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Clara Lang-Ezekiel is a Franco-American visual artist born and raised in Toulouse, France. In 2019 she earned her MFA from Kingston School of Art in London, having previously completed an MFA at Duncan of Jordanstone College of Art and Design in Dundee, Scotland, and a BA in both Studio Art and History from Denison University in Ohio. She is primarily a screen printer but uses a variety of other media in her work including drawing, bookmaking, printmaking, installation, collaging, and digital art. She has curated and exhibited work in the United-States, the Netherlands, Scotland, England, and France. Her portrait of Josephine Baker was exhibited in the residence of the American ambassador for the gala honouring Baker's entry into the Pathéon. She has curated several shows, the most recent of which were Let's Talk About SEXism, Paris au Pluriel, and Fais-moi Rêver, in Paris. The next show her work will be featured in is Itinérances  which she is also curating. My social media is www.claralang-ezekiel.com @claralangezekiel_art (instagram). Patreon  ClaraLESupport the show

What you'll learn in this episode:   How Kristen decided to start the next phase of her career at Scotland's University of Dundee Why metalsmithing and jewelry attracts people who like a challenge How creating jewelry can be like creating an opera What young jewelry artists can learn by entering competitive exhibitions Why curiosity can help artists overcome shyness and fear   About Kristin Beeler   Kristin Beeler joined the faculty of Duncan of Jordanstone College of Art and Design at the University of Dundee, Scotland UK in 2023.   From 2002-2023, she was Professor of Art and Coordinator of Jewelry and Metalwork at Long Beach City College in the Los Angeles, California area. She is native to the Blue Ridge Mountains of central Appalachia and is a second generation graduate of historically interracial and craft-centered Berea College receiving a BFA in Crafts and Applied Design with a minor in Philosophy (1989). Her Master of Fine Arts in Jewelry from the University of Arizona (1994) was followed later by post graduate studies at Alchemia Jewellery School in Florence, Italy (2011) and  Atelier Rudee, Bangkok, Thailand (2013).   Solo exhibitions include Integumentum 2021 at Baltimore Jewelry Center, Baltimore, Maryland, Archive of Rag and Bone at Mesa Contemporary Arts Museum, Phoenix, Arizona (2016) and Beauty and Other Monsters at Velvet da Vinci Gallery, San Fransisco, California (2007).   Additional Resources: Kristin's Website Kristin's Instagram Duncan of Jordanstone College of Art and Design The Jewellery and Metal degree programme at Duncan of Jordanstone College of Art and Design Instagram  Long Beach City College Metalsmithing IG:@lbccjewelryandmetalwork https://thestrawfactory.com/ IG:@straw.factory   Photos Available on TheJewelryjourney.com   Transcript:   After two decades as a professor at Long Beach City College, artist and jeweler Kristin Beeler is heading back to school herself at Dundee University in Scotland. Although any international move comes with fear, Kristin has relied on a sense of curiosity to keep pushing her work froward. She joined the Jewelry Journey Podcast to talk about why certain artists are drawn to metal; how she tries to create context through her work; and why some of the most important lessons she learned were from submitting her work to competitive exhibitions. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please head to TheJewelryJourney.com.    If you look at Kristin Beeler's jewelry, she looks like she's a risk taker, but that's not really true. She has followed a well-worn path, but she also has risk in her work. She received her master's and then became a professor of art at Long Beach City College. She teaches both metal arts and jewelry. She is the Coordinator of Jewelry and Metalwork for Long Beach City College. Welcome back.    Did you have to do a lot of looking to find a school like that in the U.S.?   Kristin: It was a school my mother went to, so I was second generation.   Sharon: Wow! What are your thoughts about metalwork versus jewelry arts? I saw that you did some gloves in Tyvek. It was hard to pin down what you do because it's very esoteric. It has a lot of meaning. I kept asking, “Why this?”   Kristin: The work I do is more driven by an idea and trying to build a full context for an idea. The jewelry is part of that context. It's a bit like going to the opera. I love opera, and I love it because it's a full context. The stage is opera. The music is opera. The singing is opera. The costuming is opera. It is all of those things, and those things come together to produce this one idea. I wouldn't say my work is theatrical, but I think it has some operatic qualities when it works well. It's not meant to follow one particular pathway because, as I said, not everything is a piece of jewelry. Some things are meant to manifest through other things, and jewelry is a part of that.    Sharon: I see that you've been in a lot of competitions, where your jewelry is judged. Do you have trepidations? I can't imagine doing anything like that.   Kristin: It's really hard at first. It's one of the hardest things to get my students to do because when you do it, the risk of failure is huge. You're going to be rejected, but it is such good practice. That's what being an artist is about: trying to find the place where your work fits, and if your work isn't fitting into the place you want to go and into the trajectory you want, figuring out how to make it go into that trajectory. It makes shifts to what you're working on.    I haven't done it in quite a long time; most of what I do now is invitational work, but I do find it interesting to enter competitive exhibitions. It does a couple of things. Usually if I'm applying for a competitive exhibition, it could be because I want to get my work in front of a juror, or it's in a location where I want to go, where I have friends. Or it's a theme I like and I find interesting. But I had to go through a period of doing it and becoming O.K. with someone saying no and doing it anyway. When I was in graduate school, I was told, “Be prepared to wallpaper your room with rejection letters. Get rejected as much and as often as you can because it is a skill to build up and not let that stop you.”    Sharon: Are you ever rejected if it's invitational?   Kristin: If it's invitational, it's because they've seen my work and they want something in particular.   Sharon: That must have been a big hurdle in the beginning. To be rejected must have been a big hurdle.   Kristin: It probably was. Looking back on it now, it's funny. I was silly to be so worried about that. I think I was lucky that my work was pretty readily accepted. I think I did quite well. Even going into this new career—I'm basically going into a second career—there are moments when I think, “I don't know if I can do this. What was I thinking?” and I can go back to those moments previously where I tried to do something where uncertainty was guaranteed, or I didn't know how it was going to work out. I can say, “Well, I did that, and it worked out O.K.”   Sharon: Did SNAG help you? You were on the board of SNAG. Why don't you tell us what it is?   Kristin: The Society of North American Goldsmiths is the organization for the field. I have worked with SNAG since 1999 or 1998. That was when I first started volunteering for them. I started working with SNAG because I would go to the conferences at the encouragement of my graduate faculty, and I was kind of terrified. There were a lot of people there whose work I would see in publications or I'd hear about them. I was quite shy, so the easiest thing for me to do was offer to volunteer for something. If I don't know what to do, I'll work, so volunteering was a perfect thing to do. It was intuitive.    It wasn't planned at all, but I met so many interesting people by volunteering at the conferences. They would say, “Oh, would you be able to do this?” and I would say, “Well, yeah,” and then I would meet more interesting people. I don't know that it was a great expansion time for my work because there are only so many hours in the day. When you're putting your energy out for one thing, it's not necessarily going in the other direction. So, I don't know that I was accomplishing as much in my studio, but I was meeting really, really interesting people and having some really interesting conversations. I think that that was one of the most valuable things about being involved with SNAG, just getting to know the community in a deep way.    I served on the board of SNAG for five years between 2001 and 2005. I've had some job with SNAG almost every year since then, some small thing, helping with exhibitions. I have worked with the Diversity, Equity, Access and Inclusion Committee. I have worked with the Educational Endowment Committee. Currently I serve as trustee for the SNAG Educational Endowment Scholarship Trust. That is my primary role with SNAG at this point.   Sharon: Do you recommend it to your students as a way to learn about the field?   Kristin: Always, yeah. That and listening to Jewelry Journey.   Sharon: I don't know about that. I was thinking about you listening to other people's opinions. I once heard someone say that they felt they had to know who the artist was before they could wear the piece of jewelry. I just felt like, “Well, is it pretty? Do I like it?” and that sort of thing. That's why I would be intimidated.   Kristin: It was interesting to humanize all of those things. Often the work can be much richer once you have a better idea of the person who made it. It can alter your perspective on pieces to know who made it. Sometimes you might not want to know, but I think one of the great blessings of this field is that it is full of generous and warmhearted people who are so willing to share what they know.   Sharon: Do you consider yourself one of those people willing to share what you know?   Kristin: I hope to be, yeah.    Sharon: I'm struck by the fact that you say you were shy, because you don't come across that way at all. Does that present itself in your reluctance in going abroad and when you started teaching? Was that a concern?   Kristin: Yes, I was pathologically shy, but more than that I was curious. I think curiosity trumps those reluctances if you allow it to. Being curious takes you outside of yourself. You can become involved in other people's stories and other people's interests. When you change that reflection, then it's much easier to get to know people and enjoy them. As I said, my go-to was to do some work and find other people who are doing work and just help them. Carrying the load together is always a good way of lifting yourself up as well.    When I started teaching full-time, I spent probably the first several years pretending to be someone who is comfortable in front of a classroom. I don't know that I was, but I could pretend to be someone who was. I think going to Scotland, now that the challenge is there, it's exciting and terrifying by turns, but I'm so curious. I always want to know what happens when you do this or what happens when I do this. Pulling into that curiosity is a life raft.   Sharon: Do you have a history with the country? Did your family come from there? Did you visit it a few times?   Kristin: No, I had never been to Scotland before I interviewed, but my family has lived in Appalachia for about 400 years.   Sharon: Where?   Kristin: Appalachia.   Sharon: Oh, 400 years, wow!    Kristin: Yes, so they have been there for a very long time. Many people from that area came from Scotland, England, Wales, Ireland, so Scottish history was something we grew up with because of this strong connection to Scottland and Ireland. The music that was local to where I grew up came straight from Scottland. The local dances, the crafts in particular. Things that had been brought 400 years earlier were still practiced, and a lot of those skills came from Scottland.    Sharon: Do you lie in bed at night, or are you grocery shopping and an idea comes to you and you start on it?   Kristin: For my studio practice?   Sharon: Yeah.    Kristin: There are probably two tracks to that. One is that it's all a long inquiry that never stops. It‘s one little thing that leads to the next. It doesn't have a beginning or an end. It's kind of all in the middle and ideas roll in one direction or another. Pieces may not finish, but I'm committed to finishing bodies of work. I'm really terrible about it, actually. In terms of solutions—I think maybe what you're asking about is solutions to particular problems—those are things that revolve as well. Sometimes I'll see something, or I'll be making something that doesn't make sense in the moment, but I'll just hold onto it. It's like I'm looking for an answer to a problem. It's like, “Oh, there it is in this book or in this drawer of samples I made.” If I waited for ideas to come to me, I'd be waiting a really long time. I have to go out and hunt for them. They're constantly generating, but the solutions to problems plug in at different locations on a very long timeline.   Sharon: For instance, on some of the projects, whether you're invited or you decide to enter a competitive situation, once that's done, do you say, “O.K., that's nice. That's done. Now, I'm on to the next thing,” or is it done?   Kristin: These pieces often cycle in and out. Unless a piece is purchased, they all belong to this collection of pieces that are shown in different iterations. For group exhibitions, there may be between two and four pieces that are shown together, but for solo exhibitions, there's a larger body of work. Every time I show that body of work, it may have different pieces in that collection that are shown.   Sharon: What happened to the gloves that are made of Tyvek? How did you come up with the idea of Tyvek?   Kristin: Oh, I love Tyvek. It is such a fun material. Certain materials just didn't appeal to me, and I have all of these Tyvek mailers. I would get things in the mail, and they come in those Tyvek mailers. I saved all these mailers for years and thought, “I'm going to do something with them.” Then I realized you could just buy it. I had kept it because it has this beautiful, papery, silky quality to it which is really nice. It's virtually indestructible until it's not, so it has this strength but this vulnerability as well. I like that about it.    From time to time, I have made gloves over the years because I think they're interesting objects. There's such a strong relationship to the body and what we do with our hands. Those gloves in particular were designed with this young woman in mind who had this scarf. I already said I love opera, so having these opera-length gloves, I used a vintage pattern for that. I had her scarf embroidered on these very delicate but strong gloves that were kind of ethereal. That was perfect for my purpose.   Sharon: That's interesting. I saw the pictures, but I wasn't sure what it was. That's very interesting. Thank you very much for being with us today. Good luck in Scotland. We'll be reading about you.   Kristin: Thank you so much, Sharon. This was so fun.   Sharon: We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out.   Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.

What you'll learn in this episode:   How Kristen decided to start the next phase of her career at Scotland's University of Dundee Why metalsmithing and jewelry attracts people who like a challenge How creating jewelry can be like creating an opera What young jewelry artists can learn by entering competitive exhibitions  Why curiosity can help artists overcome shyness and fear   About Kristin Beeler   Kristin Beeler joined the faculty of Duncan of Jordanstone College of Art and Design at the University of Dundee, Scotland UK in 2023.   From 2002-2023, she was Professor of Art and Coordinator of Jewelry and Metalwork at Long Beach City College in the Los Angeles, California area. She is native to the Blue Ridge Mountains of central Appalachia and is a second generation graduate of historically interracial and craft-centered Berea College receiving a BFA in Crafts and Applied Design with a minor in Philosophy (1989). Her Master of Fine Arts in Jewelry from the University of Arizona (1994) was followed later by post graduate studies at Alchemia Jewellery School in Florence, Italy (2011) and  Atelier Rudee, Bangkok, Thailand (2013).   Solo exhibitions include Integumentum 2021 at Baltimore Jewelry Center, Baltimore, Maryland, Archive of Rag and Bone at Mesa Contemporary Arts Museum, Phoenix, Arizona (2016) and Beauty and Other Monsters at Velvet da Vinci Gallery, San Fransisco, California (2007).   Additional Resources: Kristin's Website Kristin's Instagram Duncan of Jordanstone College of Art and Design The Jewellery and Metal degree programme at Duncan of Jordanstone College of Art and Design Instagram  Long Beach City College Metalsmithing IG:@lbccjewelryandmetalwork https://thestrawfactory.com/ IG:@straw.factory   Photos Available on TheJewelryjourney.com    Transcript:   After two decades as a professor at Long Beach City College, artist and jeweler Kristin Beeler is heading back to school herself at Dundee University in Scotland. Although any international move comes with fear, Kristin has relied on a sense of curiosity to keep pushing her work froward. She joined the Jewelry Journey Podcast to talk about why certain artists are drawn to metal; how she tries to create context through her work; and why some of the most important lessons she learned were from submitting her work to competitive exhibitions. Read the episode transcript here.    Sharon: Hello, everyone. Welcome to The Jewelry Journey Podcast. This is the first part of a two-part episode. Please make sure you subscribe so you can hear part two as soon as it's released later this week. If you look at Kristin Beeler's jewelry, she looks like she's a risk taker, but that's not really true. She has followed a well-worn path, but she also has risk in her work. She received her master's and then became a professor of art at Long Beach City College. She teaches both metal arts and jewelry. She is the Coordinator of Jewelry and Metalwork for Long Beach City College. She has been at the college for at least seven years, and this is her last term there.    She is not afraid to put herself and her work out there, as evidenced by the many exhibitions and jury situations she has been in. She's not afraid for others to judge her work, but her biggest risk is upcoming. That is to be a lecturer in the metal arts department at the University of Dundee in Scotland. We'll hear more about this today. Kristin, I'm glad to have you on the podcast.    Kristin: I'm so glad to be here, Sharon. Thank you.   Sharon: It's great to have you. First, what are your trepidations about going across the world?    Kristin: It is an adventure for sure. I've actually been at Long Beach City College for 21 years. This was my 21st year, so it's been quite an adventure. It's been an amazing time to spend with the students and an impressive faculty at the school. It's been an incredible privilege, and it's also given me the opportunity to develop a really strong program. Our jewelry entrepreneurship program is only a few years old, but we've been able to grow exponentially because of it.    It's interesting going to Scotland. I'll be joining the faculty of Duncan of Jordanstone College of Art & Design and the Jewelry and Metal Design Program. It's an amazing faculty there. They're one of the top design schools in the U.K. They have an amazing track record, and the faculty has also been working together for a long time. Here, I know where the funders are. I know where the suppliers are. I know where the galleries are. There, it's all going to be new. I don't know the funders. I don't know the suppliers. I don't know the metrics well enough. All these things are going to be so sparkly and new, so I hope they're patient with me.   Sharon: Did they come to you, or did you go to them?    Kristin: It's an interesting story. I have put quite a lot of time into the program at Long Beach City College. As I said, it had grown exponentially, and a lot of that growth happened during the pandemic. There was a lot of extra work that had to be done, and last fall, I took a term off to recover. I was a bit worn out. I was really burned out. So, I took a term off and had some time to think about what I wanted to do with myself after teaching for 20 years. I realized that what I wanted to do was go back to school. I was a bit jealous of my students because they were having such a good time. I'd always wanted to get a Ph.D., so I started talking to programs in the U.K. and EU because there are no practice-based Ph.D.s in our field in the U.S. I was looking for programs that I might be able to start either while I was still teaching and going into semi-retirement or after I retired.   I had had a wonderful conversation with Sandra Wilson at the University of Dundee. They have a wonderful Ph.D. program in jewelry. There are a number of programs they have practice-based Ph.D.s in, and I had a wonderful conversation with her. She was very supportive. I was getting ready to start putting together an application when they posted a full-time lecturer research position, so I thought, “Well, maybe I'll try that.” I applied for the position and didn't hear anything back for quite a long time. The university processes have their own pace. I think it was a Friday when I got an email saying, “Can you come and interview next Thursday?” There wasn't even time to ask if I could do a Zoom interview. I talked to my family, and they said, “Just go.” I left on Tuesday, interviewed on Thursday, and they made their first offer on Friday and I accepted it. It was serendipitous that I happened to be looking at Sandra Wilson's Instagram. I'd go for days and weeks, months without looking at Instagram, and I happened to look on the right day and see the post about the position opening. Now I'm surrounded by packing boxes.   Sharon: Wow! When you say a practice-based Ph.D. or a practice applied Ph.D., what does that mean and how is it different?   Kristin: Normally we think of Ph.D.s as being text-based. You present a dissertation that is all textual, and you have a verbal defense of the Ph.D. A practice-based Ph.D. can have other formats. Mine will likely have a text component, but also the practice, the work we do in the studio is part of the work for the Ph.D. That is a huge portion of the research. It requires very particular methodologies for approaching that research, but it's an approach that isn't very common in the U.S. It's much more common in the EU, U.K., Australia. I can't remember if there are any in Asia, but it's not found that much in the U.S., a practice-based Ph.D.    Sharon: Yeah, you think of a Ph.D., at least the way I know it from the U.S., as “piled higher and deeper.” You're going to be in a big city. It's mostly what happens.   Kristin: It's a wonderful acknowledgement of the actual work and contribution that artists make as opposed to, “Anybody can do that.” When you start to follow a line of inquiry to a very deep level, it allows so much more to unfold. You are able to connect with people who are doing similar work in different fields. I will be talking to people in the life sciences department. They have one of the top life sciences departments in the U.K., so I'll be able to work with them to do some overlap. It provides some really interesting opportunities for study, which I'm very excited about.    Sharon: How long would it be if you walked in the door and were accepted? How long of a program is it?   Kristin: It's difficult to say. Three to five years would be normal, I think. As I'm teaching, it's actually a part of my job to do that research. I'd be similar to someone who's in the lab doing research for a research lecture. So, I don't know how long. We'll see.   Sharon: I had trouble pinning it down because you're described as professor of metal arts and jewelry arts, applied design and an artist, so I didn't know. What are you, in a sense?   Kristin: I would hate to have to pick one of those things. We're very multilayered creatures, aren't we? I love making tacos, but I'm not someone who only makes tacos. I think that as makers we have our preferences, but just depending on what someone's interests, inclinations or curiosities are. I primarily work in jewelry because it is a method of approach, a method of inquiry, but what is interesting to me is the relationship to the body, and I particularly enjoy the history of it, its attachments. It has a lot of layering that I find really interesting, but when I get bored or stuck on a problem, I'll make a garment or I'll do drawings. It's not part of my practice to only do one thing. Not everything is a piece of jewelry, even though that's what I am primarily known for.   Sharon: How does that fit with metal arts?   Kristin: My training is in metal. Understanding both the properties and the way metal works is an interesting challenge. It's what I teach the most; working with metal and how to master it and develop skill bases. In my own practice, metal is a part that is foundational, but not complete.   Sharon: Do you see a difference in the way the mind works for the students who are more interested in jewelry versus those who are interested in metal? For instance, how do you differentiate? Is there a way the mind works that's drawn to metal versus a different mind for somebody drawn to jewelry arts or a different area?   Kristin: A teacher that I had a long time ago said, “People who are drawn to metal are people that like a little pushback. They like a little resistance.” Metal has its own logic, and you have to understand and follow that logic. Clay, for example, has a lot of process. It's very technology driven, but it also can be very intuitive. Painting can be very intuitive. You can go backwards and forwards. With jewelry, there's a massive skill base that is required technically, so the students who like the idea of working with metal in particular love that challenge. They are turned on by that challenge. They light up when something goes right, and sometimes they even light up when things go wrong because now they have more information.    For students who are attracted specifically to jewelry, often that is a gateway. They're attracted to the idea of jewelry. Sometimes they're attracted to the idea of being able to actually make a living in the arts. One of the important things that jewelry has to offer is that you can actually support yourself with your design and art skills. Sometimes, once they get to know the properties of working with metal, they may love it or they may not. Often, they do. Often, they're really compelled by it. Sometimes they have to find their own way to work with materials that have more flexibility in the processing. You're right. They are different mindsets in that way.   Sharon: It seems like there would be.   Kristin: You're absolutely right.   Sharon: You've been there for 21 years at the college. Did you pick up your master's and your Ph.D. while you were teaching, even though some of it's an applied Ph.D.?   Kristin: I will be starting my Ph.D. in Scotland. That's part of that plan. I did my Master of Fine Arts at the University of Arizona. That program has closed now. Michael Croft was my primary graduate advisor. Michael is a very gifted educator, fierce when we were in graduate school, but incredibly knowledgeable. He's not someone whose work you're going to hear a ton about because he doesn't aim for the spotlight. He's a quiet guy, but he made a name for himself in the 70s. He's a very highly respected jeweler and educator.    His partner is Eleanor Moty, who you may know of. Eleanor Moty was a consistent presence. Even though she was at the University of Wisconsin, Madison, she was a consistent presence in Tucson, where our graduate program was, so she had an influence there. Arizona at the time had four graduate programs in jewelry and metalwork. There was a very strong jewelry and metalwork community in Arizona up until the early 2000s. All of those have either changed or closed in the meantime. So, my inculturation to the jewelry and metalwork community was formed inside, literally, a crucible of the desert of Arizona. There was a very strong community.    In some ways, my undergraduate education was equally or possibly even more formative than my graduate education. I went to Berea College in Berea, Kentucky. It was a small, private, liberal arts college that is one of the very few work colleges in the U.S. That means every student who goes there works for the school and, in exchange, pays little or no tuition. It is one of the top schools in that region, particularly in the south. It's an amazing place.    There are a couple of things about it. It was founded by abolitionists in 1856 and since that time has had a history of coeducation. It was the first coeducational college in the south. Since that time, that has been its mission: to educate everyone equally. It has also been one of the very few schools that has its own crafts program. The students actually work in college-run craft industries. There is a huge ceramics industry; there's a huge weaving industry. They closed the jewelry industry right before I got there. The work is made by students, produced by the school and sold by the school, and it's sold nationally. It has a new designer residence program. Stephen Burks has been the first designer in residence. He is connected to Berea through Design Within Reach and a chair manufacturing company—   Sharon: Herman Miller.   Kristin: Herman Miller, thank you. The program has a tremendous amount of reach, and that program had a huge influence on how I think about craft and community.   Sharon: We will have photos posted on the website. Please head to The JewelryJourney.com to check them out.    

In episode 245 UNP founder and curator Grant Scott is in his shed reflecting on the centenarian photographer, when the sitter takes control and learning photography not facts. Plus this week, photographer John R.J.Taylor takes on the challenge of supplying Grant with an audio file no longer than 5 minutes in length in which he answer's the question ‘What Does Photography Mean to You?' John R. J. Taylor was born in Scotland in 1958 and studied art and photography at Duncan of Jordanstone College of Art in Scotland and photography at the Royal College of Art in London. His book Ideal Home was first published over thirty years ago in 1989 and quickly began to influence photographers and students as to what was a suitable subject for an image, opening up the possibilities of exploring the ordinary, everyday objects of life in a new way. Once a cult book, it is now considered a ‘modern classic'. Ideal Home is an almost forensic photographic record of his sister's north London suburban house. Working his way methodically around the house, Taylor documented the rooms, table tops, ornaments, interiors of fridges, cupboards, garden – as many aspects of the domestic interior of the home as possible. Taylor has continued to work on numerous projects ever since and his images have been collected by the Victoria and Albert Museum and the Museum of London and the Houston Museum of Fine Arts, Houston Texas, USA, exhibited throughout Europe and once in the USA. www.johnrjtaylorphotography.com Dr. Grant Scott is the founder/curator of United Nations of Photography, a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, a working photographer, documentary filmmaker, BBC Radio contributor and the author of Professional Photography: The New Global Landscape Explained (Routledge 2014), The Essential Student Guide to Professional Photography (Routledge 2015), New Ways of Seeing: The Democratic Language of Photography (Routledge 2019). His film Do Not Bend: The Photographic Life of Bill Jay was first screened in 2018 www.donotbendfilm.com. He is the presenter of the A Photographic Life and In Search of Bill Jay podcasts. © Grant Scott 2023

Tayside and Fife's essential morning news briefing, presented by Kate Brown. Our producer Morven McIntyre heads to the Lamb Gallery to chat to a couple of the artists part of the 'Tales of the Unexpected' exhibition. Artist, Susie Johnston speaks on her chosen archive from the brittle bone society. Whilst PHD researcher at Duncan of Jordanstone College of Art & Design, Katie Potapoff choses an archive from the case records of female patients from the Dundee asylum from 1893-1894.

In the 28th issue of Contemporary Czech Art in Berlin, we talk to the visual artist and cultural organizer Alice Máselníková. Alice Máselníková (b. 1989, Zlín, Czech Republic) is a visual artist, and an organizer of various artist-run initiatives based in Stockholm. She is one of the three creative directors of Supermarket – Stockholm Independent Art Fair, founder of the artist-run initiative Flat Octopus, project leader of ARNE (Artist-Run Network Europe), project manager at Intercult, while she also works independently as a curator, editor, and cultural funding advisor. In her artistic practice which includes painting and writing, she deals with themes such as interactions of human bodies, the fragility of internal experiences and its external manifestation. Máselníková's last solo exhibition titled Those games we fail to play took place in June in TOP project space in Berlin, and at the moment she is preparing her next solo exhibition in Frankfurt am Main at gallery Eulengasse opening on 2 September as well as another in Stockholm at Konsthallen Studio ABC in Vällingby in October. This year she also exhibited solo at KH7 in Aarhus, Denmark, and in a duo show with sculptor Tone Linghult at the Residency of the Czech Ambassador in Stockholm. Alice holds a bachelor's in Art and Philosophy from Duncan of Jordanstone College of Arts and Design, in Dundee, UK. Afterwards she received a master's education in Curating Art from Stockholm University in Sweden. She also studied Fine Art at Universidad Politécnica de Valencia in Spain.

In this second episode of Little Gems... David and Emma talk about their very first memories of being interested in jewellery and creative processes. From Lego to vintage bling, with an insight into making jewellery from food, plus a plastic pot of diamonds and rubies - these are eclectic stories. David tells us a bit about his colour blindness and how it changes his view on the world. Emma rambles on about her time at Duncan of Jordanstone College of Art and Design and her foray into stop motion animation - interchangeable boobs anyone? David and Emma also discuss Instagram feeds they like to follow.In this episode Emma and David talk about:• How they came to be interested in jewellery in the first instance.• How that interest developed over time and how other people's opinions swayed them, or not!• David talks about overcoming the challenge of his colour blindness, particularly when working with stained glass. • More feeds you might like to follow on Instagram.To find out more about Emma and David find them on Instagram, Facebook and their websites. Why not take a look at the upcoming workshops and of course their jewellery collections:Emmainstagram.com/emma.white.jewelleryhttps://www.thejewellerymakers.co.uk/https://www.facebook.com/thejewellerymakersDavidhttps://www.instagram.com/davidjlillyjewellery/https://www.davidjlilly.com/Join David next time as he interviews podcaster and psychologist Krish Surroy while Emma holidays with her family.Want to submit a question? Email us your jewellery (or other) questions to: emmaanddavidslittlegems@gmail.com

In this episode Jana talks with Margaret Kerr about her personal and professional research on place memory. Margaret shares some of her experiences of connecting deeply with the history of places and they explore how this may enable us to heal our own as well as collective wounds. YOU'LL LEARN ABOUT: the practice and gifts of tapping into place memory using your body as an instrument to connect and heal intuitive ways of knowing ABOUT MARGARET KERR Margaret Kerr lives and works in Scotland. She worked as a medical doctor and researcher for 10 years before retraining in psychology, psychotherapy and mindfulness-based approaches to health. She has practiced as a therapist for the past 20 years, and also works as a mountain leader. She runs outdoor mindfulness and nature connection retreats in Scotland. As well as her therapy work, she is a practicing artist and is involved in post graduate study at Duncan of Jordanstone College of Art and Design in Dundee. The focus of all her work is on helping to deepen our connections with the rest of nature. RESOURCES: Margaret Kerr research at Dundee University Nature Connection- a handbook of practices for therapy and self-exploration Body and Awareness- 20 contemporary approaches to the study and experience of embodied awareness

Episode 110 of the Common Weal Policy Podcast You can download the episode directly here.Apologies for the drop in audio quality in this episode. This was due to technical difficulties and Craig remote working due to (non-Covid) illness.This week, Craig is joined by Bill Johnston to discuss their mutually co-written book All of Our Futures: Scotland's ageing population and what to do about it. This book presents a comprehensive strategy for Scotland's ongoing demographic transition, how that must be done in a way that breaks down ageism systemic to our politics and economy and how doing this can present Scotland's older people with a Social Contract for a better, healthier and more inclusive life. They discuss some topics within the book such as how a neoliberal economy inevitably leads to ageism, how the politics of ageing is often far too short term and some specific policies from the book such as how an independent Scotland could overhaul the UK's broken pension sector.You can buy a copy of All of Our Futures in the Common Weal shop here.And check out our other merchandise here.https://commonweal.scot/shop/Common Weal's work is only possible thanks to our generous supporters who regularly donate an average of £10 per month. If you would like to help us build our vision of an All of Us First Scotland, you can do so here: https://commonweal.scot/product-category/support-us/The Policy Podcast would like to discuss all of Common Weal's policy papers in detail as well as other major policy stories in and around Scotland so if there are any topics that you would like to see covered or if you have an interesting policy story to tell and would like to be a guest on the show, please contact Craig at craig@common.scotYou can also find us on iTunes, Spotify, Castbox, Stitcher, Tunein, iHeart Radio and other major podcast aggregators.You can also add the podcast to your RSS feed using this link: https://feeds.buzzsprout.com/264906.rssImage Credit: Maisie Mackenzie - Produced as part of a joint project between Common Weal and Duncan of Jordanstone College of Art and Design Theme"Hiding Your Reality" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 3.0 Licensehttp://creativecommons.org/licenses/by/3.0/Support the show (http://commonweal.scot/about/donate)

The Braw and The Brave is a podcast about people and their passions. Episode 157 is in conversation with artist Rowan Rosie. Studying Fine Art at Duncan of Jordanstone College of Art and Design in Dundee, Rowan has carved out a successful career as an artist living and working in Glasgow. The use of colour and light in her work is inspired by the places she has explored whilst travelling and living in Melbourne's after her studies, with memories of patterns and figures informing her abstract take on her experiences. From school wet playtime creations to exhibiting her work in galleries, Rowan recounts the highlights to date and the journey to becoming a professional artist and what it means to pursue your passions in life! Enjoy! Website https://www.rowanrosie.com Instagram https://instagram.com/rowanrosiestudio?utm_medium=copy_link Memories & Visions: Rowan Rosie & David Iain Brown with The Rafiki Gallery, Edinburgh. 9th - 22nd July 2021, (entry FREE) Public opening night Friday 9th July 5-9pm RSVP essential (see Rafiki Gallery for RSVP details) Address: The Upright Gallery, 3 Barclay Terrace, Bruntsfield, Edinburgh, EH10 4HP If you've enjoyed this episode you can help support the production of future episodes by clicking on the Ko-Fi link below. Many thanks. https://ko-fi.com/thebrawandthebrave Follow The Braw and The Brave https://www.instagram.com/thebrawandthebravepodcast/ https://www.facebook.com/TheBrawandTheBrave https://twitter.com/BrawBrave See https://soundcloud.com/ for privacy and terms of use

Episode 78 of the Common Weal Policy PodcastYou can download the episode directly here.This week, Jonathon Shafi and Craig Dalzell discuss Common Weal's Land Reform Week. In particular, they look at our latest policy papers Work The Land - which illustrates the economic impact of creating tens of thousands of new jobs in Scotland's rural communities - and Our Land - which shows how the Scottish Government could enact radical land reform now to make that all happen.Common Weal's previous work on land reform includes our Common Home Plan and Back to Life, a vision for reforming Scotland's grouse moors.Craig also mentions this news story which reports on the £5 billion of "investment" capital looking to try to capture Scotland's land for its own ends. Common Weal's work is only possible thanks to our generous supporters who regularly donate an average of £10 per month. If you would like to help us build our vision of an All of Us First Scotland, you can do so here: http://commonweal.scot/about/donateThe Policy Podcast would like to discuss all of Common Weal's policy papers in detail so if there are any papers that you would like to see covered sooner rather than later, send your suggestions in to craig@common.scotYou can also find us on iTunes, Spotify, Castbox, Stitcher, Tunein, iHeart Radio and other major podcast aggregators.You can also add the podcast to your RSS feed using this link: https://feeds.buzzsprout.com/264906.rssImage Credit: Georgina Croll. This image is part of a series of illustrations produced by students of the Duncan of Jordanstone College of Art and Design in a joint project with Common Weal. Further illustrations can be seen in the Our Land paper. Theme"Hiding Your Reality" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 3.0 Licensehttp://creativecommons.org/licenses/by/3.0/Support the show (http://commonweal.scot/about/donate)

Our guest for this podcast is a guy with a very curious mind and heart. Meet Joachim Saflund, or Joe to his friends. This curiosity has caused him a lot of things-- mostly trouble, then and now, and he hopes it continues to do so. But this same curiosity and trouble is what also brought him happiness. But the way he lived his life has been an inspiration, seeing through what to be and not to be until the being he created of himself has helped him become. For Joe, as he humbly shares here, he is a person past middle age, someone people can say successful in his career as an artist, not without talent, drive and focus, but has not followed through with what people would call a solid career or path. He wondered if this was a good thing until he realized how he's held himself has also a purpose and place in this world for others to benefit from. A few weeks ago, he met a young man, the son of a good friend. He had started working on his friend's garden when the son came around to ask him out of the blue for some advice on life. In this meaningful conversation, Joe summed up to say: You got to find a way, your own way. And even it is pondering over a cup of tea and enjoy life and understand that we are all wondrous beings and wonderful even if we don't express it in a particular way right now. We need to settle on what it is we want to do. The son said it's the best advice he got in his life - turning 30 years old now. That moment made Joe realize that it's the work he has been meant to do. Why he is here. Joe takes us on his thought journey of how he came to make sense of things-- finding happiness and contentment, in everything he does. Joe is very tenacious, able to sit still and plough through things, and tolerate discomfort or pain. But he learned when and how to stop clawing to the pain that’s damaging him. This is one of the many places where his curiosity has not gone well. But he kneaded his way through, with artful practice and learning from people and things that have become his teacher all throughout. Come and let’s join him in this conversation...   Links mention in the podcast Joakim's website Balance Yoga Sydney Watch video of the podcast Schedule free Ayurvedic consultation Check out our Free Meditation Challenge with Alexandra   Podcast Highlights To tell anybody that doing nothing is the best you can do is wrong. Because to do nothing, there needs to be an embodiment of great openness and emptiness and clarity to be doing nothing. - Joachim Saflund Everything should be a teacher. If you sit down and stay at that moment, you can see what you're feeling, feel what your body is telling you and understand what you need to do. But not everyone will know that and are going to take that advice. Having a teacher, whoever and however they are, you've got to practice loving them. - Joachim Saflund If you haven't learned the right connection in inner journeying and outer seeing, you need a teacher in life, and you have to acknowledge that there is a relationship between the two of you. But teachers are not only humans; they can be pets, things… - Alexandra Kreis Life is about breathing--in and out, expansion and contraction, inspiration and letting go, renewing, happiness and so on-- all cyclical. But I've always been interested in exploring the gaps between the breaths. - Joachim Saflund Depression is sometimes like cocooning, not always a black hole. Happiness is like a spark in the distance, it's still right there, stay close to that. - Joachim Saflund   Guest BIO:  Joakim Säflund is an artist working primarily but not exclusively with painting. Born in 1963 in Sweden. He is currently living and working in Sydney. He began his formal art education at Virginska Skolan, Örebro, Sweden. Then went on to take an M.F.A. at the 'Bauhaus inspired' HDK, University of Göteborg, specializing in graphic design. One year of which was spent at Duncan of Jordanstone College of Art and Design, Dundee, Scotland. After graduating from HDK he spent time apprenticed to Swedish sculptor Pål Svenson. His subject matter is wide-ranging.

Alan MacDonald had a very different childhood. Born in 1962, he was brought up in Malawi, Central Africa. It was a fantastic place for a child to grow up; days were filled with imaginative play, as there was no TV. When he was 13, Alan moved with his family to Scotland and went to school in Dundee. Everything was different and fascinated him. After school, Alan successfully applied to Duncan of Jordanstone College of Art in Dundee, where he studied Fine Art.He graduated in 1984 and went to the Cyprus College of Art in Paphos for postgraduate studies. Afterward Alan worked for a brief time in a studio in Dundee before being offered an Acme Studio/Accommodation in London. He lived and worked in London as an artist for 15 years, exhibiting with over 10 galleries in London, Amsterdam, San Francisco and New York City. Alan moved back to Scotland with his wife and young son in 2003, acquiring an old bank in Carnoustie where he now lives and paints. See photos of Alan's work in the show notes for this episode at PassionatePainterPodcast.com.

Episode 49 is with local artist Jaye Christie, we spoke about Jaye's time growing up in the 80's in Glenrothes, being compelled to create work through his imagination, studying at Duncan and Jordanstone College of Art and Design, and much more. It was great catching up with Jaye definitely good people and appreciate him coming on the podcast to share his story with us. So be sure to follow Jaye on the link below to see his what his been up to. https://www.instagram.com/jayechristie/ All Creative me Podcast episodes are available to download for free on Soundcloud, Itunes, Google Podcasts, Player FM, Podcast Addict, Tunein Radio, and Spotify

Lauren is a service designer and describes herself as an ‘Ambassador of people’. She’s already had a pretty glittering career being named in Elle’s top 30 women under 30 and bagging an OBE in the Queen’s latest honours list. She studied product design at Duncan of Jordanstone College of Art & Design in Dundee the year above me. She also went on to do a Masters in Design where it allowed her to focus on Service Design. At that time it was very much an emerging discipline and you could argue it still is today. After university Lauren has gone on to a multitude of successes. Co-founding Snook, one of Scotland’s first Service Design agencies and then moving through a few positions until starting her current post at The Good Lab - A collaboration of 12 of the UK’s best-known charities looking at new and innovative ways of raising funds. What strikes me about Lauren is her drive and determination to make change for the better. To stand up against the issues that she is passionate about and really make a difference. No more so than one of her current projects #upfront. Encouraging and elevating new voices on and off public stages by working with conferences, business and individuals. Allowing speakers to bring others up to share their stage and bring diversity into the male white dominated area of public speaking. Lauren’s Website - https://www.redjotter.com/ Lauren’s Twitter - https://twitter.com/Redjotter Lauren’s Instagram - https://www.instagram.com/redjotter/ My police - https://twitter.com/mypolice Snook - https://wearesnook.com/ Swiss Miss - http://www.swiss-miss.com/ Upfront - http://weareupfront.com/ Good lab - http://www.thegoodlab.co.uk/ Lauren’s stand up - https://www.redjotter.com/redjotterblog/2017/3/23/standing-up-for-what-matters-literally Sustainable stand up - https://www.sustainablestandup.com/#courses Podcast recommendation #01 - http://www.comedianscomedian.com/

Tommy is an amazing artist, designer, musician and now lecturer at Duncan of Jordanstone College of Art and Design in Dundee. He is amazingly modest and humble but has produced a wide variety of outstanding work. In this first part of two we chat about his creative journey from childhood to university to artist and now lecturer. Instagram - https://www.instagram.com/surfacepressure/ Portfolio - http://surfacepressure.net/ Twitter - https://twitter.com/surfacepressure Blog - https://sites.dev.dundee.ac.uk/shapesandletters/author/tperman/ Peacocks visual arts Aberdeen - http://www.peacockvisualarts.com/ Cybrafon - http://www.nms.ac.uk/explore/stories/science-and-technology/cybraphon/

Fiona Jardine has a BA in Fine Art from Duncan of Jordanstone College of Art and Design, and an MFA from Glasgow School of Art. Currently, Jardine is pursuing a PhD programme of research at the University of Wolverhampton. Fiona presents The Transfiguration of the Commonplace. Taking Muriel Spark's novel "The Prime of Miss Jean Brodie" as a starting point, Jardine makes links to Arthur Danto's analytical philosophy of art and Jacques Ranciere's pedagogical considerations in "The Ignorant Schoolmaster" and "The Emancipated Spectator" in order to establish a notion of the artwork's rhetorical function in framing experience.

Fiona Jardine has a BA in Fine Art from Duncan of Jordanstone College of Art and Design, and an MFA from Glasgow School of Art. Currently, Jardine is pursuing a PhD programme of research at the University of Wolverhampton. Fiona presents The Transfiguration of the Commonplace. Taking Muriel Spark's novel "The Prime of Miss Jean Brodie" as a starting point, Jardine makes links to Arthur Danto's analytical philosophy of art and Jacques Ranciere's pedagogical considerations in "The Ignorant Schoolmaster" and "The Emancipated Spectator" in order to establish a notion of the artwork's rhetorical function in framing experience.