Podcast appearances and mentions of Jenny Holzer

Actrice Daphne Agten (recordhoudster van deelnames aan De slimste mens) vertelt in onze Bar Miroir hoe ze kracht haalt uit de female rage in het werk Inflammatory Essays van kunstenares Jenny Holzer, waarom de film Synecdoche, New York van Charlie Kaufman haar iedere keer opnieuw doet huilen, en hoe het komt dat in het theaterstuk Penthesilea van het Internationaal Theater Amsterdam kussen met bijten wordt verward. See omnystudio.com/listener for privacy information.

Actrice Daphne Agten (recordhoudster van deelnames aan De slimste mens) vertelt in onze Bar Miroir hoe ze kracht haalt uit de female rage in het werk Inflammatory Essays van kunstenares Jenny Holzer, waarom de film Synecdoche, New York van Charlie Kaufman haar iedere keer opnieuw doet huilen, en hoe het komt dat in het theaterstuk Penthesilea van het Internationaal Theater Amsterdam kussen met bijten wordt verward. See omnystudio.com/listener for privacy information.

Do 19. januarja 2025 si v ljubljanski galeriji Vžigalica lahko ogledate retrospektivno-dokumentarno razstavo Johna Feknerja, ki je bil del živahne newyorške umetniške scene konec sedemdesetih in v osemdesetih letih prejšnjega stoletja. Med drugimi je razstavljal z Donom Leichtom, Keithom Haringom, Davidom Wojnarowiczem in Jenny Holzer. V Ljubljani pa zdaj gostimo prvo samostojno predstavitev njegove umetnosti v javni instituciji. Zakaj ravno Ljubljana? Vse se je začelo leta 1909, ko se je na Karlovški cesti v Ljubljani rodil Ivan Fekner, Johnov oče. John je gostovanje v naši prestolnici več kot sto let pozneje tako izkoristil tudi za raziskovanje svojega družinskega drevesa.

Welcome to the FINALE of Season 12! I am so excited to say that my guest on the GWA Podcast is the acclaimed writer, Sheila Heti. Born in 1976 in Toronto, where she lives today, Heti is the author of eleven books, from novels to novellas, short stories and children's books. Most recently, her acclaimed books have included Alphabetical Diaries, that ordered a decade worth of diaries in alphabetical order; Pure Colour (2022), a novel that explores grief, art and time; Motherhood (2018), a meditation on whether or not to become a mother in a society that judges you whatever the outcome. Heti's writing is some of the most honest, thoughtful I've ever read, and throughout weaves in the broad subject of art, whether it be paintings or her protagonists' professions… Heti also wrote for the literary journal the Believer, and has conducted many long-form print interviews with writers and artists, including conversations with Joan Didion, Elena Ferrante, Agnes Varda, Sophie Calle, who are among some of the artists we are going to be, very excitingly, discussing today. -- THIS EPISODE IS GENEROUSLY SUPPORTED BY THE LEVETT COLLECTION: https://www.famm.com/en/ https://www.instagram.com/famm_mougins // https://www.merrellpublishers.com/9781858947037 Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Nada Smiljanic Music by Ben Wetherfield

At an exhibition of the artworld star in New York, Orit Gat wonders where the work of Jenny Holzer might sit in our wasteland of inspo?

In this episode of Locust Radio we are flipping the script a bit. Instead of Tish, Laura and Adam interviewing someone, Tish and Adam are interviewed by Locust's own Alexander Billet. They discuss, among other things, the Born Again Labor Museum, Adam and Tish's ongoing sited conceptual art and installation project in southern Illinois. An edited and abridged transcript of the interview is available on Alexander Billet's substack. A note: The interview was recorded the weekend before President Joe Biden quit the presidential race and endorsed Vice-President Kamala Harris. Artworks, artists, concepts, histories, and texts discussed in this episode: Jean Baudrillard, America (1989); Walter Benjamin, “Theses on History” (1940); John Berger, Ways of Seeing (documentary and book) (1972); Joseph Beuys; Claire Bishop, Disordered Attention: How We Look at Art and Performance Today (2024); Nicolas Bourriaud, Relational Art (1998); Bertolt Brehct, “A Short Organum for the Theater” (1949); Bertolt Brecht, War Primer (1955); “Carbondale Starbucks Employees Vote to Unionize” (2022); Anna Casey, “Museum examines workers rights through art” (2022); Class and Social Struggle in southern Illinois; Andrew Cooper; Kallie Cox, “Born Again Labor Museum Offers Free Communist Manifestos” (2022); Ben Davis, Art in the After-Culture: Capitalist Crisis and Cultural Strategy (2022); Mike Davis and Hal Rothman, The Grit Beneath the Glitter: Tales from the Real Las Vegas (2002); Marcel Duchamp; R. Faze, “I Live an Hour from My Body” (2021); Mark Fisher, Capitalist Realism: Is There No Alternative? (2008); Eirc Gellman and Jarod Roll, The Gospel of the Working-Class: Labor's Southern Prophets in New Deal America (2011); Francisco Goya, Disasters of War (1810-1820); Boris Groys, “The Weak Universalism” (2010); Jenny Holzer; Barbara Kruger; Michael Löwy, Fire Alarm: Reading Walter Benjamin's ‘On the Concept of History' (2005); Frances Madeson, “At the Born Again Labor Museum, Art is a Weapon for the Working Class” (2022); Karl Marx, The German Ideology (1846); Karl Marx and Freidrick Engels, The Communist Manifesto (1848); Pablo PIcasso, Guernica (1937); Russian Cosmism; Penelope Spheeris, The Decline of Western Civilization (1981); Stop Cop City; Leon Trotsky, Their Morals and Ours (1938); Adam Turl, “Against the Weak Avant-Garde” (2016); Adam Turl, “The Art Space as Epic Theater” (2015); Adam Turl, “Outsider Art is a Lie” (2019) and Adam Turl, “We're All Outsiders Now” (2019); Tish Turl, “Class Revenge Fanfiction” (2022); Tish Turl, “Toilet Key Anthology” (2020); Tish Turl and Adam Turl, Born Again Labor Museum; Tish Turl and Adam Turl, Born Again Labor Tracts; The Wanderers/Peredvizkniki  In other news, the call for submissions for Locust Review 12 is available on our website, check it out.  Locust Radio is produced by Omnia Sol, Alexander Billet and Adam Turl. Its hosts include Adam Turl, Laura Fair-Schulz, and Tish Turl.

Talk Art Live, recorded at Apple Covent Garden. We meet Rebecca Lucy Taylor aka Self Esteem to celebrate her first new music in 3 years, the new single Big Man featuring Moonchild Sanelly.Recorded in front of a live audience of 400 art lovers, we explore her rise to fame over the past few years, what it was like playing the Sally Bowles lead in Cabaret on London's West End and her love of art and how artists continue to inspire her creative process while recording her third album. We discuss her admiration for artists including Lindsey Mendick, Marina Abramović, Tracey Emin, Cindy Sherman, Corbin Shaw and Jenny Holzer. Her passion for visiting museums like Yorkshire Sculpture Park, Hayward Gallery and artist degree shows, responding to Tony Soprano and masculine archetypes in her new imagery and what it feels like to be permanently hanging on the walls in the National Portrait Gallery collection in a portrait by photographer Karina Lax.Rebecca Lucy Taylor, known professionally by her stage name Self Esteem, is an award winning English singer-songwriter. Nominated for the Mercury Music Prize for her last hit album, Prioritise Pleasure, Self Esteem had sell-out tours at ever-growing venues across the UK and played the largest gigs of her career including Glastonbury – in recognising herself and others, Rebecca Taylor has made countless people feel esteemed.We love Self Esteem SO much! You can stream her new single, which is without doubt THE song of the summer BIG MAN, and also listen to her award-winning album PRIORITISE PLEASURE now at Spotify, Apple or wherever you listen to your music!!! View her new video for BIG MAN here: https://www.youtube.com/watch?v=mteCEloA1bsFollow @SelfEsteemSelfEsteem on Instagram and @SelfEsteem___ on Twitter. Hosted on Acast. See acast.com/privacy for more information.

Learn more at TheCityLife.org --- Send in a voice message: https://podcasters.spotify.com/pod/show/citylifeorg/message Support this podcast: https://podcasters.spotify.com/pod/show/citylifeorg/support

Learn more at TheCityLife.org --- Send in a voice message: https://podcasters.spotify.com/pod/show/citylifeorg/message Support this podcast: https://podcasters.spotify.com/pod/show/citylifeorg/support

Anyone who remembers New York City's “golden age” of graffiti in the late '70s and early '80s knows about the lion spray-painted on the handball court at Corlears Junior High School, roaring next to metallic blue letters spelling the word “Lee.” In this episode of the Hyperallergic podcast, we speak with its creator, Lee Quiñones, whose paintings of dragons, lions, and Howard the Duck on over 120 MTA train cars were part of the movement that brought light and color to the otherwise dingy, dark, and drastically underfunded subway system. Quiñones's paintings caught the attention of art collectors and gallerists. By the time he was 19, he was showing his work at Galleria La Medusa in Rome, alongside fellow graffiti writer Fred Brathwaite, also known as “Fab 5 Freddy.” Among other writers, the following years would bring his graffiti art to more shows, both at home in New York City and in the Netherlands, Spain, Belgium, and even Documenta 7 in 1982 in Kassel, Germany. Quiñones is the rare graffiti writer from this era who maintained a successful career in the gallery space. Today, he continues to experiment through paintings, drawings, and collages in an ever-changing range of styles. His art is in the collections of several major museums, including the Whitney Museum of American Art. In this episode, Quiñones reflects on the monster movies that inspired him as a kid, running the tracks as a graffiti-writing teen, making art alongside Keith Haring, Jean-Michel Basquiat, and Jenny Holzer in the 1980s East Village scene, and much more. He also discusses the new book documenting his life and work, Lee Quiñones: Fifty Years of New York Graffiti Art and Beyond, which was published by Damiani on April 30. A solo show of his recent work, titled Quinquagenary, will be on display at Charlie James Gallery in Los Angeles until May 25, 2024. The music in this episode is courtesy of Soundstripe.Subscribe to Hyperallergic on Apple Podcasts, and anywhere else you listen to podcasts.(00:00) - Intro (03:04) - Early life and work (08:06) - Cinema (19:43) - “Howard the Duck” (27:17) - Lee is “WANTED” by the police (28:58) - “Lion's Den” (38:57) - The East Village scene (47:29) - “The buff” in the 80s (53:03) - The 21st century (57:00) - Outro —Subscribe to Hyperallergic NewslettersBecome a member

In this colorful and creative conversation Alexandra chats with Jakob Trollbäck.Jakob Trollbäck is the main architect behind the language and visual identity of the UN's 17 Sustainable Development Goals, launched in 2015. He is also one of the initiators of the Inner Development Goals, a framework of individual skills and qualities needed to accelerate the work toward Agenda 2030.Jakob has a branding agency in New York and founded The New Division in 2017, a communication agency in Stockholm that makes complexity easier to understand with simple, smart, and beautiful communication. The team is currently working on the new UN framework for biodiversity. In this conversation we talk about things such as why all our best ideas come in the shower, but also how we are all part of biodiversity. As well as the impact of artist Jenny Holzer's sign from 1982 that said “Protect Me From What I Want” and the story of how Jakob together with Richard Curtis (yes the fabulous British screen writer that wrote films such as Love Actually, Four Weddings and A Funeral, and Bridget Jones's Diary) approached the development of the SDGs together.You can learn more about Jakob over at https://www.thenewdivision.world/ and on Linkedin as well as read more on the Sustainable Development Goals and the Inner Development Goals. You can connect with Alexandra and the Circular Entrepreneurs over at The Circular Entrepreneurs and on Instagram and linkedinIf you want to work with Alexandra, you can find 1:1 coaching packages hereIn order to keep growing this beautiful community I would love for you to follow, share, rate & review the podcast.XxAlexandra Hosted on Acast. See acast.com/privacy for more information.

Marc Mitchell holds a M.F.A from Boston University. His work has been included in exhibitions at the Schneider Museum of Art, Southern Oregon University; University of Wisconsin, Madison; University of Alabama, Tuscaloosa; Florida Atlantic University Galleries, Boca Raton; TOPS Gallery, Memphis, TN; GRIN Gallery, Providence, RI; Laconia Gallery, Boston, MA; and others. Mitchell has been featured in publications such as the Boston Globe, Burnaway, and Number Inc; and was selected for New American Paintings in 2014, 2017, 2018, and 2020. Mitchell has been an Artist-in-Residence at the Banff Center for Arts & Creativity, Ucross Foundation, Vermont Studio Center, Hambidge Center for the Arts, Jentel Foundation, and Tides Institute/StudioWorks. In 2021, Mitchell was a Fellow at The American Academy in Rome. In addition to his studio practice, Mitchell has curated exhibitions that feature artists such as Tauba Auerbach (Diagonal Press), Mel Bochner, Matt Bollinger, Mark Bradford, Tara Donovan, Chie Fueki, Daniel Gordon, Sara Greenberger-Rafferty, Philip Guston, Josephine Halvorson, Trenton Doyle Hancock, Jenny Holzer, Rashid Johnson, Mary Reid Kelley, Ellsworth Kelly, Arnold Kemp, Allan McCollum, Kay Rosen, Erin Shirreff, Lorna Simpson, Jered Sprecher, Jessica Stockholder, Jason Stopa, Hank Willis Thomas, Carrie Mae Weems, Lawrence Weiner, Wendy White, Molly Zuckerman-Hartung, and many others. "I am influenced by many things—1980's guitars, VHS tapes, World War I battleships, sunrise/sunset gradients, moiré patterns, and more. Over the past 3 years, ‘notions of cycle' have played an increased role in the development of my paintings; and I'm curious how the avant-garde succeeds and fails within popular culture. Currently, I'm interested in how the landscape has been depicted throughout American culture. Whether it's Thomas Cole and Albert Bierstadt of the Hudson River School, Georgia O'Keeffe's monumental work at the Art Institute of Chicago, or an Instagram post of a sunset—each conveys a romanticized view of our world. The most recent paintings are an amalgamation of experiences that I've had within the American landscape; with each painting flowing freely between representation and abstraction." LINKS:  www.mmitchellpainting.net   www.instagram.com/methan18     Artist Shout Out:    UARK Drawing --- https://www.uarkdrawing.com/ and @uarkdrawing UARK Painting --- https://www.uarkpainting.com/ and @uarkpaintning   I Like Your Work Links: Check out our sponsor for this episode: The Sunlight Podcast: Hannah Cole, the artist/tax pro who sponsors I Like Your Work, has opened her program Money Bootcamp with a special discount for I Like Your Work listeners. Use the code LIKE  to receive $100 off your Money Bootcamp purchase by Sunlight Tax. Join Money Bootcamp now by clicking this link: https://www.sunlighttax.com/moneybootcampsales and use the code LIKE. Chautauqua Visual Arts: https://art.chq.org/school/about-the-program/two-week-artist-residency/ 2-week residency https://art.chq.org/school/about-the-program/ 6-week residency   Apply for Summer Open Call: Deadline May 15 Join the Works Membership ! https://theworksmembership.com/ Watch our Youtube channel: https://www.youtube.com/@ilikeyourworkpodcast Submit Your Work Check out our Catalogs! Exhibitions Studio Visit Artist Interviews I Like Your Work Podcast Say “hi” on Instagram

in which poet/writer Dina Paulson and i talk social media acumen, poetry-as-process, and the joys of re-readability... where to find Dina: instagram - @dinaspaulson tumblr - https://dinapaulson.tumblr.com TOUCH/breaks - https://akinogapress.com/books/touchbreaks other things referenced: Jenny Holzer - https://projects.jennyholzer.com/ Amanda Gorman - https://www.theamandagorman.com/ Rupi Kaur - https://rupikaur.com/ Bianca Stone - https://bianca-stone.com/ Beyond the River by Leah Maines - https://www.finishinglinepress.com/product/beyond-the-river-winner-of-the-kentucky-writers-coalition-poet-by-leah-maines/

Avant Arte, the curated marketplace that makes discovering and owning art radically more accessible, announces its first selection of artists to be included in its 2024 digital art programme. Avant Arte digital art programme the course of the year, Avant Arte will collaborate with renowned digital artists including Dawnia Darkstone, William Mapan, Matt DesLauriers, Laura El, Deekay, Emily Xie, Grant Riven Yun, mpkoz, Martin Grasser and Linda Dounia. William Mapan, Centrifuge, 2024, prints from the edition of by Avant Arte, image courtesy of Avant ArteGenerative artists - Coding the physical In a first-time collaboration, Avant Arte partners with leading generative artist Matt Deslauriers this February for a time-limited print edition and 4 NFTs that will be available to all for 48 hours only. The new work is the culmination of an in-depth study by the artists into colour theory that has seen him explore the translation of his practice from CYMK to RGB as he continues the aesthetic exploration commenced in his most well-known series, Meridian. The work will be announced tomorrow, Later in the year, we will collaborate with fellow generative artists including Emily Xie known for her Memories of Quilin work inspired by historic quilts in LACMA's collection and her Off Script works that explore collage through coding; Senegalese artist Linda Dounia who explores power structures and the biases of AI through her generative practice and is most known for her AI in Bloom series, and Martin Grasser who rose to prominence for his design of the original Twitter blue bird Logo as a designer and his systems-based practice that saw him collaborate with revered early generative artist Vera Molnár to bring her works to the blockchain. In addition, Avant Arte will release a curated selection of works by mpkoz. Growing Up - A landmark solo exhibition for Grant Riven Yun Avant Arte and Grant Riven Yun will present Growing Up, his first solo exhibition in Seoul, South Korea in March 2024. Growing Up will present 13 new physical works, all made at Avant Arte's master printmakers Make-Ready, that continue Yun's work of documenting American regionalism. The works respond to the period he lived part-time in New England between 2019-2023. The nostalgia associated with the architecture and landscape of the region led him to reflect on his own experience as a second-generation Korean-American and presenting this new chapter of his practice in Seoul, South Korea marks a full circle moment for the artist. Cozomo de' Medici curation continued Continuing their collaboration of curated releases, Cozomo de' Medici has selected Wiliam Mapan, Dawnia Darkstone, Laura El and Deekay as the first artists for the year ahead. Both William Mapan and Dawnia Darkstone's editions, Centrifuge and Digital Chemicals, respectively sold out after launch earlier this month. A digital illustrator and author that treads the line between eerie and quaint, Laura El will release Park Avenue, an exclusive limited edition of 30 physical prints with accompanying NFTs of the same artwork in early February. Followed by the release of Deekay's inaugural physical print, Love Ripples on Valentine's Day. Love Ripples sees Deekay's work printed on a mirrored metal composite by Avant Arte's master printmakers, Make-Ready who have led the way in creating innovative new printing methods to bring the digital into the physical realm. Avant Arte is known for collaborating with leading contemporary artists like Ai Weiwei, Anish Kapoor, Jenny Holzer and Nina Chanel Abney to produce and offer limited edition works - from sculpture and works on paper to NFTs and hand-finished screen prints. In 2022, it added digital art to its offering with the ambition to bridge the divide between digital and physical art and to support artists' creative output across any medium. Last year, they significantly expanded their digital arts programme, bringing their printmaking expertise to a series of major collabora...

New Talk Art special episode!!!! We meet ICONIC artist Julie Mehretu, presented by BMW. #AD What does Julie Mehretu think about when creating BMW Art Car 20? Find out on this week's @TalkArt episode!@RussellTovey and @RobertDiament interview @JulieMehretu during the process for planning and creating #BMWArtCar20. To design #artcar20, Mehretu translates her signature multi-layered motifs onto the contours of the #BMWMHybridV8. Obscured photographs, dotted grids, neon-coloured spray paint and her iconic gestural markings create abstract visual forms across the body of the car. Mehretu's collaboration with BMW goes beyond the Art Car. Julie Mehretu and Mehret Mandefro (@drmehret), Emmy-nominated producer, writer and co-founder of the Realness Institute which aims to strengthen the media ecosystem across Africa, will host a series of gatherings across Africa in 2025 to create space for artists to meet, exchange, and collaborate in translocal ways. Follow @JulieMehretu and @BMWGroupCulture to stay in the loop for more sneak peeks of the next addition to this legendary car collection.Ideas of time, space and place are enmeshed in the work of Julie Mehretu. Drawing is fundamental to her practice, whether in works on paper, painting or printmaking. The artist's dextrous mark-making comes together in a characteristic swirl, an act of assertion in response to social and political change. ‘As I continue drawing,' she says, ‘I find myself more and more interested in the idea that drawing can be an activist gesture. That drawing – as an informed, intuitive process, a process that is representative of individual agency and culture, a very personal process – offers something radical.'The countdown for the unveiling of the 20th BMW Art Car is underway. On 21st May, the BMW M Hybrid V8, designed by artist Julie Mehretu and set to compete at the 24 Hours of Le Mans on 15th/16th June, will be presented at the Centre Pompidou in Paris, France. The artist is already providing glimpses into her work. Additionally, it is now confirmed that the Art Car will carry the starting number 20 and will be driven by Sheldon van der Linde (RSA), Robin Frijns (NED), and René Rast (GER). The #20 BMW M Hybrid V8 will be the first Art Car since the 2017 season, where the BMW M6 GTLM designed by John Baldessari raced at the 24 Hours of Daytona (USA), followed by the virtual BMW M6 GT3 Art Car by Cao Fei at the FIA GT World Cup in Macau (CHN). In the past, the most famous BMW Art Cars have participated in Le Mans: in 1975, Alexander Calder's BMW 3.0 CSL, in 1976, Frank Stella's BMW 3.0 CSL, in 1977, Roy Lichtenstein's BMW 320i Turbo, in 1979, Andy Warhol's BMW M1, in 1999, Jenny Holzer's BMW V12 LMR, and in 2010, Jeff Koons' BMW M3 GT2. This illustrious collection is now enriched by Julie Mehretu's BMW M Hybrid V8.For the design of the 20th BMW Art Car, Mehretu uses the colour and form vocabulary of an existing large-format painting from a more recent series of works: obscured photographs, dotted grids, neon-coloured spray paint and Mehretu's iconic gestural markings give her design an abstract visual form. She transfers the resulting image motif as a high-resolution photograph onto the vehicle's contours using a 3D mapping technique. This creates the unique artistic foiling with which the BMW M Hybrid V8 will compete in the Le Mans race. Hosted on Acast. See acast.com/privacy for more information.

Help shape the future of the show! Take our listener survey: https://forms.gle/Pr8kThnNUGU6hasF6If you listen to this show chances are you are familiar with some iconic images of time-based media art that has taken place in Times Square — in fact I think perhaps the first image I ever saw of Jenny Holzer's work  was a grainy black and white photo of one of her truisms on display on an LED sign in Times Square. Public art has been occurring in Time's Square for many decades, but in fact, as we'll hear from guest Jean Cooney, Time Square Arts has only existed for about 12 years. Before serving as their director, Jean was deputy director at Creative Time, another organization of course that is absolutely central to public art in NYC — I was really keen to sit down with jean to hear how she came to work within this particular niche, and in this convo we get to hear some really cool behind the scenes ins and outs of what it takes to help artists create art for the public, in perhaps one of the most public locations in the US, as well as, how the heck do artists create video art for 65 displays of various shapes and sizes in Times Square? All this and more in today's chat with Jean Cooney.Links from the conversation with Jean> http://arts.timessquarenyc.org/times-square-arts/index.aspx> https://creativetime.org/Get access to exlusive content - join us on Patreon!> https://patreon.com/artobsolescenceJoin the conversation:https://www.instagram.com/artobsolescence/Support artistsArt and Obsolescence is a non-profit podcast, sponsored by the New York Foundation for the Arts, and we are committed to equitably supporting artists that come on the show. Help support our work by making a tax deductible gift through NYFA here: https://www.artandobsolescence.com/donate

Fredericktown's Partington is August's Park National Bank Athlete of the Month: https://www.knoxpages.com/2023/09/08/fredericktowns-partington-is-park-national-bank-athlete-of-the-month/ Today - we'll hear from a recent Knox Pages Athlete of the Month, Fredericktown's Julia Partington.Support the show: https://www.sourcemembers.com/See omnystudio.com/listener for privacy information.

Food waste is part of any restaurant business. An increasingly popular app helps connect the leftovers — for a cheap price — with Angelenos who aren't too picky. LA's first bus route opened in 1923. A century later, the system still provides essential transportation to many Angelenos. For the first time since 2012, renowned text artist Jenny Holzer is back in LA – and her new LED pieces feature AI-generated text.

“You are a victim of the rules you live by” (Jenny Holzer). Why do you think you limit God? 1. You Question God's Goodness 2. You Question YOUR Goodness 3. You Doubt God wants you to have and enjoy GOOD! 4. Your Awareness detectors (looker) are tuned to broken dreams and doubts instead of GOOD!

Religion und Leben auf den Punkt gebracht. Mit Denkanstößen zur Alltagslust und zum Alltagsfrust. Von Jan Primke.

We reminisce about the frat house we accidentally stayed at in Palm Desert that Greg Heller had also once rented for his bachelor party and then I foist upon Daniel the dinosaur album I remember from grade school. I also share some stories about the funniest but meanest girl I was friends with in college and I want to know what kind of guy Daniel thinks I would cheat with, if I were to cheat. I let him know the kind of gal I'd be worried about. Plus your calls, shows that are irritating but watchable versus just irritating, Jenny Holzer and more. Products I Use/Recommend/Love: http://amazon.com/shop/alisonrosen Check us out on Patreon: http://patreon.com/alisonrosen This episode is brought to you by: POISE: http://poise.com Buy Alison's Book: Tropical Attire Encouraged (and Other Phrases That Scare Me)  https://amzn.to/2JuOqcd You probably need to buy the HGFY ringtone! https://www.alisonrosen.com/store/ Get yourself some new ARIYNBF merch here: https://alison-rosen-shop.fourthwall.com/ Try Amazon Prime Free 30 Day Trial

De 1984 à 1985, Jean-Michel Basquiat (1960-1988) et Andy Warhol (1928-1987) réalisent environ 160 toiles ensemble, « à quatre mains », dont certaines parmi les plus grandes de leurs carrières respectives. Témoin de leur amitié et de cette production commune, Keith Haring (1958-1990) parlera d'une « conversation advenant par la peinture, à la place des mots », et de deux esprits fusionnant pour en créer un « troisième, séparé et unique ». « Basquiat × Warhol, à quatre mains », l'exposition la plus importante jamais consacrée à cette œuvre singulière, regroupe plus de trois cents œuvres et documents, dont quatre-vingts toiles signées conjointement ; sont aussi présentées des œuvres individuelles de chaque artiste, ainsi qu'un ensemble de travaux de Futura 2000, Michael Halsband, Keith Haring, Jenny Holzer, Kenny Scharf... afin de restituer la scène artistique du downtown new-yorkais des années 1980. Du 05.04.2023 au 28.08.2023 à la Fondation Louis Vuitton, 8 Av. du Mahatma Gandhi, 75116 Paris

Secession Podcast: Members Carl Pruscha in conversation with Bettina M. Busse Secession Podcast: Members is a series of conversations featuring members of the Secession. This episode is a conversation between the member Carl Pruscha and the art historian and curator Bettina M. Busse. It was recorded on April 5, 2023. Carl Pruscha (b. 1936 in Innsbruck) studied architecture at the Academy of Fine Arts in Vienna with Lois Welzenbacher and Roland Rainer and urban planning at Harvard University with José Luis Sert. In 1976 Pruscha became university professor and head of his institute at the Academy of Fine Arts Vienna. From 1988 to 2002, he was the rector of the academy. An important project from this period was the reconstruction of the so-called Semper Depot. From 2001 to 2005, Pruscha transitioned to the position of professor in Design and Habitat, Environment & Conservation. At the invitation of the Getty Institute in Los Angeles, he wrote critical analyses of architectural developments in countries of the Global South. From 2005, he realised the new school building for the organisation "One World Foundation" in Sri Lanka. Carl Pruscha was Chairman of the Advisory Board for Art and Building in the Ministry of Science, Art and Research, is a sought-after jury member in art and architecture competitions, and has been awarded the Austrian Decoration for Science and Art and the Gold Decoration for Services to the City of Vienna, among others. Bettina M. Busse is an art historian and curator at Kunstforum Wien. Before that, she worked for many years as a curator at MAK Museum of Applied Arts/Contemporary Art, Vienna. She has curated numerous exhibitions on Contemporary and Modern Art, including Joseph Beuys, Anish Kapoor, Jannis Kounellis, Jenny Holzer. The Cindy Sherman Effect. Identity and Transformation in Contemporary Art, Kunstforum Wien, 2020, Rebecca Horn, 2021 and David Hockney Insights, Kunstforum Wien, 2022. In 2003, together with Kasper König, she was responsible for the Austrian Pavilion at the Venice Biennale (Bruno Gironcoli). Co-founder and director of the Bruno Gironcoli Estate. She is currently working on the most comprehensive retrospective of Marina Abramovic's work to date, which will be shown at Kunstforum Wien in 2025. Bettina M. Busse is author and editor of numerous texts and publications. The Dorotheum is the exclusive sponsor of the Secession Podcast. Jingle: Hui Ye with an excerpt from Combat of dreams for string quartet and audio feed (2016, Christine Lavant Quartett) by Alexander J. Eberhard Editing Director: Christian Lübbert Editor: Paul Macheck Programmed by the board of the Secession Produced by Christian Lübbert

Over the past five decades, American artist Jenny Holzer has been engaging in thought-provoking interventions into public space that unflinchingly address politics, power, violence, and vulnerability. The New York-based artist investigates language as both content and form, and she works with unconventional mediums to do this including street signage, T-shirts, and light projections, but also sculptures and painting. Her poetic and often minimalist works are extremely impactful, creating a tension between knowledge and truth and emotion. Last year, Holzer curated an acclaimed exhibition of the work of Louise Bourgeois at the Kunstmuseum Basel. More recently, she received Whitechapel Gallery's prestigious Art Icon award. She's also the subject of a major solo exhibition on view until August 6 at a preeminent institution in Germany, the K21 in Dusseldorf. On the occasion of the show, which includes many key works spanning her career, Artnet's Europe editor Kate Brown caught up with Holzer, one of the foremost artists of her generation.

City Lights presents Gillian Conoley in conversation with Norma Cole, celebrating the publication of "Notes from the Passenger" by Gillian Conoley, published by Nightboat Books. This live event was held in the Poetry room and simultaneously broadcasted via Zoom. This event was hosted by Peter Maravelis of City Lights. You can purchase copies of "Notes from the Passenger" directly from City Lights here: https://citylights.com/general-poetry/notes-from-the-passenger/ Gillian Conoley is a poet, editor, and translator. Her collection, A LITTLE MORE RED SUN ON THE HUMAN: NEW AND SELECTED POEMS, with Nightboat Books, won the 39th annual Northern California Book Award in 2020. Conoley received the Shelley Memorial Award from the Poetry Society of America, and was also awarded the Jerome J. Shestack Poetry Prize, a National Endowment for the Arts grant, and a Fund for Poetry Award. Conoley's translations of three books by Henri Michaux, THOUSAND TIMES BROKEN, is with City Lights. Conoley has taught as a Visiting Poet at the University of Iowa Writers' Workshop, the University of Denver, Vermont College, and Tulane University. A long–time resident of the San Francisco Bay Area, Conoley is currently Professor of English and Poet–in–Residence at Sonoma State University where she edits VOLT. Conoley has collaborated with installation artist Jenny Holzer, composer Jamie Leigh Sampson, and Buhto dancer Judith Kajuwara. Norma Cole is a member of the circle of poets around Robert Duncan in the '80s, and a fellow traveler of San Francisco's language poets, Cole is also allied with contemporary French poets like Jacques Roubaud, Claude Royet-Journoud, and Emmanuel Hocquard. Her translations from the French include Hocquard's "This Story Is Mine" (Instress, 1999), "Crosscut Universe: Writing on Writing from France" (Burning Deck, 2000), Danielle Collobert's Notebooks 1956-1978 (Litmus, 2003), and Fouad Gabriel Naffah's "The Spirit God and the Properties of Nitrogen" (Post-Apollo, 2004). She has taught at many schools, including the University of San Francisco and San Francisco State. During winter 2004/05, Cole could be seen inhabiting a 1950s living room as part of the California Historical Society's Collective Memory installation series. More recently, she curated a show by Marina Adams at the Cue Arts Foundation in NYC. This event was made possible by support from the City Lights Foundation: citylights.com/foundation

Over the past five decades, American artist Jenny Holzer has been engaging in thought-provoking interventions into public space that unflinchingly address politics, power, violence, and vulnerability. The New York-based artist investigates language as both content and form, and she works with unconventional mediums to do this including street signage, T-shirts, and light projections, but also sculptures and painting. Her poetic and often minimalist works are extremely impactful, creating a tension between knowledge and truth and emotion. Last year, Holzer curated an acclaimed exhibition of the work of Louise Bourgeois at the Kunstmuseum Basel. More recently, she received Whitechapel Gallery's prestigious Art Icon award. She's also the subject of a major solo exhibition on view until August 6 at a preeminent institution in Germany, the K21 in Dusseldorf. On the occasion of the show, which includes many key works spanning her career, Artnet's Europe editor Kate Brown caught up with Holzer, one of the foremost artists of her generation.

Willkommen bei »Die Sucht zu SEHEN«, dem Grisebach-Podcast. Alle zwei Wochen sprechen wir hier mit Menschen, die etwas in der Kunst – oder über sie – zu sagen haben. Diese Woche zu Gast ist der Jesuit Friedhelm Mennekes. Seit mehr als dreißig Jahren lebt er ein Leben zwischen Kunst und Kirche. Als Pater holte er die Werke namhafter Künstler wie Francis Bacon, Arnulf Rainer, Jenny Holzer, Rosemarie Trockel oder Cindy Sherman in seine Kirchen und stellte sie dort aus; erst in Frankfurt am Main, dann in Köln und schließlich in Düsseldorf. Wie es dazu kam, wie seine Begegnung mit Joseph Beuys war und ob Künstler spirituellere Menschen als andere sind, erzählt er uns jetzt, in Folge 68 von Die Sucht zu SEHEN. Herzlich willkommen, lieber Friedhelm Mennekes!

In the first episode of the special season of Khosh Bosh with Anita, we discuss the curation of the Evaporating Suns exhibition. I am joined by Munira Al Sayegh and Verena Formanek. Tune in to hear more about their individual curatorial practices, the process of commissioning nine artworks for Evaporating Suns and the joys and questions that come with cross-cultural curation. Munira Al Sayegh is an independent curator and cultural instigator based in Abu Dhabi, UAE. She is the founder of Dirwaza Curatorial Lab, a UAE-based curatorial incubator. She is a published author and prominent public voice in the region, highlighting the importance of grassroots initiatives, narrative reclamation and non-institutional thinking to build regional art movements from the bottom up. Verena Formanek graduated with an MA from the University of Applied Arts, Vienna. In 1989 she joined the Museum of Applied Arts in Vienna as Curator of Design and Exhibitions. She installed the permanent collection in contexts designed by international artists like Barbara Bloom, Jenny Holzer, Donald Judd, and Heimo Zoberning. Formanek was Deputy Artistic Director at the Fondation Beyeler in Basel from 1996 to 2004 and worked closely with Ernst Beyeler. The three following years she was Head of Collections at the Museum für Gestaltung in Zurich. In 2010 she joined the culture department of The Tourism Development and Investment Company as Senior Project Manager for the soon to be opened Guggenheim Abu Dhabi. She worked in the same capacity in the museum department of the Abu Dhabi Tourism and Culture Authority until 2016. This special season of Khosh Bosh consists of four hour-long episodes that discuss the works from the exhibition, Evaporating Suns, in-depth with the artists and curators, as well as a myth library that showcases the different myths that the the KBH.G and Dirwaza teams grew up hearing. The thirteen artists showcased in this exhibition are Maitha Abdalla, Mays Albaik, Fatema Al Fardan, Moza Al Matrooshi, Abdullah Alothman, Farah Al Qasimi, Mashael Alsaie, Zuhoor Al Sayegh, Asma Belhamar, Alaa Edris, Saif Mhaisen, Fatima Uzdenova, and Bu Yousuf. The exhibition is presented by KBH.G in Basel, Switzerland and is curated by Dirwaza Curatorial Lab with the support of Verena Formanek. Presented by Kulturstiftung Basel H. Geiger I KBH.G. Season sponsored by the Foundry in Downtown Dubai. Music by Ronald Ekore.

In this episode of the "Here, There, and Everywhere" podcast, host Jack Lawless is joined by the multi-talented musician, songwriter, video producer, and internet personality, Bill Wurtz. Together, they discuss Bill's music, his inspirations, and how he got started writing songs. They also delve into one of Bill's biggest musical influences, The Beatles - in particular, the incredible talent of Paul McCartney. Bill shares his thoughts on the recently released Get Back docu-series, providing a unique perspective on this behind-the-scenes look at the creative process of one of the most iconic bands of all time. If you're a fan of music, The Beatles, or just great conversation, this episode is not to be missed. So, turn off your mind, relax, and enjoy the "Here, There, and Everywhere" podcast with Bill Wurtz. Don't forget to subscribe for more exciting guests and thought-provoking conversations!   Check out Bill's YouTube page: https://www.youtube.com/user/billwurtz Follow Bill on Twitter: https://twitter.com/billwurtz   If you like this episode, be sure to subscribe to this podcast! Follow us on Twitter and Instagram. Or click here for more information: Linktr.ee/BeatlesEarth   ----- The Beatles were an English rock band, formed in Liverpool in 1960, that comprised John Lennon, Paul McCartney, George Harrison and Ringo Starr. They are regarded as the most influential band of all timeand were integral to the development of 1960s counterculture and popular music's recognition as an art form. Rooted in skiffle, beat and 1950s rock 'n' roll, their sound incorporated elements of classical music and traditional pop in innovative ways; the band later explored music styles ranging from ballads and Indian music to psychedelia and hard rock. As pioneers in recording, songwriting and artistic presentation, the Beatles revolutionised many aspects of the music industry and were often publicised as leaders of the era's youth and sociocultural movements. Led by primary songwriters Lennon and McCartney, the Beatles evolved from Lennon's previous group, the Quarrymen, and built their reputation playing clubs in Liverpool and Hamburg over three years from 1960, initially with Stuart Sutcliffe playing bass. The core trio of Lennon, McCartney and Harrison, together since 1958, went through a succession of drummers, including Pete Best, before asking Starr to join them in 1962. Manager Brian Epstein moulded them into a professional act, and producer George Martin guided and developed their recordings, greatly expanding their domestic success after signing to EMI Records and achieving their first hit, "Love Me Do", in late 1962.   Lennon, McCartney, Harrison and Starr all released solo albums in 1970. Their solo records sometimes involved one or more of the others; Starr's Ringo (1973) was the only album to include compositions and performances by all four ex-Beatles, albeit on separate songs. With Starr's participation, Harrison staged the Concert for Bangladesh in New York City in August 1971. Other than an unreleased jam session in 1974, later bootlegged as A Toot and a Snore in '74, Lennon and McCartney never recorded together again. Two double-LP sets of the Beatles' greatest hits, compiled by Klein, 1962–1966 and 1967–1970, were released in 1973, at first under the Apple Records imprint. Commonly known as the "Red Album" and "Blue Album", respectively, each has earned a Multi-Platinum certification in the US and a Platinum certification in the UK. Between 1976 and 1982, EMI/Capitol released a wave of compilation albums without input from the ex-Beatles, starting with the double-disc compilation Rock 'n' Roll Music. The only one to feature previously unreleased material was The Beatles at the Hollywood Bowl (1977); the first officially issued concert recordings by the group, it contained selections from two shows they played during their 1964 and 1965 US tours. The music and enduring fame of the Beatles were commercially exploited in various other ways, again often outside their creative control. In April 1974, the musical John, Paul, George, Ringo ... and Bert, written by Willy Russell and featuring singer Barbara Dickson, opened in London. It included, with permission from Northern Songs, eleven Lennon-McCartney compositions and one by Harrison, "Here Comes the Sun". Displeased with the production's use of his song, Harrison withdrew his permission to use it.Later that year, the off-Broadway musical Sgt. Pepper's Lonely Hearts Club Band on the Road opened. All This and World War II (1976) was an unorthodox nonfiction film that combined newsreel footage with covers of Beatles songs by performers ranging from Elton John and Keith Moon to the London Symphony Orchestra. The Broadway musical Beatlemania, an unauthorised nostalgia revue, opened in early 1977 and proved popular, spinning off five separate touring productions. In 1979, the band sued the producers, settling for several million dollars in damages. Sgt. Pepper's Lonely Hearts Club Band (1978), a musical film starring the Bee Gees and Peter Frampton, was a commercial failure and an "artistic fiasco", according to Ingham. Accompanying the wave of Beatles nostalgia and persistent reunion rumours in the US during the 1970s, several entrepreneurs made public offers to the Beatles for a reunion concert.Promoter Bill Sargent first offered the Beatles $10 million for a reunion concert in 1974. He raised his offer to $30 million in January 1976 and then to $50 million the following month. On 24 April 1976, during a broadcast of Saturday Night Live, producer Lorne Michaels jokingly offered the Beatles $3,000 to reunite on the show. Lennon and McCartney were watching the live broadcast at Lennon's apartment at the Dakota in New York, which was within driving distance of the NBC studio where the show was being broadcast. The former bandmates briefly entertained the idea of going to the studio and surprising Michaels by accepting his offer, but decided not to.   Bill Wurtz (stylized in lower case as bill wurtz or billwurtz) is an American musician, singer-songwriter, animator, video editor, and internet personality based in New York City. He is known for his distinctive musical, comedic, and narrative style which includes deadpan delivery and singing paired with colorful surrealist, psychedelic, and non-sequitur graphics. Wurtz first published material on YouTube in 2013. He set up a website in 2014, presenting a catalog of music and videos he had created since 2002. Wurtz proceeded to upload edited versions of his videos on Vine, where he gained his initial popularity. He experienced breakout success on YouTube with his animated videos, History of Japan (2016), and History of the Entire World, I Guess (2017). Wurtz released music videos regularly from 2017 to March 2019. Through the rest of 2019 and all of 2020, Wurtz was inactive on YouTube, returning to the platform in January 2021 with a new visual style of 3D animation. Wurtz's first recorded composition was an instrumental named "Late Nite Lounge with Loud Lenny" which according to his site was recorded on June 17, 2002, his first recorded song was "stuck in a rut" recorded on March 3, 2005. Wurtz's first known YouTube activity were on an account called "billynothingshow". Wurtz was first known for his presence on the short-form video-sharing website Vine, where he first gained a following in 2014. He began by taking short videos he had previously published to his website and re-editing them to fit Vine's six-second restriction.Before transitioning fully to YouTube, Wurtz was uploading a video to Vine nearly every day. He received early attention in 2015 for the short video "Shaving My Piano", which was covered briefly in The Verge. On April 11, 2016, Wurtz won the Shorty Award for "Tech & Innovation: Weird" at the 8th Shorty Awards; during the awards ceremony, attention was given to one of his Vine uploads "I'm Still a Piece of Garbage". Wurtz withdrew from making vines to focus on finishing History of Japan. Wurtz had originally intended to make a video on US history, but abandoned it. Alongside interest on Vine, Wurtz achieved wider popularity in 2016 with History of Japan, a nine-minute YouTube video that outlines Japan's history. Wurtz chose the topic due to his lack of knowledge of it. The video covers key events of its history: "Buddhism, internal conflict, alliances with Britain, World War I, World War II, the dropping of atomic bombs and its post-war economic miracle". It showcases Wurtz's quirky visual and comedic style through a mixture of fast-paced narration and animation, intercut with short musical jingles. The video was described as "an entertaining new approach to education". It went viral on social media after its release on February 2, 2016, and under a week later, received over four million views by February 8. It particularly received considerable attention on Tumblr and Reddit. As of August 2021, the video has over 68 million views. German Lopez of Voxcalled it a "strange", "pretty good – and surprisingly funny" video.  History of the Entire World, I Guess was the top video on the YouTube trending page on the day of its release, receiving 3.2 million views on its first day, and on Reddit it became the most upvoted YouTube link of all time. It became an Internet meme and was listed at eighth place on YouTube's list of the top 10 trending videos of the year. As of January 2023, it has over 152 million views.[25] Writer German Lopez for the news website Vox praised the video for not heavily focusing on western and US history, and successfully covering other areas in world history which may be neglected in US schools, such as powers in China, Persia, and India. Because it resists specialization and assembles history in chronological order starting from the beginning of the Universe, history of the entire world, i guess can be considered a work of Big History, and is probably one of the most popular works associated with the discipline. It has been called a "must-see" and is considered to be Wurtz's magnum opus. In 2020, Thrillist ranked the video at number 40 on its list of best YouTube videos of all time. Wurtz's song "Just Did a Bad Thing" and the accompanying video spawned TikTok videos of people lip-syncing to the opening lines; in the platform, #ididabadthing became the top hashtag of March 2019. Following this, Wurtz would only post four more videos before his break, ending with "Might Quit". After "Might Quit" was released, Wurtz would not post any new videos to YouTube for nearly two years, before continuing to release music and videos animated in 3D with Blender. Wurtz has developed an absurdist, surreal style on both his music and animation. Eddie Kim wrote for MEL Magazine that Wurtz "refuses to mimic anyone else's animation or musical style, but it's not weird for weirdness' sake alone", comparing him to Thundercat and Louis Cole and highlighting Wurtz's pretty pop melodies, unexpected chords and multi-layered rhythms as commonalities. Geoff Carter of Las Vegas Weekly stated: "Merge Don Hertzfeldt, Jenny Holzer and Thundercat and you might get someone a little bit like Bill Wurtz". Nick Douglas of Lifehacker summarized him as "somewhere between comedy and education and vaporwave." Wurtz's music has been classified as jazz-pop, incorporating elements of lo-fi music, smooth jazz, funk and easy listening. Wurtz tends to reject genre categorization, and does not consider himself to be a jazz musician. Overall, his music evokes malaise, self-deprecation, and a "blurring of the lines between irony, parody and honesty".[35] This is often paired comedically with dire circumstances or sobering undertones. In an interview with Genius, Wurtz stated that "it's a good... songwriting technique to write about something bad with a good sounding melody, because if you can get people to feel good about something bad, then you're bulletproof in life." Wurtz's voice has been described as "silky tenor with range and energy". Artists who have expressed admiration for Wurtz's music include indie musicians Daði Freyr and Sidney Gish, fellow YouTube musician Adam Neely, DJ and producer Porter Robinson, as well as Australian singer Sia. '[Music] theory' may be fun, but it's made of liquid and has a tendency to melt. The music comes first and then you figure out how to describe what happened, although fully describing it can never be done. One of the classical composers said 'We will never understand music, but music understands us readily and instantly'.   Wurtz started playing music at a very early age. He has claimed to be "wholly self-taught" as a musician, and regularly downplays the importance of music theory in songwriting and composition, insisting that the sound and feel of music should be prioritized over attempts to conform to theory. In fact, one of the defining characteristics of Wurtz's style is a subversion to conventional approaches to composition. One example is "I Wanna Be a Movie Star", highlighted in an article for the student newspaper The Harbinger, where the author praised Wurtz's skill in incorporating complex time signatures without causing the music to feel "either incomplete or too long", instead achieving a sound that "feel[s] completely natural" and "pop-ish". Wurtz has used different programs to edit his music, including GarageBand from 2009 to 2010, and long-discontinued Logic Express 9 until at least 2016. Videos Wurtz's videos are typically in a lo-fi, neon aesthetic, and have been described as surreal and psychedelic. They range from "nonsensical" shorts to animated music videos, and often involve deadpan humor, dancing stick figures, vaporwave-like transitions and neon, sans-serif text on-screen. Wurtz often follows similar patterns in his videos such as multi-layering, and clip art images. He has stated the low-budget quality arose out of a necessity to publish videos regularly and evolved naturally. At Vidcon 2018, Wurtz was asked why his style is so different from other YouTube musicians. He stated that he chooses to "live under a rock" and produce his music in isolation rather than take inspiration from other creators on the platform. Wurtz publicly struggles with perfectionism, making use of schedules and deadlines to overcome it. In response to a fan question he explained that in the process of doing this he has "been forced to become an expert on carelessness". Website Wurtz launched his personal website billwurtz.com in 2014. Despite this, it has been compared to a late 1990s website due to its simple design. Apart from containing all of his released songs and most of his videos dating back since 2002, the website also features many other types of content not available elsewhere. For example, Wurtz posts vlog-style 'reality' videos depicting his creative process. Wurtz maintains a section on his website to answer anonymously submitted questions. His answers to questions are considered an aspect of Wurtz's creative output; the style of his answers have been described as "verging on the poetic" and "earnest, if somewhat loopy-sounding".

„MoMA nach Berlin zu holen war ein enormes Risiko. Das hat viel Mut erfordert. Ich weiß nicht, ob das heute noch so möglich wäre“, sagt Katharina von Chlebowski, Geschäftsführerin der Freunde der Nationalgalerie. Ziel der Freunde der Nationalgalerie ist es, den Handlungsspielraum der Nationalgalerie und ihrer sechs Häuser in Zeiten knapper öffentlicher Mittel zu erhöhen. Und manchmal sind genau diese unternehmerischen Freiheiten notwendig, um die besten Kunstresultate zu erzielen, erklärt sie. Absoluter Glanzpunkt war zum Beispiel die am 20. Februar 2004 eröffnete Ausstellung „Das MoMA in Berlin“. 1,2 Millionen Besucher strömten in die Neue Nationalgalerie. Heute noch zehren die Freunde vom finanziellen Überschuss von 6,5 Millionen Euro und kaufen davon Kunst ein, darunter Werke von Max Liebermann, Rückerwerbungen „entarteter Kunst“ wie Emil Noldes „Christus und die Sünderin“ sowie zeitgenössische Werke beispielsweise von Jenny Holzer, Christoph Schlingensief oder Fiona Tan. Wir sprechen über die Kultur des Aperitifs, Kunsteinkäufe und weibliche Besetzungen bei Spitzenposten. Katharina verrät auch, wie der perfekte Tag für sie startet und wieso sie so sehr Freiräume für Fehler schätzt. Hintergrundinformationen: https://freunde-der-nationalgalerie.de Gästewünsche, Kommentare: https://www.instagram.com/ich.bin.so.frei/ https://twitter.com/Zoe_vF https://www.linkedin.com/in/dr-zoé-von-finck-81b32857/

Wystawa "Digital Grotesque III": BMW Art Club. Przyszłość to sztuka, projektu niemieckiej firmy; realizowana w Polsce, w stołecznym Nowym Teatrze wspólnie z Michaelem Hansemeyerem. Gerhard Richter, Roy Lichtenstein, Andy Warhol, Jeff Koons, Jenny Holzer, Olafur Eliasson. Galeria Tate Modern, Muzeum Guggenheima i Centre Pompidou, Teatro alla Scala i Staatsoper Unter den Linden. Oto zaledwie część najwybitniejszych artystów i artystek, a także najważniejszych miejsc na kulturalnej mapie świata związanych z pewną inicjatywą z pogranicza kultury, komunikacji, innowacji oraz... motoryzacji. Michael Hansmeyer, czyli światowej sławy artysta, architekt oraz inżynier oprogramowania specjalizujący się w sztucznej inteligencji przygotował (immersyjną, monumentalną, 360-stopniową) instalację multimedialną "Digital Grotesque III" oraz inspirowaną sztuką antyczną rzeźbę, która stanowi kontrapunkt dla pracy wideo. Każdy, kto chciałby zobaczyć na własne oczy dzieło – stawiające ważkie pytania nt. relacji pomiędzy człowiekiem, technologią, sztuką i światem – już dziś może odwiedzić wystawę, za którą stoją BMW Polska oraz firma Epson, pełniąca rolę partnera technologicznego. Miejsce: stołeczny Nowy Teatr. Czas: do 22 października 2022 roku. Dodajmy, iż wydarzenie jest niebiletowane, dzięki czemu wpisuje się w ideę demokratyzacji sztuki i kultury; niezmiernie ważną zwłaszcza dziś, w naszym postpandemicznym świecie...

This is your WORT local news for Wednesday, October 5.Madison's now shuttered absentee ballot drop-boxes get a new life as public art,Wisconsin farmers get together to discuss the role agriculture plays in saving the environment,Local governments navigate red tape in order to make urban highways safer,And in the second half, the battle of local apple cider donuts, equal housing rights in 1960s Madison, and the most comprehensive weather report on the airwaves.

Autor, Kunstkritiker und Kurator für Diskurs an der Bundeskunsthalle Kolja Reichert spricht über Jenny Holzers "Installation for the Neue Nationalgalerie , 1977-2001 " (1984) und sein vor kurzem erschienenes Buch "Kann ich das auch? 50 Fragen an die Kunst".

Y'all! We are so excited and honored to have the opportunity to talk with Silas Munro (of Polymode) about the amazing exhibition, "Strikethrough", he co-curated at the Letterform Archive. Strikethrough features over 100 objects (including broadsides, buttons, signs, t-shirts, posters, and ephemera) by ACT UP, Amos Kennedy, Jr., Sister Corita Kent, Emory Douglas, Favianna Rodriguez, Guerrilla Girls, Jenny Holzer, W. E. B. Du Bois, and many many more. Make sure to check out the show, get in on the rad special events they're doing, check out the custom site by Chris Hamamoto, Jon Sueda, and Minkyoung Kim—and pick up the amazing book!—if you can. Thank you to Silas Munro and to Stephen Coles from Letterform Archive for being open to having this conversation! A few links to resources around protest and design (via Silas): Schomberg Center for Research in Black Culture: https://www.nypl.org/locations/schomburg One Archives at the USC Libraries: https://one.usc.edu/ Lohman Center (NY): https://www.leslielohman.org/archive National Museum of African American History & Culture (Smithsonian/DC): https://www.si.edu/museums/african-american-museum Research / writings of Colette Gaiter: https://walkerart.org/magazine/authors/colette-gaiter (profile from the Walker) Center for the Study of the Political Graphics: https://www.politicalgraphics.org/

The world rarely sees a creative dynamo on the level of Virgil Abloh—or one harder to quantify. A trained architect, who was born to Ghanian immigrants and grew up in Chicago, he was best known as the visionary men's artistic director of Louis Vuitton (and the first person of color to hold that position)—the position he held when he died at 41 from a rare cancer. But his protean career began blazing long before that. A key early milestone? In 2009, Abloh interned at Fendi alongside rapper and fashion designer Kanye West—a relationship that led to Abloh later serving as the creative director for West's agency Donda. He founded the short-lived yet highly influential streetwear label Pyrex Vision in 2012, selling garments by other brands that he screen printed with his own label's name and elevated to eye-watering prices—a Duchampian gesture that combined appropriation, impeccable branding, and the kind of gleeful outsider-turned-insider humor that marked Abloh's career. In 2019, the Museum of Contemporary Art in Chicago mounted the first museum exhibition dedicated to Abloh's work in “Figures of Speech,” a sprawling show that brought in twice the museums normal attendance and helped cement Abloh's legacy in the realm of fine art. Now on view now in Brooklyn, the show explores Abloh's luxury brand activations, perspectives on design and architecture, and collaborations with artists including Takashi Murakami, Jenny Holzer, and Rem Koolhaus. On this episode, Artnet News's brand editor William Van Meter spoke about the designer's work and legacy with Jian Deleon, the men's fashion and editorial director of Nordstrom, who collaborated with Abloh on one of his final projects—an capsule collection called New Concepts 18: Virgil Abloh Securities,

The world rarely sees a creative dynamo on the level of Virgil Abloh—or one harder to quantify. A trained architect, who was born to Ghanian immigrants and grew up in Chicago, he was best known as the visionary men's artistic director of Louis Vuitton (and the first person of color to hold that position)—the position he held when he died at 41 from a rare cancer. But his protean career began blazing long before that. A key early milestone? In 2009, Abloh interned at Fendi alongside rapper and fashion designer Kanye West—a relationship that led to Abloh later serving as the creative director for West's agency Donda. He founded the short-lived yet highly influential streetwear label Pyrex Vision in 2012, selling garments by other brands that he screen printed with his own label's name and elevated to eye-watering prices—a Duchampian gesture that combined appropriation, impeccable branding, and the kind of gleeful outsider-turned-insider humor that marked Abloh's career. In 2019, the Museum of Contemporary Art in Chicago mounted the first museum exhibition dedicated to Abloh's work in “Figures of Speech,” a sprawling show that brought in twice the museums normal attendance and helped cement Abloh's legacy in the realm of fine art. Now on view now in Brooklyn, the show explores Abloh's luxury brand activations, perspectives on design and architecture, and collaborations with artists including Takashi Murakami, Jenny Holzer, and Rem Koolhaus. On this episode, Artnet News's brand editor William Van Meter spoke about the designer's work and legacy with Jian Deleon, the men's fashion and editorial director of Nordstrom, who collaborated with Abloh on one of his final projects—an capsule collection called New Concepts 18: Virgil Abloh Securities.

Talk Art Season 13 FINALE!!!! And what a corker of an episode we are bringing you!!! WE MEET SELF ESTEEM!!!! Iconic pop star, singer, songwriter, producer, poet, actor, novelist, soundtrack composer... and our dear, DEAR friend!!!! We discuss sincerity and her supportive artistic community in Margate, her surprise love of making ceramics and painting, her creative process for songwriting and all art, collaborating with her longterm friend & leading artist Lindsey Mendick, visiting exhibitions and artspaces like Sheffield's S1, and how she's adapting to her recent global mega stardom!!!! We also discover her admiration for artists including Marina Abramović, Tracey Emin and Jenny Holzer.Rebecca Lucy Taylor, known professionally by her stage name Self Esteem, is an award winning English singer-songwriter. On her recent hit album, Prioritise Pleasure, Taylor states “I suppose this record is just me going, what if this isn't failure? What if this is actually pretty good?” Pretty good feels like a modest estimation as Taylor was nominated for a BRIT award and wins numerous other accolades including BBC Music Introducing's Artist Of The Year and Attitude Magazine's Music Award. Self Esteem continues to sell-out shows at ever-growing venues across the UK and plays the largest gigs of her career –in recognising herself and others, Rebecca Taylor has made countless people feel esteemed.We love Self Esteem SO much! You can stream her award-winning album PRIORITISE PLEASURE now at Spotify, Apple or wherever you listen to your music!!!Follow @SelfEsteemSelfEsteem on Instagram and @SelfEsteem___ on Twitter. See acast.com/privacy for privacy and opt-out information.

In this episode, artist Areeba Siddique (she/her), discusses what she would idealistically want in an ideal world, from keeping hold of family communities to a city just for women.Hosted by 22-year-old artist and climate justice activist, Tolmeia Gregory (she/her - also known as, Tolly), Idealistically is the podcast where activists, artists, influencers, scientists and more are asked what they would idealistically want, in an ideal world, to inspire more people to start creating radical visions of the future.Thank you to TOGETHERBAND for supporting Season 2 of Idealistically and making it possible for me to share more ideal worlds with you.Website: togetherband.org/Instagram: instagram.com/togetherbandofficialThings mentioned in this episode:Dreams Across Borders art (instagram.com/p/CZo2dMYPziq/)Pollynor (instagram.com/pollynor/)Jenny Holzer (projects.jennyholzer.com)Noor Unnahar (instagram.com/noor_unnaha/)Follow Areeba Siddique:Instagram: instagram.com/ohareebaTwitter: twitter.com/areebasiddique Behance: behance.net/ohareebaFollow the podcast:Twitter: twitter.com/idealisticallyPInstagram: instagram.com/idealisticallypodFollow the host:Twitter: twitter.com/tolmeiaInstagram: instagram.com/tolmeiawww.tolmeiagregory.com/idealisticallyCreated and edited by: Tolmeia GregoryOriginal music by: Stowe Gregory Hosted on Acast. See acast.com/privacy for more information.

Jenny Holzer was born in 1950 in Gallipolis, Ohio. She received a BFA in printmaking and painting from Ohio University, Athens, Ohio, in 1972, and an MFA in painting from the Rhode Island School of Design, Providence, in 1977. Holzer then moved to New York and enrolled in the Independent Study Program at the Whitney Museum of American Art. That same year, she created her first text-based works, initiating an ongoing artistic investigation of language in which she presents both original and appropriated texts to deconstruct how personal and political meaning are created in Western culture's patriarchal, consumer-oriented society. For Truisms, her series comprising terse one-liners written between 1977 and '79, and Inflammatory Essays, which were composed between 1979 and '82, Holzer anonymously pasted posters of unswerving, declarative statements around New York City. Since then her text-based work has evolved in numerous mediums. In the 1980s Holzer used electronic signs to present her work in such prominent public spaces as Times Square in New York and Piccadilly Circus in London, as well as in sport stadiums. She began producing engraved marble and granite benches, initially bearing text from Under the Rock (1986), and stone sarcophagi inscribed with Laments (1988–89), a moving reflection on the devastating repercussions of the AIDS crisis. For her 1989–90 retrospective at the Solomon R. Guggenheim Museum in New York, Holzer created a site-specific LED sign that wound its way around the parapet of the Frank Lloyd Wright–designed rotunda, displaying aphorisms and declarations from all of her work to date. She represented the United States at the Venice Biennale in 1990 and was awarded the Golden Lion for her Venice Installation, where she presented a series of her writings—including Mother and Child (1990), an account of motherhood—incised on a marble floor and emanating from LED signs.Holzer has produced public memorials as well as outdoor nighttime projections, such as Arno (1996), presented on the surface of the Arno River in Florence. Her texts have also been projected on Rio de Janeiro's cityscapes and oceans (Xenon for Rio de Janeiro, 1999), on beach shores and mountainsides (For San Diego, 2007), and on building facades across the world. Most recently, Holzer has returned to her earlier practice of using declassified American government documents as a subject for her art. Silkscreened on oil-painted backgrounds, these new works denounce acts of brutality and military practices conducted during the Iraq war. Holzer has had solo exhibitions at the Kunsthalle Basel (1984); Brooklyn Museum, New York (1988); Dia Art Foundation, New York, and Solomon R. Guggenheim Museum (both 1989–90); Haus der Kunst, Munich (1993); Art Tower Mito, Japan (1994); Contemporary Arts Museum Houston (1997); Neue Nationalgalerie, Berlin (2001, 2011); Kunsthaus Bregenz, Austria (2004); MAK, Vienna (2006); Museum of Contemporary Art Chicago (2008–09; travelled to the Whitney Museum of American Art [2009], and Fondation Beyeler, Riehen, Switzerland [2009–10]); Tate Modern, London (2018–19); and the Guggenheim Museum Bilbao (2019), among other institutions. Select group exhibitions include Eating Friends, Artists Space, New York (1981); Around 1984: A Look at Art in the Eighties, MoMA PS1 (2000); and Surprise, Surprise, Institute of Contemporary Arts, London (2006). Her works have appeared in Documenta (1982, 1987); Whitney Biennial (1983, 1985); Carnegie International (1985); Sculpture Project, Münster (1987); Venice Biennale (1990, 2005, 2007, 2015); Florence Biennial (1996); Singapore Biennial (2006); and Gwangju Biennial (2012). She has been the recipient of several important awards, and in 2016 she was made an Officier of the Order of Arts and Letters by the French government. Holzer is one of the six artist-curators who made selections for Artistic License: Six Takes on the Guggenheim Collection, Solomon R. Guggenheim Museum (2019–20). She lives and works in New York.From https://www.guggenheim.org/artwork/artist/jenny-holzer. For more information about Jenny Holzer:“5 ways Jenny Holzer brought art to the streets”: https://www.tate.org.uk/art/artists/jenny-holzer-1307/5-ways-jenny-holzer-brought-art-streets“Jenny Holzer”: https://projects.jennyholzer.com“Jenny Holzer”: https://www.interviewmagazine.com/art/jenny-holzer

The 16:9 PODCAST IS SPONSORED BY SCREENFEED – DIGITAL SIGNAGE CONTENT Montreal's SACO Technologies doesn't have anywhere near the mindshare of the largest LED display manufacturers in the pro AV industry, but it's nonetheless the supplier behind some of the biggest and most interesting display jobs lighting up these days. That is SACO's LED light stick technology cladding the world's tallest building - the Burj Khalifa in Dubai - and turning it into a colossal media display that can do everything from mood lighting and still images to motion ads for movies, like this recent spot for the new Batman blockbuster. While the other major players in big direct view LED displays work with pro AV consultants and integrators, and media owners, SACO engages with architects and building engineers to fully integrate active, addressable LED lighting into the facades of buildings and, in some cases, the overall structure of the building. For example, the home grounds of the new MLS team in Cincinnati designed active, changeable lighting into the entire stadium exterior, as opposed to bolting a big conventional display to its side. That huge low rez LED display on the top of SoFi Stadium in LA - where the Super Bowl was just held - that's SACO, too. The back-story of SACO is super-interesting and super-different. The company's roots are in supplying the blinking indicator lights you'd see in old school control rooms, like the walls in power plants. Back in the mid-90s, one of SACO's founders wondered if the colored LEDs could be put together and controlled to create a video display. A small reference design proved the concept, and within a couple of years, SACO was providing a massive version as a digital backdrop for U2's PopMart tour. That led to more concert tours, and by the mid-2000s, the company was also a major player for large format stadium and arena displays. These days, much of SACO's work is custom and specialized, and not the kind of work suited to the more mainstream, high-volume LED guys. I had a really interesting chat about SACO with Co-CEO Jonathan Labbee. Subscribe to this podcast: iTunes * Google Play * RSS TRANSCRIPT Jonathan, thank you for joining me. Can you describe what SACO as a company does and how long has the company been at it?  Jonathan Labbee: Yes, absolutely. SACO was founded 1987 by the Jalbout brothers, Fred and Bassam Jalbout, and originally started off as a company that specialized in nuclear controlled room equipment. So SACO actually stands for Systems Automation Control, a very far cry from what we're doing today, but essentially if you've watched a Steven Seagal movie and you see these big control room panels on these oil rigs and all that kind of stuff, that's the type of stuff that SACO used to do. And in those panels are a lot of little tiny blinking indicator lights, and some other control equipment that SACO used to manufacture, and eventually they started experimenting with LED technology, and one of the brothers, Bassam, came up with the idea of creating a display using these solid state lights. At the time it was only red and green and eventually was working with one of the premier LED manufacturers still to this day, and when they invented the blue LED, they provided that to the team back in Montreal, and essentially created the very first video display on earth. It was a small little sample. It was maybe like a one foot by two foot sample. It was quite small, but it was able to demonstrate the capabilities of putting up an image and eventually a moving image, and this caught the eye of certain advertising companies and more importantly at the time a rock band, and we got a challenge from the band U2 to create this 50 foot by 150 foot wide video stage, a backdrop to replace Sony jumbotron that they were planning on putting on PopMart. And we took up the challenge, designed and built this thing and deployed it with success on the PopMart tour, started in Las Vegas, and then we toured with U2, essentially showing off these new capabilities.  This was in 1997.  Wow. So that first reference design that you talked about, was that 97 or a little bit before then obviously?  Jonathan Labbee: The reference design was in 93, that's when the blue LED was invented. We had, at that time, already created a red, green display as a prototype. But then eventually we did build a red, green and blue version. So an RGB version, a full color version and I think we met the band maybe like the end of 1994.  That's quite a transition from doing a control room to working with Bono.  Jonathan Labbee: It completely changed the company. At the time we called the technology, smart vision. We did a tour with success and picked up a bunch of other bands and then eventually started doing permanent installations, like the Baltimore Ravens stadium and Washington Arena and so on. And then if we fast forward a little bit, we end up in 1999 when we built the very first NASDAQ screen in Times Square.  So the sort of curved one with the knockouts for all the windows, that's you guys?  Jonathan Labbee: That's us, and that's actually a really interesting story. Already making a curve was going to be a big deal, no one had ever seen a curved video screen of that magnitude, and then we had gotten the project. It was a full display at the time, and then the client, NASDAQ came to us and told us that the main tenant in the building was no longer willing to have their windows covered. So we created his knockouts and everybody was worried about how it would look, I guess it would look odd with these holes in it. With a little bit of convincing, everybody went with it, and the very first piece of content that we put on there for testing was Pac-Man.  Which makes sense, because it would work around the hole. Jonathan Labbee: Exactly. Interesting. So you started out doing, I guess, almost like mesh LED curtains, and then the NASDAQ's display was quasi conventional LED cabinets, although albeit a little bit curved and all that, and in the past seven years, really, all these other LED companies have come on the market with their own cabinets on all that and you guys haven't really stayed in the conventional LED cabinet business. You've gone in other directions, right?  Jonathan Labbee: Yeah, that's correct. We still have some “standard” type products. Although they're really more there to support some of the iconic projects that we're doing, and some of the more complex projects that we're doing. So for example, if we have a client that wants to do this kind of nighttime identity thing on their building, that highlights the architecture, and so on, like some of the projects like FC Cincinnati, in some cases, they may require some video screens down at the bottom on the marquee or inside and stuff like that and so we do have offerings to be able to support them with it.  So is a lot of what you do custom then?  Jonathan Labbee: Yeah. I would say most of what we're doing today is highly customized, not full custom, but highly customized, and there's a difference there, in the sense that our product is really the technology itself and then how we package it is the customized portion of it for the client. A lot of the reason that you get attention, I gather at least, is that unlike the vast majority of the companies who are selling “conventional LED products”, they're working with AV integrators, whereas you guys, by the looks of it, at least tend to work with architects.  Jonathan Labbee: Yeah, that's a very good observation. So our main drive is really with architects. We have seven architects on staff here at SACO. We have mechanical engineers, of course, electronics engineers, but also structural engineers. So when we go into a project and usually the earlier, the better, because we're able to detail down to the level of the building and at the same time, we're able to influence how things get integrated, because we know how we can make things.  We're able to work with the architects to integrate the product in the building facade or wherever it's supposed to go where it looks integrated and not bolted on, and that subtle difference makes all the difference in the world. It also makes a difference in terms of the engineering, right? Because even though the individual light rods probably aren't all that heavy, if you have thousands of them, it adds weight to a building, right?  Jonathan Labbee: It does, and so if we were to come on, say after a building's already up, we would normally be adding not just a product but we'll be adding, like the bracketing and whatever else that we're doing. If we're there early enough in the early stage, maybe the extrusion for the window will be designed differently to accommodate the product.  So there's some savings in terms of weight and potential costs, but also the final look is very different.  Going back in the past decade or so, you started to see signature buildings in a landscape that would be lit at night for different purposes. They might have a certain kind of baseline set of colors that they use. But if like right now there would be buildings that are in blue and yellow because of the situation Ukraine has.  That seemed to be the way things were being done for quite some time now, but with the Burj in Dubai, that's more than just a sort of ambient lighting. It's a media facade. Was there a moment when it changed and you're able to do that or has that always been possible and it just hadn't been done?  Jonathan Labbee: We've always been able to do that. I think that the market and the clients, as they evolve and they see things and they have ideas and then we start exploring ideas with the clients, then I think that's truly when things get revealed, right?  So we may have the capability to do something, but then you also need to get the client that has a vision that allows that to happen.  Okay. So with the Burj, the world's tallest building, at least I think it still is, but with that one, you've got your product on at least one side of the building. Is it just on the one side kind of facing the mall and all that, and that goes from top to bottom, was it built in or was it added after the fact? Jonathan Labbee: So this was added after the fact, and actually what happened there is that the client had tried something, they had acquired some products, I don't know exactly where and had put it up. So they had this idea of wanting to do this. I believe it was a DMX based system. It did what it was supposed to do, but the problem is that I don't believe that it lasted as long as they needed it to. So a year and a half in or something, we connected with them and then we designed for them a system that would fully integrate with the fin, we have these really beautiful stainless steel fins on the building. That's what gives it shine during the day.  So we wanted to respect that, but it was also the perfect area to attach these things. So we designed this kind of fin, like a nose piece for the fin that integrated the product, all the cabling and everything, and then we installed that at the end of 2007.  Okay. So with that building, as huge as it is, you can actually do a full motion ad, like the recent one for the new Batman movie from street level, all the way to the top, right? Jonathan Labbee: Oh, absolutely. Everything that we do is basically either a full video screen or a deconstructed video screen, and in the case of Burj Khalifa, it is what we would refer to as a deconstructed video screen. So it has a twenty five millimeter pixel on the height, but then a meter and a half on the width. So it goes in between the windows and obviously with distance and so on, your brain is able to put the image together.  It's interesting, in the past four or five years with LED marketing, it's all been about finding pitch pixel pitch, and it's 0.9 versus 1.2, and oh my God, 1.2 is awful by comparison, and you're talking about a meter and a half pixel pitch.  Jonathan Labbee: Yeah. Everything has to do with distance and contrast, at the end of the day it can be broken down as that. It's in the distance and contrast.  So what's involved in putting up something like that? God knows, I wouldn't want to be one of the technicians who told me to go up to the 110th floor and go outside and put this on. Jonathan Labbee: It's a really interesting process and much like other projects that we've done, it was the first time that we were doing something. Like this and by like this, I mean, at that height with no cranes and difficult to access and so on, the building itself is almost a kilometer tall. Everything is done with rope access people.  And then the other complexity that comes into play is time. So between when we got the contract and we turned the screen on, It was seven months. So that's not a lot of time to design a new product. We actually had to design a new product for this project, did the engineering, the testing validation, certifications. So essentially what we did is, we had our factory in Montreal. We design and manufacture everything in Montreal by the way, and then we replicated a portion of our factory in Dubai, and we did a lot of final assembly and insulation within the extrusion pieces and so on, and the cabling, everything we did there in Dubai.  The client was very instrumental in helping us set up all of that capability there, and then we just staged everything everywhere that we could in every empty space of the building, and then started deploying these via rope access team, and obviously part of it is a hotel, part of it is are residences. So you are very limited in the amount of time that you can spend. At night, you can't be in front of the hotel portion, during the day, you can't be in front of the residences. So we needed to plan across a whole building how to get these things in place.  And is it set up in such a way that if you're in one of these residences, you don't see the light emitting from these fins that it's just pointing out?  Jonathan Labbee: Correct, so you have no idea if you're inside the residence that there's actually lighting on the building. Which is a problem for some of the media facades I've seen that are just mesh LEDs because you're now looking through this grid system to see outside. You've still got your view, but it's compromised.  Jonathan Labbee: Yeah, exactly, and that's actually one of the reasons why the horizontal pixel pitch had to remain at one and a half meters was because we didn't want, nor our client, didn't want anything in front of the windows.  These media facades on buildings seem to be a thing certainly in China, but I'm starting to wonder when we'll start to see more of them in North America. Are you seeing the demand there to do this?  Jonathan Labbee: Yes, absolutely. Although things have shifted, I think that with the introduction of the Burj, FC Cincinnati, SoFi Stadium on the roof, I think clients and architects are realizing that a media facade doesn't need to be just a rectangular or square video that takes up all their front real estate. They're starting to look at it more as a way to enhance the architecture that can also do media, and being able to prove that you don't have to have the same pixel pitch on the vertical and horizontal. You can do different things and it just makes it more unique and interesting to the building while you're still communicating the message that you want to from the advertiser or from whatever you're trying to communicate.  Is it your control system as well for the software that's driving it?  Jonathan Labbee: So we do everything up to the video processor. So the video processor, what takes a signal and then we work with a variety of companies like Disguise or Seventh Sense depending on the type of project. But anything that has a very complex geometry, we usually work with this Disguise.  Yeah, you're not going to get a setting out of the box for a client or a building.  Jonathan Labbee: No, not all, however, our team does produce all of the 3d coordinates for the software to understand it. So you don't have to have a human sitting there trying to figure out the map, because we already have the map created with a tool set that allows us to take the map and turn it into the coordinates for the systems that we work with. So mapping a building is actually fairly simple, and if you were to change something or you had to adjust something in your final drawing sets, you can just re-upload that file to the server, and the server will change the pathways for the video image. image. Now, when you're working with a giant scale surface like that, because the pixels are a meter and a half apart, at least in that job, does that limit the amount of light that's coming out? One of the things I wonder about with city bylaws and all that is, if you tried to do something like this on a building in New York or Montreal, what would be the citizen reaction? Would they say, “We can't tolerate this. It's going to blind us. It's going to feel like a tanning salon in our house”? Jonathan Labbee: Yeah, actually a very valid point. We went through that exercise just recently with a client, and that really becomes more about being a responsible corporate citizen. That onus falls on the client, but also on us to provide the tool set to their client for that. But again, if you remember what I was talking about contrast earlier, if something's too bright anyway, then I'm sure you've driven on the highway and seen digital signs for where their brightness wasn't turned down at night and it hurts your eyes. So I bet you don't remember the ad that was on that screen because your brain was too busy hurting. So in any case, to be able to show off the very best of that building and what you're trying to show, you have to have the right level of contrast. So if it's very bright outside, obviously it could be just light pollution, then you'd want to pump up the power, but if you don't have a lot of competing lights, you would want to j, drop the power down and then the brightness. So we can do it in a few ways. Obviously we can set levels based on time of day and with light sensors and so on which we do for several clients, or there's just just bypass where the client can select it or at night it's just that level. The Burj is a special case, but if there were other tall buildings in major cities that wanted to do this sort of thing, would they be looking to do it as a media model or do they see it as a way to distinguish their building with ambient lighting that's interesting to look at?  Jonathan Labbee: Yeah, that really depends on the client. I think that some clients go in with the idea of wanting to create a media building. So if you look at the Hard Rock hotel, for example, like the Guitar hotel in Hollywood, Florida, their intent was clear of what you want it to do. It is media focused from the very beginning.  Some of our other clients, I'm thinking of one of the embassies that we did in New York, for example, originally started off as a way to highlight the building. So there was more kind of a highlight on the edge of the building. But when they saw us testing, they realized, wow, I think there's more capability here, and I think that each client goes through a level of evolution on how to utilize the product.  And I guess there's a delicate balance that they have to reach as well that you were saying earlier, you can be good corporate citizens and do something visually interesting with your building, but then you can cross the line and start selling mortgage broker services  Jonathan Labbee: You could do that or you could strobe and there's a lot of things that you could do that you wouldn't necessarily want to do and some of the clients, obviously we have some very sophisticated clients that have a media strategy for that, and they have a team, but some of the other clients just want to do something beautiful, and when that happens, we have a division inside of SACO called the Media Collective, with a Creative Director and so on, and we usually put together a base package for them, just to be able to kinda understand how to utilize your building.  Is the Media Collective in-house designers, or is it a collective of people who have the skill sets and experience to work with your technology? Jonathan Labbee: So we have some animators in-house but the whole reason we have a media collective is really to build a collective of external firms that we work with because we actually get a lot of work through design firms. So we don't want to end up competing with them so if we do end up having a project that requires some content, Burj was a perfect example. In the beginning, we built a bunch of content for them. So we directed the whole thing, but we had, I think, six firms that worked with us to provide different flavors.  When you have a specialized project, somebody like another Montreal company, Moment Factory might come to you guys and say, “Hey, we need to do something on this monumental surface. Can you help us?”  Jonathan Labbee: Yeah, correct. Actually Moment Factory, there are several projects where we've collaborated together. One of them being the AT&T project in Texas. We have our product inside of the A looking thing.  Yeah, that kind of a spherical walkway thing that kind of leads you to the building? That's a very cool project. So when you are working with these different companies, are they coming to you directly or does it tend to come through an architect?  Jonathan Labbee: No, when we're working with these with design firms, they'll usually either contact us or again, vice versa, if we have a media request, we'll contact them.  There are any number I would imagine of companies out there that have LED light sticks that can do kind of mood lighting for a building. Do you compete with them or their control systems really meant to like, change this block to blue and change this block to yellow so we can have the Ukrainian flag? Jonathan Labbee: I would say that in certain times, we'll see them on projects, but those companies are usually DMX based, whereas we're video based and there's a really big difference there in the overall approach and also in the ability to display color and bitrate and stuff like that. So just coming from a video background, the type of clients that usually seek us out, or that we seek out have a vision for media, not just for lighting.  Do they also come to you because of the scale that you've done these ginormous projects?  Jonathan Labbee: Absolutely, because you also have to be game to do this. These challenges are filled with unknowns, and I think that the team at SACO thrive on them.  Yeah, I'm sure there are all kinds of companies who, if they were approached to do some of these large scale projects, they'd go, sure, and then they'd go back to the engineering team and look at each other and go, okay, now what?  Jonathan Labbee: Yeah. We've had a few instances where, let's call them competitors, in certain spaces that got a project and had no idea how to do it and they came to us and we worked with them. It's a small industry, so we're friendly with everybody,  You mentioned earlier the idea of shape and you worked with FC Cincinnati on this new MLS stadium, right? Could you describe that?  Jonathan Labbee: The working part or the project part? The stadium is a curved kind of bowl thing, and the whole outside of it is a bit like the Bayern Munich stadium in that you could eliminate the whole thing. Jonathan Labbee: Yes, exactly. Here the architect is Populous, a company with whom we worked with in the past, and we have a very good working relationship there. So when they took over that project, I believe it was with a different architect prior, and they came up with this kind of vision of these angled fins where you could see through the building and so on, they created this very light structure which at night needed to be highlighted.  So when they brought us on board to start taking a look at the designs and giving our ideas and stuff like that, obviously it made a lot of sense to highlight the edge of that. The product is very much recessed inside of the fin. So it's completely invisible during the day or when it's not on, and I guess there were several ideas there, but I guess one of the guiding principles there is that it needs to be integrated and needed to highlight the architecture at night and keep that sense of emotion like that whole stadium has this static motion to it. So based on that, we ended up designing a solution for it, and also created the base content for the client and it's been highly efficient for the client.  Is it actually less costly to do it the way you're describing as opposed to doing like a full LED mesh curtain and all that, just because there's less hardware, fewer LED diodes and so on, or it does balance out because this is custom engineering? Jonathan Labbee: Yeah, I think I think maybe it balances out. It's probably overall it's maybe a little cheaper because you're integrating early but that only happens if you're integrating early, if you're retrofitting, it's usually it usually balances. But the big thing that it does though, is that it does become unique to that property.  When you just start adding video screens, and again, I'm a big fan of video screens. That's what we do for a living. But video screens, like what we refer to as traditional video screens, have their place. But on a building, it just ends up looking like advertising, if you just put it up a building, right? So if you really want to enhance the building and kind of blend art and media, I think that's a highly effective way of getting your message across because then there's no mistake in if someone takes their Instagram shot or whatever, there's no mistake in where that is.  And I'm sure that you spend the time with the clients, for them to understand, look, this is low resolution. This is in a lot of cases meant to be seen from a hundred meters away or further away. If you want to put pricing propositions on the screen, that's probably not going to work, but logos and things like that's going to work well.  Jonathan Labbee: Yep. Exactly. And again and as you approach the building or as you approach a property or as you're walking through a property, your experience is going to change. So that video element will now become more of a lighting interesting kind of ambient element, but then you'll have something else in the Causeway or whatever with maybe that has a tighter pixel pitch or something to just continue that whole experience as you walk through the property. Do you strictly work with outdoor products or are you doing anything indoor?  Jonathan Labbee: Oh no, we do lots of indoor stuff.  Is that more conventional, like LED modules, cabinets, that sort of thing?  Jonathan Labbee: Yes, actually, in its construction, I would say yes but in its deployment oftentimes it's different. We did this art piece, which is actually a media piece with Jenny Holzer, which sits inside of the Comcast headquarters in Philadelphia, and there are custom tiles that are 6.32 millimeter pixel pitch at the exact 8 inches wide, and they needed to fit in between these wood slabs on the ceiling and the entire ceiling has video strips going right through it, right through the escalator and everything.  Oh, so is this tied in with the big LED wall it's already in the lobby there?  Jonathan Labbee: The LED wall is in the other building.  Gotcha. The other building is fantastic, what they've done there.  Jonathan Labbee: Yeah, exactly. So we'll also deploy, like we have a project right now going on, I can't really say what it is yet, but it has a bunch of really high res stuff, and these kinds of monuments in a curved fashion, all interactive. So high res video screen type stuff that we do a lot, and we do a lot of touring also. All tier one, so the Paul McCartney's of the world and Lady Gaga's utilize a lot of SACO equipment on their tours.  And these again, would be stuff that you can put up and take down pretty quickly. They're lightweight and there's a pastor, so you can see it and behind it, all that? Jonathan Labbee: Yeah, exactly. So what we do for touring is actually use our frames called Fast Frames and they're very fast to set up and rugged. And, in touring speed is extremely important because time is money there, as you're loading and unloading, others are waiting on you. So we came up with this system that's very fast.  I'll give you an example. When we came up with this new product called the S series. One of our very first clients was Bruno Mars, and this is obviously through some partners, rental partners, and it was a 50 foot wide video screen by 20 feet tall and that took 13 minutes and 13 seconds to set up, from the carts to image on. We actually made t-shirts that said 13:13.  Yeah. That's a good thing. Cause somebody's going to ask, what does that mean? And then you're immediately pitching,  Jonathan Labbee: Well, exactly, and also touring does allow us to have a customer base there that is always hungry for the latest in things. Although we have more standard products there that can do their main elements, we'll build a lot of custom stuff for touring as well, and so on the Taylor Swift tour, for example, we had a bunch of 12 millimeters and some 9 millimeters, but because the thing went up like a half pipe in certain areas. We designed these custom triangular tiles to fill in the gap to provide a monolithic look and so on. So we have clients that are willing to try new things there, and then we take all of that knowledge and then we apply it to our more permanent projects afterwards.  You're obviously pretty well known in the live events community and I guess in architectural design, not really in the digital signage or LED display community or at least the conventional side of that. Does that matter, or are you quite happy with just stealthily building up your business?  Jonathan Labbee: Very good question. I would say that in the beginning more, more on like the 2000s stuff, we were doing a lot of arenas and stadiums, like the traditional center hongs or ribbon boards, we were heavily heavily involved there. But when so many companies came out with offerings, there were some differentiators of course, between what we offered and what other people offer, but the cost just kept getting driven down and down, and all of a sudden, you're now operating in a commodity based business. That's not where we necessarily like to be, we're innovators at heart, so we like to focus on areas where our talents can be fully exploited, and so as soon as you introduce a little bit of complexity and there's a lot of clients that want something complex and context could be something as simple as a curve, an angle, a shape, an installation, we ended up finding ourselves almost alone.  Yeah. Interesting. I know there's a big project that you're not able to talk about yet but I'm sure maybe we'll get back together in a year or so when you're allowed to talk about this thing running and it's amazing, and unfortunately we can't talk about it at the moment. Jonathan Labbee: No, but I'll be happy to speak with you when we can.  Absolutely. All right. Thank you very much for spending some time with me. That was terrific. Jonathan Labbee: It was a pleasure.

In 1992, for the Stuart Collection, Jenny Holzer created "Green Table," a large granite picnic or refectory table and benches inscribed with texts. Holzer's table and benches monumentalize an ordinary and functional set of objects. Like all tables, Holzer's work serves as an informal gathering place for students and faculty to eat, study, or play. But the various attitudes Holzer adopts in her writings – from humorous commentary to politically charged criticism – also create a site for questioning and debate. Series: "Stuart Collection at UC San Diego" [Arts and Music] [Show ID: 37816]

In 1992, for the Stuart Collection, Jenny Holzer created "Green Table," a large granite picnic or refectory table and benches inscribed with texts. Holzer's table and benches monumentalize an ordinary and functional set of objects. Like all tables, Holzer's work serves as an informal gathering place for students and faculty to eat, study, or play. But the various attitudes Holzer adopts in her writings – from humorous commentary to politically charged criticism – also create a site for questioning and debate. Series: "Stuart Collection at UC San Diego" [Arts and Music] [Show ID: 37816]

In 1992, for the Stuart Collection, Jenny Holzer created "Green Table," a large granite picnic or refectory table and benches inscribed with texts. Holzer's table and benches monumentalize an ordinary and functional set of objects. Like all tables, Holzer's work serves as an informal gathering place for students and faculty to eat, study, or play. But the various attitudes Holzer adopts in her writings – from humorous commentary to politically charged criticism – also create a site for questioning and debate. Series: "Stuart Collection at UC San Diego" [Arts and Music] [Show ID: 37816]

Das Kunstmuseum zeigt Werke der französisch-amerikanischen Künstlerin Louise Bourgeois. Kuratiert und zusammengestellt aus der Optik von Jenny Holzer.

Dieses Jahr wird die Kunstbiennale in Venedig von einer Mehrheit von Frauen bespielt, das gab es noch nie. Denn solch grosse Kunstausstellungen schreiben oft Kunstgeschichte und die ist männlich geprägt. «Kulturplatz» fragt wieso Frauen oft in der Kunst fehlen und zeigt wie sich das langsam ändert. Es erstaunt kaum, dass in den meisten Museumssammlungen und Ausstellungsprogrammen das männliche Geschlecht eine dominante Rolle spielt. Doch mit immer mehr erfolgreichen Künstlerinnen, mit immer mehr neu berufenen Museumsdirektorinnen und mit einem höheren Bewusstsein für einen Geschlechterunterschied, der nicht sein müsste, verändert sich der Gendergap im Kunstbetrieb. Noch ist der Weg weit bis Frauen in der Kunst einen vergleichbaren Stellenwert haben, es ist Zeit ganz genau hinzuschauen. Sie haben es am eigenen Leib erlebt, was es heisst, Künstlerinnen in einer männlich dominierten Welt zu sein: die zwei Grandes Dames der US-Kunst Jenny Holzer, heute 71 Jahre alt, und Louise Bourgeois, die 2010 verstorben ist. Jetzt zeigt die amerikanische Konzeptkünstlerin Jenny Holzer im Kunstmuseum Basel eine von ihr kuratierte Ausstellung über die berühmte französisch-US-amerikanische Bildhauerin Louise Bourgeois. Zwei Frauen aus verschiedenen Generationen, die sich im Kunstbetrieb gegen Männer behaupten mussten.

William Kentridge est l'un des artistes contemporains les plus en vue aujourd'hui. Il travaille une multitude de médiums : dessin, écriture, film, performance, musique, théâtre et pratiques collaboratives, pour créer des œuvres d'art qui sont ancrées dans la politique, la science, la littérature et l'histoire, tout en maintenant un espace pour la contradiction et l'incertitude. Les œuvres de Kentridge ont été montrées dans des musées, des galeries et des théâtres du monde entier depuis les années 1990, notamment au Museum of Modern Art de New York, au Albertina Museum de Vienne, au Musée du Louvre de Paris, au Louisiana Museum de Copenhague, au musée Reina Sofia de Madrid et au Kunstmuseum de Bâle. Ses œuvres figurent dans les collections de musées et d'institutions artistiques du monde entier. Ses productions d'opéra comprennent La Flûte enchantée de Mozart, Le Nez de Chostakovitch et les opéras Lulu et Wozzeck d'Alban Berg. Elles ont été montrées, entre autres, au Metropolitan Opera de New York, la Scala de Milan, l'English National Opera de Londres, l'Opéra de Lyon, l'Opéra d'Amsterdam, l'Opéra de Sydney et le Festival de Salzbourg. En 2016, Kentridge fonde le Centre for the Less Good Idea à Johannesburg : un espace de réflexion et de création réactive par le biais de pratiques artistiques expérimentales, collaboratives et transdisciplinaires. Le Centre accueille un programme continu d'ateliers, de performances publiques et d'activités de mentorat. Titulaire de doctorats honorifiques de plusieurs universités, dont Yale et l'université de Londres, William Kentridge a notamment reçu le prix Kyoto (2010), le prix Princesa de Asturias (2017) et le prix Praemium Imperiale (2019). Il dialogue avec Marie-Laure Bernadac, conservatrice générale honoraire du Patrimoine, notamment en charge de l'art contemporain au Musée du Louvre et commissaire de nombreuses expositions dont celle sur William Kentridge organisée au LaM Villeneuve d'Ascq en 2020. Conservatrice générale honoraire du Patrimoine, Marie-Laure Bernadac a été conservatrice au musée Picasso, au Centre Pompidou, en charge du cabinet d'art graphique, au capc musée d'art contemporain de Bordeaux, puis en charge de l'art contemporain au musée du Louvre. Elle fut commissaire de nombreuses expositions sur Pablo Picasso, sur Louise Bourgeois, Anish Kapoor, Jenny Holzer, Cindy Sherman, Jan Fabre, Wim Delvoye, MIchelangeo Pistoletto, William Kentridge... Elle fut également co-commissaire de fémininmasculin, le sexe de l'art, au Centre Pompidou en 1995, de Présumés innocents, l'art contemporain et l'enfance, à Bordeaux en 2000, D'Africa remix, au Centre Pompidou, 2002 ; de Leiris & Co. au Centre Pompidou-Metz, 2015…. Elle a publié les Ecrits de Picasso (1989, réédition Quarto Gallimard, en 2021), la première biographie de Louise Bourgeois, femme-couteau (Flammarion, 2019), Annette Messager, mot pour mot (Presses du réel, 2006). La chaire Dessin Extra-Large est réalisée avec le soutien de la Maison Chaumet. Vendredi 4 mars 2022 Amphithéâtre d'Honneur Crédit photo : Norbert Miguletz

"I don't think any other institution would be brave enough to tolerate what they have" sagt Jenny Holzer über die von ihr zusammengestellte Ausstellung von Arbeiten von Louise Bourgeois im Kunstmuseum Basel. Entstanden ist eine Begegnung von zwei bedeutenden Künstlerinnen, folgend einer poetischen Logik. von Mirco Kaempf

Gehackte Penisse, Mamasein, Künstlerinnenfreundschaft darüber erzählt die sonst Interviewscheue Künstlerin Jenny Holzer im neuen Heft des Monopol Magazins. Sie hat eine Ausstellung über die Künstlerin Louise Bourgois im Kunsthaus Basel kuratiert, die sie persönlich kannte und verrät, dass sie von einer furcherregenden Exellenz gewesen sei. Auch Elke Buhr, Chefredakteurin von Monopol, sagt, dass Louise Bourgoise eine ihre Lieblingskünstlerinnen ist. Elke beschreibt ihr Werk und das, was Jenny Holzer in der Ausstellung in Basel sichtbar macht. Moderation: Yvi Strüwing detektor.fm/was-wichtig-wird Podcast: detektor.fm/feeds/was-wichtig-wird Apple Podcasts: itun.es/de/9cztbb.c Google Podcasts: goo.gl/cmJioL Spotify: open.spotify.com/show/0UnRK019ItaDoWBQdCaLOt

Neil Koenig, ex BBC producer and current ideaXme board advisor and guest interviewer, interviews curator Marcello Dantas. Are humans the only creatures who can appreciate art? Perhaps not, says Marcello Dantas. His latest project aims to create “art that's meaningful to other species”, such as birds, bees, or bats. Mr Dantas, a curator who has worked with many internationally known artists, is no stranger to innovative ventures. In 2021, he was appointed curator of the SFER IK Museion, located in the jungle near Tulum, Mexico - and this might be his most unusual undertaking so far. SFER IK, described as “an interdisciplinary arts centre”, is an unusual structure built largely from natural materials. It's the creation of the architect and social entrepreneur Roth, who's also the founder of the nearby Azulik hotel. Although construction was complete by late 2019, the pandemic meant activity had to be paused. The museum is now due to relaunch in March 2022, with a show by Japanese artist Makoto Azuma, known for pioneering work with plants and flowers. The centrepiece will be a 15m high “artificial tree, made of plants” explains Mr Dantas, which will have “a common nutrient body that will feed this amazing biodiversity that will exist inside the museum.” A key goal will be to try to create what he calls “bio-agreeable” art - work in tune with its location, in this case, in the middle of a jungle in which humans are a distinct minority. It's also one example of the kind of work that Marcello Dantas finds particularly exciting: pieces that are integrated with their setting. Another is an exhibit which will appear soon at SFER IK, by Mexican artist Hector Zamora. This will involve the use of thousands of balls, moving around inside the gallery: “it will be like you are inside of a giant pinball machine' explains Mr Dantas. “Think about what's the most prohibited thing in a museum, apart from setting it on fire - playing football perhaps? But what if the museum plays football with you?” For Marcello Dantas, works like these point towards an exciting future for art, and away from the current approach of the modern art world, which he finds a little dispiriting: “you see a painting hanging on a white wall in Hong Kong, and then you see the same painting on a white wall in New York”. For him this model is sterile: “we want to go from sterility to fertility”. In this ideaXme interview, Marcello Dantas talks to producer, journalist and ideaXme board adviser Neil Koenig, about his career in the world of art, his plans for the SFER IK museum, and how he sees the future of art developing. Marcello Dantas is an award-winning curator and artistic director specialising in interdisciplinary practices both in and outside Brazil. He was the name behind the conception of distinct museums and cultural institutions across South America, such as the Museum of Portuguese Language; Japan House Sao Paulo and the Museum of Nature in Brazil; Museo del Caribe and Museo del Carnaval in Colombia; and the Telecommunications Museum in Argentina. In 2021, he was appointed curator of the SFER IK Museion in Tulum, Mexico. He has also curated some of the most popular solo shows of the last decade, including Ai Weiwei's Raiz, the largest exhibition ever staged by the artist in Brazil in 2018. Marcello Dantas has also curated several solo exhibitions with some of the most influential contemporary artists of today, including Anish Kapoor, Laurie Anderson, Erwin Wurm, Michelangelo Pistoletto, Jenny Holzer, Rebecca Horn, Bill Viola and many more. Since 2014, he has become part of the curatorial board at the Vancouver Biennale, and in 2020, he was appointed curator of the 13th Biennial Mercosul that will take place in Brazil in 2022. Interview links https://www.sferik.art https://br.linkedin.com/in/marcello-d... https://twitter.com/marcellodantas https://roth-architecture.com Neil https://www.linkedin.com/in/neilkoenig/ https://twitter.com/neilkoenig?lang=en ideaXme ideaXme https://radioideaxme.com ideaXme is a global network - podcast on 12 platforms, 40 countries, mentor programme and creator series. More soon. Get involved: https://radioideaxme.com/get-involved/ Mission: To share knowledge of the future. Our passion: Rich Connectedness™!

Henkes, Alicewww.deutschlandfunkkultur.de, FazitDirekter Link zur Audiodatei

(00:00:36) Tanja Maljartschuk lebt seit über 10 Jahren in Wien und ist eine der international bekanntesten Stimmen ihres Landes. Dabei beharrt die Autorin darauf, dass die Ukraine – wie alle anderen Staaten der Welt auch – das Recht hat, ihre Zukunft selbst zu bestimmen. Weitere Themen: (00:05:00) In der Pandemie verlieren Freikirchen Mitglieder – die Freikirchen planen ein «Comeback». (00:08:58) Louise Bourgeois und Jenny Holzer: zwei einflussreiche Künstlerinnen im Kunstmuseum Basel. (00:13:31) Das Amt für Ermöglichung: Unkompliziert Kunstschaffende unterstützen und beim Entstehungsprozess zuschauen. (00:18:04) Le Petit Prince von Saint-Exupéry: Ausstellung in Paris zeigt Originalmanuskript, das eigentlich in New York ist. (00:22:19) «Das letzte Wort»: Jeff Bezos' Yacht.

Du bist das Opfer der Regeln nach denen du lebst. (Jenny Holzer)

Este episodio es súper especial para mi porque tuve la oportunidad de entrevistar a un gran amigo, Oscar Banda (@clubadnab) sobre Virgil Abloh que falleció hace 3 días. Oscar es Director de Arte de @madkidz.mx, artista visual @yedra__, tiene su propio podcast @protocultura__ y UX designer en TCUX Innovation. El trabajo de Oscar es impecable y en esta conversación me ayudó a entender por qué Virgil Abloh va más allá del mundo de la moda. Nos plática de cómo él llegó a Virgil, cómo ha influenciado en su propio trabajo, por qué es TAN IMPORTANTE hablar de este gran personaje, lo comparamos con Duchamp, Murakami, discutimos su relación con Kanye, Vuitton, el arte conceptual, Jenny Holzer, el arte político, el pensamiento crítico y muchísimas cosas más. La conversación fue padrísima y espero que la disfrutes así que, pónte cómodo y pícale play. Sigue el trabajo de Óscar en IG @clubadnab @madkidz.mx @yedra__ @protocultura_

The Swarovski private chef! Personal assistants to the owner of the Bucks and the Bronfmans! A Polo groom for royals! OH MY! Every wonder about the habits of people rich and powerful enough to actually make real change (or just, like, go to space)? Me too, so with the help of Deuxmoi, I found some of their ex employees. We'll learn which CEO had a cell phone specifically to talk to Jon Bon Jovi; which design legend kept a pistol strapped to his ankle 24/7; and who punched a prostitute in the boob and burst her implant, just to name a few.As for our anonymous worker bees? They flew alone on G5s, spent $15,000 on room service, and regularly changed their numbers after getting stalked by paparazzi. But they were also emotionally and physically abused, crying themselves to sleep, and begging for enough money to make their rent. (Written submissions start at 7:40, audio notes at 33:13)In the words of Jenny Holzer, “the abuse of power comes as no surprise.”Follow Ali on Instagram, Twitter, & TikTok @aliweissworld. Advertising Inquiries: https://redcircle.com/brands

In this week's episode, art historian Robert Wiesenberger joins hosts Catherine Nichols and Isaac Butler to discuss artist Jenny Holzer's "Truisms" from 1978, "Truisms" is a group of declarative sentences Holzer first put up anonymously on posters all over New York City: "Labor is a life-destroying activity.," "Lack of charisma can be fatal," "Private property created crime." The work originated in a period when Holzer was frustrated with painting and turned to language as a more direct means of expression. "Language is a good way to convey meaning," as Holzer put it. Robert Wiesenberger is the associate curator of Contemporary Projects at the Clark Art Institute and co-author of Muriel Cooper (MIT Press 2017). He has also contributed catalog essays for the Harvard Art Museums and the Walker Art Center, and is a contributing editor to Art Papers magazine. Learn more about your ad choices. Visit megaphone.fm/adchoices

Jenny Holzer's "Truisms" and "Inflammatory Essays" are brilliantly brutalist works of text-based art. Initially created between 1977 and 1982 the work is startlingly prescient and guaranteed to provoke a strong emotional reaction whether displayed as guerilla advertising or in a gallery setting. Kunst Please is a micro-dose of modern art history. Tune in every fortnight for an exploration into the more unexpected side of modern 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

La parola può essere uno slogan pubblicitario, un grido politico ma anche un'immagine. In questa puntata, Costantino e Francesco mettono a confronto il serioso Joseph Kosuth e il giocoso Lawrence Wiener, ci spiegano come fare arte fotocopiando un vocabolario e parlano dei neon logorroici di Maurizio Nannucci, di come un marchio di moda si è appropriato dello stile di Barbara Kruger e di quanto Jenny Holzer terrorizzasse i galleristi. Infine, Francesco ci propone la sua distinzione tra artisti-mattone e artisti-colonna e cerca di far luce su uno dei più grandi gialli del nostro tempo: Costantino è davvero stitico o ha solo un bagno deprimente?In questa puntata si parla di Joseph Kosuth, Ferdinand de Saussure, Ludwig Wittgenstein, Dawn French, Jennifer Saunders, Jacopo da Pontormo, Lawrence Wiener, Tino Sehgal, Maurizio Nannucci, Bruce Nauman, Kerry Hill, Geoffrey Bawa, Sophie Calle, Barbara Kruger, Guerrilla Girls, Cartesio, Jenny Holzer, Helmut Lang, Glenn Ligon, Okwui Enwezor, The Harlem Six, Robert Barry, Richard Prince, Hito Steyerl e Alberto Manzi.

Eccentriche è un racconto che ripercorre il "900 ma anche le vite private, l'arte e gli amori di personalità femminili fuori dagli schemi e che hanno lasciato un segno forte e originale nel secolo passato.

We kick off this episode with a fresh co-hort of artist recommendations and documentaries to check out, including Netflix's hit ‘Made You Look: A True Story of Fake Art'. The tale of $80 million worth of art forgeries in New York in the 90s and 00s was truly gripping and pretty shocking. We also discuss writer Hettie Judah's campaign for how the art world can avoid excluding artist parents, and the upcoming sale of Karl Lagerfeld's art collection with Sotheby's. Before we weigh into our Artist Focus, we try and tackle the burgeoning NFT crypto art craze and what it will mean for the art world. Finally, our art crush this episode is American Neo-Conceptual and Feminist artist Jenny Holzer. The main focus of her work is the delivery of words and ideas in public spaces, and she often comments on war time controversies and violence against women. SHOW NOTESYulia Iosilzon ‘Fanfarria' at Huxley-Parlour Gallery: https://huxleyparlour.com/exhibitions/yulia-iosilzon-fanfarria/ @yuliusprimeTracey Slater @i_draw_linesBen Reeves: https://www.benreeves.org/ 'The Story of Welsh Art' on BBC iPlayer: https://www.bbc.co.uk/iplayer/episode/m000st2g/the-story-of-welsh-art-series-1-episode-1 'Artforum at Sotheby's: Grief and Grievance at the New Museum': https://www.sothebys.com/en/series/sothebys-talks/museum-spotlight-grief-grievance-at-the-new-museum ‘Grief and Grievance: Art and Mourning in America' until 6th June 2021: https://www.newmuseum.org/exhibitions/view/grief-and-grievance-art-and-mourning-in-america-1 The obituary of Nigerian Curator, Okwui Enwezor: https://www.nytimes.com/2019/03/18/obituaries/okwui-enwezor-dead.html ‘Front Row Get Creative - Jadé Fadojutimi': https://www.bbc.co.uk/programmes/p0980wsn ‘Rita Duffy: Portrait of an Artist' on BBC iPlayer: https://www.bbc.co.uk/programmes/m000rsjt ‘Made You Look: A True Story of Fake Art' on Netflix: https://www.netflix.com/title/81406333 ‘Rob and Romesh vs Art' on Sky One: https://www.comedy.co.uk/tv/rob_and_romesh_vs/episodes/3/1/ Mary Cassatt: https://en.wikipedia.org/wiki/Mary_Cassatt Alice Neel: https://en.wikipedia.org/wiki/Alice_Neel Chantal Joffe: https://www.victoria-miro.com/artists/19-chantal-joffe/ Jenny Saville: https://gagosian.com/artists/jenny-saville/ Gustav Klimt 'The Three Ages of Woman': https://en.wikipedia.org/wiki/The_Three_Ages_of_Woman_(Klimt) Nicky Arscott: http://www.nickyarscott.co.uk/ Ernst Neuschul ‘Black Mother': https://www.birmingham.ac.uk/schools/lcahm/departments/historyofart/research/projects/map/issue3/arts-trail-pages/ernst-neuschul-black-mother.aspx Hettie Judah's campaign ‘How Not To Exclude Artist Parents': https://freelandsfoundation.co.uk/event/how-not-to-exclude-artist-mothers-a-conversation-about-artists-parenting-and-institutions Sotheby's upcoming Karl Lagerfeld's collection sale: https://www.theartnewspaper.com/news/sotheby-s-to-auction-karl-lagerfeld-s-collection-in-monaco https://www.theartnewspaper.com/comment/karl-lagerfeld What the NFT crypto art craze means for artists: https://qz.com/1988524/can-more-artists-get-rich-in-the-nft-crypto-art-market/ Jenny Holzer: https://www.tate.org.uk/art/artists/jenny-holzer-1307 https://www.tate.org.uk/art/artists/jenny-holzer-1307/jenny-holzers-inflammatory-essays

It's time. Do some jumping jacks, light a candle, perhaps grab a glass of water. Anything you need to do to prepare for this epic episode. The discussion is so deep you might drown. Learn more about Jenny Holzer and her Truisms at jennyholzer.com.

On this week's Into the Absurd, we talk about collaboration and connectedness through the study of Avant-Garde art and practice in Philadelphia, with John Heon andDavid McKnight, who shepherd the conversation and programming at PASC, The Philadelphia Avant-Garde Studies Consortium. The avant-garde is flexibility of mind. And it follows like day, the night from not falling prey to government and education. Without the avant-garde nothing would get invented.” — John CageIt’s been a banner year for absurdity, and the contemplation of the absurd has been one of the most salient features of avant-garde art and thought from the nineteenth century to the present. From Kierkegaard, Nietzsche, and Heidegger, to Camus, Sartre, and Baudrillard; from Jarry, Stein, and Kafka to Ionesco, Beckett, Artaud, and Kathy Acker; from Duchamp, Kurt Schwitters, Baroness Elsa, and Dali to Bruce Nauman, Carolee Schneemann, and Jenny Holzer; from Schoenberg, Cage, and Glass, to Frank Zappa, The Talking Heads, and Père Ubu (the band), the modern mind has grappled with life in an increasingly entropic and violent world that seems to crush meaning, justice, and individual agency.John Heon, a founding co-director of the Philadelphia Avant-Garde Studies Consortium, is an independent scholar specializing in the psychology, politics, and aesthetics of humor in modern/postmodern literature and visual art. His essay, “Twisted Witz: Experiments in Psychopathology and Humor by Dr. Faustroll and His Pataphysical Progeny,” will appear in the forthcoming book, Pataphysics Unrolled, published by the Refiguring Modernism series of Penn State University Press.His book in progress, Articulate Art: Language, Literature, and Humor in the Works of Bruce Nauman, examines Nauman’s oeuvre in the context of avant-garde black humor and the comic theories of Nietzsche, Freud, Bergson, and Wittgenstein.John holds a doctorate in English with a concentration in psychology and the history of science from the University of Pennsylvania, where he received the Arts and Sciences Distinguished Teaching Award. He has also taught at the University of Wisconsin-Madison, Marquette University, and in the Education Department of the Phillips Collection, America’s first museum of modern art. David McKnight is Director of the Annenberg Rare Book and Manuscript Library at the University of Pennsylvania Libraries. Prior to accepting the position at the University of Pennsylvania in 2006, he was Director of the Rare Book and Manuscript Library and Head of the Digital Collections Program at McGill University Libraries where he worked in various roles for fifteen years. A past president of the Bibliographical Society of Canada, McKnight is currently founding Co-Director of the Philadelphia Avant-Garde Studies Consortium and a member of both the Grolier Club (New York) and the Philobiblon Club (Philadelphia).In 2014, David in collaboration with John Heon, Katie Price and several others founded the Philadelphia Avant-Garde Studies Consortium, a non-profit arts and advocacy group devoted to exploring the past, present and future of the avant-garde’s place in Philadelphia cultural history.In 2018, David curated an exhibition focused on Modernist Literary Publishing at the University of Alberta and in 2019 he curated an exhibition on the legendary Gotham Book Mart entitled “Wise Men Fished Here.” At the present time, he is working on an exhibition related to Andy Warhol. https://www.youtube.com/watch?v=-5ohS4uPLJQ

Korea24 – 2021.01.07. (Thursday) - News Briefing: South Korea’s benchmark Korea Composite Stock Price Index(KOSPI) closed above the 3,000 point benchmark for the first time ever Thursday. Institutional buying powered the historic high, which also reflected expectations that Washington will pursue expanded stimulus policies. (Robert Koehler) - In-Depth News Analysis: Professor Brian Myers of Dongseo University and Dr. James Kim from The Asan Institute for Policy Studies give their thoughts on North Korean Leader Kim Jong-un's vows to strengthen Pyongyang's defense capabilities, a remark made during a rare Worker's Party Congress. They also discuss what lies ahead in US-N.Korea talks with a new Biden administration. - Korea Trending with Lee Ju-young: A new bill that will hold employers accountable for serious workplace disasters was approved by a parliamentary subcommittee(중대재해법), a Congolese TV personality in Korea is serving time for sex trafficking and assault(콩고 왕자 라비), and Chung Mong-gyu is elected for his third term as the head of the Korea Football Association(정몽규 대한축구협회장 당선). - Explore Korea: Andy St. Louis of Seoul Art Friend talks about two artists showcased at Kukje Gallery(국제 갤러리). Jenny Holzer's exhibition deploys text and language via LED sign installations and projections, and Jean-Michel Othoniel demonstrates his artistry through glass sculpture. - Morning Edition Preview with Mark Wilson-Choi: Mark shares a piece from the Korea Times featuring hotel service robots and a Korea Herald story that lists ways people are working out as many gyms are shut down across the country due to social distancing measures.

They’re colorful, extravagant, and unique. No BMW Art Car is like any other. Not because they differ in age and model shape, but because they’re painted from the hood to the rear. But why did artists like Roy Lichtenstein and Andy Warhol stage BMW models as works of art in the first place? In this episode of "Changing Lanes", the official BMW podcast, we look back on 45 years of art history at BMW. Press play to learn all the facts about these colorful legends. 03:11: Alexander Calder and the 3.0 CSL04:29: Frank Stella, Roy Lichtenstein and Andy Warhol06:43: Ernst Fuchs and the BMW 635 CS107:55: Robert Rauschenberg’s photographic techniques08:45 A.R. Penck and the BMW Z110:00 Esther Mahlangu, the first woman in Art Car series11:39: Jenny Holzer and her critical statements13:00: Olafur Eliasson’s ice cocoon 14:35: The augmented reality creation of Cao Fei And if you want to read more about BMW Art Cars, go to BMW.com: https://www.bmw.com/en/design/history-of-the-bmw-art-cars.html“Changing Lanes” is the official podcast of BMW. Subscribe for new episodes each week, in which our hosts take you on an exciting journey and talk about innovative technologies, lifestyle, design and more.

IDA Ideas host Rhett Moeller spoke to researchers from the Science and Technology Division of IDA’s Systems and Analyses Center about their use of machine learning to create a prototype system for analyzing Twitter posts that U.S. adversaries made to influence public opinion in the years leading up to the 2016 U.S. Presidential election. Joining him are Shelley Cazares, who leads the ongoing project, and two members of her team, Emily Parrish and Jenny Holzer.The project began in 2018 with about three million tweets from early 2012 through early 2018 that had been posted by the Russian-backed Internet Research Agency. The team set out to create a prototype system using open-source software tools that could have helped intelligence analysts during that time. Using a machine learning technique called Latent Dirichlet Allocation and open-source software called MALLET, the team found that the topics of the adversary’s tweets evolved over time into several tactical phases. Specifically, their English tweet topics grew tighter over time, more specific, more negative, and more polarizing, with their final pattern solidifying one full year before the 2016 election. With this system, this and other revealing information about U.S. adversaries’ social media operations could be reported to U.S. Government decision makers with as little as one month of lag time.Transcript and Notes

Fernweh und Reiselust sind ordentlich angeknackst in diesem Sommer. Ein paar Gedanken zum Wegfahren und Ankommen. Unsere weiteren Themen heute: Zwischen Nähe und Distanz: Walter Heun über eine besondere Ausgabe der Tanzwerkstatt Europa in München / Leuchtbänder für den Himmel: Die US-Künstlerin Jenny Holzer wird 70 und Messerscharfer Witz: "Das weise Album" von Friedemann Weise

In which Peter shares some of his Design Leadership Truisms (inspired by the work of Jenny Holzer), and Jesse reacts. Truisms discussed: (03:29) “People are not their job titles.” (04:50) "If your team's work isn't good, you didn't set clear expectations." (08:32) “Bad design is a result of context, not individual aptitude.” (09:14) “If you focus on the organization, quality will take care of itself.” (17:11) “You cannot calculate an ROI for design.” (20:01) “If you haven't pissed someone off, you are not doing your job right.” (24:19) “For someone who talks a lot about empathy. You show little for your colleagues.” (26:55) “Introversion inhibits design's ultimate impact.”

Hello and greetings to Drunk Art Review; the podcast where anyone from T-total to blind arse drunk is welcome to give their honest opinions on art!
 "Painted Words" is our jam this week. Why not come with your buttered bread and listen to some sweet waffle, all about Jenny Holzer and Gaspar Noé. ————————— Hosted by Rosie Alexander and Jennifer Kemp --- Send in a voice message: https://anchor.fm/drunk-art-review/message

Wann fing eigentlich alles an? In der 2. Folge von 'Virtuell Virtuos' reisen wir in die Vergangenheit. Es geht um Computer, die ganze Räume füllen, um Kunstwerke, die 10.000 Disketten brauchen und wir sprechen über das Werk von Jenny Holzer, das u.a. den Anfang der VR-Kunst markierte. Gast in dieser Folge ist Lívia Nolasco-Rózsás. Sie ist wissenschaftliche Mitarbeiterin am Herzt-Labor des ZKM, Zentrum für Kunst und Medien in Karlsruhe, das u.a. Forschungen zur Geschichte der elektronischen Künste betreibt. Schreibt uns gerne euer Feedback an vrkunst@dkb.ag. Links zum Podcast: Video über die Ausstellung „Virtual Reality: An Emerging Medium“, 1993 im New Yorker Guggenheim Museum mit dem Werk von Jenny Holzer: https://www.youtube.com/watch?v=S7aPkY-tgas ZKM | Zentrum für Kunst und Medien Karlsruhe: https://www.zkm.de/de VR-Kunstpreis der DKB in Kooperation mit CAA: https://vrkunst.dkb.de/ Tina Sauerländer peer to space: peertospace.eu/tina

00:24min - “Abuse of power comes as no suprise” ~ Jenny Holzer-16:15min - Musikempfehlung der Woche (feat. Haftbefehl, Azzi Memo etc.)-24:15min - Band-Shirts von Bands, die man nicht hört?-37:55min - Last Cop Yannick: Celine Armband, Marni Cardigan, Vogue Italia, Alicja Kwade “In Aporie” Buch, Mies Van Der Rohe TASCHEN Buch, Hans Wegner Buch-46:16min - Retail vs. Online-01:19:25min - Portrait: WERKSTATT:MÜNCHEN

My guest today is Matt Nish-Lapidus. Matt is an artist, musician, researcher, designer, and educator based in Toronto. Besides creating art and music, and doing design work, Matt also teaches at the Copenhagen Institute of Interaction Design. In this conversation, we discuss the role of art in our evolving technological and cultural environments. Listen to the full conversation   Show notes Matt Nish-Lapidus (emenel.com) Matt on Instagram Matt on Twitter University of Toronto New media art SFMoMA MoMA (New York) Tate Modern Nam June Paik Theodore Adorno The Anthropocene New Materialism Jane Bennett The Walt Disney Company Marvel Impressionism CARFAC David Rokeby Pietà by Michelangelo Buonarroti Jenny Holzer New Tendencies Soft Thoughts må Some show notes may include Amazon affiliate links. I get a small commission for purchases made through these links. Read the full transcript Jorge: So, Matt, welcome to the show. Matt: Thanks. Happy to be here.  Jorge: For folks who might not know you, can you please tell us about yourself? Matt: Yeah. I sometimes these days refer to myself as a recovering designer. My original background, educationally, was in fine arts and specifically in new media art. And then, over the arc of my career, I found myself working in interaction design and very interested in the intersection between humanity and various types of complex technology, as in networks and computational technology. And I did that for about 15 years. And towards the end of that period, I found myself more interested in the types of questions that felt like they were better answered through my art practice than they were through my design practice, and the kinds of questions that also didn't seem to be that interesting to other designers or to our clients or to potential employers or partners. So about five years ago now, I left my job and decided to focus more on my artistic practice, which includes music and sound art as well as technology-based arts of different types. And in September of last year, I actually started my MFA, which is a Master of Fine Arts, in Studio Practice at the University of Toronto, which I'm currently pursuing on top of other things that I continue to do, like playing music and work with other organizations. Media Art Jorge: Folks listening to the show might not be familiar with the term “media art.” How do you define that? Matt: So the most basic way to understand it – in the highest level, probably – is that unlike painting or traditional photography or other types of sculpture – you know, other types of traditional arts – media art and new media art were emergent practices that specifically dealt with new types of mass media originally. So, it was artists working with televisions, with video, with different kinds of sound and broadcast technologies. And then over the course of the last couple of decades, became artists that work with the internet or with computation, and different kinds of network technologies, and think about them from an artistic perspective, which is usually a critical perspective or thinking about the impact that they have on people or the way that people relate to them and the new types of relationships and new types of affects that they create. Jorge: So, it's art that uses technologies, especially like communications technologies, as its medium? Is that the idea? Matt: Yeah, as its medium and often as its topic. So, we make art about the technology is sometimes using the same ones. And the practice goes back to the late fifties, but really in some ways is now the dominant practice in contemporary art. Jorge: Can you name some examples of how you would experience new media art? Matt: Yeah. I mean, if you've ever been to a contemporary art gallery or museum of modern art, whether it's the SF MoMA or the MoMA in New York, or the Tate Modern in London, a lot of what you're seeing would be in this category. Artists who work with light, who work with sound, work with video projections, interaction in different ways… You know, a famous example from the early days of media artist Nam June Paik, who worked a lot with televisions and his work was both about television as a cultural object, but also as a medium and as a material. The Role of Art Jorge: We're recording this in the midst of the coronavirus pandemic in the spring of 2020. And I have to mention that the context that we're, that we're speaking in, because we are accelerating our move to interacting through technology. And you and I are talking right now through Zoom and I can see you. So we're having a conversation, and it's perhaps too soon to know, but I'm wondering what role does art play – especially, you know, this new media art that you're talking about – in a world in which we're increasingly interacting through technology. Perhaps the question is more broadly, it's like, what is the role of art? Matt: Yeah. So, it's an interesting question and it's one that's been asked by artists and philosophers for many, many years. And I've been thinking about this lately. In the fifties – it might have even been in the sixties, don't quote me on the date – a German philosopher and media theoretician, Theodore Adorno, wrote an essay in which he asked, how do you make art after Auschwitz? Like, what is the role of art in a world where something as horrible as the Holocaust could happen? And how do you as an artist deal with that, and still see beauty and joy and the sublime and all these different things, when our understanding of what's possible in the world is so fundamentally changed and so terrifying. And I think there are a number of similar questions that we can be asking ourselves right now. Before this outbreak, the big question on a lot of people's minds was a similar one, which is how do you make art in the Anthropocene? If we're witnessing a period of, like massive global scale change and devastation this like slow train wreck, what is the role of art and how do you continue to make art in the face of such a massive and often depressing and serious thing. And I think like the pandemic that we're currently trying to figure out raises a similar kind of question again, just like what is the point of art and how do you make it and what do you make it about when our understanding of what's possible in the world has fundamentally changed. When there's a new thing, a new object that exists that didn't really exist before. There's a school of philosophy called New Materialism and a kind of well-known New Materialist, Jane Bennett, talks about these things as what she calls assemblages. And an assemblage is like a network of heterogeneous actors that all have different kinds of agency. And, looking at the pandemic through the lens of Bennett's idea of an assemblage, you can start to see the agency of the virus as a political actor, as an economic actor, as a social and cultural actor. And for me anyway, that's where as an artist, my interest in it lies, and where I think I can kind of grapple with our current situation is not saying, “okay, well what do we do when we're all locked in our homes,” but saying, “what are the fundamental changes in the world that we can observe? What are the things we want to try to say or express about them or understand through making things?” And then, “what kinds of things can I make that help with that understanding or are cathartic or express an affect or give people something that I think they want or need given the kind of drastic changes that this is affecting on all of our systems?” High Art and Popular Art Jorge: When you say that, do you make a distinction between… I don't know if the appropriate terms are like “high art” and “popular art”? Matt: Like in terms of, like a museum and gallery art versus like television shows and movies and things like that? Jorge: Yes. Matt: Yeah. I mean, I don't see a huge distinction in a formal way. I think good media, like a really well-made television show, for instance, that deals with these topics in a critical and thoughtful way, that's based on research and, you know, does things like… explores the ideas through the medium that they're working with. I don't see that as being massively different than, you know, a piece of art that you might see in a art gallery, or in a museum.  Jorge: I would also expect that the reach would be different as well, right? Matt: Yeah. Probably considerably different… Jorge: Yeah, it'd have a greater influence on the culture if it's a movie put out by the Walt Disney Company, as opposed to something exhibited in an art gallery, no? Matt: Yeah. I mean, the reach would be massively different. I think though even in those media that, for the reach to be at the scale of like a Disney or, you know, Marvel kind of thing, you're having to make stories that connect with people in a certain way, which, I feel like often precludes you from doing the deep and difficult work of truly critically reflecting on a situation and expressing something about it. And when you see TV shows or movies that do that, they often don't have those kinds of audiences. Jorge: Yeah. The intent is different, right? Like one is a purely or mostly commercial product, whereas the other, like you're saying, is more of an exploration of a way of being, an ideal? Matt: A way of being, a way of thinking, a way of seeing and understanding things. I think when art is really amazing, for me anyway, it's when something changes, like a piece of art can change the way that I see the world. It can change the way that I understand myself and see myself. It can reflect back to me a feeling or an idea that I've had but couldn't express or didn't have words for. And I think great art from every era, especially the modern era – which is, you know, loosely from like Impressionism on up – a lot of it is really about creating that kind of critical and reflective mirror and reflecting not just to the individual viewer, but reflecting on culture and on society and on the place and time where it comes from and reacting to things that are happening in the world. So, like, I'm excited actually to see how artists react to what's happening now because in a way, that's what art does. The Market for Art Jorge: One thing that I was wondering about is how does the market value art? I mean, we were talking about Disney, and we know what that market looks like, but I was just wondering someone who makes art for a living, how do you make a living? Matt: It's different in different countries, which is interesting. I mean, there's a combination of things depending on the kind of work that you make. Some artists make work that you can sell, that people can buy and there's an open market and you make a name for yourself, and the work goes up and down and value based on how collectible your work is or what museums want to acquire it or, or other things like that and that works for, I guess more and more kinds of media these days. Like it used to be that if you made installation or you made sound art or video, it was hard to sell that on like the art market. That's becoming more of a thing. People will buy that stuff. In a lot of countries, other than the US… So, in Canada and the UK and a lot of Europe, there's a big public funding infrastructure for arts. So, in Canada we have arts councils at the municipal, provincial, and national level that provide funding for artists and artists' projects in different ways. There's also regionally determined fee structures for exhibitions. So, if you get a piece of work into an exhibition and the gallery has funding, they will usually pay based on the agreed-upon fee schedule. It's kind of like the actors' unions? It's not an official union in Canada, it's called CARFAC. It's the Canadian Artists…. some, I don't remember what it stands for. But they set a kind of standardized fee schedule. And so often when you submit a piece of work to a gallery or to an exhibition or to a curator, it'll say on the submission, like we pay, you know, CARFAC's scheduled fees, which are basically based on like how much experience you have and they have standardized fee structures. Those are the main ways. The other one is commissions. So, a museum or a festival or a curator may really love your work and want you to make something new for their exhibition, in which case they'll have a production budget and they will offer you some sort of project budget to make the work. And then at the end of that, either they own it, or you own it, depending on the stipulations of the contract. Time and Place  Jorge: One of the interesting aspects of what's happening right now is that time feels greatly accelerated. I saw a tweet just yesterday that said something like, “the last couple of weeks have been a really long year,” or… Matt: Yeah. Jorge: It feels like time has greatly accelerated right now and, conversely, it feels like place has become blurred. You are… I believe you're in Toronto right now, right? Matt: Yup. Jorge: And, like I said, we're talking over Zoom and, earlier this morning I was in a meeting with colleagues who are here in the Bay Area, but I experienced the interaction in exactly the same plane that I'm interacting with you now. So, you could be here for all I know, right? So, place has become erased somehow. And I'm wondering about time and place and new media and how new media, I mean, it has it in the name, right? “New” Media? Matt: Yeah, yeah, yeah. Because when that term originally was coined, it was in -response to existing media. So, it was trying to say, we're not print newspapers, photography, like we're not talking about those things. We're talking about these new media, which are video and television. Originally it was those things, and then, computation. And I think time and place and the kind of collapsing of time in place has been a big part of the work of new media and media artists since probably the mid- eighties. You know, there's a piece I remember seeing by David Rokeby who's a new media artist that's been working since the early eighties with computer vision and computational space in different ways, where he set up a room with quadraphonic sound – so four big speakers – and then had a gallery – this was in Toronto – and had a gallery in Amsterdam, set up the same thing in their room. And then using very rudimentary digital video cameras from – this was probably in the late eighties, early nineties – movement in one space was translated to low frequency sound and the other space basically creating like airwaves. So, if two people were moving simultaneously in both spaces, they would actually feel the impact of the other person's body as air pressure through sound? So already in those kinds of early pieces, they were thinking a lot about like, what does it mean to collapse space? How do we be physically present in different spaces? I feel like we take a lot of this for granted these days. And it's interesting because like this phenomenon we're experiencing right now is really unique in a number of ways. But one of the most interesting to me is that it is global, like actually global. Everyone around the world is impacted by this in some way, and very similar ways in terms of like, isolation or lockdown or social distancing or these, you know, words that we didn't even have in our vocabulary a week ago. And now, like, literally every human being on earth is impacted by this. And I can't think of another phenomenon that crosses those boundaries in the same way. But in my own practice and then thinking about, you know, art and the things that I'd be excited to see is in a time where the world feels like it's been collapsed in on itself, and we're experiencing this unifying, like, single event as a species, it would be really interesting to think about what the local differences actually are. Like, what does it mean to be in isolation in different parts of the world or in different cultures, or you know, in Italy, people were singing to each other from their balconies? I can't imagine that happening in London. So, even though we're experiencing this unifying effect, there's still going to be those like local cultural differences and uniquenesses that I think are so important to thinking about artwork and the way that art reflects culture, and is often so specific and so unique to certain places in certain times in the way that it responds aesthetically to localized events. Experiencing Art Online Jorge: You reminded me of something that I've noticed over the past few weeks, which is cultural institutions like museums announcing to the world that, “Hey, you know, that you can view our collection online!” Now, especially with so many people at home, who are looking for new things to do with themselves while there, they only have this little window on their computer to the world, right? Matt: Yeah. Yeah! It's an interesting thing to see since so many museums are so woefully behind in terms of digitizing collections and thinking about alternative ways of exhibiting work. Our experience of art and the way that we think about art, especially at the institutional level is so grounded in this physical experience of like, being in a place with a thing, or in a place for a performance or these very spatio-temporal experiences. So, yeah, it's fascinating to see what some museums are doing. In some ways it reminds me of the mid-nineties, late nineties, again when there was an explosion of like “net art” and artists working specifically with the internet as their medium. And so, like those works existed natively online and museums and galleries at the time were struggling to figure out how to present them in physical space. Like, how do we take a work by a net artist and put it in an exhibition at the MoMA? We didn't know how, and they still don't really know how. And now we're faced with the exact opposite problem, where they're like, how do we get all of our paintings and sculptures and objects available to people somehow through the internet or through virtual tours or whatever it is that they're doing? Jorge: And these new technologies change our understanding of the work itself, right? When you said experiencing the work in a physical space, I remember the experience of seeing in person the statue Pietà, by Michelangelo. And that's an artifact that when you're standing in front of it, it has a certain volume because of the materials it's made from, you know that it has a certain weight and you can touch it. But you can feel that, being in this space with it, and it's very different to see it in photographs, which I had seen many photographs before I saw the real thing, but it's a different experience. And I don't know too much about new media art, but I remember in university looking at the work of Jenny Holzer. Matt: Yep. Jorge: And, for folks who are listening who might not know Jenny Holzer, she worked a lot with words, right? Like she had these slogans that she presented in various ways. And after Twitter, I have never been able to look at her work the same way. Matt: Yeah. It's so interesting. Being Relevant vs. Remaining Relevant Jorge: You know? And I'm wondering, with technologies that are changing so fast, as someone who is working with art, how do you balance expressing the needs and perhaps if we can use this phrase, the “spirit of the time” with making the work stand up over time and have some kind of longevity? Matt: Yeah, that is a very hard question. And it often comes down to the work having some sort of value beyond its technology. So, like with Jenny Holzer for instance, the words are an important part of her work, obviously, but so is the way that it's presented. So, you know, she made these big LED signs with scrolling text in different directions and sculptures out of them. She did a series of giant texts that was projected on buildings. So, like the context of presentation and the way that the words were made into an object really changes the work. But then the words themselves, you know, for some of the pieces are maybe good enough words that they stand up on their own. And so like, would Jenny Holzer's words work as a series of tweets, would they have the same impact? Maybe, maybe some of them would, maybe some of them wouldn't. And the ones that wouldn't, probably wouldn't because they rely on the context and materiality of the way that she presented them to create the meaning, of the overall piece. You know, one of the things that I love about, being an artist and, and working on artworks, especially like contemporary artwork, it's rarely a single thing. What we often are working with, especially what I'm working with is these like assemblages of things. And it's in the relationships between the things that the meaning emerges, rather than in the individual components themselves. So, I also work a lot with texts, and I've been working a lot with texts over the last year or so, and the texts themselves, most of them I don't think would hold up just as text or as poetry or as whatever. I think they need the rest of the things that go around them – the other objects or the aesthetic treatments or the context of presentation – in order to become meaningful. And one of the things that's interesting about this move to online that we're being forced through due to the closure of institutions and isolation, is that, well, the museums struggled to figure out how to present work online that was never meant to be seen that way, and to change its context, which changes its meaning. I think there's massive opportunity in starting to think about how to make work targeted at this new context like that exists natively in this kind of distributed way, which is not a new thing. People have been doing that. There's, like I said before, net artists and, lots of people who make art that's targeted at the internet or targeted at different media platforms. But this feels like an opportunity for more people or more of us to start thinking in that way and start to really like push at the boundaries and kind of assumptions baked into the networks that we exist within. So that's actually something that I find kind of exciting, and I'm starting to think about and work on. Closing Jorge: Well, that's a fantastic place to wrap up our conversation, because my next question to you is, “and where can folks follow up with you to find out what you're up to and is your art online in ways that folks could experience it?” Matt: A little bit of it is. You know, having learned how to make websites in the mid-nineties at the birth of the internet, I've never actually had a website of my own, because I've never happy with them and I never finished them, or like I'll finish part of it and then not put any content up. So, I am working actively right now and taking advantage of this time to make a website for myself. So, you can find my nascent website with very little content, but I'm going to be adding more every day at emenel.ca. Emenel, which are my initials spelled out phonetically, is also where you can find me on just about everything. I'm probably most active on Instagram these days, and I do post pictures of my work and work in progress on Instagram. And yeah, emenel.ca is my, it will be my website. It's there now, but there's not a lot of new content on it yet. I'm working on documenting some work and writing some stuff to put up there. Jorge: And I want to make a plug for your music as well. Matt: Oh yeah. Thanks! On my website there are links to my music projects. But I have, I have kind of three active projects right now. One is called New Tendencies, which is actually named after an Eastern European art movement from the sixties to the late seventies that was one of the first kind of computational art groups. So yeah, New Tendencies is kind of my more experimental music. I have a group called Soft Thoughts, which is kind of an ambient, soundscape kind of thing with two other musicians. And then I just started doing something I haven't done in a long time, but I started making, kind of like old school, minimal techno again, under the name Ma, M-A, and that's also on Bandcamp. But there's links to all these things on my website, or you can find them on Bandcamp, some of it's on Spotify, et cetera, but a lot of it's not. A lot of it's just on Bandcamp. Jorge: Well. Fantastic. I will include all of those in the show notes. It was such a pleasure having you on, Matt. Matt: Oh, I always love our conversations and I'm happy to talk anytime.

Today on The Print Cast, it's the fourth edition of our series Press On, something we launched as a response to the COVID-19 pandemic. I want to talk directly to printmakers about how this situation impacts their lives, their businesses, and how they'll keep busy through the shutdown of daily life. Each iteration of the series will bring you stories directly from artists and we'll keep them coming as long as this situation persists.Today's edition was wrapped up on May 1st, 2020. In Part 1, Robynn Smith from Print Day in May tells us of the upcoming print holiday on May 2nd. Join in with the celebration and share a print your making, and if you hashtag sponsors, you could win a rad prize. More info here. Part 2 of today's episode features screen printer Luther Davis of Powerhouse Arts. I had Luther on to talk about a recent Jenny Holzer print he did while under quarantine with fellow artist Leslie Diuguid. Together they pulled the B.A.T. while wearing masks and gloves, so that the edition could be sold to raise money for Earth Day. Also starting us off is my news service that I'm now dubbing Feed and Delivery: News for the Graphically Curious. You can look forward to this as a component of future podcasts, and maybe after COVID-19 it will become a stand alone podcast feed for mini episodes each week. For now, check out Press On while it runs on The Print Cast feed and you'll hear the latest each week. More to come and let me know if you want to share anything via the Press On series.Check out the Print Cast website here for more info.London Original FairLadies of Letterpress Conference SurveyHouston Art Museum - Documents of Latin America and Latino ArtGeoff McFettridge Drawings About Pandemic LifeJoin Print Day in MayNMSU University Art Museum - Channeling the Nuances of Motherhood Into ArtArtist Mother Podcast - Episode 55 with Curator Marisa SageHyperallergic review of Channeling the Nuances of Motherhood into ArtArtist Relief Fund Grant Application

Truisms in short, as redefined by artist Jenny Holzer, are controversial statements intended to spark dialogue. Eden and her friends Kelly and Kate discussed some of them, and man did it get interesting. To learn more about Jenny Holzer, visit: https://www.moma.org/collection/works/63755

Day 42: Jenny Holzer

ᐧArtists’ rights and laws expert and PhD Candidate Lauren van Haaften-Schick talks about:  Her first big experience with the secondary market via the runaway auction sale of a work by an artist showing at Nicole Klagsbrun – where Lauren was working at the time – and how it set her on a course re-considering artists’ contracts, resale royalties and activism for artists’ rights; how many of the resale royalties going to artists in the U.K., where they actually have a law supporting artists this way, have been on the small side, supporting the premise that resale royalties don’t only benefit big-name artists in big auctions; the Scull Auction of 1973, which marked the first time that contemporary American art was sold in such a brazenly speculative way, and led to a famous encounter between Robert Scull and Robert Rauschenberg; how activism works in artists’ rights in terms of potential redistribution, and ‘smart’ contracts; how big-name artists in the past (Robert Mangold, Jenny Holzer, Hans Haacke) showed up at congressional hearings for artist’s royalties, whereas recent generations of big-name artists have been relatively absent; and the ‘Artist’s Reserved Rights Transfer and Sale Agreement, Seth Siegelaub’s 1971 contract which has had a long-lasting effect in this realm of the art world, despite the lack of awareness of its existence.

L'articolo Jenny Holzer / ArteDonna / Andrea Concas proviene da Andrea Concas - Il mondo dell’arte che nessuno ti ha mai raccontato.

L'articolo Jenny Holzer / ArteDonna / Andrea Concas proviene da Andrea Concas - Il mondo dell’arte che nessuno ti ha mai raccontato.

Michael Petry, author, artist and Director of the Museum of Contemporary Art in London talks with Emmy Winner Charlotte Robinson host of OUTTAKE VOICES™ about his new book “The Word Is Art” that addresses how contemporary global artists incorporate text and language into their works that speaks to some of the most pressing issues of the 21st century. In the digital and online age words have become more important than ever with text becoming information and information striving to become a free form of expression. “The Word Is Art” looks at the work of a diverse range of artists including Annette Messager, Barbara Kruger, Cerith Wyn Evans, Christian Marclay, Christopher Wool, Chun Kwang Young, eL Seed, Fiona Banner, Ghada Amer, Glenn Ligon, Harland Miller, Jenny Holzer, Kay Rosen, Laure Prouvost, Martin Creed, Rachel Whiteread, Raymond Pettibon, Roni Horn, Tania Bruguera, Zhang Huan and many more interpreting how the digital and online age have made words more important than ever. “The Word Is Art” takes us on a fascinating and richly illustrated tour interpreting these trending global art forms. We talked to Michael about his inspiration for creating this book and his spin on our LGBTQ issues. When asked what his personal commitment is to LGBTQ civil rights Petry stated, “I’m one of the ancients who’s been around fighting for LGBTQ rights since the early eighties and I’ve been involved in so many different ways over the years. I consider myself queer because I think that is a broader term that for me represents who I am and what I think and part of that commitment as a queer who is an artist and who also is an author and a curator is to try and bring queer artists to the foreground of the art world. We only have to think back a few years to realize that LGBTQ artists were very marginalized and that’s still the case for many people. In the LGBTQ movement every year I curate a Pride Exhibition in London which I really hope to introduce LGBTQ artists not only to that community but to the straight community and I work within all the structures that are available whether that’s museums or the corporate structure to get that recognition for LGBTQ people because I think what is at issue in the broader political sphere is this notion of fear. Fear of others and of course that fear is not limited to the general public. It’s also in the art world.” Michael Petry has written a number of books, including “Installation Art”, “The Art of Not Making: the new artist/artisan relationship”, “Nature Morte: Contemporary Artists Reinvigorate the Still-Life Tradition” and his most recent work “The Word Is Art” all published by Thames & Hudson. In 2019 he will be speaking and exhibiting his work worldwide.For More Info: michaelpetry.com Hear 450+ LGBT Interviews @OUTTAKE VOICES

For about a week now I’ve been contemplating several titles for a work of my own. Whenever I’m conflicted like that, my usual go to is to read Tony Godfrey’s book “Conceptual Art”. It’s a fantastic book that always opens the floodgates of ideas for me. Quite often, I find myself gravitating towards a couple of artists in particular: Jenny Holzer and Barbara Kruger.So this week we’re looking at the works if Holzer and Kruger, delving deep into the power of the artistic one-liner. In this episode let’s take a look at one of the best known word artists, Jenny Holzer, hear about Troy’s new album and how it led him to this episode, and finally hear an interview segment with Jenny Holzer from The Culture Show.Follow us @arthouse43 and at ArtHouse43.com! And visit www.troyramos.bandcamp.com to keep up with the latest on the new album!

Maggie Adler is Curator at the Amon Carter Museum of American Art in Fort Worth, Texas, where she organizes exhibitions that explore the breadth of American art that exists within and outside of the museum’s collection. A native of rural New York, she received her higher education at Williams College in Williamstown, Massachusetts where she obtained a BA in classical languages and art history and a Masters in art history. Prior to the Amon Carter, Maggie held positions at Williams College Museum of Art and the Addison Gallery of American Art at Phillips Academy, as well as a fellowship at the Philadelphia Museum of Art. In addition to her curatorial duties, she also serves as co-chair for the Association for the Historians of American Art. Though her research focuses on nineteenth-century art, she is also passionate about collaborating with contemporary artists to create large-scale commissions and has worked with Jenny Holzer, Pepon Osorio, and Gabriel Dawe on site-specific installations. She is currently planning a major commission with artist Mark Dion and collaborating on a traveling exhibition pairing Winslow Homer and Frederic Remington. I recently sat down with Maggie in the main gallery of the Amon Carter where we discussed her attraction to Williams College, her love of Winslow Homer, the color theory of Michel Eugène Chevreul, her winding career path, what makes the Amon Carter unique, and finding contemporary work that fits within the museum’s narrative.

Maggie Adler is Curator at the Amon Carter Museum of American Art in Fort Worth, Texas, where she organizes exhibitions that explore the breadth of American art that exists within and outside of the museum’s collection. A native of rural New York, she received her higher education at Williams College in Williamstown, Massachusetts where she obtained a BA in classical languages and art history and a Masters in art history. Prior to the Amon Carter, Maggie held positions at Williams College Museum of Art and the Addison Gallery of American Art at Phillips Academy, as well as a fellowship at the Philadelphia Museum of Art. In addition to her curatorial duties, she also serves as co-chair for the Association for the Historians of American Art. Though her research focuses on nineteenth-century art, she is also passionate about collaborating with contemporary artists to create large-scale commissions and has worked with Jenny Holzer, Pepon Osorio, and Gabriel Dawe on site-specific installations. She is currently planning a major commission with artist Mark Dion and collaborating on a traveling exhibition pairing Winslow Homer and Frederic Remington. I recently sat down with Maggie in the main gallery of the Amon Carter where we discussed her attraction to Williams College, her love of Winslow Homer, the color theory of Michel Eugène Chevreul, her winding career path, what makes the Amon Carter unique, and finding contemporary work that fits within the museum’s narrative.

“You are a victim of the rules you live by.” -Jenny Holzer

On a sunny afternoon back at the studio complex, Joe and Matthew recap recent episodes including their conversation with artist Bojana Ginn. Topics include the compulsion to create, artist jobs, and managing expectations in the creative life. The Shins are mentioned. Jenny Holzer is referenced. A future episode is teasered. The post Recapping On A Sunny Afternoon | Episode 22 appeared first on Brain Fuzz.

Sinziana Velicescu, best known for her much-hyped Instagram profile @casualtimetravel and curatorial efforts at Standard Vision, is an old friend and a great photographer who has truly built a career on her own terms. She also has a very real and loving relationship with her home in Los Angeles. If you are an Angeleno through and through, this is the episode for you. If you're looking for some words of wisdom on maintaining your practice in a city as big as this one, you'll also find plenty of them here.    5:30 - City of dreams - http://standardvision.com/projects/city-of-dreams-macau/   6:40 - What is your role at Standard Vision?   7:22 - Can you name some notable artists who have shown on the screens? Video Artist: Pascual Sisto  http://standardvision.com/teams/artists/pascual-sisto/ Animators: Robert Seidel- http://standardvision.com/teams/artists/robert-seidel/ Casey Reas- http://standardvision.com/teams/artists/casey-reas/ Andreas Fischer- http://standardvision.com/teams/artists/andreas-nicolas-fischer/   7:55 - SV Presents: http://standard.vision/labs/introducing-sv-presents/   8:05 - AREA by Will Galperin, http://standard.vision/labs/introducing-sv-presents/   8:25 - Dan Chen SV Presents  http://standard.vision/labs/sv-presents-massive-by-dan-chen/  Elliot Lee Hazel - http://eliotleehazel.com/overview Beck videos by Elliot Lee Hazel- http://eliotleehazel.com/video   12:17 - Bill Violla http://www.billviola.com   13:45 - Jenny Holzer http://www.artnet.com/artists/jenny-holzer/ http://projects.jennyholzer.com/projections/san-diego-2007     17:05 - How do you approach listening to people within the art you create?   17:25 - Teddy Kelly mural on 8th and Los Angeles: https://www.instagram.com/p/BCJvWyeLF__/   20:35 - What software are you guys using at Standard Vision?   22:25- Marriott: http://standardvision.com/projects/la-marriott-hotel/     Transition to Photography   22:50 - Tell us how you got into photography and gained the skill of photographing architecture.   23:25 - Finding ways to photograph each shot differently.   24:25 - Being inspired as a child from LACMA’s modern art paintings. http://www.lacma.org   25:40 - Children art classes at the armory in Pasadena http://www.armoryarts.org   26:02 - Writer and art historian Cy twombly had kids make paintings for him allowing them to draw whatever they wanted, sometimes he would add to them sometimes he wouldn’t. http://www.cytwombly.info   27:51- Sinzi adding visual puns in her photography   28:10 - What is your process?    28:25 - Exploring and capturing places that have history   29:25 - Street photography: http://www.rinziruizphotography.com http://erickimphotography.com   31:25 - Sinzi falling back in love with LA by taking moments that are usually critiqued and finding life in them.   36:21- At what stage in your career was it when you looked at your photography and realized you could sell them in a gallery?  Where was the first gallery you sold them in?   37:25 - Eliminating people from photography shots   41:25 - Elements of human interaction in Sinzis photography   42:25 - What are the cities you have loved going to recently where your work has been shown and how does it feel?   48:05 - You Are Here video recap: http://www.thinktankgallery.org/event/you-are-here/   Neema Sadeghi: http://cargocollective.com/neemasadeghi   49:09 - http://www.thinktankgallery.org/breakbread/ https://www.instagram.com/scotthove/   51:08 - Are you restricting yourself to shoot only in Los Angeles?   54:09 - Vinyl mixtape monthly subscription: http://vinylmoon.co Sinzi’s design: http://vinylmoon.co/volume012/   57:25 - Getting creative opportunities   57:53 - Building your own route around the US and getting paid to do it at http://blog.amtrak.com/amtrakresidency/   1:00 - Acid and shrooms   1:05:25 - Have you done any other road trip/photo trips?   Transition to music videos   1:06:25 - How do you define your style?   1:07:26 - Thoughts on rap music and music videos   1:09:16 - What music videos do you remember from when you were younger?   1:13:43 - The outside perception of Los Angeles and being who you want to be   1:17:05 - http://maps.latimes.com/neighborhoods/   1:18:07 - Do you think you’ll spend your life in LA?   1:18:34 - Sinzi’s idea to create a GPS Based app of hidden gems in Los Angeles and how it relates to the already existing Pokemon Go   1:28:38 - Do you guys have a R & D department and is there any technology you specifically want to get your hands on?   1:29:46 - Damon Martin mural artist: https://www.facebook.com/Damon.Martin.Art    1:32:30 - Do you have a general mission that builds up to something in the future?   1:33:25 - Millennia's wanting to be invested in multiple creative outlets    1:37:25 - Do opportunities come to you now or do you still seek them out?   1:38:53 - When did you feel the shift of your work and you taking off?   1:39:40 - Brandon Monk skate ramp:  http://monkwoodstudio.com/blogs/from-the-studio/8086091-how-to-build-and-anti-gravity-inception-style-skate-ramp   1:44:25 - Jacob ghost riding https://www.youtube.com/watch?v=LQlonDdyUYk   1:50:15 - Have you done any music videos where the artist does not want to be in front of the camera?    1:51:44 - How do you transition from one opportunity to the next and do you have a strategy for it?   1:54:35 - Approaching the game with “If you are not in love with the shot don’t record it.”   1:57:08 - Are there any last memorable things you’d like to share with the listeners? Tips for new photographers: Shoot with film to limit your photos or shoot with iPhones and don’t go by the rules.    Book recommendations: https://www.jamesellroy.net https://www.amazon.com/Watermelon-Sugar-Richard-Brautigan/dp/0099437597   Where to find Sinziana: Instagram: @casualtimetravel  Website: http://www.sinzianavelicescu.com Standard Vision: http://standardvision.com

Markus findet die Graffitis des Street-Art-Künstlers Banksy ein bisschen platt (oder kitschig?). Ab 49:49 zeichnet Benjamin den Weg der Konzept-Künstlerin Jenny Holzer von der anonymen Straßenkunstaktion zur musealen Großinstallation nach. Ab 1:41:37 gibt es einen Nachklapp. Folge 024 – jetzt abspielen

Este vídeo es sobre Instalación para Bilbao. Jenny Holzer

Welcome to the inaugural Broken Pokes podcast! Download This week we talk about how Austin doesn’t have real sports, Drunks and Nerds Week, David hates baseball but he loves that his friends love baseball, Rangers pitching is broke, Robbie Ross has an attractive wife, Michigan basketball, March Madness, relevant team names, We are the Dallas Cowboys, Tony Romo is the best quarterback, Brien’s Philosophy, NFC North’s culture of losing, Niners talk, shouts to NaVorro Bowman and Kevin Ware’s legs, Peter only has one testicle, David’s been into the Mavs before they started winning, Mark Cuban wants the NBA to have a proper farm league, Phil Jackson going to the Knicks, is Carmelo a superstar?, Lee High Valley Iron Pigs’ newest marketing campaign, and the Fightin’ Marcin Gortat. Starring: ‘Dandy’ David Colby, Darius 'WASD’ Keel and Brien 'Ralph Malph’ Sublette. This week’s music: Kool A.d. “Jenny Holzer feat. Chippy Nonstop” Questions or comments for the show: podcast@brokenpokes.com

With Mark Lawson. Light Show at the Hayward Gallery in London is the first survey of light-based art in the UK and brings together artworks from the 1960s to the present day, from 22 artists including Dan Flavin, Olafur Eliasson and Jenny Holzer. Lighting designers Paule Constable and Patrick Woodroffe give their response to the works on show. Paul Kildea discusses his biography of Benjamin Britten, which has already made the news when he claimed that the composer's death was hastened by syphilis. Playwright Simon Stephens' new play, Port, opens at the National Theatre this week. Directed by Marianne Elliott, it tells the story of a family in Stockport. We first meet 11 year old Racheal, and six-year-old Billy in 1988, and the play follows them over the next 13 years of their lives. Peter Kemp reviews. Producer Ellie Bury.

Kosmo återutsänder två av höstens stjärnintervjuer. Jenny Holzer är en av världens mest kända och anlitade konstnärer. Texten har varit hennes främsta uttrycksmedel sedan 70-talet då hon skrev sina första Truisms; påståenden om världen, våld, och maktförhållanden. Efter den 11 september har Jenny Holzer helt fokuserat på kriget mot terrorismen och på de övergrepp USA begått i sin kamp för en säkrare värld. Texterna skriver hon inte längre själv, utan hon arbetar utifrån tidigare hemligstämplat material. Kosmos Cecilia Blomberg fick en intervju med konstens dolda världskändis - på ett hotellrum i Santa Monica i Los Angeles. "Utbildning är högt värderat i Nigeria, samtidigt som det är ett av vårt lands största problem, där valet står mellan svindyra privatskolor för några få, helt underfinansierade statliga skolor och ideologiskt hårt styrda skolor knutna till kyrkan", säger den internationella storsuccéförfattaren Chimamanda Ngozi Adichie. Hon slog igenom med romanen En halv gul sol, som skildrar inbördeskriget i hennes hemland Nigeria. Som hyllad författare kan hon nu dela sin tid mellan Nigeria och USA och hon har med tiden blivit alltmer medveten om vilken privilegierad situation hon har och hur den i sin tur har sin grund i att hon fick möjligheten till en bra utbildning. Kosmos Anneli Dufva träffat Chimamanda Ngozi Adichie. Programledare: Anneli Dufva

Jenny Holzer är en av världens mest kända och anlitade konstnärer. Texten är hennes främsta uttrycksmedel och redan på 70-talet skrev hon sina första Truismer; påståenden om världen, våld, och maktförhållanden. Då illegalt uppklistrade affischer runtom Manhattan, sedan dess har budskapen spridits över världen i form av ljusprojektioner, elektroniska skyltar. Idag är det framför allt USAs krig mot terrorismen och tidigare hemligstämpat materia som är hennes utgångspunkt. Kosmos Cecilia Blomberg har träffat Jenny Holzer i Los Angeles. Och så har frilansjournalisten Ric Wasserman mött den prisbelönta amerikanska dokumentärfilmare Saul Landau som är aktuell med filmen Will the real terrorist please stand up. På Kalmar konstmuseum visas utställningen "A Complicated Relation" med samtida verk av konstnärer från östra Europa. Fredrik Wadström har varit där. Programledare Anneli Dufva. Jenny Holzer är en av världens mest kända och anlitade konstnärer. Texten är hennes främsta uttrycksmedel och redan på 70-talet skrev hon sina första Truisms; påståenden om världen, våld, och maktförhållanden. Då var det på illegalt uppklistrade affischer runtom Manhattan, sedan dess har budskapen spridits över världen i form av ljusprojektioner och elektroniska skyltar, men också huggits in i sten och finns även här i Sverige på Wanås slott i Skåne. Efter den 11 september har Jenny Holzer helt fokuserat på kriget mot terrorismen och på de övergrepp USA begått i sin kamp för en säkrare värld.  Texterna skriver hon inte längre själv, utan hon arbetar utifrån tidigare hemligstämplat material. Hon har gjort målningar och ännu fler textprojektioner och ljusskyltar med alltifrån bilder av planerade bombräder i Bagdad, till militärförhör och dokument om tortyr i fängelser som Abu Ghraib och Guantanamo. Kosmos Cecilia Blomberg fick en intervju med konstens dolda världskändis - på ett hotellrum i Santa Monica i Los Angeles. På utställningen Helvete, som öppnade nu i veckan på Liljevalchs konsthall i Stockholm, kan man se flera av Jenny Holzers verk. Bland andra Torso, från 2007, ett av de verk som bygger på autentiska brottsstycken från rapporter om enskilda soldaters brott och straff i Mellanöstern. Och så har frilansjournalisten Ric Wasserman mött den prisbelönta amerikanska dokumentärfilmare Saul Landau som är aktuell med filmen Will the real terrorist please stand up. Filmen berättar om de så kallade Cuban Five - kubanska agenter som försökte att stoppa terroristattacker mot Kuba som var organiserade av anti-Castro grupper i Miami - men som själva fängslades i USA 2001 och dömdes för terrorism. På Kalmar konstmuseum visas just nu utställningen A Complicated Relation med samtida verk av konstnärer från östra Europa. Temat är kulturens roll i samhället och konstens möjligheter att påverka demokratiprocessen i auktoritära samhällen. Fredrik Wadström har träffat konstnärer från forna Sovjetunionen, bland andra den ryska radikala konstnärsgruppen Voina och vitryska Marina Naprushkina som skapat Byrån För Anti-propaganda. Programledare: Anneli Dufva Producent: Marie Liljedahl