Podcasts about jitish kallat

Angela Westwater at 257 Bowery, 2020, photo by Alexei Hay Angela Westwater co-founded Sperone Westwater Fischer in 1975 with Italian art dealer Gian Enzo Sperone and German gallerist Konrad Fischer, opening a space at 142 Greene Street in SoHo, New York. (The gallery's name was changed to Sperone Westwater in 1982.) An additional space was later established at 121 Greene Street. The founders' original program showcased a European avant-garde alongside a core group of American artists to whom its founders were committed. Notable early exhibitions include a 1977 show of minimalist works by Carl Andre, Dan Flavin, Donald Judd, and Sol Lewitt; seven of Bruce Nauman's seminal early shows; six early Gerhard Richter shows; two Cy Twombly exhibitions in 1982 and 1989; eleven Richard Long exhibitions; and the installation of one of Mario Merz's celebrated glass and neon igloos in 1979 -- part of the gallery's ongoing dedication to Arte Povera artists, including Alighiero Boetti. Other early historical exhibitions at the Greene Street space include a 1989 group show, "Early Conceptual Works," which featured the work of On Kawara, Bruce Nauman, Alighiero Boetti, and Joseph Kosuth, among others; a 1999 Fontana exhibition titled "Gold: Gothic Masters and Lucio Fontana"; and selected presentations of work by Piero Manzoni. From May 2002 to May 2010, the gallery was located at 415 West 13 Street, in a 10,000-square foot space in the Meatpacking District. In September 2010, Sperone Westwater inaugurated a new Foster + Partners designed building at 257 Bowery. Today, over 45 years after its conception, the gallery continues to exhibit an international roster of prominent artists working in a wide variety of media. Artists represented by Sperone Westwater include Bertozzi & Casoni, Joana Choumali, Kim Dingle, Shaunté Gates, Jitish Kallat, Guillermo Kuitca, Wolfgang Laib, Helmut Lang, Amy Lincoln, Richard Long, Emil Lukas, David Lynch, Heinz Mack, Mario Merz, Katy Moran, Malcolm Morley, Bruce Nauman, Otto Piene, Alexis Rockman, Susan Rothenberg, Tom Sachs, Peter Sacks, Andrew Sendor, and William Wegman. Past exhibitions, press, and artworks can be found on the gallery website. Born in Columbus, Ohio, Westwater received her BA from Smith College and her MA from New York University. She arrived in New York City in 1971 and landed her first job as a “gallery girl” at the John Weber Gallery at 420 West Broadway. From 1972 to 1975, she served as Managing Editor of Artforum magazine. In 1975, the same year the gallery was founded, Westwater was appointed to the Board of Trustees of The Louis Comfort Tiffany Foundation, where she has served as President since 1980. The books mentioned in the interview are The Free World, Art and Thought in the Cold War by Louis Menand and A Life of Picasso, The Minotaur Years by John Richardson. Joana Choumali, Untitled (Ça Va Aller), 2019, mixed media, 9 1/2 x 9 1/2 inches (24 x 24 cm), 16 1/4 x 16 1/4 inches (41,3 x 41,3 cm) Joana Choumali, WE ARE STILL NOW, 2022, mixed media, 4 parts; 38 1/2 x 78 inches (97,8 x 198,1 cm)

This episode we are extremely excited to be talking to the boundary defying collector, philanthropist, and general art world powerhouse, Nadia Samdani. Based in Dhaka, Bangladesh, Nadia is the founder and director of the Samdani Art Foundation, which she launched in 2011 and has now become one of the leading non-profits focused on supporting the arts in and across South East Asia. In her role as Director of the Samdani Art Foundation, Nadia led the launch of the Dkaha Art Summit in 2012, a multifaceted, interdisciplinary biennial that brings together curators, artists, and other arts professionals from around the globe. Nadia is also very active philanthropically. She and her husband Rajeeb were founding members of the Tate’s South Asian Acquisition Committee. And In 2017, with her husband Rajeeb, she was the first South Asian arts patron to receive the Montblanc de la Culture Arts Patronage Award. In 2014 the Samdanis were nominated in the Young Collector of the Year category for the Forbes India Art Award, in recognition of their impressive collection of artists such as Anish Kapoor, Bharti Kher, Jitish Kallat, Ravinder Reddy, Chitra Ganesh, and Subodh Gupta. Nadia and Rajeeb plan to soon expand their art empire with another major achievement: the opening of the Srihatta–Samdani Art Centre and Sculpture Park, which is currently slated to be inaugurated in 2021 in Sylhet, a city in eastern Bangladesh. Some artists discussed in this episode: Dominique Gonzalez-Foerster Haegue Yang Adrián Villar Rojas Ayesha Sultana Munem Wasif Reetu Sattar Yasmin Jahan Nupur Sadie Benning Links: Samdani Art Foundation, Dhaka Art Summit, Srihatta For images, artworks, and more behind the scenes goodness, follow @artfromtheoutsidepodcast on Instagram.

A discussion with Richard Klein, curator of the exhibition "Weather Report" at Connecticut's Aldrich Museum of Contemporary Art in Ridgefield: 'Weather Report will reveal the sky as a site where the aesthetic, the romantic, the political, the social, and the scientific co-exist and inform one another. The depiction of weather phenomena in the visual arts is traditionally linked with either landscape painting or photography, but in the last two decades artists have increasingly turned to other media to explore weather and, by extension, the larger subject of the Earth’s atmosphere. Featuring the work of Bigert & Bergström, Barbara Bloom, Sara Bouchard, Josh Callaghan, Nick Cave, Violet Dennison, Bryan Nash Gill, Andy Goldsworthy, Nancy Graves, Ellen Harvey, Ayumi Ishii, Jitish Kallat, Kim Keever, Byron Kim, Damian Loeb, Iñigo Manglano-Ovalle, Colin McMullan, Hitoshi Nomura, Pat Pickett, Sean Salstrom, and Jennifer Steinkamp, and an installation by researchers Amanda Bunce, Joel Salisbury, and Michael Vertefeuille." http://aldrichart.org/article/weather-report

This week, Mumbai-based artist Jitish Kallat returns to Bad at Sports, this time from San Francisco, where he sits down with Patricia Maloney. Listeners may remember Kallat’s first appearance on the podcast on the eve of the opening for his large-scale installation, Public Notice 3 (2010-11), in the Fullerton Hall stairwell of the Art Institute of Chicago. Kallat, one of the most prominent figures of contemporary Asian art, works across a variety of media, including painting, sculpture, photography, installation, and video. He was the curator for the Kochi-Muziris Biennale, India in 2014. This year, Kallat has had several solo exhibitions, including Jitish Kallat: Public Notice 2, at the Art Gallery of New South Wales in Sydney. His Paris exhibition, The Infinite Episode, opened at the Galerie Templon in September 2015. Kallat's large permanent public sculpture unveiled in Austria in October 2015.  His solo exhibitions include Epilogue (2013-14) at the San Jose Museum of Art; Circa at the Ian Potter Museum of Art, Melbourne, Australia (2012); Fieldnotes: Tomorrow was here Yesterday at the Bhau Daji Lad Museum, Mumbai, India (2011); Likewise at Arndt, Berlin, Germany (2010); The Astronomy of the Subway at Haunch of Venison, London, UK (2010); Aquasaurus at the Sherman Contemporary Art Foundation, Paddington, Australia (2008) and Lonely Facts at the Kunsthalle Luckenwalde, Luckenwalde, Germany (1998). Kallat has participated in major exhibitions, including: India: Art Now at the Arken Museum, Ishoj, Denmark (2012-13); Indian Highway IV at MAXXI, Rome, Italy (2012) and at Musée d'art contemporain de Lyon, Lyon, France (2011); The Empire Strikes Back: Indian Art Today at Saatchi Gallery, London, UK (2010); Chalo! India: A New Era of Indian Art at Essl Museum – Contemporary Art, Klosterneuburg, Austria and at Mori Art Museum, Tokyo (both 2009), as well as Indian Highway at the Serpentine Gallery, London, UK (2008-09); Die Tropen. Ansichten von der Mitte der Weltkugel at Martin- Gropius-Bau, Berlin, Germany (2008); Urban Manners at Hangar Bicocca, Milan, Italy (2007) and Century City at Tate Modern, London, UK (2001).

On December 12, 2014, the Second Kochi-Muziris Biennale, curated by artist Jitish Kallat, opened in Kerala, India. The second edition of the Kochi-Muziris Biennale built upon the themes from the first Kochi-Muziris Biennale. So, before we dive into the second edition, let’s first revisit Indian’s inaugural international Biennale.   The first edition opened on December 12, 2012. It was a huge event and by all accounts, a success. In this podcast, Tanya Gill puts together a collection of artist interviews and viewer reactions from the first Biennale’s opening week in 2012, including celebrated artists Nalini Malani, Vivan Sundaram, Tallur L.N., Rohini Devasher, as well as Australian street artists Daniel Connell and Vextra, independent curator Amit Kumar Jain, and filmmaker Hatti Bowering.   Please stay tuned for the forthcoming second Kochi-Muziris Biennale podcast. This podcast, as well as photographs of the and additional interviews, can be found at zacii.com. Additional information on the Kochi-Muziris Biennale can be found at http://kochimuzirisbiennale.org.   Tanya Gill is a visual artist who lives between Chicago, USA and Chandigarh, India.   A special thank you to everyone who took the time to talk in December 2012! It was amazing to witness this groundbreaking event.

Learn all about the beloved elephant-headed Hindu deity Ganesha in episode 33 of the Ancient Art Podcast. We explore the annual festival celebrating his birth, Ganesha Chaturthi, and discover how he happened to get that elephant head. Plus we investigate why, oh, why he’s missing a tusk! We look closely at a few magnificent sculptures of Ganesha at the Art Institute of Chicago and conclude with an exploration of the contemporary art installation Public Notice 3 by Jitish Kallat on view through January 2, 2011, which juxtaposes Swami Vivekananda’s September 11, 1893 speech in Chicago on religious tolerance with the terror attacks of September 11, 2001. See all episodes, image galleries, credits, transcripts, and additional resources at http://ancientartpodcast.org. Connect at http://twitter.com/lucaslivingston and http://www.facebook.com/ancientartpodcast.

This Week: Our sixth season kicks off with a great interview with artist Jitish Kallat. We talk about his work, his installation at the Art Institute, and what it is like to live and work in an art scene in a city with 14 million people. If that weren't enough, curator Dr. Madhuvanti Ghose chimes in as well! The following shameless lifted from the AIC web site: Public Notice 3 September 11, 2010–January 2, 2011 Grand Staircase Overview: In the first major presentation in an American museum of Jitish Kallat’s work, the contemporary Indian artist has designed a site-specific installation that connects two key historical moments—the First World Parliament of Religions held on September 11, 1893, and the terrorist attacks at the World Trade Center and the Pentagon on that very date, 108 years later. The resulting work, Public Notice 3, creates a trenchant commentary on the evolution, or devolution, of religious tolerance across the 20th and 21st centuries. The basis for Kallat’s installation is a landmark speech delivered by Swami Vivekananda at the Parliament, which was held in conjunction with the World’s Columbian Exposition in Chicago in what is now the museum’s Fullerton Hall. The Parliament was the earliest attempt to create a global dialogue of religious faiths, and Vivekananda, eloquently addressing its 7,000 attendees, argued for an end of fanaticism and a respectful recognition of all traditions of belief through universal tolerance. With Public Notice 3, Kallat converts Vivekananda’s text to LED displays on each of the 118 risers of the historic Woman’s Board Grand Staircase of the Art Institute of Chicago, adjacent to the site of Vivekananda’s original address. Drawing attention to the great chasm between this speech of tolerance and the very different events of September 11, 2001, the text of the speech will be displayed in the colors of the United States’ Department of Homeland Security alert system. Opening on September 11, Public Notice 3 explores the possibility of revisiting the historical speech as a site of contemplation, symbolically refracting it with threat codes devised by a government to deal with this terror-infected era of religious factionalism and fanaticism. Curator: Dr. Madhuvanti Ghose, Marilynn Alsdorf Curator of Indian and Islamic Art.