Podcasts about latin american art

Learn more: - Read or download Decolonial Ecologies: The Reinvention of Natural History in Latin American Art (2023), which is published on open access by Open Book Publishers (https://www.openbookpublishers.com/books/10.11647/obp.0339), or read a blog about the book (https://blogs.openbookpublishers.com/the-reinvention-of-natural-history-in-latin-american-art/) - Read or download Decolonizing Science in Latin American Art (2021) (https://uclpress.co.uk/book/decolonizing-science-in-latin-american-art/), which is published on open access by UCL Press, or watch a video essay (https://www.youtube.com/watch?v=vIgQHyKsLLo) that introduces some of the art-science projects discussed in the book, or watch a video of the book launch (https://www.youtube.com/watch?v=YKBf065AZQc&t=1575s) - Find a list of major publications by Joanna Page here: https://www.latin-american.cam.ac.uk/staff/academic/joanna-page - Watch a lecture by Joanna Page on Open Research and the Coloniality of Knowledge (2023) - Listen to Kuai Shen's recordings of ant stridulations: https://kuaishen.tv/stridulation-amplified.html - Find out more about the marine conservation charity ORCA: https://orca.org.uk/ - Listen to a recording by Fairhaven Singers (the choir Joanna sings in): https://open.spotify.com/track/6vV6DzjEgpR6rsjkXL9Q2i

What can the tiny chia seed reveal about the history of oil painting? For centuries, one of the most prized mediums of art at museums like the Met has been oil painting, a European tradition embodied by the so-called "old masters." This is the story of how the oil of the chia seed — yes, the same one that's a staple add-on for smoothies and acai bowls — and its origins in Mexico could help us look at oil painting and our world with fresh eyes.  Guests: Elsa Arroyo, Mexican paintings conservator Ronda Kasl, Curator of Latin American Art, The American Wing, The Met Monica Katz, Conservator, Hispanic Society José Luis Lazarte Luna, Assistant Conservator, Paintings Conservation, The Met Roger Danilo Carmona, General Manager, Kremer Pigments Inc. Julie Arslanoglu, Research Scientist, The Met Mario Gaspar, Lacquerware artist Featured artworks: José Manuel de la Cerda, Turnus Provoked into War by Aeneas, ca. 1764: https://www.metmuseum.org/art/collection/search/841656 Juan Correa, The Virgin of Valvanera, ca. 1710: https://www.denverartmuseum.org/en/object/2008.832 Juan Correa, Allegory of the Holy Sacrament, ca. 1690: https://www.denverartmuseum.org/en/object/2015.570 Juran Correa, Angel Carrying a Cypress (Ángel portando un ciprés), ca. 1680-1690: https://collections.lacma.org/node/1034999 For a transcript of the episode and more information, visit metmuseum.org/immaterialchia #MetImmaterial Immaterial is produced by The Metropolitan Museum of Art and Magnificent Noise and hosted by Camille Dungy. Our production staff includes Salman Ahad Khan, Ann Collins, Samantha Henig, Eric Nuzum,  Emma Vecchione, Sarah Wambold, and Jamie York. Additional staff includes Laura Barth, Julia Bordelon, Skyla Choi, Maria Kozanecka, and Rachel Smith. Sound design by Ariana Martinez and Kristin Muller.Original music by Austin Fisher.Fact-checking by Mary Mathis and Claire Hyman.Special thanks to Adwoa Gyimyah-Brempong. Immaterial is made possible by Dasha Zhukova Niarchos. Additional support is provided by the Zodiac Fund. And special thanks to Aleks Popowich, Alfonso Miranda Marquez, Beatriz Ortega, Marco Leona, and Avery Trufelman. The research presented within has been made possible in part by the National Endowment for the Humanities: Democracy demands wisdom.See omnystudio.com/listener for privacy information.

How do new museums make money — really?In this episode, we lift the veil on new museum projects and money. What is “the peril of the bicycle wheel”? Is it bad to rely on “anchor funding”? How many kinds of revenue should a new museum project have? What happens if you have the wrong number? (Hint: eh, not so good.) How much money do endowments make? And what's so magical about thirds?Amy Kaufman (Principal, Amy Kaufman Cultural Planning) joins host Jonathan Alger (Managing Partner, C&G Partners) to discuss “The Money Pie Chart”.Along the way: Latin American Art curator jokes, coat-checking 200 motorcycle helmets at once, and a pharmaceutical metaphor Jonathan will never live down.Talking Points:1. Museums have to make money2. Introducing the pie chart3. Pac Man, peace signs, and anacins4. The peril of the bicycle wheel5. What happens when you don't diversify6. What's next: Living wages and climate actionHow to Listen:Apple Podcastshttps://podcasts.apple.com/us/podcast/making-the-museum/id1674901311 Spotifyhttps://open.spotify.com/show/6oP4QJR7yxv7Rs7VqIpI1G Everywherehttps://makingthemuseum.transistor.fm/ Guest Bio:Amy Kaufman (Principal, Amy Kaufman Cultural Planning) is an institutional planner with demonstrated success in strategy, business and facilities planning, branding, and operational implementation. She has successfully worked with organizations of all types and sizes, including museums, universities, parks, botanic gardens, visitor centers and heritage sites. She collaborates with government agencies, architects, developers, foundations, and institutional leaders to integrate a variety of goals and perspectives. She plans new institutions; and assesses performance and conducts qualitative and quantitative market research for existing organizations, integrating findings into strategic, operational and visitor experience plans. Previously, Amy was Managing Director at Lord Cultural Resources and Special Project Director at the Guggenheim.About MtM: Making the Museum is hosted (podcast) and written (newsletter) by Jonathan Alger. This podcast is a project of C&G Partners | Design for Culture. Learn about the firm's creative work at: https://www.cgpartnersllc.com Show Links: Amy Kaufman Cultural Planninghttps://www.akculturalplanning.comMtM Show Contact: https://www.makingthemuseum.com/contact https://www.linkedin.com/in/jonathanalger alger@cgpartnersllc.com https://www.cgpartnersllc.com Newsletter: Liked the show? Try the newsletter. Making the Museum is also a one-minute email on exhibition planning and design for museum leaders, exhibition teams and visitor experience professionals. Subscribe here: https://www.makingthemuseum.com 

When he was a child, artist Bony Ramirez moved from his native Dominican Republic to New Jersey. The first museum he ever visited in his new home was The Newark Museum of Art. After working for years in construction while also painting in his mother's kitchen, Ramirez is now a full-time self-taught artist. Over the last year, Ramirez immersed himself within the museum's collections, and the result is a new installation, Cattleya, featuring work he made inspired by what he found. Bony Ramirez speaks about his experience alongside Elena Munoz-Rodriguez, Newark Museum assistant curator of Latinx and Latin American Art.

Danielle Juliao is the founder of Concordia, a creative studio and pop up gallery space in New York City. She focuses on highlighting Latin American emerging artists by giving them the space to show their work in somewhat of an untraditional gallery experience. With Concordia, everyone is encouraged to visit the space and join this community that goes beyond just the physical gallery space. Whether it's through artists chats, dinners, and other events like wine or mezcal tastings, Dani wants you to feel comfortable coming in and asking questions about the art, and move away from the idea that art is only for a certain type of audience. Concordia brings attention to Latin American talent in a very organic and beautiful way, and I'm so glad we got to talk about this project and more on today's episode. For more on Concordia, follow them @concordia.nyc. Hope you enjoy this episode! x

Race is sometimes treated as a biological fact. It is actually a modern invention. But for this concept to gain power, its logic had to be spread – and made visible. Art historian Ilona Katzew tells the story of how Spanish colonists of modern-day Mexico developed theories of blood purity and used the casta paintings – featuring family groups with differing skin pigmentations set in domestic scenes – to represent these theories as reality. She also shares the strange challenges of curating these paintings in the present, when the paintings' insidious ideologies have been debunked, but when mixed-race viewers also appreciate images that testify to their presence in the past. Researcher, writer, and episode producer: Christopher Nygren, Associate Professor, History of Art and Architecture, University of Pittsburgh Featured Scholar: Ilona Katzew, Curator and Head of Latin American Art, Los Angeles County Museum of Art Special thanks: Elise Lonich Ryan, Nayeli Riano, Jennifer Josten For transcript, teaching aids, and other resources, click here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Race is sometimes treated as a biological fact. It is actually a modern invention. But for this concept to gain power, its logic had to be spread – and made visible. Art historian Ilona Katzew tells the story of how Spanish colonists of modern-day Mexico developed theories of blood purity and used the casta paintings – featuring family groups with differing skin pigmentations set in domestic scenes – to represent these theories as reality. She also shares the strange challenges of curating these paintings in the present, when the paintings' insidious ideologies have been debunked, but when mixed-race viewers also appreciate images that testify to their presence in the past. Researcher, writer, and episode producer: Christopher Nygren, Associate Professor, History of Art and Architecture, University of Pittsburgh Featured Scholar: Ilona Katzew, Curator and Head of Latin American Art, Los Angeles County Museum of Art Special thanks: Elise Lonich Ryan, Nayeli Riano, Jennifer Josten For transcript, teaching aids, and other resources, click here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Race is sometimes treated as a biological fact. It is actually a modern invention. But for this concept to gain power, its logic had to be spread – and made visible. Art historian Ilona Katzew tells the story of how Spanish colonists of modern-day Mexico developed theories of blood purity and used the casta paintings – featuring family groups with differing skin pigmentations set in domestic scenes – to represent these theories as reality. She also shares the strange challenges of curating these paintings in the present, when the paintings' insidious ideologies have been debunked, but when mixed-race viewers also appreciate images that testify to their presence in the past. Researcher, writer, and episode producer: Christopher Nygren, Associate Professor, History of Art and Architecture, University of Pittsburgh Featured Scholar: Ilona Katzew, Curator and Head of Latin American Art, Los Angeles County Museum of Art Special thanks: Elise Lonich Ryan, Nayeli Riano, Jennifer Josten For transcript, teaching aids, and other resources, click here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/latin-american-studies

Race is sometimes treated as a biological fact. It is actually a modern invention. But for this concept to gain power, its logic had to be spread – and made visible. Art historian Ilona Katzew tells the story of how Spanish colonists of modern-day Mexico developed theories of blood purity and used the casta paintings – featuring family groups with differing skin pigmentations set in domestic scenes – to represent these theories as reality. She also shares the strange challenges of curating these paintings in the present, when the paintings' insidious ideologies have been debunked, but when mixed-race viewers also appreciate images that testify to their presence in the past. Researcher, writer, and episode producer: Christopher Nygren, Associate Professor, History of Art and Architecture, University of Pittsburgh Featured Scholar: Ilona Katzew, Curator and Head of Latin American Art, Los Angeles County Museum of Art Special thanks: Elise Lonich Ryan, Nayeli Riano, Jennifer Josten For transcript, teaching aids, and other resources, click here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

Race is sometimes treated as a biological fact. It is actually a modern invention. But for this concept to gain power, its logic had to be spread – and made visible. Art historian Ilona Katzew tells the story of how Spanish colonists of modern-day Mexico developed theories of blood purity and used the casta paintings – featuring family groups with differing skin pigmentations set in domestic scenes – to represent these theories as reality. She also shares the strange challenges of curating these paintings in the present, when the paintings' insidious ideologies have been debunked, but when mixed-race viewers also appreciate images that testify to their presence in the past. Researcher, writer, and episode producer: Christopher Nygren, Associate Professor, History of Art and Architecture, University of Pittsburgh Featured Scholar: Ilona Katzew, Curator and Head of Latin American Art, Los Angeles County Museum of Art Special thanks: Elise Lonich Ryan, Nayeli Riano, Jennifer Josten For transcript, teaching aids, and other resources, click here. Learn more about your ad choices. Visit megaphone.fm/adchoices

Race is sometimes treated as a biological fact. It is actually a modern invention. But for this concept to gain power, its logic had to be spread – and made visible. Art historian Ilona Katzew tells the story of how Spanish colonists of modern-day Mexico developed theories of blood purity and used the casta paintings – featuring family groups with differing skin pigmentations set in domestic scenes – to represent these theories as reality. She also shares the strange challenges of curating these paintings in the present, when the paintings' insidious ideologies have been debunked, but when mixed-race viewers also appreciate images that testify to their presence in the past. Researcher, writer, and episode producer: Christopher Nygren, Associate Professor, History of Art and Architecture, University of Pittsburgh Featured Scholar: Ilona Katzew, Curator and Head of Latin American Art, Los Angeles County Museum of Art Special thanks: Elise Lonich Ryan, Nayeli Riano, Jennifer Josten For transcript, teaching aids, and other resources, click here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Race is sometimes treated as a biological fact. It is actually a modern invention. But for this concept to gain power, its logic had to be spread – and made visible. Art historian Ilona Katzew tells the story of how Spanish colonists of modern-day Mexico developed theories of blood purity and used the casta paintings – featuring family groups with differing skin pigmentations set in domestic scenes – to represent these theories as reality. She also shares the strange challenges of curating these paintings in the present, when the paintings' insidious ideologies have been debunked, but when mixed-race viewers also appreciate images that testify to their presence in the past. Researcher, writer, and episode producer: Christopher Nygren, Associate Professor, History of Art and Architecture, University of Pittsburgh Featured Scholar: Ilona Katzew, Curator and Head of Latin American Art, Los Angeles County Museum of Art Special thanks: Elise Lonich Ryan, Nayeli Riano, Jennifer Josten For transcript, teaching aids, and other resources, click here. Learn more about your ad choices. Visit megaphone.fm/adchoices

Race is sometimes treated as a biological fact. It is actually a modern invention. But for this concept to gain power, its logic had to be spread – and made visible. Art historian Ilona Katzew tells the story of how Spanish colonists of modern-day Mexico developed theories of blood purity and used the casta paintings – featuring family groups with differing skin pigmentations set in domestic scenes – to represent these theories as reality. She also shares the strange challenges of curating these paintings in the present, when the paintings' insidious ideologies have been debunked, but when mixed-race viewers also appreciate images that testify to their presence in the past. Researcher, writer, and episode producer: Christopher Nygren, Associate Professor, History of Art and Architecture, University of Pittsburgh Featured Scholar: Ilona Katzew, Curator and Head of Latin American Art, Los Angeles County Museum of Art Special thanks: Elise Lonich Ryan, Nayeli Riano, Jennifer Josten For transcript, teaching aids, and other resources, click here. Learn more about your ad choices. Visit megaphone.fm/adchoices

Race is sometimes treated as a biological fact. It is actually a modern invention. But for this concept to gain power, its logic had to be spread – and made visible. Art historian Ilona Katzew tells the story of how Spanish colonists of modern-day Mexico developed theories of blood purity and used the casta paintings – featuring family groups with differing skin pigmentations set in domestic scenes – to represent these theories as reality. She also shares the strange challenges of curating these paintings in the present, when the paintings' insidious ideologies have been debunked, but when mixed-race viewers also appreciate images that testify to their presence in the past. Researcher, writer, and episode producer: Christopher Nygren, Associate Professor, History of Art and Architecture, University of Pittsburgh Featured Scholar: Ilona Katzew, Curator and Head of Latin American Art, Los Angeles County Museum of Art Special thanks: Elise Lonich Ryan, Nayeli Riano, Jennifer Josten For transcript, teaching aids, and other resources, click here. Learn more about your ad choices. Visit megaphone.fm/adchoices

Race is sometimes treated as a biological fact. It is actually a modern invention. But for this concept to gain power, its logic had to be spread – and made visible. Art historian Ilona Katzew tells the story of how Spanish colonists of modern-day Mexico developed theories of blood purity and used the casta paintings – featuring family groups with differing skin pigmentations set in domestic scenes – to represent these theories as reality. She also shares the strange challenges of curating these paintings in the present, when the paintings' insidious ideologies have been debunked, but when mixed-race viewers also appreciate images that testify to their presence in the past. Researcher, writer, and episode producer: Christopher Nygren, Associate Professor, History of Art and Architecture, University of Pittsburgh Featured Scholar: Ilona Katzew, Curator and Head of Latin American Art, Los Angeles County Museum of Art Special thanks: Elise Lonich Ryan, Nayeli Riano, Jennifer Josten For transcript, teaching aids, and other resources, click here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Amy is joined by Dr. Danielle Stewart to discuss Linda Nochlin's essay, "Why Have There Been No Great Women Artists?", and examine the historical and contemporary hurdles faced by women artists.Danielle Stewart is an art historian who specializes in the modern and contemporary art of the Americas. Her most recent publications investigate how mid-century Brazilian photography and popular media, especially illustrated magazines, helped to shape regional, national, and personal identities. Born and raised near San Francisco, California, educated in Utah, and a longtime resident of Harlem, New York, Danielle has also lived in Curitiba, Brazil, and Coventry in the United Kingdom. This broad range of environments fundamentally informs Danielle's research. Danielle completed her Masters of Philosophy and PhD in Art History at the Graduate Center of the City University of New York, and her BA and MA degrees at Brigham Young University. From 2019 to 2020, Danielle was a fellow in the Princeton Mellon Initiative in Architecture, Urbanism, and the Humanities and the Princeton Institute for International and Regional Studies. From 2020-2023, she held the position of Assistant Professor of Latin American Art at the University of Warwick in the UK. Danielle has also held curatorial positions at the BYU Museum of Art and the Mount Vernon Hotel Museum in New York City. Her writing has appeared in publications sponsored by the Museu de Arte de São Paulo in Brazil, the Instituto Moreira Salles, the Fundación Cisneros, and La Universidad de los Andes, the College Art Association, the Latin American Studies Association, and The Space Between society.

Learn more at TheCityLife.org --- Send in a voice message: https://podcasters.spotify.com/pod/show/citylifeorg/message Support this podcast: https://podcasters.spotify.com/pod/show/citylifeorg/support

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. Today, Emily chats with Patrick Martinez, a mixed media visual artist from Los Angeles.About Artist Patrick Martinez:Patrick Martinez maintains a diverse practice that includes mixed media landscape paintings, neon sign pieces, cake paintings, and his Pee Chee series of appropriative works. The landscape paintings are abstractions composed of Los Angeles surface content; e.g. distressed stucco, spray paint, window security bars, vinyl signage, ceramic tile, neon sign elements, and other recognizable materials. These works serve to evoke place and socio-economic position, and further unearth sites of personal, civic and cultural loss.Patrick's neon sign works are fabricated to mirror street level commercial signage, but are remixed to present words and phrases drawn from literary and oratorical sources. His acrylic on panel Cake paintings memorialize leaders, activists, and thinkers, and the Pee Chee series documents the threats posed to black and brown youth by law enforcement.Patrick Martinez (b. 1980, Pasadena, CA) earned his BFA with honors from Art Center College of Design in 2005. His work has been exhibited domestically and internationally in Los Angeles, Mexico City, San Francisco, Minneapolis, Miami, New York, Seoul, and the Netherlands, and at venues including the Whitney Museum of American Art, the Museum of Contemporary Art, Los Angeles, the Brooklyn Museum, Crystal Bridges Museum of American Art, the Studio Museum in Harlem, the Smithsonian National Portrait Gallery, the Smithsonian NMAAHC, the Tucson Museum of Art, the Buffalo AKG Museum, the Columbus Museum of Art, the Vincent Price Art Museum, the Museum of Latin American Art, the Crocker Art Museum, the Rollins Art Museum, the California African American Museum, the Nerman Museum of Contemporary Art, and El Museo del Barrio, among others.Patrick's work resides in the permanent collections the Whitney Museum of American Art, the Broad Museum, Crystal Bridges Museum of American Art, the Museum of Contemporary Art Los Angeles (MOCA), the Rubell Museum, the Smithsonian National Museum of American History, the California African American Museum, the Autry Museum of the American West, the Benton Museum of Art at Pomona College, the Nerman Museum of Contemporary Art, the Smithsonian National Museum of African American History and Culture, the Los Angeles County Museum of Art (LACMA), the Tucson Museum of Art, the Pizzuti Collection of the Columbus Museum of Art, the University of North Dakota Permanent Collection, the JPMorgan Chase Art Collection, the Crocker Art Museum, the Escalette Permanent Collection of Art at Chapman University, the Manetti-Shrem Museum of Art at UC Davis, the Rollins Museum of Art, and the Museum of Latin American Art, among others.Patrick was awarded a 2020 Rauschenberg Residency on Captiva Island, FL. In the fall of 2021 Patrick was the subject of a solo museum exhibition at the Tucson Museum of Art entitled Look What You Created. In 2022, Patrick was awarded a residency at the Atlantic Center for the Arts. This year, Patrick's suite of ten neon pieces purchased by the Whitney Museum of American Art is on yearlong exhibition installed in the Kenneth C. Griffin Hall in the entrance of the Museum. In September 2023, Patrick opened a solo exhibition at the ICA San Francisco titled Ghost Land and in November of 2023 Patrick will exhibit in Desire, Knowledge, and Hope (with Smog) at The Broad Museum in Los Angeles, CA. Patrick will be the subject of an expansive solo exhibition at the Dallas Contemporary opening in April 2024. Patrick lives and works in Los Angeles, CA and is represented by Charlie James Gallery, Los Angeles.CLICK HERE to see more of Patrick's work. Follow Patrick on Social Media: @Patrick_Martinez_StudioFor more info on his Ghost Land Exhibit, CLICK HERE. --About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com

Rent-stabilized tenants in LA could see an increase in February as high as 7%. Landlords say it's necessary to keep up with expenses. The Museum of Latin American Art hosts its annual Día De Los Muertos festival on Oct. 29. This year's theme, Hecho con Amor, celebrates the diversity of Latin American cuisine. The nonprofit ActiveSGV's ArroyoFest will shut down six miles of the 110 freeway from Lincoln Heights to South Pasadena for cyclists and pedestrians on October 29.

Please remember to rate and review our podcast on Itunes, CastBox or on our website! Please check out our Patreon and Youtube as well.  CHISME DE LA SEMANA:  Some Zoe Saldaña chisme.   ON MY RADAR:  Marvel Unleashed (2023) #1 HORA DE LA CERVECITA: NOW PRESENTING - MANGO, PASSIONFRUIT, GUAVA & PINEAPPLE Black Stack Brewing  @blackstackbrewing BOOK REVIEW:  ¡Ay, Mija!: My Bilingual Summer in Mexico by Christine Suggs @csuggsillustration EN LA LIBRERIA:  The Bicyclist's Guide to the Galaxy: Bike & book SFF stories - Elly Blue's 10th feminist bicycling anthology, with 10 new book-themed short stories that are out of this world.http://kck.st/45GMCGl JUNTOS Y FUERTES: Gardena Cinema is an 800-seat, single-screen movie theater.  The theater was built in the 1940s.  In 1976, the Kim family, South Korean emigrants, purchased the theater. As of May 2023, Judy Kim, who runs the cinema her parents bought, is in the process of filing for nonprofit status to keep the business afloat while her family looks for a buyer.@gardenacinema SALUDOS: Latino Comics Expo @latinocomicsexpoThe Latino Comics Expo is the premiere gathering of Latino comic book creators, animators, & artists!September 9-10, 2023-   Museum of Latin American Art  MOLAA 628 Alamitos Ave, Long Beach, CA 90802 @molaa.art @periodpodcastnetwork #art www.patreon.com/periodpodcastnetwork

Today we have the pleasure of speaking with guest Ricardo Padilla.  Ricardo is the Executive Director and Co-Founder of the Latino Comics Expo which has been uplifting Latinx voices in the comic book industry since 2011.  The Latino Comics Expo is the nation's first convention dedicated to highlighting the work of comic book creators, illustrators, and others in the literary and visual arts whose work reflects the influence and celebration of Latinx culture.  This year, the Latino Comics Expo will be on September 9th and 10th at the Museum of Latin American Art in Long Beach.  Ricardo joins us today to tell us more about the event and about honoring Latinx comic creators. @latinocomicsexpo

Pablo Picasso once said “Every child is an artist; the problem is staying an artist when you grow up.” On this episode of the N&H Podcast my special guest Dominic Quagliozzi talks about his experience creating art that started from childhood while he was hospitalized with Cystic Fibrosis. We also talk about the importance Art in healthcare where Dominic will share his experience of creating art from illness which has guided him into a career as an artist. Through various media, with a focus on drawing, painting and performance, Dominic Quagliozzi's work merges his lived experience as a person with chronic illness and disability into art. Using medical materials common to hospitals, clinics and home healthcare; hospital gowns, IV tubing, clinic table tissue paper, to name a few, Quagliozzi hints at the presence of a body past, present and future within health care systems and sick-well-sick-well cycles. By repurposing and re-coding medical materials as art making materials, he explores the emotional and psychological space in those moments of vulnerability, anxiety, fragility and resilience. Parallel to his art practice, Dominic uses art as a method of teaching for medical students and health workers. Quagliozzi received an MFA in Studio Arts from Cal State University, Los Angeles and a BA in Sociology from Providence College. His work is in the permanent collection at the Rhode Island School of Design Museum and a collaborative work in the permanent collection at Museum of Latin American Art, in Long Beach, CA. He has exhibited work in Los Angeles, New York, Boston, Providence and Denmark. In 2018, he was on the Keynote patient panel at the Nexus Summit for interprofessional care and education at the University of Minnesota. He is on the Arts Council for Creative Healing for Youth in Pain and has given workshops and lectures at the UCLA Geffen School of Medicine, USC Keck School of Medicine, Chapman University, Cal State Los Angeles and Cal State Long Beach. http://www.artistdominic.com/ The episode is sponsored by Rogue Nurse Media Empowering Nurses and Patients to tell their stories. Throw us some bucks, and help support our cause! Venmo: @Nurses-Hypo or PayPal paypal.me/eproguenursemedia Need consulting or have questions: nursesandhypochondriacs@gmail.com Give us a 5 star rating on apple podcasts For The Well Written Nurse Writing and Storytelling classes go to: https://www.eventbrite.com/e/whats-your-story-part-1-detox-intro-to-writing-and-storytelling-tickets-94768506153 Join our email newsletter http://mailchi.mp/f134561374e9/rogue-nurse-media-501c3-newsletter-empowering-nurses-and-patients-to-tell-their-stories. Nurses get 1.0 CE's for listening to this episode go to https://www.surveymonkey.com/r/P3H9Z5J

Sandra Cinto, Santo André (SP), 1968. Vive e trabalha em São Paulo (SP).Ao longo da sua carreira, Sandra Cinto tem desenvolvido um rico vocabulário de símbolos e linhas para criar paisagens líricas e narrativas entre fantasia e realidade. Usando o desenho como ponto de partida, a artista frequentemente dialoga com a arquitetura evocando paisagens fantásticas que servem como uma metáfora da odisseia humana e também extrapolando os limites e possibilidades do desenho. A artista trabalha também com escultura, instalação, fotografia e gravura.Formada em artes plásticas, Sandra Cinto começa a sua carreira em 1990, quando ainda era estudante, produzindo representações do céu e das nuvens inspiradas no surrealista René Magritte. O seu estilo único funde o poder visual e a estética poética para criar composições que fazem alusão à mitologia. A sua prática artística é caracterizada por obras delicadas, onde ela normalmente desenha à caneta sobre um fundo amplo, geralmente azul. Em 1998, a artista participou de 24ª Bienal de São Paulo, onde a tela não era um suporte convencional, e sim a parede do próprio prédio.As suas obras fazem parte de importantes coleções, tais como: Fundación ARCO (Madrid); Instituto Inhotim (Brumadinho); Institute of Contemporary Art (Boston); Museum of Modern Art (Nova York); entre outras.Entre suas exposições individuais mais recentes estão: "Das ideias na cabeça aos olhos no céu", 2020 curadoria de Paulo Herkenhoff, Itaú Cultural, São Paulo; "Cosmic Garden", 2020, Ginza Maison Hermès "Le Forum", Tóquio, Japão; "Landscape of a Lifetime", 2019, Dallas Museum of Art, Dallas, EUA; "Noturno", 2019, Casa Triângulo, São Paulo e Appleton Square, Lisboa; "Dibujos", 2018, Galeria Fernando Pradilla, Madrid; "Two forces", 2016, Tanya Bonakdar Gallery, Nova York; "Acaso e Necessidade", 2016, Casa Triângulo, São Paulo; "Sandra Cinto: Chance and Necessity", 2016, West Gallery, USF Contemporary Art Museum, Florida; "A Day in Eternity", curadoria de Yuki Kondo, 2015, Aomori Contemporary Art Center, Aomori, Japão; "En Silencio" curadoria de David Barro, 2014, Matadero - Centro de Creación Contemporánea, Madri, Espanha; "La otra orilla", curadoria de David Barro, 2014, Centro Atlántico de Arte Moderno, Ilhas Canárias, Espanha; "Encontro das Águas" 2012-2014, Olympic Sculpture Park Pavilion, Seattle Art Museum, Seattle, EUA; entre outros. Albano Afonso, São Paulo, 1964. Vive e trabalha em São Paulo.Artista visual. Estudou na Faculdade de Arte Alcântara Machado (Faam), em Santos, São Paulo. Expõe desde 1991 – e em 1994 realiza sua primeira exposição individual, no Centro Cultural São Paulo (CCSP), na capital paulista. No mesmo ano é premiado no 21º Salão de Arte Contemporânea de Santo André e é contemplado com o prêmio aquisição do Museu de Arte Contemporânea de Santo André. Em 2006 a editora Dardo, de Santiago de Compostela, Espanha, lança um livro sobre o artista.Albano Afonso explora nas suas obras diferentes elementos do cotidiano contemporâneo, criando uma conexão com a história da arte, a fotografia, o autorretrato e a natureza morta, sempre com uma linguagem atual.albano usa luz, sombras e imagens manipuladas para refletir sobre os valores e percepções do tempo presente, de uma forma que funde passado, presente e futuro; criando um retrato atemporal que parece estar se diluindo, mas ainda travado no tempo.As suas exposições individuais selecionadas são: Igreja da Universidade e DIDAC, Santiago de Compostela, Espanha [2019]; Casa Triângulo, São Paulo, Brasil [2018]; Aomori Contemporary Art Center, Aomori, Japão [2017]; Museu Brasileiro de Escultura, MuBE, São Paulo, Brasil [2016]; 21C Museum, Cincinnati, EUA [2015]; Contemporary Arts Center, Cincinnati, EUA[2015]; Oi Futuro, Rio de Janeiro, Brasil [2014]; Museu de Arte de Ribeirão Preto, Ribeirão Preto, Brasil [2014]; Invaliden1 Galerie, Berlim, Alemanha [2013]; Bodson Gallery, Bruchelas, Bélgica [2012]; Casa Triângulo, São Paulo, Brasil [2010].Passou por instituições muito relevantes tais como: Georg Kargl Gallery, Viena, Áustria; Fernelmont Contemporary Art Festival, Belgica; SixtyEight Art Institute, Copenhagem, Museu de Arte Contemporânea - USP, São Paulo; Phoenix Art Museum, no US; Osnova Gallery, Moscovo; Instituto Tomie Ohtake, São Paulo; Museu de Arte Moderna do Rio de Janeiro; Musashino Art University Gallery, Tóquio; Museu de Arte Moderna de São Paulo; CAB Art Center, Bruxelas; Kiosko Alfonso/PALEXCO, na Coruña; Palacio da Belas Artes em Bruxelas; Centro Galego de Arte Contemporánea – CGAC em Santiago de Compostela; e participou na 29º Bienal de São PauloFaz parte de importantes coleções públicas, entre outras: 21c Museum Foundation's, Louisville, Kentucky, EUA; CAB, Art Center, Bruxelas; Museu de Arte Contemporânea do Rio de Janeiro, Inhotim - Centro de Arte Contemporânea, Brumadinho, Brasil; Museu de Arte Moderna de São Paulo; Pinacoteca da Cidade de São Paul; Centro Cultural São Paulo; Instituto Figueiredo Ferraz, Ribeirão Preto, Brasil; University of Essex Collection of Latin American Art, Inglaterra; Fundação ARCO - Centro Galego de Arte Contemporânea, Santiago de Compostela; Fundación Pedro Barrié de la Maza - Vigo, Espanha; Coleção BES, Lisboa, Portugal. Nota: O título "Um oceano inteiro para nadar" é uma apropriação do título de uma exposição luso-brasileira na Culturgest comissariada por Paulo Reis em 2000, que se inspira no título do vídeo de Karen Harley, "Com o oceano inteiro para nadar" sobre a vida e a obra de Leonilson.Links: https://ateliefidalga.com.br/ https://www.casatriangulo.com/pt/artists/ https://www.premiopipa.com/pag/artistas/sandra-cinto/ https://www.inhotim.org.br/eventos/bastidores-restauro-sandra-cinto/ https://www.youtube.com/watch?v=fal7RgwChrQ https://www.muralsoflajolla.com/sandra-cinto https://imagesintile.com/portfolio/sandra-cinto-open-landscape-cleveland-clinic-mura https://www.sp-arte.com/artistas/albano-afonso/ https://www.youtube.com/watch?v=4EeQkNXgQMM https://www.youtube.com/watch?v=Gt0536q_9L8 https://www.youtube.com/watch?v=6-GeeFiCgXI https://www.youtube.com/watch?v=-3GYNRs-o-c Episódio gravado a 15.05.2023 http://www.appleton.pt Mecenas Appleton:HCI / Colecção Maria e Armando Cabral / A2P / MyStory Hotels Apoio:Câmara Municipal de Lisboa

This episode is also available as a blog post: https://thecitylife.org/2023/04/23/moma-presents-a-major-exhibition-of-contemporary-latin-american-art-centered-around-works-gifted-to-the-museum-by-the-coleccion-patricia-phelps-de-cisneros/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/citylifeorg/message Support this podcast: https://podcasters.spotify.com/pod/show/citylifeorg/support

Didier William is originally from Port-au-Prince, Haiti. He earned an BFA in painting from The Maryland Institute College of Art and an MFA in Painting and Printmaking from Yale University School of Art. His work has been exhibited at the Bronx Museum of Art, The Museum of Latin American Art in Long Beach, The Museum at the Pennsylvania Academy of Fine Arts, The Carnegie Museum, Crystal Bridges Museum of American Art and The Figge Museum Art Museum. He is represented by James Fuentes Gallery in New York and Altman Siegel Gallery in San Francisco. William was an artist-in-residence at the Marie Walsh Sharpe Art Foundation in Brooklyn, NY, a 2018 recipient of the Rosenthal Family Foundation Award from the American Academy of Arts and Letters, a 2020 recipient of the Joan Mitchell Foundation Painters & Sculptors Grants, a 2021 recipient of a Pew Fellowship from the Pew Center for Arts & Heritage, and a 2023 recipient of the Louis Comfort Tiffany Foundation Biennial Grant. He has taught at several institutions including Yale School of Art, Vassar College, Columbia University, UPenn, and SUNY Purchase. He is currently Assistant Professor of Expanded Print at Mason Gross School of the Arts at Rutgers University. GET THE S&V BOOK HERE: https://www.amazon.com/Why-Make-Art-Contemporary-Artists/dp/1733622098

On this Episode, MHD and co-host, Chavonne Taylor, speak with historians Dr. Jessica Kim and Esperanza Sanchez about the little-known African Ancestry of Los Pobladores, the founders of Los Angeles. Jessica Kim, PhD, is an associate professor of history at California State University, Northridge.  She specializes in the history of the American West, the U.S.-Mexico borderlands, urban history, and public and digital history.  Her book, Imperial Metropolis: Los Angeles, Mexico, and the Borderlands of American Empire, 1865-1941, was published by the University of North Carolina Press in 2019. The book explores the rise of Los Angeles and investment in Mexico. Esperanza Sanchez is the Associate Curator at LA Plaza de Cultura y Artes. She holds a Master of Arts in History with a focus on public history and a Bachelor of Arts in History with an emphasis on US, Europe, and Latin America foreign relations, and a minor in sociology, both from California State University, Northridge. She previously held archival, curatorial, and educational positions at the Autry Museum of the American West, the Museum of Latin American Art, and California State University, Northridge. In 2016, as part of the CSUN Public History Program, Professor Kim along with her students, including Esperanza at the time, collaborated with El Pueblo de Los Angeles, the USC-Huntington Institute on California and the West, as well as the National Parks Conservation Association on an exhibit that emphasized the role of individuals of African descent in the founding of Los Angeles. The exhibition, titled Forgotten Founders: The Hidden African Ancestry of Los Angeles, highlighted the unique, diverse, and often overlooked LA history. Resources: www.csun.edu/calendar/events/forgotten-founders-hidden-african-ancestry-la www.jessicamichellekim.com LA Plaza de Cultura y Artes exhibitions:  LA Starts Here! (lapca.org/exhibition/la-starts-here/) afroLAtinidad: mi casa, my city (lapca.org/exhibition/afrolatinidad-mi-casa-my-city/)

Art is a wide-ranging world from food, community spaces and paintings on a wall.   MPR arts reporter Jacob Aloi visited the studios of local arts leaders whose work is centered around diverse experiences and voices that more accurately reflect the people who live in the Twin Cities.  Guest host Aloi visited the studios of BIPOC artists, a queer filmmaker and a curator of Latin American Art.   Guests:  Danelle Cloutier Bayou Bay and Leslie Barlow in the Affirmation Space portal art piece. Bayou Bay is an installation artist and muralist with Creatives After Curfew, a group of BIPOC and queer artists and allies who create murals to soothe, remember, build and imagine a future rooted in justice and liberation. Their installation called Affirmation Space at the Northrup King Building in Public Functionary opens on February 4th. @creativesaftercurfew Leslie Barlow is an oil painter and muralist with Creatives After Curfew. She leads Public Functionary, an artist-led space in the Northrup King Building. The group runs PF Studios, a program that supports BIPOC and marginalized artists. @pfunctionary @pfstudios.mpls  Danelle Cloutier Alec Fischer is a documentary filmmaker and owner of Fischr Media. Alec Fischer is a documentary filmmaker and runs Fischr Media. His latest project is called COVID Confessions — a video series that focuses on how the pandemic affected hundreds of workers in the Midwest.   Minneapolis Institute of Art Valéria Piccoli is the first-ever curator of Latin American Art at the Minneapolis Institute of Art. Valéria Piccoli is the first-ever curator of Latin American Art at the Minneapolis Institute of Art and she's the chair of the arts of the Americas. Subscribe to the MPR News with Angela Davis podcast on: Apple Podcasts, Google Podcasts, Spotify or RSS.  Use the audio player above to listen to the full conversation.   

Art is a wide-ranging world from food to community spaces and paintings on a wall.  MPR arts reporter Jacob Aloi visited the studios of local arts leaders whose work is centered around diverse experiences and voices that more accurately reflect the people who live in the Twin Cities. Guests: Bayou Bay is an installation artist and muralist with Creatives After Curfew, a group of BIPOC and queer artists and allies who create murals to soothe, remember, build and imagine a future rooted in justice and liberation. Their installation called Affirmation Space at the Northrup King Building in Public Functionary opens Feb. 4. @creativesaftercurfew Leslie Barlow is an oil painter and muralist with Creatives After Curfew. She leads Public Functionary, an artist-led space in the Northrup King Building. The group runs PF Studios, a program that supports BIPOC and marginalized artists. @pfunctionary @pfstudios.mplsAlec Fischer is a documentary filmmaker and runs Fischr Media. His latest project is called COVID Confessions — a video series that focuses on how the pandemic affected hundreds of workers in the Midwest.  Valéria Piccoli is the first-ever curator of Latin American Art at the Minneapolis Institute of Art and she's the chair of the arts of the Americas.Here are some key moments from the conversation.The following transcript has been edited for length and clarity. Click the audio player above to listen to the full conversation.‘Affirmation Space' and ‘Public Functionary' emphasize building community. What role does the community play in all of it?Bayou Bay: As someone that's a little bit introverted, it gave me a space where I could feel safe to not only experience blackness outside of my home, but at a time when there's been so much violence and harm done to Black folks in the last 10 years. I feel like art and community gave me multiple spaces where I can express myself, feel liberation inside of my body, and create art that is not only healing for myself but also healing for others. The more community spaces we have, the more spaces we have to combat all of the trauma that our systems inflict on us on a daily basis.Leslie Barlow: Community is everything. As an artist, I find that the stronger your community is the more likely you're going to stay committed to your practice. It's so important to me to have a community that I can be vulnerable with, that I can trust and that I feel supported by. As a person who paints other people, relationships are really important. Whether you're getting to know that person with a painting or through multiple conversations that lead to creating a work of art together.Why did George Floyd's killing galvanize the creation of ‘Creatives After Curfew'?Bayou Bay: It wasn't a moment where we said let's create a collective. It was a moment where we were in trauma, both Leslie and I lived a few blocks from where he was murdered. At the time, during the pandemic, I didn't want to be locked down in my house alone, I wanted to speak truth to power. Police brutality didn't stop with George Floyd. There was Dolal Idd, Winston Smith and Daunte Wright. The way the community came around the Daunte Wright mural was witnessing collective trauma. The mural was kitty corner from Daunte's funeral and I remember a car full of black women out the window saying: “thank you,” and other people saying: “we love you.” That was important.Leslie Barlow: Sometimes it's hard to talk about how we came together. When we sat together in this park, with artists from that area, there were helicopters circling us. I just remember the sound, we couldn't even hear each other talk because they were so loud. But there was a nexus of things that made that possible: George Floyd's murder, the isolation we were all feeling, and also that we didn't have any work. The pandemic had removed a lot of things from a lot of artists so we wanted to create a space and opportunities for people of color to grieve and process together what was happening.Why did you choose to go down the journalism and documentary film path?Alec Fischer: I spent a lot of time in middle school and high school doing advocacy work for the Safe and Supportive Schools Act that was trying to be passed at the time. Even in college, I did some lobbying work, I worked with a friend to draft legislation to ban conversion therapy, and was doing a lot of meetings with elected officials. I realized that what I was trying to do was change people's perspectives and pass things that were going to protect people in our communities. However, I was angry all the time, so frustrated, because it's such a game to some of these people. I saw that doing more of the film work could change perspectives and be a catalyst for social change in ways that I could not do writing legislation. Plus I had some talent and passion in that area, and I'm also a lot less angry doing it, I feel a lot happier. And I can have really incredible conversations with people that are inspiring to me and empowering to the community I work with and communities I reside in. And so that was a flip for me is going from politics to film was, you know, realizing the impact could be there in a different way that I hadn't realized, originally.How did you start the process of creating COVID confessions?Alec Fischer: I had conversations with friends who were in different industries and realized that no one had been doing sit-down interviews on camera with nurses and teachers. There have been a lot of written articles, audio type podcast work, but not sit-down-produced reflections for folks. I brought eight people together and individually filmed them. I thought I would just make a short film that highlighted the nurses' and teachers' worries. But then I realized there was so much more I could do if I wanted to. A week of filming turned into a month of filming, and after that month, I decided I could stop and edit for two months, to figure out what that looked like. But then I made the decision to challenge myself and see how many stories I could tell in a whole year. Twelve months passed, and I interviewed more than 300 people across 40 industries. Telling Midwestern stories has been on my heart for a couple of years now. When I first started my company four years ago, I realized that there was this huge gap in productions that were focusing on local stories, but bringing them to a national level.What is your perspective on the term ‘Latin American Art'?Valéria Piccoli: It's a very sensitive question because Latin America is a European construction. It speaks to the colonization process, but I think we still lack a proper term to speak about the countries in Central and South America that were colonized by Spain, Portugal, the UK and France. When speaking about Latin America, people always think of Spanish America and they don't consider Brazil, for instance, as part of Latin America, or the Caribbean countries, which have a mix of different traditions. Your question is really tricky. I think we lack a proper term to define Latin America.Can you explain the overarching themes in Latin American Art and the decolonized perspective you put into your work?Valéria Piccoli: I think that those overarching themes are really what interests me. To think about how the Americas are at this crossroads, a mix of many different cultures and how we can think about it in relation to African heritage. African people were brought to many countries in the Americas against their will, enslaved, and that had a decisive influence on their culture. To also think about the Americas in relation to Asia, because since colonial times, we have had contact with China, the Philippines, Japan. I think that all those aspects are things that we share and have in common in the Americas. I want to build a collection and a program that showcase artists with African descent, Indigenous artists, I want to insist on women artists and talk more about underrepresented artists that can really bring to the surface the historical questions of colonization, and the historical experience of Latin America. This is a way of having a decolonial, or, or post-colonial approach added to the collection building.Subscribe to the MPR News with Angela Davis podcast on: Apple Podcasts, Google Podcasts, Spotify or RSS. 

Explore the politics, economics and art in the time of Frida Kahlo and Diego Rivera. Gregorio Luke, UC San Diego lecturer, author, specialist in Mexican art and culture and former Director of the Museum of Latin American Art, presents a fascinating portrait of Frida Kahlo and Diego Rivera, including their paintings, photographs and rare film footage. This lecture is part of the San Diego Opera's world premiere of "El último sueño de Frida y Diego" ("The Last Dream of Frida and Diego") by Grammy Award–winning composer Gabriela Lena Frank and Pulitzer Prize–winning librettist Nilo Cruz. Series: "Helen Edison Lecture Series" [Humanities] [Arts and Music] [Show ID: 38454]

Explore the politics, economics and art in the time of Frida Kahlo and Diego Rivera. Gregorio Luke, UC San Diego lecturer, author, specialist in Mexican art and culture and former Director of the Museum of Latin American Art, presents a fascinating portrait of Frida Kahlo and Diego Rivera, including their paintings, photographs and rare film footage. This lecture is part of the San Diego Opera's world premiere of "El último sueño de Frida y Diego" ("The Last Dream of Frida and Diego") by Grammy Award–winning composer Gabriela Lena Frank and Pulitzer Prize–winning librettist Nilo Cruz. Series: "Helen Edison Lecture Series" [Humanities] [Arts and Music] [Show ID: 38454]

Explore the politics, economics and art in the time of Frida Kahlo and Diego Rivera. Gregorio Luke, UC San Diego lecturer, author, specialist in Mexican art and culture and former Director of the Museum of Latin American Art, presents a fascinating portrait of Frida Kahlo and Diego Rivera, including their paintings, photographs and rare film footage. This lecture is part of the San Diego Opera's world premiere of "El último sueño de Frida y Diego" ("The Last Dream of Frida and Diego") by Grammy Award–winning composer Gabriela Lena Frank and Pulitzer Prize–winning librettist Nilo Cruz. Series: "Helen Edison Lecture Series" [Humanities] [Arts and Music] [Show ID: 38454]

Explore the politics, economics and art in the time of Frida Kahlo and Diego Rivera. Gregorio Luke, UC San Diego lecturer, author, specialist in Mexican art and culture and former Director of the Museum of Latin American Art, presents a fascinating portrait of Frida Kahlo and Diego Rivera, including their paintings, photographs and rare film footage. This lecture is part of the San Diego Opera's world premiere of "El último sueño de Frida y Diego" ("The Last Dream of Frida and Diego") by Grammy Award–winning composer Gabriela Lena Frank and Pulitzer Prize–winning librettist Nilo Cruz. Series: "Helen Edison Lecture Series" [Humanities] [Arts and Music] [Show ID: 38454]

Visual artist Narsiso Martinez uses materials, like discarded produce boxes and dusty charcoal, to depict intimate scenes about the life and labor of farm workers in the United States. Born in Oaxaca, Mexico in 1977, Narsiso says migrant farm work was part of his hometown's culture — it was normal to see young people travel to the US for work. At 19, Narsiso also made that journey, and went on to do farm work in the orchards of Washington state in order to afford his dream of pursuing art school. In this episode, Narsiso Martinez takes us to his studio and his solo exhibition at the Museum of Latin American Art in Long Beach, California, sharing the stories behind his work and his journey as an artist.

In this episode of Sagecast, art historian and assistant professor Rosalia Romero shares with us her passion for Latin American art and the art of the borderlands. Romero also talks about the role of murals in contemporary art and about her work as a curator for the upcoming Mexicali Biennial. Hosted by: Marilyn Thomsen and Patty Vest Produced by: Kris Vargas Editorial Assistant: Lorraine Harry '97 Transcript: https://www.pomona.edu/sites/default/files/Sagecast-11-2-22-RosaliaRomero.txt Video Teaser: https://youtu.be/qzc800JV830

In seventeenth-century Europe, some of the wealthiest women in the world were doing something strange with the ceramic jars in their curiosity cabinets. They were eating them. But these clay pieces from Mexico—called búcaros—weren't just some bizarre snack. They were seen as a piece of the “New World,” one you could touch, smell, and taste. They were so well known that they even made it into the foreground of masterpiece paintings. But what is the real story behind these jars? Who is preserving this centuries-old ceramic tradition, and what does it mean to be one of the few artists who still works with this specific, sensuous clay? Guests: Fernando Jimón Melchor, master ceramics artisan from Tonalà, Mexico Federico Carò, research scientist, Scientific Research, The Metropolitan Museum of Art Margaret Connors McQuade, Deputy Director & Curator of Decorative Arts, The Hispanic Society Museum & Library Ronda Kasl, curator of Latin American Art, The American Wing, The Metropolitan Museum of Art Jorge Cañizares-Esguerra, professor and historian of science and medicine at the University of Texas Featured object: Covered jar (Búcaros), ca. 1675–1700. Mexico, Tonalà. Earthenware, burnished, with white paint and silver leaf, 27 3/4 in. (70.5 cm). The Metropolitan Museum of Art, New York, Sansbury-Mills Fund, 2015 (2015.45.2a, b) For a transcript of this episode and more information, visit metmuseum.org/immaterial #MetImmaterial Immaterial is produced by The Metropolitan Museum of Art and Magnificent Noise and hosted by Camile Dungy. This episode was produced by Eleanor Kagan and Ariana Martinez. Translation, photos and field production by Fernando Hernandez Becerra of Esto no es radio. Special thanks to Marie Clapot, Monika Bincsik, Sarah Cowan, Lam Thuy Vo, and ArtShack Brooklyn.

Concrete is full of contradictions. First it's dust, then liquid, then hard as stone. It's both rough and smooth, it's modern and ancient, it can preserve history or play a hand in destroying it. Unsurprisingly, concrete is all about the gray area. Hear about this material from its supporters and detractors alike: why it's so controversial, why it's so often used in memorials, and how Colombian artist Doris Salcedo uses it to address grief and mourning. Guests: Nadine M. Orenstein, Drue Heinz Curator in Charge, Drawings and Prints, The Metropolitan Museum of Art Abraham Thomas, Daniel Brodsky Curator of Modern Architecture, Design, and Decorative Arts, Modern and Contemporary Art, The Metropolitan Museum of Art Adrian Forty, professor of architectural history, University College London, and author of Concrete and Culture (2012) Marco Leona, David H. Koch Scientist in Charge, Scientific Research, The Metropolitan Museum of Art Iria Candela, Estrellita B. Brodsky Curator of Latin American Art, Modern and Contemporary Art, The Metropolitan Museum of Art Featured object: Doris Salcedo (Colombian, b. 1958), Untitled, 1997–99. Wood, concrete, and steel, 32 x 15 1/4 x 16 1/2 in. (81.3 x 38.7 x 41.9 cm). The Metropolitan Museum of Art, New York, Purchase, Lila Acheson Wallace Gift and Latin American Art Initiative Gift, 2020 (2020.25) For a transcript of this episode and more information, visit metmuseum.org/immaterial #MetImmaterial Immaterial is produced by The Metropolitan Museum of Art and Magnificent Noise and hosted by Camile Dungy. This episode was produced by Eleanor Kagan. Special thanks to Doris Salcedo, Laura Ubate, the San Francisco Museum of Modern Art, the Museum of Contemporary Art in Chicago, Harvard Art Museums, and the Nasher Sculpture Center.

BENITO SANTOS FASHION SHOW Iconic designer Benito Santos made his return to Miami Fashion Week The runway shows took place at Gary Nader Art Center,  it is one of the most important Latin American Art galleries and the largest in the world. Nader himself has also been a catalyst in transforming Miami into a major cultural ...

Jenny and Joanna record Live and In Person at the 2022 LATINO COMICS EXPO at the Museum of Latin American Art, where they speak to co-founder Ricardo Padilla about the importance of a Latino comics expo existing, co-founder Javier Hernandez about his comic series EL MUERTO: THE AZTEC ZOMBIE and his process to teaching art, and Kayden Phoenix about her creation A LA BRAVA, a Universe of Latina Superheroes.

In my time serving on the Board of Directors of the Arts Council for Long Beach, one of the most interesting cultural destinations I have been to is the Museum of Latin American Art (MOLAA). This arts and culture institution is celebrating 25 years in Long Beach and so we are sipping coffee with @Solimar Salas, Vice President of Museum Content & Programming

A new exhibit at the Museum of Latin American Art in Long Beach, California, looks at the monumental scale and achievement of an artist capturing the untold stories of Los Angeles. Jeffrey Brown took a look at the work of Judy Baca for our arts and culture series, CANVAS. PBS NewsHour is supported by - https://www.pbs.org/newshour/about/funders

A new exhibit at the Museum of Latin American Art in Long Beach, California, looks at the monumental scale and achievement of an artist capturing the untold stories of Los Angeles. Jeffrey Brown took a look at the work of Judy Baca for our arts and culture series, CANVAS. PBS NewsHour is supported by - https://www.pbs.org/newshour/about/funders

Ep.83 features Lilian Garcia-Roig, a Cuba born, Texas raised artist living in Tallahassee, Florida whose works landscape-themed works have always explored the complex propositions of sense of place and belonging which so influence the construction of personal identity While she is most known for her perceptually-based, large-scale, “all-day” cumulative paintings that underscores the complex nature of trying to capture first-hand the multidimensional and ever-changing experience of being in that specific location. Recently she has embarked on a conceptual investigation of the idea of the Cuban landscape and how her American Bauhausian education has colored her relationship to place and space. These new works are part of the Hecho con Cuba and Hyphenated[1]Nature Series. She has shown at such places as the Chopo Museum in Mexico City, Americas Society Gallery in NYC, the National Museum of Women in the Arts, Art Museum of the Americas and extensively in many museums throughout the southeast. In 2017 she had a large work included in “Relational Undercurrents: Contemporary Art of the Caribbean Archipelago” one of the Getty funded Pacific Standard Time LA/LA Initiative shows that opened at the Museum of Latin American Art and traveled to various museums across the US. In 2019 she was in the Florida Prize Exhibition at the Orlando Museum, the Florida Contemporary at the Baker Museum in Naples, FL and the 2020 Florida Biennial at the Hollywood Art Center in Miami. Most recently she had a large work acquired by Perez Art Museum Miami (PAMM.) Her MFA is from the University of Pennsylvania (1990) and her BFA is from Southern Methodist University (1988). Major awards include a 2021 Guggenheim Fellowship, Joan Mitchell Foundation Award in Painting, Mid-America Arts Alliance/NEA Fellowship Award in Painting, State of Florida Individual Artist Fellowship Award in painting & a Kimbrough Award from the Dallas Museum of Art. Residencies include a Skowhegan School of Painting and Sculpture Fellowship, Vermont Studio Center Artist's Fellowship, Hambidge Arts Center, MacDowell Colony Milton & Sally Avery Fellowship, Joan Mitchell Center A-I-R and as a visiting artist at the Ludwig Foundation in Havana, Cuba. Photo credit: Alec Kercheval Artist website http://www.liliangarcia-roig.com/ Artist's Studio News https://liliangarciaroig.wordpress.com/2021/07/18/2021/ Guggenheim Foundation https://www.gf.org/fellows/all-fellows/lilian-garcia-roig/ Joan Mitchell Foundation https://www.joanmitchellfoundation.org/lilian-garcia-roig Valley House https://www.valleyhouse.com/bio.asp?artistid=70 Wikipedia https://en.wikipedia.org/wiki/Lilian_Garcia-Roig Florida Contemporary http://www.liliangarcia-roig.com/florida-contemporary-2020/

Ecological: Practices and challenges of sustainability Speakers: José Roca and Keg de Souza In this lecture, we are joined by José Roca, Artistic Director of the 23rd Biennale of Sydney, and artist Keg de Souza, with a focus on the practices and challenges of sustainability. Roca's presentation questions whether biennales are sustainable, sharing the processes, curatorial considerations and some of the challenges faced in developing the 23rd Biennale of Sydney. de Souza's presentation is centred on ‘Ecologies of Place,' exploring the importance of community, place, and collaboration in relation to their recent work 'Not a drop to drink' 2021, followed by a discussion on building and imagining a more sustainable future for the arts. This program is part of ACCA's 2021 Lecture Series, Experimental Institutionalism: Contemporary Art and Curatorial Ecologies, which delves into the artistic, curatorial, organisational and institutional models in which artists, curators and producers reflect and shape the role of contemporary art practice. José Roca is a Colombian curator living and working in Sydney. He is currently the Artistic Director of FLORA ars+natura, an independent space for contemporary art in Bogotá. Roca was recently appointed as Artistic Director of the 23rd Biennale of Sydney in 2022. For a decade, he managed the arts program at Banco de la República in Bogotá. Roca was previously Estrellita B. Brodsky Adjunct Curator of Latin American Art for the Tate, London, and for a decade oversaw the arts program at the Museo del Banco de la República in Bogotá, establishing the institution as one of the most respected in Latin America. Keg de Souza lives and works in Sydney on unceded Gadigal land and uses mediums such as; temporary architecture, food, mapping and dialogical projects to explore the poetics and politics of space. This investigation of social and spatial environments is influenced by formal training in architecture and experiences of radical spaces through squatting and organising. Keg often creates site and situation specific projects with people, with an emphasis on knowledge exchange. These often manifest as temporary architectures that become framing devices to host pedagogical platforms, centring voices that are often marginalised, for learning about place.

This episode is a two-parter! In the first half I talk about fall season: the American aspects, the cultural aspects for me as a Latina and some personal takes on the season. The second half of this episode is focused on Latinx Heritage Month: some quick facts about it, how to support Latinx owned businesses and what it means to me.Episode Notes:Sources for facts on Latinx Heritage Month: https://www.hispanicheritagemonth.gov/aboutLatinx Podcast Shoutouts:Bitter Brown Femmes: @bitterbrownfemmesLocatora Radio: @locatora_radioTamarindo Podcast: @tamarindopodcastSpilling La Sopa: @spilling_la_sopaMuseum of Latin American Art: https://molaa.org/La Plaza de Cultura y Arte: https://lapca.org/MUSIC CREATED FOR THE PODCAST BY: Kynsley AkinsORIGINAL ARTWORK CREATED FOR THE PODCAST BY: @whatsgoodhomegirl

This Week on the word on Long Beach we discuss the slow process of social change. :59 - We have talked a lot about social justice and social change since the killing of George Floyd on May 25, 2020. Since then things have been moving at a snails pace. Police reform has not happened in the way that community activist have hoped. The low numbers in the Black and Latino communities indicate there is a lack of government trust. Councilmember/Vice Mayor Rex Richardson discusses who the community is working to rebuild community trust. 26:47 - Through January, The Museum of Latin American Art will feature the work of renowned artist, muralist, international painter and social activist Judy Baca. We go inside the museum and meet with curator Gabriela Urtiaga as she explains how art and push the needle of social change. You can see the work of Judy Baca Wednesday through Sunday from 11am to 5pm and find out more information if you visit the museum website Molaa.org

Please remember to rate and review our podcast on Apple Podcasts, CastBox or on our website! Please check out our Patreon and Youtube as well. CHISME DE LA SEMANA: Black Panther: Wakanda Forever chisme. ON MY RADAR: MOM Mother of Madness # 1 HORA DE LA CERVECITA: Old School Players by Monkish BOOK REVIEW: Nenetl of the Forgotten Spirits: Part 1 of Comic Miniseries by Vera Greentea art by Laura Müller. EN LA LIBRERIA: Death in the Mouth: Original Horror By People of Color A collection of short horror fiction and illustrations from storytellers around the world. http://kck.st/2VpkbxC JUNTOS Y FUERTES: Maya and the Three on Netflix A Mesoamerican-inspired warrior princess embarks on a quest to fulfill an ancient prophecy and save humanity from the vengeful gods of the underworld. SALUDOS: Ricardo Padilla co-creator Latino Comics Expo at Museum of Latin American Art in Long Beach. @latinocomicsexpo

How do you find success in a variety of art careers? Are there skills and knowledge that overlap between widely different art careers? What was it like in freelance commercial illustration before the resources of the internet? What tools from that era can artists use today? When is it beneficial to hire an agent? How do you transition from illustration to fine art? How do you transition from fine art to tattooing? How does being a successful independent artist translate into owning a brick and mortar businessIf you enjoy this content please consider visiting my Patreon page to help support the effort https://www.patreon.com/jobydorrfor more information about the podcast and future guests please visit https://www.jobydorr.com/artcondition See episodes live every Sunday at 2pm PST at https://www.twitch.tv/joby_dorrThis week we are talking to Shawn Barber“I've been documenting tattoo culture and contemporary tattoo history with a series of paintings, The Tattooed Portraits Series.I started painting tattooed artists in 2005, obsessively documenting the men and women that have pioneered the genre of contemporary tattoo art and the history of modern tattooing. My dedication and enthusiasm for the art form gradually opened doors for me to learn the craft from some of the greatest tattoo artists in the world. My life is consumed with tattooing, the art of tattoo and documentation of tattooing through painting works on this subject. Presently, over four hundred works have been made in this series. “———————————————————————————Shawn earned his B.F.A from Ringling College of Art in 1999 and A.A.S. from Cazenovia College in 1997. His paintings are held in private collections throughout the United States, Canada, Asia, Europe and Australia. His paintings have been exhibited in diverse solo and group venues including: Somerset House Museum, London, UK; Craft and Folk Art Museum, Los Angeles, CA; Halle Saint Pierre Museum, Paris; Pinnacles Gallery, Queensland, Australia; Mesa Contemporary Arts Center, Mesa, AZ; Museum of Latin American Art, Long Beach, CA; Artspace, Shreveport, LA; Joshua Liner Gallery, NYC, NY; Southern Illinois University Museum, Carbondale, IL; and the University of Houston, Houston, TX.Among his extensive achievements, he has taught drawing, painting and the business of art for 20 years at various art schools throughout the country. After years of documenting the art of tattoo, it was a logical progression to pick up the tattoo machine and add tattooist to his resume.In 2009, Shawn and his girlfriend Kim Saigh, opened Memoir Tattoo in Los Angeles, CA. His most recent fine art book, 'Memoir : The Tattooed Portraits Series' a 256 page hardcover visual tome, published by Last Gasp Books, was released in July 2012.website - http://www.sdbarber.comtattoo shop - https://www.memoirtattoo.comIG - http://www.instagram.com/shawndbarberTwitter - http://www.twitter.com/shawndbarberhttp://www.memoircollective.comOther points of interest from our conversation:The book that Shawn credits with having the greatest positive influence on his effort to develop a healthy balance in his professional life:https://amzn.to/3fL5UCWresources:https://altpick.com/https://www.theispot.com/https://graphicartistsguild.org/A must-have resource for pricing and ethical guidelines for artists:https://amzn.to/3lLy6cM

In this episode, you will discover the extraordinary life and music of Jaime Leon, a conductor, a composer, and a pianist, and the author of some of the most beautiful art songs in Spanish written in the XX century. If you are interested in obtaining the scores of Jaime Leon´s songs visit www.mundoarts.com Barcelona Festival of Song Summer program of history & interpretation of Latin American & Iberian art song Mundoarts Publications Your source of hard to find Latin American & Iberian scores, books, classes & resources. Center Iberian & Latin American Music Research & performance of Iberian & Latin American Music at the University of California Riverside. Support the show (https://www.patriciacaicedo.com/podcast)

2:15-4:30-Myriam introduces and reads (4:30-9:27) a short chapter about her 5th grade experience from her memoir Mean 9:27 on is a cool back-and-forth between Myriam and Matt in discussing the chapter and its impact on both of them   Myriam Gurba is a Mexican American writer, story-teller, and visual artist.  In 2019, O, The Oprah Magazine called Gurba's work Mean (2017) one of the "Best LGBTQ Books of All Time.” The New York Times described Gurba as having a "distinct and infectious" voice. Gurba is the author of three books: Mean (Coffee House Press, 2017) and Dahlia Season: Stories and a Novella (Manic D Press/Future Tense, 2007), and Painting Their Portraits in Winter: Stories. Her second book, Painting Their Portraits in Winter: Stories, explores Mexican stories and traditions from a feminist lens. Gurba previously toured with Sister Spit, a "lesbian-feminist spoken-word and performance art collective." Gurba has also exhibited at the Museum of Latin American Art and The Center Long Beach. Gurba has won The Edmund White Award for Debut Fiction from Publishing Triangle, and was a finalist for a Lambda Literary Award.

Venture into one New London, Connecticut nonprofit and you will find yourself surrounded by art. Not just any art, either. Art inspired by the rich cultures of Latin America. This hour, we go inside Expressiones Cultural Center. We meet up with one of the nonprofit's co-founders, and wander through the mind of its current artist in residence: a forestry engineer from Lima, Peru. Later, we learn about NH ChILD, a new early childhood initiative based in the city of New Haven, Connecticut. We talk with Allyx Schiavone, the program’s interim director, and we also hear from you.Support the show: http://wnpr.org/donateSee omnystudio.com/listener for privacy information.