Podcasts about joan mitchell foundation

For the 36th episode of "Reading the Art World," host Megan Fox Kelly speaks with Sarah Roberts, curator of the landmark exhibition "Amy Sherald: American Sublime," and editor of the accompanying catalog published by Yale University Press in association with the San Francisco Museum of Modern Art.Roberts discusses Sherald's revolutionary portraiture approach — from her distinctive gray-scale skin tones that shift focus to her subjects' interior lives, to her deliberate use of clothing and settings as narrative devices. She shares insights on the "American sublime" concept in Sherald's work and her curatorial decisions integrating the iconic Michelle Obama and Breonna Taylor portraits within the larger context of the artist's practice.This episode is essential listening for anyone interested in contemporary portraiture, the evolution of American figurative painting, and how art can challenge conventional narratives about representation and identity. Roberts' insights reveal why Sherald's quiet yet radical artistic vision offers a powerful reimagining of who deserves to be seen and celebrated in American art history.ABOUT THE AUTHOR Sarah Roberts is Senior Director of Curatorial Affairs at the Joan Mitchell Foundation where she oversees the Foundation's Artwork and Archival Collections and the Joan Mitchell Catalogue Raisonné project. Since 2004, she has served in progressive leadership roles in the Department of Painting and Sculpture at the SFMOMA, and since 2020 as Andrew W. Mellon Curator and Head of Painting and Sculpture. A specialist in post-war American art, Roberts has organized significant exhibitions including major presentations of Robert Rauschenberg, Louise Bourgeois, Frank Bowling, and co-curated the Joan Mitchell retrospective that traveled internationally. Roberts holds degrees from the University of Texas at Austin and Brown University, and has contributed to numerous publications on contemporary art.ABOUT THE EXHIBITION"Amy Sherald: American Sublime" is now on view at the Whitney Museum of American Art in New York through August 3, 2025, following its run at SFMOMA. The exhibition will travel to the National Portrait Gallery in Washington, D.C. (September 19, 2025 – February 22, 2026).PURCHASE THE BOOK https://yalebooks.yale.edu/book/9780300279382/amy-sherald/ SUBSCRIBE, FOLLOW AND HEAR INTERVIEWS:For more information, visit meganfoxkelly.com, hear our past interviews, and subscribe at the bottom of our Of Interest page for new posts.Follow us on Instagram: @meganfoxkelly"Reading the Art World" is a live interview and podcast series with leading art world authors hosted by art advisor Megan Fox Kelly. The conversations explore timely subjects in the world of art, design, architecture, artists and the art market, and are an opportunity to engage further with the minds behind these insightful new publications. Megan Fox Kelly is an art advisor and past President of the Association of Professional Art Advisors who works with collectors, estates and foundations.Music composed by Bob Golden

A citizen of the world, Jerri Allyn (she/he/shimmher) is a community-based artist, educator, and activist who promotes civic engagement. Her work provides a forum for diverse voices that look at issues comprehensively. While challenging traditional gender roles and highlighting the experiences of underrepresented communities, his art explores complex themes including power dynamics and the intersections of body autonomy, race, and social class. Jerri's diverse artistic practice encompasses various media: audio, video and sculptural tableaus, electronic billboards, 3-D books, and printmaking multiples, often culminating in site-oriented, interactive installations and performance art events. Allyn has exhibited internationally and received numerous prestigious awards. These include a Rockefeller Foundation Residency in Italy, an International Lila Wallace Reader's Digest Residency in Mexico, and grants from the Joan Mitchell Foundation, National Endowment for the Arts, New York Foundation for the Arts, the City of Los Angeles Department of Cultural Affairs, Lightening Fund, and The National Tanes Fund. Fr more information and research: Website link to Sx Cele popup, Safiya page. Safiya's Myth Busters. Ongoing Programs: Sx Celebrated: Comprehensive Sex Ed, Body Positive Movement, Sx Worker Rights - Human Rights Watch. Installation shot of work-in-progress popup, Sx Celebrated: Expanding Erotic Power, The Art Room, Los Angeles, CA, USA, Sept 28, 2024; photo: Cheri Gaulke. Safiya with photomontage portrait: Sapphrodite Goddess of Paraphilias / Safiya Discover an inner Deity, Sappic Energies, Erotic, Intimate needs? Your paraphilias are safe with me. Photo Montage, archival digital print on canvas, handsewn fabric frame, hung on rod; 6'H x 4'L; 2024.   Excerpt of Performance: Stripper Co-op Dancers Seize the Means of Production, pictured: Kayla Tange, photo: Dan Monick.

Welcome back to ARTMATTERS: The Podcast for Artists. On today's episode we continue our wonderful conversation with the artist Cianne Fragione. Today, we discuss the use of non-traditional materials, hear stories from her early career and education, some early opportunities and career reflections from her time in the Bay area. We talk about recipes, patinas and dance, finding good alternatives to destructive moods, and how to trust that odd work when it comes quick and effortless.Cianne Fragione was born in 1952 and currently lives and works in Washington D.C. She has developed her process-oriented work over five decades, crossing boundaries between abstract painting and sculpture, object, and image. She has exhibited extensively in solo and group exhibitions at national and international venues and has been the recipient of many awards, fellowships, and residencies, including the Milton and Sally Avery Arts Fellowship and The Legacy Project sponsored by the Joan Mitchell Foundation to name just a few. Enjoy my conversation with the artist Cianne Fragione!You can now support this podcast by clicking HERE where you can donate using PATREON or PayPal!If you're enjoying the podcast so far, please rate, review, subscribe and SHARE ON INSTAGRAM!  If you have an any questions you want answered, write in to artmatterspodcast@gmail.com host: Isaac Mann www.isaacmann.cominsta: @isaac.mann guest: Cianne Fragione www.ciannefragione.cominsta: @ciannefragioneThank you as always to ARRN, the Detroit-based artist and instrumentalist, for the music. 

Welcome back to ARTMATTERS: The Podcast for Artists. On today's episode I get a whirlwind tour of the techniques, recipes and studio practices, of the spectacular Cianne Fragione. This conversation will be a two-parter, and will be concluded next episode. Today, in part one, we discuss making your own paints, why lead white is such a fantastic color, chaos vs organization, Cianne's warm-up books, adhesives, “the shake test”, prepping surfaces, rhythm, paper, and the joy of destruction. Cianne also speaks extensively on the making of her massive 24-part painting entitled Heaven and Earth are Dressed in Their Summer Wear, completed in 2012.Cianne Fragione was born in 1952 and currently lives and works in Washington D.C. She has developed her process-oriented work over five decades, crossing boundaries between abstract painting and sculpture, object, and image. She has exhibited extensively in solo and group exhibitions at national and international venues and has been the recipient of many awards, fellowships, and residencies, including the Milton and Sally Avery Arts Fellowship and The Legacy Project sponsored by the Joan Mitchell Foundation to name just a few. Enjoy the episode!P.S. Cianne and I discuss multiple artworks in her studio which were included in the studio visit photo collection and can be found as a free post on my Patreon page. So feel free to click here and you can look while you listen:)About Cianne Fragione:Cianne Fragione b. 1952 (Hartford, CT)  Cianne Fragione, a Washington D.C., D.C.-based artist, has developed process-oriented work for five decades, crossing boundaries between abstract painting and sculpture, object, and image. She has exhibited extensively in solo and group exhibitions at national and international venues including, Isole: A Voyage Among My Dreams (2024-25) St. Mary's College Museum of Art, Moraga, CA; traveling exhibitions, Pocket Full of Promise: Cecelia Coker Bell Gallery, Coker College, Hartsville, SC, and Anne Wright Wilson Gallery, Georgetown College, KY; Wiregrass Museum Biennial 24, Dothan, AL.; Arts-In-Embassies, Geneva, Switzerland; Anya and Andrew Shiva Gallery, New York, NY; American University Museum, Washington, D.C.; Regis College Fine art Center, Weston, MA; John D. Calandra Italian American Institute of Queens College, CUNY, New York, NY; Associazione di Museo D'Arte Contemporaneo Italiano, Catanzaro, Italy;  a ten-year retrospective at Harmony Hall Regional Center, Washington, MD;  the University of Scranton Art Museum, Scranton, PA; The Textile Museum, Washington, D.C.; Art in Embassies, Sofia, Bulgaria, and Vilnius, Lithuania; Elizabeth Foundation, New York, NY; Indianapolis Art Center, IN; San Francisco Museum of Modern Art Gallery, CA; and Gallery Neptune & Brown, Washington, D.C. Her works are held in public collections, recent acquisitions; the Baltimore Museum of Art MD; and DC Commission Art Bank Collection (also in 2017), Art-In-Embassies Permanent Collection, Guadalajara, Mexico, US State Department; as well as St. Mary's College Museum of Art, CA; Italian American Museum, D.C; Department of Special Collections, Cecil H. Green Library, Stanford University, CA; and Comune di Monasterace, Calabria, IT; among others and private collections. Fragione has been the recipient of awards, fellowships, and residencies, Art Omi receiving the Milton and Sally Avery Arts Fellowship; The Legacy Project (Saving the Legacy) sponsored by Joan Mitchell Foundation; Studio dei Nipoti artist residency, Monasterace, Italy; Soaring Gardens, Laceyville, PA; Spoleto Study Aboard in Spoleto, Italy; and an Artist-in-Institution grants, project of the California Arts Council. Sacramento CA. She was nominated for the Joan Mitchell

In this episode of Bad at Sports, Daniel Tucker travels to Seoul, South Korea, to attend the Arts in Society conference 2024, where he sits down with two influential figures in the global arts community. Solana Chehtman, a New York-based cultural producer and curator originally from Buenos Aires, joins Daniel as a plenary speaker at the conference. Solana is currently the Director of Artist Programs at Joan Mitchell Foundation, where she focuses on supporting visual artists through unrestricted funding and career development opportunities. Her commitment to equity in the arts has shaped her roles as the inaugural Director of Creative Practice and Social Impact at The Shed and Vice President of Public Engagement at Friends of the High Line. Solana's extensive experience includes teaching at the MA in Arts Administration at Baruch College and collaborating with organizations such as Artadia and Creative Capital. Jaeyong Park, a curator, writer, and translator based in Seoul, shares insights from his work at the Seoul Reading Room and as an organizer at Curating School Seoul. Jaeyong co-founded Work on Work and has curated numerous impactful projects, including "HIT and RUN" and "The Ideological Guide to Venice Biennale." His individual projects, such as "TOTAL RECALL" and "Center for Selfie Studies," explore themes of technology, connectivity, and social context in art. As a researcher, Jaeyong delves into structural changes in the art system in Korea and Asia, emphasizing the intersection of art and society. Join Daniel Tucker as he engages Solana Chehtman and Jaeyong Park in a conversation that delves into their experiences, perspectives, and the evolving landscape of arts and culture on a global scale. https://artsinsociety.com/2025-conference https://artsinsociety.com/ https://www.joanmitchellfoundation.org/solana-chehtman https://www.jaeyongpark.net/  

So excited to share this fantastic interview with artist, Philemona Williamson! Find out more about Philemona's vibrant paintings that show twisting, gender-bending adolescents "up to stuff," and her fascinating ambiguous poetic sense of narrative (and also why I have appointed her an Honorary New Orleanian!). Philemona also grew up in a famous Art Deco building in NYC, and her childhood stories are not to be missed. Works mentioned: "Branching Eyes" 2023, "The Gathering" 2021, "Verbena Street 2" 2022, "Snow Interrupted" 2021 More info about Philemona Williamson: Philemona's website: https://www.philemonawilliamson.com/ Philemona on IG: https://www.instagram.com/philemona8/ Her MTA Fused Glass Panels at Livonia Ave, Queens (L train): https://www.nycsubway.org/perl/artwork_show?206 Current/Upcoming Exhibitions: June Kelly Gallery, NYC, Apr 18 - June 4, 2024: https://www.junekellygallery.com/williamson/index.html Passerelle, Centre d'art contemporain d'intérêt national, Brest, France, June-Aug 2024: https://www.cac-passerelle.com/expositions/en-cours/ In "Century: 100 Years of Black Art at MAM" Montclair Art Museum, NJ, Through July 7, 2024: https://www.montclairartmuseum.org/exhibition/century-100-years-black-art-mam Philemona Williamson has exhibited her work for over 25 years at the June Kelly Gallery in NYC and recently, at her mid-career retrospective at the Montclair Art Museum in NJ. She is the recipient of numerous awards and residencies including the Joan Mitchell Foundation, Pollock Krasner, National Endowment For The Arts, New York Foundation For The Arts and Millay Colony as well as serving on the advisory board of the Getty Center for Education. Her work has been shown in many solo and group exhibitions such as The Queens Museum of Art, Wisconsin's Kohler Art Center, The Sheldon Museum in Nebraska, The Bass Museum in Miami, The Mint Museum in North Carolina, The Forum of Contemporary Art in St. Louis, The International Bienal of Painting in Cuenca, Ecuador and most recently at the Anna Zorina Gallery in NYC. She is represented in numerous private and public collections, including The Montclair Art Museum; The Kalamazoo Art Institute; The Mint Museum of Art; Smith College Museum of Art; Hampton University Museum; Sheldon Art Museum; Mott-Warsh Art Collection, and AT&T. Her public works includes fusedglass murals created for the MTA Arts in Transit Program at the Livonia Avenue Subway Station in Brooklyn, a poster for the MTA Poetry In Motion and — for the NYC School Authority — a mosaic mural in the Glenwood Campus School. She currently teaches painting at Pratt Institute and Hunter College in NYC. All music by Soundstripe ---------------------------- Pep Talks on IG: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@peptalksforartists⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Amy, your beloved host, on IG: ⁠⁠⁠⁠⁠⁠⁠@talluts⁠⁠⁠⁠⁠⁠⁠ Pep Talks on Art Spiel as written essays: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://tinyurl.com/7k82vd8s⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠BuyMeACoffee⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Donations always appreciated! --- Send in a voice message: https://podcasters.spotify.com/pod/show/peptalksforartistspod/message Support this podcast: https://podcasters.spotify.com/pod/show/peptalksforartistspod/support

Dapper Bruce Lafitte (b. 1972 New Orleans) is a self-trained artist who began making and showing work in the aftermath of Hurricane Katrina to commemorate the then-decimated street culture of parades and marching bands of New Orleans. He has exhibited locally, nationally and internationally, notably at the Prospect Biennial, New Orleans, and in solo shows at the Ohr-O'Keefe Museum, Biloxi, MS; M+B Gallery, Los Angeles; Fierman Gallery, New York; Gryder Gallery, New Orleans; Atlanta Contemporary, Atlanta, and Vacant Gallery, Tokyo. Lafitte's work has been in group shows and fairs at the Brodsky Center, New York; Dieu Donné, New York; Tatjana Pieters, Belgium; and the Outsider Art Fair, Paris. Lafitte's next solo exhibition, The Game is Mine, will be at Alchemy Gallery starting March 7. Lafitte's work is held in the permanent collections of the New Orleans Museum of Art, and has appeared in The New Yorker, Harper's Magazine and Victory Journal. In 2009, he was a recipient of a Joan Mitchell Foundation artist award and was a mentee by renowned curator and tastemaker Diego Cortez prior to his passing in 2021. Canal and Carrollton Ave on a Saturday, 62x42 inches archival ink on acid free paper, 2023 Canal and Claiborne Ave Saturday Night, 62x42 inches archival ink on acid free paper, 2024 Fat Tuesday in the Lafitte Projects, 62x42 inches archival ink on acid free paper, 2024

In this episode I had the honor to sit down with artist Jeffrey Gibson joined by curator and co-editor of An Indigenous Present, Jenelle Porter. We were given space at SITE Santa Fe in Director Louis Grachos office to have a long and generative conversation while we celebrated the book's launch over Indian Market weekend. We talk about Jeff's practice and his journey to this moment and the Artist shares the vulnerable, complicated, difficult and joyous path of choosing to be an Artist, offering reflection from what he has learned along the way, understanding how the practice and studio has evolved in the 20 some years of being a working Artist. We then dive in with both Jeff and Jenelle to speak on Jeff's thought process behind An Indigenous Present, learning about the years of care and intention behind the project, which is, as Jeff reflects, an “Artist book about Artists”. We round out our 2 plus hour chat with the excitement and work that has come with Jeffrey being named the artist to represent the U.S. at the 60th Venice Biennale. As we end our chat, both Jeff and Jenelle share important and practical insight on how to navigate the art worlds and art markets and Jeffrey reminds us all that “Artists do have the power to set precedence in institutions”. Featured song: SMOKE RINGS SHIMMERS ENDLESS BLUR by Laura Ortman, 2023 Broken Boxes introduction song by India Sky More about the publication An Indigenous Present: https://www.artbook.com/9781636811024.html More about the Artist Jeffrey Gibson Jeffrey Gibson's work fuses his Choctaw-Cherokee heritage and experience of living in Europe, Asia and the USA with references that span club culture, queer theory, fashion, politics, literature and art history. The artist's multi-faceted practice incorporates painting, performance, sculpture, textiles and video, characterised by vibrant colour and pattern. Gibson was born in 1972, Colorado, USA and he currently lives and works in Hudson Valley, New York. The artist combines intricate indigenous artisanal handcraft – such as beadwork, leatherwork and quilting – with narratives of contemporary resistance in protest slogans and song lyrics. This “blend of confrontation and pageantry” is reinforced by what Felicia Feaster describes as a “sense of movement and performance as if these objects ... are costumes waiting for a dancer to inhabit them.” The artist harnesses the power of such materials and techniques to activate overlooked narratives, while embracing the presence of historically marginalised identities. Gibson explains: “I am drawn to these materials because they acknowledge the global world. Historically, beads often came from Italy, the Czech Republic or Poland, and contemporary beads can also come from India, China and Japan. Jingles originated as the lids of tobacco and snuff tins, turned and used to adorn dresses, but now they are commercially made in places such as Taiwan. Metal studs also have trade references and originally may have come from the Spanish, but also have modern references to punk and DIY culture. It's a continual mash-up.” Acknowledging music as a key element in his experience of life as an artist, pop music became one of the primary points of reference in Gibson's practice: musicians became his elders and lyrics became his mantras. Recent paintings synthesise geometric patterns inspired by indigenous American artefacts with the lyrics and psychedelic palette of disco music. Solo exhibitions include ‘THE SPIRITS ARE LAUGHING', Aspen Art Museum, Colorado (2022); ‘This Burning World', Institute of Contemporary Art, San Francisco, California (2022); ‘The Body Electric', SITE Santa Fe, New Mexico (2022) and Frist Art Museum, Nashville (2023); ‘INFINITE INDIGENOUS QUEER LOVE', deCordova Sculpture Park and Museum, Lincoln, Massachusetts (2021); ‘To Feel Myself Beloved on the Earth', Benenson Center, Art Omi, Ghent, New York (2021); ‘When Fire is Applied to a Stone It Cracks', Brooklyn Art Museum, Brooklyn, New York (2020); ‘The Anthropophagic Effect', New Museum, New York City, New York (2019); ‘Like a Hammer', Madison Museum of Contemporary Art, Madison, Wisconsin (2019); Seattle Art Museum, Seattle, Washington (2019); Mississippi Museum of Art, Jackson, Mississippi (2019); Denver Art Museum, Denver, Colorado (2018); ‘This Is the Day', Blanton Museum of Art, Austin, Texas (2019); Ruth and Elmer Wellin Museum of Art, Clinton, New York (2018) and ‘Love Song', Institute of Contemporary Art, Boston, Massachusetts (2013). For the Toronto Biennial 2022, Gibson presented an evolving installation featuring fifteen moveable stages at Museum of Contemporary Art Toronto, Ontario, Canada. Other recent group exhibitions include ‘Dreamhome', Art Gallery of New South Wales, Sydney, Australia (2022); ‘Crafting America', Crystal Bridges, Bentonville, Arkansas (2021); ‘Monuments Now', Socrates Sculpture Park, Queens, New York (2020); ‘Duro Olowu: Seeing Chicago', Museum of Contemporary Art, Chicago, Illinois (2020) and The Whitney Biennial, Whitney Museum of American Art, New York City, New York (2019). Works can be found in the collections of Denver Art Museum, Denver, Colorado; Eiteljorg Museum, Indianapolis, Indiana; High Museum of Art, Atlanta, Georgia; Museum of Fine Arts, Boston, Massachusetts; The Museum of Modern Art, New York City, New York; National Gallery of Canada, Ottawa, Canada; Rose Art Museum, Brandeis University, Waltham, Massachusetts; San Francisco Museum of Modern Art, San Francisco, California; Seattle Art Museum, Seattle, Washington; Smithsonian Institution, Washington, DC and Whitney Museum of American Art, New York City, New York, amongst others. Gibson is a recipient of numerous awards, notably a MacArthur Foundation Fellowship (2019), Joan Mitchell Foundation, Painters and Sculptors Grant (2015) and Creative Capital Award (2005). More about Curator/Writer Jenelle Porter: Jenelle Porter is a curator and writer living in Los Angeles. Current and recent exhibitions include career surveys of Barbara T. Smith (ICA LA, 2023) and Kay Sekimachi (Berkeley Art Museum, 2021); Less Is a Bore: Maximalist Art & Design (ICA/Boston, 2019); and Mike Kelley: Timeless Painting (Mike Kelley Foundation and Hauser & Wirth, New York, 2019). She is co-editor of An Indigenous Present with artist Jeffrey Gibson (fall 2023), and a Viola Frey monograph (fall 2024). From 2011 to 2015 Porter was Mannion Family Senior Curator at the Institute of Contemporary Art/Boston, where she organized Fiber: Sculpture 1960–present and Figuring Color: Kathy Butterly, Felix Gonzalez-Torres, Roy McMakin, Sue Williams, as well as monographic exhibitions of the work of Jeffrey Gibson, Jessica Jackson Hutchins, Dianna Molzan, Christina Ramberg, Mary Reid Kelley, Arlene Shechet, and Erin Shirreff. Her exhibitions have twice been honored by the International Association of Art Critics. As Curator at the Institute of Contemporary Art, Philadelphia (2005–10), Porter organized Dance with Camera and Dirt on Delight: Impulses That Form Clay, the first museum surveys of Trisha Donnelly and Charline von Heyl, and numerous other projects. From 1998–2001 Porter was curator at Artists Space, New York. She began her career in curatorial positions at both the Walker Art Center and the Whitney Museum of American Art. She has authored books and essays including those on artists Polly Apfelbaum, Kathy Butterly, Viola Frey, Jeffrey Gibson, Sam Gilliam, Jay Heikes, Margaret Kilgallen, Liz Larner, Ruby Neri, and Matthew Ritchie, among others. An Indigenous Present: Conversation with Jeffrey Gibson and Jenelle Porter

As a material element in the origin story of Black Americans, the ocean, and water more broadly, holds psychic and spiritual dimensions of both suffering and survival. Settle and sink in with artist and writer Angela Hennessy for a restorative meditation returning to the edge of the sea. Angela Hennessy is an Oakland-based artist and survivor of gun violence. Tending to themes of loss and liberation, her work draws upon mourning practices that activate hair as a material exchanged between the living and the dead. She has received awards from the Fleishhacker Foundation, San Francisco Artadia, and the Joan Mitchell Foundation. Hennessy is an associate professor at California College of the Arts, where she teaches courses on visual and cultural narratives of death in contemporary art.

Raymond Saá in his studio Raymond Saá is a Cuban-American artist born in New Orleans and raised in Miami. He graduated from the New World School of the Arts in 1991, received his B.F.A. from the Maryland Institute College of Art in 1995, and studied at the Kunstakademie Dusseldorf in 1996. In 1997, he earned an M.F.A. from Parsons School of Design. Selected exhibitions include White Columns, the Islip Museum, Wave Hill, the Museum of Art Puerto Rico, and El Museo del Barrio. Saá received a 2019 Fellowship from the New Jersey State Council on the Arts, in addition to awards from Public Art for Public Schools, the Pollack Krasner Foundation, the Joan Mitchell Foundation, and New Jersey Fellowship in Art. The artist lives and works in New Jersey. The Blue Bird, 2023 Raymond Saá Morgan Lehman Gallery 'The Blue Bird' series, 2023 Size: 30 x 24 in Medium: gouache collage on sewn paper 'The Blue Bird' series, 2023 Size: 30 x 24 in Medium: gouache collage on sewn paper 'The Blue Bird' series, 2023 Size: 30 x 24 in Medium: gouache collage on sewn paper

We've spent many months worried about inflation and a possible recession that may not ever happen. It would be terrific if we didn't have to concern ourselves with such things, but the economy affects everyone's business in one way or another. Today's guest on The Art Biz is Elaine Grogan Luttrull of Minerva Financial Arts, a company devoted to building financial literacy and empowerment in creative individuals through education and coaching. We recorded this episode several months ago when the economic landscape seemed a little bleaker than it does now. This is a lesson in economics and how your art business is affected by the larger economy. We define and discuss inflation, recession, the Consumer Price Index, and Gross Domestic Product. We talk about your revenue mix, why selling lower-priced items might not be the way to go right now, bundling, and raising your rates and prices. First posted: artbizsuccess.com/economy-luttrull-podcast Highlights Defining inflation and its effect on every aspect of pricing. (1:50) What exactly is a recession and what role do rising interest rates play? (5:35) The impact of these economic factors on artists. (12:48) Combating uncertainty with effective business strategies. (15:32) Your target client in times of economic uncertainty. (20:05) Opportunities that are presented in challenging times. (24:16) Consider potentially terrible ideas to get to the good ones. (33:03) Seven strategies for artists to use during inflation and recession. (33:04) This Week's Action Your first action for the week is to look at your expenses and see where you might be able to save. I suggest keeping a list of all ongoing subscriptions as well as regular expenses and reviewing it every so often. Your second action is to check out Elaine's $15 course on inflation and recession by following the link below. Mentioned ArtBizAccelerator.com Elaine's course on Inflation and the Recession Heather Robinson art Resources Show notes, images, and listener comments How to Price Your Art free report Art Biz Connection artist membership Quotes “Inflation is not always a pleasant topic. It's scary, it takes up our brain space, and it's a distraction from what we really need to be doing creatively in our businesses.” — Elaine Luttrull “All of the strategies we typically think about for coping with the uncertainty of the arts are suddenly being impacted too.” — Elaine Luttrull “Think carefully. Do your research and talk to peers about how things feel in the art market right now.” — Elaine Luttrull “When the market is doing interesting things is the moment to really focus on the community aspect.” — Elaine Luttrull “Anything we can do to reassess and tighten our spending without compromising quality or making our lives harder is a really good strategy right now.” — Elaine Luttrull “Artists are better than pretty much anyone else at navigating uncertainty, so we'll navigate all of this as well and keep making really incredible work too.” — Elaine Luttrull About My Guest Elaine Grogan Luttrull, CPA-PFS, AFC® (she/her) is the founder of Minerva Financial Arts, a company devoted to building financial literacy and empowerment in creative individuals through education and coaching. Her workshops and presentations have been featured nationally by groups that support the arts, a variety of state and regional arts councils and commissions, and colleges and universities where creative students thrive. Elaine spent 10 years in academia, teaching at the Columbus College of Art & Design and serving as the Department Head for Business & Entrepreneurship from 2014-2018. Before that, Elaine served as the Director of Financial Analysis for The Juilliard School and in the Transaction Advisory Services practice of Ernst & Young in New York. Elaine is the author of Arts & Numbers (Agate, B2 2013), and she contributes regularly to industry guides, including those from the Center for Cultural Innovation and the Joan Mitchell Foundation. She also serves on the boards of the Short North Alliance and Healing Broken Circles.  

In our conversation today we talk about being financially empowered to be creatively free! Basically, we take a deep dive into her book Arts and numbers. We discuss subjects such as budgeting and how to create discipline around budgeting when you have a varying monthly income throughout the year. We discuss the emotional and psychological hurdles around gauging the worth of your work and building the confidence to ask for it.  We also discuss the thrilling subject of negotiating through price anchoring, which I think all artists should learn to master! We even talk about the advantages of creating a business plan for solo entrepreneurial artists such as singers and so much more! This episode truly is a goldmine! Elaine Grogan Luttrull, CPA-PFS, AFC® is the founder of Minerva Financial Arts, a company devoted to building financial literacy and empowerment in creative individuals and organizations. Her workshops and presentations have been featured nationally by groups that support the arts, including Creative Capital, the Pew Center for Arts & Heritage, the Joan Mitchell Foundation, Sundance, Firelight Media, the National YoungArts Foundation, and a variety of state arts councils and commissions. Elaine spent 10 years in academia, teaching at the Columbus College of Art & Design and serving as the Department Head for Business & Entrepreneurship from 2014-2018. She regularly provides guest lectures for colleges, universities, and conservatories that serve the arts, including the Juilliard School, New England Conservatory, the School of Visual Arts, and the Cleveland Institute of Arts. Before that, Elaine served as the Director of Financial Analysis for The Juilliard School and in the Transaction Advisory Services practice of Ernst & Young in New York. Elaine is the author of Arts & Numbers and has regularly contributed to industry guides, including Professional Artist magazine, Business of Art from the Center for Cultural Innovation, and Create a Living Legacy from the Joan Mitchell Foundation. She is based in Dublin, Ohio (Kaskaskia and Hopewell indigenous and cultural lands) where she serves on the boards of the Short North Alliance and Healing Broken Circles. Previous board service includes Social Ventures, the Financial Therapy Association, and the Lark Play Development Center.   Connect with Elaine Grogan Luttrull   Website | Facebook  | Instagram | LinkedIn   Books Mentioned: Arts & Numbers: A Financial Guide for Artists, Writers, Performers, and Other Members of the Creative Class by Elaine Grogan Luttrull The Graphic Artist Guild Handbook: Pricing & Ethical Guidelines by The Graphic Artists Guild  A random walk down Wall Street by Burton G. Malkiel The richest man in Babylon by George S. Clason Creativity, Inc.: an inspiring look at how creativity can - and should - be harnessed for business success by the founder of Pixar by Ed Catmull The Artist's Guide to Grant Writing: How to Find Funds and Write Foolproof Proposals for the Visual, Literary, and Performance Artist by Gigi Rosenberg Dollars and Sense: Money Mishaps and How to Avoid Them by Dan Ariely The Midnight Library by Matt Haig Other Resources: Patreon: Creativity powered by membership

Wherever we will to root:Los Angeles-based artist EJ Hill is best known for his rigorous, embodied and durational performances and his exploration of the social construction of identity. This exhibition is the culmination of Hill's term as the 2021 Wanlass Artist in Residence at OXY ARTS, where he worked collaboratively with his students to unravel and unlearn entrenched ideologies.This unlearning also takes place in the exhibition, where Hill explores the versatility of his practice freely and unapologetically, insisting that it can and will foreground joy. In this series of new works, Hill departs from his physical practice to access his passion for painting; reframing the painting process as the work itself—in this case the work of care, a therapeutic mechanism for healing, rehabilitation, and even refusal.Wherever we will to root acts as the pendulum swing to Hill's physically demanding performances. Right here, the paintings seem to say—in the restful hues of roses and daffodils and daisies—is the place where we bloom, where the body is not tested but nursed back to equanimity. The exhibition invites the viewer to witness the physical evidence of Hill's process and join in the necessary act of resting, resetting, and finding balance and beauty.From https://www.ejhill.info/work/wherever-we-will-to-root. EJ Hill is an artist whose practice incorporates painting, writing, installation, and performance as a way to elevate bodies and amplify voices that have long been rendered invisible and inaudible by oppressive social structures. This multifaceted approach often stems from an endurance-based performance practice in which Hill pushes his physical and mental limits as a way to expand the conditions, parameters, and possibilities that determine a body.After receiving his FCA support, Hill presented Excellentia, Mollitia, Victoria at the Hammer Museum's Made in L.A. 2018 biennial, in which he stood unmoving on a plinth in the gallery for the duration of the exhibition. In 2018 Hill also received an Artadia Award, as well as support from the Joan Mitchell Foundation.Hill's work has been presented domestically and internationally in exhibitions including Rendez-vous/14th Lyon Biennale, Institut d'Art Contemporain, Villeurbanne/Rhône-Alpes, France (2017); Artists of Color, The Underground Museum, Los Angeles (2017); Future Generation Art Prize, 57th Venice Biennale, Venice, Italy (2017); The Necessary Reconditioning of the Highly Deserving, Commonwealth and Council, Los Angeles (2017); and Tenses: Artists in Residence 2015-16, The Studio Museum in Harlem, New York (2016).Hill is the recipient of an Art Matters Foundation Award (2017); The William H. Johnson Prize (2016); and a Fellowship for Visual Artists from the California Community Foundation (2015). He was shortlisted for the Future Generation Art Prize from the Victor Pinchuk Foundation (2017), and was an Artist-in-Residence at The Studio Museum in Harlem (2015-16). Hill received an M.F.A. from University of California, Los Angeles (2013) and a B.F.A. from Columbia College Chicago (2011).Paul Holdengräber is an interviewer and curator of public curiosity. He is the Founder and Director of Onassis LA (OLA), a center for dialogue. Previously he was the Founder and Director of LIVE from the NYPL, a cultural series at the New York Public Library, where he hosted over 600 events, holding conversations with everyone from Patti Smith to Zadie Smith, Ricky Jay to Jay-Z, Errol Morris to Jan Morris, Wes Anderson to Helen Mirren, Christopher Hitchens to Mike Tyson. He is the host of "A Phone Call From Paul," a podcast for The Literary Hub. 

For the seventh episode of "Reading the Art World," host Megan Fox Kelly speaks with Sarah Roberts and Katy Siegel about their new book, “Joan Mitchell,” which accompanies the retrospective they co-curated. The exhibition, "Joan Mitchell," opened at the San Francisco Museum of Modern Art in September 2021 and ran there through January 17 of this year, and it opened on March 6 at the Baltimore Museum of Art, continuing through August 14. The book was published by SFMOMA in association with Yale University Press, New Haven and London."Reading the Art World"  is a live interview and podcast series with leading art world authors hosted by art advisor Megan Fox Kelly. The conversations explore timely subjects in the world of art, design, architecture, artists and the art market, and are an opportunity to engage further with the minds behind these insightful new publications.Megan Fox Kelly is an art advisor and President of the Association of Professional Art Advisors who works with collectors, estates and foundations. For more information, visit www.meganfoxkelly.com"Joan Mitchell," by Sarah Roberts and Katy Siegel, can be purchased at https://yalebooks.yale.edu/book/9780300247275/joan-mitchellTo learn more about the Joan Mitchell Foundation, go to www.joanmitchellfoundation.orgMusic composed by Bob Golden.

Episode 85 features Pat Phillips. He was born in Lakenheath, England in 1987. His work was featured in the 2019 Whitney Biennial at the Whitney Museum of American Art in New York. Solo exhibitions include ROOTS (Antenna Gallery, New Orleans), Told You Not to Bring That Ball (Masur Museum of Art, Monroe), SubSuperior (Catinca Tabacaru Gallery, New York) and Summer Madness (M+B, Los Angeles). In 2017, he received a Joan Mitchell Painters & Sculptors Grant. Phillips has also participated in residencies at the Vermont Studio Center and Skowhegan School of Painting & Sculpture. His work can be found in the collections of the Whitney Museum of American Art, New York, NY; Albright-Knox Art Gallery, Buffalo, NY; Block Museum of Art, Evanston, IL; and New Orleans Museum of Art, New Orleans, LA, among others. Phillips' paintings combine personal and historical imagery into surreal juxtapositions, drawing on his experience living in America to meditate on complex questions of race, class, labor and a militarized culture. Phillips, who grew up primarily in a small town in Louisiana, found his way to art through painting and photographing boxcars. He embraces this entry point, creating paintings that discuss the Americana subculture, as well as the current social and political threads running through American culture. His works often contain references to confederate flags, fences, and guns—all objects that suggest the violent underpinnings of this country and its institutions. Phillips currently has a solo exhibition titled 'Consumer Reports' at the Jeffrey Deitch Gallery, Wooster Street in NYC, November 13th - January 8th, 2022. Headshot Photo credit Nicholas Calcott Artist ~ http://www.patphillipsart.com/paintings-2021 Jeffrey Deitch ~ https://deitch.com/new-york/exhibitions/pat-phillips-consumer-reports M+B ~ https://www.mbart.com/exhibitions/194/ Juxtapoz ~ https://www.juxtapoz.com/news/painting/pat-phillips-intricate-layered-works-on-paper-m-b-gallery-los-angeles/ Joan Mitchell Foundation ~ https://www.joanmitchellfoundation.org/pat-phillips Art of Choice ~ https://www.artofchoice.co/pat-phillips-calls-on-his-own-history-to-spotlight-systemic-inequities/ Hyperallergic ~ https://hyperallergic.com/488557/subsuperior-pat-phillips-catinca-tabacaru-gallery/

Episode 84 features sculptor and painter Leonardo Benzant, a Dominican-American artist with Haitian heritage born and raised in Brooklyn. His practice is informed by his studies of the Kongo, Yoruba and his spiritual beliefs shaped by research into African and Caribbean religion, art, history, culture, rituals and informed by modern and contemporary art. He deploys a wide variety of media and found objects to create dynamic overhanging (or suspended) beaded sculptures and he is an impressive painter. Leonardo received a Joan Mitchell Foundation Painters and Sculptors Grant, attended Pratt Institute and the Galveston Artist Residency in Texas. He has also participated in select exhibitions including Coffee, Rhum, Sugar & Gold, A Postcolonial Paradox, at MoAD in California, The Burke Prize, The Future of Craft Part 2, the Museum of Arts and Design, New York, Visionary Aponte: Art & Black Freedom at King Juan Carlos of Spain Center at NYU. He also participated in Untitled in Miami Beach in 2019 and 2020, Expo Chicago, Pulse contemporary, and the Claire Oliver Gallery. His work is included in several important private and public collections including the Weisman Museum, Minneapolis Institute of Art, The Bunker Artspace, and the Harvey B. Gantt Center for African American Arts + Culture, Charlotte North Carolina. In this episode the artist will share with us ‘Notes' to himself. Leonardo is currently exhibited by the Claire Oliver Gallery in Harlem. His first solo exhibition at the gallery titled Across Seven Ruins & Redemptions_Somo Kamarioka, opened on November 11th and will close on January 8th, 2022. Claire Oliver Gallery https://www.claireoliver.com/artists/leonardo-benzant/ Joan Mitchell Foundation https://www.joanmitchellfoundation.org/leonardo-benzant Museum of Arts and Design https://madmuseum.org/exhibition/burke-prize-2018 Museum of the African Diaspora San Francisco https://www.moadsf.org/blog/profile-leonardo-benzant/ San Francisco Examiner https://www.sfexaminer.com/entertainment/museum-of-african-diaspora-hosts-artists-in-studios/ In the Trove https://inthetrove.com/leonardo-benzant-interview Gotham To Go https://gothamtogo.com/leonardo-benzant-across-seven-ruins-redemptions-somo-kamarioka-to-open-at-claire-oliver-gallery/ Taubman Museum of Art https://www.taubmanmuseum.org/calendar/24585/virtual-conversation-with-artist-leonardo-benzant and interview on YouTube https://www.youtube.com/watch?v=tNjBgpCIY2M

Ep.83 features Lilian Garcia-Roig, a Cuba born, Texas raised artist living in Tallahassee, Florida whose works landscape-themed works have always explored the complex propositions of sense of place and belonging which so influence the construction of personal identity While she is most known for her perceptually-based, large-scale, “all-day” cumulative paintings that underscores the complex nature of trying to capture first-hand the multidimensional and ever-changing experience of being in that specific location. Recently she has embarked on a conceptual investigation of the idea of the Cuban landscape and how her American Bauhausian education has colored her relationship to place and space. These new works are part of the Hecho con Cuba and Hyphenated[1]Nature Series. She has shown at such places as the Chopo Museum in Mexico City, Americas Society Gallery in NYC, the National Museum of Women in the Arts, Art Museum of the Americas and extensively in many museums throughout the southeast. In 2017 she had a large work included in “Relational Undercurrents: Contemporary Art of the Caribbean Archipelago” one of the Getty funded Pacific Standard Time LA/LA Initiative shows that opened at the Museum of Latin American Art and traveled to various museums across the US. In 2019 she was in the Florida Prize Exhibition at the Orlando Museum, the Florida Contemporary at the Baker Museum in Naples, FL and the 2020 Florida Biennial at the Hollywood Art Center in Miami. Most recently she had a large work acquired by Perez Art Museum Miami (PAMM.) Her MFA is from the University of Pennsylvania (1990) and her BFA is from Southern Methodist University (1988). Major awards include a 2021 Guggenheim Fellowship, Joan Mitchell Foundation Award in Painting, Mid-America Arts Alliance/NEA Fellowship Award in Painting, State of Florida Individual Artist Fellowship Award in painting & a Kimbrough Award from the Dallas Museum of Art. Residencies include a Skowhegan School of Painting and Sculpture Fellowship, Vermont Studio Center Artist's Fellowship, Hambidge Arts Center, MacDowell Colony Milton & Sally Avery Fellowship, Joan Mitchell Center A-I-R and as a visiting artist at the Ludwig Foundation in Havana, Cuba. Photo credit: Alec Kercheval Artist website http://www.liliangarcia-roig.com/ Artist's Studio News https://liliangarciaroig.wordpress.com/2021/07/18/2021/ Guggenheim Foundation https://www.gf.org/fellows/all-fellows/lilian-garcia-roig/ Joan Mitchell Foundation https://www.joanmitchellfoundation.org/lilian-garcia-roig Valley House https://www.valleyhouse.com/bio.asp?artistid=70 Wikipedia https://en.wikipedia.org/wiki/Lilian_Garcia-Roig Florida Contemporary http://www.liliangarcia-roig.com/florida-contemporary-2020/

On this episode of Mehmooni, I speak with the artist @Arghavan_Khosravi Khosravi earned an MFA in painting from the Rhode Island School of Design after completing the studio art program at Brandeis University. Khosravi previously earned a BFA in Graphic Design from Tehran Azad University and an MFA in Illustration from the University of Tehran. Khosravi has participated in numerous group exhibitions, at venues such as the Museum of Contemporary Art, Yinchuan, China; Newport Art Museum, Newport, RI; and Provincetown Art Association and Museum, MA; among others. Khosravi's residencies include the Fine Arts Work Center, Provincetown, MA; the Studios at MassMoCA, North Adams, MA; Monson Arts, Monson, ME; and Residency Unlimited, Brooklyn, NY. Khosravi is a 2019 recipient of the Joan Mitchell Foundation's Painters & Sculptors Grant and a 2017-8 recipient of the Walter Feldman Fellowship. The artist's work belongs to the collections of the Newport Art Museum and the Rhode Island School of Design Museum. - Mehmooni is a podcast series where I speak with professional Iranians & hyphenated-Iranians about their journeys. In the first series, we had conversations with various artists, doctors, actors, directors and more. The purpose of these conversations is to bring this community of incredible talent closer together and to introduce Iranian culture to a wider audience. @MehmooniPodcast @Banni_Adam_ Host: @fvrro #podcasts #podcast #podcasting #podcastlife #mehmoonipodcast #podcaster #podcasters #podcastshow #spotify #applepodcasts #youtube #itunes #FRIEZELONDON #podcastinglife #podcastaddict #radio #newpodcast #podcastlove #FRIEZE #ArghavanKhosravi #Painting #Art #mehmooni

Self-Portrait Ian Weaver is an Artist and Professor at Saint Mary's College, South Bend, IN. His M.F.A. is from Washington University in St Louis (2008). He has exhibited at the South Bend Museum of Art; The Chicago Cultural Center; the Indianapolis Museum of Contemporary Art; and Saint Louis Art Museum. His residencies include Bemis Center for the Contemporary Arts; Ox-Bow; the ISCP Residency, New York; and Yaddo and the Millay Colony, both in upstate NY. Awards include the Stone and DeGuire Contemporary Art Award; Artadia and the Joan Mitchell Foundation, both based in NY; and the Illinois Arts Council.

Emily Arthur (Eastern Band Cherokee descent) is an Associate Professor at the University of Wisconsin-Madison and serves as Chair of the Printmaking Area within the Art Department where they will host (SGCI) Southern Graphics Council Conference in March 16 – 19 2022 titled Our Shared Future. Arthur received an MFA from the Pennsylvania Academy of the Fine Arts in Philadelphia and has served as a Fellow at the Barnes Foundation for Advanced Theoretical and Critical Research, Pennsylvania. Additional education includes the Rhode Island School of Design, University of Georgia and the Tamarind Institute of Lithography at the University of New Mexico. Arthur is awarded to the Notable Women in the Arts, National Museum of Women in the Arts and has been nominated for a Joan Mitchell Foundation, Painters and Sculptors Grant. She is the recipient of a Florida Artist Enhancement Grant provided by the State of Florida and the National Endowment for the Arts. Her work is included in the permanent collections of the Saint Louis Art Museum, Chazen Museum of Art, Minneapolis Museum of American Art, Tweed Art Museum, Denver Art Museum, Autry National Center of the American West and the Museum of Contemporary Native Arts, Santa Fe, NM. Arthur's work is included in the recent 2020 book, Knowing Native Arts (Lincoln): University of Nebraska Press, by Nancy Marie Mithlo as well as Dr. Mithlo's forthcoming book titled Visualizing Genocide co-authored with Yve Chavez, Ph.D. Arthur is also a co-curator and co-author of Re-Riding History: From the Southern Plains to the Matanzas Bay, edited by Phillip Earenfight, PhD. (The Trout Gallery: Carlisle, PA, Fall 2018). Arthur has served as an International Artist in Residence in France and Japan with artists from the Diné/Navajo Nation and as part of the 2011 Venice International Print Studios where she exhibited at the University of Ca” Foscari on Occasion of the Venice Biennale 54th International. International permanent collections include the nations of Iceland, Russia, Estonia, Ireland, France, Italy United Kingdom, India, Argentina, New Zealand, and Japan.

For the 15th episode of AW CLASSROOM, Kiara Cristina Ventura interviews multidisciplinary artist and musician, Albany Andaluz. In the interview, Andaluz speaks about her identities and cultural backgrounds and how they result in multidimensional artworks. She also speaks on her nomadic experience moving to Mexico during the pandemic. Now temporarily based Dominican Republic, the artist ends the interview with an exclusive art performance just for us here at AW! *FYI there are roosters in the background of this interview so if you hear some cock-a-doodle-dooing in the background it's our rooster friends haha* ..... Albany Andaluz (b. 1995, Bronx, New York) uses colloquialisms to draw intersections between Caribbean, Latin American, and American experiences. A life-taught artist, her practice reflects a repurposed, multidisciplinary approach with works that resurrect discarded textiles as mixed-media sculptures, paintings, and photographs to allude to the intersections of conflict, migration, and settlement. Andaluz’s practice examines the psychosocial and socioeconomic shifts that happen during the process of acculturation through the intertwining of techniques sourced from craft, fine, folk, low and high-brow cultures. Such work has awarded Andaluz residencies, grants and features with ProjectArt NYC, BronxArtSpace, Joan Mitchell Foundation, Bronx Documentary Center, BronxNet, ArtForum, and Aperture Foundation’s magazine. Follow her work at: @albanyandaluz on IG or www.albanyandaluz.work ___________ *This episode is wonderfully sponsored by Flower Shop Collective. * Flower Shop Collective is an art and fabrication studio that cultivates the ideas of emerging artists working towards more equitable futures. Their goal is to help artists of all skill levels execute their ideas, learn new techniques and have a safe space to do so, with a prioritization on immigrant artists, artists of color, and women-identifying artists. También les ofrecen todos estos servicios en Español. For more information please head to flowershopcollective.com or @flowershopcollective on Instagram. ___________ Follow us: @artsywindow artsywindow.com To support our podcast and the work we do, please donate to us at artsywindow.comand click the "donate" tab. Or join us on patreon! Much love --- Support this podcast: https://anchor.fm/artsywindow/support

Mar 24 Written By jamaal barberMokuhanga and More w/ printmaker Jennifer Mack WatkinsStudio Noize PodcastPrintmaker Jennifer Mack Watkins joins Studio Noize for some good conversation about her journey into mokuhanga, a Japanese relief printing technique. We talk about her trip to Japan where she learned from some real masters, her start right here in Atlanta at Morris Brown, and how motherhood factors into her artist life. There are not a lot of Black printmakers doing this kind of work so it's great to hear more about the technique. We're excited to bring you another great Black woman printmaker. Jennifer Mack-Watkins holds an undergraduate degree in Studio Arts from Morris Brown College, a Master's degree in art education from Tufts University, and an MFA in Printmaking from Pratt Institute. She has exhibited in several galleries and museums including the Newark Museum in New Jersey, the International Print Center in New York, Rush Art Galleries, the Brooklyn Museum, and Mason Murer Gallery in Georgia. She was a recipient of "The Elizabeth Catlett Printmaking Award" given by Hampton University Museum. Agnes Scott College, The Newark Public Library, and Clark Atlanta University have acquired her work, adding to their permanent collections. Jennifer was selected to participate in the Mokuhanga Innovation Laboratory artist-in-residence program in Yamanashi, Japan in the summer of 2015. Mack-Watkins was selected by Dr. Sarah Lewis, participated in the Rush Arts Gallery 20th Anniversary Exhibition and Print Portfolio that was exhibited in Brooklyn, New York and at Miami SCOPE. The Joan Mitchell Foundation nominated her as a 2015 Emerging Artist..The spring of 2021 Jennifer is expecting her first solo museum exhibition at The Brattleboro Museum located in Brattleboro, Vermont. See more: www.mackjennifer.com + @mack_jenniferprints The Studio Noize question of the week is:What art books to do you have in your studio?Let us know your answers on IG @studionoziepodcast or by email at studionoizepodcast@gmail.comFollow us:StudioNoizePodcast.comIG: @studionoizepodcastJamaal Barber: @JBarberStudioSupport the podcast https://www.patreon.com/studionoizepodcast

Charlotte Becket lives and works in New York City where she is an Associate Professor at Pace University. She attended Hunter College's MFA program and received her BFA from the Cleveland Institute of Art.  Solo and two person exhibitions include LaMama Galleria, New York City, Valentine Gallery NY, Crisp Gallery in London, LEAP in Berlin, Taxter and Spengemann in New York City as well as group exhibitions at Gazelli Art House in London, Gasser and Grunert, Anna Kustera, NY Studio Gallery, Passerby and the Invitational Exhibition Academy of Arts and Letters in New York City. She has been invited to lecture on her work at various galleries and universities and has been the recipient of grants from The New York Foundation for the Arts, Socrates Sculpture Park, The Joan Mitchell Foundation, The Tony Smith Foundation, the Verizon Foundation, and the Center for Book Arts.  Her work has been reviewed in The New York Times, TimeOut London, ArtForum, and Art in America, among others, and included in the publication, 100 Artists, a compendium of interviews with 100 international contemporary artists by Francesca Gavin. Force Field Book Series, 2019, paper 8"x3"x3" Particle Horizon, 2020, paper 26"x26"x30"

Rochelle Feinstein is an artist who was born in the Bronx and grew up in Queens in NYC. She has exhibited her works nationally and internationally, has written about art and artists. A collection of selected writings, Pls. Reply, was published by Ugly Duckling Presse in 2019. Feinstein’s four concurrent retrospectives (2016-2019) were presented, and respectively titled, at these venues: In Anticipation of Women’s History Month, Centre d'Art Contemporain, Geneva, CH, I Made A Terrible Mistake, Lenbachhaus Stadtische, Munich, DE, Make it Behave, Kestner Gesellschaft, Hannover, DE, and Image of an Image, The Bronx Museum of the Arts, NYC. Recent solo exhibitions include, Rainbow Room/The Year in Hate, Campoli Presti, London, UK (2019), Fredonia!, and Nina Johnson Gallery Miami, FL (2020). Her works are represented in numerous public and private collections, and have been featured in numerous publications. She has been awarded fellowships and grants from Anonymous Was A Woman, the John Simon Guggenheim Memorial Fellowship, the Foundation for Contemporary Arts, the Radcliffe Institute for Advanced Study, the Louis Comfort Tiffany Foundation, and the Joan Mitchell Foundation. She was a recipient of the 2017-2018 Rome Prize Jules Guerin Fellowship in Visual Arts, American Academy in Rome. In 2017, Rochelle became Emerita Professor of painting/printmaking, Yale School of Art. Yale University. Her work has been covered in The New York Times, the Brooklyn Rail, Artforum, Time Out NY, the New Yorker, Artinfo and many others.

Hey Guys! For our first episode we have Niko Lowery aka Nicky Draven, Niko is an abstract expression artist and teacher working in nearly every medium possible. He works out of NYC and is a recent graduate of the Fashion Institute of Technology. He’s led workshops and classes at the Joan Mitchell Foundation, Nex Gen Art Expo, and the Metropolitan Museum of Art. We met back in our college days through a mutual friend and its just been laughs and great experiences since then.   follow him on instagram:  https://www.instagram.com/nicky_draven_/ Niko's Merch:  https://www.teepublic.com/user/nicky-...   Albert Collado Art  www.albertcolladoart.com   Instagram:  https://www.instagram.com/albertcolla... --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/albert-collado/support

We're excited to say good riddance to 2020, and even more excited for our Season 3 finale guest, Shikeith!!! Shikeith is a multi-disciplinary artist whose work investigates the experiences of black men within and around concepts of psychic space. His work has recently been featured in solo exhibitions including the Alexander Brest Museum & Gallery, Jacksonville University, Locust Projects in Miami, FL, Atlanta Contemporary, and The Mattress Factory Museum of Contemporary Art in Pittsburgh, and his films have been shown at Moma in NYC. He received a 2019 Painters & Sculptors Grant from The Joan Mitchell Foundation, the 2020 Art Matters Foundation Grant, is a recipient of the 2020 – 2021 Leslie Lohman Museum Artist Fellowship. A Philly native, Shikeith currently lives and works in Pittsburgh, PA, and joins us today from his artist residency at Fountainhead in Miami, FL. We learn more about the deep and intentional symbolism and meaning behind his work and the materials that go into his work, the themes and intersections of blackness, masculinity, and queerness, we discuss specific installations, photographs, and films, and hear about his upcoming exhibitions! (see show links below)Thank you for listening to The Queer Creative in 2020. We hope you've enjoyed listening, and hope you will leave us a rating and review! We thank you for your support! Check us out on Instagram @TheQueerCreativePodcast, on Twitter @CreativeQueer, and on YouTube by searching The Queer Creative. SHOW LINKS:Shikeith's website: https://shikeith.comTwitter: @shikeithism / https://twitter.com/shikeithism"Feeling the Spirit in the Dark" exhibition at The Mattress Factory: https://mattress.org/works/feeling-the-spirit-in-the-dark/Stream Shikeith's latest film, "A Drop of Sun Under the Earth," on the Criterion Collection: https://www.criterionchannel.com/a-drop-of-sun-under-the-earth

Philemona Williamson is a narrative painter who has shown widely in the United States and abroad. Her work explores the tenuous bridge between adolescence and adulthood, encapsulating the intersection of innocence and experience at its most piercing and poignant moment. The lush color palette and dreamlike positioning of the figures ensures that their vulnerability - of age, of race, of sexual identity - is seen as strength and not as weakness. “My figures navigate a world of uncertainty as they search for understanding—both internally and in ever-shifting environments. I see the figures as vehicles to explore the existence of the most vulnerable adolescents, those evolving people of color, grappling with what will define and identify them. My paintings give voice and space to invisibility.” Williamson has exhibited her work for over 25 years at the June Kelly Gallery in NYC and recently, at her mid-career retrospective at the Montclair Art Museum in NJ. She is the recipient of numerous awards and residencies including the Joan Mitchell Foundation, Pollock Krasner, National Endowment For The Arts, New York Foundation For The Arts and Millay Colony as well as serving on the advisory board of the Getty Center for Education. Her work has been shown in many solo and group exhibitions such as The Queens Museum of Art, Wisconsin's Kohler Art Center, The Sheldon Museum in Nebraska, The Bass Museum in Miami, The Mint Museum in North Carolina, The Forum of Contemporary Art in St. Louis, The International Bienal of Painting in Cuenca, Ecuador and most recently at the Anna Zorina Gallery in NYC. She is represented in numerous private and public collections, including The Montclair Art Museum; The Kalamazoo Art Institute; The Mint Museum of Art; Smith College Museum of Art; Hampton University Museum; Sheldon Art Museum; Mott-Warsh Art Collection, and AT&T. Her public works includes fusedglass murals created for the MTA Arts in Transit Program at the Livonia Avenue Subway Station in Brooklyn, a poster for the MTA Poetry In Motion and — for the NYC School Authority — a mosaic mural in the Glenwood Campus School. She currently teaches painting at Pratt Institute and Hunter College in NYC. For Philemona’s latest project, she created a series of paintings for the children’s book Lubaya’s Quiet Roar, just out from Penguin Random House. "The Gathering" 48" x 60 ” oil on canvas 2019 "Here I Hold Becoming” 48” x 60” oil on canvas 2020

On episode 121 of The Quarantine Tapes, Paul Holdengräber is joined by artist Lauren Halsey. This year, Lauren founded the Summaeverythang Community Center in her neighborhood in South Central Los Angeles. Since the start of the pandemic, the center has distributed more than 11,000 boxes of produce to the community.Lauren and Paul discuss her ethos in her art practice. She talks about her long-standing interest in the relationship between architecture and mythmaking, what ephemera she has been collecting lately, and how Afrofuturism opens up a space of possibility and transcendence in her imagination. Finally, Lauren talks about her vision for the community center beyond the constraints of the pandemic and how important service and a connection to her community is to her life and her practice.----Lauren Halsey (b. 1987, Los Angeles) is rethinking the possibilities for art, architecture, and community engagement. She produces both standalone artworks and site-specific projects, particularly in the South Central neighborhood of Los Angeles. Combining found, fabricated, and handmade objects, Halsey’s work maintains a sense of civic urgency and free-flowing imagination, reflecting the lives of the people and places around her and addressing the crucial issues confronting people of color, queer populations, and the working class. Critiques of gentrification and disenfranchisement are accompanied by real-world proposals as well as a celebration of on-the-ground aesthetics. Inspired by Afrofuturism and funk, as well as the signs and symbols that populate her local environments, Halsey creates a visionary form of culture that is at once radical and collaborative.Lauren Halsey has presented solo exhibitions at David Kordansky Gallery, Los Angeles (2020); Fondation Louis Vuitton, Paris (2019); and the Museum of Contemporary Art, Los Angeles (2018). She participated in Made In L.A. 2018, Hammer Museum, Los Angeles (2018), where she was awarded the Mohn Award for artistic excellence. Her work is included in the collections of the Hammer Museum, Los Angeles and the Museum of Contemporary Art, Los Angeles. Halsey was the recipient of the 2019 Painter and Sculptors Grant from the Joan Mitchell Foundation, New York. In 2020, Lauren Halsey founded Summaeverythang Community Center and is currently in the process of developing a major public monument for construction in South Central Los Angeles, where she and her family have lived and worked for generations.

Printmaker Jennifer Mack Watkins joins Studio Noize for some good conversation about her journey into mokuhanga, a Japanese relief printing technique. We talk about her trip to Japan where she learned from some real masters, her start right here in Atlanta at Morris Brown and how motherhood factors into her artist life. There are not a lot of Black printmakers doing this kind of work so its great to hear more about the technique. We’re excited to bring you another great Black woman printmaker.Jennifer Mack-Watkins holds an undergraduate degree in Studio Arts from Morris Brown College, a Master's degree in art education from Tufts University, and an MFA in Printmaking from Pratt Institute. She has exhibited in several galleries and museums including the Newark Museum in New Jersey, the International Print Center in New York, Rush Art Galleries, the Brooklyn Museum, and Mason Murer Gallery in Georgia. She was a recipient of "The Elizabeth Catlett Printmaking Award" given by Hampton University Museum. Agnes Scott College, The Newark Public Library, and Clark Atlanta University have acquired her work, adding to their permanent collections. Jennifer was selected to participate in the Mokuhanga Innovation Laboratory artist-in-residence program in Yamanashi, Japan in the summer of 2015. Mack-Watkins was selected by Dr. Sarah Lewis, participated in the Rush Arts Gallery 20th Anniversary Exhibition and Print Portfolio that was exhibited in Brooklyn, New York and at Miami SCOPE. The Joan Mitchell Foundation nominated her as a 2015 Emerging Artist..The spring of 2021 Jennifer is expecting her first solo museum exhibition at The Brattleboro Museum located in Brattleboro, Vermont.See more: www.mackjennifer.com + @mack_jenniferprintsRead the Studio Noize Artist FeatureEpisode TranscriptThe Studio Noize question of the week is:What art books to do you have in your studio?Let us know your answers on IG @studionoziepodcast or by email at studionoizepodcast@gmail.comFollow us:StudioNoizePodcast.comJamaal Barber: @JBarberStudioJasmine Nicole: @Negress.SupremeCheck out our sponsor National Black Arts at nbaf.org/

If you’re curious about the future of cultural institutions, there’s so much to learn from Kemi Ilesanmi. As the executive director of the Laundromat Project we’ll be hearing how she positions herself and the institution with striking clarity, towards making New York City a better place by bringing people together, and touching the lives of places through art and culture. We discuss the importance of how histories are written, the necessity of acknowledging other knowledges, and the essential economic dimension of gaining access to the cultural field, and why focusing on people of color matter, today!We tend to sum up our guest’s biographies, but Kemi’s deserves a full read:She has been a DMV clerk, receptionist, business school dropout, Minnesota State Fair ribbon winner, museum curator, foundation officer, and now Executive Director of The Laundromat Project, a NYC arts nonprofit that advances artists and neighbors as change agents in their own communities. She cares about cultural and community care, #BlackLivesMatter, and all things Beyonce and Michelle Obama. Her work is also deeply informed by her Nigerian and Black American roots. Prior to joining The LP, she worked at Creative Capital Foundation and the Walker Art Center in curatorial and program roles. In 2015, she was appointed by the Mayor of New York City to the Cultural Affairs Advisory Commission and has served as Chair since 2020. She has been honored by the Metropolitan Museum and Project for Empty Space and serves on the boards of the Joan Mitchell Foundation and The Broad Room, as well as advisory boards for Brooklyn Public Library, Smith College Museum of Art, Black Arts Future Fund, Indigo Arts Alliance, and WNET All Arts. A graduate of Smith College, NYU, and Coro Leadership NY, she is also a Sterling Network Fellow.“Episode Notes and LinksLocated in New York, the ‘Laundromat Project’ brings art, artists, and arts programming into laundromats and other everyday spaces, thus amplifying the creativity that already exists within communities. They empower their surroundings and enable their constituents with the power of kindness and solidarity to build community networks, solve problems, and enhance our sense of ownership in the places where we live, work, and grow. https://www.laundromatproject.orgHow Latitudes Become Forms: Art in a Global Age was on display in Walker Art Center in 2003. The exhibition sought to examine the role and function of globalization or the internationalism in art on shaping visual culture. The flash site of the exhibition is still up and running http://latitudes.walkerart.org/index.htmlArtists Jaclyn Reyes and Xenia Diente collaborate on an artistic project with a solid social impact titled Little Manila. Aiming to activate the Filipino community in New York, they seek to generate cooperation between artists and the Filipino community and businesses. http://littlemanilaqueens.org/Partnered with the Black Alliance of Just Immigration, LP’s resident artist Lizania Cruz worked on a project that focuses on issues regarding public memory. Through a series of intimate meetings where Cruz documented individual immigrants' stories to create zines. The project sought to render the African Diaspora's presence more visible and their memory less ephemeral. Dedicated to propagate the immigrant experience, “We the News” zines were free to take away and later on displayed on newsstands placed on sidewalks. https://www.laundromatproject.org/project/we-the-news/ The LP is one of the few cultural organizations ran by people of color in the U.S. Referring themselves as a POC centered institution, they elaborate on the importance of this and how it is relevant to their mission. A comprehensive set of information regarding the vision, values, principles, and policies could be found on their web site. https://www.laundromatproject.org/pocprinciples/ https://www.laundromatproject.org/strategic-vision/ArtsBlack is a journal of art criticism from Black perspectives predicated on the belief that art criticism should be an accessible dialogue. It was founded by editors Taylor Renee and Jessica Lynne to support, uplift, and cultivate a new generation of Black art critics. https://arts.black/Colored Criticism is a media platform for cultural heritage stories. Through a variety of media such as writing and youtube videos they especially target millennials, naming them as the most diverse and ethical generation ever. http://colorcritics.com/ Siddhartha Mitter’s article titled Monuments & Civic Imagination thoroughly unpacks how protests over the murder of George Floyd opened up a new chapter in the U.S to rethink places of memory. Monuments & Civic Imagination. https://theintercept.com/2020/07/19/confederate-statues-monuments-local/

Episode Twenty-Seven features narrative painter Philemona Williamson. She’s exhibited her work for over 25 years at the June Kelly Gallery in NYC and recently, at her mid-career retrospective at the Montclair Art Museum in NJ. Her narrative paintings deal with gender, race and adolescence. Philemona is the recipient of numerous awards and residencies including the Joan Mitchell Foundation, Pollock Krasner, National Endowment For The Arts, New York Foundation For The Arts and Millay Colony. Her work has been shown in solo and group exhibitions throughout the USA and abroad, She is represented in numerous private and public collections, including The Montclair Art Museum; The Kalamazoo Art Institute The Mint Museum of Art; Smith College Museum of Art; Hampton University Museum; Sheldon Art Museum; Mott-Warsh Art Collection, and AT&T. Her public work is part of the MTA Arts For Transit Program, the MTA Poetry In Motion and — for the NYC School Authority — a mosaic mural in the Glenwood Campus School. She currently teaches painting at Pratt Institute and Hunter College in NYC. Philemona also created a series of paintings for the children’s book “Lubaya’s Quiet Roar” coming out in October from Penguin Random House. Please review links below. https://www.philemonawilliamson.com/ http://www.junekellygallery.com/williamson/ http://origin.www.annazorinagallery.com/exhibitions/sit-still-self-portraits-in-the-age-of-distraction/slideshow?view=slider#26 https://www.montclairartmuseum.org/exhibition/philemona-williamson-metaphorical-narratives https://baristanet.com/2020/06/look-inside-the-artists-studio-as-montclair-art-museum-launches-mam-conversations-series/ http://web.mta.info/mta/aft/permanentart/permart.html?agency=nyct&line=L&artist=1&station=3

Episode Twenty-Three features Brittney Leeanne Williams a Chicago-based artist, originally from Los Angeles. Her work has been exhibited in New York, Los Angeles, San Francisco, Miami (Untitled Art Fair), and Venice, Italy (Venice Biennale), as well as in Chicago and throughout the Midwest. Williams attended Skowhegan School of Painting and Sculpture (2017) and The School of the Art Institute of Chicago (2008-09). She is a Joan Mitchell Foundation grant recipient. Williams was a 2017-2018 artist-in-residence at University of Chicago (CSRPC/Arts + Public Life) and has held residencies at Chicago Artists Coalition (HATCH Projects) and Hyde Park Art Center (The Center Program). Her set design for the short film Self-Deportation has been featured at film festivals nationwide and internationally, including Anthology Film Archives (NYC) and the Pineapple Underground Film Festival (Hong Kong).  Brittney is currently in a group show at the Anna Zorina Gallery titled 'Sit Still: Self Portraits in the Age of Distraction' curated by Patty Horing and Deborah Brown. Welcome and Enjoy!  Image credit: Chris Edwards http://www.brittneyleeannewilliams.com/ https://joanmitchellfoundation.org/artist-programs/artist-grants/painter-sculptors/2018/brittney-leeanne-williams https://www.hydeparkart.org/directory/brittney-leeanne-williams-2/ https://elephant.art/brittney-leeanne-williams-deep-red-paintings-signal-female-trauma-01052020/

Z Behl, b. 1985, is a New York based filmmaker and visual artist. Z’s work in sculpture, performance, and installation has received awards from NYFA, the Pollock-Krasner Foundation, and the Joan Mitchell Foundation. She has exhibited at ArteBA, the Hudson Valley Center for Contemporary Art, and CAC New Orleans. Z has been artist-in-residence at Mana Contemporary, Pioneer Works, and MOCA Tucson. Her last solo show at Kai Matsumiya Gallery was covered by the Wall Street Journal, Artnet, and INTERVIEW Magazine. Her debut film, Geppetto, which she wrote, directed and starred in, has received support from Kodak, IFP and the Venice Biennale. A graduate of Wesleyan University (2007), Z is a founding member of the filmmaking collective Court 13. She worked as an artist on Benh Zeitlin’s “Beasts of the Southern Wild” and “Egg.” Z has acted in films by Ray Tintori (Jettison Your Loved Ones), Kentucker Audley (Open Five 2) and Cary Fukunaga’s "Go Forth America." She has Production Designed Music Videos for MGMT and Chairlift (Time to Pretend, Electric Feel, Evident Utensil). www.zbehl.com @zbehl Tip N' Tell tipntellpodcast@gmail.com Host & Cover Art: Cydney Williams @cydneywilliamsstudio Sound & Music: Ian Eckstein @ian_eckstein Listen on Breaker, Google Podcasts, Pocket Casts, Radiopublic, Spotify, Copy RSS, Anchor, Apple Podcasts, Youtube, & IGTV Recorded at Mana Contemporary, 888 Newark Ave, Jersey City, NJ 07306 (pre covid-19 pandemic, 2019) Tip N' Tell™ Cydney Williams Studio LLC

In capturing the transcendent moments between silence, introspection and self-discovery, Sibylle Peretti seeks to find and depict places of mystery and wonder as launching spots in a journey towards the infinite. Ethereal imagery and haunting subtexts flow freely from porcelain sculpture and mixed media panels, which incorporate multiple layers of paper, oil paint, and watercolor on either side of Plexiglas. Through these techniques the artist creates a darkly romantic mix of fairytale and tension. Her skillful combination of engraving, photography, painting, and glass casting exposes exquisitely subtle environments we wish to enter in spite of some uneasiness.  Heller Gallery, New York City, has recently extended Peretti’s current online solo exhibition, Backwater, through June 13, 2020. The show features nine major new works – five wall pieces and four cast sculptures, as well as an installation of Glass Notes, an ongoing collaboration between Peretti and her husband, artist Stephen Paul Day.  Peretti says: “One aspect of my work reflects on our disrupted relation to nature and our yearning to achieve a unity with the natural world. Backwater describes places that are isolated and constantly changing. Living in New Orleans just footsteps away from the Mississippi river, I explore almost daily the ever-changing alluvial land with its magical backwaters.” Anchoring Backwater is Tchefuncte, Peretti’s large 48-panel wall piece (60 x 80 inches), which combines photography and drawing with surface interventions such as engraving, mirroring and glass slumping. It is based on a photograph she took along the riverbanks of the Tchefuncte river north of New Orleans, an area that was populated by the Tchefuncte culture as early as 500 BCE, and which derives its name from the Choctaw word for a dwarf chestnut, a plant used as medicine by the first people who inhabited this area. Peretti calls it a “temporal place that is likely to soon vanish due to flooding and human expansion,” but the composition suggests a portal, “a waterway that is open to the viewer’s imagination. When you look at the landscape, you also see your own reflection in the mirrored parts of the glass, and you become a part of the journey.”  Peretti received her MFA in Sculpture and Painting from the Academy of Fine Arts in Cologne, Germany, after first studying glassmaking and design at the State School of Glass in Zwiesel, Germany. In the past year her work was added to the collections of the Toledo Museum of Art, Toledo, OH; the newly established Barry Art Museum in Norfolk, VA; and most recently to the Huntsville Museum of Art in Huntsville, AL. Her work can be found in the permanent collections of the New Orleans Museum of Art, New Orleans, LA; the Corning Museum of Glass, Corning, NY; the Carnegie Museum of Art, Pittsburgh, PA; the Montreal Museum of Fine Arts, Canada; the Museum of Applied Arts, Frankfurt, Germany; the Hunter Museum, Chattanooga TN; and the Speed Museum and 21c Museum, both in Louisville, KY.  Awards and endorsements include grants from the Pollock-Krasner Foundation and the Joan Mitchell Foundation, as well as the 2013 United States Artist Fellowship. In 2018 Peretti’s work was featured in a solo exhibition Promise and Perception: The Enchanted Landscapes of Sibylle Peretti, at the Chrysler Museum of Art in Norfolk, VA.  Exploring the relationship between time, loss, emotion, memory and solitude, Peretti’s multimedia collages and sculptures provide a place into which her protagonists- the people and animals that inhabit her work – retreat. Impactful and unforgettable, the work balances the nostalgia of impending loss with the profound fortitude of understanding ourselves… and the world. In October 2020, during her residency at the Corning Museum of Glass, Peretti will work on a new project inspired by the Werner Herzog movie Heart of Glass. She will explore ideas of the historic importance of making Gold Ruby, and how it can be seen as a metaphor for a collapsing world.  

Naz Cuguoğlu is a curator and art writer, based in San Francisco Bay Area and Istanbul. She is the co-founder of “Collective Çukurcuma,” experimenting with collaborative thinking processes through its reading group meetings and international collaborative exhibitions. She currently works as Americas Collection Fellow at KADIST and held various positions at The Wattis Institute, SFMOMA Public Knowledge, Zilberman Gallery, Maumau Art Residency, and Mixer. Her writings have been featured in SFMOMA Open Space, Art Asia Pacific, Hyperallergic, Art South Africa, M-est.org, and elsewhere. She received her BA in Psychology and MA in Social Psychology focusing on cultural studies, and currently enrolled at the Graduate Program in Curatorial Practice at California College of the Arts with a fellowship. Cuguoğlu has curated exhibitions at fused space (San Francisco, 2019), Playspace (San Francisco, 2019), D21 Kunstraum Leipzig (2018), Red Bull Art Around Istanbul (2018), Zilberman Gallery (Istanbul, 2018), Public Program of 15th Istanbul Biennial (2017), Framer Framed (Amsterdam, 2017), Cultural Transit Foundation (Yekaterinburg, 2017), Space Debris (Istanbul, 2017), COOP Gallery (Nashville, 2016), Mixer (Istanbul, 2016), and 5533 (Istanbul, 2015). She co-edited two books: After Alexandria, the Flood and Between Places, and presented at institutions such as Joan Mitchell Foundation, SALT, Norköpping Art Museum, Contemporary Art Center (New Orleans) and Curb Event Center (Nashville). The Book mentioned in the interview is titles Staying With The Trouble by Donna J. Haraway. Istanbul Queer Art Collective’s performance Psychic Bibliophiles, from Flow Out exhibition curated by Collective Çukurcuma at Bilsart (Istanbul, 2019) Collective Çukurcuma Reading Group meeting as part of House of Wisdom exhibition, presented at the public program of the 15th Istanbul Biennial (2015)

Kayti Didriksen is a multidisciplinary artist focused on capturing movement and sound with line and color. Didriksen uses blind contour drawing, a fundamental hand eye coordination technique of learning to draw what you see to record the ephemeral traces of movement during live music and performances. In the next step of her process, she overlaps the drawings creating a matrix for larger scale work that represents space and movement with color and generates the feeling of the performance in the viewer. She also draws as a performance, engaging guests at events with quick and quirky lines while speaking about what happens to the brain during this process. Didriksen has collaborated with organizations throughout the US and abroad including Faberge’, TEDx, The Joan Mitchell Foundation, NYU, Brooklyn Museum, and the Jazz Foundation of America as well as countless bands and musicians. Her work has been featured in the Washington Post, NY Times, CNN and the BBC. She served as the Artist in Residence for the Brooklyn Symphony Orchestra from 2013 to 2017. In addition to her more line-driven works, Didriksen enjoys painting landscapes in plein air with a palette knife while traveling. Currently, Didriksen lives in Washington, D.C., and is the Artist in Residence for Long and Foster Capital Region.

Kukuli Velarde is a Peruvian artist based in the United States since 1987. She has received awards and grants such as the Guggenheim Fellowship, the Pollock Krasner Foundation grant, the United States Artists-Knight fellowship, the Pew fellowship in Visual Arts, the Anonymous is a Woman award, the Joan Mitchell Foundation grant, among others. In 2013 her project CORPUS got the Grand Prize at the Gyeonggi Ceramics Biennial in South Korea. Her exhibition credits include: KUKULI VELARDE: THE COMPLICIT EYE at Taller; KUKULI VELARDE at AMOCA; PLUNDER ME, BABY at the Yenggi Museum of Ceramics’ Biennial of Taipei; CORPUS at the Gyeonggi International Ceramic Biennial ; also KUKULI VELARDE: PLUNDER ME, BABY at the Nerman Museum of Contemporary Art in, PATRIMONIO at Barry Friedman Gallery and PLUNDER ME, BABY at Garth Clark Gallery. She is married to Doug Herren, sculptor and they have a small daughter named Vida. They live in Philadelphia, PA. USA.

Kathy Butterly was born in Amityville, NY and was raised primarily in Franklin Lakes, NJ. Kathy went to the Moore College of Art in Philadelphia for undergrad and UC Davis for graduate school. In 1992 she moved back to the east coast from California and set up a studio in Hoboken, NJ. In 1995 Kathy moved to a loft in the East Village where she currently lives and works with her husband and two kids, who are now in college. Kathy has had many solo exhibitions in NYC and LA and has been included in various group shows around the US and abroad; notably: “The 54th Carnegie International in 2004-05,” “Figuring Color: Kathy Butterly, Felix Gonzalez-Torres, Roy McMakin, & Sue Williams,” at the ICA, Boston, “Pretty Raw: After and Around Helen Frankenthaler,” at The Rose Art Museum, MA, and “Freaks and Beauties, Opener 10: Kathy Butterly,” at the Frances Young Tang Teaching Museum, Saratoga Springs, NY. In 2014 she the recipient of a Guggenheim Fellowship Award, 2012 the Smithsonian American Art Museum Contemporary Artist Award, 2009 Joan Mitchell Foundation: 2009 Painters and Sculptors Grant, 2009 Pollock-Krasner Foundation Award, 2002 Anonymous Was a Woman Award, a few NYFA’s, and just this year, the Louis Comfort Tiffany Grant among others. Her new work can be viewed September 6th through October 14th at the James Cohan Gallery in Chelsea. Sound and Vision is supported by Golden Artist Colors. In Upstate NY, the make GOLDEN Acrylics, Williamsburg Oils, and most recently, QoR Watercolors. They are an employee owned company committed to producing the highest quality materials, while maintaining a culture of stewardship and community involvement. For information about Golden Artist Colors, call 1-800-959-6543 or visit www.goldenpaints.com. Sound & Vision is brought to you by Charter Coffeehouse. Find out more at www.chartercoffee.com, and follow them on Instagram at @charter_bk Sound & Vision is also supported by Topo Designs. Check out their products at topodesigns.com

New Orleans parade and funeral customs; Joan Mitchell Foundation, and keeping trees safe from hurricanes Historian Jason Berry, Culture Bearer Marvin Million, Gia Hamilton on Modern Matriarch and the Joan Mitchell Foundation and Arborist Vernon McKay

Estimates have placed the number of individuals experiencing homelessness in Seattle at well over 8,000, with nearly half of those people living unsheltered in streets or parks. The city of Seattle spent roughly $50 million on emergency shelters, food and hygiene services, eviction prevention measures, and other similar relief programs—yet the problem only seems to be growing. To reframe our conception of this issue we welcome Kaia Sand, Susan Robb, and Rex Hohlbein, whose diverse artistic backgrounds have led them to create their own distinctive forms of community-building activism projects centered on the homelessness crisis. They met onstage to reflect upon the ways in which the arts can disrupt and animate our approach to conversations about inequality and homelessness. Together they explored creative practices that not only include but critically engage with socio-political issues as a component of the work itself. These artists shared their projects and perspectives with Shin Yu Pai, Town Hall’s Inside/Out Artist in Residence representing Phinney/Greenwood—and the curator of this event. Join Sand, Robb, and Hohlbein along with Shin Yu as they looked at examples of art as social practice in their work and explored how art can reimagine new solutions and futures. Kaia Sand is a documentary poet and activist artist who began her career as a staff reporter 20 years ago with the Burnside Cadillac, the precursor of Street Roots. With Street Roots, Kaia works to create economic opportunities for people experiencing homelessness and poverty by producing a newspaper and other media that are catalysts for individual and social change. She is also the author of four books, including A Tale of Magicians Who Puffed Up Money that Lost its Puff and Interval, named Small Press Traffic Book of the Year. Susan Robb’s work is an ongoing exploration of our emotional connection to place. In 2013, Robb received a Creative Capital grant to produce Wild Times, a work that combined 3D printing and a 2,680-mile hike Mexico to Canada on the Pacific Crest Trail. Robb has received the Americans for the Arts/Public Art Network Award, two Artist Trust Fellowships, a Pollack Krasner Fellowship, a CityArtist Project Grant, a Stranger Genius Award, and support from the Joan Mitchell Foundation. She recently completed writing the Center City Public Art Master Plan for the City of Seattle and currently serves as the first Artist-in-Residence for the City of Tacoma where her work focuses on creative site reclamation around homelessness issues. From 2005 to 2007, Robb was a teaching artist at Gage Academy of Art working with LGBTQ and homeless youth. Seven years ago, after befriending several men experiencing homelessness along the Fremont canal, Rex Hohlbein started a Facebook page to raise awareness for those living unsheltered through the sharing of photos and personal stories. Today, that Facebook page has over 48,000 followers, becoming a thriving and inspirational non-profit, Facing Homelessness. This year begins a new chapter, as Rex combines both architecture and community outreach in starting a social justice architecture firm, BLOCK Architects, with his daughter Jenn LaFreniere. Shin Yu Pai is Town Hall Seattle’s 2018 Inside/Out Resident representing the Phinney Greenwood neighborhoods. Shin Yu is a poet, cross-media artist, and curator for the collaborative global exploration project Atlas Obscura. Her poetic origins inform an artistic style that has grown beyond the written word—manifesting in photography, installation and public art, cross-disciplinary collaborations, and sound. She encourages us to reflect upon the essential questions of our own lives, and to explore how we see that interrogation expressed or mirrored around us. Recorded live at Phinney Neighborhood Center by Town Hall Seattle on Tuesday, May 29, 2018.

Brooklyn-based artist Jean Shin talks about: Gradually turning her Hudson Valley barn originally bought for art storage into a summer/weekend retreat; her extensive experiences with Brooklyn real estate including living and working in spaces all over Brooklyn, and leveraging various mortgages – starting with a "tiny" apartment in Carroll Gardens, before eventually buying a 1000 sq. foot storefront studio in Red Hook and a slightly larger apartment in Cobble Hill with her husband, leaving her settled (as long as there isn't another hurricane); her massive public art project for the 63rd Street stop of the new 2nd Avenue Subway line in New York, including the $1 million dollar budget (which was comprehensive for fabrication, design, materials, etc.- she didn't even earn 1% of that herself after all was said and done), and what it was like interacting with the public as the murals etc. were being installed…it was a project she worked on from 2010 thru the end of 2016; her working in labor intensive projects (with discarded ephemera), and the process of collaborating with museum curators as well as various assistants, including learning to trust the process of working with collaborators, and even trusting them enough to give them keys to the studio; and what it's like serving on the board of the Joan Mitchell Foundation, addressing inequity where possible along the way.

Ridley Howard was born in 1973 in Atlanta, Georgia. He received his BA and BFA from the University of Georgia, Athens, and his MFA from the School of the Museum of Fine Arts in Boston and also went to the Skowhegan School of Painting and Sculpture. He currently shows with Marinaro Gallery, NY; Andréhn-Schiptjenko Gallery, Stockholm, Sweden; and Frederic Snitzer Gallery, Miami. His paintings were most recently on view in his current solo exhibition at Marinaro Gallery NY, as well as the Atlanta Biennial at the Contemporary and Intimisms at James Cohan Gallery, NY. He is also co-founder of gallery 106 Green in Brooklyn, NY. He has received awards from the Pollock-Krasner Foundation, the Joan Mitchell Foundation as well as the New York Foundation for the Arts. Ridley came over to Brian’s apartment while visiting from Atlanta and they spoke about differences between making art in school and years later as a practicing artist, working and living in New York versus other cities, our shared love of soccer, starting a gallery, the impact of a good teacher and much more.

In this episode, Maria Hupfield speaks about her experiences living as an artist in New York, the influence her upbringing has had on her lifestyle, and shares reflections on where she finds inspiration to fuel her creative process. Maria speaks about her recent project It Is Never Just About Sustenance or Pleasure as part of SITElines, which is the second installment in SITE Santa Fe's biennial series, opening July 16, 2016. Maria also reflects on the #callresponse project and shares more about her role as a participating artist and as one of the three initial project organizers. Maria Hupfield is a member of Wasauksing First Nation, Ontario, currently based in Brooklyn NY. A featured international artist with SITE Santa Fe 2016, she received national recognition in the USA from the prestigious Joan Mitchell Foundation for her hand-sewn industrial felt sculptures. Hupfield was awarded a long term Canada Council for The Arts Grant to make work in New York with her nine-foot birchbark canoe made of industrial felt assembled and performed in Venice, Italy for the premiere of Jiimaan, coinciding with the Venice Biennale 2015. Recent projects include free play Trestle Gallery Brooklyn with Jason Lujan, and Chez BKLYN an exhibition highlighting the fluidity of individual and group dynamics of collective art practices; conceived by artists in Brooklyn and relayed at Galerie SE Konst, Sweden. She was a guest speaker for the Distinguished Visiting Artist Program, University of British Columbia, Indigenous Feminist Activism & Performance event at Yale, Native American Cultural Center and Women's Gender and Sexuality Studies, and the Indigenous Rights/Indigenous Oppression, Symposium with Tanya Tagaq at the School of Public Policy, University of Maryland, MD. Like her mother and settler accomplice father before her Hupfield is an advocate of native community arts and activism. The founder of 7th Generation Image Makers, Native Child and Family Services of Toronto, a native youth arts and mural outreach program in downtown Toronto she is Co-owner of the blog Native Art Department International. Hupfield is represented by Galerie Hugues Charbonneau in Montreal.

In this episode, Maria Hupfield speaks about her experiences living as an artist in New York, the influence her upbringing has had on her lifestyle, and shares reflections on where she finds inspiration to fuel her creative process. Maria speaks about her recent project It Is Never Just About Sustenance or Pleasure as part of SITElines, which is the second installment in SITE Santa Fe’s biennial series, opening July 16, 2016. Maria also reflects on the #callresponse project and shares more about her role as a participating artist and as one of the three initial project organizers. Maria Hupfield is a member of Wasauksing First Nation, Ontario, currently based in Brooklyn NY. A featured international artist with SITE Santa Fe 2016, she received national recognition in the USA from the prestigious Joan Mitchell Foundation for her hand-sewn industrial felt sculptures. Hupfield was awarded a long term Canada Council for The Arts Grant to make work in New York with her nine-foot birchbark canoe made of industrial felt assembled and performed in Venice, Italy for the premiere of Jiimaan, coinciding with the Venice Biennale 2015. Recent projects include free play Trestle Gallery Brooklyn with Jason Lujan, and Chez BKLYN an exhibition highlighting the fluidity of individual and group dynamics of collective art practices; conceived by artists in Brooklyn and relayed at Galerie SE Konst, Sweden. She was a guest speaker for the Distinguished Visiting Artist Program, University of British Columbia, Indigenous Feminist Activism & Performance event at Yale, Native American Cultural Center and Women's Gender and Sexuality Studies, and the Indigenous Rights/Indigenous Oppression, Symposium with Tanya Tagaq at the School of Public Policy, University of Maryland, MD. Like her mother and settler accomplice father before her Hupfield is an advocate of native community arts and activism. The founder of 7th Generation Image Makers, Native Child and Family Services of Toronto, a native youth arts and mural outreach program in downtown Toronto she is Co-owner of the blog Native Art Department International. Hupfield is represented by Galerie Hugues Charbonneau in Montreal.

William (Will) Wilson is a Diné photographer who spent his formative years living in the Navajo Nation. Born in San Francisco in 1969, Wilson studied photography at the University of New Mexico (Dissertation Tracked MFA in Photography, 2002) and Oberlin College (BA, Studio Art and Art History, 1993). In 2007, Wilson won the Native American Fine Art Fellowship from the Eiteljorg Museum, and in 2010 was awarded a prestigious grant from the Joan Mitchell Foundation. Wilson has held visiting professorships at the Institute of American Indian Arts (1999-2000), Oberlin College (2000-01), and the University of Arizona (2006-08). From 2009 to 2011, Wilson managed the National Vision Project, a Ford Foundation funded initiative at the Museum of Contemporary Native Arts in Santa Fe, and helped to coordinate the New Mexico Arts Temporary Installations Made for the Environment (TIME) program on the Navajo Nation. Wilson is part of the Science and Arts Research Collaborative (SARC) which brings together artists interested in using science and technology in their practice with collaborators from Los Alamos National Laboratory and Sandia Labs as part of the International Symposium on Electronic Arts, 2012 (ISEA). Currently, Wilson’s work can be seen at the Portland Art Museum in: Contemporary Native American Photographers and the Edward S. Curtis Legacy, Zig Jackson, Wendy Red Star and Will Wilson. He is the Photography Program Head at the Santa Fe Community College.

William (Will) Wilson is a Diné photographer who spent his formative years living in the Navajo Nation. In 2007, Wilson won the Native American Fine Art Fellowship from the Eiteljorg Museum, and in 2010 was awarded a prestigious grant from the Joan Mitchell Foundation. Wilson created The Critical Indigenous Exchange because he was impatient with the way that American culture remains enamored with photographer Edward S. Curtis’s portraits. For many people even today, Native people remain frozen in time in the Curtis photos. Wilson is resuming the documentary mission of Curtis from the standpoint of a 21st century indigenous photographer, building a contemporary vision of Native North America.

In this episode of SAMC ARTalk, we sit down with painter, muralist, and gallery director Alex Rubio. Originally from San Antonio, Rubio (nicknamed "El Diablito") began his career as a young muralist in a housing project. He has developed his talent by serving his community as an instructor for youth and creating murals on the walls of cathedrals and more. His artwork focuses on narrative drawings and paintings with mixed media, based on images deeply rooted in his Latin American culture. He is the recipient of the prestigious Joan Mitchell Foundation award (2007) for painters and is in numerous private and public collections including The Cheech Marin Collection, The McNay Art Museum and the San Antonio Museum of Art, The Art Museum of South Texas, and The National Museum of Mexican Art in Chicago just to name a few. 

In this episode of SAMC ARTalk, we sit down with painter, muralist, and gallery director Alex Rubio. Originally from San Antonio, Rubio (nicknamed "El Diablito") began his career as a young muralist in a housing project. He has developed his talent by serving his community as an instructor for youth and creating murals on the walls of cathedrals and more. His artwork focuses on narrative drawings and paintings with mixed media, based on images deeply rooted in his Latin American culture. He is the recipient of the prestigious Joan Mitchell Foundation award (2007) for painters and is in numerous private and public collections including The Cheech Marin Collection, The McNay Art Museum and the San Antonio Museum of Art, The Art Museum of South Texas, and The National Museum of Mexican Art in Chicago just to name a few. 

This week: The second part of our survey of residencies in the area. We speak with Nicholas Wylie and Emily Green about ACRE. Then on to with Elizabeth Chodos and Michael Andrews from Ox-Bow. Wrapping it up with Joe Jeffers for Harold Arts. ------------------------------------------------------------------------------- ACRE (Artists’ Cooperative Residency and Exhibitions) is a volunteer-run non-profit based in Chicago devoted to employing various systems of support for emerging artists and to creating a generative community of cultural producers. ACRE investigates and institutes models designed to help artists develop, present, and discuss their practices by providing forums for idea exchange, interdisciplinary collaboration, and experimental projects. Residency: Steuben, WIExhibitions: ACRE Projects / 1913 W 17th St / Chicago, IL 60608 http://www.acreresidency.org/ ------------------------------------------------------------------------------- This is Ox-Bow's 102nd year as a school of art and artists' residency. We are proud to celebrate our history and the thousands of artists who have passed through Ox-Bow’s campus since 1910. Each year Ox-Bow evolves and responds to new developments in the visual arts in order to serve artists, students, and the community in relevant ways. This year’s course selection reflects our commitment to developing a dynamic curriculum that bends genres into new formats, but also has deep roots in traditional craft-based practices. It is this dynamic between tradition and innovation that makes taking a course at Ox-Bow such a singular and rich experience. The group of faculty and visiting artists for 2012 is comprised of ambitious thinkers and makers, and we are excited to have them join us in the same remarkable landscape that inspired Ox-Bow’s founding 102 years ago. We look forward to seeing you on campus this summer! Anyone, whether they are a degree-seeking student, or a life-long learner can take a course. Courses can be taken for SAIC credit or for non-credit SAIC advanced registration begins in-person on Monday, March 12th at 8:30 AM in the Ox-Bow office. General Registration opens March 26th online through our website, www.ox-bow.org. Residencies-Fall September 2- October 6, 2012 Two week to five week residencies for artists Fall at Ox-Bow is dedicated to the residency program. It is a unique time to gather artists from around the world, working in a wide variety of media. Given the small nature of the program, residents have a remarkable opportunity to create a close community. Most nights feature slide lectures, studio visits, or informal conversation that can open an individual practice to discussion, engagement, and challenge. During the fall season, Artists’ in Residence have the opportunity to work in studios not available during the summer session. They also enjoy a more intimate community of like-minded, and diverse professionals. The fall season is also an ideal time to propose group or collaborative work. Deadline: May 11th, 2012 Cost: $250 per week, (includes room and board and use of studio), due at the time the residency is awarded. Financial aid available, see application to apply. Fall residency scholarships and stipend made possible with support form the Joan Mitchell Foundation will be available. These funds are awarded to 10 individual painters and sculptors who are able to spend 4-5 weeks at Ox-Bow during the fall session. Selected artists will have their residency fees waived and receive a stipend after completing their residency.  Apply on the application. Please include a brief statement of financial need. Additional funding for the Fall and Summer Residency program is provided by the John Hartigan Memorial Scholarship for Painters (acrylic and/or oils).   Residencies-Summer  June 3 – August 18, 2012. Two-week Residencies for Arts Faculty  Over the summer, Ox-Bow offers 2-week residencies for artists who are also faculty members in the arts, in an adjunct or full time capacity. This program is designed to give teaching artists the much needed time to focus on their own work throughout the summer and also to connect to other faculty who are teaching at Ox-Bow. Artists are selected upon the merit of their work and written statements describing their proposed use of the residency. During their stay, artists are encouraged to present a slide lecture or reading of their work and to participate in the community life at Ox-Bow. Recipients receive a small private studio and room and board. Please note that the classroom studio facilities are not available to ARs. Deadline: April 6. 2012 Cost: $550 for 2-weeks, (includes room and board and studio use), due at the time the residency is awarded.  ------------------------------------------------------------------------------- This summer Harold Arts offers three sessions, as well as a few weekend opportunities for those of you with tighter summer schedules. Residencies at Harold Arts offer participants shared and individual studio facilities, comfortable accommodations, and chef-prepared meals. For musicians and others interested in working with sound we have our Poolhouse recording studio; a huge room, a wide array of gear, and engineers ready and willing to plan and execute your audio endeavors. Other facilities available for residents include modest wood-working facilities and and a wood-fired kiln for ceramic works. And of course, the rolling hills and majestic white pine forests of Haven Tree Farm are yours to explore. http://haroldarts.org/ -------------------------------------------------------------------------------   ----------------------------------------------------------------------------3----------------------------------------------------------------------------