Podcast appearances and mentions of Louise Bourgeois

For the 36th episode of "Reading the Art World," host Megan Fox Kelly speaks with Sarah Roberts, curator of the landmark exhibition "Amy Sherald: American Sublime," and editor of the accompanying catalog published by Yale University Press in association with the San Francisco Museum of Modern Art.Roberts discusses Sherald's revolutionary portraiture approach — from her distinctive gray-scale skin tones that shift focus to her subjects' interior lives, to her deliberate use of clothing and settings as narrative devices. She shares insights on the "American sublime" concept in Sherald's work and her curatorial decisions integrating the iconic Michelle Obama and Breonna Taylor portraits within the larger context of the artist's practice.This episode is essential listening for anyone interested in contemporary portraiture, the evolution of American figurative painting, and how art can challenge conventional narratives about representation and identity. Roberts' insights reveal why Sherald's quiet yet radical artistic vision offers a powerful reimagining of who deserves to be seen and celebrated in American art history.ABOUT THE AUTHOR Sarah Roberts is Senior Director of Curatorial Affairs at the Joan Mitchell Foundation where she oversees the Foundation's Artwork and Archival Collections and the Joan Mitchell Catalogue Raisonné project. Since 2004, she has served in progressive leadership roles in the Department of Painting and Sculpture at the SFMOMA, and since 2020 as Andrew W. Mellon Curator and Head of Painting and Sculpture. A specialist in post-war American art, Roberts has organized significant exhibitions including major presentations of Robert Rauschenberg, Louise Bourgeois, Frank Bowling, and co-curated the Joan Mitchell retrospective that traveled internationally. Roberts holds degrees from the University of Texas at Austin and Brown University, and has contributed to numerous publications on contemporary art.ABOUT THE EXHIBITION"Amy Sherald: American Sublime" is now on view at the Whitney Museum of American Art in New York through August 3, 2025, following its run at SFMOMA. The exhibition will travel to the National Portrait Gallery in Washington, D.C. (September 19, 2025 – February 22, 2026).PURCHASE THE BOOK https://yalebooks.yale.edu/book/9780300279382/amy-sherald/ SUBSCRIBE, FOLLOW AND HEAR INTERVIEWS:For more information, visit meganfoxkelly.com, hear our past interviews, and subscribe at the bottom of our Of Interest page for new posts.Follow us on Instagram: @meganfoxkelly"Reading the Art World" is a live interview and podcast series with leading art world authors hosted by art advisor Megan Fox Kelly. The conversations explore timely subjects in the world of art, design, architecture, artists and the art market, and are an opportunity to engage further with the minds behind these insightful new publications. Megan Fox Kelly is an art advisor and past President of the Association of Professional Art Advisors who works with collectors, estates and foundations.Music composed by Bob Golden

Luisa Passerini"Artebiografia"Percorsi di artiste tra Italia e AfricaRosenberg & Sellierwww.rosenbergsellier.itQuesto libro riprende il formato del montaggio, già usato da Luisa Passerini in alcuni libri precedenti, come Autoritratto di gruppo (1988; 2008), La fontana della giovinezza (1999), Il mito d'Europa (2002). Quindi il testo è composto di più parti, scritte alcune in prima e altre in terza persona; inoltre comprende in modo portante immagini che intervallano il proprio discorso con quello intrinseco alle parole, costituendo un tutto unico tra registri diversi che si illuminano reciprocamente.L'Esordio ricostruisce il percorso che ha portato l'autrice a considerare l'arte non più soltanto – come in suoi lavori precedenti – in qualità di strumento per rievocare storie di movimenti collettivi e individuali (Conversations on Visual Memory, 2018), ma anche di una vera e propria forma di conoscenza dal punto di vista della storia culturale.Opere d'arte che hanno ispirato l'ipotesi di tale valenza conoscitiva e politica sono quelle di Bertina Lopes e Louise Bourgeois.L'interesse per l'Africa viene assunto come orizzonte complessivo abitato in modi diversi dalle protagoniste del libro, non come base di inclusività identitarie. Sia le artiste sia l'autrice condividono in modi diversi l'appartenenza a culture italiane e contemporaneamente l'attenzione per aspetti delle civiltà africane.I capitoli pari sono dedicati ciascuno a un'artista che ha prestato particolare attenzione ai rapporti tra Italia e Africa: Muna Mussie ha lavorato sulla memoria storica e personale legata all'Eritrea; Alessandra Ferrini sul colonialismo italiano in Africa; Binta Diaw sul corpo nero nel contesto occidentale. I capitoli dispari rievocano le vicende personali dell'autrice nell'Africa orientale, i suoi viaggi alla ricerca delle opere delle artiste studiate, e le sue considerazioni sui percorsi così compiuti.La Postfazione di Bernardo Follini, senior curator della Fondazione Sandretto Re Rebaudengo di Torino, segnala le affinità metodologiche tra l'attività di curatore artistico da una parte e quella di storica della cultura dall'altra, nonché le possibili convergenze personali tra soggetti che svolgono ricerche in campi disciplinari diversi.Luisa Passerini è Emerita di Storia all'Istituto Universitario Europeo di Firenze, ha usato fonti orali, scritte e visuali per lo studio dei soggetti del cambiamento sociale e culturale, dai movimenti di liberazione africani ai movimenti operai, delle donne e degli studenti. Ha indagato il rapporto tra il concetto di identità europea e quello di amore romantico.Tra i suoi libri: La quarta parte (2023); Storie d'amore e d'Europa (2008); Memoria e utopia. Il primato dell'intersoggettività (2003); L'Europa e l'amore (1999); Storie di donne e femministe (1991; nuova ed. 2024); Mussolini immaginario (1991); Autoritratto di gruppo (1988); Torino operaia e fascismo (1984; nuova ed. 2024).IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Louise, comme la sculptrice Louise Bourgeois. Ou alors comme Louise Michel, tant la nouvelle création du clown et metteur en scène zurichois Martin Zimmermann fait souffler le vent de la révolte. Hommage aux femmes avec quatre interprètes, " Louise " est un formidable cabaret circassien entre rire et cauchemar. A découvrir une première romande à lʹUsine à gaz de Nyon les 1 et 2 mai. Chronique de Thierry Sartoretti.

Nathalie Obadia « L'art contemporain ; Des esprits conquérants » (Le cavalier Bleu)L'art contemporain, tel qu'il est apparu depuis la fin des années 60, est indissociable des logiques de mondialisation et de softpower qui fédèrent de multiples acteurs et autant de figures majeures au service de la création et de sa diffusion.En premier lieu, les artistes avec des figures comme Gerhard ­Richter, Louise Bourgeois, Damien Hirst ou Yayoi Kusama, mais aussi les curat­ors dont Harald Szeemann est un précurseur et la Cheikha Hoor Al Qasimi une incarnation des sensibilités du Sud Global, les galeristes avec Larry Gagosian et Marian Goodman, les foires dont ­l'emblématique Art Basel incarnée par Marc Spiegler, des collectionneurs comme François Pinault ou Uli Sigg, sans oublier celles et ceux qui ont œuvré à la muséification de l'art contemporain comme ­Suzanne Pagé ou Renzo Piano qui lui a créé ses plus lumineux écrins.Partant de sa double expertise de galeriste et d'enseignante, ­Nathalie Obadia nous présente ici les figures majeures de l'art contemporain et nous permet de saisir leur étroite imbrication et interdépendance.Musique: "Hymne à l'amour" Edith Piaf Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Watch the video of this discussion here: https://renderingunconscious.substack.com/p/ru339-emmalea-russo-and-vanessa-sinclair Become a paid subscriber to Rendering Unconscious Podcast for access to all new and archived episodes: https://renderingunconscious.substack.com RU339: EMMALEA RUSSO & VANESSA SINCLAIR ON PSYCHOANALYSIS, DREAMS & LIFE AS ART Rendering Unconscious episode 339. Emmalea Russo is here to discuss her ongoing course PSYCHO-COSMOS and the upcoming workshop we are hosting together DREAMS AS ART: Freud, Jung, Lacan In this discussion we dive into Emmalea's year-long class, "Psycho Cosmos," which explores the intersections of psychoanalysis, astrology, and art. The class features visuals, slides, and conversations, and has attracted a diverse group of artists, astrologers, and psychoanalysts. We highlight synchronicities, such as references to Freud's seminal dream “Irma's Injection” and Louise Bourgeois' spiders, and discuss the astrological significance of Neptune entering Aries. We discuss our upcoming workshop on Freud, Lacan, and Jung, and their relationship to art, where we'll explore dreams and life as creative expressions, and artworks as mirroring dreamwork. I also mention my upcoming classes on avant-garde art and psychoanalysis at Morbid Anatomy, and love for encouraging independent research and diverse perspectives. EMMALEA RUSSO is a writer. She is the author of four books of poetry and her first novel, Vivienne, was published in 2024. She has taught at various institutions including Saint Peters University, Northeastern University, The Melbourne School of Continental Philosophy, and GCAS. She teaches classes independently on art, literature, psychoanalysis, and the occult and works with clients online via her private astrology practice. https://emmalearusso.com/ Join Emmalea Russo and Vanessa Sinclair for a free-associative workshop exploring psychoanalysis as art. DREAMS AS ART: Freud, Jung, Lacan, SATURDAY MAY 10th 11am ET - 2pm ET. https://emmalearusso.com/new-products/p/psychoanalysis-as-art-freud-jung-lacan Then beginning Sunday, May 25th, I'll be giving a 4-week online course The Cut in Creation: Exploring the Avant-Garde, Dada, Surrealism, Modern Art, Noise Music, and Performance Art through a Psychoanalytic Lens via Morbid Anatomy Museum. https://www.morbidanatomy.org/classes/p/the-cut-in-creation-exploring-the-avant-garde-dada-surrealism-modern-art-noise-music-and-performance-art-through-a-psychoanalytic-lens-led-by-vanessa-sinclair-psyd For those interested in entering into psychoanalysis with me, I provide remote psychoanalytic treatment online, as well as consultation services for those undergoing psychoanalytic formation. For more information visit my website drvanessasinclair.net Feel free to email me directly at vs [AT] drvanessasinclair [DOT] net https://www.drvanessasinclair.net/contact/ As always thanks to Carl Abrahamsson for producing Rendering Unconscious podcast and book series. Follow him at Linktree: https://linktr.ee/CarlAbrahamsson The Fenris Wolf Substack: https://thefenriswolf.substack.com An Art Apart Substack: https://anartapart.substack.com The song at the end of the episode is “Spiraling colors” from the album “Things are happening” by Vanessa Sinclair and Pete Murphy. Available at Pete Murphy's Bandcamp Page: https://petemurphy.bandcamp.com Our music is also available at Spotify and other streaming services: https://open.spotify.com/artist/3xKEE2NPGatImt46OgaemY?si=jaSKCqnmSD-NsSlBLjrBXA Image: Woman Leaving the Psychoanalyst, Remedios Varo, 1961

路易絲．布爾喬亞（Louise Bourgeois）的展覽核心作品之一：象徵母親的大蜘蛛雕塑，搭配藝術家生涯代表作共82件，涵蓋雕塑、布作、手稿等豐富媒材，呈現她長達近一世紀的創作與生命歷程。這次展覽有別於日本森美術館 MORI ART MUSEUM版本，台灣場次的呈現方式更著重於「療癒」、「修補」與「正向的轉化」。富邦美術館特別透過展覽設計與導覽，將布爾喬亞對自我與情感的修復視為核心，轉化成適合成人也適合孩子共同觀看與對話的樣貌。除了展覽本身，本次亦設計了極具巧思的成人與兒童導覽手冊。成人手冊中不僅有展品解說，還邀請蔡康永、陳珊妮等人撰寫對孤獨與自我修復的思考；兒童版導覽手冊則透過插畫、提問與故事引導孩子思考，手冊不只是觀展輔助，更是美感教育的一環。蜘蛛象徵母親、修補、守護，也象徵藝術家在巨大創傷後仍能築起內心堡壘，將痛苦昇華為藝術，正是布爾喬亞以創作回應童年創傷、家庭關係與自我和解的歷程。展品當中包括她90歲後的晚年作品，如以母親洋裝剪下一塊布、繡上「和解之日」，展現藝術家對家庭、親情與自身的深刻理解與釋懷。本集節目讓聽眾更貼近藝術家的人生與創作動機，也讓觀眾認識如何透過藝術面對生活中的孤獨與挫折。富邦美術館期盼三歲到十六歲的孩子都能習慣走入美術館，把藝術作為成長過程中自我探索與心靈照護的重要媒介。也鼓勵家長陪同孩子看展，購買導覽手冊與紀念品，讓藝術融入家庭生活與記憶。

Hablamos con Sara Herrera Peralta de El piar de los pájaros y el goteo del agua que cae del techo (Ed. La bella Varsovia), su décimo tercer poemario, en el que rescata la producción más desconocida de Louise Bourgeois para establecer un diálogo con la famosa artista, pero también consigo misma y con tantas otras mujeres que crean mientras crían, cosen un botón o pasan la fregona. Luego, Ignacio Elguero nos sugiere otras lecturas: Miserable vejez (Ed. Visor), el nuevo y demoledor poemario de Luis Antonio de Villena, de título muy elocuente, y Los ahogados (Ed. Alfaguara), novela de Benjamin Black, pseudónimo con el que el irlandés John Banville firma sus historias de género negro.Además, Javier Lostalé abre su ventanita poética a Treinta años: el silencio y la lluvia (Ed. Libros de la resistencia), poemario de Francisco Javier Ávila en el que lo racional y lo irracional conviven y en el que el abordaje de los asuntos más graves no impide la ironía y el humor. Además, en Peligro en La estación nuestro colaborador Sergio C. Fanjul nos lleva de paseo a propósito de la psicogeografía, disciplina que se encarga de analizar los efectos del entorno geográfico en las emociones y que protagoniza algunas novedades editoriales como: Psicogeografía (Ed. Pepitas) de Julio Monteverde, que es una buena introducción al tema, De fuego cercada (Ed. Alianza), volumen en el que Servando Rocha pone el acento en lo oculto y olvidado de la ciudad de Madrid, Psicogeografía del ahí (Ed. Icaria), de Emilio Santiago Muiño, que trata sobre exploraciones de París y otros entornos menos explotados como Móstoles y Ferrol, Lo quieras o no, libro de Luis Navarro y el colectivo Democracia que propone la posibilidad de hacer psicogeografía en el metro, La ciudad y sus pliegues (Ed. La Torre Magnética), de Luis Gálvez, que trata la vertiente más poética del asunto fijándose en todas las maravillas y azares que puede provocar el paseo atento por el entorno y La ciudad infinita (Ed. Reservoir Bokks), del propio Sergio C. Fanjul. Terminamos el programa junto a Mariano Peyrou, que nos recomienda La belleza de la escritura (Ed. Eolas), ensayo de Miguel Casado que reflexiona sobre la escritura a partir de cuestiones muy concretas.Escuchar audio

Join us for an exploration of art and materials in this interview Nathan Terborg, recorded at his solo exhibition at Galerie Benjamin Eck in Munich. Nathan skillfully transforms found objects into thought-provoking art pieces. Discover how his early experiences in his grandfather's woodshop influenced his artistic journey, leading him away from traditional painting towards an immersive sculptural practice. Nathan dives into the essence of experimentation, stressing how the relationship between artist and materials is foundational to creating meaningful work. Nathan's approach of curiosity and discovery emphasizes that artistic freedom resides in the acceptance of imperfection and the willingness to explore beyond the surface. The conversation also highlights the importance of communication through art, with Nathan referencing the impactful words of Louise Bourgeois. This insight showcases the intrinsic value of art as an unspoken language that connects both the creator and observer. By drawing from personal anecdotes and professional insights, Nathan inspires listeners to reconsider their interactions with materials and art forms. As he encourages audiences to engage with sculptures tactually, he elucidates the transformative potential hidden within the discarded. Dive into this rich dialogue on creativity and allow yourself to be inspired by the alchemy of art! Make sure to subscribe, share, and leave your thoughts in the comments! We love to hear how art resonates with you!Galerie Benjamin Eck: www.benjamin-eck.comChris Fay Media: www.chrisfay.deSend us a message - we would love to hear from you!Make sure to follow us on Instagram here:@justmakeartpodcast @tynathanclark @nathanterborg

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

Conférence avec Nathalie Piégay et Martin Rueff Niki de Saint Phalle, Louise Bourgeois et Annette Messager : trois femmes, trois artistes, trois vies racontées par Nathalie Piégay. Date : 2 mai 2024 Avec : Nathalie Piégay et Martin Rueff

Jusqu'au 1ᵉʳ mars, à la galerie Templon, à Paris, l'artiste Prune Nourry expose son dernier projet, une série de Vénus en terre et bronze qui rejoindront en 2026 l'atrium de la nouvelle gare Saint-Denis Pleyel. Dans cet épisode du « Goût de M », elle revient sur la genèse de ces sculptures qui évoquent les représentations de la femme au paléolithique.Mais ce sont de vrais modèles avec lesquels elle a travaillé : huit femmes victimes de violences, qui ont été prises en charge par la Maison des femmes de Saint-Denis, et qui ont accepté de poser pour elle dans leur intimité. « Je sculptais autant grâce à leur histoire, à leurs mots, à leur confiance que par rapport à leur corps », précise l'artiste qui vient d'avoir 40 ans et qui nous reçoit dans son atelier parisien du 12e arrondissement.Si le thème de la femme imprègne son œuvre et son admiration pour les artistes féminines (Artemisia Gentileschi, Germaine Richier, Louise Bourgeois, Kiki Smith…), Prune Nourry manifeste aussi une curiosité pour le corps humain, l'hybridation, « cette possibilité d'une symbiose entre les espèces, cette idée de l'interdépendance », que lui avait révélée plus jeune les cours de biologie. Dès l'enfance, celle qui a vécu entourée de textiles – ses parents travaillaient dans le tissu – s'est passionnée pour les formes et la sensualité des matières. La terre et l'argile sont rapidement devenues ses matériaux de prédilection.Depuis six saisons, la journaliste et productrice Géraldine Sarratia interroge la construction et les méandres du goût d'une personnalité. Qu'ils ou elles soient créateurs, artistes, cuisiniers ou intellectuels, tous convoquent leurs souvenirs d'enfance, tous évoquent la dimension sociale et culturelle de la construction d'un corpus de goûts, d'un ensemble de valeurs.Un podcast produit et présenté par Géraldine Sarratia (Genre idéal) préparé avec l'aide de Diane Lisarelli et Juliette SavardRéalisation : Emmanuel BauxMusique : Gotan Project Hébergé par Audion. Visitez https://www.audion.fm/fr/privacy-policy pour plus d'informations.

Contemporary Japanese News Digest 1 source This text is a podcast script that summarizes breaking news from Japan. Topics covered include a fashion show themed on Uzbek crafts, the designer of the New Imperial Theater, Tetsuo Kobori, and various art exhibitions and event information (such as the Louise Bourgeois exhibition, Korean restaurants, and Lopia). In addition, it also includes venture capital trends, cryptocurrency, and topics related to health and the SDGs. It covers news from a wide range of fields and reflects the culture, economy, and social situation of Japan.　現代日本ニュースダイジェスト　

durée : 01:05:02 - Les Nuits de France Culture - par : Geneviève Huttin - - réalisation : Virginie Mourthé

In this episode of The Art Bystander, host Roland-Philippe Kretzschmar engages in a captivating conversation with Cristina Ljungberg, founder of the Firestorm Foundation—a non-profit organization based in Stockholm that was established in 2021 to support female and nonbinary artists while fostering inclusivity in the art world. Cristina opens up about the foundation's mission to champion underrepresented voices through impactful acquisitions, collaborations, and partnerships.The Firestorm Foundation's impressive collection features works by groundbreaking artists including Louise Bonnet, Louise Bourgeois, Arvida Byström, Ann Böttcher, Lena Cronqvist, Cecilia Edefalk, Marie-Louise Ekman, Dame Tracey Emin, Marisol Escobar, Leyla Faye, Edith Hammar, Katrine Helmersson, Sigrid Hjertén, Josefina Holmlund, Tove Jansson, Gittan Jönsson, Barbara Kruger, Lotte Laserstein, Martina Müntzing, Cindy Sherman, Monica Sjöö, Ylva Snöfrid, Paloma Varga Weisz, Ambera Wellmann, Ulla Wiggen, Kennedy Yanko, Lynette Yiadom-Boakye, Hilma af Klint, and Barbro Östlihn. Each artist represents a unique perspective and contributes to the foundation's mission of showcasing art that challenges conventions and sparks meaningful dialogue.Cristina also shares insights into the foundation's partnerships with leading institutions such as Moderna Museet, the Guggenheim, the Swedish Institute in Paris, and the Stockholm School of Economics. These collaborations focus on research, exhibitions, publications, and artist dialogues that amplify the foundation's impact on the cultural landscape.Join us for an inspiring discussion on the transformative power of art, the importance of diversity and representation in the creative sector, and the stories behind some of the most influential artists shaping contemporary culture. Hosted on Acast. See acast.com/privacy for more information.

(0:56) Eine verspielte, assoziative Annäherung an die Künstlerin Louise Bourgeois. (5:08) Papstwahl wird zum spannungsgeladenen Krimi: Der Spielfilm «Conclave» von Regisseur Edward Berger. (9:19) Abgesang aufs Warenhaus: Wie steht es um Kaufhäuser im Zeitalter der Digitalisierung? (13:42) Zeitzeugen-Serie zum Thema Konsum: Vom Tante-Emma-Laden zur Selbstbedienung. (18:23) Zweite Staffel der TV-Sendung «Fromme Törtchen»: Religionsredaktorin Nicole Freudiger spricht beim Backen mit Gästen über Gott und die Welt. (22:33) Gastredner und Mitwirkender an einem Forschungsprojekt , das der Schweizerische Nationalfonds finanziert, findet Israel schlimmer als den IS.

Språket är ett slagfält. Och i Frankrike har det stridits om rätten att få vara både kvinna och författare, konstnär eller makthavare även till ordet. Cecilia Blomberg reflekterar över utvecklingen. Lyssna på alla avsnitt i Sveriges Radio Play. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna. Essän sändes första gången 2020.Alla som har läst romanska språk är väl förtrogna med uppdelningen i maskulina ord och feminina ord. Jag exemplifierar ur franskan: un livre – en bok – maskulinum, une peinture – en målning – femininum. Det låter ju hyfsat oproblematiskt och jämlikt.Men när det handlar om den som höll i pennan eller penseln gick det under väldigt lång tid bara att använda maskulinform på franska: un peintre – en målare, un auteur eller un écrivain – en författare. Eller un ministre – en minister. Oavsett om just den utpekade målaren, författaren eller ministern som avsågs var en kvinna – en faktisk kvinna med namn, bostadsadress, ett liv. Någon som kämpat för att nå sin position. Kanske kämpat lite mer än de manliga kollegerna.Det är lätt att tro att det här är ett arv sedan urminnes tider, men så är det inte.Christine de Pizan var den första kvinnliga franskspråkiga författaren som försörjde sig, sina barn och sin mor på sitt skrivande. Hon levde mellan 1364 och 1430 och där, i övergången mellan medeltid och tidig renässans, var hon vid frontlinjen av samtidens debatter: alltifrån filosofi och politik till kvinnors ställning i samhället. Dessutom var hon poet.Av sina samtida kallades Christine de Pizan för une clergesse – det vill säga en lärd, skrivande kvinna. Kvinnliga yrken som var rätt vanliga i de medeltida städerna hade sina egna feminina former. En kvinnlig författare kallades ofta une autrice.Ända in på 1600-talet var innebörden i ordet ambassadrice ett kvinnligt sändebud i utlandet. 200 och 300 år senare hade ordets betydelse förskjutits till att beteckna en kvinna gift med en ambassadör. Genom borgerlighetens intåg sköts kvinnorna tillbaks in i hemmen och förlorade också den språkligt symboliska makten.Först en bra bit in på 2000-talet återgick den språkliga maktbalansen till något som påminner mer om medeltiden än om den industriella revolutionen. En kvinnlig ambassadör är återigen en Ambassadrice. Kvinnliga författare envisas med att kalla sig écrivaine eller auteure, och en kvinnlig advokat kallar sig une avocate. Men det har varit en segdragen tvist.Jag läser om den här språkliga maktkampen i lingvisten Bernard Cerquiglinis bok "Le Ministre est Enceinte”– på svenska: Ministern är gravid. Den som kan franska hajar till vid åsynen av titeln. Ministre har maskulin form samtidigt som adjektivet gravid har en feminin böjning med ett e på slutet. Man ser en kostymklädd man med höggravid mage framför sig.Det är grammatiskt korrekt men samtidigt något av en bisarr, språklig karikatyr.Bernard Cerquiglini har därför helt enkelt kryssat över den bestämda artikeln ”le” och i boktiteln ersatt det med som det ser ut ett handskrivet ”la”. Det är det här striden främst har handlat om – att titlar som handlar om makt ska kunna vara feminina. Men vägen dit har som sagt varit lång. Mer än 30 års nednötning har det tagit att få igenom den här förändringen.På ena sidan stod Franska akademien och deras språkkonservativa, många rentav kvinnofientliga, beskyddare. På andra sidan började allt fler samla sig för att driva på en förändring. Medierna hörde till den falangen, även om tidningen Le Figaro höll ut länge i sin ovilja att reformera språket.Bland reformisterna fanns också flera kvinnliga makthavare. De hade börjat tröttna på sina maskulina epitet. En av dem var Ségolène Royal – då biträdande skolminister i Lionel Jospins regering. Och det var Jospin som under sin tid som premiärminister redan 1998 skickade ut en kommuniké som uppmanade alla statsanställda att använda feminina former för yrken och ämbeten.I den franskspråkiga världen utanför Frankrike var det här redan vardag. Först ut var radikala Québec som moderniserade rätten till feminina former redan på 70-talet. Belgien och Schweiz följde snart efter.Men i Frankrike däremot aktiverade Franska akademien något som liknar en motståndsrörelse som gjorde en sak av att förlöjliga feminina former. De var outtröttligt ironiska över förflackningen och vägrade ens erkänna kvinnors alltmer framträdande positioner i det franska samhället. På andra sidan byggdes irritationen upp mer och mer och språkliga kupper genomfördes i franska parlamentets talarstol.Så franskt, kan man tycka, att förnedra varandra i offentligheten i kampen om några enstaka bokstäver. En kamp på liv och död att få säga la istället för le eller une istället för un. Kanske även få tillstånd att lägga till ett e på slutet – så att kvinnliga författare kan få kallas det feminina nya auteure istället för manliga auteur. Eller rätten att använda slutstavelser som –aine, –ale, –esse, –ice eller det lite skämtsamma –otte som konstnären Louise Bourgeois tog ut svängarna med och skapade en del låtsatsord av när hon debuterade som rappare som 84-åring.Men språket går djupt och inte ens franska akademien lyckades till sist hejda utvecklingen. I mars 2019 skrev de i en ny kommuniké om "att hela världen så här i början av det 21:a århundradet genomgår en stor förvandling, inte minst Frankrike. Kvinnans position i samhället har flyttats fram och många kvinnor önskar nu få ett feminint epitet som motsvarar den nya situationen för att fylla ett tomrum som funnits i språket".Det var alltså 24 år efter Louise Bourgeois debut som rappare Och 31 år efter premiärminister Lionel Jospins uppmaning att använda den feminina formen när det till exempel är en kvinnlig minister eller direktör som avses.Demokratiseringen av språket har tagit ett steg framåt. Men orden räcker bara så långt. Fortfarande är bara en liten minoritet av Franska akademiens ledamöter kvinnor. Och i den permanenta visningen av samlingarna på Centre Pompidou är kvinnliga konstnärer kraftigt underrepresenterade. För att bara ta två exempel. Språket går djupt, men inte så djupt.I Sverige har vi haft våra egna språkliga märkligheter med konstruktioner som manlig sjuksköterska och fru talman och Svenska akademien fick först göra en utredning innan det beslutades att Sara Danius skulle kallas för den ständiga sekreteraren i stället för den ständige. Men i stort sett har kampen om språket i Sverige sett annorlunda ut än i Frankrike. Kanske kan man kalla den motsatt. En av de första sakerna jag lärde mig som ny på radion, var att man inte använder ordet konstnärinna utan konstnär. Poetissa, författarinna, skådespelerska var inte heller okej. Här har könsneutralisering varit modellen. Och det hörs ju nästan att konstnärinna inte har samma tyngd och dignitet som konstnär.Nästa steg i utvecklingen i många språk är just de könsneutrala uttrycken. I engelskan finns en återgång till att använda they, och their. Reformförespråkare i tyskan och hebreiskan har föreslagit nya ändelser, men ländernas Akademier har än så länge tagit avstånd från att införa förändringarna formellt.Det känns som att Frankrike är ett steg efter, eller vid sidan av andra språkområdens diskussioner. För där har man nu alltså precis vunnit kampen för att få använda de femininumformer vi har gjort oss av med. Och det som är neutrum i franskan, det könsneutrala – det är fortfarande alltid manligt. Så länge man pratar om grupper av människor så ses inte den maskulina formen som ett problem – än så länge. Trevande förslag till förändringar har lagts fram även där. Men räkna inte med att den reformen kommer att ske snabbt i den franska offentligheten. Och tro inte att det kommer att ske utan strid.Cecilia Blomberg, medarbetare på kulturredaktionen

In this episode of Platemark, I talk with Judith Solodkin, a renowned master printer and founder of SOLO Impression. Judith shares her extensive experience, from being the first woman to graduate from the Tamarind Master Printer program to her unique work in digital embroidery. She reflects on her collaborations with notable artists like Louise Bourgeois and Sonya Clark, and her teaching role at various art institutions. We talk bout Judith's passion for wearable art, specifically her creation of one-of-a-kind hats. Additionally, we discuss the technical and collaborative aspects of printmaking and embroidery, as well as the importance of documenting and preserving artistic processes and works. Cover image: Grace Graupe-Pillard USEFUL LINKS https://www.millinersguild.org/ https://www.soloimpression.com/ @judithsolodkin Platemark website Sign-up for Platemark emails Leave a 5-star review Support the show Check out Platemark on Instagram Join our Platemark group on Facebook June Wayne. Near Miss, 1996. Lithograph. 26 x 32 ½ in. Printed and published by SOLO Impression, Bronx. Joyce Kozloff. Now, Voyager I, 2007. Color lithograph with glitter. 31 ½ x 31 ½ in. Printed and published by SOLO Impression, Bronx. James Rosenquist (American, 1933–2017). Paper Clip, 1974. Ten-color lithograph. 36 ½ x 69 in. (92.7 x 175.3 cm.). Published and printed by Petersburg Press. Nancy Spero (American, 1926–2009). Torture in Chile, from the A. I. R. Print Portfolio, 1975. Lithograph. Sheet and image: 22 1⁄4 x 30 in. (56.5 x 76.2 cm.). Smithsonian American Art Museum, Washington, D.C. Dotty Attie. The Forbidden Room, 1998. Lithograph. Sheet: 18 x 24 in. Printed and published by SOLO Impression, Bronx. Howardena Pindell. Peters Squares Waterfall Johnson Vermont, 1986. Color woodcut with collage on various Asian papers. 26 1/2 x 36 in. Printed and published by SOLO Impression, Bronx. Lois Dodd. Mirror, 1975. Stone lithograph. 15 x 18 in. Printed and published by SOLO Impression, Bronx. Alice Neel. Portrait of Judith Solodkin, 1978. Lithograph. 30 x 22 in. Printed and published by SOLO Impression, Bronx. Philip Pearlstein (American, 1924–2022). Iron Bed and Plastic Chair, 1999. Oil on canvas. 59 ½ x 39 1/2 in. Judith Solodkin hats at Winterthur Museum, Garden & Library, Winterthur, DE. Judith Solodkin in one of her own creations. Louise Bourgeois (American, born France, 1911–2010). The Song of the Blacks and the Blues, 1996. Lithograph and woodcut with hand additions. Sheet: 21 ¾ x 96 in (55.3 x 243.8 cm.). Printed and published by SOLO Impression. Museum of Modern Art, NY. Louise Bourgeois (American, born France, 1911–2010). Ode à l'Oubli, 2004. Fabric illustrated book with 35 compositions: 30 fabric collages and 5 lithographs (including cover). Overall: 10 5/8 x 13 3/8 x 3 3/16 in. (27 x 34 x 8.2 cm.). Printed by SOLO Impression, published by Peter Blum Edition. Museum of Modern Art, NY. Elaine Reichek (American, born 1943). Collections for Collectors: 2006 Spring, 2006. Portfolio of 17 digital embroideries on linen. Each: 15 ½ x 12 ½ in. (39.4 x 31.8 cm.). Printed and published by SOLO Impression. Ghada Amer and Reza Farkondeh. The Perfumed Garden, 2006. Lithograph with digitized sewing. 20 ½ x 24 in. Printed and published by SOLO Impression, Bronx. Allan McCollum. The Shapes Project: Threaded Shapes Coll No.21–2883, 2005/2009–10. 144 framed ovals with digitized embroidered shapes on cotton fabric (each shape is unique). Each frame: 11 1/4 x 9 1/4 in. Fabricated by Judith Solodkin, Theodore Yemc, and Rodney Doyle; published by SOLO Impression, Bronx. Kent Henricksen (American, born 1974). White Ghost, Black Ghost, 2012. Two digital embroideries. Each: 8 ½ x 5 in. (21.6 x 12.7 cm.). Printed and published by SOLO Impression. Sonya Clark. The Huest Eye, 2023–24. Embroidered thread on Rives BFK paper. 36 x 24 in. Printed by SOLO Impression, Bronx; published by Goya Contemporary/Goya-Girl Press, Baltimore. Liliana Porter. Red Girl, 2006. Digital embroidery and thread on paper. 22 x 17 ½  in. Printed and published by SOLO Impression, Bronx. Howard Hodgkin (British, 1932–2017). Moonlight, 1980. Lithograph on two sheets. 44 x 55 ¼ in. (111.8 x 140.3 cm). Printed by SOLO Impression, published by Bernard Jacobson Ltd. National Gallery of Australia, Canberra. Michael Mazur. Wakeby Night, 1986. Lithograph with chine collé, woodcut, and monoprint. 66 x 30 in. Printed and published by SOLO Impression, Bronx. Françoise Gilot (French, 1921–2023). Music in Senegal, 2017. Color lithograph. 18 x 24 in. Printed and published by SOLO Impression. Robert Kushner (American, born 1949). Nocturne, 1988. Color lithograph. 25 x 37 in. Printed and published by SOLO Impression. Joe Zucker (American, born 1941–2024). The Awful Heat Wastes Man and Beast No. 4, 1985. Lithograph, silver foil, and varnish. 36 x 48 in. Printed and published by SOLO Impression. Christian Marclay. Untitled, 1991. Unique surface print. 39 x 39 in. Printed and published by SOLO Impression, Bronx. John Hejduk. The Flight, from the series Zenobia, 1990. Lithograph. 25 x 17 in. Printed and published by SOLO Impression, Bronx. John Torreano. Emerald, from the series Oxygems, 1989. Color woodcut with embossing. 30 x 36 in. Printed and published by SOLO Impression, Bronx. Judy Chicago (American, born 1939). What if Women Ruled The World?, 2022. Inket print on fabric with digital embroidery. 33 1/2 × 24 in. (85.1 × 61 cm.). Printed and published by SOLO Impression. Betye Saar. Blow Top Blues, The Fire Next Time, 1998. Color lithograph, hand coloring, photo electric collage. 27 x 22½ in. Printed and published by SOLO Impression, Bronx. Beryl Korot. Weaver's Notation – Variation 1,2013. Embroidery and inkjet print. 21 ¼ x 21 ¼ in. Printed and published by SOLO Impression, Bronx. Artist Ivan Forde in his photo-sensitive paper jacket and Powerhouse Arts Printshop director Luther Davis at IFPDA Print Fair, October 2023. Louise Bourgeois (American, born France, 1911–2010). Henriette, 1998. Lithograph and digital print. Sheet: 45½ x 31½ in. Printed and published by SOLO Impression. Museum of Modern Art, NY.    

L'art féministe est un mouvement artistique regroupant des artistes et des œuvres revendiquant ou s'inscrivant dans un discours féministe, c'est-à-dire qui promeut l'égalité entre les femmes et les hommes. Le principal objectif de l'art féministe est de repenser la place des femmes dans le monde. Sa popularisation, dans les années 60 et 70 est concomitante à la prise d'ampleur du mouvement, mais également à l'émergence de nouvelles formes d'expressions artistiques, comme la performance. Judy Chicago, Niki De Saint Phalle ou encore Louise Bourgeois sont des artistes féministes particulièrement connues de l'époque. Mais alors, sous quelle forme est apparue la première œuvre d'art féministe ? Et ensuite, quelles sont les œuvres qui ont marqué le féminisme en France ? Et dans la peinture alors, les femmes ont-elles réussi à s'imposer dans l'Histoire de l'art ? Écoutez la suite dans cet épisode de "Maintenant vous savez - Culture". Un podcast Bababam Originals, écrit et réalisé par Carole Beaudouin. Première diffusion : 19 décembre 2022. À écouter aussi : Qui se cache derrière l'Homme de Vitruve ? Le cinéma est-il l'ennemi ultime de l'environnement ? Comment la culture a-t-elle détourné "Notre Dame de Paris" ? Retrouvez tous les épisodes de "Maintenant vous savez - Culture". Suivez Bababam sur Instagram. Learn more about your ad choices. Visit megaphone.fm/adchoices

An "Maman", ihrer Mutter, hängen zarte Erinnerungen für Louise Bourgeois. Ihr widmete die Künstlerin tonnenschwere Riesenspinnen zum Andenken. Eine spreizt sich am 3. Oktober 2007 vor der Londoner Tate Modern auf. Sie ist über neun Meter hoch und trägt einen Beutel, der 26 Marmoreier enthält.

In s3e63 of Platemark, podcast host Ann Shafer talks with collaborative printer Peter Pettengill. Peter founded Wingate Studio in 1985 on his family's dairy farm in Hinsdale, NH. Originally trained at Crown Point Press, Peter specializes in multi-plate color etchings. Now semi-retired, Peter's son James has taken over the operating of the shop, though Peter lends a hand when requested. They talk about Peter's early experiences at Crown Point Press, his work with celebrated artists such as John Cage, Sol LeWitt, and Walton Ford, and the technical and creative complexities of creating fine art prints. Peter reflects on his transition to semi-retirement, the passing of his studio to his son James, and the historical and artistic significance of their family farm turned artist residency. This episode offers listeners an insightful look into the dedication required in printmaking, the balance between creativity and technical skill, and the supportive community that underpins the art world. Platemark website Sign-up for Platemark emails Leave a 5-star review Support the show Get your Platemark merch Check out Platemark on Instagram Join our Platemark group on Facebook   Robert Mapplethorpe (American, 1946–1989). Plate from the portfolio A Season in Hell, 1986. Photogravure printed with relief roll. Published by Limited Editions Club, photogravures by Jon Goodman and printed by Wingate Studio, text printed by Wild Carrot Press. Sol LeWitt (American, 1928–2007). Crown Point, 1980. Bound volume with photoetchings. Plate (each) 2 ½ x 2 ½ in.; sheet (each) 11 x 11 in. Published by Crown Point Press, printed by Kevin Parker. Joan Jonas (American, born 1936). Double Wheel, 1982. Color aquatint. Plate and sheet: 24 x 36 in. Published by Crown Point Press, printed by Peter Pettengill. Sol LeWitt (American, 1928–2007). Complex Forms, 1990. Hard ground etching. Sheet: 36 x 36 in.; plate: 30 x 30 in. Printed by Wingate Studio. John Cage (American, 1912–1992). Ryoku No. 4, 1985. Color drypoint. Plate: 18 x 24 in.; sheet: 18 x 24 in. Published by Crown Point Press, printed by Marcia Bartholme. John Cage (American, 1912–1992). EninKa, 1986. One of 50 smoked paper monotypes with branding on gampi paper chine collé. Sheet: 18 ½ x 24 ½ in. Published by Crown Point Press, printed by Marcia Bartholme. Walton Ford (American, born 1960). Swadeshi-cide, 1998–99. Six-plate aquatint etching with dry point, hard ground, soft ground, spit bite and sugar lift. Plate: 36 x 24 in.; sheet: 44 x 31 in. Published by Blue Heron Press, printed by Wingate Studio. Walton Ford (American, born 1960). Baba–B.G., 1997. Mixed media. 105 x 74 cm. Paul Kasmin Gallery. Walton Ford (American, born 1960). Bangalore, 2004. Six-plate aquatint etching with dry point, hard ground, soft ground, spit bite and sugar lift. Plate: 12 x 9 in.; sheet: 21 1/2 x 16 in. Published by Kasmin Gallery, printed by Wingate Studio. Ambreen Butt (American, born Pakistan, 1969). Plate from Daughter of the East, 2008. Six-plate aquatint etching with chine collé, dry point and spit bite. Plate: 13 x 18 in. ; sheet: 25 x 19 in. Printed and published by Wingate Studio. Ambreen Butt (American, born Pakistan, 1969). Plate from Daughter of the East, 2008. Six-plate aquatint etching with chine collé, dry point and spit bite. Plate: 13 x 18 in. ; sheet: 25 x 19 in. Printed and published by Wingate Studio. Ambreen Butt (American, born Pakistan, 1969). Plate from Daughter of the East, 2008. Six-plate aquatint etching with chine collé, dry point and spit bite. Plate: 13 x 18 in. ; sheet: 25 x 19 in. Printed and published by Wingate Studio. Xylor Jane (American, born 1963). Plate from Cat Hearts, 2023. Four-plate aquatint etching with sugar lift. Plate: 23 3/4 x 27 1/4 in.; sheet: 28 5/8 x 32 1/4 in. Printed and published by Wingate Studio. Xylor Jane (American, born 1963). Third Order Magic Square for Deep Sleep, 2014. Three-plate aquatint etching. Plate: 17 3/4 x 15 1/2 in.; sheet: 24 1/2 x 21 3/4 in. Published by Wingate Studio. Walton Ford (American, born 1960). Nantes, 2009. Two-plate aquatint etching with dry point, hard ground, and spit bite. Plate: 40 x 30 in.; sheet: 48 x 37 in. Published by Kasmin Gallery, printed by Wingate Studio. Daniel Rios Rodriguez (American, born 1978). South Parish, 2017. Single-plate aquatint etching with burnishing, dry point, electric engraving, hard ground and soft ground. Plate: 20 x 17 in. (oval); sheet: 22 x 30 1/2 in. Published by Wingate Studio. Gideon Bok (American, born 1966). Wingate Studio with Aldo's Press, Threnody for R.L. Burnside, 2005. Three-plate aquatint etching with burnishing, dry point, hard ground, sugar lift and white ground. Plate: 12 x 36 in.; sheet: 20 x 44 in. Printed and published by Wingate Studio. Photo: Stephen Petegorsky. Gideon Bok (American, born 1966). Wingate Studio with Aldo's Press, No Sleep 'Til Hinsdale, 2008. Five-plate aquatint etching with burnishing, dry point, hard ground, sugar lift and white ground. Plate: 12 x 36 in.; sheet: 20 x 44 in. Printed and published by Wingate Studio. Photo: Stephen Petegorsky. Louise Bourgeois (American, born France, 1911–2010). Les Fleurs, 2007. Soft ground etching, with selective wiping. Plate (in 2 vertical parts) (overall): 59 5/8 × 35 ¼ in.; sheet: 59 5/8 x 36 1/8. Published by Osiris, New York, printed by Wingate Studio. Louise Bourgeois working on I See You!!!. Louise Bourgeois (American, born France, 1911–2010). I See You!!!, 2007. Soft ground etching, with selective wiping. Plate: 55 1/2 x 21 5/8 in.; sheet: 59 1/8 x 24 1/8 in. Published by Osiris, New York, printed by Wingate Studio. Sebastian Black (American, born 1985). Composition with Registration Marks and Other Marks, 2017. Five-plate aquatint etching with burnishing, soap ground and spit bite. Plate: 24 x 18 in.; sheet: 31 ¾ x 24 1/2 in. Published and printed by Wingate Studio. L–R: Paul Singdahlsen, Peter Pettengill, Nanacy Anello, Kathan Brown, and Vito Acconci at Crown Point Press. L–R: Peter Pettengill, Ed Ruscha, Marcia Bartholme at Crown Point Press. Peter Pettengill (left) and James Pettengill working on a Sebastian Black print at Wingate Studio. Peter Pettengill working at Wingate Studio. Peter Pettengill (left) and Walton Ford working at Wingate Studio.   Wingate's website: https://wingatestudio.com/ Wingate's FB page: https://www.facebook.com/search/top?q=wingate%20studio Instagram: @wingatestudio

(00:00:32) Am Samstag jubelten über 8000 Menschen dem Bollywoodstar Shah Ruk Khan zu. Nun geht es weiter mit anstrengender Kost - der Dokumentarfilm von Samir: «Die wundersame Verwandlung der Arbeiterklasse in Ausländer» hatte Premiere. (00:04:26) Opernraritäten an den Salzburger Festspielen: Mit Programmschwerpunkt Russland. (00:08:42) Cyberattacken bedrohen auch Museen. Wie? Und: was ist zu tun? (00:12:47) Louise Bourgeois in der Villa Borghese in Rom: Die Ausstellung stellt sich der Frage, was ein Museum soll. (00:16:59) "Single im Alter: In meinem Leben wäre kein Zentimeter Platz für einen Mann». Artikel in der aktuellen Ausgabe des «Zeit Magazin» und online. 

Pittsburgh-based art historian and curator, Kilolo Luckett joins the Studio Noize fam today! Its always exciting to have dynamic, interesting women on the show because they have so much to offer. Kilolo has created an experimental, contemporary art platform with Alma Lewis and still works as an independent curator with artists like Stephen Towns, Amani Lewis and Thaddeus Mosley. She talks about building connections with artists that she curates, the importance or reading for artists and creating Alma Lewis as a place where artists can grow in their practice. Kilolo shares what she sees as the job of a curator and how to created a culture that supports artists in every way. Listen, subscribe, and share!Episode 190 topics include:building a connection to artistswhat an artist readsadvocating for artistswhat a curator doesthe importance of narratives in artcreating Alma Lewis art culture supporting artists during a residencyKilolo Luckett bio:Kilolo Luckett is a Pittsburgh-based art historian and curator. With more than twenty-five years of experience in arts administration and cultural production, she is committed to elevating the voices of underrepresented visual artists, especially women, and Black and Brown artists.Luckett is Founding Executive Director and Chief Curator of ALMA | LEWIS (named after abstract artists Alma Thomas and Norman Lewis), an experimental, contemporary art platform for critical thinking, constructive dialogue, and creative expression dedicated to Black culture.Among the many exhibitions to her credit are Familiar Boundaries. Infinite Possibilities (2018), Resurgence – Rise Again: The Art of Ben Jones (2019), I Came by Boat So Meet Me at the Beach by Ayana Evans and Tsedaye Makonnen (2020), Vanishing Black Bars & Lounges: Photographs by L. Kasimu Harris (2020), and Dominic Chambers: Like the Shapes of Clouds on Water (2020) at the August Wilson African American Cultural Center; Amani Lewis: Reimagining Care (2021) and Lizania Cruz: Performing Inquiry (2022) at ALMA | LEWIS; Stephen Towns: Declaration & Resistance (2022), which premiered at the Westmoreland Museum of American Art and travels to Boise Art Museum in Boise, Idaho, and Reynolda House Museum of American Art in Winston-Salem, North Carolina (2023); and Luckett co-curated SLAY: Artemisia Gentileschi & Kehinde Wiley (2022) at The Frick Pittsburgh.She has curated exhibitions by national and international artists such as Peju Alatise, Martha Jackson Jarvis, Thaddeus Mosley, Tajh Rust, Devan Shimoyama, and Shikeith. She served as an Art Commissioner for the City of Pittsburgh's Art Commission for twelve years. Luckett has held positions as Curator of Meta Pittsburgh's Open Arts, Consulting Curator of Visual Arts at the August Wilson African American Cultural Center, Director of Development at The Andy Warhol Museum, and Curatorial Assistant at Wood Street Galleries, where she helped organize shows that included Xu Bing, Louise Bourgeois, Larry Bell, Catherine Opie, Nam June Paik, and Tim Rollins + K.O.S.See more: Alma Lewis website + Kilolo Luckett's IG @kilololuckettFollow us:StudioNoizePodcast.comIG: @studionoizepodcastJamaal Barber: @JBarberStudioSupport the podcast www.patreon.com/studionoizepodcast

Art and psychoanalysis have had a very long and intense relationship over the years, and it makes sense that these two fields would be drawn to one another. Critics have long looked at psychoanalysis as offering a sophisticated model of decoding images and fantasies. Artists have made productive use of ideas like the unconscious and the uncanny, and of course, are very concerned with the questions of self-expression and desire that are at the core of analysis. One figure who has gained quite a bit of attention in art lately for her ideas on all these things is Jamieson. Webster. Webster is an analyst and a teacher, and is among the founders of Pulsion, a new school for psychoanalysis here in New York City. She's also the author of essays for places including The New York Times and the New York Review of Books, as well as books of her own, including the Life and Death of Psychoanalysis from 2019 and Disorganization and Sex from 2022. Recently Webster spoke with art critic and podcast co-host Ben Davis about the fresh uptick of interest in psychoanalysis among artists now, the uses and abuses of therapy in art, and her new pamphlet titled The Psychoanalyst and the Artist, where she writes about what analysts can learn from two artists in particular, the sculptor Louise Bourgeois and the painter Carroll Dunham.

La scultura dell'artista francese Louise Bourgeois, oggi più attuale che mai, è in mostra a Roma e a Firenze. Black Barbie è un documentario che racconta il lancio della prima Barbie nera. Intelligenza artificiale e danza contemporanea al festival dei Due mondi. Bizzòlo, un periodico fatto al sud per parlare del sud. CONClara Pérez Almodóvar, storica dell'arte e divulgatriceClaudio Rossi Marcelli, giornalista di InternazionaleMaria Luisa Buzzi, giornalista e critica di danzaFabio Itri e Tiziana Barillà art director e direttrice di BizzòloSe ascolti questo podcast e ti piace, abbonati a Internazionale. È un modo concreto per sostenerci e per aiutarci a garantire ogni giorno un'informazione di qualità. Vai su internazionale.it/podcastScrivi a podcast@internazionale.it o manda un vocale a +39 3347063050Produzione di Claudio Balboni e Vincenzo De Simone.Musiche di Carlo Madaghiele, Raffaele Scogna, Jonathan Zenti e Giacomo Zorzi.Direzione creativa di Jonathan Zenti.Louise Bourgeois: https://www.youtube.com/watch?v=oWdZVI-f_eIAltremuse: https://www.altremuse.comBlack Barbie: https://www.netflix.com/it/title/81716193Dimitri Chamblas a Spoleto: https://www.youtube.com/watch?v=B7rlDigIVogBizzòlo: https://www.youtube.com/watch?v=0O_Ev-8N3FEhttps://www.bizzolo.com/

This week: Just Stop Oil's Stonehenge protest. On Wednesday, two activists sprayed orange powder paint made from cornflour on to three of the boulders at Stonehenge, prompting outrage and some support. Before this latest action, in an article for the July/August print edition of The Art Newspaper, John Paul Stonard had argued that Just Stop Oil's museum-based protests add up to “one of the most successful campaigns of civil disobedience in history”. He reflects on whether the latest protests reinforce this conviction. At the Hayward Gallery in London, the Bahamian-born, US-based artist Tavares Strachan has just opened his first major survey exhibition. We go to the gallery to talk to him. And this episode's Work of the Week is Janus Fleuri by Louise Bourgeois, made in 1968. It is one of the highlights of Unconscious Memories, a show in which Bourgeois's sculptures and installations are installed alongside the historic works in the Galleria Borghese in Rome. We speak to Cloé Perrone, the co-curator of the exhibition.Tavares Strachan: There Is Light Somewhere, Hayward Gallery, London, until 1 September.Louise Bourgeois: Unconscious memories, Galleria Borghese, Rome, 21 June-15 September.Subscription offer: a free eight-week trial of a digital subscription to The Art Newspaper. Visit theartnewspaper.com to find out more. Hosted on Acast. See acast.com/privacy for more information.

Igshaan Adams talks to Ben Luke about his influences—from writers to musicians, film-makers and, of course, other artists—and the cultural experiences that have shaped his life and work. Adams, born in 1982, who explores human space, both interior and exterior, and how that space speaks to racial, sexual and historical identities. Working in particular with wall and floor-based textiles, and sculpture, often brought together in atmospheric installations, Adams does not depict people but evokes their presence. He particularly refers to the community in which he was born and grew up in South Africa, Bonteheuwel near Cape Town, and suggests the marks people have made in that environment. They range from the traces on domestic floors to so-called “desire lines”, pathways forged in landscapes and cityscapes that reveal how we subvert the structures put in place to control and surveil us, and thus act as everyday gestures of resistance. Adams's art is based on research but also deeply informed by his own story, as a mixed-race, queer man. Though referencing great difficulty and hardship, his is a language of unashamed beauty and elegance. In the podcast, he reflects on his curiosity about traces of human activity, his embrace of beauty, his longstanding engagement with Sufism, and the influence of the South African artists Nandipha Mntambo and Nicholas Hlobo, the French-American artist Louise Bourgeois and the love poems of Rumi. He gives insight into life in his studio in Cape Town, and answers our usual questions, including the ultimate: what is art for?Igshaan Adams: Weerhoud, The Hepworth Wakefield, UK, 22 June-3 November; Igshaan Adams, ICA/Boston, US, until 15 February 2025;Unravel: The Power and Politics of Textiles in Art, 14 September-5 January, 2025 Hosted on Acast. See acast.com/privacy for more information.

Klara Kristalova constructs an odd yet familiar world, inhabited by figures evoking rawness, vulnerability, and humanity. The landscape, though not directly represented, is an essential component of Klara Kristalova's universe, inferred in fragments from the drawings, ceramics, and bronzes that populate the dark and mysterious exhibitions she has unveiled in recent years.In this episode, she talks about several surrealists' women. In The Love of Art podcast, artists are invited to speak about other artists that fascinate them (musicians, writers, filmmakers, actors, designers…) in a very personal way. The Love of Art (L'Amour de l'Art) is a podcast by Perrotin The episode with Klara Kristalova was recorded on April 10, 2024 at Perrotin Paris Interview conducted by: Vanessa Clairet Stern Production and sound design: Seb Lascoux Language: English Graphic design: Perrotin Music: CDM MusicHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

When we first encountered the visceral sculptures of Louise Bourgeois, their raw emotion struck us in ways we couldn't articulate. Join Ty Nathan Clark and Nathan Terborg on a profound exploration of art's power to heal and transform, as Bourgeois' life and work become the prism through which they examine the intimate dance between creation and the human experience. Her belief that art should evoke without explanation serves as our guiding principle, leading the artists through her biography and beyond, into a discussion on how the act of creating can alter our very perception of life.Venture into the depths of self-discovery with us, as Nathan and Ty share their artistic awakening and its revelatory impact on their identity. Weaving tales of healing, from confronting childhood emotions to the metamorphosis of personal trauma into commanding art installations. The narrative extends to broader philosophical musings – are we born whole or fragmented, and does art help to piece us back together? These reflections invite listeners to consider the mosaic of their own lives and how art might serve as the glue in their restoration.Finally, they navigate the emotional labyrinth of art, revealing the multitude of interpretations and impacts it can have. From the cathartic process of storytelling to the tender experience of emotional resonance, Bourgeois' legacy prompts us to dream and discuss the deep connections formed through shared vulnerability. Our journey culminates in contemplating the varied responses to artistic works and the role of the audience in this dynamic interplay. As we close, we extend an invitation to join the conversation and discover how the act of creation might breathe new life into your story.Send us a message - we would love to hear from you!Make sure to follow us on Instagram here:@justmakeartpodcast @tynathanclark @nathanterborg

durée : 00:09:59 - Les Nuits de France Culture - par : Philippe Garbit - Lecture du soir - Valérie Lang lit des écrits de Louise Bourgeois, 1ère émission (1ère diffusion : 01/10/2012)

Have you ever felt the magnetic pull towards the unknown realms of creativity, while the familiar clutches at your sleeves? That's where you'll find us in Pouch Cove, Newfoundland, ensconced in the James Baird Gallery's artist residency. Our latest gathering will come to you in 2 parts, minus the dearly missed Nathan Terbord, his spirit ever-present, delves into the heart of artistic innovation. Through a melding of voices—from the cobblestoned streets of Spain to the hustle of Philadelphia—we unravel the threads of comfort and courage that bind every artist's journey.Think scarcity stifles creativity? Think again! We challenge the more-is-better mindset as we celebrate the ingenuity and the power of creativity under constraint. We cover quotes from Louise Bourgeois, Agnes Martin, Dave Adey, Mark Rothko, Eva Hesse, Jerry Saltz, and Ursula von Rydingsvard. It's a call to arms for artists to embrace vulnerability and authenticity, to create not for applause but for the sheer necessity of expression.Our session wraps with a reflection on personal growth and its indelible mark on our craft. So refill your glass and settle in for an extended session of heartfelt artistic camaraderie, where the lessons shared promise to resonate with your creative spirit and perhaps even light the path for your next breakthrough.Artists in the episode:@Moksananda@francis.beaty@audreycha.art@jaclyn_gordyan@giannatesone@allisonhudsonart@bonny_thomassen_art (present but not in the episode)Send us a message - we would love to hear from you!Make sure to follow us on Instagram here:@justmakeartpodcast @tynathanclark @nathanterborg

Ann Batchelder joins Let's Talk Memoir for a conversation about using myth as a jumping point for interpreting ourselves, trusting intuition, the idea of mother failure, regret and letting go, addiction and recovery in loved ones, mental health stigma, deciding when to show loved ones the manuscript, and her memoir Craving Spring: A Mother's Quest, a Daughter's Depression, and the Greek Myth that Brought Them Together.   Also in this episode: -how stories save us -Alanon -mother guilt   Books mentioned in this episode: Beautiful Boy by David Sheff Wild by Cheryl Strayed Another Bullshit Night in Suck City by Nick Flynn Glass Castle by Jeannette Walls The Tender Bar by J.R. Moehringer H is for Hawk by Helen Macdonald Eating in the Light of the Moon by Dr. Anita  Johnston Work by Pema Chodron Work by Tara Brach   Ann Batchelder is the author of Craving Spring: A Mother's Quest, a Daughter's Depression, and the Greek Myth that Brought Them Together. She served as Editor of FIBERARTS Magazine, was guest curator for the Asheville Art Museum where she designed and developed three major contemporary art exhibitions featuring artists such as Louise Bourgeois, Ann Hamilton, Sally Mann, Maya Lin, and Laurie Anderson, and was Director of Special Events for the Brooklyn Academy of Music. Ann earned an MSW in psychotherapy and is the mother of two adult children.  Connect with Ann: Website: https://www.annbatchelder.com Facebook: https://facebook.com/ann.batchelder.9 Instagram: https://instagram.com/annbatchelder     — Ronit's writing has appeared in The Atlantic, The Rumpus, The New York Times, The Iowa Review, Hippocampus, The Washington Post, Writer's Digest, American Literary Review, and elsewhere. Her memoir WHEN SHE COMES BACK about the loss of her mother to the guru Bhagwan Shree Rajneesh and their eventual reconciliation was named Finalist in the 2021 Housatonic Awards Awards, the 2021 Indie Excellence Awards, and was a 2021 Book Riot Best True Crime Book. Her short story collection HOME IS A MADE-UP PLACE won Hidden River Arts' 2020 Eludia Award and the 2023 Page Turner Awards for Short Stories. She earned an MFA in Nonfiction Writing at Pacific University, is Creative Nonfiction Editor at The Citron Review, and lives in Seattle with her family where she teaches memoir workshops and is working on her next book. More about Ronit: https://ronitplank.com Sign up for monthly podcast and writing updates: https://bit.ly/33nyTKd   Follow Ronit: https://www.instagram.com/ronitplank/ https://twitter.com/RonitPlank https://www.facebook.com/RonitPlank   Background photo credit: Photo by Patrick Tomasso on Unsplash Headshot photo credit: Sarah Anne Photography Theme music: Isaac Joel, Dead Moll's Fingers

What do a comment made on the Great British Bake-Off, a 1970's television interview with southern author, Eudora Welty, and a Michigan Mer-man have in common? Glad you asked! They all explore ideas of monstrousness, the topic of this episode -- specifically channeling our inner monstrous creative selves to create work that is rich, bold, memorable and unique. [Evil laugh of Nosferatu] Come along with me on my search for aspirational creative monstrosity. Television programs mentioned: "Great British Bakeoff:" Season 11, Episode 3, Rowan Claughton with Paul Hollywood "Firing Line" with William F. Buckley: "The Southern Imagination in Literature" 1972 with Eudora Welty and Walker Percy Artists mentioned: Francisco José de Goya, Jean Dubuffet, James Ensor, Francis Bacon, The Monster Roster group (Chicago), Brenda Goodman ("Self-Portrait 2” 1994), Steve DiBenedetto ("Rosemary's Baby's Baby" 2021), Whit Harris ("Maiden" 2023) and Louise Bourgeois ("Femme" 2006) Publications mentioned: "Where Is the Voice Coming From" a short story by Eudora Welty, "Art Monsters: Unruly Bodies in Feminist Art" book by Lauren Elkin, "Monsters of the Midwest: True Tales of Bigfoot, Werewolves & Other Legendary Creatures" book by Jessica Freeburg and Natalie Fowler All music by Soundstripe ---------------------------- Peps has a Patreon! ⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/PepTalksforArtists⁠⁠⁠⁠⁠⁠⁠⁠! Join the Peps fam on Patreon and become a part of the Pep Talks Peerage today. Pep Talks on IG: ⁠⁠⁠⁠⁠⁠⁠⁠⁠@peptalksforartists⁠⁠⁠⁠⁠⁠⁠⁠⁠ Amy, your beloved host, on IG: ⁠⁠⁠@talluts⁠⁠⁠ Pep Talks on Art Spiel as written essays: ⁠⁠⁠⁠⁠⁠⁠⁠https://tinyurl.com/7k82vd8s⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠BuyMeACoffee⁠⁠⁠⁠⁠⁠⁠⁠ Donations always appreciated! --- Send in a voice message: https://podcasters.spotify.com/pod/show/peptalksforartistspod/message Support this podcast: https://podcasters.spotify.com/pod/show/peptalksforartistspod/support

durée : 01:04:59 - Les Nuits de France Culture - par : Philippe Garbit

Nalini Malani talks to Ben Luke, about her influences—from writers to musicians, film-makers and, of course, other artists—and the cultural experiences that have shaped her life and work. Malani was born in Karachi in 1946 and lives and works today in Mumbai. Her work in drawing and painting, performance, video and installation, responds to contemporary politics and human rights issues through the language of ancient myths, of poets, writers and thinkers, and of the history of art. She is increasingly celebrated for her installations that she calls “animation chambers”, fusing video and drawings, text and voice. They engulf the viewer in environments that contain endlessly shifting sequences of imagery and stirring soundtracks—a call to action in terms of both their political and cultural content. She discusses her early and enduring admiration of Indian Kalighat painting, how Louise Bourgeois' reflections on memory are a consistent inspiration, why she has repeatedly returned to Lewis Carroll's Alice in Wonderland and T.S. Eliot's The Wasteland, and about the pivotal period she spent in Paris between 1970 and 1972, meeting many leading intellectuals and artists. Plus she gives insight into her life in the studio and answers our usual questions, including “what is art for?”Nalini Malani: Can You Hear Me? and Ballad of a Woman, Concrete, Dubai, in collaboration with Volte Art Projects, 25 February-3 March; Nalini Malani: The Pain of Others 1966-1979, Chhatrapati Shivaji Maharaj Vastu Sangrahalaya (CSMVS)/Jehangir Nicholson Art Gallery, Mumbai, India, 1 August-5 November; Ambienti 1956-2010: Environments by Women Artists II, MAXXI, Rome, 9 April-6 October; Nalini Malani: In Search of Vanished Blood, collection display, Tate Modern, London, 13 December 2024-September 2025. Hosted on Acast. See acast.com/privacy for more information.

Japanese tour guide, Ms Mikiko Hanasaki told us about how was Louise Bourgeois childhood, her work and appreciation points. - NSW州立美術館の日本語ガイド、花咲さんにルイーズ・ブルジョワの作品の原点、そして鑑賞のポイントを聞きました。

In episode 2, Zach and Claire take a look at one of Zach's favorite pieces - Louise Bourgeois' sculpture Maman (1999). At over 30 feet tall and 33 feet wide, the work is massive and, as we learn, is an ode to the artist's mother. Check out an image of the work on our Instagram - or see it in person at the Tate Modern Museum in London. Field trip anyone?

durée : 00:25:00 - Les Nuits de France Culture - par : Philippe Garbit - Lecture du soir - Valérie Lang lit Louise Bourgeois : Parties 6 à 10 (1ère diffusion : 01 au 05/10/2012)

Jenny, Chloé et Fanie vous invitent à se joindre à eux lors d'un épisode à thème des fêtes-ish !  Joins-toi à nous afin de découvrir:  L'artiste Louise Bourgeois ! La deuxième chronique de Chloé sur les femmes en art.  Une suggestion de Jenny: Le roman de science-fiction, « Project Hail Mary » de Andy Weir Fanie redécouvrir ce curieux dessin animé qu'était "Les 9 vies de Garfield"!  Mentionné dans l'épisode: Kinder World Achète tes billets pour le Bagel Burlesque Expo Recette du fameux Eggnog Vegan de Noël YouTube: Documentaire sur Louise Bourgeois VISITEZ NOS PARTENAIRES:Numérique.Ca pour la création de votre site web. Librairie Z  votre spécialiste de la bande dessinée.Marché Bonichoix Neveu à Laverlechère ABONNE-TOI au PODCAST via:ITUNES: https://tinyurl.com/ItunesGeekettes SPOTIFY: https://tinyurl.com/SpotifyGeekettes YOUTUBE: https://tinyurl.com/YouTubeGeekettes Animation et production: Fanie GrégoireChroniqueuses: Jenny Maillette & Chloé "Une Raton" Landreville Crédits musique: Alex RobshawLogo des geekettes: Valmo illustrations

Camille Henrot talks to Ben Luke about her influences—from writers to musicians, film-makers and, of course, other artists—and the cultural experiences that have shaped her life and work. Henrot was ​​born in 1978 in Paris and studied film at the École Supérieure des Arts Décoratifs in the French capital. She uses drawing, painting, sculpture, installation and film to reflect on a huge range of subject matter, from anthropology and the climate emergency, to biodiversity and motherhood, to art history, literature and the excesses of the digital experience. At the heart of her practice is a concern with different forms of language and knowledge and how they are structured and composed. Her work emerges from deep research and is full of intriguing contradictions, awash with fragmentation and disruption yet pregnant with humour and delight. Henrot grapples with the stuff around us and within us; her art explores distinctively how the empirical and the subjective, the outer world and her own private realm, intersect. She discusses her early and enduring passion for the art of Saul Steinberg and Louise Bourgeois, a profound friendship with the architect and thinker Yona Friedman, finding a kindred experience in the work of Hélène Cixous and Clarice Lispector, her use of musical playlists in the studio, and her fascination with the sadistic violence of Disney cartoons. Plus, she gives insight into her life in the studio and has a profound answer to our ultimate question: “what is art for?”Camille Henrot's books Milkyways and Mother Tongue are published by Hatje Cantz and priced £22 and £48. Hosted on Acast. See acast.com/privacy for more information.

I am so excited to say that my guest on the GWA Podcast is one of the most brilliant writers around today, Lauren Elkin! On today's episode we speak about feminist pioneers, Carolee Schneemann and Hannah Wilke!! Elkin is an American in London who has lived and spent extensive time in Paris, Liverpool, Tokyo, Venice and New York – as outlined in one of my favourite of her books, Flaneuse, which sees her trace cities through the eyes and steps of female writers and artists as the feminine “flaneur”, one who walks aimlessly. She is excellent at making her own a term or a trait previously steeped in patriarchal meaning. The author of four books, and the translator of others – including of Simone de Beauvoir's unpublished novel, The Inseparables – Elkin has received numerous awards for her writing. She has been a cultural critic for the likes of the New York Times, Harpers, London Review of Books, TLS, Frieze, and more; holds a PhD in English; an M.Phil in French; and is currently working on biographies on the likes of avant-garde tastemaker Getrude Stein and artist Louise Bourgeois. But! One of the reasons why we are speaking with Elkin today is because she has recently published a fantastic book, Art Monsters, which looks at a variety of female artists – from Elisabeth Vigee Le Brun to Laura Knight; Betye Saar to Carolee Schneemann; Eva Hesse and Hannah Wilke; Kara Walker and Maria Lassnig – who have centred their practice around the body. Exploring those who reacted against patriarchal portrayals and ideas of the body, Art Monsters is a fascinating insight into how women have broken from the historically-weighted past and configured a language using a voice unique to them. LAUREN'S BOOKS: https://www.waterstones.com/book/art-monsters/lauren-elkin/9781784742935 https://www.waterstones.com/book/flaneuse/lauren-elkin/9780099593379 https://www.waterstones.com/book/no-91-92-notes-on-a-parisian-commute/lauren-elkin/9781838014186 -- THIS EPISODE IS GENEROUSLY SUPPORTED BY THE LEVETT COLLECTION: https://www.instagram.com/famm.mougins // https://www.merrellpublishers.com/9781858947037 ENJOY!!! Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Nada Smiljanic Music by Ben Wetherfield https://www.thegreatwomenartists.com/

Exposition des oeuvres de Louise Bourgeois, artiste plasticienne franco-américaine au Art Gallery of NSW jusqu'au 28 avril 2024. Pour en parler, Emily Sullivan, Assistant curator au Art Gallery of NSW.

In this episode, Nathan and Breck discuss: Art as an investment and the value it holds from a monetary and aesthetic standpoint The rise of fine art as an alternative asset class The role of an art consultant in the buying and selling process of fine art  The impact Breck's grandfather had on his life and the community they lived in thanks to his influence as the founder of Xerox How family values and community involvement shape who you are Key Takeaways: There is a hunger for people to understand art as an asset while also appreciating the aesthetic of the works itself Follow your passion and find a way to incorporate it into your work each and every day. Determining the impact you want to make with generational wealth starts and ends with your family dynamic. Finding common ground, a shared vision and how you orient together is key to a successful family experience. Embrace your strengths, have sure footing, and maintain a bit of a practical planning view to see the bigger picture in life. “Art is about context, and the reason why art is in our museums is because it resonates with a moment in time.” —  Breck Kling   About Breck Kling: Breck is an Acquisitions and Collection Management Specialist and Fine Art Consultant that has been with Heather James Fine Art since 2017. He spends his time between Palm Beach Florida and Jackson Hole Wyoming. First introduced to HJFA as a collector, Breck's collection includes works by Robert Rauschenberg, Chuck Close, Takashi Murakami, Yoshimoto Nara, and Dana Schutz. He was a longtime board member of the Memorial Art Gallery, Rochester, NY, and was an advisor to the first VOLTA art fair in Basel, CH, in 2005. Breck has sat on the board of his family's foundation (www.wilsonfdn.org) for over 25 years and he is also a co-founder and a trustee of Silicon Couloir, a network for entrepreneurs based in Jackson Hole.  Breck's passions are art and meeting new people.  He spends the majority of his time meeting new collectors and helping clients navigate collecting decisions . Breck's perspective as a collector and decades of experience in the artworld offers his clients unique insights at any stage in their collecting process.  Breck has also assisted collectors in selling works by Claude Monet, Jackson Pollock, Pat Steir, Andy Warhol, Willam de Kooning, Louise Bourgeois, Robert Motherwell, Yayoi Kusama, Takashi Murakami, James Rosenquist, Alexander Calder, and Zao Wou-Ki among others.  Breck spends winters in Palm Beach and enjoys time with his two kids, golf and recently discovered pickle ball.    Connect with Breck Kling:  LinkedIn: Breck Kling | LinkedIn Website: Art Consultant | Heather James Fine Art Connect with Nathan Mersereau:  Phone: 248-645-1520 Website: www.dayinacanoe.com Email: nathan.mersereau@planningalt.com Twitter: @NathanMersereau

In December 2020, Congress approved funding for a new Smithsonian Museum dedicated to women's history to be built on the National Mall in Washington, D.C. But our nation's capital has actually been home to a dedicated women's museum, the vaunted National Museum of Women in the Arts, since 1987. The institution, founded by Wilhelmina Cole Holliday and her husband Wallace, was the first of its kind in the world. Its mission was simple, to educate viewers about women's long overlooked contributions to art history. In its 36 years of existence, the museum has amassed an impressive collection of over 6, 000 works by more than 1,500 international artists including Frida Kahlo, Berthe Morisot, and Louise Bourgeois, as well as contemporary figures such as Judy Chicago, Nan Goldin, Mariah Robertson, and Amy Sherald. Less than six months after Wilhelmina's death in March 2021, the museum closed for its first major renovation, a planned $67.5 million project slated to take two years. The work has included a revamp of the performance hall, adding a new learning commons with a research library and education studios where there were once offices, as well as 15 percent more exhibition galleries. Plus, behind the scenes space for collection storage and conservation. On the eve of its reopening, Artnet News spoke with NMWA director Susan Fisher Sterling about the institution's past, present, and future, and the work that still needs to be done to ensure proper recognition for women artists.

The exhibition room has displayed contemporary art exhibitions for over 30 years. The museum's reputation for innovative, exciting shows has seen collaborations with artists such as Mark Wallinger, Alice Anderson, Louise Bourgeois, Gavin Turk and more. Displayed here is the exhibition Tracing Freud on the Acropolis.

Alvaro Barrington talks to Ben Luke about his influences—from writers to musicians and, of course, other artists—and the cultural experiences that have shaped his life and work. For Barrington—who was born in Caracas, Venezuela, in 1983, but grew up in Grenada and Brooklyn—painting is the bedrock of a practice that incorporates installation, sculpture and found objects, textiles, the written word and community events. He weaves together broad references, drawing on his personal and cultural background, and hugely diverse influences—particularly from art history, literature, political thought, and music—to create arresting and often exuberant constellations of imagery and materials. He discusses his early interest in the Akira manga, his admiration for artists as diverse as Louise Bourgeois, Jeff Koons and Johannes Vermeer, the significance of Audre Lorde's essay Poetry is Not a Luxury, and why he feels the hip-hop legend Tupac is the most significant artist of the last 40 years. He gives insight into life in the studio, and reflects on the importance of his move to London from New York in the 2010s. Plus, he answers our usual questions, including the ultimate: what is art for?Alvaro's work will be at the Notting Hill Carnival on 27 and 28 August. Grandma's Land, Sadie Coles HQ, London, 2 September-21 October; They Got Time, Thaddaeus Ropac, Paris Pantin, 18 October-27 January 2024; Nicola Vassell, New York, November-December, dates to be confirmed; Tate Britain commission, Tate Britain, London, spring 2024. Alvaro discusses Vermeer at the Rijksmuseum, Amsterdam, on the The Week in Art's Vermeer Special. Hosted on Acast. See acast.com/privacy for more information.

In this episode, we focus on the work of one French-American sculptor Louise Bourgeois. Her eighty year career explored lifelong themes of  childhood, motherhood, and family identity. Louise Bourgeois's Spider sculptures are an ode to her mother — the spider series became the centerpiece of the last chapter of her life.Louise Bourgeois returned again and again to the image and symbol  of the spider in her work. Her spider sculptures can be seen in museums and public spaces around the world.Spiders features Liz Lidgett Gallery artist Betsy Enzensberger. Ten Minute Masterpieces is hosted by art advisor Liz Lidgett and produced by Maribeth Romslo.CREDITSCredits:Premium Beat: Creative MorningEpidemic Music: Until the End, Frontiers are Where You Find Them, Finnish Friendship, Alone in ParisThe Spider, The Mistress, and the Tangerine DocumentaryRESEARCH AND LINKS OF INTERESTArt News "Louise Bourgeois Spider Sculptures History"Bourgeois' Spiders at Tate ModernCNN "Why Louise Bourgeois made her iconic spider sculptures"The Collector "Why Did Louise Bourgeois Make Spider Sculptures?"Spiderwoman DocumentaryTateShots // Louise Bourgeois – 'I Transform Hate Into Love' ArtSpace: ""I Don't Need an Interview to Clarify My Thoughts": An Interview with Louise Bourgeois"Issue Magazine: Interview with Louise BourgeoisThe Easton Foundation Biography of Louise BourgoisSpider at the National Gallery of Art

Over the past five decades, American artist Jenny Holzer has been engaging in thought-provoking interventions into public space that unflinchingly address politics, power, violence, and vulnerability. The New York-based artist investigates language as both content and form, and she works with unconventional mediums to do this including street signage, T-shirts, and light projections, but also sculptures and painting. Her poetic and often minimalist works are extremely impactful, creating a tension between knowledge and truth and emotion. Last year, Holzer curated an acclaimed exhibition of the work of Louise Bourgeois at the Kunstmuseum Basel. More recently, she received Whitechapel Gallery's prestigious Art Icon award. She's also the subject of a major solo exhibition on view until August 6 at a preeminent institution in Germany, the K21 in Dusseldorf. On the occasion of the show, which includes many key works spanning her career, Artnet's Europe editor Kate Brown caught up with Holzer, one of the foremost artists of her generation.

Comenzaremos la primera parte del programa hablando de la cumbre del G7 que tuvo lugar en Japón durante el fin de semana; y del decreto del presidente Guillermo Lasso para disolver la Asamblea Nacional de Ecuador. Hablaremos también de un estudio que muestra nueva evidencia del uso de fuego por humanos en la prehistoria; y para finalizar, de la obra de arte de Louise Bourgeois que rompió un récord en Sotheby's.    Para nuestra sección Trending in Latin America tenemos dos conversaciones muy interesantes. Hablaremos de los vestidos de novia guatemaltecos que son tendencia en Houston. Cerraremos la emisión hablando del debut de la periodista Cecilia Vega como corresponsal de 60 Minutes. - Lula participa de la cumbre del G7 en Japón - El presidente de Ecuador disuelve el Congreso y gobernará por decreto - Nueva evidencia del uso del fuego en la prehistoria - El arte de Louise Bourgeois rompe récords en Nueva York - Los vestidos de novia guatemaltecos que son furor en Houston - Cecilia Vega debuta como corresponsal de 60 Minutes

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