Podcasts about Jean Dubuffet

C'est le 17 juin 1940 que tout bascule dans la vie de Daniel Cordier. Ce jour-là, le jeune homme, volontiers bagarreur, sortant d'une enfance malmenée, militant à l'extrême droite, entend l'annonce du Maréchal Pétain décidé à demander l'armistice. Âgé d'à peine vingt ans, il refuse la défaite et s'embarque sans même savoir où il se rend, ce qu'il veut, c'est se battre pour libérer la France. Après avoir traversé la Manche, le téméraire arrive à Londres. Il s'imagine les armes à la main et s'engage dans la « légion de Gaulle », futures Forces françaises libres. Mais, à sa grande déception, il restera un homme de l'ombre. Un homme choisit par Jean Moulin qui en fait son secrétaire. Le jeune Cordier se lance alors, corps et âme, dans les missions qui lui sont confiées. Après la guerre, contre toute attente, il devient un acteur majeur de l'Art moderne, soutenant les talents émergents, comme Nicolas de Staël ou Jean Dubuffet . Un collectionneur et un marchand influent. Puis, dans les années septante, il lui faudra revenir à ses années de résistance pour défendre la mémoire de Jean Moulin. Il se fait historien rigoureux. A sa mort, en 2020, les autorités salueront « une vie romanesque (…) passée au service de la Liberté, pour la grandeur de la France ». Au soir de sa vie, le vieux résistant avait regardé bien en face ses engagement réactionnaires de jeunesse et en avait assumé les conséquences, s'engageant contre les extrémismes renaissants, pour l'égalité des droits humains, en faveur du mariage pour tous Mais toujours demeurerait le regret de ne pas avoir participé aux combats militaires pour enfin savoir si, face à l'ennemi, il se serait montré à la hauteur de ses ambitions. Partons sur les traces d'un homme sincèrement courageux. Avec les Lumières de Sylvie ZAIDMAN, directrice du musée de la Libération de Paris- musée Général Leclerc-musée Jean Moulin. Sujets traités : Daniel Cordier, résistant, Jean Moulin, militant , extrême droite, Maréchal Pétain , De gaulle, Nicolas de Staël ,Jean Dubuffet Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be :https://auvio.rtbf.be/emission/5936 Intéressés par l'histoire ? Vous pourriez également aimer nos autres podcasts : L'Histoire Continue: https://audmns.com/kSbpELwL'heure H : https://audmns.com/YagLLiKEt sa version à écouter en famille : La Mini Heure H https://audmns.com/YagLLiKAinsi que nos séries historiques :Chili, le Pays de mes Histoires : https://audmns.com/XHbnevhD-Day : https://audmns.com/JWRdPYIJoséphine Baker : https://audmns.com/wCfhoEwLa folle histoire de l'aviation : https://audmns.com/xAWjyWCLes Jeux Olympiques, l'étonnant miroir de notre Histoire : https://audmns.com/ZEIihzZMarguerite, la Voix d'une Résistante : https://audmns.com/zFDehnENapoléon, le crépuscule de l'Aigle : https://audmns.com/DcdnIUnUn Jour dans le Sport : https://audmns.com/xXlkHMHSous le sable des Pyramides : https://audmns.com/rXfVppvN'oubliez pas de vous y abonner pour ne rien manquer.Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

L'art dit « brut » émerge loin des écoles et des académies. Jean Dubuffet, inventeur du terme, parlait d'un art « produit par des personnes indemnes de culture artistique ». Il répond à un besoin d'expression impérieux et spontané, souvent dans le cadre de placements psychiatriques, de détentions ou dans des conditions d'isolement choisi. Pourtant, ces oeuvres sont aujourd'hui exposées dans des musées et recherchées par des collectionneur.euses. Comment cet art, né en marge, trouve-t-il aujourd'hui sa place dans le paysage artistique et dans le marché de l'art contemporain? Production : Laurence Difélix Réalisation : Sandro Lisci Les invité.es: Natacha Isoz Historienne de lʹart, commissaire dʹexpositions et éditrice. Elle a publié " Lʹart brut et son envers : Histoire de la collection Neuve Invention ", Presses polytechniques et universitaires romandes, 2021. & Jean-David Mermod Collectionneur et marchand dʹart brut. Expert dʹAloïse Corbaz.

In this audio essay, I roam from post-war France to the abstract expressionists to the artists of the East Village and even to outer space to consider times in art history when art was forced to bloom in the dark. These under-the-radar moments yielded deeply experimental work, and I wonder how we might channel some of that spirit in our own time.Artists mentioned: Laurie Anderson, Joan Miro, Jean Dubuffet, Marcel Duchamp, David Wojnarowicz, and Judy GlantzmanScientists mentioned: Robert H Dicke, Jim PeeblesJim Peebles interviewed by Alan Lightman for the American Institute of Physics January 19, 1988 Princeton, NJ: https://www.aip.org/history-programs/niels-bohr-library/oral-histories/33957All music by Soundstripe----------------------------Pep Talks on IG: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@peptalksforartists⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Pep Talks website: https://www.peptalksforartists.com/Amy, your beloved host, on IG: ⁠⁠⁠⁠⁠⁠@talluts⁠⁠⁠⁠⁠⁠Pep Talks on Art Spiel as written essays: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://tinyurl.com/7k82vd8s⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠BuyMeACoffee⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Donations always appreciated!

Jean Dubuffet acuño en 1945 el término Art Brut  para referirse al arte creado por personas ajenas al mundo artístico, sin una formación académica que producen obras reflejo de una creatividad pura, sin contaminar por la imitación de modelos artísticos  ya establecidos. Carlos Grassa Toro, escritor, comisario de exposiciones y director del del centro de investigación y creación artística LA CALA en Chodes, presenta ahora una experiencia, IMPROBABLES, que explora esta via de creación artística. Una serie de monografías a todo color que se presentan esta semana en el Pablo Serrano y de las que hoy hablamos en la Torre de Babel con Carlos Grassa Toro.De patrimonio artístico hablamos también en la segunda parte del programa, en este caso siguiendo las aguas del canal imperial de Aragón y con la compañía de Paco Bolea. El canal  es, con sus 108 kilómetros de longitud desde la localidad navarra de Fontellas hasta Fuentes de Ebro,  una de las principales obras de ingeniería de la Europa del siglo XVIII y, desde luego, el proyecto más titánico y costoso de la España de la época. Detrás de su construcción hay grandes nombres de la historia de Aragón como el Conde de Aranda, Ramón Pignatelli y el conde de Sastago, pero además su construcción supuso la creación de obras de ingeniería y arte que ya son parte de nuestro patrimonio común.

  Today, on the More Cheese Less Whiskers podcast, We are talking with Steve Light. Hearing his journey from web designer to Swindon's prominent mural artist demonstrates the transformative impact of rediscovered creativity. After a twenty-year hiatus, his return to art during lockdown has resulted in over 25 exhibitions and Swindon's largest mural, bringing vibrancy to the community.   His figurative expressionist style, influenced by Jean Dubuffet and Jean-Michel Basquiat, now adorns a converted post office studio where he creates works that challenge traditional artistic boundaries. Light's practice spans from street murals to gallery exhibitions, proving art's versatility in modern spaces.   Through initiatives like the Red Cliff Collective and collaborations with local musicians, Light exemplifies how artists can engage communities while maintaining creative integrity. His work continues to reshape Swindon's visual landscape, making art accessible to all residents.   Summary: 1. I introduce Steve Light, a mural artist from Swindon, who shares his journey from being a shy child with a love for art to becoming a significant figure in the street art scene of his hometown. 2. Steve discusses a discouraging experience with an art tutor that led him to abandon art for 20 years and how he humorously hints at a connection to the mysterious artist Banksy. 3. We explore how Steve reignited his passion for art during the lockdowns, transitioning from web design to a full-time art career, and how he secured a studio in a repurposed post office. 4. Steve describes his artistic style as figurative expressionist, drawing inspiration from artists like Jean Dubuffet, Keith Haring, and Jean-Michel Basquiat, and his aspirations for larger-scale works. 5. We delve into the intersection of art and commerce, discussing how artists can balance creative pursuits with commercial opportunities, and the role of art in branding and environments. 6. The episode explores the concept of street art collectives and creative collaborations, highlighting the impact of such initiatives on local communities and how they can elevate artists' reach. 7. We discuss the potential for forming a self-appointed art collective, drawing parallels between the art and music industries, and the opportunities for multidisciplinary collaboration within a collective. 8. Steve shares personal inspirations, including his love for 90s hip-hop and 80s bands, and discusses the potential for local initiatives, such as mural projects and designing for restaurants, to engage communities. 9. The conversation touches on previous collaborations, like painting a suit for a musician performing at Glastonbury, showcasing the value of leveraging local talent and creative synergies. 10. The episode concludes with ideas on creating innovative art projects, like permanent outdoor exhibitions, and the transformative potential of art in both individual careers and community development.   Show Links: ProfitActivatorScore.com BreakthroughDNA.com 90minutebooks.com  

Art Brut, come la definiva il suo inventore, l'artista e teorico francese Jean Dubuffet «è un'arte grezza, pura, non filtrata»: non è l'arte dei dilettanti, ma l'arte dell'istinto, dell'anima nuda, dell'espressione incontaminata che esce dai percorsi accademici, dalle convenzioni artistiche e culturali: è l'arte insomma di chi non ha frequentato scuole, ma ha imparato da sé, dai propri sogni, dalle proprie visioni. Un'arte che ispirerà nel corso della sua carriera lo stesso Dubuffet, che ne diviene anche il principale collezionista. La sua donazione di cinquemila opere nel 1971 alla città di Losanna è all'origine della Collection d'art brut, che oggi vanta una collezione di ben 70mila opere. Una importante mostra al Museo delle culture di Milano – realizzata in collaborazione con il museo losannese – ne racconta la genesi e i temi attraverso le opere di alcuni dei protagonisti dell'art brut. Per capire quanto questa arte “incontaminata” abbia contribuito ad ampliare i confini dell'arte e come lo sguardo sull'art brut sia cambiato dalla metà del Novecento a oggi, Voci dipinte ospita chi ha ideato e curato l'esposizione “Dubuffet e l'art brut. L'arte degli outsider”: Sarah Lombardi, Anic Zanzi e Baptiste Brun.Dalle visioni degli outsider dell'art brut all'ironia visionaria e anticipatrice di Enrico Baj; al maestro della neoavanguardia italiana Palazzo Reale a Milano dedica un'ampia retrospettiva a cento anni dalla nascita che analizza con uno sguardo nuovo l'artista dei Generali e dei Meccano.

Si pour beaucoup l'art et synonyme de raffinement, qu'en est-il de l'art brut ? C'est de l'art créé par des artistes sans initiation. Cette désignation vient du peintre Jean Dubuffet. En effet, il collectionnait des objets et des peintures créés par des détenus, des pensionnaires d'hôpitaux psychiatriques et d'autres marginaux. Mais pourquoi appelle-t-on cet art "brut" ? D'où cela vient-il ? Trouve-t-on cet art dans les musées ? Écoutez la suite de cet épisode de "Maintenant Vous Savez - Culture". Un podcast Bababam Originals, écrit et réalisé par Jonathan Aupart. À écouter aussi : Que signifie la montagne aux étoiles du logo Paramount ? Qui sont ces acteurs qui ont inspiré des personnages de dessins animés ? Quelles sont les 6 prédictions de la série Black Mirror devenues réalité ? Retrouvez tous les épisodes de "Maintenant vous savez - Culture". Suivez Bababam sur Instagram. Première diffusion : 18 avril 2022 Learn more about your ad choices. Visit megaphone.fm/adchoices

En 10 ans, RENT est devenu le rendez-vous incontournable de l'industrie immobilière et son directeur, Stéphane Scarella a su prouver ses capacités fédératrices tout comme son sens fin de l'analyse et de la prospective. A quelques semaines de l'ouverture de la douzième édition de ce salon devenu un classique, il est venu sur les Ondes de l'Immo échanger sur les nouvelles technologies de l'immobilier, désormais perfusées à l'intelligence artificielle. Quand l'intelligence artificielle est au service de l'expérience utilisateur, de l'accessibilité, de l'abordabilité du logement, de la durabilité et de l'efficacité énergétique, c'est tout de suite avec Stéphane Scarella.« La Proptech et l'intelligence artificielle sont plus que jamais les deux alliées de l'industrie immobilière pour porter sa révolution technologique en cours. »  Stéphane SCARELLA, PDG du label RENT Une émission animée par Anne-Sandrine Di Girolamo.

Die Langen Foundation feiert ihr 20-jähriges Jubiläum mit einer ganz besonderen Ausstellung: Drei Generationen - eine Leidenschaft. Gezeigt werden 130 Kunstwerke aus dem Privatbesitz der weit verzweigten Familie Langen. Antje Wewer hat Karla Zerressen und ihre Mutter Sabine Langen-Crasemann in Meerbusch in dem Bungalow besucht, den das legendäre Sammlerehepaar Volker und Marianne Langen in den Fünfzigern hat bauen lassen. Ein gläserner Flachdach mit eigener Bildergalerie für ihre stetig wachsende Sammlung. Ziemlich ungewöhnlich, wie so vieles. Die Kunstliebhaber besuchten Museen und Galerien, erwarben Werke von Max Beckmann, Fernand Léger, Pablo Picasso, Constantin Brâncusi und Francis Bacon. Die Langens haben über Jahrzehnte eine einzigartige Sammlung außer- europäischer, insbesondere japanischer Kunst sowie der Kunst des 20. Jahrhunderts zusammengetragen. 1970 lernen die beiden den französischen Künstler Jean Dubuffet kennen und erwerben für ihren Garten in Meerbusch die monumentale Außenskulptur Le Bocage, vor der sich Sabine und Karla haben fotografieren lassen. Hier schließt sich der Kreis. Sabine Langen-Crasemann erzählt, wie es war mit kunstverliebten Eltern aufzuwachsen und wie ihre Mutter, dem japanischen Architekten Tadao Ando den Auftrag gab, auf der ehemaligen Raketenstation Hombroich in Neuss, ein privates Museum zu bauen. Das größte Kunstwerk, was sie jemals erstanden hat. Und Karla Zerressen, die Geschäftsführerin der Langen Foundation, erzählt wie die Leidenschaft für zeitgenössische Kunst von Generation zu Generation weitergegeben wurde und warum es in ihrer Familie kaum weiße Wände gibt. So lange die Ausstellung in der Langen Foundation läuft, allerdings schon. 20 Jahre Langen FoundationDrei Generationen – Eine Leidenschaft05. Mai – 11. August 2024https://langenfoundation.de/Unsere allgemeinen Datenschutzrichtlinien finden Sie unter https://art19.com/privacy. Die Datenschutzrichtlinien für Kalifornien sind unter https://art19.com/privacy#do-not-sell-my-info abrufbar.

durée : 00:26:01 - Les Nuits de France Culture - par : Philippe Garbit - "Des idées et des hommes - Quelques propos sur la peinture" avec le peintre Jean Dubuffet au micro de Jean Amrouche (1ère diffusion : 20/03/1954). - invités : Jean Dubuffet

“Hervé Di Rosa” le passe-mondesau Centre Pompidou, Parisdu 28 février au 26 août 2024Interview de Hervé Di Rosa,par Anne-Frédérique Fer, à Paris, le 26 février 2024, durée 39'49,© FranceFineArt.https://francefineart.com/2024/02/27/3518_herve-di-rosa_centre-pompidou/Communiqué de presse Commissariat :Michel Gauthier, conservateur, Musée national d'art moderne, Centre PompidouHéritier d'une histoire allant de Dada au mouvement punk, en passant par Jean Dubuffet et CoBrA, Hervé Di Rosa n'a eu de cesse de remettre en question la légitimité des hiérarchies artistiques et de l'absolutisme du « Grand Art ». Grâce à l'important don fait par l'artiste en 2013 et à quelques prêts notamment d'oeuvres récentes, l'exposition « Hervé Di Rosa, le passe-mondes » offre, en une trentaine d'oeuvres, un aperçu éloquent du parcours de l'artiste.Né en 1959 à Sète, Hervé Di Rosa est une figure emblématique des années 1980 et joue avec des peintures comme Diropolis ou Magic Battle, présentées dans l'exposition, un rôle essentiel dans le mouvement de la Figuration libre. Au cours des décennies suivantes, il donne à l'iconographie riche et exubérante de sa première période une nouvelle vitalité avec le singulier projet nommé Autour du monde qui le conduit de Sofia à Lisbonne, en passant par Kumasi, Porto-Novo, Addis-Abeba, Bình Dương, Durban, La Havane, Mexico, Foumban, Miami, Tunis ou Séville. Plus d'une vingtaine d'oeuvres de cet ensemble sont réunies pour l'exposition. Au cours de ses voyages, il étudie la manière dont les images se fabriquent ailleurs, afin d'utiliser ces différentes techniques et savoir-faire dans ses propres créations : la technique de l'icône bulgare (Le Bonheur), la peinture d'enseignes au Ghana (Art modeste), les appliqués sur tissu du Bénin (La Sortie de l'usine), les laques et incrustations de nacre au Vietnam (Le Tigre de nacre), la fonderie camerounaise (Robot à pinces) ou encore la terre cuite des arbres de vie mexicains (Écoute ton corps il est vivant) et les sequins de la communauté haïtienne de Floride (Guns).Parallèlement à son activité d'artiste, Hervé Di Rosa est également un collectionneur passionné. Il a édifié au fil des années une collection de ce qu'il nomme « les arts modestes ». Une partie de cette collection multiforme se trouve désormais au Musée international des arts modestes, créé en 2000 à Sète par Hervé Di Rosa. Le rapport entre l'oeuvre et la collection, entre les images que l'artiste crée et celles que le collectionneur rassemble avec passion constitue l'un des aspects les plus fascinants de l'univers Di Rosa. Un grand planisphère (L'Archipel des arts modestes) et une vitrine contenant plusieurs centaines d'objets témoignent dans l'exposition de cette dimension de son travail. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

What do a comment made on the Great British Bake-Off, a 1970's television interview with southern author, Eudora Welty, and a Michigan Mer-man have in common? Glad you asked! They all explore ideas of monstrousness, the topic of this episode -- specifically channeling our inner monstrous creative selves to create work that is rich, bold, memorable and unique. [Evil laugh of Nosferatu] Come along with me on my search for aspirational creative monstrosity. Television programs mentioned: "Great British Bakeoff:" Season 11, Episode 3, Rowan Claughton with Paul Hollywood "Firing Line" with William F. Buckley: "The Southern Imagination in Literature" 1972 with Eudora Welty and Walker Percy Artists mentioned: Francisco José de Goya, Jean Dubuffet, James Ensor, Francis Bacon, The Monster Roster group (Chicago), Brenda Goodman ("Self-Portrait 2” 1994), Steve DiBenedetto ("Rosemary's Baby's Baby" 2021), Whit Harris ("Maiden" 2023) and Louise Bourgeois ("Femme" 2006) Publications mentioned: "Where Is the Voice Coming From" a short story by Eudora Welty, "Art Monsters: Unruly Bodies in Feminist Art" book by Lauren Elkin, "Monsters of the Midwest: True Tales of Bigfoot, Werewolves & Other Legendary Creatures" book by Jessica Freeburg and Natalie Fowler All music by Soundstripe ---------------------------- Peps has a Patreon! ⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/PepTalksforArtists⁠⁠⁠⁠⁠⁠⁠⁠! Join the Peps fam on Patreon and become a part of the Pep Talks Peerage today. Pep Talks on IG: ⁠⁠⁠⁠⁠⁠⁠⁠⁠@peptalksforartists⁠⁠⁠⁠⁠⁠⁠⁠⁠ Amy, your beloved host, on IG: ⁠⁠⁠@talluts⁠⁠⁠ Pep Talks on Art Spiel as written essays: ⁠⁠⁠⁠⁠⁠⁠⁠https://tinyurl.com/7k82vd8s⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠BuyMeACoffee⁠⁠⁠⁠⁠⁠⁠⁠ Donations always appreciated! --- Send in a voice message: https://podcasters.spotify.com/pod/show/peptalksforartistspod/message Support this podcast: https://podcasters.spotify.com/pod/show/peptalksforartistspod/support

Il y a des courants artistiques dont on a tous entendu parlé au moins une fois. Que ce soit à l'école, dans un musée ou au détour d'une émission culturelle. Mais pour autant, il peut être difficile de les définir. Dans cet épisode, nous allons éclairer vos lumières sur un concept apparu au milieu des années 40 : celui de l'art brut. L'art brut est une expression développée par le peintre Jean Dubuffet en prenant pour base sa collection d'œuvres artistiques bien particulière. En effet, il possédait un ensemble d'objets et de peintures créés par des détenus, des pensionnaires d'hôpitaux psychiatriques et d'autres marginaux. Mais pourquoi appelle-t-on cet art "brut" ? D'où cela vient-il ? Trouve-t-on cet art dans les musées ? Écoutez la suite de cet épisode de "Maintenant Vous Savez - Culture". Un podcast Bababam Originals, écrit et réalisé par Jonathan Aupart. À écouter aussi : Que signifie la montagne aux étoiles du logo Paramount ? Qui sont ces acteurs qui ont inspiré des personnages de dessins animés ? Quelles sont les 6 prédictions de la série Black Mirror devenues réalité ? Retrouvez tous les épisodes de "Maintenant vous savez - Culture". Suivez Bababam sur Instagram. Première diffusion : 18 avril 2022 Learn more about your ad choices. Visit megaphone.fm/adchoices

Aujourd'hui, Pierre Lescure se rend à la fondation Jean Dubuffet pour rencontrer Nadia Tereszkiewicz, César du meilleur espoir 2023 pour son rôle dans "Les Amandiers" pour nous parler au milieu de l'art qui l'inspire, la musique classique, la danse, le théâtre, Wax Tailor, et les bronzés font du ski !

The new definition of painterly success just might be having Elisabeth Condon describe your painting. It's truly that satisfying. Elisabeth is back on the pod to describe a painting, and it's a fascinating one: "Untitled" 1968-69 from the Edge Painting series by Sam Francis. Come along as Elisabeth takes us not only through the painting itself, but also through Sam Francis' life and influences: namely that of his beloved Japan. The concept of "ma" or the potential of emptiness, Asian ink painting, and Francis' unique anti-New York gentle lyricism all factor in to make this talk a riveting deep dive into this Californian-born, second-generation Abstract Expressionist artist. See an image of the painting here: https://tinyurl.com/2c487tpr (photo by Christopher Knight/LA Times) and https://tinyurl.com/ms8uxyj2 (photo by Elisabeth Condon) See Sam Francis at LACMA: ⁠"Sam Francis and Japan: Emptiness Overflowing"⁠ is up at LACMA in Los Angeles thru July 16, 2023 More about Sam Francis: https://samfrancisfoundation.org/ Find Elisabeth Condon online: https://www.elisabethcondon.com/ and on IG: @elisabethcondon Check out her work in person at The Golden Foundation in New Berlin, NY in "Made in Paint" (thru Aug 2023) and her mural-sized work at the Judy Genshaft Honors College Building at the University of South Florida (permanent). She is also now preparing for a solo show in December 2023 at Emerson Dorsch Gallery in Miami. Other writers and artists mentioned: Paul Jenkins, Joan Mitchell, Helen Frankenthaler, Morris Lewis, David Hinton (Chinese Art Scholar), Frida Kahlo, Arshile Gorky, Jackson Pollock, Marc Rothko, Pablo Picasso, Jean Miro, Paul Klee, David Park. Fernand Leger, Shirley Jaffe, Jean-Paul Riopelle, Georges DuThuit, Joan Mitchell, Ed Clark, Tachisme Abstraction Lyrique Movement, Jean Dubuffet, Wols, Norman Bluhm, Sherman Lee (Chinese Art Scholar), Sesshū (Sumi-e Master), Moby Dick by Herman Melville, Lee Ufan, Brice Marden, Monoha Group of Hawaii, Kiki Kokolvic, William Wilson (LA Times writer), Cecily Brown, Jackson Pollock, Steve DiBenedetto, Philip Guston, Nihonga Painting, Lisa Beck, Andrea Belag, Matthew Richie, Richard E. Speer (Art writer), Yoshiaki Tono Materials mentioned: Magna Paint, Hoechst Dispersions, Flashe, Guerra Paint Amy's show during Upstate Art Weekend: "Appearances" at the Strange Untried Project Space July 22-23, 11-6pm, More info: https://www.strangeuntried.com/ and on IG: @strange_untried And the Cut Me Up Magazine collage exhibition at the Albany International Airport through Dec 2023. ---------------------------- Pep Talks on IG: ⁠⁠⁠@peptalksforartists⁠⁠⁠ Pep Talks on Art Spiel as written essays: ⁠⁠⁠https://tinyurl.com/7k82vd8s⁠⁠⁠⁠⁠⁠⁠ Amy's website: ⁠⁠⁠https://www.amytalluto.com/⁠⁠⁠ Amy on IG: ⁠⁠⁠@talluts⁠⁠⁠ ⁠⁠⁠BuyMeACoffee⁠⁠⁠ Donations appreciated! --- Send in a voice message: https://podcasters.spotify.com/pod/show/peptalksforartistspod/message Support this podcast: https://podcasters.spotify.com/pod/show/peptalksforartistspod/support

Today on Crime & Entertainment we dive into the mind of a high-end art thief, Joselito Vega, otherwise known as Picasso Vega. Vega, a 42 year old who worked for Zimmer painting Inc., allegedly stole three works of art in March of 2011 from a well-known art collection. Vega was facing up to 26 years in jail after being arrested for charges stemming from the art theft. The theft took place in the Schulhof estate, a Long Island mansion which houses over 300 twentieth century artworks valued at millions of dollars. When one of the pieces — Jean Dubuffet's Armchair II — was sold at an auction, investigators traced the payment to a Brooklyn mailbox belonging to Joselito Vega, who had been hired to paint the home prior to the paintings' disappearance. Police nabbed Vega in a sting operation when Vega was invited back for another paint job at the Schulhof house, where he was videotaped “scrutinizing” a crate full of paintings before placing three selections (one of which was a Picasso) in a black garbage bag. But Vega's defense attorney says that prosecutors laid an unfair “trap” for his client. Further, his lawyer contended that Vega “‘couldn't know much about art' because he is accused of selling a painting ‘he was alleged to have stolen for $10,000 when he should have sold it for $50,000." The whereabouts of the other two stolen paintings — Frank Stella's Tuftonboro (appraised at $25,000) and Norman Lewis's Flower (appraised at $10,000) — are still unknown. A judge eventually determined that Vega was even more valuable than the art he stole and set his bond at $1 million. This crazy tale was recently made into a documentary called "The Picasso of Thieves." So, tune into this crazy tale of art theft turned documentary here on Crime & Entertainment.Follow Picasso Vega at the links below.Facebookhttps://www.facebook.com/profile.php?id=100086048632036&mibextid=ZbWKwLIGhttps://www.instagram.com/picassoborninbrooklyn/?igshid=MzNlNGNkZWQ4Mg%3D%3D&fbclid=IwAR0Wzqd3Q-4ElyPpbBXfmmfetY9ywgjBq6vzRbaWuQfYYmkCAmS6i2KPaEwYouTubehttps://www.youtube.com/@UC4fBDAm8xlKLUZqHbCRjcGA Linked INhttps://www.linkedin.com/in/picasso-vega-39210b250?fbclid=IwAR1yAfWOMe_jX-_H2fRsks9gcnsG0LeWuKlV444JZG83mJ8i2EfwZW0JRP4Twitterhttps://twitter.com/PicassoBIB?t=sskEfRqAmGFCARkVGnMa6g&s=09&fbclid=IwAR2oXU8Z6cke50fc7AZsKOi7PSPaiPmzqXvZrTSzcNYHXAjXbC36Nbkv-eoFollow Crime & Entertainment BelowLike us on Facebook -  https://www.facebook.com/crimeandente...Follow us on Instagram - https://www.instagram.com/crimenenter...Listen on Spotify - https://open.spotify.com/show/4T67Bs5...Listen on Apple Music - https://podcasts.apple.com/us/podcast...Listen on Stitcher - https://www.stitcher.com/show/crime-e...Listen on Google Podcast - https://podcasts.google.com/feed/aHR0...Listen on Amazon Music - https://music.amazon.com/podcasts/9cd...

Am Anfang unseres Podcast hatten wir ja bereits angekündigt, dass wir eine kleine Sammlung aufbauen und diese Ende 2022 im Rahmen einer Charity-Auktion an unsere Hörerinnen und Hörer versteigern möchten. Der Erlös der Versteigerung kommt der Organisation Ärzte ohne Grenzen zugute. Eine weitere Künstlerin, die unser Vorhaben mit einer ihrer Arbeiten unterstützt, ist Katja Uccusic-Indra. Sie hat an der Wiener Akademie der bildenden Künste, bei Friedensreich Hundertwasser, Malerei und Grafik studiert. Ihre Bilder sind bevölkert von Figuren und Objekten im Art-brut-Stil, ihre Idole Künstler wie Peter Pongratz oder Jean Dubuffet. Bei ihren Werken handelt es sich um rohe, bodenständige Arbeiten. Ihr Bild für die Kunstblick-Sammlung trägt den Titel "Kiew". Es misst 80 x 80 cm, bei der Technik handelt es sich um Marker auf Leinwand. Hört jetzt rein und erfahrt mehr über sie, ihre Arbeit und das Bild. Viel Vergnügen! Nähere Details zur Versteigerung, am 14. Juli beim Dorotheum, findet ihr auf unserer Webseite.

Greetings! The selection of the works making up a majority of today's program were inspired by my recent trip to Turkey.  You'll get a bit of a history lesson in how traditional Turkish music was integrated with Western music in the early 20th century following the Turkish War of Independence which ended in 1923 and the establishment of the Republic of Turkey which followed.  In addition, I've got some new releases thrown in for good measure. Enjoy! Joel e-mail: pushingtheenvelopewhus@gmail.com Twitter: https://twitter.com/envpusher1   12-31-22 Pushing The Envelope Playlist   Electronic Music No. 1 - B​ü​lent Arel - Electronic Pioneers - CRI (1976) https://www.newworldrecords.org/products/electronic-pioneers   Reflections / Canine / Traffic / The Window / Double Mask & Deployment / Bal Des Leurres - Ilhan Mimaroglu - Music for Jean Dubuffet's COUCOU BAZAR - Finnadar (1973)   Dances of Nasreddin Hodja - piano: Nene Hatun / composer: Fazil Say - Pianistics - digital release (2014) https://nenehatun.bandcamp.com/album/pianistics   Sonare - JACK Quartet / composer: Cenk Erg​ü​n - Sonare & Celare - New Focus Recordings (2019)  https://cenkergun.bandcamp.com/album/cenk-erg-n-sonare-celare   Mouram / Tokiwarai - Carl Stone - Gall Tones - digital self-release (2022) https://carlstone.bandcamp.com/album/gall-tones   Schizoid Breakbeat Polka - Tomoroh Hidari - Alien Audio Absurdities - Ivory Bunker Recordings (2008/2018) https://ivorybunkerrecordings.bandcamp.com/album/alien-audio-absurdities   Uncanny Being (Violin Study #2) - violin/composer: Jessica Moss / drums: Jim White / upright bass: Thierry Amar - Galaxy Heart - Constellation Records (2022) also included on Musicworks #143 https://cstrecords.com/products/cst168-jessica-moss-galaxy-heart?variant=39842999074950 https://www.musicworks.ca/featured-article/jessica-moss-orchestra-within   Symphony No. 2, Part 5 - Douglas Schmidt & John Oliver - Symphony No. 2, "Iceberg" - John Oliver Music (2022) https://johnolivermusic.bandcamp.com/album/symphony-no-2-iceberg   Accento Ferreo - Cubico - Roba Mista - LOF Crew (2022) https://lofcrew.bandcamp.com/album/roba-mista   Uncomfortable Possibilities - Tolga T​ü​z​ü​n - An Anthology Of Turkish Experimental Music 1961​-​2014 - Sub Rosa (2017) https://subrosalabel.bandcamp.com/album/an-anthology-of-turkish-experimental-music-1961-2014   Democracy Lessons - Asaf Zeki Y​ü​ksel - An Anthology Of Turkish Experimental Music 1961​-​2014 - Sub Rosa (2017) https://subrosalabel.bandcamp.com/album/an-anthology-of-turkish-experimental-music-1961-2014

What you'll learn in this episode: How synesthesia—the ability to hear colors and see music—has impacted William's work Inside William's creative process, and why he never uses sketches or finishes a piece in one sitting Why jewelry artists should never scrap a piece, even if they don't like it in the moment The benefits of being a self-taught artist, and why art teachers should never aim to impart their style onto their students How a wearer's body becomes like a gallery wall for jewelry About William Harper Born in Ohio and currently working in New York City, William Harper is considered one of the most significant jewelers of the 20th century. After studying advanced enameling techniques at the Cleveland Institute of Art, Harper began his career as an abstract painter but transitioned to enameling and studio craft jewelry in the 1960s. He is known for creating esoteric works rooted in mythology and art history, often using unexpected objects such as bone, nails, and plastic beads in addition to traditional enamel, pearls, and precious metals and stones. His work is in the collections of the Metropolitan Museum of Art, the American Museum of Crafts, the Cleveland Museum of Art, and the Museum of Fine Arts, Boston. A retrospective of his work, William Harper: The Beautiful & the Grotesque, was exhibited at the Cleveland Institute of Art in 2019. Additional Resources: William's Instagram Photos available on TheJewelryJourney.com Transcript: Rather than stifle his creativity, the constraints of quarantine lockdown and physical health issues helped artist-jeweler William Harper create a series of intricate jewels and paintings imbued with meaning. After 50+ years as an enamellist, educator and artist in a variety of media, he continues to find new ways to capture and share his ideas. He joined the Jewelry Journey Podcast to talk about his creative process; why he didn't want his art students to copy his style; and why he never throws a piece in progress away, even if he doesn't like it. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the first part of a two-part episode. Please make sure you subscribe so you can hear part two as soon as it's released later this week. I'd like to welcome back one of today's foremost jewelers, William Harper. To say he is a jeweler leaves out many parts of him. He's a sculptor, an educator, an artist, an enamellist, and I'm sure I've leaving out a lot more. His work is in the collections of the Metropolitan Museum of Art, the American Museum of Crafts, the Museum of Fine Arts, and most recently he had a one-person show, “The Beautiful & the Grotesque,” at the Cleveland Institute of Art. I can't do justice to all of his work, so I'll let him try to do some. Bill, welcome to the program. William: Thank you. It's great to see you again. Sharon: It's so great to see you after everything we've gone through. Give us an overview of how you got into jewelry and enameling, your art, everything. How did you get into it? William: One of the questions you gave me to ponder ahead of time was if I was interested in jewelry when I was a child. I was not even interested in jewelry when I was in college, except for taking one course to make the wedding rings for my now ex-wife, but that was it. A few years later, I got a phone call from Florida State University asking me if I would like to interview for a job teaching jewelry and metals and enameling. I wrote back and said, “I don't think I'm the person you want, because I don't know very much about jewelry.” So, I said no. Two days later, they called me again, and I told them the same thing. Then two days later, they called me again and I said, “Let me think about this. You're on the quarter system. Are you willing to pay me for one quarter, when I'm not there and I'm cramming on how to teach jewelry?” The head of the department said, “That sounds like a great idea. As long as you can come three weeks ahead of the students, we'll be happy.” I'm basically self-taught except for watching people at a few workshops. I think being self-taught is a very valuable tool because I was not chained to the style or techniques of any major professor, which happens so much, especially to students coming out with MFAs. For years, their work will look pretty much like what their instructor was doing. I didn't have that. I was my own instructor, and I was able to play out, in my 55-year career, how to do what I saw vaguely in my mind. I should say at this point, I had synesthesia—I could never say it correctly—which is the ability to hear music and see colors or see a painting and hear music. I'm blessed with that. I used to think it was a chain around my neck, but I appreciate the fact that I can do something that very few people can do. Sharon: You mean you see a painting or you hear music and you think about how that translates into art or jewelry? I'll call what you do jewelry. William: Yeah. The strangest one is I can smell an odor, whether it's bad or something overly sweet, like old lady rose perfume or cigars, and I have an instant reaction where I see—I don't see things; I sense things in my mind. That's the way it works. Sharon: You've talked about the dichotomy in your work. Does that play into it? William: Oh, absolutely. I've always been in opposites. Long before I was doing jewelry, I had a very successful enamel career. I would usually make two different objects in the same physical format, but one would deal with sensations that are opposite of the other, such as light and dark, good and evil, colorful and noncolorful. That informed that work. Now, after all the years doing jewelry exclusively, I try to build diametrically opposed ideas into the forms. You mentioned the exhibition the Cleveland Institute of Art gave me a few years ago, “The Beautiful & the Grotesque.” The title of that show epitomized what I'm usually doing in my work. Sometimes it's not always obvious to the viewer, but it serves as a jumping point for me. If I can plug the catalogue— Sharon: Please do. William: Cleveland did a beautiful catalogue. Everything that was in the show was there. If you're interested in it, it's $25 plus $9.95 shipping. It adds up to $34.95. To get it, you can contact me at my email address, which is ArtWilliamHarper@mac.com. Sharon: ArtWilliamHarper@mac.com. William: Yes. Sharon: We'll have a thumbnail of that on the website so you can click on it and order it. William: Good, you've seen the catalogue. Can you vouch for how beautiful it is? Sharon: It's a beautiful catalogue. It has everything, the jewelry, the boxes, all of the art. When I say boxes, I'm thinking of the ones that are really art pieces. You said you think a lot of art is about thinking. What do you think about when you're doing your art? William: It often starts way before I actually begin making anything. That's a hard question to answer. For instance, I've done several series based on other artists, all of whom were painters. I prefer painting to jewelry right now, I have to say. But in terms of these influences, I would look at the work, for instance the work of Jean Dubuffet. He has incredibly beautiful, messy patterns that run— Sharon: Who? William: Jean Dubuffet. Sharon: Oh, Dubuffet, yes. William: I have loved his work for many, many years, and I have known that he was the instigator of what is called the art brut movement, which is art that is made by people that not only are not highly educated in universities or art departments, but they might have some kind of physical disability or mental disability, where they express themselves in these absolutely gorgeous, out of this world ways, not like any professional artist would do. Dubuffet collected those and was instrumental in having a museum set up—I think it was in Switzerland; I should know that—of this work. Talking about dichotomy, I wanted to catch that quality of not knowing what I was doing along with my sophisticated technique and taste. So, I did this series. I think there are 10 pieces. In order to do it, as I got into the third or fourth piece, I decided I wanted to write an essay about what the series meant to me being put into this catalogue. So, I gave it the name Dubu. Sharon: How? William: D-U-B-U. I came up with idea that a Dubu is a fantastical creature that can infect your mind and cause you to do absolutely glorious things. It was just something I made up in my mind. I should also say that I don't start a piece and finish it immediately. I don't even know where I'm going when I start a piece. I simply go into the studio and start playing around with the gold. I know that sounds silly, that somebody can play around with something as precious as gold. But in doing so, there's another dichotomy. I'm able to come up with forms that I would never be able to otherwise. At this point, I should mention I do absolutely no sketches, diagrams, or beginning things on paper to guide me. I simply allow the materials to guide me. I trust in them and my manipulation of them that they will start leading me to see what I want to be after. Sometimes these are small enamel pieces. Sometimes they're more complex with gold pieces. Sometimes they're a consideration of how to use a stone or a pearl. As I'm making these things, I know I can't use them necessarily in piece number one. So, my idea is, “O.K., go to my idea for piece number two and follow the same format of making things, simply because they amuse me.” I don't take myself seriously while I'm doing these things. I think that's part of why they're successful. I should say one of the qualities that my work has been lauded for is being humorous without being funny, without being a caricature. I have found that is a rather rough road to travel, but I'm able to facilitate it somehow. Anyway, I have these pieces I made, piece number one and piece number two. I still want to play around with making, let's say, a different kind of cloisonné enamel that had been used in pieces one and two. At that point, after I have made things that could become three different pieces, I take what I like and finish piece number one. As often as not, I think of the title first, which I know is a rather strange way to go about it. But in thinking of a title, it helps me guide the quality of the personage I'm dealing with. So, I finished piece number one. I don't take anything away from it at that point. When I get to piece number two, I'd better start making things for piece number four. There's this manipulation where all the pieces start moving around on my desk. When I start seeing there is a conclusion in making each one successfully, I know I can stop. Often in that process, I paint myself into a corner. I don't know where I'm going, but actually that's the best part in terms of the quality of the piece, because it gives me the opportunity to really think about what I'm after. After I've contemplated that, I'm able to get out of the corner, and I do piece number two and piece number three. This is a process I've used my entire career. I've done a series dedicated to Jasper Johns which is very intellectual, because he's a very intellectual artist. I did a series on Fabergé. I don't really like Fabergé. I admire him, but I don't like him particularly. In my series, each brooch had an egg-shaped enamel part as a part of the physicality of the piece. One of the things I don't like about Fabergé is that his work was very dry. It's beautiful, but it's dry. It doesn't have any kind of emotion attached to it at all. It was perfect for the Russian nobility because they were decadent. They were inbred. They proceeded far too long in this sociological process. So, I changed it by having in each piece a little zip that went from the outside peripheral into the center, which was like a sperm getting to the egg and fertilizing it. That's how I dealt with that matter. I've also done a series on Cy Twombly, who is my favorite painter. I know people wonder how I can be influenced by his work, which I admire for its messiness. I wish I could do it. People either get Twombly or they don't. When I look at a group of Twombly pieces, I'll have an idea of how to start meshing these into the same process I mentioned before, with the Dubus. I think I did the Twomblys 25 years ago and they still look fresh. That's how my process works. Sharon: How do you know if you've hit a wall? If you say, “This isn't going to work. I'm going to put it in the junk pile”? William: I don't put things in junk piles. It's too expensive and the enamel is too precious. I just put the elements aside. I know if I'm doing a series of 10 pieces, or if I decide I want it to be 12 pieces—it's never more than 12 in a series—by the time I get to 10 or 12, I had better have come to a conclusion with all those pieces and not have left off too many elements. I just put those aside. I might use them again in four years, five years. My work is rather slow because I think a lot about it, and I don't have drawings to follow. I don't think of myself as a designer; I think of myself as an artist who makes jewelry. There's a difference. Sharon: Do you know before you start how many pieces will be in a collection? Do you say, “I'm going to make 10 pieces. They're going to be in the collection, and I have no idea what it is”? William: Yeah, I generally set a goal for myself. There are other pieces I do that I call knee play pieces. Knee plays come from music. Robert Wilson collaborated on a piece that is now an iconic gem called Einstein on the Beach. It was in five acts, which, if you think my work is unintelligible, this work was almost totally unintelligible. But it appealed to a certain kind of mind as being exquisite. Between each act, without scenery or costumes or anything like that, there were groups of instrumentalists and vocalists who would improvise. With the knee play pieces, it's not determined what the music and the vocalization is going to be. The vocalization is not consisting of words; it's consisting of almost primal sounds that are put together with a cadence of Phillip Glass music. The reason they call it knee play is that they connect the acts. As soon as this group of pieces, the knee play music, is over from act one, they will usually suggest some kind of music or situation you're going to see in act two. That's sort of a meandering, intellectual approach, but I really like the idea. In my career, I haven't just made series. I've often done isolated pieces, and I would do those in order to open up thought processes I could use to get to the next series. Does that make sense? Sharon: Yes. Is that how you got to the collection you did during lockdown quarantine?

7 - Jean Dubuffet, Jardin d'hiver, 1968-1970 Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

7 - Jean Dubuffet, Jardin d'hiver, 1968-1970 Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Le créateur d'art brut Armand Schulthess fait de la nature le support de son expérience, créant un jardin encyclopédique au cœur d'une forêt, au Tessin. Avec l'idée de spatialiser l'ensemble des connaissances, il réordonne la pensée humaine dans un labyrinthe poétique. Dès son arrivée à Auressio, au-dessus de Locarno, en 1951, Schulthess organise sa châtaigneraie en un réseau de sentiers, passerelles, escaliers et points de vue. Puis, il accroche et cloue aux branches et aux troncs des arbres plus d'un millier de plaques de métal, souvent assemblées : des fonds de boîtes de conserve ou de bidons récupérés qu'il pare d'inscriptions. Tracées à l'aide d'une aiguille à tricoter, elles sont rédigées en allemand, français, italien, anglais et hollandais. Foisonnants, les textes concernent, sans hiérarchie, des domaines variés : chimie, géologie, littérature, sexualité, astronomie, philosophie, cinéma, cybernétique, mathématiques, astrologie, botanique mais aussi physique nucléaire, mécanique, opéra, ou encore cuisine et psychanalyse. Son exubérance langagière lui donne l'espoir, utopique, de rassembler les richesses du monde, l'unité du grand Tout. Après sa mort, ses affaires et l'ensemble de ses créations sont brûlées. Plusieurs œuvres sont sauvegardées in extremis. Quelques artistes et écrivains ont manifesté un vif intérêt pour cette création extravagante, comme S. Corinna Bille et Max Frisch qui ont écrit à son sujet. D'autres ont photographié l'environnement singulier, sauvegardant cette création disparue grâce à leur précieux témoignage. C'est le cas d'Ingeborg Luescher, de Gérald Minkoff et de Hans-Ulrich Schlumpf. C'est à ce dernier que l'on doit les photographies présentées au Club 44 (c. 1970), ainsi qu'un film documentaire : «J'ai le téléphone» (1974). Commissariat de l'exposition : Lucienne Peiry Lucienne Peiry est historienne de l'art, PhD, spécialiste d'Art Brut, commissaire d'expositions, conférencière et essayiste. Elle a occupé le poste de directrice de la Collection de l'Art Brut, à Lausanne, pendant dix ans (2001-2011) et a favorisé l'enrichissement et le rayonnement du musée en Suisse et à l'étranger. Elle a organisé près de 40 expositions en Europe, au Japon et en Australie, et donné des conférences ainsi que des cours en Europe, aux Etats-Unis et au Japon. Lucienne Peiry a consacré sa thèse de doctorat à l'Art Brut et à l'histoire de la collection conçue par Jean Dubuffet ; son étude a été publiée chez Flammarion en français, en anglais et en allemand, et en chinois. Elle a été récemment commissaire de plusieurs expositions, notamment « Écrits d'Art Brut. Langages & pensées sauvages », au Musée Tinguely à Bâle (2021-2022). Une exposition intitulée « Parures d'Art Brut, réunissant des costumes de plusieurs créateur·trice·s, est présentée actuellement au Musée des Beaux-Arts du Locle (2022). Lucienne Peiry est chargée de cours à l'EPFL (Ecole polytechnique fédérale de Lausanne), où elle donne un enseignement sur l'Art Brut (depuis 2010). Elle vient d'être nommée au sein du comité d'Art Brut du Centre Pompidou, à Paris, à la suite de la donation de la collection d'Art Brut de Bruno Decharme. L. Peiry a un site internet: notesartbrut.ch Enregistrée le 15 septembre 2022 au Club 44

En 1951, alors âgé de cinquante ans, Armand Schulthess rompt bruta­lement avec une existence bien ordonnée. Il quitte son emploi de fonctionnaire au Département fédéral de l'économie publique, à Berne, et s'exile au Tessin, dans une châtaigneraie. Loin du monde extérieur, il mène une existence ascétique et s'attelle à la création d'une œuvre extravagante. Il dispose des centaines de plaques de métal, suspendues aux branches ou accrochées aux troncs des arbres. Sur ces singuliers assemblages, faits de couvercles ou de fonds de boîtes de conserve, il consigne en cinq langues des bribes de savoirs, touchant à des sujets infiniment variés : astronomie, littérature, sexualité, philosophie, cinéma, cybernétique, mathématiques, astrologie, mais aussi physique nucléaire, mécanique, opéra, écritures chinoise et japonaise­, hiéroglyphes, cuisine, psychanalyse… Schulthess compose ainsi un saisissant “jardin encyclopédique”, qu'il ne cessera d'agrandir jusqu'à la fin de sa vie. À sa mort, ses héritiers et les autorités détruisent son œuvre. Lucienne Peiry est historienne de l'art, PhD, spécialiste d'Art Brut, commissaire d'expositions, conférencière et essayiste. Elle a occupé le poste de directrice de la Collection de l'Art Brut, à Lausanne, pendant dix ans (2001-2011) et a favorisé l'enrichissement et le rayonnement du musée en Suisse et à l'étranger. Elle a organisé près de 40 expositions en Europe, au Japon et en Australie, et donné des conférences ainsi que des cours en Europe, aux Etats-Unis et au Japon. Lucienne Peiry a consacré sa thèse de doctorat à l'Art Brut et à l'histoire de la collection conçue par Jean Dubuffet ; son étude a été publiée chez Flammarion en français, en anglais et en allemand, et en chinois. Elle a été récemment commissaire de plusieurs expositions, notamment « Écrits d'Art Brut. Langages & pensées sauvages », au Musée Tinguely à Bâle (2021-2022). Une exposition intitulée « Parures d'Art Brut, réunissant des costumes de plusieurs créateur·trice·s, est présentée actuellement au Musée des Beaux-Arts du Locle (2022). Lucienne Peiry est chargée de cours à l'EPFL (Ecole polytechnique fédérale de Lausanne), où elle donne un enseignement sur l'Art Brut (depuis 2010). Elle vient d'être nommée au sein du comité d'Art Brut du Centre Pompidou, à Paris, à la suite de la donation de la collection d'Art Brut de Bruno Decharme. L. Peiry a un site internet: notesartbrut.ch Enregistrée le 15 septembre 2022 au Club 44

Ben Luke talks to Adam Pendleton about his influences—from the worlds of literature, music and, of course, art—and the cultural experiences that have shaped his life and work. Pendleton, born in 1984 in Richmond, Virginia, makes paintings, drawings, performances, films and other works exploring the relationship between Blackness, abstraction and histories of the avant-garde. He is perhaps best known for an ongoing body of work he calls Black Dada. He discusses the influences behind Black Dada, from the poetry of Amiri Baraka to the sculpture of Sol LeWitt, reflects on the drawings of Jean Dubuffet and the drafts and revisions of Joan Jonas's work, and enthuses about the power of Nina Simone's voice and Julius Eastman's compositions. Plus, he gives insight into his studio life and answers the ultimate question: what is art for?Adam Pendleton: In Abstraction, Pace Gallery, Geneva, 7 September-5 October; Adam Pendleton: Toy Soldier, Galerie Eva Presenhuber, Zurich, 10 September-26 November. Whitney Biennial: Quiet as It's Kept, Whitney Museum of American Art, until 5 September. Adam Pendleton, Mumok, Vienna, 31 March-10 September 2023. Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

31 julio Nace: 1901: Jean Dubuffet, pintor y escultor francés (f. 1985). 1919: Primo Levi, escritor italiano (f. 1987). Fallece: 1784: Denis Diderot, escritor y filósofo francés (n. 1713). 1886: Franz Liszt, compositor húngaro (n. 1811). 1944: Antoine de Saint-Exupéry, aviador y escritor francés (n. 1900). Una Producción de Sala Prisma Podcast. 2021

From paper bullets to Tibetan rituals, early printing presses to present day recycling: Laurence Scott explores the cultural and social history of paper, from the Chinese Han Dynasty in 105 AD to the 20th-century workplace. His guests are: Adam Smyth, a Professor of English Literature and the History of the Book at the University of Oxford. His books include Material Texts in Early Modern England; Book Destruction from the Medieval to the Contemporary (co-edited with Dennis Duncan) and Book Parts: A collection of essays on the history of parts of a book; Therese Weber, an artist who has made paintings out of pulp, paper tearing and dipping and is the author of The Language of Paper: A History of 2000 Years; Nicholas Basbanes, a writer and journalist, whose books include On Paper: The Everything of its Two Thousand Year History and Emily Cockayne, an Associate Professor in Early Modern History at the University of East Anglia and author of Rummage: A History of the Things We Have Reused, Recycled and Refused to Let Go. Laurence Scott is the author of books about digital life including The Four-Dimensional Human and Picnic Comma Lightning. How did such a mundane substance revolutionise modern warfare, enable Imperialism and transform art? Can there ever be a blank page? Is recycling the answer to waste? The conversation ranges across the relationship between paper and religious history in the printing of the Quran and Tibetan rituals for the dead; to C17 Swedish paper bullets; Dickens' Bleak House - in which a pile of paper leads to a fatal fire; the Bristol company who specialised in papier-mâché – a material used for elaborate decorations in C18 homes – and then used by artists like Jean Dubuffet in the 1940s and 50s and a scrap of paper, which survived 9/11 and told a widow, about her husband's final moments. Producer: Jayne Egerton

(00:00:35) Die «Collection de l'Art Brut» in Lausanne beherbergt den Nachlass des Künstlers Jean Dubuffet. Dubuffet sammelte Kunst von Aussenseitern, von Menschen ohne künstlerische Ausbildung. In der sehenswerten Ausstellung «Croyance» widmet sich das Museum jetzt den Themen Religion und Mystik. Weitere Themen: (00:04:51) 30 Jahre nach der Öffnung der Stasi-Archive – einer, der damals bespitzelt wurde, erzählt. (00:09:20) Kunst auf der Leinwand und am Körper – das Buch «Fridas Kleider» feiert Frida Kahlos Lust an der Mode. (00:12:54) «Ein anspruchsvolles Jahr» – Gespräch über Zukunftsszenarien mit einer der Geschäftsleiterinnen des Gottlieb Duttweiler Instituts.

Lucifer et savoir-faire Bookmakers #13 - L'écrivaine du mois : Sophie Divry Née en 1979 à Montpellier, Sophie Divry vit et travaille à Lyon. Diplômée de l'Ecole Supérieure de Journalisme de Lille, cette « catho de gauche » de 42 ans a d'abord musclé ses convictions écologiques anticapitalistes dans les colonnes du journal « La Décroissance », avant d'être « dévorée » par le désir d'écrire. Consciente que le roman est, selon les mots de Virginia Woolf, « la plus indépendante, la plus élastique et la plus prodigieuse des formes littéraires », celle qui déteste les voitures a mis le turbo et signé huit livres depuis 2010, dont le très remarqué « La Condition pavillonnaire » (2014, éditions Noir sur Blanc). Au printemps 2021, elle a publié « Curiosity » suivi de « L'Agrandirox » et sa mémé confinée, une nouvelle aussi drôle et bizarre qu'un épisode de « La Quatrième Dimension ». En partenariat avec Babelio. (3/3) Lucifer et savoir-faireÀ l'automne 2014, quand Sophie Divry reçoit la mention spéciale du prix Wepler pour son roman « La Condition pavillonnaire », elle rappelle dans son discours que tout.e écrivain.e a ses « démons », jadis énumérés par Jacques Roubaud : « Le démon de la digression et de la parenthèse, le démon de la procrastination, le démon des plans ; le démon de l'originalité absolue, qui trompe souvent les artistes ; le démon de la cohérence ; le démon de la description : le démon de l'érudition » Le livre qui suivra, intitulé avec malice « Quand le diable sortit de la salle de bain » (Noir sur Blanc, 2015), sera donc un « roman improvisé, interruptif et pas sérieux » dédié « aux improductifs, aux enfants, aux affamés, aux rêveurs, aux mangeurs de nouilles et aux défaits ». Autofiction piégée voire « complètement brindezingue », le bouquin s'attache aux galères de Sophie, une drôle d'autrice trentenaire, qui se fait du souci dans son appartement lyonnais de douze mètres carrés. Pauvre, mais pas malheureuse, elle part à la recherche d'un emploi pour calmer sa faim. Ce qui aurait pu être le départ d'un roman tire-larmes sur la précarité se transforme en coffre aux trésors d'une extraordinaire richesse comique. Son démon personnel, « Lorchus », sort (effectivement) de sa salle de bain pour pervertir et désorienter le récit, tout comme sa mère, son éditrice, son meilleur ami ou l'écrivain Pierre Bergounioux, qui n'arrêtent pas d'intervenir. S'y entrechoquent alors, avec une joie contagieuse : un conte pour enfants, une fable médiévale, un calligramme salace dessiné sur deux pages, des néologismes à foison, les ingrédients nécessaires pour un bon « contemplage de plafond », des jeux typographiques ou des chats pornographiques. Héritière énergique d'une littérature « de la dèche » où se télescopent les reportages de George Orwell « à Paris et à Londres », « Amer Eldorado » de Raymond Federman ou « La Faim » du Knut Hamsum, Divry déplie ici, selon ses vœux, un « grand rire sardonique dans le fond de l'abîme ». Et ça marche ! Ce roman férocement marrant, que n'importe quel.le auteur.e en herbe devrait se procurer pour se souvenir que tous les cadres peuvent être explosés, demeure à ce jour sa meilleure vente (15 000 exemplaires).Dans ce troisième et dernier épisode, nous allons voir comment, au-delà de la farce, elle est parvenue à faire sienne ce conseil du peintre Jean Dubuffet, qu'il convient de lire avec une voix de diablotin : « L'art doit toujours un peu faire rire et un peu faire peur. Tout, mais pas ennuyer. » Enregistrement : avril 2021 - Entretien, découpage : Richard Gaitet - Prise de son, montage : Sara Monimart - Lectures : Chloé Assous-Plunian, Christophe Brault, Emma Broughton - Réalisation, mixage : Charlie Marcelet - Musiques originales : Samuel Hirsch - Flugabone : Brice Perda - Illustration : Sylvain Cabot - Production : ARTE Radio - Musiques originales : Samuel Hirsch - Flugabone : Brice Perda

A little over 20 years after a psychiatrist completed a thesis on the artistic talents of the inmates of various German mental asylums, Jean Dubuffet coined the expression "Art Brut". Thus creating a movement that totally democratized the artistic process, and distanced itself from the de rigueur modes of the art scene. This was raw art – and anyone could make their mark. Kunst Please is a micro-dose of modern art history. An exploration into the more unexpected side of modern and contemporary art, featuring stories of the famous and the infamous, the weird and the wonderful, the unheard, the cult, the criminally overlooked and the criminally insane. Created and produced by Jonathan Heath. Follow the gallery space on Instagram @kunstplease Check out show-notes and assorted ephemera at kunstpleasepod.medium.com/

durée : 00:29:59 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - "Des idées et des hommes - Quelques propos sur la peinture" avec le peintre Jean Dubuffet au micro de Jean Amrouche (1ère diffusion : 20/03/1954). - réalisation : Virginie Mourthé - invités : Jean Dubuffet

Det kan kallas för outsider art, rå konst eller särlingskonst. Det handlar om självlärda konstutövare som inte nödvändigtvis ser sig själva som konstnärer, men som ändå skapar fascinerande konstverk. Programmet är en repris från den 2 oktober 2020.  Det genom tiderna mest ikoniska verk som skapats av en så kallad outsiderkonstnär finns i Hauterives i Frankrike. Här började brevbäraren Ferdinand Cheval en dag i slutet av 1800-talet bygga på sina drömmars fantasipalats, Palais Ideal, med stenar som han hittade på sin postrunda. Han byggde i 33 år. Idag är Palais Ideal en turistmagnet. Ferdinand Cheval är bara en av många idag kultförklarade särlingskonstnärer, vars egensinniga verk aldrig upphör att fascinera. I veckans program berättar vi om fler. Intresset för den här delen av konsthistorien sammanfaller med intresset för det undermedvetna i början av 1900-talet. Freudianskt orienterade psykiatriker och konstnärer gick i spetsen, något som kom att påverka den moderna konsten. En pionjär var konstnären Jean Dubuffet, som efter år av samlande grundade det allra första museet för särlingskonst i Lausanne i Schweiz i början av 1970-talet. Och intresset är fortfarande stort för konst gjord av människor utan formell konstnärlig utbildning och kunskap om eller ens en vilja att tillhöra det etablerade konstlivet. Hur kommer det sig? I programmet intervjuas Per Dahlström, intendent på Göteborgs konstmuseum; konstnären Jonas Liveröd; Staffan Backlund och Borghild Håkansson, kuratorer som anordnat flera utställningar med särlingskonstnärer; samt Brooke Anderson, f.d. intendent på American Folk Art Museum i New York. Programmet är gjort av Samanda Ekman.

We talk about the mesmerising Jean Dubuffet exhibition at Barbican Art Gallery in London and the wonderful works of mediumistic artist Madge Gill. See links below. ‘Chintz: Cotton in Bloom', Fashion and Textile Museum, London (18 May – 12 September 2021): https://www.ftmlondon.org/ftm-exhibitions/chintz-cotton-in-bloom/ ‘Jean Dubuffet: Brutal Beauty', Barbican Art Gallery, London (17 May 2021 – 22 August 2021): https://www.barbican.org.uk/whats-on/2021/event/jean-dubuffet-brutal-beauty Fondation Jean Dubuffet: https://www.dubuffetfondation.com/ Audiovisual biography of Dubuffet: https://www.dubuffetfondation.com/savie_videolistplayer.php Collection de L'Art Brut, Lausanne: https://www.artbrut.ch/en_GB/exhibition/dubuffet-art-brut Madge Gill: http://madgegill.com/ and https://worksby-madgegill.co/ Madge Gill, Sans Titre (not dated): https://www.artbrut.ch/en_GB/author/gill-madge Dress by Madge Gill at MAAS, Sidney (1940s): https://collection.maas.museum/object/167418 Madge Gill, Newham Heritage Month (May 2021): https://www.newhamheritagemonth.org/contributors/madge-gill/

Is Gogglebox the main place on TV where you now find criticism? What does that tell us about the role of the critic today? Suzi Feay, Arifa Akbar and Charlotte Mullins join Matthew Sweet to review a new art exhibition at the Barbican showcasing the art and ideas of Jean Dubuffet and to reflect on what being a critic means. Matthew pays tribute to the thinking of Kevin Jackson (3 January 1955 – 10 May 2021) who took part in many critical discussions on BBC Radio 3. New Generation Thinker Vid Simoniti teaches philosophy and art at Liverpool University and he's written us a postcard reflecting on what it means when algorithms dictate the culture we consume. Jean Dubuffet: Brutal Beauty runs at the Barbican, London from May 17th 2021 to August 22nd 2021. Dubuffet (1901-1985) collected artwork made by people outside the arts establishment and in his own work he incorporated butterfly wings, sand, lava, collages of cut up paintings and graffiti. Talking about the portraits he made he said, ‘Funny noses, big mouths, crooked teeth, hairy ears, I’m not against all that’. You can find a playlist focusing on the Visual Arts on the Free Thinking website https://www.bbc.co.uk/programmes/p026wnjl New Generation Thinkers is a scheme run by BBC Radio 3 and the Arts and Humanities Research Council to select ten academics each year who can turn their research into radio. Producer: Torquil MacLeod

In dieser Folge geht es um das Verhältnis von Kunst und Psychologie. Wir betrachten Grafiken von Caspar David Friedrich und Edvard Munch und werfen einen kritischen Blick auf den Topos vom Künstler als Außenseiter, Leidenden und Melancholiker. Unser Gast Kerstin Schoch gibt einen Einblick in die Arbeitsweisen der Kunsttherapie.

Le MEG , Musée d'Ethnographie de Genève va changer de nom, le terme scientifique de la fin du 19eme siècle ne correspond plus à la pluralité des propositions culturelles du lieu : www.lemegchange.ch Nous sommes allés cette semaine à la rencontre de Boris Wastiau, directeur du MEG, pour comprendre cette démarche, qui se veut collaborative et participative.   

Le musée d'Ethnographie de Genève a ouvert ses portes depuis plusieurs semaines, et le public répond présent, particulièrement pour des visites le week-end ! Le MEG qui a enregistrée une excellente année 2020 malgré la pandémie, avec plusieurs expositions comme celle sur « Jean Dubuffet » qui a été un évènements culturels de haut niveau. Rencontre avec le directeur du MEG, Boris Wastiau, afin de nous dévoiler les stratégies du MEG pour 2021 et la programmation.  

Dans ce contexte sanitaire où l’accès à l’art revêt un caractère exceptionnel, David Daoud brise les codes et offre une pérégrination artistique au sein de la galerie Murmure.   Ses personnages d’encre et de plâtre déambulent librement au gré des œuvres de Joan Miró, Jean Dubuffet, Max Ernst, Hans Hartung, Antoni Tàpies, Eduardo Chillida, Georg Baselitz, Pierre Tal Coat et Louis Stettner. Trouvant refuge dans l’univers bucolique de l’artiste, ils proposent une mise en abîme où le spectateur devient acteur de la mise en scène. Personnage de chair il se confond avec ces personnages en plâtre et découvre, avec eux, des œuvres des grands maitres de l’histoire de l’art. Lien vers l'article complet : https://www.azur-fm.com/news/colmar-pour-sa-nouvelle-exposition-la-galerie-murmure-vous-invite-au-voyage-278  

Pour cette quatrième édition, laissons nous guider ... De la nécessité d'éprouver la difficulté, l'effort, la solitude, la lenteur, autant de vertus à mettre à profit de nos grilles de lecture. "Lettres à un jeune poète" de Rainer Maria Rilke, "Yoga" d'Emmanuel Carrère, "Bâtons Rompus" de Jean Dubuffet, et "Obsessions" de Jean-Jacques Schuhl. "MARQUE PAGE" une nouvelle émission de lectures à voix haute aléatoires et intuitives, programmée sur la web radio Reillannair.com de notre super village, Reillanne, dans les Alpes de Haute Provence.

In questa prima puntata, Costantino e Francesco parlano dell'arte meno artefatta che ci sia: l'Outsider Art, l'arte di chi vive ai margini della società e della cultura, oltre i confini - geografici e mentali - della “normalità”. Storie di persone messe a dura prova dalla vita che nell'arte hanno cercato il proprio riscatto, cadendo il più delle volte nelle trappole di artisti e critici molto più furbi di loro.In questa puntata si parla di Jean Dubuffet, Roger Cardinal, Henry Darger, Judith Scott, Esko Männikkö, Alfred Wallis, Ben Nicholson, Christopher Wood, Clementine Hunter, Guo Fengyi, Antonio Ligabue e Carlo Zinelli.

Instinctus, ovvero incitare: è questa l’origine del termine istinto, anche se in poche lettere si nasconde un mondo vasto, fatto di sensazioni, di intuizioni che hanno poco di logico e molto di naturalezza. Freud, Nietzsche e Rousseau sono solo alcuni dei pensatori che hanno affrontato il tema dell’istinto, scandagliando ogni suo aspetto e le frasi sull’istinto tentano di seguire la loro strada. Cosa è l’istinto L’istinto è una forza interiore che spinge un essere vivente a compiere determinate azioni senza seguire uno schema logico ma assecondando meramente il proprio impulso naturale. Gli animali sono esseri istintivi per eccellenza e si rimane sorpresi davanti a certi loro atteggiamenti apparentemente inspiegabili per la mente umana: ad esempio i gatti scavano buche per i loro bisognini, le rondini costruiscono nidi del tutto similari tra loro, i pinguini trovano la strada di casa per portare cibo ai piccoli e le api fiutano i fiori a chilometri di distanza. L’uomo, imprigionato dagli schemi prefissati dalla società, dalle proprie credenze religiose, dalla morale e dalla coscienza, non può essere considerato un essere istintivo: solo in determinate occasioni viene fuori l’instinto, ad esempio quando deve sopravvivere, salvarsi da un pericolo imminente o sfamarsi. L’istinto tra filosofi e arte Secondo il filosofo Rousseau l’istinto è verità, in quanto se l’uomo lo seguisse agirebbe in armonia con se stesso. Nietzsche ha addirittura idealizzato un’opposizione tra la ragione e l’istinto, considerato quasi come un idolo: per Nietzsche l’istinto è vero se è primordiale, ossia quando isolerebbe l’uomo essendo completamente fuori dagli schemi prefissati dalla società. Freud invece individuava due istinti (chiamati pulsioni) principali: l’istinto di vita che porta l’uomo alla conservazione della specie e l’istinto di morte che porta l’organico a tornare inorganico. Anche l’arte ha abbracciato l’istintività, trovando espressione in quella corrente chiamata Art Brut o Arte Grezza: il precursore è stato il francese Jean Dubuffet, secondo il quale questo tipo di arte si fonda sull’istinto di soggetti privi di ogni educazione artistica. Sono coloro che soffrono di problemi psichici, i disadattati e gli autodidatti che seguono la loro libera creatività, a prescindere dalle convenzioni estetiche. I suoi quadri trasudano istinto, da Paris Polka a Cité Fantoche fino a Le Tissu Social: il Musée Visionnaire di Zurigo è dedicato proprio all’Art Brut e contiene molte opere di Dubuffet.

Aujourd'hui dans votre magazine culturel nous vous parlerons du Geneva Digital Market qui démarre lundi 9 octobre prochain ainsi que des propositions digitales du Musée d'Ethnographie de Genève autour de l'exposition temporaire Jean Dubuffet, un barbare en Europe.

Chaque vision est singulière, porteuse de sens et de changement. Le but de ce format est de rassembler de nombreux artistes et que chacun nous délivre sa vision et son expérience de la photographie. Pour le premier Vision, nous rencontrons Léo Berne, photographe et réalisateur basé à Paris. Léo a une vision particulière de la photographie. Comme il l’affirme sur son site, il prends des photos comme un « touriste ». Il collectionne et parfois met en scène des moments de sa vie personnelle. Son objectif principal est de garder le souvenir d’un moment éphémère. Léo nous parle de son rapport à l’intime en photographie, de son parcours, de ses influences mais aussi de son approche singulière pour ses différents projets.  Références évoquées pendant l’épisode : Nobuyoshi Araki, Asphyxiante culture de Jean Dubuffet. https://www.instagram.com/leo_berne/ https://www.instagram.com/podcastvisions/ https://www.visionspodcast.fr/

75 ans après son premier passage au MEG, Jean Dubuffet fait son retour au musée… par la grande porte! Une exposition consacrée au parcours du peintre et sculpteur à l’origine du concept d’art brut. On y découvre les créations personnelles et les sources d’inspiration de l’artiste ainsi que sa réflexion […]

75 ans après son premier passage au MEG, Jean Dubuffet fait son retour au musée… par la grande porte! Une exposition consacrée au parcours du peintre et sculpteur à l’origine du concept d’art brut. On y découvre les créations personnelles et les sources d’inspiration de l’artiste ainsi que sa réflexion […]

Russell and Robert meet Noel Fielding, legendary comedian, writer, actor, artist, musician, and TV presenter - back on screens this week in The Great British Bake Off! Known for his use of surreal humour and black comedy, Noel first came to prominence in The Mighty Boosh comedy troupe, starring as lead character Vince Noir but also creating many of the costumes, make-up designs and animated segments.In recent years he's also become celebrated for his colourful figurative paintings and his lockdown Art Club online classes. Having trained at Croydon Art College tutored by Dexter Dalwood, he drew inspiration from artists including Jean Michel Basquiat, Henri Rousseau, Jean Dubuffet, David Shrigley, Salvador Dali, Roy Lichtenstein, Karel Appel and the Cobra art movement. Noel's visual practice includes drawing, painting, collage and multimedia installation. His exhibition titles have included "Psychedelic Dreams of The Jelly Fox".This special episode was recorded in London on Monday 16th December 2019. Follow Noel's artworks on Instagram @Noel_Fielding or Twitter @NoelFielding11 and visit his galleries Don't Walk Gallery in Deal, Kent and Jealous Gallery in London. Special thanks to Tania Wade.For images of all artworks discussed in this episode visit @TalkArt. Talk Art theme music by Jack Northover @JackNorthoverMusic courtesy of HowlTown.com We've just joined Twitter too @TalkArt. If you've enjoyed this episode PLEASE leave us your feedback and maybe 5 stars if we're worthy in the Apple Podcast store. Thank you for listening to Talk Art, we will be back very soon. For all requests, please email talkart@independenttalent.com See acast.com/privacy for privacy and opt-out information.

Philippe Mathey, directeur de projet au Musée d'Ethnographie de Genève, nous présente l'organisation d'une exposition, et en particulier celle de Jean Dubuffet.

Suite de la visite guidée au Musée d'Ethnographie de Genève, avec Baptiste Brun, commissaire de l'exposition de Jean Dubuffet

Gilles Soulhac a eu la chance d'avoir une visite guidée de l'exposition « Jean Dubuffet, Un barbare en Europe », au Musée d'ethnographie de Genève, avec Baptiste Brun, commissaire de l'exposition. Partie 1 :

Gilles Soulhac s'est rendu à la conférence de presse de l'exposition « Jean Dubuffet, Un barbare en Europe » au Musée d'Ethnographie de Genève. Découvrez la présentation de cette expo, qui débute le 8 septembre, par Boris Watiau, directeur du MEG.

Ben Luke talks to Rashid Johnson about the cultural experiences that have had an impact on his life and work. They discuss his beginnings as a photographer, but how he quickly occupied a "post-medium space", working in everything from film to sculpture, installation and, as with the other artists in the first series, in painting. Rashid talks about his use of materials like black soap and shea butter, the role of books in his work, and the personal and political background to his recent body of Anxious works, culminating in the new Anxious Red paintings. Through the conversation, Rashid reveals the influence of cultural figures as diverse as the hip-hop star Rakim, writers including Toni Morrison and Paul Beatty, and artists as diverse as Roy DeCarava, Franz Kline, Jean Dubuffet and David Hammons. He also answers our regular questions about studio rituals, the one artwork he would choose to live with, and, finally, what is art for? See acast.com/privacy for privacy and opt-out information.

A exposição “Esprit es-tu là?” (“Tem alguém aí?”) em cartaz no Museu Maillol de Paris é no mínimo surpreendente. Ela reúne cerca de 100 quadros realizados por artistas espíritas que, guiados por vozes, consagraram suas vidas ao desenho e à pintura. A mostra “Esprit es-tu là?” propõe um percurso histórico-cronológico e temático que revela o início do espiritismo no século 19. Na primeira sala, mesas girantes, bolas de cristal e tabuleiros de ouija lembram a emergência da prática de invocar e falar com os mortos, nos Estados Unidos. Rapidamente, a moda cruzou o Atlântico e se transformou em um verdadeiro fenômeno de sociedade, antes de inspirar Alan Kardec a escrever, em 1857, o “Livro dos Espíritos”, com as bases de uma nova doutrina religiosa. O ser humano é médium, isto é, capaz de se comunicar com os espíritos que nos rondam, diz Kardec, fundador do espiritismo. A exposição do Museu Maillol reúne não textos, mas quadros psicografados. Ela é construída em torno de três artistas centrais da arte espírita. Os três são franceses, naturais do norte do país, que viveram entre o final do século 19 e meados do século 20: Augustin Lesage (1876-1954) Victor Simon (1903-1976) e Fleury-Joseph Crépin (1875-1948). Eles eram trabalhadores, nunca tinham manejado um pincel ou lápis em suas vidas, antes de ouvirem vozes ordenando que começassem a pintar, isto é, todos os três eram autodidatas, como ressalta a curadora da mostra Savine Faupin:* “Lesage trabalhava na mineração quando ouve vozes em 1912. Até então, ele nunca tinha tido nenhuma produção artística. Simon também era mineiro. Na época que ouve as vozes, em 1933, trabalhava em um bar e, como Lesage, nunca tinha pintado nada antes. Crépin era bombeiro hidráulico quando em 1939 as vozes dizem que ele vai ser artista plástico”. Missão de paz Apesar das dificuldades que enfrentam, eles vão abraçar a carreira artística e  desenvolver uma arte singular e original. A obra deles é extremamente detalhista, colorida e tem uma grande qualidade plástica. Pensados como construções espirituais, elas associam influências e motivos de origens diversas, como cristã, hindu, oriental ou do Egito antigo. O ornamento e a simetria são traços dominantes. “O que é maravilhoso é que eles transformam essa fé espírita em quadros incríveis, com essas cores surpreendentes que eles utilizam. Tem também a perseverança de uma vida. A obra deles será construída ao longo da vida deles, mesmo se eles não eram conhecidos. Os três só terão reconhecimento artístico fora do meio espírita a posteriori“, diz o curador Christophe Boulanger. Todos eram imbuídos de uma missão de paz. O caso mais exemplar é o de Fleury-Joseph Crépin, que recebe do além a encomenda de pintar, durante a Segunda Guerra Mundial, 300 quadros. O último, que ele finalizou em 7 de maio de 1945, colocaria fim ao conflito, antecipou a voz ouvida pelo médium-artista. Na sequência, Crépin iniciou uma nova série de 45 pinturas destinadas a instalar definitivamente a paz na Terra. “Há realmente uma dimensão de deslumbramento nesses artistas. Uma das frases de Simon que citamos na exposição é: ‘vá buscar a centelha da inspiração no fundo de sua alma’. É realmente muito surpreendente”, elogia Boulanger. Mulheres em destaque A exposição “Tem alguém aí?” também revela a obra de artistas espíritas pioneiros, como Théophile Bra ou Fernand Desmoulin, que executaram seus quadros muitas vezes em transe, mas também de pintores contemporâneos. As mulheres, que tiveram um papel importante no espiritismo, mas até agora pouco conhecido, têm destaque na mostra do Museu Maillol. A arte espírita lhes trouxe emancipação e reconhecimento raros para a época. “Helène Smith (1861-1929) e Madge Gil (1882-1961) vão ousar e serão conhecidas por sua prática artística espírita. Madge vai expor suas obras em mostras em Londres nos anos 1920. Ela vai ser realmente reconhecida, apesar de vir de um meio modesto. Outra mulher que fez sucesso foi Katharina Littauer-Breydert (1893-1979) com suas colagens surpreendentes, realizadas a partir de 1939. Ela teve visões do cataclisma que começava na Europa e espera que seu trabalho possa interceder e trazer de volta a paz no mundo”, revela Savine Faupin. As obras realizadas pelos artistas espíritas autodidatas começaram a interessar a crítica de vanguarda nos anos 1930. Os primeiros a colecionarem quadros de arte espírita foram os surrealistas, como André Breton. Jean Dubuffet também foi outro artista que teve uma influência determinante para o reconhecimento da arte naïf e outras formas de arte marginalizadas. Na última sala da exposição, uma instalação holográfica permite ao público entrar em comunicação com os espíritos de artistas apresentados na mostra que fica em cartaz até 1° de novembro. Visita virtual à exposição O Brasil é o país com o maior número de adeptos do espiritismo, com quase 4 milhões de praticantes. Com as fronteiras fechadas devido à pandemia de coronavírus ainda por tempo indeterminado, vai ser difícil para os brasileiros apreciar os quadros ao vivo, mas uma visita ao site do Museu Maillol dá uma ideia da surpreendente arte espírita revelada na exposição “Tem alguém aí?” *Os curadores da exposição “Esprit es-tu là” foram entrevistados por Muriel Maalouf, do serviço cultural da RFI  

Dans cet épisode, on va parler de Tintin, de Lausanne, et de gribouillages, entre autres. Avec la participation de Laura Domenge dans le rôle de Jean Dubuffet.---Retrouvez Vulgaire sur Instagram : @vulgaire_lepodcast---Un podcast de Marine BaoussonRéalisé par Guillaume Bérat du collectif BranksIllustré par Juliette Poney See acast.com/privacy for privacy and opt-out information.

We discussed: Changes in the art world over 50 years, How he finds new artists, Artists leaving galleries, Contracts, Selling art online, Lucie Drdova Gallery, Auctions of living artists, The importance of your reputation, The future of art galleries, The future of art fairs, Droit de suite, Resale Rights Directive, Bildrecht https://www.hilger.at ABOUT Founded: 1971 The Ernst Hilger Gallery on the first floor of Dorotheergasse 5 in Vienna's 1st district represents the works of artists such as Erró and Mel Ramos, alongside representatives of Austrian modernism from the sixties onwards, who will always have a special place, and protagonists the most important international art movements of the 20th century - from Pablo Picasso and Jean Dubuffet, pop art artists like Andy Warhol to narrative figuration (Jacques Monory). Ernst Hilger - President of FEAGA for several years and a member of the advisory board of numerous art fairs such as Art Basel - was the longest-serving President of the Association of Austrian Galleries and, in this function, played a key role in the current interpretation of the role of galleries as partners to museums and collectors and government representatives. The list of represented artists is representative of the long history of the gallery. Not only the past but also the future is kept in view. Groundbreaking collaborations in Austria with various companies (Paylife, Siemens, Austrian Airlines, Unicredit, 98.3 Superfly.fm) not only pursued economic interests, but also led to the creation of new collections and collectors as well as new ones that are essential for the entire art scene today Exhibition venues to promote art. Together with curators such as Shaheen Merali, Claire Breukel, Diana Wiegersma, Maria Vassileva, Alenka Gregoric, Jeanette Zwingenberger and others, the gallery has expanded its sphere of activity in the past fifteen years in the direction of the emerging art scenes and markets such as Iran, Africa and South America. In order to expand and intensify the cooperation with international exhibition halls and museums, the HilgerBROT art gallery was opened in the former anchor bread factory in Vienna's 10th district (Absberggasse 27) in 2009. This 800 square meter room represents the gallery's laboratory for curatorial projects and influences and supports all partners involved. Guest accommodation for guest and local artists and curators was essential for the continuation of our exhibition projects in other institutions, as well as as an attraction for international collectors who visited Vienna and acquired works - including Harald Falckenberg, Jorge Perez, the Photographic Collection of the Qatar Museum, Darga Jais (Bali), Sutomo Suprajito (Indonesia), the Nadour Collection and many more. The cooperation partners include the Museum of Modern Art El Salvador, the Margulies Collection, the Mestna Gallery Laibach, the Museum of Modern Art Bucharest, the City Gallery Sofia and the MMoMA in Moscow. All of these institutions showed exhibitions that were developed and presented with and in the HilgerBROT art gallery. In 2013, the premises in the 10th district were expanded with Hilger NEXT. Over the past ten years, the work of the gallery has been recognized by the participation of its artists in important international exhibitions and biennials: Anastasia Khoroshilova in a group exhibition in the Palais de Tokyo (F) and her "collateral event" at the Venice Biennale 2011 (I), Cameron Platter in an exhibition on South Africa at MoMA (USA), or Sarah Rahbar, an Iranian-born and New York-based artist and her work elles @ centrepompidou, Erik Binder at the Venice Biennale 2001, shown at the Center Pompidou (Paris, F) , Ivana Franke at the Venice Biennale 2007, Iwan Moudov at the Venice Biennale 2007, Miha Strukelji at the Venice Biennale 2009, Ángel Marcos, Simon Vega, and Cameron Platter at the Venice Biennale 2013 and Peterson Kamwathi at the Venice Biennale 2017.

We discussed: Changes in the art world over 50 years, How he finds new artists, Artists leaving galleries, Contracts, Selling art online, Lucie Drdova Gallery, Auctions of living artists, The importance of your reputation, The future of art galleries, The future of art fairs, Droit de suite, Resale Rights Directive, Bildrecht https://www.hilger.at ABOUT Founded: 1971 The Ernst Hilger Gallery on the first floor of Dorotheergasse 5 in Vienna's 1st district represents the works of artists such as Erró and Mel Ramos, alongside representatives of Austrian modernism from the sixties onwards, who will always have a special place, and protagonists the most important international art movements of the 20th century - from Pablo Picasso and Jean Dubuffet, pop art artists like Andy Warhol to narrative figuration (Jacques Monory). Ernst Hilger - President of FEAGA for several years and a member of the advisory board of numerous art fairs such as Art Basel - was the longest-serving President of the Association of Austrian Galleries and, in this function, played a key role in the current interpretation of the role of galleries as partners to museums and collectors and government representatives. The list of represented artists is representative of the long history of the gallery. Not only the past but also the future is kept in view. Groundbreaking collaborations in Austria with various companies (Paylife, Siemens, Austrian Airlines, Unicredit, 98.3 Superfly.fm) not only pursued economic interests, but also led to the creation of new collections and collectors as well as new ones that are essential for the entire art scene today Exhibition venues to promote art. Together with curators such as Shaheen Merali, Claire Breukel, Diana Wiegersma, Maria Vassileva, Alenka Gregoric, Jeanette Zwingenberger and others, the gallery has expanded its sphere of activity in the past fifteen years in the direction of the emerging art scenes and markets such as Iran, Africa and South America. In order to expand and intensify the cooperation with international exhibition halls and museums, the HilgerBROT art gallery was opened in the former anchor bread factory in Vienna's 10th district (Absberggasse 27) in 2009. This 800 square meter room represents the gallery's laboratory for curatorial projects and influences and supports all partners involved. Guest accommodation for guest and local artists and curators was essential for the continuation of our exhibition projects in other institutions, as well as as an attraction for international collectors who visited Vienna and acquired works - including Harald Falckenberg, Jorge Perez, the Photographic Collection of the Qatar Museum, Darga Jais (Bali), Sutomo Suprajito (Indonesia), the Nadour Collection and many more. The cooperation partners include the Museum of Modern Art El Salvador, the Margulies Collection, the Mestna Gallery Laibach, the Museum of Modern Art Bucharest, the City Gallery Sofia and the MMoMA in Moscow. All of these institutions showed exhibitions that were developed and presented with and in the HilgerBROT art gallery. In 2013, the premises in the 10th district were expanded with Hilger NEXT. Over the past ten years, the work of the gallery has been recognized by the participation of its artists in important international exhibitions and biennials: Anastasia Khoroshilova in a group exhibition in the Palais de Tokyo (F) and her "collateral event" at the Venice Biennale 2011 (I), Cameron Platter in an exhibition on South Africa at MoMA (USA), or Sarah Rahbar, an Iranian-born and New York-based artist and her work elles @ centrepompidou, Erik Binder at the Venice Biennale 2001, shown at the Center Pompidou (Paris, F) , Ivana Franke at the Venice Biennale 2007, Iwan Moudov at the Venice Biennale 2007, Miha Strukelji at the Venice Biennale 2009, Ángel Marcos, Simon Vega, and Cameron Platter at the Venice Biennale 2013 and Peterson Kamwathi at the Venice Biennale 2017.

Spéciale Jean Dubuffet Focus sur le peintre, sculpteur et plasticien français, fondateur du mouvement de l'art brut (productions de personnes exemptes de culture artistique). L'expo "Jean Dubuffet. Le preneur d'empreintes" a lieu tout cet été et jusqu'en janvier 2021 à La Louvière. "Sa vie par procuration" de Myriam Leroy. Focus sur l'expo "Jean Dubuffet. Le preneur d'empreintes", à voir au Centre de la gravure et de l'image imprimée à La Louvière jusqu'à janvier 2021. Une exposition réalisée avec le concours de la Fondation Dubuffet à Paris. On en parle avec : - Sophie Webel, directrice de la Fondation Dubuffet à Paris - Catherine de Braekeleer (c'est sa dernière expo après 25 années à la direction du Centre de la Gravure) Artiste insaisissable et polémique, Jean Dubuffet (1901-1985) est un acteur majeur de la scène artistique de la seconde moitié du XXe siècle. Fasciné par le papier, l'encre et l'imprimerie, l'estampe est profondément liée à son œuvre peinte. L'exposition Jean Dubuffet. Le preneur d'empreintes offre une plongée exceptionnelle dans les expérimentations lithographiques de l'artiste. Elle se déploie en deux temps. La série des Phénomènes, véritable atlas des phénomènes naturels du monde, constitue le cœur de l'exposition. Chaque planche célèbre un aspect du monde naturel renforcée encore par les titres poétiques que Dubuffet leur donna. La seconde section dévoile les recherches qui ont précédé et annoncé ce cycle unique dans l'histoire de l'estampe du xxe siècle. De la série des Murs de 1945 aux Assemblages d'empreintes de 1953, le processus de création de l'artiste aboutira aux savoureuses figures à chapeau de 1962 issues des Phénomènes. 300 œuvres (lithographies, peintures, livres, assemblages...), toute la diversité de Jean Dubuffet faisant de l'invention sans cesse renouvelée le pilier de la création et de la pensée. La « Bagarre » s'agrandit au cinéma et à la littérature et on vous propose aussi un petit quiz musical et de culture générale. Avec Myriam Leroy et Jacques De Pierpont. Voici le dernier épisode de notre feuilleton "Love Songs" de Jean-Marc Panis. On a évoqué l'amour et ses méandres à travers les chansons qui nous ont marqués. Aujourd'hui, place à l'après ! On a crié, plaidé, supplié, jeté des trucs par terre et pleuré. Mais rien n'y fit, et c'est la rupture. Et puis, revient parfois un apaisement, une douceur. C'est Thomas (Jean Henri) Van Cottom, auteur du beau projet "Cabane", qui évoque cet état...

..In questa puntata, realizzata al Festival dell'Outsider Art di Verona, lo psichiatra e psicoterapeuta Giorgio Bedoni approfondisce il tema dell'arte irregolare e racconta la sua esperienza con l' atelier che ha fondato...Chi ha inventato il concetto di outsider art? Chi decide cos'è arte irregolare e cosa no? Sono alcune delle domande abbiamo posto a Giorgio Bedoni. Partendo dalle origini del termine outsider art di Jean Dubuffet, passando per artisti come Adolf Wolfli e Aloise Corbaz, Bedoni approfondisce la storia di questa forma d'arte e distingue l'artista irregolare in quanto “più immediato, più libero da condizionamenti, meno dentro le vicende culturali e accademiche, che si esprime senza l'urgenza della prestazione”...Se per molto tempo l'opera creata da una persona con disagio era letta soprattutto come espressione della sua malattia, verso la metà del Novecento, anche grazie alla fenomenologia e a personaggi come Franco Basaglia, si è verificato un cambiamento di mentalità sia in ambito artistico che, soprattutto, psichiatrico. Si comincia finalmente a vedere l'opera del malato come “una modalità di essere al mondo, una forma di presenza altra e quindi a leggerla in termini empatici”...Lo psichiatra insiste sull'importanza che la creazione artistica ha per la persona in difficoltà, facendo riferimento anche alla sua esperienza personale e umana con gli artisti che ospita nel suo atelier. Non solo: secondo Giorgio Bedoni l'arte farebbe bene alla psichiatria stessa, che oggi si trova a fronteggiare una profonda crisi ideologica...“L'arte, oltre ad essere uno strumento per esprimersi e per cercare una propria identità, è una modalità diretta e immediata di inclusione sociale, di poter mettere a contatto con la società persone che soffrono di stigma”.

..In questa puntata, realizzata al Festival dell’Outsider Art di Verona, lo psichiatra e psicoterapeuta Giorgio Bedoni approfondisce il tema dell’arte irregolare e racconta la sua esperienza con l' atelier che ha fondato...Chi ha inventato il concetto di outsider art? Chi decide cos’è arte irregolare e cosa no? Sono alcune delle domande abbiamo posto a Giorgio Bedoni. Partendo dalle origini del termine outsider art di Jean Dubuffet, passando per artisti come Adolf Wolfli e Aloise Corbaz, Bedoni approfondisce la storia di questa forma d’arte e distingue l’artista irregolare in quanto “più immediato, più libero da condizionamenti, meno dentro le vicende culturali e accademiche, che si esprime senza l’urgenza della prestazione”...Se per molto tempo l’opera creata da una persona con disagio era letta soprattutto come espressione della sua malattia, verso la metà del Novecento, anche grazie alla fenomenologia e a personaggi come Franco Basaglia, si è verificato un cambiamento di mentalità sia in ambito artistico che, soprattutto, psichiatrico. Si comincia finalmente a vedere l’opera del malato come “una modalità di essere al mondo, una forma di presenza altra e quindi a leggerla in termini empatici”...Lo psichiatra insiste sull’importanza che la creazione artistica ha per la persona in difficoltà, facendo riferimento anche alla sua esperienza personale e umana con gli artisti che ospita nel suo atelier. Non solo: secondo Giorgio Bedoni l’arte farebbe bene alla psichiatria stessa, che oggi si trova a fronteggiare una profonda crisi ideologica...“L’arte, oltre ad essere uno strumento per esprimersi e per cercare una propria identità, è una modalità diretta e immediata di inclusione sociale, di poter mettere a contatto con la società persone che soffrono di stigma”.

..In questa puntata, realizzata al Festival dell’Outsider Art di Verona, lo psichiatra e psicoterapeuta Giorgio Bedoni approfondisce il tema dell’arte irregolare e racconta la sua esperienza con l' atelier che ha fondato...Chi ha inventato il concetto di outsider art? Chi decide cos’è arte irregolare e cosa no? Sono alcune delle domande abbiamo posto a Giorgio Bedoni. Partendo dalle origini del termine outsider art di Jean Dubuffet, passando per artisti come Adolf Wolfli e Aloise Corbaz, Bedoni approfondisce la storia di questa forma d’arte e distingue l’artista irregolare in quanto “più immediato, più libero da condizionamenti, meno dentro le vicende culturali e accademiche, che si esprime senza l’urgenza della prestazione”...Se per molto tempo l’opera creata da una persona con disagio era letta soprattutto come espressione della sua malattia, verso la metà del Novecento, anche grazie alla fenomenologia e a personaggi come Franco Basaglia, si è verificato un cambiamento di mentalità sia in ambito artistico che, soprattutto, psichiatrico. Si comincia finalmente a vedere l’opera del malato come “una modalità di essere al mondo, una forma di presenza altra e quindi a leggerla in termini empatici”...Lo psichiatra insiste sull’importanza che la creazione artistica ha per la persona in difficoltà, facendo riferimento anche alla sua esperienza personale e umana con gli artisti che ospita nel suo atelier. Non solo: secondo Giorgio Bedoni l’arte farebbe bene alla psichiatria stessa, che oggi si trova a fronteggiare una profonda crisi ideologica...“L’arte, oltre ad essere uno strumento per esprimersi e per cercare una propria identità, è una modalità diretta e immediata di inclusione sociale, di poter mettere a contatto con la società persone che soffrono di stigma”.

If there was ever a piece of art history that Juxtapoz likes to know more about, its Outsider Art. We could always use a crash-course, a 101 if you will, on the genre and its place in what know about not only outsider cultures in general, but creating artwork with no knowledge of the structures of the art world. From the Jean Dubuffet coining the term Art Brut in the 1940s to Roger Cardinal in the 1970s bringing the term "Outsider Art" to prominence, there has been an enduring if not increasingly complicated relationship between the genre and the institutional art world. Can Outsider Art remain, well, Outsider, when shown in museums and placed into the history books? Today on Radio Juxtapoz, we talk to gallerist and curator, Andrew Edlin, not only of his namesake gallery on the Lower East Side but the owner of the increasingly influential and popular Outsider Art Fair, taking place in NYC from January 16-19, 2020 at the Metropolitan Pavilion. We talk to Edling about the growth of the fair (not only in NYC but a Paris show as well has been going strong since 2013), how Outsider Art is properly defined, a bit of the anxious and unpredictable future of the genre as it becomes more and more enshrined in museums around the world and how Juxtapoz's origins fit into the Outsider Art canon. Radio Juxtapoz is hosted by Fifth Wall TV"s Doug Gillen and Juxtapoz editor, Evan Pricco.

durée : 01:00:02 - Les Petits matins - Baptiste Brun vous parle de l'exposition Jean Dubuffet, Un Barbare en Europe, et Charlotte Thomas du retrait de l'autonomie relative du Cachemire par l'Inde. Les chroniques s'intéressent à l'Amazonie et au marathon de Mexico. - réalisation : Mydia Portis-Guérin - invités : Baptiste Brun Commissaire d''exposition; Charlotte Thomas directrice du programme Asie du Sud du collectif de chercheurs Noria, spécialiste des minorités musulmanes en Inde

durée : 00:26:28 - Le Réveil culturel - par : Tewfik Hakem - Rencontre avec Baptiste Brun, commissaire de l'exposition "Jean Dubuffet, Un Barbare en Europe" au Mucem, à Marseille, jusqu'au 2 septembre 2019 - réalisation : Vincent Abouchar - invités : Baptiste Brun Commissaire d''exposition

durée : 00:26:28 - Le Réveil culturel - par : Tewfik Hakem - Rencontre avec Baptiste Brun, commissaire de l'exposition "Jean Dubuffet, Un Barbare en Europe" au Mucem, à Marseille, jusqu'au 2 septembre 2019 - réalisation : Vincent Abouchar - invités : Baptiste Brun Commissaire d''exposition

                    This week is part one of the conversation Brandi and Michelle had about the past few weeks and Brandi's road trip through the midwest and all of the interesting, and inspiring things she found. Inspiration on the Road (Part 1) - Episode 104 Michelle’s week: For starters, Michelle almost got a "breakup haircut" not because she broke up with anyone, but because so much has been changing and happening in her life that she wanted to control one thing. Fortunately, she didn't change it that much and she got a great haircut. She's just in a place where change isn't bad it just feels bad. And Michelle finally saw Bohemian Rhapsody finally! Go, Michelle!   Takeaways from this episode/Brandi’s family road trip: Still recovering and trying to remember all that she did on her family road trip. Brandi had been to all the places they stopped before except for the Nashville Jacksonville area and Chicago. Starting in New Mexico they drove to Texas.  In Houston Texas, they wanted to go to the Johnson Space Center. They also stopped in Huntsville Alabama to see the largest space museum. In Houston, they specifically saw the Saturn 5 rocket which is 60 feet taller than the Statue of Liberty! Fun fact that Brandi loved was that when building the campus for the Johnson Space Center, they designed it like a college campus so as to create a community. What stuck with Brandi from the space center though was on a timeline of the space race. At the very end was blank vinyl with nothing on it, and to Brandi, that blank space meant the future; it meant where we can and hopefully will add to the timeline.  The Monument Au Fantome by French sculptor Jean Dubuffet was another fun stop in Houston. Jean Dubuffet also designed another sculpture that Chicago and Brandi had already seen a sculpture if his while on her trip to New York. The good thing to note is that Galveston is the best beach ever! For Brandi, it was like swimming in a bathtub the water was so warm. And it was shallow for a way's out which made it great for swimming They also watched fresh taffy being made with like 140-year-old taffy machines in downtown Galveston. In New Orleans, after some scary flood warnings, they made it safely and got to walk around Jackson Square. Sadly they didn't walk Princess and the Frog. It was also really hot so New Orleans is much more enjoyable at night rather than during the day. Brandi had crawfish etouffee for dinner one night and she really liked it!  They stayed at the Andrew Jackson hotel where they still give you actual keys for the door which is a cute detail. And they serve your continental breakfast to you in your room on a silver platter. Super fancy!  At the French market, they had the important foods Gumbo, Jambalaya, and gator sausage. Sadly, Brandi's daughter Jasmine is a bit traumatized from being forced to eat "weird" things in New Orleans… Oops   Next stop was Nashville where they met friends Dawn and her son Johnny for cronuts at Five Daughters bakery at The Factory in Franklin Also at the Factory, Brandi found a really cool record store Sadly because of the CMA’s they didn’t to Nashville so that will be a trip for another day They also got fresh Georgia peaches (Joelle is jealous haha)  Next stop was Chicago and the first morning was rainy and cloudy and the tops of the building were disappearing in the clouds which were so pretty. For Brandi, who loves rain, this was the perfect introduction to the city for her. It was also Sunday when they got to Chicago so they took the opportunity to go to church at an old church. The pastor let them see and play the pipe organ which was a really fun experience. Brandi took the opportunity to take lots of pictures of the church building which was covered in moss and ivy.  They surprised Jasmine with a trip to the American Girl store,

durée : 00:26:33 - Le Réveil culturel - par : Tewfik Hakem - Rencontre avec Baptiste Brun, commissaire de l'exposition "Jean Dubuffet, Un Barbare en Europe" au Mucem, à Marseille, jusqu'au 2 septembre 2019 - invités : Baptiste Brun - Baptiste Brun : Commissaire d''exposition - réalisé par : Vincent Abouchar

Jean Dubuffet. L'arte in gioco. Materia e spirito 1943-1985

 让·杜布菲 从时代的角度看艺术，这里是磨时艺见。 最近，网络兴起一股“佛系”风潮，它是指一种看淡一切的生活态度。其实，早在上世纪四、五十年代，欧美艺术圈就诞生出一种“佛系”的艺术流派——涩艺术。 这种艺术有三大特点，即创作在一定程度上隔离于主流影响、艺术家毫无艺术训练与传统的羁绊，以及创作不为名利。而这个流派的创始人，正是法国画家让·杜布菲（Jean Dubuffet）。1945年以前，涩艺术尚未形成流派，这种创作主要来源于小孩或精神病患者的随性涂鸦。杜布菲看过这类画作之后，被深深吸引，撰写了第一份涩艺术的介绍推广资料《涩艺术笔记》，并且为其作出特点的界定。  1947-1948年间，杜布菲先后成立“涩艺术之家”与“涩艺术协会”。不过，主流大众并不接受这种艺术风格，杜布菲也屡受挫败。三年之后，协会解散，可是杜布菲仍然坚定认为“涩艺术”才是真艺术。 杜布菲的涩艺术创作采用了一种直觉化的手法，他在浓厚的底子上，运用修饰性技法和材料、表面脏而带血般的色彩，描绘破碎的轮廓，让人物变得疯狂。  在创作主题上，杜布菲并没有固定的偏好。比如，在1957年到1960年，是以抽象画为主、偶尔出现具象画的“非形象”时期。到了1961年，又诞生了新系列"巴黎马戏团"，他以接近半自动性书写的方式，绘画所看到的任何东西，并且带有浓厚的素描性效果。  在1985年去世之前，杜布菲仍然在不断探索新的创作风格，而这些也直接影响到法国以及中北欧的抽象艺术家。而他本人也被称赞为“第二次世界大战以后法国最杰出的画家”。 以上内容由磨时艺见整理，希望能对您有所启发。磨时艺见，每晚9点，准时更新！

In Studio with Sharon Obuobi is a series of conversations with artists, curators, influencers, exploring the process of art making. In this episode, I speak with Adebayo Bolaji, a London-based contemporary artist of Nigerian descent. Before becoming an artist, Adebayo studied acting at the London Central School of Speech and Drama. He performed at Shakespeare's Globe Theatre, the Young Vic theatre, and in One Child - a BBC Two drama. He later became a self-taught artist citing his influences as Francis Bacon, Jean Michel Basquiat, Jean Dubuffet, Cy Twombly, and poet Alain Ginsberg. Adebayo participated in an artist residency hosted by Yinka Shonibare MBE's guest residency, and has had multiple exhibitions in Zurich. To see more of Adebayo's work, visit our Instagram page @InStudiowithSO. Learn more about us at www.instudiowithso.com. -- All views and opinions expressed by guests are their own.

MERCREDI 24.01.2018 RENCONTRE AVEC DIANE VENET, OLIVIER GABET, STÉPHANE GERSCHEL ET ESTHER DE BEAUCÉ ANIMÉE PAR MONIQUE YOUNES EN COLLABORATION AVEC LE MUSÉE DES ARTS DÉCORATIFS ET POMELLATO De Picasso à Niki de Saint-Phalle, de Man Ray à Lucio Fontana, de Jean Dubuffet à Roy Lichtenstein, de Frank Stella à Jeff Koons. Les artistes ont imaginé des bijoux en pièces uniques, en multiples, faits main ou avec l’aide d’un orfèvre. Porter un bijou d’artiste n’est pas anodin, il symbolise un désir de singularité et une façon de s’approprier un peu du génie de l’artiste. Tantôt jugés précieux, ornementaux, voire décadents, ils attirent ou suscitent le questionnemennt. Silencio invite une collectionneuse de référence : Diane Venet, qui possède l’un des plus beaux ensembles de bijoux d’artistes au monde, qu’elle expose aux quatre coins de la planète, et qu'elle présentera au Musée des Arts Décoratifs à Paris du 7 mars au 8 juillet 2018. Sa collection « idéale » sera enrichie d’un certain nombre de pièces majeures prêtées pour l’occasion par d’autres collectionneurs internationaux. Elle sera accompagnée par Olivier Gabet, directeur du Musée des Arts Décoratifs, Stéphane Gerschel, directeur de Pomellato, et Esther de Beaucé, galeriste, et éditrice de bijoux d’artistes contemporains. (EN FRANÇAIS) www.silencio-club.com SILENCIO on Apple Podcasts : https://apple.co/2KRPPeg SILENCIO on Spotify : https://spoti.fi/33ESzUO

Si l'artiste français Jean Dubuffet (1901-1984) est devenu célèbre dans les années 60 grâce à ses sculptures monumentales aux couleurs primaires cerclées de noir, il fut aussi l'un des premiers théoriciens de l'Art brut, ces oeuvres réalisées par des marginaux ou malades mentaux qui n'ont pas suivi de formation artistique formelle. Les collages réalisés dans la dernière décennie de sa vie, moins connus du grand public, sont directement inspirés de ces travaux. 

Si l'artiste français Jean Dubuffet (1901-1984) est devenu célèbre dans les années 60 grâce à ses sculptures monumentales aux couleurs primaires cerclées de noir, il fut aussi l'un des premiers théoriciens de l'Art brut, ces oeuvres réalisées par des marginaux ou malades mentaux qui n'ont pas suivi de formation artistique formelle. Les collages réalisés dans la dernière décennie de sa vie, moins connus du grand public, sont directement inspirés de ces travaux.

Robert van Altena spreekt in deze uitzending met kunsthistorica en Dubuffet specialiste Sophie Berrebi over het werk van Jean Dubuffet naar aanleiding van de door haar gecureerde tentoonstelling ‘ The deep end‘ t/m 7 januari 2018 te zien in het Stedelijk. Gelijktijdig met deze tentoonstelling zijn er ook beelden te zien van Jean Dubuffet in het atrium en de tuin van het Rijksmuseum. Afbeelding: Jean Dubuffet: Table amoncellante I, 1968, polyester vinyl gegoten gesneden, 108 x 115 x 73, collectie Stedelijk Museum Amsterdam SPRINGVOSSEN Redactie + presentatie: Robert van Altena contact: springvossen@gmail.com www.facebook.com/springvossen www.amsterdamfm.nl/tag/springvossen/ Uitzendtechniek: Oscar van Oorschot

"Peggy Guggenheim was an extraordinary character; I would recommend Mary Dearborn's biography Mistress of Modernism; that's a play on words" Philip Rylands Director of the Peggy Guggenheim Collection, Venice subtly reveals how personal her involvement in art collection was. Mr. Rylands was in Brussels for the opening of Guggenheim: Full Abstraction, at the ING Art Center. The show presents an impressive set of works from the Peggy Guggenheim Collection, Venice and the Solomon Guggenheim Collection in New York with pieces by Marcel Duchamp, Max Ernst (Peggy's second husband), Jean DuBuffet, Lucio Fontana, Jackson Pollack, Mark Rothko, Alexander Calder, Willem de Kooning, Sam Francis, Robert Motherell, Cy Twombly and others. As well as the works of art, the show presents a rich timeline documented with archive pictures, documents, film fragments and more, to enable the visitor to fully understand the impact that these two main collectors of XXth Century art had in both the US and Europe. Through February 12 2017 www.ing.be/art

The term outsider art was coined by art critic Roger Cardinal in 1972 as an English synonym for art Brut, "raw art" or "rough art", a label created by French artist Jean Dubuffet to describe art created outside the boundaries of official culture; Dubuffet focused particularly on art by those on the outside of the established art scene, such as a psychiatric hospital patients and children. — Wikipedia

The term outsider art was coined by art critic Roger Cardinal in 1972 as an English synonym for art Brut, "raw art" or "rough art", a label created by French artist Jean Dubuffet to describe art created outside the boundaries of official culture; Dubuffet focused particularly on art by those on the outside of the established art scene, such as a psychiatric hospital patients and children. — Wikipedia

A celebration of the secret sculptures that brut 'outsider' artist Jean Dubuffet give the people of Paris to enjoy, and who has now been absent for 29 years. Originally broadcast on WorldRadioParis Mon 25 Aug – Sun 7 Sept 2014.

Bonjour!  Welcome to the next Masters and Mod Pod cast where we feature two French artists! One, Mssr. Jacques-Louis David and our Modern, Jean Dubuffet.  Two very different artists, yet what might they have in common (besides being French)?! It is 1784, there is considerable unrest in the streets of Paris and France.  People are […]

MAG preparator Carol Acquilano speaks on Affairements by Jean Dubuffet

JUNIOR ASPIRIN RADIO SESSION 16: PARDON MY FRENCHA French-Pop-Special-Guest-Podcast by our friends at Stop Making Sense - Yann Chateigné, Tiphanie Blanc & Vincent Normand http://stopmakings.blogspot.com Introduction penned by Mr. Dan Fox & performed by Mr. Nathaniel Mellors PODCAST HEREIt was late. Wind howled through the dark outside the windows of the Novotel Krakow Centrum. The four men had been locked for nine days in the hotel's Pope John Paul II Honeymoon Suite, surviving on a diet of lager and garage-bought sandwiches, delivered to them every hour by a silent seven-foot-tall thug known only as Tadeusz. The absurdist theatre sessions the men had been subjected to by their captors had become steadily less frequent. The men had proved resilient, but – exhausted by nonsensical language games, atonal tuba music and dizzying non-linear narratives -  hope was beginning to ebb. Mellors was tending a head wound Cooke had sustained during one of the more brutal theatre sessions, when a surrealist mime act had unexpectedly exploded in his face. Chateigné Tytelman was by the window, gazing despondently at the blizzard enveloping the city beyond the walls of their gilded cage. Normand, slumped across an antique chaise-longue, stared at the pile of empty Zywiec cans in the centre of the room, each one a stinging reminder of how long they'd been prisoners of their mysterious kidnappers. Unsure whether they would ever see their homes again, conversation naturally turned to pop music. Chateigné Tytelman and Normand wistfully exchanged names of leading French rock musicians. Guy Skornik. Popera Cosmic. Magma. "Remember Pierre Henry & Michel Colombier's Teen Tonic?" asked Chateigné Tytelman. "Of course." responded Normand. "And what I'd give to hear LSD!  by Jean-Christophe Averty again…" Mellors tried to join the conversation. "I like Serge Gainsbourg a lot." The two Frenchmen fell silent. Realising that this was no time for musical one-upmanship, they humoured him, but Mellors could tell he was in over his head. "Look chaps, if we ever happen to get out of this place, would you do me a favour?" "Of course. Anything, my friend." replied Normand. Mellors continued. "You see, the thing is … well … I feel somewhat struck by what I can only describe as … an abject, almost Bataillan, feeling of non-knowledge about all this French pop you're discussing. It's embarrassing, I know. I was only ever taught The Beatles at school, although I picked up a bit of Francoise Hardy along the way. Cooke here had a better education and knows a little Jean-Michel Jarre, but really, we need your help. We feel like such fools being able only to name MC Solaar as the one French rapper we know. But I have an idea. Back home, Me, Cooke, and another pal of ours by the name of Fox – god knows where he is, though last I heard he was on some top secret mission in the US – run this little record label thing. Nothing flashy you understand, but we like to call it Junior Aspirin Records. If – no, when, dammit, when – you get back to Paris and Geneva, would you mind awfully putting together an expository podcast for JAR? Something the boys can use to better acquaint themselves with the riches of your pop music tradition? It would mean the world to us, it really would. And maybe, just maybe, it could help herald a new era. One in which children, in schools up and down the country, need never again have to listen to the Rolling Stones or The Kinks, but rather, grow to be men and women of the world, pioneers of a new musical entente cordiale… It's a silly dream, I know, but … well, to blazes with being sensible. Let's try and change the world. One 70s prog rock classic at a time." "We know someone." said Chateigné Tytelman. "She goes by the name of Blanc. Her knowledge of the field is unsurpassed. We will enlist Blanc's help. Together with my expertise, and Normand's technical skills, we can do this for you Mellors. For you. For Cooke. For everyone." Chateigné Tytelman and Normand stood. Cooke wiped a tear from his eyes. The Frenchmen nodded in silent assent, and the four prisoners shook hands. Now, all that was between them and Serge Bulot's Ballade pour Suzanne was that jailor thug Tadeusz. As they heard the brute's heavy feet approach the door of their room, the men knew what they needed to do… "LA TRACKLISTE"Accident Du Travail, Ouverture alla franceseAnna Karina / Katerine, Parlez-vous anglais ?Erik Satie, Je te veuxSerge Bulot, Ballade pour SuzanneRichard Vimal, Introduction / Âme soeurLaurence Vanay, Morning quiet songBrigitte Fontaine & Belkacem Areski, CherAlbert Marcoeur, Deux lions au soleil (excerpt)Raphael Gimenez et Jean-Jacques Hertz, Texte pour BalthazarEtron Fou Leloublan, Lavés A La MachineVladimir Cosma, InformatiqueJean Dubuffet, Gai SavoirMaurice Lemaitre, Lettre rockIsidore Isou, Rituel somptueux pour la sélection des espècesPopera Cosmic, La chanson du lièvre de MarsJean Constantin, Les pantoufles à papaHenri Salvador, J'aime tes g'nouxWilliam Sheller (feat. Annie Girardot), JerkJoe Dassin, C'est La Vie LilySerge Gainsbourg, Flash-forwardJean-Claude Vannier, Cette race bizarreHugues O., Ellipse / À toiClaude Morgan, Le SlagBarney Wilen, ZombizarBertrand Burgalat, Ma rencontreMichel Houellebecq, Derniers tempsFrancois Bréant, Chase Along The North FreewayFrançois De Roubaix, Avron EvrardPhillippe Besbombes, FlipperRoland Bocquet, EpsiloveCatharsis, ChristopheFondation, Le Bal de grâceAlain Goraguer, Déshominisation (I)Pierre Henry & Michel Colombier, Teen TonicJean-Christophe Averty, LSD !Alain Kan, Heureusement en France, on ne se drogue pasMusique Noise, Pzkr!Magma, Retrovision (Je Suis Revenu De L'univers)Guy Skornik, Pourquoi ça va ?

Exhibition co-curator Klaus Ottmann discusses the exhibition Angels, Demons, and Savages: Pollock, Ossorio, Dubuffet, on view February 9 through May 12, 2013.

Exhibition co-curator Klaus Ottmann discusses the exhibition Angels, Demons, and Savages: Pollock, Ossorio, Dubuffet, on view February 9 through May 12, 2013.

Stop 1 Ossorio's Full Mother and Dubuffet’s Corps de Dame reflect the artists’ belief that, according to Dubuffet, “Painting is a more immediate and direct vehicle than verbal language, much closer to the cry.”

Con una conferencia del crítico y profesor de Historia del Arte de la Universidad Autónoma de Madrid Julián Gallego, se inauguró en la sede de la Fundación, el pasado 18 de abril, la Exposición «Maestros del siglo XX. Naturaleza muerta», en la que se ofrecen 79 obras pertenecientes a 32 destacados maestros de los principales movimientos y escuelas artisticas del presente siglo, cuyo catalogo presentamos en forma de diccionario en el número anterior de este Boletín Informativo. La muestra representa una variada selección de 72 pinturas y 7 esculturas que han tratado el tema de la «naturaleza muerta» a lo largo del siglo XX. Las escuelas y estilos a los que se pueden adscribir obras y autores son los que se han ido sucediendo en el arte eontemporaneo de diversos paises: surrealismo, cubismo, dadaismo, expresionismo, arte «pop», arte abstracto, etc. Los pintores y escultores representados en la exposición son los siguientes: Jean Arp, Mac Beckman, Jules Bissier, Pierre Bonnard, Georges Braque, Marc Chagall, Jean Dubuffet, Raoul Dufy, Max Ernst, Alberto Giacometti, Juan Gris, Paul K1ee, Oskar Kokoschka, Le Corbusier, Fernand Leger, Roy Lichtenstein, Rene Magritte, Henri Matisse, Joan Miro, Adolphe Monticelli, Ben Nicholson, Claes Oldenburg, Pablo Picasso, Odilon Redon, Georges Rouault, Kurt Schwitters, Chaim Soutine, Nicolas de Stael, Saul Steinberg, Antoni Tapies, Jean Tinguely y Andy Warhol.Más información de este acto

"Hasta el próximo 31 de marzo permanecerá abierta, en la sede de la Fundación Juan March, la Exposición del pintor francés Jean Dubuffet, que fue inaugurada el pasado mes de febrero. Considerado como uno de los artistas más importantes surgidos depués de la segunda guerra mundial, Jean Dubuffet, a punto de cumplir los 76 años, es sin duda uno de los más singulares experimentadores del arte informal. Integrada por un total de 83 obras, esta muestra, que ha sido preparada con la ayuda de la Galeria Beyeler, de Basilea, y del propio autor, refleja una variada gama de la producción de Dubuffet: 54 pinturas y 29 esculturas que dan una idea de la evolución artística del pintor francés, desde los retratos al oleo de su primera epoca (Mujer peinándose, La zurcidora de calcetín) hasta las realizaciones de los ultimos años, tan estrechamente vinculadas al caracter mismo de los diversos materiales utilizados: gouaches, assemblages, collages, dibujos en tinta china, etc. En el catálogo de esta exposición, se ha incluido una selección de citas del propio autor, tomadas de unas notas para una Conferencia de Dubuffet en el Art Club de Chicago, en 1951, de su libro «Prospectus et tous écrits suivants», tomo I/II, y de una carta dirigida por el pintor a Ernst Beyeler, con motivo de la exposición de su obra en la Galería del mismo nombre, en 1975. En el acto inaugural, pronunció unas palabras el director gerente de la Fundación.A continuación don Julián Gallego, Profesor Agregado de Historia del Arte en la Universidad Autónoma de Madrid y Critico de Arte, comentó la obra del artista en su marco biográfico y en el contexto de la pintura francesa de hoy."Más información de este acto