Podcasts about Los Angeles County Museum

The new Los Angeles County Museum of Art is a spectacular tour-de-force. Listen to Timmy Black's insightful observations.

Los Angeles has a new museum. Or a new vision for an old one. One of the most important museums in the country, the Los Angeles County Museum of Art, has just debuted a long-awaited new building. It's designed by the revered Swiss architect Peter Zumthor. It cost three quarters of a billion dollars to realize. And long before it opened to the public last month, it has been controversial, for a whole host of reasons. It debuts with LACMA's charismatic director Michael Govan promising not just a new LACMA, but a new vision for how museums show art and relate to the public. Ben Davis went out to Los Angeles to see the new building last month, and spoke to culture critic Carolina Miranda. Miranda has the gift of being both a sharp observer or L.A. art and a gifted translator of sometimes esoteric museum and architecture debate. She has published an analysis of Zumthor and Govan's vision means for CityLab, called “For Better or Worse, the New LACMA Is an Instant LA Icon,” and she is here with me today to talk about what LACMA means for the city and for museums now.

Los Angeles has a new museum. Or a new vision for an old one. One of the most important museums in the country, the Los Angeles County Museum of Art, has just debuted a long-awaited new building. It's designed by the revered Swiss architect Peter Zumthor. It cost three quarters of a billion dollars to realize. And long before it opened to the public last month, it has been controversial, for a whole host of reasons. It debuts with LACMA's charismatic director Michael Govan promising not just a new LACMA, but a new vision for how museums show art and relate to the public. Ben Davis went out to Los Angeles to see the new building last month, and spoke to culture critic Carolina Miranda. Miranda has the gift of being both a sharp observer or L.A. art and a gifted translator of sometimes esoteric museum and architecture debate. She has published an analysis of Zumthor and Govan's vision means for CityLab, called “For Better or Worse, the New LACMA Is an Instant LA Icon,” and she is here with me today to talk about what LACMA means for the city and for museums now.

In this week's episode of the ArtTactic Podcast, host Adam Green is joined by Jori Finkel, a Los Angeles-based journalist who writes for The New York Times and The Art Newspaper, to discuss the highly anticipated new building at the Los Angeles County Museum of Art. Designed by Peter Zumthor, the project has been years in the making and has generated significant attention across the art world. Jori recently visited the museum and published an in-depth review, and in this conversation she shares her perspective on the experience of the new galleries, the vision behind the building, and how it compares to traditional museum models. They also explore the broader response from critics and the public, place LACMA within the context of Los Angeles's rapidly evolving art scene, and consider what impact the museum's transformation could have on the city's cultural landscape moving forward.

The Los Angeles County Museum of Art will officially open the new David Geffen Galleries tomorrow; members can see the new site through May 3rd. A Long Beach fireworks tradition on Independence Day is coming to an end after the California Coastal Commission denied their permit again. What’s the deal with that fake national park in Long Beach filled with fairies? We find out. Plus, more. Support The L.A. Report by donating at LAist.com/join and by visiting https://laist.comSupport the show: https://laist.com

Photographer Jess T. Dugan and writer Charlotte Cotton join PhotoWork with Sasha Wolf to discuss their 2 volume book, Love Pictures, published by Radius Books. Developed through their friendship and an ongoing dialogue between Dugan and Cotton, Love Pictures explores key themes shaping Dugan's photographic practice, including gender and identity, family and politics, writing and language, the photobook as object, and the dynamics of exhibition spaces. These conversations expand outward to include voices from their broader creative communities, featuring contributors such as Dawoud Bey, Kelli Connell, and Dorothy Moss. In this episode, Jess, Charlotte, and Sasha discuss how this project evolved from an intimate exchange into a comprehensive survey of Dugan's work. Jess T. Dugan Charlotte Cotton Jess T. Dugan (b. 1986, they/them, lives in St. Louis) is an artist whose work explores identity and the complexities of the human condition. While their practice is centered around photography, it also includes writing, video, audio, drawing, and installation. Their work is regularly exhibited internationally and is in the permanent collections of over seventy museums. Charlotte Cotton (b. 1970, lives in London) is a curator and writer who explores photographic culture. She has held positions at the Victoria and Albert Museum, Photographers' Gallery, Los Angeles County Museum of Art, Katonah Museum of Art, International Center of Photography, and California Museum of Photography. Her book, The Photograph as Contemporary Art, has been published in fourteen languages and has been a key text in charting the rise of photography as an undisputed art form in this century.

Two museum openings feature on this week's podcast—V&A East in London and the Los Angeles County Museum of Art.In our 300th episode in 2024, Gus Casely Hayford, the director of the V&A East, told us about the community-driven programming at the museum and its connection with its local environment in East London. Now, as the museum opens, he takes Ben Luke on a tour of its commissions, displays and its first exhibition, The Music is Black: A British Story. In California, the Los Angeles County Museum of Art (Lacma) has just opened its new building by the Swiss architect Peter Zumthor, which cost more than $700m, and has generated some controversy. Ben speaks to our correspondent in Los Angeles, Jori Finkel, about the new building and the debate about its scale, its cost, its suitability for LA and whether Angelinos and tourists will take to Zumthor's building. And this episode's Work of the Week is Satan Smiting Job with Sore Boils (around 1826) by the great 18th-century artist and poet, William Blake. The work is part of a new exhibition at the National Gallery of Ireland, called William Blake: The Age of Romantic Fantasy, which opened this week. Ben speaks to the exhibition's co-curator, Anne Hodge, about the work.V&A East opens on Saturday, 18 April.Lacma member previews begin on 19 April, before the full opening to non-members in early May.William Blake: The Age of Romantic Fantasy, National Gallery of Ireland, until 19 July. Hosted on Acast. See acast.com/privacy for more information.

Episode No. 753 features artist Delilah Montoya and author Mario T. García. Montoya's work is featured in three major exhibitions around the US this season. The Albuquerque Museum is featuring "Delilah Montoya: Activating Chicana Resistance," the first retrospective of Montoya's forty-year career. The exhibition, which was curated by Josie Lopez, is on view through May 3. A valuable catalogue was published by University of New Mexico Press and the Albuquerque Museum. Amazon and Bookshop offer it for about $32. Two significant historical group shows also foreground Montoya's work. At the Sheldon Museum of Art, University of Nebraska, Lincoln, Montoya is featured in "Hyphen American: Intersections of Identity." The exhibition, which pointedly rejects increasing right-wing claims that the US is, or should be an ethnostate, presents the many ways identity is presented and interrogated in our art. The excellent exhibition catalogue, which was published in the four languages most commonly spoken in Lincoln (English, Spanish, Vietnamese, and Arabic), was published by the museum. "Hyphen American" was curated by Christian Wurst and is on view through July 5. Artists in the exhibition who have been guests on The Modern Art Notes Podcast include Radcliffe Bailey, Binh Danh, Catherine Opie, Alec Soth, and Renée Stout. The Riverside (Calif.) Art Museum and The Cheech Marin Center for Chicano Art & Culture are showing Montoya in "Chicano Camera Culture: A Photographic History, 1966–2026." The exhibition shows how 45 artists have used their camera as a tool of representation, empowerment, and change over the past 60 years. It is the first major survey of Chicano/a/x lens-based image making. "Chicano Camera Culture" was curated by Elizabeth Ferrer. It's on view at the Riverside Art Museum through July 5, and at The Cheech through September 6. The excellent catalogue was published by The Cheech and is distributed by University of Washington Press. It is available from Amazon for $44. Artists in the exhibition who have been guests on The Modern Art Notes Podcast include Christina Fernandez and Ken Gonzales-Day. Montoya is one of the major figures in the development of Chicana art in the United States. Her community-oriented work addresses colonialism, identity, land, feminine power, and justice. It is held by museums such as the Smithsonian American Art Museum, the Museum of Fine Arts Houston, the Los Angeles County Museum of Art, and the New Mexico Museum of Art. García is the author of "Rupert García: The Making of an American Artist, a Testimonio," which was just published by Rutgers University Press. It is the first biography of the Chicano artist Rupert García. The book, which is informed by 50 hours of interviews conducted over 30 years, is illustrated by 80 artworks. It is immediately the major volume on García's career. Amazon and Bookshop offer it for about $31-33. Instagram: Delilah Montoya, Tyler Green. Air date: April 9, 2026.

Brendan Constantine first appeared on Rattlecast 108. He's back with a brand new book from Red Hen Press, The Opposites Game. Brendan is a poet based in Los Angeles. His work has appeared in many of the nation's standards, including Poetry, The Nation, Best American Poetry, Ploughshares, Tin House, Virginia Quarterly, and Poem-a-Day. A popular performer, Brendan has presented his work to audiences throughout the U.S. and Europe, also appearing on NPR's All Things Considered, TED ED, numerous podcasts, and YouTube. Brendan currently teaches at the Windward School and the Los Angeles County Museum of Art. Since 2017, has been developing poetry workshops for people with Aphasia and Traumatic Brain Injuries (TBI). Find more here: https://brendanconstantine.com/ As always, we'll also include the live Prompt Lines for responses to our weekly prompt. Submit your poems through Submittable by midnight Sunday for a chance to be invited: https://rattle.submittable.com/submit/269309/rattlecast-prompt-poems-online For links to all the past episodes, visit: https://www.rattle.com/page/rattlecast/ This Week's Prompt: Write a poem that rallies against its own epigraph. Next Week's Prompt: Write a villanelle that features something you see every day–and you're the only person in the world that does. The Rattlecast livestreams on YouTube, Facebook, and Twitter, then becomes an audio podcast. Find it on iTunes, Spotify, or anywhere else you get your podcasts.

Welcome to The Reel Schmooze with ToI film reviewer Jordan Hoffman and host Amanda Borschel-Dan, where we bring you all the entertainment news and film reviews a Jew can use. In today's Oscar episode, movie maven Hoffman gives us a Jewy recap of this year's Academy Awards. We learn about surprising Jewish roots among some winners and how a person we thought was a sure thing came home with nothing. We then turn to the most recent installment of "Superman" and discuss the hero's Jewish roots and the film's political overtones. (Check out Hoffman's review of the film here.) Stick around to see who got the "oy," the "meh" and the "not bad" marks in this week's The Reel Schmooze. The Reel Schmooze is produced by Ari Schlacht and can be found wherever you get your podcasts. IMAGE: Close-up of Javier Bardem's political attire at the Vanity Fair Oscar Party on March 15, 2026, at the Los Angeles County Museum of Art in Los Angeles. (Evan Agostini/Invision/AP)See omnystudio.com/listener for privacy information.

Episode No. 750 (!!!) is a clips episode featuring artist Jo Ann Callis. Starting in the early 1970s, Callis has constructed both black-and-white and color photographs that consider, sex, sexuality, pleasure and more pleasure. This program was taped in 2014 when Aperture published "Other Rooms," a book of Callis' investigations of the nude body and sexuality, mostly from the mid-1970s. Last year Luhz Press published "Jo Ann Callis - Dish Trick," featuring Callis pictures that explores the emotions latent in the objects of the home. Luhz lists it at $45; Amazon offers it for $80. Callis is a leading feminist artist and one of the most important photographers of her generation. In 2009 the J. Paul Getty Museum presented a retrospective of her work titled "Woman Twirling." Callises are in the permanent collection of museums such as the Museum of Modern Art, the Los Angeles County Museum of Art and the San Francisco Museum of Modern Art. Air date: March 19, 2026.

Susan Stinsmuehlen-Amend is an artist for whom ideas have always been more important than media, and possibly more integral to her work. It's interesting then that her art has been consistently viewed through the lens of glass. In the creation of her early X series to more recent Calendar Notations, she has pioneered techniques such as non-traditional, unfired painting on glass, mixing glass with other media, and presenting painted, decorated glass on the wall in reflected light. Throughout her career, the artist distilled her own life experiences in the creation of progressive and experimental work.  While studying Fine Arts at the University of Texas, Austin, in 1973, Stinsmuehlen-Amend was serendipitously introduced to glass and went on to become partner with Rodney Smith and designer of Renaissance Glass, an architectural glass studio. Beyond teaching and employing 14 artists, she built a creative hub that included studio space, glass supplies, a hot glass studio, education and exhibitions. Understanding the cutting edge in the field, Stinsmuehlen-Amend invited luminaries in the Studio Glass movement such as Dale Chihuly, Paul Marioni, William Morris, and Narcissus Quagliata, among others, to lecture and teach in the early 1980s. The studio became the center for contemporary glass in Texas from 1973 to 1987. While balancing single motherhood, donating time to the arts, and running her business, she became the Glass Art Society's first woman president (1984 – '86).  Concurrent with designing stained glass commissions, Stinsmuehlen-Amend was determined to make the craft form a means for personal expression. Through experimentation and rebellion and influenced by the local punk scene, her radical fashion designer best friend, Pattern & Decoration and Neo-Expressionism in art, as well as innovations in the world of craft, her work became unrestrained, kinetic, glittery, and jarring—defiantly not "tasteful" or functional. Combining mixed media with glass was a new idea at the time. For Stinsmuehlen-Amend, the shifting qualities of glass itself—its capacity to reveal, obscure, reflect, and distort—became integral to how meaning unfolds. Rooted in stained glass's narrative tradition, her story emerged through her everyday stream of consciousness rooted in the surreal logic of dreams.  In 1987, Stinsmuehlen-Amend relocated to Los Angeles, where she became a full-time artist; solo exhibitions and dynamic public art commissions followed. She was the lead artist on the Hollywood Demonstration Project in Hollywood, completing a precast concrete crosswalk with inlaid glass and bronze and an adjunct wrought iron public space. In 1994, she completed leaded glass for the AT&T corporate headquarters and The Jewish Museum, both in in New York City. Throughout these decades, she maintained her commitment to teaching, returning to Pilchuck Glass School repeatedly (1980 to 2019) and serving as a visiting artist at RISD, RIT, Tyler School of Art, California College of the Arts, and numerous other institutions. Stinsmuehlen-Amend's work is included in major collections including the Los Angeles County Museum of Art, Detroit Institute of the Arts, Oakland Museum of California, Corning Museum of Glass, Tacoma Museum of Glass, and Museum of Art and Design. She has received two National Endowment for the Arts Fellowships, two Pilchuck Hauberg Fellowships, and the 2007 Brychtová Libenský Award. The artist served 14 years on Pilchuck's Board of Directors and is a Trustee Emeritus of The American Craft Council and an Honorary Life Member of the Glass Art Society. She was recently awarded by the American Craft Council with the biennial College of Fellows honor for contributions to the craft ecosystem. Opening on May 16, 2026, at the Corning Museum of Glass, Tough Stuff: Women in the American Glass Studio will feature Stinsmuehlen-Amend's work. This new exhibition celebrates the female artists who revolutionized American Studio glass. The artist states: "Many artists found my loose and inclusive approach to working with glass inspirational because I was continually violating preconceived notions about craft and glass specifically."  

Episode No. 747 of The Modern Art Notes Podcast features artist Bethany Collins and curator Edouard Kopp. Collins is included in "Monuments," at the Museum of Contemporary Art, Los Angeles. The exhibition juxtaposes decommissioned Lost Cause monuments with commissioned artworks that address the histories the Lost Cause aimed to whitewash. Collins' contribution to the project is Love is dangerous (2024-25), a sculptural installation that remakes the base of the Stonewall Jackson monument that was installed in Charlottesville, Virginia. The exhibition, which is on view through May 3, was curated by Hamza Walker, Kara Walker, and Bennett Simpson with Hannah Burstein and Paula Kroll. The museum says that a catalogue is forthcoming. On March 5 the Museum of Contemporary Art Denver opens "Bethany Collins: The Deluge," a presentation of Collins works that each address -- and navigate -- an existential storm. Across several media, Collins addresses major literary works such as Herman Melville's Moby Dick, and Sophocles' Antigone -- and the US songbook too. The exhibition was curated by Leilani Lynch and is on view through July 5. Among the many museums presenting solo exhibitions of Collins' work are the Seattle Art Museum, the Peabody Essex Museum, Salem, Mass., the Contemporary Art Museum Saint Louis, the Van Every and Smith Galleries at Davidson College, the Birmingham Museum of Art, and the Jule Collins Smith Museum of Fine Art at Auburn University. Edouard Kopp is the curator of "Wall Drawing Series: Gladys Nilsson" at the Menil Drawing Institute, Houston. The site-specific exhibition features an enormous Nilsson drawing that features fantastical, hybrid beings surrounding one monumental figure engaged in the act of drawing. It's on view through August 9. Nilsson's work has been the subject of dozens of exhibitions, including a 1973 solo exhibition at the Whitney Museum of American Art. Her work is in the collection of museums such as the Museum of Modern Art, New York, the Los Angeles County Museum of Art, and the Art Institute of Chicago. Instagram: Bethany Collins, Tyler Green.

It is the first episode of 2026. So we look ahead at the next 12 months with a guide to big museum openings, biennials and exhibitions. Ben Luke is joined by Jane Morris, editor-at-large at The Art Newspaper and Cultureshock, and Gareth Harris, chief contributing editor at The Art Newspaper, to discuss the key art fairs, major museum building projects and the top biennials of the year, and we pick our exhibition highlights.All of the events discussed and many more are featured in The Art Newspaper's guidebook The Year Ahead 2026, an authoritative look at the year's unmissable art exhibitions, museum openings and significant art events. Visit theartnewspapershop.com. £14.99 or the equivalent in your currency.Events discussed:ART FAIRS: Art Basel Qatar, Doha, Qatar, 5-7 Feb; Frieze Abu Dhabi, 17-22 Nov; MUSEUM OPENINGS: Guggenheim Abu Dhabi, date tbc; V&A East, opens 18 Apr; Los Angeles County Museum of Art (Lacma), opens Apr; Lucas Museum of Narrative Art, opens 22 Sep; Dataland, Los Angeles, opens spring; New Museum, New York, date tbc. BIENNIALS: Venice Biennale, In Minor Keys, 9 May-22 Nov; Arthur Jafa and Richard Prince: Helter Skelter, Fondazione Prada, Venice, 9 May-22 Nov; Marina Abramović: Transforming Energy, Gallerie dell'Accademia, Venice, 6 May-19 Oct; Whitney Biennial, opens 8 Mar; Greater New York 2026, MoMA PS1, 16 Apr-17 Aug; EXHIBITIONS: Gainsborough: The Fashion of Portraiture, Frick Collection, 12 Feb-11 May; Raphael: Sublime Poetry, Metropolitan Museum of Art, New York, 29 Mar-28 Jun; Zurbarán, National Gallery, London, 2 May-23 Aug; Michaelina Wautier, Royal Academy of Arts, 27 Mar-21 Jun; James McNeill Whistler, Tate Britain, 21 May-27 Sep, Van Gogh Museum, Amsterdam, 16 Oct-10 Jan 2027; Seurat and the Sea, Courtauld Gallery, ​​13 Feb-17 May; Peggy Guggenheim in London: The Making of a Collector, Peggy Guggenheim Collection, Venice, 25 Apr-19 Oct; Royal Academy, London, 21 Nov-14 Mar 2027, Cezanne, Fondation Beyeler, Basel, 25 Jan-25 May; Leonor Fini, Schirn Kunsthalle, Frankfurt, 22 Oct-28 Feb 2027; Hilma af Klint, Grand Palais, 6 May-30 Aug, Matisse 1941-1954, Grand Palais, Paris, 24 Mar-26 Jul; Chez Matisse: The Legacy of a New Painting, Caixa Forum, Barcelona, 27 Mar-16 Aug; Fratino and Matisse: To See This Light Again, Baltimore Museum of Art, 11 Mar-6 Sep; Matisse's Femme au Chapeau: A Modern Scandal, SFMOMA, San Francisco, 16 May-7 Sep; Marcel Duchamp, MoMA, New York, 12 Apr-22 Aug; Mary Cassatt: An American in Paris, National Gallery of Art, Washington, DC, 14 Feb-30 Aug; Mary Cassatt: After Impressionism, Art Institute of Chicago, 6 Sep-3 Jan 2027; Modern Iran and the Avant-Gardes, 1948-78, Vancouver Art Gallery, 11 Dec-2 May 2027; Spectrosynthesis Seoul, Art Sonje Center, Seoul, 20 Mar-28 Jun; Carol Bove, Solomon R. Guggenheim Museum, New York, 5 Mar-2 Aug; New Humans: Memories of the Future, New Museum, New York, opens early 2026; Hurvin Anderson, Tate Britain, 26 Mar-23 Aug; Tracey Emin: A Second Life, 26 Feb-31 Aug; Ana Mendieta, Tate Modern, London, 9 Jul-10 Jan 2027. Hosted on Acast. See acast.com/privacy for more information.

Plan Dulce Host Bryan Lima (he/him) is joined by Álvaro D. Márquez (they/them/theirs), an artist, researcher, and philanthropy professional in Los Angeles County. They discuss Álvaro's personal life experiences in education, art making, research and inquiry into history and cartography and how it all informs their practice creating visual art through printmaking, fiber-art, installation and sculpture.Bio and Links:Álvaro D. Márquez (they/them/theirs) is an artist, researcher, and philanthropy professional. They grew up in the working-class immigrant community of East Salinas, CA and reside in Los Angeles County. Descendant of three generations of migrant field workers, they hold a BA in U.S. history from Brown University, an MA in American Studies and Ethnicity from the University of Southern California, and an MFA in Printmaking from CSU Long Beach. They are also currently pursuing a PhD in Cultural Studies from Claremont Graduate University. Their work explores displacement as a key modality in the development of Western, settler-colonial expansion, encompassing issues around Indigenous dispossession, homelessness, segregation, and gentrification. At the root of their interdisciplinary practice is an examination of the privatization of land as a commodity, and the long-lasting effects of settler colonialism on the built and natural environment. Their work is situated in the intersection of printmaking, installation, and sculpture. They have exhibited their work across the US, Mexico, and Germany, and their work has been collected by the Los Angeles County Museum of Art, the Lucas Museum of Narrative Art, the Hood Museum of Art at Dartmouth College, and the U.S. Library of congress. They currently work as Senior Officer for Communications and Arts at the California Community Foundation, and have previously taught as Adjunct Faculty at the University of Southern California Roski School of Art and Design, CSU Long Beach School of Art, and CSU Los Angeles Department of Chicana/o and Latina/o Studies.Learn more about:https://www.alvarodmarquez.com/ https://www.instagram.com/alvarodmarquez/  https://www.aminextla.org/  --------------------------------------Plan Dulce is a podcast by members of the ⁠⁠Latinos and Planning Division⁠ of the American Planning Association⁠. The information, opinions, and recommendations presented in this Podcast are for general information only. Want to recommend our next great guests and stay updated on the latest episodes? We want to hear from you! Follow, rate, and subscribe! Your support and feedback helps us continue to amplify insightful and inspiring stories from our wonderfully culturally and professionally diverse community.This episode was conceived, written, edited and produced by Vidal F. Márquez (he/him) and co-produced and hosted by Bryan Lima (he/him).Connect:Instagram:https://www.instagram.com/plandulcepodcast/ Facebook:⁠https://www.facebook.com/LatinosandPlanning/⁠Youtube:Subscribe to Plan Dulce on Youtube LinkedIn:⁠https://www.linkedin.com/groups/4294535/⁠X/ Twitter:⁠https://twitter.com/latinosplanapa?lang=en⁠—----

Episode No. 738 is a holiday clips episode featuring artist Wafaa Bilal. Earlier this year the MCA Chicago presented "Wafaa Bilal: Indulge Me," the first major survey of Bilal's work. Across his genres-busting career, the Iraqi-American Bilal has made performances, sculptures and related digital presentations that have interrogated the United States' relationship with and conduct within Iraq, the Middle East, and broader geopolitics. Bilal's work also investigates the notion of cultural cannibalism, the ways in which the culture of one people may be used, disassembled, and consumed by another. "Indulge Me" was curated by Bana Kattan. An invaluable catalogue was published by the MCA. Amazon and Bookshop offer it for $20-32. Bilal's work is in the collections of museums as unalike as the Los Angeles County Museum of Art and Mathaf: Arab Museum of Modern Art Qatar. His work has been included in exhibitions at the Sharjah Art Foundation, Sharjah UAE; the Art Gallery at NYU Abu Dhabi; and the 2015 Venice Biennale. For images, please see Episode No. 704. Instagram: Wafaa Bilal, Tyler Green.

In this episode of PhotoWork with Sasha Wolf, artist, photographer, and filmmaker Tyler Mitchell joins Sasha to discuss his Aperture book, Wish This Was Real. Tyler speaks candidly about learning by doing, the value of taking risks, and the creative rewards that follow. He and Sasha also explore the central role of collaboration in his practice, particularly how that ethos shapes his approach to building tableaux. https://www.tylermitchell.co https://www.tylermitchell.co/books/wish-this-was-real-book Tyler Mitchell (b. 1995, Atlanta, GA) is an artist, photographer, and filmmaker based in Brooklyn. He received a BFA in Film and Television from New York University's Tisch School of the Arts in 2017. Mitchell's work reimagines narratives of Black beauty and desire, embracing history while envisioning fictionalized moments of an aspirational future. His photographs and films present Black life through themes of play, empowerment, and self-determination. Mitchell's work is held in numerous public and private collections, including the Museum of Modern Art, New York; High Museum of Art, Atlanta; Brooklyn Museum; Los Angeles County Museum of Art (LACMA); Museum of Fine Arts, Boston; Smithsonian's National Portrait Gallery, Washington, D.C.; and FOAM Fotografiemuseum, Amsterdam, among others. He has presented exhibitions internationally, including The New Black Vanguard (Aperture Gallery, New York); I Can Make You Feel Good (FOAM, Amsterdam; ICP, New York); Chrysalis (Gagosian, London); Domestic Imaginaries (SCAD Museum of Art, Savannah); and Idyllic Space (High Museum of Art, Atlanta). His European touring exhibition, Wish This Was Real (C/O Berlin, 2024), brought together a decade of work exploring Black beauty, leisure, and imagination, traveling to Helsinki, Lausanne, and concluding at the Maison Européenne de la Photographie, Paris (2025–26). Mitchell's photography has appeared in Aperture, Dazed, i-D, Vogue, Vanity Fair, WSJ, and Zeit Magazin, alongside collaborations with Gucci, Loewe, Ferragamo, and JW Anderson.

Episode No. 726 features artist Danielle Joy Mckinney. The Rose Art Museum at Brandeis University is presenting "Danille Mckinney: Tell Me More" through January 4, 2026. The exhibition, Mckinney's first solo presentation in a US museum, spotlights Mckinney's introspective explorations of Black womanhood. It was curated by Gannit Ankori. Concurrently, Galerie Max Hetzler is presenting Mckinney's work in "Second Wind" in London through November 1. Mckinney has been featured in exhibitions at the Philadelphia Museum of Art, the Kunstmuseum Basel, the Bemis Center for Contemporary Arts in Omaha, the Modern Art Museum of Fort Worth, and many more. Her work is in the collection of museums such as the Buffalo AKG Art Museum, the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, the Los Angeles County Museum of Art, the Moderna Museet, Stockholm, the Stedelijk Museum, Amsterdam, and The Studio Museum in Harlem, New York. Instagram: Danielle Joy Mckinney, Tyler Green.

Welcome back to the Create Podcast. Just in time for the fall season, I am joined by Pam Grossman, a writer, curator, teacher, and practicing witch whose work beautifully bridges creativity, culture, and magic. Pam is the host of The Witch Wave podcast (called “the Terry Gross of witches” by Vulture), the author of Waking the Witch: Reflections on Women, Magic, and Power, and co-editor of Taschen's Witchcraft volume in the Library of Esoterica series. Her essays have appeared in The New York Times, The Atlantic, TIME, and more. She has also organized exhibitions such as Language of the Birds: Occult and Art at NYU and spoken at institutions including MoMA and Columbia University. Her brand-new book, Magic Maker: The Enchanted Path to Creativity (Penguin Life & Hay House UK, October 14, 2025), is a guide to connecting with the creative force through ritual, history, and practice. It explores how artists and visionaries such as Hilma af Klint, David Bowie, Octavia E. Butler, and Leonora Carrington have used magic as part of their creative process, and how you can do the same in your own life. In This Episode, We Discuss Pam's creative roots and how she began merging her artistic and magical practices Misconceptions about witchcraft and how the archetype of the witch has evolved How Magic Maker links art and magic, showing that creativity itself can be a spiritual practice Practical rituals to protect your studio time and invite inspiration, from lighting candles to leaving offerings or simply asking for guidance The idea of “low frequency” and “high frequency” desires in art and business, and how to balance material needs with higher intentions Pam's experiences speaking at institutions like MoMA and casting a love spell on stage at Carnegie Hall with Jinkx Monsoon The role of research, fascination, and intuition when writing a book Artists who inspire her including Leonora Carrington, Remedios Varo, Hilma af Klint, Max Ernst, and Kurt Seligmann Resources and Mentions Books by Pam Grossman Magic Maker: The Enchanted Path to Creativity (Penguin Life & Hay House UK, 2025) → Pre-order here Waking the Witch: Reflections on Women, Magic, and Power (Simon & Schuster, 2019) What Is a Witch (Tin Can Forest Press, 2016) Witchcraft (Taschen's Library of Esoterica series, co-edited with Jessica Hundley, 2020) Podcast The Witch Wave – Pam's long-running podcast on art, culture, and magic Exhibitions and Projects Language of the Birds: Occult and Art (NYU, 2016) → languageofthebirds.org Art of the Occult by S. Elizabeth (recommended resource) The Spiritual in Art: Abstract Painting 1890–1985 (Los Angeles County Museum of Art, 1986) Artists Mentioned Hilma af Klint David Bowie Octavia E. Butler Leonora Carrington Remedios Varo Max Ernst Kurt Seligmann Create! Magazine Open Call We are now accepting submissions for our fall curated exhibition and catalog: The Spirit World. This virtual show explores the mystical, eerie, and uncanny, making it the perfect theme for the season. Deadline: October 31, 2025 What selected artists receive: inclusion in the curated online exhibition, a feature in the professionally designed print and digital catalog, a blog post on Create! Magazine, and a spotlight across our international platforms.

Episode 489 / Alexis RockmanBorn in 1962 in New York, Alexis Rockman has depicted a darkly surreal vision of the collision between civilization and nature – often apocalyptic scenarios on a monumental scale – for over three decades. Notable solo museum exhibitions include “Alexis Rockman: Manifest Destiny” at the Brooklyn Museum (2004), which traveled to several institutions including the Wexner Center for the Arts (2004) and the Rhode Island School of Design (2005). In 2010, the Smithsonian American Art Museum organized “Alexis Rockman: A Fable for Tomorrow,” a major touring survey of his paintings and works on paper. Concurrent with Rockman's 2013 exhibition at Sperone Westwater, the Drawing Center mounted “Drawings from Life of Pi,” featuring the artist's collaboration with Ang Lee on the award-winning film Life of Pi. His series of 76 New Mexico Field Drawings was included in “Future Shock” at SITE Santa Fe (2017-18). “Alexis Rockman and Mark Dion: A Journey to Nature's Underworld” was presented at the Bruce Museum, Greenwich, CT (2023) and traveled to the Virginia Museum of Contemporary Art (2024). It will be on view at the Tang Teaching Museum at Skidmore College, Saratoga Springs, NY until 5 January 2025, and at the Palmer Museum of Art at Penn State from August 30th through December 7th. His work is represented in many museum collections, including the Baltimore Museum of Art; Brooklyn Museum; Crystal Bridges Museum of American Art; Grand Rapids Art Museum; Los Angeles County Museum of Art; Museum of Fine Arts, Boston; New Orleans Museum of Art; San Francisco Museum of Modern Art; Smithsonian American Art Museum; Solomon R. Guggenheim Museum; and Whitney Museum of American Art. Rockman's first solo exhibition with Sperone Westwater, “Evolution,” was presented in 1992. He has had subsequent solo exhibitions at the gallery in 2013, 2018, 2020-21 and 2023. He lives and works in Warren, Connecticut.

We return to a 2019 interview with Clarissa Esguerra, Curator of Textiles and Costume at Los Angeles County Museum of Art  (LACMA), who taught us all about the sophisticated resist-dying ikat technique responsible for the resplendent textiles and garments on display in the LACMA exhibition Power of Pattern: Central Asian Ikats. Want more Dressed: The History of Fashion?  Our website and classes Our Instagram Our bookshelf with over 150 of our favorite fashion history titles Dressed is a part of the AirWave Media network Learn more about your ad choices. Visit megaphone.fm/adchoices

Iva Gueorguieva (b.1974, Sofia, Bulgaria, lives and works in Los Angeles, CA) received her B.A. from the Tyler School of Art, Philadelphia, PA. She has had recent solo exhibitions at Night Gallery, Los Angeles, Bradwolff & Partners, Amsterdam, and Gavlak Gallery, Palm Beach, FL. Her work is included in public collections such as the Los Angeles County Museum of Art, Los Angeles, CA; Minneapolis Institute of Art, Minneapolis, MN; Museum of Contemporary Art, Los Angeles, CA; Museum of Contemporary Art, San Diego, CA, among others. Iva Gueorguieva, Field 8, 2025 acrylic, charcoal and gauze on canvas 76.25 x 53 inches Iva Gueorguieva Animal 12, 2024 acrylic and gauze on canvas 72 x 50.5 inches Iva Gueorguieva, Kukeri: Birds, 2024 acrylic and gauze on canvas 78 x 50 inches Sketchbook of the artist referenced in the interview.

Photographer and Educator, Siri Kaur, joins me to discuss her new monograph, Sistermoon published by Void. Artist Siri Kaur has been photographing her family for over 30 years, and her youngest sister, Simran, is the central focus of her forthcoming book, Sistermoon. Kaur's photographs are combined with those from her family archive to create an unconventional album, illustrating the cycles of life and transformation, whilst questioning who observes, who is seen and who belongs. Kaur's biography informs her work. The book opens with a timeline of photographs from her mother's traditional family, taken in the 1950s by her grandfather. Kaur herself was born into a cult—one image in the book depicts her parent's wedding at the Happy Healthy Holy Organization, or 3HO in 1976. After Kaur's family left the cult, her father established a rural living community in Vermont where her siblings remain today. Kaur simultaneously belonged to the family and was also an outsider. Her relationship with her family, in particular her sister, was formed and strengthened by creating photographs together. Photography enabled her to observe, catalogue, and connect. https://void.photo/preorder https://www.instagram.com/sirikaur/ This podcast is sponsored by the Charcoal Book Club Begin Building your dream photobook library today at https://charcoalbookclub.com Siri Kaur is an artist and photographer who examines identities that occupy dualities, diversity, and contradiction. Originally from Maine, Kaur is currently based in Los Angeles. She received her MFA from the California Institute of the Arts, and an MA and a BA from Smith College, Massachusetts. Her work has been exhibited widely at venues such as Aperture Foundation, New York; Camera Club of New York; Crystal Bridges Museum of American Art, Arkansas; Los Angeles County Museum of Art; Portland Museum of Art; San Antonio Museum of Art; Vermont Center for Photography, amongst others. She was a Professor of Fine Arts at Otis College of Art and Design from 2007-2018 and currently teaches at UCLA.

Julie Curtiss was born in 1982 in Paris, France and lives and works in Brooklyn, New York. She studied at the École Nationale Supérieure des Beaux-arts, Paris, during which time she undertook two exchange programmes; one at the Hochschule für Bildende Künste, Dresden and the other at the School of the Art Institute of Chicago. Curtiss graduated in 2006 with a BA and MFA. Recent solo exhibitions include White Cube Hong Kong (2023); Anton Kern Gallery, New York (2022; 2020; 2019); White Cube Mason's Yard, London (2021); Various Small Fires, Los Angeles (2018); and 106 Green, Brooklyn, New York (2017). Group exhibitions include Fondation Carmignac, Porquerolles, France (2024); Dallas Museum of Art, TX (2023); MCA Chicago, IL (2023); Yuz Museum, Shanghai (2023); FLAG Art Foundation, New York (2023); Leeum Museum of Art, Seoul (2022); Biennale des Arts de Nice, France (2022); The Shed, New York (2021); Nassau County Museum of Art, Roslyn, New York (2019); Perrotin, Seoul (2019); Clearing, New York (2019); White Cube Bermondsey, London (2017). She has been the recipient of a number of fellowships and awards, including Youkobo Art Space Returnee Residency Program, Tokyo (2019); Fellow of the Sharpe-Walentas Studio Program, New York (2018); Saltonstall Arts Colony Residency, New York (2017); Contemporary Art Center at Woodside Residency Program, New York (2013); VAN LIER Fellowship, New York (2012); Louis Vuitton Moët Hennessy's Young Artists Award (2004); and Erasmus European Exchange Program Grant, Hochschule für Bildende Künste, Dresden (2003).Curtiss' work is represented in a number of museum collections, among which are Bronx Museum, New York; Columbus Museum of Art, Ohio; High Museum, Atlanta; Los Angeles County Museum of Art; Maki Collection, Japan; Museum of Contemporary Art, Chicago; Walker Art Center, Minneapolis; and Yuz Museum, Shanghai.

We meet Alev Ebüzziya Siesbye (b. 1938, Istanbul, TR) is a ceramic artist known for her refined, monochrome stoneware bowls, which she has been producing for nearly sixty years. Working with the ancient coiling technique and a traditional wooden kick wheel, Ebüzziya Siesbye creates vessels that bear the intimate marks of her hand, balancing density and spaciousness, firmness and fragility. Fired at high temperatures, her bowls possess a stone-like solidity, while their sharp-edged lips and small, recessed bases lend them an impression of levitation. Though often unadorned, some pieces feature delicate horizontal lines along the rim to, as the artist describes, “prevent them from lifting off the ground.”Ebüzziya Siesbye studied sculpture at the Istanbul State Academy of Fine Arts before working at ceramic studios in Höhr-Grenzhausen, DE, and Istanbul. In 1963, she moved to Denmark to join the Royal Copenhagen Porcelain Manufactory, later founding her first independent studio in Copenhagen in 1969. She has lived and worked in Paris since 1987. She has been awarded many honors, including the 2022 Danmarks Nationalbank's Anniversary Foundation Honor Award and the Aydın Doğan Award, and her work has been the subject of retrospective exhibitions at the Museum of Turkish and Islamic Arts, Istanbul (TR), and the Museum of Decorative Arts, Copenhagen (DK).Ebüzziya Siesbye's ceramics are held in numerous museum collections, including the Cooper-Hewitt Museum, New-York (NY); the Victoria and Albert Museum, London (UK); the Los Angeles County Museum of Art (CA); Musée des Arts Décoratifs, Paris (FR); Museum Boijmans Van Beuningen, Rotterdam (NL); the Museum of Decorative Arts, Copenhagen (DK); the Nationalmuseum, Stockholm (SE); the Royal Scottish Museum, Edinburgh, (SCT); and the Museum of Fine Arts, Houston (TX), among others.Follow @Salon94 on Instagram.Alev's current solo show ‘Vibrations' which runs in New York at Salon 94 until 8th August 2025, address 3 East 89th Street: https://salon94.com/exhibitions/alev-ebuzziya-siesbye-vibrations Hosted on Acast. See acast.com/privacy for more information.

Front Row Classics is proud to welcome Russ Tamblyn to the podcast! Brandon and Russ sit down to discuss several of the stories found in Russ' memoir "Dancing on the Edge: A Journey of Living, Loving, and Tumbling Through Hollywood." The two discuss his memories of films like Father of the Bride, Seven Brides for Seven Brothers, West Side Story and The Haunting.  RUSS TAMBLYN, is an Academy Award-nominated actor, dancer, choreographer, director, and artist best known as Riff in the iconic 1961 film West Side Story and Dr. Jacoby in David Lynch's cult-classic television show, Twin Peaks, as well as for his contribution to the art, music, and counterculture movements of the 1960s. His eight-millimeter films and collage-and-assemblage art have appeared in numerous exhibitions, including at the Los Angeles Institute of Contemporary Art, the Los Angeles County Museum of Art, and the Getty. He lives in Los Angeles.

Episode 475 / Banks VioletteBanks Violette is an artist born in Ithaca, NY who lives and works in Ithaca, NY. He recieved his BFA from the School of Visual Arts  and an MFA from Columbia University. He's had numerous solo shows including ones at MoCa, Connecticut, Gladstone Gallery, Blum & Poe, Thaddeus Ropac, Maureen Paley, Team Gallery, Rodolphe Janssen, and the Whitney Museum to name just a few. He's had scores of group shows all over the globe from the Museum of Modern Art to the Warhol Museum and his work is in the collections of The Coppel Foundation, MexicoThe Ellipse Foundation, Portugal, The Centre Pompidou, Paris, France, Frank Cohen Collection, Manchester, England The Jumex Foundation, Mexico, Los Angeles County Museum of Art, Los Angeles, Migros Museum für Gegenwartskunst, Zurich, Switzerland Musée d'Art Moderne et Contemporain, Geneva, Switzerland Museum of Contemporary Art, Los Angeles, Museum of Modern Art, New York, The OverHolland Collection, Amsterdam, The Netherlands The Saatchi Collection, London, UK, The Solomon R. Guggenheim Museum, New York, Frederick R. Weisman Art Foundation, Los Angeles and the Whitney Museum of American Art, New York. 

In this episode, MoCP Executive Director, Natasha Egan, sits down with artist Christina Fernandez. The two discuss Christina's decades-long career in pushing the boundaries of photography, blending her personal history as a Mexican American woman with broader cultural narratives about migration, labor, and gender. Natasha and Christina additionally discuss a piece in the MoCP permanent collection by Sidian Liu. Christina Fernandez has been featured in exhibitions at the Whitney Museum of Art, the San Francisco Museum of Modern Art, the Los Angeles County Museum of Aart, the Getty, and MoMA New York, just to name a few. Ferndandez is a 2021 Latinx Artist Fellowship honoree. She is also an influential educator, currently serving as an associate professor at Cerritos College in Norwalk, California where she has been on faculty since 2001. Fernandez's exhibition Multiple Exposures, is on view at the DePaul Art Museum in Chicago from March 20 - August 3, 2025, and it the first major museum survey of her work and has traveled to institutions across the county for the last three years.

Episode No. 704 features artist Wafaa Bilal. The MCA Chicago is presenting "Wafaa Bilal: Indulge Me," the first major survey of Bilal's work. Across his genres-busting career, the Iraqi-American Bilal has made performances, sculptures and related digital presentations that have interrogated the United States' relationship with and conduct within Iraq, the Middle East, and broader geopolitics. Bilal's work also investigates the notion of cultural cannibalism, the ways in which the culture of one people may be used, disassembled, and consumed by another. "Indulge Me" was curated by Bana Kattan, and is on view in Chicago through October 19. An invaluable catalogue was published by the MCA. Amazon and Bookshop offer it for $20-32. Bilal's work is in the collections of museums as unalike as the Los Angeles County Museum of Art and Mathaf: Arab Museum of Modern Art Qatar. His work has been included in exhibitions at the Sharjah Art Foundation, Sharjah UAE; the Art Gallery at NYU Abu Dhabi; and the 32015 Venice Biennale. Instagram: Wafaa Bilal, Tyler Green.

What if, instead of fixating on what's left on your bucket list, you created an “anti-bucket list” of things you no longer need to do? This perspective-shifting idea comes from award-winning filmmaker Skye Bergman, who has gathered 3,000 years of collective wisdom from adults 75+ on how to live well.As milestone birthdays like 70 approach, many of us wonder if we'll have enough time to accomplish everything we desire. Bergman's documentary Lives Well-Lived and book Lives Well-Lived Generations challenge our youth-obsessed culture by showcasing vibrant, purposeful aging. Her research identifies four essential elements of a well-lived life: purpose, community, resilience, and positivity. Purpose evolves, especially after retirement, when professional identity shifts. The key is finding what truly brings joy—whether it's making mozzarella for your daughter's deli or volunteering to teach English. Bergman challenges ageist limitations with inspiring examples like her grandmother, who started working out at 80, and Ernestine Shepard, who became a champion bodybuilder in her 50s after losing loved ones to diabetes. These stories prove that age doesn't define what's possible.Bergman also highlights the power of intergenerational connections in combating isolation. Her monthly potluck dinners, bringing together women from ages 20 to 90, dissolve ageist divides and create a meaningful community.Ready to embrace aging on your own terms? It's time to create your anti-bucket list—letting go of what no longer serves you while embracing purpose, connection, and joy. Listen now to start redefining what's possible.Bio Sky Bergman is an accomplished, award-winning photographer. "Lives Well Lived" is Sky's directorial debut. The film is based upon her book "Lives Well-Lived Generations".Her fine art work is included in permanent collections at the Los Angeles County Museum of Art, The Brooklyn Museum, the Seattle Art Museum, the Santa Barbara Museum of Art, and the Bibliothèque Nationale de France (National Library of France) in Paris. Her book, The Naked & The Nude: Images from the Sculpture Series, includes an introduction by Hèléne Pinet, curator of photography at the Rodin Museum in Paris. She has shot book covers for Random House and Farrar, Straus & Giroux, Inc., and magazine spreads that appeared in Smithsonian, Arthur Frommer's Budget Travel, Reader's Digest, and Archaeology Odyssey.Sky Bergman is a Professor of Photography and Video at Cal Poly State University in San Luis Obispo, CA.Websitehttps://www.skybergmanproductions.com/InstagramLinked InFacebookWe hope you have enjoyed this episode. Please like, comment, subscribe, and share the podcast.To find out more about Lynnis and what is going on in the V.I.B.E. Living World please go to https://link.tr.ee/LynnisJoin the V.I.B.E. Wellness Woman Network, where active participation fuels the collective journey toward health and vitality. Subscribe, engage, and embark on this adventure toward proactive well-being together. Go to https://www.vibewellnesswomannetwork.com to join. We have wonderful events, courses, challenges, guides, blogs and more all designed for the midlife woman who wants to keep her V.I.B.E. and remain Vibrant, Intuitive, Beautiful, and Empowered after 40+. Interested in an AI platform that meets all your needs? Click here

Judith Fox is an award-winning fine art photographer, poet, public speaker, and business leader. The temporary service she founded in Richmond, Virginia in 1978 was purchased by a NYSE firm in 1996. During her business career, Fox served on many for-profit and non-profit boards, was a public speaker and consultant. After selling her company, Judith devoted herself full-time to photography and writing. Fox's award-winning photographs are in the permanent collections of the Los Angeles County Museum of Art (LACMA), the Virginia Museum of Fine Arts (VMFA), the Museum of Photographic Arts (MoPA), the Southeast Museum of Photography (SMP), the Harry Ransom Center, the Haggerty Museum of Art, and the Harn Museum; her work is in private and corporate collections throughout the world. Fox's photographs have been exhibited in solo and group shows in the United States and Europe. After her book I Still Do: Loving and Living with Alzheimer's was released, Fox became a global advocate for Alzheimer's awareness and education. She's been a speaker and consultant on Alzheimer's and family caregiving for corporations, non-profit associations and universities. I Still Do was named “one of the best photography books of 2009” by Photo-Eye Magazine. Judith Fox lives and works in Southern California and is currently working on a collection of poetry. Find more information at: https://www.judithfox.com/ As always, we'll also include the live Prompt Lines for responses to our weekly prompt. A Zoom link will be provided in the chat window during the show before that segment begins. For links to all the past episodes, visit: https://www.rattle.com/rattlecast/ This Week's Prompt: Write a poem about the happiest place on earth. Next Week's Prompt: Write a poem about a time that you carried more than you ever thought possible, and include a reference to temperature. The Rattlecast livestreams on YouTube, Facebook, and Twitter, then becomes an audio podcast. Find it on iTunes, Spotify, or anywhere else you get your podcasts.

Above Photograph © Claudio Edinger When it comes to photography, Claudio Edinger has a Midas touch. Equally celebrated for his immersive photo series, the intimacy of his portraits, and his aerial views that conjure a sense of the eternal through selective focus, his compulsion for research drives adjustments to his photographic strategy from one project to the next. In today's show, we unpack the many facets of Claudio's storied career, from his arrival in New York and early documentation of Brooklyn's Hasidic community in the late 1970s to the environmental portraits he made inside Manhattan's infamous Chelsea Hotel, and beyond.  Learn the backstory to his fortuitous connection with master portraitist Philippe Halsman, and the influence this had on his photographic vocabulary. We also discuss Claudio's aerial imagery made from helicopters and drones, and debate the slippery slope between noteworthy content, image quality, and resolution. As a longtime disciple of meditation, Claudio's approach to photography is equally influenced by the underlying flow of energy essential to life on this planet, which led him to state, “I'm open to whatever the universe brings my way. But the universe has to conspire in your favor. My whole life has been like that. I've been guided. My intuition brings me to places, and the place drags me into it.” Guest: Claudio Edinger Episode Timeline: 3:03: Claudio's beginnings in photography while studying economics in Sao Paulo, and his first exhibit at the Sao Paulo Museum of Art. 4:55: A move to New York in 1976 and a two-year project on Brooklyn's Hasidic community. 8:42: Connecting with master portrait photographer Philippe Halsman, and how this expanded Claudio's vocabulary as a photographer. 15:35: A move to the Chelsea Hotel and a new photographic strategy to make environmental portraits of the building and its residents. 19:52: The influence of August Sander's work, and Claudio's pursuit of intimacy to create images with universal meaning. 25:22: The organic path of Claudio's photographic approach, and how he developed his selective focus technique.  28:15: Episode Break 29:06: The predictable visual effect of a Hasselblad's square frame, combined with a tripod and flash for portraits of patients in a Brazilian insane asylum. 33:06: Using the same techniques to capture the insanity inside an institution, as well as to photograph the institutionalized insanity of Brazilian Carnival.  37:51: Claudio's assignment work, plus his time as a New York paparazzo and the lessons this taught him.  39:28: Claudio's experience as a war photographer in El Salvador, and the urgency of living connected to war.  43:42: Shifting to a 4x5 Toyo camera to further explore the tilt-shift look of selective focus.   48:57: The shortcomings of large format that forced Claudio to shift to digital and then discover aerial photography.   54:17: Comparing aerial photos from a helicopter with those made from a drone, plus Claudio's thoughts on viewing the world from the point of view of eternity. Guest Bio: Claudio Edinger is one of Brazil's preeminent photographers. After studying economics at Mackenzie University in São Paulo in the early 70s, he turned his attention to photography, and he hasn't stopped since.  Edinger moved to New York City in 1976, and during the 20 years he spent in the US, he completed immersive photo essays about the Hasidic community of Brooklyn, the denizens of Manhattan's Chelsea Hotel, and habitués of LA's Venice Beach. He also freelanced for Brazilian and North American publications such as Veja, Time, Life, Rolling Stone, and The New York Times Magazine, among many others.  The author of more than twenty books, Edinger's photographs have been collected worldwide and exhibited by institutions such as New York's International Center of Photography, the Los Angeles County Museum of Art, the Maison Europeénne de la Photographie in Paris, and the São Paulo Museum of Art, to name but a few. Edinger has received many honors for his work, including the Ernst Haas Award, the Hasselblad Award, the Higashikawa Award, and the Leica Medal of Excellence, which he received twice.  Always seeking new approaches to his work, Edinger has explored a wide range of camera formats and photographic techniques over the course of his career. In 2000, he began working with a large format camera, using selective focus to approximate human vision, and in 2015, he started an exploration of aerial photography—a theme that continues to this day. Stay Connected: Claudio Edinger Website: https://www.claudioedinger.com/ Claudio Edinger Instagram: https://www.instagram.com/claudioedinger/ Claudio Edinger Facebook: https://www.facebook.com/claudio.edinger/ Claudio Edinger Wikipedia page: https://en.wikipedia.org/wiki/Claudio_Edinger Claudio Edinger Chelsea Hotel book: https://www.abbeville.com/collections/just-released/products/the-chelsea-hotel End Credits: Host: Derek Fahsbender Senior Creative Producer: Jill Waterman Senior Technical Producer: Mike Weinstein Executive Producer: Richard Stevens

Today I talked to Kara Cooney about Recycling for Death: Coffin Reuse in Ancient Egypt and the Theban Royal Caches (American U in Cairo Press, 2024). The book is a meticulous study of the social, economic, and religious significance of coffin reuse and development during the Ramesside and early Third Intermediate periods, illustrated with over 900 images.  Funerary datasets are the chief source of social history in Egyptology, and the numerous tombs, coffins, Books of the Dead, and mummies of the Twentieth and Twenty-first Dynasties have not been fully utilized as social documents, mostly because the data of this time period is scattered and difficult to synthesize. This culmination of fifteen years of coffin study analyzes coffins and other funerary equipment of elites from the Nineteenth to the Twenty-second Dynasties to provide essential windows into social strategies and adaptations employed during the Bronze Age collapse and subsequent Iron Age reconsolidation. Many Twentieth to Twenty-second Dynasty coffins show evidence of reuse from other, older coffins, as well as obvious marks where gilding or inlay have been removed. Innovative vignettes painted onto coffin surfaces reflect new religious strategies and coping mechanisms within this time of crisis, while advances in mummification techniques reveal an Egyptian anxiety about long-term burial without coffins as a new style of stuffed and painted mummy was developed for the wealthy. It was in the context of necropolis insecurity, economic crisis, and group burial in reused and unpainted chambers that a complex, polychrome coffin style emerged. The first part of this book focuses on the theory and evidence of coffin reuse, contextualized within the social collapse that characterized the Twentieth and Twenty-first Dynasties. The second part presents photo essays of annotated visual data for over sixty Egyptian coffins from the so-called Royal Caches, most of them from the Egyptian Museum in Cairo. Illustrated throughout with high-quality images, the line drawings and color and black-and-white photographs are ideal for careful study, especially evidenced in the digital edition, where pages can be enlarged for close examination. Kara Cooney is a professor of Egyptology and chair of the Department of Near Eastern Languages and Cultures at UCLA. Specializing in social history, gender studies, and economies in the ancient world, she received her PhD in Egyptology from Johns Hopkins University. In 2005, she was co-curator of Tutankhamun and the Golden Age of the Pharaohs at the Los Angeles County Museum of Art. Her popular books include The Woman Who Would Be King: Hatshepsut's Rise to Power in Ancient Egypt, When Women Ruled the World: Six Queens of Egypt, and The Good Kings: Absolute Power in Ancient Egypt and the Modern World. Her latest academic book is Ancient Egyptian Society: Challenging Assumptions, Exploring Approaches. Lauren Fonto is a Master's student in the program Heritage and Cultural Sciences: Heritage Conservation at the University of Pretoria, South Africa. She is also a collections management intern in the public sector. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Today I talked to Kara Cooney about Recycling for Death: Coffin Reuse in Ancient Egypt and the Theban Royal Caches (American U in Cairo Press, 2024). The book is a meticulous study of the social, economic, and religious significance of coffin reuse and development during the Ramesside and early Third Intermediate periods, illustrated with over 900 images.  Funerary datasets are the chief source of social history in Egyptology, and the numerous tombs, coffins, Books of the Dead, and mummies of the Twentieth and Twenty-first Dynasties have not been fully utilized as social documents, mostly because the data of this time period is scattered and difficult to synthesize. This culmination of fifteen years of coffin study analyzes coffins and other funerary equipment of elites from the Nineteenth to the Twenty-second Dynasties to provide essential windows into social strategies and adaptations employed during the Bronze Age collapse and subsequent Iron Age reconsolidation. Many Twentieth to Twenty-second Dynasty coffins show evidence of reuse from other, older coffins, as well as obvious marks where gilding or inlay have been removed. Innovative vignettes painted onto coffin surfaces reflect new religious strategies and coping mechanisms within this time of crisis, while advances in mummification techniques reveal an Egyptian anxiety about long-term burial without coffins as a new style of stuffed and painted mummy was developed for the wealthy. It was in the context of necropolis insecurity, economic crisis, and group burial in reused and unpainted chambers that a complex, polychrome coffin style emerged. The first part of this book focuses on the theory and evidence of coffin reuse, contextualized within the social collapse that characterized the Twentieth and Twenty-first Dynasties. The second part presents photo essays of annotated visual data for over sixty Egyptian coffins from the so-called Royal Caches, most of them from the Egyptian Museum in Cairo. Illustrated throughout with high-quality images, the line drawings and color and black-and-white photographs are ideal for careful study, especially evidenced in the digital edition, where pages can be enlarged for close examination. Kara Cooney is a professor of Egyptology and chair of the Department of Near Eastern Languages and Cultures at UCLA. Specializing in social history, gender studies, and economies in the ancient world, she received her PhD in Egyptology from Johns Hopkins University. In 2005, she was co-curator of Tutankhamun and the Golden Age of the Pharaohs at the Los Angeles County Museum of Art. Her popular books include The Woman Who Would Be King: Hatshepsut's Rise to Power in Ancient Egypt, When Women Ruled the World: Six Queens of Egypt, and The Good Kings: Absolute Power in Ancient Egypt and the Modern World. Her latest academic book is Ancient Egyptian Society: Challenging Assumptions, Exploring Approaches. Lauren Fonto is a Master's student in the program Heritage and Cultural Sciences: Heritage Conservation at the University of Pretoria, South Africa. She is also a collections management intern in the public sector. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-studies

Today I talked to Kara Cooney about Recycling for Death: Coffin Reuse in Ancient Egypt and the Theban Royal Caches (American U in Cairo Press, 2024). The book is a meticulous study of the social, economic, and religious significance of coffin reuse and development during the Ramesside and early Third Intermediate periods, illustrated with over 900 images.  Funerary datasets are the chief source of social history in Egyptology, and the numerous tombs, coffins, Books of the Dead, and mummies of the Twentieth and Twenty-first Dynasties have not been fully utilized as social documents, mostly because the data of this time period is scattered and difficult to synthesize. This culmination of fifteen years of coffin study analyzes coffins and other funerary equipment of elites from the Nineteenth to the Twenty-second Dynasties to provide essential windows into social strategies and adaptations employed during the Bronze Age collapse and subsequent Iron Age reconsolidation. Many Twentieth to Twenty-second Dynasty coffins show evidence of reuse from other, older coffins, as well as obvious marks where gilding or inlay have been removed. Innovative vignettes painted onto coffin surfaces reflect new religious strategies and coping mechanisms within this time of crisis, while advances in mummification techniques reveal an Egyptian anxiety about long-term burial without coffins as a new style of stuffed and painted mummy was developed for the wealthy. It was in the context of necropolis insecurity, economic crisis, and group burial in reused and unpainted chambers that a complex, polychrome coffin style emerged. The first part of this book focuses on the theory and evidence of coffin reuse, contextualized within the social collapse that characterized the Twentieth and Twenty-first Dynasties. The second part presents photo essays of annotated visual data for over sixty Egyptian coffins from the so-called Royal Caches, most of them from the Egyptian Museum in Cairo. Illustrated throughout with high-quality images, the line drawings and color and black-and-white photographs are ideal for careful study, especially evidenced in the digital edition, where pages can be enlarged for close examination. Kara Cooney is a professor of Egyptology and chair of the Department of Near Eastern Languages and Cultures at UCLA. Specializing in social history, gender studies, and economies in the ancient world, she received her PhD in Egyptology from Johns Hopkins University. In 2005, she was co-curator of Tutankhamun and the Golden Age of the Pharaohs at the Los Angeles County Museum of Art. Her popular books include The Woman Who Would Be King: Hatshepsut's Rise to Power in Ancient Egypt, When Women Ruled the World: Six Queens of Egypt, and The Good Kings: Absolute Power in Ancient Egypt and the Modern World. Her latest academic book is Ancient Egyptian Society: Challenging Assumptions, Exploring Approaches. Lauren Fonto is a Master's student in the program Heritage and Cultural Sciences: Heritage Conservation at the University of Pretoria, South Africa. She is also a collections management intern in the public sector. Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. Today, Emily chats with Ranu Mukherjee, a painter, textile, and film installation artist, who was recently appointed as Dean of the Film and Video School at CalArts in Los Angeles. Ranu discusses her background, her collaborative work with choreographers, and her latest project designing a curtain for the San Francisco Ballet's 'Cool Britannia'. She shares insights into her inspirations, including forests and their literary forms, and her early experiences that led her to become an artist. The episode concludes with Emily's regular segment, 'Three Questions', discussing influential works and inspiring places.About Artist Ranu Mukherjee:Ranu Mukherjee's work has been the subject of solo exhibitions at the 18th Street Arts Center, Los Angeles (2022-2023) de Young Museum, San Francisco (2018-2019); the Pennsylvania College of Art and Design (2017);  the Asian Art Museum, San Francisco (2016); the Tarble Art Center, Charleston, IL (2016) and the San Jose Museum of Art, CA (2012), among others. Her most recent immersive video installations have been was presented in Natasha, Singapore Biennale 2022-2023, the 2019 Karachi Biennale (2019) and Los Angeles County Museum of Art (2016) as well as in numerous international group exhibitions. Mukherjee has been awarded a 2023 Artadia Award,a Pollock Krasner Grant (2020); a Lucas Visual Arts Fellowship at Montalvo Arts Center, Saratoga, CA (2019-2024); an 18th Street Arts Center Residency, Los Angeles (2022); Facebook Artist in Residence (2020);  de Young Museum Artist Studio Program (2017); the Space 118 Residency, Mumbai (2014); and a Kala Fellowship Award and Residency, Berkeley (2009). Her work is in the permanent collection of the Asian Art Museum, San Francisco; de Young Museum, San Francisco; the Escallete Collection at Chapman University; the JP Morgan Chase Collection, New York; the Kadist Foundation, San Francisco and Paris; the Oakland Museum of California; the San Jose Museum of Art; and the San Francisco International Airport, among others. In 2021 Gallery Wendi Norris released Shadowtime, a major monograph on Mukherjee's work over the past decade featuring a conversation with author and climate activist Amitav Ghosh, and an essay by Jodi Throckmorton, curator of Mukherjee's first solo museum exhibition at the San Jose Museum of Art. Mukherjee co-created Orphan Drift, a London-based cyber-feminist collective and avatar making combined media works since 1994. They have participated in numerous exhibitions and screenings internationally including in London, Oslo, Berlin, Oberhausen, Glasgow, Istanbul, Vancouver, Santiago, Capetown, and the Bay Area.Mukherjee received her B.F.A. in Painting, from the Massachusetts College of Art, Boston, MA in 1988, and her MFA in Painting at the Royal College of Art, London, UK in 1993.  She serves on the Board of Trustees at the San Jose Museum of Art, and the Board of Directors at Bridge Live Arts. She is a Professor and Chair of Film at California College of the Arts, San Francisco. Visit Ranu's Website:  RanuMukherjee.comFollow  on Instagram:  @RanuMukherjeeFor more on 'Cool Britannia' at the San Francisco Ballet - CLICK HERE.For more on Ranu's book, 'Shadowtime' - CLICK HERE--About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com

Episode 460 / Greg Ito Greg Ito (b. 1987, Los Angeles, CA) earned his BFA from San Francisco Art Institute. His work has been exhibited widely in solo and group exhibitions including at Institute of Contemporary Art, San Diego, CA; Long Beach Museum of Art, Long Beach, CA; Maki Gallery, Tokyo, Japan; Anat Ebgi, Los Angeles, CA; SPURS Gallery, Beijing, China; Lyles and King, New York, NY; Jeffrey Deitch, New York; NY and Yerba Buena Center for the Arts (YBCA), San Francisco, CA. Ito's work is included in the permanent collections of public institutions including the Hammer Museum, Los Angeles, CA; Crocker Art Museum, Sacramento, CA; Institute of Contemporary Art Miami (ICA Miami); K11 Art Foundation, Hong Kong; and the Los Angeles County Museum of Art (LACMA). Greg lives and works in Los Angeles, CA. his current show  MOTION PICTURES is at the Long Beach Museum of Art.

KATHARINE ERICKSON is the Museum Manager at the 21c Museum Hotel in Lexington.  She worked previously as an educator at a number of museums including the National Gallery of Art, the Washington Nati0nal Cathedral, the Los Angeles County Museum of Art, and for the majority of her prior career, at the Getty Villa in Los Angeles, where she managed the Gallery Teaching program. She joined 21c in her current role in the fall of 2023.The current temporary exhibition installed in November 2024, is titled:Still, Life!  Meaning and Mending in Contemporary Art.As the punctuation suggests, this is a play on the recognized art form of the "still life" genre - flowers and fruits in various stages of ripeness and decay for example, but also a more subtle reference to the fact there is still life post pandemic albeit still with all its turmoil and controversies.   Isolation fosters loneliness and disconnection, but also generates introspection and reflection and many of the works in this show attempt to capture this swing of thoughts and emotions experienced by many during the pandemic.  But they also bear witness to resilience and hope, as for example Valerie Hegarty's monumental and complex work FRESH START would infer.Katharine discusses this new show, shares her thoughts on several of the works and talks about her first 18 months as Museum Manager at 21c Museum Hotel.For more and to connect with us, visit https://www.artsconnectlex.org/art-throb-podcast.html

World famous documentarian of time periods through the art and expression of hip hop and Ellevan's favourite visual artist since a teenager, we have Justin Bua on the pod! https://justinbua.com Justin Bua is an artist, author, speaker and entrepreneur. He currently lives in Texas and is best known for his lyrical narrative paintings of musicians, DJs and similar characters who help define the urban landscape. Bua's distinctive figurative style combines his classical training with his background in graffiti, breakdancing and experience living in New York City.[3] The subjects of his paintings range from recognizable figures, such as Snoop Dogg and Muhammad Ali, to anonymous people pulled from his memories, including the DJ and guitar player for which he has become best known.[4] Each of Bua's subjects is ennobled within the urban landscape he paints and is often rendered with elongated limbs or hands, emphasizing the rhythm of the scene.[5] Bua exhibits worldwide and was featured in a 2011 event at the Los Angeles County Museum of Art.[6] As an artist "for the people, by the people, of the people," Bua's fan base is diverse and ranges from former presidents, actors, musicians, professional athletes, dancers, to street kids and art connoisseurs Thank you so much for watching/listening to our podcast. We are here to learn and offer valuable information about the cannabis and wellness space! Please like this video and subscribe for weekly podcasts, meditations, and affirmations. Follow us on Instagram: Disciplined Stoners: https://www.instagram.com/disciplinedstoners Winny Clarke: https://www.instagram.com/winnyclarke Ellevan: https://www.instagram.com/ellevanmusic Sign up for Winny's Mailing List here: http://eepurl.com/gCIZg1 Get Ellevan's book: STFU: Thoughts and Feelings shorturl.at/pIS08 Follow us on Spotify: https://open.spotify.com/show/1XDoMv08pT9EfyBaCXNnaj?si=7a557f0e0bf14d4d Follow and Listen to Ellevan on Spotify: https://open.spotify.com/artist/0G1sZ8clT2oSvzQ3IL2ZRd?si=vJVw9FLyS6GtF453Ny21kQ Every episode we travel deeper into unfolding who we believe we are. Through these conversations of self reflection, often comedic, often topical, always grounded, we try to uncover a deeper meaning to this life. Thank you for joining us on this special discovery and we hope to continue to inspire you and the choices you make to better your life. You are loved. You are well. We are growing. Love n Light #podcast #mindfulness #mindfulpodcast #podcasting #comedy #fun #podcasting #wellness #meditation #disciplines #entrepreneur Thank you so much for watching/listening to our podcast. We are here to learn and offer valuable information about the cannabis and wellness space! Please like this video and subscribe for weekly podcasts, meditations, and affirmations. Follow us on Instagram: Disciplined Stoners: https://www.instagram.com/disciplinedstoners Winny Clarke: https://www.instagram.com/winnyclarke Ellevan: https://www.instagram.com/ellevanmusic Sign up for Winny's Mailing List here: http://eepurl.com/gCIZg1 Get Ellevan's book: STFU: Thoughts and Feelings shorturl.at/pIS08 Follow us on Spotify: https://open.spotify.com/show/1XDoMv08pT9EfyBaCXNnaj?si=7a557f0e0bf14d4d Follow and Listen to Ellevan on Spotify: https://open.spotify.com/artist/0G1sZ8clT2oSvzQ3IL2ZRd?si=vJVw9FLyS6GtF453Ny21kQ Every episode we travel deeper into unfolding who we believe we are. Through these conversations of self reflection, often comedic, often topical, always grounded, we try to uncover a deeper meaning to this life. Thank you for joining us on this special discovery and we hope to continue to inspire you and the choices you make to better your life. You are loved. You are well. We are growing. Love n Light #podcast #mindfulness #mindfulpodcast #podcasting #comedy #fun #podcasting #wellness #meditation #disciplines #entrepreneur

On the show this week Jeff and Tricia talk with author, Pepper Stetler about the new book A Measure of Intelligence: One Mother's Reckoning with the IQ Test. Pepper Stetler is a Professor of Art History at Miami University in Oxford, Ohio. She writes extensively on issues facing people with intellectual disabilities and their caregivers. Her writing has appeared in The New York Times, The Atlantic, Slate, The Progressive, the Ploughshares blog and Gulf Coast. Stetler also researches and writes about the art and photography of early twentieth-century Europe and the United States. In 2022, she was awarded an Art Writer's Grant from the Andy Warhol Foundation. She has written catalog essays for exhibitions at the Museum of Modern Art in New York and the Los Angeles County Museum of Art. In 2022, she curated Craft and Camera: The Art of Nancy Ford Cones, the first museum scale retrospective of the Cincinnati-based photographer. Stetler grew up in Kansas City, Missouri. She received her BA from Barnard College, Columbia University and her MA and Ph.D. from the University of Delaware. She lives in Oxford, Ohio with her husband and her daughter, Louisa, whose general awesomeness inspired her to write A Measure of Intelligence. Learn more about the book and connect with our guest. https://www.pepperstetler.com/ Thank you to our show sponsor https://www.neulight.io/?utm_source=shiftingschool&utm_medium=podcast&utm_campaign=fallsponsorship&utm_id=1  

Ep.227 Zohra Opoku examines the politics of personal identity formation through historical, cultural, and socio-economic influences, particularly in the context of contemporary Ghana. Opoku's explorations have primarily been expressed through her photography, which she translates into screen printing. This process has led to a collage art practice that combines hand-stitched embroidery on various pre-dyed natural fabrics. She also incorporates references from West African brass-making traditions into her work, which can be experienced as applications on the textile pieces or as sculptures themselves. While her work relays social commentary and broadly relevant themes around the human experience, each of Zohra's explorations is intimately rooted in personal identity politics. She repeatedly integrates family heirlooms and her own self-image into her visual observations of Ghana's cultural memory. In 2023, she is among the artists exhibited in the 15th edition of Sharjah Biennale ‘Thinking Historically in the Present' (United Arab Emirates), as Black Rock Sénégal Alumni at 14th edition of DAK'ART ‘Forger/Out Of Fire' in 2022 and at 7th Athens Biennale ‘Eclipse'(Greece) 2021. She has exhibited internationally such as the Brooklyn Museum (NYC), The Museum for Photography (Chicago), The Cleveland Museum of Art, High Museum of Art (Atlanta), Kunsthaus Hamburg, Kunstmuseum Wolfsburg, Musée de l'Ethnographie (Bordeaux), Guggenheim Museum (Bilbao), Kunsthal Rotterdam, Archaeological Museum of Mykonos, Southbank Centre / Hayward Gallery (London), TATE London, SAVVY Contemporary (Berlin), Palais Populaire (Berlin), National Museum Nairobi, CCA Lagos, Nubuke Foundation (Accra) and RAW Material Company (Dakar). Her work is collected by renowned institutions such as the Los Angeles County Museum of Art, Los Angeles; CCS Bard College Hessel Museum of Art, Annandale-on-Hudson, NY; The Royal Museum of Ontario Toronto, Ontario; The Faurschou Foundation, Copenhagen, Denmark; TATE Modern, London, United Kingdom; The Onassis Collection, Athens, Greece and The Centre Pompidou, Paris, France. Zohra Opoku is born 1976 in Altdöbern (former GDR/ East Germany), lives and works in Accra/ Ghana and is represented by Mariane Ibrahim Gallery Chicago / Paris / Mexico City. Photo credit Nii Odzenma Artist https://www.zohraopoku.com/ Mariane Ibrahim Gallery https://marianeibrahim.com/artists/33-zohra-opoku/ Berlin Art Institute https://berlinartinstitute.com/visit-to-zohra-opoku-at-suite-berlin-and-mariane-ibrahim/ deCordova Sculpture Park and Museum https://thetrustees.org/exhibit/platform-33-zohra-opoku-self-portraits/ Interior Design https://interiordesign.net/designwire/10-questions-with-textile-artist-zohra-opoku/ Financial Times https://www.ft.com/content/2d916c9b-fafe-457e-8d21-0b6763430668 C& https://contemporaryand.com/magazines/zohra-opoku-empowering-children-of-color-to-love-themselves/ The Art Newspaper https://www.theartnewspaper.com/2024/09/10/four-galleries-and-four-artists-team-up-on-collaborative-project-suite-berlin Aperture https://aperture.org/editorial/zohra-opokus-evocative-reflections-on-mortality-and-resilience/ NYTimes https://www.nytimes.com/2023/07/14/arts/design/african-royalty-tate-modern.html The Guardian https://www.theguardian.com/artanddesign/2021/nov/01/laced-cut-mix-review-new-art-exchange-nottingham Wikipedia https://en.wikipedia.org/wiki/Zohra_Opoku

Lana Z Caplan works across various media – including single-channel films or videos in essay form, interactive installations, video art, and photography. Her recent photographic monograph, Oceano (for seven generations) published by Kehrer Verlag in 2023, contrasts the historic inhabitants of California's Oceano Dunes – the Indigenous Chumash and a colony of depression-era artist and mystic squatters – with the current ATV riding community which is the source of a public health crisis in neighboring communities. Oceano (for seven generations) is in the collection of museums including Los Angeles County Museum of Art, The Getty Museum, Museum of Fine Arts Boston and The Cleveland Museum of Art. Her work has been reviewed and featured in publications such as ARTnews, LA Times, , and The Boston Globe and she has received several grants including from Massachusetts Cultural Council and the Film/Video Studio Program Fellowship at the Wexner Center for the Arts in Columbus, OH. Caplan earned her BA and BS from Boston University, her MFA from Massachusetts College of Art and is currently an Associate Professor of Photography and Video at Cal Poly, San Luis Obispo. Resources Lana Z. Caplan Websites Photo Workshops Tokyo Exploration Workshop with Ibarionex Perello Sponsors Playpodcast Podcast App Charcoal Book Club Chico Review Photobook Retreat Frames Magazine Education Resources: Momenta Photographic Workshops Candid Frame Resources Download the free Candid Frame app for your favorite smart device. Click here to download it for . Click here to download Contribute a one-time donation to the show thru Buy Me a Coffee Support the work at The Candid Frame by contributing to our Patreon effort.  You can do this by visiting or the website and clicking on the Patreon button. You can also provide a one-time donation via . You can follow Ibarionex on and .

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

In this episode of PhotoWork with Sasha Wolf, Sasha engages in an honest and deeply personal conversation with photographer Christian Patterson. They delve into the creation of "Redheaded Peckerwood" (MACK) and his latest book, "Gong Co." (TBW Books & Éditions Images Vevey). Christian offers a thorough description of his intricate process and motivations for these long-term projects, providing nearly step-by-step insights. He also reflects on his years working with William Eggleston and the nuanced ways in which that experience did, and did not,  influence his artistic direction. http://www.christianpatterson.com  |||   https://www.instagram.com/christian.patterson/ CHRISTIAN PATTERSON was born in Fond du Lac, Wisconsin and lives in New York, New York. His visually layered work has been described as novelistic, subjective documentary of the historical past, and often deals with themes of the archive, authorship, memory, place and time. Photographs are the heart of his multidisciplinary work, which includes drawings, paintings, objects, video and sound. Patterson is the author of four books, including Sound Affects (2008), Redheaded Peckerwood (2011, Recontres d'Arles Author Book Award), Bottom of the Lake (2015,Shortlist, Aperture-Paris Photo Book of the Year), and the forthcoming Gong Co. (2024). He is a Guggenheim Fellow (2013), winner of the Grand Prix Images Vevey (2015), a New York Public Library Picture Collection Artist Fellow (2022) and James Castle House Resident (2023). His work is in the collections of the National Gallery of Art, Los Angeles County Museum of Art (LACMA), J. Paul Getty Museum, Milwaukee Art Museum, Nelson-Atkins Museum of Art and Ogden Museum of Southern Art, and his books are in many institutional artist book collections. He has lectured, mentored and taught widely. He is represented by Rose Gallery, Santa Monica, USA and Robert Morat Galerie, Berlin, Germany. This podcast is sponsored by picturehouse + thesmalldarkroom. https://phtsdr.com

Ep.221 Shinique Smith. Known for her monumental fabric sculptures and abstract paintings of calligraphy and collage, Smith's personal histories and belongings intertwine with thoughts of the vast nature of ‘things' that we consume, cherish, gift, and discard and how these objects resonate on intimate and social scales. Over the last twenty years, Smith has gleaned visual poetry from textiles and explored concepts of ritual using breath, bunding and mark-making as tools toward abstraction. Her layered works range from palm-sized bundled microcosms to monolithic bales to massive chaotic paintings that contain vibrant and carefully collected mementos from her life. Smith's practice operates at the convergence of consumption and spiritual sanctuary, balancing forces and revealing connections across space and time, race, gender, and place to suggest the possibility of new worlds. Born in Baltimore, MD, currently residing in Los Angeles, California, Smith has received awards and prizes from Joan Mitchell, the Tiffany Foundation, Anonymous Was a Woman and the American Academy of Arts and Letters among others. Her work has gained attention through her participation in celebrated biennials and group exhibitions including the 13th Bienal de Cuenca and 8th Busan Biennale; Frequency at the Studio Museum in Harlem, 30 Americans organized by the Rubell Family Collection, UnMonumental at the New Museum and Hauser + Wirth LA's Revolution in the Making. Smith's work has also been exhibited and collected by other prestigious institutions such as the Baltimore Museum of Art; Brooklyn Museum of Art; California African American Museum, Denver Art Museum, the Frist, Indianapolis Museum of Art at Newfields, Los Angeles County Museum of Art, Minneapolis Art Institute, MOMA PS1, Museum of Fine Arts, Boston, Musée d'art contemporain de Montréal, Nerman Museum of Contemporary Art, SCAD, the Ringling Museum of Art, the Whitney and the Guggenheim. Photo credit: Courtesy of the artist Artist https://www.shiniquesmith.com/ moniquemeloche https://www.moniquemeloche.com/artists/207-shinique-smith/biography/ https://www.moniquemeloche.com/exhibitions/218-collage-culture/press_release_text/ The Phillips Collection https://www.phillipscollection.org/event/2024-07-06-multiplicity The Ringling Museum https://www.ringling.org/event/shinique-smith-parade/ SRQ https://www.srqmagazine.com/srq-daily/2023-12-01/23073_The-Ringling-Presents-Shinique-Smith-Parade Hyperallergic https://hyperallergic.com/552240/meet-las-art-community-sharing-inspiration-with-people-of-color-has-always-been-a-priority-for-shinique-smith/ Centure for Maine Contemporary Art https://cmcanow.org/event/shinique-smith-continuous-poem/ Newfields https://discovernewfields.org/Shinique-Smith-Torque Guggenheim https://www.guggenheim.org/exhibition/by-way-of-material-and-motion-in-the-guggenheim-collection Kemper Museum of Contemporary Art https://www.kemperart.org/program/artist-talk-shinique-smith Products | For Freedoms https://checkout.forfreedoms.com/products/by-the-light-2024 ICASF https://www.icasf.org/exhibitions/16-the-poetics-of-dimensions See Great Art https://www.seegreatart.art/shinique-smith-artworks-displayed-with-european-masterpieces-at-ringling-museum/ Visit Indy https://www.visitindy.com/event/shinique-smith-torque/158358/ Guild Hall https://www.guildhall.org/events/ring-the-alarm-a-conversation-with-shinique-smith-renee-cox/ AWARE https://awarewomenartists.com/en/artiste/shinique-smith/ Flora Animalia https://floraanimalia.com/blogs/news/shinique-smith?srsltid=AfmBOorqjJTBqroKRSW96gcOjCXK374pQUKNseNnhQ1A0rZNtRrOdoaj

Las Vegas is the largest city in America without an art museum. But in just a few years, that will change. Heather Harmon is the Executive Director of the soon-to-come Las Vegas Museum of Art, coming to Symphony Park in 2028. She joins co-host Sarah Lohman to discuss why the museum is actually happening this time, the partnership with the Los Angeles County Museum of Art (LACMA), and what having this cultural space will mean for our community.  Learn more about the sponsors of this October 28th episode: BetterHelp - get 10% off at betterhelp.com/CITYCAST Want to get in touch? Follow us @CityCastVegas on Instagram, or email us at lasvegas@citycast.fm. You can also call or text us at 702-514-0719. For more Las Vegas news, make sure to sign up for our morning newsletter, Hey Las Vegas. Looking to advertise on City Cast Las Vegas? Check out our options for podcast and newsletter ads at citycast.fm/advertise. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

Jomo Tariku's life and career have followed a winding path, from his childhood in Ethiopia to a design degree in Kansas and a stint in data visualization at the World Bank. Today, he's internationally recognized as a furniture designer, with pieces in the permanent collection of the Metropolitan Museum of Art, the Los Angeles County Museum of Art and the National Museum of African American History and Culture. Tariku is also the creator of an impactful 2020 study that demonstrated the startling lack of Black furniture designers working with major manufacturers. In this episode of the podcast, Tariku speaks with host Dennis Scully about why data is more powerful than anecdotal evidence, why he's getting into wallpaper and other categories, and what it will take to truly make design a global language.This episode is sponsored by Loloi and Isla PorterLINKSJomo FurnitureJomo TarikuDennis ScullyBusiness of Home

Tony Marsh is an artist and educator who earned his BFA in Ceramic Art at California State University Long Beach in 1978. After graduating he spent three years in Mashiko, Japan at the workshop of Tatsuzo Shimaoka. Marsh completed his MFA at Alfred University in 1988. He teaches in the Ceramic Arts Program at California State University Long Beach where he was the Program Chair for over 20 years. He is currently the first Director of the Center for Contemporary Ceramics at CSULB. He was named a United States Artists Fellow in 2018, an honor awarded to outstanding contributors in American Arts and Letters. His work is the collections of museums across the globe including the Metropolitan Museum of Art, NY; Museum of Art and Design, NY; Los Angeles County Museum of Art; Oakland Museum of Art; Gardiner Museum of Art, Toronto; Museum of Fine Arts, Houston; San Jose Museum of Art; ASU Art Museum Tempe; the Foshan Museum of Contemporary Art, Foshan, China; and the Orange County Museum of Art.He and Zuckerman discuss being a teacher, making art, making a real impact, doing things with your whole heart, the influence of his mom, living and training in Japan, things that are encoded with success, how simple things are hard to make, marriage vessels, fertility vessels, and appropriate shapes, suspending time, magic, failure, craft, notions of taste, and taking no out of your vocabulary!

A meticulous study of the social, economic, and religious significance of coffin reuse and development during the Ramesside and early Third Intermediate periods, illustrated with over 900 imagesFunerary datasets are the chief source of social history in Egyptology, and the numerous tombs, coffins, Books of the Dead, and mummies of the Twentieth and Twenty-first Dynasties have not been fully utilized as social documents, mostly because the data of this time period is scattered and difficult to synthesize. This culmination of fifteen years of coffin study analyzes coffins and other funerary equipment of elites from the Nineteenth to the Twenty-second Dynasties to provide essential windows into social strategies and adaptations employed during the Bronze Age collapse and subsequent Iron Age reconsolidation.Many Twentieth to Twenty-second Dynasty coffins show evidence of reuse from other, older coffins, as well as obvious marks where gilding or inlay have been removed. Innovative vignettes painted onto coffin surfaces reflect new religious strategies and coping mechanisms within this time of crisis, while advances in mummification techniques reveal an Egyptian anxiety about long-term burial without coffins as a new style of stuffed and painted mummy was developed for the wealthy. It was in the context of necropolis insecurity, economic crisis, and group burial in reused and unpainted chambers that a complex, polychrome coffin style emerged.The first part of this book focuses on the theory and evidence of coffin reuse, contextualized within the social collapse that characterized the Twentieth and Twenty-first Dynasties. The second part presents photo essays of annotated visual data for over sixty Egyptian coffins from the so-called Royal Caches, most of them from the Egyptian Museum in Cairo.Illustrated throughout with high-quality images, the line drawings and color and black-and-white photographs are ideal for careful study, especially evidenced in the digital edition, where pages can be enlarged for close examination.Kara Cooney is a professor of Egyptology and chair of the Department of Near Eastern Languages and Cultures at UCLA. Specializing in social history, gender studies, and economies in the ancient world, she received her PhD in Egyptology from Johns Hopkins University. In 2005, she was co-curator of Tutankhamun and the Golden Age of the Pharaohs at the Los Angeles County Museum of Art. Her popular books include The Woman Who Would Be King: Hatshepsut's Rise to Power in Ancient Egypt, When Women Ruled the World: Six Queens of Egypt, and The Good Kings: Absolute Power in Ancient Egypt and the Modern World. Her latest academic book is Ancient Egyptian Society: Challenging Assumptions, Exploring Approaches.https://karacooney.squarespace.com/Become a supporter of this podcast: https://www.spreaker.com/podcast/earth-ancients--2790919/support.