Podcasts about Josef Albers

Today on another encore episode of the Rarified Heir Podcast, we are talking to musician Jon Klages, grandson of musician and Hi-Fi proponent and record label owner Enoch Light. Our conversation with Jon began with understanding just who his grandfather was. A classically trained musician, Enoch founded his first group, Enoch Light & His Orchestra & later Enoch Light and the Light Brigade before World War II. Wildly popular in upper class New York society, Light went on to found one of the most unique independent record labels, well, ever. Vinyl collectors today will know Light's Command Records & Project 3 firstly for its unique, minimalist artwork from renowned artist Josel Albers. From classical to pop to Space Age Bachelor Pop to popular soundtrack hits and more, Light was nothing if not proficient. From albums like Persuasive Percussion to The Private Life of a Private Eye, Lights albums were visually stunning first and foremost. But take a listen to any of his albums from composers as varied as Doc Severinson, Dick Hyman, Tommy Mottola & the landmark album from The Free Design, the albums were recorded for the best audio fidelity available. The albums sound terrific. We discuss this with Jon & loved hearing about how his own mother played a role in all these recordings too. If you love the Moog, horns, Bossa Nova and more mid-sixties exotica, you must find these albums for your collection. We also talk to Jon about his experiences in the studio with his grandfather as well as his own recordings. Part of the fabled Hoboken indie scene of the 1980s, Jon release a new album in 2021, Fabulous Twilight and has a new album coming in 2025 as well. We discuss how Jon became a singer/songwriter, how his passion for being around music led to a career in it and much more. Plus, we hear much about Jon's father, a seven-time Emmy winner for lighting design who worked with everyone from Muhammad Ali to Ernie Kovacs. This is one episode you do not want to miss and it's happening right now. Take a listen to the Rarified Heir Podcast with Jon Klages, right now.            

Nuria Enguita ( Madrid, 1967) é historiadora, editora e curadora. Licenciada em História e Teoria da Arte pela Universidad Autónoma de Madrid (1990), leccionou teoria e gestão da arte em numerosos centros e universidades e publicou numerosos textos em catálogos e revistas de arte contemporânea como Parkett, Afterall e Concreta.. Entre 1991 e 1998 foi curadora do IVAM, em Valência. Como Directora Artística da Fundació Antoni Tàpies, em Barcelona, entre 1998 e 2008, organizou exposições e publicações de Ligya Clark, Chris Marker, Sanja Ivekovic, Ibon Aranberri, Pedro G. Romero e Steve McQueen, entre outros. Trabalhou ainda em projectos como Tour-ismos. A Derrota da Dissidência e Representações Árabes Contemporâneas, dirigido por Catherine David. Entre 2008 e 2015, como curadora independente, organizou exposições em instituições espanholas e portuguesas. Entre 2012 e 2020 foi editora da Revista Concreta. Entre 2000 e 2014 membro do programa arteypensamiento da UNIA-Universidad Internacional de Andalucía, onde em 2009 liderou o projeto "Narrativas de Fuga", com artistas como Alice Creischer ou Pedro Costa. Foi editora do Afterall Journal, Centro de Investigação da University of the Arts London, entre 2007 e 2014. Foi co-curadora da 31ª Bienal de São Paulo, 2014, do Encuentro Internacional de Medellín em 2011, e da Manifesta 4 em Frankfurt em 2002. Entre 2015 e 2020 foi directora do Centro de Arte Bombas Gens, Valência, onde organizou exposições dedicadas à coleção do centro e exposições temporárias de Sheela Gowda, Anna-Eva Bergman e Irma Blank. É directora do IVAM-Institut Valencià d'Art Modern, entre 2020 e 2024, onde estabeleceu um programa de exposições de grande relevância, tanto ao nível da coleção com exposições como popular, Arte en una tierra baldía (1939-1959) assim como no caso de exposições temporárias: Anni e Josef Albers, Asger Jorn, Grupo Zero, Zanele Muholi, Teresa Lanceta, Anna Boghiguian, Otobong Nkanga, entre outras, e de jovens artistas do contexto local. Durante a sua direção, foi desenvolvido o Programa de Estudos Articulacions em colaboração com as duas universidades públicas de Valência, e os programas públicos adquiriram uma dimensão central no museu. É Directora artística do MAC/ CCB desde Maio de 2024. Links: https://expresso.pt/cultura/2024-03-14-Quem-e-Nuria-Enguita-a-curadora-espanhola-escolhida-para-a-direcao-artistica-do-MAC-CCB-0db704c6 https://contemporanea.pt/edicoes/2025/entrevista-nuria-enguita https://www.youtube.com/watch?v=S8u8Yz3NrYA https://www.youtube.com/watch?v=i8uJyFySyPk https://www.youtube.com/watch?v=18SVOyRM3e8 https://galeriamayoral.com/news/68-interviews-with-the-fundacio-antoni-tapies-former-and-interviews-with-the-fundacio-antoni-tapies-former-and/ https://www.artealdia.com/News/NURIA-ENGUITA-NAMED-DIRECTOR-AT-THE-INSTITUT-VALENCIA-D-ART-MODERN https://editorialconcreta.org/en/author/nuria-enguita-mayo/ https://ivam.es/en/articulations-ivam-uv-upv-study-programme/ https://www.p55.art/en/blogs/p55-magazine/nuria-enguita-e-nova-diretora-artistica-do-mac-ccb?srsltid=AfmBOopjPZGTCC-bdXjtTXmtLTkcM9AgqJTD8VrCksH3ybC08eBNZPEs https://elpais.com/espana/comunidad-valenciana/2024-03-14/nuria-enguita-nueva-directora-del-museo-de-arte-de-lisboa-tres-semanas-despues-de-dimitir-en-el-ivam.html Episódio gravado a 27.03.2025 Créditos introdução: David Maranha - Flauta e percussão Créditos música final: Feeling Good, Nina Simone, Letra Anthony Newly e Leslie Bricusse, Produção Hal Mooney, Universal Music Group http://www.appleton.pt Mecenas Appleton:HCI / Colecção Maria e Armando Cabral / A2P / MyStory Hotels Apoio:Câmara Municipal de Lisboa Financiamento:República Portuguesa – Cultura / DGArtes – Direcção Geral das Artes © Appleton, todos os direitos reservados

This episode is dedicated to a Japanese couple who went all the way to Germany to study at the Bauhaus in Dessau: Iwao and Michiko Yamawaki. When they met each other in 1928 Iwao Fujita had already studied architecture in Tokyo and was also actively involved in the theatre. Michiko came from a very wealthy family and was a culturally educated young woman of 18 years. By marrying into the Yamawaki family Iwao profited from their wealth. He happily took on Michiko's family name in exchange for a World trip with that one final destination: the Bauhaus in Dessau. In July of 1930 the Yamawakis left Japan, stayed for some time in New York and then went on to Berlin and Dessau. After the preliminary course Michiko decided – due to her interest in fashion – to go into the weaving workshop. Iwao, though an already formed architect, chose to continue in the photo class. He developed a special interest in photo montages. One of them entitled „The attack on the Bauhaus“ became the visual epitome of the forced closure of the Bauhaus by the Nazis and is today often used as an illustration of that dark last period of the Bauhaus. These two years at the Bauhaus shaped the future of the Yamawakis sustainably. Upon returning to Japan in 1932, they became pivotal figures in introducing Bauhaus principles to their home country. They brought back a vast collection of Bauhaus objects, books, and furniture, creating a Bauhaus-inspired ambiance in their Tokyo home. And they both taught at art schools using the Bauhaus principles of Josef Albers' Vorkurs. On this episode not one but two great researchers help me tell the story of Michiko and Iwao Yamawaki: Helena Čapková and Mariko Takagi. And a special shout-out to Anika Takagi who allowed me to use her wonderful illustrations of the Yamawakis.

fWotD Episode 2783: 1271 Avenue of the Americas Welcome to Featured Wiki of the Day, your daily dose of knowledge from Wikipedia’s finest articles.The featured article for Tuesday, 17 December 2024 is 1271 Avenue of the Americas.1271 Avenue of the Americas (formerly known as the Time & Life Building) is a 48-story skyscraper on Sixth Avenue (Avenue of the Americas), between 50th and 51st streets, in the Midtown Manhattan neighborhood of New York City. Designed by architect Wallace Harrison of Harrison, Abramovitz, and Harris, the building was developed between 1956 and 1960 as part of Rockefeller Center.The building's eight-story base partially wraps around its 48-story main shaft. Both sections are surrounded by a plaza, which has white-and-gray pavement in a serpentine pattern, as well as water fountains. The facade consists of glass panels between limestone columns. The lobby contains serpentine floors, white-marble and stainless-steel walls, and reddish-burgundy glass ceilings, in addition to artwork by Josef Albers, Fritz Glarner, and Francis Brennan. The ground floor also includes storefronts and originally housed La Fonda del Sol, a Latin American–themed restaurant. Each of the upper floors covers 28,000 sq ft (2,600 m2), with the offices arranged around the core. The 48th floor originally contained the Hemisphere Club, which operated as a members-only restaurant during the day and was open to the public during evenings.After Time Inc. expressed its intention to move from 1 Rockefeller Plaza in the 1950s, Rockefeller Center's owners proposed a skyscraper at 1271 Avenue of the Americas to accommodate the move. Construction started in May 1957; the building was topped out during November 1958, and occupants began moving into their offices in late 1959. The New York City Landmarks Preservation Commission designated the lobby as a city landmark in 2002. Time Inc. vacated 1271 Avenue of the Americas in 2015, and the building was subsequently renovated between 2015 and 2019.This recording reflects the Wikipedia text as of 00:38 UTC on Tuesday, 17 December 2024.For the full current version of the article, see 1271 Avenue of the Americas on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm generative Danielle.

Remembering the great Audrey Flack (1931–2024). Earlier this year, I interviewed Flack over a series of interviews before she passed away on 28 June 2024. Audrey was a force, and I hope you enjoy listening to her powerful and moving words. If you want to learn more, I highly recommend her memoir: With Darkness Came Stars: A Memoir (https://www.psupress.org/books/titles/978-0-271-09674-2.html) -- I couldn't be more excited to say that my guest on the GWA Podcast is the esteemed American artist, sculptor, photo-realist painter, and native New Yorker, Audrey Flack. Hailed for her sculptures of divine goddesses and Biblical characters; her paintings evocative of Old Masters that explore the historic subjects but with pop imagery; and abstract canvases, made in the 1940s and 50s, filled with swathes of movement, colour, and vigour – Audrey Flack, has been at the forefront of the art world. Brought up in New York City, Flack studied at Cooper Union and then Yale, where she was one of the only women and was taught under Josef Albers – in the early 1950s Flack found herself amongst the burgeoning downtown art scene, where she frequented the Abstract Expressionist haunt, the Cedar Bar, and hung out with her friends who included Lee Krasner, Joan Mitchell, Grace Hartigan. Audrey Flack knew them all. At the onset of Pop, she turned to photorealist painting, capturing in it distinctively feminist subjects, such as traditional objects associated with femininity and beauty, and then it was to sculpting female archetypes, taking back ancient-old stories steeped in misogynism, and reworking them for a 20th and 21st century audience. Whilst she paints and sculpts – and is in the collections of museums such as the Met and MoMA, – Audrey also takes the role of lead vocals and banjo with her band “Audrey Flack and the History of Art Band”, where she centres her songs around female injustice, the most recent being about the French sculptor, Camille Claudel. At 93 years old, you can often find her wearing t-shirts emblazoned with slogans such as Feminist AF, posing in front of her large-scale works, and wearing sunglasses inside. Flack has written it all down in a memoir – With Darkness Came Stars, one of the most moving, extraordinary books I've ever read. Not just for her artistic insights and incredible first-hand analogies of those who she knew in the 20th Century New York artworld, but, for writing, in such genuine words, the truth of what it's like being a mother, a mother and an artist, and a mother to an autistic child. I was moved to tears a number of times. It made me realise, so acutely, how women and mothers have been treated with such injustice, yet had so much resilience to fight for their voice, their art, their children, and their path. I couldn't recommend it highly enough. -- THIS EPISODE IS GENEROUSLY SUPPORTED BY THE LEVETT COLLECTION: https://www.famm.com/en/ https://www.instagram.com/famm_mougins // https://www.merrellpublishers.com/9781858947037 Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Nada Smiljanic Music by Ben Wetherfield

Anni Albers' pioneering journey in elevating textiles to fine art is discussed with guest Marian Bantjes, renowned for her intricate, ornamental designs that blend typography, art, and personal storytelling._______This show is powered by Nice PeopleJoin this podcast and the Patreon community: patreon.com/womendesignersyoushouldknowHave a 1:1 mentor call with Amber Asay: intro.co/amberasay Sources:1968 Interview with Anni Albers — conducted 1968 July 5, by Sevim Fesci, for the Archives of American ArtBook — On Weaving by Anni Albers – A seminal work where Anni reflects on her life, her craft, and the philosophies behind her approach to weaving.Book — Anni and Josef Albers: Equal and Unequal by Nicholas Fox Weber – A comprehensive biography that delves deep into Albers' life and work, offering insights into her creative process and legacy.Book — Anni and Josef Albers: Art and Life by Julia Garimorth, Vincent Broqua, and Brenda DanilowitzVideo — "Bauhaus: The Face of the 20th Century" (1994) – A BBC documentary that covers the history of the Bauhaus, including interviews and insights into Anni Albers' role within the movement.Video — "Black Mountain College” Visionaries Episode – This documentary explores the experimental college where Anni and Josef Albers taught, emphasizing its influence on modern art and design.The Josef & Anni Albers Foundation – https://albersfoundation.org/ – The official website of the Albers Foundation, featuring extensive information on her life, work, and exhibitions.MoMA Learning: Anni Albers – https://www.moma.org/learn/moma_learning/anni-albers/  – A resource that provides an educational overview of Anni Albers' work within the context of modern art. About Anni AlbersAnni Albers is widely considered to be the foremost textile designer of the 20th century. She made major innovations in the field of functional materials and at the same time she expanded the possibilities of single weavings and individual artworks. She was also an adventurous graphic artist who took printmaking technique into previously uncharted territory.Not only was she a pioneering textile artist, and printmaker, but she was an educator whose work redefined the boundaries between craft and fine art. She may arguably be THE person responsible for helping the masses see textile as art, not just craft. She studied at the Bauhaus, taught at Black Mountain College in North Carolina, where she continued to push the limits of weaving, experimenting with unconventional materials and techniques. Her book On Weaving (1965) remains a seminal text in textile design. About Marian BantjesMarian's Books:I WonderPretty PicturesMarian Bantjes (b. 1963) @bantjes is a Canadian graphic artist who is known for her signature maximalist style. Her intricate ornamentation creates texture and illusion, and challenges the minimalist boundaries of traditional graphic design.Her clients include Pentagram, Saks Fifth Avenue, Print Magazine, Wallpaper* , WIRED, Creative Review, The Guardian (UK), The New York Times, AIGA, TypeCon, and more.Her career spans 3 stages: she started in the 80s as a book typesetter for a publishing company and then from there she became partner at a small design firm in Canada, working on brand identity and communication designs.In 2003 Marian decided to embark on the work that has brought her international recognition and fame as a world-class visual designerHer work has an underlying structure that frames its fluid nature and she has an impressive way of interweaving word and image.She says "throwing your individuality into a project is heresy" but she has built a career doing just that, as her signature style is unmistakable. In 2007 she released Restraint, a typeface that integrates her style of ornamentation to be used as shapes and borders.Marian has been honored with several awards over the years and her work is now part of the permanent collection at the Cooper-Hewitt National Design Museum. ____View all the visually rich 1-min reels of each woman on IG below:Instagram: Amber AsayInstagram: Women Designers Pod

Michael Craig-Martin talks to Ben Luke about his influences—from writers to film-makers and, of course, other artists—and the cultural experiences that have shaped his life and work. Craig-Martin was born in Dublin in 1941, and grew up in the US, but has been based in London for most of his working life. ​​Over the past six decades he has created an instantly recognisable body of work in which everyday objects are depicted simply in black outlines and often filled and surrounded by saturated, bright colour. The objects can be alone, in close-up fragments, or in complex combinations, and are captured in everything from small prints to room-scale installations. Intending at first to eschew style, Craig-Martin came to realise that his technique is inimitably his. And the works' meaning has also shifted over the decades, gaining new and poetic meanings. Fifty years on from his first drawing, his core questions remain: what is it to represent something, to make an image of it? How does image-making work? What does it allow you to do? And what happens when a viewer encounters what you have done? The result is a world of sensation and visual and experiential pleasure that might seem unexpected given the nature of the items he depicts. This knack of making the humdrum compelling, even lending it a sensory power and emotional resonance, is why Craig-Martin has remained an enduringly significant figure in contemporary art. He talks about returning to the basics of drawing in the mid-1970s when it was “forbidden territory”, his slow but eventually hearty embrace of colour, why humour is a useful tool in addressing subjects of the utmost seriousness, his early encounter with the work of Picasso as a child in Washington DC, the effect of studying according to the principles of Josef Albers at Yale, his admiration for Bruce Nauman and Gerhard Richter, and his love of the work of Samuel Beckett. Plus, he responds to our usual questions, including the ultimate: what is art for?Michael Craig-Martin, Royal Academy of Arts, London, 21 September-10 December; Michael Craig-Martin: An Anthology, Prints and Multiples 1996 – 2024, Cristea Roberts, London, 25 October-23 November. Hosted on Acast. See acast.com/privacy for more information.

Fritz Horstman talks us through some of the ideas in his new book, Interacting with Color: A Practical Guide to Josef Albers's Color Experiments.

To listen to the complete episode with Adam Henry as well as all past Bonus episodes, please become a Patreon supporter of the podcast here: https://www.patreon.com/theconversationpod New York-based artist Adam Henry talks about: His recently ended show at Candice Madey gallery, and how he defines a ‘successful show' (a mix of sales, critical dialogue generated, and future opportunities); the advantages of having a fellow artist as a partner, but how it's also necessary to get alone time when you need it, including time for processing after you've had a show, which has included the fact that this is the first time he's shown work whose meaning he doesn't fully understand, and the first time he's comfortable saying that; how one of the most powerful experiences you can have with art, is to have your mind changed; how important the process of perception is to him and his work, and how his journey through perception started with color theory and Josef Albers and wound up with Wittgenstein, and eventually he wound up in psychedelics; how his making abstract work during the rise of process-based abstraction (aka zombie formalism) was challenging in that he had far fewer opportunities because of the market shift; how important it is to put the emphasis on the intention of the artwork when viewing work, as opposed to the person who made it or the value; how his partner, who is also a painter – a figurative painter, in fact – has at times been the breadwinner of the two, and vice versa, which has served them both well; the great exchanges he and his wife have about the exhibitions they view together.

In diesem Podcast reden Neele und Jonas aus dem Salon5-Team über die Mottowoche an ihrer Schule. Sie erzählen euch, wie sie diese Woche wahrnehmen und was sie besonders toll finden. Hört doch mal rein!

In s3e51, Platemark host Ann Shafer talks with Chris Santa Maria, artist and gallery director at Gemini G.E.L. at Joni Moisant Weyl. As director of the New York gallery, Chris is responsible for showcasing and selling the print output of the storied LA workshop to enable it to keep working with amazing artists and producing incredible editions. Chris and Ann touch on Gemini's history, the structure of the workshop, how artists get to work there, and Julie Mehretu, Julie Mehretu, and Julie Mehretu. They also talk about Chris' side hustle as an artist and his intricate paper collages. Josef Albers. White Line Square IV, 1966. 53.3 x 53.3 cm (21 x 21 in.). 2011. The Josef and Anni Albers Foundation / Artists Rights Society (ARS), New York; ©Gemini G.E.L. and the Artist. Chris Santa Maria wrangling prints at Gemini G.E.L. at Joni Moisant Weyl, New York. Sidney Felsen, co-founder of Gemini G.E.L. Photo by Alex Berliner. Gemini G.E.L. at Joni Moisant Weyl, 535 West 24th Street, third floor, New York. ©Gemini G.E.L., Los Angeles, California. Chris Santa Maria hanging Julie Mehretu's print at Art Basel Miami, 2019. Julie Mehretu's etching installed at the New York gallery, June 8–August 24, 2023. ©Gemini G.E.L., Los Angeles, California. Julie Mehretu at work at Gemini G.E.L., Los Angeles. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California. Julie Mehretu at work at Gemini G.E.L., Los Angeles. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California. Analia Saban working at Gemini workshop. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California. Robert Rauschenberg working on the limestone for Waves from the Stoned Moon series with Stanley Grinstein in the background. Photograph by Sidney B. Felsen, 1969. From the collection of Getty Research Institute. Jasper Johns deleting imagery from a lithography plate for Cicada, November 1981. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California, 2001. Richard Serra at work on his etchings and Paintstik compositions, November 1990. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California, 2001. Ellsworth Kelly (left) and NGA curator Mark Rosenthal at Gemini; Ellsworth canceling a print from the Portrait Series, February 1990. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California, 2001. Works by Richard Serra and Julie Mehretu at the IFPDA Print Fair, October 2023. ©Gemini G.E.L., Los Angeles, California. Joni Weyl and Sidney Felsen at the 2019 IFPDA Print Fair, New York. Tacita Dean at work at Gemini G.E.L., Los Angeles. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California. Roy Lichtenstein at work at Gemini G.E.L., Los Angeles. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California. Julie Mehretu at Gemini G.E.L.'s booth at the IFPDA Print Fair, October 2023.         Tacita Dean. LA Magic Hour 1, 2021. Hand-drawn, multi-color blend lithograph. 29 7/8 x 29 7/8 in. (75.88 x 75.88 cm). ©Gemini G.E.L., Los Angeles, California. Chris Santa Maria. Field 31, 2023. Paper college on 4-ply ragboard. 10 x 10 in. Chris Santa Maria's studio. Chris Santa Maria's studio. Chris Santa Maria. President Trump, 2020. Paper collage. 72 x 72 in. Chris Santa Maria. No. 5, 2014. Paper collage on MDF. 58 x 60 in. in the window of Jim Kempner Fine Art, New York. Ellsworth Kelly. The River (state), 2003 and River II, 2005. Lithographs. Installed during the exhibition Ellsworth Kelly: The Rivers, October 25–December 8, 2007 at Gemini G.E.L. at Joni Moisant Weyl, New York. Julie Mehretu's etchings installed at the New York gallery, June 8–August 24, 2023. ©Gemini G.E.L., Los Angeles, California. Bruce Nauman in the curating room canceling a copperplate by drawing a sharp tool across it to destroy the image with assistance from William Padien, 1983. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California, 2001. Julie Mehretu at work at Gemini G.E.L., Los Angeles. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California. Works by Ann Hamilton and Tacita Dean in the exhibition at the New York gallery, Selected Works by Gemini Artists. January 2–February 24, 2024. ©Gemini G.E.L., Los Angeles, California. Daniel Buren at Gemini workshop, August 1988. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California, 2001.   USEFUL LINKS Gemini G.E.L. at Joni Moisant Weyl. | (joniweyl.com) Gemini G.E.L. Graphic Editions Limited (geminigel.com) Chris Santa Maria Instagram accounts @chrisantamaria @geminigel @joniweyl    

Join me in a conversation with figure and cityscape painter Dave Clay about ditching the world of comics to make paintings, placing figures in abstract or imagined spaces, and how stating “I am an Artist” will make you feel more successful as an artist.Find Dave Clay:Website: https://daveclay.comInstagram: https://instagram.com/daveclay_artThings mentioned in the episode:Erotic Art Festival: https://www.seattleerotic.org/ Pamela Schermer: https://www.rogallery.com/artists/pamela-schermer/ Jamie Bollenbach: https://www.jamiebollenbach.com/ Victor Macha: https://www.instagram.com/viktormacha/ Josef Albers: https://en.wikipedia.org/wiki/Josef_Albers Catalyst Fine Art Gallery at St. Edwards Lodge: https://catalystfineart.com/ Gallery Erato: https://www.pan-eros.org/galleryerato/ https://www.instagram.com/paneros_events/ Come to the Holiday show at Equinox studio on December 9th : https://www.instagram.com/equinoxstudiosseattle/?hl=en Host and artist Stephanie Scott breaks down the practicality of the art career with topics including: sustainable creative practices, social media skills, and the mindsets that keep it all together. New episodes every Tuesday!Instagram: https://www.instagram.com/stephaniescott.art/ Website: http://www.stephaniescott.art/brushwork Music by @winepot https://www.instagram.com/thewinepot/ YouTube: https://www.youtube.com/@stephaniescottart Podcast Cover photo by Maryna Blumqvist https://instagram.com/picturemaryna

Dans cet épisode, je reçois Marion Lamarque, designeuse, consultante en stratégie couleur, conférencière et artiste basée à Lille. Mêlant design, art et industrie, Marion a plusieurs cordes à son arc chromatique puisqu'elle allie à la fois sensibilité et technique dans sa pratique. C'est durant ses études en design qu'elle fait la rencontre du monde de la couleur. Au fur et à mesure de ses expériences professionnelles, elle développe une vision à 360 degrés et une approche linéaire de la couleur : révéler, sensibiliser, et transmettre. Plus largement, Marion a à coeur de faire prendre conscience au monde que la couleur a un rôle primordial à jouer dans notre environnement et dans les multiples domaines de notre quotidien… Colorer le monde est son leitmotiv ! Ensemble nous avons parlé de co-création, de concepts chromatiques et de rencontres marquantes ! J'espère que vous apprécierez cet épisode, je vous souhaite une très belle écoute !

A conversation about Anni and Josef Albers with Brenda Danilowitz, Chief Curator of The Josef & Anni Albers Foundation. A podcast of the UNESCO-Welterbe Bauhaus / Besucherzentrum Bernau welterbe-bernau.de | @bauhaus_welterbe_bauhaus

This season, I'm rounding up stories about modern artists in love, in lust, in relationships— digging into these individuals, see how their liaisons, marriages, affairs, and connections played in or on their respective works of art, and how, if anything, they affected art history as we know it. I, for one, believe that it's time for Modern Love. Today: we're highlighting a powerful artist couple who taught at a landmark place at a singular moment in history—Anni and Josef Albers.  Please SUBSCRIBE and REVIEW our show on Apple Podcasts and FOLLOW on Spotify Sponsor ArtCurious for as little as $4 on Patreon Instagram / Facebook / YouTube SPONSORS: Lomi: Enjoy $50 off a Lomi Composter by visiting our link and using promo code ARTCURIOUS  Honeylove: Get 20% OFF @honeylove + Free Shipping with promo code ARTCURIOUS20 at https://www.honeylove.com! #honeylovepod Tawkify: Get 20% off when you become a client Shopify: Sign up for a one-dollar-per-month trial period at shopify.com/artcurious Lume Deodorant: Control Body Odor ANYWHERE with @lumedeodorant and get over 40% off your starter pack with promo code ARTCURIOUS at lumedeodorant.com/ARTCURIOUS! #lumepod To advertise on our podcast, please reach out to sales@advertisecast.com or visit https://www.advertisecast.com/ArtCuriousPodcast Learn more about your ad choices. Visit podcastchoices.com/adchoices

“Moï Ver”au Centre Pompidou, Parisdu 12 avril au 28 août 2023Interview de Julie Jones, conservatrice, cabinet de la photographie, Musée national d'art moderneet de Karolina Ziebinska-Lewandowska, directrice du Musée de Varsovie, commissaires de l'exposition,par Anne-Frédérique Fer, à Paris, le 11 avril 2023, durée 20'29.© FranceFineArt.https://francefineart.com/2023/04/12/3422_moi-ver_centre-pompidou/Communiqué de presseCommissariat :Julie Jones, conservatrice, cabinet de la photographie, Musée national d'art moderne Karolina Ziebinska-Lewandowska, directrice du Musée de VarsoviePour la première fois, l'oeuvre de Moshe Vorobeichic, dit Moï Ver (1904, Vilnius, Empire russe, actuelle Lituanie – 1995, Safed, Israël), photographe, graphiste et peintre, est présentée dans toute sa richesse et sa complexité. Cette rétrospective réunit plus de trois cents oeuvres et documents (photographies, peintures, dessins, imprimés), dont un grand nombre d'inédits, provenant des archives Moï Ver à Tel Aviv et de collections privées européennes.Après une formation artistique au début des années 1920 à Vilnius, Moshe Vorobeichic étudie au Bauhaus de Dessau, auprès de László Moholy-Nagy, Josef Albers, Paul Klee et Vassily Kandinsky. Sa découverte de nouvelles formes artistiques, aussi bien en photographie qu'en peinture, se poursuit à Paris entre 1929 et 1933, auprès de Fernand Léger à l'Académie moderne, et à l'École de photographie et de cinéma. En 1931, Moï Ver publie son premier livre d'artiste, Paris, aux éditions Jeanne Walter. Cet ouvrage illustré de photographies, magnifique synthèse des innovations formelles des avant-gardes de l'époque, fait alors sa renommée. La même année, il travaille à la réalisation d'un second ouvrage photographique, publié à titre posthume, Ci-contre. Aujourd'hui conservée dans la collection du Musée national d'art moderne, et présentée en intégralité dans l'exposition, la maquette originale de l'ouvrage, contenant plus d'une centaine de photographies, est, aux côtés de Paris, une oeuvre majeure du modernisme photographique des années 1930. Brillantes grammaires de formes, de textures et de structures, ces deux ensembles témoignent d'un regard expérimental sur la société contemporaine et d'une maîtrise saisissante du montage photographique.Depuis la fin des années 1920 et jusqu'au début de la Seconde Guerre mondiale, Moshe Vorobeichic réalise également une documentation photographique des communautés juives à Vilnius d'abord, puis dans de nombreuses villes et villages polonais. En 1931, il reproduit quelques-unes de ses images, organisées en d'étonnants collages, dans son ouvrage The Ghetto Lane in Vilna (publié aux éditions Orell Füssli). Installé définitivement en Palestine mandataire en 1934, Moshe Vorobeichic met désormais son art au service de la propagande sioniste. Il photographie les « nouveaux migrants », la construction des infrastructures et la vie quotidienne des kibboutzim. Majoritairement inédites, ces images sont alors publiées dans des ouvrages, des brochures d'information, et lui servent également de matière première pour la réalisation d'affiches politiques. Au début des années 1950, à l'âge de cinquante ans, Vorobeichic abandonne la photographie et le graphisme. Il adopte le nom de Moshe Raviv et se retire dans le village de Safed pour se consacrer à la peinture.Moshe Vorobeichic (dit Moï Ver) a, plusieurs fois, changé de nom et de pseudonyme : « Moï Ver » est retenu ici comme nom principal, avec celui de Moshe Vorobeichic qu'il utilise jusqu'à la fin des années 1940 et qui apparaît sur la majorité des tirages et des publications d'époque. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Acompaña a Araceli Toledo y Ricardo Cartas en una emisión más de la revista cultural De eso se trata, espacio de ciencia, de cultura, de gastronomía, de libros y más, de lunes a viernes de 08:30 a 10:00 horas. En Museo Amparo Contigo, Elena Téllez, jefa de la Biblioteca del Museo Amparo; en conjunto con Francisca Rivero-Lake y Carla Verea Hernández, artistas, dialogan sobre su libro: Annie and Josef Albers, el cual funciona como un ensayo escrito y un ensayo visual que muestra el retrato íntimo de la vida de dichos artistas a partir de los objetos que integran su archivo personal terrestre. La presentación se efectuará de manera virtual el 1 de diciembre a las 19:00 horas.

Water is van cruciaal belang voor onze planeet maar krijgt met heel wat uitdagingen af te rekenen, van smeltende gletsjers tot een stijgende zeewaterspiegel. Op de tentoonstelling Faces of Water nodigt curator Sofie Crabbé vier kunstenaars uit om over deze problematiek na te denken samen met wetenschappers en industrie. Gudrun De Geyter verkent het artistieke universum van kunstenaarskoppel Anni & Josef Albers in Kunstmuseum Den Haag. Christophe Vekeman leest De Passagier van Cormac McCarthy.

Annemieke Bosman in gesprek met Frouke van Dijke, conservator Kunstmuseum Den Haag. Frouke van Dijke stelde de tentoonstelling ''Anni & Josef Albers' samen. Met meer dan 200 werken - textiel, schilderijen, grafiek, foto's, meubels en tekeningen' presenteert Kunstmuseum Den Haag dit najaar de eerste tentoonstelling ooit over het leven en werk van het beroemde kunstenaarskoppel Anni en Josef Albers. De tentoonstelling laat zien hoe Anni Albers uitgroeit tot een ware pionier van de moderne textielkunst en Josef Albers een artistieke ontwikkeling doormaakt die uitmondt in zijn wereldberoemde reeks 'Homage to the Square', een serie van ontelbaar veel kleurenstudies in een vierkant vlak. De impact die het paar met hun kunst én docentschap heeft gehad op de verdere ontwikkeling van de moderne kunst valt niet te overschatten.

Moderation: Claudia Dichter, Themen: Architekturwochen NRW: Umbauen statt Neubauen, Kulturrätsel; "Kultur hilft Kultur" in Zeiten des Ukraine-Krieges ; Werke von Josef Albers eröffnen in Bottrop den Museums-Neubau; Filmtipps: "November" und "Was dein Herz dir sagt - Adieu ihr Idioten!" Von Claudia Dichter.

Met vandaag: Financiele wereld vergadert in Washington: laatste halte voor economische storm | Waarom laat Asielwet op zich wachten? | Steeds meer jongeren ervaren psychische problemen | Anni en Josef Albers | 5v12: is het nu een uitzonderlijk goed of slecht eikeljaar? Presentatie: Wilfried de Jong.  

Peach Kelli Pop [mm:ss] "Panchito Blues II" Peach Kelli Pop Burger Records BRGR293 2013 A quick bit of garagey fun. Peach Kelli Pop [mm:ss] "Princess Castle 1987" Peach Kelli Pop Burger Records BRGR925 2015 Another ripping opener. Pearl Charles [mm:ss] "Night and Day" Pearl Charles Kanine Records KR148 2016 Great lead-off to Pearl's debut album, on some lovely yellow vinyl. Cocteau Twins [mm:ss] "Hazel" Peppermint Pig 4AD BAD 303 1983 Evidently Robin Guthrie felt this release was rubbish. And yet, here we are listening to it. Al Caiolo [mm:ss] "Jazz Pizzacato" Percussion and Guitars Time Records S/2000 1960 Guitars! Percussion! Stereo separation! And liner notes by Nat Hentoff! Rudi Bohn and His Band [mm:ss] "Mack the Knife" Percussive Oompah London Records SP 44009 1961 Mack the Knife meets Bridge Over the River Kwai? In separated stereo of course. If you're going to go with some Brecht/Weill martial music, why not the "Cannon Song (https://youtu.be/OcmMmHQU8cg)"? Half Japanese [mm:ss] "Listen to Your Heart" Perfect Joyful Noise Recordings JNR183 2016 Love does indeed call. Jad Fair's fifteenth studio album as Half Japanese, featuring some assistance from Deerhoof's John Dieterich helping out with guitar as well as handling the mixing and mastering. The Command All-Stars [mm:ss] "Perdido" Persuasive Percussion Volume 3 Command RS 817 SD 1960 What's that you want more stereo separation demonstrations? You got it, with this fun standard. Astute viewers of Only Murders in the Building may notice that Charles (Steve Martin) has all four volumes of Persuasuve Percussion framed in his kitchen. Odd you say? Well no, Charles is clearly an astute art collector (as is Steve Martin) and the covers for that series are designed by non other than Josef Albers (https://en.wikipedia.org/wiki/Josef_Albers). That would also explain the Ed Ruscha in the kitchen (https://edruscha.com/works/nice-hot-vegetables/). Nadja & Vampillia [mm:ss] "Aurora" The Perfect World Important Records IMPREC385 2013 Side one, track one of the ethereal collaboration between Nadja and Vampillia. Tones on Tail [mm:ss] "Performance" Performance Beggars Banquet BEG 106T 1984 A fine dark wave outing from this Bauhaus off-shoot featuring Daniel Ash, Kevin Haskins, and Glenn Camping. Sterling Holloway [mm:ss] "Peter and the Wolf (Intro)" Peter and the Wolf/The Sorcerer's Apprentice Disneyland 1242 1958 (originally) A nice introduction to the orchestra. Kiss [mm:ss] "You Matter to Me" Peter Criss Casablanca NBLP 7122 1978 Listener, you matter to me which is why I chose one of the shorter tracks from this not very good album. Peter Criss may be a kitty cat but this album is pretty much a dog. In case you're wondering Peter is the only member of Kiss performing on this record. The Pirates [mm:ss] "A Pirate's Life" Walt Disney's Peter Pan Disneyland 1206 1976 Never shoot a man in the middle of his cadenza. Petra Haden [mm:ss] "Goldfinger Main Title" Petra Goes to the Movies Anti- 87219-1 2013 All vocals, all awesome as per usual with Petra. And remember kids, before there was Glee, there was Petra Haden's version of "Don't Stop Believin'" (https://youtu.be/-kXbHf1SwGk) on the Engine Rooms Recordings compilation Guilt by Association. New England Conservatory Chorus [mm:ss] "Barkin: Two Emily Dickinson Choruses (Second Chorus)" Peyton: The Blessed Virgin, Ceely: Flee Floret Florens, Monod: Cantus Contra Cantum III, Barkin: Two Emily Dickinson Choruses, Davidson: Along the Edge Composers Recordings Inc. CRI SD 482 1982 Well, there's something you don't hear every day. Phoebe Snow [mm:ss] "San Francisco Bay Blues" Phoebe Snow Shelter Records SRL 52017 1974 The distinctive stylings of Ms. Snow taking a pass at this standard. Music behind the DJ: "Professor Fate" by Henry Mancini and his Orchestra

Ep.107 features Marisol Teresa Martinez. Uncommon as her expression, her story begs telling. After cutting her media teeth on the moving picture, the former Vice President of Video at Atlantic Records is now finding her pulse as a visual artist whose use of color reflects a complicated, exuberant life. She is a painter who contrasts both thru color and subject matter, often spatial as well as prismatic. The unguided stillness of each shape is a meditative process individually created to compliment the other. The interconnection of shapes and colors offer insight into Martinez unique experience of the world creating a visually spiritual vocabulary. She confronts the curious, the heartbreaking and the maddening experiences of living life so close to death. Daughter of a funeral director, Martinez inherited her father's business after his passing in 2017. This familial legacy, combined with daily glimpses at the face of death, has allowed Martinez to tap into a spirituality that's become the mystical centerpiece of her work. Martinez has lived and studied in Paris, Miami and Los Angeles. Her works emerge from mornings spent at the funeral home, and afternoons and evenings spent in the studio—and their constant mingling of presences. Broader inspiration follows a family lineage of women whose creativity encouraged Martinez to express herself visually. Artist influences such as Carmen Herrera, Agnes Martin, Alma Thomas, Luchita Hurtado & Josef Albers are deeply faceted components in her process and work. In addition to painting, She earned her BBA in Design/Art Marketing from Parsons School of Design, having attended both New York and Paris campuses. Photo Credit - Alfonso Sjogreen Artist - https://marisolmartinezstudio.com Kates Ferri Projects https://www.katesferriprojects.com/marisol-martinez Latinx Project https://www.latinxproject.nyu.edu/search?q=marisol%20martinez Hudson Hall https://hudsonhall.org/event/look-again/ Future Fairs https://archive.futurefairs.com/journal-posts-2/holiday-market-2021-exhibitors Flaunt https://flaunt.com/content/latchkey-gallery-xx Terremoto https://terremoto.mx/en/online/xx-seis-artistas-mujeres-latinxs-en-latchkey-gallery-eua/ Forbes https://www.forbes.com/sites/abinlot/2020/07/02/support-black-artists-by-placing-a-bid-in-artnoirs-artsy-auction/?sh=4c688fff7510

Anni e Josef Albers si incontrano nel 1922 alla Bauhaus, scuola emblema di una visione moderna nelle arti e nell'architettura. Provengono da ambienti distanti, ma sono uniti da un grande amore e da una profonda intesa artistica che arricchisce per cinquant'anni le opere di entrambi. Fuggiti dalla Germania nazista, negli Stati Uniti Anni diventerà una delle più importanti artiste tessili del 900 e Josef, pioniere dell'arte astratta, di un metodo d'insegnamento che lascerà il segno in generazioni di futuri artisti. L'Incontro tra Anni e Josef Albers è a cura di Domitilla Dardi, storica del design e senior curator per il design del Museo MAXXI, scritto con Elena d'Arminio. iNCONTRi è un podcast del Museo MAXXI, prodotto da Dopcast. Learn more about your ad choices. Visit podcastchoices.com/adchoices

In episode 80 of The Great Women Artists Podcast, Katy Hessel the legendary SHEILA HICKS! *BOOK NEWS!* I have written a book! Order The Story of Art without Men here: https://www.amazon.co.uk/Story-Art-without-Men/dp/1529151147/ref=tmm_hrd_swatch_0?_encoding=UTF8&qid=1647348710&sr=8-1 [This episode is brought to you by Alighieri jewellery: www.alighieri.co.uk | use the code TGWA at checkout for 10% off!] Working across textiles, fibre, colour and form, Sheila Hicks's six-decade-and-counting-career has seen her work across multiple mediums, processes and disciplines. From her cascades of colour that pour out of museum ceilings to her smaller woven drawings – she likes to call ‘minimes' – Hicks pushes all boundaries of fibre in all different environments. Born in 1934, Hicks was educated at Yale in the 50s, where she was taught by Josef Albers and George Kubler, whose teaching inspired her to venture to Chile to witness the weaving culture in the Andes. Moving to Mexico, then Paris, Hicks has designed film sets to a 1000 thread-based medallion sculpture for the Ford Foundation, NY. Recent international exhibitions include the 2020 exhibition at MAK Vienna, the 2017 Venice Biennale, the 2014 Whitney Biennial, plus a major solo presentation at the Pompidou in Paris! But! One of the reasons why we are speaking with Hicks today is because this spring she will unveil a major exhibition at the Hepworth Wakefield, a show featuring over seventy of her vibrant works which collapse all boundaries between art, architecture and design, breaking down all tensions, which in turn create environments where we can be at one with the work. Info about the Hepworth Wakefield show!!! https://hepworthwakefield.org/whats-on/sheila-hicks/ Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Nada Smiljanic Research assistant: Viva Ruggi Artwork by @thisisaliceskinner Music by Ben Wetherfield https://www.thegreatwomenartists.com/

iNCONTRi è un podcast del MAXXI il Museo nazionale delle arti del XXI secolo. 8 episodi dedicati ad altrettante straordinarie coppie creative dell'arte, dell'architettura, del design. Le conosceremo a partire dal primo imprescindibile Incontro e, accompagnati dalle curatrici del MAXXI Domitilla Dardi, Luigia Lonardelli e Elena Tinacci, attraverseremo le loro storie, e il loro tempo. Coppie che hanno spesso condiviso la vita privata, oltre a quella creativa, e che insieme hanno innovato, sperimentato, realizzato opere fondative per l'estetica contemporanea. Protagonisti degli episodi sono: Le Corbusier e Charlotte Perriand; Charles e Ray Eames; Mario e Marisa Merz; Alighiero Boetti e Annemarie Sauzeau; Anni e Josef Albers; Franco Albini e Franca Helg; Maria Pioppi e Michelangelo Pistoletto; Lina Bo Bardi e Gio Ponti. iNCONTRi è un podcast del MAXXI, a cura di Domitilla Dardi, Luigia Lonardelli e Elena Tinacci. Coordinato da Prisca Cupellini. Produzione: Dopcast, a cura di Francesca de Michele. Supervisione produzione: Francesca Maggiori. Producer: Marco Paltrinieri, Alice Andrini. Sound design: Gaetano Cappa. Montaggio sonoro e post produzione: Alejandro Zannoni. Si ringraziano: Albers Foundation, Agata Boetti, Cittadellarte, Eames Foundation, Eames Office, Fondation Le Corbusier, Fondazione Franco Albini, Fondazione Merz, GEDI Gruppo Editoriale, Gio Ponti Archives, INA - Institut national de l'audiovisuel, Instituto Bardi, Istituto Luce Cinecittà, NBC Universal, Radio France, Rai Teche, The Chicago History Museum, The Serpentine Gallery, The Smithsonian Institution, Yale University. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Asheville, North Carolina's history as a music center goes back to the 1920s and string-band troubadours like Lesley Riddle and Bascom Lamar Lunsford, and country-music pioneer Jimmie Rodgers. But there's always been a lot more to this town than acoustic music and scenic mountain views. From the experimental Black Mountain College that drew a range of minds as diverse as German artist Josef Albers, composer John Cage, and Albert Einstein, Asheville was also the spiritual home for electronic-music pioneer Bob Moog, who invented the Moog synthesizer first popularized by experimental bands like Kraftwerk to giant disco hits like Donna Summer's “I Feel Love.”It's also a town where busking culture ensures that music flows from every street corner, and it's the adopted hometown of many modern musicians in a multitude of genres, including Pokey LaFarge, who spent his early career busking in Asheville, and Moses Sumney, a musician who's sonic palette is so broad, it's all but unclassifiable.In this premiere episode of Carolina Calling, we wonder and explore what elements of this place of creative retreat have drawn individualist artists for over a century? Perhaps it's the fact that whatever your style, Asheville is a place that allows creativity to grow and thrive.Subscribe to Carolina Calling to follow along as we journey across the Old North State, visiting towns like Shelby, Greensboro, Durham, Wilmington, and more.Brought to you by The Bluegrass Situation and Come Hear NCMusic used in this episode:Bascom Lamar Lunsford - “Dry Bones”Jimmie Rodgers - “My Carolina Sunshine Girl” Kraftwerk - “Autobahn”Donna Summer - “I Feel Love” Pokey LaFarge - “End Of My Rope”Moses Sumney - “Virile” Andrew Marlin - “Erie Fiddler (Carolina Calling Theme)”Moses Sumney - “Me In 20 Years”Steep Canyon Rangers - "Honey on My Tongue”Béla Bartók - "Romanian Folk Dances”New Order - “Blue Monday”Quindar - “Twin-Pole Sunshade for Rusty Schweickart”Pokey LaFarge - “Fine To Me” Bobby Hicks Feat. Del McCoury - "We're Steppin' Out”Squirrel Nut Zippers - “Put A Lid On It”Jimmie Rodgers - "Daddy and Home”Lesley Riddle - “John Henry” Steep Canyon Rangers - “Graveyard Fields”Advertising Inquiries: https://redcircle.com/brands

Our guest today is the brilliant Katie Ridder. You may know her for her expert use of color as seen on the cover of Architectural Digest or all over instagram. I know her as one of the very first designers I got to work for. She is a perfect guest to discuss Josef Albers book "Interaction of Color." I think you'll get a lot of practical knowledge out of my discussion with Katie!

We're discussing Josef Albers book "Interaction of Color" with a great guest today - Portland designer Kimberlee Jaynes. Kimberlee has also written a book on color and has been designing for over 20 years. Her experience is the perfect backdrop to ground today's topic. 

Discussion of the work of Emily Noyes Vanderpoel and her book, Color Problems: A Practical Manual for the Lay Student of Color, of 1903. Discussion centers on where I see her concepts in relation to those of Johannes Itten and Josef Albers.

We're going to push our study of Josef Albers' classic book Interaction of Color to next week, because  I wanted to share the interview I did with Cyrus Nazmiyal, the vice president of one of our vendors, Rug & Kilim. In our conversation, we talk about a bunch of stuff from the history of his family's incredible business, the trends he's seeing in rug specification by designers now and some of the processes that make a Rug & Kilim piece so special. Cyrus does mention some upcoming holiday festivities, as we talked right before the break, so I wanted you all to get to listen before the memories of the season are totally gone. Before I play the interview for you, a word of warning, Cyrus is a busy guy and Rug & Kilim has an actual live Canary in their beautiful Long Island City showroom, so you may notice more ambient noice than usual. Still, I think you'll all enjoy hearing what he has to say. 

This week: the French decorative art that inspired Walt Disney, Henri Matisse's collaboration over 40 years with the Baltimore art collector Etta Cone, and Josef Albers' prints.The Art Newspaper's deputy digital editor, Aimee Dawson speaks to Wolf Burchard, a curator at the Metropolitan Museum of Art, about Inspiring Walt Disney: The Animation of French Decorative Arts, which opens today, 10 December and travels next year to the Wallace Collection, London. As the Baltimore Museum of Art opens its new Ruth R. Marder Center for Matisse Studies, with around 2,500-square-feet of space dedicated to the research and display of the art of Henri Matisse, on 12 December, Ben Luke discusses the French artist's special relationship with the Baltimore-based collector Etta Cone, which is the foundation of the museum's huge collection of Matisse's works in all media. And in this episode's Work of the Week, the gallerist Alan Cristea talks about Josef Albers's Graphic Tectonic lithographs, and their relationship to his wider printmaking activity and his celebrated Homage to the Square series, as a show of Albers's early- and mid-career prints opens at Cristea Roberts in London.Inspiring Walt Disney: The Animation of French Decorative Arts, Metropolitan Museum of Art, New York, 10 December-6 March 2022; Wallace Collection, London, 6 April-16 October 2022. Our Work of the Week featuring The Swing by Fragonard, from 5 November.The Ruth R. Marder Center for Matisse Studies opens on 12 December. A Modern Influence: Henri Matisse, Etta Cone, and Baltimore, Baltimore Museum of Art, until 2 January 2022. Josef Albers: Discovery and Invention, The Early Graphic Works, Cristea Roberts, London 10 December-22 January (gallery closed 20 December-3 January). Anni and Josef Albers: Art and Life, Musée d'Art Moderne de la Ville de Paris (MAM), Paris, until 9 January. See acast.com/privacy for privacy and opt-out information.

Guest Andy Gonzalez Panelists Memo Esparza | Eriol Fox | Perrie Ojemeh Show Notes Hello and welcome to Sustain Open Source Design! The podcast where we talk about sustaining open source with design. Learn how we, as designers, interface with open source in a sustainable way, how we integrate into different communities, and how we as coders, work with other designers. Today, we have a really great guest with us, Andy Gonzalez, who works as UX Designer at Kaleidos Open Source and he collaborates with different design schools as a teacher and mentor. Kaleidos is a company that creates disruptive digital platforms, driven by a positive impact of technology on society, and is now focused on Penpot and Taiga, two open source platforms meant for digital product teams. Andy tells us all what drove Kaleidos to build an open source platform, and more about how Penpot and Taiga were created. We also find out what Andy sees in the future for collaboration, he explains four things that they consider contributions from a community member for Penpot, and if you're interested in making contributions to Penpot, Andy explains where you can do that. Download this episode now to find out much more! [00:01:45] Andy tells us about himself and he got involved in his career. [00:04:02] Memo wonders how Andy got involved in open source stuff. [00:07:14] Eriol asks Andy to talk about his experience with education, specifically about what he thinks about how designers are taught, either in education or when they self- teach in terms of tooling and software. Also, where does he see the culture of designers moving towards when we start to build more open source tooling. [00:10:44] Andy tells us more about Kaleidos, Penpot, and Taiga. [00:12:05] We learn from Andy what people are doing with these design tools that are making it more inclusive. [00:15:54] Memo asks Andy how Kaleidos decided to invest themselves in building this platform. [00:19:24] Andy explains four things that they consider contributions from a community member for Penpot, and Memo explains what they are doing at Open Collective with contributions. [00:25:13] What does Andy see in the future for collaboration? [00:28:10] Perrie wonders where people can make contributions to Penpot, and Andy tells us. Quotes [00:04:48] “When I think about that, I think that is a bit sad because to be honest I also have worked with open source tools.” [00:05:59] “It was a journey and now I can say I am fully committed to open source projects and to the open source committee as well.” [00:08:48] “Because, well in general times, I still believe that the tool should not be important, but the truth is that it is, and the tool is also a political space which is something that we usually forget.” [00:10:00] “We are trying to break this, we are trying to break this model and we are trying to build a tool that helps the inclusion of the students, on every process, on every work done that they can share.” [00:18:55] “We really want the designers to be first class citizens in the open source design worlds which we believe that is something that is not happening right now.” [00:26:32] “There is a pain, there is a true pain when connecting all the dots, when connecting calls to design, design to calls were not in content to your designs.” Spotlight [00:30:10] Andy's spotlight is Pure Data Software for visual programming. [00:31:03] Perrie's spotlight is Open Source Community Africa Festival. [00:31:38] Eriol's spotlight is a tool called Bitsy, a pixel game creator, by Le-doux. [00:32:40] Memo's spotlight is a book called Interaction of Color by Josef Albers. Links Open Source Design Twitter (https://twitter.com/opensrcdesign) Open Source Design (https://opensourcedesign.net/) Sustain Design & UX working group (https://discourse.sustainoss.org/t/design-ux-working-group/348) Sustain Open Source Twitter (https://twitter.com/sustainoss?lang=en) Memo Esparza Twitter (https://twitter.com/memo_es_) Eriol Fox Twitter (https://twitter.com/EriolDoesDesign?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor) Perrie Ojemeh Twitter (https://twitter.com/peace_ojemeh?lang=en) Andy Gonzalez Twitter (https://twitter.com/myfunnyandy?lang=en) Andy Gonzalez Linkedin (https://www.linkedin.com/in/agonfer/) Andy Gonzalez Website (https://kaleidos.net/kaleiders/34A7C1) Kaleidos (https://kaleidos.net/) Penpot-GitHub (https://github.com/penpot/penpot) Taiga-GitHub (https://github.com/taigaio) Penpot Contributing guide (https://help.penpot.app/contributing-guide/) Pure Data (https://puredata.info/) Purr Data-GitHub (https://agraef.github.io/purr-data/) Open Source Community Africa (https://www.oscafrica.org/) Bitsy-GitHub (https://github.com/le-doux/bitsy) Interaction of Color by Josef Albers (https://yalebooks.yale.edu/book/9780300179354/interaction-color) Credits Produced by Richard Littauer (https://www.burntfen.com/) Edited by Paul M. Bahr at Peachtree Sound (https://www.peachtreesound.com/) Show notes by DeAnn Bahr at Peachtree Sound (https://www.peachtreesound.com/) Special Guest: Andy Gonzalez.

“Anni et Josef Albers“ L'art et la vieau Musée d'Art moderne de Parisdu 10 septembre 2021 au 9 janvier 2022Interview de Julia Garimorth, commissaire de l'exposition,par Anne-Frédérique Fer, à Paris, le 9 septembre 2021, durée 14'51.© FranceFineArt.Extrait du communiqué de presse CommissairesJulia Garimorth, assistée de Sylvie Moreau-SoterasComité scientifiqueNicholas Fox Weber, directeur de la Josef and Anni Albers Foundation, Bethany, ConnecticutHeinz Liesbrock, directeur du Josef Albers Museum Quadrat, Bottrop, AllemagneLe Musée d'Art Moderne de Paris organise, du 10 septembre 2021 au 9 janvier 2022, une exposition inédite consacrée à Anni et Josef Albers, rassemblant plus de trois cent cinquante oeuvres (peintures, photographies, meubles, oeuvres graphiques et textiles) significatives du développement artistique des deux artistes.Au-delà de la présentation très complète de leurs créations respectives, il s'agit de la première exposition en France dédiée au couple formé par les deux artistes. C'est en effet ce lien intime et très complice qui leur a permis, tout au long de leur vie, de se soutenir, de se renforcer mutuellement, dans un dialogue permanent et respectueux. Ils ont non seulement produit une oeuvre considérée aujourd'hui comme la base du modernisme, mais ont aussi imprégné toute une nouvelle génération d'artistes de leurs valeurs éducatives.Anni Albers (née Annelise Fleischmann, 1899-1994) et Josef Albers (1888-1976) se rencontrent en 1922 au Bauhaus et se marient trois ans plus tard. Ils partagent d'emblée la conviction que l'art peut profondément transformer notre monde et doit être au coeur de l'existence humaine : « Les oeuvres d'art nous apprennent ce qu'est le courage. Nous devons aller là où personne ne s'est aventuré avant nous. » (Anni Albers)Dès le début de leur travail, les deux artistes placent ainsi la fonction de l'art au coeur de leur réflexion. Ils adhèrent non seulement à la revalorisation de l'artisanat et aux atouts de la production industrielle (Bauhaus) pour rendre possible la démocratisation de l'art, mais ils estiment aussi que la création joue un rôle essentiel dans l'éducation de chaque individu. Ils ne cessent de démontrer, en tant qu'artistes mais aussi enseignants, l'impact incommensurable de l'activité artistique sur la réalisation de soi et, plus largement, sur la relation avec les autres. Forts de ces valeurs, ils cherchent à amener leurs élèves vers une plus grande autonomie de réflexion et à une prise de conscience de la subjectivité de la perception. Selon eux, l'enseignement ne se réduit pas à transmettre un savoir théorique déjà écrit mais consiste au contraire à susciter constamment des interrogations nouvelles : d'abord par l'observation sensible du monde – visuel et tactile – qui nous entoure ; puis par la découverte empirique que comporte l'expérimentation créatrice avec les matériaux à portée de main, sans préjuger de leurs valeurs esthétiques. « Apprenez à voir et à ressentir la vie, cultivez votre imagination, parce qu'il y a encore des merveilles dans le monde, parce que la vie est un mystère et qu'elle le restera. Mais soyons-en conscients. » (Josef Albers) L'exposition s'ouvre sur deux oeuvres emblématiques de chaque artiste, illustrant d'emblée, tel un prologue, les valeurs formelles et spirituelles qui relient le couple. Puis elle suit, de manière chronologique, les différentes étapes de leur vie. Une première section rassemble leurs productions, riches et variées, issues du Bauhaus, de 1920 à 1933. Le départ du couple pour les États Unis en 1933 marque le début de la deuxième section, dédiée aux oeuvres réalisées au Black Mountain College. Puis deux autres temps forts de la visite s'attachent à présenter une sélection pointue de Pictorial Weavings de Anni et de Homages to the Square de Josef. Enfin, la dernière partie de l'exposition est consacrée au travail graphique d'Anni, initié avec Josef dans les années soixante et qu'elle va poursuivre jusqu'à la fin de sa vie.Une salle, spécifiquement dédiée à leurs rôles respectifs en tant que professeurs, permet aux visiteurs, grâce à d'exceptionnels films d'archives, de se glisser dans la peau des étudiants et de suivre un cours « en direct ». Un grand nombre de documents (photographies, lettres, carnets de notes, cartes postales, etc.), réunis avec l'aide de la Fondation Josef et Anni Albers, permet également de contextualiser le travail des deux artistes.L'exposition est organisée en étroite collaboration avec The Josef and Anni Albers Foundation à Bethany, Connecticut. Elle sera également présentée à l'IVAM (Instituto Valenciano de Arte Moderno) à Valence, Espagne, du 17 février au 20 juin 2022.Un catalogue est publié aux éditions Paris Musées. Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Page Eastburn O'Rourke brings joy to people of all ages. A full-time artist and children's book illustrator, she developed her artistic style at Trinity College in Hartford, Connecticut, where she was heavily influenced by the color work of Josef Albers, and then Parsons School of Design in New York City. Page is beloved in the Yarmouth Maine area, and her travels have allowed her to introduce what she describes as “pop folk art” to countless others around the state. Join us on Radio Maine as we explore Page's personal journey and find out how it has influenced her unique approach to art and life.

Shingo Francis is an artist and painter who employ a minimal and abstract approach to his work to explore color, time and expanse. He has a keen appreciation for how these elements shape our perceptions. Shingo Francis grew up between California and Japan, two locations that inform his work and practice. Through the process of compositional reduction and color as space Francis created a series of paintings titled “Blue's Silence” with simple two tones in blue. These paintings subsequently evolved into a new series of paintings titled “Infinite Space” with an overall monochrome color as space with a simple composition with one line towards the bottom signifying an attention to presence. The central color is autonomous due to the refined composition dissipating both at the top and bottom of the canvas revealing a subtle motion of transparent layers. Both series of paintings produce a sense of silence and space with experiences of shifts in tone and complimentary juxtaposition of color. A recent series of paintings titled “interference” utilize a material with small particles cut in an angle to reflect a specific spectrum of color. There is no pigment such as cobalt or cadmium but only color from the color spectrum of light similar to how a rainbow reveals color through the refraction of light in rain droplets. Yet there is an opposing color as well to each refracted color, therefore the painting will shift between two complimentary colors. For example, if the light reflects the color green, it will also be the color magenta when the light is not reflecting back but looked in ambient light. Besides the interesting mechanics of these paintings, the square composition is symmetrical and produces a space to project and hold ones attention or presence. The ever-changing phenomena of these paintings reflect the cyclical nature of time and how our bodies move through space. Shingo Francis also works on large scale drawing installations, he paints on a large roll of watercolor paper which is suspended from the ceiling in a semicircle allowing the viewer to be subsumed by the curvature of the paper and image. Francis received a Bachelor of Arts degree from Pitzer College in Claremont and a Master of Arts degree from Art Center College of Design, in Pasadena, California. Francis's work has been exhibited in Japan, United States, Germany, South Korea, and Switzerland. He has been included in museums shows at the Kawamura Memorial DIC Museum of Art, Sezon Museum of Modern Art, Ichihara Lakeside Museum and the Martin Museum of Art. He received the Fumio Nanjo Award in Tokyo, and is represented by MISA SHIN GALLERY and William Turner Gallery. The book mentioned in our interview is Interaction of Color by Josef Albers. Infinite Space (red) Oil on linen 76” x 51”/ 194 x 130cm 2015 “Subtle Impression (violet, blue and emerald)”Oil on canvas40 x 34” / 100 x 86cm2019

Another episode of the Independent Thinking Show for FifthWrist Radio. This is a place dedicate to showcasing the great people doing interesting and cool things in the world of horology. Hosts: Roman (@TimesRomanAU) and Adam (@mediumwatch) Guests: Rick and Andrew (@solabs.co) In this episode, we chat with two cool dudes about the funky casual watch brand they started (So-Labs).So-Labs watches are quartz, colourful, fun and have a unique way to display time (all the things you CAN'T say about your average Rolex). Join us for a conversation about bringing a new watch brand to market, good design, Josef Albers, colour theory, Chicago watch scene and the importance of connecting with your customers, and not being afraid to create watches with a unique perspective. We also talk modern design classics, and just where to look in your own house to find the best foam insert for watch packaging - the answer will surprise you. Adam and Rick delve deeply into why plastic is such an important modern material, discuss nostalgia for the 1980s and 90's; express disgust at Yeezy sneakers; and explore Rick's favourite plastic objects, clocks and toys. If you like watches and a bit of fun - you will like this episode. Shout-outs in this episode to friends of Fifth Wrist Radio podcast: Lewis Heath (@anordain), Roland G Murphy (@rgmwatches), Ochs und Junior (@ochsundjunior), Colibrica Design (@colibrica_design) and Habring (@habring2). Recommendations from this episode Adam: @sisyphus_industries Rick: @barbie_roadkill, @brucebakerbonsai, @6inchwrist, @neontalk and @retrogeist Andrew: @TimesRomanAU and @mediumwatch (both excellent picks!) Roman: @justcassette, @teenage.grandpa Follow So-Labs on Instagram @solabs.co and their website www.so-labs.co Also, make sure you check out Andrew's other watch brand project: Astor & Banks. New Theme Music for 2021: Circle Round by Spinning Clocks (via YouTube Free Music Channel) Follow us on Instagram: @FifthWrist and FifthWrist.com

L'architettura moderna è nata nella Vienna cosmopolita di fine '800 per rispondere al bisogno di ambienti che rispettassero i nuovi standard sanitari richiesti dai medici: spazi ampi, più luce e migliore areazione. Oggi, mentre ci lasciamo lentamente alle spalle una lunga pandemia, il legame tra architettura, salute e stile di vita è tornato a essere un tema cruciale. Costantino e Francesco ci raccontano una storia laterale dell'architettura contemporanea, parlando di anarchitetti batterici come Gordon Matta-Clark e archistar mancati come gli italiani di Archizoom, dell'architettura senza architetti di Yona Friedman e dell'architettura per i poveri promossa da Hassan Fathy e Laurie Baker.In questa puntata si parla di Sigmund Freud, Egon Schiele, Arnold Schönberg, Beatriz Colomina, Josef Hoffman, Adolf Loos, Gordon Matta-Clark, Mark Wigley, Holly Solomon, Roberto Matta, Benjamin Ward Richardson, Ludwig Mies van der Rohe, Gunter Sachs, John Zorn, Luis Barragán, Jill Magid, Rolf Fehlbaum, Federica Zanco, Harald Szeemann, Laurie Baker, Josef Albers, Anni Albers, Banksy, Kaws, Takashi Murakami, John Hilliard, Hassan Fathy, Superstudio, Archizoom, Poltronova, Ufo, Gianni Pettena, Rem Koolhaas, Mario Dezzi Bardeschi, Stefano Boeri, Gianandrea Barreca, Rachel Whiteread, Bruce Nauman, Sant'Agostino, Yona Friedman, Toni Negri, Renzo Piano, Richard Rogers, Minecraft, Bernard Rudofsky e Jeff Wall.

La Fotografía Callejera de Orietta Gelardin rezuma belleza y un cierto misterio. A menudo, frente a sus imágenes me siento como un espectador de una película repleta de personajes tan misteriosos como atractivos, tanto por lo que veo de ellos como por todo lo que me siento invitado a imaginar. Hacía tiempo que quería sentarme a charlar con ella para tratar de entender de dónde viene la magia. Lo que no sabía – aunque lo podía intuir – es que iba a ser una conversación tan divertida como reveladora… En este episodio hablamos de - Que no se trata tanto de contar como de transmitir. - El disfrute de hacer fotos por pura diversión. - La dificultad de desarrollar un proyecto dentro de la street photography. - La música que a veces “suena” en algunas fotos. - Que muchos compartimos las mismas dudas e inseguridades. - Lo importante que es conocer nuestras fortalezas y debilidades. - Cómo la amabilidad facilita las cosas en la calle. - El peligro oculto tras el perfeccionismo. - Que la foto de calle puede ser un antídoto para la necesidad de controlarlo todo. - Las oportunidades a las que solo se llega a través de la improvisación… Y, como te imaginarás, de un sinfín de temas que nos fueron saliendo al paso durante la charla. Quién me acompaña Oretta Gelardin es de origen italoamericano, reside en Madrid y es diseñadora gráfica de profesión, lo que seguramente explica, al menos en parte, la irresistible estética de sus imágenes. Se define como una apasionada de la Fotografía callejera a la que mueven la curiosidad y la atracción por la gente, las ciudades y las historias que se suceden, a menudo de forma anónima, en ese escenario que todos ocupamos a diario. Sus imágenes han sido publicadas en prestigiosos libros y revistas e incluidas en exposiciones nacionales e internacionales y forma parte, desde hace ya varios años, de ese fabuloso colectivo de fotografía llamado La Calle es Nuestra. Encuentra y sigue a Orietta: - Su perfil en Instagram es @orietta.gs y está repleto de imágenes bellísimas. - En la web de La Calle Es Nuestra, el colectivo donde la “han reclutado”, como ella misma dice: https://lacalleesnuestra.com Referencias y enlaces Autores - Daido Moriyama. - Dougie Wallace aka “Glasweegee”. - Jessica Craig-Martin. - Josef Albers. - Martin Molinero. (https://www.instagram.com/martinmolinero/) - Martin Parr. - Narelle Autio. - Saul Leiter (https://jotabarros.com/saul-leiter-fotografo-calle-alma-pintor/). - Trent Parke (https://jotabarros.com/libro-fotografia-calle-minutes-to-midnight-trent-parke/) Trabajos - Charles Traub: La Dolce Via (https://amzn.to/33kLzO1) y Lunchtime (https://amzn.to/3nNUrp0). - Cafe Lehmitz de Anders Petersen: https://amzn.to/2RuiD3G - Photographs not Taken: A Collection of Photographers' Essays, Will Steasy: https://amzn.to/3elXRfB Equipo - Esta es la cámara (Ricoh GR III) de la que habla Orietta: https://www.fotoruanopro.com/camaras-compactas/23750-ricoh-griii.html?aff=16 Muchas gracias por tu escucha Si te ha gustado este capítulo de Calle Oscura, deja tu valoración positiva en Ivoox, Apple Podcast y Spotify, donde también puedes encontrar este podcast. No olvides suscribirte a través de cualquiera de esas plataformas para no perderte ningún episodio. Por favor, comparte este contenido entre tus redes para que llegue a más gente, puede suponer una gran diferencia. Y ahí abajo tienes los comentarios, para seguir conversando sobre los temas abordados con Orietta Gelardin. Muchas gracias por estar ahí, al otro lado. Hasta pronto. Jota.

Sarah Meister became a Curator at The Museum of Modern Art in 2009, having joined the Department of Photography in 1997. Her research has included exploring narratives around twentieth century photography in Latin America, one result of which was the acquisition of more than fifty Brazilian modernist photographs.  Her books have included One and One Is Four: The Bauhaus Photocollages of Josef Albers (2016) and Arbus Friedlander Winogrand: New Documents, 1967 (2017). She was also a co-editor of and contributing author to the three volume series Photography at MoMA (1960 to Now, 1920 to 1960, and 1840 to 1920 [forthcoming]), co-director of the August Sander Project (with Noam Elcott), and the lead instructor for the online course Seeing Through Photographs on Coursera. Working with the Gordon Parks Foundation, she curated a book and exhibition of Park’s work based on a Life Magazine assignment in the late 1950s, The Atmosphere of Crime 1957. Meister will soon be leaving MOMA to head the photographic non-profit organization, Aperture.    Websites Sarah Meister The Gordon Parks Foundation Gertrudes Altschul   Sponsor Charcoal Book Club - Sign up today   Education Resources: Momenta Photographic Workshops   Candid Frame Resources Download the free Candid Frame app for your favorite smart device. Click here to download for . Click here to download Support the work we do at The Candid Frame with contributing to our Patreon effort.  You can do this by visiting or visiting the website and clicking on the Patreon button. You can also provide a one-time donation via . You can follow Ibarionex on and .

Čekų teologas Tomašas Halikas apie krikščionių atsakomybę už šiuolaikinę visuomenę: „Tai, kas vyksta krikščioniškoje aplinkoje, reikšmingai atsiliepia visos visuomenės gyvenimui, nes krikščionys sudaro nepamainomą jos dalį, nepaisant procentinės išraiškos." Pasakojimas apie Bauhauso menininką Josefą Albersą (1888-1976) ir jo katalikišką tikėjimą. Giedrius Tamaševičius apie atsisveikinimo su Diego Maradona atgarsius krikščioniškoje žiniasklaidoje.Ved. Rūta Tumėnaitė.

Wer hat von wem gelernt in der Kunstgeschichte? Kann man die Einflüsse sehen? Wer wurde als Autodidakt*in berühmt? Welche Rolle spielten Institutionen wie das Bauhaus und das Black Mountain College? Wie war die Lehre an einer Kunstakademie früher strukturiert und wie läuft sie heute ab? Wie schafft man es, an einer Akademie angenommen zu werden? Und kann man Kunst überhaupt lernen?

In episode 30 of The Great Women Artists Podcast, Katy Hessel interviews the incredible art historian and curator, Professor Briony Fer, on the legendary EVA HESSE!! [This episode is brought to you by Alighieri jewellery: www.alighieri.co.uk | use the code TGWA at checkout for 10% off!] One of the most GROUNDBREAKING artists the world has ever seen, Eva Hesse was known for her innovative sculptures made up of synthetic materials from fibreglass, plastic, to latex.  Working predominantly in NYC in the 60s, despite a short-lived career, Eva worked rigorously and prolifically, challenging every sculptural convention which came before her. Particularly deconstructing the rigidity and uniformity of Minimalism.  A pioneering feminist artist, Hesse desired, in her own words, to “challenge the norms of beauty and order.” And that's exactly what she did. She explored the body and form, and painting and sculpture, like no one had before. She painted biomorphs with wonky grids, covered cheesecloths in latex, and celebrated materials for what they were in all their irregular glory.  Born to Jewish parents in Nazi Germany in 1936, Hesse's early life was traumatic. Where her extended family were horrifically transported to concentration camps, she, her sister and their parents fled to NYC, with her mother sadly committing suicide just a few years later. Hesse channelled her anxieties into her art making, studying under the likes of Josef Albers at Yale, and taking the NY art scene by storm when she was just in her late 20s and early 30s. Earning herself major solo exhibitions and critical acclaim at a time when female artists were widely overlooked, Hesse explored wonders before her premature death in 1970, aged just 34. She has since gone on to influence millions. This discussion with world-renowned art historian Briony Fer – an old tutor of mine from UCL!! – is one of my favourites ever. Briony speaks SO wonderfully about Eva and really goes into depth about who she was, and her fiercely experimental practice. I hope you enjoy!!! Highly recommend this fantastic documentary on Eva! https://www.evahessedoc.com/ WORKS DISCUSSED IN THIS EPISODE: Accession https://www.dia.org/art/collection/object/accession-ii-47951 Schema  https://www.philamuseum.org/collections/permanent/72573.html?mulR=601651032 Drawings https://www.tate.org.uk/art/artworks/hesse-untitled-t04154 Ringaround Arosie https://www.moma.org/collection/works/98638 Vertiginous Detour https://hirshhorn.tumblr.com/post/141099084095/eva-hesse-vertiginous-detour-1966-hesse-was-a Untitled or Not Yet https://www.sfmoma.org/artwork/97-513-a-i/ Hang Up https://www.artic.edu/artworks/71396/hang-up Right After https://womennart.com/2018/02/21/right-after-by-eva-hesse/ Repetition 19 https://www.moma.org/learn/moma_learning/eva-hesse-repetition-nineteen-iii-1968/ This episode is sponsored by Alighieri  https://alighieri.co.uk/ @alighieri_jewellery Use the code: TGWA for 10% off!  Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Amber Miller (@amber_m.iller) Artwork by @thisisaliceskinner Music by Ben Wetherfield https://www.thegreatwomenartists.com/

Links & HighlightsPlace an order online now through the end of April 2020 to be entered to win one of our weekly Gift Basket Giveaways!Enter Coupon Code COLORFIX at checkout for 25% off all Wool Tincture Color Packs.Get our Verdant DK Weight yarn overdyed in our Spring Palette.Learn more about the research on the effects of color on mood and behavior.Learn more about the treatment of migraines with green light.Pickup a copy of Interaction of Color by Josef Albers.Checkout this free color palette generator and play around with different color combinations.Wool Tincture Color Packs and Jar Kits make it simple and quick to dye wool at home.Learn more about the accidental discovery of mauveine, the first acid dye, by Sir William Henry Perkin.

In der heutigen Folge treffe ich auf den Diplom-Psychologen Josef Albers, Gründer von Kernfindung und Kernfinder. Er hat sich auf die berufliche Zielfindung spezialisiert und erzählt uns über seinen Job als Berufsberater. Was treibt ihn an in den Tag zu starten? Wie wichtig sind andere Menschen auf dem Weg zum persönlichen Ziel? Über all diese Fragen und noch vieles Andere sprechen wir in dieser Folge. Für mich war das Treffen mit Josef sehr inspirierend. Zum Beispiel um zu merken, wie wichtig es ist, immer wieder aufzustehen. Und vielleicht findet ihr für euch auch etwas in dieser Folge was euch inspiriert. Gerne möchte ich Josef noch einmal treffen und ihm weitere Fragen stellen. Und dafür hoffe ich auf eure Unterstützung. Vielleicht habt ihr noch Fragen, die euch interessieren, dann schreibt mir doch einfach bei Instagram unter richtungswechsel.podcast.

In 1966, at the age of forty-one, Sidney Felsen moved from the world of accounting to that of art, founding the artists’ workshop and fine-art print publisher Gemini GEL in Los Angeles. With Gemini GEL, Sidney quickly got to work with some of the biggest artists of the twentieth century: Man Ray, Josef Albers, Jasper … Continue reading "A Half-Century of Prints with Sidney Felsen of Gemini GEL"

Partage“Edouard Taufenbach” LA MÉTHODEà la galerie binome, Parisdu 31 janvier au 14 mars 2020 www.galeriebinome.comPODCAST – Interview de Edouard Taufenbachpar Anne-Frédérique Fer, à Paris, le 30 janvier 2020, durée 9'32 ». © FranceFineArt.son à insérer (click sur remplacer et changer à partir d'un url)©Anne-Fréderique Fer, visite de l'exposition avec Edouard Taufenbach, le 30 janvier 2020.Edouard Taufenbach Planche 1 – 1234, série LA MÉTHODE, 2019. Pièce unique – 32,5×32,5 cm. Variation sur la série Homage to the Square de Josef Albers au palladiotype, collage sur papier Sennelier, contrecollage sur aluminium, encadrement en acier plié, verre antireflet.

Michael John Nolan the Head of the Design at Pima Community College sits down with our host Dr. Mark Sublette to discuss life as both a painter and an educator. We hear about Michael's early days growing up in Tucson and how taking the right classes (and teaching them) turned Michael into an artist,. Illustrating comic books, novels, and painting which Michael refers to as "couch paintings". The exhibition, sale of paintings, and choosing the right gallerist are all touched on in this comprehensive interview. A great roadmap for young artists watching and listening to an important episode of the Art Dealer Diaries for any artists considering the creative roadmap of life.

Maui has been Dick Nelson's home since 1975, when he arrived as the Director of the Wailea Arts Center. Hawaii was not new to him, for his family had moved to Hawaii from Sodus, N.Y. when he was five years old. He graduated from Punahou School, received his bachelor’s degree in art from the California College of Arts and Crafts, served as a Marine lieutenant in Korea, and returned to accept the position of Art Department Chairman at Punahou. During his twenty-two years with the school, he spent his summers painting watercolors. A sabbatical leave at Yale provided Dick with a once-in-a-lifetime experience to take the Josef Albers color course. There has been no greater influence on his educational career, and the residual benefits are very much in evidence today. He earned his master’s degree during his second sabbatical at Ohio State University. He now pursues his own career in painting and teaching. His days are currently divided between these two loves. He has brought a color process to watercolor painting which he discovered while working with printers. By incorporating the same three primary colors used in printing, he was able to paint the full range of colors in what he calls his Tri-hue palette. As a result of this approach, Dick developed a Tri-hue teaching and painting device. Although his teaching is primarily done in his studio today, he has participated in numerous workshops nationally and in Canada. To order his CD on color, with critique, email him here - trihue@hawaii.rr.com. Learn more through his video tutorials here. Clare Island, 11x17” Watercolor Source, 22x30” Watercolor

The duo behind Stockholm-based tailoring Brand, Atelier Saman Amel, are two of the most down-to-earth individuals in menswear. Dag Granath and Saman Amel met as toddlers, and have been friends (and latterly business partners) ever since.Atelier Saman Amel is now nine-years-old, and during that time the pair have worked tirelessly to create a dynamic menswear brand with clothes that are neither formal, nor casual, but for those ‘in-between’ moments in a man’s life. They create clothes that make flawless use of texture and a tonal colour palette, inspired by art, architecture and interior design. Building a brand has been a real adventure for this pair, and to have the chance to hear their story gave all of us at HandCut Radio real pleasure. We hope that you’ll enjoy this episode too.---HandCut Radio is produced in collaboration with Birch, a London and New York based creative agency. Our theme music is by Joe Boyd.---Show Notes:Atelier Saman Amel — Website | Instagram[02:15] Thomas Sandell[12:55] Interaction of Color by Josef Albers[17:01] Highsnobiety[17:03] Hypebeast[17:10] Highsnobiety‘The New Luxury’ Whitepaper[19:12] Maison Margiela[19:13] Helmut Lang[20:37] Atelier Saman Amel Knitwear[22:14] Saman Amel RTW on Mr Porter[37:15] Ralph Lauren Biography[39:40] Paul Croughton (coming soon to HCR!)[45:48] Phoebe Philo at Céline

This episode celebrates the 100th anniversary of the most influential design school of the twentieth century, the Bauhaus, and Connecticut’s connection to it. Connecticut Explored’s Assistant Publisher Mary Donohue and conceptual artist, photographer and frequent Connecticut Explored contributor Bob Gregson talk about pioneering Modern artists Anni and Josef Albers, who escaped Nazi Germany in the 1930s and made New Haven their home in  1950. It’s a remarkable story. Josef was associated with the Bauhaus longer than any other artist and Anni was the last surviving teacher from the Bauhaus. Both had independent careers as world  famous, influential teachers and artists.     For more information about the Albers, read Bob’s feature story in the Winter 2018-2019 issue of Connecticut Explored at ctexplored.org and for more about the Albers,  go to the Josef & Anni Albers Foundation’s website at albersfoundation.org.  For more about our guest, go to BobGregson.com   This episode was hosted and produced by Mary Donohue and engineered by Patrick O’Sullivan.  And for more great Connecticut history stories, subscribe to Connecticut Explored, the magazine of Connecticut history, at ctexplored.org. Through May 31, 2019, for just $20, Grating the Nutmeg listeners receive 6 issues for the price of 4 with coupon code GTNSpring19.  That’s 2 free issues added to a one-year subscription with coupon code GTNSpring19 when you subscribe by May 31, 2019 at ctexplored.org/shop To hear more episodes of Grating the Nutmeg subscribe on iTunes, iHeartRadio, GooglePlay, Spotify or at gratingthenutmeg.libsyn.com.

Gary Gaffney, Professor Emeritus at the Art Academy of Cincinnati, joins Russell for a personal look at the special exhibition, Art Academy of Cincinnati at 150: A Celebration in Drawings and Prints. We discuss works by Gary Gaffney, Mark Fox, Thom E. Shaw, Stewart Goldman, Constance McClure, Anthony Bachelor, April Foster, Kim Flora, Kim Krause, and Josef Albers. links: https://www.artacademy.edu/ For more info and other programs, visit: www.cincinnatiartmuseum.org Theme song: Offrande Musicale by Bacalao Take our survey: bit.ly/ArtPalaceSurvey

A conversation about clothing, instinct, and finding high art in everyday life that touches on Jackie O, Kandinsky, and the Bauhaus. In this episode of Dialogues,Nicholas Fox Weber—cultural historian and executive director of The Josef and Anni Albers Foundation—is paired with acclaimed British fashion designer Sir Paul Smith. The two are brought together on the occasion of a major retrospective of Anni Albers’s work, currently on view at Tate Modern, London, to discuss Smith’s new knitwear collection inspired by her textiles. Their shared admiration for the art of Anni and Josef Albers drives an eclectic conversation about abstraction, aesthetics, and the tactile nature of design. Anni Albers is on view at Tate Modern, London, through January 27, 2019. Listen to Paul Smith discuss his interest in the life and work of Anni Albers at Tate Modern on Saturday, November 17, at 3 PM. For more information, visit tate.org.uk/whats-on/tate-modern/exhibition/anni-albers/paul-smith-on-anni-albers. Subscribe to Dialogues via Apple Podcasts, Overcast, Google Play, Stitcher, or wherever you get your shows. For more of what’s to come on Dialogues, listen to our trailer or visit davidzwirner.com/podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

A conversation about clothing, instinct, and finding high art in everyday life that touches on Jackie O, Kandinsky, and the Bauhaus. In this episode of Dialogues,Nicholas Fox Weber—cultural historian and executive director of The Josef and Anni Albers Foundation—is paired with acclaimed British fashion designer Sir Paul Smith. The two are brought together on the occasion of a major retrospective of Anni Albers’s work, currently on view at Tate Modern, London, to discuss Smith’s new knitwear collection inspired by her textiles. Their shared admiration for the art of Anni and Josef Albers drives an eclectic conversation about abstraction, aesthetics, and the tactile nature of design. Anni Albers is on view at Tate Modern, London, through January 27, 2019. Listen to Paul Smith discuss his interest in the life and work of Anni Albers at Tate Modern on Saturday, November 17, at 3 PM. For more information, visit tate.org.uk/whats-on/tate-modern/exhibition/anni-albers/paul-smith-on-anni-albers. For more of what’s to come on Dialogues, listen to our trailer or visit davidzwirner.com/podcast.

Edvard Munch noted that “colors live a remarkable life of their own after they have been applied to the canvas” and, on today’s episode of the B&H Photography Podcast, we dip our brushes into the palette of art and color theory and, then, we explore practical (and beautiful) applications of color through the eyes of a cultural documentarian and a fashion photographer. We start our conversation with photographer, artist, and Leica Ambassador Adam Marelli, who muses on color theory from a painter’s and a photographer’s point of view and endures our novice questions on the subject. We discuss a few basic terms, learn about Michel Chevreul and Josef Albers, and then get into questions about his use of color, about film color compared to digital, printing, and Marelli’s understanding that colors are never static, and should not be considered such when creating images—look for the subtlety between colors, he suggests.   In the second half of the show, we welcome Natasha Wilson, a Los Angeles-based fashion and lifestyle photographer who imbues her work with the colors that dreams are made of. Whether bold and bright or with a muted palette, when you see her work, there will be no doubt why we thought of Wilson for this conversation. We ask her about her process, both behind a Canon lens and in front of a computer monitor, and we discuss how she finds locations, casts models, and finds the balance between her artistic imagination and the client’s needs. Her laid-back approach belies the intensity of her vision.  Products mentioned in thie episode: Canon EOS 6D Mark II DSLR Camera Leica M10 Digital Rangefinder Camera Apple 27" iMac with Retina 5K Display Guests: Adam Marelli and Natasha Wilson  Photograph © Natasha Wilson

Next year will mark the centennial of the founding of Bauhaus, the German center for aesthetic thought founded by Walter Gropius. Known for its functionalist structures and unadorned style, the movement formally ended in 1933, the final year of the Weimar Republic. Still, its influence continues to this day, informing design choices in a wide variety of fields—from architecture to typography, fashion to household items. National Humanities Center Fellow Elizabeth Otto, associate professor of art history at the University of Buffalo, is completing a book that challenges conventional understandings of one of Europe’s most influential art institutions. Otto’s work uncovers new areas of inquiry, including the school’s engagement with the irrational, the spiritual, and the pursuit of functional perfection. In this podcast, Otto maps the aesthetic and intellectual lineage of the Bauhaus, paying special attention to the many figures—especially women—who’ve been overshadowed by more celebrated colleagues like Josef Albers and Marcel Breuer, the father of Brutalism. She also addresses origin myths animating the movement, such as the influence of World War I on Bauhaus founders. With attention to questions of gender and sexuality, Otto explores how the legacy of the war complicated ideas of masculinity in Germany during this era, inflecting the idea of the “artist engineer.”

‘Josef Albers in Mexico’ is the first in our new series: Exhibition Pre-Game. These episodes will give you background information on exhibits currently on display somewhere in the country. Whether you’re an art historian or not, you’ll feel confident going in to the museum after listening. ‘Josef Albers in Mexico’ is on display at the Guggenheim Museum in New York City.

“A colour has many faces.” This is a quote or in a better way a chapter title of Josef Albers' book, Interaction of colour. We may consider these variety of faces based on the appearance of colour in different conditions, or based on different social contexts. Chemistry and physics of light play huge role on perceiving colour, and this part falls into the visual perception territory. At the same time, colours play role in the societies and carrying variety of understandings and meanings. We may call this part the social perception of colour.

“A colour has many faces.” This is a quote or in a better way a chapter title of Josef Albers’ book, Interaction of colour. We may consider these variety of faces based on the appearance of colour in different conditions, or based on different social contexts. Chemistry and physics of light play huge role on perceiving colour, and this part falls into the visual perception territory. At the same time, colours play role in the societies and carrying variety of understandings and meanings. We may call this part the social perception of colour. Understanding and studying colour requires considering so many areas such as psychology, physiology and genetics, physics and chemistry, culture, symbolism and linguistics and even politics and economy. In this episode we are trying to track and cover functionality of colour. So, let’s listen to our guests, Audrey and Robin, about how we perceive and understand colour?

This episode is all about education. Andy, Matt, Meg, and Maurice share their origin stories as we discuss the differences between being self-taught and learning about design through a formal, paid program. How do you find your voice when you begin your career working for others? How do you learn humility after you've spent four years and tens of thousands of dollars becoming an expert in something? Links Discussed Working File Episode 2 — The Artist and the Problem Solver Morehouse College Historically Black Colleges and Universities Wolfram Mathematica Lunch Sarah Huny Young Huny on Revision Path Husani on Revision Path Husani Oakley Savannah College of Art and Design Maryland Institute College of Art Kutztown University Rhode Island School of Design Clients from Hell Josef Albers Lynda Skillshare Black in Design 2017 Revision Path Creative Works AIGA Eye on Design Conference

There are a multitude of factors that contribute to crafting your personality. The familiar debate of nature versus nurture comes to mind. Just as there are various pieces involved in crafting a personality, so are there in finding artistic inspiration. What inspires one person would never inspire the next and so on. On this episode of Savvy Painter, I have the pleasure of interviewing artist Ginnie Gardiner. In our conversation, we discuss her work as an MTV music video producer, what art books inspire her, her creative process, and much more! I can’t wait for you to hear from this gracious and talented artist - make sure to listen in! An artist inspired by her work with MTV You wouldn’t think there was much correlation between working on MTV music videos and developing as a painter. However, that is exactly artist Ginnie Gardiner’s story. She worked as a producer for a video company to take “Flat art” and animate it for videos and television. This job working with digital art and music videos served as her early work experience right out of college from Cornell. On this episode of Savvy Painter, Ginnie shares how this experience influenced her significantly as an artist and later as a painter. Don’t miss out on our fascinating conversation! Painting inspired by reading Inspiration can be a difficult thing to come by for many creative people. Once you find what inspires you, it can unleash a flood of productivity. What have you found that inspires you? Is it always the same thing or does it change through different seasons of life? Artist Ginnie Gardiner finds inspiration for her paintings and collage work from reading various books. She loves to read books about artists and by artists. Reading these works have had a huge impact on her creative process. Ginnie has even added reading into her daily routine as she prepares and paints her canvases. To hear more about what motivates and inspires Ginnie, listen to this episode of Savvy Painter! Finding the right routine and rituals to fuel creativity When you have done things a certain way for so long, it becomes second nature. You don’t even realize you are practicing particular habits because it’s become part of who you are. These habits and rituals can be extremely helpful in fueling your creative impulses. Some people’s creativity thrives while they are listening to music, some need complete silence. I am always intrigued to find out what makes each artist I get to interview succeed. Artist Ginnie Gardiner has a number of these routines that she practices when she approaches her canvas. I know you will find her habits and rituals as fascinating as I did. Don’t miss my interview with Ginnie on this episode of Savvy Painter. The magic of viewing art in person Can you think back to a time when you were truly awe inspired? When was that last time your heart started racing and your jaw dropped? For artist Ginnie Gardiner it's whenever she gets to view world renowned paintings in person. On this episode of Savvy Painter, Ginnie and I discuss the powerful impact art has had on our lives. My hope is that our conversation resonates with you. Ginnie’s awe and wonder of the art world is contagious and had me planning my next trip to Madrid. Listen to this episode of Savvy Painter to hear more from Ginnie! Outline of This Episode [0:36] Background of guest: Ginnie Gardiner. [2:13] I introduce Ginnie Gardiner. [2:41] Why did Ginnie become an artist? [11:03] How working with music videos influenced Ginnie’s painting. [16:38] Ginnie talks about the influence of Josef Albers and the use of colors in her art. [23:18] The influence of Giovanni Battista Tiepolo on Ginnie’s work. [27:19] The use of thumbnail drawings. [31:42] Reading good books as inspiration. [37:23] Routine and rituals that help Ginnie’s creativity. [41:35] Ginnie and I talk shop - materials, methods, etc. [49:20] The impact of viewing paintings in person. Other artists mentioned on this episode Josef Albers Charles Hawthorn Giovanni Battista Tiepolo Roy Lichtenstien Neil Welliver Johannes Itten Kerry James Marshall Stuart Davis Resources Mentioned on this episode Ginnie’s website: ginniegardiner.com Book: "Tiepolo and the Pictorial Intelligence" by Svetlana Alpers Book: "A World of Our Own" by Frances Borzello Book: "The Bauhaus Group" by Nicholas Fox Weber Book: "Collage: The Making of Modern Art" by Brandon Taylor Book: "The Art of Color" by Johannes Itten Author: Carter Ratcliff Author: Frances Borzello Author: Nicholas Fox Weber Author: Brandon Taylor Connect With Antrese On Facebook On Pinterest On Instagram On Twitter

In the second installment of their two-parter on color theory, the Babes discuss the color experiments of Josef Albers, explore the connection between color and emotion, and get weepy about the tragic life of van Gogh. Artists discussed: Josef Albers, Mark Rothko, Gerhard Richter, Eugene Delacroix, & Vincent van Gogh. Learn more about your ad choices. Visit podcastchoices.com/adchoices

In the third edition of KunstCapades LIVE, we manage to get Juan Luna-Avin and Bradmagic into our heavily repaired gondola, and up to jr. tiki. Marv concocts a beautiful homage to Josef Albers as we talk punk rock in Mexico, Queen Elizabeth, Francis Bacon, and tall tales in the world of magic. Join us on our sandy beach in the alpine skies! It's KunstCapades episode 33!

Más información de este acto

Más información de este acto

La relación de Josef Albers con el compositor John Cage tiene su origen en la visita de este último a Black Mountain College, la institución en la que enseñaba Albers, en el año 1948. Allí, Albers pudo asistir a los estrenos de significativas obras de Cage quien, en 1950, compuso sus Seis melodías para violín y teclado, dedicadas a Josef y Anni Albers. Esta obra podrá escucharse en el Concierto extraordinario celebrado con motivo de la inauguración de la exposición “Josef Albers: minimal means, maximun effect” acompañada de Tzigane de Ravel y la Fantasía sobre temas de “Carmen” de Bizet de Sarasate. Conferencia inaugural a cargo de Nicholas Fox Weber, director ejecutivo de The Josef and Anni Albers Foundation, Bethany, Connecticut.  Más información de este acto

A pioneer in color theory, Josef Albers, investigated the properties of color in his series of works, Homage to the Square. Alice Walton, Board Chair, and Don Bacigalupi, Executive Director, explore Albers’ approach to color.

Wing, Natasha. AN EYE FOR COLOR : THE STORY OF JOSEF ALBERS

This week: Duncan leads a panel discussion on the the state of painting and current MCA exhibition Constellations: Paintings from the MCA Collection(which closes October 18th!) the panel consists of Artists Vera Klement and Wesley Kimler, Artletter.com's Paul Klein and exhibition curator Julie Rodrigues Widholm! Stolen liberally from the MCA website: This exhibition explores various approaches to painting and how it communicates ideas about life and art from the 1940s to the present. Arranged in a series of constellations, or groupings, the exhibition highlights for the first time the MCA Collection's particular strengths in this medium. Augmented by major works from important private collections to fill gaps in the MCA Collection and to provide examples of recent works made during the last few years, the exhibition includes work by approximately 75 of the most important artists of the last sixty years including Chuck Close, Andy Warhol, Gerhard Richter, Jasper Johns, Lari Pittman, Rudolf Stingel, Clare Rojas, Laura Owens, Josef Albers, Rene Magritte, Francis Bacon, Brice Marden, Caroll Dunham, Thomas Scheibitz, Jean Dubuffet, Sherrie Levine, Jules Olitski, Kenneth Noland, Sigmar Polke, Rebecca Morris, Roberto Matta, and Yves Tanguy, among others. Featured Chicago artists include Angel Otero, Wesley Kimler, Kerry James Marshall, Judy Ledgerwood, Scott Reeder, Michelle Grabner, Marie Krane Bergman, and Vera Klement. This exhibition explores questions about the current state and future of painting by creating a dialogue with works from the past. These conversations within each section stimulate ideas about painting that are not limited to chronology or specific art historical narratives, but follow lines of thought. Within the exhibition, the constellations aim to make connections through the various interests, positions, styles, and histories that artists address within their approach to painting. For example, Constellations explores approaches to the landscape and figure, so-called "bad" painting, appropriation and collage in painting, the critique of illusion in painting, form and color, and paintings that exist in-between representation and abstraction. All of the works in this exhibition are united by the use of paint, a brush, and a support to emphasize the complex and varied manner in which artists use similar materials. This exhibition does not seek to redefine what can be considered a painting, but rather examines how it endures as a vibrant art form, more than 100 years after it was proclaimed "dead" at the advent of photography. Clearly there is no correct way, which is why painting continues to be a source of stimulating conversation and debate. From the perspective of the artist and viewer, painting is a subjective experience. This exhibition is organized by Julie Rodrigues Widholm, Pamela Alper Associate Curator.

Michael Murawski discusses Josef Albers's Homage to the Square: Aurora (1951-55), part of the Kemper Art Museum's permanent collection. Presented in conjunction with the Museum's Spotlight Series.

Michael Murawski discusses Josef Albers's Homage to the Square: Aurora (1951-55), part of the Kemper Art Museum's permanent collection. Presented in conjunction with the Museum's Spotlight Series.