reflective of the relationship between the effort and the work that I've applied my daily profession to the outcome, it completely aligns with my worldview of actually helping other people and helping organizations and helping the world, whether it's through art or healthcare or science or human rights or conservation. I feel pretty good about that. And I also feel very fortunate because I don't think I'd be in this profession if it wasn't for Holy Cross, partly because combined with how I was raised and also Holy Cross reinforcing some of those values and elevating them. And then, really the specific moment when Jonathan Winters actually said, hey, you should look into this job. And really made the connection between me as a recent alum and an opportunity with another Holy Cross person. So if Pat Cunningham's listening to this podcast, and I reach out to him once in a while, was a very influential person in terms of where I'm at right now, and I'm very grateful for that. So it's a fun profession. I encourage, I do a lot of connecting with other Holy Cross grads that have helped people. And there's a lot of Holy Cross people that I've met who are in this business, and you try to get together. Because I think there's a really interesting theme here in terms of what we do. And a lot of us are doing, in pretty good organizations, doing really, really good work. So celebrating that as a profession would be fun to do. I actually, Danita Wickwire, who is class of '94 joined my team recently. Which is incredible, because I told her, she reminds me a little bit of why I'm in this profession. Because if you go into this world of fundraising, it's hard to keep up with everything. But then, because she's here and because of our common history at Holy Cross, it's nice to have her because we were able to align around that a lot. And I think she participated in one of these podcasts as well. And she's a really, really influential and important leader in this space as well. Siobhan: Oh, that's awesome. She is an outstanding volunteer and name in our office. So our office is a big fan of Danita, she's great. Also, what I really like too that you said is, I don't know, I find that the job doesn't really feel like work and it's comforting to hear that doesn't change. Sean: It doesn't really. No, it doesn't change. I mean, listen, it's not saying it's easy all the time, but it's certainly fun. Siobhan: And then I guess you kind of touched upon this, but for someone starting out in this work, what is some advice you would give? And then I guess also, looking back on your journey that got you here, is there anything that you would've done differently? Sean: I don't think I have any regrets about choices I've made, also philosophically don't believe in that because I don't think it's helpful. But I think in terms of advice, I do think, and I know this sounds slightly cynical, so I soften this a little bit, but I really do feel it's important to go to a place where your boss and your colleagues believe and align with how you think about this work. I think often, sometimes I see folks make a mistake going to an organization for the mission only, and then what ends up happening sometimes, not all the time, is that the expectations aren't there. And then it can really be a hard place to be. One of the hardest things about this business is... It's a very optimistic, enthusiastic person, but I also know how hard this is and things can go wrong, and you might not have control over certain things. And so educating non-fundraisers, or orienting them about how this work actually unfolds happens with experience. So I'm able to do that with a little bit more ease than I did when I was younger. But be very intentional about your career. If you have a lot of the elements in place, that's great. If you're able to grow, that's great. Don't go for the money, so to speak, or for the mission, make sure everything else is in place. That's my advice. Siobhan: That's very deep. I think that's applicable to anything too. Sean: It is. But I remember, I give a lot of career advice and sometimes I see people, it looks really good, but you got to ask all the right questions, make sure you're asking the questions so you have it all figured out. Siobhan: Yeah. Then I guess, is there any type of organization that you haven't worked with yet that you'd want to? You said you've worked with most of them, but is there anything that maybe in your journey that you've seen... Sean: I was in Columbia last week, the country, because we do a lot of work hemispherically, so I was in Bogota and Cali. I really enjoy, where I think this is headed, and maybe it would be fun, is like this orientation about raising money in other parts of the world. I've done it before, I've done it in England, and it's different in every country and it's evolving and this cultural barriers of this and all that stuff. But I like the way the globalization in terms of how we're thinking about the NGO, bottom up. And also the importance of diversifying our space. Our profession has to be more intentional about how to do that and create space and opportunities for people of color and other backgrounds because there's a lot of history and reasons why it is what it is. And we have to continue to try to figure out ways to open up doors and opportunities that are just not going to happen naturally. You have to be forceful about that. So any place that is in that space. You know what, the weird thing about this space, and I talked to Ron Lawson about this, who's a Chief Operating Officer of a coalition, homeless coalition in New York. It's in a weird way, it's really hard to raise private philanthropy for some social justice issues like homelessness and hunger. Hunger, not as much as it used to be. But I'm always curious about why that is. And there are some organizations that kind of outperform. There's so much money that's given away and there's some sectors that are just not there yet. And that would be fun to understand more why that's happening and help with that too. Siobhan: Cool. I just wanted to see where you were headed next. Sean: I don't know. Siobhan: Nonprofit. Sean: Yeah, it's fun. I'm glad you're in this space and you should keep in touch, Siobhan, it'd be fun to see where your career's going to take you. Siobhan: I was going to say, I'll have you on speed dial. Sean: Good. Awesome. Siobhan: Awesome. And before I let you go, I just wanted to end on a fun little speed Holy Cross round. Sean: Sure. Siobhan: Very quick. Okay. What was your freshman dorm? Sean: Mulledy Siobhan: What was your hardest class? Sean: That economics class with Professor Chu. No, actually accounting class with Professor Chu. Yeah. Siobhan: Nice. Best professor you've ever had? Sean: Probably Professor Chu Siobhan: I see him sometimes, so I'll be sure to let him know. Sean: I think he just retired actually. I thought I just saw that he's retiring soon. Siobhan: He is, but he has his little research. Sean: Yeah, you can tell him that. Tell him, gave him a shout-out. I think I was, it might have been... That was his first year he got here, I think. Siobhan: Oh, that's so funny. Senior dorm? Sean: Carlin. Siobhan: Oh, nice. Sean: Yeah, Carlin Siobhan: Favorite spot on campus? Sean: I guess I liked the radio station. That was a great place to escape. Siobhan: Oh, cute. First meal you think of when you think of Kimball. Sean: Ah, that's good. Probably just like chicken fingers, I guess. They actually existed, I think that they did. Or that Turkey. There's like some kind of Turkey meal that was good there. Siobhan: Oh my goodness. The Thanksgiving Turkey dinner slaps. Best restaurant in Worcester. This is good because you're a local. Sean: Yeah, well the best restaurant right now that I was just like, wow, this is a pretty good restaurant. There's that sushi place on Park Avenue is really, really good actually. And then when I was there, I guess Arturo's was a great Italian place, but that's not, I think that's closed now. Best Breakfast place is probably Lou Roc's on West Boylston Street, which is a really, really good diner. Siobhan: Good to know. Everyone always talks about Miss Worcester's, I'll have to... Sean: Miss Worcester's is good, but Lou Roc's is a little further out, but it's excellent, excellent. Yeah. Siobhan: Oh, fabulous. All right. Your go-to study spot? Sean: The Library right side, as you're walking on the right side. Yeah, not the left side. Siobhan: Okay. And if you were going to campus right now, where are you going first? Sean: I am going to check out this new performing arts center which is the coolest looking building in Worcester, I think. Siobhan: Right? It kind of looks like an airport, but in a good way. Sean: It's a very cool, it's one of the coolest architecture buildings I've seen. And it's certainly one of the coolest things in Worcester. I think it's awesome. I want to go inside it. Siobhan: And then last question, your fondest Holy Cross memory. Sean: Fondest Holy Cross memory? Oh, I don't know. I really enjoy fall at Holy Cross. That's what I enjoyed the most. Yeah, and I like fall in Worcester. Yeah, for sure. Siobhan: That's a good answer. Sean: Yeah. Siobhan: Especially fall at Holy Cross is beautiful. Sean: Yeah, like a football game in the fall. That's probably it. Siobhan: Nice. Wow. Thank you so much for chatting with me. Sean: Thanks Siobhan. Siobhan: Taking the time out of your today. Sean: That was great, thanks. Thanks for the opportunity. Maura Sweeney: That's our show. I hope you enjoyed hearing about just one of the many ways that Holy Cross alumni have been inspired by the mission to be people for and with others. A special thanks to today's guests and everyone at Holy Cross who has contributed to making this podcast a reality. If you or someone would like to be featured on this podcast, then please send us an email at alumnicareers.holycross.edu. If you like what you hear, then please leave us a review. This podcast is brought to you by the Office of Alumni Relations at the College of the Holy Cross. You can subscribe for future episodes wherever you find your podcast. I'm your host, Maura Sweeney, and this is Mission-Driven. In the words of Saint Ignatius of Loyola, "Now go forth and set the world on fire." Theme music composed by Scott Holmes, courtesy of freemusicarchive.org.

On this episode of Esoteric America we conclude this trip through, The City of New Haven, New Haven County, and Connecticut. We start with a look at some of the syncretic architecture, from the Tomb to the Crypt and everything in between, we scour over maps, photos and try to make meaning of what looks like esoteric geomancy encoded into the streets of this American city. We discuss Yale aspects of their history and how they have shaped the area. Chad also presented his research into New Haven's Railroad monopoly and An underground sculpture garden built in New Haven by Isamu Noguchi the very same Noguchi who built the Detroit Stargate. Email us at esotericamericapodcast@gmail.com if you'd like to research your local area and share it with us, or tell a friend.Instagram: @esotericamericaWatch on Youtube:  https://www.youtube.com/channel/UCO0A8caVlYmn-n3QgLosqXQChad's Website/Book: https://chadstuemke.com/store/Roman's Podcast: https://altmediaunited.com/rising-ft-ashes/ RSS/XML Feed: https://feed.podbean.com/risingfromtheashes/feed.xmlMark and Tara's Podcast: https://myfamilythinksimcrazy.com/ RSS Feed: https://feeds.transistor.fm/my-family-thinks-im-crazyGet the SEEEN Travel Guide!https://ko-fi.com/s/6f1e1173a0Music CreditsIntroSong: Billion AirBy Ivy Bakes

From 1942–1946, more than 125,000 Japanese Americans were incarcerated at camps throughout the country. Artists including Ruth Asawa, Miyoko Ito, Isamu Noguchi, and Kay Sekimachi were among them, and this episode tracks their experience in the camps and how their lives and work were transformed by a painful chapter of American history. Show Notes and Transcript available at www.aaa.si.edu/articulated

Alec Nevala-Lee, author of the new biography “Inventor of the Future: The Visionary Life of Buckminster Fuller,” talks with us about what Fuller has in common (and doesn't) with Elon Musk and Steve Jobs, the myth of the start-up founder, and why design solutions also need to take politics into account.Episode sponsored by Grand Seiko.

Happy Birthday to Platon Karsavin and Isamu Noguchi! --- Support this podcast: https://podcasters.spotify.com/pod/show/dawn-davis-loring/support

Cecilia Schiller was born into a working-class family, without money for college she became a hairstylist. While viewing a retrospective of the abstract expressionist sculptor and designer, Isamu Noguchi she realized she was going to be an artist. Uncertain of where she fit in the American landscape, she embarked on a seven-year journey working as an artesania making handmade crafts, which she sold on the street. After overcoming, poverty, fear, and countless hardships she returned home with two young daughters to raise as a single mother. Cecilia apprenticed with a master woodcarver over the next seven years, learning the engineering and kinetics of automata; through wooden cranks and gears—making wood move. In witnessing her pieces, we are transported into magical scenes that come to life.  Engineering, carving, woodworking, metalsmithing, theater set design, puppeteering, mask carving, and hairstyling—all these skills come into play in her breathtaking work. Through her years of dedication, ability to move beyond fear, and the faith to follow her artistic desire,  Cecilia is now an award-winning wood sculptor, recognized for her work with grants from the Minnesota State Arts Board, the Jerome Foundation, and the National Endowment for the Arts. In addition to creating original and custom automata, Cecilia Schiller shares her skills by teaching classes and offering DIY original laser-cut kits at Cranky Heart Automata. It was truly inspirational to learn about Cecilia's path. We are thrilled to welcome this talented and generous artist to this episode of Intrinsic Drive™. 

Ben Luke talks to Anicka Yi about her influences—from the worlds of literature, music and, of course, art—and the cultural experiences that have shaped her life and work. Yi creates installations and objects that sit on the borders of art and science. Drawing on research into biology, and particularly macrobiotics, but embedded in geopolitics, Yi's work calls for a deep sensory engagement from the viewer, with smell as important as sight. In fusing different categories of knowledge, she questions what she calls “the increasingly hazy taxonomic distinctions between what is human, animal, plant and machine”. She discusses being “possessed” by the formal language of Isamu Noguchi and inspired by the breadth of Rosemarie Trockel's work; she reflects on the impact of John Ashbery's poetry and how Donna Haraway prompted her series When Species Meet (2016). Plus, she gives insight into life in her studio (and how it compares to a laboratory) and answers our usual questions, including: what is art for?Anicka Yi, Gladstone Gallery, 24th Street, New York, 6 October-12 November Hosted on Acast. See acast.com/privacy for more information.

Dakin Hart, the curator of the Noguchi Museum and Foundation in New York, shares the history behind Isamu Noguchi's Piedmont Park playground sculpture, "Playscapes." Plus, Dragon Con might be over for the year, but the stories left behind are just beginning. Today we hear about a young chess playing Jawa who raises thousands of dollars for charity each year at the Con. And Georgia Audubon's Dottie Head and Gabe Andrle tell us about the upcoming events surrounding "Georgia Grows Native for Birds Month."See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

During his lifetime, Buckminster Fuller was hailed as one of the greatest geniuses of the twentieth century. As the architectural designer and futurist best known for the geodesic dome, he enthralled a vast popular audience, inspired devotion from both the counterculture and the establishment, and was praised as a modern Leonardo da Vinci. To his admirers, he exemplified what one man could accomplish by approaching urgent design problems using a radically unconventional set of strategies, which he based on a mystical conception of the universe's geometry. His views on sustainability, as embodied in the image of Spaceship Earth, convinced him that it was possible to provide for all humanity through the efficient use of planetary resources. From Epcot Center to the molecule named in his honor as the buckyball, Fuller's legacy endures to this day, and his belief in the transformative potential of technology profoundly influenced the founders of Silicon Valley.Inventor of the Future is the first authoritative biography to cover all aspects of Fuller's career. Drawing on meticulous research, dozens of interviews, and thousands of unpublished documents, Nevala-Lee has produced a riveting portrait that transcends the myth of Fuller as an otherworldly generalist. It reconstructs the true origins of his most famous inventions, including the Dymaxion Car, the Wichita House, and the dome itself; his fraught relationships with his students and collaborators; his interactions with Frank Lloyd Wright, Isamu Noguchi, Clare Boothe Luce, John Cage, Steve Jobs, and many others; and his tumultuous private life, in which his determination to succeed on his own terms came at an immense personal cost. In an era of accelerating change, Fuller's example remains enormously relevant, and his lessons for designers, activists, and innovators are as powerful and essential as ever. Buy the book from Wellington Square Bookshop - ​https://wellingtonsquarebooks.indiecommerce.com/book/9780062947222

In Buitenleven beschrijft Nina Polak wat er gebeurt wanneer stadsmensen het platteland opzoeken. Christophe Vekeman las ‘Van geen betekenis', een roman waarin de Britse schrijver James Clammer een doordeweekse dag uit het leven van een loodgieter oproept. Olav Grondelaers trok naar Museum Ludwig in Keulen, waar een overzichtstentoonstelling loopt van de Japans-Amerikaanse ontwerper Isamu Noguchi.

Die 94. Oscar-Verleihung; Isamu Noguchi im Museum Ludwig Köln; Ungarns Intellektuelle vor der Wahl; Service Bühne. Moderation: Sebastian Wellendorf Von Sebastian Wellendorf.

In Europa galten Isamu Noguchis Arbeiten lange Zeit als zu kommerziell und zu wenig künstlerisch, dabei hat er sich zeit seines Lebens mit sozialen und gesellschaftlichen Fragen beschäftigt. Jetzt zeigt das Museum Ludwig eine umfassende Retrospektive.Von Susanne Luerwegwww.deutschlandfunkkultur.de, FazitDirekter Link zur Audiodatei

Today we're joined by Oʻahu-based sculptor Sean Browne, whose 1989 Wailuku public artwork entitled Ua Mau Ke Ea O Ka Aina I Ka Pono became the backdrop of last week's unveiling of The Bits Left Behind (by Adaptations Dance Theater) and Return to the Source (by muralist Cory Taum). Sean has created public art for more than 40 years. Born in Hilo, Hawaiʻi, he earned his bachelor's and master's degrees on Oʻahu and was awarded a Fulbright Fellowship in 1985, enabling him to study with Isamu Noguchi in Japan. For many years, he taught sculpture at the University of Hawaiʻi at Mānoa and at Kapiolani Community College. His greatest advice for artists today? Chance um. Please enjoy. 

We explore creativity in play, from the playgrounds of Isamu Noguchi to a company that puts considered design at the heart of its early-years learning spaces. Plus: we meet Amsterdam-based toy designer Luca Boscardin.

Dr. Rhiannon Paget is the curator of Asian Art at the John and Mable Ringling Museum of Art in Sarasota, Florida. Ms. Paget joins me on The Unfinished Print to discuss the life and times of mokuhanga printmaker Saitō Kiyoshi, war print production of the later 19th Century and early 20th Centuries and she speaks on kabuki prints through the years.  These topics are framed through the three shows which Dr. Paget was involved in, Saitō Kiyoshi: Graphic Awakening (March 14 -August 15, 2021 @ The Ringling), Conflicts of Interest: Art and War in Modern Japan (October 16, 2016 - January 8, 2017 @ the St. Louis Art Museum), and Kabuki Modern (November 13 -July 27, 2021 @ The Ringling) Please follow The Unfinished Print and my own print work on Instagram @andrezadoroznyprints Twitter @unfinishedprint, or email me at theunfinishedprint@gmail.com Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Dr. Rhiannon Paget PhD - curator of Asian art at the John and Mable Ringling Museum of Art own Sarasota, Florida. She was also a A.W Mellon Fellow for Japanese Art from 2015-2017, and wrote for The Japan Times.  The John and Mable Ringling Museum of Art - This museum is dedicated to the arts, Western and “non-Western”from all periods of human history, focusing on education, and conservation. More info, here.  Saitō Kiyoshi (1907-1997) - was a Japanese woodblock printmaker and artist who worked in the sōsaku hanga style of mokuhanga. HIs fame outside of Japan was fairly comprehensive with his peak fame being in the 1950's and 1960's. For a comprehensive book on his life and times, Saitō Kiyoshi: Graphic Awakening published by The John & Mable Ringling Museum is an excellent source. Can be found, here. Lecture by Dr. Paget about Saitō can be found, here. Cleveland Museum of Art - founded in 1913 and opened in 1916. It has an online collection, and open access to its works in its collection. More info, here.  Honolulu Museum of Art - dedicated to art and education focusing on arts from around the world and Hawaiian culture itself. More info, here. Isamu Noguchi (1904-1988) - was a U.S born sculptor and designer who traveled the world to understand his own works. He collaborated with many artists from all over the world. More info, here.  Kiyoshi Nakashima -  an artist and designer who designed woodblock prints, in the 1980's. His most famous are his melancholy women prints. Some can be found, here.  Karl Bickle (1881-1972) - an ex newspaper man at the turn of the 20th Century Bickle who retired in Sarasota, Florida in 1935. He was influential in the opening of the Ringling Museum in 1945. More info, here. Onchi Kōshirō (1891-1955) - originally designing poetry and books Onchi became on of the most I important sōsaku hanga artists and promotor of the medium. His works are saught after today. More info, here. Paul Gauguin (1848 - 1903) - self taught artist, ex-stockbroker, travels to Brittany, France in 1886 where he sows the seeds of  his Symbolist Movement. He is famous for his works made in Tahiti, perhaps now seen as a bit naïve and privileged, these works, were expressed through painting, woodcuts and the written word. He also painted self portraits, and landscapes searching for the spiritual via colour and form. The National Gallery has a very good history of Gauguin here. François Auguste Rodin (1840-1917) - a sculptor of the human form, Auguste Rodin was a French artist who's work took off when he was commissioned by the French government in 1879. One of his most famous works is “The Gates of Hell” a commissioned work for the Musée des Arts Décoratifs, a museum which was never built. For more information about Rodin,  The National Gallery has a biography, here.  mokume - is a woodblock printing technique where, by using heavy pressure on wood which contains a heavy grain, the artist can reveal the grain in their work.  Kiyoshi Saitō Museum of Art - located in Yanaizu, Fukushima, Japan this museum is dedicated to the art and works of Kiyoshi  Saitō. Opened in 1997, the museum holds rotating shows connected to Saitō's works. Museum website can be found, here. Boston Museum of Fine Arts - a museum with a rich history with Japanese artwork, especially woodblock prints. It holds the largest collection of Japanese art outside of Japan. Many of their woodblock prints are held online, here. A video on YouTube found, here, describing the MFA's history, and its collections.  Fukushima Prefectural Museum of Art - opened in 1984 in Fukushima City, Fukushima, this museum contains works from Japan and all over the world. The website is in both Japanese and English, and can be found, here.  Ms. Paget uses the Japanese words for certain woods which mokuhanga printmakers can use. They are:  kiri - a paulownia wood keyaki - Japanese zelkova tree Steady Gaze - is a print which Saitō produced in 1952, with two cats staring in different directions with two different backgrounds, one red (Animal)  and one blue (Two Cats).  I found another Steady Gaze cat print from 1950 and sold as a scroll. It can be found, here.  Edward Munch (1863-1944) - was a painter from Norway who is collectively famous for his painting, The Scream, painted in 1893. More info can be found, here.  Pieter Cornelius Mondrian (1872-1944) - a Dutch artist who's work helped found De Stijl in 1917, a group of Dutch painters who helped codify Mondrian's abstraction and industrial design. Mondrian has a wide spectrum of works and styles created throughout his career. More information can be found, here from the Guggenheim. Aizu, Fukushima, Japan - is a geographical area located in West Fukushima Prefecture, , Japan. It has a long history and is one of the nicest areas in Japan that I have visited, Tourist information can be found, here.  Toyohara Kunichika (1835-1900) -  was a Japanese woodblock designer of the Utagawa School of artists. His work flourished in the Meiji Period (1868-1912) of Japanese history, a period of immense change politically, economically, and industrially. Some of Kunichika's works can be found, here.  Kobayashi Kiyochika (1847-1915) - was a woodblock print designer famous for his war prints on the First Sino-Japanese War (July 25, 1894- April 17, 1895). More info, here. Toshihide Migita (1863-1925) - a woodblock designer known for his own print designs of the First Sino-Japanese War, kabuki portraits, bijin-ga, and landscape. More info, here. Pearl Habor woodblock prints - are a series of woodblock prints produced in 1942. One such print, found here, was designed by Hasegawa Sadanobu III (1881-1963).  Russo-Japanese War (February 8, 1904 - September 5, 1905) - was a war between the Imperial Russian and Imperial Japanese military taking place in China. Information about its background can be found here at history.com, and here.  Andreas Marks - is a scholar and Mary Griggs Burke curator of Japanese and Korean Art and Director of the Clark Center for Japanese Art at the Minneapolis Institute of Art.  print panels - artworks, like woodblock prints, can come in various numbers of panels. Single panels is one print, diptychs are two panels, triptychs are three panels, quadriptych his four panels, pentaptych is five panels.  Kawase Hasui (1883-1957) - was a woodblock designer who began his art life as a painter.  He worked predominantly with Watanabe Shōzaburō (1885-1962) designing some of the most famous woodblock prints from the Watanabe atelier such as Winter Moon over Toyama Plain, here.  Ogata Gekko  (1859-1920) - was a woodblock print designer during the Meiji Period (1868-1912) of Japanese history. Famous for his war prints of the Sino-Japanese War (1894-1895.) more info, here. Yokoyama Taikan (1868-1958) - was a Nihon-ga painter who exhibited around the world. His work, such as Mount Fuji in Japan has been deemed to have been nationalistic and proto-fascist. A great book on the subject is, “The Politics of Painting: Fascism and Japanese Art during the Second World War (University of Hawai'i Press, 2019) Hitler Youth - was a  a youth organization formed in 1922 to indoctrinate children in Nazi propaganda, to be better prepared  to fight in the German military. More info, here.  Teiten - started in 1919 until 1934, Teikoku Bijutsu Tenrankai, was one of several  (Bunten, Shin Bunten, Nitten, and Shin Nitten) Japanese Fine Arts Exhibition's held yearly in Japan. Teiten was famous for creating a platform for creative woodblock printing. Minami-za - is a kabuki theatre located in. Kyōto, Japan. more, info here. Yamamura Kōka (1885-1942) - was a woodblock print designer and artist who helped design many prints for Watanabe as well as for his Publishing Committee for Yamamura Kōka's prints. more info here. Yotsuya Kaidan -  ghost play, predominantly performed in kabuki. Staged for the first time in 1825. It has been performed steadily in kabuki since its first performance. more info, here. Heron Maiden (Sagi Musume)- is a Japanese folk-tale which is a very famous kabuki dance expertly performed by Bandō Tamasaburō V.  Watch, here. Bromide photography - is a type of early Twentieth Century commercial photography found in Japan , usually photos of geisha, kabuki actors, and sports people. Junichiro Sekino (1914-1988) - was a woodblock printmaker and illustrator who studied with Onchi Koshiro (1891-1955).  More info, here. Yakusha-e - is a Japanese word for kabuki actor prints. More info, here. First Thursday Society - started by Onchi Kōshiro in 1939 to develop sōsaku hanga. more info from Ronin Gallery, here.   opening and closing credit music - Tom Petty & The Heartbreakers  - Anything That's Rock 'n' Roll (1976) Gone Gator Records © Popular Wheat Productions logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Україну If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***            

Tracing the histories of transnational Asian diaspora struggles and solidarities across the Asia-Pacific, Professors Marci Kwon and Ming Tiampo, curators and researchers Mika Maruyama and Annie Jael Kwan thread a discussion regarding Isamu Noguchi's artistic legacy and lived experiences to their reflections on contemporary challenges when working with institutions, issues of inclusivity and visibility, and finding new intersections of solidarity.Part of our ongoing digital residence Noguchi: Resonances Subscribe to Nothing Concrete on Acast, Spotify, iTunes or wherever you find your podcasts. See acast.com/privacy for privacy and opt-out information. See acast.com/privacy for privacy and opt-out information.

Během své kariéry neopomenul japonsko-americký výtvarník Isamu Noguchi snad jediné médium umělecké tvorby. Teď se jeho tvorba odkrývá po mnoha letech opět v komplexní podobě. Výstava v centru Barbican v Londýně představuje rozmanitý výběr Noguchiho děl od raných surrealistických plastik, přes design nábytku a svítidel padesátých let až po velké architektonické a krajinné celky.

Summer greetings, Isamu Noguchi, SAKANACTION's Yamaguchi kun & singing cicadas ! わたし達からの暑中お見舞い from 上野公園。

See pictures and read more on materiallyspeaking.comGuus Jooss lives in Holland but comes to Pietrasanta in Italy for several months a year to work in marble.Guus used to work as a museum teacher and researcher in the Netherlands when he wasn't creating his own art. Before that, he went to an art academy in Utrecht for a year, but mostly learnt about sculpture through doing the work himself. He also did some teaching and found himself describing for his students skills that he didn't realise he'd learnt.When working in marble he considers himself rather old-fashioned as his heroes are artists of earlier generations: Henry Moore, Constantin Brâncuși, Alberto Viani, Isamu Noguchi and Hans Arp, all of whom had a classical, figurative, training but then moved on to pure form. He likes the honesty of one form made in one material.With an affinity to antiquity, Guus makes collages that reference his love of history. Old civilizations that are lost are recreated by him in images which look a little like tapestries or Persian rugs. He's fascinated by the regularity of geometric patterns that Islamic artists made in the sixth and seventh centuries. He talks us through his process and the way he expresses the layers of history.Guus tells how Homo Ludens, a book by Dutch historian and cultural theorist Johan Huizinga, explains the importance of play in society. Like Huizinga, Guus believes that adult creativity should be approached with the same urgency that a child approaches play, that is to say, as a matter of life and death.A keen swimmer, Guus found that open water swimming strengthened his lungs after what may, or may not have been, a dose of Covid. At the beginning of lockdown he enjoyed the chance to focus on work, but the need for a hug finally forced him to admit that isolation was actually a difficult experience.Since this episode was recorded in September 2020, we've had another winter of lockdown. Like others who moved out of towns and cities during the pandemic, Guus relocated from Utrecht to the countryside where he has fresher air and more studio space.guusjooss.nl

ABOUT THE BOOK: Set against a backdrop of 1950s Cape Cod, New York City, and Mexico, Herrera's poignant memoir is the perfect summer read. Herrera is a critically acclaimed biographer, winner of the Los Angeles Times Book Prize, and finalist for the Pulitzer Prize, and now turns her biographer's eye to her own family. UPPER BOHEMIA peels back the layers of a seemingly idyllic, artistic childhood in to explore the complexities of living with unstable, narcissistic parents. For Herrera's parents, both painters, following their artistic inclinations was more important than looking after their children. Her parents each married five times. When Herrera was only three years old, her parents separated. They saw their father only during summers on the Cape, when they and the other neighborhood children would be left to their own devices by parents who were busy painting, writing, or composing music. These adults inhabited a world that Herrera's mother called “upper bohemia,” a milieu of people born to privilege who chose to focus on the life of the mind. Her parents' friends included such literary and artistic heavyweights as artist Max Ernst, writers Edmund Wilson and Mary McCarthy, architect Marcel Breuer, and collector Peggy Guggenheim. On the surface, Herrera's childhood was idyllic and surreal. But underneath, the pain of being a parent's afterthought was acute. Her unique upbringing was expanded by art and by a reverence for nature, but her early years were also marred by abuse and by absent, irresponsible adults. Exquisitely written and unflinchingly honest, UPPER BOHEMIA is ultimately a story of resilience and redemption. ABOUT THE AUTHOR: Hayden Herrera is an art historian and the author of biographies of Frida Kahlo, Arshile Gorky, Mary Frank, Isamu Noguchi, and Henri Matisse. Her biography of Gorky was a finalist for the Pulitzer Prize and her biography of Noguchi won the Los Angeles Times Book Prize. She lives in New York City and Cape Cod. --- Support this podcast: https://anchor.fm/steve-richards/support

Isamu Noguchi diseñó más de 100 modelos de sus Esculturas de Luz Akari a partir de 1951 tomando como inspiración las sombrillas y faroles de papel japoneses. En este episodio, Alex y JD conversan sobre la versión 1AD, su historia y sus peculiaridades.Show Notes y Links relacionados a este episodiohttp://designaholic.mx/episodios/akari-ad1-por-isamu-noguchiNo te pierdas nuestros episodios, publicamos todos los Martes y Jueves a las 7pmSiguenos en: Instagram https://www.instagram.com/designaholic.mxFacebook https://www.facebook.com/designaholicmx/Twitter https://twitter.com/designaholicmx Suscríbete a nuestro newsletter semanal “Las 5 de la Semana” aquí: https://bit.ly/30yyPD0Nuestra página web es: http://designaholic.mxTambién te dejo mi cuenta personal donde además de publicar sobre mi estudio y los proyectos que hacemos, comparto mucho más sobre Arte, Arquitectura y Diseño. Instagram https://www.instagram.com/jd_etienneTwitter https://www.twitter.com/jd_etienne See acast.com/privacy for privacy and opt-out information.

Today we celebrate a Swiss philosopher who loved nature. We’ll remember the famous Panama orchid hunter whose orchids were displayed on this day 93 years ago. We'll also learn about a fascinating discovery by a botanist who was exploring Death Valley on this day last year. We hear a thought-provoking excerpt about pruning as a metaphor for life. We Grow That Garden Library™ with a book about Mycelium - a network of fine white filaments beneath our feet. And then we’ll wrap things up with a beautiful Garden Museum that opened on this day in 1985.   Subscribe Apple | Google | Spotify | Stitcher | iHeart To listen to the show while you're at home, just ask Alexa or Google to “Play the latest episode of The Daily Gardener Podcast.” And she will. It's just that easy.   The Daily Gardener Friday Newsletter Sign up for the FREE Friday Newsletter featuring: A personal update from me Garden-related items for your calendar The Grow That Garden Library™ featured books for the week Gardener gift ideas Garden-inspired recipes Exclusive updates regarding the show Plus, each week, one lucky subscriber wins a book from the Grow That Garden Library™ bookshelf.   Gardener Greetings Send your garden pics, stories, birthday wishes, and so forth to Jennifer@theDailyGardener.org   Curated News Cassian Schmidt  | GRÜNES BLUT | Anke Schmitz    Facebook Group If you'd like to check out my curated news articles and original blog posts for yourself, you're in luck. I share all of it with the Listener Community in the Free Facebook Group - The Daily Gardener Community. So, there’s no need to take notes or search for links. The next time you're on Facebook, search for Daily Gardener Community where you’d search for a friend... and request to join. I'd love to meet you in the group.   Important Events May 11, 1881 Today is the anniversary of the death of the Swiss moral philosopher, poet, critic, and nature-lover, Henri Frederic Amiel. Henri used the garden as a metaphor for life. He wrote, “Before my history can teach anybody anything, or even interest myself, it must be disentangled from its materials, distilled and simplified. These thousands of pages are but the pile of leaves and bark from which the essence has still to be extracted. A whole forest of cinchonas are worth but one cask of quinine. A whole Smyrna rose-garden goes to produce one vial of perfume.” Henri also recognized the healing power of nature. On June 3, 1849, he wrote, “Come, kind nature, smile and enchant me! Veil from me awhile my own griefs and those of others; let me see only the folds of thy queenly mantle, and hide all miserable and ignoble things from me under thy bounties and splendors!” On April 29, 1852, Henri wrote about his spring garden. “I went out into the garden to see what progress the spring was making. I strolled from the irises to the lilacs, round the flower-beds, and in the shrubberies.  Reverie is the Sunday of thought; It is like a bath which gives vigor and suppleness… to the mind as to the body; the banquet of the butterfly wandering from flower to flower over the hills and in the fields. And remember, the soul too is a butterfly.” And also,  in this passage, Henri famously advised, “A modest garden contains, for those who know how to look and to wait, more instruction than a library.”   May 11, 1928 On this day, Abel Aken Hunter shared some of his orchid collection at the Third Annual National Orchid Show held at Madison Square Garden. The Brooklyn Daily Eagle reported: "A mile of orchids, representing every known variety and worth more than $1,000,000 may be seen in the exhibit."  Abel Aken Hunter’s entry was specifically mentioned as, "Another extraordinary collection in the show was brought from the jungles of Central America by A. A. Hunter of Balboa, Panama."  In a biography of Abel’s older brother, it was mentioned that all the kids in the Hunter family were, "born naturalists, for they knew all the birds and many of the plants and insects around Lincoln, [Nebraska]." Incidentally, Abel studied botany at the University of Nebraska. And like many botanists of his time, he fit his passion for botany around his career. He’d been working for the United States Postal Service since he was 15 years old and Abel’s 30-year Post Office career facilitated his collecting efforts all through his life. In 1906, Abel transferred to the post office in the Canal Zone in Panama. The move was perfect for Abel; his pay jumped to $1,250 a month, and he was smack dab in the middle of a botanical paradise. The year 1910 brought a fateful friend to Abel: the amateur horticulturist and nurse Charles Powell. And although Charles was two decades older than Abel, the two men got on famously. In addition to their love of botany, they shared a passion for fishing. Once, while they were fishing, they spied an incredible sight. Abel is recorded as saying, "Look, Powell – orchids! Oodles of orchids! Treefuls of orchids! Let's get some of 'em." That day, they brought home a "boat-load of orchids," and the orchids made their way to collectors across the globe. A few years later, after the Canal work in Gorgona wrapped up, both Abel and Charles transferred to Balboa. In Balboa, Abel and Charles coordinated their vacation requests to accommodate their botanizing trips in Panama. In the meantime, Charles created a special relationship with the Missouri Botanical Garden and he sent them 7,000 plants. In return, MOBOT established a Tropical Station in Balboa and Charles Powell served as its first director. Abel succeeded him, and during their tenure, the Station became a jewel in the crown of MOBOT. By the mid-1920s, Abel was collecting with MOBOT experts like George Harry Pring, who recalled, "To obtain… new species it is necessary to climb the 'barrancas' [steep, rocky slopes], ford streams, cut one's way through the jungle, and hunt for the coveted orchid, and it is truly a hunt. Abel's sharp eyes detected almost everything within range." A week before Thanksgiving in 1934, the Director of Mobot sent a party of three researchers, including Paul Allen, down to work with Abel; their primary mission was to find where the Sobralia powellii orchid originated. Abel's gut told him it would be near the headwaters of the river they were exploring. For three days, they made their way through rapids and a tropical rainstorm. Nothing went their way and they were ready to give up. As they were standing at the edge of a natural pool near the crater of an ancient volcano, Paul decided to jump in for a swim. As he climbed out, Paul's journal records this fantastical moment: "Climbing out [of the pool] on the opposite side my astonished gaze was met by a plant with great milky white buds nearly ready to open. The long-sought prize, Sobralia powellii, had been found. Its native home was no longer a mystery." Paul Allen called this area "a garden of orchids" and would not disclose the exact location. Abel and Paul found hundreds of small orchids in this spot; incredibly, many were even new to Abel. It was a veritable orchid treasure trove. This trip was everything to Abel. He had been diagnosed with intestinal cancer and it would be his final orchid hunt. When it was clear he could not go on, Paul brought Abel to a hospital in Panama City, where he died on April 6, 1935. Paul Allen finished the expedition alone. After his death, Abel's wife, Mary, operated the station at Balboa for 18 months until, fittingly, Paul Allen was appointed Director. Paul Allen traveled to Balboa with his new bride, Dorothy. They had been married for ten days. As for Abel Aken Hunter, many orchids have been named in his honor, including the Coryanthes Hunteranum, or the Golden Bucket orchid.   May 11, 2020 It was on this day that a botanist discovered the wreckage of a CIA plane that crashed in January 1952 in Death Valley. The botanist was filming his hike in the valley - sharing the various specimens he encountered. I shared the film in the Facebook group for the show. In the film, the plane is initially seen in the distance. It’s only after the botanist researches the wreckage that the story of plane becomes clear. Air Live reported that, “It turned out the plane has been there for 68 years. In January 1952 [the] SA-16 Albatross was flying from Idaho to San Diego supporting classified CIA Cold War operations when its left engine caught fire over Death Valley, California and the plane began losing altitude and velocity. The pilot gave the order to evacuate the plane and all 6 people on board jumped out the back door! They parachuted and safely landed 14 miles north of Furnace Creek which they then hiked to.”   Unearthed Words Whether working in the yard or just going about the daily business of life, you are continually adjusting, trimming, touching, shaping, and tinkering with the wealth of things around you. It may be difficult for you to know when to stop. We are all torn between the extremes of taking care of things and leaving them alone, and we question whether many things could ever get along without us. We find ourselves with pruning shears in hand, snipping away at this or that, telling ourselves that we're only being helpful, redefining something else's space, removing that which is unappealing to us. It's not that we really want to change the world. We just want to fix it up slightly. We'd like to lose a few pounds or rid ourselves of some small habit. Maybe we'd like to help a friend improve his situation or repair a few loose ends in the lives of our children. All of this shaping and controlling can have an adverse effect. Unlike someone skilled in the art of bonsai gardening, we may *unintentionally* stunt much natural growth before it occurs. And our meddling may not be appreciated by others. Most things will get along superbly without our editing, fussing, and intervention. We can learn to just let them be. As a poem of long ago puts it, "In the landscape of spring, the flowering branches grow naturally, some are long, some are short.” ― Gary Thorp, Sweeping Changes: Discovering the Joy of Zen in Everyday Tasks   Grow That Garden Library Mycelium Running by Paul Stamets This book came out in 2005, and the subtitle is How Mushrooms Can Help Save the World In this book, Paul shares the power of mushrooms and how growing mushrooms is the best way to save the environment. As Paul explains, “The basic science goes like this: Microscopic cells called “mycelium”--the fruit of which are mushrooms--recycle carbon, nitrogen, and other essential elements as they break down plant and animal debris in the creation of rich new soil.” Paul is passionate about using mycelium to tackle everything from toxic wastes and pollutants, silt in streambeds, pathogens in watersheds, pest control, and general forest and garden health.   This book is 356 pages of myco-restoration - using mycelium and mushrooms for restoration and environmental health. You can get a copy of Mycelium Running by Paul Stamets and support the show using the Amazon Link in today's Show Notes for around $18   Today’s Botanic Spark Reviving the little botanic spark in your heart May 11, 1985 On this day the Isamu Noguchi Garden Museum in Long Island City, Queens, officially opened to the public. It was the first American museum established by a living artist for the display of his own work. A modernist sculptor and designer, Isamu founded and designed the museum in a repurposed 1920s red brick industrial building. The two-story Museum contains approximately 27,000 square feet of exhibition space and includes a sculpture garden. The beautiful Zen Garden can also be spied from the staircase exit on the second floor. It was the Japanese-American artist, Isamu Noguchi who said, When the time came for me to work with larger spaces, I conceived them as gardens, not as sites with objects but as relationships to a whole. The art of stone in a Japanese garden is that of placement. Its ideal does not deviate from that of nature. And he also had two other sayings that can be applied to the work of garden designers. When an artist stops being a child, he stops being an artist. We are a landscape of all we have seen.   Thanks for listening to The Daily Gardener. And remember: "For a happy, healthy life, garden every day."

When he was a boy, his great-uncle Buckminster Fuller often came to the house. “He would clear his throat halfway through dinner, then stand up and talk for three hours.” When Marvel was a young man, he stayed in Isamu Noguchi’s studio. “In return for living there, I cooked for him on Sundays.” (As a young man, I crashed on my cousin Sheldon’s couch.) An architect and his early influences, presented with the Center for Architecture.

Apporter la lumière du soleil dans nos intérieurs, c'était le pari fou de l'artiste et créateur nippo-américain Isamu Noguchi ! Avec les collections AKARI, ce sont plus de 100 sculptures lumineuses en papier washy qu'il imagine après un séjour à Gifu au Japon - ville très connue pour ses festivals illuminés par des lanternes. L'histoire nous dit même que l'artiste aurait réalisé les premières esquisses de ses sculptures dans cette ville. La lumière, c'était une véritable fascination pour Isamu Noguchi. Il a d'ailleurs choisit le terme « Akari » signifiant « lumière » en japonais pour cette incroyable série, encore aujourd'hui entièrement réalisée à la main par des artisans japonais. Cet épisode est également l'occasion de découvrir le papier washy, fabriquée à partir d'écorce de mûriers et qui continue a être travaillé de façon ancestrale et traditionnelle. Détail fascinant, toutes les sculptures lumineuses sont pliables, comme l'étaient les lanternes traditionnelles japonaises. Cet épisode a été réalisé grâce à la complicité de Plendi by Vinci Construction. >> SUIVEZ MOI SUR INSTAGRAM @ouestlebeau >> Pour écouter les épisodes : Apple Podcasts, Spotify, Deezer et sur le site Elle Deco >> Inscrivez-vous à la NEWSLETTER pour recevoir (2x mois) le beau dans votre boite mail >> CREDITS Où est le beau ? est un Podcast créé et réalisé par Hélène Aguilar Edition et montage : Paco Del Rosso Chargée de rédaction : Lisa Scalco Identité graphique : Catherine Sofia Charte graphique : Isabelle Denis

Follow @djhouseplants DJ Houseplants is the alias of Seattle-based DJ, producer and designer Justin Av. As a botanist and musician, he is deeply rooted in making music that exudes themes of nostalgia, self-care and positivity. Driven by the vibrancy of the community cultivated at house and techno shows, he strives to create an atmosphere where people can thrive to the music. His music influences come not only from his love of plants and music but all mediums of art, ranging from artists Isamu Noguchi and Georgia O’Keeffe to musicians such as Brian Eno and Sun Ra.

Can embracing the world in billion year chunks help us navigate the future of AI? In an inspired conversation with Dakin Hart, Senior Curator at the Noguchi Museum in New York, this episode focuses on the life and work of Japanese-American sculptor Isamu Noguchi. Covering topics both earthbound and cosmic, we ponder the past, present, and possible future(s) of humanity through Noguchi’s lens of hybridity, ‘voidiness,’ and the in-between.  See omnystudio.com/listener for privacy information.

Topics this week include — why is this episode a week late?? battle of the happy news websites Goldie Hawn's birthday minor US elections news how hard is it to catch a foul ball Isamu Noguchi movie updates Great British Bake Off weeks 7, 8, 9 recaps Info — New episodes air every Friday at noon PST on your favorite podcast app. Call 949-4HI-CLUB (949-444-2582) or email us HighFiveClubPodcast@gmail.com and we might play your message on the show. Subscribe now to join the club! anchor.fm/highfiveclub twitter.com/highfiveclubpod instagram.com/highfiveclubpod Music by — Captive Portal under CC BY-SA 4.0 bit.ly/332sGPs

Architectural historian Carol Krinsky speaks about the history of Lever House. Midtown Manhattan's Lever House marked a watershed in American architecture when completed in 1952. Located on the west side of Park Avenue between 53rd and 54th Streets, the corporate headquarters—with its façade of blue-green glass and stainless steel mullions—was one of the first glass-walled International Style office buildings in the U.S. Three of the most notable people involved with the project include Gordon Bunshaft, the design Principal at SOM, Natalie de Blois who assisted him as the Project Designer, and Charles Luckman who was President of Lever Brothers and went on to practice architecture in New York and later LA. The building was allowed to be a rectangular tower as the zoning requirements permitted it not to be stepped if it occupied less than 25% of its site. This was the first time anyone had done this. The renovation begun in 1998 added the Isamu Noguchi sculpture garden which had been planned but never installed.

Saiba mais sobre o criador e a criação da lanterna Akari, criada nos anos 1950 e que nunca saiu de moda. See omnystudio.com/policies/listener for privacy information.

In this episode we are on tour “al fresco” with John Stern, President of Storm King Art Center, located in New York’s Hudson Valley, where visitors experience large-scale sculpture and site-specific commissions under open sky. John tells the fascinating stories about the history of the place and of the many installation by artist like Mark di Suvero, Maya Lin, Andy Goldsworthy, Richard Serra, Joel Shapiro, Alexander Liebermann, Isamu Noguchi and many more.  Storm King - “one of the most significant sculpture gardens in the world,” according to Adam D. Weinberg, director of the Whitney Museum of American Art – is celebrating 60 years of nurturing a vibrant bond between art, nature, and people, creating a place where discovery is limitless. John Stern with Mark di Suvero's "Pyramidian" in the background. Photo credit: Eva Deitch.       

¿Quieres escuchar el audiolibro completo? Muy pronto en http://www.penguinaudio.comFrida fue una figura mítica creada por sí misma, el centro exótico de una esfera que incluía a amigos como León Trotski y Nelson Rockefeller, Isamu Noguchi y André Breton, Dolores del Río y Paulette Goddard. Fue esposa del gran muralista Diego Rivera y artista brillante por derecho propio.Esta edición ampliamente revisada de la biografía de la pintora mexicana por excelencia nos revela a una mujer con un magnetismo y una originalidad legendarios, cuya vida fue tan dramática y obsesiva como las imágenes que pintaba. La sensualidad de sus cuadros, el ambiente extraño y denso que los impregna, surgieron directamente de sus propias experiencias: su infancia durante la Revolución, el devastador accidente sufrido a los dieciocho años, su vínculo con el Partido Comunista a través de Diego Rivera, su pasión por el folclore y la cultura de México... Frida realizó una fascinante obra autobiográfica plasmada en la pintura: una irresistible serie de autorretratos que representaban el desarrollo de su urgente necesidad de conocerse a sí misma, creados entre 1926 y 1954, fecha en que murió.Quienes la conocieron relatan la historia de su vida como una novela llena de encanto y joie de vivre, hasta el trágico final. Pese a que la verdad es más desoladora, la historia de Frida Kahlo sigue siendo tan extraordinaria como la leyenda que creó. See acast.com/privacy for privacy and opt-out information.

Toland Sand: Vibration of the Mysteries When a friend gave Toland Sand a stained glass studio in 1977, he embarked upon a journey that would lead him to explore the myriad qualities that define glass as a medium. Sand’s 45 years as a sculptor has resulted in works of stained glass, blown glass, and every combination in between. A pioneer in utilizing the unique properties of dichroic glass, Sand begins his current sculpture with optical crystal and dichroic coated glass, hand worked by grinding in ever finer stages until a polish is achieved. Seeking balance, harmony, and symmetry, with an accent on deconstructed form, his work inhabits the symbolic, the cosmic, and the mystery. Inspired by his peers as well as artists such as Isamu Noguchi, David Smith, Henry Moore, and Mark Rothko, Sand says: “I love that images can come and go, are made bold, and then disappear; are reflective and then not. The energetic and mystical side comes from the teachings of my spiritual Master, Sant Kirpal Singh, by whose instructions I meditate every day in my personal effort to connect to and be receptive to the vibration of the mysteries.”  Two years in Taiwan as a child and five years in Athens, Greece, as a teenager, motivated Sand’s investigations of “otherness.” Influenced by Eastern ideograms, Greek letters and Arabic writing, the sculptor creates symbols that have meaning in their elegance as graphics and maintain the sense that language and lettering can lead one into other consciousnesses and cultures.  Each piece takes more or less six weeks to complete, starting with a drawing in the traditional three views on large white paper ripped from a roll, pencil, ruler, and compass. He says: “It’s exciting for me to see how the finished piece measures up to my concept, that begins with inspiration and an idea, and ends up as a complex construction made more complex by reflection, refraction, and the dance of light and color in a three- dimensional setting.”  Sand’s sculpture has been collected by individuals and institutions nationwide including Bergstrom-Mahler Museum of Glass, Neenah, Wisconsin; Albrecht-Kemper Museum of Art, St. Joseph. Missouri; Chattanooga Museum of Art, Chattanooga, Tennessee; University of Michigan Art Museum, Ann Arbor; and The Imagine Museum, St. Petersburg, Florida. His work can also be found in the corporate collections of IBM, Coca Cola, UPS and MacDonald’s, to name a few. Exhibitions include SOFA Chicago, New York and Santa Fe as well as 25 solo shows, most recently in 2015 at Bender Gallery, Asheville, North Carolina, and in 2016 at Raven Gallery, Aspen, Colorado.  In July of 2016, Sand moved his studio from rural New Hampshire to Carmel Valley, California. “The sculptures are a reflection of my inner space and what grabs my attention. I could be doing them anywhere. Actually, I don’t question exactly where they come from. It’s the mystery.”  

Alysa Nahmias is an award-winning filmmaker and founder of the Los Angeles-based production company Ajna Films. Her directorial debut feature, Unfinished Spaces, co-directed with Benjamin Murray, won a 2012 Spirit Award, numerous festival prizes, and is in the permanent collection at the Museum of Modern Art, New York.  In The New Bauhaus, the film's narrative weaves original interviews with archival footage, voiceover, and stylized filming of documents and artwork. The result is a new perspective view of Laszlo Moholy-Nagy, a man who was ahead of his time creating a philosophy of art and design education that has captured imaginations for nearly a century.  Akira Boch is an award-winning filmmaker and Director of the Media Arts Center at the Japanese American National Museum in Los Angeles. He has made over 50 short films, documentaries, and music videos.  His latest film, Masters of Modern Design: The Art of the Japanese American Experience explores five second generation Japanese American artists—Ruth Asawa, George Nakashima, Isamu Noguchi, Gyo Obata, and S. Neil Fujita—following the ways in which their US internment camp experiences impacted their lives, influenced their art, and sent them on trajectories that eventually led to their changing the face of American culture with their immense talents.

American artist Charles Gaines has been delving into philosophy, abstraction and mathematics to address politics and race since the 1970s. In August 2019, Gaines receives the 60th Annual Edward MacDowell Medal, an award celebrating his high achievements in visual art, musical composition and performance, and his influence as a teacher, writer and curator. An artist whose work is described as formulating the DNA of the conceptual movement, Gaines is a key figure in contemporary art history. Born in Charleston, South Carolina, Gaines was the first African American accepted into the School of Art and Design MFA program at the Rochester Institute of Technology. He now lives and works in Los Angeles. He’s been a faculty member at the California Institute of the Arts, for more than three decades. As Charles Gaines prepares for high profile exhibitions in Los Angeles, San Francisco and London, through 2022, we reflect on what his art says to the world. Resolutely abstract in his practice, Charles Gaines refuses traditional representation—resisting both dominant racial stereotypes, and pressure from within the black community. His gridworks and manifestos deliberately counter deep-seated assumptions about the forms that nature and culture, art and music should take. Gaines shows us how art can embody conceptual, aesthetic, and personal freedom. This episode features conversations recorded with Charles Gaines in 2015, 2017 and 2019. About the MacDowell Medal: A Haven for Artists since 1907, the MacDowell Colony in New Hampshire, was the first artist residency program established in the United States. Each year, the MacDowell Medal recognizes one individual for outstanding contributions to American arts and culture. Merce Cunningham, Louise Nevelson, Isamu Noguchi, Sonny Rollins, and Toni Morrison are among past honorees. Sound Editor: Anamnesis Audio | Special Audio: Charles Gaines, Manifestos performance, 56th Venice Art Biennale Related Episodes: Mark Bradford Connects Art with the Real World, Contemporary Art and the Black Imagination Related Links: Charles Gaines | MacDowell Honors Visual Artist‎, Solidary & Solitary: The Joyner/Giuffrida Collection, Charles Gaines, Institute of Contemporary Art, Miami, Charles Gaines, The Studio Museum in Harlem, Biennale Arte 2015, All the World's Futures

Catherine Craft is Curator at the Nasher Sculpture Center, Dallas and a scholar of Dada, Surrealism, Abstract Expressionism, and Neo-Dada. She is curator of the recent exhibition The Nature of Arp, the first North American museum survey of the artist Jean (Hans) Arp in three decades; she will also oversee that exhibition’s installation at the Peggy Guggenheim Collection in Venice, where it will open April 2019. Dr. Craft curated the Nasher’s 2015 touring retrospective Melvin Edwards: Five Decadesand, as with The Nature of Arp, was principal author of the accompanying publication. She was also a contributing author for Nasher exhibition catalogues on the artists Ann Veronica Janssens and Katharina Grosse; on Isamu Noguchi for Return to Earth: Ceramic Sculpture of Fontana, Melotti, Miró, Noguchi, and Picasso, 1943-1963; and Lara Almarcegui, Rachel Harrison, and Liz Larner for Nasher XChange: 10 Years. 10 Artists. 10 Sites. In 2017 she curated the group exhibition Paper into Sculpture, which examined contemporary artists who use paper as a sculptural material, and she has also worked on research and presentation of works from the Nasher’s permanent collection. Dr. Craft holds a B.A. in art history from Texas Christian University and an M.A. from the University of Virginia. She worked in the Department of Modern and Contemporary Art at the National Gallery of Art in Washington, D.C., where she worked on Robert Rauschenberg and Ellsworth Kelly exhibitions, before receiving her doctoral degree in art history from the University of Texas at Austin. She is the author of An Audience of Artists: Dada, Neo-Dada, and the Emergence of Abstract Expressionism(University of Chicago, 2012) and Robert Rauschenberg(Phaidon, 2013), as well numerous articles and reviews. She has presented talks at the Solomon R. Guggenheim Museum, the Metropolitan Museum of Art, the Museum of Modern Art, New York; the National Portrait Gallery, Washington, D.C.; and Yale University Art Gallery, New Haven. As a senior research fellow at the Metropolitan Museum of Art, she conceived and co-curated the 2011 exhibition Paper Trails: Selected Works from the Permanent Collection 1934-2001. She joined the Nasher Sculpture Center in 2011.

Catherine Craft is Curator at the Nasher Sculpture Center, Dallas and a scholar of Dada, Surrealism, Abstract Expressionism, and Neo-Dada. She is curator of the recent exhibition The Nature of Arp, the first North American museum survey of the artist Jean (Hans) Arp in three decades; she will also oversee that exhibition’s installation at the Peggy Guggenheim Collection in Venice, where it will open April 2019. Dr. Craft curated the Nasher’s 2015 touring retrospective Melvin Edwards: Five Decadesand, as with The Nature of Arp, was principal author of the accompanying publication. She was also a contributing author for Nasher exhibition catalogues on the artists Ann Veronica Janssens and Katharina Grosse; on Isamu Noguchi for Return to Earth: Ceramic Sculpture of Fontana, Melotti, Miró, Noguchi, and Picasso, 1943-1963; and Lara Almarcegui, Rachel Harrison, and Liz Larner for Nasher XChange: 10 Years. 10 Artists. 10 Sites. In 2017 she curated the group exhibition Paper into Sculpture, which examined contemporary artists who use paper as a sculptural material, and she has also worked on research and presentation of works from the Nasher’s permanent collection. Dr. Craft holds a B.A. in art history from Texas Christian University and an M.A. from the University of Virginia. She worked in the Department of Modern and Contemporary Art at the National Gallery of Art in Washington, D.C., where she worked on Robert Rauschenberg and Ellsworth Kelly exhibitions, before receiving her doctoral degree in art history from the University of Texas at Austin. She is the author of An Audience of Artists: Dada, Neo-Dada, and the Emergence of Abstract Expressionism(University of Chicago, 2012) and Robert Rauschenberg(Phaidon, 2013), as well numerous articles and reviews. She has presented talks at the Solomon R. Guggenheim Museum, the Metropolitan Museum of Art, the Museum of Modern Art, New York; the National Portrait Gallery, Washington, D.C.; and Yale University Art Gallery, New Haven. As a senior research fellow at the Metropolitan Museum of Art, she conceived and co-curated the 2011 exhibition Paper Trails: Selected Works from the Permanent Collection 1934-2001. She joined the Nasher Sculpture Center in 2011.

What does it take to become a artistic legend? Sally speaks to Douglas Dubler: the fashion and fine art photography master, who established a name for himself in the 1960's with his insatiable thirst for perfection. Dubler takes inspiration from some of the greatest artists and photographers in history, including Leonardo Da Vinci, Ansel Adams, Irving Penn, and Isamu Noguchi, creating work that is timeless. Full of amazing stories with some of the most famous people in the world, he reveals to Sally his favourite person that he's ever photographed, what he learned from the icons and who he is out to photograph next!

In this episode of The Gotham Center podcast “Sites and Sounds,” Olga Sooudi talks about the Noguchi Museum in Long Island City, designed and created by the Japanese-American sculptor Isamu Noguchi in the late 1970s and early 1980s. Sooudi, an anthropologist at the University of Amsterdam, is the author of Japanese New York, an intimate, ethnographic portrait of Japanese creative migrants living and working in New York City. Here, she uses the example of Isamu Noguchi to discuss the larger community of Japanese artists who made NYC home to one of the largest overseas Japanese populations in the world.  For more podcasts like this, and for more Gotham Center programming, visit us at GothamCenter.org and sign up to our mail list. Thanks for listening.

The borough of Queens has a history unlike any in the New York City region, but the story of its northwestern region -- comprising Astoria, Long Island City and about a half dozen other, smaller neighborhoods -- is particularly surprising. And there are basic aspects of these wonderful neighborhoods, fundamental to every day life here, that you may have never known. How did Astoria get its name? John Jacob Astor is involved, but not in the way you think. Was Long Island City an actual city? Well, technically, yes. In the 19th century, it was certainly corrupt like a modern city! How important to Astoria history is the Steinway Piano Factory? So important that modern Astoria would not exist in its present form without it. In 2017, why is Long Island City full of new developments and Astoria almost none? The secret is imbedded in its history, in decisions that were made 150 years ago. And it all begins with a brutal murder -- in a little place called Hallet's Cove. STARRING: Robert Moses, Tony Bennett, Isamu Noguchi and the casts of dozens of TV and movies. Not to mention the best selection of food in New York City! Support the show.

Since the 1960s, artists have been critically examining the practices of museums, at times critiquing the idea of what a museum is and how it presents its stories. One of the most influential exhibitions of Institutional Critique was Mining the Museum–an installation by artist Fred Wilson at the Maryland Historical Society, in collaboration with The Contemporary. In this episode–made 25 years after Mining the Museum–the Punks explore the role outsiders such as artists and external consultants play in driving creative change and innovation within museum practice. What can outsiders do within the institution that permanent staff cannot? What are the limitations they face? And how does a reliance on external talent impact the sustainability of progress in the museums they work with? GUESTS: George Ciscle has mounted groundbreaking exhibitions, created community arts programs, and taught fine arts and humanities courses for close to 50 years. He trained as a sculptor, studying with Isamu Noguchi. For 15 years he developed high school interdisciplinary curriculum and work-study programs for the emotionally disadvantaged. In 1985, he opened the George Ciscle Gallery where he promoted the careers of young and emerging artists. From 1989-1996 Ciscle was the founder and director of The Contemporary, an “un-museum,” which challenges existing conventions for exhibiting art in non-traditional sites focusing its exhibitions and outreach on connecting artists’ works with people’s everyday lives. From 1997-2017, as Curator-in-Residence at Maryland Institute College of Art, he continued to develop new models for connecting art, artists, and audiences by creating the Exhibition Development Seminar, Curatorial Studies Concentration and the MFA in Curatorial Practice. Jen Brown is the Founder and Artistic Director of The Engaging Educator. Through EE, her pedagogical approach of Improv as Continuing Education has reached over 25,000 people – all non-actors! Since 2012, Jen has given three TEDx Talks on the power of Improv, grown EE to three locations in NYC, Winston-Salem, NC and LA, and recently began The Engaging Educator Foundation, a 501(c)(3) which offers free and low-cost Improv workshops for educators, at-risk adults, teens and students on the Autism Spectrum. Jen holds degrees and accreditation from Marquette University, City College of New York, St. Joseph’s University and Second City. -- Museopunks is presented by the American Alliance of Museums. Website: Museopunks.org Twitter: @museopunks

March 31, 2016. Dakin Hart discussed Martha Graham and Isamu Noguchi's explorations of the archetypal spaces of myth, including the American west, the Minotaur's labyrinth and the "cave of the heart." Speaker Biography: Dakin Hart is a senior curator at the Noguchi Museum in Long Island City, New York. He previously served as an independent curator and researcher, assistant director of the Nasher Sculpture Center in Dallas, and has organized a retrospective of Davi Det Hompson that was on view at the ZieherSmith Gallery in New York. For transcript, captions, and more information, visit http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=7426

March 30, 2016. Janet Eilber of the Martha Graham Dance Center of Contemporary Dance discusses Isamu Noguchi's set for the Martha Graham work "Cave of the Heart," set to music by Samuel Barber. The presentation is part of the "Martha Graham at the Library" Festival and presented in association with the Isamu Noguchi Museum. Speaker Biography: Janet Eilber has been the artistic director of the Martha Graham Center of Contemporary Dance since 2005. Her direction has focused on creating new forms of audience access to the Graham masterworks. These initiatives include designing contextual programming, educational and community partnerships, use of new media, commissions and creative events such as the "Lamentation Variations" and "Prelude and Revolt." She has also remixed Graham choreography and created new staging in the Graham style for theater/dance productions of "The Bacchae" and "Prometheus Bound." Earlier in her career, as a principal dancer with the Martha Graham Dance Company, Eilber worked closely with Martha Graham. She danced many of Graham's greatest roles, had roles created for her by Graham, and was directed by Graham in most of the major roles of the repertoire. She soloed at the White House, was partnered by Rudolf Nureyev, starred in three segments of Dance in America, and has since taught, lectured and directed Graham ballets internationally. For transcript, captions, and more information, visit http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=7363

March 24, 2016. Hayden Herrera discusses her book on the acclaimed Japanese-American artist and designer Isamu Noguchi, an important creative partner of Martha Graham. "Without Isamu Noguchi I could have done nothing," Graham said. "Always he has given me something that lived on stage as... another dancer." This and other events celebrating Noguchi were presented through the support of Sachiko Kuno and Ryuji Ueno. For transcript, captions, and more information, visit http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=7308

Emitido el 14/05/2015 desde www.radioutopia.es Seattle, esa ciudad que brilló por encima del resto a principios de los años 90, se coló en el corazón de muchos jóvenes alrededor del mundo. Ahora que se acercan las vacaciones tal vez alguno de vosotros decida cumplir un sueño... o tal vez ya habéis estado y os gustaría saber algunos detalles sobre la ciudad esmeralda. Visitaremos la tienda de Sub Pop, el Vogue (ahora llamado Vain), los apartamentos Alvena Vista donde vivía Andrew Wood y los apartamentos Avalon donde vivían Jeff y Stone Gossard. Nos dejamos caer por The Off Ramp (ahora El Corazon) donde Pearl Jam tocó por primera vez bajo el nombre de Mookie Blaylock el 22 de Oct. 1990. También pasamos por the Cocodrile, reabierto por el batería de Alice in Chains en 2009, visitamos el teatro Moore y también el Paramont donde Nirvana grabó uno de sus conciertos que ahora podemos encontrar en DVD. Siguiendo con los garitos de Seattle debemos visitar The Comet tavern, en julio de 1993 Mia Zapata de The Gits abandonó el bar y fue violada y asesinada por un conductor de taxi. Nos pasamos por la tienda de instrumentos donde el padre de Hendrix le compró su primera guitarra, la tienda Myer's, situada no muy lejos del instituto Garfield donde Hendrix se graduó en 1960, un año después lo haría Bruce Lee allí también. The Central Saloon es otro bar mítico, allí Nirvana ofreció su primer concierto en Seattle. Y hablando de Nirvana, debes visitar el museo EMP donde podrás ver "NIrvana, taking punk to the mases" con un sin fin de artículos de la banda. Si te gusta Soundgarden debes visitar el parque Volunteer para admirar la escultura de Isamu Noguchi titulada "Black Sun". La escultura sirvió de inspiración para que la banda grabara Black Hole Sun en 1994. La taberna de Linda, situada en el 707 de Pine St, es el último sitio donde se vio con vida a Kurt Cobain, allí cenó el 4 de abril de 1994. Otro de los sitios relacionados con Nirvana es el Re-Bar, allí se celebró la fiesta con la salida de Nevermind. Por último subimos hacia el barrio residencial y paramos en el parque Viretta, donde Courtney y Kurt compraron su mansión con vistas al lago.

Emitido el 14/05/2015 desde www.radioutopia.es Seattle, esa ciudad que brilló por encima del resto a principios de los años 90, se coló en el corazón de muchos jóvenes alrededor del mundo. Ahora que se acercan las vacaciones tal vez alguno de vosotros decida cumplir un sueño... o tal vez ya habéis estado y os gustaría saber algunos detalles sobre la ciudad esmeralda. Visitaremos la tienda de Sub Pop, el Vogue (ahora llamado Vain), los apartamentos Alvena Vista donde vivía Andrew Wood y los apartamentos Avalon donde vivían Jeff y Stone Gossard. Nos dejamos caer por The Off Ramp (ahora El Corazon) donde Pearl Jam tocó por primera vez bajo el nombre de Mookie Blaylock el 22 de Oct. 1990. También pasamos por the Cocodrile, reabierto por el batería de Alice in Chains en 2009, visitamos el teatro Moore y también el Paramont donde Nirvana grabó uno de sus conciertos que ahora podemos encontrar en DVD. Siguiendo con los garitos de Seattle debemos visitar The Comet tavern, en julio de 1993 Mia Zapata de The Gits abandonó el bar y fue violada y asesinada por un conductor de taxi. Nos pasamos por la tienda de instrumentos donde el padre de Hendrix le compró su primera guitarra, la tienda Myer's, situada no muy lejos del instituto Garfield donde Hendrix se graduó en 1960, un año después lo haría Bruce Lee allí también. The Central Saloon es otro bar mítico, allí Nirvana ofreció su primer concierto en Seattle. Y hablando de Nirvana, debes visitar el museo EMP donde podrás ver "NIrvana, taking punk to the mases" con un sin fin de artículos de la banda. Si te gusta Soundgarden debes visitar el parque Volunteer para admirar la escultura de Isamu Noguchi titulada "Black Sun". La escultura sirvió de inspiración para que la banda grabara Black Hole Sun en 1994. La taberna de Linda, situada en el 707 de Pine St, es el último sitio donde se vio con vida a Kurt Cobain, allí cenó el 4 de abril de 1994. Otro de los sitios relacionados con Nirvana es el Re-Bar, allí se celebró la fiesta con la salida de Nevermind. Por último subimos hacia el barrio residencial y paramos en el parque Viretta, donde Courtney y Kurt compraron su mansión con vistas al lago.

The second half of the twentieth century saw a radical transformation in approaches to recording and displaying information. Orit Halpern‘s new book traces the emergence of the “communicative objectivity” that resulted from this shift and produced new forms of observation, rationality, and economy. Beautiful Data: A History of Vision and Reason since 1945 (Duke University Press, 2014) beautifully accomplishes this by creating a dialogue between fields that don't often speak to one another in our scholarship: the history of science and knowledge, and the study of design, planning, and aesthetics. The result is a fascinating history of the construction of vision and cognition after WWII that looks carefully at the impact of early cybernetics on American design, urban planning, psychology, political science, management, and governmentality. Along the way, readers are treated to explorations of the “smart city” of Songdo Korea, the 1964-65 World's Fair, labs at MIT, tricks played on porpoises, images of Marilyn Monroe, experiments on frog eyes, gardens designed by Isamu Noguchi, and much more. It's a deeply thoughtful, wonderfully trans-disciplinary book that's also a lot of fun to read. Learn more about your ad choices. Visit megaphone.fm/adchoices

The second half of the twentieth century saw a radical transformation in approaches to recording and displaying information. Orit Halpern‘s new book traces the emergence of the “communicative objectivity” that resulted from this shift and produced new forms of observation, rationality, and economy. Beautiful Data: A History of Vision and Reason since 1945 (Duke University Press, 2014) beautifully accomplishes this by creating a dialogue between fields that don’t often speak to one another in our scholarship: the history of science and knowledge, and the study of design, planning, and aesthetics. The result is a fascinating history of the construction of vision and cognition after WWII that looks carefully at the impact of early cybernetics on American design, urban planning, psychology, political science, management, and governmentality. Along the way, readers are treated to explorations of the “smart city” of Songdo Korea, the 1964-65 World’s Fair, labs at MIT, tricks played on porpoises, images of Marilyn Monroe, experiments on frog eyes, gardens designed by Isamu Noguchi, and much more. It’s a deeply thoughtful, wonderfully trans-disciplinary book that’s also a lot of fun to read. Learn more about your ad choices. Visit megaphone.fm/adchoices

The second half of the twentieth century saw a radical transformation in approaches to recording and displaying information. Orit Halpern‘s new book traces the emergence of the “communicative objectivity” that resulted from this shift and produced new forms of observation, rationality, and economy. Beautiful Data: A History of Vision and Reason since 1945 (Duke University Press, 2014) beautifully accomplishes this by creating a dialogue between fields that don’t often speak to one another in our scholarship: the history of science and knowledge, and the study of design, planning, and aesthetics. The result is a fascinating history of the construction of vision and cognition after WWII that looks carefully at the impact of early cybernetics on American design, urban planning, psychology, political science, management, and governmentality. Along the way, readers are treated to explorations of the “smart city” of Songdo Korea, the 1964-65 World’s Fair, labs at MIT, tricks played on porpoises, images of Marilyn Monroe, experiments on frog eyes, gardens designed by Isamu Noguchi, and much more. It’s a deeply thoughtful, wonderfully trans-disciplinary book that’s also a lot of fun to read. Learn more about your ad choices. Visit megaphone.fm/adchoices

The second half of the twentieth century saw a radical transformation in approaches to recording and displaying information. Orit Halpern‘s new book traces the emergence of the “communicative objectivity” that resulted from this shift and produced new forms of observation, rationality, and economy. Beautiful Data: A History of Vision and Reason since 1945 (Duke University Press, 2014) beautifully accomplishes this by creating a dialogue between fields that don’t often speak to one another in our scholarship: the history of science and knowledge, and the study of design, planning, and aesthetics. The result is a fascinating history of the construction of vision and cognition after WWII that looks carefully at the impact of early cybernetics on American design, urban planning, psychology, political science, management, and governmentality. Along the way, readers are treated to explorations of the “smart city” of Songdo Korea, the 1964-65 World’s Fair, labs at MIT, tricks played on porpoises, images of Marilyn Monroe, experiments on frog eyes, gardens designed by Isamu Noguchi, and much more. It’s a deeply thoughtful, wonderfully trans-disciplinary book that’s also a lot of fun to read. Learn more about your ad choices. Visit megaphone.fm/adchoices

The second half of the twentieth century saw a radical transformation in approaches to recording and displaying information. Orit Halpern‘s new book traces the emergence of the “communicative objectivity” that resulted from this shift and produced new forms of observation, rationality, and economy. Beautiful Data: A History of Vision and Reason since 1945 (Duke University Press, 2014) beautifully accomplishes this by creating a dialogue between fields that don’t often speak to one another in our scholarship: the history of science and knowledge, and the study of design, planning, and aesthetics. The result is a fascinating history of the construction of vision and cognition after WWII that looks carefully at the impact of early cybernetics on American design, urban planning, psychology, political science, management, and governmentality. Along the way, readers are treated to explorations of the “smart city” of Songdo Korea, the 1964-65 World’s Fair, labs at MIT, tricks played on porpoises, images of Marilyn Monroe, experiments on frog eyes, gardens designed by Isamu Noguchi, and much more. It’s a deeply thoughtful, wonderfully trans-disciplinary book that’s also a lot of fun to read. Learn more about your ad choices. Visit megaphone.fm/adchoices

A behind-the-scenes exploration of Modernism in New York during its formative years in the 1920s with author Sally Pemberton and her book, The Portrait of Murdock Pemberton. Sally unfolds an enchanting story about her grandfather, Murdock Pemberton, who was named the first art critic for the New Yorker. Although at the time he had no formal training in art or connoisseurship, he was a practiced newspaper reporter, Broadway publicist, playwright, and poet. Murdock’s keen eye, adventurous taste, crusading spirit, and irreverent wit as expressed in his columns soon made him a conquering hero of the avant-garde. Modernists as diverse as Arthur Dove, Georgia O’Keeffe, Isamu Noguchi, and Alexander Calder cherished Murdock’s friendship and support; so did cutting-edge art dealers and pioneers of industrial design.

21 C Museum Manager Dayton Castleman and world-class dancer Karen Castleman explore dance icon Martha Graham's great influence on the art world. The Castlemans lead an exploration of Graham’s profound way of envisioning space and movement in the twentieth century—transforming modern dance, music, and visual arts of her time. Several of the artists represented in Crystal Bridges’ collection have been inspired by Graham, including Marisol, Robert Rauschenberg, and Isamu Noguchi. Karen Castleman performs a short dance inspired by Martha Graham and the Crystal Bridges art collection.

Isamu Noguchi's assemblage Calligraphics

"Durante todo el mes de mayo seguirá abierta en la Fundación Juan March la exposición de 58 esculturas del artista norteamericano de origen japonés Isamu Noguchi (1904-1988), que se exhibe en esta institución desde el pasado 16 de abril. La muestra está organizada con la Fundación Isamu Noguchi, de Nueva York, de donde proceden la mayoría de las obras. Han prestado también obras el Whitney Museum of American Art, de Nueva York, y el Wilhelm-Lehmbruck Museum, de Duisburg (Alemania).Las obras que integran la muestra —primera antològica del artista en Europa— fueron realizadas de 1928 a 1987, un año antes de su muerte.Tras su clausura en Madrid, el próximo 26 de junio, la exposición Noguchi se ofrecerá en Barcelona, en la Fundación Caixa de Catalunya.En la inauguración de la exposición pronunció una conferencia Bruce Altshuler. director del Museo Jardín Isamu Noguchi y autor del estudio que sobre el escultor recoge el catálogo."Más información de este acto