Podcasts about Kunsthalle

Zwischen dem wilden Künstlerleben in Paris und dem idyllischen Bauernhof seiner Familie fand der Künstler dieser Folge Inspiration und das Gleichgewicht, das seine Kunst prägte. Die Rede ist vom weltbekannten spanischen Künstler Joan Miró. Mit seinen abstrakten Bildern entführt er in surreale Traumwelten. Was der Künstler mit der Fußball-WM, einer Bank und dem Tourismus in Spanien zu tun hat, erzählt Kunstcomedian Jakob Schwerdtfeger in dieser Folge.

Oelze, Sabine www.deutschlandfunkkultur.de, Fazit

Oelze, Sabine www.deutschlandfunk.de, Kultur heute

Orth, Juliane www.deutschlandfunkkultur.de, Studio 9

Vom verschlafenen Fischerdorf zum Touristenmagneten: Der Künstler dieser Folge ist ein echter Trendsetter. Johann Wilhelm Schirmer und andere Künstler seiner Zeit malten immer wieder die unverkennbaren Felsformationen an der Küste von Étretat in der Normandie. Durch ihre Bilder wurde der Ort zu einem beliebten Reiseziel. Warum Schirmer als „Vater einer ganzen Generation” bezeichnet wurde und wie er die Landschaftsmalerei pushte, erklärt Kunstcomedian Jakob Schwerdfeger in dieser Folge von "Kunstsnack".

Bundeskanzler Merz betont auf Bundestagung der Christlich-Demokratischen Arbeitnehmerschaft Status der gesetzlichen Rente als Basis der Altersversorgung, Mutmaßliche Spionageattacken über Messengerdienst Signal betreffen offenbar auch Bundesregierung, Vorerst keine neue Verhandlungsrunde zwischen den USA und Iran, Verteidigungsminister Pistorius verlegt vorsorglich Minenräumer ins Mittelmeer für möglichen Einsatz in der Straße von Hormus, Kommunalwahlen im Westjordanland und einem kleinen Tel des Gazastreifens, Erneut russische Angriffe auf fast alle Landesteile der Ukraine, Vertreter von mehr als 50 Staaten beraten in Kolumbien über Abhängigkeit von fossilen Energieträgern, Kunsthalle in Emden feiert 40-jähriges Bestehen mit Jubiläumsausstellung, Ergebnisse des 31. Spieltags der Fußball-Bundesliga, Traditionelles Baumblütenfest an der Havel, Das Wetter Hinweis: Die Beiträge zum Thema "Fußball-Bundesliga" dürfen aus rechtlichen Gründen nicht auf tagesschau.de gezeigt werden.

Zum Glück in die Zukunft? Ja was denn sonst? In die Vergangenheit, um nochmal an ein paar Stellschrauben mehr zu drehen? Oder vielleicht alles noch einmal durchstehen zu müssen? Nein. Wir bringen nämlich das Leben nicht hinter, sondern vor uns, damit wir es betrachten können. Aber das ja nur, um eine Zukunft besser zu gestalten, mit all dem erworbenen Wissen und den guten und schlechten Erfahrungen. Das Glück in der Zukunft zu sehen, oder glücklich zu sein, in der Zukunft leben zu dürfen, bedeutet Hoffnung. Ob das tatsächlich die Intention des Rappers Marteria ist, der gerade das dritte Album seiner Trilogie „Zum Glück in die Zukunft“ herausgebracht hat und uns hier in München am 24. Oktober in der Kunsthalle im Zenith damit beehren wird, das hinterfragt unser Autor Nicolas Riedl. Hören Sie seine Rezension, die Karsten Troyke für uns eingesprochen hat. Bild: Pixabay www.radiomuenchen.net/​ @radiomuenchen www.facebook.com/radiomuenchen www.instagram.com/radio_muenchen/ twitter.com/RadioMuenchen Radio München ist eine gemeinnützige Unternehmung. Wir freuen uns, wenn Sie unsere Arbeit unterstützen. GLS-Bank IBAN: DE65 4306 0967 8217 9867 00 BIC: GENODEM1GLS Bitcoin (BTC): bc1qqkrzed5vuvl82dggsyjgcjteylq5l58sz4s927 Ethereum (ETH): 0xB9a49A0bda5FAc3F084D5257424E3e6fdD303482

William Kentridge exhibition at Kunsthalle, Elias Grandy on leading the Prague Radio Symphony Orchestra, interview with linguist Jan Bičovský on what dead languages sounded like 

William Kentridge exhibition at Kunsthalle, Elias Grandy on leading the Prague Radio Symphony Orchestra, interview with linguist Jan Bičovský on what dead languages sounded like 

Lithografien, Radierungen und Zeichnungen der französischen Kunst-Avantgarde zwischen 1850 bis 1920: Die Ausstellung zeigt den Alltag einer beginnenden Moderne in allen Facetten – Vergnügungen, Luxus und bittere Armut.

Photographer and artist Ed Templeton joins PhotoWork with Sasha Wolf to reflect on his evolution from professional skateboarder to photographer and painter, and how early influences like Nan Goldin and Larry Clark shaped his approach to documenting his own life. Templeton discusses his photobook Wires Crossed (Aperture), an intimate look at skate culture from an insider's perspective, and his collaborative process with editor Lesley A. Martin. The conversation looks into Templeton's hybrid analog and digital workflow and concludes with the development of Contemporary Suburbium (Nazraeli Press), an accordion style book, made in collaboration with his wife, photographer Deana Templeton, highlighting his ongoing engagement with the photobook and everyday subject matter. https://ed-templeton.com Ed Templeton (b.1972) is an American painter and photographer whose work reflects human behavior with emphasis on youth subcultures, religious affectation, and suburban conventions using a cinéma vérité approach embracing chance encounters. Templeton is a respected cult figure in the subculture of skateboarding, a two-time world-champion, and Skateboarding Hall of Fame inductee. He is best known for his photographic books and multimedia exhibitions. His work has been exhibited in museums worldwide including MOCA, Los Angeles, ICP, NYC, Palais de Tokyo, Paris, Kunsthalle, Vienna, Pier 24 Photography, San Francisco. His work is held in the collections of the Museum of Modern Art in New York, SMAK Museum Belgium, Orange County Museum of Art, Bonnefanten Museum, Maastricht.

In der Kunsthalle Tübingen ist aktuell die Ausstellung „Dancing with Reality“ von Alex Katz zu sehen. Im Gespräch mit Dr. Nicole Fritz, Direktorin der Kunsthalle und Kuratorin der Ausstellung, entsteht ein klarer Zugang zu einem Werk, das seit über sieben Jahrzehnten entsteht und heute aktueller wirkt denn je. Im Mittelpunkt stehen zentrale Aspekte der Malerei von Alex Katz: die Konzentration auf den flüchtigen Moment, die Reduktion auf klare Formen und die besondere Spannung zwischen Oberfläche und Wahrnehmung. Seine Bilder wirken unmittelbar und entwickeln ihre Wirkung oft erst im zweiten Blick. Ausgehend von der vorherigen Ausstellung zu Joseph Beuys und „Bewohnte Mythen“ wird ein Spannungsfeld sichtbar zwischen gesellschaftlichem Anspruch und unmittelbarer Wahrnehmung. Beide Positionen eröffnen unterschiedliche Wege, sich mit Gegenwart und Menschlichkeit auseinanderzusetzen. Die Folge verbindet Ausstellung, Kunstgeschichte und aktuelle Fragen unserer Zeit und macht nachvollziehbar, warum Alex Katz heute eine so große Relevanz hat.

Gampert, Christian www.deutschlandfunk.de, Kultur heute

Probst, Carsten www.deutschlandfunk.de, Kultur heute

Wheeler, Claudia www.deutschlandfunkkultur.de, Fazit

Der Architekt Friedrich Weinbrenner prägte mit seinen klassizistischen Entwürfen vor allem das Stadtbild von Karlsruhe. In dieser Folge von „Kunstsnack” dreht sich alles um das ehemalige Hoftheater Weinbrenners, das auch dem deutschen Dichter Goethe gut gefiel. Was Weinbrenner mit einem Kegel-Center zu tun hat und wie er mit seinem Plan zum Karlsruher Hoftheater schon einen Ausblick in die Zukunft gibt, erzählt Kunstcomedian Jakob Schwerdtfeger in dieser Folge.

Seit 70 Jahren schafft es der New Yorker Künstler Alex Katz immer wieder, am Puls der Zeit zu malen. Der 98-Jährige ist mit großformatigen Portraits und Landschaftsbildern berühmt geworden. Die Ausstellung „Alex Katz – Dancing with Reality“ in der Kunsthalle Tübingen legt den Fokus auf sein Spätwerk und zeigt, wie er es bis heute schafft, das Hier und Jetzt in moderne Malerei zu überführen.

Schneider, Anette www.deutschlandfunkkultur.de, Fazit

Wieso ein schwerer Busunfall in Barmek die Feuerwehr über Stunden beschäftigt hat, weshalb Hamburg Millionen überwiesen bekommt und warum morgen in der Kunsthalle die Ausstellung des Jahres beginnt

Die Kunsthalle Mainz ist ein Ort für zeitgenössische Kunst. Seit 2007 werden hier internationale Positionen gezeigt. Die Kunsthochschule Mainz ist eng mit der Kunsthalle verbunden. Die jetzige Direktorin Stefanie Böttcher wechselt im Herbst in gleicher Position nach Kiel. Eine Nachfolge gibt es nicht und die Finanzierung steht in Frage. Ein „Aus“ für die Kunsthalle Mainz wäre ein Armutszeugnis für die Landeshauptstadt. Jetzt sind Lösungen gefragt.

Einmal die Woche spielen Hamburgs Kunsthallen-Direktor Alexander Klar und Abendblatt-Chefredakteur Lars Haider „Ich sehe was, was du nicht siehst“ – und zwar mit einem Kunstwerk. Heute geht es um das Selbstbildnis von Friedrich Carl Gröger aus dem Jahr 1815, ein Miniatur-Porträt. Live aus der Kunsthalle, zu Gast: Autorin Vera Fengler.

Für das Werk dieser Folge wählte der Künstler Erich Heckel eine Farbe, die man eher mit Gift oder Außerirdischen verbindet als mit einem Selbstporträt: grelles Grün. Sein „Männerbildnis“ von 1919 zeigt den vom Leben gezeichneten Künstler. Warum dieses expressionistische Blatt sogar David Bowie und Iggy Pop inspirierte und wie ein Holzschnitt funktioniert, erzählt Kunstcomedian Jakob Schwerdtfeger in dieser Folge von Kunstsnack.

Einmal die Woche spielen Hamburgs Kunsthallen-Direktor Alexander Klar und Abendblatt-Chefredakteur Lars Haider „Ich sehe was, was du nicht siehst“ – und zwar mit einem Kunstwerk. Heute geht es um das Bild „Simeon und Hanna im Tempel“ von Rembrandt Harmensz. Van Rijn aus dem Jahr 1627 und eine seltsame Hand. Live aus der Kunsthalle, zu Gast: Autorin Vera Fengler.

Altona, Schanzenviertel, mit Franzbrötchen in die Elbphilharmonie - Hamburg ist noch toller als die Nachricht, dass Michael nominiert wurde für einen Grimme-Preis. Oder dass eine Figur aus Harry Potter plötzlich in großen Teilen Asiens auf Plakaten, Stickern und Memes zu sehen ist, was wiederum mit dem chinesischen Kalenderjahr zu tun hat. Außerdem geben wir in dieser Folge tiefe Einblicke in das Innenleben von Reisen Reisen und sinnieren über die Frage, wie wir mit diesem Podcast wachsen können, ohne uns selbst zu verlieren. Ach so, und dann ist da noch Jochens spontaner Metldown zum Thema ‘KW' (ja, er meint tatsächlich ‘Kalenderwochen'). Also: ab in die Kunsthalle Hamburg, vor eines der berühmtesten Gemälde von Caspar David Friedrich - oder ihr macht es euch an jedem anderen schönen Ort auf dieser Welt gemütlich, atmet tief ein - und hört diese Podcast-Folge als Medikament gegen den Winterblues. Schönes Wochenende!–Unseren neuen Podcast-Feed “UNTER FREUNDEN” findet ihr überall, wo es Podcasts gibt.Unsere Werbepartner findet ihr hier.Kommt zu einer unserer LIVE-Shows:24.2.2026 Hamburg26.2.2026 München11.4.2026 Mannheim (SWR Podcastfestival)Tickets gibt es HIER.Foto-Credit: Thomas Rabsch (Instagram)Mehr Reisen Reisen gibt es hier.Noch mehr Reisen Reisen gibt es in unserem Newsletter-Magazin.–Nooni CaféKleines Frühstückscafé mit leckerem Kaffee und Brunch. Perfekt für einen entspannten Start in den Tag.https://www.instagram.com/noonicafeofficial/ElbgoldRösterei im Schanzenviertel mit nordisch-minimalistischem Design, hervorragendem Kaffee und legendären Croissants und Teilchen. Ideal für eine Pause zwischen Marktstraße und Schanzenstraße.https://www.instagram.com/elbgold/Hatari Pfälzer StubeSüddeutsche Küche mitten in der Schanze – von Maultaschen bis zu deftigen Klassikern. Ein überraschender Kontrast zur norddeutschen Küche und ein echtes Original.https://www.instagram.com/hatari_pfälzerstube/HanseplatteUnabhängiger Plattenladen mit klarer Haltung („Fuck Spotify“) und viel Popkultur. Vinyl, Bücher und Hamburger Szenegefühl auf kleinem Raum.https://www.instagram.com/hanseplatte/La MaisonCharmant-schrammeliges Café in der Marktstraße mit fantastischem Lachsbrioche, selbstgebackenem Käsekuchen und großartiger Atmosphäre zum Leute-Beobachten.https://www.instagram.com/lamaison_hamburg/XO SeafoodbarKreative Küche mit regionalen und vegetarischen Ideen, abends bar-lastig und lebendig. Ein spannender Spot auf St. Pauli.https://www.instagram.com/xo.seafoodbar/ChilehausIkonisches Backsteingebäude im Kontorhausviertel, architektonisch eindrucksvoll und perfekt für einen Spaziergang Richtung Speicherstadt.https://www.instagram.com/chilehaus_hamburg/SpeicherstadtHistorisches Lagerhausviertel mit Kanälen, Brücken und Backsteinromantik. Besonders schön am frühen Morgen oder abends im Licht.https://www.instagram.com/speicherstadt_hamburg/Hamburger KunsthalleEines der bedeutendsten Kunstmuseen Deutschlands, direkt am Hauptbahnhof. Hier hängt unter anderem Caspar David Friedrichs „Wanderer über dem Nebelmeer“.https://www.instagram.com/hamburger_kunsthalle/Elbstrand ÖvelgönneEntspannter Spaziergang entlang der Elbe mit Blick auf vorbeiziehende Containerschiffe. Ideal in Kombination mit einer Hafenfähre zurück Richtung Innenstadt.https://www.instagram.com/ovelgoenne/Kleinhuis RestaurantschiffRestaurantschiff im Museumshafen Övelgönne mit hausgemachtem Kuchen und Blick aufs Wasser – klassischer Hamburg-Moment.https://www.instagram.com/kleinhuisrestaurantschiff/ Hosted on Acast. See acast.com/privacy for more information.

Verne, Patricia www.deutschlandfunk.de, Kultur heute

Einmal die Woche spielen Hamburgs Kunsthallen-Direktor Alexander Klar und Abendblatt-Chefredakteur Lars Haider „Ich sehe was, was du nicht siehst“ – und zwar mit einem Kunstwerk. Heute geht es um das Bild „Morgendlicher Ausritt im Bois de Boulogne“ von Pierre-August Renoir aus dem Jahr 1873. Live aus der Kunsthalle, zu Gast: Autorin Vera Fengler. 21. Februar

Arabesken in Arabesken - so heißt die Ausstellung mit Werken der Malerin Katharina Wulff in der Staatlichen Kunsthalle Baden-Baden. Die in der DDR geborene Künstlerin lebt heute mit ihrer Familie in ihrer Wahlheimat Marokko. In ihren Gemälden, Zeichnungen und architektonischen Arbeiten spiegeln sich all diese Erfahrungen wider.

Wechselhaftes Wetter vor Fastnacht, Sorge um Zukunft der Mainzer Kunsthalle und Beginn von umfangreichen Bauarbeiten an der Bundesstraße neun im Mittelrheintal. Das und mehr heute im Podcast. Alle Hintergründe zu den Nachrichten des Tages finden Sie hier: https://www.allgemeine-zeitung.de/lokales/rheinhessen/welches-wetter-erwartet-die-narren-in-rheinhessen-5137607 https://www.allgemeine-zeitung.de/lokales/mainz/stadt-mainz/sorge-um-zukunft-der-mainzer-kunsthalle-5365522 https://www.allgemeine-zeitung.de/lokales/kreis-mainz-bingen/landkreis-mainz-bingen/mainz-binger-gruene-reichen-beschwerde-gegen-landrat-ein-5393074 https://www.allgemeine-zeitung.de/lokales/kreis-alzey-worms/landkreis-alzey-worms/40-prozent-weniger-restmuell-im-landkreis-alzey-worms-5354058 https://www.allgemeine-zeitung.de/lokales/kreis-mainz-bingen/landkreis-mainz-bingen/strassenbauprojekte-an-der-b9-im-mittelrheintal-starten-5378714 Ein Angebot der VRM.

Landschaften, Stillleben, Gesichter, Kinderbilder – Paula Modersohn-Becker hat gemalt, wie sie die Welt sah. In ihrer Zeit war die junge Künstlerin eine Ausnahmegestalt. Stur und willensstark hat sie sich als Frau mit ihrer Leidenschaft für die Kunst und Malerei, auch gegen familiäre Skepsis, durchgesetzt. Ihre Bilder zeigen Menschen und Natur neu, modern, anders, schonungslos und ungeschönt. Bahnbrechend wurde ihr weiblicher Selbstakt von 1906. Bereits 1907, kurz nach der Geburt ihrer Tochter, starb die junge Künstlerin im Alter von 31 Jahren.Wer war diese unangepasste, selbstbewusste Pionierin des deutschen Expressionismus? Das Landesmuseum Hannover beherbergt eine der weltweit größten Sammlungen von Werken Modersohn-Beckers. Aus Anlass des 150. Geburtstages der Künstlerin, am 8. Februar 2026, ist Katja Lembke, Direktorin des Landesmuseums, zu Gast in NDR Kultur à la carte. Sie hat als Archäologin und Ägyptologin auch einen besonderen Blick auf die weniger bekannten Zeichnungen und Skizzen von Paula Modersohn-Becker, die während ihrer Paris-Aufenthalte im Louvre entstanden.

In dieser Folge der Kunstcouch stehen Feminismus, Mental Health, Resilienz und Glück im Mittelpunkt. Anhand ausgewählter Werke aus der Sammlung der Kunsthalle sprechen Podcast-Host Jaqueline Scheiber und Psychologie-Enthusiastin Lara Ermer über psychologische Fragestellungen, persönliche Erfahrungen und gesellschaftliche Themen. Die Folge wurde bei einem Live-Event aufgezeichnet und bildet zugleich den Abschluss des Podcasts. Mit Tiefgang, Humor und persönlichem Blick auf die Kunst endet damit die Kunstcouch.

Für dieses Werk suchte sich die international bedeutende Künstlerin Käthe Kollwitz einen ungewöhnlichen Inspirationsort: ein Leichenschauhaus. Mit nur wenigen Strichen schuf sie ein emotionales Werk, das auch Einblick in ihr persönliches Leben gibt. Welche Erfahrungen die Künstlerin machen musste und was sie mit einer Maultaschenmauer zu tun hat, erzählt Kunstcomedian Jakob Schwerdtfeger in dieser Folge von „Kunstsnack”.

V pražské Kunsthalle se věnuje uměleckému vzdělávání a programům pro veřejnost. Aktuálně galerie zavedla koncept debatování (nejen) o umění pro školáky, kde se děti učí správné argumentaci. „Je to pro ně vystoupení z komfortní zóny, které nakonec reflektují tak, že je posunulo a dodalo jim sebevědomí,“ popisuje ve Vizitce. Jak náš pohled zcitlivět tak, abychom mohli vnímat výtvarné umění? A nakolik debaty o umění kultivují naši schopnost diskutovat? Ptá se Karolína Koubová.Všechny díly podcastu Vizitka můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

Das Universum fasziniert uns seit jeher: Wir lesen etwas in Mondphasen, suchen Antworten in Sternbildern oder vertrauen auf wissenschaftliche Erkenntnisse über Raum und Zeit. Doch welchen Einfluss hat dieser unendliche Raum auf unser Inneres? Die Psychotherapeutin Gloria Grabmayer und Autorin Jaqueline Scheiber sprechen in dieser letzten Folge der Kunstcouch darüber, wie Spiritualität, Wissenschaft und persönlicher Glaube zusammenwirken – und wie Künstler der Kunsthalle Karlsruhe versuchen, dem Unbegreifbaren eine Form zu geben.

Der Künstler dieser Folge schuf mit seinem Werk "Blick auf das Meer bei L'Estaque" einen buntgemischten Perspektiv-Cocktail. Paul Cézanne wirft in seiner Malerei die klassische Perspektive über den Haufen. Wieso der Künstler mehr Entwicklungsstufen als so manches Pokémon durchlief und warum er ein Kind vor seinem Vater geheim hielt, erzählt Kunstcomedian Jakob Schwerdtfeger in dieser Folge von " Kunstsnack".

In dieser Podcastfolge geht es um eine monumentale Teppich-Collage der Künstlerin Nevin Aladağ. Das Werk "Social Fabric, Arch" besteht aus zahlreichen Teppichfragmenten unterschiedlicher Herkunft. Was das Werk über kulturelle Vielfalt erzählt und warum Teppiche richtig politisch sein können, verrät Kunstcomedian Jakob Schwerdtfeger in dieser Folge von "Kunstsnack".

Hempel, Berit www.deutschlandfunkkultur.de, Fazit

Die Kunsthalle München zeigt Werke von Miguel Chevalier / "Rene's Collapse Collection" - Kunstaktion kritisiert René Benko und seine Immobiliengeschäfte / Gaming-Kultur: Super Mario Bros. feiert 40. Geburtstag

Fiona Borowski ist Ausstellungsmacherin in Ausbildung. Wie ihr Alltag in der Kunsthalle aussieht und wo sie kreativ wird - das und aktuelles aus der Redaktion in dieser Episode.

Fuhmann, Larissa-Diana www.deutschlandfunkkultur.de, Fazit

Sie bearbeitet Porzellangeschirr, Tapetenrollen, Wolle und ausrangierte Schienen von Modelleisenbahnen. Helena Hafemann ist in ständigem Dialog mit alltäglichen Gegenständen, bringt sie in andere Kontexte und definiert sie dadurch völlig neu. Schon als Studierende sammelte sie Erfahrungen als Künstlerin und Kuratorin. Die Mainzer Kunsthalle zeigt sie zusammen mit 12 anderen Absolventinnen der Mainzer Kunsthochschule.

Mehtap Baydu hat traditionelle Sprechgesänge kurdischer Frauen aus der Ost-Türkei in einer Installation verarbeitet. Neben ihren Werken sind auch Arbeiten von Egemen Demirci, der sich mit Sprache und Räumen beschäftigt. Beide wurden in der Türkei geboren, leben und arbeiten aber in Berlin.

(00:42) Die Kunsthalle in Bern wurde umgebaut. Nun eröffnet sie gleich mit drei Künstlerinnen und Künstlern: Melvin Edwards, Tuli Mekodjo und Tschabalala Self. Weitere Themen: (04:52) «Ode an gewaltbereite Jugend» folgt auf «Dämonen»: Theater Basel schickt Schauspielerinnen und Schauspieler wieder durch die Stadt. (09:40) Aufarbeitung von sexueller Gewalt: Bistum Basel wehrt sich gegen Vorwürfe. (13:46) Musikunterricht für alle Kinder und Jugendlichen: Projekt «m4all» im Wallis ermöglicht ähnliche Chancen bei musikalischer Bildung. (18:08) Musikalisches Multitalent Sly Stone mit 82 Jahren verstorben: Was hinterlässt er?

Von Kapseltürmen bis Tiny Houses: Die Architekturzeichnungen in der Tübinger Kunsthalle zeigen eindrucksvoll, wie man sich früher das Wohnen für heute vorgestellt hat.

Ob als Bergsteiger oder Magier: John Wood und Paul Harrison setzen sich mit den Regelwerken des Alltags auseinander. Das Duo hält der Gesellschaft dabei humorvoll den Spiegel vor.

In this episode of the Weinberg in the World podcast, Aimee Resnick '26 interviews Priscilla Vail-Caldwell '85, founder of Vail-Caldwell Projects. Priscilla shares her undergraduate experiences at Northwestern, including impactful classes and internships that shaped her career in the arts. She discusses her current role as an advisor and curator, helping clients build art collections with a focus on research and quality. Aimee: Welcome to the Weinberg in the World Podcast, where we bring you stories of interdisciplinary thinking in today's complex world. My name is Aimee Resnick and I am your student host of the special podcast episode. I'm a senior studying social policy at Northwestern University who plans to pursue public administration in my home state of Colorado. Today, I'm very excited to be speaking with Priscilla Vail-Caldwell, who is the founder of the consulting firm, Vail-Caldwell Projects. Thank you, Priscilla for taking the time to speak with me today. Priscilla: Thank you, Aimee, for having me. Aimee: Of course. To start us off today, we were wondering if you can just tell us a little bit more about your time at Northwestern as an undergraduate in terms of what did you study and what were the impactful experiences you had at Northwestern that led you to your current career? Priscilla: I think one thing to note is that I came to Northwestern following a year of study abroad in France. As a senior, I studied in France, and then I came to Northwestern with an idea that I wanted to be at a big university near a city. Logistics had something to do with actually my choice of university, and I think it had to do with the fact that I had this experience that had really kind of opened my mind up about the world, essentially. There was that, and for some reason I declared an art history major very early on in my time at Northwestern. I think as a freshman, I had already decided that that was what I was going to do. You had asked what was one of the transformative experiences that I had at school, and I was thinking that ironically, in a way, I think it may have been a studio art class that I took because it was very rigorous and I enjoyed it, and I had a lot of respect for the other students in the class who I thought were gifted than I was. And I then realized that that wasn't really what I should be doing, but I still wanted to be involved in the arts, and I wanted to be involved in art history and working with objects. I always enjoyed those big introductory courses, sort of identifying paintings, and it seemed like a game to me, really. And I enjoyed that. And then frankly, learning about history through the lens of art. That was always something that kind of compelled me. I think another thing that I did while I was on campus, and I do think this is something that big universities offer, especially ones like Northwestern that are near a city like Chicago, are the opportunities to work in different situations outside of the university campus. I always worked, while I was at Northwestern, I waitressed, I did all sorts of things in order to earn extra money, and I found a job at a gallery downtown in Chicago called Frumkin & Struve. It's no longer in existence, but at the time, it was one of the big galleries downtown. And I worked there every Saturday. And then I had time in my schedule during the week, and I would work there usually one day during the week as well. And Bill and Debbie Struve were the principals of the gallery, and they gave me a lot... I mean, for a college student, they gave me a lot of responsibility, and they really brought me into the fold in a sense. So, I was included in all sorts of things, and the dinners for the artists, and I got to meet a lot of the artists that they were working with. And it was exciting and engaging, and I thought that that seemed like the kind of life I wanted to lead. I enjoyed the interaction with the artists primarily. Aimee: Oh, I totally empathize with your studio art experience, I'm taking painting right now, and there are some incredible painters in that class. But I also wanted to just say, I think that your experience having a really meaningful internship in Chicago is a good reminder to students to look outside the Northwestern bubble for opportunities as they're going through school. And I was wondering if you could tell us a little bit more about what you do at Vail-Caldwell Projects now that you're in New York. Priscilla: Well, I'm an advisor and a curator, and I've had my own advisory business now for the last... I think it's been about eight years. I've always been in the professional... I've always been in the commercial art world, but in this iteration, I advise private people who are building collections on acquiring works of art for the collection. We're building things oftentimes from the ground up. Oftentimes, I will start working on a project with somebody and there will be nothing essentially, and we will work on that together and build something that is meaningful and very specific in every single case with every client that I work with. All my projects are very, very different. There are clients that I work with who buy only the work of one artist. There are clients that I work with who focus very specifically on certain kinds of movements in, for instance, the California Light and Space Movement. There are people who are interested in collecting works by female artists. It all ends up having very different kinds of focuses. Each one of the projects allows me to apply my research skills and learn a lot alongside whoever it is that I'm advising, oftentimes about different aspects of the art world. I see what I do, as always, very research-based and obviously sort of a search for quality and also to include different voices in any kind of project that I work on. I also have a very strong background in modern American painting. I have this kind of hybrid experience where I oftentimes advise people on the purchase of work by contemporary and emerging artists, but I have a strong background in historic American painting. Many of my curatorial projects have been focused on the works of some of the seminal painters of the 20th century. I've done a series of exhibitions at Paul Kasmin Gallery on the work of Stuart Davis. I worked with Kasmin on a number of projects. Another one was a exhibition of sculptures by Elie Nadelman, who is artist who came to the United States from Europe and is considered part of the canon of modern American painting or sculpture, really. He's not a painter, he is a sculptor. I've also done projects with smaller galleries where I've curated relevant shows of young, relatively unknown artists. And that's always fun. I enjoy doing that. That's really a wonderful way for me to dive in and learn about what's going on out there amongst a group of recent graduates. So that's always exciting and I enjoy that kind of work very, very much. And currently, I think one of the things that I've just started working on is a collaboration with a gallery in London called Pi Artworks and an artist who they represent, whose name is Jyll Bradley. So I also advise the estate of Stuart Davis. Aimee: Yes, it does. And I have a related question, which is that you mentioned having worked with a lot of different genres and periods and different artists in this realm of art history. And while you were going through your education in your early career, was there a certain artist or movement that was particularly influential or touching to you? Priscilla: I'm going to answer that question by giving you a little bit more of my background. I left Northwestern, I moved to New York, and I took a job at a small gallery. And that year of working there were like three people on staff. That was an experience that taught me that I wanted to go back to school and learn to become more expert on something. I wasn't sure exactly what that was going to be, but I needed more skills actually in order to have the sort of job in the art world that I envisioned. I was accepted at Williams, which a small... Everybody's always confused because it's a college, but it has two graduate programs, and one of them is an art history program that's associated with the Clark Art Institute. I was one of 12 students in that following year, entering in to a two-year program. I had the good fortune of... Linda Nochlin was the visiting professor at the time who, if you're not familiar with Linda Nochlin, she was, she died a few years ago, one of the great feminist revisionist art historians of her time. And so studying with Linda, I began to look into the histories of certain artists like Eva Hesse and Jackie Winsor. Eva Hesse, of course, has been dead for many, many years. Jackie Winsor just died recently. At that moment in time, and I'm still very moved by the work and very interested in it, but I was very much focused on the work of minimalist and post-minimalist female sculptors to be extremely specific. That experience studying with Linda and looking into the histories of these women and the difficulties that they faced in a world that discriminates against women was eye-opening for me. And it's informed everything that I've probably done since. Aimee: Well, that's very interesting. And I think it's fascinating how some of these formative pieces of art really brought your eye into the future and your current work. And I know at the Block Museum on campus, we've had several exhibits that kind of follow in line with the types of art that you've just described in terms of the revisionist view of art history, the modernism with their Arabic art exhibit not too long ago. And I'm going to transition us to that because you're currently a member of the Block Museum Advisory Committee, and I just want to hear more about the work that you do there and then how you use that as a way to bring volunteerism and philanthropy into your professional career. Priscilla: I have always felt that volunteering my time to certain organizations in the art world is as important as the work that I do professionally. The idea of giving back, which I think frankly is something that either is kind of... For me, it's something that was ingrained in me as a young person. I try to only align myself with organizations whose missions I agree with. And that kind of mission usually includes a sort of mentorship for young artists so that there's a teaching element, which I think is really important. And also this sense of inclusion and diversity in institutions at every level. It's not just the artists that you're showing, but also in integration into the organization itself so that it represents the world in a sense. I mean, that's kind of big, but I think you get the gist of what I'm saying. I sit on the advisory board, and I mean, I think that I help in a number of different ways, but I have a feeling that my experience in the commercial art world and my interaction with lots of different artists and different galleries helps the director and the curatorial department in different ways. I can shed some insight sometimes that is useful. And of course, there are other people on the advisory board, not just me, who have similar experiences. My colleague Steve Henry, who is a classmate of mine, is one of the directors, one of the partners, not directors at Paula Cooper Gallery here in New York, so he sits on the advisory board with me as well. I think Lisa has been very wise in the way that she's chosen the members of her board, where we all contribute important things in different ways. Aimee: Absolutely. And I'm curious, outside of the Block, what other organizations do you volunteer your time to? Priscilla: Right now, the Block is my focus, but I was for a long time on the board of an organization here in New York. It's actually on Long Island City called Sculpture Center, which is a Kunsthalle and a place that essentially acts as an exhibition space oftentimes for artists who live outside the United States to have their first museum exhibition here in the US. It's a place of discovery, I think for a lot of people. It's a place that is very research-based, and they have a very knowledgeable curatorial staff that is very involved in the international art world. They do that. And then they also do a very, what I think is a really important annual exhibition that is an open call to artists that is directed at younger emerging artists, again, who haven't exhibited in an institutional space. And there are funds provided and mentorship provided. And it's a kind of learning lab for a group of artists who then create a group show. There's also a curator who's hired from outside who comes up with a theme for the show, and then they work together to put on these annual exhibitions. And they're amazing shows, and they do great work, and it's a very rich environment. Aimee: Next time I'm in New York, I'd love to come see the gallery. That is so interesting. Priscilla: It's a beautiful space. It's a beautiful, beautiful space in Long Island City. I would be happy to take you there, so let's do that. Aimee: Thank you. Priscilla: Yeah. Aimee: I think we're going to pivot a little bit from your specific career more to the field of art history on the whole, and a big part of being in art history is curating relationships with your clients, which you mentioned previously. What is your advice for students who are looking to foster quick relationships with other people, be it interviewers, co-workers, anyone in the professional world that they need to have a really strong bond with? Priscilla: Well, I will say that when... I did a lot of research on people before I meet them, so that at least I understand what it is that they do, what some of their interests might be. I feel like... I mean, in any case, in any field, if you're going into an interview, if you're meeting somebody for the first time, if it's an important engagement of any sort, it's really good to know who it is, who you're talking to. I think first of all, I would say do your research and figure out, find some interesting things to talk about that will interest the person who you are meeting with. And also will give them a sense that you actually know who they are. I think that's always... That's just flattering for one thing, and it also makes you look like you've paid attention. I used to take every opportunity to go out and do things, and I mean, I go to a lot of openings. I get myself into situations where I will meet people. I think that it can be uncomfortable. You might not know anybody where you're going. You could feel sort of nervous and shy, but I think you have to push yourself to be in situations where you might not feel comfortable, but something will come out of it almost inevitably, and you'll walk away knowing somebody who you didn't know before, and you never know where that's going to lead you. I'm a big believer in that, and I sort of feel like I have two personas. I have the person who doesn't like to do those sorts of things, and then I have the person who has to get up in the morning and go to work and for whom it's a requirement. I think those are two bits of advice that I would have. I mean, for students at Northwestern, of course, if they're looking to create networks for themselves, I mean, they have one, right? I mean, you all have an amazing network through the university, and you have professors who want to support and help you. Again, even though I think sometimes it's difficult to push yourself to go in and talk to your professors, they are there for that reason and they want to support the student body and see them be successful and help you to find things outside of the university that will engage you and also perhaps end up being a path towards a career. I don't know if all of that necessarily answers your question, but you've got... I think sometimes you wake up in the morning and you think that you don't have the tools at your fingertips, but you do and you just have to press the button. Aimee: That's good advice. I think a lot of times students at Northwestern are too timid to take advantage of many of those resources. That's really good advice. I have a little bit of background for this last question, which is that I, myself, was an artist history major for two years, dropping the major because I realized I was never going to get a job in art history because I don't necessarily have a family background or the connections to leverage to get a job in art history. And I was just curious, understanding that art history enrollment is rapidly declining. The cover story of the Nation magazine in early April was about how art history enrollment is declining. What advice would you offer to people who might not traditionally undertake a career in art history who are interested in becoming art historians or people in the art world? Priscilla: I think that oftentimes when people approach the idea of being an art historian or being in the art world, that they don't think broadly enough about all of the different things that happen in the art world. Of course, the glamorous jobs are to be a curator at a museum and to be a director or a principal at a gallery. And frankly, not everybody... I mean, as far as gallery work is concerned, really... I mean, there's curation going on, but it's sales primarily. So that might not be for everybody for one thing. Sales is not exactly the job that everybody wants to have. But what I've been thinking about a lot recently, and certainly a lot of the people in the art world who I rely very, very heavily on and whose expertise is impressive are there are registrarial departments at galleries and museums. Those are people who work with the objects and who have to deal with whether it's insurance or packing or moving objects from one country to another. And all of these things, while it may sound less glamorous, are still very interesting and complicated. And so those are jobs, I think that certainly registrarial departments, we depend on them. They're extremely important. And they have their own networks as well, by the way. There's also art restoration and working directly with objects, which is an interesting kind of combination of the scientific and the art historical. Especially for people who are interested in the sciences, there's an application for that in the art world. And there's a lot of ways of... There's all sorts of things that happen like carbon dating and various different X-ray techniques and all sorts of things that help to say define an object isn't really what I mean. But you have to understand organic chemistry in order to be a painting conservator. I think that we should think maybe differently about the art world a little bit than we do sometimes. And art history will inform all of those things. I mean, all of those people who are working in those different departments need to understand art history. They probably wouldn't even be doing that work unless they did. But you can come at it from a different angle. And I think that that's something that should probably be more emphasized. We need more art conservators out there. We really do. And there are a lot of objects to work on. Aimee: Definitely. Definitely. And I have one more follow-up question on that, which is my worst job I ever worked was at the American Museum of Western Art. I love the museum. I think it's a beautiful museum. I love pictures of cowboys, my favorite genre, but at the same time, it was just scanning documents all day as an unpaid internship. And I think that finances are often a really big barrier to entry for people in art history, given the precedence of unpaid internships, years long fellowships where you're not compensated. I'm just going to narrow in on my question, which is what advice would you give to people from non-traditional backgrounds who want to pursue a job in art history at all? Priscilla: Well, a lot of graduate programs now are fully funded, so that might be something to explore a little bit. I know that for instance, Williams, there are a lot of... I don't know that every single one of them, but many of those students are fully funded and also receive help with living expenses, health insurance, all of their expenses are accounted for. That isn't exactly what you're asking me. But I do think that it's good to... If art history is something that you're serious about, and frankly, if something you're serious about an advanced degree is something to consider, there are programs that will essentially fully fund you to study. So that's one potential way. The art world's a little hard actually in terms of entry-level jobs, and people aren't really paid a living wage. And I would like to know a way around that, too. It's a funny thing. It does prevent a lot of people who are gifted and able and should have access to the field, it probably prevents them from entering the field and that's our loss really. Aimee: I totally agree. And hopefully, we'll see some change in that arena during our lifetimes. Priscilla: I hope so. Yeah. I wish I had a better answer to your question, but also I think that when people go in for interviews, sometimes you are hesitant to be realistic about what you need. And I do think that there's no harm in being forthright about that. That's just a practicality, and you should expect it. Aimee: Yes, self-advocacy is very important. And I think that leads us to our very last question. This is our closeout question we ask every interviewee, which is what advice would you give to a senior in college who is about to graduate? From any field, from any major, what advice do you have for young people in this transitional moment? Priscilla: Well, try not to be discouraged. The world is in upheaval right now, but it won't remain that way. Or I think that we hope that it won't, and we've got to believe that it won't. And that it's funny. This is a kind of big question right now, Aimee. Also, don't close yourself off to opportunities that may not fit exactly into the vision of what you have for yourself. I mean, we do meander sometimes, and I think that it's actually important to because you learn a lot about yourself when you sort of take a fork in the road that you didn't expect that you might. I guess proceed without fear if it's possible, and have confidence in yourself. I mean, anybody who's graduating from Northwestern has done an amazing... They're capable. You're able. You can go out there and get it done. So yeah, I guess we all just remain... I know it sounds sort of like trite, but be positive. Aimee: Absolutely. That's all we can do. All we can do is control our own- Priscilla: Yeah. And fight and stand up for the things that you believe in. Give me the opportunity. Say it, say it out loud. Say what you mean. Don't be scared that somebody might disagree with you. Aimee: Absolutely. It's tough to keep that in mind with the current challenges the university is facing, but that is very good advice. I just want to say in general, thank you so much for your great advice and for chatting with us today. I think this podcast will be so helpful to many students who are interested in either going into art history or just looking at the state of the world right now. So thank you for being with us. Priscilla: Aimee, thank you. You're a very impressive young woman, I appreciate the invitation and it was fun talking to you. Aimee: Thank you. So to all of our listeners, thank you for listening to this special episode of the Weinberg in the World Podcast. We hope you have a great day and go Cats.

Für die Kunsthalle Baden-Baden beginnt eine neue Ära: der Vertrag der bisherigen Direktorin Çağla Ilk ist ausgelaufen und zumindest für die nächsten fünf Jahre wird der Posten nicht neu besetzt. Stattdessen übernimmt der Direktor des Badischen Landesmuseums in Karlsruhe, Eckart Köhne, zusätzlich auch die Verantwortung für die Kunsthalle Baden-Baden. Doch nicht nur das: das Ausstellungshaus für zeitgenössische Kunst in Baden-Baden wird außerdem Interimsspielstätte für die kulturhistorische Sammlung des Badischen Landesmuseums. Da der bisherige Sitz des Museums, das Schloss in Karlsruhe, für mehrere Jahre wegen Renovierung geschlossen werden muss. Wie sich die beiden Museen, die völlig unterschiedliche Profile haben, künftig ein Haus teilen sollen und welches Programm gezeigt werden wird, soll im Herbst 2025 bekannt gegeben. Die ungewöhnliche Entscheidung des Kunstministeriums Baden-Württemberg ist in der Kunstszene bundesweit auf Unverständnis und Kritik gestoßen.

Wheeler, Claudia www.deutschlandfunkkultur.de, Fazit

Probst, Carsten www.deutschlandfunk.de, Kultur heute

Schneider, Anette www.deutschlandfunkkultur.de, Fazit

Bei Herbert Oehm trifft Zufall auf geometrische Strenge. Der ehemalige Schüler der berühmten Hochschule für Gestaltung in Ulm liebt das Spiel mit Gegensätzen. Die Kunsthalle Weishaupt zeigt einen Querschnitt durch Herbert Oehms Werk, dessen ungeheure Schaffenskraft bis heute anhält.