Podcasts about lacma

MHD and Co-Host Chavonne Taylor speak with Naima Keith, Vice President of Education and Public Programs at LACMA, about the important role of Black Art in LA History.Naima J. Keith is the Vice President of Education and Public Programs at LACMA. Within her role, she oversees all aspects of and sets the vision for LACMA's innovative and exhibition-driven educational programming that serves more than 650,000 community members annually.Prior to her position at LACMA, Keith was the Deputy Director and Chief Curator at the California African American Museum where she guided the curatorial and education departments as well as marketing and communications.Resourceswww.naimajkeith.comEpisode Spotify Playlist

Dennis is joined via Zoom by playwright Tom Jacobson whose latest play Tasty Little Rabbit is currently showing at the Moving Arts Theatre in Los Angeles. The play tells the true story of a 1936 Fascist Italian investigation of pornography charges in Taormina, Sicily. This artistic prosecution uncovers a much darker secret of a 1890s love triangle between photographer Wilhelm Von Gloeden, an a 18 year-old Sicilian boy and a mysterious Irish poet. Tom talks about how he first learned of the true story, visiting Sicily as part of his research, the riveting "Kissing Contest" scene at the play's center and why the story is so relevant to today. He also talks about how he's been able to be so productive as a playwright while working a day job as a fundraiser for organizations like the Natural History Museum, LACMA and the Los Angeles Zoo. Other topics include: falling in love with theater as a kid in Oklahoma, using a New York-based alias to get his breakthrough play Cyberqueer produced in Los Angeles, writing plays to upset his mother, being told he's "too old to write for TV" at the age of 33, meeting his husband of 30 years on a blind date and why he loves being a part of the LA theater community.

Joshua Green discusses his involvement with the Curator's Circle at LACMA, which provides opportunities to visit artist studios and attend special curator-led tours of exhibits. He mentions having lunch with the head of the photography department at LACMA who expressed interest in meeting Paris Chong. The Curator's Circle events offer insights into artists' processes and curators' decision-making when organizing exhibitions, providing a deeper understanding of art. Green mentions visiting Tristan Duke's studio and a curator trip to the Cheech Museum in Riverside, highlighting the value of gaining extra knowledge beyond simply viewing art on the wall. He's been involved with the Curator's Circle for about two years and enjoys learning about art through these experiences.Show Clip from The Paris Chong Show with Joshua Greenhttps://youtu.be/TWzl7Ya_hfshttps://www.theparischongshow.com

Paris sits down with the multi-talented Joshua Green, a man wearing many hats from real estate to photography and environmental activism. Joshua shares insights into his fascinating background, including his mother, Dorothy Green, the founder of Heal the Bay. They delve into critical issues facing California, particularly the water crisis, discussing mismanagement, outdated water rights, and the controversial Delta Conveyance Project. Joshua's organization, C-WIN.org, is actively working to address these problems through litigation and advocating for fair water distribution.Beyond environmental concerns, Joshua opens up about his spiritual journey as a Buddhist and his studies with Namkhai Nyingpo Rinpoche. He reflects on the concept of impermanence and how it shapes his perspective on material possessions and life's challenges, even during the recent fires. Joshua's calm demeanor and spiritual grounding offer a unique viewpoint on navigating difficult times. He also shares his passion for photography, revealing his history with darkroom development and his current digital work with a Leica M11P.Join Paris and Joshua for a thought-provoking conversation that covers a wide range of topics, from environmental activism to spirituality and the arts. Discover the hidden complexities of California's water issues, gain insight into Buddhist philosophy, and learn about Joshua's artistic pursuits. Plus, get a sneak peek into Joshua's involvement with LACMA's Curator's Circle and a potential future fundraiser for fire relief. Don't miss this engaging episode of the Paris Chong Show!Show Notes:www.theparischongshow.com/episodes/joshua-green-california-water-activist-buddhist-practitioner-photographer-and-art-enthusiastChapters:(00:00:00) Intro(00:00:25) Joshua Green(00:00:35) Joshua Green(00:01:50) Very Famous Mother(00:05:48) CA's Water Problem(00:12:41) LA Wildfires Talk(00:16:49) Guru(00:20:11) Photography(00:23:34) Organizing Together(00:26:33) His Eminence(00:29:18) Water Conservation(00:32:58) Curator's Circle LACMA(00:37:27) Outro

How can digital art cement its place in contemporary culture? Can NFTs and blockchain technology continue to bridge the gap between artists and major institutions? As dialogue around digital art continues to evolve, questions of legitimacy, value, and long-term impact remain central to the conversation. In this episode of Object Subject Form, we examine how digital art is gaining recognition in major institutions and how emerging technologies are reshaping the art world. Currently the GM of CryptoPunks, Natalie Stone leads the iconic collection that ignited a contemporary digital art movement, with pieces in the permanent collections of institutions such as the Centre Pompidou, LACMA, and ICA Miami. She played a key role in CryptoPunks: Free to Claim, a Phaidon-published project with Zak Group that chronicles the rise of CryptoPunks and their cultural significance. Formerly at Google, she led Google I/O, crafted VR/AR experiences with artists like Childish Gambino and LCD Soundsystem, and developed an experimental new media program for artists working in AI.   With a deep understanding of both traditional and digital art ecosystems, Natalie offers a unique perspective on the evolving dynamics of curation, collection, and creative innovation. In this conversation, we discuss the challenges and opportunities facing digital artists today, the role of traditional art institutions in Web3, and how blockchain technology is redefining provenance, ownership, and artistic value. Launched by Larva Labs in 2017, CryptoPunks consists of 10,000 unique pixel-art characters that became a symbol of digital ownership and the CryptoArt movement. Stored on the Ethereum blockchain, CryptoPunks are more than just collectibles—they've played a pivotal role in shaping conversations around provenance, value, and the integration of blockchain technology in the art world. — Connect with Natalie on X: https://x.com/naughtaliestone — Natalie's website: https://nataliestone.co/ — Connect with Natalie on LinkedIn: https://www.linkedin.com/in/stonenatalie/ — CryptoPunks: https://cryptopunks.app/ — Learn more about CryptoPunks on the Brand Hub: https://hub.cryptopunks.app/ — Follow CryptoPunks on X: https://x.com/cryptopunksnfts — CryptoPunks Book @ Phaidon: https://www.phaidon.com/store/fashion-and-pop-culture/cryptopunks-free-to-claim-9781838669300/ — Connect with simon: https://zaap.bio/simonclowes  

On this episode I'm joined by Taylor Renee Aldridge. Taylor Renee Aldridge is a writer and curator based in Detroit, Michigan. In 2014, with writer Jessica Lynne, she co-founded ARTS.BLACK, an online journal of art criticism from Black perspectives. In Fall 2024, she assumed the role of Executive Director at the Modern Ancient Brown Foundation. In the episode we discuss her return to her native Detroit, the importance of ancestral practice, why there's a lack of art criticism today, and what she's excited about for the future. Taylor has edited and contributed to numerous exhibition catalogs, including Enunciated Life (CAAM, 2021) and Mario Moore | Enshrined: Presence + Preservation (Charles H. Wright Museum, 2021).  Her writing has appeared in Artforum, The Art Newspaper, Art21, ARTNews, CanadianArt, Contemporary&, Detroit Metro Times and SFMOMA's Open Space. She has organized exhibitions with the California African American Museum (CAAM), Detroit Institute of Arts, and Cranbrook Art Museum, including the critically acclaimed Simone Leigh (2024, CAAM & LACMA). Taylor is the recipient of the 2016 Creative Capital | Andy Warhol Foundation Arts Writers Grant for Short Form Writing and the 2019 Rabkin Foundation Award for Art Journalism. She holds an MLA from Harvard University with a concentration in Museum Studies and a BA from Howard University with a concentration in Art History.

Welcome to a very special episode of Moon to Moon. Our honored guest is Mother Witch Amanda Yates Garcia, also known as The Oracle of Los Angeles. Amanda has long been someone I deeply admire as a leader of integrity, honesty, wisdom, and inspiration. Amanda is incredibly smart, wildly magnetic, and wholly grounded in her devotion.  What happened here was a gift. And it's an honor to share this conversation with you today. May it be a lantern to light your heart and to lift your spirit.   Thank you, Amanda.  Amanda Yates Garcia is a writer, witch, and the Oracle of Los Angeles. Her work has been featured in The New York Times, The LA Times, The SF Chronicle, The London Times, CNN, BRAVO, as well as a viral appearance on FOX. She has led rituals, classes and workshops on magic and witchcraft at UCLA, UC Irvine, MOCA, The Hammer Museum, LACMA, The Getty and many other venues. Amanda hosts monthly moon rituals online, and the popular Between the Worlds podcast, which looks at the Western Mystery traditions through a mythopoetic lens. Her book, Initiated: Memoir of a Witch, received a starred review from Kirkus and Publisher's Weekly and has been translated into six languages. To find out more about her work become a member of her Mystery Cult on Substack.   +++ Learn more about The Magician's Table 2025 and find out who the 13th readers are here.  Applications open Feb 14 for Early Bird weekend (Feb 14-16).  To apply that weekend, you must be on the waitlist. Join the waitlist here. +++ E M E R G E N C E  A S T R O L O G Y ⁠⁠https://brittenlarue.com/ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram: ⁠⁠⁠⁠⁠@brittenlarue ⁠⁠⁠⁠⁠⁠Order Living Astrology⁠⁠⁠⁠⁠⁠ Join my newsletter here Check out my new podcast CRYSTAL BALLERS on Spotify, Podbean, and Apple. +++ Podcast art: Angela George. Podcast music: Jonathan Koe.

Two exhibitions have just opened that look at art and tech: in London, Tate Modern's Electric Dreams: Art and Technology Before the Internet celebrates the pioneers of kinetic, programmed and digital art, and offers a kind of origin story of contemporary immersive installation. Ben Luke speaks to Val Ravaglia, the co-curator of the show, amid the blinking lights and bleeping sound. In California, meanwhile, Digital Witness at the Los Angeles County Museum of Art (Lacma) looks at how new software and hardware shaped the worlds of design, photography, and film between the 1980s and now. We speak to the exhibition's curators, Britt Salvesen, the department head and curator of prints and drawings at Lacma, and Staci Steinberger, the curator of decorative arts and design at the museum. And this episode's Work of the Week is the Harmonia Macrocosmica (1661) by Andreas Cellarius, a celestial atlas made in the Netherlands. Rebecca Feakes, the librarian at the Blickling Estate, a 17-century mansion in Norfolk, UK, run by the National Trust, tells our associate digital editor, Alexander Morrison, about the book.Electric Dreams: Art and Technology Before the Internet, Tate Modern, London, until 1 June 2025.Digital Witness: Revolutions in Design, Photography, and Film, Los Angeles County Museum of Art, until 13 July.The Harmonia Macrocosmica is the centrepiece of Journey Through the Stars, Blickling Estate, UK, until 5 January. Hosted on Acast. See acast.com/privacy for more information.

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Lauren is joined by the Wall Street Journal's Rory Satran to discuss Kamala Harris's fashion through the ages—including the bootcut jeans and the Chloé suits—as well as the dream of Marc Jacobs at Chanel, and why both Lauren and Rory are spending a disproportionate amount of their journalist salaries on AlaÏa. They also recap two galas that happened over the past week: WSJ.'s Innovators shindig at MoMA and LACMA's Art + Film Gala, sponsored by Gucci. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

UCLA Arts alumnus, artist, and filmmaker Zach Blas joins the podcast to discuss his upbringing in Point Pleasant, West Virginia; his initial interests in film and what ultimately inspired his passion for art and technology; his life-saving experience as a Tori Amos groupie; and his current work and contribution to the exhibition Digital Witness: Revolutions in Design, Photography, and Film at LACMA, party of Getty's region-wide initiative PST ART: Art & Science Collide.

Discover how self-taught designer Elaine Lustig Cohen became a defining force in modernist graphic design and fine art, with insights from design author and historian, Steven Heller, on her legacy and the importance of re-writing design history to include more women._______Support this podcast with a small donation: Buy Me A CoffeeThis show is powered by Nice PeopleJoin this podcast and the Patreon community: patreon.com/womendesignersyoushouldknowHave a 1:1 mentor call with Amber Asay: intro.co/amberasay Sources:elainelustigcohen.comThe Daily Heller: Elaine Lustig Cohen's New Website by Steven HellerThe New York Times Article by Anita Gates About ElaineElaine Lustig Cohen (1927–2016) was a pioneering modernist designer and artist, known for her bold, abstract book covers and museum catalogs that helped shape mid-century American graphic design.After the sudden passing of her husband, renowned designer Alvin Lustig, Elaine—without any formal training—took over his studio in the 1950s, working with high-profile clients like Philip Johnson, Richard Meier, General Motors, and the Jewish Museum.What set her design style apart was her ability to merge avant-garde European influences, like Constructivism and Bauhaus principles, with the clean, functionalist aesthetics of American modernism. She brought typography to the forefront, often treating it as a visual and emotional narrative element, while incorporating geometric abstraction to create a sense of movement and rhythm. Her work is now part of the permanent collections at MoMA, LACMA, and Cooper Hewitt. About StevenSteven Heller is one of the most prolific design historians and writers in the field, having authored, co-authored, or edited over 200 books on design, illustration, and popular culture. He is best known for his long-running column, The Daily Heller, published by Print magazine, which offers daily insights on visual culture, design history, and current events. In addition to his writing, Heller is the co-chair of the School of Visual Arts MFA Design/Designer as Author + Entrepreneur program, where he continues to shape future generations of designers.Throughout his career, Heller has been a steadfast advocate for women in design. His work has consistently featured and celebrated the contributions of women who have been overlooked in design history. He has worked to bring attention to underrepresented figures in the industry, often calling for a rewriting of design history to include more women. As early as the 1990s, Heller began amplifying the work of female designers, championing their influence on design movements across modernism, typography, and visual communication. He has been vocal about the importance of gender equality in the design industry and has pushed for more inclusive recognition of the women whose innovations have shaped the field.In 2011, Heller was awarded the AIGA Medal for his outstanding contributions to design journalism, education, and history. His ongoing commitment to uncovering the stories of women in design has made him not only a key figure in documenting design history but also an advocate for equity in the industry. Through his work, he has inspired a more inclusive and accurate portrayal of the design world, one that reflects the achievements of all its contributors. ____View all the visually rich 1-min reels of each woman on IG below:Instagram: Amber AsayInstagram: Women Designers Pod

Architect and theorist Jimenez Lai was born in Taiwan, grew up in Canada, and lives in Los Angeles. He holds the Robert Gwathmey chair at Cooper Union, and is the director of architecture agency Bureau Spectacular. Before establishing Bureau Spectacular, Lai lived in a desert shelter at Taliesin and resided in a shipping container at Atelier Van Lieshout on the piers of Rotterdam. Lai's first book, Citizens of No Place: An Architectural Graphic Novel, was published by Princeton Architectural Press with a grant from the Graham Foundation. Lai has won various awards, including the Architectural League Prize for Young Architects, the Debut Award at the Lisbon Triennale, and the Designer of the Future at Art Basel. Lai represented Taiwan at the 14th Venice Architecture Biennale. Lai's work is in the permanent collection of MoMA, SFMOMA, Art Institute of Chicago, and LACMA.Jimenez Lai's Instagram (look at his great hair!) https://www.instagram.com/0super/Bureau Spectacular https://bureau-spectacular.net/Wikipedia https://en.wikipedia.org/wiki/Jimenez_Lai This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit theclusterftheory.substack.com

Ep. 214 Kim Dacres is a first-generation American sculptor of Jamaican descent, who lives in Harlem and practices her studio work in the Bronx. She primarily uses rubber from recycled tires to create sculptures celebrating the influential forces in her life such as family, friends, artists and musicians. Dacres was born in the Bronx and has a Bachelor's degree from Williams College in Political Science, Art, and Africana Studies as well as a Masters in Teaching English as a Second Language from Lehman College City University of New York. She spent over a decade in New York City public and charter schools working as a teacher and middle school principal. Now, in her second full time career as an artist, Kim has had solo exhibitions in New York, Los Angeles, and Palm Beach, FL as well group exhibitions internationally and within the U.S., including Surrealism and Us: Caribbean and African Diasporic Artists Since 1940 at the Modern Art Museum of Fort Worth, Texas; Black American Portraits at Spelman College Museum of Fine Art and the Los Angeles County Museum of Art, Sounds of Blackness at The Metropolitan Museum of Manila in the Philippines, Godhead – Idols in Times of Crisis at Lustwarande in the Netherlands, and Bronx Calling Part I at the Bronx Museum as part of the esteemed AIM – Artist in the Marketplace Program. Kim is the recipient of the Artadia New York Award Grant in 2022 and the Bronx Recognizes Its Own (BRIO) Grant in 2023. Her work is in numerous private and public collections including – The Beth DeWoody Collection, the LACMA collection in Los Angeles, The ICA in Miami, the Nasher Museum at Duke University, and the International African American Museum in South Carolina. Portrait: Max Yawney Kim Dacres https://www.kimdacres.com/ Colossal https://www.thisiscolossal.com/2023/07/kim-dacres-tire-busts/ NYTimes https://www.nytimes.com/interactive/2023/06/22/t-magazine/art/kim-dacres-art-exhibit.html Juxtapoz https://www.juxtapoz.com/news/installation/we-insist-upon-ourselves-in-perpetuity-throughout-the-universe-april-bey-and-kim-dacres-in-atlanta/ Hyperallergic https://hyperallergic.com/871489/bronx-museum-sixth-aim-biennial-is-all-about-knowledge-and-agency/ The Hopper Prize https://hopperprize.org/kim-dacres/ Gavlak Gallery https://www.gavlakgallery.com/artists/kim-dacres Welancora Gallery https://www.welancoragallery.com/artists/86-kim-dacres/works/ The Bronx Museum https://bronxmuseum.org/aim-fellow/kim-dacres/ Observer https://observer.com/2023/06/becoming-an-artist-was-a-dream-deferred-for-sculptor-kim-dacres/ Artadia https://artadia.org/artist/kim-dacres/ Office Magazine https://officemagazine.net/skin-hair-muscles-and-bones-kim-dacres Charles Moffett https://charlesmoffett.com/exhibitions/55-kim-dacres-measure-me-in-rotations/ https://charlesmoffett.com/press/65-on-view-bantu-knots-and-braids-sculpted-from/

Amanda Yates Garcia (she/her) is a writer, witch, and the Oracle of Los Angeles. Her work has been featured in The New York Times, The LA Times, The SF Chronicle, The London Times, CNN, BRAVO, as well as a viral appearance on FOX. She has led rituals, classes and workshops on magic and witchcraft at UCLA, UC Irvine, MOCA, The Hammer Museum, LACMA, The Getty and many other venues. Amanda hosts monthly moon rituals online, and the popular Between the Worlds podcast, which looks at the Western Mystery traditions through a mythopoetic lens. Her book, Initiated: Memoir of a Witch, received a starred review from Kirkus and Publisher's Weekly and has been translated into six languages. To find out more about her work become a member of her Mystery Cult on Substack. Episode Highlights Welcome to our third cross-pollination episode, where we share space with other queer podcasters and creators. Amanda is the host of "Between the Worlds" podcast. We are so grateful to have Amanda Yates Garcia share some time with us. Join us for a queerly witchy saunter and exploration of the medicine of enough.  Amanda gets us started and casts a delicious, magic circle, and then we dive in and explore. We get curious about our “enough's” and spend some time both in the light and shadowy aspects, while being between the worlds.  We get cozy naming our “enough's” which takes us into our queer + witchy stories, potently connecting some dots.  We close by sending a care spell out to our collective past and future selves.  Web links Find Amanda online at OracleOfLosAngeles.com You can also connect with her on Instagram @oracleofla Listen to Between the Worlds podcast here Join the private Queer Spirit Community to continue the conversation and connect with other listeners.  Join us for FREE meditation + chanting + breath work circles online.   And follow us on Instagram!  Join our mailing list  to get news and podcast updates sent directly to you.

When the Pharisees and Scribes confront Jesus about his disciples not ritually washing hands before eating, Jesus confronts them with their ability to sacrifice the rules of God with man-made traditions in order to justify themselves. In what ways do we do this today? How are we to overcome this desire? Image: The Field of Derout-Lollichon, by Paul Gauguin, public domain by release from LACMA. Image location: https://collections.lacma.org/node/253530

#303: We're continuing our summer series of places to explore - and this time we're heading to Miracle Mile and following the sweet sounds of jazz down Wilshire and onto the LACMA campus.  As LA's county museum, LACMA is exploring all sorts of ways to make sure the public feels welcome, from free membership for teens, free admission for LA County residents, and free jazz nights in the summers. You might even run into a friend, or see someone like artist Judy Baca working in the galleries. We ducked inside to get the scoop and see some art in the AC. And later, we shout out our other favorite museums around the city.  Read more on Judy Baca and LACMA on LAist here.  Guest: Chelo Montoya, assistant VP of public programs at LACMA

Ep.206 David Huffman (b. 1963, Berkeley, CA) has work in the collections of SFMOMA, San Francisco; LACMA, Los Angeles; Berkeley Art Museum, CA; Studio Museum, Harlem; Minneapolis Institute of Art, MN; Oakland Museum of California; Crocker Art Museum, Sacramento, CA; San José Museum of Art, CA; Palo Alto Art Center, CA; Eileen Norton Collection, Los Angeles; Birmingham Museum of Art, AL; Frederick R. Weisman Art Museum, Minneapolis, MN, Arkansas Art Center; ASU Art Museum, Tempe, AZ; Lodeveans Collection, London; and the Embassy of the United States of America, Dakar, Senegal, among others. Huffman enjoyed a recent solo exhibition at the Museum of the African Diaspora, San Francisco and has been included in recent group exhibitions at the de Young Museum, San Francisco; Everson Museum of Art, NY; Weatherspoon Museum of Art, NC; and The Write Museum, MI. He is the recipient of numerous awards and residencies including the Eureka Fellowship, ARTADIA San Francisco, Palo Alto Public Arts Commission, and the Barclay Simpson Award. He studied at the New York Studio School and received his MFA at California College of the Arts & Crafts, San Francisco. Huffman lives and works in Oakland, CA; he is currently on the board at SFMOMA. Huffman is represented by Jessica Silverman, San Francisco and Casey Kaplan, New York. Photo credit: Francis Baker Artist http://david-huffman.com/ Casey Kaplan https://caseykaplangallery.com/artists/david-huffman/ | https://caseykaplangallery.com/?exhibitions=david-huffman Jessica Silverman https://jessicasilvermangallery.com/online-shows/david-huffman-odyssey/ SFMOMA https://www.sfmoma.org/artist/David_Huffman/ BAMPFA https://bampfa.org/event/artists-curatorial-gallery-talks-david-huffman MOAD SF https://www.moadsf.org/exhibitions/david-huffman-terra-incognita KQED https://www.kqed.org/arts/13911456/at-moad-david-huffmans-terra-incognita-explores-black-trauma-among-the-stars Studio Museum in Harlem https://www.studiomuseum.org/artists/david-huffman PAFA https://www.pafa.org/museum/collection-artist/david-huffman Hyperallergic https://hyperallergic.com/678893/david-huffman-afro-hippie-berkeley-art-center/ Berkeley Side https://www.berkeleyside.org/2021/08/13/david-huffman-berkeley-art-center U.S. Dept of State https://art.state.gov/personnel/david_huffman/ California College of the Arts https://www.cca.edu/newsroom/faculty-spotlight-david-huffman-paintingdrawing-fine-arts/ Open-Editions https://open-editions.com/collections/david-huffman Miles McEnery https://www.milesmcenery.com/exhibitions/david-huffman Templon https://www.templon.com/exhibitions/cosmography/ Artforum https://www.artforum.com/events/david-huffman-3-250228/ ARTnews https://www.artnews.com/art-in-america/aia-reviews/david-huffman-protest-paintings-casey-kaplan-1234707187/ Daily Art Fair https://dailyartfair.com/exhibition/18000/david-huffman-casey-kaplan

Today Hilton takes a field trip to Los Angeles, California to chat with LA based collage, sculpture and ceramics artist, Fay Ray. In this episode, Hilton and Fay go back and forth on the temperature of the art world, why she hates being called a “creative” and why she believes it should always be quantity over quality. Fay is very well known in the commercial Art world, shining bright in numerous group and individual shows across the world. She has work in the LACMA collection and has sold work to numerous collectors and large brands over the years. While she has a street rep,  shifting to institutional support has been a major milestone for her. She has her first solo museum show up now at Museum of Contemporary Art Tucson, titled Fay Ray: Portals. Fay is one of Hilton's beloved friends and an absolute badass! Give the episode a listen and we're sure you'll agree. FayRayStudio.comFayRayClay.comInstagramhttps://moca-tucson.org/exhibition/fay-ray/ (https://moca-tucson.org/exhibition/fay-ray/) https://nazariancurcio.com/artists/41-fay-ray/

This site hosts audio only. To see the video of this special episode, please go to, https://youtu.be/8NdUlrhpjHkMarie is an internationally exhibited painter. Her oil paintings address the tension of urban landscape and the natural world. Inspired by frequent walks through various trails and open spaces in California, her work reveals her observations of the changes and dynamics of nature in the face of the ongoing climate crisis. Engaging notions of abstraction, her work references the surrounding landscape using atmospheric color shifts, fragmented imagery and multiple viewpoints to suggest the ideas of flux, change and instability in the environment. Marie taught painting and color theory at CSULB for 30 years, where she developed an Advanced Studies in Color class.June is a recipient of the COLA Fellowship, the Guggenheim and the California Community Foundation, Fellowship for Visual Artists.  June uses abstract painting to explore how color, repetition, movement, and balance can serve as conduits to spiritual contemplation and interpersonal connection to her African-American roots. Exploring the psychological construct of skin color or tone through pattern and abstract painting has proven to be a revealing gesture and these ideas are explored in her two ongoing series: the Energy Wheel Paintings inspired by her meditation practice and her Flag Paintings, which explore the alignment of multiple identities such as race, nationality, gender, or political leanings.  June's public art works include a Venetian glass mosaic at the Metro Pacific Station in Long Beach Influences: Marie has two main influences: first, the New York abstract school where her formalist abstract artist teachers were students of the pivotal figure in Abstract Expressionism, Hans Hoffman. That experience that has always remained with her. Second, were her teachers Elmer Bishoff and Joan Brown at Berkeley, members of the "second generation" of the Bay Area Figurative Movement. Marie always loved the California painting of Richard Diebenkorn and Wayne Thiebaud and the landscape expanse.June's influences include Varnette Honeywood, Romare Beardon, Jacob Lawrence, Charles White, David Hockney and Alma Thomas. Another influence was the 1976 LACMA show ‘Two Centuries of Black American Art.' These works had a profound, formative impact upon June. Other inspiration/explorations have drawn from cultural and African American historical references, sacred geometry and very recently, the Benin emblem of the river leaf.Find more information at: www.mariethibeault.com  and www.luisdejesus.com/artists/june-edm 

Like many of us, India “fell” into lighting. Except India's interest is in the history of Los Angeles street lighting, from the “moon towers” of the 1880's, to the Golden Age of street lighting in the 40's and 50's to the skyrocketing of street lighting over crime concerns in the 60's. Some of these classic light poles are still in use, but alas, with copper wire theft and some of these cast iron poles being literally ripped out of the ground and taken for scrap metal, we may be losing the beauty of the past. Come on, leave the street lights alone! India Mandelkern was born in Los Angeles, California, received her B.A. from Middlebury College in Middlebury, Vermont, and received her Ph.D. in History from the University of California, Berkeley. After all this school, she made her way back to Los Angeles, where she has worked as a curator, consultant, and critic, writing on art, culture, design, and cities for a variety of publications, both local and national. From 2016-2018 she served as a fellow at the Los Angeles County Museum of Art (LACMA), where she got interested in public art and worked as the speechwriter for the CEO. During her tenure there, she created a 'field guide' to the 16 different 1920s and 1930s streetlight designs included in Chris Burden's famous streetlight sculpture located at LACMA's south entrance, Urban Light. The guide became an overnight hit at the museum, which led her down a rabbit hole, so to speak, and resulted in her latest book, Electric Moons: A Social History of Street Lighting in Los Angeles, published in late 2023 by Hat & Beard Press. In the book, she uses the streetlight as a "flashlight" to reexamine the history of LA, looking at how lighting shaped conversations about civic identity, transportation, policing, and the definition of public space, to name a few. She currently works at the Los Angeles County Metropolitan Transportation Authority (LACMTA) –– a fortuitously "streetlight-adjacent" gig –– where she oversees the agency's blog and writes about Metro construction projects and policies. 

Ed Ruscha has made art for almost 65 years. His work is in collections all over the world. His medium is eclectic – he's a painter, a photographer, an installation designer, a printmaker, and one of Los Angeles' most iconic artists. LACMA, just put on a retrospective of Ruscha's work. NOW THEN covers a career that's spanned over five decades. We get into the exhibit. We also get into some of his most famous works, including Chocolate Room – which is exactly what it sounds like.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

LACMA has signed on as a partner in the development of Las Vegas' only standalone art museum. Pieces from LACMA will be on rotating loan in Vegas once the museum is complete.  Protests over the war in Gaza have engulfed college campuses across the country. Faith leaders offer guidance in these contentious times. Tesla sales are slumping. Its trucks have been recalled to fix a safety issue. And Elon Musk seems to be alienating potential buyers with his remarks on social media.  In PBS' “Art Happens Here,” actor John Lithgow goes back to high school to explore the power of arts education — dance, ceramics, silk-screen printing, and vocal jazz ensemble. 

Today's guest, Amanda Yates Garcia is a writer, witch, and the Oracle of Los Angeles. Her work has been featured in The New York Times, The LA Times, The SF Chronicle, The London Times, CNN, BRAVO, as well as a viral appearance on FOX. She has led rituals, classes and workshops on magic and witchcraft at UCLA, UC Irvine, MOCA, The Hammer Museum, LACMA, The Getty and many other venues. Amanda hosts monthly moon rituals online, and the popular Between the Worlds podcast, which looks at the Western Mystery traditions through a mythopoetic lens. Her book, Initiated: Memoir of a Witch, received a starred review from Kirkus and Publisher's Weekly and has been translated into six languages. To find out more about her work become a member of her Mystery Cult on Substack. https://amandayatesgarcia.substack.com/www.Oracleofla.cominstagram.com/oracleofla We talked aboutHearing and following the inner call.The vital role of artists and poets in our culture.Magical realism and living a magical life.Witchcraft, what it actually is. I love her focus on creativity and reclaiming.Overcoming fears that prevent you stepping into your creative magic.Migraine, illness and creativity.The empowerment of having a secret life.Books Mentioned:Initiated - Amanda Yate GarciaCrow Moon: reclaiming the wisdom of the dark woods - Lucy H. Pearce Hosted on Acast. See acast.com/privacy for more information.

Han Saglam is a generative artist who infuses his algorithmic creations with distinctive style. He is the creator of cryptocubes, a collection of innovative, 3D on chain works that exists as both art as well as building blocks for virtual worlds. His artwork is in the permanent collection of LACMA, and it has been exhibited at the Venice International Architecture Biennale, the OSHI gallery, the Khas gallery, as well as featured on SuperRare and Makersplace.Recorded on March 22, 2024 as a Space on X.Follow the guest:https://twitter.com/HanrgbFollow the host:https://twitter.com/0x_ScooterFollow Particle:https://twitter.com/Collectparticlehttps://www.particlecollection.comhttps://www.instagram.com/particlecollectionTimestamps:(00:00) Introduction(01:39) Early Interest in Architecture(02:52) What Architecture Reveals about its Surroundings(05:30) Nascency, Han's Genesis Artwork(08:21) The Making of CryptoCubes(10:36) Colors and CryptoCubes(11:25) Curating Generative Outputs (13:55) Launching CryptoCubes and Creators(16:39) Selection of Artists for CryptoCubes and Creators(18:36) Future Potential for CryptoCubes (20:02) Recent Innovations in the CryptoCube Ecosystem(22:23) CryptoCubes featured at LACMA(27:27) LightOnChain, the first On-Chain and Physical Installation(28:52) Unique Smart Contract for Digital Soul Artwork(34:19) Plans for Future Art Projects(36:06) Intent behind Buying Back Artworks from Collectors(37:54) Acquiring Beeple's work TIME: The Future of Business(39:25) Connection to Skulls of Luci Collection by Sam Spratt(42:07) Envisioning the Evolution of the Metaverse(44:02) Value of IRL Events like NFT Paris(45:35) Drawing Inspiration from Collectors and Artists(47:18) Final Thoughts from Han(48:49) Outro

Listen Up! In today’s episode…Fascinating works of art and exciting scientific exhibitions! We talk about Coca Cola flavors, crimes and museums…enjoy! The Brett Davern Show is streamed LIVE daily at 12pm (eastern) and 9am (pacific) on idobi Radio at https://idobi.com. Follow Brett on social media @BDavv, Katie : @KatieLeclerc, the show @BrettDavernShow The post LAMOMA & LACMA appeared first on idobi.

#296"Metroid is very serious."Roundtable2023.03.16In this episode, Mark makes up a reason to take a road trip, Ellen outwits everyone, and Stephen was also there.Zachtronics Solitaire CollectionLACMAA Better Route PlannerSecrets & Easter Eggs0:24:43Ellen Burns-JohnsonGame DesignThe Super Mario 64 Coin that Took 18 Years To Collect - Patricia Hernandez, KotakuPC Cheat Codes - IGN Reddit on video game Secrets - RedditSecrets That Weren't Discovered in Games For Years - Jordan Baranowski, SVGPlayer Trust0:48:39Stephen McGregorGame DesignWe touched on this idea back in our roundtable on 'The Ethics of Engagement'"Shiny rocks get me every time."

Avant Arte, the curated marketplace that makes discovering and owning art radically more accessible, announces its first selection of artists to be included in its 2024 digital art programme. Avant Arte digital art programme the course of the year, Avant Arte will collaborate with renowned digital artists including Dawnia Darkstone, William Mapan, Matt DesLauriers, Laura El, Deekay, Emily Xie, Grant Riven Yun, mpkoz, Martin Grasser and Linda Dounia. William Mapan, Centrifuge, 2024, prints from the edition of by Avant Arte, image courtesy of Avant ArteGenerative artists - Coding the physical In a first-time collaboration, Avant Arte partners with leading generative artist Matt Deslauriers this February for a time-limited print edition and 4 NFTs that will be available to all for 48 hours only. The new work is the culmination of an in-depth study by the artists into colour theory that has seen him explore the translation of his practice from CYMK to RGB as he continues the aesthetic exploration commenced in his most well-known series, Meridian. The work will be announced tomorrow, Later in the year, we will collaborate with fellow generative artists including Emily Xie known for her Memories of Quilin work inspired by historic quilts in LACMA's collection and her Off Script works that explore collage through coding; Senegalese artist Linda Dounia who explores power structures and the biases of AI through her generative practice and is most known for her AI in Bloom series, and Martin Grasser who rose to prominence for his design of the original Twitter blue bird Logo as a designer and his systems-based practice that saw him collaborate with revered early generative artist Vera Molnár to bring her works to the blockchain. In addition, Avant Arte will release a curated selection of works by mpkoz. Growing Up - A landmark solo exhibition for Grant Riven Yun Avant Arte and Grant Riven Yun will present Growing Up, his first solo exhibition in Seoul, South Korea in March 2024. Growing Up will present 13 new physical works, all made at Avant Arte's master printmakers Make-Ready, that continue Yun's work of documenting American regionalism. The works respond to the period he lived part-time in New England between 2019-2023. The nostalgia associated with the architecture and landscape of the region led him to reflect on his own experience as a second-generation Korean-American and presenting this new chapter of his practice in Seoul, South Korea marks a full circle moment for the artist. Cozomo de' Medici curation continued Continuing their collaboration of curated releases, Cozomo de' Medici has selected Wiliam Mapan, Dawnia Darkstone, Laura El and Deekay as the first artists for the year ahead. Both William Mapan and Dawnia Darkstone's editions, Centrifuge and Digital Chemicals, respectively sold out after launch earlier this month. A digital illustrator and author that treads the line between eerie and quaint, Laura El will release Park Avenue, an exclusive limited edition of 30 physical prints with accompanying NFTs of the same artwork in early February. Followed by the release of Deekay's inaugural physical print, Love Ripples on Valentine's Day. Love Ripples sees Deekay's work printed on a mirrored metal composite by Avant Arte's master printmakers, Make-Ready who have led the way in creating innovative new printing methods to bring the digital into the physical realm. Avant Arte is known for collaborating with leading contemporary artists like Ai Weiwei, Anish Kapoor, Jenny Holzer and Nina Chanel Abney to produce and offer limited edition works - from sculpture and works on paper to NFTs and hand-finished screen prints. In 2022, it added digital art to its offering with the ambition to bridge the divide between digital and physical art and to support artists' creative output across any medium. Last year, they significantly expanded their digital arts programme, bringing their printmaking expertise to a series of major collabora...

I am so excited to say that my guest on the GWA Podcast is one of the most groundbreaking artists working today, Karon Davis. Hailed for her life-size sculptures, that she covers in white plaster dust and bases on her own or friend's bodies, Davis's works often take the form of installations, that very powerfully explore vital narratives of current and historical political events, as well as speak to the history of dance and performance. While they speak on a universal level, Davis especially looks to issues of history, race and violence in the US, memorialising key injustices witnessed by innocent victims from the 20th century, and beyond. By executing her figures in a stark shade of white, she also speaks to Western beauty ideals and standards that have been entrenched in our society since classical times. Brought up by a family of performers, Davis was exposed to the arts at a young age, the excitement of entertainment but also the reality of what people with these careers go through. And it's this insight that she gives us in her work – showing us both the pain and ecstasy to make something deemed beautiful, as her mother said, which was the title for her recent Salon 94 show: Beauty Must Suffer. Although a trained ballerina in her youth, Davis turned to filmmaking, studying at Spellman College, but her love of performance has stayed with her in her work. Entering an exhibition by Davis is like stepping into another world akin to watching a film or ballet playing out in front of you: there's narrative, costume, drama, a beginning and an end, but also beauty and pain. In 2012 Davis, along with her late husband Noah, founded the Underground Museum in Los Angeles, a groundbreaking space that featured the work of Black artists. And, most recently, Davis' work has been featured at the Hammer Museum, Jeffrey Deitch, Salon 94, and is in the collection of MOCA Los Angeles, LACMA, The Hammer Museum, and the Brooklyn Museum, among others. For those in New York, she has just installed a major sculpture on the High Line, of a ballerina taking her final bow, in conjunction with her exhibition that looked at the process of ballet, as well as the passion and resilience integral to life as a dancer, and artist. -- THIS EPISODE IS GENEROUSLY SUPPORTED BY THE LEVETT COLLECTION: https://www.instagram.com/famm.mougins // https://www.merrellpublishers.com/9781858947037 ENJOY!!! Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Nada Smiljanic Music by Ben Wetherfield

Think it https://erickimphotography.com/blog/wp-content/uploads/2024/01/Think.m4a https://erickimphotography.com/blog/2024/01/11/think-6/ Summarizing such a lengthy and diverse piece to 4000 words while capturing its essence and key themes is challenging, but I'll aim to condense the main points effectively. ### The Philosophy of Thinking #### Introduction - **Purpose of Thinking:** Thinking shapes the world. It's the foundation of progress and innovation. - **Everyday Examples:** Tesla's success and design innovations are cited, demonstrating how thoughtful design impacts consumer appeal and market dominance. - **Impact of Thought on Aesthetics:** The importance of color and light in design, both in cars and in general aesthetics, is highlighted. #### The Role of Cars and Technology - **Economic Significance:** Cars, as evidenced by companies like Hyundai and Genesis, significantly drive economic activities. - **Art and Society:** Art exhibits, like LACMA's Metropolis II, are seen as reflections of society's complexities, mirroring themes from science fiction and highlighting societal behaviors. #### Sociological Perspectives - **Personal Reflections:** The author recounts missed opportunities like Bitcoin, emphasizing learning from past mistakes. - **Sociology's Importance:** Sociology is presented as a key to understanding societal structures, economic systems, and human behavior. - **Critical Thinking:** The author encourages questioning established beliefs, including conspiracy theories, and advocates for independent thinking. #### Thinking Off the Grid - **Valuing Unconventional Thought:** Emphasis is placed on the value of thinking outside mainstream norms. - **Influential Figures:** The author feels a connection with notable figures like Elon Musk and Kanye West, seeing them as fellow unconventional thinkers. #### Photography and Philosophy - **Critique of Mainstream Platforms:** The limitations of platforms like Instagram for photographers are discussed. - **Personal Integrity:** The author stresses the importance of not compromising personal values for monetary gain. #### Health and Thought - **Physical Health as a Foundation:** Good physical health is seen as a prerequisite for quality thinking. - **Skepticism of Substance Use:** The author questions the integrity of thoughts influenced by substances like alcohol and drugs. #### The Role of Money and Power - **Power Over Wealth:** The author argues that the pursuit of wisdom and critical thinking is more about gaining power than accumulating wealth. - **Tools for Thought:** Physical activity, especially weightlifting, is recommended as a way to stimulate the mind and body. #### Philosophy and Happiness - **Purpose of Philosophy:** Philosophy is seen as a means to excel in life and achieve happiness. - **Wealth and Happiness:** The author argues that wealth does not necessarily lead to happiness and can bring additional worries. #### Embracing Simplicity - **Digital Minimalism:** The author advocates for reducing digital distractions like social media and email. - **Simplicity in Life:** Simplifying life by removing obligations and focusing on meaningful pursuits is encouraged. #### Future Bets and Predictions - **Technological Optimism:** The author is optimistic about

MHD and Co-Host Chavonne Taylor speak with Naima Keith, Vice President of Education and Public Programs at LACMA, about the important role of Black Art in LA History.Naima J. Keith is the Vice President of Education and Public Programs at LACMA. Within her role, she oversees all aspects of and sets the vision for LACMA's innovative and exhibition-driven educational programming that serves more than 650,000 community members annually.Prior to her position at LACMA, Keith was the Deputy Director and Chief Curator at the California African American Museum where she guided the curatorial and education departments as well as marketing and communications.www.naimajkeith.comEpisode Spotify Playlist

This episode marks the second time featuring artist and friend Raven Chacon on Broken Boxes. The first time I interviewed Raven was in 2017, when I visited with him at the Institute of American Indian Arts where he was participating in a symposium on Indigenous performance titled, Decolonial Gestures. This time around, we met up with Raven at his home in Albuquerque, NM where recurring host and artist Cannupa Hanska Luger chatted with Raven for this episode. The conversation reflects on the arc of Ravens practice over the past decade, along with the various projects they have been able to work on together, including Sweet Land (2020), an award-winning, multi-perspectival and site-specific opera staged at the State Historical Park in downtown Los Angeles, for which Raven was composer and Cannupa co-director and costume designer. Raven and Cannupa also reflect on their time together traveling up to Oceti Sakowin camp in support of the water protectors during the resistance of the Dakota Access Pipeline. Raven provides context to his composition Storm Pattern, which was a response to being onsite at Standing Rock, and the artists speak to the long term impact of an Indigenous solidarity gathering of that magnitude. Raven speaks about being named the first Native American composer to win the Pulitzer Prize or Voiceless Mass, and shares the composition's intention and performance trajectory. To end the conversation, Raven shares insight around staying grounded while navigating the pressures of success, travel and touring as a practicing artist, and reminds us to find ways to slow down and do what matters to you first, creatively, wherever possible. Raven Chacon is a Pulitzer Prize-winning composer, performer, and installation artist from Fort Defiance, Navajo Nation. As a solo artist, Chacon has exhibited, performed, or had works performed at LACMA, The Renaissance Society, San Francisco Electronic Music Festival, REDCAT, Vancouver Art Gallery, Haus der Kulturen der Welt, Borealis Festival, SITE Santa Fe, Chaco Canyon, Ende Tymes Festival, and The Kennedy Center. As a member of Postcommodity from 2009 to 2018, he co-created artworks presented at the Whitney Biennial, documenta 14, Carnegie International 57, as well as the two-mile-long land art installation Repellent Fence. A recording artist whose work has spanned twenty-two years, Chacon has appeared on more than eighty releases on various national and international labels. His 2020 Manifest Destiny opera Sweet Land, co-composed with Du Yun, received critical acclaim from the Los Angeles Times, the New York Times, and The New Yorker, and was named 2021 Opera of the Year by the Music Critics Association of North America. Since 2004, he has mentored over 300 high school Native composers in the writing of new string quartets for the Native American Composer Apprenticeship Project (NACAP). Chacon is the recipient of the United States Artists fellowship in Music, The Creative Capital award in Visual Arts, The Native Arts and Cultures Foundation artist fellowship, the American Academy's Berlin Prize for Music Composition, the Bemis Center's Ree Kaneko Award, the Foundation for Contemporary Arts Grants to Artists Award (2022) and the Pew Fellow-in-Residence (2022). His solo artworks are in the collectIons of the Whitney Museum of American Art, the Smithsonian's American Art Museum and National Museum of the American Indian, Los Angeles County Museum of Art, Getty Research Institute, the Albuquerque Museum, University of New Mexico Art Museum, and various private collections. Music Featured: Sweet Land, Scene 1: Introduction (feat. Du Yun & Raven Chacon) · Jehnean Washington · Carmina Escobar · Micaela Tobin · Du Yun · Raven Chacon · Lewis Pesacov. Released on 2021-09-24 by The Industry Productions

In this episode of PhotoWork with Sasha Wolf, Sasha and photographer, Jim Goldberg discuss his new book, Coming and Going, published by MACK, which is a very personal story but also a book about storytelling itself. Jim talks about his lifelong interest in social justice and Sasha and Jim connect Jim's work to both Jazz and Punk music. Sasha also announces the first ever participants in the PhotoWork Foundation Fellowship. https://jimgoldberg.com/ https://www.mackbooks.us/collections/frontpage/products/coming-and-going-br-jim-goldberg Jim Goldberg's innovative and multidisciplinary approach to documentary makes him a landmark photographer and social practitioner of our times. His work often examines the lives of neglected, ignored, or otherwise outside-the-mainstream populations through long-term, in depth collaborations which investigate the nature of American myths about class, power, and happiness. A prolific and influential bookmaker, Goldberg's recent books include Ruby Every Fall, Nazraeli Press (2014); The Last Son, Super Labo (2016); Raised By Wolves Bootleg (2016), Candy, Yale University Press (2017), Darrell & Patricia, Pier 24 Photography (2018) and Gene (2018). Goldberg has exhibited widely, including shows at the Museum of Modern Art, New York; SFMOMA; the Museum of Fine Arts, Boston; the Corcoran Gallery of Art; the Los Angeles County Museum of Art; and the Yale University Art Gallery. His work is also regularly featured in group exhibitions around the world. Public collections including MoMA, SFMOMA, the Whitney Museum of American Art, the Getty, the National Gallery, LACMA, MFA Boston, The High Museum, Nelson-Atkins Museum of Art, Library of Congress, MFA Houston, National Museum of American Art, and the Art Institute of Chicago. Goldberg has received three National Endowment of the Arts Fellowships in Photography, a Guggenheim Fellowship, the Henri Cartier-Bresson Award, and the Deutsche Börse Photography Prize, among many other honors and grants. Goldberg is Professor Emeritus at the California College of the Arts. He is represented by Casemore Kirkeby Gallery in San Francisco. Goldberg joined Magnum Photos in 2002. This podcast is sponsored by picturehouse + thesmalldarkroom. https://phtsdr.com

This week, we are deeply honored to chat with dancer, dance teacher, choreographer, and artist, Jasmine Albuquerque. Jasmine has worked with towering figures such as Joey Solloway, Ryan Heffington, Mike Mills, and Beck, and in spaces like the Hammer, the MOCA, and the LACMA. In 2022, Jasmine and her mother, the legendary and iconic artist Lita Albuquerque, exhibited their collaborative film, Liquid Light, at the Venice Biennale. This is an extraordinary conversation with an extraordinary artist, in which Leonora and Jasmine discuss their relationship to dance and their own bodies, Jasmine's unique and freedom-filled childhood in the mountains, and what it's like to be a daughter who becomes a mother. Beautiful stuff. To learn more about Jasmine, please visit https://jasminealbuquerque.com/ and remember: you're doing a GREAT job.

Tschabalala Self is an artist born in Harlem who lives and works in Upstate New York. She received her undergraduate degree at Bard and her MFA from Yale. Recent solo exhibitions and perfiormances include Kunstmuseum, St Gallen, Le Consortium in Dijon, Performa 2021 Biennial in NYC, the Baltimore Museum of Art, the ICA in Boston, the Hammer Museum in LA, Art Omi in Ghent, the Yuz Museum in Shanghai and many others. She has had several museum shows and has had residencies at the Studio Museum in Harlem, the Red Bull House of Art in Detroit, Liquitex work residency in London, the Fountainhead Residency in Miami and many others. Her work has been covered in Art in America, ArtForum, Artnet, Bomb, Cultured, Essence, Frieze, Hyperallergic, The New York Times, T Magazine, The Art Newspaper, The Guardian, Vouge, W and more. Her work can be found in countless institutions, with highlights that include The Art Institute of Chicago, The Baltimore Museum of Art, the Brooklyn Museum, the California African American Museum, the Hirshhorn, LACMA, the New Museum, the MCA in LA, the Guggenheim, the Studio Museum in Harlem and the Whitney Museum. Buy the Sound & Vision book "WHY I MAKE ART" here: https://atelier-editions.com/products/why-i-make-art Thanks to all for listening to the podcast and making it possible to hit 400 episodes!

Ep.178 features Deborah Roberts (American, b. 1962) a mixed media artist whose work challenges the notion of ideal beauty. Her work has been exhibited internationally across the USA and Europe. Roberts' work is in the collections of the Whitney Museum of American Art, New York, New York; Brooklyn Museum, New York, New York; The Studio Museum in Harlem, New York, New York; LACMA, Los Angeles, California; the Virginia Museum of Fine Arts, Richmond, Virginia, Guggenheim Museum, New York, New York, and the Modern Art Museum of Fort Worth, Fort Worth, Texas, among several other institutions. She was selected to participate in the Robert Rauschenberg Residency (2019) and was a finalist for the 2019 Outwin Boochever Portrait Competition, as well as the recipient of the Anonymous Was A Woman Grant (2018), and the Pollock-Krasner Foundation Grant (2016). Texas Metal of Arts Award (2023) Roberts received her MFA from Syracuse University, New York. She lives and works in Austin, Texas. Roberts is represented by Stephen Friedman Gallery, London and Susanne Vielmetter Los Angeles Projects, CA. Photo by Moyo Oyelola Artist https://www.deborahrobertsart.com/ Current Book https://www.radiusbooks.org/all-books/p/deborah-roberts-twenty-years-of-art-work Stephen Friedman Gallery https://www.stephenfriedman.com/artists/51-deborah-roberts/ Vielmetter https://vielmetter.com/artists/deborah-roberts/ The Contemporary Austin https://thecontemporaryaustin.org/exhibitions/deborah-roberts/ MCA Denver https://mcadenver.org/exhibitions/deborah-roberts Galerie Mitterrand  https://galeriemitterrand.com/en/exhibitions/189-deborah-roberts-niki-de-saint-phalle-the-conversation-continues/ Culture Type https://www.culturetype.com/2023/10/16/on-view-deborah-roberts-is-presenting-mixed-media-collages-that-consider-black-boyhood-at-site-santa-fe/ The Guardian https://www.theguardian.com/artanddesign/2023/feb/06/black-kids-collage-legend-deborah-roberts-tyre-nichols Essence https://www.essence.com/art/deborah-roberts-artist/ University of Texas https://www.galleriesatut.org/gallery-showings/blog-post-title-one-nh7cz-ph2z8-efkhg-6gsdp-f2emz-r4g45-djdhw-28dfc-74hc7-x8z3h-jd46n Ampersand Art https://ampersandart.com/blog-full-article/featured-artist-deborah-roberts 27East https://www.27east.com/arts/artist-talk-with-deborah-roberts-2175350/ Artnews https://www.artnews.com/art-in-america/features/deborah-roberts-collage-defiance-black-children-1234591645/ Vogue https://www.vogue.com/article/deborah-roberts-artist Texas Monthly https://www.texasmonthly.com/arts-entertainment/deborah-roberts-has-exhibited-art-worldwide-she-hasnt-had-a-solo-museum-show-in-her-hometown-until-now/ Artnet News https://news.artnet.com/news/anti-trump-art-us-elections-1918311 Harpers Bazaar https://www.harpersbazaar.com/uk/culture/bazaar-art/a34244410/bazaar-art-covers-2020/ Wikipediahttps://en.wikipedia.org/wiki/Deborah_Roberts_(visual_artist) Sightline shttps://sightlinesmag.org/seeing-and-being-seen-in-a-solo-museum-deborah-roberts-asks-us-to-look

On this week's episode, I have author, Joshua Fields Millburn of “The Minimalists”. Tune in as we talk about how he left corporate America and why he chose to live “The Minimalists” lifestyle.Show NotesJoshua Fields Millburn Website: https://joshuafieldsmillburn.com/Joshua Fields Millburn on Instagram: https://www.instagram.com/joshuafieldsmillburn/Joshua Fields Millburn on IMDB: https://www.imdb.com/name/nm6576362/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Newsletter - https://michaeljamin.com/newsletterAutogenerated TranscriptJoshua Fields Millburn:What happens is, oh, I'm going to leave and I'm just going to be a writer. And I had one boss that I had at the time said, look, if anyone could just quit their job and become a writer, then everyone would do it. And I looked at him and I said, well, I don't think everyone wants to do that first off, but second off, you're acting like I'm the first person in the history of the world who's decided to becomeMichael Jamin:A writer. You're listening to, what the hell is Michael Jamin talking about? I'll tell you what I'm talking about. I'm talking about creativity, I'm talking about writing, and I'm talking about reinventing yourself through the arts.Michael Jamin:Hey everyone, it's Michael Jamin. I got a very special guest today. So today, this guy, I've been a fan of his work for a long time, and I discovered him a couple of years ago. It's Joshua Fields, Millburn, he's half of the minimalist. And these guys did a documentary, I'm going to give 'em a nice proper introduction. They did a documentary that I discovered which, and the message was so important. It's on minimalism and it's basically how you can live with more by having less, how you were richer by having less. And I just found that not only did I find the message so important, but I found their journey that these two guys put them on, put themselves on to be so inspiring. Just to give you a little bit of backstory before I finally let this guy get a word in edgewise, is that, so Joshua grew up, poor parents suffer, struggled with alcoholism. He decided, I'm speaking for him now, but this is what I picked up from the documentary, that he didn't want to be poor when he was an adult. I'm not going through that. So he managed to get jobs in management where he is actually making a good living, he's making money. And then at some point he realized, wait, this is not making me happy. And then he did a complete about face and reinvented himself. So Joshua, thank you so much for joining me. Let's, let's hear you talk now.Joshua Fields Millburn:Oh, Michael, thanks so much for having me. Yeah, it's funny, I did grow up really poor and I thought the reason we were so unhappy when I was growing up is we didn't have money and not knowing that all these other things that were actually chaotic in my life, some of the things you mentioned, alcohol abuse, drug abuse, physical abuse and violence in the home, and extreme poverty was a part of it, right? It was a part of that milieu of discontent. And I just hyper-focused on that one component. So when I turned 18, I went out and I got that entry level corporate job, and I spent the next dozen years sort of climbing the corporate ladder. And by age 30, I had achieved everything I ever wanted, the six figure salary, luxury cars, big house in the suburbs with more toilets than people.I really had all the stuff right? And all the stuff that you would consider to be the American dream, more closets full of designer clothes and all the nicest furniture and the status and the job title. And yet, as you mentioned, it wasn't making me happy. In fact, the closer I got to the pinnacle of success, it seemed to further away from happiness I got, which didn't make a whole lot of sense to me. And then two things happened to me. My mother died, my marriage ended both in the same month. And we talked about those in the last documentary on Netflix. And really those two events forced me to look around and start to question everything in my life, not just the stuff, but the career and the relationships and all of these other types of clutter that I began to uncover.Michael Jamin:But it seems to me though, when you reinvented yourself, and we'll get to that part, you were kind of at bottom. You had, like you said, you lost your marriage, you lost your mom. Is it easier to reinvent? Where do you get the balls to do this? Is it easier to do that when you're at the bottom than as opposed if you were, I don't know, happy enough in life?Joshua Fields Millburn:In a weird way, I think it's simultaneously easier and more difficult. And I'll try to explain that. I think it's easier in the sense that if you've lost a lot of the comfort and the certainty that you have in life, now all of a sudden you are willing to make a change because you're experiencing enough pain that leads to a change. The outverse of that was my successful corporate life. It was never 10 out of 10, awesome. It was constantly between a four and a five on a one to 10 scale. It was just comfortable enough to not make a change, but not comfortable enough or not uncomfortable enough maybe to have any sort of meaningful experiences. And so there was a weird level of perpetual anxiety and discomfort that undergirded all of it, but at the same time, it wasn't enough pain to make a significant change. So why was it easier? Well, because once you have enough pain, you start questioning everything. Why have I been so discontented? Why have I given so much material meaning to all these material possessions? Who's the person I want to become because I don't like the person I have become so far? And how am I going to redefine success? Because this level of success, the so-called success that I've achieved, if I'm miserable, is it really success? Well, success with misery, that seems like failure to me.Michael Jamin:But what was the final moment that you said, screw it, I'm quitting my job and I'm trying something else. Now,Joshua Fields Millburn:When I got closer and closer to the executives I wanted to be like, I had this whole career mapped out that by age 32, I'm going to be a vice president by age 35, I'm going to be a senior VP by age 40, I'm going to be a C-level executive, ideally ACOO of this corporation that I'd worked for since I was 18. And I'd climbed the corporate ladder. I was the youngest director in my company's 140 year history. I was responsible for 150 retail stores, which I know with the whole minimalism thing is really ironic. But I climbed the ladder and I got closer to these guys who I really aspired to be like. And I realized, well, wait a minute. As I got closer to them, the illusion, the mirage began to sort of dissipate. And I saw them for what they were. They weren't evil or bad guys.But I had one boss who was on his third divorce and second heart attack, and he was 50 years old. I'm 42 now. And I realized like, well, wait a minute. If I work really hard for the next 20 years, I can be just as miserable as these guys that I aspire to be like. But of course, what do we tell ourselves? We say, I'm going to be different. How am I going to be different if I follow the same exact recipe that all of these other guys are? And by the way, I've been following their recipe. If I continue to follow that recipe, I'm going to bake the same cake. And it became easy when I realized the fear of staying was actually more crippling than the fear of walking away. ButMichael Jamin:Did you bounce this off at anybody? Hey, listen, I'm going to quit my job and to do, what was your plan?Joshua Fields Millburn:Right? I was just going to write. I mean, my honest plan at the time was we had started the minimalist.com. I was making no money from it whatsoever. I was going to work. I paired down my bills to literally next to nothing. I mean, when I walked away from the corporate world, eventually in 2011, I made $23,000 that first year. So I took a 90% pay cut. Strangely, I was more financially free that year than I had been the last decade. It was the least amount of money I made in my entire adult life, but I was more free that year because I got rid of all of those expenses. I used to tell myself I need these things, or the truth is there were things I wanted. But you know what? I wanted more than that. I wanted freedom. So you asked, did I talk to other people about it?Heck yeah. I did it first. I learned what a mistake that was. Really? Yeah, because what happens is, oh, I'm going to leave and I'm just going to be a writer. And I had one boss that I had at the time said, well, if anyone could just quit their job, become a writer, then everyone would do it. And I looked at him and I said, well, I don't think everyone wants to do that first off, but second off, you're acting like I'm the first person in the history of the world who's decided to become a writer. And my plan was, I'm going to work in this coffee shop in my local neighborhood, make enough just to pay my rent. I was living in Dayton, Ohio. My expenses were really, really low. I spent two years paying off all of my debt because I knew as long as I was tethered to debt, I was going to be tethered to this job, which means I was tethered to this lifestyle. And in a weird way, I was financing a car that would take me to work so I could pay the car payment for the car that would take me to work. I needed to get rid of all of those things that I wanted but weren't serving my freedom. I had to let go of those things so I could embrace the life I actually wanted to live.Michael Jamin:But was there any moment where you're even saying to yourself, I don't know, I think I'm kidding myself. You had to have been checking yourself with doubt even while you were convinced, I'm going for it, right?Joshua Fields Millburn:Yeah. Now maybe I have an irrational confidence in a way. I never thought all the things that happened would happen, and we took a rather circuitous route. I didn't know have a 10 year plan or anything like that. My confidence was like, man, I think I can make enough money to pay my rent working at a coffee shop, and then I can just write in my other hours. And that's all I wanted. I found out what enough was for me because all those other things, they weren't doing it for me anymore. I thought, if I just get the Lexus, then I'll be happy I got the Lexus. Well, maybe the second Lexus will make me happy. That didn't do it. Well, maybe the Range Rover will make me happy. That didn't do it either. Okay. And by the way, I didn't own any of those things.I didn't own the big house. I had these things were all finance. I made really good money, but I spent even more money. So I had tremendous amounts of debt, about half a million dollars worth of debt, and I had to get rid of all of it in order to untether from that. And I realized those things never got me to enough. Enough is not about getting more and our society, it's actually about subtracting. And I knew I needed to subtract the things to get me down to enough. I already had enough peace, enough happiness, enough joy. Those things were simply covered up by all these external pursuits.Michael Jamin:I can understand Alexis not making you happy, but a Range Rover that surprises me Now, what kind of writing were you trying to do or were you doing that?Joshua Fields Millburn:Yeah, it was just fiction. I was really into fiction at the time. I thought that's all I was going to do. The minimalist was this side project. My best friend Ryan, he and I, we grew up together. We grew up really poor. We've known each other since we were fat little fifth graders. And we climbed the corporate ladder together as well. And he actually came to me about eight months into my letting go, my simplifying. We were still both working in the corporate world together. And he came to me one day and he said, why the hell are you so happy? And I didn't even go around saying, look at me. I'm a minimalist now. I got rid of my stuff. I didn't say anything to anyone. I just started letting go of extra clothes that were in my closet or things that were getting in the way that weren't serving me junk, that was non-essential and clutter basically.And I noticed that those material possessions were, and I didn't know this at the time, but they were at this physical manifestation of what was going on inside of me. And as I started letting go of this external clutter, I started clearing out some of this internal clutter, the relationship clutter, the mental clutter, the psychological clutter, the emotional clutter, the calendar clutter in my life. There was all these other types of clutter that I was not prepared for, didn't even know that I was clinging onto. And then when Ryan comes to me and says, why the hell are you so happy? It opened up this door for me to talk about this simplifying I had been doing. And so he started simplifying as well, and he's way more type A than I. And he's like, that's great. You've spent almost a year doing this. I need to do this right now.And so we came up with this crazy idea called a packing party, which we made a film version of for our last film, less Is Now. And ultimately, that was the beginning of the minimalist.com. We were just going to write about that 21 day journey, and it was going to be a place for me to publish a few essays that I wanted to write about, but I just wanted to write fiction. And then what I realized is like, oh, wait a minute. A lot of people were finding value in these words. I remember the very first month we started the minimalist.com, 52 people, they visited the website, which sounds really unremarkable now, but at the time, I was so impressed by it. You got to think, throughout my twenties, I wrote fiction, and the only people who were reading my stuff were agents and publishers who were sending me rejection letters.I had an inch thick stack of rejection letters of people telling me, no. Now, unbeknownst to me, a lot of the stuff was actually kind of garbage at the time. That's any writer that realizes that the stuff that seems so precious and gold, everything that comes off of my quill must be perfect. No, it was nonsense. But it made me the writer that I am today. And so I started writing@theminimalist.com, and I realized once 52 people turned into 500 people, and then it turned into four or 5 million people over the years, what I realized was that, oh, when someone gets value from something, they tend to share it with their friends and their family and their loved ones. Adding value, sharing value is a basic human instinct. And this was before the TikTok and Instagram and all these great ways to share these different things. People were actually forwarding our blog to their sister or their aunt or their uncle, or whomever it might be in their family, just sending off to 'em an email or a text message. And it just really began to spread word of mouth. I said, oh, maybe we actually have something here. Let's keep trying this out.Michael Jamin:Right? It's so interesting because people often complain today, it's so hard to go viral. You went viral before there was viral. It's like, well, because you had interesting things to say, and that gets shared. It's like, stop. People say it's so hard. Well, yeah, it's even harder when there's no such thing as viral.Joshua Fields Millburn:Yeah. And in fact, I don't even know that we ever had anything until our Netflix film came out, which the first one is now on YouTube, and that thing has even taken off. It's gotten a third life now. We did a theatrical release around it, and I could give you some really impressive stats around that. We had the number one documentary in 2016 in theaters, which sounds really impressive to you realize when in the hell have I seen a documentary in a theater. No one goes to theaters to see documentaries. So maybe 50,000 people saw it in a theater, but now 50,000 people see it in an hour or whatever. But before that, we never really had anything. And even now, we rarely have things that go viral. I think about when someone's playing baseball, the much more impressive players on a long enough trajectory aren't the people that are hitting grand slams and home runs occasionally.Those are the viral moments. But we constantly had these singles or doubles. We were getting on base all the time. We were resonating with this core group of people, and there weren't things that many, many tens of millions, hundreds of millions of people were seeing. But it was like, oh, wow, a hundred thousand people read that article. Oh, wow. 23,000 people shared this one thing, whatever it might be. And it built from there. We didn't have anything that was just like, here's this huge viral moment. It was just these repeated things over and over. Oh, this resonated. Let me send this to my sister because I think it'll resonate with her too. ButMichael Jamin:How did you go from the moment? How did you literally go from a very popular blog to getting a documentary on Netflix? What was that step?Joshua Fields Millburn:Yeah. Over the years, I became what I call vehicle agnostic. I remember when we first started the blog, Ryan came to me with the idea, we didn't even have the name for it. He was like, Hey, do want to, we didn't even know it was called a blog at the time. Do you want to start a website so we can share some of this story with other people? And I said, sure, we'll write a few things and we'll get that out there. It'd be great. It'd be a nice way for me to try my writing chops online. I've never done that before because all I really wanted to do was write books, specifically novels. I just wanted to write fiction, and I was rather married to that formula, that genre, that format, that vehicle to communicate my writing. And then I started realizing like, oh, that's one way to do it.But some people find value in the blog, and then other people find value in a tweet and other people find value in. Well, eventually we started the podcast, which has now been our main vehicle for communicating things. It's even eclipsed what we've done with the blog in terms of listenership and then other people, they might get value from a YouTube video, and some people will get value from a long form documentary or a book. And so I've become vehicle agnostic. It's meeting people where they are as opposed to dragging them toward, Nope, if you want to read about this, you have to read a 300 page book between bound covers. No, it's meeting them where they are. We actually do a lot more audio books than we do print books now, because that is one way that people prefer to consume those materials. I prefer reading a physical book personally, but I'm not going to prescribe that to anyone else.Michael Jamin:Okay. So how did you wind up selling it to Netflix, though?Joshua Fields Millburn:Yeah, great question. So we were in 2014, our second book came out in January 1st, 2014. It was called Everything That Remains. Ryan and I moved to this cabin in the middle of nowhere. Literally in middle of nowhere, there was one traffic light in 3,400 square miles. And it's sort of that romantic vision. You think we're in Montana, right? It's like, oh, wow. I say romantic, not like sexual romance, but romance in the sense like, oh, this little writer moves to the cabin. And man, when you're in Montana in winter and it's negative 26 degrees and it's in October, you realize all you really have to do is quite literally chop wood for the fireplace. That kept us warm and and we wrote the second book called Everything That Remains. It was the story of these two suit and tie corporate guys who walk away from the corporate world become minimalist. It was our journey. We went on book tour that year with it. Now again, that sounds like a really romantic vision. Book tour for us was like, we set up the book tour ourselves, and we did a hundred cities in eight countries, 119 events, 10 months of our lives.Michael Jamin:I have to interrupt. So much good stuff here. Yeah. You said this was, your book was traditionally published, or was it indie published?Joshua Fields Millburn:It was independently published, but we started, it's a long story. We started our own publishing company. We had a handful of employees there as well, and then it was traditionally published overseas. So we did a sort of hybrid model of it. Not self-published, but independently published and then picked up by other publishers.Michael Jamin:Right. Okay. So then you set up this book tour. You were side all this work. I have to point this out. Some people think, oh, you see the publisher made it happen. No, no, no. No one made any of this happen except you two guys, because you wanted it to happen. So tell me, so then, how did this book tour come about?Joshua Fields Millburn:Well, thankfully, we had some experience in the business world. We knew how to run a business. We started our own business with a third person named Colin Wright, who's a prolific author by age 30, I think. He had written 32 books and independently published quite a few of them and gone the traditional route with some other things and had some things optioned by Hollywood. And we realized we had come up with this formula, oh, what is possible to do independent publishing, which is different from a big traditional publisher, and it's also different from Vanity Publishing or self-publishing. I kind of liken it to indie music. You have big acts who are huge mega stars, the Taylor Swifts and the Miley Cyrus of the world, and they thrive in that giant recording industry system. And then you have people who just are garage bands and they have fun jamming in their garage.That's sort of self-publishing. But there's, in music, there's this whole other world of independent publishing or independent music, independent artists, especially now with the things we've gotten so easy. But even since the eighties and nineties, you've had independent artists who don't fall into the big label system, but aren't just garage bands aren't just jamming. They actually make a living. And we said, what if we model ourselves after independent musicians, people who are able to fill a 200 cap room, they can't fill up an arena or whatever. What if we did that? But we did it with book publishing, and eventually with that publishing company, we ended up signing nine different authors and showed them how to fail with us and took some of them out on tours. We did our own version of independent publishing for those authors, poets and fiction writers, all of that.And we learned a lot along the way. So when we booked our own tour, it was literally us and a few employees and interns that we had there in Montana. We eventually moved our operations to the big city of Missoula, Montana, 70,000 people there. It was a writing school there at the University of Montana. In fact, our office was at the university. They had a startup incubator there. And so we decided, Hey, we're going to go on this book tour. We had been on a few before, smaller ones, but we want to do it right. We really believed in this book. We believed in this message. So what we did is we set up a hundred different cities, 119 events, and the message really began spreading. We did 400 media interviews that year, traditional media and non-traditional media, but everything from, we'd be on the morning news at 5:20 AM in Albuquerque now, I don't know, maybe 14 people are watching that.But it allowed us really to develop our interviewing chops, and it allowed us to see what resonates with different people while we go out on these tour stops. Now, it wasn't sexy. Our business plan that year was, if we sell enough books tonight, we can stay in a hotel. If we don't, we're going to sleep in Ryan's Toyota Corolla. And then occasionally, sometimes listeners or they weren't listeners at the time, they were audience members, viewers, readers. They would let us stay at their spare bedroom or in their guest house, or sometimes we'd just sleep on the floor, we'd sleep at rest stops, whatever made sense. And it was quite literally living in the moment. We're going tonight, we're going to be in Des Moines, and then we have a tour stop tomorrow in Omaha, and eventually we'll work our way around to Halifax, Canada. And we're just driving around in Ryan's Toyota Corolla making that happen. And what I realized is that, yeah, early on, eight people would show up at a tour stop, but as the message began to continue, it really, it increased exponentially. By the end of that tour, thousands of people were showing up at tour stops, and we would have,Michael Jamin:Tell me about these tour stops though. Are you at indie bookstores or are you booking venues for yourself?Joshua Fields Millburn:Yeah, initially we booked indie bookstores. In fact, all hundred cities. We did indie book shops except for two or three cities that just don't have an indie bookstore at all anymore, which is really sad. Las Vegas was a good example of that. I think Dallas didn't have an indie bookshop at the time. That's actually been fixed recently. But what we did is we'd book these with indie bookstores, and then when the crowds became too large for those bookstores, then they would find a local theater or a local public yoga studio or some open space that we could have these tour stops. We partner with these indie bookstores, and then they would help us with the space and these tour stops. SoMichael Jamin:Who's paying for the space though? Or you guysJoshua Fields Millburn:Usually the bookstore would, they'd have some sort of arrangement with a local, they'd have a theater across the street. I remember we showed up in Indianapolis and 80 people R RSVP'd for that event, which you never know, because they're free events. Sometimes 80 people, r rss, VP and maybe 40 people actually show up because it's free. We had 80 people, RSVP, and we knew the bookstore only held about 60 people. You could maybe cram an extra 20 in there, but we had 400 people show up at the Indianapolis Book tour stop. And that's when I kind of knew like, oh, this is bigger than I thought it was ever going to be. And they had to find, they had a local theater across the street that was abandoned, but had recently been acquired by a friend of theirs, and they just let us use it. I mean, we had no plan. We were just kind of showing up and figuring out what would happen, holding court in the theater with no microphones, no electricity. We just found a way to make it happen. And it wasn't always pretty, but man, I think if we were trying to wait for everything to be perfect, we'd still be waiting.Michael Jamin:That's exactly right, because this is what I'm always yelling at people, stop asking for permission, put the energy in and then see you make it happen. That's what I find so inspiring. By what I mean, Jesus. I mean, you've literally reinvented yourself and none of it was easy, but you did it anyway. And now, do you still go back on tour?Joshua Fields Millburn:Yeah, we've done 10 tours in the last 12 years, and they're appreciably different. The reason I brought that up is because while we were on the road, we didn't have any extra money to film a documentary, but we had our friend, Matt Vela, who is huge now, has a huge YouTube channel, huge following. But at the time, he was just a young filmmaker who was looking to do something meaningful, and he had reached out to us and we started talking, and he was doing commercials at the time. In fact, he filmed the book trailer for that book I talked about. I was like, well, we don't have a ton of money, but I can pay you. We're going to be doing a media event in New York. Why don't you come out film that and do a book trailer for everything that remains? And so we paid him to do that, and we said, Hey, do you want to come on the road with us for a few weeks during this long tour that we're doing, and we'll set up some interviews along the way, and that way we don't have to fly to all these different cities.And so part of that tour, about six to eight weeks of that tour was just Matt in the back of the Corolla with all his gear and lighting set up. And while we go to a city, we say, oh, there are these great people we want to interview in San Francisco, or there's someone in Los Angeles you want to interview, or, oh, we're going to be doing a tour stop in Salt Lake City. I know we want to talk to these two people while we're in Salt Lake City, or we're going to be in Austin, Texas. Make sure we interview these people while we're there. We're going to be in Philadelphia. I know there's someone we want to talk to there. And so we just went around while we were in the city, we'd make time with any downtime. We had to film some interviews.And at the end of it, Michael, I got to tell you, we had a thousand hours of footage. We didn't know what the hell we were doing. We had a thousand hours of footage. Now the first documentary is 79 minutes long. And I remember at the end of that tour, we just looked at Matt and said, okay, good luck with all the footage. Now, a lot of the interviews we didn't use, a lot of it was road footage and other things, and he pieced together something really special. We went through nine different iterations of that film, and eventually we pitched it to Netflix and they were like, not for us. And they were really the only streaming game at town at the time. This is back in 2015 when we were finishing up the film. There were a few other smaller services then that don't even exist anymore.But Netflix was pretty much the only game in town, but I've always been the, all right, that's fine. You don't want it. We'll put it out on our own. Let's do a theatrical release, which I would never, ever do again. It's crazy. And we submitted the film festivals. We did a theatrical release, 400 theaters, us, Canada, Australia, and didn't get anyone's permission. We just figured out a way to do it. We found a distributor who was willing to work with us to get it into select theaters around the country. And so it was wildly successful in theaters for a documentary. And so we went back to Netflix and we were like, Hey, look how great it did. And they're like, yeah, still not for us. Sorry. Okay, no problem. Let's go ahead and put this online on our own transactional video, on demand, get it up on iTunes and Amazon and Vimeo. And we did that. And because we had already cultivated this audience through our blog and eventually through the podcast, which we had just started to help promote the film, ironically, the film ended up promoting the podcast way more than we anticipated, but we had built this audience. They sent it to number one on iTunes, and now Netflix came back to us and they were like, Hey, you know that film that you came to us with?Michael Jamin:See, I just had a long talk about this a couple days ago when people are begging to get into Hollywood, I go, if you want Hollywood to want, you got to smell like money, which is what you guys did. You stunk of money, which is because you had created this thing which people wanted. Now, Netflix, that's how you sell something. Netflix comes to you.Joshua Fields Millburn:Yeah, and they did. And what they did is, ironically, they paid us less than we made from any other platform, so we made less money from Netflix. But they did something really great for us. They got us into so many more homes. They got us into, in fact, they only did the US rights initially or the English rights, but then it did so well for them on the platform. They licensed the worldwide rights for a three year period, and they re-upped those rights for another three years. So we spent about seven years on Netflix with that first film, and eventually just this year, we got the rights back and we put it up on YouTube on our own, and millions of other people that have seen it on YouTube now. But Netflix got us in front of about 80 million people. And so that changed everything.It brought a lot of people into the podcast, and it also made them want to work with us on a second film. So they worked with us on our second film, less Is Now, and it became a Netflix, which ended up getting nominated for an Emmy, which I thought was a joke. When I got the email, I had to check the, I was like, oh, this must be some sort of spam nonsense. And what I realized is I wasn't pursuing any of these things specifically. It was just like these things were a great byproduct. Let's just sit down and create something that we really want to create, and hopefully everything else works out.Michael Jamin:Tell me about, so your friend, Matt, because I have so many questions here. When he came along on the ride with you, was he getting paid or was he doing this just to hustle himself to make his own projects happen?Joshua Fields Millburn:Yeah, more of the latter. We just said, Hey, man, we want to make sure we give you a disproportionately generous portion of this film because I don't have money to pay you for this right now. And so you are also an owner of the film as the director. He was also the editor. That's actually his true talent. I mean, he's a phenomenal director, but he is a savant of an editor. So he just came on the road with us and owns a major chunk of the film as a result. Had we just paid him, I mean, sure he would own less, but what I like about this is making sure that we always take money off the table with any of these things. Anyone who works with the minimalists now, it's like, okay, I'm probably not going to make you a millionaire, but what I'm going to do is provide a atmosphere for creative work that you'll enjoy and find meaning in.And also make sure you're compensated well enough for it, that you're not worried about money. And so, hey, this is a project we're going to work on together. We didn't know if anything was going to happen. Honestly, I didn't even know if it was going to be turned when you have a thousand hours worth of footage. I don't even know if you can turn that into a documentary, but if so, great. I mean, there's so many other projects we've started. That's the problem with the iceberg. You see only what's above the water. But we've worked on other films, we've worked on other books, we've worked on blog posts, podcast episodes, whatever, that never see the light of day. But that's just the way things, a lot of things hit the cutting room floor that aren't meant to be shown to the public.Michael Jamin:Are you worried about running out of things to say, because your message is simple, it's the less you have, the less fewer problems you have, but are you worried about, okay, what do I say now?Joshua Fields Millburn:Yeah, what a thoughtful question. I think that's an important question too, because it's not about just continuing to regurgitate the 16 rules for living with less or whatever. Those things are helpful for people, but they're out there already. What I've learned is as I've uncovered that external clutter, I really found all of these other forms of clutter. So recently we've been talking a lot more about these other types of clutter that are creating dread or anxiety in our lives. Calendar clutter is a big one that comes up a lot. I didn't even realize how much calendar clutter I had because I was saying yes to all of these things. It sounded good opportunities on their own. But when I say yes to this, and I say yes to this, I say yes to this inadvertently after saying a thousand yeses, now I'm saying no to the things that are actually most important to me.Everyone else's emergency is now becoming urgent for me. But just because something is urgent for you doesn't mean I have to take it on or I have to say yes to it. And what I realized is that calendar clutter is a type of consumerism. It's thinking that if I just say yes to all the right things, then my life will be complete. But it ends up stressing us out, and it's become culturally acceptable. In fact, it's become praised, right? Oh, what are you up to lately? I'm just so busy. Look how important I am. I'm so busy. Right, right.Michael Jamin:Please, I didn't interrupt you. Well,Joshua Fields Millburn:Busy is just a four letter word. It just means my life's out of control whenever I go around saying I'm busy, I'm busy, I'm busy. It means I don't have control of my own life.Michael Jamin:So what's interesting is you made this step, which is to forsake all these trappings to become minimalist. And as you became more successful, the trappings somehow find a way to encroach back in. Absolutely. And you have to keep checking thatJoshua Fields Millburn:Consumerism takes many forms, and for me, it was the material because I thought that was going to make me happy or whole or complete, but then you replace that with other things. I remember when we first became unquote famous, people started recognizing us in public. It wasn't about like, is this enough? It's like, how do I get more of this? Right? But then you realize really quickly, it took me about six months, so maybe it wasn't that quick. It took me about six months to realize like, oh, this isn't why you're doing this, man. If you're chasing happiness, you're never going to find it. You were chasing it over here with the Range Rover or the big house or whatever. You didn't get it there. You're not going to get it from applause or veneration either. And what I realized over time is what enough for me is zero.I don't need the applause. I don't need the praise. Those things are nice, and I'm not allergic to them, and I'm not shunning them either. Anthony Dello talks about as soon as you denounce a thing, you're forever tethered it to it. And I find that to be true. I'm not denouncing material possessions. I own stuff. I'm talking to you in a microphone. I'm wearing a shirt. I'm wearing pants. I'm wearing shoes, whatever it is, I own some stuff. I don't denounce things, but I also don't need things to be hold or complete. I am complete in an empty room, and I don't need material possessions. I don't need your praise. I don't need a specific relationship in order to make me happy. I can have those things. I can enjoy those things, but as soon as I need them, that's the type of prism.Michael Jamin:Yeah, it's just so interesting because you've created the success for yourself, and yet it still has a way of sneaking back in, and you have to constantly check it. So it's a journey now. You're never there.Joshua Fields Millburn:Yeah. Yeah. I would say success doesn't exist because it's almost like it's a mirage, right? You see the successful person. I do this at some of our tour stops or live events sometimes, and I was asked the crowd, shout out one thing that you associate with a successful person. If I show you a picture of a successful person, what does that person look like? And it's almost always like an ad from a magazine almost. It's like it's a guy wearing a suit, so it's an expensive suit. There's some sort of expensive jewelry or watch if it's a woman, she has a nice dress and a nice handbag, and it's always the accoutrements of success, but it's never about the person's interstate. It's never like, oh, yeah, they're really at peace, or they don't really need for much. Now you can redefine what success is, but culturally, when we talk about success, there's a portrait of success that we're identifying. And now it's so absurd. It's like it's not just the nice suit. It has to be the Louis Vuitton shoes, or it has to be the Gucci wallet, or it has to be the Balenciaga, whatever. And these become the markers of success, but they're just trinkets. And even those things I'm not against necessarily, but they're not going to make you happy.Michael Jamin:Do you find yourself slipping into judgment though of people who have it?Joshua Fields Millburn:I used to, yeah, because I would pathologize needing those things, but now I don't judge. I identify because that's just me, man. Yes, I want to be accepted, or at least I wanted to be accepted. And I thought that those things were a shortcut. And so if anything, I have empathy for my former self who thought that was going to make people. And here's the perverse thing about it. Let's say that buying the right car or the right wallet or the right belt or the right shoes or whatever, does get you acceptance from a particular peer group. Well, man, you're being accepted for things that aren't even you. So are they accepting you or are they accepting the status symbols? ButMichael Jamin:Let me get your help on something. I wrote a story about this in my book where it's like when I walk by, my wife and I go by, we take walks in these very expensive neighborhoods. It's pleasant to walk around in, and you look at a big house and a big, and you go, man, and my instinct is, yeah, but they're miserable. And she goes, you don't know that. I hope what they have to be do they have to be? Can't they be happy and have a big house and all that stuff?Joshua Fields Millburn:Tell me. Yeah, absolutely. It's unlikely. It'sMichael Jamin:Unlikely. Go on.Joshua Fields Millburn:Yeah, it's unlikely because the constant need for more does not stop when you get the big house. What do you want? I mean, I live up in Ojai, California, and a lot of people live there in their third home. Their third home is in, I used to live in Missoula, Montana, and man, a lot of people have their second or third home in Missoula, and I'm not against that even, right? But when is it enough? What amount of square footage is enough? Here's a question. We never were stopped to ask how much money is enough?Because more always sounds like it's better, which fine if someone comes in here and hands me bags of money, I'm not going to object to that, but that's not how capitalism works. What happens with capitalism? I'm not against capitalism either, but the ugly side of capitalism is now you're tethered to something. Someone shows up with a bag full of a million dollars. It's not no strings attached. There are definitely strings attached, and those strings are attached. It's taken away from my freedom. There's this essay that was in the New York Times a few years ago called Power. No, thanks, I'm good. And in that essay, they posit that the least free person in America is the president in the United States, the most powerful person in America as the least free person. Well, why is that? It's because to have dominion over everyone comes with a whole lot of strings. You're tethered to obligations, and by untethering from obligations, you may not be able to have the big house, but you might have something that you want a whole lot more, some tranquility, some peace, some equanimity,Michael Jamin:Right? I just wonder, does that take convincing of your stick? Do you have to convince yourself of that, or you just go, no, I'm in. I'm in.Joshua Fields Millburn:No, I think you just have to see it. You have to see it. Yeah, because I don't think any level of convincing ever works. I think it was Dale Carnegie who said, A man convinced against his will is of the same opinion. Still.I love that because yeah, you can convince me that Michael Jordan's the greatest basketball player of all time, but if I don't actually believe that, I'm going to go back to my defaults. Kapil Gupta says, everyone defaults to their defaults. And so, yeah, you can convince me for a period of time, but unless I actually see it, and that's what happened when I walked away from the corporate world, I actually saw it. It wasn't just this hypothetical or cerebral exercise. It was feeling it viscerally. And then you don't need any convincing, no level of convincing is required. That's what love is, by the way. To love someone is to see them for who they are without trying to convince them of your love, without trying to manipulate them or coerce them, actually seeing them. And I think that's true with our material possessions, with our calendar, with that big house that you see in Beverly Hills or wherever. You know what, yes, you see it for what it is. You see the tethers that are attached to it, and if you want those tethers fine, but if you don't want what is attached to those tethers, realize that you don't actually want the house either.Michael Jamin:Hey, it's Michael Jamin. If you like my content, and I know you do because you're listening to me, I will email it to you for free. Just join my watch list. Every Friday I send out my top three videos of the week. These are for writers, actors, creative types, people like you can unsubscribe whenever you want. I'm not going to spam you, and the price is free. You got no excuse to join. Go to michaeljamin.com. And now back to, what the hell is Michael Jamin talking about?Michael Jamin:See, to me, what you're saying is you literally, I don't know, you took a leap. You took a leap of faith. I believe that this is not going to make me happy, and I believe this will make me happy. And you're someone who continues to make leaps. This is a little bit of a segue here, but you took a leap from being management into a writer, into a performer. Now you're on stage. Where do you get the balls to say that I'm a performer now? You know what I'm saying? It's a leap.Joshua Fields Millburn:Yeah. I don't ever think of it that way. I guess I just started doing these events because was happy that I remember once we did a tour stop in Knoxville in 2011. It was our first book, which is called Minimalism, and no one showed up, and we were at this little bookstore slash cafe. So Ryan and I are just there. It's a random Thursday night and we're drinking coffee, waiting on it. Is anyone going to show up? Oh man, no one showed up. And it's like, we'll give it 10 more minutes. We start walking out, it's half hour into the event, and we're walking out, and as we're walking out, there's this guy who and his girlfriend who are walking in, they say, Hey, you're the minimalists. And I'm like, yes, yes, we are. And they're like, we don'tMichael Jamin:Even have an audience. That's how minimal you're yes.Joshua Fields Millburn:And they're like, we're here to see you. I'm like, that's great. You're the only people who showed up and well, so let's sit down, pull up a chair. Let's have a conversation. So we had a tour stop with two people, show up, and to me, that was one of the most meaningful experiences we've had. I didn't look at it as a performer. I've kind of been like, water. We just fit the vessel that we're in, and if two people show up, we'll have a great two person conversation,Michael Jamin:But surelyJoshua Fields Millburn:Thousand people show up. We'll have a different conversation.Michael Jamin:But you must have some kind of pressure to feel like I have to entertain here. Not just educate, but entertain. No,Joshua Fields Millburn:I enjoy entertaining. I don't know that I have to. That would also feel like a prison, but I enjoy entertainment. I like shows that are actually shows, right? Conversations are cool, but I really like when people put the effort and get really obsessed about something, whether it's set design or it is audio, or it is the way the words look on a page in the type setting, whatever it is. I really appreciate the obsession. And yeah, I do like entertainment. I don't know. That's the point of doing what I do, but I don't think that it hurts. I mean, it's to be entertaining in a way is to be courteous to an audience. No one goes to the beach with a calculus textbook and says like, oh, I'm really looking forward to diving because there's no entertainment there at all. It's not delightful. And so I do enjoy delighting an audience, and I think it makes it what we're talking about a lot more compelling.Michael Jamin:But was there a moment there had to be of imposter syndrome. Who am I to be standing here? Who am I to be writing this book? Who am I to be? Was there ever that,Joshua Fields Millburn:Yeah, yeah. I guess that I never felt like an imposter. I just always felt like I was exploring. You're exploring. Yeah, because I'm not prescribing anything to anyone. Anytime I do, then I'll start to feel like an imposter isn't. Here are the three things that you should do to be happy. In fact, happiness doesn't even work like that. There's nothing you can do to be happy. Happiness can't be acquired. It can't be attained. It is already there. It's preexisting. We never go to a baby and say, well, here are three things you should do to be happy. You just see 'em smile and coup and laugh, and it's like, oh, well, why can't I do that? Well, I've covered it up with all the damn prescriptions, right? So I'm not prescribing anything. Anytime I do, then yeah, I start to feel like an imposter because who knows what. But people often call into our podcast and they'll say, do you have any advice about this? And the first thing I always say is, I don't have any advice, but I have some observations because I can't tell you what to do, but I can tell you what I see.Michael Jamin:So it's really just about you maintaining your authenticity and speaking what your truth is and take it or leave it. It's whatever someone else's truth is, that's for them to decide.Joshua Fields Millburn:Yeah, if I see a truth, I can observe it. I can put it out there on the table, and whether or not someone else picks it up, that's up to them. By the way, my beliefs don't really matter at all anyway. My beliefs don't matter. The listener's beliefs don't matter. The truth is the only thing that does matter. I was just talking to someone earlier today about this. If I told you I believe the earth is flat, does that matter? Does it change anything? No, but I think the adverse of that also doesn't change it. What do I tell you? I believe the earth is round. Well, so what? Congratulations. Right? The earth is round regardless of whether or not I believe it, and no amount of belief or clinging to a belief or changing a belief or convincing someone else that my belief is right is going to change what the truth isMichael Jamin:Right now. I'm jumping a little bit, but I feel like part of what your journey was, I wonder was it made a lot easier because you went on it with your best friend. It seems to me like I'm not sure if I could do this alone.Joshua Fields Millburn:In some ways it was easier, but a lot of times it was way harder. I are so different people. I mean, we're exact opposites in many ways. I'm super introverted. He's super extrovert. He's the most extroverted person I know. I'm the most introverted person I know. So if you look at us on a Myers-Briggs personality test, I am an ISTJ, he's an ENFP. We're literally exact opposite person. Excuse me, exact opposite personalities. But when we interact with each other, we're both mentors and mentees to each other. And I found that was really helpful to have someone there to help maybe keep me accountable. But other times it was, oh, man, it's hard to not want to change this person to pick up my beliefs. And then what happens is we start battering each other with our own beliefs or our own opinions, and we've moralized everything, right? Oh, you like cappuccinos more than lattes? Clearly you're wrong. I have a preference. And so it was harder, but it also allowed me to let go of a lot of that belief clutter that I was holding ontoMichael Jamin:Belief clutter. Interesting. Yeah. I mean, that's what I picked up from your last special. It's not just about letting go of stuff. It's about letting go of preconceived notions. It's about letting go of. Yeah. I mean, that's what I found so inspiring by what you guys are doing, but I don't know, it seems to me, because you still have a business here, you have a creative business, you've reinvented themselves as creative people, and you're going on, I don't know, at the end of the day, you still got to pay the bills. You're taking a big risk. So to me, it feels like, does having that partner there put you at ease a little bit?Joshua Fields Millburn:Yeah. I mean, the weird thing is I still make less money than I did in the corporate world, and in fact, they even took a pay cut this year to make sure that everyone is being paid well, and I'm totally fine with that. There are a lot of things I could do that I don't want to do.Michael Jamin:You mean opportunities don'tJoshua Fields Millburn:Do ads? On our podcast, for example,Michael Jamin:You don't do ads on your podcast?Joshua Fields Millburn:No, I don't like 'em. I like going to museums, and I can only imagine if I went to the LACMA and I went to the Picasso room and all of a sudden they were painting McDonald's arches onto his paintings. I wouldn't feel as good about the art.Michael Jamin:It's funny. I don't monetize either, but to me it's about something. What's the end goal then? What's the monetization process? Promote your other projects.Joshua Fields Millburn:Yeah, I mean, that's part of it. I just enjoy doing it. We didn't monetize the podcast at all for years, and now we just supported on Patreon. So we do a private version of the podcast for patrons who want to support us, but frankly, that's a very small sliver of the audience. Everything else we do for free, completely ad free. We don't monetize our YouTube channel. I just don't like advertisers, and that's not a moral stance, and it's not a judgment on anyone else. It's just a personal preference to me. There's some people who just really don't like cilantro, and I'm not going to convince them that they should like cilantro or that, oh, you're morally wrong because you dislike cilantro. It's kind of gross to them. And advertisements on my podcast are just kind of gross to me. IMichael Jamin:Understand that. But it seems to me it almost like you're bi minimalism and then someone puts an ad to buy sneakers that you don't eat or whatever. I could see the disconnect, but also, you're entitled to have a business and you're entitled to make a living. And what you offer has value. I mean,Joshua Fields Millburn:I don't think I'm entitled to anything, but I can do any of those. There are no shoulds. There are endless possibilities. Endless coulds so I could do ads. There are a bunch of things I could do, but I just choose not to because rather not. And to me, I would rather just go work at a coffee shop than put ads on. I'll do the podcast for free and just go work at a coffee shop than put ads on. We have enough listeners that I could make seven figures a year from putting ads on the thing. So put my preferences where my mouth is, and again, it is not a moral stance and it's not me standing on a pedestal. I just simply dislike ads and I'm not willing to say yes to something that grosses me out.Michael Jamin:Yeah. Well, good for you. Who can't respect that, but what is it then that gives you joy? What is it that you're working towards? What are your other ambitions with the minimalist? What do you want to do?Joshua Fields Millburn:Yeah, I don't look at success if I do look at success at all. I don't look at it as the big accomplishments. Those things can be fun as a byproduct, whether it's being a bestselling author or being nominated for an Emmy or whatever it might be. I don't shoot for those things. I try to map out my life to see what I want to do on a random Wednesday. What do you want your average Wednesday to look like?Michael Jamin:Okay. What do you want your average Wednesday to look like?Joshua Fields Millburn:Yeah, yeah. Usually I want to get up, I want to exercise, I want to read. I want to write those three things I do first thing in the morning. I really enjoy those things. I'll get some sun. I'll go for a hike. I'll do some grounding. I might have a conversation like this or two, I limit the conversations that I have just because I don't want to keep saying yes to a bunch of things, because if I'm saying yes to this, I want to be present with you. This is a hell yes for me. We're having this conversation right now. Why distract myself with something else I have going on this afternoon or tomorrow or whatever? My point is that if you solve for Wednesday, there's nothing grandiose. I don't want, what do you want your average Wednesday to look like? Oh, well, I want to win an Oscar and I want to become a number one New York Times bestselling author, whatever it is. Those things can happen, but that's not going to happen. Your average Wednesday, what if I'm taking my daughter to, she doesn't go to, we homeschool her, but we take her to this, and so what if I spend an hour reading to my daughter? What do I want my average Wednesday to look like? Is appreciably different from the giant peaks that we often see on the success roadmap?Michael Jamin:I mean, you're so grounded. You use the word yourself, grounding exercise, and yeah, I just have so much. First of all, I'm honored that I get this conversation because I don't know. I just think it's so interesting to hear you're a very successful, I think you can be measured as a successful person in many different ways, but obviously the most important one is your happiness quotient and what gives you peace and joy.Joshua Fields Millburn:And if I find myself chasing it, then I know that I'm, I've been misled or I've misled myself. Really, the happiness is out there. The joy is not out there. Everything else that we seek is alreadyMichael Jamin:Here. It's almost like a spiritual journey you put yourself on.Joshua Fields Millburn:Oh, absolutely. Yeah. Yeah. It's really just identifying what enough is and letting go of anything that gets in the way of enough.Michael Jamin:Yeah. Yeah. That's so interesting. Now, do you also though, now that you have a child, I don't know, do you also worry about that? Do you worry for her?Joshua Fields Millburn:No. No. I mean, because I know that she's going to go, just last week, this is timely, but her boyfriend, I mean, the boy she holds hands with occasionally, she's 10 years old, okay. And he called to break up with her, and he asked her, can we just be friends? This is her first boyfriend. I mean, I didn't want to correct her and be like, Hey, Ella, you know what? You were just friends. YouMichael Jamin:Were just friends.Joshua Fields Millburn:I have a big problem if you weren't just friends at age 10. But anyway, and so she's going through all this heartache and instead of pathologizing it and saying, don't cry, yeah, I felt the heartache for her as well, but real joy, real peace makes room for that. I could still be at peace at it and experience those. So-called negative emotions. I can feel the sadness for her. And she looks up at me and she says, I'm so sad, and I don't even know why I'm sad. Why am I sad? And oh, my heart was just broken. And then instead of me preaching to her, she asked a question, and that opened up the door for conversation. And I was able to explain to her, well, we get sad or we get upset. We get angry, we get frustrated whenever our expectations of the world, our worldview doesn't map onto reality. And right now you want things to be one way and they are another way, and being sad isn't wrong or bad, you're going to experience this. And by the way, by her experiencing it, that's how she moves on from it. And she moved on so much quicker than I would have. And that's what the beautiful thing about kids. When you have a kid, you learn so much about letting go. She has far less to learn from me than I had to learn from her.Michael Jamin:But I sound very obviously very zen and very at balance. But when you were starting this minimalism journey to get the word out there to do these shows and book tours and all, there must've been disappointments along the way and would frustrated the hell out of you, or no,Joshua Fields Millburn:All the disappointments happened later way after the success. What Really? Absolutely, man, it was all just a beautiful accident early on. I remember the first time we had an amazing tour stop where it was 2012, December, 2012. This was our second tour. Yeah, we call it the Holiday Happiness Tour. We did 10 cities over the course of maybe three weeks, and us and Canada, just 10 major markets. And we had people actually show up to these. I remember we had 70 people show up in San Francisco, and we had maybe 25 people show up in Washington, DC and 40 people in Boston. And all of a sudden we had people who were actually showing up to these things. And then we had this event in Toronto. It was at this co-working space that we had. Someone found it for us. They let us use it for free, and we show up.And it was the first time I absolutely knew that, oh, our lives are going to be different after this. We showed up and there was another event going on. It totally blocked off our event. And this other event that was going on, there was all these people waiting to get in. I'm like, oh, they're totally going to screw up the small event that we have planned. And so I look at the organizer, her name was Melissa. I said, Melissa, what event are they here for? And she looked at me and she said, they're for you, dummy. And it was like a thousand people who showed up at this event.Michael Jamin:And this space was big enough to accommodateJoshua Fields Millburn:It? No, not at all. And they actually let us use the basement. And even then there were people, it was like sardines at a rock concert or something, and it was all gravy, man, I would've been just as thrilled if 15 people showed up that night, and it's easy to say as a Monday morning quarterback, but what happened is that started to build up these expectations in the future. Oh yeah, yeah. Now we need 2000 people to show up, whatever it is. And it's like, well, no. In fact, recently we just started doing these smaller events here in Los Angeles. We did five of them over the course of, I dunno, six months or so. We called them Sunday symposiums, and we made them intentionally small where only 200 people could show up. It was 200 seat theater downtown, and that was it. If you showed up for that, great. And every single one of 'em sold out. Let's do something intentionally small, and I'd love to do some events with 12 people, because to me, having the expectation totally ruins the thing. Whoever shows up shows up. If I need them to start showing up,Michael Jamin:Oh man,Joshua Fields Millburn:What's going to happen?Michael Jamin:So it was, once you hit that success, like you're saying, that's when you have disappointment, more expectations. So were there others? Man, this is just so interesting to me. So what do you do then, other than keep yourself in check? Because your natural inclination is to get more success, more followers, more fans and all that?Joshua Fields Millburn:Yeah, yeah. I mean, for me, it was about identifying what enough is. But yeah, there'll be some disappointments along the way. There was this film series that were working on. Netflix actually encouraged it. And so I go to pitch them on it. I do all my own pitching. I don't have an agent do it. I just show up and I'll have them book the appointment, and it's just me in a room with whatever executives, and that's how it's worked. And then I show up and best pitch of my life. It went amazing. It was this

Now that both the SAG and WGA strikes are over, how are below-the-line workers in Hollywood faring?  Following big wins for SAG-AFTRA and WGA, members of IATSE — the union representing below-the-line workers — are preparing for their own negotiations. A new exhibit at LACMA is displaying more than 150 creations of textile art and modern abstraction that span over a century.

This week on ‘Jam Session,' Juliet and Amanda discuss the New York Times article on the ghostwriters of Britney Spears's memoir, ‘The Woman in Me' (2:09). The link to this article can be found below! Next, the women discuss all the celebrities that attended the LACMA Art+Film Gala in Los Angeles this past weekend and what they are up to amidst the strike (5:12). They also discuss the 2023 CFDA Fashion Awards (13:05), Jennifer Lopez and Ben Affleck (19:55), and more! Hosts: Juliet Litman and Amanda Dobbins Producer: Jade Whaley Learn more about your ad choices. Visit podcastchoices.com/adchoices

Whether singing live, reading to the masses, or hosting a range of gigs in her drag excellence, Pickle (Weakest Link, Dodgeball Thunderdome, Tyler Perry's Sistas) lays out key points in how to build your brand with authenticity. Our guest and drag extraordinaire has partnered with the Academy Museum, City of West Hollywood, Independent Shakespeare Company, LA County Library, LA Public Library, LACMA, Outfest, Tinder, and the list goes on! Don't miss great advice with insightful lessons on expanding a brand through community engagement! Want to be featured on the pod? https://docs.google.com/forms/d/e/1FAIpQLScGSAuXcPkCkdx3qoWiG1trcQYzksClzVes4u7YXcR2td9ALg/viewform Want to send a voice message? https://www.speakpipe.com/DamselsintheDMs Want to pitch a guest or topic? https://www.damselsinthedms.com/contact.html

Brought to you by AG1 all-in-one nutritional supplement, Helix Sleep premium mattresses, and Shopify global commerce platform, providing tools to start, grow, market, and manage a retail business. Rich Paul (@RichPaul4) is the CEO and founder of KLUTCH Sports Group, the powerhouse agency representing some of the biggest athletes across major professional sports. Paul founded KLUTCH Sports in 2012 in his hometown of Cleveland, Ohio, where he forged a unique and personal approach to representing top NBA talent—putting athletes first and empowering them to build careers and brands on and off the court.In 2019, KLUTCH Sports partnered with United Talent Agency (UTA). Paul serves as UTA's Head of Sports and is an agency partner, and he was appointed to UTA's board of directors in 2020. In 2019, Paul was named GQ's “Power Broker of the Year” and dubbed “The King Maker” on the cover of Sports Illustrated. In 2021, TIME recognized KLUTCH Sports on its first-ever list of TIME100 Most Influential Companies, and Variety recently named Paul to their “Variety500” list of the most influential business leaders shaping the global media industry. Paul is also credited with driving the reversal of the so-called “Rich Paul Rule,” which would have banned agents without a college degree from representing NCAA student athletes.In 2021, Paul and three former Nike executives formed a company called ADOPT, a creative agency focused on sport, wellness, nutrition, tech, and other consumer-facing products. In 2022, Paul joined the board of trustees of LACMA and the boards of directors of Funko and Designer Brands Inc. In 2023, he joined the board of directors of Live Nation. Paul is also a minority partner of the SpringHill Company.His new book is Lucky Me: A Memoir of Changing the Odds.Please enjoy!*This episode is brought to you by AG1! 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Helix was selected as the best overall mattress of 2022 by GQ magazine, Wired, and Apartment Therapy. With Helix, there's a specific mattress to meet each and every body's unique comfort needs. Just take their quiz—only two minutes to complete—that matches your body type and sleep preferences to the perfect mattress for you. They have a 10-year warranty, and you get to try it out for a hundred nights, risk-free. They'll even pick it up from you if you don't love it. And now, Helix is offering 20% off all mattress orders plus two free pillows at HelixSleep.com/Tim.*This episode is also brought to you by Shopify! Shopify is one of my favorite platforms and one of my favorite companies. Shopify is designed for anyone to sell anywhere, giving entrepreneurs the resources once reserved for big business. In no time flat, you can have a great-looking online store that brings your ideas to life, and you can have the tools to manage your day-to-day and drive sales. No coding or design experience required.Go to shopify.com/Tim to sign up for a one-dollar-per-month trial period. It's a great deal for a great service, so I encourage you to check it out. Take your business to the next level today by visiting shopify.com/Tim.*For show notes and past guests on The Tim Ferriss Show, please visit tim.blog/podcast.For deals from sponsors of The Tim Ferriss Show, please visit tim.blog/podcast-sponsorsSign up for Tim's email newsletter (5-Bullet Friday) at tim.blog/friday.For transcripts of episodes, go to tim.blog/transcripts.Discover Tim's books: tim.blog/books.Follow Tim:Twitter: twitter.com/tferriss Instagram: instagram.com/timferrissYouTube: youtube.com/timferrissFacebook: facebook.com/timferriss LinkedIn: linkedin.com/in/timferrissPast guests on The Tim Ferriss Show include Jerry Seinfeld, Hugh Jackman, Dr. Jane Goodall, LeBron James, Kevin Hart, Doris Kearns Goodwin, Jamie Foxx, Matthew McConaughey, Esther Perel, Elizabeth Gilbert, Terry Crews, Sia, Yuval Noah Harari, Malcolm Gladwell, Madeleine Albright, Cheryl Strayed, Jim Collins, Mary Karr, Maria Popova, Sam Harris, Michael Phelps, Bob Iger, Edward Norton, Arnold Schwarzenegger, Neil Strauss, Ken Burns, Maria Sharapova, Marc Andreessen, Neil Gaiman, Neil de Grasse Tyson, Jocko Willink, Daniel Ek, Kelly Slater, Dr. Peter Attia, Seth Godin, Howard Marks, Dr. Brené Brown, Eric Schmidt, Michael Lewis, Joe Gebbia, Michael Pollan, Dr. Jordan Peterson, Vince Vaughn, Brian Koppelman, Ramit Sethi, Dax Shepard, Tony Robbins, Jim Dethmer, Dan Harris, Ray Dalio, Naval Ravikant, Vitalik Buterin, Elizabeth Lesser, Amanda Palmer, Katie Haun, Sir Richard Branson, Chuck Palahniuk, Arianna Huffington, Reid Hoffman, Bill Burr, Whitney Cummings, Rick Rubin, Dr. Vivek Murthy, Darren Aronofsky, Margaret Atwood, Mark Zuckerberg, Peter Thiel, Dr. Gabor Maté, Anne Lamott, Sarah Silverman, Dr. Andrew Huberman, and many more.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

As Head of Product and Sustainability Lead at Better for All, Raegan Kelly has spent years working with biopolymer engineers and manufacturing experts to create a unique, PHBH bioplastic cup that acts as an alternative to traditional, harmful single-use cups. Prior to Better for All, she worked with Warner Bros Records, LACMA, Otis College of Design, Disney's Epcot Center, and more as a sole proprietor. She has 30 years experience in key creative positions, both hands on and managerial – coordinating collaborators dispersed geographically, bringing a variety of skills and disciplines together to help achieve a business' core mission. At USC Annenberg, Kelly built Vectors, an online interactive journal that included the design, programming and implementation of interactive data-driven interfaces for scholars and scientists.

A conversation with Los Angeles County Museum of Art curator Diva Zumaya about the new exhibit “The World Made Wondrous: The Dutch Collector's Cabinet and the Politics of Possession” on display now through March 3rd of next year. Zumaya, who is the Assistant Curator, European Painting and Sculpture at LACMA, has brought together over 300 objects for the exhibit, including paintings, prints, sculptures, precious stones, shells, and taxidermy in order to recreate a fictive 17th-century Dutch collector's cabinet. The result is a dialog about the political and colonial histories of European collecting practices in the 17th century which highlights problematic policies, beliefs and visual representations.https://www.lacma.org/art/exhibition/world-made-wondrous-dutch-collectors-cabinet-and-politics-possession

Analia Saban talks to Ben Luke about her influences—from writers to musicians and, of course, other artists—and the cultural experiences that have shaped her life and work. Saban, who was born in 1980 in Buenos Aires and now lives in Los Angeles, examines, unpacks and plays with the medium of painting. She explores its materiality, its iconography and its history, reflecting on the origin and hue of colour pigments and the properties of media, the weave of canvas, the nature of brushwork, the conventions of depiction, and more. Her approach is consistent with the strategies of conceptual art yet it is abundantly physical and visual. She discusses her decision to move her studies from film to art after an epiphanic visit to New York museums; her profound friendship with her tutor at the University of California, Los Angeles, John Baldessari, and how it affects the presence of humour in her work; the perfect balance in the music of Keith Jarrett; and how Julia Kristeva's writings on abjection prompted some of the darker thoughts in her work. Plus, she gives insight into her life in the studio, and answers our usual questions, including the ultimate: what is art for?Analia Saban: Synthetic Self, Sprüth Magers, Los Angeles, and Tanya Bonakdar Gallery, Los Angeles, 15 September-28 October; Group exhibitions: Woven Histories: Textiles and Modern Abstraction, Los Angeles County Museum of Art (Lacma), 17 September–21 January 2024; Eternal Medium: Seeing the World in Stone, Lacma, until 11 February 2024; Chosen Memories: Contemporary Latin American Art from the Patricia Phelps de Cisneros Gift and Beyond, The Museum of Modern Art, New York, until 9 September. Hosted on Acast. See acast.com/privacy for more information.

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In this episode, we chat with Diva Zumaya, assistant curator at LACMA. Join us as we explore her journey at LACMA, where she challenges dominant narratives in European art history, and learn about her deep passion for teamwork in the curatorial process. 

Episode No. 605 features artist Gio Swaby, and curator Leslie Jones. The Art Institute of Chicago is presenting "Gio Swaby: Fresh Up," a solo exhibition of work Swaby made in 2017-2021. Swaby's embroidered portraits celebrate both Blackness and her subjects' self-awareness and self-empowerment. The AIC's Melinda Watt co-curated the show with the Museum of Fine Arts, St. Petersburg, Fla. curator Katherine Pill. Rizzoli Electa published an accompanying catalogue in association with the two museums. Amazon and Bookshop offer it for about $35. This is Swaby's first museum solo exhibition. Her work is in the collection of museums such as the Museum of Fine Arts, Boston, the Weisman Art Museum, University of Minnesota, and the Minneapolis Institute of Art. Jones is the curator of "Coded: Art Enters the Computer Age, 1952-1982" at the Los Angeles County Museum of Art. The exhibition examines how artists embraced computer technology in the first decades of the computer age. It is on view through July 2. DelMonico Books and LACMA co-published the exhibition catalogue. Amazon and Bookshop offer it for about $60-70. Instagram: Gio Swaby, Tyler Green.

Episode No. 596 is a holiday weekend clips show featuring artist Renée Stout. Stout is included in the Nasher's "Spirit in the Land," an exhibition that considers today's ecological concerns and demonstrates how our identities and natural environments are intertwined. The show particularly focuses on the relationship between the mainland United States and the Caribbean. Curated by Trevor Schoonmaker, it will be on view through July 9. The exhibition is accompanied by a catalogue which, as of the show posting date, is available only at the Nasher. Her work is also in the Los Angeles County Museum of Art's version of "Afro-Atlantic Histories." LACMA's presentation is a mostly contemporary version of an exhibition that originated at the Museu de Arte de São Paulo Assis Chateaubriand (MASP) and the Instituto Tomie Ohtake in Brazil in 2018 before traveling to the National Gallery of Art, Washington last year. "Afro-Atlantic Histories" is at LACMA through September 10. If it seems like Stout has been in every major contemporary group show in the last year, it may be because she has been: she was included in both "The Dirty South: Contemporary Art, Material Culture, and the Sonic Impulse," organized last year by the Virginia Museum of Fine Arts, and "Supernatural America: The Paranormal in American Art," which was put together by the Minneapolis Institute of Art. An exhibition of Stout's recent work, "Renée Stout: Navigating the Abyss," closed at New York's Marc Straus gallery last month. This program was taped on the occasion of Stout's inclusion in "Person of Interest" at the Sheldon Museum of Art at the University of Nebraska in 2020. For images related to this program, see Episode No. 437.

Episode No. 592 of The Modern Art Notes Podcast features artist Amalia Mesa-Bains and curator Michael Duncan. The Berkeley Art Museum and Pacific Film Archive is presenting "Amalia Mesa-Bains: Archaeology of Memory," the first retrospective of the pioneering Chicana artist. The exhibition includes nearly 60 works including fourteen of Mesa-Bains' major installations. It was curated by María Esther Fernández and Laura E. Pérez and is on view through July 23. The outstanding catalogue was published by the Berkeley Art Museum in association with University of California Press. Amazon and Indiebound offer it for about $50. Across a half-century, Mesa-Bains has foregrounded Chicana forms such as altares (home altars), ofrendas (offerings to the dead), descansos (roadside resting places), and capillas (home yard shrines) into contemporary art. Her work often spotlights domestic spaces and the construction of landscape in ways that highlight colonial erasure. Among the museums which have presented solo exhibitions of Mesa-Bains' work are the Whitney Museum of American Art, the Williams College Museum of Art, the Fowler Museum at UCLA, and the San Francisco Museum of Modern Art. As promised on the program: Sandy Rodriguez on Episode No. 532. On the second segment, curator Michael Duncan discusses "Another World: The Transcendental Painting Group, 1938-45," which is at the Los Angeles County Museum of Art through June 19.  The exhibition presents a group of mostly northern New Mexico-based artists, including Raymond Jonson and Agnes Pelton, who built a spiritually-informed abstraction with a painterly language that included symbols and images drawn from the collective unconscious. The show's catalogue was published by the Crocker Art Museum and DelMonico Books. Amazon and Indiebound offer it for about $60.

Anderson and special guest Logan count down their Top 5 Gifts for the Film Lover. The Film Vault on Youtube Logan's Youtube Channel Start feeling better with Feals! Become a member today by going to feals.com/TFV and you'll get 50% off your first order with free shipping. TFV Patreon is Here for Even More Film Vault “Kubrick is Everywhere” Shirt Atty's Antiques Listener Art: Neil Orange Peel Logan's List: Bubblegum Stuff Dice-Flix TV Decider Dice Cocktails of the Movies Movie Quotes Drinking Game Great Northern Stove Top Popcorn Maker TV led Backlights with Camera, Dreamview t2 Anderson's List: 5.  Oscarmetrics Book: The Math Behind the Biggest Night In Hollywood, $22 to $35 4. Personalized Neon/LED Home Theater Sign by AdvProHandMade on Etsy, $89.99 3. Suicide Squad Polkadot Man Scene Mug, $24.99 2. Line by Line Posters, $40 for prints and $7,000 to $10,000 for Commissions. 1. “Kubrick is Everywhere” Shirt, Thanks to LVBART.com Bryan's List: 5. wall scratch off 4. Grogu waffle maker 3. 007 cards 2. Kubrick archives -- 2008; 544 pages; basically a written version of the LACMA exhibit from a few years ago 1. Auditor of the month candle (Everything Everywhere All At Once)   The Film Vault on Twitch Anderson's Video Review of The Lost City Buy Bryan's Book Shrinkage Here Listen to Avery's Podcast Invade the Decade CONNECT WITH US: Instagram: @AndersonAndBryan Facebook.com/TheFilmVault Twitter: @TheFilmVault HAVE A CHAT WITH ANDY HERE ATTY & ANDY: DIRECTED BY A FOUR-YEAR-OLD Subscribe Atty and Andy's Youtube Channel Here THE COLD COCKLE SHORTS RULES OF REDUCTION MORMOAN THE CULT OF CARANO Please Give Groupers a Rotten Tomatoes Audience Score Here Please Rate It on IMDB Here The Blu-ray, US The Blu-ray, International Groupers is now available on these platforms. On Amazon On Google Play  On iTunes On Youtube On Tubi On Vudu