Podcast appearances and mentions of Kerry James Marshall

Art has long played a key role in constructing how people understand and imagine America. Starting with contemporary controversies over public monuments in the United States, in Temporary Monuments: Art, Land, and America's Racial Enterprise (University of Chicago Press, 2024), Dr. Rebecca Zorach carefully examines the place of art in the occupation of land and the upholding of White power in the US, arguing that it has been central to the design of America's racial enterprise. Confronting closely held assumptions of art history, Zorach looks to the intersections of art, nature, race, and place, working through a series of symbolic spaces—the museum, the wild, islands, gardens, home, and walls and borders—to open and extend conversations on the political implications of art and design. Against the backdrop of central moments in American art, from the founding of early museums to the ascendancy of abstract expressionism, Dr. Zorach shows how contemporary artists—including Dawoud Bey, Theaster Gates, Maria Gaspar, Kerry James Marshall, Alan Michelson, Dylan Miner, Postcommodity, Cauleen Smith, and Amanda Williams—have mined the relationship between environment and social justice, creating works that investigate and interrupt White supremacist, carceral, and environmentally toxic worlds. The book also draws on poetry, creative nonfiction, hip-hop videos, and Disney films to illuminate crucial topics in art history, from the racial politics of abstraction to the origins of museums and the formation of canons. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's episodes on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Art has long played a key role in constructing how people understand and imagine America. Starting with contemporary controversies over public monuments in the United States, in Temporary Monuments: Art, Land, and America's Racial Enterprise (University of Chicago Press, 2024), Dr. Rebecca Zorach carefully examines the place of art in the occupation of land and the upholding of White power in the US, arguing that it has been central to the design of America's racial enterprise. Confronting closely held assumptions of art history, Zorach looks to the intersections of art, nature, race, and place, working through a series of symbolic spaces—the museum, the wild, islands, gardens, home, and walls and borders—to open and extend conversations on the political implications of art and design. Against the backdrop of central moments in American art, from the founding of early museums to the ascendancy of abstract expressionism, Dr. Zorach shows how contemporary artists—including Dawoud Bey, Theaster Gates, Maria Gaspar, Kerry James Marshall, Alan Michelson, Dylan Miner, Postcommodity, Cauleen Smith, and Amanda Williams—have mined the relationship between environment and social justice, creating works that investigate and interrupt White supremacist, carceral, and environmentally toxic worlds. The book also draws on poetry, creative nonfiction, hip-hop videos, and Disney films to illuminate crucial topics in art history, from the racial politics of abstraction to the origins of museums and the formation of canons. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's episodes on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

Art has long played a key role in constructing how people understand and imagine America. Starting with contemporary controversies over public monuments in the United States, in Temporary Monuments: Art, Land, and America's Racial Enterprise (University of Chicago Press, 2024), Dr. Rebecca Zorach carefully examines the place of art in the occupation of land and the upholding of White power in the US, arguing that it has been central to the design of America's racial enterprise. Confronting closely held assumptions of art history, Zorach looks to the intersections of art, nature, race, and place, working through a series of symbolic spaces—the museum, the wild, islands, gardens, home, and walls and borders—to open and extend conversations on the political implications of art and design. Against the backdrop of central moments in American art, from the founding of early museums to the ascendancy of abstract expressionism, Dr. Zorach shows how contemporary artists—including Dawoud Bey, Theaster Gates, Maria Gaspar, Kerry James Marshall, Alan Michelson, Dylan Miner, Postcommodity, Cauleen Smith, and Amanda Williams—have mined the relationship between environment and social justice, creating works that investigate and interrupt White supremacist, carceral, and environmentally toxic worlds. The book also draws on poetry, creative nonfiction, hip-hop videos, and Disney films to illuminate crucial topics in art history, from the racial politics of abstraction to the origins of museums and the formation of canons. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's episodes on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/environmental-studies

Art has long played a key role in constructing how people understand and imagine America. Starting with contemporary controversies over public monuments in the United States, in Temporary Monuments: Art, Land, and America's Racial Enterprise (University of Chicago Press, 2024), Dr. Rebecca Zorach carefully examines the place of art in the occupation of land and the upholding of White power in the US, arguing that it has been central to the design of America's racial enterprise. Confronting closely held assumptions of art history, Zorach looks to the intersections of art, nature, race, and place, working through a series of symbolic spaces—the museum, the wild, islands, gardens, home, and walls and borders—to open and extend conversations on the political implications of art and design. Against the backdrop of central moments in American art, from the founding of early museums to the ascendancy of abstract expressionism, Dr. Zorach shows how contemporary artists—including Dawoud Bey, Theaster Gates, Maria Gaspar, Kerry James Marshall, Alan Michelson, Dylan Miner, Postcommodity, Cauleen Smith, and Amanda Williams—have mined the relationship between environment and social justice, creating works that investigate and interrupt White supremacist, carceral, and environmentally toxic worlds. The book also draws on poetry, creative nonfiction, hip-hop videos, and Disney films to illuminate crucial topics in art history, from the racial politics of abstraction to the origins of museums and the formation of canons. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's episodes on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Ariel Dannielle comes back home to the Studio Noize podcast! We been following Ariel since she came on the single digit episodes of the Noize and we love how she has grown as an artist. If you've seen her work you know about her wonderful use of color, her complex compositions and her love of all things girly. She talks about her adventures in these art streets from LA to New York to Chicago and back to Atlanta. We get into her approach to painting and capturing moments, her obsession with painting food, her process of capturing these moments of womanhood/girlhood in her paintings. Its more of that good art talk that you love with one of our favorites. Listen, subscribe, and share!Episode 196 topics include:working on solo exhibitionsFeels Like Glitter show at UTA Atlantabeing obsessed with painting foodcapturing moments with friendsartistic influencesusing yourself as referencemaking in different waysexperiencing a residency in Moroccostudio space in Atlantarepresenting womanhood and girlhood in artAriel Dannielle (b. 1991) is an African-American painter born and raised in Atlanta, GA. She graduated from University of West Georgia, where she received a Bachelor of Fine Arts. Drawing directly from her life, Ariel creates large-scale paintings that depict the daily experiences of young Black women through her personal and playful lens. She believes in the importance of her artwork to provide a look into Black girlhood/womanhood that can be represented and understood. This acrylic archive has enabled her to explore aspects of the mundane, human vulnerability and sexuality. Influenced by Kerry James Marshall and Mickalene Thomas, Dannielle focuses on developing personal narratives within her portraits that challenge gender and racial stereotypes. By placing herself in the paintings, Dannielle welcomes the viewers to also participate in a process of introspection.Ariel's work has been showcased at the Venice Biennale 2024, California African American Museum, Monique Meloche Gallery, Soco Gallery, UTA Atlanta, Harvey B. Gantt Museum, Mint ATL, The Goat Farm, ZuCot Gallery, Dalton Gallery, Trio Contemporary Art Gallery, Sheetcake Gallery, and Perez Museum Miami. She was MOCA GA Working Artist Fellow of 2019-20 and an Artadia 2018 finalist. She also showcased her first mural with Living Walls x Adult Swim in Atlanta, Georgia in 2022. See more: Ariel Dannielle website + Ariel Dannielle IG @byaridannielleFollow us:StudioNoizePodcast.comIG: @studionoizepodcastJamaal Barber: @JBarberStudioSupport the podcast www.patreon.com/studionoizepodcast

A 2025 preview: Georgina Adam, our editor-at-large, tells host Ben Luke what might lie ahead for the market. And Ben is joined by Jane Morris, editor-at-large, and Gareth Harris, chief contributing editor, to select the big museum openings, biennials and exhibitions.All shows discussed are in The Art Newspaper's The Year Ahead 2025, priced £14.99 or the equivalent in your currency. Buy it here.Exhibitions: Site Santa Fe International, Santa Fe, US, 28 Jun-13 Jan 2026; Liverpool Biennial, 7 Jun-14 Sep; Folkestone Triennial, 19 Jul-19 Oct; Ruth Asawa: A Retrospective, San Francisco Museum of Modern Art, 5 Apr-2 Sep; Museum of Modern Art (MoMA), New York, 19 Oct-7 Feb 2026; Gabriele Münter, Guggenheim Museum, New York, 7 Nov-26 Apr 2026; Musée d'Art Moderne de Paris, 4 Apr-24 Aug; Elizabeth Catlett: a Black Revolutionary Artist, Brooklyn Museum, New York, until 19 Jan; National Gallery of Art (NGA), Washington DC, 9 Mar-6 Jul; Art Institute of Chicago, US, 30 Aug-4 Jan 2026; Ithell Colquhoun, Tate Britain, London, 13 Jun-19 Oct; Abstract Erotic: Louise Bourgeois, Eva Hesse, Alice Adams, Courtauld Gallery, London, 20 Jun-14 Sep; Michaelina Wautier, Kunsthistorisches Museum, Vienna, 30 Sep-25 Jan 2026; Radical! Women Artists and Modernism, Belvedere, Vienna, 18 Jun-12 Oct; Dangerously Modern: Australian Women Artists in Europe, Art Gallery of South Australia, Adelaide, 24 May-7 Sep; Art Gallery of New South Wales, Sydney, 11 Oct-1 Feb 2026; Lorna Simpson: Source Notes, Metropolitan Museum of Art, New York, 19 May-2 Nov; Amy Sherald: American Sublime, SFMOMA, to 9 Mar; Whitney Museum of American Art, New York, 9 Apr-Aug; National Portrait Gallery, Washington DC, 19 Sep-22 Feb 2026; Shahzia Sikander: Collective Behavior, Cincinnati Art Museum, 14 Feb-4 May; Cleveland Museum of Art, US, 14 Feb-8 Jun; Cantor Arts Center, Stanford, US, 1 Oct-25 Jan 2026; Jenny Saville: The Anatomy of Painting, National Portrait Gallery, London, 20 Jun-7 Sep; Linder: Danger Came Smiling, Hayward Gallery, London, 11 Feb-5 May; Arpita Singh, Serpentine Galleries, London, 13 Mar-27 Jul; Vija Celmins, Beyeler Collection, Basel, 15 Jun-21 Sep; An Indigenous Present, ICA/Boston, US, 9 Oct-8 Mar 2026; The Stars We Do Not See, NGA, Washington, DC, 18 Oct-1 Mar 2026; Duane Linklater, Dia Chelsea, 12 Sep-24 Jan 2026; Camden Art Centre, London, 4 Jul-21 Sep; Vienna Secession, 29 Nov-22 Feb 2026; Emily Kam Kngwarray, Tate Modern, London, 10 Jul-13 Jan 2026; Archie Moore, Queensland Gallery of Modern Art, 30 Aug-23 Aug 2026; Histories of Ecology, MASP, Sao Paulo, 5 Sep-1 Feb 2026; Jack Whitten, Museum of Modern Art, New York, 23 Mar-2 Aug; Wifredo Lam, Museum of Modern Art, Rashid Johnson, Solomon R. Guggenheim Museum, New York, 18 Apr-18 Jan 2026; Adam Pendleton, Hirshhorn Museum and Sculpture Garden, Washington DC, 4 Apr-3 Jan 2027; Marie Antoinette Style, Victoria and Albert Museum, London, 20 Sep-22 Mar 2026; Leigh Bowery!, Tate Modern, 27 Feb- 31 Aug; Blitz: the Club That Shaped the 80s, Design Museum, London, 19 Sep-29 Mar 2026; Do Ho Suh, Tate Modern, 1 May-26 Oct; Picasso: the Three Dancers, Tate Modern, 25 Sep-1 Apr 2026; Ed Atkins, Tate Britain, London, 2 Apr-25 Aug; Turner and Constable, Tate Britain, 27 Nov-12 Apr 2026; British Museum: Hiroshige, 1 May-7 Sep; Watteau and Circle, 15 May-14 Sep; Ancient India, 22 May-12 Oct; Kerry James Marshall, Royal Academy of Arts, London, 20 Sep-18 Jan 2026; Kiefer/Van Gogh, Royal Academy, 28 Jun-26 Oct; Anselm Kiefer, Ashmolean Museum, Oxford, 14 Feb-15 Jun; Anselm Kiefer, Van Gogh Museum, Stedelijk Museum, Amsterdam, 7 Mar-9 Jun; Cimabue, Louvre, Paris, 22 Jan-12 May; Black Paris, Centre Pompidou, Paris, 19 Mar-30 Jun; Machine Love, Mori Art Museum, Tokyo, 13 Feb-8 Jun Hosted on Acast. See acast.com/privacy for more information.

We talk more about this in Thursday's Worldbuilding Workshop, but you may have seen the quote going around “if it's not free, it's neither radical or revolutionary”. I want to start off by saying I disagree. Equitable, anti-capitalist, values aligned resource exchange that is accountable to the communities we serve and the planet we inhabit can be some of the most radical and revolutionary work we do. In this current economic system, “free to you” just means the money is coming from somewhere else and a lot times that chain of funding is obfuscated, which can make accountability tricky if not intentionally impossible. In this episode I want to invite us to consider the ways in which pricing our offers for sustainability doesn't have to compromise the integrity of our work, in fact I want to propose it can actually empower and actualize the worlds we dream of building. Learn More About Seeda School Enroll into the Treehouse Annual Membership here (Enrollment Closes October 21st!) Register for the free Worldbuilding Workshop series and download the Fall 2024 Syllabus here Subscribe to the Seeda School newsletter here Follow Ayana on Instagram: ⁠@ayzaco⁠ Follow Seeda School on Instagram: ⁠@seedaschool Citations DISTRIKT, “The Underground” (2015), Issue 1 Dez Davis, conscious coach for impact forward business owners, industry leaders and seasoned change-makers. Sonya Renee Taylor's Patreon Saidiya Hartman, Interview With Rizvana Bradley. Ordinary Notes by Christina Sharpe pg. 165 Cover Art: Keeping the Culture (2010) by Kerry James Marshall (b.1955) Medium: Oil on Board Dimensions: 76.2 x 121.9 cm. (30 x 48 in.) Source: Artnet

Curator Ekow Eshun reframes the Black figure in historic and contemporary art, surveying its presences, absences, and representations in Western/European art history, the African diaspora, and beyond, via The Time is Always Now (2024). In 1956, the American author James Baldwin wrote: ‘There is never time in the future in which we will work out our salvation. The challenge is in the moment, the time is always now.' Heeding Baldwin's urgent call, Ekow Eshun's new exhibition brings together 22 leading contemporary African diasporic artists from the UK and the US, whose practices emphasise the Black figure through mediums such as painting, drawing, and sculpture. These figurative artists and artworks address difficult histories like slavery, colonialism, and racism and, at the same time, speak to contemporary experiences of Blackness from their own personal perspectives. Ekow explains how artists like Kerry James Marshall, Amy Sherald, and Thomas J. Price acknowledge the paradox of race, and the increased cultural visibility and representation of lived experiences. Beyond celebration, though, The Time Is Always Now follow the consequences of these artists' practices, and what is at stake in depicting the Black figure today. We discuss the plurality of perspectives on view, and how fragmented, collage-like works by Nathaniel Mary Quinn, Lorna Simpson, and Titus Kaphar reconsider W.E.B. Du Bois' understanding of ‘double consciousness' (1897) as a burden, to a 21st century vantage point. Ekow shares the real people depicted in Michael Armitage's surrealistic, religious scenes, whilst connecting works with shared motifs from Godfried Donkor's boxers, to Denzil Forrester and Chris Ofili's dancing forms. We talk about how how history is not just in the past, and how we might think more ‘historically from the present'. Plus, we consider the real life relationships in works by Njideka Akunyili Crosby and Jordan Casteel, - and those shared between artists like Henry Taylor and Noah Davis - shifting the gaze from one of looking at, to looking with, Black figures. Starting at the National Portrait Gallery in London, The Time is Always Now: Artists Reframe the Black Figure travels to The Box in Plymouth from 28 June to 29 September 2024. It will then tour to the Philadelphia Museum of Art and North Carolina Museum of Art in the US into 2025. And as promised, some news - this episode announces my appointment as Contemporary Art Curator at The Box in Plymouth. Join me there in conversation with Ekow on Saturday 29 June, and with Hettie Judah, curator and writer of Acts of Creation with exhibiting artists Barbara Walker, Claudette Johnson, and Wangechi Mutu, on Saturday 20 July. You can also join a Bitesize Tour on selected Wednesdays during the exhibition. And you can hear this episode, and more from the artists, on the Bloomberg Connects app by searching ‘The Box Plymouth'. EMPIRE LINES will continue on a fortnightly basis. For more about Claudette Johnson, hear curator (and exhibition text-contributor!) Dorothy Price on And I Have My Own Business in This Skin (1982) at the Courtauld Gallery in London. Listen to Lubaina Himid on Lost Threads (2021, 2023) at the Holburne Museum in Bath. Hear curator Isabella Maidment on Hurvin Anderson's Barbershop series (2006-2023) at the Hepworth Wakefield. Read about that show, and their work in Soulscapes at Dulwich Picture Gallery in London, in recessed.space. Hear Kimathi Donkor on John Singer Sargent's Madame X (1883-1884) and Study of Mme Gautreau (1884) at Tate Britain in London. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Instagram: instagram.com/empirelinespodcast And Twitter: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines

“Wright” with a “W, spider webs, sewing needles, Dune, grief, and Black and Blue. Join the friends as they visit Going Dark: The Contemporary Figure at the Edge of Visibility. Artists include: American Artist, Kevin Beasley, Rebecca Belmore, Dawoud Bey, John Edmonds, Ellen Gallagher, David Hammons, Lyle Ashton Harris, Tomashi Jackson, Titus Kaphar, Glenn Ligon, Kerry James Marshall, Tiona Nekkia McClodden, Joiri Minaya, Sandra Mujinga, Chris Ofili, Sondra Perry, Farah Al Qasimi, Faith Ringgold, Doris Salcedo, Lorna Simpson, Sable Elyse Smith, Stephanie Syjuco, Hank Willis Thomas, WangShui, Carrie Mae Weems, and Charles White.

To Helen Molesworth, curating is much more than carefully selecting and positioning noteworthy artworks and objects alongside one another within a space; it's also about telling stories through them and about them, and in turn, communicating particular, often potent messages. Her probing writing takes a similar approach to her curatorial work, as can be seen in her new book, Open Questions: Thirty Years of Writing About Art (Phaidon), which culls together 24 of her essays written across three decades. For nearly 20 of those years, Molesworth served in various curatorial roles at museums and arts institutions including the Baltimore Museum of Art, the Institute of Contemporary Art Boston, and most recently, as the chief curator at the Museum of Contemporary Art in Los Angeles (MOCA). In the five years since her departure from MOCA, Molesworth has built a thriving practice as an independent curator, writer, and podcaster, notably as the host of the six-part podcast Death of an Artist, which was named a best podcast of 2022 by both The Economist and The Atlantic.On this episode of Time Sensitive, Molesworth discusses her lifelong engagement with the work of Marcel Duchamp; the transformative power of a great conversation; and the personal and professional freedom she has found in recent years as a roving, independent voice in the art world.Special thanks to our Season 8 sponsor, Van Cleef & Arpels.Show notes:[00:25] Helen Molesworth[03:50] Open Questions: Thirty Years of Writing About Art[04:02] Marcel Duchamp[04:09] “At Home with Marcel Duchamp: The Readymade and Domesticity”[11:33] “The Creative Act”[12:09] Marcel Duchamp's “Fountain”[17:22] Frank Stella[17:28] John Baldessari[21:56] Paul Lafargue[22:32] Doris Salcedo[29:50] Josiah McElheny[35:23] Al Hirschfeld[36:41] State University of New York at Albany[36:43] Whitney Museum Independent Study Program[36:48] Cornell University[42:33] “One Day at a Time”[46:57] Kerry James Marshall[47:00] “This Will Have Been: Art, Love & Politics in the 1980s”[47:02] “Leap Before You Look: Black Mountain College 1933-1957”[47:41] Death of an Artist[47:46] Dialogues: The David Zwirner Podcast[47:48] Recording Artists[54:53] Museum of Contemporary Art, Los Angeles[54:51] Carl Andre[59:45] WBLS: The Quiet Storm

In 2018, Helen Molesworth was unceremoniously dismissed from her position as chief curator of the Museum of Contemporary Art Los Angeles. The move proved controversial among industry insiders, many of whom cast it as an example of an institution punishing its employee, a straight talking, strong willed feminist, for refusing to march in line. But for Molesworth, whose resume also includes stints at the Institute of Contemporary Art Boston, the Baltimore Museum of Art, and the Wexner Center for the Arts, The backlash didn't change the facts. For the first time in years, she was a curator without a home. Since then, Molesworth has struck out on her own, and she's been as active as ever. She's guest curated critically acclaimed exhibitions of at David Zwirner, Jack Shainman, and International Center of Photography. She's also hosted a hit podcast, Death of an Artist, about Anna Mendieta, led a series of filmed artist interviews, and been profiled by the New York Times. The forward momentum has given the curator little cause to look back. That is, until now. This month, Phaidon will release Open Questions: Thirty Years of Writing About Art, a career spanning collection of Molesworth's essays, all previously published in exhibition catalogs and art journals. Most of the written pieces are about artists, people like Kerry James Marshall, Catherine Opie, and Lisa Yuskavage. But the real subject of the book, of course, is Molesworth herself, and it's a rich text in that regard. "I trained as an art historian" Molesworth explains, "I really believe in art objects as knowledge producers, and for better or for worse, in the history of the 20th century, museums are the institutions that allow and convey that knowledge. Ahead of the book's release, Artnet News senior writer Taylor Dafoe sat down with Molesworth to talk about the project and the period of deep personal reflection it inspired.

In 2018, Helen Molesworth was unceremoniously dismissed from her position as chief curator of the Museum of Contemporary Art Los Angeles. The move proved controversial among industry insiders, many of whom cast it as an example of an institution punishing its employee, a straight talking, strong willed feminist, for refusing to march in line. But for Molesworth, whose resume also includes stints at the Institute of Contemporary Art Boston, the Baltimore Museum of Art, and the Wexner Center for the Arts, The backlash didn't change the facts. For the first time in years, she was a curator without a home. Since then, Molesworth has struck out on her own, and she's been as active as ever. She's guest curated critically acclaimed exhibitions of at David Zwirner, Jack Shainman, and International Center of Photography. She's also hosted a hit podcast, Death of an Artist, about Anna Mendieta, led a series of filmed artist interviews, and been profiled by the New York Times. The forward momentum has given the curator little cause to look back. That is, until now. This month, Phaidon will release Open Questions: Thirty Years of Writing About Art, a career spanning collection of Molesworth's essays, all previously published in exhibition catalogs and art journals. Most of the written pieces are about artists, people like Kerry James Marshall, Catherine Opie, and Lisa Yuskavage. But the real subject of the book, of course, is Molesworth herself, and it's a rich text in that regard. "I trained as an art historian" Molesworth explains, "I really believe in art objects as knowledge producers, and for better or for worse, in the history of the 20th century, museums are the institutions that allow and convey that knowledge. Ahead of the book's release, Artnet News senior writer Taylor Dafoe sat down with Molesworth to talk about the project and the period of deep personal reflection it inspired.

In Platemark s3e41, host Ann Shafer talks with Susan Tallman, an art historian and essayist who co-founded the journal Art in Print and served as its editor for its entire run, 2011–2019. A regular contributor to New York Review of Books and The Atlantic Monthly, she has authored and co-authored many books, most recently No Plan At All: How the Danish Printshop of Niels Borch Jensen Redefined Artists Prints for the Contemporary World, as well as the new catalogue raisonné of prints by Kerry James Marshall. Ann and Susan talk about the word "original" as an unhelpful term to describe fine art prints, last summer's blockbuster Vermeer exhibition at the Rijksmuseum in Amsterdam, Gerhard Richter's 2020 exhibition at the Metropolitan Museum in New York, and the state of the state of the print world. In the end you'll understand why Susan loves ambiguity in art.  William Kentridge (South African, born 1955). Triumphs and Laments: Mantegna, 2016–17. Relief printed from 13 woodblocks and 1 linoleum block. Overall: 76 ¾ x 78 3/8 (195 x 199 cm.). Published by David Krut Projects, Johannesburg, South Africa. Julie Mehretu (American, born Ethiopia, 1970). Treatises on the Executed (from Robin's Intimacy), 2022. 10-panel etching and aquatint from 50 plates. 93 1/2 x 173 1/8 in. (237.5 x 439.7 cm.). Gemini G.E.L., Los Angeles. Edvard Munch (Norwegian, 1863–1944). The Vampire, 1895. color lithograph and woodcut with watercolor [trial proof]. sheet: 38.9 × 55.7 cm (15 5/16 × 21 15/16 in.). National Gallery of Art, Washington, D.C. Susan Tallman. The Contemporary Print from Pre-Pop to Postmodern. London and New York: Thames and Hudson, 1996. Jasper Johns (American, born 1930). Target, 1960. Lithograph. 12 1/16 x 12 3/16 in. (30.7 x 30.9 cm.); sheet: 22 13/16 x 17 13/16 in. (57.9 x 45.2 cm.). Published by ULAE. Museum of Modern Art, NY. Jasper Johns (American, born 1930). Target, 1961. Encaustic and newpaper on canvas. 167.6 × 167.6 cm. (66 × 66 in.). Art Institute of Chicago, Chicago. Susan Tallman. Kerry James Marshall: The Complete Prints. New York: Ludion/D.A.P., 2023. Vermeer. Rijksmuseum, Amsterdam. February 10–June 4, 2023.   Johannes Vermeer (Dutch, 1632–1675). Allegory of the Catholic Faith, c. 1670–72. Oil on canvas. 45 x 35 in. (114.3 x 88.9 cm.). Metropolitan Museum of Art, New York. Johannes Vermeer (Dutch, 1632–1675). Woman with Pearl Necklace, c. 1664. Oil on canvas. 55 × 45 cm. (21 5/8 × 17 3/4 in.). Gemäldegalerie, Staatliche Museen, Berlin. Johannes Vermeer (Dutch, 1632–1675). Woman Holding a Scale, c. 1664. Oil on canvas. 42.5 x 38 cm (16 3/4 x 14 15/16 in.). National Gallery of Art, Washington, D.C. Kouros, c. 530 B.C. Getty Museum, Los Angeles. Calouste Gulbenkian Foundation, Lisbon. Terra Cotta Warriors: Guardians of China's First Emperor. National Geographic Museum, Washington, D.C. November 19, 2009–March 31, 2010. Paolo Veronese (Italian, 1528–1588). The Wedding at Cana, 1563. Oil on canvas. 6.77  × 9.94 m (267  × 391 in.). Louvre Museum, Paris. Paolo Veronese (Italian, 1528–1588). The Wedding at Cana, 1563. Factum Arte digital copy. 6.77  × 9.94 m (267  × 391 in.). San Giorgio Maggiore, Venice. Rembrandt (Dutch, 1606–1669). The Hundred Guilder Print: Christ with the Sick around Him, c. 1648. Etching, drypoint, and engraving on Japanese paper. 280 x 394 mm. Rijksmuseum, Amsterdam. Albrecht Dürer (German, 1471–1528). Knight, Death, and the Devil, 1513. Engraving. Sheet (trimmed to platemark): 9 5/8 x 7 1/2 in. (245 x 190 mm.). Metropolitan Museum of Art, New York. Anonymous Andean painting hanging in Susan's home. Jan Wierix (Netherlandish, 1549–1615), after Martin de Vos (Netherlandish, 1532-1603). Annunciation, 1549-before 1585. Engraving. Plate: 265 × 197 mm. Rijksmuseum, Amsterdam. Gerhard Richter: The Birkenau Paintings. Met Fifth Avenue. September 5, 2020–January 18 2021. Credit: Charlie Rubin for The New York Times. Stanley William Hayter (British, 1901–1988). Père Lachaise from the portfolio Paysages urbains, 1930. Engraving and drypoint. Sheet: 283 × 381 mm. (11 1/8 × 15 in.); plate: 208 × 268 mm. (8 3/16 × 10 9/16 in.). Baltimore Museum of Art, Baltimore. Edge of Visibility. IPCNY, New York. October 4–December 2018.   USEFUL LINKS Susan's website: https://www.susan-tallman.com/ Art in Print on Jstor: https://www.jstor.org/journal/artprint The Getty's Paper Project: https://www.getty.edu/projects/paper-project/ New York Public Library. The Miriam and Ira D. Wallach Division of Art, Prints, and Photographs. https://www.nypl.org/locations/schwarzman/wallach-division/print-collection Factum Arte: https://www.factum-arte.com/pag/38/a-facsimile-of-the-wedding-at-cana-by-paolo-veronese  

durée : 00:03:21 - Les histoires du monde - par : Anthony BELLANGER - La Cathédrale de Washington voulait remplacer deux vitraux des années 1950 représentant deux généraux confédérés : elle a choisi l'un des plus grands artistes contemporains étasuniens : Kerry James Marshall

durée : 00:03:21 - Les histoires du monde - par : Anthony BELLANGER - La Cathédrale de Washington voulait remplacer deux vitraux des années 1950 représentant deux généraux confédérés : elle a choisi l'un des plus grands artistes contemporains étasuniens : Kerry James Marshall

'An elephant and a dove'Ira Glass, David Byrne, Ennio Morricone, Joni Mitchell, Susan Orlean, Axel Krygier, Martin Parr, Four Tet, Erol Josue, Hank Willis Thomas, Wheelchair Sports Camp, Radcliffe Bailey, Air, Roddy Frame, Ed Welch, Yoko Kanno, Brian Eno, Kerry James Marshall, The Divine Comedy, DAFNE, The Lemon Twigs, Nina Simone

The poet and longtime art critic John Yau joins Kate Wolf and Eric Newman to speak about his latest collection of criticism, Please Wait By the Coatroom: Reconsidering Race and Identity in American Art. The book's title comes from an essay Yau wrote in 1988 on reductive readings of the Cuban artist Wifredo Lam and the unwillingness of art historians and curators to consider Lam's biracial identity as relevant to his work. In his collection, Yau makes a case for the role identity and cultural background can play in the formation of an artist's aesthetic choices, and he interrogates standard art historical hierarchies and the supposed objective viewpoint of the avant-garde. While he acknowledges a number of strides in recent decades toward a more inclusive, open version of art history, he also shows how far there is to come, a gap he helps to close through thoughtful pieces on artists such as Ruth Asawa, Kerry James Marshall, Richard Hunt, Jiha Moon, Ed Clark, and many more. Also, Juana María Rodríguez, author of Puta Life: Seeing Latinas, Working Sex, returns to recommend A Lover's Discourse: Fragments by Roland Barthes.

The poet and longtime art critic John Yau joins Kate Wolf and Eric Newman to speak about his latest collection of criticism, Please Wait By the Coatroom: Reconsidering Race and Identity in American Art. The book's title comes from an essay Yau wrote in 1988 on reductive readings of the Cuban artist Wifredo Lam and the unwillingness of art historians and curators to consider Lam's biracial identity as relevant to his work. In his collection, Yau makes a case for the role identity and cultural background can play in the formation of an artist's aesthetic choices, and he interrogates standard art historical hierarchies and the supposed objective viewpoint of the avant-garde. While he acknowledges a number of strides in recent decades toward a more inclusive, open version of art history, he also shows how far there is to come, a gap he helps to close through thoughtful pieces on artists such as Ruth Asawa, Kerry James Marshall, Richard Hunt, Jiha Moon, Ed Clark, and many more. Also, Juana María Rodríguez, author of Puta Life: Seeing Latinas, Working Sex, returns to recommend A Lover's Discourse: Fragments by Roland Barthes.

We're covering the other side of this art game today! Ashley Lee, a lawyer by day and art collector, every other moment of her life. Ashley is committed to building her art collection, and we discuss how she does it. It's a little bit of budgeting, a little bit of research, and a whole lot of passion for the work that she loves. We break down things like budgeting and framing, getting to know artists, and how the pieces make her feel. Ashley tells us about her favorite artists, her dream pieces, and the importance of telling everyone how they can build a great collection without being rich. It's a great art collecting conversation for you today on the Noize! Listen, subscribe, and share!Episode 175 topics include:why collect artthe art-collecting communityconnecting with artists and artdefining your art collectionbudgeting for collectingartist wish listframing and presenting work in your homeunderstanding abstractionstudying artgrowth in collectingAshley is an attorney, black art blogger, and private Black art collector based in Atlanta, GA. Although she acquired her first open edition print by notable artist Gilbert Young in 2005 as part of a leadership program with her alma mater Spelman College, she became a serious Black art collector in 2018 when she acquired the "Obama No Drama" linocut by David C. Driskell to commemorate her experience as a 2012 Democratic National Convention Obama Delegate. Over the years, she has collected scores of works including works from established artists such as Kerry James Marshall, Sam Gilliam, Faith Ringgold, Elizabeth Catlett, and Samella Lewis. Ashley collects Black art exclusively because in the words of Faith Ringgold "art is a form of experience of the person, the place, the history of the people, and as Black people, we are different." While she has acquired amazing pieces thus far, her art collecting journey is in full swing as she continues to purchase pieces that resonate with her and represent different aspects of her soul.See more: The AML Collection website + The AML Collection IG @theamlcollection Presented by: Black Art In AmericaFollow us:StudioNoizePodcast.comIG: @studionoizepodcastJamaal Barber: @JBarberStudioSupport the podcast www.patreon.com/studionoizepodcast

They say you can't be what you can't see. Good thing I didn't have to look far to see success modeled in my family. I also saw the intense strategy and sheer work that it takes. To you, Rudy Cline-Thomas is the co-founder of venture capital firm MASTRY Ventures. He's transforming the sports landscape and has graced the covers of the financial industries biggest magazines. To me, he's just my big brother. I've had a front row seat to his meteoric trajectory. In this very personal conversation I share the 5 things he taught me, not by his words but through his consistent actions.Join us on the journey: https://linktr.ee/aundreactAbout Rudy Cline-ThomasRudy Cline-Thomas is the Founder and Managing Partner of MASTRY, an alternative investment platform which counts world-class institutions, CEO's, and athletes as limited partners. Rudy founded MASTRY with a mission to create outsized returns through the advancement of diverse communities and culture. He has leveraged a network of relationships and an opportunity set built over his two decades in sports, media, and investing. Named after the works of renowned artist Kerry James Marshall, who reframed the presentation of the African American experience through fine art, today MASTRY intends to reframe impact investing with four uniquely structured investment platforms: Venture Capital, Private Equity Sports Ownership, Real Estate, and Media. Leveraging his deep relationships in the worlds of sports and entertainment, Rudy was the mastermind and Executive Producer of the 2021 Sports Emmy nominated “The Scheme,” HBO's riveting look at the underbelly of college basketball and the federal government's three-year investigation into college basketball corruption. Rudy began his career in the sports agency practice of the Washington Law Firm, Williams & Connolly, and later founded The BluePRINT Advisors, a leading athlete-focused wealth advisory business, which he ultimately sold to Royal Bank of Canada in 2015. Rudy currently serves on the Salesforce Global Advisory Board (NYSE: CRM), is a strategic advisor to Gucci, and is a board advisor for Jumia Technologies (NYSE: JMIA), and Zuora (NYSE: ZUO). He also sits on the Board of the Fifteen Percent Pledge, the Advisory Board of Global Communities and is a member of the Board of Trustees for Providence College, where he earned his college degree. Rudy is co-owner of the Leeds United Football Club of the English Premier League, Plymouth Argyle F.C. of the English Football League One, and Hapoel Tel Aviv Football Club of the Israeli Premier League.

ในงานศิลปะมักมีแฝงสัญญะอยู่เนืองๆ และรอยยิ้มในงานศิลป์ ก็เป็นอีกสิ่งที่หลายคนตีความ อาทิ รอยยิ้มของโมนาลิซา อันเลื่องชื่อ แต่เอพิโสดนี้ของ Arttrovert ไม่ได้มาพูดถึงรอยยิ้มของโมนาลิซา แต่เล่าถึงรอยยิ้มและความตลกจากงานศิลป์ ที่อาจสื่อสารเสียดสีถึงลักษณะสังคมในยุคนั้นๆ ไม่ว่าจะเป็นงานของ Frans Hals, รอยยิ้มในเงาดำของ Kerry James Marshall, Yue Minjun กับรอยยิ้มที่วิพากษ์รัฐจีน, Roxana Halls กับเสียงหัวเราะของเพศหญิง #SalmonPodcast #SalmonLAB #SalmonHouse #Arttrovert #เรื่องศิลปะน่าสนใจ #Podcast #พอดแคสต์ #พอดคาสต์ Learn more about your ad choices. Visit megaphone.fm/adchoices

Today, we sit with renowned artist Kehinde Wiley on the opening night of Colorful Realm, his new exhibition at Roberts Projects in Los Angeles. At the top, Wiley walks through the Japanese influence behind his latest paintings (5:05), his upbringing in South Central Los Angeles (10:36), and the profound impact of artist Kerry James Marshall's 1993 piece De Style (12:57). Then, he reflects on a formative MFA program at Yale (19:41), his residency at the Studio Museum under Thelma Golden (19:41) and how he began casting portrait subjects from the streets of New York City (22:42). On the back-half, we discuss Wiley's 2001 piece Conspicuous Fraud #1 (Eminence) (26:02), the guiding philosophy behind his work (27:48), his enduring portrait of former President Barack Obama (32:07), and what he hopes to create in years to come (34:55).See omnystudio.com/listener for privacy information.

CW: Sensitive content regarding 9/11, terrorism, genocide, racial violence, spectacular death, dark tourism.The sisters return from winter hiatus with an episode about atrocity, human suffering, spectacular death and how we choose to memorialize and regard the pain of others.  Focusing primarily on the 9/11 Memorial and Museum, they ask — can we look back on catastrophe without becoming voyeuristic consumers? Can we honor victims without turning them into commodities?  Can morbid curiosity and empathy coexist?  When will tourists visit places like Ground Zero or Auschwitz in the way they visit Pompeii? Using Susan Sontag's “Regarding the Pain of Others” (2003) as a critical framework, they dissect the role of images in memory making and the tension between private memory and public instruction.  Other topics include images of torture at Abu Ghraib, Lynndie England as a specter for white women in lynching photography, Kerry James Marshall's "Heirlooms and Accessories," and willed white innocence.  Readings include works by Jacqueline Goldsby, Eduardo Cadava, Philip R. Stone & Alex Grebenar, Marita Sturken, Jennifer Senior, Mary Marshall Clark, and as always, our ultimate, Susan Sontag. Cover is Robert Capa's "Falling Soldier" (1936)

On this episode I'm joined by Jeffrey Meris, the New York-based artist whose paintings, sculptures, and conceptual work draw on his lived experiences.  Meris was recently announced as one of this years winners of the prestigious and highly coveted Studio Museum of Harlem residency which has seen the likes of heavy hitters such as Chakaia Booker, David Hammons, Kerry James Marshall, Julie Mehretu, Mickalene Thomas and Kehinde Wiley partake in its program. Formally Jeffrey Meris is an artist who works across sculpture, installation, performance, and drawing to consider ecology, embodiment and various lived experiences while healing deeply personal and historical wounds. 

Ludovic Nkoth is a painter based in New York. Born in Cameroon in 1994, he moved with his family to Spartanburg, North Carolina, when he was 13 years old. After completing his undergraduate studies at UNC, he moved to New York to attend Hunter College's MFA program, which he finished in 2021. Last year, Nkoth was awarded a prestigious residency through the Académie des Beaux-Arts in Paris, where he is currently living. Among the key comparisons for Nkoth's work are Kerry James Marshall, who similarly taps into art history to enliven present-day subjects; Noah Davis, whose work is also sophisticated and subtle; and Alex Katz, who maintained a long career and a unique sense of artistic vision amid rapidly changing fashions.

The Noize is back! Season 8 kicks off with a bang because we have one of the best young artists in Atlanta, Tim Short. Tim has developed a distinct voice to go along with his amazing level of skill in painting. We recorded this episode as the artist talk for his solo show, “For Da Folks”, at the end of his Mint Leap Year residency. Tim talks about the process of making his paintings, how he imagines Blackness, making art that makes him happy, and getting a message across through art. We talk about his sci-fi leanings and where he sees his work going in the future. Listen, subscribe, and share!Episode 150 topics include:Mint Leap Year residencyconfidence in stylemastery in arthandling criticismdifferent approaches to creating a paintingimagining Blacknessbalancing the supernatural elements of his artTimothy Short was born and raised in Columbus, Georgia. He moved to Atlanta in order to attend Georgia State and pursue art in 2011. Predominantly as an oil painter, Timothy constructs imaginative narrative spaces always centering the Black figure. These stories are meant to venerate the everyday people close to him, often chosen as models for his work, using cosmological and celestial imagery. By detailing the subjects of the works in darker palettes, associations of lighter colors and spaces with inherent goodness or divinity are subverted and a metaphysical iconography is granted to the Blackness of these universes. Timothy's inspirations are Kerry James Marshall, Toyin Ojih Odutola, and Jordan Casteel amongst many other painters, a host of manga and comics, and great Black music.See More: www.timshortart.com + Tim Short IG @culturedstruggleFollow us:StudioNoizePodcast.comIG: @studionoizepodcastJamaal Barber: @JBarberStudioSupport the podcast www.patreon.com/studionoizepodcast

When the Seattle Art Museum opened the Olympic Sculpture Park on the urban waterfront in 2007, it changed the way people could interact with art and experience the city's environment. The fact that it's free and open to everyone makes the park one of the most inclusive places to see art in the Pacific Northwest. The sculpture park contains pieces like Alexander Calder's red sculpture The Eagle, Jaume Plensa's giant head Echo, and Neukom Vivarium, a 60-foot nurse log in a custom-designed greenhouse, among many others. Although many people believe that the greatest work of art at the park is the park itself and the way it connects with its surroundings. Because of the efforts of the Seattle Art Museum and the city, instead of being filled with private condo buildings, this former industrial site has become a welcoming part of the waterfront for the public to enjoy sculptures, activities, and the gorgeous Elliott Bay views. The new book Seattle's Olympic Sculpture Park: A Place for Art, Environment, and an Open Mind, pays homage to the interconnected spirit of the park. Mimi Gardner Gates — the director of the Seattle Art Museum (1994–2009) at the time of the Sculpture Park's conception and creation — edited this collection of writings and images about the park and how public-private partnerships can create innovative civic spaces. Other contributors include Barry Bergdoll, Lisa Graziose Corrin, Renée Devine, Mark Dion, Teresita Fernández, Leonard Garfield, Jerry Gorovoy for Louise Bourgeois, Michael A. Manfredi, Lynda V. Mapes, Roy McMakin, Peter Reed, Pedro Reyes, Maggie Walker, and Marion Weiss. Seattle Times journalist Lynda V. Mapes and SAM curator Catharina Manchanda joined Gates in discussion about the remarkable waterfront park and how it might inspire future innovation in civic spaces. Mimi Gardner Gates was director of the Seattle Art Museum for fifteen years and is now director emerita, overseeing the Gardner Center for Asian Art and Ideas. Previously, she spent nineteen years at Yale University Art Gallery, the last seven-and-a-half of those years as director. She is a fellow of the Yale Corporation; Chairman of the Dunhuang Foundation; Chairman of the Blakemore Foundation; a trustee of the San Francisco Asian Art Museum; a trustee of the H. John Heinz III Center for Science, Economics and the Environment, and serves on the boards of the Yale University Art Gallery, the Northwest African American Museum, the Terra Foundation, and Copper Canyon Press. Dr. Gates formerly chaired the National Indemnity Program at the National Endowment for the Arts and served on the Getty Leadership Institute Advisory Committee. Lynda V. Mapes is a journalist, author, and close observer of the natural world, and covers natural history, environmental topics, and issues related to Pacific Northwest indigenous cultures for The Seattle Times. Over the course of her career she has won numerous awards, including the international 2019 and 2012 Kavli gold award for science journalism from the American Association for the Advancement of Science, the world's largest professional science association. She has written six books, including Orca Shared Waters Shared Home, winner of the 2021 National Outdoor Book Award, and Elwha, a River Reborn. Catharina Manchanda joined the Seattle Art Museum as the Jon & Mary Shirley Curator of Modern & Contemporary Art in 2011. Notable exhibitions for SAM include Pop Departures (2014-15), City Dwellers: Contemporary Art from India (2015), Figuring History: Robert Colescott, Kerry James Marshall, Mickalene Thomas (2017), and Frisson: The Richard E. Lang and Jane Lang Davis Collection (2021). Prior to joining SAM, she was the Senior Curator of Exhibitions at the Wexner Center for the Arts in Columbus, Ohio. She has also worked in curatorial positions at the Mildred Lane Kemper Art Museum, St. Louis; the Museum of Modern Art, New York; the Solomon R. Guggenheim Museum; and the Philadelphia Museum of Art. She is the recipient of numerous international awards including an Andy Warhol Foundation grant, Getty Library Research grant, and others. Buy the Book: Seattle's Olympic Sculpture Park: A Place For Art, Environment, And An Open Mind from University Book Store Presented by Town Hall Seattle. To become a member or make a donation click here. 

Capítulo 034: On this episode of Ocu-Pasión we are joined by writer, actor, singer and producer, Sandra Delgado. Listen in as we discuss reimagining Latin history on stage and creating  the Sandra Delgado Experience: "A big band music spectacular with a lil bit of dancing, a lil bit of storytelling and a whole lot of joy."Sandra Delgado is a Colombian-American writer, actor, singer and producer born and raised in Chicago. She is best known for her play La Havana Madrid, which enjoyed sold-out runs at Steppenwolf and Goodman Theatre, and most recently in a co-production with Teatro Vista and Collaboraction. It was featured in the New York Times and CNN, received recognition as one of the best plays of 2017 by New City Chicago and Time Out Chicago, the Time-Out Audience Award for Best New Work, and the Alliance of Latinx Theatre Artists (ALTA) Award for Best Production.  Sandra is also a respected veteran of the stage, with a career spanning two decades. In addition to her work at artistic homes, Teatro Vista and Collaboraction, she has been seen on stages across Chicago including The Goodman Theatre, Lookingglass Theatre, Victory Gardens and About Face. Recent highlights include the titular role in La Havana Madrid, La Ruta at Steppenwolf and starring off-Broadway in the Public Theatre's production of Oedipus el Rey as Jocasta.  Sandra is a 2021 United States Artists Fellow, serves on the board of the Chicago Public Library, served on the City of Chicago's Cultural Advisory Council (2019-2021) and is a resident playwright at Chicago Dramatists. She is an Illinois Arts Council Fellow in Literature, a recipient of the 3Arts Award, the Joyce Award, The Theater Communications Group (TCG) Fox Foundation Resident Actor Fellowship in the Extraordinary Potential Category, a three-time Chicago Department of Cultural Affairs and Special Events grantee, and a 3Arts 3AP Project Grantee, and received the 2017 Latina Professional of the Year Award from the Chicago Latino Network. Ms. Delgado is Goodman's Playwrights Unit and a TCG Young Leader of Color Alum. She is one of the twenty women of Chicago arts and culture honored in Kerry James Marshall's mural RUSH MORE on the facade of the Chicago Cultural Center.Her latest project, The Sandra Delgado Experience, a fusion of music and storytelling will premiere this spring. Follow Sandra:Website: https://www.sandradelgado.net/Instagram: https://www.instagram.com/yosoysandradelgado/https://linktr.ee/ms.sandradelgadoOcu-Pasión Podcast is a heartfelt interview series showcasing the experiences of artists and visionaries within the Latin American/ Latinx community hosted by Delsy Sandoval. Join us as we celebrate culture & creativity through thoughtful dialogue where guests from all walks of life are able to authentically express who they are and connect in ways listeners have not heard before.Delsy Sandoval is the Host and Executive Producer of Ocu-Pasión. If you want to support the podcast, please rate and review the show here. You can also get in touch with Delsy at www.ocupasionpodcast.comFollow Ocu-Pasión on Instagram: @ocupasionpodcast www.instagram.com/ocupasionpodcastJoin the Ocu-Pasión Facebook Group: facebook.com/groups/5160180850660613/Visit www.ocupasionpodcast.com for more episodes.https://linktr.ee/Ocupasionpodc

(Originally recorded November 12, 2019) Kerry James Marshall, long a prominent African-American artist, rocketed to superstardom in the “TEENS” decade. Were his pictorial accomplishments, exhibitions and record auction prices enough to crystallize him into art history acknowledging him as the artist of the decade?

Cemre Demiralp is an incredible force of nature, not one to live her life without bringing meaningful change to the world. She has spent much of her art career thus far working at various museums and institutions, mainly with established blue chip artists and creatives: Kerry James Marshall, Robert Buck, Lara Favaretto, Ian Wallace, Simon Starling, Oliver Stone, Yoko Ono, and Solange Knowles. Currently, she operates the Shumka Centre for Creative Entrepreneurship at Emily Carr University, helping to create programs, mentorship, and resources for supporting emerging artists and creative practitioners in sustainable, real world ways. Cemre is also heading up and organizing Emily Carr's grad art show, which opens this May.She was born in Istanbul, Turkey, the only daughter of a spiritual mother and atheist father. Curious and independent, and usually surrounded by elders & adults, Cemre was encouraged by her parents to have opinions—and to express them. At 17, she moved to France for schooling and at 19, she left her home country for Canada, where she double majored in Art History and Political Science at the University of British Columbia. Cemre's career in art kick-started during university, as she reached out to galleries and centres to offer her help.           In this conversation, we talk about her childhood in Istanbul; her journey into the art world and the existing systems within it that she hopes to improve; the importance of respecting another's journey in life; how feeling like a migrant is an untangling for her; how she brings what she learned working with blue chip artists to her current role at Emily Carr with emerging artists; interfacing creativity with running a viable business; the way she would approach curating an art show; what she wants others to know about the people & culture of Turkey; and more.

This episode is also available as a blog post: https://thecitylife.org/2022/03/29/in-a-contemporary-dialogue-with-the-exhibition-winslow-homer-crosscurrents-the-met-presents-works-by-artists-elizabeth-colomba-hugh-hayden-kerry-james-marshall-and-kara-walker/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/citylifeorg/message Support this podcast: https://anchor.fm/citylifeorg/support

LaToya Hobbs returns to Studio Noize! LaToya has been on an amazing run with her latest work since her last time on the podcast. We catch back up with her in hearing all about her exciting show and successes including the phenomenal Carving Time installation that is currently on view at the Baltimore Museum of Art through April 3. She talks about how she was inspired by Kerry James Marshall to create Carving time and all the levels to this amazing piece. We. talk about how much her work has changed, leaning into what she does, and some of her work with Black Women of Print. Warning we get into all the printmaking nitty-gritty and you know your boy JBarber loves that. Listen, subscribe, and share!Episode 134 topics include:developing as an artistimportance of drawingCarving TIme installationtackling a big projectartistic influenceKerry James MarshallElizabeth CatlettBlack Women of PrintBlack family and legacyLaToya M. Hobbs is an artist, wife, and mother of two from Little Rock, AR who is currently living and working in Baltimore, MD. She received her BA in Painting from the University of Arkansas at Little Rock and MFA in Printmaking from Purdue University. LaToya's work deals with figurative imagery that addresses the ideas of beauty, cultural identity, and womanhood as they relate to women of the African Diaspora. She creates a fluid and symbiotic relationship between her printmaking and painting practice producing works that are marked by texture, color, and bold patterns. Her exhibition record includes several national and international exhibits in locations such as the National Art Gallery of Namibia, Windhoek, Namibia, Prizm Art Fair, Miami, FL, the Community Folk Arts Center in Syracuse, NY, Woman Made Gallery, Chicago, IL and the Sophia Wananmaker Galleries in San Jose, Costa Rica among others.See More: www.latoyamhobbs.com + LaToya Hobbs IG @latoyahobbsFollow us:StudioNoizePodcast.comIG: @studionoizepodcastJamaal Barber: @JBarberStudioSupport the podcast www.patreon.com/studionoizepodcast

As an exhibition opens at the Whitechapel Gallery in London focusing on artists' studios over the last century, we take an in-depth look at the subject. The artist, critic and activist William Powhida discusses the Artist Studio Affordability Project in New York and how developers and gentrification have forced artists' communities to breaking point. We take a tour of the Whitechapel exhibition with the gallery's director Iwona Blazwick, and explore works by Kerry James Marshall, Paul McCarthy, Laboratoire Agit'Art, Alina Szapocznikow, Tehching Hsieh and Egon Schiele, among others. And in this episode's Work of the Week, the photographer Eamonn McCabe, who has made a series of photographs of artists in their studios, talks about his visit to Paula Rego's space in Camden Town, London, in 2004. See acast.com/privacy for privacy and opt-out information.

We discuss several major Black visual artists from before, during, and after the Harlem Renaissance (with a nod to philosopher Alain Locke): Henry Ossawa Tanner, Aaron Douglas, William H. Johnson, Lois Mailou Jones, Charles White, Kerry James Marshall, Kara Walker, and Amy Sherald.  Poems by Nikki Giovanni and Langston Hughes.

The activist and author Angela Davis and the Pulitzer Prize-winning critic and curator Hilton Als in conversation about one of their favorite subjects and dearest friends: Toni Morrison. Early on in her career, Morrison worked as a kind of activist editor at Random House, where she helped change the landscape of publishing—including her effort to bring Davis's landmark political autobiography to the public in 1974. (It was just republished in its third edition.) Recently, Als curated Toni Morrison's Black Book at David Zwirner's 19th Street gallery in New York, a group exhibition that draws astonishing connections between Morrison's life and words and works by Beverly Buchanan, Robert Gober, Julie Mehretu, Kerry James Marshall, and many more.  Toni Morrison's Black Book, curated by Hilton Als, is on view through February 26, 2022.  Angela Davis: An Autobiography was republished in its third edition in January 2022, featuring an expansive new introduction by the author.

Most people who know his name, know Bob Rennie as a real estate success story—and, perhaps, they know he's a prolific and well-respected art collector, too. Those that know him more deeply also know how charismatic, smart, quick-witted, supportive, and generous he truly is. He grew up in East Vancouver, the son of lower middle class parents. His homemaker mother spent many years raising him and his sister - at the age of 40, she entered the workforce as a waitress. A truck driver for Carling Brewery, his father also ran the press box for the Vancouver Canucks and BC Lions. At 19-years-old, Bob picked his own path and started his long storied career in real estate, first as a realtor, and began steadily building the backbone of his business empire from the simple values imparted on him by his father. His biggest passion, however, is collecting art, something that sparked on a trip to San Francisco in 1974 when he was 18-years-old. During a gallery visit, he saw a Norman Rockwell limited edition print, On Top of the World (1934). He bought it for $375, and marked the start of the extensive and renowned Rennie Collection, one the largest contemporary private art collections in North America. Works in the collection are regularly shown at rennie museum in the historic Wing Sang Building in Vancouver's Chinatown and are also loaned to museums across the world. Bob is also currently president of the Tate Americas Foundation and on the board of trustees for the Art Institute of Chicago.  In this conversation, we discuss what he learned from his parents growing up; the importance of creating trustworthy relationships in work, art & life; why he collects art in the threads of diversity, inclusion & social injustice and the role of a collector to elevate an artist; the story of how he acquired Kerry James Marshall's Garden Party (2003-2014) over the course of nine years and his long-standing friendship with the artist; how the art world has evolved from when he began collecting to now; advice he'd give to those wanting to build their own collections; what he learned about himself over the last two years during the pandemic; why it's essential to show people your vulnerability; what he would tell his three children right now; and much more.

Why is Kerry James Marshall's painting De Style so perfect for this moment? Where South Central LA meets the 1917 Netherlands Barbershop as cultural oasis Whimsy and gravity unite on canvas Read the rest of this LadyKflo essay and learn about more masterpieces with a click through to LadyKflo's site. .   https://www.ladykflo.com/category/masterpieces/   Listen to the LadyKflo podcast wherever you get your podcasts. Checkout her socials too: https://www.instagram.com/ladykflo/ https://www.pinterest.com/Ladykflo https://twitter.com/ladykflo

How is an artist like an actor trying to make it in Hollywood? And what can we glean from a popular antique-appraising TV show? This week we dive into Amy's strange brain and feel oddly comforted afterwards! Please take the poll on Spotify and let me know where you file yourself in the "Hollywood" strata! Are you a WE-HO hustler, YO-HO starlet or Hollywood Movie Star? Enquiring minds want to know... Artists mentioned in this episode are Fern Coppedge, Edward Bannister, Kerry James Marshall and Ed Pashke.  Peps podcast tees are born! Check them out at https://amytalluto.bigcartel.com/category/peps Connect with the podcast on Instagram and see more images illustrating this episode: @peptalksforartists --- Send in a voice message: https://anchor.fm/peptalksforartistspod/message Support this podcast: https://anchor.fm/peptalksforartistspod/support

This week, we welcome Jason Foster, Destination Crenshaw President and COO. Destination Crenshaw is a reparative development project and will be the largest Black public art project in the U.S. and quite possibly the world. Ultimately, the project will commission more than 100 works by Black artists who have strong ties to Los Angeles, creating a pipeline of work and jobs for emerging, seasoned and internationally renowned artists. Jason joins the pod at 15:00.  Follow Jason Foster:   http://destinationcrenshaw.la/ (Destination Crenshaw)   Insta: @DestinationCrenshaw   Twitter: @DestinationShaw  Episode ephemera:  https://www.youtube.com/watch?v=6KALJy9fw2Q (All Growns Up)  https://www.youtube.com/watch?v=EGV8Kw7_oBE (Mork's First Appearance on Earth)  https://www.iamnotastalker.com/2017/08/25/the-cunningham-house-from-happy-days/ (The Cunningham House on Happy Days)  https://shop.barebells.com/?gclid=IMKE (Barbells Protein Bars)  https://en.wikipedia.org/wiki/LA_Gear (LA Gear)  https://www.artforum.com/news/lacma-gifted-kerry-james-marshall-s-portrait-of-the-artist-as-a-shadow-of-his-former-self-78657 (KERRY JAMES MARSHALL: "PORTRAIT OF THE ARTIST AS A SHADOW OF HIS FORMER SELF")  https://www.washingtonpost.com/opinions/the-improbability-principlewhy-coincidences-miracles-and-rare-events-happen-every-day-by-david-j-hand/2014/02/21/4d94c5d8-718d-11e3-8b3f-b1666705ca3b_story.html (The Improbability Principle)  https://www.kqed.org/arts/13903132/bill-seeking-to-improve-pay-for-a-more-diverse-ca-arts-workforce-lands-on-governors-desk (California Creative Workforce Act)  Support this podcast

Hip-hop artist Jasiri X looks at Kerry James Marshall's woodcut almost like he's looking into a mirror. It captures the experience of a Black man: resilient but restrained from being his authentic self. Jasiri responds to the work through two songs that reflect on his internal struggle. Find full transcripts and more information about this episode at www.nga.gov/music-programs/podc…x-untitled-man.html. Subscribe directly to Sound Thoughts on Art from the National Gallery of Art on Apple Podcasts, Google Podcasts, Spotify, Stitcher, or your favorite podcast app https://feeds.megaphone.fm/NGAT6207729686.  Still haven't subscribed to our YouTube channels? National Gallery of Art ►►https://www.youtube.com/NationalGalleryofArtUS National Gallery of Art | Talks ►►https://www.youtube.com/NationalGalleryofArtTalks ABOUT THE NATIONAL GALLERY OF ART The National Gallery of Art serves the nation by welcoming all people to explore and experience art, creativity, and our shared humanity. More National Gallery of Art Content: Facebook: https://www.facebook.com/nationalgalleryofart Twitter: https://twitter.com/ngadc Instagram: https://www.instagram.com/ngadc/ Pinterest: https://www.pinterest.com/ngadc/_created/ E-News: https://nga.us4.list-manage.com/subscribe/post?u=e894a1837aca4526f7e8a11b3&id=2085ff9475

I had Bruce Hartman on today, which was so much fun. He's a natural, gregarious, happy individual, and he's always been that way. I've known him for 20 plus years and any time I've ever seen him at a show (which is usually where I see him)  he's always laughing and giggling and just having a great time. You see, Bruce absolutely loves art and is a very knowledgeable former art professional having just retired after 30 years as Executive Director and Chief Curator at the Nerman Museum of Contemporary Art.At first glance, you may get the impression that contemporary art was Bruce's main focus at the museum, but don't let that fool you. He knows an incredible amount on the subject of Native American art. His father and mother collected prehistoric and then historic Indian art, which got Bruce's artistic entanglement going very early in life, resulting in him becoming one of the foremost authorities on Native American paintings, from both historic to contemporary - as well as Zuni fetishes.It was a longer interview than normal, not because of any particular reason other than Bruce is such an interesting individual. I just couldn't stop listening and, you know, those are the best interviews as far as I'm concerned. As a result, this podcast will be split into two parts. This is part two of the Bruce Hartman podcast.

I had Bruce Hartman on today, which was so much fun. He's a natural, gregarious, happy individual, and he's always been that way. I've known him for 20 plus years and any time I've ever seen him at a show (which is usually where I see him)  he's always laughing and giggling and just having a great time. You see, Bruce absolutely loves art and is a very knowledgeable former art professional having just retired after 30 years as Executive Director and Chief Curator at the Nerman Museum of Contemporary Art.At first glance, you may get the impression that contemporary art was Bruce's main focus at the museum, but don't let that fool you. He knows an incredible amount on the subject of Native American art. His father and mother collected prehistoric and then historic Indian art, which got Bruce's artistic entanglement going very early in life, resulting in him becoming one of the foremost authorities on Native American paintings, from both historic to contemporary - as well as Zuni fetishes.It was a long interview than normal, not because of any particular reason other than Bruce is such an interesting individual. I just couldn't stop listening and, you know, those are the best interviews as far as I'm concerned. As a result, this podcast will be split into two parts. This is part one of the Bruce Hartman podcast.

Today we're talking about the 8 of Pentacles, all about mastering your craft and makin' those coins. When the 8 of Pents comes up, you're being called to know your craft so well, to be so confident in it, that you can innovate. You're not checking to see what other people are doing or if you're getting it right. You're paying attention to the materials and listening to what wants to emerge. Whether that's in your practice as a witch or a musician, or a podcaster or whatever you're doing. Your real work and practice begins when you're able to innovate according to what wants to be done, not what what is imposed by the outside.Join us as we discuss how to find your flow with artist, astrologer and tarotista, Alejandra Luisa León is an artist. She began collaging as a way to process grief, and The Lioness Oracle Tarot was the result. Since then she has hand collaged and published two other decks: The Stars Divine (an Astrology deck) and Vision of the Muse. On top of running her online business, she also gives readings and teaches. She resides in Oakland, California. We know you're going to love her as much as we do. Join us!To find out more about our ACE OF PENTACLES: ABUNDANCE MAGICK WORKSHOP  either scroll down or visit our website. www.betweentheworldspodcast.com/shopREFERENCES FOR THIS EPISODE:Nia Wilson's "Black Excellence" gymnastics routineMihaly Czicksentmihali's work on Flow. Check out this article here.Author and Arts Consultant, Beth Pickens: bethpickens.com and her book, Make Your Art No Matter WhatDonna Summer, the song, "She works hard for her money."Kerry James Marshall, "Mastry", a painting exhibition at the MOCA, Los Angeles.*********************************Find out more about our special guest, Alejandra Luisa León: oracle, artist, and deck creator....  Visit her website: www.thelionessoracle.comCheck out her Instagram feed: @thelionessoracleBuy her tarot decks: The Lioness OracleGrab some of her hot merch: t-shirts, tote bags, cute stuff galore...Or sign up for her mailing list: https://www.thelionessoracle.com/newsletter *********************************UPCOMING WORKSHOPS  - ACE OF PENTACLES: ABUNDANCE MAGICKAbundance is already present, but remembering that can be a challenge in a culture that's modeled on scarcity. True abundance includes rest, love, nourishment, inspiration, security, and pleasure. In this workshop we will establish a new relationship to abundance, inspired by the natural systems of the earth and the wisdom tradition of the tarot. This workshop includes:Invocation to call in abundance whenever you want or need toA beautiful PDF including special correspondences, FAQs, deities, a reference list and moreA tarot spread for abundance3 easy abundance rituals for daily use (or whenever you need)1 expansive ritual done in the live workshop to call abundance into your life right nowAn abundance meditation you can use whenever you need to get into that state of flowAnd so much more!Anyone can join this workshop but subscribers to our coven at the Jupiter level receive the workshop with the cost of membership.  If you're buying as a one off, receive 20% off your purchase if you buy before 9/6/21. CLICK HERE TO FIND OUT MORE.Become a Between the Worlds Weird Circle Subscriber, click here. Looking for CANDLE MAGICK - THE WORKSHOP?? Click this link.**********************************Learn More About Your Host Amanda Yates Garcia, & Buy Her BookTo sign up for Amanda's newsletter, CLICK HERE.To order Amanda's book, "Initiated: Memoir of a Witch" CLICK HERE.Amanda's InstagramAmanda's FacebookTo book an appointment with Amanda go to www.oracleoflosangeles.com**********************************MIND YOUR PRACTICE PODCASTMind Your Practice - Carolyn's  podcast with arts consultant and author of Make Your Art No Matter What, Beth Pickens - is geared towards artists and writers looking for strategies and support to build their projects and practices (plus loving pep talks).There's even a club - “Homework Club” - which offers creative people support and strategies for keeping their projects and practices a priority with monthly webinars, worksheets, live QnA's, optional accountability pods, and ACTUAL HOMEWORK (that you'll never be graded on. Ever!)You can visit MindYourPractice.com for more details or listen wherever you stream Between the Worlds. **********************************Original MUSIC by Carolyn Pennypacker Riggs**********************************Get in touch with sponsorship inquiries for Between the Worlds at betweentheworldspodcast@gmail.com.**CONTRIBUTORS:Amanda Yates Garcia (host) & Carolyn Pennypacker Riggs (producer). The BTW logo collage was created by Maria Minnis (tinyparsnip.com / instagram.com/tinyparsnip ) with text designed by Leah Hayes.

WE ARE BACK with another Art Slice Short: Stephanie Dueñas and Russell Shoemaker cover one of their favorite contemporary painters, Black artist Kerry James Marshall and his painting, “Memento #5” of his Souvenir Series. You can find all the images we discuss today on artslicepod.com or instagram http://linktr.ee/artslicepod They also discuss the Black Liberation Movement, the Civil Rights movement of the1960s that visually inspired the Souvenir Series: from Civil Rights leaders like Martin Luther King Jr. and Malcolm X, to the nationwide Civil Rights protests and how these events continue to impact and inspire social reform and change today. Topics include Mambo #5, Dodge hemis, Watts Riots, political lawn signs, punky emo belts, and a tailgate party featuring blue weenies. Reviewing, subscribing, liking, and sharing really helps support the show: Follow us on twitter, tiktok, youtube, and instagram: http://linktr.ee/artslicepod Consider subscribing and leaving us a review on apple podcasts. You can pick up a 4 pack of stickers to help support the show: http://linktr.ee/artslicepod

Today I'm talking all about how to use the ‘See Think Me We' thinking routine to create personal and community connections with artworks. This is part of a new series of episodes on the podcast where I share a thinking routine with you and all the insights for how you might be able to use it with an artwork or object with groups - either in-person or online.  See Think Me We was our ‘thinking routine of the month' recently in the https://www.thinkingmuseum.com/membership (Visible Thinking Membership). Every month we have a specialist thinking routine online class that gives us the opportunity to discover a new thinking routine or to dig a bit deeper into one we already know.  Here's how we used See Think Me We thinking routine to discuss Kerry James Marshall's ‘SOB, SOB' (2003). LINKS Kerry James Marshall, ‘SOB, SOB' (2003) https://americanart.si.edu/artwork/sob-sob-78744 (https://americanart.si.edu/artwork/sob-sob-7874) https://www.moma.org/artists/6464 (Andrew Wyeth), ‘Christina's World', (1948) https://www.moma.org/collection/works/78455 (https://www.moma.org/collection/works/78455) Amy E Herman, 'Visual Intelligence: Sharpen Your Perception, Change Your Life' https://www.thinkingmuseum.com/membership (Visible Thinking Membership) https://mailchi.mp/21a87a092bdd/thinking-routine-list (ULTIMATE THINKING ROUTINES LIST )

Painter Mequitta Ahuja has been re-visioning self-portraiture. While her large colorful canvasses have centrally positioned her own African-American and Indian-American identity, she also claims her own authority as the artist. She emphasizes the work of painting:  depicting multiple genres of painting in pictures within the paintings themselves. The result gestures to history, collapses time. and makes new meaning. Ahuja's work has been widely exhibited in museums and galleries nationally and internationally,  including the Phillips Collection, the Brooklyn Museum,  Minneapolis Institute of Art, and the Baltimore Museum of Art.  Her many fellowships and awards include a 2009 residency to the Studio Museum in Harlem, a 2014 residency to the Siena Art Institute and a 2018 Guggenheim fellowship award.  If you like to learn about the process of making a work of art, this is the podcast for you: Ahuja walks us through the making of her spectacular painting “Portrait of her Mother,” as well as her own evolution within the genre of self-portraiture, and the importance of her mentor Kerry James Marshall.

We discuss: - how she got a job as a corporate curator - how corporate collections find art and artists - their art collection is for the enjoyment of the employees not as investments - their effort to continually keep the collection contemporary - the relationship of art and architecture - art conservation in corporate collections - their mission as a corporate art collection - buying art with frames or without frames - the importance of a thank you note - the need for more diversity in art collections   People + Places mentioned: Weinstein Hammons Gallery - https://www.weinsteinhammons.com Target Corporation Art collection - https://paulbastyr.com/target-art-collection-book Art Basel - https://www.artbasel.com/miami-beach Expo Chicago - https://www.expochicago.com Skidmore, Owings & Merrill - https://www.som.com Paulson Fontaine Press - https://paulsonfontainepress.com Highpoint Center for Printmaking - https://www.highpointprintmaking.org Artserve - https://artserve.co Charles Biederman - https://www.msfineart.com/artists/charles-biederman/ Kerry James Marshall - https://jackshainman.com/artists/kerry_james_marshall Abelardo Morell - https://www.abelardomorell.net James Rosenquist - https://www.jamesrosenquiststudio.com Doug and Mike Starn - http://www.dmstarn.com Robert Longo - https://www.robertlongo.com/series/meninthecity/   3 contemporary artist they recently added to the collection: Dyani White Hawk - https://www.dyaniwhitehawk.com Erin O'Keefe - https://www.erinokeefe.com Carla Jay Harris - https://www.carlajayharris.com     Hosted by Matthew Dols http://www.matthewdols.com   Supported in part by: EEA Grants from Iceland, Liechtenstein + Norway https://eeagrants.org             and we appreciate the assistance of our partners in this project: Hunt Kastner - https://huntkastner.com Kunstsentrene i Norge - https://www.kunstsentrene.no               Transcript available here: https://wisefoolpod.com/transcript-for-episode-166-corporate-curator-general-mills-art-collection-lisa-melander-minneapolis-minnesota-usa/  

Hip-hop artist Jasiri X looks at Kerry James Marshall's woodcut almost like he's looking into a mirror. It captures the experience of a Black man: resilient but restrained from being his authentic self. Jasiri responds to the work through two songs that reflect on his internal struggle. Find full transcripts and more information about this episode at https://www.nga.gov/music-programs/podcasts/jasiri-x-untitled-man.html.

Our slew of exhibition recommendations this month are inspired by luscious landscapes and a green palette, perhaps motivated by a Lockdown-enforced return to nature? Exhibitions include: Jules de Balincourt at Thaddaeus Ropac, Salman Toor at the Whitney, The Green Fuse at Frestonian Gallery, Rethinking Guernica at the Reina Sofia Museum, Lindsey Bull, Minyoung Choi, Nettle Grellier at bo.lee Gallery, and Daisy Parris at Sim Smith Gallery. In the news, we delve into what the new hybrid Sotheby's sale means to the art market post-Covid, and what it could signify for sales throughout the rest of 2020. Is this the renaissance of the online auction? We also discuss the slew of homophobic comments Pace Gallery received on Instagram after posting a photograph of two men kissing by US photographer, Peter Hujar, and the Gallery's strategy of how to respond to them. Our Artist Focus this month is the record-breaking African American artist Kerry James Marshall. Following a childhood in Birmingham, Alabama and Los Angeles, California, an exposure to the Black Power and Civil Rights movements had a significant impact on his paintings. Through a masterful control of colour and composition, Marshall sets out to portray central protagonists who are “unequivocally, emphatically black.”SHOW NOTES: Jules de Balincourt 'There are more eyes than leaves on the trees' at Galerie Thaddaeus Ropac, until 5 September: https://ropac.viewingrooms.com/viewing-room/ Salman Toor 'How Will I Know' at the Whitney: https://whitney.org/exhibitions/salman-toor 'The Green Fuse' at Frestonian Gallery, until 5 September: https://www.frestoniangallery.com/exhibitions/Rethinking Guernica: https://guernica.museoreinasofia.es/en Lindsey Bull, Minyoung Choi, Nettle Grellier at bo.lee Gallery on Artsy: https://www.artsy.net/show/bo-dot-lee-gallery-3-dot-3-lindsey-bull-minyoung-choi-nettle-grellier Daisy Parris 'Star Studded Canopy' at Sim Smith Gallery: https://www.sim-smith.com/node/84 Men at the Barre - Inside the Royal Ballet: https://www.bbc.co.uk/programmes/m000jjjq Sotheby's First-Ever Hybrid Contemporary Evening Sale Format Nets an Impressive $300.4 Million: https://news.artnet.com/market/sothebys-tests-auction-waters-contemporary-evening-sale-1890889Francis Bacon painting sells for $84M at first-of-its-kind virtual auction: https://edition.cnn.com/style/article/francis-bacon-sothebys-hybrid-auction/index.htmlPainting Reaps 6,700% Return Months After the Artist's Death: https://www.bloomberg.com/news/articles/2020-07-01/painting-reaps-6-700-return-less-than-year-after-artist-s-deathPace Gallery shuts down homophobic slurs on Instagram over Peter Hujar photographs: https://www.theartnewspaper.com/news/pace-gallery-homophobia-instagram The World of Groundbreaking Artist Kerry James Marshall: https://www.artsy.net/article/artsy-editorial-how-kerry-james-marshall-became-a-superhero-for-chicago-s-housing-projects Kerry James Marshall Is Shifting the Color of Art History: https://www.nytimes.com/2016/10/17/t-magazine/kerry-james-marshall-artist.html

Benjamin Fong's Death and Mastery: Psychoanalytic Drive Theory and the Subject of Late Capitalism (Columbia UP, 2016) revitalizes two oft' maligned psychoanalytic concepts, the death drive and the drive to mastery, and makes lively and thoroughgoing use of both to revisit arguments about the power of the culture industry and how we might resist its narcotizing allure. For instance, we know Facebook is the devil, offering us relief from real strife via impotent political engagement; like prisoners in solitary we write on its wall. We know Netflix is a platform for product placement that we pay for, meanwhile losing track of our myriad subscriptions. We know we ought to think twice before inhaling the contents of either yet we simply cannot seem to stop ourselves.  What gives? This--our compliant involvement with what promises to decrease our power and increase our alienation—is an old Frankfurt School obsession and query. Fong attempts to explain our complicity by using Freud altogether differently than his forebears. (Fong has been a member of the Society for Psychoanalytic Inquiry which, having turned ghosts into ancestors, strikes me as the closest thing we have to a contemporary version of the Institut fur Sozialforschung going today, although I believe most of its members are American born.) He reminds us that the Frankfurt School ignored the death drive. In fact, the Freud engaged by the Frankfurt School appears to have stopped writing around 1919. (It is very odd to think that they did not absorb and make use of Beyond The Pleasure Principle, forget Civilization and Its Discontents.) I admit I found myself wondering if Freud's conclusions about man as wolf to man, the impossibility of loving our neighbor as ourselves, and our desire to go out as we came in, were simply too bleak even for Adorno, Horkheimer and Marcuse? Of course, the death drive is tough for politics: how to organize people to fight for what is just if, at the end of the day, they simply seek the cessation of tension, and furthermore, are compulsively drawn to repeat their worst experiences? Freud's thinking after 1920 can be read as offering a devastating critique of neoliberal “just do it” life with its appeals to progress and perfectibility. And Fong puts this Freud to great use. Attempting to construct a way out of being subsumed by the culture industry, with its promise of ruin, Fong champions a reappraisal of the super-ego as a friendly presence. He borrows from Hans Loewald, who argued for the super-ego as being future oriented, and harboring a hopeful fantasy, like a kind parent, about the fate of the ego over time. Fong also engages the thinking of Jacques Lacan, and with his help, tries to answer a question derived from a debate between Freud and Wilhelm Reich, about “where does the misery come from?” (Thanks to Jacqueline Rose for bringing this question to all of our attention). He develops a new theory (!) about aggressivity that locates it as arising neither solely from within nor from without. Interestingly, he does not rely on Laplanche to make his argument. That said, mastery as a concept scares me. Can “the master's tools,” to paraphrase Audre Lorde, “dismantle the master's house?” Lawrence Kohlberg's stages of moral development did come to mind as I read, and I was left at times feeling a bit like one of Carol Gilligan's adolescent girls, putting my feet, talk about returning to the primordial ooze, into the shoes of another. Then there is Freud's idea that women lack sufficient super-egos. Following this logic, it is not too strange to ask if women can exercise mastery? And finally, what about Kerry James Marshall's evocative and resonant use of the word, albeit spelled differently (Mastry), to refer to both slavery, the slave master, and the lives of those who survived it and his aftermath? Mastery is not a neutral word. Tracy D. Morgan is a psychoanalyst and the founding editor of NBiP. Write to her at tracedoris@gmail.com