Podcasts about kemper museum

Portrait of artist in studio, 2016 Photo: Don Stahl Courtesy of Susan Inglett Gallery, NYC. Hope Gangloff (b. 1974)attended The Cooper Union for the Advancement of Science andArt. She is well known for her vibrant portrait and landscape paintings that combine a distinctive bright palette with intricate line work. Her early portraiture garnered attention for its intimate observation of relatable moments, from a road trip with friends to a late-night houseparty. Gangloff's work was recently exhibited in "Forces of Nature: Voices That Shaped Environmentalism" at the National Portrait Gallery, Washington D.C. and in "Women PaintingWomen" at the Fort Worth Modern, with an upcoming solo exhibition at Susan Inglett Gallery,NYC, from 1 May–7 June 2025. Solo exhibitions include the Cantor Arts Center, StanfordUniversity; the Broad Art Museum, East Lansing; and Aldrich Contemporary Art Museum, Ridgefield. Her work can be found in the permanent collections of the Grinnell CollegeMuseum of Art, Grinnell; National Portrait Gallery, Washington, D.C.; the Broad Art Museum,East Lansing; the Kemper Museum, Kansas City; and Pennsylvania Academy of the Fine Arts,Philadelphia, among others. Hope Gangloff, James (Case-Leal), 2025 (Detail) Acrylic on linen 36 x 26 in. Copyright The Artist Courtesy of Susan Inglett Gallery, NYC. Hope Gangloff, 'Bittersweet' barn, 2025 (Detail) Acrylic on canvas 48 x 72 in. Copyright The Artist Courtesy of Susan Inglett Gallery, NYC. Hope Gangloff, Matthew (Holtzclaw) & Prakash (Puru), 2025 (Detail) Acrylic on wood panel 80 1/2 x 48 in. Copyright The Artist Courtesy of Susan Inglett Gallery, NYC.

Artspeak Radio, Wednesday, March 26, 2025, 9am -10am CST, 90.1fm KKFI Kansas City Community Radio, streaming live audio www.kkfi.org Producer/host Maria Vasquez Boyd welcomes curator Kevin Moore, author Christine Cronin, […] The post Artspeak Radio with Kemper Museum of Art, Christine Cronin and Debbie Barrett-Jones appeared first on KKFI.

This week on The Curatorial Blonde we have Allison Glenn. Allison Glenn is a New York-based curator and writer focusing on the intersection of art and public space, through public art and special projects, biennials, and major new commissions by a wide range of contemporary artists. She is a Visiting Curator in the Department of Film Studies at the University of Tulsa, organizing the Sovereign Futures convening, and Artistic Director of The Shepherd, a three-and-a-half-acre arts campus part of the newly christened Little Village cultural district in Detroit.  Previous roles include Co-Curator of Counterpublic Triennial 2023; Senior Curator at New York's Public Art Fund, where she proposed and developed Fred Eversley: Parabolic Light (2023) and Edra Soto Graft (2024) for Doris C. Freedman Plaza; Guest Curator at the Speed Art Museum, and Associate Curator of Contemporary Art at Crystal Bridges Museum of American Art. In this role, Glenn shaped how outdoor sculpture activates and engages Crystal Bridges 120-acre campus through a series of new commissions, touring group exhibitions, and long-term loans. She also realized site-specific architectural interventions, such as Joanna Keane Lopez, A dance of us (un baile de nosotros), (2020), as part of State of the Art 2020 at The Momentary. She acted as the Curatorial Associate + Publications Manager for Prospect New Orleans' international art triennial Prospect.4: The Lotus in Spite of the Swamp. A Curatorial Fellowship with the City of Chicago's Department of Cultural Affairs and Special Events, culminated with In the beginning, sometimes I left messages in the street (2016), a citywide billboard and performance exhibition. As Program Manager at University of Chicago's Arts Incubator, she worked with a team led by Theaster Gates to develop the emergent space, where she curated exhibitions and commissioned performances such as Amun: The Unseen Legends (2014), a new performance from Terry Adkin's Lone Wolf Recital Corps, that included Kamau Patton. Glenn has been a visiting critic, lecturer, and guest speaker at a number of universities, including The University of Tulsa, University of Pennsylvania, School of the Art Institute of Chicago, Louisiana State University, and Pacific Northwest College of Art. Her writing has been featured in catalogues published by The Los Angeles County Museum of Art, The Neubauer Collegium, Counterpublic Triennial, Prospect New Orleans Triennial, Princeton Architectural Press, Crystal Bridges Museum of American Art, Scottsdale Museum of Contemporary Art, Kemper Museum, Studio Museum in Harlem, and she has contributed to Artforum, ART PAPERS, Brooklyn Rail, Hyperallergic, ART21 Magazine, Pelican Bomb, Ruckus Journal, and Newcity, amongst others. She has curated notable public commissions, group exhibitions, and site specific artist projects by many artists, including Mendi + Keith Obadike, Matthew Angelo Harrison, Maya Stovall, Rashid Johnson, Basel Abbas + Ruanne Abou-Rahme, Lonnie Holley, Ronny Quevedo, Edra Soto, Terry Adkins, Kamau Patton,Shinique Smith, Torkwase Dyson, George Sanchez-Calderon, Hank Willis Thomas, Odili Donald Odita, Martine Syms, Derrick Adams, Lisa Alvarado, Sarah Braman, Spencer Finch, Jessica Stockholder, Joanna Keane-Lopez, Genevieve Gaignard and others. Her 2021 exhibition Promise, Witness, Remembrance was name one of the Best Art Exhibitions of 2021 by The New York Times. Glenn is a member of Madison Square Park Conservancy's Public Art Consortium Collaboration Committee and sits on the Board of Directors for ARCAthens, a curatorial and artist residency program based in Athens, Greece, New Orleans, LA and The Bronx, New York. She received dual Master's degrees from the School of the Art Institute of Chicago in Modern Art History, Theory and Criticism and Arts Administration and Policy, and a Bachelor of Fine Art Photography with a co-major in Urban Studies from Wayne State University in Detroit.

Meet the new executive director of The Kemper Museum of Contemporary Art in Kansas City, Jessica May. What a joy to find that she is a bright, creative, and down-to-earth leader who is poised to help the museum reach a fuller potential. Building on its already strong foundation, Jessica brings fresh eyes and inspiring ideas … Continue reading ArtMoves Podcast 16 – museum director Jessica May →

Ep.192 Allison Glenn is a New York-based curator and writer focusing on the intersection of art and public space, through public art and special projects, biennials and major new commissions by a wide range of contemporary artists. She is a Visiting Curator in the Department of Film Studies at the University of Tulsa, organizing the Sovereign Futures convening, and Artistic Director of The Shepherd, a three-and-a-half-acre arts campus part of the newly christened Little Village cultural district in Detroit. Previous roles include Co-Curator of Counterpublic Triennial 2023, Guest Curator at the Speed Art Museum, and Associate Curator of Contemporary Art at Crystal Bridges Museum of American Art. In this role, Glenn shaped how outdoor sculpture activates and engages Crystal Bridges' 120-acre campus through a series of new commissions, touring group exhibitions, and long term loans. She has also acted as the Curatorial Associate + Publications Manager for Prospect New Orleans' international art triennial Prospect.4: The Lotus in Spite of the Swamp. Her writing has been featured in catalogues published by The Los Angeles County Museum of Art, Counterpublic Triennial, Prospect New Orleans triennial, Princeton Architectural Press, Crystal Bridges Museum of American Art, Scottsdale Museum of Contemporary Art, Kemper Museum, Studio Museum in Harlem, and she has contributed to Artforum, ART PAPERS, Brooklyn Rail, Hyperallergic, and ART21 Magazine, amongst others. Glenn sits on the Board of Directors for ARCAthens, a curatorial and artist residency program based in Athens, Greece, New Orleans, LA and The Bronx, New York. She received dual Master's degrees from the School of the Art Institute of Chicago in Modern Art History, Theory and Criticism and Arts Administration and Policy, and a Bachelor of Fine Art Photography with a co-major in Urban Studies from Wayne State University in Detroit. Photograph by Grace Roselli Allison Glenn https://www.allisonglenn.com/ Artnet https://news.artnet.com/art-world/valuations-allison-glenn-2395989 NYTimes https://www.nytimes.com/2023/05/09/arts/design/counterpublic-st-louis-public-art.html ARTnews https://www.artnews.com/art-news/artists/qa-david-adjaye-on-his-first-permanent-sculpture-1234670283/ e-flux https://www.e-flux.com/criticism/537239/counterpublic-2023 NPR https://www.stlpr.org/arts/2023-03-07/massive-public-art-exhibition-will-highlight-historical-injustices-in-st-louis The Architects Newsletter https://www.archpaper.com/2022/04/david-adjayes-first-permanent-public-artwork-among-art-and-architectural-commissions-for-2023-counterpublic-triennial-in-st-louis/ Artnet https://news.artnet.com/art-world/counterpublic-2023-2106157 ARTnews https://www.artnews.com/list/art-news/artists/shaping-art-2022-deciders-1234612406/naomi-beckwith/ NYTimes https://www.nytimes.com/2021/12/07/arts/design/best-art-2021.html Observer https://observer.com/power-series/2021-arts-power-50/ Artforum https://www.artforum.com/features/huey-copeland-and-allison-glenn-on-promise-witness-remembrance-249992/ SAIC https://www.saic.edu/news/alum-allison-glenn-and-the-power-of-listening NYTimes https://www.nytimes.com/2021/03/11/arts/design/speed-museum-breonna-taylor-curator.html Art Newspaper https://www.theartnewspaper.com/2021/02/25/speed-art-museum-will-reflect-on-the-death-of-breonna-taylor-in-an-exhibition Surface https://www.surfacemag.com/articles/breonna-taylor-exhibition-speed-art-museum-other-news/#taylor Culture Type https://www.culturetype.com/2021/02/22/the-week-in-black-art-february-22-28-2021-cameron-shaw-named-executive-director-of-california-african-american-museum-aperture-names-seven-new-trustees/ Artnet https://news.artnet.com/art-world/louisville-speed-art-museum-breonna-taylor-1945823 Observer https://observer.com/2021/02/breonna-taylor-speed-art-museum-louisville/ 88.9 WEKU https://www.weku.org/post/new-speed-exhibition-honor-life-legacy-breonna-taylor#stream/0

At the end of January, the Kemper Museum of Contemporary Art in Kansas City announced that Jessica May would soon become its new executive director. She says the museum already feels like home.

Ep.176 Gisela McDaniel is a diasporic, Indigenous Chamorro artist who explores the effects of trauma, displacement and colonisation through portraiture and oral histories. Interweaving audio interviews, assemblage and oil painting, she intentionally incorporates the portrait sitters' voices in order to subvert the traditional power relations of artist and sitter. Working primarily with women and non-binary people who identify as Black, Micronesian, Indigenous to Turtle Island, Asian, Latinx, and/or mixed-race, her work disrupts and responds to the systemic silencing of subjects in fine art, politics and popular culture. McDaniel received her BFA from the University of Michigan in 2019. Recent solo and group shows include: The inescapable interweaving of all lives, Kunsthalle Düsseldorf, Düsseldorf (2023); Tender Loving Care, Museum of Fine Arts Boston, Boston (2023); Thinking of You, FLAG Art Foundation, New York (2023); Manhaga Fu'una, Pilar Corrias, London (2022); A Place for Me: Figurative Painting Now, ICA Boston (2022); The Regional, Kemper Museum of Contemporary Art, Kansas City (2022); Sakkan Eku LA, The Mistake Room, Los Angeles (2021); How Do We Know the World?, Baltimore Museum of Art, Baltimore (2021); The Regional, CAC Contemporary Art Centre Cincinnati (2021); Dual Vision, MOCAD (2021); Making WAY/FARING Well, Pilar Corrias, London (2020); Dhaka Art Summit, Dhaka, Bangladesh (2020); On the Road II, Oolite Arts, Miami (2019); Save Art Space, Playground Detroit, Detroit (2019); Lush P(r)ose, Playground Detroit, Detroit (2019); Virago, Detroit Art Babes Collective, Detroit (2019) and Theotokos: New Visions of the Mother God, The Schvitz, Detroit (2018). Photo Credit: Gisela McDaniel in her studio, 2023, Photo by Rachel Stern. Courtesy the artist and Pilar Corrias, London Artist https://www.giselamcdaniel.com/ Pilar Corrias https://www.pilarcorrias.com/artists/53-gisela-mcdaniel/ Perez Art Museum Miami https://www.pamm.org/en/artwork/2020.216/ MFA Boston https://www.mfa.org/article/2022/tiningo-si-sirena-a-conversation-with-gisela-charfauros-mcdaniel-and-antoinette i.D Vice https://i-d.vice.com/en/article/akvywb/gisela-mcdaniel-art-interview Elephant https://elephant.art/gisela-mcdaniel-gauguins-paintings-of-pacific-islanders-felt-like-theft-to-me-18022022/ Artnet https://news.artnet.com/art-world/chamorro-painter-gisela-mcdaniel-interview-2064002 Playground Detroit https://playgrounddetroit.com/portfolio/gisela-mcdaniel/ Galleries Now https://www.galleriesnow.net/shows/gisela-mcdaniel-manhaga-fuuna/ Washington Informer https://www.washingtoninformer.com/armory-week-contemporary-art-dc/ Wikipedia https://en.wikipedia.org/wiki/Gisela_McDaniel Kresge Arts in Detroit https://kresgeartsindetroit.org/artist/gisela-mcdaniel/ Kadist https://kadist.org/people/gisela-mcdaniel/ She Curates https://www.she-curates.com/interviews/artists/gisela-mcdaniel/ Metro West https://metrowestcle.org/community-art/ Guam Pacific Daily News https://www.guampdn.com/lifestyle/gisela-mcdaniels-portraits-of-chamoru-diaspora-shown-in-london-gallery/article_c149e9ac-8e05-11ec-8f91-333179b3d301.html The Hopper News https://hopperprize.org/gisela-mcdaniel/ Seen https://www.seenthemagazine.com/culture/arts_entertainment/the-power-of-a-paintbrush-gisela-mcdaniel-transforms-trauma-into-art/article_c071f946-0477-5e8a-a116-6e6adc2605cf.html

The collaboration between Classical KC and the Kemper Museum of Contemporary Art highlights the connections between visual and aural art, and hopes to make the museum more interactive for visitors.

Episode No. 619 features artists Edra Soto and José Lerma. Soto and Lerma are among the 18 artists featured in "entre horizontes: Art and Activism Between Chicago and Puerto Rico" at the Museum of Contemporary Art Chicago. The exhibition examines the artistic genealogies and social justice movements that connect Puerto Rico with Chicago, which is home to third-largest mainland population of Puerto Ricans. "entre horizontes" was curated by Carla Acevedo-Yates with Iris Colburn. It is on view through May 5, 2024.  Edra Soto's sculpture and installations prompt viewers to reconsider cross-cultural dynamics, the legacy of colonialism, and personal responsibility. Her work has been exhibited at the Whitney Museum of American Art, New York, in the 2020-21 El Museo del Barrio, New York, triennial, at the Contemporary Art Museum St. Louis, the Bemis Center for Contemporary Arts, Omaha, the Pérez Art Museum Miami, and more. In 2023 Soto was awarded a US LatinX Art Forum fellowship. Soto also is the co-director of the outdoor project space The Franklin.  Lerma is a painter whose work blends the historical, autobiographical, art historical and mythological, often through portraits that suggest (or name) specific individuals while pointing to how much of their public personae are manufactured. Simultaneously riffing on European portraiture traditions and popular representation, his work is smart, funny, and always painterly. The Kemper Museum of Art in Kansas City, the Museum of Contemporary Art Detroit and the MCA Chicago have all presented solo exhibitions of his work. 

Episode No. 609 of The Modern Art Notes Podcast is a summer clips episode featuring artist Virginia Jaramillo. The Kemper Museum of Contemporary Art in Kansas City is presenting "Virginia Jaramillo: Principle of Equivalence," the first retrospective of Jaramillo's work. The exhibition includes 73 paintings and handmade paper works extending back over 70 years. The exhibition was curated by Erin Dziedzic and will be on view through August 26. A catalogue is forthcoming. This episode was recorded on the occasion of  “Virginia Jaramillo: The Curvilinear Paintings, 1969-74” which was at the Menil Collection in 2020. The show was the first solo museum exhibition of Jaramillo's career. Curated by Michelle White, it featured a series of paintings that Jaramillo made featuring the joining of line to color against mostly monochromatic backgrounds. See Episode No. 469 for images.

Natalie Frank was born in Austin, TX and received her Master of Fine Arts in 2006 from Columbia University, New York, NY and her Bachelor of Arts in 2002 from Yale University, New Haven, CT. In 2004, Frank was awarded a Fulbright Scholarship to the National Academy of Fine Art, Oslo, Norway. Natalie has been the subject of recent solo exhibitions at Miles McEnery Gallery, New York, NY; the Kemper Museum of Contemporary Art, Kansas City, MO; Brattleboro Museum & Art Center, Brattleboro, VT; Madison Museum of Contemporary Art, Madison, WI; Salon 94, New York, NY; Lyles & King, New York, NY; Half Gallery, New York, NY; Lora Reynolds Gallery, Austin, TX; Rhona Hoffman Gallery, Chicago, IL; University of Kentucky Art Museum, Lexington, KY; ACME., Los Angeles, CA; Galleria Marie-Laure Fleisch, Rome, Italy; Blanton Museum of Art, University of Texas, Austin, TX; and The Drawing Center, New York, NY. She has been included in group exhibitions at numerous international institutions including the Bowdoin College Museum of Art, Brunswick, ME; Brattleboro Museum of Art, Brattleboro, VT; The Corcoran, Washington, D.C.; FLAG Art Foundation, New York, NY; London Museum of Design, London, United Kingdom; The Metropolitan Museum of Art, New York, NY; Modern Art Museum of Fort Worth, Fort Worth, TX; National Academy Museum, New York, NY; New York Academy of Art, New York, NY; Wellin Museum of Art, Hamilton College, Clinton, NY; Tang Teaching Museum, Skidmore College, Saratoga Springs, NY; Weatherspoon Art Museum, University of North Carolina, Greensboro, NC; and the Yale University Art Gallery, New Haven, CT, among others. Her work may be found in the collections of the Art Institute of Chicago, Chicago, IL; Blanton Museum of Art, University of Texas, Austin, TX; Bowdoin College Museum of Art, Brunswick, ME; Brooklyn Museum of Art, Brooklyn, NY; The Bunker, Beth Rudin DeWoody Collection, Palm Beach, FL; Everson Museum of Art, Syracuse, NY; Tang Teaching Museum, Skidmore College, Saratoga Springs, NY; Kemper Art Museum, St. Louis, MO; Pennsylvania Academy of the Fine Arts, Philadelphia, PA; Weatherspoon Art Museum, University of North Carolina, Greensboro, NC; Whitney Museum of American Art, New York, NY; Williams College Museum of Art, Williamstown, MA; the Yale University Art Gallery, New Haven, CT, and elsewhere.

When Megan Kenyon's niece was born it propelled her on a journey of exploring the messages she received from the church about being a woman, culminating in an art showcase featuring the church experiences of 22 women across generations and denominations. The findings were remarkable (but probably not surprising). Find photos of the showcase mentioned in this episode on our Instagram HERE. Megan Kenyon is an interdisciplinary artist living and working in St. Louis. Her practice focuses on storytelling relating to evangelical experience, investigating through visual images and written texts the complexities of Christian practice, church history, and spiritual abuse. A life-long Christian, Megan's experiences with a variety of evangelical and mainline denominations and organizations, as well as many homeschool networks in Missouri, deeply informs her work. Megan is a recent grad of Washington University St. Louis' Masters of Fine Arts in Visual Art program, and has shown at a variety of St. Louis galleries, including the Kranzberg and the Kemper Museum. Working in collaboration with other evangelical women, Megan is currently creating a body of work that will debut in a show called The Women's Chapel at Intersect Arts Center in December of 2023.REGISTER FOR RETREATCONUncertain is a podcast of Tears of Eden, a community and resource for those in the aftermath of Spiritual Abuse. If you're enjoying this podcast, please take a moment to like, subscribe, or leave a review on your favorite podcasting listening apparatus. You can support the podcast by going to TearsofEden.org/supportTo get in touch with us please email tearsofeden.org@gmail.comFollow on Instagram @uncertainpodcast

Katherine Sherwood's work is an embodiment of her ideals as a feminist and reflect her personal experience with disability. In 1997, at the age of 44, she had a cerebral hemorrhage which paralyzed the right side of her body. Teaching herself how to paint again using her non-dominant hand was part of her healing process. Her recent Brain Flowers series of mixed media paintings on the reverse of antique art historical prints include collages of cerebral angiograms of her own brain. As part of her mission to bring attention to underrecognized women painters, Sherwood repaints vanitas paintings by 17th century Dutch and Baroque women artists, in which still lives with fading flowers suggest the brevity of life and the vanity of earthly achievements. Sherwood was born in New Orleans, Louisiana in 1952. She received a BA from the University of California, Davis, in 1975, and an MFA from the San Francisco Art Institute in 1979. She is Professor Emerita of Painting at the UC Berkeley Department of Art Practice, where she taught painting and drawing, developed two groundbreaking courses; Art, Medicine and Disability and Art and Meditation, and played an active role in the expansion of the Disability Studies program. She serveson the board of Creative Growth Art Center in Oakland, which serves artists with developmental disabilities by providing a supportive studio environment and gallery representation. Sherwood's work has been exhibited in the 2000 Whitney Museum Biennial, at Yerba Buena Center for the Arts in 2003 and 2009, and at the Smithsonian in 2010. Recent solo exhibitions include Anglim/Trimble in San Francisco, George Adams Gallery in New York, and Walter Maciel Gallery in Los Angeles. She had a retrospective exhibition at Worth Ryder Art Gallery at UC Berkeley in 2016. The relevance of her work to medicine and brain science has led to her participation in “Visionary Anatomies” at the National Academy of Science in Washington DC, “Inside Out Loud: Visualizing Women's Health in Contemporary Art” at the Kemper Museum in St. Louis, “Human Being” at the Chicago Cultural Center,and a solo exhibition “Golgi's Door” at the National Academy of Sciences in 2007. She co-curated the exhibition “Blind at the Museum” at the Berkeley Art Museum. Sherwood was the recipient of a 1989 National Endowment for the Arts Grant, 1999 Pollock Krasner Foundation Grant, 2005 Guggenheim Fellowship, 2006 Joan Mitchell Foundation Grant, and 2012 Newhouse Foundation Grant. Her work is in many major public collections including the Ford Foundation, New York; the San Francisco Museum of Modern Art, California; the National Academy of Sciences, Washington DC; and the University of Missouri, Columbia, among others. She published a chapter, “Out of the Blue: Art, Disability and Yelling,” in the book Contemporary Art and Disability Studies (Routledge Press, 2019). She is represented by George Adams Gallery in New York, Walter Maciel Gallery in Los Angeles, and Anglim/Trimble Gallery in San Francisco. She lives and works in the San Francisco Bay Area. Katherine Sherwood Pandemic Madonna (Lucas Cranach the Elder), 2022 Mixed media on found print 29 x 21 inches, © Katherine Sherwood, courtesy George Adams Gallery, New York. Photo: Dana Davis. Katherine Sherwood Venus After De Obidos, 2019-2022 Mixed media on found cotton duck 77 x 91 inches, © Katherine Sherwood, courtesy George Adams Gallery, New York. Photo: Dana Davis. Bread and Brains (After Josefa de Obidos), 2022 Mixed media on found cotton duck 25 1/2 x 60 inches, © Katherine Sherwood, courtesy George Adams Gallery, New York. Photo: Dana Davis.

Putting Artists First in Curatorial Projects with Melissa Messina Today's conversation on The Art Biz is packed with tips and insider info. In my conversation with independent curator Melissa Messina, we discuss what an independent curator does, how Melissa finds and works with artists, and what happens during a studio visit to an artist she is (or might be) working with. You won't want to miss the insights she shares about common mistakes she sees artists making, as well as how to correct them. Above all, Melissa shares the empowering reminder that the artist is at the center of all a curator, a museum, or a gallery does. First posted: https://artbizsuccess.com/curator-messina-podcast Highlights “I think that curator gene has always been in me.” (1:55) Melissa's work as an independent curator. (5:32) How does a curator find their artists? (9:00) The importance of your network. (14:37) Insights from the details of Melissa's standard project. (18:46) Scheduling projects and finding funding with fellowships. (23:55) Curating an artist's estate is the joy of Melissa's life. (26:53) What piquesMelissa's interest in the artists she encounters? (32:01) The cities, websites, publications, and galleries where Melissa looks for artists. (35:00) Working with galleries as an independent curator. (38:04) The role that studio visits play in a curator-artist relationship. (40:54) What curators are looking for from a studio visit. (48:51) Correcting the mistakes that too many artists make. (50:54) This Week's Assignment Research my guest Melissa Messina and start following her on social media. Then start researching independent curators in your area and start following them. Consider inviting them into your studio for a low-stress visit—and don't forget to offer them a drink. Mentioned ArtBizAccelerator.com Brooklyn Museum Art Papers Hyperallergic Valerie Cassel Oliver Tyson Scholars of American Art Program at Crystal Bridges Museum of American Art Melissa Messina Melissa Messina on Instagram Resources Show notes, images, and listener comments How to Price Your Art free report Art Biz Connection artist membership Quotes “I'm constantly making calculations to see where an exhibition or project might percolate out of my experiences and relationships.” — Melissa Messina “Your network is everything.” — Melissa Messina “There are some really good artists with bad attitudes, and I would much rather give the opportunity to someone who is a joy to work with.” — Melissa Messina “I think artists would do better to let go of their expectations in a studio visit.” — Melissa Messina “Without the artist and their work, there wouldn't be anything for us to do.” — Melissa Messina About My Guest Melissa Messina is a nationally recognized arts professional who has developed thought-provoking exhibitions, dynamic site-responsive projects and engaging educational public programming both independently and in leadership positions at museums and non-profit arts organizations. For 20 years, her work with regional, national, and international artists has been presented in the U.S. in Atlanta, Kansas City, Miami, New York, New Orleans, Richmond, Savannah, and Washington, D.C., as well as in Bermuda, France, and Hong Kong. She has lectured extensively and published widely, and her research has been funded by Creative Time and The Andy Warhol Foundation, as well as by fellowships at Emory University's Stuart A. Rose Library, Atlanta, GA, and the Crystal Bridges Museum of American Art, Bentonville, AR. In addition to serving select public and private clients, she is the curator of the Mildred Thompson Estate. She has also recently served as guest curator at the Virginia Museum of Contemporary Art, Spelman College Museum of Fine Art, the Visual Arts Center of Richmond, and the New Orleans Museum of Art, and was the co-curator of the 2018 and 2020 Bermuda Biennials. In 2017, she co-created Magnetic Fields: Expanding American Abstraction, 1960s to Today, an intergenerational exhibition highlighting 21 Black female abstract practitioners that traveled from Kemper Museum of Contemporary Art in Kansas City to The National Museum of Women in the Arts, Washington, D.C.

Kathryn Spence has spent years compiling, sorting and transforming culture's discards into sculptural objects that reveal a human determination on the topic of sufficiency. Fascinated with space, materiality, and objectness, she attends to materials conventionally wasted to produce installations and individual objects that act as a point of unhinging between the natural world and the controlled world. The show being discussed is Kathryn Spence at P. Bibeau, September 9 - October 22, 2022. Kathryn Spence (b. 1963) resides in the Bay Area and is featured in numerous public collections including SFMOMA, National Gallery of Art, Washington D.C., U.C. Berkeley Art Museum, the Oakland Museum of California, Mills College at Northeastern University, the Denver Art Museum, the San Jose Museum of Art, and the Santa Barbara Museum of Art.  Museum solo exhibitions include the Aldrich Museum of Contemporary Art, 2012, Mills College Art Museum, Oakland, CA, 2010, the Johnson Museum at Cornell University, Ithaca, 2001, and the Kemper Museum of Contemporary Art, Kansas City, 1999. Spence is a recipient of the Anonymous was a Woman award, the Eureka Fellowship, an Artadia award, and the Fleischhacker Foundation award. Her 'Pigeons' were recently on view at SFMOMA in ‘Greater Than the Sum,' 2021-22. Spence showed for 18 years at Stephen Wirtz in San Francisco. The books mentioned in the interview are: Douglas W. Tallamy, Nature's Best Hope: A New Approach to Conservation that Starts in Your Yard  and E.O. Wilson, Half Earth. Installation (close-up) P.Bibeau Gallery, 2019-22Socks, sweatpants, t-shirts, bed sheets, curtains, necktie, fabric scraps, found crocheted and knitted project parts, brown corduroy, yarn, cell phone ads, string, thread, mud, felt, wood, cardboard, pencil drawings, field guides, magazine scraps, stuffed animal fur, wax, plaster, plywood. Photo by Peter Sit. ‘Untitled, (Great gray owl)' 2019-22:: Gray socks, sweatpants, t-shirts, fabric scraps, stuffed animal fur, cardboard, bird field guide pages, wax, wood. Photo by Peter Sit. 'Untitled, (Boreal owl),' 2019-22 Found crocheted and knitting project parts, scraps of fabric, yarn, fur from stuffed animals, field guide, cell phone ads, cardboard, thread, string, mud. Photo by Peter Sit.

Break a bottle of bubbly beverage over the hull, because today, Pep Talks is launching the very first installment of..."Elisabeth Condon Describes a Painting!" In this episode, Elisabeth chose to describe Jules Olitski's "Wanderings, Bilbao: Orange Yellow and Blue" acrylic on canvas painting from 2004. She recently saw the painting at The Sam and Adele Golden Gallery in New Berlin, NY, in "Jules Olitski: Late Works." The show is up until March 2023 and another concurrent show of his works is also up at Yares Gallery in New York. It was an honor to have Elisabeth's wild and wonderful way of looking at painting on the pod. Tune in to hear me giggling helplessly for the entire show. Thank you, Elisabeth! Check out an image of the painting here: https://www.juxtapoz.com/media/k2/galleries/71162/Wanderings_Bilbao.jpg Jules Olitski Exhibition info: "Jules Olitski: Late Works" thru March 3, 2023 at The Sam and Adele Golden Gallery, 188 Bell Road, New Berlin, NY "Jules Olitski: 100 Paintings, 100 Years" thru Jan 14, 2023 at Yares Art, 745 5th Ave, 4th Floor, New York, NY Juxtapose Magazine: https://www.juxtapoz.com/news/painting/jules-olitski-late-works-the-sagg-at-golden-artist-colors-in-new-berlin-new-york/ Elisabeth Condon info: Website: https://www.elisabethcondon.com/ IG: https://www.instagram.com/elisabethcondon/ Norte Maar Mural: https://www.nortemaar.org/projects/norte-maar-mural-project The Golden Foundation Artist Residency: https://www.goldenfoundation.org/residency/about-the-golden-foundation-residency/ Shoutouts: Suminagashi marbling technique, Kemper Museum, Writer: Louis Finkelstein, Writer: Karen Wilkin, Jackson Pollock, Claude Monet, Rembrandt's "Self-Portrait" 1658, Velazquez, Man Ray, Hilma Af Klint, Paula Wilson, The Surrealists, Charles Burchfield, Cezanne, Magna Paints, Helen Frankenthaler, Willem DeKooning, Elizabeth Murray, Writer: Norman L. Kleeblat, Eugene Delacroix, The Journal of Eugene Delacroix, Writer: G. K. Chesterton, Meryl Streep, NYC Crit Club, Golden Fellows: Meng-Yu Wen & Marcello Pope, Kohler Residency, Corning Residency, Shari Mendleson, Karl Kelly, Carl Plansky & Williamsburg Paint, Milton Resnick, Pat Passlof, Kiana Vega, Estefania Velez Rodriguez, Angel Garcia, Paulapart ---------------------------- Pep Talks on IG: @peptalksforartists Amy's website: https://www.amytalluto.com/ Amy on IG: @talluts Donate to the Peps: Buy Me a Coffee or https://anchor.fm/peptalksforartistspod/support. All music tracks and SFX are licensed from Soundstripe. --- Send in a voice message: https://anchor.fm/peptalksforartistspod/message Support this podcast: https://anchor.fm/peptalksforartistspod/support

Artspeak Radio, Wednesday, October 5, 2022, noon – 1pm CST, 90.1fm KKFI Kansas City Community Radio, streaming live audio www.kkfi.org Producer/host Maria Vasquez Boyd welcomes art Edgar Galicia Executive Director of the Central Avenue Betterment Association, art collector John Hoffman, Kemper Museum of Contemporary Art, Learning and Engagement Kreshaun McKinney and Anne Gatsche. EDGAR GALICIA […] The post Artspeak Radio with Edgar Galicia, John Hoffman, and Kemper Museum of Contemporary Art appeared first on KKFI.

Jose Lerma was born in Spain and grew up in Puerto Rico. He earned an MFA from the University of Wisconsin Madison and BA from Tulane University, and attended the CORE Residency Program, Museum of Fine Arts, Houston, TX, and Skowhegan School of Painting & Sculpture, ME. He lives and works in Chicago and San Juan, Puerto Rico. His work has been in solo exhibitions at the Kemper Museum of Art in Kansas City, the Museum of Contemporary Art in Chicago and the Museo de Arte Contemporáneo de San Juan, Puerto Rico, among others; as well as in group exhibitions at the Milwaukee Art Museum, WI; Institute Valecia d'art Modern, Spain; Museo de Arte de Ponce, Puerto Rico; Centro Atlantico de Arte Moderno, Las Palmas de Gran Canaria, Spain; DESTE Foundation for Contemporary Art, Athens, Greece; Museo del Barrio, New York, NY; and Museum of Fine Arts Houston, TX, and others. His work has been written about extensively in the press, including in The New Yorker, The New York Times, and Artforum.

Artspeak Radio, Wednesday, August 3, 2022, noon – 1pm CST, 90.1fm KKFI Kansas City Community Radio, streaming live audio www.kkfi.org Producer/host Maria Vasquez Boyd welcomes writer Cathy Maxwell, Emily Becker Mid-Continent Public Library Community Relations Specialist, artist Pepe Mar, Kemper Museum of Contemporary Art Erin Dziedzic, Director of Curatorial Affairs, and Kreshaun McKinney, Director of […] The post Artspeak Radio with Pepe Mar and Cathy Maxwell appeared first on KKFI.

We are grateful to share Dyani White Hawk and Jovan C. Speller taking part in a podcast format we are calling The Long Conversation -- one that offers folks the chance to cultivate a thread of ideas and relationships without the presence of an interviewerPlease find extensive show notes, transcripts, and links on the episode site. Dyani White Hawk (Sičáŋǧu Lakota) is a visual artist and independent curator based in Minneapolis, Minnesota. Most recently, her work was included in the 2022 Whitney Biennial, and also presented as a major solo exhibition at the Kemper Museum of Contemporary Art. Dyani also previously served as Gallery Director and Curator for the All My Relations Gallery in Minneapolis.Jovan C. Speller is a multidisciplinary artist based in Minnesota. She has received a McKnight Visual Artist Fellowship and the Carolyn Glasoe Bailey Foundation Minnesota Art Prize. Her installation In Lottie's Living Room was featured in the High Visibility Exhibtion at the Plains Art Museum, and her exhibition Nurturing, and Other Rituals of Protection was recently presented by the Minneapolis Institute of Art.This Long Conversation was an experiment, one born from a desire to share with a wider audience what might happen when these two friends and collaborators had the space to relax into a conversation about life, art, family, land, and whichever topics and contexts emerged through that flow. In the time that transpires here, we hear both artists at a point of transition between exhibitions -- with major projects ahead -- reflecting on how the central presence of Black and Native women help us understand the dimensions of the cultural moment we all are walking through.Their time together opens with the power of intergenerational knowledge in their collaborative work Choosing Home, and expands to consider Jovan's time spent with relatives in rural North Carolina learning family history, and Dyani's time with Native women across the continent who speak the languages of their people. Rooted in these experiences, the conversation asks how artists, institutions, and communities can better honor and more deeply support the cultural histories and lived experiences that animate these connections.Land is a constant presence and relational force throughout, ground on which we're left with a deeper understanding of these artists' creative practice but also with a sense of the kind of futures we could all inhabit.High Visibility is an initiative of Art of the Rural and Plains Art Museum. Gratitude to the National Endowment for the Arts and the Andy Warhol Foundation for the Visual Arts for their support of this work. 

Ep.108 features Nanette Carter was born in Columbus, Ohio, and grew up in Montclair, New Jersey. She majored in art history and studio art at Oberlin College, Ohio, and spent her junior year in Perugia, Italy. Carter graduated from Oberlin in 1976 and received her MFA from the Pratt Institute in Brooklyn in 1978. Nanette Carter has received many grants, fellowships, and awards throughout her career. Most recently in 2021, Carter was granted The Anonymous was a Woman Award. She has exhibited nationally and internationally with solo exhibitions in Cuba, Syria, Italy, and Japan. In 2017, Carter was featured in Magnetic Fields: Expanding American Abstraction: 1960s to Today, a traveling museum exhibition featuring African American women artists that was organized by the Kemper Museum of Contemporary Art, Kansas City. In 2021, Carter was the program curator and a participant in Creating Community: Cinque Gallery Artists at the Art Students League, New York. Last summer, Carter was included in the Parrish Art Museum's exhibition, Affinities for Abstraction: Women Artists on the Eastern End of Long Island curated by Alicia Longwell. Her solo exhibition at the Hunterdon Museum of Art, Clifton, New Jersey, Forms Follow Function: The Art of Nanette Carter recently closed. Currently, Carter has a solo exhibition featuring her most recent work at Berry Campbell Gallery in Chelsea. The exhibition features collages from three series, including several large-scale examples. This summer Carter will be in group exhibitions at the Eric Firestone Gallery, East Hampton, the Featherstone Gallery, Martha's Vineyard, and the Hudson River Museum, Yonkers. Carter's work is in numerous corporate and museum collections including, the Perez Museum, Miami, The National Museum of Fine Arts Museum in Havana, Cuba, The Pennsylvania Academy of Fine Arts, Saint Louis Art Museum, The Studio Museum in Harlem, and Yale University Art Gallery. Carter recently retired from the Pratt Institute, Brooklyn, where she was a professor of art for over 20 years. Photo Credit: Kenneth Laidlow Artist https://nanettecarter.com/ Work https://www.berrycampbell.com/artist/Nanette_Carter/works/ Berry Campbell https://www.berrycampbell.com/ Anonymous Was a Woman https://www.anonymouswasawoman.org/ ArtForum https://www.artforum.com/artguide/berry-campbell-11828/shape-shifting-203752 Culturetype https://www.culturetype.com/?s=nanette+carter Hyperallergic https://hyperallergic.com/650425/cinque-gallery-another-chapter-of-black-art-history/ Detroit Art Review https://detroitartreview.com/2021/11/nanette-carter-contemporaries-nnamdi/ 27 East https://www.27east.com/arts/lets-talk-art-abstract-artist-nanette-carter-1775638/

Dakota Mace (Diné) is an interdisciplinary artist whose work focuses on translating the language of Diné history and beliefs. Mace received her MA and MFA degrees in Photography and Textile Design at the University of Wisconsin-Madison and her BFA in Photography from the Institute of American Indian Arts. As a Diné (Navajo) artist, her work draws from the history of her Diné heritage, exploring the themes of family lineage, community, and identity. In addition, her work pushes the viewer's understanding of Diné culture through alternative photography techniques, weaving, beadwork, and papermaking. She has also worked with numerous institutions and programs to develop dialogue on the issues of cultural appropriation and the importance of Indigenous design work. She is currently a grad advisor in painting and drawing at the School of the Art Institute of Chicago and the photographer for the Helen Louise Allen Textile Center and the Center of Design and Material Culture. Her work as an artist and scholar has been exhibited nationally and internationally at various conferences, collectives, museums, and galleries, including: Textile Society of America, Weave a Real Peace, Indigenous Photograph, 400 Year Project, Wright Art Museum, Contemporary Arts Center, Kemper Museum of Art, and the Wallach Art Gallery. Website: https://www.dakotamace.com/ IG: https://www.instagram.com/dmaceart/

Artspeak Radio, Wednesday, January 5, 2022, noon – 1pm CST, 90.1fm KKFI Kansas City Community Radio, streaming live audio www.kkfi.org Artspeak Radio welcomes artist Natalie Frank via phone and Kemper […] The post Artspeak Radio with artist Natalie Frank and Erin Dziedzic, Kemper Museum of Contemporary Art Exhibition Curator Erin Dziedzic appeared first on KKFI.

Shaka Myrick and Delyn Stephenson, Romare Bearden fellows at the Saint Louis Art Museum, stopped by to talk with Nancy about their fellowships and the work they are doing at the museum. ABOUT THE ROMARE BEARDEN GRADUATE MUSEUM FELLOWSHIP: The Romare Bearden Graduate Museum Fellowship is a critical component in the museum's long-established commitment to increase diversity among its professional staff. Past fellows have gone on to hold key positions at the Saint Louis Art Museum, as well as at other noteworthy museums and universities, including the Art Institute of Chicago, National Gallery of Art, Philadelphia Museum of Art and University of Texas at Austin. Named for African-American artist Romare Bearden, the paid fellowship is designed to prepare graduate students of color seeking careers as art historians and museum professionals. Fellows gain valuable hands-on experience working throughout the Art Museum on specific assignments tailored to their background and interests. Since the program's inception in 1992, Bearden Fellows have spent their year teaching, researching works in the collection, developing programming, writing gallery materials and assisting curators with the development of exhibitions. This year's expansion of the fellowship is funded in part by the Romare Bearden Fellowship Endowment, which was created with a $100,000 gift from the Frost family. About SHAKA MYRICK Shaka Myrick (2021-2023) earned a bachelor's degree in painting at the University of Missouri in Columbia and spent the next decade working and interning at the NYCH Art Gallery in Chicago, the Museum of Contemporary Art Denver and the Nelson-Atkins Museum of Art and the Kemper Museum of Contemporary Art in Kansas City. She earned a master's degree in art history from the University of Missouri–Kansas City, where she concentrated on West African culture and presence in Brazil. Last year, Myrick curated Real Black, the first exhibition featuring all Black artists at the UMKC Gallery of Art. About DELYN STEPHENSON Delyn Stephenson (2021-2022) earned a bachelor's degree in art history and archaeology at the University of Missouri in Columbia and a master's degree in history through the Museums, Public History, and Heritage program at the University of Missouri–St. Louis. While at UMSL, Stephenson worked with the Griot Museum of Black History to create the exhibition Still We Thrive: The Neighborhoods of Fountain Park, Lewis Place, and The Ville. She also completed an internship with the Contemporary Art Museum St. Louis and worked at the National Blues Museum in St. Louis.

Phew!  A busy and fun week for the intrepid farmers.  Blind Hog and Acorn completed a few more projects and even managed a day in KC!  The Kemper Museum! The Nelson Atkins! IKEA too!Weather was sunny and nice for the trip and the next day? Almost 3" of glorious rain. The pastures (and livestock) are loving it.

Episode No. 522 features artist Aliza Nisenbaum and curator Davide Gasparotto. Aliza Nisenbaum's work is on view at the Cleveland Museum of Art in "Picturing Motherhood Now," a look at how contemporary artists represent motherhood. Curated by Emily Liebert, it is on view through March 13, 2022. The Kemper Museum of Contemporary Art in Kansas City is showing "Aliza Nisenbaum: Aquí Se Puede (Here You Can)," an exhibition of large-scale portraits of individuals connected to Kansas City salsa music and dance communities. It was curated by Erin Dziedzic and is up through July 31, 2022. Tate Liverpool and the Minneapolis Institute of Arts are among the museums that have presented solo exhibitions of Nisenbaum's work. Gasparotto discusses the J. Paul Getty Museum's acquisition of Jacopo Bassano's 1554 The Miracle of the Quails. The picture goes on view at the Getty today. The nearly eight-foot-wide painting is a rare depiction of the Old Testament detailing of the miracle of the quails. Bassano based his visual account from a single line in the Bible's story.

Artspeak Radio, Wednesday, October 6, 2021, noon – 1pm CST, 90.1fm KKFI Kansas City Community Radio, streaming live audio, www.kkfi.org Artpseak Radio welcomes President and CEO of ArtsKC Dana Knapp, Executive Director of Kemper Museum of Contemporary Art Sean O'Harrow, and Arts Garden founder, Margarita Friedman. ArtsKC-Jackson County, in collaboration with ArtsKC, is embarking on […] The post Artspeak Radio with ArtsKC and Arts Garden appeared first on KKFI.

Paolo Falconecuratore della mostra di:Tomas Saraceno"AnarcoAracnoAnacro"Siracusa, Area Monumentale della NeapolisTomás Saraceno, artista argentino di origine italiana che vive e lavora a Berlino, è considerato uno dei maggiori protagonisti della scena artistica contemporanea internazionale e uno dei più influenti attivisti per la salvaguardia del pianeta che sfida, attraverso le sue opere, i modi dominanti di vivere e percepire l'ambiente. Nella mostra AnarcoAracnoAnacro presenta un progetto multimediale creato appositamente per l'Area monumentale della Neapolis di Siracusa, dove l'artista opera per la prima volta, uno dei più importanti complessi archeologici del Mediterraneo con una superficie di circa 240.000 metri quadrati che comprende il Teatro greco, il cosiddetto Santuario di Apollo Temenite, l'Ara di Ierone II, l'Anfiteatro romano, le latomie del Paradiso, Intagliatella e Santa Venera, fino alla cosiddetta Tomba di Archimede.Fino al 30 gennaio 2022, i tradizionali percorsi archeologici della Neapolis saranno attraversati e intercettati dal percorso narrativo sperimentale di Saraceno. Archeologia, ecologia, aracnomanzia, arte e attivismo sociale dialogheranno, tessendo nuove poetiche visive.La mostra, a cura di Paolo Falcone, è promossa dalla Regione Siciliana - Assessorato dei Beni Culturali e dell'Identità Siciliana, dal Parco Archeologico e Paesaggistico di Siracusa, Eloro, Villa del Tellaro e Akrai. È prodotta e organizzata da Civita Sicilia in collaborazione con Studio Tomás Saraceno, INDA - Istituto Nazionale del Dramma Antico e Accademia d'Arte del Dramma Antico.L'esposizione è concepita come un dispositivo narrativo volto a moltiplicare le storie raccontate dal sito archeologico, si interroga sulla centralità della storia umana e in particolare su quella dell'Occidente, che trova il suo momento fondativo proprio nell'epoca classica. La ragnatela, l'aracnomanzia, l'evocazione e la reinterpretazione dei miti, così come il concetto di metamorfosi diventano concetti guida per ripensare e riscoprire l'intreccio di forme di vita, linee temporali e reti simbiopoietiche che animano l'Area, portando l'attenzione del pubblico a rivolgersi a coloro che l'hanno abitata per milioni di anni, come le 46 specie di ragni che sono state ritrovate all'interno. Aracronie e antropocronie, geo-storie e idro-storie, mitologie ibride e post-umane raccontano le urgenze del presente attraverso linguaggi oracolari e vibrazioni impercettibili, chiedendo ai visitatori di prestare attenzione alle reti di vita che ci collegano alle nostre ecologie circostanti e di riconoscere la responsabilità necessaria per fermare il ciclo distruttivo del Capitalocene.Tomás Saraceno crea sculture fluttuanti i, opere d'arte e installazioni interattive che invitano a cambiare punto di vista sul modo di abitare e percepire l'ambiente. Il lavoro di Saraceno prevede idelle relazioni etiche con la dimensione terrestre, atmosferica e cosmica, approfondendo la comprensione della giustizia ambientale e della convivenza fra le specie attraverso i progetti Aerocene e Arachnophilia.Da più di due decenni Saraceno porta avanti progetti volti a una collaborazione etica con l'atmosfera, tra cui il Museo Aero Solar (2007-) e la Fondazione Aerocene (2015-), organizzazione no-profit dedita alla costruzione di una comunità di ricerca scientifica, artistica, empirica e didattica.Al centro della Fondazione si pone Aerocene, un progetto multidisciplinare che propone una nuova epoca per l'elemento Aria riattivando un immaginario condiviso per una collaborazione con l'ambiente e con l'atmosfera. La comunità di Aerocene è presente in ben 43 paesi diversi e ha all'attivo 6.700 minuti di volo senza emissioni di carbonio e 33 edifici dedicati al Museo Aero Solar in tutto il mondo.Attraverso l'app Aerocene centinaia di membri della comunità hanno effettuato 4747 voli virtuali, viaggiando per 137.757.302 km senza emissioni di carbonio. Nel gennaio 2020, Fly with Aerocene Pacha, il volo più sostenibile della storia umana, ha volato portando con sé il messaggio delle comunità indigene di Salinas Grandes, Jujuy, Argentina: "Acqua e vita valgono più del litio". Nell'ottobre dello stesso anno la Fédération Aéronautique Internationale (FAI) ha premiato generosamente Leticia Marqués, che ha pilotato il Pacha per l'Aerocene, che ha conquistato 32 record mondiali.Altro filo conduttore della pratica e della ricerca di Tomás Saraceno si basa sul profondo interesse per i ragni e le ragnatele che ha successivamente portato alla formazione di Arachnofilia, una comunità di ricerca interdisciplinare senza scopo di lucro sulle ragnatele. Il progetto si basa sulle innovazioni derivanti dalla passata ricerca di Saraceno sulle architetture, sui materiali, sulle modalità di reazione alle vibrazioni e sulle modalità di reazione e comportamento di ragni e ragnatele. Attraverso questa comunità, Arachnophilia esplora concetti e idee relativi a ragni e ragnatele all'interno di molteplici discipline scientifiche e teoriche, tra cui comunicazione vibrazionale, biomateriomica, architettura e ingegneria, etologia animale, filosofia non umana, antropologia, biodiversità / conservazione, studi del suono e musica. L'App Arachnomanzia è stata lanciata in occasione della Biennale di Venezia 2019 e nel contesto della sesta estinzione di massa. Attraverso questa app, gli utenti sono incoraggiati a osservare e documentare le ragnatele che incontrano sia negli spazi naturali che in quelli urbani, diventando cittadini-scienziati coinvolti e curiosi dello spazio e dell'ambiente che li circonda.Negli ultimi due decenni Saraceno ha inoltre collaborato con il Massachusetts Institute of Technology, il Max Planck Institute, la Nanyang Technological University, l'Imperial College di Londra e il Natural History Museum di Londra. Ha tenuto conferenze in istituzioni di tutto il mondo e ha diretto l'Institute of Architecture‐related Art (IAK) presso la Braunschweig University of Technology, Germania (2014-2016); e ha trascorso periodi di studio presso il Centre National d'Études Spatiales (2014-2015), il MIT Center for Art, Science & Technology (2012-in corso) e l'Atelier Calder (2010), tra gli altri.Tra le principali recenti mostre si ricordano: i Event Horizon a Cisternene, Copenhagen (2020); Aria, Palazzo Strozzi, Florence (2020); La Biennale di Venezia as part of May You Live In Interesting Times (2019); and ON AIR, Palais de Tokyo, Paris (2018). A Thermodynamic Imaginary, at Museum of Art, Architecture and Technology, Lisbon (2018); How to Entangle the Universe in a Spider's Web, Museo de Arte Moderno, Buenos Aires (2017); Stillness in Motion – Cloud Cities, San Francisco Museum of Modern Art (2016); and Aerocene, at Solutions COP21, Grand Palais, Paris (2015); Arachnid Orchestra. Jam Sessions, NTU Centre for Contemporary Art, Singapore; Cloud City, Roof Garden Installation, Metropolitan Museum of Art, New York; On Space Time Foam, HangarBicocca, Milan; Cloud Cities, Hamburger Bahnhof-Museum für Gegenwart, Berlin; 14 Billions (working title), Bonniers Konsthall, Stockholm; 53rd Biennale di Venezia, Fare Mondi – Making Worlds, Venezia, Italy. 25 gennaio 2020, il suo progetto Fly with Aerocene Pacha ha stabilito 32 record mondiali, ratificati dalla Fédération Aéronautique Internationale (FAI).Suoi lavori sono presenti in collezioni internazionali, tra le quali il Museo Bauhaus, Weimar; Il Museo d'Arte Moderna, New York; SFMOMA, San Francisco; Walker Art Center, Minneapolis; Nationalgalerie e Staatliche Museen zu Berlin, Berlino; K21 Ständehaus, Kunstsammlung Nordrhein-Westfalen, Düsseldorf; Museo d'arte di Miami, Miami, Florida; Bonnier Konsthall, Stoccolma; La Galleria Nazionale della Danimarca, Copenaghen; Esbjerg Kunstmusem, Esbjerg; Museo d'Arte Moderna di Istanbul, Istanbul. Tra le installazioni pubbliche permanenti ricordiamo Cosmic Filament, Kemper Museum of Contemporary Art, Kansas City; Meridiana per echi spaziali, Bauhaus-Museum Weimar, GermaniaSaraceno vive e lavora nel pianeta e oltre il pianeta Terra.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

Artist Bisa Butler at the Art Institute of Chicago. phot: John J. Kim. Bisa Butler was born in Orange, NJ, the daughter of a college president and a French teacher. She was raised in South Orange and the youngest of four siblings.  Butler's artistic talent was first recognized at the age of four, when she won a blue ribbon in an art competition. Formally trained , Butler graduated Cum Laude from Howard University with a Bachelor's in Fine Art degree.  It was during her education at Howard that Butler was able to refine her natural talents under the tutelage of lecturers such as Lois Mailou Jones, Elizabeth Catlett, Jeff Donaldson and Ernie Barnes. She began to experiment with fabric as a medium and became interested in collage techniques. Butler then went on to earn a Masters in Art from Montclair State University in 2005. While in the process of obtaining her Masters degree Butler took a Fiber Arts class where she had an artistic epiphany and she finally realized how to express her art.   "As a child, I was always watching my mother and grandmother sew, and they taught me. After that class, I made a portrait quilt for my grandmother on her deathbed, and I have been making art quilts  ever since." Bisa Butler was a high school art teacher for 10 years in the Newark Public Schools and 3 years at Columbia High School in Maplewood, New Jersey. In February 2021 Bisa was awarded a United States Artist fellowship.Butler's work is currently the focus of a solo exhibition at the Art Institute of Chicago, the second stop of a traveling exhibit which began at the Katonah Museum of Art. She is represented by the Claire Oliver Gallery of New York. Butlers work has been acquired by many private and public collections including The Smithsonian's National Museum of African American History and Culture,The Los Angeles County Museum of Art, The Art Institute of Chicago, The Museum of Fine Arts Boston, The Nelson-Adkins Museum , 21cMuseum Hotels, The Kemper Museum of Art, The Orlando Museum of Art, The Newark Museum, The Toledo Museum of Art and the Minneapolis Institute of Art. *Don't Tread On Me , God Damn, Let's Go! ; The Harlem Hellfighters, 2021 Cotton, silk, wool and velvet * a work in progress, Photo by Bisa Butler I Go To Prepare A Place For You, Harriet Tubman's last words ,2021 Cotton, silk ,wool and velvet 120” x 120” Quilted and appliquéd Photo by John Butler

Angela Dufresne is a painter originally from Connecticut, raised in Kansas and now based in Brooklyn. Her work articulates non-paranoid, porous ways of being in a world fraught by fear, power and possession. Through painting, drawing and performative works, she wields heterotopic narratives that are both non hierarchical and perverse.   She had solo exhibits at the Kemper Museum in Kansas City “Making Scene ‘ in the fall of 2018 and has a solo at the Dorsky Musuem at SUNY New Paltz “Just my Type” in 2019. She’s exhibited at Hammer Museum in Los Angeles, P.S.1 Contemporary Art Center in New York, The National Academy of Arts and Letters in New York, the Kemper Museum in Kansas City, Brooklyn Academy of Music in New York, The Cleveland Institute of Art, The Aldridge Museum in Connecticut, Sarah Lawrence College in Yonkers, New York, the Rose Museum in Waltham, Massachusetts, Mills College in Oakland, California, and the Minneapolis School of Art and Design. She is currently Associate Professor of painting at RISD. Awards and honors include National Academy of Arts and Design induction 2018, a 2016 Guggenheim Fellowship, residency at Yaddo, a Purchase Award at The National Academy of Arts and Letters, two fellowships at The Fine Arts Work Center at Provincetown, The Center for the Arts in Sausalito, California, and a Jerome Foundation Fellowship.  

Episode 60 features Candida Alvarez. She is the 2021 recipient of the FCA Helen Frankenthaler award for painting and visual arts. Her works include drawings, paintings, prints, and collages that are created with materials as diverse as acrylic paint, colored pencils, enamel, and embroidery thread on cloth, on various supports ranging from canvas to PVC, cotton napkins to vellum. Alvarez’s solo exhibitions include Mambomountain, Hyde Park Art Center, Chicago, IL (2012); Candida Alvarez: Here, Chicago Cultural Center, Chicago, IL (2017); DeColores, GAVLAK, Palm Beach, FL (2019); and Estoy Bien, Monique Meloche Gallery, Chicago, IL (2020). Her many group exhibitions include Brooklyn Museum, NY; Contemporary Arts Museum, Houston, TX; DePaul Art Museum, Chicago; El Museo del Barrio, New York ; High Museum of Art, Atlanta, GA; Kemper Museum of Contemporary Art, Kansas City, MO; Museo de Arte de Puerto Rico, San Juan; Museum of Contemporary Art, Chicago; National Museum of Women in the Arts, Washington, D.C.; Queens Museum, NY; and Taubman Museum of Art, Roanoke, VA, among others. Her work is in the collections of El Museo del Barrio, the Studio Museum in Harlem, the Whitney Museum of American Art, the Addison Gallery of American Art, the DePaul Art Museum, and the Virginia Museum of Fine Arts. Prior to her FCA award, Candida received a Joan Mitchell Foundation Painters and Sculptors Grant (2019), a Regional Fellowship from the Mid Atlantic Arts Foundation (1988), New York State Council on the Arts/New York Foundation for the Arts Artist Fellowship (1986), and a Pollock-Krasner Foundation Grant (1994). In 1980, she participated in the International Studio and Workspace Program at MoMA PS1, and in 1985, she was an Artist-in-Residence at the Studio Museum in Harlem, the Skowhegan School of Painting and Sculpture (1981) and was a resident artist at MacDowell (1986). Alvarez received her B.F.A. from Fordham University and her M.F.A. from Yale School of Art. She is the F.H. Sellers Professor in Painting at the School of the Art Institute of Chicago. Candida Alvarez is represented by Monique Meloche, Chicago and GAVLAK Palm Beach/Los Angeles. Artist website https://www.candidaalvarez.com https://www.candidaalvarez.com/news Monique Meloche Gallery https://www.moniquemeloche.com/artists/33-candida-alvarez/works/ Foundation for Contemporary Arts https://www.foundationforcontemporaryarts.org/recipients/candida-alvarez WSJ https://www.wsj.com/articles/el-museo-del-barrio-hosts-first-triennial-exhibition-11615325292 Wikipedia https://en.wikipedia.org/wiki/Candida_Alvarez El Museo del Barrio https://www.elmuseo.org/la-trienal/ Art News `https://www.artnews.com/art-news/news/breaking-art-industry-news-january-2021-week-4-1234582112/ Hyde Park Art Center https://www.hydeparkart.org/exhibition-archive/candida-alvarez-mambomountain/

Guest: Paul Shortt Hosts: Christopher Kardambikis Recorded on January 31st, 2021 Paul Shortt received his MFA in New Media Art from the University of Illinois at Urbana-Champaign and his BFA in Painting from the Kansas City Art Institute. He has participated in over 80 group and solo exhibitions both nationally and internationally. His works engage the public in physical interactions and conversation that examine everyday experiences and cultural norms often in humorous ways through books, videos, prints, and temporary public art. He has participated in over 30 national and international art book and zine fairs, such as the Printed Matter Art Book Fairs in New York City, NY and Los Angeles, CA, the Vienna Art Book Fair in Vienna, Austria, and the Editions fair in Toronto, Canada. In 2019 he published How to Art Book Fair, a practical and humorous guide to tabling, selling and participating in an art book fair. His artist books are in the collections of the Museum of Modern Art, the Whitney Museum of Art, and the Fisher Fine Arts Library at the University of Pennsylvania. He has created temporary public art projects for Baltimore Office of Promotion for the Arts “Art on the Waterfront” program in Baltimore, MD, neon signs for the Inlight light festival in Richmond, VA, and a sign and print based public art project for the Arlington Art Truck, in Arlington VA. His videos have been shown at the Museum of the Moving Image, The Phillips Collection and Whitespace Gallery. He has participated in residencies at The Luminary, in St. Louis, MO and at Montgomery College in Silver Springs, MD. Shortt has spoken about his work at the Ullens Center for Contemporary Art in Beijing, China and the Kemper Museum of Contemporary Art in Kansas City, Missouri. He has been written about in Hyperallergic, the Washington Post, Bmore Art and Review Magazine. Shortt works as an arts administrator and educator is currently based in Florida. paulshortt.com shortteditions.com --- Support this podcast: https://anchor.fm/paper-cuts/support

Our guest this week is mixed-media artist and painter Lezley Saar. Her work often revolves around themes of identity, race, gender, beauty, normalcy, and sanity. She has exhibited internationally, and nationally, and her work is included in museum collections such as The Kemper Museum, CAAM, The Ackland Art Museum, and MOCA. As an internationally recognized artist, we were honored to speak with her about her life in art as well as her thought and process behind her work! Follow Lezley Saar Follow The Esoteric Negro Visit theesotericnegro.com Support The Esoteric Negro --- Support this podcast: https://anchor.fm/theesotericnegro/support

This episode of the Tasty Brew Music podcast is a wide-ranging conversation with the very talented Chis Hudson recently tapped as the Heartland Song Network’s November 2020 Artist of the Month. Chris is a singer, songwriter and composer, with a passion for various forms of American folk music and finger style guitar. Involved with Heartland groups Gullywasher, The Bard Owls and The Multiverse. Chris has released full length CD recordings that include experimenting with new forms, instruments, electronic synth, music genres and experimental video soundscapes. Chris received his Bachelor of Music in 1996 from the University of Missouri Conservatory of Music. He has given solo performances in various concert series through the Kansas City Guitar Society including the Kemper Museum of Contemporary Art, the Downtown Library Series and Guitars in the Garden at Loose Park. As a gifted and compassionate instructor and performer for over 25 years, Chris has a reputation for being a great source for music instruction in all styles. He is a laid-back, comfortable and very approachable person. Chris has been a teacher with Kansas City Missouri Young Audiences since 2004, working at the Community School of the Arts. In 2007, Chris received the Kansas City Young Audiences Lighton Prize for Teaching Artist Excellence for his work with children, inspiring their love of guitar and musical collaboration in the Garage Band classes. He believes in giving back to the community what he has learned as a working musician and teacher, and performs regularly at various fundraisers for KCYA and the Community School of the Arts, encouraging volunteerism, community involvement, and funding for student scholarships for families with low incomes. Chris performs during the school year in local Kansas elementary schools for Arts Partners with the Kansas Settlers Band teaching Kansas Cultural History to 4th graders. Chris even became the interviewer toward the end of this conversation asking me my musical background and my process for putting together my Tasty Brew Music Radio Show. Enjoy my conversation with educator, collaborator and musical mentor…Chris Hudson.

Episode Thirty features Nicole Awai. She earned her Master’s Degree in Multimedia Art from the University of South Florida in 1996. She attended the Skowhegan School of Painting and Sculpture residency in 1997 and was artist in residence at the Studio Museum in Harlem in 2000. Awai was a featured artist in the 2005 Initial Public Offerings series at the Whitney Museum of American Art and was awarded the Joan Mitchell Foundation Painters and Sculptors Grant in 2011 and an Art Matters Grant in 2012. Her work has been included in seminal museum exhibitions including Greater New York: New Art in New York Now, at P.S. 1/ MOMA (2000), the Biennale of Ceramic in Contemporary Art, Italy (2003), Open House: Working in Brooklyn (2004), Infinite Island: Contemporary Caribbean Art (2007) both at the Brooklyn Museum; the 2008 Busan Biennale in Korea; The Pacific Standard Time: LA/LA II, A Getty Initiative exhibitions Circles and Circuits I: History and Art of the Chinese Caribbean at the California African American Museum and Circles and Circuits II: Contemporary Art of the Chinese Caribbean at the Chinese American Museum, along with Relational Undercurrents: Contemporary Art of the Caribbean Archipelago at the Museum of Latin American Art and the High Line Network exhibition New Monuments for New Cities. Her work has also been exhibited at the Queens Museum, Kemper Museum of Contemporary, Portland Museum of Art, Delaware Art Museum, Philip Frost Art Museum FIU, the Vilcek Foundation and the Biennale of the Caribbean in Aruba(2013). Other recent exhibitions include Splotch at Sperone Westwater, NY. Figuring the Floral, Wave Hill, NY; Summer Affairs at Barbara Davis Gallery, Houston, TX and Nicole Awai: Envisioning the Liquid Land at Lesley Heller Gallery, NY. Awai was a Critic at the Yale School of Art in the Department of Painting and Printmaking from 2009-2015 and is currently faculty in the Department of Art and Art History at the University of Texas at Austin. Awai is represented by Barbara Davis Gallery in Houston, TX.

Artist Angela Dufresne makes the case that painting is like cats, fashion is like dogs. Neil proposes that certain worked-out bodies are never naked. ABOUT THE GUEST Angela Dufresne is a painter originally from Connecticut, raised however in the town in Kansas (Olathe-Suburbs) that Dick and Perry stopped in before they killed the Clutters (In Cold Blood), and now based in Brooklyn. She received the first college degree in her lineage. Her work articulates non-paranoid, porous ways of being in a world fraught by fear, power and possession. Through painting, drawing and performative works, she wields heterotopic narratives that are both non hierarchical and perverse. She’s exhibited The Hammer Museum in Los Angeles, P.S.1 Contemporary Art Center in New York, The National Academy of Arts and Letters in New York, the Kemper Museum in Kansas City, Brooklyn Academy of Music in New York, The Cleveland Institute of Art, The Aldrich Museum in Connecticut, the Dorsky Museum at SUNY New Paltz, among others. She is currently Associate Professor of painting at RISD. Awards and honors include National Academy of Arts and Design induction 2018, a 2016 Guggenheim Fellowship, residency at Yaddo, a Purchase Award at The National Academy of Arts and Letters, two fellowships at The Fine Arts Work Center at Provincetown, The Center for the Arts in Sausalito, California, and a Jerome Foundation Fellowship. ABOUT THE HOST Neil Goldberg is an artist in NYC who makes work that The New York Times has described as “tender, moving and sad but also deeply funny.” His work is in the permanent collection of MoMA, he’s a Guggenheim Fellow, and teaches at the Yale School of Art. More information at neilgoldberg.com. ABOUT THE TITLE SHE’S A TALKER was the name of Neil’s first video project. “One night in the early 90s I was combing my roommate’s cat and found myself saying the words ‘She’s a talker.’ I wondered how many other gay men in NYC might be doing the exact same thing at that very moment. With that, I set out on a project in which I videotaped over 80 gay men in their living room all over NYC, combing their cats and saying ‘She’s a talker.’” A similar spirit of NYC-centric curiosity and absurdity animates the podcast. CREDITS This series is made possible with generous support from Stillpoint Fund Producer: Devon Guinn Creative Consultants: Aaron Dalton, Molly Donahue Mixer: Fraser McCulloch Visuals and Sounds: Joshua Graver Theme Song: Jeff Hiller Website: Itai Almor & Jesse Kimotho Social Media: Lourdes Rohan Digital Strategy: Ziv Steinberg Thanks: Jennifer Callahan, Larry Krone, Tod Lippy, Sue Simon, Jonathan Taylor TRANSCRIPTION

Sandy Kemper is Chairman of the Board and CEO of C2FO, the largest working capital market in the world.  C2FO is the first working capital market in the world. Their ability to create a seamless match between A/R and A/P has enabled efficiency in the riskless provisioning of working capital between suppliers and buyers, allowing suppliers to take control of their cash flow. C2FO believes Working capital is water for commerce and it’s as important to business life as water is to biological life.  Risk underwriting of working capital is a relic of the world’s broken credit system and that everyone’s A/P is someone else’s A/R.  Efficient markets are good for business and a marketplace solution for the distribution of working capital has the potential to open the floodgates of liquidity for hundreds of millions of businesses around the world.   Kemper is an active angel and venture investor and currently serves on the corporate boards of C2FO, UMB Financial, UMB Bank, NIC and Dwolla. He previously served on the board of AXA Art and the regulatory boards of BATS and CBOE   Kemper and his family are active in academic, civic and philanthropic endeavors and Kemper serves on the board of the Agriculture Future of America (AFA), a non-profit scholarship and leadership development organization which he co-founded. Kemper is a Trustee of the Kemper Family Foundations and a Trustee of the Kemper Museum of Art. Kemper co-founded YEPKC, an organization devoted to developing young entrepreneurs. In 2017, the Henry W. Bloch School of Management named Sandy and Christine Kemper its Regional Entrepreneurs of the Year.

Washington University's Kemper Art Museum has re-opened after a major expansion. Exhibition space has increased by 50 percent, and a new facade of polished stainless steel heightens the museum's presence on campus and in the neighborhood.

Stephen Westfall is an artist, writer and educator born in Schenectady, New York who received his MFA in 1978 from the University of California, Santa Barbara. His first solo exhibition in 1984 at Tracey Garet in New York’s East Village earned reviews in Art in America and Artnews. Exhibitions followed during the 1980s and into the 1990s at Daniel Newburg Gallery in New York, Galerie Paal in Munich, Germany and Galerie Wilma Lock in St. Gallen, Switzerland. An exhibition of paintings took place at Andre Emmerich Gallery in New York in 1995, followed by several exhibitions at Galerie Zurcher in Paris. Westfall has been represented in New York by Lennon, Weinberg since 1997. Recent work has been exhibited at KunstgalerieBonn in Germany and David Richard Gallery in Santa Fe. Stephen has been included in several important survey exhibitions of abstract painting including Abstraction/abstractions, geometries provisoires at the Musée d’art moderne in Saint-Etienne, France in 1997 and in both exhibitions titled Conceptual Abstraction, first at Sidney Janis Gallery in 1991 and in the exhibition that revisited that show which took place at the Hunter College Art Gallery in 2012. His works are in the collections of the Whitney Museum of American Art in New York, the Kemper Museum in Kansas City, the Louisiana Museum in Humlebaek, Denmark, the Munson Williams Proctor Museum in Utica, New York, the Baltimore Museum of Art and the Museum of Fine Arts, Boston. He has received grants and awards from the National Endowment for the Arts, the American Academy of Arts and Letters, the Nancy Graves Foundation, and the Guggenheim Foundation. He received a Rome Prize Fellowship and spent a year at the American Academy in Rome during 2009 and 2010. He is a professor at the Mason Gross School of the Arts at Rutgers University and in the graduate program at Bard University. He is a Contributing Editor at Art in America. This is the second of two conversations Brian had with Stephen. This one was in Brian’s studio in Brooklyn.

Smoke Rings and the Finer Things! Google Arts and Culture has launched a new project where they focus entirely on one city, and their first choice is Kansas City! Nick chats with Simon Delacroix, US Lead for Google Arts and Culture and Sean O'Harrow, Executive Director for the Kemper Museum of Contemporary Art about this exciting new project.

Stephen Westfall is an artist, writer and educator born in Schenectady, New York who received his MFA in 1978 from the University of California, Santa Barbara. His first solo exhibition in 1984 at Tracey Garet in New York’s East Village earned reviews in Art in America and Artnews. Exhibitions followed during the 1980s and into the 1990s at Daniel Newburg Gallery in New York, Galerie Paal in Munich, Germany and Galerie Wilma Lock in St. Gallen, Switzerland. An exhibition of paintings took place at Andre Emmerich Gallery in New York in 1995, followed by several exhibitions at Galerie Zurcher in Paris. Westfall has been represented in New York by Lennon, Weinberg since 1997. Recent work has been exhibited at KunstgalerieBonn in Germany and David Richard Gallery in Santa Fe. Stephen has been included in several important survey exhibitions of abstract painting including a show at the Musée d’art moderne in Saint-Etienne, France in 1997 and in both exhibitions titled Conceptual Abstraction, first at Sidney Janis Gallery in 1991 and in the exhibition that revisited that show which took place at the Hunter College Art Gallery in 2012. His works are in the collections of the Whitney Museum of American Art in New York, the Kemper Museum in Kansas City, the Louisiana Museum in Humlebaek, Denmark, the Munson Williams Proctor Museum in Utica, New York, the Baltimore Museum of Art and the Museum of Fine Arts, Boston. He has received grants and awards from the National Endowment for the Arts, the American Academy of Arts and Letters, the Nancy Graves Foundation, and the Guggenheim Foundation. He received a Rome Prize Fellowship and spent a year at the American Academy in Rome during 2009 and 2010. He is a professor at the Mason Gross School of the Arts at Rutgers University and in the graduate program at Bard University. He is a Contributing Editor at Art in America. This is the first of two conversations Brian had with Stephen. This one was in his Industry City studio in Brooklyn. Stephen tells his story growing up, making art, writing, and much more.

Polly Apfelbaum is an artist living and working in NYC. In 2018, Polly had solo exhibitions at the Belvedere 21 in Vienna, Austria and Ikon Gallery in Birmingham, UK, which travels to the Kemper Museum of Contemporary Art, Kansas City, MO, in 2019. She has exhibited widely since the 1980s, including one-person exhibitions at the National Museum of Women in the Arts, Washington, DC, the Otis College of Art and Design, Los Angeles, CA at Bepart in Waregem, Belgium, the Worcester Art Museum in Worcester, MA, the lumber room in Portland, OR and at the Mumbai Art Room, Mumbai, India. A major mid-career survey of her work opened in 2003 at the Institute for Contemporary Art in Philadelphia, PA, and traveled to the Kemper Museum of Contemporary Art, Kansas City, MO, and Contemporary Arts Center, Cincinnati, OH, both in 2004. Her work has been featured in numerous group exhibitions including Pattern and Decoration, Ornament as Promise, Ludwig Forum for Internationale Kunst in Aachen, Germany , An Irruption of the Rainbow at the Los Angeles County Museum of Art, Wall to Wall at MOCA Cleveland in Cleveland, OH, Pretty Raw: After and Around Helen Frankenthaler at the Rose Art Museum, , Three Graces at the Everson Museum of Art in Syracuse, NY,  Pathmakers: Women in Art, Craft and Design, Midcentury and Today at the Museum of Art and Design in New York , AMERICANA: Formalizing Craft at the Perez Art Museum in Miami, FL, Regarding Warhol: Sixty Artists, Fifty Years at the Metropolitan Museum of Art in New York, amongst many, many others. 

Polly’s work is in numerous permanent collections including the Albright-Knox Art Gallery, Buffalo, NY; Blanton Museum of Art, Austin, TX; Brooklyn Museum, New York; Carnegie Museum of Art, Pittsburgh; Dallas Museum of Art; Everson Museum of Art, Syracuse, NY; Los Angeles County Museum of Art; Museum of Contemporary Art Chicago; The Museum of Modern of Art, New York; Pennsylvania Academy of Fine Arts, Philadelphia, PA; Pérez Art Museum Miami; Philadelphia Museum of Art; Princeton University Art Museum, Princeton, NJ; Tang Teaching Museum, Saratoga Springs, NY; and Whitney Museum of American Art, New York. She was the recipient of a Pollock-Krasner Foundation Grant in 1987, a Guggenheim Fellowship in 1993, an Artist's Fellowship from the New York Foundation for the Arts in 1995, an Anonymous Was a Woman Award in 1998, a Richard Diebenkorn Fellowship in 1999, a Joan Mitchell Fellowship in 1999, an Academy Award from the American Academy of Arts and Letters in 2002, and the Rome Prize in 2012. Brian stopped by Polly’s loft in lower Manhattan where she’s lived and worked for the last 40 years for a talk about early influence, the Pennsylvania Dutch, Philadelphia funk, craft, design, endless drive and so much more.

Najee Dorsey in conversation with Dean L. Mitchell. Dean was born 1957, in Pittsburgh, Pennsylvania and reared in Quincy, Florida. He is a graduate of the Columbus College of Art & Design in Columbus, Ohio. Mitchell is well known for his figurative works, landscapes and still lifes. In addition to watercolors, he is accomplished in other mediums, including egg temperas, oils and pastels. Mitchell has been featured in numerous publications, including the New York Times, Christian Science Monitor, American Artist, Artist Magazine, Fine Art International and Art News. His art can be found in corporate and museum collections across the country, including: Nelson-Atkins Museum of Art, Kansas City, Missouri; Mississippi Museum of Art, Jackson, Mississippi; Saint Louis Art Museum, Saint Louis, Missouri; Kemper Museum of Contemporary Art, Kansas City, Missouri; Nerman Museum of Contemporary Art, Kansas City, Missouri; Beach Museum of Art, Manhattan, Kansas; The Autry National Center, Los Angeles; The Arkansas Art Center, Little Rock, Arkansas; Gadsden Art Center Quincy, Florida; Canton Museum of Art, Canton, Ohio and the Library of Congress. SUBSCRIBE & LIKE for more podcasts #BAIAtalksPODCAST BLACK ART IN AMERICA™ (BAIA) is a leading online portal and network focused on African-American Art with visitors from over 100 countries visiting our site each month and about half a million visitors to our social media pages. Check out the resources below for more info. ** Resources ** Become a Patreon www.patreon.com/blackartinamerica Educational Resources blackartinamerica.com/index.php/educ…nal-resources/ FREE course on Getting Started Collecting Art tinyurl.com/startcollectingart Visit our Curated Shop shopbaiaonline.com/ Buy and Sell Black Art in our Marketplace buyblackart.com/ **Social** Facebook www.facebook.com/BlackArtInAmerica/ Instagram www.instagram.com/blackartinamerica_ Twitter twitter.com/baiaonline **Our Website** blackartinamerica.com/

Aspen Art Museum Nancy and Bob Magoon CEO and Director Heidi Zuckerman interviews artist Rashid Johnson. Rashid Johnson was born in Chicago, in 1977, and lives and works in New York. A critical theory framework extends across his paintings, sculptures, photography, and video work, investigating legacies of and possibilities for African American intellectual and cultural life. His work has been the subject of recent solo exhibitions at the Milwaukee Art Museum, the Kemper Museum of Contemporary Art, Kansas City, the Garage Museum of Contemporary Art, Moscow, the Grand Palais, Paris, the Drawing Center, the High Line, and the Museum of Contemporary Art, Denver. He is the recipient of the 2018 Aspen Award for Art. American Sign Language interpretation provided by the Aspen Camp for the Deaf and Hard of Hearing. AAM education programs are made possible by the Questrom Education Fund. AAM talks and lectures are presented as part of the Questrom Lecture Series and made possible by the Questrom Education Fund.

On today's episode I talk to artist Ian Davis. Born in Indianapolis in 1972, Ian now lives in Los Angeles, after a long stint in New York. He has participated in exhibitions at museums and galleries throughout the U.S. including a solo exhibition in 2010 at the Kemper Museum of Contemporary Art in Kansas City. Ian's works are in the collections of the Nerman Museum of Contemporary Art in Overland Park, Kansas; the Kemper Museum of Contemporary Art in Kansas City, Missouri; the Sheldon Museum of Art in Lincoln, Nebraska; the Saatchi Gallery in London, and many distinguished private collections in the U.S. and Europe.  This is the website for Beginnings, subscribe on Apple Podcasts, follow me on Twitter.

Host Maria Vasquez Boyd talks with Kemper Museum of Contemporary Art-Erin Dziedzic Director of Curatorial Affairs and Jessica Thompson-Lee Youth and Family Museum Educator. Also Cherry Pit Collective Associate Director/fine […] The post ARTSPEAK RADIO- Kemper Museum of Contemporary Art & The Cherry Pit Collective appeared first on KKFI.

This week: Live from Miami, well it was broadcast live at the time, whatever, anyways, Sharon Louden!! Sharon M. Louden graduated with a BFA from the School of the Art Institute of Chicago and an MFA from Yale University, School of Art. Her work has been exhibited in numerous venues including the Aldrich Contemporary Art Museum, the Drawing Center, Carnegie Mellon University, Birmingham Museum of Art, Weatherspoon Art Museum and the Kemper Museum of Contemporary Art. Louden's work is held in major public and private collections including the Neuberger Museum of Art, Whitney Museum of American Art, National Gallery of Art, Arkansas Arts Center, Yale University Art Gallery, Weatherspoon Art Museum, and the Museum of Fine Arts, Houston, among others. Sharon Louden's work has also been written about in the New York Times, Art in America, Washington Post, Sculpture Magazine and the Philadelphia Inquirer, as well as other publications. She has received a grant from the Elizabeth Foundation for the Arts and has participated in residencies at Tamarind Institute, Urban Glass and Art Omi. Louden's animations continue to be screened and featured in many film festivals and museums all over the world. Her animation, Carrier, premiered in the East Wing Auditorium of the National Gallery of Art in Washington, DC in March, 2011 in a historical program of abstract animation since 1927. Sharon also premiered a new animation titled, Community, at the National Gallery of Art in the program, "Cine Concert: Abstract Film and Animation Since 1970" on September 8, 2013. Louden was commissioned by the Weisman Art Museum to make a site-specific work in dialogue with Frank Gehry's new additions to the museum. Entitled Merge, this solo exhibition consisted of over 350,000 units of aluminum extending over a 3,000 square foot space and was on view from October 2011 through May 2012. This piece was then reconfigured and permanently installed in Oak Hall at the University of Connecticut in Storrs, CT and completed in January, 2013. Also in 2013, Louden received a New York Foundation for the Arts Artist Fellowship in the category of Architecture/Environmental Structures/Design. Recent exhibitions include a solo exhibition of new work including Community (the animation that premiered at the National Gallery of Art), as well a site-specific installation, painting, drawing and sculpture at Morgan Lehman Gallery in New York in October through November, 2013. Currently on view is  a solo exhibition of Louden's paintings and drawings at Beta Pictoris/Maus Contemporary Art in Birmingham, Alabama, which will run through February 16, 2014. Sharon Louden has taught for more than 20 years since graduating from Yale in 1991. Her teaching experience includes studio and professional practice classes to students of all levels in colleges and universities throughout the United States. Colleges and universities at which she has lectured and taught include: Kansas City Art Institute, College of Saint Rose, Massachusetts College of Art, Vanderbilt University and Maryland Institute College of Art. Sharon currently teaches at the New York Academy of Art in New York City. Last summer, Sharon taught experimental drawing and collage in the School of Art at Chautuaqua Institution in Chautauqua, New York. In addition to teaching at the New York Academy of Art, Sharon also conducts a popular Lecture Series where she interviews luminaries and exceptional individuals in the art world and from afar. Louden is also the editor of Living and Sustaining a Creative Life: Essays by 40 Working Artists published by Intellect Books and distributed by the University of Chicago Press. The book is already on its fourth printing since the first run sold out before its official release on October 15th, and has been #1 on Amazon.com's Bestseller List of Business Art References. It was also on Hyperallergic's List of Top Art Books of 2013. Recent press includes an interview in Hyperallergic blogazine, "How do Artists Live?".  A book tour started on November 2, 2013 which includes Sharon Louden and other contributors visiting cities across the United States and in Europe through 2015.  Highlights include an event in the Salon at the Art Basel Miami Beach Art Fair this past December, 2013 as well as a discussion and book event at the 92nd St Y in New York and a panel discussion at the Hirshhorn Museum and Sculpture Garden in Washington, DC in January, 2014. For more information on the book tour, please click here.  In addition, she continues to conduct Glowtown workshops in schools and not-for-profit organizations across the country. Louden is also active on boards and committees of various not-for-profit art organizations and volunteers her time to artists to further their careers. Sharon is a full-time practicing, professional artist who lives and works in Brooklyn, NY.

Watch in Quicktime.Click text or picture to view iPod ready video.Click the post below to view this video in Windows Media.Running time: 6:16GREAT RIVERS BIENNIAL 2006January 20, 2006 - March 26, 2006_________________________MOSES: The Audiophile SeriesMATTHEW STRAUSS: Dead LanguageJASON WALLACE TRIEFENBACH: Hero, Compromised (Autobiographical Fiction/Narrative Medley)The Great Rivers Biennial is a collaboration between the Contemporary and the Gateway Foundation designed to strengthen the local art scene in St. Louis. As many as three artists are selected by a panel of esteemed national jurors to receive an award of $15,000 each and an exhibition at the Contemporary Art Museum St. Louis.The goal of this innovative awards program is to identify talented emerging local artists, provide them financial assistance, raise the visibility of their work in both the Midwest and national art community, and provide them with professional support from visiting critics, curators and dealers.Emerging artists in the St. Louis area were invited to submit work from any of the following categories: drawing, painting, photography, printmaking, sculpture, mixed media, and multi-media. An emerging artist is someone in the early stages of his or her career development who has not yet received wide exhibition exposure locally or nationally or significant financial awards from other organizations.During summer 2005, Great Rivers Biennial jurors reviwed all submissions and selected three emerging artists to receive the award. This year's high profile panel of jurors included Elizabeth Dunbar, Curator at the Kemper Museum of Contemporary Art, Kansas City; Gary Garellis, Senior Curator at UCLA Hammer Museum, Los Angeles; and Helen Molesworth; Chief Curator of Exhibitions at Wexner Center for the Arts, Columbus.The recipients of the inaugural Great Rivers Biennial 2004 were Jill Downen, Adam Frelin, and Kim Humphries who were selected by jurors Lisa Corrin, Director, Williams College Museum of Art; Debra Singer, Executive Director and Chief Curator, The Kitchen; and Hamza Walker, Department Director, Renaissance Society at the University of Chicago.Information courtesy Great Rivers Biennial 2006 catalogue, Contemporary Art Museum St. Louis (www.contemporarystl.org)In these three interviews, produced during the week of the opening exhibition, by Hugh Beall and illusionJunkie.com, William Griffin, Artistic Director of the St. Louis Veiled Prophet Parade, talks with Moses, Matthew Strauss and Jason Wallace Triefenbach. All three artists are represented by Bruno David Gallery (www.brunodavidgallery.com).A free subscription to www.illusionJunkie.com saves time by automatically downloading future videos to your computer. Requires only one-click from the sidebar on this page.