Podcast appearances and mentions of Lee Krasner

Happy Spring, Collective Wisdom listeners! In this episode, Lucy is joined by Chelsea Madeline, the brilliant author of In Her Own Right.Chelsea shares her journey as a writer and community builder — telling us the stories of the women she's gathered, the family she's tended, and the words she's written.This conversation is about all the ways women can support each other as we create tangible manifestations of our dreams. Chelsea also shares a few poignant passages from her book to draw us deeper into our soul's work.Tune in for inspiration to go deeper together. Then join us in Spain this May to meet more women who can change your life. Use the code CREATE20 for 20% off.Jump into the conversation:[03:00] Why Chelsea created Boss Ladies Magazine[07:00] The importance of connecting deeper with women[10:30] Chelsea's greatest fear & how it inspires her creative process[13:00] How to create tangible manifestations of our lives[19:00] Simple ways to gather communities of women[23:25] The questions Chelsea asks to deepen relationships[25:00] The beautiful story behind In Her Own Right[28:00] Cultivating self-trust & overcoming doubt[39:00] The stories of Toni Morrison & Lee Krasner[42:30] Finding space to create[45:00] How Chelsea wrote her book in stolen moments of time[49:30] The moment of great repairMore about our guest: Chelsea Madeline is a writer, editor, and a mother exploring the world through a kaleidoscope of philosophy and poetry. She grew up in a fishing town in Maine, spent a decade in Santa Monica and currently lives with her family on a finca in Puerto Rico covered in mango trees and roaming chickens. Chelsea's editorial projects include Boss Ladies Magazine, Paper Airplanes, a newspaper of the poetry and art created during quarantine, and the Love Calendar. She is committed to creating contexts that evoke our brightest, softest selves.Stay connected:Check out The Murmuration CollectiveConnect with us on Instagram & LinkedInSubscribe to our monthly newsletterBuy Chelsea's book In Her Own RightFollow Chelsea on Instagram @chelsea.k.madelineMentioned in the episode: Reshma Khan, Sofia Sprechmann     ⌾ Take one week for yourself and join us in beautiful Trujillo, Spain from May 11 - 16. We'll co-create your clear path forward professionally and personally. Deadline to register for this immersive is April 1st. Learn more here.

Zihin Koleksiyoncusu Aslı Kotaman'ın Kara Karga Yayınları'ndan çıkan Sanatın Erkeksiz Tarihi, kadın sanatçıların tarih boyunca karşılaştığı engelleri, erkek egemen yapının onları nasıl gölgede bıraktığını ve bu görünmezliği aşma mücadelelerini anlatıyor. Kotaman'la sohbet ederken en çok aklımda kalan cümlesi şu oldu: “Sanat tarihine bakarken sadece ‘Kadın sanatçılar nerede?' diye sormak yetmez, ‘Neden yok sayıldılar?' sorusunu da sormalıyız.”Linda Nochlin'in o meşhur sorusu, “Sanatta büyük kadın sanatçı yok mu?” da temel tartışmalarından biri. Kitapta Mihri Müşfik, Hale Asaf, Artemisia Gentileschi, Frida Kahlo, Georgia O'Keeffe, Lee Krasner, Louise Bourgeois, Barbara Kruger ve Tracey Emin gibi pek çok güçlü kadın sanatçının hikâyesini okuyorsunuz. Ama itiraf etmeliyim ki tüm bu etkileyici anlatıya rağmen, daha derin bir içerik beklentim tam olarak karşılanmadı. Kotaman da bu eleştirime hak veriyor ve kitabın daha kapsamlı olabileceğini kabul ediyor. Yine de onun bilgisi, donanımı ve samimi anlatımı, sanatın eksik yazılmış tarihini sorgulamak için çok önemli bir kapı aralıyor. Aslı Kotaman ile sanatın erkeksiz tarihini tüm detaylarıyla ve en gerçekçi haliyle konuştuk...Söyleşi: Ebru D. DedeoğluVideo

Remembering the great Audrey Flack (1931–2024). Earlier this year, I interviewed Flack over a series of interviews before she passed away on 28 June 2024. Audrey was a force, and I hope you enjoy listening to her powerful and moving words. If you want to learn more, I highly recommend her memoir: With Darkness Came Stars: A Memoir (https://www.psupress.org/books/titles/978-0-271-09674-2.html) -- I couldn't be more excited to say that my guest on the GWA Podcast is the esteemed American artist, sculptor, photo-realist painter, and native New Yorker, Audrey Flack. Hailed for her sculptures of divine goddesses and Biblical characters; her paintings evocative of Old Masters that explore the historic subjects but with pop imagery; and abstract canvases, made in the 1940s and 50s, filled with swathes of movement, colour, and vigour – Audrey Flack, has been at the forefront of the art world. Brought up in New York City, Flack studied at Cooper Union and then Yale, where she was one of the only women and was taught under Josef Albers – in the early 1950s Flack found herself amongst the burgeoning downtown art scene, where she frequented the Abstract Expressionist haunt, the Cedar Bar, and hung out with her friends who included Lee Krasner, Joan Mitchell, Grace Hartigan. Audrey Flack knew them all. At the onset of Pop, she turned to photorealist painting, capturing in it distinctively feminist subjects, such as traditional objects associated with femininity and beauty, and then it was to sculpting female archetypes, taking back ancient-old stories steeped in misogynism, and reworking them for a 20th and 21st century audience. Whilst she paints and sculpts – and is in the collections of museums such as the Met and MoMA, – Audrey also takes the role of lead vocals and banjo with her band “Audrey Flack and the History of Art Band”, where she centres her songs around female injustice, the most recent being about the French sculptor, Camille Claudel. At 93 years old, you can often find her wearing t-shirts emblazoned with slogans such as Feminist AF, posing in front of her large-scale works, and wearing sunglasses inside. Flack has written it all down in a memoir – With Darkness Came Stars, one of the most moving, extraordinary books I've ever read. Not just for her artistic insights and incredible first-hand analogies of those who she knew in the 20th Century New York artworld, but, for writing, in such genuine words, the truth of what it's like being a mother, a mother and an artist, and a mother to an autistic child. I was moved to tears a number of times. It made me realise, so acutely, how women and mothers have been treated with such injustice, yet had so much resilience to fight for their voice, their art, their children, and their path. I couldn't recommend it highly enough. -- THIS EPISODE IS GENEROUSLY SUPPORTED BY THE LEVETT COLLECTION: https://www.famm.com/en/ https://www.instagram.com/famm_mougins // https://www.merrellpublishers.com/9781858947037 Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Nada Smiljanic Music by Ben Wetherfield

Join Zak and Lianne as they delve into the chaotic life and art of abstract expressionist Jackson Pollock, the pioneer of drip painting. We'll explore his struggles with alcoholism, volatile relationship with fellow artist Lee Krasner, and the rise of his unique artistic style. Today In Art will bring us to the 2024 Paris Olympics opening ceremony! Follow us on Instagram: @notarthistorians Sources: https://www.jackson-pollock.com/biography.html https://web.archive.org/web/20100615044835/http://serdar-hizli-art.com/abstract_art/jackson_pollock_psychoanalytic_drawings.htm https://beatmuseum.org/pollock/jacksonpollock.html https://books.google.com/books?id=DYZQAAAAMAAJ https://www.artistsnetwork.com/art-history/thomas-hart-benton-jackson-pollock/ https://news.uoregon.edu/oq/the-curse-of-jackson-pollock-the-truth-behind-the-world-s-greatest-art-scandal https://www.nytimes.com/2010/03/06/arts/design/06kligman.html?ref=obituaries https://www.artnews.com/art-news/news/paris-olympics-drag-queen-performance-the-last-supper-controversy-1234713050/ "Danse Macabre" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/

Discover the transformative journey of Helen Frankenthaler (in her own words), a pioneering artist whose mantra "Let Her Rip" symbolizes a fearless approach to creativity. In this episode, we unpack Frankenthaler's innovative philosophy, where she blends the past and present to achieve a fluid, emotionally rich conversation with her art. From her early encounters with Jackson Pollock's radical drip paintings to her evolution within the Color Field movement, we explore the monumental influences that shaped her six-decade-long career.Find out how achieving a flow state can revolutionize your creative process, guided by insights from Steven Kotler's "The Rise of Superman." We'll discuss how fear can stifle artistic expression and share techniques for letting go of control to engage in a genuine dialogue with your work. Through personal stories and practical advice, we tackle common challenges like overcoming perfectionism, balancing spontaneity with intentionality, and learning to embrace mistakes as opportunities for growth.The episode also highlights the importance of artistic competition and influence in fostering creativity. From Frankenthaler's rebellious use of unconventional materials to the dynamic environment she shared with contemporaries like Grace Hartigan, we shed light on how healthy rivalry and shared inspiration can propel artists to new heights. Join us as we celebrate the courage it takes to push boundaries and the enduring impact of Frankenthaler's legacy on future generations of artists.Send us a message - we would love to hear from you!Make sure to follow us on Instagram here:@justmakeartpodcast @tynathanclark @nathanterborg

Thanks for listening to The Professor. If you're looking for a podcast to dive into next, we have something that you might like. It's a called Death of an Artist: Krasner and Pollock, from Pushkin Industries. You've heard of Jackson Pollock, but you may have never heard of Lee Krasner. Krasner was an artist, Pollock's wife, and the woman who made him famous. She also changed everything about the landscape of modern art.Death of an Artist: Krasner and Pollock is a story about love, power, alcoholism and an ill-timed death. Hosted by curator, author, and broadcaster Katy Hessel, this 6-episode series from Pushkin Industries and Samizdat Audio offers an inside look into two of the greatest artists of the 20th century, and how their vision impacts ours. To listen to the show, search for Death of an Artist in your favorite podcast player.

You've heard of artist Jackson Pollock, but you may have never heard of Lee Krasner. Krasner was an artist, Pollock's wife, and the woman who made him famous. She also changed everything about the landscape of modern art. Death of an Artist: Krasner and Pollock is a story about love, power, alcoholism and an ill-timed death. Hosted by curator, author, and broadcaster Katy Hessel, this 6-episode series from Pushkin Industries and Samizdat Audio offers an inside look into two of the greatest artists of the 20th century, and how their vision impacts ours. Listen in your favorite podcast player.See omnystudio.com/listener for privacy information.

We were so full of Marcia Gay Pride from last week's episode that it was time to break a decades long blacklisting of “Pollock” to discuss her dark horse Oscar win as Lee Krasner in Ed Harris's punch drunk biopic of Jackson Pollock. We also get Amy Madigan going full Ullman, Jennifer Connelly as Worst Supporting Ruth, John Heard from "The Sopranos", a wacky cameo from Val Kilmer that takes us down a plastic surgery rabbit hole, to say nothing of the "Uncle Buck" digression we eventually get to, as well as our thoughts on what makes biopics work or not work and a requisite celebration of Kathleen Quinlan, who is not in this movie. Join us for The Best Supporting Aftershow and early access to main episodes on Patreon: www.patreon.com/bsapod Email: thebsapod@gmail.com Instagram: @bsapod Colin Drucker - Instagram: @colindrucker_ Nick Kochanov - Instagram: @nickkochanov

#diepodcastin Jahresrückblick 2023: Isabel Rohner & Regula Stämpfli mit einem wirklichkeitsnahen, d.h. weiblichen Jahresrückblick. Lee Krasner, Martine Potsma, Gerda Lerner, Silke Burmester, Gesine Cukrowski, Hannah Höch, Hannah Arendt, Hedwig Dohm u.v.a. mehr.

Artistic education takes many shapes, as artists pass down skills and traditions to see them transformed by new hands. In this episode, hear how the classroom shaped artists, both as learners and teachers. Stories include Anni Albers's descriptions of lessons with Paul Klee at the Bauhaus and her own teaching at Black Mountain College, Carmen Lomas Garza on the activism that shaped her time as a student teacher, and Lee Krasner's memorable training moments along her artistic journey among others. Show Notes and Transcript available at www.aaa.si.edu/articulated

Mrs. Jackson Pollock? Wenn ich Fotos und Videos mit Lee Krasner (1908 - 1984) sehe, kann ich es kaum fassen, dass man eine so stark wirkende Künstlerin und ihr ganz eigenes, besonderes Werk mit dem Namen ihres Mannes zudecken wollte. Schon mit 14 Jahren stand für Lena Krassner fest, dass ihr Weg ein künstlerischer sein wird. Lee Krasner ließ sich nicht beirren, setzte sich immer wieder mit ihren Ausdrucksmitteln auseinander und wurde so zu einer der einflussreichsten KünstlerInnen des Abstrakten Expressionismus. „Palingenesis“ heißt eines ihrer Bilder, das mich besonders in den Bann gezogen hat. Hier ist es zu sehen: https://www.artsy.net/artwork/lee-krasner-palingenesis Mehr über Lee Krasner kannst Du z. B. hier finden: https://www.youtube.com/watch?v=5sn_Wd1cbg8 Wenn dieser Podcast Dein Leben bereichert und Du meine Arbeit unterstützen möchtest, kannst Du das hier tun: https://www.paypal.me/astridblohme. Ich freue mich über Deinen Beitrag! Musik: 4 am von noxz Ages ago von Brock Hewitt Peach fizz von noxz

THIS WEEK on the GWA Podcast, we interview the acclaimed novelist, essayist and author of 18 books, SIRI HUSTVEDT! From memoir to poetry, non-fiction to fiction, Hustvedt's writing has touched on the topics of psychoanalysis, philosophy, neuroscience, literature, and art. Long-listed for the Booker Prize and winner of the Los Angeles Times Book Prize for Fiction, Hustvedt's The Blazing World is a provocative novel about an artist, Harriet Burden, who after years of being ignored attempts to reveal the misogyny in art by asking three male friends to exhibit her work under their name. It is of course a triumph, and other bestsellers include What I Loved and The Summer Without Men. Born in Northfield, Minnesota to a Norwegian mother and an American father, and based in NYC since 1978, it wasn't until 1995 that Hustvedt began writing about art. Since then, her art writing oeuvre has expanded enormously with numerous books and essays published to acclaim – which often focus on the fate of female artists in history, the biases of history making, and discuss the likes of Louise Bourgeois, Alice Neel, Adrian Piper, Lee Krasner, Betye Saar, Joan Mitchell, Dora Maar, among others – which I can't wait to get into later on in this episode… Hustvedt's writing is both eye-opening and groundbreaking. She has questioned how we measure greatness, if art has a gender, the effect of art and literature existing in our memory and the future of fiction. She has looked at the masculine traits of the mind and the female traits of emotion, the domestic vs the intellectual, and analysed how historians have not just told the narrative of art, but the narrative of the world. She has asked why absence is so prevalent and explored how women have reconfigured the body after years of what she calls ‘fictive' spaces… I love her writing and it's allowed me to unlock elements (and see things differently) in books, art, and more that exist in my memory. Favourite books include A Woman Looking at Men Looking At Women: Essays on Art, Sex and the Mind and, more recently, Mothers, Fathers and Others – which is part memoir, part psychological study. So I couldn't be more delighted to have her on the podcast today. Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Mikaela Carmichael Artwork by @thisisaliceskinner Music by Ben Wetherfield https://www.thegreatwomenartists.com/ THIS EPISODE IS GENEROUSLY SUPPORTED BY OCULA: https://ocula.com/

In this podcast, we got to know who Jackson Pollock was and how his art has contributed to his debatable fame. We talked about whether it was right for Dr. Henderson, if it even was him, to publicly reveal Jackson's painting even though his widow, Lee Krasner, wanted it to be private. We were also able to discuss our viewpoints and whether we would agree if his painting should've been publicized. 

In this Podcast, we will inquire a little about the life and work of this phenomenal artist known in the art world for his unique skill in his bold and gestural brushstrokes and drops, Jackson Pollock. Moreover, we talked about who was Dr. Henderson and Lee Krasner. How did these characters influence the life of Jackson Pollock? Certainly, at the time of this American artist, given the situation of conflict and battle they were going through, mental health experts designed people's behavior to help them and address any psychological problem.

 Jackson Pollock was a highly influential American painter who played a significant role in the abstract expressionist movement. His unique painting style, which involved pouring or dripping paint onto a canvas placed on the floor, created dynamic and energetic works of art that invited viewers to immerse themselves in the painting's movement and texture. Pollock's relationship with Dr. Joseph Henderson and his marriage to Lee Krasner were also essential parts of his artistic journey. Despite his struggles with alcohol addiction, Pollock's artistic output was prolific, and his influence can still be seen in contemporary art today. Music: "Minimal Ambient" Audio Source: MusicRevolution Adobe Stick Asset ID: #582093489

On todays episode, we tackle Jackson Pollock and his artwork done for therapy with Dr. Henderson, his analyst. We discuss the rights and wrongs of what happened to his 43 pieces of art done for therapy as well as his life, work, and wife, Lee Krasner. Did Jackson Pollock's analyst have a right to do what he did with his work, or should he have listened to Lee Krasner? Find out what we think on today's podcast.

On today's episode of Exploring Art Podcast myself, Yvette, and Markus discussed the life and legacy of the great American Artist, Jackson Pollock. The creator of the Drip Technique in art, a role model to many, one who struggled with many hardships throughout his life. We talked about how his widow, Lee Krasner, had wishes of destroying his work following his passing and how she did not agree with selling the work to galleries around the states.

Anyone familiar with Abstract Expressionism will tell you that this art movement was one where all the insiders or practitioners were more closely involved than many other art movements. Such close confines also made for some serious rivalries, too. But there were other artists who were more intimately involved with one another and their artistic process-- they were married, or were lovers. Such is the case with both Jackson Pollock and Willem de Kooning --both of whom married women who were incredible artists in their own right. Interestingly, and sadly, when these two spouses are mentioned, it's very rare that we are treated to sincere commentary just about their works of art. More often than not, we are, instead, given explanations of how these women measure up to their (admittedly more famous) husbands, and are relegated either to a supporting role, or just plain seen as not good enough in comparison. Why is it that such talented women continue to have their posthumous careers and stories marked and shaped by their husbands?  Please SUBSCRIBE and REVIEW our show on Apple Podcasts and FOLLOW on Spotify Sponsor ArtCurious for as little as $4 on Patreon Instagram / Facebook / YouTube SPONSORS: Lomi: Enjoy $50 off a Lomi Composter by visiting our link and using promo code ARTCURIOUS  Mau: Upgrade your cat furniture stylishly and sustainably at maupets.com.  To advertise on our podcast, please reach out to sales@advertisecast.com or visit https://www.advertisecast.com/ArtCuriousPodcast Learn more about your ad choices. Visit podcastchoices.com/adchoices

21st Century Radio® host Dr. Bob Hieronimus discusses the life and wide-ranging artwork of abstract expressionist painter Lee Krasner. Often overshadowed in art history by husband Jackson Pollock, biographer Gail Levin rights the record of this iconic painter. Conversation originally recorded in 2011. Produced by Hieronimus & Co. for 21st Century Radio®.  Edited version provided to Nightlight Radio with permission. To purchase Lee Krasner: A Biography, head to http://www.amazon.com/exec/obidos/tg/detail/-/0061845256/hierco0f

Join us in today's case study of Jackson Pollock and the sale of his art posthumously. We discuss how Dr. Joseph Henderson sold 43 paintings given to him as part of Pollock's therapy. This sale caused controversy as Pollock's widow, Lee Krasner, objected to the sale, as she felt she had a more substantial claim to the art and didn't feel he should profit off his patient's work.

21st Century Radio® host Dr. Bob Hieronimus discusses the life and wide-ranging artwork of abstract expressionist painter Lee Krasner. Often overshadowed in art history by husband Jackson Pollock, biographer Gail Levin rights the record of this iconic painter. Conversation originally recorded in 2011. Produced by Hieronimus & Co. for 21st Century Radio®.  Edited version provided to Nightlight Radio with permission. To purchase Lee Krasner: A Biography, head to http://www.amazon.com/exec/obidos/tg/detail/-/0061845256/hierco0f

21st Century Radio® host Dr. Bob Hieronimus discusses the life and wide-ranging artwork of abstract expressionist painter Lee Krasner. Often overshadowed in art history by husband Jackson Pollock, biographer Gail Levin rights the record of this iconic painter.Conversation originally recorded in 2011. Produced by Hieronimus & Co. for 21st Century Radio®.  Edited version provided to Nightlight Radio with permission.To purchase Lee Krasner: A Biography, head to http://www.amazon.com/exec/obidos/tg/detail/-/0061845256/hierco0f

In this episode, the first page of three books will be read:Uncommon Measure: A Journey Through Music, Performance, and the Science of Time by Natalie HodgesNinth Street Women, Lee Krasner, Elaine de Kooning, Grace Hartigan, Joan Mitchell, and Helen Frankenthaler: Five Painters and the Movement That Changed Modern Art by Mary GabrielPOPS: A Life of Louis Armstrong by Terry Teachout

The day after Halloween, AOEU writer Josh Chrosniak makes his first appearance on the podcast to talk about his article on his favorite eerie artists. He and Tim discuss a plethora of artists, including Lee Krasner, Ivan Albright, Goya, and van Gogh. Listen as they chat about why eerie artwork appeals to us, how it can inspire us, and how to appropriately share those artworks with our students. Resources and Links Read Josh's Article on Eerie Artists Learn more about The Picture of Dorian Gray Check out Lee Krasner's Umber Paintings View the work of Henry Fuseli

Vamos pra rua? | Ponto De Partida https://youtu.be/iv6GHoxaMDE Uma Agenda Inadiável para o Brasil I Derrubando Muros https://youtu.be/Oo2_1PtCyP4 Papo Raríssimo #5 com… Zeca Martins! https://radinhodepilha.com/2021/04/16/papo-rarissimo-6-com-zeca-martins/ Great Art Cities: New York: Helen Frankenthaler, Lee Krasner and Elaine de Kooning https://youtu.be/8liuFWolR88 Livro retrata a cultura de judeus que deixaram o Marrocos a partir do século XIX em ... Read more

In 1945, when World War II finally ended and while Europe's artistic centres smouldered, in New York City an artistic renaissance, in music, painting, theatre, and literature, burst forth out of the city's bohemia. Most of this work was generated in a single neighbourhood of Manhattan: Greenwich Village. World War II in America was a time of national unity, a singleness of purpose where non-conformity had no place in military or civilian life. Yet somehow as soon as the war ended, a full-blown non-conformist bohemia exploded in New York. Membership of this bohemia, for men at least, was signified by wearing an undergarment – the T-shirt – in public. Today that means nothing. In 1945, in a society that was still mobilized with military single-mindedness, it was shocking. In this series for The Essay, Michael Goldfarb explores the how and why of this extraordinary eruption through the stories of some of T-shirt Bohemia's key figures: Marlon Brando, Jackson Pollock, James Baldwin, Charlie Parker and Jack Kerouac. In this episode, the story of Jackson Pollock, a keen T-shirt wearer, as he struggles towards his abstract vision and the role of Pollock's wife, Lee Krasner, an artist in her own right, in his success.

Denna månad har vi valt ett verk utifrån läget i världen, där många av oss betungas av bilderna som möter oss överallt i bildflödet runtomkring oss och som visar krigets fasor med förstörda städer och människor som har skadats, dödats eller lever under obegripliga omständigheter. Under en sådan tid, som präglades av krigets efterdyningar och socialt misär, skapade den amerikanska actionpaintern Jackson Pollock 1950 sitt abstrakta konstverk ”Höstrytm (Nummer 30)”, på engelska ”Autumn rhythm (Number 30)”, som nuförtiden finns på The Metropolitan Museum of Art i New York. Bildens metaforiska hösttitel tillkom dock senare. Pollock kallade sitt verk enbart för ”Nummer 30”. I månadens poddavsnitt ska vi utforska den amerikanska abstrakta expressionismens framväxt och följer Jacksons Pollocks väg från landsbygden i Wyoming till berömmelsen i New York City. Vi pratar om betydelsen av hans äktenskap med konstnären Lee Krasner och stödet av mecenaten Peggy Guggenheim för Pollocks konstnärskap. Och inte minst ska vi berätta om de oortodoxa metoderna med vilka Jackson Pollock skapade sina stora dukar i den lilla ladan som var hans ateljé, innan han omkom bara 44 år ung i en bilolycka. Följ med oss in i abstraktionen som kan upplevas som vilsam för oss, när vi kan förlora oss i de rytmiska linjerna efter Pollocks rörelser, som saknar början och slut och kan leda oss in på andra tankar.Support till showen http://supporter.acast.com/konsthistoriepodden. See acast.com/privacy for privacy and opt-out information.

Ed Harris's passion project POLLOCK (2000) chronicles the life of the abstract expressionist painter Jackson Pollock. Underneath the fascinating character study of an alcoholic, bi-polar artistic genius, this is a love story at its core. Pollock's wife, an influential artist in her own right Lee Krasner, was instrumental in establishing his genius motivated by a recognition of his dazzling talent but more importantly because she knows that is when Pollock is at his most fulfilled. At times vibrant, at times depressing and dark and a story that ends in tragedy, this is an Oscar winning movie on a fascinating subject that we all had managed somehow to miss. Don't make the same mistake as us and check this out. 

Emma and Christy discuss surgical and cultural ideas embedded in Andy Warhol's series of Before and After paintings (1961/62) of a nose job. In this episode we talk plastic surgery and big egos, the before-and-after image trope, racial typification, criminology, connoisseurship, and American consumerism and capitalism. CLICK HERE TO VIEW THE IMAGES WE DISCUSS, as well as complete show notes, references, and suggestions for further reading. IMAGES DISCUSSED: Andy Warhol, Before and After [1] (1961) Old Lady / Young Lady Optical Illusion (See also: William Ely Hill, My Wife and My Mother-in-Law (1915)) National Enquirer Ad (recurring ad; ran at least in 1961 and 1962) Andy Warhol, Campbell's Soup Cans (1962) Andy Warhol, Marilyn Monroe (1967) Andy Warhol, Before and After [2] (1961) Andy Warhol, Before and After [4] (1962) Example of: Jackson Pollock (1948) Example of: Lee Krasner (1964) Example of: Roy Lichtenstein (1964) (note his use of Ben Day dots for the girl's skin) Andy Warhol, Coca-Cola [3] (1962) Andy Warhol, Bonwit Teller window with paintings (1961) Margaret Bourke White, The Louisville Flood (1937) Leonardo da Vinci, Salvator Mundi (c. 1500) Giovanni Morelli, Ears Illustration from Italian Painters (1892) Alphonse Bertillon, Ear Photographs from Identification of Persons (1893) Examples of Francis Galton's composite images: The Jewish Type (c. 1877–c. 1890) and Composite Portraits of Criminal Types (1877) H. Stickland Constable, illustration showing an alleged similarity between ‘Irish Iberian' and ‘Negro' features in contrast to the higher ‘Anglo-Teutonic' (late 19th c.) Photograph by Mark Peckmezian for The New Yorker, Recreation of colouring Roman busts: the Treu Head (second century AD); see also marble bust showing traces of red pigment on lips, eyes, and the fillet (first century AD) Andy Warhol, 13 Most Wanted Men (example from the most wanted men series of works) (1967) CREDITS: ‘Drawing Blood' was made possible with funding from the Experimental Humanities Collaborative Network. Follow our Twitter @drawingblood_ Audio postproduction by Sias Merkling ‘Drawing Blood' cover art © Emma Merkling All audio and content © Emma Merkling and Christy Slobogin Intro music: ‘There Will Be Blood' by Kim Petras, © BunHead Records 2019. We're still trying to get hold of permissions for this song – Kim Petras text us back!!

In this episode of Accessible Art History: The Podcast (and the Season 11 finale!), I discuss the life and works of Lee Krasner. Often known as Jackson Pollock's wife, she was actually an incredible Abstract Expressionist who paved the way for future female artists. For images and sources: https://www.accessiblearthistory.com/post/podcast-episode-60-lee-krasner Bridget Quinn's book*: https://bookshop.org/a/17007/9781452152363 *affiliate link --- Support this podcast: https://anchor.fm/accessiblearthistory/support

Lee Krasner war eine Pionierin des abstrakten Expressionismus in den 40er Jahren in den USA und eine der wichtigsten Malerinnen der us-amerikanischen Nachkriegsmoderne, trotzdem hat ihr Werk lange nicht die verdiente Aufmerksamkeit bekommen. Jahrzehntelang stand ihr Ruf im Schatten ihres Mannes, einem sehr berühmten Künstler, dessen Bekanntheit oft von ihrer eigenen Karriere ablenkt. . Triggerwarnung: Alkoholismus, Tod Hilfetelefon Suchtgefährdete: 01805/98 28 55 . . . . . Instagram (hier bekommt ihr auch einiges an Zusatzmaterial zu den Folgen, Erklärungen zu Epochen, Gattungen und Stilen und kleine Kunstquizze zum Mitmachen): https://www.instagram.com/artefaktenpodcast/ E-Mail: artefakten-podcast@outlook.de

THE INTERVIEWJournalist, author and biographer and Mary Gabriel discusses Ninth Street Women, published by Little, Brown, a five part biography of painters from the Abstract Expressionist era: Lee Krasner, Elaine de Kooning, Grace Hartigan, Joan Mitchell and Helen Frankenthaler. This door-stopper is essential reading for anyone who wants to understand American art. THE READINGFor the reading this episode, painter Celia Paul reads from her memoir Self-Portrait, published by NYRB Classics, which recounts the period after WWII to today, including her relationship with fellow painter Lucian Freud. Music by Dorothy Ashby

Legendary Dinners: From Grace Kelly to Jackson PollockBy Anne Petersen Intro: Welcome to the number one cookbook podcast, Cookery by the Book with Suzy Chase. She's just a home cook in New York City, sitting at her dining room table, talking to cookbook authorsAnne Petersen: I'm Anne Petersen and I'm the author of the book, Legendary Dinners from Grace Kelly to Jackson Pollock.Suzy Chase: You are the woman behind Salon a spectacular German lifestyle and design magazine that I definitely want to talk with you about a little later, but for now it's about Legendary Dinners. For me, a great dinner party is a break from the ordinary and a chance to connect with what really matters connection and inspiration. Do you think dinners are going to be different post pandemic? Like will they be more grand or maybe smaller and more intimate?Anne Petersen: I think post-pandemic parties will definitely be more intensive and I'm sure that we will all remember how easy it is to have people over, to meet, to share a table and have a good evening. And as you said, connection and inspiration, I think we are all interested in other humans. We are social beings and I think there's no substitute to real social context.Suzy Chase: What makes a great dinner party?Anne Petersen: What makes a great dinner party? I think everything is important. Like food location, decorations, fashion, the music and I think the party is always a big exaggeration, it's an exception, it's a special moment and it is something that follows very specific rules. Like it is allowed to be overdressed. It is allowed to be drunken. It is allowed to address the stranger. It is allowed to make a speech. It is allowed to take your shoes off and dance on the table because it's a party. And we celebrate who we are. HumansSuzy Chase: I'd love to hear about the research process for these 20 menus and how they made the cut.Anne Petersen: The book brings together a number of stories that we have all printed already in Salon. And we tried to choose iconic events, parties that became historic like the wedding of Grace Kelly or Prince Rainier of Monaco, which is still an inspiration for brides all over the world today, or Truman Capote's spectacular black and white ball also copied thousands of times or the most luxurious state dinner ever, the feast that Richard Nixon gave to the astronauts after the moon landing, Apollo 11. So I think what we did in the book is we really collected from Coco Chanel to Claude Monet or Karen Blixen to Thomas Mann, even Goethe's 66th birthday or Napoleon's wedding. So a big, a wide variety of different dinners and events. We tell the stories and we cooked all the recipes again. And of course it's easier if you have the old menu card or the invitation, but some of the recipes we did adjust interpretations because for example, of Coco Chanel at the Côte d'Azur, we had no recipe, but you get hints in different books about her. And we did not cook everything historically correct, but we found a modern version for today. Most of the time.Suzy Chase: I like that you combined both archival images with contemporary photography of the food, because so often with books like this you have to look at old grainy photos of the dishes that they served.Anne Petersen: Yes. I think that's the fun of the book. And, and, and this is why it's, it stands also for the whole magazine Salon and all its contributors for the whole team, because it is chefs on the, on the one hand side, put it the recipes, stylist, the very excellent authors, the photographers. I think the book has so many different levels, the recipes, the stories, the food, the table tops, the porcelain and the flowers and I think you read about an event and you dive really into it with all the details and also all the gossip of the time, which is also very nice. I think like with Truman Capote's black and white ball and all the hysteria in New York who was invited and who was not. Yeah, I think it's a coffee table book and eye candy, but also an historical book and definitely a very good cookbook with reliable, good recipes.Suzy Chase: With modern dinner parties we could just text people or ask them to join us, but there's something special about receiving a dinner party invitation. In the book you give examples of wildly creative invitations. Do you have a favorite invitation?Anne Petersen: Yes. I really liked the Bauhaus invitations because they were a university for graphic design and art in the twenties. And in general I love paper invitations and I think that the dinner party is really an occasion where you can still send paper invitations. I think it's more uncommon to write long letters or even postcards from holidays, but I think dinner invitation is something different. And if it's a really beautiful one, I think it's nice because people can hang them up and pin them on their board. And then they know maybe in two weeks time, three weeks time, they will attend this party. I think that's, that's very nice.Suzy Chase: You just brought up the Bauhaus parties. They were so creative and wild and it looked like a ton of fun. And do you have a photo of their sandwiches and it very much fits with the geometric art style. Every recipe in the book is something on whole wheat bread. Can you talk a little bit about that?Anne Petersen: Yeah. I think this whole wheat bread, that is a typical German thing, maybe also from Denmark, but that you just put a lot of different things like carrots and walnuts, pesto, marinades with beans on bread in this case. Yeah, well, they, they cut it in very geometric forms and this is also just the fun they make. They also bake this gingerbread figures. There was an artist she was called Gunta Stölzl and she founded that those gingerbread figures, the Bauhaus was famous for it. You can still find these real figures in the Bauhaus archive in Berlin and I think it's a nice inspiration to create all kinds of crazy elephants and whatever you can imagine, not only for Christmas and decorate them also wildly.Speaker 3: Marie-Hélène de Rothschild believed those who are in small spirit who are mean narrow-minded or timid should leave entertaining with others. And I agree. I'd love for you to chat a bit about her invitations and her elaborate parties.Anne Petersen: Yeah. I think she was really legendary and especially her surrealist ball in 1972. So every detail was planned exactly. For example, also for this costume party at her castle was decorated in Alice, in Wonderland. So 150 guests were invited, press was not allowed and everybody had to come in costumes. The special thing about it that you wore evening dresses, but your head had to be costume. So it was just the heads. So Audrey Hepburn put a birdcage on her head. And the only one who came without a mask was Salvador Dali because he said his face was disgusting enough.Suzy Chase: I mean, when I think about her, I think they had more money than they knew what to do with.Anne Petersen: I think so too. Yeah. If I think about this costume ball, I sometimes think about the FIT costume ball in New York but also, uh, let's say about these I think very ridiculous costumes that for example, Heidi Klum is wearing for Halloween. You know what I mean? Now you can buy everything at Plastic Fantastic. You know, and that was another time, like she had a real head of a gilded deer head with diamond tears. They really had to make an effort like Audrey Hepburn with the bird cage on her head. It's different. And of course I think she was able to throw a lot of money out of the window. Definitely the big windows of her big castle but I think, yeah, I think it was a lot of fun. Like the guests arrived at the party. There were, on both sides of the stairs and on their way to the ballroom the whole service people and the stuff that were dressed as cats and they were lying there and sleeping and just moving around. It had a lot of humor. What's interesting about Madame de Rothschild is also, she had stage fright before each of her parties. And also, at this time at the surrealist ball, she just started to relax a little bit when most of the guests were gone or as she put it, the guests were reduced like a good sauce.Suzy Chase: So Prince Philip, the Duke of Edinburgh who just passed away at the age of 99 was a Greek, Danish, German, Prince who married Princess Elizabeth. Now Queen November 20th, 1947. I was interested to see that the menu was in French and on the menu was Filet de Sole Mountbatten. I thought it was curious that they added Phillip's last name onto the name of the dish. Do you know why they did that?Anne Petersen: That was to welcome him in, into the family because that was a sign of recognition and acceptance for Phillip. I mean, he was a very handsome guy, a lot of aristocratic titles, but no money, five years older than her. And I don't think that everybody was so thrilled about this marriage in the beginning, especially in the Royal family. This wedding is also interesting because it was two years after the war. They were not sure if it was appropriate to have this big wedding. And that's also why the menu was quite simple, just three dishes, fish, poultry, and then ice cream. And it was in French. But why? Well, because French is the preferred language of gourmets and that even at Buckingham Palace.Suzy Chase: Jackson Pollock and Lee Krasner live the Bohemian life in my neighborhood in Greenwich village, it was the hub of the city's artist colony. And that's one of the reasons why we live in this neighborhood today. It's retained much of its already residents and artistic feel. So they left Manhattan for a big place in the Hamptons where they could host dinner parties for the movers and shakers of the New York City art scene. His art was so complicated and abstract, but I found it interesting that they entertained with simple dishes like borscht and roast chicken stuffed with herbs. Can you talk a little bit about that?Anne Petersen: Yeah. I think both loved good, simple food, but there were no good cooks and they apartment in Manhattan even had no kitchen. And when they moved to the countryside in 1945, they bought the house and build the kitchen and started to host dinner also to not lose the contact to the Manhattan bohemian society. And Krasner learned to cook took charge of the baking. And I think together they were great hosts and yeah, borscht, it seems to be something that they have cooked very often because Krasner she's a child of Russian Jewish immigrants.Suzy Chase: Coco Chanel, whom I would assume would host elaborate high style dinner parties was very toned down, dress was informal as were the meals. Lunch was served buffet style with food service and antique silver dishes from England on a long table at the end of the dining room, like salad nicoise with tuna steaks and fried chicken with asparagus artichokes and fava beans and crispy fans of grapefruit with pine nuts, the juxtaposition of fancy fashion and informal meals intrigues me.Anne Petersen: I think the interesting thing about Coco Chanel is actually at which state of her life she was when we did this menu because she just turned 40 years and she met the Duke of Westminster. And the Duke of Westminster was at that time, the richest man of Great Britain and she met him on his big sailing ship. And so in this period of her life, she bought the piece of land at the Côte d'Azur and had the La Pausa built on it. And this became a swanky relaxed retreat for herself and all her friends. And for her love the Duke of Westminster, there was not a strict menu guests themselves from a large poofy eating as much as they wanted or as little, I think, I guess Coco Chanel probably did not eat a lot. And that was also something the buffet style for her was also a possibility to be not forced to eat so much because you cannot see how much she would eat.Suzy Chase: That's interesting. Huh?Anne Petersen: That's for example, one of the menus that we had no exact menu card for that. And we wanted to do a dinner with Coco Chanel and contacted the Chanel archive in Paris. And we also thought about maybe do something was the Ritz in Paris. What we didn't do, because that is the period where she was really collaborating with the Nazis. And it was also the time when in Paris, a lot of people, they were really starving. And I think in the Ritz, they were still partying with champagne and had everything. So that is all, it's not the nice part of Coco Chanel. So this is a little earlier.Suzy Chase: You're the editor in chief of Salon, a beautiful lifestyle magazine. And I collect vintage interior design coffee table books, and must have over 50 in my small collection here in my small New York city apartment. I was talking to India Hicks on this podcast about her brother, Ashley, who you mentioned on your Instagram, I think yesterday or the day before. Yeah, they're related to Prince Philip. So he got me through the pandemic, locked down with his wonderful Instagram Lives of him flipping through interior design books, discussing the background and history of interiors. What are some interior design styles or interior designers that influence you?Anne Petersen: I also love Beata Heuman. I don't know if you know her. She just released the book Every Room Should Sing. And in the last issue we did a big story with François Halard who is a very famous European, interior photographer. And I think another favorite book that I recently bought is The Life of Others by Simon Watson. It's also an interior photographer that I really like.Suzy Chase: What is your favorite style of interior design?Anne Petersen: Very eclectic. So it's a mix of old and new and very colorful, um, yeah. To use a lot of color to use even wallpaper. And I think it's important to have some old furniture because it gives the room a soul and makes it warmer. It gives more atmosphere. Yeah. I think that that's my style.Suzy Chase: Now to my segment called Last Night's Dinner where I ask you what you had last night for dinner.Anne Petersen: Yeah. I had asparagus with butter sauce and caramelized breadcrumbs and chopped eggs. And that altogether was potatoes and ham, which is typical German.Suzy Chase: Where can we find you on the web and social media on Instagram?Anne Petersen: You will find Salon @Salon_Magazin. And you'll find myself at @Anne_Petersen.Suzy Chase: I'm thrilled to celebrate the return of the dinner party with this book. Thank you so much. And for coming on Cookery by the Book podcast!Anne Petersen: Thank you Suzy. For having me. It was great fun.Outro: Follow Cookery by the Book on Instagram. And thanks for listening to the number one cookbook podcast, Cookery by the Book.

Noah introduces a conversation between Lee Krasner and Barbara Lee Diamonstein from 1978. Lenore "Lee" Krasner (born Lena Krassner on October 27, 1908 – June 19, 1984) was an American abstract expressionist painter, with a strong speciality in collage, who was married to Jackson Pollock. Although there was much cross-pollination between their two styles, the relationship somewhat overshadowed her contribution for some time. Krasner's training, influenced by George Bridgman and Hans Hofmann, was the more formalized, especially in the depiction of human anatomy, and this enriched Pollock's more intuitive and unstructured output. --- Support this podcast: https://anchor.fm/noah-becker4/support

Will Corwin, photo: Brett Dakin William Corwin is a sculptor and journalist from New York. He has exhibited at The Clocktower, LaMama and Geary galleries in New York, as well as galleries in London, Hamburg, Beijing and Taipei. He has written regularly for The Brooklyn Rail, Artpapers, Bomb, Artcritical, Raintaxi and Canvas and formerly for Frieze. He curated and wrote the catalog for Postwar Women in 2019 at The Art Students League in New York, an exhibition of the school’s alumnae active between 1945-65, and 9th Street Club in 2020, an exhibition of Perle Fine, Helen Frankenthaler, Mercedes Matter, Grace Hartigan, Lee Krasner and Elaine Dekooning at Gazelli Art House in Mayfair. He is the editor of Formalism; Collected Essays of Saul Ostrow, to be published in 2021 by Elective Affinity Press, is curating Downtown Train at PS122 in March 2021 which features the work of Boris Lurie, Penny Arcade, Gabriella Grimes, Gordon Matta-Clark, and many others, and he will participate in the exhibition Roots/Anchors at the Newhouse Center for Contemporary Art at Snug Harbor Cultural Center in August 2021. He currently has an exhibition "Green Ladder" at Geary Contemporary in New York, on view through April 24th.  He is represented by Geary. The book mentioned in the interview was Daniel Deronda by George Eliot. Green Ladder (Installation) 3, images courtesy Geary Double Ladder, 2020, aluminum, 40 in. x 10 in. x 6 in. image courtesy Geary

Join Jaymee and Taylor on the re-release of the inaugural episode of the Artsy Fartsy podcast! On this episode, Jaymee will dig into the life of Lee Krasner. Lee is an abstract expressionist artist who contributed significantly to the changes in art throughout the 40's and into the 60's. This episode takes most of it's information from the book 9th Street Women. The second half of Lee Krasner's epic career and life is covered in episode 3! You can expect art, tragedy and whole lot of bad ass woman-ing as this episode covers 1950-1980(ish). Resources: 9th Street Women: https://www.goodreads.com/en/book/show/28118491-ninth-street-women Wikipedia: https://en.wikipedia.org/wiki/Lee_Krasner The Guradian: https://www.theguardian.com/artanddesign/2019/may/12/lee-krasner-artist-formerly-known-as-mrs-jackson-pollock-barbican-exhibition Editing By: Taylor Barstow and Jaymee Harvey Willms Artsy Fartsy Email - artsyfartsy.podcast08@gmail.com Instagram - @artsyfartsy.pod Facebook - @artsyfartsypod Trumpet Riffs Kurt Harvey Willms --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/jaymee-harvey-willms0/support

On this Valentines Day special episode, Liz discusses three relationships that involved famous artists. She points out how they met, when they were together, how they collaborated together and how they impacted each others lives as well as their creativity. Love is all around us and in art! Enjoy! You can follow Liz on Instagram at @elizabeth.callie --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/absurdart/support

In this episode, we talk about some of the art/historic couples that were not very lucky when it came to sexism within their marriage. We start off with a brief discussion about a scientist duo, Albert Einstein, and his wife Mileva Marić Einstein. We also discuss Françoise Gilot and Pablo Picasso, and Lee Krasner and Jackson Pollock. We also briefly overview many other women from the arts and more industries who were severely uncredited or even stolen from by their male counterparts.Here are some articles we referenceLee Krasner, the artist formally known as Mrs. PollockBrilliant Women, Greedy MenThe Forgotten Life of Einstein's First WifeFamous Artist Couples Massive Pay GapsMen Taking Credit for Women Throughout HistoryWant to check out some of our favorite books? Check out our booklist Follow Us on Instagram @morethanamuse.podcastBECOME A PATREON MEMBER 

Se conocieron mucho antes, en una fiesta en 1936 en que él, a sus 24, hacía gala ya de su descontrolada ingesta de alcohol. Hizo lo de siempre, se acercó a una muchacha desconocida y le habló sucio al oído. Lee pudo haberlo abofeteado y él estaba acostumbrado, pero no lo hizo.

This week's episode is about the (secret) life of Jackson Pollock. Join Kait and Diane as they discuss his upbringing, road to fame, and even how he worked with the CIA at the beginning of the Cold War! Here's a link to Pollock's work: http://jacksonpollock.com/ & a link to his wife Lee Krasner's work: https://www.artsy.net/artist/lee-krasner

ลี คราสเนอร์ (Lee Krasner) คือภรรยาของ แจ็กสัน พอลล็อก (Jackson Pollock) ผู้มีผลงานแสดงมากกว่าสามีที่โด่งดังระดับโลก ศิลปะของเธอไม่เป็นที่รู้จัก ไม่ใช่เพราะชื่อเสียงของสามีกลบ แต่เป็นเพราะในยุคนั้น วงการยังไม่ยอมรับศิลปินผู้หญิงมากนัก งานของเธอมีสีสันสดใส ร่าเริง ออกแนวทดลอง กล้าคิด กล้าทำ และไม่ยึดติด หลังจากสามีเสียชีวิต เธอก็วาดรูป วาดรูป และวาดรูป จนประสบความสำเร็จและได้มีชื่อเสียงในวงการศิลปะ ได้รับคำยกย่องจากคนเก่งๆ มากมาย จนคนจดจำเธอในฐานะ Lee Krasner ไม่ใช่แค่ Mrs. Pollock ดำเนินรายการ : ภาสินี ประมูลวงศ์, จุฑารัตน์ ภิญโญดุลยเจต

Se conocieron mucho antes, en una fiesta en 1936 en que él, a sus 24, hacía gala ya de su descontrolada ingesta de alcohol. Hizo lo de siempre, se acercó a una muchacha desconocida y le habló sucio al oído. Lee pudo haberlo abofeteado y él estaba acostumbrado, pero no lo hizo.

“Esto es tan bueno que nunca sabrías que lo ha hecho una mujer”. Ese fue el “cumplido” que dedicó el profesor Hans Hofmann a la obra de Lee Krasner y que resume muy bien la trayectoria de esta pintora americana. Aunque tenía muchísimo talento, Krasner siempre vivió a la sombra de su esposo, Jackson Pollock, la figura más importante del expresionismo abstracto. Y estar a su sombra significó aguantar su alcoholismo, violencia, infidelidades y necesidad de atención constante. Cuando él murió, Krasner pudo dedicarse por entero a pintar, creando una obra interesante y diversa. Pero nunca consiguió quitarse la etiqueta de “viuda del expresionismo abstracto”.

RIP Ruth Bader Ginsburg. Von den Gerichten zur Kunst: Frauenwerke verdienen bei den Auktionen, laut einer Studie aus dem Jahr 2017, die Hälfte, die Männerwerke erzielen. Dabei ist klar: In dreissig Jahren werden all diese grossen Männer-Millionensammlungen kaum mehr Wert haben, da wir alle Frauenkunst gesammelt haben, die die Welt verändert. Doch hier die Lieblinge von der Rohnerin und laStaempfli.

Dr Charley Peters selects ‘The Yellow Wallpaper' by Charlotte Perkins Gilman. Published in 1892, it was inspired by the author's own experience of post natal depression and the resulting inappropriate treatment she battled against. The short story describes one woman's descent into madness as she is overtaken by the yellow wallpaper she loathes. Her supposedly devoted husband keeps her isolated in a room, based on the authority of a nasty little cluster of so called expert mental health physicians including his learned self. This only worsens her condition. Charley identifies with the main character's need for stimulation, for creativity and for a way of being that doesn't fall subject to a cold logic. She describes the the book as a testament to creativity as a type of freedom, of intellectual freedom, of social freedom. It's also a timely selection as we emerge from lockdown which has been, amongst other things, a challenging time of coping with isolation. 0:00 - 0:22 the book, post natal depression, social repression, marriage, isolation, feminism, inspiration, pattern, gothic horror, human rights, social reform, independence 0:22 - 0:28 project for Hospital Rooms at Bluebird House, a mental health unit in Southampton 0:28 - 0:30 the decorative, design, contrasting unplanned 0:30 - 0:37 Charley's process, creating a ground, building up a painting, blending, tone, 'sb|2m2h (smiling back, too much to handle)' 2020, 'eod/qtpi (end of discussion, cutie pie)' 2020 0:37 - 0:43 collaboration with Tobias Revell and Wesley Goatley at 'Emergence', London College of Communication as part of London Design Festival 2019, 'charismatic megapigment' 2019, webcam, abstraction, symbol, machine intelligence 0:43 - 0:55 Charley's wider practice, colour, intuition, shape, abstract painting, finishing the painting, physical reaction, phd, drawing, unlearning, boredom 0:55 - 1:03 Charley's writing and influences, Agnes Martin, sensitivity, emptying out, minimalism, Instantloveland, Lee Krasner, female trailblazers, resilience, creative spirit, energy, robots, Judas Priest, cartoons, growing up in Birmingham, staying indoors, painting leather jackets 1:03 - 1:08 Upcoming exhibitions, virtual exhibitions, skateboard auction and what Charley's reading RIGHT NOW!   CHARLEY PETERS charleypeters.com   BOOKS & WRITERS ‘Women and Economics' 1898 by Charlotte Perkins Gilman ‘The Home, it's Work and Influence' 1903 by Charlotte Perkins Gilman ‘What Diantha Did' 1909 by Charlotte Perkins Gilman ‘Herland' 1915 by Charlotte Perkins Gilman ‘Uncle Tom's Cabin' 1852 by Harriet Beecher Stowe ‘A Room of One's Own' 1929 by Virginia Wolf ‘Do You Compute' 2019 by Ryan Mungia and Steven Heller   COMMISSIONS Bluebird House for Hospital Rooms Centrepoint for House of Vans   ARTISTS Eva Hesse 1936-1970 Agnes Martin 1912-2004 Lee Krasner ‘Living Colour' exhibition Clare Price, Alison Goodyear, EC as collaborators for Instantloveland article   GALLERIES The Barbican 405 Gallery Hauser & Wirth   Frog tape !!!

Lee Krasner war eine der einflussreichsten bildenden Künstlerinnen im Amerika des 20.Jahrhunderts. Sie schuf ein Werk von ungeheurer Vitalität, getreu ihrem Grundsatz: «Malerei lässt sich nicht vom Leben trennen. Es ist eins.» Dieses Leben beinhaltete aber nicht nur Bilder. Gerade mit ihrem Ehemann Jackson Pollock teilte Krasner auch die Liebe zur Musik, und das hiess im New York der 40er und 50er Jahre vor allem: zum Jazz. Die gemeinsame Plattensammlung liest sich wie ein «Who is Who» des damals aktuellen Jazz, und zwar von Bluesgrössen wie Bessie Smith über Louis Armstrong bis zu den hippen und jungen Musikern wie Miles Davis oder Charlie Parker. Wie sich die Bilder von Krasner zwischen Spontaneität und Kontrolle, zwischen Intuition und Beherrschung bewegen, und wie sich dazu erstaunliche Parallelen finden in der Musik, die sie gehört hat, das diskutieren der Jazzpianist Hans Feigenwinter und Fabienne Eggelhöfer, Chef-Kuratorin am Zentrum Paul Klee, in der Jazz Collection mit Jodok Hess. Erstausstrahlung: 25.02.20 Die Ausstellung über Lee Krasner im Zentrum Paul Klee wurde bis zum 16.08.20 verlängert.

You have waited patiently and here it is! Lee Krasner Part 2! In this episode, Tay and Jay discuss their favorite childhood movies- and design a new personality test by consequence. More importantly though, The second half of Lee Krasner's epic career and life is covered in episode 3! You can expect art, tragedy and whole lot of bad ass woman-ing as this episode covers 1950-1980(ish). References fro this episode come from 9th Street Women, by Mary Gabriel. Other sources include the Wikipedia and The Guardian. 9th Street Women: https://www.goodreads.com/en/book/show/28118491-ninth-street-women Wikipedia: https://en.wikipedia.org/wiki/Lee_Krasner The Guradian: https://www.theguardian.com/artanddesign/2019/may/12/lee-krasner-artist-formerly-known-as-mrs-jackson-pollock-barbican-exhibition As always, keep it on the canvas- and in your pants! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/jaymee-harvey-willms0/support

Join Jaymee and Taylor on the inaugural podcast episode! On this episode, Jaymee will dig into the life of Lee Krasner. Lee is an abstract expressionist artist who contributed significantly to the changes in art throughout the 40's and into the 60's. This episode take information from the book 9th Street Women. 9th Street Women, by Mary Gabriel: https://www.barnesandnoble.com/w/ninth-street-women-mary-gabriel/1123110053 Editing By: Taylor Barstow Artsy Fartsy Email - artsyfartsy.podcast08@gmail.com Instagram - @artsyfartsy.pod Facebook - @artsyfartsypod Trumpet Riffs Kurt Harvey Willms --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/jaymee-harvey-willms0/support

Hello and welcome to today's corner of calm, as Sandi invites you to retreat with her to her room of books, where past lives of some great and (almost always overlooked) women are being brought into the spotlight. In this episode, we learn why we have Walt Disney's wife Lillian to thank for the most iconic cartoon character of all-time, that Alma Hitchcock's keen eye for detail saved her husband's film 'Psycho' from being a laughingstock and that in sacrificing her own career, artist Lee Krasner ensured her husband was to become a household name. Plenty to meditate on there ... although Sandi's not really a fan of that particular practice...books are far less stressful.So, sit back, close your eyes and remember ... We Will Get Past This. See acast.com/privacy for privacy and opt-out information.

“I start with a blank and there’s nothing more horrifying than a blank canvas” — artist Lee Krasner. New York City, December 1990: thieves stole four paintings in a span of five days. Nearly thirty years later, one of the recovered paintings made history at a Sotheby’s auction. This is the story of those thefts—and one artist’s revival.

In 1990, thieves stole four paintings in a span of five days. Nearly thirty years later, one of the recovered paintings made history at a Sotheby’s auction. This is the story of those thefts—and one artist’s revival. [...]Read More...

We follow up on Deadpool and Lee Krasner. From the Twitter we follow up on Objective-C vs the hype cycle, Greg Heo used Fortran back in the day, Tim discusses the 360 panorama Cycloramic app from the flat sided iPhone 5 era. We also follow up on Jeff Warkin's posts on UIButton. Swift Paris Online took place. Apple launches Today at Apple (at Home). Why NASA Needs a Programmer Fluent In 60-Year-Old Languages. Rumor has it that Apple is working on a flat-sided iPhone and smaller Home Pod. The latest Home Pod13.4 update is based on tvOS. GitHub is now free for teams. At long last you can order wheels for your shiny new Mac Pro. Apple introduces the iPhone SE - second generation based on iPhone 8 form factor. Apple is developing Clips which will allow for partial app downloads. Apple and Google partner on COVID-19 contact tracing technology. NSHipster examines the upcoming Contact Tracing framework from Apple, coincidentally written in Objective-C. Picks: Developing Inclusive Mobile Apps - Building Accessible Apps for iOS and Android, War Stories: How Prince of Persia slew the Apple II’s memory limitations. Photo: Flickr/Candida Performa Special Guest: Mike Vinakmens.

Als Lee Krasner 1908 in eine jüdisch-orthodoxe Einwanderfamilie hineingeboren wurde, durften Frauen in den USA noch nichtmal wählen gehen. Sie entschied sich Malerin zu werden, prägte eine Kunstströmung und wurde dennoch meist als die Frau Jackon Pollocks bezeichnet. Doch diese Zeiten sind vorbei. von Mirco Kaempf

Lee Krasner war eine zentrale Figur des Abstrakten Expressionismus und eine von wenigen Frauen, die sich in der größtenteils männlichen Kunstrichtung behaupten konnten. Wir stellen in dieser Folge drei weitere herausragende Künstlerinnen der Zeit vor: Perle Fine, Helen Frankenthaler und Elaine de Kooning.

Many of you know that I love art history and deeply enjoy reading about the artists who made that history. Earlier in the year I had a number of you reach out to me and recommend that I pick up Ninth Street Women, a new book that tells the story of five women who were fundamental in shaping Abstract Expressionism, but who have been neglected by art history. I was hesitant at first because I've already read and learned so much about this period, but as the recommendations kept coming in I finally decided I better see why this book was receiving so much attention. I picked up a copy and am so glad I did. Ninth Street Women opened up a whole new understanding of the period for me.  In this episode of RedDotPodcast, I'm joined by the author of Ninth Street Women, Mary Gabriel. In the book Mary tells the fascinating story of Lee Krasner, Elaine de Kooning, Grace Hartigan, Joan Mitchell, and Helen Frankenthaler. Mary's book is captivating - epic in its story, intimate in its details. In our discussion, Mary tells how she came to write the book, and gives an introduction to the story of the struggles and triumphs of these five amazing women. Pick up your copy of Ninth Street Women on Amazon or at your favorite bookseller.

Lee Krasner

This episode focuses on Lee Krasner (1908–1984). Joining host Helen Molesworth are artists Lari Pittman and Amy Sillman. In interviews from 1972, 1975, and 1978, the first-generation Abstract Expressionist discusses her formation as a painter, the progression of her work, her relationships with fellow artists, and her role as guardian of Jackson Pollock’s legacy. For … Continue reading "Lee Krasner: Deal with It"

Today on Art + Ideas, we’re bringing you an episode from Getty’s new podcast, Recording Artists. In season one, Radical Women, host Helen Molesworth uses archival interviews to explore the lives of six women artists—Alice Neel, Lee Krasner, Betye Saar, Helen Frankenthaler, Yoko Ono, and Eva Hesse. Molesworth also speaks with contemporary artists and art … Continue reading "Recording Artists—Lee Krasner: Deal with It"

The story of Lee Krasner is not a neat or easy one to tell. Not because it’s been done before, though it has, or because she was one of the great 20th century artists, though she was. It’s because, now that she’s gone, there are several Lee Krasners.  

Here’s a sneak peek of Recording Artists: Radical Women, a new podcast that explores the lives of six women artists—Alice Neel, Lee Krasner, Betye Saar, Helen Frankenthaler, Yoko Ono, and Eva Hesse—through archival interviews and discussions with contemporary artists and art historians. Hosted by Helen Molesworth, the podcast launches on November 12, 2019. Stay tuned!

SCHIRN-Kura­to­rin Ilka Voer­mann und Elea­nor Nairne, Kura­to­rin am Barbi­can Centre in London, ergrün­den im Gespräch das Werk Lee Kras­ners und bespre­chen die besonderen Hinter­gründe der Ausstel­lung.

Oktober 1929. Die Golden Twenties sind mit einem Paukenschlag vorbei. Black Thursday. Wall Street Crash. Es folgt die Weltwirtschaftskrise, die sich bis in die späten 30er Jahre ziehen sollte. Es sind Jahre großer Armut in den USA, die Jahre der Great Depression. Mittendrin in New York City eine junge Künstlerin: Lee Krasner.

Moderator: Sebastian Wellendorf; Themen: Handke gegen den Rest der Welt? Kulturrätsel, Das 'Dschungekbuch' am Schauspiel Düsseldorf; Lee Krasner in der Frankfurter Schirm; Scala Serienservice: 'El Camino'; Filmtipp: 'Parasite'

In episode 01 of The Great Women Artists Podcast, Katy Hessel interviews the exceptional curator, Eleanor Nairne, about the Abstract Expressionist sensationalist, LEE KRASNER!! Born in 1908 Brooklyn to a Jewish family, Krasner was known as one of the greatest painters of the 20th century. Nairne, who recently curated “Lee Krasner: Living Colour” at London's Barbican Centre, catapulted her into the spotlight after decades of the artist often being overshadowed by her former husband, Jackson Pollock. Whether you’re a die-hard Krasner fan (like me), or have never even heard of her at all, TUNE IN to here us discussing her incredible career. We cover Krasner’s Brooklyn childhood, the moment “The Modern” opens in 1929 (aka MoMA), her education at the all-women’s Washington Irving School and later Cooper Union in NYC, her formidable determination to become one of the greatest artists of all time, seminal works and of course her very interesting (and at times heartbreaking!) life story. WORKS DISCUSSED IN THE EPISODE: Another storm (1963) Mural (1943–7 by Jackson Pollock)  Self Portrait (1928) Prophecy (1956)  Little images (1946–50)  Mosaic Table (1947)  Night series: The Eye is the First Circle (1960) Further information about Eleanor's fantastic exhibition: https://www.barbican.org.uk/whats-on/2019/event/lee-krasner-living-colour Thank you for listening!! This episode is sponsored by the Affordable Art Fair. Produced and presented by Katy Hessel Sound editing by Ellie Clifford/ Naomi Abel-Hirsch Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Artwork by @thisisaliceskinner @_ellieclifford / @naomiabel Music by Ben Wetherfield

Got them back to school blues? Not us, we love September and we've got some tasty art treats to placate you with this autumn: Lee Krasner at the Barbican, Olafur Eliasson at the Tate Modern, and the BP Portrait Award. We then get into the nitty gritty of who is Super-Curator HUO (Hans Ulrich Obrist) and his insane work ethic and distaste for sleep. We ponder if creatives are now expected to be working to such extreme levels of productivity, and what do we lose because of this? Our September artist focus is the queen of the line, Bridget Riley. Now in her 88th year, this British artist hasn't stopped teasing our optic nerves since the 1960s. Ahead of a major retrospective exhibition coming to the Hayward Gallery this autumn, we've taken a moment to reflect on her epic career. SHOW NOTESLee Krasner at the Barbican (sadly now closed): https://www.barbican.org.uk/whats-on/2019/event/lee-krasner-living-colour Olafur Eliasson 'In Real Life' until 5 January 2020 at the Tate Modern: https://www.tate.org.uk/whats-on/tate-modern/exhibition/olafur-eliasson Will Gompertz's review of 'In Real Life': https://www.bbc.co.uk/news/entertainment-arts-48965313 Olafur Eliasson and Minik Rosing 'Ice Watch': https://www.tate.org.uk/whats-on/tate-modern/exhibition/olafur-eliasson-and-minik-rosing-ice-watchVisit the Art Newspaper podcast episode on 26 July 2019 that includes an interview with Eliasson. Instagram recommendations: @campbell.hectorSky Ladder: The Art of Cai Guo-qiang: https://www.netflix.com/title/80097472 Bauhaus 100: https://www.bbc.co.uk/programmes/m0007trf Bauhaus Rules with Vic Reeves: https://www.bbc.co.uk/programmes/m0007tqs 'Curationism: How Curating Took Over the Art World and Everything Else' by David Balzer: https://www.amazon.co.uk/Curationism-Curating-Took-World-Everything/dp/0745335977Hans Ulrich Obrist's morning ritual on Nowness: https://www.nowness.com/story/hans-ulrich-obrist-morning-ritual and via the Guardian: https://www.theguardian.com/culture/2016/aug/28/hans-ulrich-obrist-tastemakers-maria-balshaw-fabien-riggall-inspirations BP Portrait Award until 20 October 2019 at the National Portrait Gallery: https://www.npg.org.uk/whatson/bp-portrait-award-2019/exhibition/Vanessa Garwood: http://www.vanessagarwood.com/about/ 'Messengers' by Bridget Riley at the National Gallery: https://www.nationalgallery.org.uk/whats-on/messengers-by-bridget-riley-a-new-work-at-the-national-galleryBridget Riley's exhibition coming to Hayward Gallery 23 October 2019 - 26 January 2020: https://www.southbankcentre.co.uk/whats-on/exhibitions/hayward-gallery-art/bridget-rileyBridget Riley: Learning from Seurat: https://courtauld.ac.uk/gallery/what-on/exhibitions-displays/archive/bridget-riley-learning-from-seurat London Sinfonietta are commissioning a piece of music inspired by Bridget Riley: https://www.londonsinfonietta.org.uk/homage-bridget-riley A Financial Times interview with Riley: https://www.ft.com/content/aac6af02-deb4-11e8-b173-ebef6ab1374a

Russell & Robert meet superstar actress, writer, director & keen watercolourist Lena Dunham in her London hotel room for a feature-length Talk Art exclusive! We discuss painting ‘en plein air’ & embracing nature in Wales this Summer, what it was like growing up as daughter of two legendary artists Laurie Simmons & Carroll Dunham and remembering New York as a child during the 1980s AIDS crisis. We learn about Lena’s favourite artists including Lisa Yuskavage, Ellen Birkenblit, Lee Krasner, Kim Gordon (Sonic Youth) & Lucy Jones, her childhood admiration for John Waters, Steve Martin and teen crush on Leonardo DiCaprio, working with Brad Pitt in the new Tarantino movie, her friendship with Hollywood icon Demi Moore and why she recently got new tattoos of her parent's and sibling Cyrus' names. Lena reveals her admiration for Madonna's latest album, obsession with recent British TV series Love Island, TOWIE star Gemma Collins, pop band S Club 7 and describes a recent visit to Derek Jarman’s house in Dungeoness. Note to EVERYONE everywhere - please don’t call Lena "M’Lady".... a more preferable nickname is "Lena D"!!!! See acast.com/privacy for privacy and opt-out information.

This episode Megan & Milena cover German neo-Freudian psychoanalyst Karen Horney and American Abstract Expressionism painter Lee Krasner. The post Ep. 15 Not All About Sex & 130$ Million Short appeared first on My Favorite Feminists.

"The sociable side of nineteenth-century musical life is not acknowledged as often as it should be..." – Laura Tunbridge discusses the interconnected, complicated and often contradictory myths and realities that link Chopin, Schumann and Brahms; the TLS's music editor Lucy Dallas takes us through a selection of other pieces on music in this week's issue, including new histories of the blues and the poetic pop of Kate Bush and the Pet Shop Boys; when Irving Sandler wrote his seminal history of abstract expressionism, he neglected to mention Lee Krasner, Joan Mitchell, Helen Frankenthaler, Grace Hartigan and Elaine de Kooning – Jenni Quilter joins us to put these artists back in the frameNinth Street Women: Lee Krasner, Elaine de Kooning, Grace Hartigan, Joan Mitchell and Helen Frankenthaler: Five painters and the movement that changed modern art, by Mary Gabriel Fryderyk Chopin: A life and times by Alan Walker Schumann: The faces and masks by Judith ChernaikBrahms in Context, edited by Natasha Loges and Katy Hamilton(with Liebeslieder Walzer, Opus 52, performed by the London Philharmonic Orchestra)Up Jumped the Devil: The real life of Robert Johnson by Bruce Conforth and Gayle Dean WardlowThe Original Blues: The emergence of the Blues in African American vaudeville, by Lynn Abbott and Doug SeroffOne Hundred Lyrics and a Poem by Neil TennantHow To Be Invisible by Kate Bush See acast.com/privacy for privacy and opt-out information.

In this episode of Someone Lived Here, Kendra brings you to the Pollock-Krasner House in Easthampton, Long Island. The home and studio of Jackson Pollock and Lee Krasner are explored and their lives uncovered. We also learn more about the other key characters in Easthampton, like Alfonso Ossorio and Ted Dragon. While we walk through the home and studio, we learn more about Lee and Jackson's work, their relationship, and Jackson Pollock's death. The episode ends in the studio Jackson used for 11 years, and Lee used for nearly 30. If you have any suggestions or ideas for the show please reach out to someonelivedhere@gmail.com. Thanks to Tim Cahill for music and Ben Kirk for artwork.

Listen to our new podcast in which writer and broadcaster Louisa Buck interviews Eleanor Nairne, curator of the Barbican’s acclaimed exhibition ‘Lee Krasner: Living Colour’, and Gail Levin, Krasner’s longstanding friend and author of Lee Krasner: A biography.

Stoke Newington lit fest highlights, Lee Krasner at The Barbican, Booksmart. Guest Anna Berkeley, Personal stylist talks wardrobe editing, body mapping, how to shop and fashion tips. Film/TV: Booksmart - https://www.imdb.com/title/tt1489887/ Killing Eve - https://www.bbc.co.uk/programmes/p07b3shn Big Little Lies - https://www.imdb.com/title/tt3920596/episodes?season=2 Years and Years - https://www.bbc.co.uk/iplayer/episodes/m000539g/years-and-years Tales of the City - https://www.netflix.com/gb/title/80211563 Books: Another Planet - A Teenager in Suburbia by Tracey Thorn - https://canongate.co.uk/books/2467-another-planet-a-teenager-in-suburbia/ Queenie by Candice Carty Williams - https://www.goodreads.com/book/show/36586697-queenie The Van Apfel girls are gone by Felicity McLean - https://www.harpercollins.com.au/9781460755068/the-van-apfel-girls-are-gone/ Lowborn by Kerry Hudson - https://www.penguin.co.uk/books/111/1115780/lowborn/9781784742454.html Podcasts: Ctrl, Alt Delete by Philippa Perry - https://play.acast.com/s/ctrlaltdelete Honestly by Clemmie Telford - https://podtail.com/en/podcast/honestly-podcast-with-clemmie-telford/ @bluebaglife - instagram Exhibitions/Events: Lee Krasner exhibition at The Barbican - https://www.barbican.org.uk/whats-on/2019/event/lee-krasner-living-colour?gclid=Cj0KCQjwxYLoBRCxARIsAEf16-srNNwWcxQQ-H4HzYiw0Dfrk-aaYzr5I2kfqs2o7RLpryiZmmM14AsaApjkEALw_wcB Stoke Newington Literary Festival - http://www.stokenewingtonliteraryfestival.com Guest feature: Anna Berkeley Styling - https://annaberkeley.com Selfridges - https://www.selfridges.com/GB/en/ Zara - https://www.zara.com/uk/ DelPozo - https://www.delpozo.com/en/ What we’re wearing: Anna: Dries Van Noten - https://www.driesvannoten.be Marni - https://www.marni.com/gb Margaret Howell - https://www.margarethowell.co.uk Nike - https://www.nike.com/gb/ Jane K: Uniqlo - https://www.uniqlo.com/uk/ Gucci - https://www.gucci.com Topshop - https://www.topshop.com Margate T shirt - https://skatepharm.co.uk Jane S: Sykes - https://sykeslondon.com/collections/outerwear Acne - https://www.acnestudios.com/uk/en/home Miu Miu - https://www.miumiu.com/gb/en.html Veja - https://www.veja-store.com Loewe - https://www.loewe.com/eur/en/home

Ben Platt has been acting or singing for most of his life, and after winning critical acclaim, and a Tony for the title role in Dear Evan Hansen, and also for playing the loveable, if quirky, Benji, in Pitch Perfect, he’s now shed his characters and written his debut album, very much from the heart. He tells Shahidha why he felt compelled to write an autobiographical album and why it was important not to hetero-wash it. American artist Lee Krasner was a true innovator working with bold colours in an abstract expressionist style from the 1940s onwards. She struggled to find recognition in her own lifetime, working mainly in the shadow of her husband Jackson Pollock. As the Barbican in London holds a huge retrospective of Krasner’s work, Shahidha asks the artist’s biographer and friend Gail Levin and art critic Jacky Klein how far this exhibition goes to give Krasner the recognition she deserves. Shahidha visits Hoxton Hall, a beautiful old music hall in East London to talk to the makers of Chasing Rainbows, a new play about a pioneering black, female astronaut. It’s fictional but inspired by a real space engineer and in it, Oneness Sankara explores the impact of the astronaut's determination to fly in space on her daughter. Donna Berlin, who plays the spacewoman, spends the performance recreating weightlessness. Shahidha finds out how this is done, talking to the actors, director, writer and an aerialist. Presenter: Shahidha Bari Producer: Harry Parker

Welcome to another morning drinking edition of Creative Happy Hour, with your charming co-hosts Micah Black and Karena Akhavein. When Yoko Ono and John Lennon moved to New York, the first thing they craved was Irish Coffee. Between the caffeine, the alcohol, and the sugar, Irish Coffee is "the rollercoaster of drinks." We go over the history of Irish Coffee, discover an artist who has made coffee into an art form, and then discuss romantic couples where both partners are artists. From collaboration to jealousy and competition, we discuss several of these famous cases, including John and Yoko, Salvador Dali and Gala, Stieglitz and O'Keeffe, Frida and Diego, Marina Abramovic and Ulay, Lee Krasner and Jackson Pollock, Inez and Vinoodh, Gilbert & George, and more. We explore what makes a romantic creative partnership work, or crash and burn.

Singer/songwriter/composer Sarah Aument lays bare the emotional skeletons that comprise her band TMBOY's new album and explains how being in a romantic partnership with another artist can feed one's work in unexpected ways. Plus: the challenges of gender binary bathrooms, a touching glimpse into Ireland's abortion debate, justice for Lee Krasner, and chivalry: do we still GAF? Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

Experience woman artist Lee Krasner's painting The Seasons as a visual source to personal growth. You can see the work at Beyond the Paint Podcast on Instagram or at Whitney Museum of American Art at thewhitney.org. I would like to acknowledge author Robert Hobbs and his text "Lee Krasner"--I used this wonderful source in my research for this episode. Special thanks to Global 365 Logistics for their support. Image credit: Whitney Museum

Experience woman artist Lee Krasner's painting The Seasons as a visual source to personal growth. You can see the work at Beyond the Paint Podcast on Instagram or at Whitney Museum of American Art at thewhitney.org. I would like to acknowledge author Robert Hobbs and his text "Lee Krasner"--I used this wonderful source in my research for this episode. Special thanks to Global 365 Logistics for their support. Image credit: Whitney Museum

“I have never been able to understand the artist whose image never changes.” “I think my painting is so biographical if anyone can take the trouble to read it.” - Lee KrasnerWhile often living in the shadow of her late husband, Jackson Pollock, Lee Krasner was in a constant state of evolution in her work. An early innovator within the abstract expressionist movement, she was often marginalized among her peers due to her gender and her role as Mrs. Pollock. None of this stopped her from paving an independent trail through the boys club that predominated the art scene at the time and making a name for herself with works that evoked a sense of pulsing rawness and passion.Get your companion PDF here!- - - - - - - - - - - -SFE began as a personal lo-fi podcast exploring abstract painting, writing and poetry, general creativity, inspiration, and the every day human experience. It continues to evolve over time with the promise of multiple permutations.- - - - - - - - - - - -I believe life needs art. We need dreamers, makers, creators, poets, lovers, and genuine humans of all types to fill up the dark corners of the world with their own brand of amazing. We need the courage to rebel against norms, resist status quos, and vandalize the universe with deep, soulful beauty. So I'm doing my best to brave the void (yikes) and put my self out there in the hopes of inspiring others along the way. So grab a can of metaphorical spray paint and come break some things with me. ♥ Lisa- - - - - - - - - - - -@ LisaBarbero.com. © Lisa Barbero unless otherwise noted. Music © Michael Barbero. All rights reserved.

The 1950s American art movement, Abstract Expressionism, was a hyper-masculine era both in its aesthetic but also in its cast of characters. However, there were a handful of resilient and fiercely talented women who endured the obstacles despite. Join our hosts as they dissect the stories and mark making of Lee Krasner and Helen Frankenthaler.

Pollock: A Staged Reading featuring Jim Fletcher and Birgit Huppuch We were pleased to present a theatrical reading of Pollock on June 16, 2018, featuring the original actors, Jim Fletcher and Birgit Huppuch, in Provincetown’s Hawthorne Barn as part of Twenty Summers' annual month-long arts festival. French playwright Fabrice Melquiot's drama, translated into English by Kenneth Casler and Miriam Heard, and directed by Paul Desvaux, illuminates the profound connection between the brilliant madness of Jackson Pollock and his marriage to artist Lee Krasner, exploring the charged space between his genius and her spirit, his inhibitions and her frustrations. It was our honor to shine a spotlight on these two important artists, both of whom spent time in the Hawthorne Barn. This performance was made possible through the support of The Cultural Services of the French Embassy, which promotes the best of French arts, literature, cinema, digital innovation, language, and higher education across the U.S.

On October 29, 2017, the world lost its first feminist art historian. That title, of course, describes Linda Nochlin, a leading academic who changed the world of art after she published her important essay, “Why Have There Been No Great Women Artists?” In 2016, I had the honor of interviewing her for the Women of Abstract Expressionism podcast and only used a few minutes of our interview. In this episode of Art Movements, we release the whole interview (leaving out some in-between bits) where she discusses the role of women in the arts, how oppression impacts culture, and her personal friendship with Joan Mitchell and others. I also briefly interview one of her former students, art writer Aruna D'Souza, to explain what Nochlin was like as a person. And the music this episode is “Brandenburg Concerto No. 4 in G, Movement I (Allegro)” one of the most renowned compositions by Johann Sebastian Bach, who was Nochlin's favorite composer.

The world of twentieth-century abstract painting has traditionally been male-dominated—but five women broke from tradition and dared to enter that world and propel a revolution in modern art. To champion their stories, acclaimed author Mary Gabriel spoke at Town Hall, with accounts from her book Ninth Street Women. Gabriel joined us to explore the rich, revealing narratives of these five brilliant female artists—Lee Krasner, Elaine de Kooning, Grace Hartigan, Joan Mitchell, and Helen Frankenthaler. Gabriel met with local painter Julia Ricketts, whose work can be found in numerous private collections throughout the Pacific Northwest. Ricketts offered an artistic perspective as Gabriel highlighted the impassioned and exhilarating lives of these five movers and shakers of American art and society who challenged the prevailing social code during one of the most turbulent cultural and political periods of modern history. Listen in as Gabriel and Ricketts recounted the remarkable and inspiring stories of five women who shaped not just postwar America but the future of American art. Mary Gabriel is the author of Love and Capital: Karl and Jenny Marx and the Birth of a Revolution, which was a finalist for the Pulitzer Prize, the National Book Award, and the National Book Critics Circle Award. She is also the author of Notorious Victoria: The Life of Victoria Woodhull, Uncensored, and The Art of Acquiring: A Portrait of Etta and Claribel Cone. Recorded live at Impact Hub by Town Hall Seattle on Sunday, September 30, 2018.

This episode is sponsored by The Great Courses Plus. Get a FREE month of unlimited access to over 9,000 lectures presented by engaging, award-winning experts on everything from art to physics, interior design and world languages. Sign up today at thegreatcoursesplus.com/ART.  This episode is also sponsored by HelloFresh. For $30 off your first box of delicious, fresh ingredients and easy step-by-step recipes, please visit HelloFresh.com/artcurious30 and enter the promo code "artcurious30."  Anyone familiar with Abstract Expressionism will tell you that this art movement was one where all the insiders or practitioners were more closely involved than many other art movements.  Such close confines also made for some serious rivalries, too. But there were other artists who were more intimately involved with one another and their artistic process-- they were married, or were lovers. Such is the case with both Jackson Pollock and Willem de Kooning --both of whom married women who were incredible artists in their own right. Interestingly, and sadly, when these two spouses are mentioned, it’s very rare that we are treated to sincere commentary just about their works of art. More often than not, we are, instead, given explanations of how these women measure up to their (admittedly more famous) husbands, and are relegated either to a supporting role, or just plain seen as not good enough in comparison. Why is it that such talented women continue to have their posthumous careers and stories marked and shaped by their husbands?   Please SUBSCRIBE and REVIEW our show on Apple Podcasts!  Twitter / Facebook/ Instagram Episode Credits Production and Editing by Kaboonki. Theme music by Alex Davis.  Social media assistance by Emily Crockett. Additional research and writing for this episode by Patricia Gomes. ArtCurious is sponsored by Anchorlight, an interdisciplinary creative space, founded with the intent of fostering artists, designers, and craftspeople at varying stages of their development. Home to artist studios, residency opportunities, and exhibition space Anchorlight encourages mentorship and the cross-pollination of skills among creatives in the Triangle. Additional music credits "Song Sparrow" by Chad Crouch is licensed under BY-NC 3.0; "Converging Lines" by David Hilowitz is licensed under BY-NC 4.0; "Today, Tomorrow, & The Sun Rising" by Julie Maxwell is licensed under BY-ND 4.0; "Is everything of this is true?" by Komiku is licensed under CC0 1.0 Universal License; "Fantasy in my mind" by Alan Špiljak is licensed under BY-NC-ND 4.0. Ad Music: "Hello September" by Proviant Audio is licensed under BY-NC-ND 3.0 US; "The Valley" by  Dee Yan-Key is licensed under  BY-NC-SA 4.0; "Galaxies" by Split Phase is licensed under BY-NC-SA 3.0 US Links and further resources Ninth Street Women: Lee Krasner, Elaine de Kooning, Grace Hartigan, Joan Mitchell, and Helen Frankenthaler: Five Painters and the Movement That Changed Modern Art, Mary Gabriel The Art Story: Lee Krasner Artsy: "The Emotionally Charged Paintings Lee Krasner Created After Pollock's Death" Smithsonian Magazine: "Why Elaine de Kooning Sacrificed Her Own Amazing Career for Her More Famous Husband's" National Portrait Gallery Blog: "Elaine de Kooning's JFK"  NPR: "For Artist Elaine de Kooning, Painting was a Verb, not a Noun" Elaine de Kooning in her studio, 1963 Elaine de Kooning, Self-Portrait, 1946 Lee Krasner in her studio, date unknown Lee Krasner, Self-Portrait, c. 1929 Elaine de Kooning, John F. Kennedy, 1963 Lee Krasner, Untitled (Umber Series), c. 1960 Learn more about your ad choices. Visit megaphone.fm/adchoices

This episode is sponsored by The Great Courses Plus. Get a FREE month of unlimited access to over 9,000 lectures presented by engaging, award-winning experts on everything from art to physics, interior design and world languages. Sign up today at thegreatcoursesplus.com/ART.  This episode receives additional support from Reynolda House Museum of American Art, where you can find one of the nation's most highly regarded collections of American art on view in a unique domestic setting - the restored 1917 mansion of R. J. and Katharine Reynolds surrounded by beautiful gardens and peaceful walking trails. You can browse Reynolda's art and decorative arts collections and see what's coming next at their website,  reynoldahouse.org. The art world is a man’s world- or, at least, it used to be entirely one. This shouldn’t be surprising to anyone who is a longtime listener of the ArtCurious Podcast, because we’ve touched multiple times on the difficulties that have faced women who have sought careers as artists.  Now, thankfully, in the age of #metoo, the male-heaviness of the art world is changing a bit, as it is in other facets of society. But turning back the clock to any other era in history, and the reality is that it was totally a man’s game. And the absolute manliness of it all was compounded intensely in one particular time and place: post-war America, where it was all about brusque machismo, the biggest innovations, and the biggest splash. It was a measuring contest like none other, and two larger-than-life characters were at the center of it all. Please SUBSCRIBE and REVIEW our show on Apple Podcasts!  Twitter / Facebook/ Instagram Episode Credits Production and Editing by Kaboonki. Theme music by Alex Davis.  Social media assistance by Emily Crockett. Additional research and writing for this episode by Stephanie Pryor. ArtCurious is sponsored by Anchorlight, an interdisciplinary creative space, founded with the intent of fostering artists, designers, and craftspeople at varying stages of their development. Home to artist studios, residency opportunities, and exhibition space Anchorlight encourages mentorship and the cross-pollination of skills among creatives in the Triangle. Additional music credits "The Walk" by Dee Yan-Key is licensed under BY-NC-SA 4.0; "Catching Glitter" by Split Phase is licensed under BY-NC-SA 3.0 US; "Aquasigns" by Tagirijus  is licensed under BY-NC-SA 4.0; "You know why" by Loyalty Freak Music is licensed under CC0 1.0 Universal License; "Tethered" by Nctrnm  is licensed under BY 4.0. Based on a work at https://soundcloud.com/nctrnm/; "Dancing on the Seafloor (KieLoKaz ID 110)" by KieLoBot  is licensed under BY-NC-ND 4.0; "Attempt 7" by Jared C. Balogh is licensed under BY-NC-SA 3.0 Ad music: "Ground Cayenne" by The Good Lawdz is licensed under BY-SA 3.0  Links and further resources The Art of Rivalry: Four Friendships, Betrayals, and Breakthroughs in Modern Art, Sebastian Smee The New York Times: "Ruth Kligman, Muse and Artist, Dies at 80" Jackson Pollock: An American Saga, Steven Naifeh and Gregory Smith De Kooning: A Retrospective, John Elderfield Willem de Kooning and his wife, Elaine, photograph by Hans Namuth, 1952. Jackson Pollock and his wife, Lee Krasner, photograph by Hans Namuth, 1950. Willem de Kooning, Excavation, 1950 Jackson Pollock, Stenographic Figure, c. 1942 Willem de Kooning, Woman I, 1950-1952 Jackson Pollock, Autumn Rhythm (Number 30), 1950 Jackson Pollock painting on panes of glass, Hans Namuth documentary stills, 1950. Learn more about your ad choices. Visit megaphone.fm/adchoices

Nat and Corrie are joined by Rose and Angelica of Sartle (See Art Differently) to learn about some of the bad-ass ladies of the Abstract Expressionist movement. In this episode the babes discuss artists Lee Krasner,  Helen Frankenthaler, Jay deFeo, Agnes Martin, Joan Mitchell & Judith Godwin. Find out more about these amazing women who broke into America's most masculine art movement. Related episodes: Abstract Expressionism https://www.arthistorybabes.com/episode-49-abstract-expressionism Art History BB: Elaine de Kooning https://www.arthistorybabes.com/episode-75-art-history-bb-elaine-de-kooning Check out our Patreon for exclusive bonus episodes! www.patreon.com/arthistorybabes Check out Sudio headphones at www.sudio.com Promo code: BABES Start investing with Acorns. Get $5 when you use our link: www.acorns.com/invite/?code=F7FU9C www.arthistorybabes.com Insta: @arthistorybabespodcast Twitter: @arthistorybabes Email: arthistorybabes@gmail.com Learn more about your ad choices. Visit podcastchoices.com/adchoices

On this month’s podcast we discuss the role of science in fine art.  Specifically, what can science tell us about a work of art’s origin and authenticity?  Can science help us discover fakes and forgeries undetected by traditional connoisseur style observation?  We are joined by the famous art scientist Jamie Martin to discuss these issues, recount famous forgery scandals, and delve into his techniques and practices. Resources: http://orionanalytical.com/media/ http://www.sothebys.com/en/news-video/blogs/all-blogs/sotheby-s-at-large/2016/12/scientist-art-world-james-martin.html https://www.wired.com/2016/12/how-to-detect-art-forgery/ https://www.artsy.net/article/artsy-editorial-the-8-most-prolific-forgers-in-art-history-that-we-know-of https://www.vanityfair.com/culture/2012/10/wolfgang-beltracchi-helene-art-scam https://news.artnet.com/market/forger-wolfgang-beltracchi-exhibition-296551 http://www.nytimes.com/2012/07/19/arts/design/ken-perenyi-art-forger-now-sells-his-work-as-copies.html Episode Transcription:  Steve Schindler:  Hi. I'm Steve Schindler. Katie Wilson-Milne:  I'm Katie Wilson-Milne. Steve Schindler:  Welcome to the Art Law podcast, a monthly podcast exploring the places where art intersects with and interferes with the law. Katie Wilson-Milne:  And vice versa.  The Art Law Podcast is sponsored by the Law firm of Schindler Cohen & Hochman LLP, a premier litigation and art law boutique in New York City. On this episode of the podcast we will be discussing the role of science and fine art. Specifically what can science tell us about the work of arts origin and authenticity? Can science help us discover fakes and forgeries that would be undetected by more traditional connoisseur-style observation? Steve Schindler:  We’re here today with Jamie Martin, Senior Vice President and Director of Scientific Research at Sotheby’s auction house, a title that really doesn’t do Jamie justice. Jamie is an artist, art conservator and forensic scientist. In 2000, he founded a company called Orion Analytical that became the preeminent materials analysis and consulting firm, specializing in the scientific analysis of art and cultural property. Working at the intersection of art and science, Jamie has revealed multimillion dollar forgeries in the art market, taught at The Getty Conservation Institute and the FBI, and conducted more than 1800 scientific investigations for museums, galleries, insurance companies, and private collectors around the world. Katie and I have both worked closely with Jamie and it is a genuine pleasure to welcome him to the podcast. Welcome to the podcast Jamie. Jamie Martin:  Hi! Katie Wilson-Milne:  Yes, thanks for being here Jamie. So what can science tell us about art? Jamie Martin:  The way I like to phrase it is, is that science helps art tell its own story. Science can reveal the structure of the work, its composition and its condition. Steve Schindler:  How Jamie would you say that science intersects with questions about authenticity and fraud? Jamie Martin:  Well, in about 2009, the College Art Association codified guidelines and standards for authentications and attributions. Steve Schindler:  What is the College Art Association? Jamie Martin:  I'm not a member, but my understanding is that it’s a national association of art historians principally in colleges but also working privately or working in museums as well. Steve Schindler:  Okay, so they came out with some guidelines? Jamie Martin:  They did and in codifying guidelines they identified three essential elements involved in the authentication attribution process. The first oldest most important and never to be replaced is stylistic connoisseurship, which is examination with learned eye of the scholar. The scholar is the person or the entity that attributes and actually authenticates work of art. The second essential element is the provenance of the work or the documented history from the time it left the artist studio to present day. And usually that’s fractured or incomplete in some way. The third essential element which has been part of these kinds of studies for at least a 100 years, but was codified in this document, is scientific or technical examination. And the role of science and technical examination in authentication and attribution studies is twofold, one is to test the claimed attributes of the attribution of the work and also test the claimed attributes of the provenance. In other words to see if the physical substance of the work is consistent with its attribution and provenance, the other principle aim of science and technology is to provide investigative leads, so to better understand the object – essentially to let the object tell its story about where it was, when it was, what it was. And those leads can help art historians and researchers better place the object in time, in some cases in a particular artist studio. Katie Wilson-Milne:  So what is the analysis of the work actually look like in terms of what you’re doing, maybe walk us through a typical examination of a painting? Jamie Martin:  So generally speaking from start to finish, every exam would start with visual inspection of the work in bright white light, the same way that a connoisseur would examine the work.  They want to see the composition, or the design. They want to see the color, the opacity, essentially the facture of the work, the way the work is constructed. They’ll then move the light to the side, which is called raking light, and that reveals information about the texture of the work. And often identifies the presence of restoration or alteration, because in an authentication study a scientist doesn’t want to inadvertently identify restoration as original, find a problem and reach a wrong conclusion.  Scientist and conservators then use ultraviolet light which, when I was a teenager these were lights on the ceiling of my room that illuminated Led Zeppelin posters. Steve Schindler:  I had the same posters and the same lights – by the way. Jamie Martin:  Alright. So we use the same lights now to illuminate works of art and materials have inherent fluorescence which allows us to see the distribution of different materials and often the distribution of restoration and alteration. We then use infrared light. We can't see infrared light as humans, but we can use cameras to detect it and record it and create an image. And with that we can often better see restoration, but more importantly we can see through the paint. We can see through some materials to see what lays beneath, so artist underdrawings. We can see inscriptions that have been obliterated or erased. And all of those are noninvasive techniques that basically tell us about the object as a whole. We then take the object and we put the object under what’s called a stereo binocular microscope – a microscope that gives us a three dimensional color image of the work and magnifications up to about 90 times – and with this we can look at the fine detail of the work.  We can begin to understand its structure and its condition.  We create a mental inventory of the number of different materials. We account for the presence of restoration. And this process helps guide the subsequent analyses that we do. The best most reliable way to analyze the work from a statistical point of view is to take the work of art, put it in a blender, destroy it, mix it up into a powder, take a pinch and analyze it.  We obviously can't do that. So we have to select visually representative areas of our work and conduct our analyses on that. We have a range of noninvasive techniques that we can use. Not taking a physical sample, actually not touching the work of art, we can identify the elemental composition, so the elements like sodium or lead or mercury, we can identify where they are in the work. In the case of Remington sculpture, that can help determine whether the work was cast before Remington died or if it was cast after the artist died. And if after, whether it was authorized or unauthorized.  If it’s a work of art like a painting or a painting on paper or a drawing, we can map the elemental composition of the work. So we can look for elements that stand out. Given the attribution, let’s say an artist who’s painting in 1800, if we find concentrations of elements associated with original material that is part of the object and those elements only became part of paints after 1800, then that raises red flags about the work. And then we can use other techniques to identify what those materials are. In variably however in most cases we need to take a sample and we need to analyze the sample so that we understand the full composition of the material to give you an idea of the kind of sample, the sample size that we need are typical sample sizes range from about 1/1000th of a millimeter to about 40/1000ths of a millimeter, which is about the width of a human hair. Katie Wilson-Milne:  How do you even collect a sample that small? Jamie Martin:  It’s good question. You collect it using the same microscope that you use to find the sample location, so using a microscope that’s analogous to a surgical microscope, same kind of microscope a neurosurgeon would use. And we actually use neurosurgeon tools. I use a scalpel. And I’ll use the scalpel to remove such a tiny piece of material, I can only see it with a microscope, but that one little tiny microscopic specimen can be used for one or two or five or ten separate analyses depending on what the questions are. Katie Wilson-Milne:  Jamie I think one question we shouldn’t let go by for too long is how are you qualified to do this work, right. I mean the way you described the analysis of the art, presupposes a certain amount of knowledge when you look at the piece under the light initially and you’re sort of doing the visual analysis. How do you know how to do that? Jamie Martin:  Well, conservation scientists have different backgrounds, some are PhDs who have advanced degrees in chemistry or engineering. Others come from the conservation ranks. And that’s the route I took. My background is a little different. It’s a bit unique in the field, when I was 13 my father gave me a microscope, a chemistry set and sent me to art school. And so from a very young age I was taught how to mix different powdered pigments together to make paint. And how to stretch canvases much the same way it was done in old master days in workshops. And at the same time I was blowing little things up in my bedroom with my chemistry set and beginning to explore the world with a microscope which sits on the desk I have now. After high school I attended a traditional art school in Baltimore. And we were taught to emulate the techniques of the old masters and one thing I became very proficient at doing was doing copies in museums where I could create works in some cases that were indistinguishable from the originals. I did a copy of William Merritt Chase of the Baltimore Museum of Art. And as I was walking out with it one day, the director of the museum asked me if I was taking it back to storage.  And I sort of laughed. Steve Schindler:  You were in training either to be a conservation professional or a forger – Jamie Martin:  Well that – that’s very interesting when I applied to the conservation graduate programs which included Winterthur, the admissions committee raised questions and flagged me, because my art portfolio was so strong and my ability to copy was so good. They were concerned if they trained me as a conservator and a scientist that I would be a master forger. It turns out and I didn’t know at that time, I'm a bit of a master detective at catching forgers.  So I got a graduate degree in art conservation at the University of Delaware, then I went on to postgraduate work at University of Cambridge. Then I set about creating the first two fee-for-service conservation analytical labs in the United States, one in a museum and one privately and they were both setup to provide basic conservation science services to conservators and museums that didn’t have scientists. So what equips me to take samples and what equips me to interpret the data and reach reliable, accurate conclusions is having taken about 15,000 samples and having conducted about 13,000 FTI or analyses.  It’s just a lot of experience, the good luck, good fortune of working with really good scientists over the years who were able to teach me the tools of the trade. And then being surrounded by excellent people in museums and the conservation field and interestingly also in the art law field. Steve Schindler:  So let’s talk about your detective skills, because one of the ways that we met was in connection with a case involving fakes and forgeries. How prevalent are fakes and forgeries in your view in the art market? Jamie Martin:  Well, we really don’t know.  We read in newspapers and magazines from time to time that it’s been estimated that 50% of works are fake or 80% of works are fake, but if you dig a bit deeper into those articles it’s often someone trying to make the claim to attract business and create a fear that everything is sold in the market place is potentially a fake. Katie Wilson-Milne:  Yeah, I feel like I've read articles, “half the works on every museum all are fake, you just don’t know it.” Jamie Martin:  Yeah, we just don’t know, there’s been no study done. There’s no data to look to. What we know publically is probably a small fraction of the art forgery case isn't fakes that are in circulation or from cases like the Beltracchi case or the Knoedler case or the Rudy Kurniawan case that dealt with wine, there are lot of investigations being done behind the scenes by law enforcement that we’ll probably never know about. And a lot of investigations I did were done under confidentiality agreements that I can't discuss. Someday I hope the FBI will get on to it, burst the forgery ring and make people whole. I would say that forgeries can be a significant problem, depending on what is being forged or faked and where it’s being sold. So generally a ring of forgers has a target market in sight. They more or less know the market that they want to create the works for and sell the works for. There is some evidence to suggest that forgeries pertaining to a particular artist spike up after a big exhibition on the artist or after publication of the catalogue raisonné, because there’s a lot of technical information and a lot of visual information that a forger can take and create a pastiche – using some of the materials that are disclosed in the publication. It’s one of the reasons why scientists like I, scientist in museums often don’t disclose everything we find, but withhold some important information, so that we don’t give away all the secrets of detection or we don’t disclose publically all of the stupid mistakes that forgers are making. We like them to continue to make those stupid mistakes. Katie Wilson-Milne:  So can you tell our audience briefly about the Beltracchi case? Jamie Martin:  Yeah, so Wolfgang Beltracchi and his wife devised a really sinister scheme to create a large group of fake works that reportedly created in Europe, say between 1910 and 1930. And they would use publications that sided exhibitions of works by known artist that didn’t give illustrations, didn’t give sizes.  They gave the artist name, the date, and the title of the work. And that was the basis of the provenance for the work. They could create a work, point back to that publication and say, “Oh, here’s the work.” What was particularly clever was that they created the false provenance of the so-called “Jagers collection” and Jagers happened to be Beltracchi’s wife Helene’s maiden name. And what Beltracchi did was to create framed posters of his fakes, he put them in a room. He had period furniture. Katie Wilson-Milne:  I love this part. Jamie Martin:  And his wife dressed up as her grandmother and posed with the works.  Beltracchi used an old box style camera that would make the image a little blurry. He printed the photographs on deckled paper, which would have been period, photocopied them. And then you can imagine when Helene would take the painting and present the perspective owner with the photograph of the painting photographed with her grandmother, people would say, “Oh my God, the family resemblance!  You look so much like your grandmother.” And as this often the case with fakes and forgeries it doesn’t take much to nudge someone to the point of accepting what is false as true. They didn’t look deeper.  That was enough for them to believe the story that Beltracchi assembled. Steve Schindler:  It always seems in these cases that the purchasers and fakes so much want to believe.  Whether it’s in the Rudy Kurniawan case that you just eluded to before – passionate collectors of wine want to believe that they’re getting these rare vintages so much that they overlook obvious clues.  In other cases, they buy works where the signatures are misspelled, as we’ll get to, so part of it just seems to be tremendous excitement and passion on the part of the purchasers. Katie Wilson-Milne:  Well and there’s no incentive for anyone in that chain to want something to be fake, right? The buyer wants it to be worth what they paid for it. They want it to be by the artists they think it’s from. So who in that chain wants to disrupt that? Jamie Martin:  Well, in a very clever way of introducing the fakes is to introduce the fakes that art fairs or dealers where there’s a real time pressure to purchase.  So for example in an art fair, a fake might be exhibited, and you might get two people in the span of two or three days looking at the work, basically competing for who’s going to purchase the work. There really isn't the time to step back to examine the claimed attributes, so the work is attributed to artist X in year Y. I think I’d like to step back, look at some books published on the artist perhaps the catalogue raisonné and see if this work really fits. And then I want to look at the provenance. And I want to find out if there was actually a Jagers collection. And if not, those are going to raise red flags for me. Katie Wilson-Milne:  So how did he get caught? Jamie Martin:  Beltracchi got caught, because the Doerner Institute in Munich, Germany was given a painting by the police to examine and they found two things working with an art historian who probably was the first person to break the case. He noted that the fake labels that were applied to the back of many of the works were of a gallery that didn’t exist at the time the works were purportedly dated. So the gallery label dates were mismatched. The Doerner Institute then examined the painting and they found that the painting contained historically inaccurate materials. So pigments that weren’t introduced and used at paints at the age of that particular work of art.  And that’s enough to conclude that the work couldn’t have been – could not have been constructed at that time, and that raised huge flags. At that point I understand that police began to assemble lists of works that were likely Beltracchi fakes. I became involved through looking at a number of works for private collectors and auction houses and was commissioned actually by 60 Minutes to examine a fake Beltracchi work in the style of Ernst, so I could explain to Bob Simon how Beltracchi created the work, but more importantly how Beltracchi got caught. Now Beltracchi was very careful about his materials. He would purchase old canvases that would have been used in the same period, so if you tried to date the canvas, it would be appropriate. And he tried to select paints that contained pigments that would be used at that time. So he would go to the store and he would look for Winsor and Newton paint and he would turn it around and look at the label. And it would say Zinc White. And that was the limit of Beltracchi’s knowledge of paint manufacturers. Now because paint manufacturer from time to time hired me to reverse engineer their competitors’ products to tell them what they were using to make paint, I was aware that manufactures often topped off or added materials to paints. And in this case the manufacturer added a little bit of a very opaque pigment called Titanium White to the Zinc White. And they used modern synthetic organic pigment called Phthalocyanine Blue that they used to top off or make the blue paint that Beltracchi used more intense. And those two materials were very easy to detect. And they proved that that those works were not authentic. Beltracchi himself I think was quoted saying, “Ah yeah, the Titanium White.” Katie Wilson-Milne:  We should probably interject, Steve, to explain the legal background that it’s obviously not illegal to copy something that’s in the public domain, if you say it’s a copy and you tell people that you painted it and it’s not by the original artist. What is illegal is fraud and pretending that a work authored by you is by another person and leading a buyer, inducing a buyer to buy that work based on that fact. Jamie Martin:  Correct. Steve Schindler:  And so one question, Jamie, is – you mentioned before that you, one of the things you search for are these anomalies and you’re able to determine whether a work could have been created at the time that it was purported to be created, but do you actually authenticate works? Jamie Martin:  No, rarely will scientific or technical examination unilaterally attribute or authenticate a work. And -- Steve Schindler:  Why is that? Jamie Martin:  Well, because there isn't a chemical or material fingerprint that would allow you to individualize a work to one and only one artist at a particular time. Katie Wilson-Milne:  So science can't tell you something is authentic, but it can tell you something is fake? Jamie Martin:  It can tell you that something is fake.  From time to time, you can form a conclusive, reliable, durable opinion that a work is fake based on science. It can also buttress an attribution more provenance, but it will never substitute for the absence of or a defect in provenance or stylistic connoisseurship. Steve Schindler:  Do you think in the area of stylistic connoisseurship which, is often criticized as being sometimes objective, insular, elitist, whatever you will – whether there is a place for science or an opportunity for science to replace the work of the connoisseur and I'm thinking particularly about advances in artificial intelligence the type of technology that makes an Apple iPhone work, the facial recognition. Do you sense that there is a place for that kind of technology in making attributions or authentications? Jamie Martin:  For probably about 10 years there’s been an emphasis in the computer science and physics disciplines to use image processing, computer analysis and things like fractal analysis, sparse coding analysis to essentially replace what – in some cases is viewed as the subjective eye of the kind of connoisseur – with the more “objective eye” of the computer looking at a photograph. There’s been some interesting and promising research done which I believe can enhance the work of authenticating or dating works, that is, clearly showing that something is inconsistent with the work of an artist. Or in the case of Dürer drawings – comparing Dürer drawings to see how closely the strokes and the pressure applied to the implement and the basic composition is.  However I haven’t seen any technology at this point that is able to accurately attribute works absent the human input of a scholar, of a conservator, of a scientist. I think it’ll probably happen in my life time.  It’ll hopefully happen before I retire. Katie Wilson-Milne:  You describe a very complimentary process, but there has been some suggestion that there’s a tension between a traditional connoisseur – a PhD in art history, works at a museum – and scientific analysis that, I don’t know, there’s a perceived fear that science is replacing that scholarly expertise.  Is that something you come in contact with or you also perceive? Jamie Martin:  Well, so there are a universe of conversations probably that are going on and they’re informed by different experiences and backgrounds and opportunities. I haven’t experienced that tension myself, before or since coming the Sotheby's, but I come from an old school conservation science background where I'm one of three players. I view it as a three legged stool. And that first most important leg of this stool is the curator, is the catalogue raisonné author, is the independent expert. The second leg is the provenance leg, and I'm the third leg.  My job is there just to steady the stool. Steve Schindler:  You’re telling yourself short Jamie but – Katie Wilson-Milne:  You’re creating a stool, but yes we take your points. Steve Schindler:  Yeah, one of the things that also dawns on me because we – we have experienced the problem in what we do of authenticators being reluctant now to authenticate work for reasons that we’re all well aware of: they get sued. They get sued by people who view themselves as possessing authentic works and they disagree with authenticators’ opinions. Katie Wilson-Milne:  What would be the basis for a lawsuit on those grounds? Steve Schindler:  Well, we’ve seen a lot of different theories, most of which had been rejected. It could be a theory of negligence, there have been reasons as wild as antitrust theories that have been set out. And the interesting thing is most of the lawsuits against authenticators end up either being settled or dismissed favorably towards the authenticators, but they have to spend an awful lot of money defending themselves, which is why they – in many cases, foundations and authenticating boards have stopped authenticating, and experts who are not paid a great deal of money typically to give opinions and find themselves tremendously at risk and we’ve been working in the art law community trying to remedy that legislatively at least in New York, but it does dawn on me that machines can't get sued probably, not yet. And so if there was a room for science to provide a clear or more objective authentication, it might alleviate some of the burdens on the whole process, I don’t know if you have any reactions to that. Jamie Martin:  I do I guess, I think the Knoedler case was probably a textbook case of where an expert in good faith working first for the Knoedler gallery and its director in providing reliable, accurate opinions on the attribution of authenticity of works and then subsequently working for a number of people who purchased works from the gallery – again in good faith providing accurate, reliable durable data and conclusions got caught up not in a lawsuit but in a flurry of subpoenas. Katie Wilson-Milne:  This expert is you, Jamie. Jamie Martin:  This expert is me. And I had never heard of a third-party expert having to retain legal council to produce documents and to represent the expert in court to answer allegations of obstruction of proper discovery and handling of evidence before. Katie Wilson-Milne:  So even the scientist can get caught up in these legal issues. Jamie Martin:  And it had a chilling effect during the Knoedler case.  Before Knoedler, I could pick up the phone and call someone of the National Gallery and ask if I could come in and look through the research files on a particular case. Once the subpoenas went out and Knoedler, which included the director of the National Gallery – I would call the National Gallery and I was told by my colleagues, “We’ve been instructed by the legal counsel not to answer the phone when you call.”  Now since Knoedler, that’s gotten better but the chilling effect in Knoedler was that you could be caught up in this and your life could be turned inside out. And other scientists who you know could say horrible things about you that had no basis in fact. And that was just the way the system worked. Katie Wilson-Milne:  Let’s talk about the famous Knoedler case which, you were involved in it, we were also peripherally. Steve Schindler:  Full disclosure – I guess at this point, since Jamie brought it up. We were representing Jamie and that’s how we were – fortunate enough to meet him and to be sitting here with him today. Katie Wilson-Milne:  There were many, many lawyers involved in the Knoedler case. All right, so the Knoedler Gallery was the oldest and one of the most respected art galleries in New York City and the United States. It had been a business for 165 years in a beautiful town house on the Upper East Side. And in 2011, at the end of 2011, it abruptly shut down declaring bankruptcy. In the background of this declaration of bankruptcy in going out of business was a brewing scandal over the sale of about 40 works of art that Knoedler sold and had alleged work created by who’s who of modern masters: Jackson Pollock, Lee Krasner, Motherwell, Barnett Newman, Mark Rothko, William De Kooning, and others. There was one other dealer, Julian Weissman, who had sold 23 similar works of art. But we’ll focus on the Knoedler aspect of this. These works were said to have brought in up to $80 million in profits for the dealers and following the galleries, closing this started to come out. There were rapid succession of lawsuits that were filed by collectors, alleging that these works were fake. And not to give away the end of the story they were fake. The provenance of these works had been sketchy. The works had all been brought to Knoedler by a Long Island art dealer, her name was Glafira Rosales who claimed to have obtained these works – never before seen on the market – from the children of a European Jewish collector, who wanted to remain anonymous for a variety of tantalizing reasons which people can look up in the newspaper. This collector had supposedly bought these works through a dealer and friend of these artist directly from the artist studios in the ‘60s – the ‘50s and the ‘60s. So that’s why the works had never been seen on the market before. The story changed slightly over time and no documentation was ever provided by Rosales substantially in these origins, but that was the story that gallery retold to the buyers of these pieces and then later when they were brought in to these lawsuits. So Knoedler and its President, a woman named Ann Freedman did maintain that the works were genuine through the beginning of many of these lawsuits, notwithstanding the fact that Jamie demonstrated that many of them, conclusively were not genuine. But in August 2013 in a parallel criminal investigation at the U.S. attorney’s office was involved in, Rosales was indicted and the FBI raided a house in Queens, where a very talented Chinese immigrant artist had been creating all these works. He had been creating these De Kooning’s and Motherwell’s and Rothko’s and the evidence was right there. Steve Schindler:  He had an amazing repertoire. Katie Wilson-Milne:  Yeah it was incredible and it – and when law enforcement got at the house the doors were open, someone told me that or I read somewhere that a cereal bowl was half full and this artist had just fled.  Nothing had been really taken or disturbed, so it was pretty conclusive, after this Knoedler and Ann Freedman changed their story. They admitted the works were fake. And then they argued that they had also been defrauded, that they had no way of knowing that the words would have been fake. So there were series of civil litigations, most of them have settled, no criminal charges were ever brought against the gallery or Ann Freedman.  Glafira Rosales was indicted. She pled guilty. Steve Schindler:  She pled guilty and was given a very lenient sentence, which was house arrest, I believe, and some restitution. Katie Wilson-Milne: Yeah and the Chinese artist is no longer in the United States and that’s all we know. So Jamie tell us how you were involved in the Knoedler case? Jamie Martin:  Well, I was first hired by Ann Freedman and Knoedler Gallery to look at two purported Robert Motherwell paintings. And what became clear early on is that the works were created over old paintings, part of which had been removed with an electric orbital sander which was not a practice that Motherwell used. So that was one clue.  Another clue was that the works had a series of white grounds that were materials that Motherwell was not using in the 1950s. One painting was signed and dated ‘53, the other was dated ‘56 is I recall. So I was finding materials that Motherwell wasn’t using till late ‘60s and I was finding pigments that weren’t introduced in paints until the ‘70s. So that work concluded and some years later I was asked to examine Jackson Pollock painting that was purchased for around $17 million. Katie Wilson-Milne:  Also by the gallery or as – Jamie Martin:  Yeah, it was sold by the gallery as a work by Jackson Pollock and within just a few days I was finding acrylic paint and I was finding pigments that weren’t being used and artist paints until the 1980s and 1990s. I issued a report, the attorney gave it to Knoedler, and Knoedler closed the next day. Katie Wilson-Milne:  And so you were hired by a collector, a buyer to do that analysis? Jamie Martin:  Yeah. I then became involved in a series of other works including a purported Mark Rothko painting and that painting was a fake based on a number of features, the principle one being that the Chinese forger used a white ground underneath the paint. Mark Rothko never used white grounds in the 1950s. Katie Wilson-Milne:  What are white grounds? Jamie Martin:  A ground would be like a primer, it would be like a base coat that was applied to the canvas. In the 1950s Rothko was using a transparent colored ground and in this case it was an opaque white ground and it was a white ground that you could see at the edges, if you’re new to look for it. So that was a tip off on that work and they were whole selection of other works that I examined. For collectors, also for the U.S. attorney’s office and FBI, and to put it in a nutshell, what I was finding in this group of more than 20 works was a pattern of reuse of old paintings to make new paintings, so that the backs of the paintings looked appropriately old. Katie Wilson-Milne:  This is a common technique right?  Beltracchi was doing this too. Jamie Martin:  Very common technique. Take something that’s old and recycle it and on the front paint something that’s new and make it look old. So that was another thing I was finding – that material was being applied to the front of the works to make it look artificially old. I was also finding co-occurrence of the same material. So many of these works painted by more than five artists over a period that spanned about three decades from the late ‘40s to the early ‘60s contained the same white grounds.  I mean, the same white paints. Katie Wilson-Milne:  By different artists. Steve Schindler:  So this was a case where you were fortunate to be able to have tested a number of works by the same forger and even though each work in itself had anomalies that led you to conclude that they were fakes, when you looked at them collectively and it was overwhelming? Jamie Martin:  Exactly, so it was pointing to a common source for all of the paintings and that work continued. I was asked to examine the materials that were ceased from the Chinese forger’s garage which was an interesting process to go through for about six months. Katie Wilson-Milne:  So you were working with the FBI for then. Jamie Martin:  I was.  I was working for the FBI and U.S. attorney’s office on the case as well. So I was able to look at the evidence that they ceased. I was able to examine practice paintings that the forger had created to try to achieve something that look convincing. Katie Wilson-Milne:  You described several anomalies, what was the real smoking gun for you in the Knoedler case? Jamie Martin:  Well, it was a different smoking gun for different works, I mean we – we knew for example that Jackson Pollock died in 1956, so when I'm finding polymers and when I'm finding pigments that were first discovered and patented and first used in paints decades after his death, the only explanation would be time travel – which I'm not a big fan of, so these were obviously fraudulent works. There were also features that contradicted the provenance. One thing that was mentioned in the provenance was that the works were collected over a period of a few years. And they were stored for decades and they were stored in a “hermetically sealed room,” which implies a room that had stable conditions – clean, archival – and many of the works showed paint transfers. They showed accumulation of debris and grime, which was just inconsistent with the story. And that’s one of the features we look at. We not only look at the composition of the work that we’re studying, but we look at the provenance.  We look at the story to see if we see evidence of that or evidence that speaks against it. Katie Wilson-Milne:  Am I remembering correctly that you found a fleece fiber in one of the paintings? Jamie Martin:  Oh, that was a different painting. Katie Wilson-Milne:  Oh okay, I love that. Steve Schindler:  That was a different case, but that’s also one of my favorite stories. Why don’t you share that with us? Jamie Martin:  This is a work that was signed and it was dated 1932 and the work was fairly large. As I recall, it was about 24” by 36” or 32” by 48” and as usual, I went through all the first steps with the work: technical imaging, stereo microscope exam.  I made an inventory of all the materials used to create the work, from the canvas to the primer to all the different paints in the pallet. I analyzed all these materials, and I found that the binders and the pigments were consistent with paints that could have been used in 1932.  And that’s the point at which a lot of scientists or labs would stop and they would write a report. Katie Wilson-Milne:  It looks good. Jamie Martin:  It looks fine, we find nothing to speak against it.  That wasn’t my style, that wasn’t my practice, in part, because it’s informed by a forensic approach. So at that point whenever I engaged in a study and I find a result like that I start over. And I look at every square millimeter of the painting under the stereo microscope and I look for what’s called adventitious material, material that doesn’t belong there. Something that wasn’t part of the paint, something that the artist didn’t intend to include in the painting and I got – I started the bottom and by the time I got to the top two thirds of the painting, I found a fiber in the paint. And I knew it dried in the paint because two ends stuck out and the center was deeply embedded in dried paint. And I took a very small sample of that fiber and analyzed it and I found polypropylene. Polypropylene fiber was first discovered and introduced in 1958. So on the basis of finding one fiber I was able to conclude that there was no way that that work was painted in 1932. I had to spread out, I had to be sure that all the paint was integral across the surface.  Fast forward to 2015, there’s a book published in Paris called The Forger. And it’s a story of a young man who meets a master forger who teaches the young man all the tricks of the trade and the last trick of the trade is: when you’re creating a fake you should always wear a cotton or linen smock, because if one synthetic fiber falls from your clothing and becomes embedded in the painting a good scientist will find it and declare the work a fake. That’s been part of a lecture I've given that was on the Columbia Art Law School website for eight years. And I suspect the person writing the book has internet connection. Katie Wilson-Milne:  Yeah, I do just want to say before we get off Knoedler that it would be hard to overestimate how significant this scandal was for the art world. I mean the art world is a very secretive place deals happen privately, there was not a lot of paperwork and the fact that this scandal was going on and being covered up so well for – well over a decade and that 10s of millions of dollars were being made off the sale of these fake works was really disturbing and even art world people who certainly don’t follow legal claims and cases know about this case, because of the amount of money and the number of forgeries, but also because of the significance of the Knoedler gallery to New York, it really pioneered the art gallery world and it had been at the forefront of the art gallery world in the United States for really long time. So if a buyer went to Knoedler they felt like, “well, if there’s anywhere I can go and I can trust what they’re going to tell me, it’s the Knoedler gallery.” And that really upended people sense of safety I think in the art market. Steve Schindler:  Right, and that was also reinforced by the judge who was hearing these cases in one of his decisions, because the Knoedler gallery and Ann Freedman, one of their defenses was well these sophisticated buyers should have known better, should have done their own due diligence and one of the things that judge said was, “but they were buying these works from Knoedler. They were buying them from one of the most respected galleries in New York.” Katie Wilson-Milne:  Which is the due diligence. Steve Schindler:   Right. Well actually, and one of the things – as long as we were talking about Knoedler still – that always interested me was how Ann Freedman used the fear of authenticators to speak out in her favor and we had represented a couple of these individuals who invariably recalled over to a gallery with a crowd of people shown a fake work and who looked at it and either didn’t say anything or said, “oh that’s nice” or something along those lines. And then afterwards she claimed that they had authenticated these works. And the way that they had authenticated them was to not shout out in a crowded room, “I think this is a fake!” Katie Wilson-Milne:  They stood in front of the work. Steve Schindler:  And they didn’t say anything. So – and of course they would never do that, they were not asked to do that, but even in the most ideal conditions most of these types of experts would have been afraid to speak out like that for fear of being sued and dragged further into this kind of case in the way that Jamie mentioned that he was. Katie Wilson-Milne:  And another significant aspect of Knoedler, and one of the reasons we are so thrilled to be talking to you, Jamie, is that it was one of the first times I think for a lot of people that they understood how science could interact with claims of fakes and forgeries and it was in such a public way that I think the scientific analysis of art hadn’t been widely discussed or understood before. I don’t know if you could talk a little bit about how important scientific analysis was to the outcome of the Knoedler scandal in general but also if you’ve seen the importance of scientific analysis or people’s perceived – how they perceive the importance of scientific analysis increase after Knoedler? Jamie Martin:  Well, I think what you have seen after Knoedler is an increase in the number of investor backed art analysis labs who are offering services to art investors and to some degree of art collectors. So, it was clear from Knoedler, because Knoedler was so widely publicized and covered over such a long period of time. And that the science really did factor quite importantly in the determinations that people recognized that science can be a very effective and necessary tool to assess those claimed attributes. Katie Wilson-Milne:  I will just say that, I perceive the scientific analysis of Knoedler being one of the most important aspects of the proof that was used in those cases and that without the science there were such competing opinions from so called connoisseurs that it was difficult for a non-expert audience like the judge or if there had been a jury to make sense of those kinds of claims, but when there’s the scientific report it sort of – it changed the game in the case. Jamie Martin:  Yeah, I testified in the De Sole case in January 2016, and what I heard after the trial was that the jury really did rely on the scientific information – the presentation of the findings in such a straight forward, visually accessible way – allowed them to understand the weight of the scientific evidence against the works, much in the same way that the testimony about the financial analysis and accounting did to. Katie Wilson-Milne:  Right. The De Sole case, just for our audience, was one of the biggest Knoedler cases that went to trial and then ultimately settled. Steve Schindler:  So, Jamie, if we were assembling the all-time Hall of Fame of forgers, who do you think would be on the top of the list? Who is the best all-time forger in whatever categories you want to rate them? Jamie Martin:  Let’s say, so this would be modern times, this would be since Van Meegeren  because fabulous forgeries were going on in Greek and Roman time and every time since. And Thomas Hoving talks a lot about that in his book. Van Meegeren was an incredible forger who exploited what he knew conservation scientists could and could not do. He knew that we could identify pigments. He knew that we had trouble identifying the binder, the liquid or glue that you mix with pigments to make paint. So he was very careful in his selection of pigments.  In order to make his paintings dry quickly he threw in a synthetic polymer called Bakelite, which, after he created the work, he would put it an oven and heat it for some hours or days and it would be rock hard, as if the paint had aged naturally over three or 400 years. He was later found out.  He was accused of collaborating with the Nazis, and the court instructed him that if he really was a master forger, he should paint a fake Vermeer in the court room. Katie Wilson-Milne:  So he was forging Vermeers? Jamie Martin:  He was forging Vermeers, and he sold a work to Goebbels, and he was in a lot of hot water over that. Steve Schindler:  Wasn’t that also one of his defenses and the collaboration allegation, that, “Well I wasn’t collaborating, I sold him a fake, I sold the Nazis fake art, not real art.” Jamie Martin:  Yeah. It was worth a try, it was a little flimsy. The thing is is that forgers have access to the same technical literature that I do. So conservation scientists like us, we publish the results of our findings, of analyses of documented artists, and if a forger wants to go and read our findings and try to replicate the same materials, theoretically they can do that. And there is a lot of evidence that forgers do look at technical literature. The best forgers I've seen – well, the worst forger I've seen, is a man named William Toy and he was creating fake paintings in Louisiana. His downfall was his love of cats. Katie Wilson-Milne:  That’s a classic downfall! Jamie Martin:  He had 20 or 30 cats in his home, and I did the project for the FBI, and they gave me memory sticks from cameras that showed cats all over his house, including cats on the table where he made his fakes. And in every one of the fake works I examined for the FBI I found cat hair embedded. So he was not a careful forger, but the forgers – Steve Schindler:  There were lot of lessons in that story. Jamie Martin:  Yes. Steve Schindler:  Some involved cats. Jamie Martin:  Yeah, don’t paint around cats and don’t wear polar flees when you’re creating an old master. The better forgers, the forgers that really had the painting skill, the kind of skill that I learned when I was painting, would have to be Beltracchi and then one other forger who’s name I refuse to speak publically, because he is absolutely unrepentant about his work.  But he’s probably the most technically gifted painter-forger I've ever seen. Katie Wilson-Milne:  And never caught. Jamie Martin:  No, caught. Katie Wilson-Milne:  Well, he was caught but not punished. Jamie Martin:  I caught him many times, but he was never indicted and he was never brought to account. Katie Wilson-Milne:  We’ll post links to some of these references. Steve Schindler:  We’ve also seen him bragging about his accomplishments and it’s frustrating. Katie Wilson-Milne:  Yeah he speaks often in public in New York about his great skills. Steve Schindler:  We could do this probably for another hour, but we know you have places to go and every good thing has to come to an end, but thank you so much for joining us on our podcast. Jamie Martin:  You’re welcome, it’s always a pleasure. Katie Wilson-Milne:  Until next time I'm Katie Wilson Milne. Steve Schindler:  And I'm Steve Schindler bringing you the Art Law Podcast. A podcast exploring the places where art intersects with and interferes with the law. Katie Wilson-Milne:  And vice versa. Produced by Jackie Santos

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