Podcast appearances and mentions of joan mitchell center

Episode 463 / Rose Nestler (b. 1983, Spokane, WA) is a mixed media sculptor who lives and works in Brooklyn, NY. She holds an MFA from Brooklyn College and BA in Art History from Mount Holyoke College. Recent solo and two-person exhibitions include Public, London, UK (2024), Pangeè, Montreal, QC (2023); Mrs., New York, NY (2022); and Carvalho Park, New York, NY (2022) Selected group exhibitions include Asya Geisberg, New York, NY (2025), Plains Art Museum, Fargo ND (2024); Chart, New York, NY (2024), (The University of Leeds' Stanley & Audrey Burton Gallery, Leeds, UK (2023); Boston University, Boston, MA (2023); Rugby Art Gallery and Museum, Rugby, UK (2022); Perrotin, New York, NY (2022); Hesse Flatow, New York, NY (2021), and Frye Art Museum, Seattle, WA (2021); She was an artist in residence at the Joan Mitchell Center in New Orleans in 2022. Nestler has also conducted residencies at The Fores Project, London, UK, and The Lighthouse Works, Fishers Island, NY, among others. Her work is part of the permanent collection of the Frye Art Museum, Seattle, WA, USA and has been featured and reviewed on Art21, in The Brooklyn Rail, BOMB Magazine, Hyperallergic and New York Magazine. She is part time faculty at Parsons School of Design and College of Staten Island (CUNY). 

Episode 104 features painter Lavar Munroe (b. 1982, Nassau, Bahamas). He earned his BFA from Savannah College of Art and Design in 2007 and his MFA from Washington University in 2013. In 2014, Munroe was awarded a postdoctoral research fellowship at the University of North Carolina at Chapel Hill. He was included in Prospect.4: The Lotus in Spite of The Swamp, the New Orleans triennial curated by Trevor Schoonmaker, and the 12th Dakar Biennale, curated by Simon Njami, in Senegal. In 2015, Munroe's work was featured in All the World's Futures, curated by Okwui Enwezor as part of the 56th Venice Biennale. His work has been included in museums such as the Nasher Museum of Art in Durham; Perez Art Museum, Miami; National Gallery of Bahamas, Nassau; MAXXI Museum of Art, Rome; Museum of the African Diaspora, San Francisco; Virginia Museum of Modern Art, Virginia Beach; Ichihara Lakeside Museum Ichihara, Japan; and The Drawing Center, New York. Munroe was awarded residencies at the Skowhegan School of Painting and Sculpture, MacDowell Colony, the Headlands Center for the Arts, Joan Mitchell Center, Thread: Artist Residency & Cultural Center (a project of the Josef and Anni Albers Foundation), a recipient of the Joan Mitchell Foundation Painters and Sculptors Grant. and was an inaugural Artists in Residence at the Norton Museum of Art. He is included in upcoming exhibitions at The Centre Pompidou-Metz (France) , The Zeitz Museum of Contemporary Art Africa (South Africa) and a solo exhibition in London, among others things. Lavar Munroe lives and works between Baltimore, Maryland and Nassau, Bahamas. Headshot photo credit: Thomas Towles Artist https://lavar-munroe.com/home.html Joan Mitchell foundation https://www.joanmitchellfoundation.org/lavar-munroe M+B https://www.mbart.com/exhibitions/216/overview/ Jack Bell Gallery https://www.jackbellgallery.com/artists/64-lavar-munroe/works/7963-lavar-munroe-today-the-last-boy-2020/ ArtForum https://www.artforum.com/picks/lavar-munroe-84697 Artnet http://www.artnet.com/artists/lavar-munroe/ Wikipedia https://en.wikipedia.org/wiki/Lavar_Munroe Baltimore Art News https://bmoreart.com/2021/06/lavar-munroe-2021-sondheim-finalist.html Kampala Art Biennale 2020 https://kampalabiennale.org/artists-3/masters2020/ Culture VOLT https://www.culturevolt.co/thebusinessofart/2020/9/15/lavar-munroe

Nigel P. Henderson & Omar Alcibar chop it up with Visual Artist & Writer L. Kasimu Harris. Harris is a New Orleans-based artist whose practice deposits a number of different strategic and conceptual devices in order to push narratives. He strives to tell stories of underrepresented communities in New Orleans and beyond. In 2020 Harris showed at the Ford Foundation Gallery, Ogden Museum of Southern Art, August Wilson African American Cultural Center, and Crystal Bridges Museum of Art. Also in 2020 his images and essay,  A Shot Before Last Call: Capturing New Orleans's Vanishing Black Bars was published in The New York Times.   He received Artist-in-Residencies from the Center for Photography at Woodstock and the Joan Mitchell Center. www.lkasimuharris.com www.TheGumboPotPodcast.com Like, Follow, Subscribe, & Share #TheGumboPotPodcast Available on Apple Podcast, Youtube, Soundcloud, Iheart Radio

A four month residency at the Joan Mitchell Center inspires award winning multi-disciplinary artist José Torres-Tama to return to his first love, painting. We see a different side of the artist who is known for his performance solos, Taco Truck Theatre Ensemble and photo documentation of immigrant reconstruction workers post-Katrina. José is in a creative period and he joins us by phone with a sneak peek at his latest works.

A four month residency at the Joan Mitchell Center inspires award winning multi-disciplinary artist José Torres-Tama to return to his first love, painting. We see a different side of the artist who is known for his performance solos, Taco Truck Theatre Ensemble and photo documentation of immigrant reconstruction workers post-Katrina. José is in a creative period and he joins us by phone with a sneak peek at his latest works.

In this episode of PERSPECTIVES, art historian Samuel Shapiro sits down with abstract painters Alteronce Gumby and Julia Rooney to discuss the past and present of pictorial abstraction in connection with Zeit Contemporary Art's online viewing room 'Painting Abstraction: 197X - Today.' Abstract painting was many things throughout the twentieth century, but it often served as a method through which artists could open a door by closing one. In 1921, Alexander Rodchenko painted Pure Color: Red, Yellow, Blue - a triptych of monochromes. This is what he said about it: “I reduced painting to its logical conclusion and exhibited three canvases: red, blue, and yellow. I affirmed: this is the end of painting…there will be no more representation.” And on he went to work in the service of a socialist utopia. After the cataclysmic historical rupture of the Second World War, Jackson Pollock declared that “the modern painter cannot express this age, the airplane, the atom bomb, the radio, in the old forms of the Renaissance or of any other past culture.” Closing the door on easel painting, he proceeded to fling skeins of paint onto prone canvas ground. In the final quarter of the century, after the hegemony of abstract expressionism like Pollock’s, artists turned abstraction on itself; Gerhard Richter claimed his own painting to be “an assault on the falsity and the religiosity of the way people glorified abstraction, with such phony reverence.” He called work like Rodchenko’s “devotional art” and “church handicrafts,” thus closing the door on utopian aspiration and direct expression in order to open one onto the complex negotiation of history, form, and subjective experience that abstract painters must perform to this day. In the wake of these polemical positions, painting persists with ongoing vitality and relevance. Indeed, from the perspective of the gallerygoer, it’s easy to see that artists today are looking for new doors, new ways forward, as they also strive to prop open a few doors that so many tried to slam shut. But what does it feel like, from their perspective, to work under the weight of this tradition? What possibilities does the medium of painting and the mode of abstraction offer artists today that it did not throughout the twentieth century? At a cultural moment in which everything from money to individual identity has been subjected to complex processes of abstraction, can abstract painting still claim to clarify the world around us and our relationship to it? Should it? Alteronce Gumby has degrees in painting from Hunter College and the Yale School of Art. He’s had residencies and solo exhibitions from New York to Paris. Julia Rooney, too, attended the Yale School of Art, after she completed her bachelors at Harvard. She’s exhibited at numerous galleries, has upcoming residencies at Mass MoCA and the Joan Mitchell Center, and has worked as an arts educator at the Sol LeWitt archive and the Metropolitan Museum of Art in New York City.

Kevin Blythe Sampson, 64, is a sculptor, painter, Muralist that is recognized for tackling difficult issues that concern him and his Newark, N.J., neighbors. Kevin Blythe Sampson was born in Elizabeth NJ on November the 28th 1954. He is a product of growing up in a household that was totally committed to civil rights and community concerns, and this continues to be a recurring theme in his work. Kevin considers himself to be a “we shall over come Baby.” Kevin’s father, Stephen Sampson (deceased) was a community leader in both Elizabeth New jersey and in other parts of the state; He is Kevin’s most important role model. Stephen Sampson remained a community leader for over 60 years until his death, in 2005. The City of Elizabeth honored Kevin’s Father by naming the new senior citizen complex the “Stephen Sampson Senior Center.” Kevin Sampson grew up in house hold where many of the local marches were planned and many national leaders would meet with his father. They included Ruby Dee, William Kunsler, Malcolm X, Dick Gregory, Robert Ferris Thompson, Congresswoman Shirley Chisholm and many more. This had a strong effect on both Kevin’s Art and his life Kevin became a police officer-Detective for the city of Scotch Plains New Jersey where he served for over 20 years. He is the first African American Uniformed Composite sketch Artist in The country.  He received numerous commendations for his work as both a police composite artist and a detective including the 200 clubs medal of valor, (for saving a life). He took an early retirement after the death of both his wife and an infant son, in separate illnesses. Kevin and his two young children who had lived in Englishtown NJ for seven years now moved to the (ironbound section) of Newark New Jersey were he has lived for over 25 years. Kevin was offered a teaching position at the Newark school of fine and industrial art where he taught (Airbrushing Tech’s and 3 dimensional Design) for over 16 years until the schools closing in 1995. Kevin also attended Lincoln University Pa, for two years, Parson School of Design (two years) and is a graduate of the Newark School of fine and industrial art. Kevin has continued teaching at various art schools and community programs, including currently running workshops at Express Newark, Rutgers Paul Robeson Gallery. Kevin has been a gallery artist with Cavin-Morris gallery N.Y, N.Y since 1992 He is a mentor to many of Newark youths and has assistant a whole crop of young artist in obtaining admissions into the various art schools in the metro area. Kevin was successfully walked over ten young people into and through various Art schools in New York. His work is in numerous collections including several museums. He is a past artist in residence at the Cathedral of St John the Divine and maintains a close friendship with his Mentor (the Retired Dean of the Cathedral) the Very reverend James parks Morton. Kevin has received the Maria Walsh Sharp foundations residency and the Joan Mitchell artist grant, as well as awards from various art councils throughout the state. He has also received a 2017 residency at the Joan Mitchell Center in Nola, and a residency at the John Michael Kohler Foundations Arts and Industry Program. And the inaugural residency at the Mystic Seaport Museum 2018. Over the course of the past three few years Kevin and his “Crew” have completed over  five murals with the City of Newark’s, ”City Mural Program”. Including the Mural for this year Outsider Art Fair 2018, NY, NY. Kevin was recently selected as “100 People in Newark, by the 100 People foundation. Kevin recently did the voice over for an upcoming appearance on the PBS children’s Cartoon “Arthur”. He was turned into a cartoon and will play himself in the segment. Mystic Seaport Museum, Conn The USS Kye Kye Kule, 15 feet by 4' wide by 6' high 2018. Found objects, rope, ancient bottles, and materials collected on the grounds of the Mysti...

Shana Kaplow is a visual artist working with large-scale, ink-on-paper installation, sculpture, and video. Her images of mass-produced household objects peruse the familiar and the enigmatic confronting a society organized around ever-expanding consumption and exploitation. Her work has been featured in exhibitions and screenings at Minneapolis Institute of Art, Walker Art Center, Asheville Art Museum, Franklin Art Works, Urban Institute for Contemporary Art, The Soap Factory, and others. She is the recipient of the Joan Mitchell Foundation Grant for Painters and Sculptors, The McKnight Visual Artist Fellowship, the Minnesota State Arts Board Artist Initiative Grant, and the Arts Midwest/NEA Artist Fellowship. She was an artist in residence at the Joan Mitchell Center in New Orleans, the Red Gate International Artist Residency in Beijing, and the Vermont Studio Center. Kaplow received her MFA from the Maryland Institute, College of Art in visual studies and her BA from Connecticut College. She lives and works in St. Paul, Minnesota and is a Professor in the Art Department at St. Cloud State University.Show Notes:-Shana’s website and instagram-PBS “Minnesota Original” interview with Shana-“Art should comfort the disturbed and disturb the comfortable” -Cesar A. Cruz* -news on her book coming soon! *THANK YOU FOR LISTENINGSubscribe & leave a review on iTunesHave any questions, comments or guest recommendations? Email me hereLET’S CONNECT:Follow the Process Piece instagramRuby’s instagramSubscribe to the newsletter

Today’s conversation is the first in our new Playlist series. We’re inviting artists, curators, architects, writers, filmmakers and cultural producers to introduce their favorite episodes from our archive. From the Netherlands, curator, writer and arts producer Sasha Dees works internationally. An advisor to numerous festivals and arts venues, she’s known for encouraging artists to experiment with classical art forms. Her practice centers on creating new dialogues and forging collaborations across cultures, traditions, genders and art disciplines. Here, she introduces my conversation with Remy Jungerman, first released on September 18, 2014. The Surinamese-Dutch artist talks about the influences of European modernism and Afro-religious aesthetics on his practice, and describes a public art he created in Morengo, his home town. A participating artist in Prospect.3, the 2014 international contemporary art exhibition in New Orleans, Jungerman showed his work a the Joan Mitchell Center from late October 2014, to January 2015. His art will be on view in the Dutch Pavilion at the 58th Venice Art Biennale. Sound Editor: Anamnesis Audio | Special Audio: Chris Quinlan, drum set and Evan Dyson, toad mating call Sasha Dees writes: There are many podcasts I have enjoyed over the years since I was introduced to Cathy Byrd by [artist] Amy Sherald in 2012, but the episodes she made during her residency in Amsterdam are dear to my heart. My choice from the archive is the episode with artist Remy Jungerman. Five years after the podcast, he is selected for the Dutch Pavilion in the Venice Biennale. It has been a lot of work in Europe for non-white artists to conquer their rightful space within the art field. I am extremely proud of Remy, who worked consistently with great determination and passion, who kept investing in his own practice, and never veered off the path of being a professional artist or wavered from his artistic urgency. In 2019, presenting his work in the Venice Biennale is well deserved. Related episodes: Franklin Sirmans on Prospect New Orleans, Remy Jungerman on European Modernism and Afro-Religious Aesthetics, Mapping Caribbean Cultural Ecologies, Sasha Dees on Miss T — My American Dream Related links: 58th Venice Art Biennale, Dutch Pavilion 2019

Today I speak with Jamil Khoury the co-founder of Silk Road Rising, a theatre company located in downtown Chicago dedicated to presenting plays written by individuals of Asian and Middle Eastern descent. https://www.silkroadrising.org I met Jamil during community coffee at the Joan Mitchell Center in New Orleans. He’s a current artist in residence, and the only non-visual artist in residence at this time. If you’re interested in learning more about Silk Road Rising they have an upcoming event: Wednesday May 1st 7 pm Joan Mitchell Center 2275 Bayou Rd viewing of Obstacle Course a Silk Road Rising production 

DaTakeOver sits down with the Axiom Artist Collective, which consist of Ceaux Young, 3hree, Bryan Brown, and Jessica aka J Hands, the curators of Art Madness. Tune in as the Axiom Collective talk about their Style, Experience's, and most important The Culture of ART. Mark your calendars "Art Madness Art Fedtival" will be March 18, 2017 at the Joan Mitchell Center 2275 Bayou Rd New Orleans LA 70119Trust me, you do not want to miss this experience. #NOLA #ART Culture

Andreanecia Morris, Vice President of Homeownership and Community Development for Providence Community Housing, talks about HousingNOLA’s 10-year plan to address affordable housing issues in New Orleans. Then, Gia Hamilton, Director of the Joan Mitchell Center, discusses how center’s residency program for visual artists.

Sculptor and installation artist Roy Stabb, an artist-in-residence at the Joan Mitchell Center in Bayou St. John, discusses his work involving nature. Then, Linda Pompa, Executive Director the Oretha Castle Haley Boulevard Merchants and Business Association, promotes the upcoming 9th annual New Orleans Central City Festival, and discusses business development along O.C. Haley post-Katrina. Angel Wilson?

Gia Hamilton, Director of the Joan Mitchell Center, promotes the grand opening of the center, and its purpose in the cultural and even socio-economic life of the city. Afterwards, artist Chelsea “Che” Elisabeth her work, “#DignityinProcess,” which discusses concepts of sustainable activism and intersectional identity.