Podcasts about Jackson Pollock

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Leonard Bernstein, in his famous Norton Lectures, extolled repetition, saying that it gave poetry its musical qualities and that music theorists' refusal to take it seriously did so at their peril. In Play It Again, Sam: Repetition in the Arts (MIT Press, 2025), Samuel Jay Keyser explores in detail the way repetition works in poetry, music, and painting. He argues, for example, that the same cognitive function underlies both how poets write rhyme in metrical verse and the way songwriters like Duke Ellington and Billy Strayhorn (“Satin Doll”) and Richard Rodgers and Lorenz Hart (“My Funny Valentine”) construct their iconic melodies. Furthermore, the repetition found in these tunes can also be found in such classical compositions as Mozart's Rondo alla Turca and his German Dances, as well as in galant music in general.The author also looks at repetition in paintings like Gustave Caillebotte's Rainy Day in Paris, Andy Warhol's Campbell's Soup Cans, and Jackson Pollock's drip paintings. Finally, the photography of Lee Friedlander, Roni Horn, and Osmond Giglia—Giglia's Girls in the Windows is one of the highest-grossing photographs in history—are all shown to be built on repetition in the form of visual rhyme.The book ends with a cognitive conjecture on why repetition has been so prominent in the arts from the Homeric epics through Duke Ellington and beyond. Artists have exploited repetition throughout the ages. The reason why is straightforward: the brain finds the detection of repetition innately pleasurable. Play It Again, Sam offers experimental evidence to support this claim. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Leonard Bernstein, in his famous Norton Lectures, extolled repetition, saying that it gave poetry its musical qualities and that music theorists' refusal to take it seriously did so at their peril. In Play It Again, Sam: Repetition in the Arts (MIT Press, 2025), Samuel Jay Keyser explores in detail the way repetition works in poetry, music, and painting. He argues, for example, that the same cognitive function underlies both how poets write rhyme in metrical verse and the way songwriters like Duke Ellington and Billy Strayhorn (“Satin Doll”) and Richard Rodgers and Lorenz Hart (“My Funny Valentine”) construct their iconic melodies. Furthermore, the repetition found in these tunes can also be found in such classical compositions as Mozart's Rondo alla Turca and his German Dances, as well as in galant music in general.The author also looks at repetition in paintings like Gustave Caillebotte's Rainy Day in Paris, Andy Warhol's Campbell's Soup Cans, and Jackson Pollock's drip paintings. Finally, the photography of Lee Friedlander, Roni Horn, and Osmond Giglia—Giglia's Girls in the Windows is one of the highest-grossing photographs in history—are all shown to be built on repetition in the form of visual rhyme.The book ends with a cognitive conjecture on why repetition has been so prominent in the arts from the Homeric epics through Duke Ellington and beyond. Artists have exploited repetition throughout the ages. The reason why is straightforward: the brain finds the detection of repetition innately pleasurable. Play It Again, Sam offers experimental evidence to support this claim. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Leonard Bernstein, in his famous Norton Lectures, extolled repetition, saying that it gave poetry its musical qualities and that music theorists' refusal to take it seriously did so at their peril. In Play It Again, Sam: Repetition in the Arts (MIT Press, 2025), Samuel Jay Keyser explores in detail the way repetition works in poetry, music, and painting. He argues, for example, that the same cognitive function underlies both how poets write rhyme in metrical verse and the way songwriters like Duke Ellington and Billy Strayhorn (“Satin Doll”) and Richard Rodgers and Lorenz Hart (“My Funny Valentine”) construct their iconic melodies. Furthermore, the repetition found in these tunes can also be found in such classical compositions as Mozart's Rondo alla Turca and his German Dances, as well as in galant music in general.The author also looks at repetition in paintings like Gustave Caillebotte's Rainy Day in Paris, Andy Warhol's Campbell's Soup Cans, and Jackson Pollock's drip paintings. Finally, the photography of Lee Friedlander, Roni Horn, and Osmond Giglia—Giglia's Girls in the Windows is one of the highest-grossing photographs in history—are all shown to be built on repetition in the form of visual rhyme.The book ends with a cognitive conjecture on why repetition has been so prominent in the arts from the Homeric epics through Duke Ellington and beyond. Artists have exploited repetition throughout the ages. The reason why is straightforward: the brain finds the detection of repetition innately pleasurable. Play It Again, Sam offers experimental evidence to support this claim. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Leonard Bernstein, in his famous Norton Lectures, extolled repetition, saying that it gave poetry its musical qualities and that music theorists' refusal to take it seriously did so at their peril. In Play It Again, Sam: Repetition in the Arts (MIT Press, 2025), Samuel Jay Keyser explores in detail the way repetition works in poetry, music, and painting. He argues, for example, that the same cognitive function underlies both how poets write rhyme in metrical verse and the way songwriters like Duke Ellington and Billy Strayhorn (“Satin Doll”) and Richard Rodgers and Lorenz Hart (“My Funny Valentine”) construct their iconic melodies. Furthermore, the repetition found in these tunes can also be found in such classical compositions as Mozart's Rondo alla Turca and his German Dances, as well as in galant music in general.The author also looks at repetition in paintings like Gustave Caillebotte's Rainy Day in Paris, Andy Warhol's Campbell's Soup Cans, and Jackson Pollock's drip paintings. Finally, the photography of Lee Friedlander, Roni Horn, and Osmond Giglia—Giglia's Girls in the Windows is one of the highest-grossing photographs in history—are all shown to be built on repetition in the form of visual rhyme.The book ends with a cognitive conjecture on why repetition has been so prominent in the arts from the Homeric epics through Duke Ellington and beyond. Artists have exploited repetition throughout the ages. The reason why is straightforward: the brain finds the detection of repetition innately pleasurable. Play It Again, Sam offers experimental evidence to support this claim. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Leonard Bernstein, in his famous Norton Lectures, extolled repetition, saying that it gave poetry its musical qualities and that music theorists' refusal to take it seriously did so at their peril. In Play It Again, Sam: Repetition in the Arts (MIT Press, 2025), Samuel Jay Keyser explores in detail the way repetition works in poetry, music, and painting. He argues, for example, that the same cognitive function underlies both how poets write rhyme in metrical verse and the way songwriters like Duke Ellington and Billy Strayhorn (“Satin Doll”) and Richard Rodgers and Lorenz Hart (“My Funny Valentine”) construct their iconic melodies. Furthermore, the repetition found in these tunes can also be found in such classical compositions as Mozart's Rondo alla Turca and his German Dances, as well as in galant music in general.The author also looks at repetition in paintings like Gustave Caillebotte's Rainy Day in Paris, Andy Warhol's Campbell's Soup Cans, and Jackson Pollock's drip paintings. Finally, the photography of Lee Friedlander, Roni Horn, and Osmond Giglia—Giglia's Girls in the Windows is one of the highest-grossing photographs in history—are all shown to be built on repetition in the form of visual rhyme.The book ends with a cognitive conjecture on why repetition has been so prominent in the arts from the Homeric epics through Duke Ellington and beyond. Artists have exploited repetition throughout the ages. The reason why is straightforward: the brain finds the detection of repetition innately pleasurable. Play It Again, Sam offers experimental evidence to support this claim. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In this episode, host Brian VanHooker chats with TOKKA, an artist and a die-hard Teenage Mutant Ninja Turtles Super-Fan. In addition to his artwork being featured in Mirage's second volume of "Tales of the Teenage Mutant Ninja Turtles," TOKKA has been dubbed "The Jackson Pollock of the Ninja Turtles" by Nickelodeon. Here he talks about his journey with the TMNT and why TOKKA is such a profoundly important character to him. Sound engineering by Ian Williams. Follow TURTLE TRACKS PODCAST on Instagram: https://www.instagram.com/turtle_tracks_podcast/

Send us a textLol look at Ai glazing usReligious fasting turns into an unexpected data dive when the guys discover Pornhub's analytics show significant drops in specific content during Ramadan. This kickstarts an exploration of cultural oddities that spans continents and decades.Ever wondered why tracksuits became the uniform of Eastern European men? The hosts uncover the surprising status symbol behind Adidas gear in post-Soviet states, revealing how the first Western apparel company allowed behind the Iron Curtain transformed fashion into political currency. This cultural analysis provides genuine insight into how seemingly superficial fashion choices carried profound historical significance during the Cold War.The conversation takes a conspiratorial turn with declassified information about CIA involvement in abstract expressionist art movements. From funding Jackson Pollock to developing "heart attack guns," the hosts speculate about the agency's wildest projects with a comedic lens that makes historical absurdities approachable while questioning the thin line between security operations and madness.Personal stories from Division III football dominate the second half, featuring incompetent coaches, bizarre motivational tactics from questionable "Navy SEALs," and the unique social dynamics that develop in locker rooms. Through authentic, unfiltered anecdotes about team politics and informal "councils," the hosts unpack complex topics like belonging, race, and masculinity with surprising depth beneath their humor.Ready for a journey through religious practices, covert operations, and athletic misadventures? Hit play and join the conversation that proves truth really is stranger than fiction. Don't forget to subscribe and share your favorite moments with us online!

THESE ARE NOTES ON THE EPISODE - NOT THE TEASER!

Tom McIlroy, author of Blue Poles: Jackson Pollock, Gough Whitlam and the Painting That Changed a Nation on The Writers.

Fredag! Det blir ett långt och ganska brunt avsnitt. Dessutom minst TVÅ berättelser där självaste Kafferepet förekommer i någon typ av Kafferepception.Har du ett skvaller som fler borde få höra? Maila det till kafferepetpod@gmail.comMissa inte vår månatliga systerpodd Cigarrummet. Bli prenumerant på www.underproduktion.se/cigarrummet9:50 - Snickar-Wille18:32 - Defekationspreferens21:00 - Det var ert fel26:55 - Brun till varje pris33:10 - Ett kenyanskt maraton51:50 - När Kafferepet fick mig i trubbel med HR55:25 - Då går jag ner i min källare1:06:50 - Maggans chokladbollar1:11:41 - Chip i nacken Hosted on Acast. See acast.com/privacy for more information.

What can the history of science tell us about the world we live in today and where we might be headed tomorrow? To find out, Dr. Charles Liu and co-host Allen Liu welcome historian of science Rebecca Charbonneau, PhD from the American Institute of Physics and the National Radio Astronomy Observatory with expertise in radio astronomy and the search for extraterrestrial intelligence (SETI). This episode kicks off with Allen and Chuck talking about January's Lunar Occultation of Mars. You can see a photo taken by Chuck on our YouTube Community tab. And then it's time for today's joyfully cool cosmic thing: a recent paper in the Astrophysical Journal Letters confirming there are galaxies that were fully formed just 400 million years after The Big Bang. Chuck, who studies galactic evolution, tells us why this changes our understanding of galaxy formation. Rebecca talks about how new ideas can be controversial and how personalities, politics and cultures can impact the evolution of science. She brings up the current controversy in astronomy concerning the locations of terrestrial telescopes and the tension between scientific and cultural imperatives. She also recounts seeing people in Russia wearing NASA t-shirts and explains how NASA understood the importance of controlling the narrative, even inviting Norman Rockwell to popularize the space program. Our first question comes from Pablo P. on Patreon, who asks, “Can humanity be destroyed by AI powered by quantum computing?” Rebecca explains how during the Cold War, scientists on both sides engaged in “science diplomacy” that helped lower tensions. She applies this thinking to AI, pointing out that while a “Terminator-like” scenario is unlikely, public concern is causing the tech world to confront and grapple with real threats from AI like biases in hiring algorithms. Allen, a mathematician who writes about AI professionally, addresses whether AI powered by quantum computing is more dangerous than AI in general. Rebecca shares the terrifying story of a Soviet nuclear submarine and the US navy during the Cuban Missile Crisis that nearly started a nuclear war. The dissenting actions of a single officer named Vasily Arkhipov made the difference, and she wonders if AI would have made the same decision based on the available data. For our next question, we return to our Pablo P. from Patreon for his follow up: “How [do] we answer the question about whether or not we are engaging in self-destructive behavior?” Chuck and Rebecca discuss the confluence of astronomy and the military, and how the history of the SETI program highlights their shared concerns. You'll find out what the Drake Equation has to do with concepts like The Great Filter. Science, she reminds us, is a tool to try to get closer to the truth, but it's not always perfect in pointing out whether what we're doing is safe or potentially self-destructive. Then we turn to Rebecca's other big passion, art history and the window into the human experience that art provides. Charles brings up The Scream by Edvard Munch and the fact that it's actually a depiction of a real atmospheric event. Rebecca talks the use of fractal studies to determine the authenticity of Jackson Pollock art. She also explores the artistic value of scientific artifacts like the controversial plaque attached to Pioneer 10 depicting a naked man and woman, and the interstellar Arecibo Message, sent by Frank Drake in 1974. You'll even hear how Frank worked himself into the message and what that has to do with Albrecht Durer's self-portrait painted in the year 1500. Finally, we turn to what Rebecca's been up to recently. Her new book Mixed Signals came out in January of this year. Keep up with her on her website at and follow her on X @rebecca_charbon and on BlueSky @rebeccacharbon.bsky.social. We hope you enjoy this episode of The LIUniverse, and, if you do, please support us on Patreon. Credits for Images Used in this Episode: A young Milky Way-like galaxy and a background quasar 12 billion and 12.5 billion light-years away, respectively. – Credit: ALMA (ESO/NAOJ/NRAO), M. Neeleman & J. Xavier Prochaska; Keck Observatory Artist's concept of a high red-shift galaxy. – Credit: Alexandra Angelich (NRAO/AUI/NSF) John Young and Gus Grissom are suited for the first Gemini flight March 1965. Norman Rockwell, 1965. – Credit: Smithsonian National Air and Space Museum / Norman Rockwell Edvard Munch, 1893, The Scream. – Credit: Edvard Munch / National Gallery of Norway (Public Domain) Fractal study of Jackson Pollock art. – Credit: “Perceptual and physiological responses to Jackson Pollock's fractals,” R. Taylor, et al, Front. Hum. Neurosci., 21 June 2011. The Arecibo message. – Credit: Creative Commons NASA image of Pioneer 10's famed Pioneer plaque. – Credit: NASA Albrecht Durer self-portrait. – Credit: Albrecht Dürer - Alte Pinakothek (Public Domain)

Giuliano Sergio"Blow-up. Piero Manzoni e l'esplosione dei nuovi media"Electa Editorewww.electa.itIl saggio di Giuliano Sergio analizza la visionaria coerenza con cui Piero Manzoni, fra i più celebri artisti del Novecento, intuì il ruolo fondamentale che negli anni Cinquanta assumevano i mass-media nella definizione dei linguaggi artistici e della figura dell'artista. Alla fine degli anni Cinquanta l'icona romantica dell'artista-genio, rappresentata da Jackson Pollock, si impone tramite il racconto fotografico e cinematografico dei suoi gesti, suggerendo un modello di fusione fra arte e vita che diviene una vera e propria lettura critica dell'opera.Dal rifiuto dell'action painting, dei “gesti inutili” di Pollock e dei suoi seguaci, nasce la complessa immagine di Manzoni, costruita in maniera diametralmente opposta. Il suo “gesto” si concretizza nell'0sservare con laica ironia il dispiegarsi dell'opera: lo svolgersi della linea, lo gonfiarsi del corpo d'aria, l'estendersi della superficie achrome. Le azioni che Manzoni interpreta per i cinegiornali – Lunghe Linee, Corpi d'aria, Sculture viventi, Uova scultura – sono filmate come scene di cabaret; l'artista ricorre alla fotografia pubblicitaria per promuovere la sua merda d'artista; costruisce reportage paradossali dove firma modelle nude e contrassegna uova sode con la propria impronta. Sono immagini prodotte per essere pubblicate nelle riviste illustrate o da proiettare durante gli intervalli al cinema: Manzoni si rivolge al grande pubblico per seminare il dubbio sul ruolo dell'artista e sulla funzione dell'arte. Agli albori del consumismo la genialità manzoniana sposta l'attenzione dal “prodotto” all'autore, dando un'indicazione precisa all'avanguardia italiana e avviando un'importante lezione rispetto al concetto di comportamento e l'identità che diventeranno uno dei nodi dell'arte povera e processuale.Giuliano Sergio, nato a Venezia nel 1974 insegna storia dell'arte, è critico e curatore. Tra le pubblicazioni: Ugo Mulas. Vitalità del negativo (Milano 2010); Information document œuvre (Parigi 2015); Atlante degli archivi fotografici e audiovisivi italiani digitalizzati (Venezia, 2015). Tra le mostre: Luigi Ghirri. Pensare per immagini (MAXXI, Roma 2013; IMS, San Paolo e Rio de Janeiro 2013-14); Paolo Gioli. Abuses (Villa Pignatelli, Napoli 2014); La montagne de Venise di Yona Friedman con Jean-Baptiste Decavèle (Venezia 2016); Julia Margaret Cameron, Florence Henri, Francesca Woodman. L'arte del femminile (Villa Pignatelli, Napoli 2017); Le Pietre del Cielo. Luigi Ghirri e Paolo Icaro (Fondazione Querini Stampalia, Venezia 2017-18); Renverser ses yeux. Autour de l'arte povera 1960-1975 : photographie, film, vidéo (Jeu de Paume e Le Bal, Parigi 2022-23). Con l'Archivio Ugo Mulas ha curato mostre presso Villa Pignatelli (2010), Triennale di Milano (2012), Fondation Henri Cartier Bresson (Parigi, 2016).IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

The Art Bystander No27: Marcus Jansen. In this episode our host Roland-Philippe Kretzschmar, sit down with internationally acclaimed artist Marcus Jansen whose work has been exhibited at the Bronx Museum of the Arts, the Smithsonian Institution, and Documenta among others. From his early years between the Bronx and Germany to serving in the U.S. Army and later becoming one of the most important painters of his generation, Jansen's journey is as compelling as his art.His new exhibition Faceless at CFHILL, Stockholm, in collaboration with Almine Rech and the Marcus Jansen Foundation, dissects power structures, anonymity, and the systems that shape our lives. Jansen's raw, gestural abstraction meets a deeply political and emotional narrative, making his work a powerful lens through which to view contemporary society.We talk about: His transition from soldier to artist; the unseen forces of control in today's world; how his art challenges historical narratives; the intersection of street art in his practice and the socialist structure of the military.Jansen's work has been described as a 21st-century response to Jackson Pollock and Robert Rauschenberg, but his voice is distinctly his own—urgent, fearless, and unfiltered. Hosted on Acast. See acast.com/privacy for more information.

This is Part 2 of Mandolyn Wilson Rosen and my review of "Lifeline: Clyfford Still" 2019 directed by Dennis Scholl. It's a juicy art bio tell-all with a crusty curmudgeon as its talented but embittered subject. Don't forget to listen to Part 1 too! Find the film on Amazon ($2.99 SD) or for free on ⁠Kanopy⁠ Find Mandolyn online at: ⁠https://mandolynwilsonrosen.com⁠ and on IG at ⁠@mandolyn_rosen⁠ Artists mentioned: Philip Guston, Barnett Newman, Jackson Pollock, Willem DeKooning, Frank Stella, Donald Judd, Paul Cezanne, Ad Reinhardt, Mark Rothko, Thomas Hart Benton, Art Problems Podcast Thank you, Mandy! Thank you, Listeners! Visit RuthAnn, a new artist-run gallery in Catskill, NY at @ruthanngallery and ruthanngallery.com All music by Soundstripe ---------------------------- Pep Talks on IG: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@peptalksforartists⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Pep Talks website: ⁠⁠⁠⁠⁠⁠⁠peptalksforartists.com⁠⁠⁠⁠⁠⁠⁠ Amy, your beloved host, on IG: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@talluts⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Amy's website: ⁠⁠⁠⁠⁠⁠⁠amytalluto.com⁠⁠⁠⁠⁠⁠⁠ Pep Talks on Art Spiel as written essays: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://tinyurl.com/7k82vd8s⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠BuyMeACoffee⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Donations always appreciated!

ABOUT LOUISA WHITMORE:TIK TOK: LOUISA'S BIO:Louisa Whitmore is an architecture content creator on TikTok with over 350K followers, as well as the host of the cable television documentary series “The Nature of Design.” A former commentator for the USModernist podcast, Whitmore has also worked as a live radio host and PSA producer at CHMA 106.9FM, the local radio station at Mount Allison University, where she's currently an honors student studying international relations and French. She enjoys telling stories, and is passionate about sustainable design.SHOW INTRO:Welcome to the NXTLVL Experience Design podcast.EPISODE 75… and my conversation with Louisa Whitmore. On the podacast our dynamic dialogues based on our acronym DATA - design, architecture, technology, and the arts crosses over disciplines but maintains a common thread of people who are passionate about the world we live in and human's influence on it, the ways we craft the built environment to maximize human experience, increasing our understanding of human behavior and searching for the New Possible.    he NXTLVL Experience Design podcast is presented by VMSD Magazine part of the Smartwork Media family of brands.VMSD brings us, in the brand experience world, the International Retail Design Conference. The IRDC is one of the best retail design conferences that there is bringing together the world of retailers, brands and experience place makers every year for two days of engaging conversations and pushing the discourse forward on what makes retailing relevant. You will find the archive of the NXTLVL Experience Design podcast on VMSD.com.Thanks also goes to Shop Association the only global retail trade association dedicated to elevating the in-store experience. SHOP Association represents companies and affiliates from 25 countries and brings value to their members through research, networking, education, events and awards. Check then out on SHOPAssociation.orgLouisa Whitmore is a TikTok creator phenom whose content is about architecture. With almost 400 thousand followers her no holds-barred, straight from the heart and to the point commentary about the buildings she loves and loves to hate, brings a user experience point of view and accessible critique into the mainstream.We'll get to all of that in a moment but first though, a few thoughts…                  *                                  *                                  *The great thing about doing this podcast is it gives me an opportunity to rethink some of the assertions that have held to be true and cross check whether in fact they are immutable or whether there is room for challenging myself and maybe digging into some subtleties and nuances… and seeing things a different way.Like for example the idea of criticism – who does it and its value…I have to admit I haven't been particularly fond of the idea of critics for a very long time. This would be generally true of the kind who dole out the negative kind of commentary.Years ago when commenting on something, I think it was some art piece, and my son said to me “…dad why is it that you never really say you hate anything…”which I sort of thought was kind of funny then. I think I responded “…well because I don't really hate anything… I try to always view things from the other side - a different point of view. I try to get beyond the visceral reaction and look to design principles and comment from a place of applying principles to the work and see how they line up…and then make a comment that is based yes on whether I simply like it, the colors, shapes, energy, feeling , may be a message it is trying to impart AND  whether I can see the value in it based on principles determined to be generally accepted by experts in the domain…” so yeah I don't really hate things…If I apply the idea of casting judgement on art, music, architecture… it got me thinking… again…What is the value of judgement? Is it to determine the appropriateness of something to a particular context or challenge?I have my favorite architects and artists and musical performers, I like different styles and periods. But I don't listen to heavy metal (though my sons love it). I don't know that I can say that I hate it. Perhaps I just don't understand it and maybe if I did, it still wouldn't jibe with me.It just doesn't go in my body well. It's a sensory mismatch.I don't hate it – It makes me agitated. So, I just don't listen to it. And I guess you could say the same thing for certain genres of art.For example… I'm not particularly crazy about a lot of contemporary art.I have a hard time understanding a performance artist dipping her hair in paint and swinging aloft from a rope while her hair drags across a canvas and the painting while on lookers wrapped in dimly lit light bulbs stand slightly by  selling for millions of dollars… it isn't something I quite get. And I know that authorized replicas of the Marcel Duchamp sculpture called the “Fountain” - which is a urinal - sell for somewhere between 3 and $4 million each and here's the kicker... apparently because the original has been lost the financial the value of the original piece is unknown and might be considered as being priceless. I don't know… it sort of leaves me just trying too hard... knowing I'm falling profoundly short of ascending to the intellectualized rarefied air that somehow makes this sort of thing makes sense. And I also suspect that if I'm voicing these concerns or questions that I am likely to get a lot of people commenting that my remarks point out my ignorance, that I just don't understand and I would …well…agree with them.I'm ok with that. Really.And I think I'm not alone in this category of not understanding contemporary art and the extraordinary prices that contemporary art paintings fetch at auctions and then again maybe if I did, I still wouldn't spend $25 million on a Rothko painting.The thing about critics, I think, is that we entrust these individuals with being in the know, of having deep insight, knowledge or experience into the making of the art. That these are people who understand its value and relevancy to culture and somehow able to unfold the deep meaning in the work whatever format the creativity comes in and to bestow upon us their opinion as if it is fact.The challenge of course is that I think there may be an ignorance in the public and that the deeper inner meaning of things is somehow held in reserve for the creators of the work or select few who follow it.But I've always had a challenge with the idea that the critic seems to have the extraordinary power to completely destroy the creative work as well as raise it to high levels of adulation and praise.I think that in some ways we have come to trust to the critic as certainly knowing more than we do and therefore what they say about a particular piece of art or architecture should be taken as truth and the presumed value of the creation lies in whether their commentary is positive or negative.How many people have not gone to see a movie because it only got 2 stars… and who said it should only have two stars?Maybe I would have found the comedy hilarious… but not the critic.I often don't even check reviews by the masses on restaurant or hotel booking sites and if I do read the reviews, I do it very carefully. I look to see what it was that these people did or didn't like. What it was that made their experience a must see or a definite red tomato. Personally, I dig to see if there is anything at a lower level that suggests what was driving the positive or negative review? What it was in this message that this particular critic is trying to convey?I've often thought that to be able to criticize art or other forms of creative invention you'd have to understand what it was the maker was intending to convey.You'd have to understand the basic ideas, for example, of composition to be able to determine whether a Jackson Pollock or a Kandinsky or a Basquiat was worth all the fuss and on what basis you were making the comments about the work.I guess it's not all critics that I have a problem with but maybe more those who simply present negative opinions. And it's not like I should even care that critic X didn't like thing Y. It was their opinion. Okay so they have an opinion. The challenge is the uninformed may come to accept the opinion as fact and turn away from somethings simply because some one says its not good.I guess the role of the professional critic is to study and assess the value of a creative work and pass judgment on the product based on facts and logical assertions. This is kind of like knowing a bit about composition before offering an opinion the write something off.It seems to me that the idea of a critic is to connect ideas, arrive at reasonable conclusions and perhaps open avenues for discussing new directions and fostering an awareness of ideas and cultural trends.It also seems to me that the role of the critic is to challenge our general assumptions about things to get us to look more deeply at our assertions and to get us to not simply accept things at face value but to continue to search for excellence, challenge the status quo, in all of the things that we bring into the world so that we don't fill it with the mundane or banal.There's something about the critic as ‘educator' - increasing our collective level of understanding of things, pointing out where things might likely be improved and offering positive commentary on what might be a series of next steps in order to develop the output and make it better - that I align with.And I know that the idea of making it ‘better' is full of all manner of subtext and necessity to consider contextual considerations… ‘better' for whom, for what and why?And maybe this is where I mostly land on the idea of the value of the critique is that of using constructive criticism for the value of enhancing people's understanding of a particular subject or giving the creator tools to go back to the drawing board, so to speak, and make it better.Jazz master saxophonist David Liebman wrote a concise piece on his website called “The Critic Dilemma: Criticism vs. Review”. He describes many of the same ideas about who's making he comments, are they objective facts or subjective opinions, and why should we trust one critic's opinion over another? Liebman differentiates between critique and a review:“…When the writer's opinion and taste is the focal point, this constitutes a critique. On the other hand, a review should be the dissemination of information with the desired intention being elucidation. The idea is that with this information, the listener is equipped to form his own opinion…”.And this is where this episode's guest Louisa Whitmore begins to fit into the story.When Louisa was 16 years old she began to share architecture commentary on Tik Tok. She blew up the social media sphere with posts that were personal and occasionally pointed. She came at her critiques of buildings not from the expert or architectural practioner point of view but from that of the user, the general public mindset.She didn't profess to be a building expert, to have deep knowledge in construction but rather to simply be part of the general public who experienced the built environment every day but who had little to nothing to do with how buildings got there in the first place.Her negative commentary on 432 Park Avenue - the luxury condo building designed by Rafael Viñoly and SLCE Architects – lit up the digisphere with 100s of thousands of followers lining up behind her to voice their impressions of this building. Most of them not very good I might add. Which was actually ok since there was a ton of press – not particularly good I might add – about problems with the building. Now, Louisa didn't know about these issues about the engineering, the building swaying (which would be natural by the way) and other problems but felt vindicated nevertheless with the press that effectively substantiated her intuitive feelings about this super-tall condo on the Central Park's edge.I see her posts more like David Leibman's construct of the ‘Review' – “…that with this information, the listener is equipped to form his own opinion…”.And opinions her followers had. 1000's of them.In the spirit of “…the dissemination of information with the desired intention being elucidation…” Whitmore turned her attention to projects thatfocused on Biophilia and how buildings with ample integration of plants seemed to simply feel better. Her noteriaty on Tik Tok, articulate whit, intuition and ability to articulate the ‘person on the street's' perception of the built environment, landed her the role as host of “the cable television documentary series “The Nature of Design”.Over the course of a number of episodes Whitmore tours properties talking about biophilic principles and with the support of a variety of experts ranging from architects to neuroscientists she dives into the science of how buildings with a biophilic approach effect our well-being…Whitmore is called a teenage architecture critic. While her rise on social media platforms may have been based on the building she loved to hate, it seems that she is using her notoriety to review and elucidate…. ABOUT DAVID KEPRON:LinkedIn Profile: linkedin.com/in/david-kepron-9a1582bWebsites:  https://www.davidkepron.com    (personal website)vmsd.com/taxonomy/term/8645  (Blog)Email: david.kepron@NXTLVLexperiencedesign.comTwitter: DavidKepronPersonal Instagram: https://www.instagram.com/davidkepron/NXTLVL Instagram: https://www.instagram.com/nxtlvl_experience_design/Bio:David Kepron is a multifaceted creative professional with a deep curiosity to understand ‘why', ‘what's now' and ‘what's next'. He brings together his background as an architect, artist, educator, author, podcast host and builder to the making of meaningful and empathically-focused, community-centric customer connections at brand experience places around the globe. David is a former VP - Global Design Strategies at Marriott International. While at Marriott, his focus was on the creation of compelling customer experiences within Marriott's “Premium Distinctive” segment which included: Westin, Renaissance, Le Meridien, Autograph Collection, Tribute Portfolio, Design Hotels and Gaylord hotels. In 2020 Kepron founded NXTLVL Experience Design, a strategy and design consultancy, where he combines his multidisciplinary approach to the creation of relevant brand engagements with his passion for social and cultural anthropology, neuroscience and emerging digital technologies. As a frequently requested international speaker at corporate events and international conferences focusing on CX, digital transformation, retail, hospitality, emerging technology, David shares his expertise on subjects ranging from consumer behaviors and trends, brain science and buying behavior, store design and visual merchandising, hotel design and strategy as well as creativity and innovation. In his talks, David shares visionary ideas on how brand strategy, brain science and emerging technologies are changing guest expectations about relationships they want to have with brands and how companies can remain relevant in a digitally enabled marketplace. David currently shares his experience and insight on various industry boards including: VMSD magazine's Editorial Advisory Board, the Interactive Customer Experience Association, Sign Research Foundation's Program Committee as well as the Center For Retail Transformation at George Mason University.He has held teaching positions at New York's Fashion Institute of Technology (F.I.T.), the Department of Architecture & Interior Design of Drexel University in Philadelphia, the Laboratory Institute of Merchandising (L.I.M.) in New York, the International Academy of Merchandising and Design in Montreal and he served as the Director of the Visual Merchandising Department at LaSalle International Fashion School (L.I.F.S.) in Singapore.  In 2014 Kepron published his first book titled: “Retail (r)Evolution: Why Creating Right-Brain Stores Will Shape the Future of Shopping in a Digitally Driven World” and he is currently working on his second book to be published soon. David also writes a popular blog called “Brain Food” which is published monthly on vmsd.com. The next level experience design podcast is presented by VMSD magazine and Smartwork Media. It is hosted and executive produced by David Kepron. Our original music and audio production by Kano Sound. The content of this podcast is copywrite to David Kepron and NXTLVL Experience Design. Any publication or rebroadcast of the content is prohibited without the expressed written consent of David Kepron and NXTLVL Experience Design.Make sure to tune in for more NXTLVL “Dialogues on DATA: Design Architecture Technology and the Arts” wherever you find your favorite podcasts and make sure to visit vmsd.com and look for the tab for the NXTLVL Experience Design podcast there too. The next level experience design podcast is presented by VMSD magazine and Smartwork Media. It is hosted and executive produced by David Kepron. Our original music and audio production by Kano Sound. The content of this podcast is copywrite to David Kepron and NXTLVL Experience Design. Any publication or rebroadcast of the content is prohibited without the expressed written consent of David Kepron and NXTLVL Experience Design.Make sure to tune in for more NXTLVL “Dialogues on DATA: Design Architecture Technology and the Arts” wherever you find your favorite podcasts and make sure to visit vmsd.com and look for the tab for the NXTLVL Experience Design podcast there too.

Mandolyn Wilson Rosen is back on the podcast! This time, instead of a book we are talking about an artist documentary. The film is called "Lifeline: Clyfford Still" 2019 directed by Dennis Scholl. It's a juicy art bio tell-all with a crusty curmudgeon as its talented but embittered subject. Come along with us as we enter a turbulently Still world. Find the film on Amazon ($2.99 SD) or for free on KanopyFind Mandolyn online at: https://mandolynwilsonrosen.com and on IG at @mandolyn_rosenLinks to the writings we mentioned:Clyfford Still's "An Open Letter to an Art Critic" on Artforumhttps://www.artforum.com/features/an-open-letter-to-an-art-critic-212151/David Levi Strauss for Brooklyn Rail "From Metaphysics to Invective"https://brooklynrail.org/2012/05/art/from-metaphysics-to-invective-art-criticism-as-if-it-still-matters/Seph Rodney for Hyperallergic "Hoping is Not Enough"https://hyperallergic.com/983414/hoping-is-not-enough/Artists mentioned: Matthew Barney, Jackson Pollock, Mark Rothko, Barnett Newman, Lois Dodd, Julian Schnabel, Mark Bradford, Julie Mehretu, Frank Stella, Ellsworth Kelly, Michelle GrabnerWriters mentioned: Seph Rodney, Paul Valéry, John Ruskin, Guillaume Apollinaire, John Ruskin, David Levi Strauss, Dore Ashton, Jerry Saltz, Ken Johnson, Clement Greenberg, Emily Dickinson's "'Hope' is the thing with feathers" Thank you, Mandy! Thank you, Listeners!Visit RuthAnn, a new artist-run gallery in Catskill, NY at @ruthanngallery and ruthanngallery.comAll music by Soundstripe----------------------------Pep Talks on IG: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@peptalksforartists⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Pep Talks website: ⁠⁠⁠⁠⁠⁠peptalksforartists.com⁠⁠⁠⁠⁠⁠Amy, your beloved host, on IG: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@talluts⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Amy's website: ⁠⁠⁠⁠⁠⁠amytalluto.com⁠⁠⁠⁠⁠⁠Pep Talks on Art Spiel as written essays: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://tinyurl.com/7k82vd8s⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠BuyMeACoffee⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Donations always appreciated!

This week the gang goes to CGI HELL with Dominator (2003) – a film that's basically a Jackson Pollock painting of demons, Nintendo 64 graphic tiddies, and poser metal! AND it has voice work from Dani Filth of Cradle of Filth and Repo Man director Alex Cox!?

This week: Home Alone Scenarios, Accidental Ruby-Sues, Collectable Christmas, Duvet Covers, Star Wars Oreos, AI Children, No One Can Drive, Poutine Wraps, Georgia O'Keeffe, Jackson Pollock, Getz/Gilberto, NOLA, Daily Show, YouTube Shortz, All Those Depressed New England Authors, Steve Glew Is A Hero, Pepsi Points Jet Airplane.  Recorded January 5th, 2025 Get on the Patreon Train: https://patreon.com/Sushijackknife?utm_medium=unknown&utm_source=join_link&utm_campaign=creatorshare_creator&utm_content=copyLink Bandcamp Store: https://sushijackknife.bandcamp.com/ Nathan and Justin's Music: https://judystruckstop.bandcamp.com/ As Always:  Threads: @SushiJackknife @siddandthefinches  @justindrakecroft @bobthangpod Email: sushijackknife@gmail.com instagram: justindrakecroft, siddandthefinches

Frédéric Taddeï reçoit Christian Carisey, auteur du roman "L'opération Jackson Pollock", qui lève le voile sur le rôle inattendu de la CIA dans la consécration de cet artiste hors normes.Nous découvrons comment, en pleine guerre froide, la CIA a délibérément choisi de faire de Pollock une figure de proue de la peinture américaine, dans le cadre de sa bataille culturelle contre le communisme. Alors que Pollock était un peintre alcoolique et dépressif, vivant dans la misère, la CIA a discrètement financé et soutenu son ascension, afin de ravir à Paris la place de capitale des arts plastiques au profit de New York.Cette histoire incroyable, révélée il y a une dizaine d'années seulement, nous éclaire sur les coulisses de la reconnaissance de l'expressionnisme abstrait américain sur la scène internationale. Au-delà du talent indéniable de Pollock, nous comprenons comment la CIA a joué un rôle déterminant dans la consécration de ce peintre atypique, devenu malgré lui un symbole de la culture américaine face au bloc soviétique.Notre équipe a utilisé un outil d'Intelligence artificielle via les technologies d'Audiomeans© pour accompagner la création de ce contenu écrit.

durée : 00:27:10 - Les Midis de Culture - par : Marie Labory - Au programme du débat critique, des expositions : "Jackson Pollock. Les premières années (1934-1947)" au musée Picasso et "Révélation ! Art contemporain du Bénin" à la Conciergerie. - réalisation : Laurence Malonda - invités : Corinne Rondeau Maître de conférences en esthétique et sciences de l'art à l'Université de Nîmes et critique d'art; Stéphane Corréard Editorialiste au Journal des Arts

Do not let your pets poop tribute the Sports Illustrateds on the floor with their Jackson Pollock because that is for humans only. It would be awesome to be shrunk down so you can have Justin Trudeau do the gerbil trick with you instead of having him shrunk into a pen holder you can penetrate with a pen to penalize him or printing his face on toilet paper and making the toilet paper into a fifi with a glove so you sort of have 1000 Justin Trudeaus spiraling around your prison prick   Bonus episodes and videos at https://www.patreon.com/ChapoFYM

Note: Hi friends. We had to say goodbye to our sweet, 17-year-old cat, Boo, this week, so we're releasing this episode from our Patreon. We'll be back to our regularly scheduled programming next week. Teri Horton didn't mince words. The $5 thrift store painting she'd picked up for a friend was ugly. Very ugly. It wasn't even what she'd call art. It looked like blobs and sprays of paint flung willy-nilly on a massive canvas. So, when Teri's friend didn't want the painting, Teri wasn't offended. But Teri was sure surprised when an art teacher told her she might have purchased a genuine Jackson Pollock painting. Teri's response was quick. “Who the f*** is Jackson Pollock?” Remember, kids, history hoes always cite their sources! For this episode, Kristin pulled from: The documentary, “Who the #$and% is Jackson Pollock?” “The Case for Jackson Pollock,” by PBS Digital Studios “The Mark of a Masterpiece” by David Grann for the New Yorker “Jackson Pollock: Demystifying America's Most Influential Painter,” by The Conspiracy of Art YouTube channel “$50-million question,” by Louise Baring for The National Post “‘Ugly' painting's creator still disputed; now artists claim it,” by Kristina Sauerwein for The Los Angeles Times “A thrift-shop Jackson Pollock masterpiece?” 60 Minutes “‘Bakersfield Mist' pits art misfit against art maven,” by Barbara Yoresh for the Indian River Press Journal “Costa Mesa woman known for the fight to authenticate a possible Jackson Pollock painting dies without selling it,” by Susan Hoffman for the Daily Pilot “After 25 years, Costa Mesa woman still holding out for a ‘fair price,'” for the Daily Pilot

WELCOME, one and all, to the long-awaited premiere of season 4! Today, your good ol' host, Shift Orion, is joined by Nick Roth and Lindsey Haun. Shift and Nick met while wandering around in the howling abyss of social media. Nick was looking for podcasts to talk about his new movie, Hanky Panky, and Shift was looking for inspiration to reboot this show. So Nick hailed Lindsey to join Shift for a chat about this fantastic, whacky, elevated, innovative film made with love under crazy conditions. And they also talk about other things like Nick and Lindsey's kids, Nick's upcoming haunted dreidel film, Lindsey's dark and vague works in progress, and Shift's upcoming sci-fi about an average white American man who gets knocked up by an alien parasite just after landing his dream job and has flashbacks to that one time he tried to convince his teenage girlfriend to not have an abortion.  We hope you enjoy this episode and then go watch Hanky Panky on Tubi! Special thanks to Gina Mangiaracinage for hooking it up with the functioning Internet that carried this episode to your ear holes while my Internet was not working. Nick & Lindsey, Co-Directors:  Hanky Panky marks the feature debut of frequent collaborators and future Hollywood power couple Nick and Lindsey. Lindsey is a gold-record winning singer/songwriter, an actor and horror icon (Village of the Damned, Trueblood, Shrooms, Color of Friendship), and a director of several award-winning short films and music videos. She is repped by Bohemia Group. Nick is a former middle-school substitute Latin teacher, current pun factory, and film and television writer who most recently wrote on ABC sitcom American Housewife. He is repped by Zero Gravity.   About HANKY PANKY  Logline: A man and his talking handkerchief save the world from an evil top-hat, and also learn to love. Genre: Puppets and Blood. Runtime: 86 minutes, 4 of which is a fight scene between a napkin and a hat. Full Synopsis: When sweet and quirky ayahuasca marriage counselor Diane mistakenly invites the wrong “Sam” to a retreat she's co-hosting with friends and family at an isolated snowy mountain cabin, instead of her best friend's sister Samantha showing up, she gets Sam, a socially anxious oddball who has brought his best friend, Woody, a foul-mouthed talking handkerchief Sam believes only he can hear, and who is sexually aroused by cleaning up messes. Diane is Sam's opposite, but it's love at first sight. The only thing that stands between them is that right away everyone in the cabin starts being mysteriously murdered, and the whole vacation quickly descends into a zany pandemonium of cults, psychedelics, aliens, and, as Woody himself puts it, delicious chaos. Short Synopsis: A socially anxious oddball and his best friend, a foul-mouthed talking handkerchief who is sexually aroused by cleaning up messes, must confront an inter-dimensional evil in order to save the world and find true love. Trailer: https://www.youtube.com/watch?v=dqKFZm04ViM Official Website: https://hankypankythemovie.com IG: https://www.instagram.com/hankypankymovie FB: https://www.facebook.com/HankyPankyMovie X: https://www.twitter.com/HankyPankyMovie TT: https://www.tiktok.com/@hankypankymovie YT: https://m.youtube.com/@HankyPankyTheMovie LI: https://www.linkedin.com/company/hankypankythemovie/   FEATURED REVIEWS  "A perfect pick for 420... gleefully absurd... No matter how deeply you've dived into horror comedies, I can assure you that you've never seen anything quite like this... the comedy equivalent of a Jackson Pollock... sensational... an absolute avalanche of silliness... “ —Kristy Puchko, Mashable https://mashable.com/article/hanky-panky-movie-2024-review   "Hanky Panky is a delightfully unserious horror movie crammed with comedy." ––Becca James, Chicago Reader https://chicagoreader.com/film/review-hanky-panky/   "Hanky Panky is a genre-bending rollercoaster that seamlessly blends elements of comedy and horror, all while descending to a new level of insanity… A surreal success in ambitious independent filmmaking." ––Smrithika Majukar, Film Ireland https://filmireland.net/2024/04/08/review-hanky-panky/   "Cheap, Dumb, Delightful... Joyous. It's a silly movie that just wants to make its audience smile, and it succeeds." ––Kyle Logan, Screen Anarchy https://screenanarchy.com/2024/04/hanky-panky-review-cheap-dumb-delightful.html "Hanky Panky is the stupidly funny horror-comedy of the year... wacky, wonderful, and at times completely bonkers." ––Romey Norton, Film Focus Online https://www.filmfocusonline.com/post/hanky-panky-review "It may be a little too strange and outlandish for some, but those who are willing to embrace its unashamed weirdness and its brazen nonconformity are in for a great time." ––David Gelmini, Dread Central https://www.dreadcentral.com/reviews/494104/hanky-panky-review-seth-green-voicesan-evil-hat-in-absurd-new-comedy/?amp "It's silly, it's wild, and it's filthy in all the right ways, made by a team with a clear love of film... No one should deprive themselves of an opportunity to see a napkin learn about the power of friendship." ––Jules Caldeira, Film Inquiry https://www.filminquiry.com/hanky-panky-2023-review/?amp=1 FILM FESTIVAL SCREENINGS & AWARDS LA Comedy Film Festival Official Selection Int'l Independent Film Awards Best Actor (Jacob DeMonte-Finn) Best Supporting Actor (Seth Green) Best Actress (Ashley Holliday Tavares) Best Supporting Actress (Clare Grant) Best Casting Best Directing Best Narrative Feature World Premiere Film Awards Best First Time Filmmaker Best Comedic Script Best Comedy Feature Best Production Design Judges' Choice Central Coast Int'l Film Festival Official Selection Beast Feature Film Athens Int'l Monthly Art Film Festival Best Debut Feature Film Golden State Film Festival Official Selection Best Supporting Actor (Seth Green) Robinson Film Awards Best Comedy Feature Golden Lion Int'l Film Festival Best Actress (Ashley Holliday Tavares) Best Actor (Jacob DeMonte-Finn) Best Comedy Feature Best International Feature Film Los Angeles Film Awards Best Indie Feature Best New Director Italian Comedy Festival International Comedy Prize Five Continents Int'l Film Festival Official Selection Best Director Best Screenplay Best Actress (Ashley Holliday Tavares) Best Art Direction Best Team Performance The IndieFEST Film Awards Best Feature Film Best Ensemble Cast Best Special Effects Cinema Cappuccino Best Feature Film Gothamite Monthly Film Awards Best Feature Film Indie Vegas Film Festival Official Selection Best Supporting Actress (Clare Grant) LA Cinema Festival of Hollywood Official Selection Best Narrative Feature Best Director Best Actor (Jacob DeMonte-Finn) Kalakari Film Festival Official Selection Fortean Film Festival Official Selection MegaFlix Film Awards Official Selection Silver Wing Int'l Film Festival Best Narrative Feature Dreamz Catcher Int'l Film Festival Best Feature Film Independent Horror Movie Awards Best Feature Best Actor (Jacob DeMonte-Finn) Best Humor Best Kill Top Indie Film Awards Best Humor Best Original Idea Kalakari Film Festival Certificate of Achievement    Directors' Statement: Hanky Panky was inspired by the way certain zany comedies like Wet Hot American Summer and Caddyshack seemed to capture the energy of locking their whole cast and crew together in, say, a summer camp, or a coke-orgy fueled hotel in the middle of a Florida hurricane with Chevy Chase -- and then somehow get that energy on screen. We shot Hanky Panky in Lindsey's dad's cabin in the mountains above Heber, Utah, where the entire cast and crew crammed together, at 8,000ft of elevation, during the most intense blizzard ever recorded there. It was a true anarcho-communist-guerilla production: literally no budget, nobody got paid, everyone chipped in for food and drugs, and we all cooperatively own the film now. We shot it on a camera our team won with a short film at Slamdance in 2015. A friend who shoots porn let us borrow his lights. By far our biggest expense was that Lindsey backed her car into Nick's in the blizzard and knocked out a headlight, so that did cost us like $900 to fix. It was crazy. Everyone went a little bit crazy. Some of us went a lot a bit crazy. It's our hope that a bunch of that fun, contagious craziness has ended up on the screen. CONTACT Nick & Lindsey:  hankypankythemovie@gmail.com    GMM's YouTube -- Subscribe and like all our videos please! GMM's IG   Credits: Shift Orion, producer/host, graphics   guests Lindsey Haun & Nick Roth     Soundtrack: New GMM Intro by Wonderful Glass Cage IKISC  (in no) Time (back soon 4 round 2) - remix - by Wonderful Glass Cage

Robert Longo talks to Ben Luke about his influences—from writers to musicians, film-makers and, of course, other artists—and the cultural experiences that have shaped his life and work. Born in 1953 in Brooklyn, Longo was a key figure in what was called the Pictures generation of artists, which emerged in New York in the late 1970s. After that initial burst of attention he has since met with wide acclaim with his translations of everything from reportage photographs to historic paintings into vast charcoal drawings. By rendering the images in this way, he reinforces the impact of the original sources and yet prompts questions about the meaning and the power structures within and around them. By expanding their scale, he also transforms them. Up close—as we are overwhelmed by the analogue artisanship involved in the drawing—these dramatic images are abstracted. He talks about why he favours the term “collision” over “collage” and reflects on the concern with violence in his work. He discusses being, as he puts it, “an abstract artist working representationally”. He explains the process behind his responses to major works of art by everyone from Jackson Pollock to Rembrandt and Manet, and talks about the influence of Gretchen Bender on his newest Combine pieces. And he details the breadth of inspirations for his 1980s Men in the Cities series, from James Chance, frontman of the Contortions, to Rainer Werner Fassbender's An American Soldier. Plus, he gives insight into studio habits and rituals and answers our usual questions, including, “What is art for?”Robert Longo: Searchers, Thaddaeus Ropac, London, 8 October-20 November; Pace, London, 9 October-9 November; Robert Longo, Albertina Museum, Vienna, until 26 January; Robert Longo: The Acceleration of History, Milwaukee Art Museum, Milwaukee, Wisconsin, US, 25 October-23 February 2025. Hosted on Acast. See acast.com/privacy for more information.

What if the pandemic was the catalyst for uncovering hidden talents? Join me as I sit down with Tom Delamater, an extraordinary abstract artist who discovered his passion for painting during these tumultuous times. Tom shares how his father's legacy as a skilled draftsman and illustrator shaped his artistic vision, and how his experience in publication design and advertising sharpened his eye for color, balance, and composition. Get ready to be inspired by Tom's journey from creating a simple housewarming gift to becoming the featured artist at my new studio this September.Imagine finding solace in art during a prolonged business trip. That's exactly what happened to Tom in the spring of 2021. Trapped in a hotel room, he channeled his energy into painting, inspired by Jackson Pollock's abstract expressionism. With no formal training and only basic supplies from Walmart, he created 50 paintings in just a few months. This personal story highlights the power of embracing new challenges without fear of failure and encourages others to begin their own artistic journeys, no matter their starting point.In this heartfelt episode, we explore the serendipitous nature of artistic discovery and the enduring influence of family legacies. From the accidental innovation of a drip technique to Tom's father's unwavering dedication to his craft, we discuss how unforeseen events and familial inspiration can shape an artist's path. Tom's touching narrative about his father's resilience in the face of rejection serves as a powerful reminder to honor our roots and pursue our passions with unrelenting determination. Whether you're an aspiring artist or seeking inspiration, this episode offers valuable insights and heartfelt stories that will resonate deeply.Check out the YouTube  edition for images of Tom's father's amazing work and more!Tom Delamater- Website Sign up: Tom's in-person abstract painting class at Brewtifully- September 30thTom  Delamater Fine Art- FacebookTom Delamater Fine Art- InstagramSupport the showCatch the doodles on YouTubeMy socials:Sign up for my monthly newsletterPortfolio website: Brewtifully.comInstagram: /BrewtifullyFacebook: /brewtifullyTikTok: GettingSmallwithGrandmaLinkedIn: Tracy Dawn Brewer

Comedian Raanan Hershberg joins the program to discuss his favorite problematic artists and why he doesn't respect Jackson Pollock. Watch Raanan's new special, BRAVE. "The Connoisseur", by Normal Rockwell. "When You Are Old", by W.B. Yeats. Produced by G34 Productions. Filmed at Grove 34 in Astoria, Queens.

Join Zak and Lianne as they delve into the chaotic life and art of abstract expressionist Jackson Pollock, the pioneer of drip painting. We'll explore his struggles with alcoholism, volatile relationship with fellow artist Lee Krasner, and the rise of his unique artistic style. Today In Art will bring us to the 2024 Paris Olympics opening ceremony! Follow us on Instagram: @notarthistorians Sources: https://www.jackson-pollock.com/biography.html https://web.archive.org/web/20100615044835/http://serdar-hizli-art.com/abstract_art/jackson_pollock_psychoanalytic_drawings.htm https://beatmuseum.org/pollock/jacksonpollock.html https://books.google.com/books?id=DYZQAAAAMAAJ https://www.artistsnetwork.com/art-history/thomas-hart-benton-jackson-pollock/ https://news.uoregon.edu/oq/the-curse-of-jackson-pollock-the-truth-behind-the-world-s-greatest-art-scandal https://www.nytimes.com/2010/03/06/arts/design/06kligman.html?ref=obituaries https://www.artnews.com/art-news/news/paris-olympics-drag-queen-performance-the-last-supper-controversy-1234713050/ "Danse Macabre" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/

I haven't met many people like Francesca. Her warmth and generous spirit makes you instantly feel relaxed and want to smile - and she has this Italian accent that is a joy to listen to.But Francesca is also a trailblazer. She started making eco paints before anyone else in the UK launching her company Francesca Paints back in 1996. An expert in colour, she formulates all her own colours to form beautiful palettes inspire day travel and culture. Francesca Paints is well known in the Interiors industry having created colours for designers as well as curating colours for their homes.This was the first episode I recorded that hasn't been at my kitchen table. I headed to Francesca's inspiring studio in Clapham, with cuttings of the inspiration she's collected over the years and her mixing table which looks like a Jackson Pollock installation with its layers of paint from 30 years of mixing up paints.In this episode we talk about the journey of her business and we go deep into her latest palette inspired by women in art from the Renaissance period. I hope you enjoy listening to her passion and warmth. It's quite infectious. Hosted on Acast. See acast.com/privacy for more information.

A conversation with Natalie Dupecher, Associate Curator of Modern Art at the Menil Collection, about the fascinating and often overlooked artist Janet Sobel. Known for her pioneering drip painting technique and “all over” aesthetic, Sobel significantly influenced the Abstract Expressionist movement, even preceding Jackson Pollock. We discuss Sobel's artistic development, her use of unconventional materials, and her work's bridging of surrealism to abstract expressionism. We also delve into the Menil Collection's current exhibition, exploring key highlights, themes, and the curatorial process behind showcasing her work. “Janet Sobel: All Over” is on view at the Menil Collection in Houston through August 11."Janet Sobel: All Over" at the Menil CollectionExhibition Trailer

Send us a Text Message.Okay, so here's the deal. I've been putting this off for way too long. My life feels so fractured these days. I never really know where the day will take me. Do you ever feel completely lost? Yeah… me too. But hey, that's why we have mall kiosks and little red dots to comfort us and tell us exactly where we are… and how far we must traverse to reach the Gap or the food court. For me, life has been this crazy twist of events that are beyond all measure of comprehension. Where I started, where I have been, what I am, what I am not, what I get to do, where I am, and to God knows where I am going - this life feels akin to a Jackson Pollock painting. To be direct, I don't understand it at all. And the older I find myself the more I find I am sure that I know much less than I ever really thought I knew. Hi… I'm Chris. We might have met somewhere along the way. Or perhaps we've known each other for some time now. Or… better yet, we have yet to meet, and you found this podcast randomly or on the TCG website or in some other random way, IDK! Either way, it matters not. I am so very happy you are here. Welcome to my podcast. I hope you enjoy these thoughts For Your Self-Examination. Take what you like, leave the rest. If you're seeking resources on this topic, visit our evolving resource center at: taylorcounselinggroup.com. Learn more about our Mental Health app, Empifany. Join Dr. Taylor's personal newsletter. Learn more about the great work being done in Mental Helath by Grant Hallibuton Foundation and the Counseling for the Future Foundation. Thank you for joining us on this episode of "For Self-Examination" with Dr. Christopher Taylor. We hope you found this episode insightful and valuable for your journey of self-discovery. Take what you like, leave the rest.

On Thursday's show: For some, that was it. Beryl was the last straw. They're considering leaving Houston (there's even a “Leaving Texas Support Meet-Up” planned Thursday night for those considering leaving town).For others, there's a growing sense of unease about how long to stay in a community continuously threatened by extreme weather. Last fall, a Houston Matters exclusive survey question posed by the Hobby School of Public Affairs at the University of Houston found a majority of residents say they've thought about leaving the area in recent years, with more than half of those folks citing extreme weather as the reason why.Meanwhile others are defiant and prepared to ride out any future storm.We discuss whether extreme weather, power outages, and other factors in recent memory have Houstonians thinking about leaving our city.Also this hour: New analysis places the economic impact of Beryl in the billions of dollars. But who pays for what? We talk it over with some experts.Then, the abstract expressionist paintings of Janet Sobel influenced Jackson Pollock. So, why isn't she a household name like he is? An exhibit at the Menil Collection aims to remedy that with the help of her grandson, who lives here.And the George R. Brown Convention Center will host DJ Screw Day on Saturday. We listen back to a 2022 conversation about DJ Screw, the Houston music pioneer who continues to influence H-town and hip-hop culture.

About 75 years ago, Jackson Pollock revolutionized the art world with his distinctive style of painting. He would lay the canvas on the floor and with his arms outstretched, pour or drip cans of paint directly onto its surface. The technique invited admirers and detractors alike, along with scandals involving forged canvases turning up decades after his death.  Richard Taylor, a professor of physics, psychology, and art at University of Oregon has been using computers for more than 25 years to analyze Pollock’s paintings and help authenticate canvases of uncertain origin. He recently collaborated with two former UO doctoral students to develop a tool using AI to distinguish between genuine and imitation Pollock paintings with 99% accuracy. Taylor joins us to talk about the recently published results, and the role AI may increasingly play in the art world. 

The ladies are shining a light on a wide range of creative ideas this week, including beautiful artwork for the Secret Mum Club Gallery, new and innovative uses of certain phallic objects during hide-and-seek and Jackson Pollock inspired living room furniture after a naked shart. Hosted on Acast. See acast.com/privacy for more information.

Chapter 1What is ChaosOnce upon a time, in the world of chaos and unpredictability, James Gleick introduced us to a groundbreaking concept in his book "Chaos." This intriguing tale delves into the fascinating realm of chaos theory, exploring the intricate patterns hidden within seemingly random events. From the fluttering of a butterfly's wings to the formation of galaxies, chaos theory unveils the underlying order within complexity. Through captivating stories and thought-provoking insights, Gleick challenges our traditional notions of predictability and control, inviting us to embrace the beauty of chaos. With every turn of the page, readers are invited to explore the interconnectedness of systems, the power of feedback loops, and the delicate balance between order and disorder. Join Gleick on this mesmerizing journey through chaos, where the only constant is change.Chapter 2 Meet the Writer of ChaosIn his book "Chaos: Making a New Science," James Gleick demonstrates his mastery of writing skills and language style to convey the emotions and meanings of chaos theory. Gleick's concise and precise language captures the complexity and unpredictability of chaotic systems, while also conveying the beauty and intricacy of the concepts. Through his skillful use of metaphors, analogies, and vivid descriptions, Gleick brings to life the world of chaos and its implications for science and society. By engaging the reader's imagination and intellect, Gleick effectively communicates the excitement and potential of chaos theory, inviting us to explore the mysteries of a new science.Chapter 3 Deeper Understanding of ChaosChaos theory, which explores the unpredictable and complex nature of systems, has had a significant influence on various aspects of literature, culture, and society. One of the key ideas that Chaos theory introduces is the concept of 'sensitive dependence on initial conditions,' popularly known as the butterfly effect. This idea suggests that small changes in initial conditions can lead to vastly different outcomes in complex systems, making them inherently unpredictable.In literature, Chaos theory has inspired writers to explore non-linear narratives, fragmented structures, and characters with chaotic or unpredictable behaviors. Authors like Jorge Luis Borges, Italo Calvino, and Thomas Pynchon have embraced Chaos theory in their works, creating narratives that challenge traditional notions of order and control. In particular, postmodern literature has been heavily influenced by Chaos theory, as it reflects the fragmented and uncertain nature of contemporary society.In culture, Chaos theory has sparked a shift towards embracing complexity and uncertainty. The acceptance of Chaos theory has led to a greater appreciation for the beauty and intricacy of chaotic systems in nature, art, and music. Artists like Jackson Pollock and John Cage have drawn inspiration from Chaos theory, using randomness and unpredictability to create their works. Similarly, Chaos theory has influenced contemporary music genres like experimental, electronic, and avant-garde, which often incorporate elements of randomness and disorder.In society, Chaos theory has challenged traditional hierarchical structures and control mechanisms. The idea of self-organizing systems, where order emerges from decentralized interactions, has led to new models of governance, economics, and social organization. This has also influenced fields like urban planning, architecture, and design, where the focus is on creating flexible and adaptive systems that can respond to changing environments.Overall, Chaos theory has changed people's ways of thinking by challenging the belief in predictability and control. It has encouraged a shift towards embracing complexity, uncertainty, and the beauty of disorder. Its influence can be seen in literature,...

EVERY OTHER KREATIVE KONTROL EPISODE IS ONLY ACCESSIBLE TO $6 USD MONTHLY PATREON SUPPORTERS. This one is fine, but please subscribe now on Patreon so you never miss full episodes. Thanks!Nick Thorburn discusses the new Islands album, What Occurs, whether or not it concludes a trilogy, why he chose to make an album on Vancouver Island for the first time and also its unique, live-off-the-floor recording style with Adam Halferty and Evan and Geordie Gordon, a bad basketball injury and air guitar, paraphrasing John Lennon and/or Pusha T, conceptual lyrics and David Geffen's Jackson Pollock, whether or not Islands has reached its end, the pros and cons of running a Patreon crowdfunding initiative, uncertain future plans, and much more.Support vish on Patreon! Thanks to Blackbyrd Myoozik, Pizza Trokadero, the Bookshelf, Planet Bean Coffee, and Grandad's Donuts. Support Y.E.S.S. and Black Women United YEG. Follow vish online.Related episodes/links:Ep. #815: Geordie GordonEp. #801: IslandsEp. #620: Tom ScharplingEp. #617: IslandsEp. #262: Mare Sheppard, Jim Guthrie, & Shaw-Han LiemEp. #231: Evan GordonEp. #45: Nick Thorburn of IslandsSupport this show http://supporter.acast.com/kreative-kontrol. Hosted on Acast. See acast.com/privacy for more information.

Discover the transformative journey of Helen Frankenthaler (in her own words), a pioneering artist whose mantra "Let Her Rip" symbolizes a fearless approach to creativity. In this episode, we unpack Frankenthaler's innovative philosophy, where she blends the past and present to achieve a fluid, emotionally rich conversation with her art. From her early encounters with Jackson Pollock's radical drip paintings to her evolution within the Color Field movement, we explore the monumental influences that shaped her six-decade-long career.Find out how achieving a flow state can revolutionize your creative process, guided by insights from Steven Kotler's "The Rise of Superman." We'll discuss how fear can stifle artistic expression and share techniques for letting go of control to engage in a genuine dialogue with your work. Through personal stories and practical advice, we tackle common challenges like overcoming perfectionism, balancing spontaneity with intentionality, and learning to embrace mistakes as opportunities for growth.The episode also highlights the importance of artistic competition and influence in fostering creativity. From Frankenthaler's rebellious use of unconventional materials to the dynamic environment she shared with contemporaries like Grace Hartigan, we shed light on how healthy rivalry and shared inspiration can propel artists to new heights. Join us as we celebrate the courage it takes to push boundaries and the enduring impact of Frankenthaler's legacy on future generations of artists.Send us a message - we would love to hear from you!Make sure to follow us on Instagram here:@justmakeartpodcast @tynathanclark @nathanterborg

What you'll learn in this episode: Jennifer's unique process of layering acrylic and art images, and how she discovered her signature technique. Why the most important thing a young artist can do is find their voice. Why Jennifer rarely uses images her customers request in her jewelry. How Jennifer's work ties into the history of pop and op art. Why Jennifer sees other art jewelers as inspiration, not competition. About Jennifer Merchant: Jennifer Merchant is a studio t based in Minneapolis, MN. She graduated with a BFA in Metals and Jewelry from the Savannah College of Art and Design. She is a full-time artist showcasing her work in galleries, museums and exhibitions. Her work has been published in several national magazines such as American Craft, Ornament and Delta Sky Magazine. Merchant is best known for her innovative layered acrylic process in which images and prints are layered between solid acrylic. Her work is graphic with clean lines and modern aesthetic. Pieces confound viewers, appearing transparent from one angle of view while showcasing bold patterns and colors from another. Photos available on TheJewelryJourney.com Additional resources: Website Facebook Instagram Twitter Transcript: Like the op and pop art that inspires it, Jennifer Merchant's jewelry challenges your eye. Clear from some angles and bold and colorful from others, the jewelry is created by layering acrylic with images from art books. Jennifer joined the Jewelry Journey Podcast to talk about how she developed her technique; how she chooses the images in her jewelry; and why art jewelers need to work together to push the discipline forward. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please head to TheJewelryJourney.com. Today, my guest is Jennifer Merchant. Jennifer was also a guest several years ago. She thought she would be a metalsmith but segued to acrylic jewelry, which is what she has become known for: creative and innovative acrylic jewelry such as necklaces, bracelets, earrings and brooches. They have eye-catching graphics embedded in them. I was also surprised to learn that hand carving is sometimes involved. Welcome back. When you left college, did you know you were going to have your own business? Jennifer: Not right away. I think it took me about five years to really get the confidence together to start my own business. I definitely spent that first five years after graduation very lost and not really sure what in the heck I was going to do with my jewelry degree, especially because I went to school in Savannah, Georgia. That's where I made all my art connections and jewelry connections. Moving back to Minneapolis, I was off on my own. I didn't have a community at that point. It definitely was a number of years of wondering, “How am I going to end up using this degree that cost me so much money?” I had been waiting tables and was increasingly unhappy because I knew I had something different to offer the world. I ended up getting fired from a job. I had been speaking with a friend at work who had another friend that was putting on an art show. She had told me about it because she knew I was an artist. I remember getting fired from the job and calling her up right away, like, “I think I want to do that art show because I need to try to make some money.” It went okay, and it inspired me to say, “Jewelry is something you can do and make a living with. Let's give this a shot.” I had to move back home with my mom for a couple of years and cut my expenses way down, because I wasn't going to take out another loan to start a business. I built it very small, very scrappy. I had a second bedroom in my mom's house where I had my workshop, and I started from there doing little local events. That's where it all started. Sharon: Wow. What's the biggest piece of advice you can give to somebody who's just starting out? Jennifer: I would say when you're just starting out, really try to find your voice. Sharon: What do you do? What does one do when they find their voice? For instance, some people have found the voice, but they're homemakers or they work in an office. What do you do when you find your voice? Jennifer: I think once you know what you want to say, the next step is finding out who wants to hear it. And that is a very hard step, finding your niche and finding your people that resonate with your voice. I think the only way to really do that is to get yourself out there, get your work out there. I think with the Internet now and how accessible online stuff is, it might be a little easier to get yourself out there through social media, through the Internet, than maybe it was years ago when you had to have a physical presence out in the world. People can start by getting their work out there online and hopefully seeing who is interested, who connects with it, and then finding places in the real, outside world to continue that process and eventually find your market. Sharon: Do you have people who come to you with the image they want to include already? Jennifer: Not very often. I've had people ask me about that, but I think ultimately, I have to be drawn to the image specifically in order to be able to incorporate it in a piece. I did have a client that had a specific art piece she wanted in a bracelet for her daughter. That I was able to do because I resonated with the work and it was something that worked well within the form of jewelry. I've also had requests where someone wants family mementos or something encased in the acrylic. That's a very cool, sentimental thing, but visually, it doesn't really work with my aesthetic as well. I'm not going to do something just because I get asked for it. I also have to be drawn to it enough in order to go through with it, because it is a labor-intensive process and it is an art of passion. If I'm not super excited about the thing I'm making, it's probably not going to turn out that great either. I have tried to do things early on in my career specifically for a client that just didn't quite work out. We weren't on the same page. I think as you get more into it, you figure out the types of things you can push the boundaries on and the types of things that you can't. When someone's request is something that you can do and make them happy with, and when it's just not something that'll work out, you know. Sharon: That's interesting. So if somebody brought you their wedding photo, it depends on whether you like the wedding dress or something like that. Jennifer: Or if it has enough visual interest. I think the thing that makes my work successful is the images that I do use are interesting within a small scale of jewelry, and not all images can do that. I work with a lot of op art and pop art, and there's a lot of visual interest going on in a small space. With a photograph or something more sentimental, that's not always the case. It just wouldn't look as cool as they think it's going to. Sharon: I've seen comic books used in your work. How did you come to that? Jennifer: All of the things in my work that look like comic books are actually Roy Lichtenstein pieces. His pop art was inspired by comics, and he reimagined them into huge canvases and paintings. My jewelry does something similar, where I take Roy Lichtenstein's work and images and collect tons of books and rip out those pages and put that in my jewelry. It feels kind of meta. I've actually met some of his descendants and collectors and friends over the years, and a lot of them assure me that he would really appreciate what I'm doing with his work. It's a very similar idea as to how he repurposed art and things that he saw into something new and different. Sharon: That's interesting. I didn't know that. Did you study art history in college as you were studying jewelry and metal and all that? Jennifer: Yeah, art history is definitely part of your Bachelor of Fine Arts degree. It wasn't always my favorite class because the art history classes were about art that was ancient and a lot of religious art and that sort of thing. I think I had one class where it was modern art in the 20th century, which, of course, is the most interesting to me. But that art history background definitely sparked some interest in different art movements and art periods. Art Deco is a very favorite design motif of mine. As I was talking about earlier, I'm very inspired by pop art and op art. I think art history plays a huge role. I never thought at the time when I was in school that I would end up studying more about art history and specific artists and doing that kind of research, but it is really important to my work now. Sharon: Can you explain what the difference between pop art and op art is? Jennifer: Sure. With pop art, everyone knows Roy Lichtenstein and Warhol. They took popular things or everyday objects like a soup can and made them stylized and put them in the context of fine art as this kind of ridiculous thing. Op art deals with optical properties. A lot of op art is very linear. It kind of tricks your eye. It looks like it's moving, but it's a static image. Funny enough, when I started working with op art, I was actually collecting those optical illusions books for kids. There'd be very few usable images in there, but there'd be a few black and white, scintillating-looking, squiggly-lined spirals or something like that. That sparked my interest in optical art and looking it up outside of the context of those silly books for kids. I found out this is a whole art movement, and there are artists like Richard Anuszkiewicz and Victor Vasarely and Bridget Riley that pioneered this in the 60s, when it really became a thing. I just find it so fascinating. But it's kind of funny that my two art movements that I use a lot in my work are pop and op. Like, who knew? Sharon: Do you ever use any other kind besides those? You say you like Art Deco. I don't know what you'd use for an image, but I guess you could use an Art Deco image. Jennifer: I think with Art Deco I am more inspired by the overall forms of pieces or the shapes. I like the ideas. I like the repetitive nature of Art Deco. They went from Art Nouveau, where it was all crazy and ornate, and then Art Deco kind of simplified things. It was a little more streamlined. I really like that. I think I carry those design principles through my work, not as much the direct visuals. Although if I could find great books with Art Deco prints of patterns or wallpapers or whatever, I'd love to use those. I just haven't quite found the right image sources yet for that. Finding pop art and op art books has been pretty easy for me, and the images are just so striking, so that's why I've gravitated towards those. I'm open to other types of art and other artists. I just haven't moved on yet from the things I am working on. I can only focus on so many things at a time, but I could see myself doing some collections using Rothko paintings or Gerhard Richter with those interesting images, Jackson Pollock with the splashes. Those kinds of things I could see being very interesting within the context of layered acrylic. It just depends on where my book collection takes me. Sharon: So, if we're looking at used books at a used bookstore, we should keep our eyes open for interesting things that could be used as interesting prints. Jennifer: Yeah. I actually buy so many of my books online because physical shops only have so many things, and what I'm looking for is so specific. The art sections are usually kind of small, so I've ended up finding a lot of online retailers. I've gotten pretty good at being able to figure out whether a book is going to be visually interesting based on the online listing. I will even look at the size of the book, if they list dimensions, to give me ideas. If it seems like a good coffee table art book with lots of pictures, that's what I'm trying to find. Something with lots of great images. Sharon: It sounds like people would be very interested in your leftovers. Jennifer: I have a whole shelf of these books that are like little skeletons. You can see the sections where I've really gone to town ripping pages out, and then other sections that are left. There's plenty of things I leave in the book that I think are amazing, but they just aren't going to work for jewelry. Yeah, I've got a lot of skeleton books on my shelf. I keep them. I can't get rid of them. Sharon: I like that, skeleton books. Once again, it's a Herculean task, the whole thing of starting your own business. Would you say that there is somebody that inspired you and keeps inspiring you? Jennifer: I wouldn't say it's a specific person. I think after that initial, tiny show that I did trying to sell my work, I think the most inspiring thing was seeing the other artists and seeing people that were making a living doing their work. I think that's what's really inspiring to me, finally meeting other people that were already doing what I wanted to do and realizing, “Wow, this is a viable career path.” There's not a lot of artists in my family, so no one really had any advice to give me back in the day. They weren't necessarily unsupportive, but they didn't really know how to encourage my art, either. It's been very helpful getting out there and seeing people that are doing things and just being inspired. Different artists and different people inspire me for very different reasons. Some artists, their work is the thing that inspires you, and other artists have such a great work ethic or a really creative way of marketing. I try to keep my eyes and ears open all the time, and I let inspirations muddle around in my brain. And then one day some other thing will trigger an idea. You just never know. I try to always be open. Sharon: I'm surprised; I usually see you at shows where there are a lot of other art jewelers, which is what I categorize you as. I see art jewelers, makers a lot. I'm thinking of New York City Jewelry Week, which is where I saw you once or twice. The last time I saw you, I wasn't able to say hello. I would think you'd be more—well, maybe it's the way I am, but I'd be more envious or competitive seeing all the other art jewelers, as opposed to finding inspiration. Jennifer: I don't know. I don't think of it as a competition in any way. I think it helps me a lot because my work is so different from everyone else's, so there isn't a super direct comparison. I think maybe for some other types of jewelers it might be a little different because there is more of a direct comparison with their aesthetic or their materials. In that respect, there isn't really competition. I used to be a lot more of a competitive person, but as I've gotten older and been in the business long enough and met all different artists, you just see that it's so much more about passion and drive. You can be successful doing just about anything if you're willing to put the work in. I've met so many different people with so many different types of jewelry and art, and they're successful in radically different ways. Even if some other artist is successful in a way that will never work for me, I still love learning about what they're doing. Even if it doesn't directly apply to me, there's something in that lesson, in listening to them and their story that might click something for me in an indirect manner. So, I really do try to be open and inspired by everyone, and I definitely don't see it as competition. I think it's great seeing more and more art jewelers getting work out there, making things that are big and bold and wild and weird materials. The more of it that's out there, the better for all of us, because then the consumer or the client is seeing more of it out in the world. Then when they come across my work, it might not seem as weird or as off putting. They might get it a little bit faster and a little bit easier because of all the other people that came before me and all the people that are alongside me. I think working together as a community, being inspired by each other, helping each other be successful, that can only help all of us. Sharon: Do you think when people first see your art, they don't think of it as jewelry because it doesn't have diamonds or emeralds? Do they think of it as a throw away, in a way? Jennifer: Oh, yeah. I've had the gamut of reactions to my work, and it really depends on the setting it's in as well as how people respond to it. There are definitely people out there that, to them, jewelry is diamonds and gold, and that's fine. I might not be able to change their mind. Other people see the work and, right away, think it looks cool. Maybe they didn't even know it was a bracelet, but they were drawn to it. Then when they find out it's an actual wearable piece, they're even more blown away. You never know what kind of reaction you're going to get from people. I've definitely had to do a lot of educating on my process and the materials because when someone sees a plastic necklace that costs $2,000, they kind of scratch their heads, like, “What is going on here?” And then I tell them all about the process and all the different steps and all the different things that went into it. Sometimes you win people over, and sometimes they're like, “Why bother?” I just try to pay more attention to the people that are won over and interested. If they're not, that's fine. I know my work is not for everyone, and I'm okay with that. Sharon: That's an interesting philosophy. You've given me a different perspective as well on your jewelry. Thank you for being here today, Jennifer. Jennifer: Yes. Thank you so much for having me. It's been a pleasure. We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out. Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.

Thanks for listening to The Professor. If you're looking for a podcast to dive into next, we have something that you might like. It's a called Death of an Artist: Krasner and Pollock, from Pushkin Industries. You've heard of Jackson Pollock, but you may have never heard of Lee Krasner. Krasner was an artist, Pollock's wife, and the woman who made him famous. She also changed everything about the landscape of modern art.Death of an Artist: Krasner and Pollock is a story about love, power, alcoholism and an ill-timed death. Hosted by curator, author, and broadcaster Katy Hessel, this 6-episode series from Pushkin Industries and Samizdat Audio offers an inside look into two of the greatest artists of the 20th century, and how their vision impacts ours. To listen to the show, search for Death of an Artist in your favorite podcast player.

Esperanza and Irwin welcome Columbia University Professor Alexander Stille, the author of The Sullivanians. The Sullivan Institute was a maverick psychoanalytic practice and cult that flourished on the Upper West Side from 1957 until 1991. Paramount to the Sullivanian doctrine was the rejection of the traditional nuclear family and monogamous relationships. “The Sullivanians told myparents that the worst thing a person can do is raise their own children,” said Lauren Olitski, the daughter of painter and patient Jules Olitski. The patients were high functioning, intelligent and creative people, including the singer Judy Collins and writer Richard Price. But its influence over Jackson Pollock, and its presence in the Barnes Landing section of Springs for a fascinating, and different, Our Hamptons Podcast.

You've heard of artist Jackson Pollock, but you may have never heard of Lee Krasner. Krasner was an artist, Pollock's wife, and the woman who made him famous. She also changed everything about the landscape of modern art. Death of an Artist: Krasner and Pollock is a story about love, power, alcoholism and an ill-timed death. Hosted by curator, author, and broadcaster Katy Hessel, this 6-episode series from Pushkin Industries and Samizdat Audio offers an inside look into two of the greatest artists of the 20th century, and how their vision impacts ours. Listen in your favorite podcast player.See omnystudio.com/listener for privacy information.

Lots of kids paint. But 12-year-old Aelita Andre is an established artist known for her abstract paintings inspired by everything from nature to music. Andre, who is from Melbourne, Australia, was just 2 years old when she had her first gallery exhibit. Since then, the painter's work has been exhibited in cities around the world, including London, Hong Kong and New York City. She has sold paintings for as much as $30,000. Some people have called her a young Jackson Pollock. But Andre isn't interested in being compared to other artists. She creating her own style. I will share with you what I learned from this wonderful young lady and how you too can go beyond your limiting beliefs and be the Creative Spirit you always wanted to be! --- Support this podcast: https://podcasters.spotify.com/pod/show/sheryl-benjy/support

Episode No. 653 of The Modern Art Notes Podcast features critic and author Deborah Solomon and host Tyler Green's 2016 conversation with Frank Stella.  Frank Stella died on May 4 at the age of 87. For two decades, from the late 1950s until the late 1970s or early 1980s, Stella was one of the United States' most important painters. The Museum of Modern Art, New York famously devoted two mid-career retrospectives to Stella's work, in 1970 and again in 1987. Solomon is a critic whose work can often be found in the New York Times, and the author of biographies of Jackson Pollock, Joseph Cornell, Norman Rockwell. Her biography of Jasper Johns is forthcoming. She wrote this critical obit of Stella for the NYT. The next segment is Stella's 2016 visit to the Modern Art Notes Podcast on the occasion of a Stella retrospective at the Modern Art Museum in Fort Worth. The exhibition traveled to the Whitney Museum of American Art, New York, and the de Young Museum, San Francisco. 

We were so full of Marcia Gay Pride from last week's episode that it was time to break a decades long blacklisting of “Pollock” to discuss her dark horse Oscar win as Lee Krasner in Ed Harris's punch drunk biopic of Jackson Pollock. We also get Amy Madigan going full Ullman, Jennifer Connelly as Worst Supporting Ruth, John Heard from "The Sopranos", a wacky cameo from Val Kilmer that takes us down a plastic surgery rabbit hole, to say nothing of the "Uncle Buck" digression we eventually get to, as well as our thoughts on what makes biopics work or not work and a requisite celebration of Kathleen Quinlan, who is not in this movie. Join us for The Best Supporting Aftershow and early access to main episodes on Patreon: www.patreon.com/bsapod Email: thebsapod@gmail.com Instagram: @bsapod Colin Drucker - Instagram: @colindrucker_ Nick Kochanov - Instagram: @nickkochanov

Meg is creeped out by The Sullivanians, Upper West Side psychotherapy cult and real estate trap. Jessica pines for the pre-trump Plaza Hotel of Trader Vic's, the Gold & Silver Ball, and true elegance.Please check out our website, follow us on Instagram, on Facebook, and...WRITE US A REVIEW HEREWe'd LOVE to hear from you! Let us know if you have any ideas for stories HEREThank you for listening!Love,Meg and Jessica

We can be many things in our lifetimes. Sometimes we discover passion at a later age. Jan shares the story of one such woman who was dripping canvases before Jackson Pollock and who is now being rediscovered. The story of artist Janet Sobol is one that will empower the possibilities in each of us.

In the second half of their live chat, Alison Balsom and Sam Mendes discuss what it's like for him to have been everyone's Dad professionally since he was 24 (just don't take his sausage roll); being a woman in a predominantly male art form, changing the paradigm of the trumpet and the spirituality of playing music in church; Sam's transformative memory of Jackson Pollock in Venice and the joy of throwing paint; where emotion lives in their work; the trumpet piece that reflects who you are at any stage of your life; being uningratiating onstage; why Sam was in a kind of dream-state directing Hills of California and what auditioning new-born babies taught him about performers. Hosted on Acast. See acast.com/privacy for more information.

In the mid-'90s, two high-end New York art galleries began selling one fake painting after another – works in the style of Jackson Pollock, Andy Warhol, Mark Rothko and others. It was the largest art fraud in modern U.S. history, totaling more than $80 million. Our first story looks at how it happened and why almost no one ever was punished by authorities.  Our second story revisits an investigation into a painting looted by the Nazis during World War II. More than half a century later, a journalist helped track it down through the Panama Papers. Support Reveal's journalism at Revealnews.org/donatenow Subscribe to our weekly newsletter to get the scoop on new episodes at Revealnews.org/newsletter Connect with us on Twitter, Facebook and Instagram

We can finally talk about movies again, and we don't even know where to start. Just kidding, of course we do. We'll have to unpack Cold Ghost Busters another day, because it's time to get into the Wonkaverse! Suggested talking points: Wonky Makes Me Feel Good, Berry-trocious, Ketchup Joke Surcharge, Anti-Sports Island, Jackson Pollock of Autumnal FlavorFair Elections Center: https://www.fairelectionscenter.org/