POPULARITY
2 episodes with Jim Dine
3 episodes with Jim Dine
2 episodes with Jim Dine
3 episodes with Jim Dine
2 episodes with Jim Dine
4 episodes with Jim Dine
2 episodes with Jim Dine
2 episodes with Jim Dine
3 episodes with Jim Dine
In this episode of Platemark, I talk with Mae Shore, a collaborative printer and owner of Shore Publishing in Tuxedo Park, New York. Mae shares her experiences working at Pace Editions with notable artists like Jim Dine and Chuck Close. She discusses the history and evolution of her gallery and print shop, which she established to merge her love for printmaking and curating exhibitions. Mae touches upon specific projects, such as her collaborations with artists like Amy Bennett, Kamrooz Aram, and Katia Santibañez and James Siena, detailing the unique processes and challenges in creating prints. The conversation also highlights the importance of print fairs, the nuances of printmaking, and Mae's backstory growing up in New York City's SOHO and Tribeca neighborhoods. Mae's reflections offer a compelling glimpse into the meticulous, collaborative, and often experimental world of printmaking. Episode image: Greg Dohler Amy Bennett (American, born 1977). Clearing, 2022. Linocut and pochoir on Magnani paper. Image: 3 3/4 x 5 in.; sheet: 12 1/4 x 12 1/2 in. Printed and published by Shore Publishing. Amy Bennett (American, born 1977). Site, 2025. Linocut. Sheet: 22 x 27 in.; image: 16 1/2 x 22 in. Printed and published by Shore Publishing. Kamrooz Aram (American, born Iran, 1978). Arabesque Composition (Limited Variations) #21, 2024. Relief monoprint with pencil on Akemi Martin custom handmade cotton paper. 27 x 21 in. Printed and published by Shore Publishing. Kamrooz Aram (American, born Iran, 1978). Arabesque Composition (Limited Variations) #2, 2024. Relief monoprint with pencil on Akemi Martin custom handmade cotton paper. 27 x 21 in. Printed and published by Shore Publishing. Kamrooz Aram (American, born Iran, 1978). Arabesque Composition (Limited Variations) #3, 2024. Relief monoprint with pencil on Akemi Martin custom handmade cotton paper. 27 x 21 in. Printed and published by Shore Publishing. Kamrooz Aram (American, born Iran, 1978). Arabesque Composition (Limited Variations) #4, 2024. Relief monoprint with pencil on Akemi Martin custom handmade cotton paper. 27 x 21 in. Printed and published by Shore Publishing. Kamrooz Aram (American, born Iran, 1978). Arabesque Composition (Limited Variations) #5, 2024. Relief monoprint with pencil on Akemi Martin custom handmade cotton paper. 27 x 21 in. Printed and published by Shore Publishing. Katia Santibañez (American, born France, 1964). Sailing Alone, 2014. Reduction linocut in 6 colors on Rives BFK. Image: 20 x 16 in.; sheet: 27 x 22 in. Printed and published by Shore Publishing. Katia Santibañez (American, born France, 1964). Floating In My Mind, 2015. Reduction linocut in 6 colors on Hosho. Image: 14 x 11 in.; sheet: 19 1/2 x 16 in. Printed and published by Shore Publishing. Glenn Goldberg (American, born 1953). There (1-3), 2014. Suite of three prints, photo relief, collagraph, linocut and pochoir on Rives BFK paper. Sheet (each): 12 1/2 x 16 ¾ in.; image (each): 6 x 12 in. Printed and published by Shore Publishing. Katia Santibañez (American, born France, 1964) and James Siena (American, born 1957). Triplebarb Whirler, 2022. Reduction woodcut in 6 colors on Rives BFK paper. Image: 22 1/2 x 18 in.; sheet: 28 3/4 x 23 1/2 in. Printed and published by Shore Publishing. William Villalongo (American, born 1975). Vitruvian's Daughter, 2014. Woodcut, linocut, and pochoir on Hosho white paper. Sheet: 22 x 22 in. Printed and published by Shore Publishing. Yasu Shibata (American, born Japan, 1968). 4 Squares Within a Square, 2022. Japanese woodcut on Kizuki paper mounted on Western paper. Sheet: 30 x 30 in. Printed and published by Shore Publishing. Mae Shore and Brad Ewing in their booth at the Baltimore Fine Art Print Fair, March 2022.
We meet artist Alexandria Tarver to discuss her current solo exhibition at Deli Gallery, New York. Tarver recontextualizes the traditional floral motif into a space between memory, idealization, and presence.Her process begins on a ritualistic evening walk around New York City. For Tarver, the night is a dynamic time oscillating between rest, dreams, and frenzy, often unleashing subconscious desires restrained during the day. It's a period when trouble happens, stars become visible, and the city, never at rest, mirrors the cycle akin to death. The variability of the city's nighttime sky, influenced by observation points, weather, and proximity to building lights, becomes a rich palette of colors, each night unique.On these walks the artist identifies potential subjects, often floral clusters, in an action akin to foraging. Tarver photographs the subject and then creates a preliminary composition in pencil on paper. The subject is finally rendered in oil on panel, employing techniques from various historical movements including post-impressionism, New England mid-century representationalism, and gestural abstraction. The primary layer, accompanied by lapis and cerulean blue ground, captures the electric color of twilight. The timeline varies, with some paintings taking weeks or even months. The vibrant blue of twilight oscillates against the flesh-tones of the central flower form—this blue sometimes deepening, sometimes shifting into an evening haze, sometimes sinking into purple-black depth, a depth halted by the ever-present electric glow of the skyline.Tarver finds profound meaning in the repetition and variations on a theme. As she explores the possibilities of painting, she grapples with the act of painting and its evolution over time and practice. The disciplined dedication to a subject or landscape, evident in artists like Maureen Gallace, Vija Celmins, and Jim Dine, is mirrored in Tarver's formal repetition, which becomes a grounding force that reflects the rhythm of day-to-day existence.In the paintings, flowers and markings are situated as acting figures within the particular, ever-variable, and intensely observed color field of the night sky as viewed from the concrete grounds of the city. Much like Ellsworth Kelly's plant drawings served as a device for him, the plant in Tarver's works acts as a stand-in, offering a guiding framework for her hand and a pathway to reflect on the long nights she has experienced. During a vulnerable period around 2013 and 2014, marked by the sickness and imminent mortality of Tarver's father, the practice of looking at flowers and creating paintings became a place of solace. This loyalty endures, providing a grounding force and a way to navigate through fear, pain, and sorrow.Alexandria Tarver (b. 1989) received a BFA from New York University in 2011. Recently her work has been included in group exhibitions at GRIMM Gallery, London (2023), Marinaro Gallery, NY (2023), Public Gallery, London (2022), UncleBrother, NY (2021), Arsenal Gallery, NY (2019), Et. Al. etc., San Francisco (2017), Danziger Gallery, NY (2016). Tarver also organized group shows Sentimental at Fitness Center for the Arts & Tactics in Brooklyn (2013) and #1 at The Hose in Brooklyn (2013). Tarver had her first solo exhibition with Deli Gallery in 2015. She lives and works in New York City.Follow @AlexandriaTarver on Instagram and @DeliGallery.Visit: https://deligallery.com/Alexandria-Tarver-New-Paintings-2024 Hosted on Acast. See acast.com/privacy for more information.
How housing authorities can spur development for those in need: https://www.richlandsource.com/2023/08/23/how-housing-authorities-can-spur-development-for-those-in-need/ Today - A closer look at how housing authorities can spur development for those in need. This story is a part of our recent work highlighting the challenges low-income renters face and potential ways to address them. The series was written by reporter Katie Ellington Serrao, and is supported by Wayfinders Ohio.Support the show: https://www.sourcemembers.com/See omnystudio.com/listener for privacy information.
In s3e33, Platemark podcast host Ann Shafer talks with Ruth Lingen, printer and owner of Line Press Limited, located in the Dumbo neighborhood of Brooklyn. Line Press Limited does just about everything except screenprinting. Ruth is a jack-of-all-trades, and loves book arts the most, from papermaking to typesetting to printing and binding. After studying with the legendary Walter Hamady, Ruth got her start in New York with Joe Wilfer in the very early days of Pace Prints. She printed for many artists while at Pace, including Chuck Close and Jim Dine (for whom she still prints every summer in Walla Walla). Ruth worked closely with Bill Hall and Julia D'Amario at Pace, both of whom are previous guests on Platemark: Bill is featured in s3e6 and Julia appears in s3e15. Ruth has collaborated with more than 50 of the world's greatest artists—on prints (some for Pace editions, some on her own) and very special limited edition artist books. In addition to Dine and Close, she has collborated on editions with such art-world luminaries as Robert Ryman, Mary Heilmann, Kiki Smith, Claes Oldenberg, Bob Holman, Robert Creeley, Jessica Stockholder, Jeremy Sigler, Donald Traever, Al Held, and John Chamberlain. Lingen's work can be found in the collection of The Metropolitan Museum of Art, The Getty, and the Brooklyn Museum, as well as in more than 20 libraries, from the New York Public Library to the Harvard University Library. Louise Nevelson (American, born Ukraine, 1899–1988). Untitled, 1985. Cast paper relief. 14 x 14 ¼ in. Published by Pace Editions. Edition of 250. Suzanne Anker (American, born 1946). Organic Abstract Cast Paper Sculpture, 1990. 20 x 20 in. Unique. Chuck Close (American, 1940–2021). Emma, 2002. Woodcut in the Ukiyo-e style. 43 x 35 in. (109.2 x 88.9 cm.). Published by Pace Editions. Edition of 55. Chuck Close (American, 1940–2021). Phil / Manipulated, 1982. 24-color handmade paper. Published by Pace Editions. Edition of 20. Chuck Close (American, 1940–2021). Roy Paper/Pulp, 2009. Stenciled handmade paper. 35 ½ x 28 ½ in. Published by Pace Editions. Edition of 30. Chuck Close (American, 1940–2021). Self Portrait/Spitbite, 1988. Spitbite etching. Sheet: 20 ½ x 15 5/8 in. Published by Pace Editions. Edition of 50. Chuck Close (American, 1940–2021). Lucas/Woodcut, 1993. Color woodcut with color stencil (pochoir). Sheet: 1181 × 914 mm. (46 1/2 × 36 in.). Baltimore Museum of Art. Published by Pace Editions. Edition of 50. Chuck Close (American, 1940–2021). Self-Portrait I (Dots), 1997. Reduction linoleum cut. 24 x 18 in. Published by Pace Editions. Edition of 70. Ed Ruscha (American, born 1937). Clown Speedo, 1998. Aquatint. Sheet: 36 x 26 ½ in.; plate: 27 ¾ x 20 in. Published by Pace Editions. Edition of 35. Francesco Clemente (American, born Italy, 1952). Art Pro Choice II, 1991. Three-color relief print. Sheet: 20 x 16 in. Published by NARAL. Edition of 125. Alan Shields (American, 1944–2005). Synchromesh, from the series Soft and Fluffy Gears, 1987. Punched, glued, sewn, and assembled handmade paper. Sheet: 21 x 18 ½ in. Co-published by Pace Editions and Tandem Press. Edition of 15. Michael Young (American, born 1952). Impossibility of Perpetual Motion I, 1990. Relief print with screenprint and sand. 33 1/2 x 29 ¼ in. Published by Spring Street Workshop. Edition of 35. Jane Hammond (American, born 1950), Untitled (monoprint), 2008. Relief print with collage elements created using lithography, linoleum cut, rubber stamp, digital and relief printing, with additional watercolor and hand coloring by the artist. 30 x 22 in. Published by Pace Editions. Unique. Jim Dine (American, born 1955). A Garden, 2010. Two-color woodcut. Sheet: 58 x 44 in. Edition of 12. Jim Dine (American, born 1955). The Felt Skull, 1994. Woodcut on felt. 39½ x 31 ½. Published by Pace Editions. Edition of 7. Jim Dine (American, born 1935). Love and Grief, 1992. Diptych of woodcuts with hand coloring. Overall: 41¼ × 65½ in. (105 × 166 cm.). Published by Pace Editions. Edition of 17. Jim Dine (American, born 1935). The Orange Birthday Bathrobe, 2010. Lithograph, woodcut, etching, and rubber stamp. Sheet: 138.4 x 97.8 cm. Cristea Roberts Gallery. Edition of 28. Jim Dine (American, born 1935). Bleeding Boy, 2008. Linoleum cut. Image: 64 3/4 × 38 5/8 in. (164.5 × 98.1 cm.); Sheet: 68 1/4 × 40 in. (173.4 × 101.6 cm.). Allen Memorial Art Museum, Oberlin College. Edition of 14. Jim Dine (American, born 1935). Raven on Lebanese Border, 2000. Softground etching and woodcut with white hand coloring. Sheet: 781 × 864 mm. (30 3/4 × 34 in.); plate: 676 × 768 mm. (26 5/8 × 30 1/4 in.). Baltimore Museum of Art, Baltimore, MD. Published by Pace Editions. Edition of 8. Robert Ryman (American, 1930–2019). Conversion, 2001. Three-color relief print on aluminum. 15 x 15 in. Published by Pace Editions. Edition of 25. John Chamberlain (American, 1927–2011). Conversations with Myself, 1992. Artist book, with letterpess and additional drypoint print. Page: 6 x 6 in. Published by Pace Editions. Edition of 108. Jim Dine (American, born 1935), printed by Julia D'Amario. Astonishing, Health and Sunshine, 2021. Spitbite aquatint, drypoint and lithograph with hand-coloring on Shiramibe paper, mounted onto three sheets of Hahnemuhle Copperplate White paper. Sheet (each): 142.7 x 83.1 cm.; image (each): 125.7 x 68 cm. Cristea Roberts Gallery. Edition of 11. Jim Dine (American, born 1935). Electrolyte In Blue, 2023. Bound volume with letterpress, intaglio, and lithography. Edition of 7. Spreads from Jim Dine (American, born 1935). Electrolyte In Blue, 2023. Bound volume with letterpress, intaglio, and lithography. Edition of 7. Michael Stipe (American, born 1960). The Name Project, 2022. Artist's book project compiled from 45 editioned book objects. Sizes vary. Editions vary between 4 and 6. USEFUL LINKS Line Press Limited https://www.linepresslimited.com/ Timelapse of Roy paper pulp print being made https://www.youtube.com/watch?v=7upgJA6Azpo Ruth describing making Lucas paper pulp. Good one. https://www.youtube.com/watch?v=lZttkbmtqKo Ruth's talk at William Paterson University Art Galleries https://www.youtube.com/watch?v=J6lq3x3O1HU
In s3e33, Platemark podcast host Ann Shafer talks with Ruth Lingen, printer and owner of Line Press Limited, located in the Dumbo neighborhood of Brooklyn. Line Press Limited does just about everything except screenprinting. Ruth is a jack-of-all-trades, and loves book arts the most, from papermaking to typesetting to printing and binding. After studying with the legendary Walter Hamady, Ruth got her start in New York with Joe Wilfer in the very early days of Pace Prints. She printed for many artists while at Pace, including Chuck Close and Jim Dine (for whom she still prints every summer in Walla Walla). Ruth worked closely with Bill Hall and Julia D'Amario at Pace, both of whom are previous guests on Platemark: Bill is featured in s3e6 and Julia appears in s3e15. Ruth has collaborated with more than 50 of the world's greatest artists—on prints (some for Pace editions, some on her own) and very special limited edition artist books. In addition to Dine and Close, she has collborated on editions with such art-world luminaries as Robert Ryman, Mary Heilmann, Kiki Smith, Claes Oldenberg, Bob Holman, Robert Creeley, Jessica Stockholder, Jeremy Sigler, Donald Traever, Al Held, and John Chamberlain. Lingen's work can be found in the collection of The Metropolitan Museum of Art, The Getty, and the Brooklyn Museum, as well as in more than 20 libraries, from the New York Public Library to the Harvard University Library. Louise Nevelson (American, born Ukraine, 1899–1988). Untitled, 1985. Cast paper relief. 14 x 14 ¼ in. Published by Pace Editions. Edition of 250. Suzanne Anker (American, born 1946). Organic Abstract Cast Paper Sculpture, 1990. 20 x 20 in. Unique. Chuck Close (American, 1940–2021). Emma, 2002. Woodcut in the Ukiyo-e style. 43 x 35 in. (109.2 x 88.9 cm.). Published by Pace Editions. Edition of 55. Chuck Close (American, 1940–2021). Phil / Manipulated, 1982. 24-color handmade paper. Published by Pace Editions. Edition of 20. Chuck Close (American, 1940–2021). Roy Paper/Pulp, 2009. Stenciled handmade paper. 35 ½ x 28 ½ in. Published by Pace Editions. Edition of 30. Chuck Close (American, 1940–2021). Self Portrait/Spitbite, 1988. Spitbite etching. Sheet: 20 ½ x 15 5/8 in. Published by Pace Editions. Edition of 50. Chuck Close (American, 1940–2021). Lucas/Woodcut, 1993. Color woodcut with color stencil (pochoir). Sheet: 1181 × 914 mm. (46 1/2 × 36 in.). Baltimore Museum of Art. Published by Pace Editions. Edition of 50. Chuck Close (American, 1940–2021). Self-Portrait I (Dots), 1997. Reduction linoleum cut. 24 x 18 in. Published by Pace Editions. Edition of 70. Ed Ruscha (American, born 1937). Clown Speedo, 1998. Aquatint. Sheet: 36 x 26 ½ in.; plate: 27 ¾ x 20 in. Published by Pace Editions. Edition of 35. Francesco Clemente (American, born Italy, 1952). Art Pro Choice II, 1991. Three-color relief print. Sheet: 20 x 16 in. Published by NARAL. Edition of 125. Alan Shields (American, 1944–2005). Synchromesh, from the series Soft and Fluffy Gears, 1987. Punched, glued, sewn, and assembled handmade paper. Sheet: 21 x 18 ½ in. Co-published by Pace Editions and Tandem Press. Edition of 15. Michael Young (American, born 1952). Impossibility of Perpetual Motion I, 1990. Relief print with screenprint and sand. 33 1/2 x 29 ¼ in. Published by Spring Street Workshop. Edition of 35. Jane Hammond (American, born 1950), Untitled (monoprint), 2008. Relief print with collage elements created using lithography, linoleum cut, rubber stamp, digital and relief printing, with additional watercolor and hand coloring by the artist. 30 x 22 in. Published by Pace Editions. Unique. Jim Dine (American, born 1955). A Garden, 2010. Two-color woodcut. Sheet: 58 x 44 in. Edition of 12. Jim Dine (American, born 1955). The Felt Skull, 1994. Woodcut on felt. 39½ x 31 ½. Published by Pace Editions. Edition of 7. Jim Dine (American, born 1935). Love and Grief, 1992. Diptych of woodcuts with hand coloring. Overall: 41¼ × 65½ in. (105 × 166 cm.). Published by Pace Editions. Edition of 17. Jim Dine (American, born 1935). The Orange Birthday Bathrobe, 2010. Lithograph, woodcut, etching, and rubber stamp. Sheet: 138.4 x 97.8 cm. Cristea Roberts Gallery. Edition of 28. Jim Dine (American, born 1935). Bleeding Boy, 2008. Linoleum cut. Image: 64 3/4 × 38 5/8 in. (164.5 × 98.1 cm.); Sheet: 68 1/4 × 40 in. (173.4 × 101.6 cm.). Allen Memorial Art Museum, Oberlin College. Edition of 14. Jim Dine (American, born 1935). Raven on Lebanese Border, 2000. Softground etching and woodcut with white hand coloring. Sheet: 781 × 864 mm. (30 3/4 × 34 in.); plate: 676 × 768 mm. (26 5/8 × 30 1/4 in.). Baltimore Museum of Art, Baltimore, MD. Published by Pace Editions. Edition of 8. Robert Ryman (American, 1930–2019). Conversion, 2001. Three-color relief print on aluminum. 15 x 15 in. Published by Pace Editions. Edition of 25. John Chamberlain (American, 1927–2011). Conversations with Myself, 1992. Artist book, with letterpess and additional drypoint print. Page: 6 x 6 in. Published by Pace Editions. Edition of 108. Jim Dine (American, born 1935), printed by Julia D'Amario. Astonishing, Health and Sunshine, 2021. Spitbite aquatint, drypoint and lithograph with hand-coloring on Shiramibe paper, mounted onto three sheets of Hahnemuhle Copperplate White paper. Sheet (each): 142.7 x 83.1 cm.; image (each): 125.7 x 68 cm. Cristea Roberts Gallery. Edition of 11. Jim Dine (American, born 1935). Electrolyte In Blue, 2023. Bound volume with letterpress, intaglio, and lithography. Edition of 7. Spreads from Jim Dine (American, born 1935). Electrolyte In Blue, 2023. Bound volume with letterpress, intaglio, and lithography. Edition of 7. Michael Stipe (American, born 1960). The Name Project, 2022. Artist's book project compiled from 45 editioned book objects. Sizes vary. Editions vary between 4 and 6. USEFUL LINKS Line Press Limited https://www.linepresslimited.com/ Timelapse of Roy paper pulp print being made https://www.youtube.com/watch?v=7upgJA6Azpo Ruth describing making Lucas paper pulp. Good one. https://www.youtube.com/watch?v=lZttkbmtqKo Ruth's talk at William Paterson University Art Galleries https://www.youtube.com/watch?v=J6lq3x3O1HU
In s3e15, Platemark host Ann Shafer talks with printer Julia D'Amario, who has been the printer at the Jordan Schnitzer Printmaking Residency at the Sitka Center for Art and Ecology in Otis, OR, since 2002. Formerly she printed for Pace Prints in New York from 1989–2008. In between all that, since 2008 she has spent summers printing for Jim Dine in his Walla Walla, WA, studio. In fact, Dine lists Julia among his favorite printers—and he has worked with many, many printers across the world. If that weren't enough, Julia is set to open her home shop to artists in the near future. In this episode, Julia, whose specialty is intaglio prints, relates her early experience at the Robert Blackburn Printmaking Studio, where she met future Pace Prints colleague and Platemark guest Bill Hall. She tells us about favorite projects at Pace and Sitka, working with Jim Dine, and her love of prints and printmaking.
Happy Labour Day! That famous dodecalabourer, Hercules, asks Chris and Charlotte to talk about mythmashes, golden fleece, Hercules failing to perform, old ads, and patooties.SHOW NOTES.Hercules: IMDB. MST3K Wiki. Trailer. Watch it on YouTube.Our other Hercules episodes: Hercules Against the Moon Men. Hercules Unchained. The Loves of Hercules. Hercules and the Captive Women.Hercules with Dwayne “The Rock” Johnson.The Labours of Hercules and the Argonauts.Medea.Apollonius of Rhodes: Argonautica.Oscar Meyer ads and the story behind the theme.Dodge Ram ads.Jenny Craig.SuperAmerica.Milkbone.Pace Picante ads. New Jersey?Bearwiches.Dave Clark Five: I Like It Like That. (But Chris Kenner had a hit with it first.)Taste it all.Hercules in the Haunted World.Omen III: The Final Conflict.Jim Dine.Joan Embery on the Tonight Show.Dennis Day: An Irishman Will Steal Your Heart Away.Hamilton, Joe Frank & Reynolds: Don't Pull Your Love Out and Fallin' in Love.All about hotdish.Watch The Match Game on YouTube.The Real Match Game Story: Behind the Blank.A particular episode of Match Game 75.Elvis Presley: Kentucky Rain.Eddie Rabbit: I Love a Rainy Night and Two Dollars in the Jukebox.Support It's Just A Show on Patreon and get some neat perks.
Jim Dine is an American artist who defies categorization. His work feels a little bit Pop Art, but with an emphasis on process and a gestural quality that at times feels like it has one foot in the abstract expressionist movement. Dine grew up in Cincinatti, Ohio. He was raised by second-generation immigrants who owned a hardware store and being surrounded by tools in his formative years, he grew a fascination and appreciation for them not only as utilitarian objects but things of beauty. In some of his works, he actually mounted tools onto the canvas similar to the approach of artists like Jasper Johns. Of course, Dine is probably best known for his use of the heart symbol in numerous works. The warmth and positivity of the symbol make it a favorite for art teachers particularly in February as so many students are excited about Valentine's Day, so I decided this was the perfect time to release an episode going into a little more depth on Jim Dine. As always, you can find an image of the work at my website www.whoartedpodcast.com My fellow art teachers can find some helpful resources for use in the classroom up on the site. Also, check out the Arts Madness page for a sneak peek at this year's tournament of artists. I would love to have more schools participating to get kids actively engaged in evaluating the works of so many diverse artists. If you enjoy the show, please follow, rate it and leave a review on your favorite podcast app. Finally, don't forget to check out my other podcast, Art Smart to learn more about the elements and principles of art and design.
Subscribe to Quotomania on Simplecast or search for Quotomania on your favorite podcast app!Jim Dine is an American artist and poet known for his contributions to the formation of both Performance Art and Pop Art. Employing motifs which include Pinocchio, hearts, bathrobes, and tools, Dine produces colorful paintings, photographs, prints, and sculptures. “I grew up with tools. I came from a family of people who sold tools, and I've always been enchanted by these objects made by anonymous hands,” Dine has said. Born on June 16, 1935 in Cincinnati, OH, he studied poetry at the University of Cincinnati before attending the University of Ohio where he received his BFA in 1957. After moving to New York in 1958, Dine became part of a milieu of artists which included Allan Kaprow and Claes Oldenburg, with whom he began to stage performances at sites in the city that later became known as “Happenings.” By the early 1960s, he had switched his focus towards painting, drawing on his interest in popular imagery and commercial objects. Though he was shown alongside Roy Lichtenstein and Andy Warhol, Dine never considered himself a member of the Pop Art movement. The artist currently lives and works between New York, NY and Walla Walla, WA. His works are included in the collections of The Museum of Modern Art in New York, the Tate Modern in London, the Bilbao Fine Arts Museum, and the Walker Art Center in Minneapolis, among others.From http://www.artnet.com/artists/jim-dine/. For more information about Jim Dine:“Jim Dine”: https://americanart.si.edu/artist/jim-dine-1273“The Classical and the Contemporary: Conversation with Jim Dine”: https://www.youtube.com/watch?v=OwCLiDUAW6I&feature=emb_imp_woyt“Jim Dine in His Garden, Paris”: https://www.youtube.com/watch?v=XIJwy1UIG1A
In this episode Miranda speaks with Steve Campbell of Black Rock Editions in Santa Fe, New Mexico. He has been working at the iconic press for thirty-one years as the director, marketer, and collaborative printer and he still speaks about printmaking with a romance as if they were on their first date. Campbell has printed with Judy Chicago, Christo, Jim Dine, Claes Oldenburg, and Kara Walker, to name a few, and he says he'll still get lost in the magic of admiring a print in the moments after it has been separated from the stone. We talk about how he came to Black Rock when it was called Landfall Press over three decades ago and the meditative aspects of lithography. [more information] Black Rock Editions Website https://breditions.com Black Rock Editions Instagram https://www.instagram.com/blackrockeditions/?hl=en Landfall Press Website landfallpress.com/ Landfall Press Facebook www.facebook.com/landfallpress Shop Talk www.patreon.com/helloprintfriend YOUTUBE www.youtube.com/channel/UCOMIT3guY5PjHj1M7GApouw MERCH www.teepublic.com/user/helloprintfriend WEBSITE www.helloprintfriend.com instagram www.instagram.com/helloprintfriend print gallery helloprintfriend.com/print-gallery ✨patreon✨ www.patreon.com/helloprintfriend Our sponsor Speedball www.speedballart.com
This week Bad at Sports sees the return of two legends. Tony Fitzpatrick joins us to talk about his last museum show ever "the Jesus of Western Avenue" at the Cleve Carney Museum. And if that weren't enough Richard Holland takes a break from his retirement to rejoin the show? We are also joined by Justin Witte, the curator and director of the Cleve Carney Museum! https://www.theccma.org/ https://www.theccma.org/tony-fitzpatrick https://tonyfitzpatrick.co/ Names Dropped... Judy Ledgerwood Michelle Grabner Tony Tasset Jim Dine
Zum Welttag des Buches blättern wir durch Künstlerbücher. Liebevoll gestaltet und in kleiner Auflage erschienen sind sie ein selten ausgestellter Bestandteil unserer Sammlung. Künstler wie Pablo Picasso und Pierre Bonnard, Robert Indiana und Otto Piene bebildern Gedichte oder antike Mythen. Jim Dine gestaltet eine opulente Box für eine Theaterfassung von Oscar Wildes Dorian Gray. Bei Peter Wegner wird das Buch selbst zum Objekt, und Hans-Peter Feldmann möchte mit Fotos der Stadt Essen im Offset-Druck das Künstlerbuch demokratisieren. Zu Gast ist der Kurator unserer Grafischen Sammlung und erläutert Drucktechniken wie Lithografie und Radierung.
Today’s episode “Dedication to the Craft” features our guest John D Hancock. Director John Hancock’s early interest was music. As an adolescent, he was an accomplished violinist, and concertmaster of the Chicago Youth Orchestra. He became interested in the theatre while attending Harvard College and directed a number of plays there. Because of the promise he exhibited, he received a grant from Harvard to study theatre in Europe. He spent the time observing Bertolt Brecht’s Berliner Ensemble. His directorial debut was the hit Off-Broadway production of Brecht’s A Man’s A Man. This was followed by Robert Lowell’s Endicott and the Red Cross at the American Place Theatre, and Shakespeare’s A Midsummer Night’s Dream at the Theater de Lys with sets by Jim Dine, for which Hancock received the Obie Award. Cue Magazine noted, “This brutal, vulgar, and erotic production of Shakespeare’s sex fantasy is the most original and arresting I’ve ever witnessed. This is the best of all the Dreams and an important pioneering effort in re-interpreting the play.” His success on the New York stage led to his being appointed Artistic Director of the famed San Francisco Actors Workshop and later to directing assignments at the Pittsburgh Playhouse and the New Repertory Theatre Company in New York. Hancock has received widespread critical acclaim for his approach to the work of many contemporary and classic playwrights. He worked closely on several occasions with Tennessee Williams. In 1970, with a grant from the American Film Institute, Hancock directed the short film, Sticky My Fingers, Fleet My Feet, for which he received an Academy Award nomination. Hancock’s feature film credits include Bang The Drum Slowly (Paramount), California Dreaming (AIP), Let’s Scare Jessica to Death (Paramount), Baby Blue Marine (Columbia), Weeds (DEG), and the Christmas classic Prancer (Orion), starring Sam Elliott. Sponsor(s) Promotional Links: RIdgewood Recording Studios’ desire to capture what God has put in your heart as an artist so that He gets the glory for the dedication, talent and commitment you've put into your music. It's just one of many ways you can touch the heart of many. The studio offers a full line of music production ranging from song demos and singles to fully produced albums. We focus on excellence at every level of the recording and production process and will work with you for your project's specific needs. The studio rate and pricing can be set on a per hour or per day schedule, as well as per song or per project basis. For rates specific to your project contact us for more information. Our services include: arranging, hiring musicians, recording, editing, mixing, and/or mastering. We record Christian and positive music from a variety of genres, including bands, solo artists and songwriters, worship groups, instrumentalists, backing vocals and more. We even do audio overdubs for commercials and videos. So, whatever you need in professional recording we have you covered. Reach out to us at https://timothydavis.org/ridgewood-studios or email us at https://timothydavis.org/contact Publicist Steven Joiner worked as a child actor, and through this capacity, met a lot of people in the film industry. These connections would prove vital to his later career as a Publicist. Steve stepped into this role in 2016, building a thriving clientele of up-and-coming film artists. His roster of available podcasts that he works with to secure his clientele interviews is above par for the industry. His primary goal is to match each client with the best podcast(s) for their needs. He can be contacted at 1-816-605-4561 or via email at Stevesjnetwork@gmail.com --- Send in a voice message: https://anchor.fm/worldofwalley/message Support this podcast: https://anchor.fm/worldofwalley/support
Blind Hog and Acorn took their show to the road, literally, as they recorded the podcast while driving to the big city. They had their sights set on a portable air compressor that would be big enough to use with the new plasma cutter, and Lowe's JUST happened to have one 45% off, PLUS and additional 10% off with military discount. SWEET!Yup, the farmers purchased a new wire feed welder that uses flux core wire, no cover gas needed, so they can both begin welding all kinds of project and new works of art. The plasma cutter is not just a toy (says Acorn) but a much needed farm accessory.Anyway, Blind Hog will have to wire up a couple new receptacle boxes and run a 30A breaker in the box, do the same down in the rock shop. Exciting times.Blind Hog also recommended the Chocolate Gooey Cake for the recipe of the week. It is pretty darn tasty.Chores are done, hay is out. Tune in and find out about the art project Acorn has in mind. Something inspired by Jim Dine.
Mark continues his conversation with his brother, Tom Golden, who shares some of his recollections of meeting a number of artists while working first at Bocour, and then Golden Artist Colors.
Il Palazzo delle Esposizioni presenta uno dei maggiori protagonisti dell'arte americana, il cui lavoro, radicale e innovativo, ha avuto un grande impatto sulla cultura visiva contemporanea, in particolare su quella italiana degli anni Sessanta.
A lying politician is as common as oxygen. Why is lying necessary? My opinion may appear conservative, dissenting opinions encouraged. Image used is: Svenska: Pinocchio-skulpturen i Borås, av Jim Dine. The photographer is called Mrkgrd. Link to photograph: https://bit.ly/32beAsK --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/estebanation/support
Today on this mini episode of The Print Cast I recount a very busy day yesterday, Friday October 25th at the IFPDA Print Fair in New York. It was a busy day with Jeff Koons and Christophe Cherix discussing his work including his newest editions on view at The Two Palms booth here at the fair. It was a very illuminating talk that I can't wait to post here on the pod, but today I offer some brief details to entice you about what's to come on the show in the coming weeks. Next I did interviews with Karl LaRocca from Kayrock Screenprinting and master printer Kathy Caraccio, both who work here in the city. Each of those interviews were different in style and form, and you'll be able to hear those talks later after I have time to edit it all together for your listening pleasure. Kathy's interview was especially lively and funny, so I recount some of the more vibrant aspects of our time on stage. Two more talks finished the day from the fair programs. One was a conversation between artist Jamie Nares and JP Russell facilitated by Phil Sanders and a talk about how to collect prints with Helen Rosslyn from the London Original Print Fair. Not only all that, but I also detail what's coming next including an awards presentation and discussion with artists Mel Bochner and Matthew Day Jackson with print collector Jordan Schnitzer. Jim Dine is also joining us Saturday in conversation with Master Printers Ruth Lingen and Julia D'Amario. I'll also be interviewing Leslie DiuGuid at the end of the day, which I am very excited about. There's a lot going on, my voice is getting raspy and tired, and I hope you enjoy hearing about the fair and what you can look forward to in audio for the Print Cast coming soon. Everything I record here will be shared with the podcast and online with the IFPDA, so you can all look forward to some great audio content in the coming months. Stay tuned!Visit the IFPDA websiteFollow the IFPDA on InstagramFollow Kayrock on InstagramFollow Kathy Caraccio on InstagramFollow The Print Cast, of course too ;)
In this episode of pine|copper|lime Miranda speaks with Steve Campbell of Landfall Press in Santa Fe, New Mexico. He has been working at the iconic press for thirty one years as the director, marketer, and collaborative printer and he still speaks about printmaking with a romance as if they were on their first date. Campbell has printed with Judy Chicago, Christo, Jim Dine, Claes Oldenburg, and Kara Walker, to name a few, and he says he'll still get lost in the magic of admiring a print in the moments after it has been separated from the stone. In this episode we talk about how he came to Landfall over three decades ago, the meditative aspects of lithography, and what is on the horizon for Landfall as they look towards their 50th anniversary in 2020. [more information] pine|copper|lime website www.pinecopperlime.com pine|copper|lime instagram www.instagram.com/pine.copper.lime pine|copper|lime print gallery www.pinecopperlime.com/print-gallery ✨pine|copper|lime patreon✨ https://www.patreon.com/pinecopperlime Landfall Press Website http://landfallpress.com/ Landfall Press Facebook https://www.facebook.com/landfallpress
Robert & Russell meet broadcasting legend Janet Street-Porter CBE at her home in East London. We discuss reading & self improvement, comic strip art, her godmother who was a big influence in her teenage years, French cinema & the films of Jean Cocteau, her favourite composers including JS Bach and Philip Glass as well as a memorable Gustav Metzger performance that she saw whilst studying at the Architectural Association. We learn about Janet’s favourite art including Jake & Dinos Chapman’s Goya-inspired etchings, Pop Art, Joe Tilson, Allen Jones, Richard Hamilton, Michael Craig-Martin, Grayson Perry, Patrick Caulfield, Jim Dine, Ed Rusha, Hamish Fulton, Gary Hume and H.C. Westermann. We also view a previously-unseen series of 6 portraits of Janet painted by Damien Hirst. See acast.com/privacy for privacy and opt-out information.
Det har kallats 2000-talets största svenska konstbråk. Och det handlade om Pinocchio i Borås: en nästan 10 meter hög skulptur av den världsberömde amerikanske popkonstnären Jim Dine. Den åstadkom den största insändarstormen i Borås Tidnings historia och delade staden i två oförsonliga läger, för och mest mot. Nu har det gått ett decennium sedan skulpturen invigdes, i maj 2008. P1 Kulturs Mattias Berg har träffat parterna för att försöka förstå vad som egentligen hände där i stridens hetta. Allt det som med en historiens ironi slutade med att två av huvudkombattanterna bägge fick den enorma statyn precis utanför fönstret. Vi kommer att få höra textilmagnaten Bengt Swegmark, som stod i spetsen för den insamling som gjordes för att finansiera Pinocchioskulpturen, för första gången lätta på förlåten. Hasse Persson, stadens konstmuseichef när striden rasade, berätta att han aldrig kommer att förlåta Stefan Eklund som drog igång hela debatten i Borås Tidning. Och Eklund själv berätta om känslan av att ha världens mest kända lögnare alldeles intill sitt tidningshus. Dessutom om det dramatiska politiska spelet på ett hemligt möte inför omröstningen i kommunfullmäktige. Om hur Gustaf Tenggren, den unge huvudtecknaren till Walt Disneys klassiska Pinocchio-film från 1940, blev den som löste upp hela konflikten. Och om allt som hänt sedan dess: Borås väg från kulturpolitisk krigsskådeplats till statystad med skulpturbiennal.
A publisher and printmaker in Paris, Michael Woolworth has built projects with hundreds of contemporary artists (Gunter Damisch, Marc Desgrandchamps, Jim Dine and Bertrand Lavier amongst others). Together they have completed high and limited editions both in book form and original prints. His talk at PCA will focus on the art of collaboration. Michael will tell us about his experience in working with others and will try to answer the following questions: What’s collaboration? Why collaborate? What do we learn from this activity? What forms does it take? He will illustrate all these ideas through a direct reference to his most iconic books. www.michaelwoolworth.com
John Reuter’s professional and artistic life is tightly interwoven with the story of the Polaroid 20x24 camera and the artists that used it to bring their creative visions to life. It’s an important story worth preserving. John has has worked tirelessly to keep the 20x24 Polaroid camera alive. Part 1 of my conversation with John (found in episode 230 of the Artful Camera) contains the history of image transfer, image lift, and direct manipulation of Polaroid images. In part 2 of my conversation with John, the focus is on the artwork John created with the 20x24 Polaroid camera and the now rare Polacolor film. John reveals the creative process he used in making his evocative 20x24 Polacolor image transfers. The transfer image is just the beginning of a long process of creating many layers of “history” within the print. The process includes distressing the image and mark making with various pigments, oil pastels, and mediums. The end result is an image rich in texture and beauty. John’s images are currently on exhibit at the Palm Beach Photographic Centre until August 5, 2017. The exhibit is called John Reuter: Second Impressions, Polaroid Process to Singapore Infrared. Mentioned in this episode: John Reuter's website: http://johnreuter.com/blog/ 20x24 Studio: http://www.20x24studio.com The Polaroid 20x24 Image Transfer Process: https://youtu.be/rlos9pgah3s Jim Dine: https://en.wikipedia.org/wiki/Jim_Dine Giotto: https://en.wikipedia.org/wiki/Giotto Rosamond Purcell: http://www.anartthatnaturemakes.com JoAnn Verburg: http://joannverburg.com Robert Rauschenberg: https://en.wikipedia.org/wiki/Robert_Rauschenberg http://www.20x24studio.com/?page_id=2329 Chuck Close: http://chuckclose.com https://en.wikipedia.org/wiki/Chuck_Close http://www.20x24studio.com/?p=2282 William Wegman: http://williamwegman.com/home.html Joyce Tenneson: http://www.tenneson.com https://en.wikipedia.org/wiki/Joyce_Tenneson David Levinthal: http://www.davidlevinthal.com Tim Burton: https://en.wikipedia.org/wiki/Tim_Burton Art Kane: https://www.artkane.com https://en.wikipedia.org/wiki/Art_Kane Elsa Dorfman: http://www.elsadorfman.com https://en.wikipedia.org/wiki/Elsa_Dorfman Jack Perno: http://www.jackperno.com http://www.jackperno.com/polaroid-emulsion-1 Beatrice Pediconi: http://www.beatricepediconi.com http://www.beatricepediconi.com/works/polaroids/ Palm Beach Photographic Centre: https://www.workshop.org/museum/exhibits/ Video tour of John Reuter’s Second Impressions exhibit: https://www.facebook.com/events/1342858102433943/permalink/1353500241369729/ Amon Carter Museum of American Art: http://www.cartermuseum.org http://www.cartermuseum.org/calendar/member-programs/camera-ready-the-polaroid-20x24-project This episode is sponsored by: CrumplePop - Premiere Pro and Final Cut Pro Plugins: http://crumplepop.com About the Artful Camera: Website: https://carlolson.tv Instagram: @Artful.Camera https://www.instagram.com/artful.camera/ Send an email or voicemail to Artful Camera: https://carlolson.tv/contact/ Disclaimer: some links referenced in the show notes are affiliate links. The use of affiliate links do not affect the price you pay. Artful Camera earns a small commission from each sale which help offset some of the costs involved in producing this podcast. Thank you for your support.
John Reuter - artist, photographer, and director of the Polaroid 20x24 Project, returns to the Artful Camera. John has worked closely with a number of well known artists including Chuck Close, Robert Rauschenberg, William Wegman, Elsa Dorfman, Joyce Tenneson, and many others to help them bring their creative visions to life using the Polaroid 20x24 camera. However, John Reuter is an accomplished artist in his own right. This episode focuses on John and his work as an artist. The exhibit John Reuter: Second Impressions, Polaroid Process to Singapore Infrared opened at the Palm Beach Photographic Centre on June 21, 2017, and runs through August 5th. It features 35 20x24 Polacolor Image Transfers created by John. Eight of these images are 4 panel assemblies measuring 42x52 inches and mounted on canvas. While many of the images featured in the exhibit date back as as early as 1988, the show features two new 4 panel pieces created by John in 2017 just for this exhibit. In this episode John talks about the early history of using Polaroid images in mixed media art, and his own pioneering techniques in creating beautiful, evocative images that now line the walls of the Palm Beach Photographic Centre. Mentioned in this episode: John Reuter's website: http://johnreuter.com/blog/ 20x24 Studio: http://www.20x24studio.com Jim Dine https://en.wikipedia.org/wiki/Jim_Dine Giotto https://en.wikipedia.org/wiki/Giotto Rosamond Purcell http://www.anartthatnaturemakes.com JoAnn Verburg http://joannverburg.com Robert Rauschenberg https://en.wikipedia.org/wiki/Robert_Rauschenberg http://www.20x24studio.com/?page_id=2329 Chuck Close http://chuckclose.com https://en.wikipedia.org/wiki/Chuck_Close http://www.20x24studio.com/?p=2282 William Wegman http://williamwegman.com/home.html Joyce Tenneson http://www.tenneson.com https://en.wikipedia.org/wiki/Joyce_Tenneson David Levinthal http://www.davidlevinthal.com Tim Burton https://en.wikipedia.org/wiki/Tim_Burton Art Kane https://www.artkane.com https://en.wikipedia.org/wiki/Art_Kane Elsa Dorfman http://www.elsadorfman.com https://en.wikipedia.org/wiki/Elsa_Dorfman Jack Perno http://www.jackperno.com http://www.jackperno.com/polaroid-emulsion-1 Beatrice Pediconi http://www.beatricepediconi.com http://www.beatricepediconi.com/works/polaroids/ Palm Beach Photographic Centre https://www.workshop.org/museum/exhibits/ Video tour of John Reuter’s Second Impressions exhibit: https://www.facebook.com/events/1342858102433943/permalink/1353500241369729/ Amon Carter Museum of American Art http://www.cartermuseum.org http://www.cartermuseum.org/calendar/member-programs/camera-ready-the-polaroid-20x24-project This episode is sponsored by: CrumplePop - Premiere Pro and Final Cut Pro X Plugins: http://crumplepop.com About the Artful Camera: Website: https://carlolson.tv Instagram: @Artful.Camera https://www.instagram.com/artful.camera/ Send an email or voicemail to Artful Camera: https://carlolson.tv/contact/ Disclaimer: some links referenced in the show notes are affiliate links. The use of affiliate links do not affect the price you pay. Artful Camera earns a small commission from each sale which help offset some of the costs involved in producing this podcast. Thank you for your support.
Albertina director Klaus Albrecht Schröder talks about the american artist Jim Dine and his series of self-portraits. A CastYourArt production.
Albertina Direktor Klaus Albrecht Schröder über den amerikanischen Künstler Jim Dine und dessen Kunst des Selbstportraits. Eine CastYourArt Produktion.
Jim Dine im Interview über seine faszinierenden Selbstportraits aus über fünf Jahrzehnten, die nun in der Albertina in Wien zu sehen sind. Eine CastYourArt Produktion.
Interview with American artist Jim Dine, who shows fascinating self portraits from several decades in the Tietze galleries of the Albertina in Vienna. Produced by CastYourArt.
更多内容请关注今天（1.14）的微信：搜索英语环球 NEWSPlusIf you love Chinese Culture, Peking Opera is the art form that you must be familiar with. And you must know this name, Michael Chow(Chinese name: Zhou Yinghua), who is probably one of the most passionate Chinese about Peking Opera by interest or by fate.Chow's father was Zhou Xinfang, one of China's most famous actors and the leading figure at the Peking Opera of his time early last century.But Chow was never able to take up his father's career as he was sent to a British boarding school when he was 12 and grew up in Europe. He studied art in London before setting out on a business career that lasted for about 50 years.Michael Chow has been working hard and earned his name in the west as a restaurateur running a chain of high end restaurants providing authentic Chinese food in different locations around the world with the name "Chow".But Chow said deep in his heart he is an artist, and all he has been doing is to reconnect with his father and his home country China. After 47 years of running the restaurant business, Chow restarted his painting career in recent years, and had exhibitions in various places. Voices From Other Lands found him when he is preparing his first exhibition on the Chinese Mainland in 798, an art district in Beijing. We sat down and talked for his "magnificent obsessions."Michael Chow had ten years of professional training in painting at youth, and later focused on his restaurant business. Chow designed Mr. Chow, the first restaurant, in London featuring cool green floor tiles and white walls, and later bought art by Allen Jones, Peter Blake, Patrick Caulfield, David Hockney and Jim Dine for the walls. But Michael Chow said his restaurants have always been underlined by his desire and need to promote the Chinese culture. The passion for painting has been there and finally was turned into action. Michael Chow continues the Qi Style that was started by his father Zhou Xinfang, a leading figure at the Peking Opera. Through years, Chow realized the Qi Style is not a performance but a method of life. By good fortune, he said after a 50-year radical sabbatical, he returned to painting in the school of Qi. And now he is a self-commissioned ambassador in promoting the great art forms in the Chinese culture, Peking Opera in particular. In doing so, it's brought him closer to his father. When it comes to the 120th celebration of his father's birth, he said he has finally fulfilled that void.
Listen to John Ashbery read his Self-portrait in a Convex Mirror, then go see MAG's exhibition of a limited edition artist’s book published in 1984 by Arion Press, for which eight artists—among them Willem and Elaine de Kooning, Jim Dine, Richard Avedon and Larry Rivers—contributed prints. The exhibition runs April 1 - June 12, 2011
Listen to John Ashbery read his Self-portrait in a Convex Mirror, then go see MAG's exhibition of a limited edition artist’s book published in 1984 by Arion Press, for which eight artists—among them Willem and Elaine de Kooning, Jim Dine, Richard Avedon and Larry Rivers—contributed prints. The exhibition runs April 1 - June 12, 2011
Listen to John Ashbery read his Self-portrait in a Convex Mirror, then go see MAG's exhibition of a limited edition artist’s book published in 1984 by Arion Press, for which eight artists—among them Willem and Elaine de Kooning, Jim Dine, Richard Avedon and Larry Rivers—contributed prints. The exhibition runs April 1 - June 12, 2011
A dialogue between artist Jim Dine and National Gallery of Art curator Ruth Fine at Tamarind Institute’s Fabulous at 50 Symposium and Birthday Bash. Dine created Tamarind’s 50th anniversary commemorative print, “Double Dose of Color.”
If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to digicomm@uchicago.edu. A Poetry Reading by David Shapiro as part of the Poem Present Series. Shapiro has written over twenty volumes of poetry and prose, including the first book on John Ashbery, the first book on Jim Dine's painting, the first book on Jasper Johns' drawings (the last two from Abrams) and the first study of Piet Mondrian's much tabooed flower studies. He has translated books from French and Spanish and recently edited a book on aesthetics: Uncontrollable Beauty. A tenured art historian at William Paterson University, Shapiro has won National Endowment for the Humanities and National Endowment for the Arts fellowships, been nominated for a National Book Award, and been the recipient of numerous grants for his work.Recent books of poetry include A Burning Interior (Overlook Press, 2002) andNew and Selected Poems (1965-2006) (Overlook Press, 2007).
If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to digicomm@uchicago.edu. David Shapiro has written over twenty volumes of poetry and prose, including the first book on John Ashbery, the first book on Jim Dine's painting, the first book on Jasper Johns' drawings (the last two from Abrams) and the first study of Piet Mondrian's much tabooed flower studies. He has translated books from French and Spanish and recently edited a book on aesthetics: Uncontrollable Beauty. Born in l947, David received his degrees from Columbia and Cambridge Universities, but before he was fifteen he had put together many privately printed volumes of poetry. At fifteen he met Frank O'Hara, corresponded with John Ashbery, and was collaborating with Kenneth Koch and many painters of the so-called New York School. A tenured art historian at William Paterson University, Shapiro has won National Endowment for the Humanities and National Endowment for the Arts fellowships, been nominated for a National Book Award, and been the recipient of numerous grants for his work.Recent books of poetry include A Burning Interior (Overlook Press, 2002) andNew and Selected Poems (1965-2006) (Overlook Press, 2007).
If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to digicomm@uchicago.edu. David Shapiro has written over twenty volumes of poetry and prose, including the first book on John Ashbery, the first book on Jim Dine's painting, the first book on Jasper Johns' drawings (the last two from Abrams) and the first study of Piet Mondrian's much tabooed flower studies. He has translated books from French and Spanish and recently edited a book on aesthetics: Uncontrollable Beauty. Born in l947, David received his degrees from Columbia and Cambridge Universities, but before he was fifteen he had put together many privately printed volumes of poetry. At fifteen he met Frank O'Hara, corresponded with John Ashbery, and was collaborating with Kenneth Koch and many painters of the so-called New York School. A tenured art historian at William Paterson University, Shapiro has won National Endowment for the Humanities and National Endowment for the Arts fellowships, been nominated for a National Book Award, and been the recipient of numerous grants for his work.Recent books of poetry include A Burning Interior (Overlook Press, 2002) andNew and Selected Poems (1965-2006) (Overlook Press, 2007).
If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to digicomm@uchicago.edu. A Poetry Reading by David Shapiro as part of the Poem Present Series. Shapiro has written over twenty volumes of poetry and prose, including the first book on John Ashbery, the first book on Jim Dine's painting, the first book on Jasper Johns' drawings (the last two from Abrams) and the first study of Piet Mondrian's much tabooed flower studies. He has translated books from French and Spanish and recently edited a book on aesthetics: Uncontrollable Beauty. A tenured art historian at William Paterson University, Shapiro has won National Endowment for the Humanities and National Endowment for the Arts fellowships, been nominated for a National Book Award, and been the recipient of numerous grants for his work.Recent books of poetry include A Burning Interior (Overlook Press, 2002) andNew and Selected Poems (1965-2006) (Overlook Press, 2007).
http://citygardenstl.org/podcast/1502_Dine.mp3 Mon, 29 Jun 2009 10:59:08 -0500 Visual Arts
"«Estructuras repetitivas» es el título de la exposición que se presenta en la Fundación Juan March a partir del próximo 12 de diciembre. Bajo este rótulo se ha reunido un total de 22 obras de 21 artistas contemporáneos, de diferentes estilos y tendencias, todas ellas pertenecientes al Museo Ludwig de Colonia (Alemania). Las obras tienen como denominador común presentar una repetición de elementos. Así podrán contemplarse desde óleos sobre lienzo y otros cuadros de técnica mixta que incorporan gran variedad de materiales, a dibujos, fotografías y esculturas. La exposición, organizada con la colaboración del Museo Ludwig, estará abierta en la Fundación hasta el 16 de febrero próximo. En ella podrá contemplarse una obra de cada uno de los artistas representados (a excepción de Andy Warhol, con tres obras). Gran parte de ellas fueron realizadas en los años sesenta, siendo la más antigua de todas las que ofrece la muestra un óleo de Robert Delaunay, de 1934, y la más reciente, la composición del norteamericano Jim Dine, realizada en 1983. En cuanto a las esculturas, además de un bronce de Josef Beuys, de 1958, figuran cuatro de artistas vinculados al «Minimal Art», como Andre, Judd, LeWitt y Morris. Una de las obras ha sido realizada por Bernhard y Hilla Becher, Así, a través de esta muestra puede apreciarse cómo la repetición ha sido un recurso estético empleado desde muy diversos enfoques por artistas de distintas escuelas y movimientos."Más información de este acto
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