Podcasts about Louise Nevelson

I did the Scottsdale Ferrari Art Week in March and they had a wonderful panel about the legendary art dealer Elaine Horwitch featuring Josh Rose, Julie Sasse, and two artists, Billy Schenck and Tom Palmore. Schenck and Palmore showed at Elaine Horwitch Gallery, which was in Santa Fe, Scottsdale, and Palm Springs and Julie was her gallery director. It's important for history to capture voices like this. Elaine showed some really famous artists such as Fritz Scholder and Louise Nevelson. She was clearly an important individual. That whole time frame was unique. I remember parts of it as I was getting in the business myself in 1992.If you get a chance next year, they're going to have the show again, the Scottsdale Ferrari Art Week. I recommend that you mark your calendars for the third week in March. They had some amazing lectures and it was not only full of great art, but it was a very educational experience as well.So I hope you enjoy. This is the most comprehensive talk on the legacy of art dealer Elaine Horwitch on Art Dealer Diaries Podcast episode 347.

I had Ray Dewey on my podcast today. I had him on a couple of years ago (episode 259) and we went through his life story, from his childhood up until he closed his gallery in Santa Fe, which was one of the best Southwest art galleries of all time.Well, he happened to be in Tucson today so I asked him if he'd do another podcast and he obliged. Ray loves Maynard Dixon just like I do so we always have plenty to talk about. In fact, he had a Maynard Dixon and Ed Mell show in 1985. Really the first Dixon/Mell show that was ever done like that. He was a great friend of Ed's and had represented Ed for years. So in this podcast we talked about the people that have come in and out of Ray's life. There's a variety of interesting people and artists from R.C. Gorman to Allan Houser to Louise Nevelson to Charles Loloma.  We also spoke about his relationship with Nat Owings, who was one of these great art dealers of Santa Fe and someone that we hope to have on the podcast sometime soon.I can't not mention Ray's wife, Judy, who worked in the gallery for 20+ years running the backend of the business (just like my lovely wife Kathleen does for Medicine Man Gallery) which is so immensely important. We don't succeed without the Judys and Kathleens in our lives. So, you know, if you really want to know the backstory of the Santa Fe art scene and the players that made it happen, then you have to listen to Ray Dewey on episode 343 of the Art Dealer Diaries Podcast.

In this episode of High Theory, Laura Stamm talks about the biopic. One of the oldest forms of narrative cinema, biographical pictures are a mainstay of the medium today. Early biopics played an important role in public health discourse, representing the discoveries of science and the lives of scientists, which in turn led queer artists to adopt the genre in response to the AIDS crisis. Laura's book, The Queer Biopic in the AIDS Era (Oxford UP, 2022), asks why queer filmmakers repeatedly produced biographical films of queer individuals living and dead throughout the years surrounding the AIDS crisis. These films evoke the genre's history building up lives worthy of admiration and emulation and the parallel history of representing lives damaged. By portraying lives damaged by inconceivable loss, queer filmmakers challenge the illusion of a coherent self presumably reinforced by the biopic genre and in doing so, their films open the potential for new means of connection and relationality. In the episode Laura references many films, including the Greta Garbo film Queen Christina (1933); Freud: The Secret Passion (1962); The Story of Louis Pasteur (1936); Dr. Ehrlich's Magic Bullet (1940); John Greyson's musical Zero Patience (1993); and the Amy Winehouse biopic Back to Black (2024). Her research extends beyond the 1980s moment of crisis, and in the episode she gives a good explainer pre-code Hollywood and (briefly) the New Queer Cinema of the 1990s. If you were interested in this episode and want to learn more about queer representation in US popular culture, check out Margaret Galvan's episode on Visibility. Laura Stamm is Assistant Professor of Health Humanities and Bioethics and Director of Diversity, Equity, and Inclusion for Department of Medicine at University of Rochester. She completed her PhD in Film and Media Studies and Gender, Sexuality, and Women's Studies at the University of Pittsburgh. Dr. Stamm's research interests broadly focuses on LGBTQ+ health, transgender studies, and medicine in visual culture. Beyond the book discussed here, her work has recently appeared in the edited collection New Queer Television: From Marginalization to Mainstream (Intellect Press, 2024) and Synapsis on “From the Clinic to the Talk Show: Narratives of Trans History in Framing Agnes.” The image for this episode shows photographs by Rob Corder of photographs by Peter Hujar of two queer artists, the sculptor Louise Nevelson and the writer, photographer, film maker, etc., David Wojnarowicz. Left: Peter Hujar, "Louise Nevelson (II), 1969". Gelatin silver print (1934-1987) Morgan Library. BAM Right: Peter Hujar, "David Wojnarowicz", 1981. Gelatin silver print (1934-1987) Menschel Collection. BAM Photos by Rob Corder. We do not own these images, but we do like them. 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

In this episode of High Theory, Laura Stamm talks about the biopic. One of the oldest forms of narrative cinema, biographical pictures are a mainstay of the medium today. Early biopics played an important role in public health discourse, representing the discoveries of science and the lives of scientists, which in turn led queer artists to adopt the genre in response to the AIDS crisis. Laura's book, The Queer Biopic in the AIDS Era (Oxford UP, 2022), asks why queer filmmakers repeatedly produced biographical films of queer individuals living and dead throughout the years surrounding the AIDS crisis. These films evoke the genre's history building up lives worthy of admiration and emulation and the parallel history of representing lives damaged. By portraying lives damaged by inconceivable loss, queer filmmakers challenge the illusion of a coherent self presumably reinforced by the biopic genre and in doing so, their films open the potential for new means of connection and relationality. In the episode Laura references many films, including the Greta Garbo film Queen Christina (1933); Freud: The Secret Passion (1962); The Story of Louis Pasteur (1936); Dr. Ehrlich's Magic Bullet (1940); John Greyson's musical Zero Patience (1993); and the Amy Winehouse biopic Back to Black (2024). Her research extends beyond the 1980s moment of crisis, and in the episode she gives a good explainer pre-code Hollywood and (briefly) the New Queer Cinema of the 1990s. If you were interested in this episode and want to learn more about queer representation in US popular culture, check out Margaret Galvan's episode on Visibility. Laura Stamm is Assistant Professor of Health Humanities and Bioethics and Director of Diversity, Equity, and Inclusion for Department of Medicine at University of Rochester. She completed her PhD in Film and Media Studies and Gender, Sexuality, and Women's Studies at the University of Pittsburgh. Dr. Stamm's research interests broadly focuses on LGBTQ+ health, transgender studies, and medicine in visual culture. Beyond the book discussed here, her work has recently appeared in the edited collection New Queer Television: From Marginalization to Mainstream (Intellect Press, 2024) and Synapsis on “From the Clinic to the Talk Show: Narratives of Trans History in Framing Agnes.” The image for this episode shows photographs by Rob Corder of photographs by Peter Hujar of two queer artists, the sculptor Louise Nevelson and the writer, photographer, film maker, etc., David Wojnarowicz. Left: Peter Hujar, "Louise Nevelson (II), 1969". Gelatin silver print (1934-1987) Morgan Library. BAM Right: Peter Hujar, "David Wojnarowicz", 1981. Gelatin silver print (1934-1987) Menschel Collection. BAM Photos by Rob Corder. We do not own these images, but we do like them. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

In this episode of High Theory, Laura Stamm talks about the biopic. One of the oldest forms of narrative cinema, biographical pictures are a mainstay of the medium today. Early biopics played an important role in public health discourse, representing the discoveries of science and the lives of scientists, which in turn led queer artists to adopt the genre in response to the AIDS crisis. Laura's book, The Queer Biopic in the AIDS Era (Oxford UP, 2022), asks why queer filmmakers repeatedly produced biographical films of queer individuals living and dead throughout the years surrounding the AIDS crisis. These films evoke the genre's history building up lives worthy of admiration and emulation and the parallel history of representing lives damaged. By portraying lives damaged by inconceivable loss, queer filmmakers challenge the illusion of a coherent self presumably reinforced by the biopic genre and in doing so, their films open the potential for new means of connection and relationality. In the episode Laura references many films, including the Greta Garbo film Queen Christina (1933); Freud: The Secret Passion (1962); The Story of Louis Pasteur (1936); Dr. Ehrlich's Magic Bullet (1940); John Greyson's musical Zero Patience (1993); and the Amy Winehouse biopic Back to Black (2024). Her research extends beyond the 1980s moment of crisis, and in the episode she gives a good explainer pre-code Hollywood and (briefly) the New Queer Cinema of the 1990s. If you were interested in this episode and want to learn more about queer representation in US popular culture, check out Margaret Galvan's episode on Visibility. Laura Stamm is Assistant Professor of Health Humanities and Bioethics and Director of Diversity, Equity, and Inclusion for Department of Medicine at University of Rochester. She completed her PhD in Film and Media Studies and Gender, Sexuality, and Women's Studies at the University of Pittsburgh. Dr. Stamm's research interests broadly focuses on LGBTQ+ health, transgender studies, and medicine in visual culture. Beyond the book discussed here, her work has recently appeared in the edited collection New Queer Television: From Marginalization to Mainstream (Intellect Press, 2024) and Synapsis on “From the Clinic to the Talk Show: Narratives of Trans History in Framing Agnes.” The image for this episode shows photographs by Rob Corder of photographs by Peter Hujar of two queer artists, the sculptor Louise Nevelson and the writer, photographer, film maker, etc., David Wojnarowicz. Left: Peter Hujar, "Louise Nevelson (II), 1969". Gelatin silver print (1934-1987) Morgan Library. BAM Right: Peter Hujar, "David Wojnarowicz", 1981. Gelatin silver print (1934-1987) Menschel Collection. BAM Photos by Rob Corder. We do not own these images, but we do like them. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

In this episode of High Theory, Laura Stamm talks about the biopic. One of the oldest forms of narrative cinema, biographical pictures are a mainstay of the medium today. Early biopics played an important role in public health discourse, representing the discoveries of science and the lives of scientists, which in turn led queer artists to adopt the genre in response to the AIDS crisis. Laura's book, The Queer Biopic in the AIDS Era (Oxford UP, 2022), asks why queer filmmakers repeatedly produced biographical films of queer individuals living and dead throughout the years surrounding the AIDS crisis. These films evoke the genre's history building up lives worthy of admiration and emulation and the parallel history of representing lives damaged. By portraying lives damaged by inconceivable loss, queer filmmakers challenge the illusion of a coherent self presumably reinforced by the biopic genre and in doing so, their films open the potential for new means of connection and relationality. In the episode Laura references many films, including the Greta Garbo film Queen Christina (1933); Freud: The Secret Passion (1962); The Story of Louis Pasteur (1936); Dr. Ehrlich's Magic Bullet (1940); John Greyson's musical Zero Patience (1993); and the Amy Winehouse biopic Back to Black (2024). Her research extends beyond the 1980s moment of crisis, and in the episode she gives a good explainer pre-code Hollywood and (briefly) the New Queer Cinema of the 1990s. If you were interested in this episode and want to learn more about queer representation in US popular culture, check out Margaret Galvan's episode on Visibility. Laura Stamm is Assistant Professor of Health Humanities and Bioethics and Director of Diversity, Equity, and Inclusion for Department of Medicine at University of Rochester. She completed her PhD in Film and Media Studies and Gender, Sexuality, and Women's Studies at the University of Pittsburgh. Dr. Stamm's research interests broadly focuses on LGBTQ+ health, transgender studies, and medicine in visual culture. Beyond the book discussed here, her work has recently appeared in the edited collection New Queer Television: From Marginalization to Mainstream (Intellect Press, 2024) and Synapsis on “From the Clinic to the Talk Show: Narratives of Trans History in Framing Agnes.” The image for this episode shows photographs by Rob Corder of photographs by Peter Hujar of two queer artists, the sculptor Louise Nevelson and the writer, photographer, film maker, etc., David Wojnarowicz. Left: Peter Hujar, "Louise Nevelson (II), 1969". Gelatin silver print (1934-1987) Morgan Library. BAM Right: Peter Hujar, "David Wojnarowicz", 1981. Gelatin silver print (1934-1987) Menschel Collection. BAM Photos by Rob Corder. We do not own these images, but we do like them. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/lgbtq-studies

In this episode of High Theory, Laura Stamm talks about the biopic. One of the oldest forms of narrative cinema, biographical pictures are a mainstay of the medium today. Early biopics played an important role in public health discourse, representing the discoveries of science and the lives of scientists, which in turn led queer artists to adopt the genre in response to the AIDS crisis. Laura's book, The Queer Biopic in the AIDS Era (Oxford UP, 2022), asks why queer filmmakers repeatedly produced biographical films of queer individuals living and dead throughout the years surrounding the AIDS crisis. These films evoke the genre's history building up lives worthy of admiration and emulation and the parallel history of representing lives damaged. By portraying lives damaged by inconceivable loss, queer filmmakers challenge the illusion of a coherent self presumably reinforced by the biopic genre and in doing so, their films open the potential for new means of connection and relationality. In the episode Laura references many films, including the Greta Garbo film Queen Christina (1933); Freud: The Secret Passion (1962); The Story of Louis Pasteur (1936); Dr. Ehrlich's Magic Bullet (1940); John Greyson's musical Zero Patience (1993); and the Amy Winehouse biopic Back to Black (2024). Her research extends beyond the 1980s moment of crisis, and in the episode she gives a good explainer pre-code Hollywood and (briefly) the New Queer Cinema of the 1990s. If you were interested in this episode and want to learn more about queer representation in US popular culture, check out Margaret Galvan's episode on Visibility. Laura Stamm is Assistant Professor of Health Humanities and Bioethics and Director of Diversity, Equity, and Inclusion for Department of Medicine at University of Rochester. She completed her PhD in Film and Media Studies and Gender, Sexuality, and Women's Studies at the University of Pittsburgh. Dr. Stamm's research interests broadly focuses on LGBTQ+ health, transgender studies, and medicine in visual culture. Beyond the book discussed here, her work has recently appeared in the edited collection New Queer Television: From Marginalization to Mainstream (Intellect Press, 2024) and Synapsis on “From the Clinic to the Talk Show: Narratives of Trans History in Framing Agnes.” The image for this episode shows photographs by Rob Corder of photographs by Peter Hujar of two queer artists, the sculptor Louise Nevelson and the writer, photographer, film maker, etc., David Wojnarowicz. Left: Peter Hujar, "Louise Nevelson (II), 1969". Gelatin silver print (1934-1987) Morgan Library. BAM Right: Peter Hujar, "David Wojnarowicz", 1981. Gelatin silver print (1934-1987) Menschel Collection. BAM Photos by Rob Corder. We do not own these images, but we do like them.

Books: Glimcher, Mildred, ed. Adventures in Art: 40 Years at Pace. Milan: Leonardo International, 2001. http://nevelson.org/adventures-in-art Goldwater, Robert. What is Modern Art? The Museum of Modern Art, New York, 1969. http://nevelson.org/what-is-modern-art Goodrich, Lloyd and John I.H. Baur. American Art of Our Century. New York: Frederick A. Praeger Publishing; Whitney Museum of American Art, 1961. http://nevelson.org/american-art-of-our-century Grosenick, Uta, ed. Women Artists: In the 20th and 21st Century. Cologne: Taschen, 2003, pp. 141, 142; 2005, pp. 232-237. http://nevelson.org/women-artists-20th-21st-century Guerrero, Pedro E. Pedro E. Guerrero: A Photographer's Journey. Princeton Architectural Press, New York, 2007. http://nevelson.org/photographers-journey Hammacher, A.M. The Evolution of Modern Sculpture. New York: Harry N. Abrams, Inc. http://nevelson.org/evolution-of-modern-sculpture Hammacher, A.M. Modern Sculpture: Tradition and Innovation. New York: Harry N. Abrams Inc., 1988. http://nevelson.org/modern-sculpture-tradition-innovation Hedlund, Ann Lane. Gloria F. Ross & Modern Tapestry. New Haven, CT: Yale University Press, 2010. http://nevelson.org/gloria-ross-modern-tapestry Hyman, Paula E. and Deborah Dash Moore, ed. Jewish Women in America: An Historical Encyclopedia, Volume II, M-Z. New York and London: Routledge, 1997. http://nevelson.org/jewish-women-in-america Janis, Harriet and Blesh, Rudi. Collage: Personalities, Concepts, Techniques. Philadelphia, Pennsylvania: Chilton Co., 1962. http://nevelson.org/collage-personalities-concepts-techniques Kramer, Hilton. Revenge of the Philistines: Art and Culture 1972 – 1984. Free Press, 1985. http://nevelson.org/revenge-of-the-philistines Lipman, Jean. Nevelson's World. Hudson Hills Press, NY, 1983. http://nevelson.org/nevelsons-world Lippincott, Jonathan D. Large Scale: Fabricating Sculpture in the 1960s and 1970s. Princeton Architectural Press, New York, NY, 2010. http://nevelson.org/large-scale-fabricating-sculpture Lisle, Laurie. Louise Nevelson: A Passionate Life. New York: Summit Books, 1990. http://nevelson.org/a-passionate-life MacKown, Diana. Dawns + Dusks. New York: Charles Scribner's Sons, 1976. http://nevelson.org/dawns-and-dusks Marshall, Richard. 50 New York Artists. Chronicle Books, 1986. http://nevelson.org/50-new-york-artists Matsumoto, Michiko. Portraits: Women Artists. Tokyo: Kawade Shobo Shinsha, 1995. http://nevelson.org/portraits-women-artists Miller, Dorothy C., ed. Sixteen Americans. New York: The Museum of Modern Art, 1959. http://nevelson.org/sixteen-americans Nevelson, Louise and Edith Sitwell. Nevelson: Façade—Twelve Original Serigraphs in Homage to Edith Sitwell. New York: The Pace Gallery and Harry N. Abrams, Inc., 1966. http://nevelson.org/facade Nevelson: Recent Wood Sculpture. New York: The Pace Gallery, 1969. http://nevelson.org/recent-wood-sculpture Bryan-Wilson, Julia. Louise Nevelson's Sculpture: Drag, Color, Join, Face. Yale University Press, 2023. https://yalebooks.yale.edu/book/9780300222633/louise-nevelsons-sculpture/ Wilson, Laurie. Louise Nevelson: Light and Shadow. Thames & Hudson, 2016. http://thamesandhudson.com/books/louise-nevelson-light-and-shadow Articles and Essays: "Louise Nevelson Sculptures, Bio, Ideas." TheArtStory. https://www.theartstory.org/artist/nevelson-louise/ "A New Louise Nevelson Biography Picks Apart the Artist's Contradictions." Hyperallergic. https://hyperallergic.com/ "Louise Nevelson: Inventing Herself as a Modern Artist." MoMA. https://www.moma.org/magazine/articles/187 "Sculpture in the Expanded Field: Louise Nevelson." Art Journal. https://www.artjournal.com/sculpture-expanded-field-louise-nevelson/ "Louise Nevelson's Monumental Work." Smithsonian American Art Museum. https://americanart.si.edu/exhibitions/nevelson "Louise Nevelson's Public Art." Art in America. https://www.artnews.com/art-in-america/features/louise-nevelson-public-art-1234597218/ "Louise Nevelson: Dark Light." The Guardian. https://www.theguardian.com/artanddesign/2017/jun/10/louise-nevelson-sculpture "The Essential Louise Nevelson." Sculpture Magazine. https://sculpturemagazine.art/the-essential-louise-nevelson/ "Louise Nevelson's Legacy." ArtForum. https://www.artforum.com/print/202104/louise-nevelson-s-legacy-85253 Wson: The Woman in Black." Tate. https://www.tate.org.uk/art/artists/louise-nevelson-1691Episode Notes Websties Louise Nevelson Foundation https://www.louisenevelsonfoundation.org Nevelson.org http://nevelson.org TheArtStory: Louise Nevelson https://www.theartstory.org/artist/nevelson-louise/ MoMA: Louise Nevelson https://www.moma.org/artists/4248 Smithsonian American Art Museum https://americanart.si.edu/artist/louise-nevelson-3541 Tate: Louise Nevelson https://www.tate.org.uk/art/artists/louise-nevelson-1691 Guggenheim: Louise Nevelson https://www.guggenheim.org/artwork/artist/louise-nevelson Whitney Museum of American Art https://whitney.org/artists/939 The Pace Gallery: Louise Nevelson https://www.pacegallery.com/artists/louise-nevelson/ The Guardian: Louise Nevelson https://www.theguardian.com/artanddesign/2017/jun/10/louise-nevelson-sculpture ArtForum: Louise Nevelson's Legacy https://www.artforum.com/print/202104/louise-nevelson-s-legacy-85253 Sculpture Magazine: The Essential Louise Nevelson https://sculpturemagazine.art/the-essential-louise-nevelson/ Hyperallergic: A New Louise Nevelson Biography https://hyperallergic.com/ Yale University Press: Louise Nevelson's Sculpture https://yalebooks.yale.edu/book/9780300222633/louise-nevelsons-sculpture/ Art in America: Louise Nevelson's Public Art https://www.artnews.com/art-in-america/features/louise-nevelson-public-art-1234597218/ The Great Women Artists Podcast https://podcasts.apple.com/us/podcast/the-great-women-artists/id1436644141 The Sculptor's Funeral: Louise Nevelson https://thesculptorsfuneral.com/podcast-episodes/louise-nevelson ArtUK: Louise Nevelson https://www.artuk.org/discover/stories/art-matters-podcast-louise-nevelson ArtNet: Louise Nevelson https://www.artnet.com/artists/louise-nevelson/ National Museum of Women in the Arts https://nmwa.org/art/artists/louise-nevelson/ 4o Find out more at https://three-minute-modernist.pinecast.co

Our guest is Lynn Gilbert, a massive contributor to 20th-century portrait photography — her photos of sculptor Louise Nevelson became the face of the Venice Biennale in 2022 — whose 1981 book of photos and essays, ‘Particular Passions,' became a significant document of second-wave feminism. Lynn, with virtually no professional portfolio at the time, somehow brought together luminaries and unknowns to create her monumental book, cataloging some of the most important well-known — and unknown — persons of the time and movement. Her subjects included Gloria Steinem, Margaret Mead, Ruth Bader Ginsburg, Julia Child, Lillian Hellman, Barbara Walters, and more. A beautiful and generous figure in my own small story, it is my sincere pleasure to bring part one of this wide-ranging conversation with Lynn to you this Tuesday, a deep look at a life lived behind the lens.

We discuss the celebrated art historian's new book Louise Nevelson's Sculpture: Drag, Color, Join, Face.

THIS WEEK on the GWA Podcast, we interview world-renowned scholar, Julia Bryan-Wilson – the Professor of Art History and LGBTQ+ Studies at Columbia University – on the trailblazing artist, Louise Nevelson! “It's not the medium that counts. It is what you see in it and what you do with it, " said Nevelson, the sculptor working in the mid-20th century New York City, hailed for her monochromatic, architectural wall sculptures amassed from found, recycled and discarded objects. Nevelson's monochromatic and architectural wall sculptures are amassed from found, recycled and discarded objects sourced from her surrounding environment (from bedposts to bannisters), which she coated in opaque paint and stacked tall to form all-engulfing units. Nevelson, like Krasner, studied with Hans Hofmann (you can almost feel the fragmented lines that form through her innovations), and was also influenced by the ancient ruins of Mexico and Guate- mala. This inspiration is evident in her work Sky Cathedral, 1958, which questioned new types of religious experiences and spaces. Bryan-Wilson is the expert in Louise Nevelson, having authored the monumental new book Louise Nevelson's Sculpture: Drag, Color, Join, Face (2023), as well as curated one-person shows: https://yalebooks.yale.edu/book/9780300236705/louise-nevelsons-sculpture/ A great documentary on Nevelson: https://www.youtube.com/watch?v=nnfEmNRzoCs&t=1332s&ab_channel=TheMet https://www.youtube.com/watch?v=AnYBR9VAPsI&ab_channel=Tate Additional information: https://www.nytimes.com/1988/04/19/obituaries/louise-nevelson-sculptor-is-dead-at-88.html https://louisenevelsonfoundation.org/biography https://www.nytimes.com/2007/05/09/arts/design/09neve.html -- 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/

Joyce Pomeroy Schwartz is a curator, lecturer and public art consultant with a unique concentration in public art policy, modern and contemporary art for architecture and the landscape in the broader context of cultural, urban and environmental revitalization.  In 1968-1971 she founded “The Photographer's Gallery,” the first gallery in New York City exhibiting photography as fine art. She was Director of Commissions at Pace Gallery in New York from 1972-1982, implementing public sculpture projects with Pace artists. In 1982 Joyce founded “Works of Art for Public Spaces, Ltd.”, dedicated to working with American and International artists creating major works of Art for Architecture. She is also one of the founding board members of ARTTABLE. She recently established the Harold and Joyce Pomeroy Schwartz “Archives of Public Art” at the Fales Special Collections/NYU Bobst Library, of artists' monographs, photographs and papers available for public art historical research. It now includes the archives of the Public Art fund and Creative Time. In July 2023, Joyce released her book: “The Private Eye in Public Art”, published by Oro Editions. On this episode of The One Way Ticket Show, Joyce shares her one way ticket to 25 years into the future to know what her two great-granddaughters are doing then. During the course of our conversation, Joyce also reflects on: ·     Her lifelong love of art – particularly Native American and African Art - stemming from her visits as a young girl in the late 1930s to the Brooklyn Museum, the Met and MOMA (which she used to ride to solo via the subway) ·     Visiting the 1939 World's Fair and the futuristic GM pavilion ·     The general role art plays in questioning and opening ones mind ·     The role of public art and how it moved beyond sticks & stones to the art of ideas and place-making ·     How public art shapes a space rather than fills it and how it provides a common cultural cue ·     How from the very start, Chicago got public art projects right ·     Collaborating with groundbreaking artists including: Louise Nevelson, Tony Smith, David von Schlegell and Isamu Noguchi ·     Creating the Irish Hunger Memorial in New York City ·     Arshile Gorky's lost (then found!) murals at Newark Airport ·     Why artists are the only narcissists she'll ever forgive.

In March this year, we went to Finsbury Park in London to the home of Phyllida Barlow to interview her for the A brush with… podcast. Tragically, Phyllida died just a few days later. So this conversation is a tribute to one of the most significant British artists of recent years. Ardently committed to sculpture and convinced of its special power, she was coruscatingly erudite and perceptive, yet also irreverent and suspicious of orthodoxies. This was evident in her combinations of simple materials such as wood, plaster and scrim, cement, paint and fabric in extraordinary sculptures and installations. She managed to achieve at once awkwardness and grace, humour and pathos, the grand and the intimate. Among much else, Phyllida discusses the morality imposed on sculpture in her art school days, the underacknowledged “dirty side of making” in Marcel Duchamp's work, her admiration for Louise Nevelson and Eduardo Chillida, the writing of Fyodor Dostoevsky and the films of Robert Bresson. Plus she answers our usual questions, including a moving response to the ultimate question, “What is art for?”Phyllida Barlow, Chillida Leku, Hernani, near San Sebastian, Spain, until 22 October; The Museum of Contemporary Art (MOCA), Toronto, 8 September-4 February 2024. Hosted on Acast. See acast.com/privacy for more information.

New @talkart!! We meet Antoni Porowski, inspiring chef, New York Times Bestselling Author and star of Netflix's Emmy Award-winning series Queer Eye. We discover his passion for Louise Nevelson's sculptures, the impact his art teacher had on his life, the paintings of Giacomo Balla, Les Lelannes sheep sculptures, collecting furniture and photography by Simen Johan, Ryan McGinley and Paul Mpagi Sepuya! We also discuss Sally Mann's photos, visiting New York galleries like Team Gallery and art fairs Frieze NY and The Armory, museums including the Met and Guggenheim, his love of living in the city and Patti Smith.Born in Canada to European emigrants, Antoni is an outspoken advocate for LGBTQ+ rights everywhere, especially his family's native Poland where he serves on the board of the Equaversity Foundation which was established to organize international fundraising to support the LGBTQ+ community in Poland.Follow @Antoni on Instagram and watch the new series of Queer Eye, hitting screens this May on Netflix! #AntoniPorowski @QueerEye Hosted on Acast. See acast.com/privacy for more information.

Two teachers — from an elementary school and a high school — explain why they're striking in solidarity with LAUSD workers such as custodians and bus drivers. Plus, how to get resources for surviving the strike, and what's driving this conflict? Louise Nevelson was one of the most iconic sculptors of the 20th century. LA's Pace Gallery is showing her larger, monochromatic wooden sculptures as well as colorful collages.

Lucius Elliott and Kelsey Leonard go through some of the sales trends in the November auctions with LiveArt's George O'Dell. David Hockney, new market share levels for female artists, Abstract and Color Field painters, Christina Quarles, Lauren Quin, Njideka Akunyili Crosby, Louise Nevelson, Andy Warhol and Salmon Toor are the artists and markets covered in this conversation.

Offering a fresh perspective on the influence of the American southwest—and particularly West Texas—on the New York art world of the 1950s, Three Women Artists: Expanding Abstract Expressionism in the American West (Texas A&M UP, 2022) aims to establish the significance of itinerant teaching and western travel as a strategic choice for women artists associated with traditional centers of artistic authority and population in the eastern United States. The book is focused on three artists: Elaine de Kooning, Jeanne Reynal, and Louise Nevelson. In their travels to and work in the High Plains, they were inspired to innovate their abstract styles and introduce new critical dialogues through their work. These women traveled west for the same reason artists often travel to new places: they found paid work, markets, patrons, and friends. This Middle American context offers us a “decentered” modernism—demanding that we look beyond our received truths about Abstract Expressionism. Authors Amy Von Lintel and Bonnie Roos demonstrate that these women's New York avant-garde, abstract styles were attractive to Panhandle-area ranchers, bankers, and aspiring art students. Perhaps as importantly, they show that these artists' aesthetics evolved in light of their regional experiences. Offering their work as a supplement and corrective to the frameworks of patriarchal, East Coast ethnocentrism, Von Lintel and Roos make the case for Texas as influential in the national art scene of the latter half of the twentieth century. Kirstin L. Ellsworth has a Ph.D. in the History of Art from Indiana University and is Associate Professor of Art History at California State University Dominguez Hills. 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

Offering a fresh perspective on the influence of the American southwest—and particularly West Texas—on the New York art world of the 1950s, Three Women Artists: Expanding Abstract Expressionism in the American West (Texas A&M UP, 2022) aims to establish the significance of itinerant teaching and western travel as a strategic choice for women artists associated with traditional centers of artistic authority and population in the eastern United States. The book is focused on three artists: Elaine de Kooning, Jeanne Reynal, and Louise Nevelson. In their travels to and work in the High Plains, they were inspired to innovate their abstract styles and introduce new critical dialogues through their work. These women traveled west for the same reason artists often travel to new places: they found paid work, markets, patrons, and friends. This Middle American context offers us a “decentered” modernism—demanding that we look beyond our received truths about Abstract Expressionism. Authors Amy Von Lintel and Bonnie Roos demonstrate that these women's New York avant-garde, abstract styles were attractive to Panhandle-area ranchers, bankers, and aspiring art students. Perhaps as importantly, they show that these artists' aesthetics evolved in light of their regional experiences. Offering their work as a supplement and corrective to the frameworks of patriarchal, East Coast ethnocentrism, Von Lintel and Roos make the case for Texas as influential in the national art scene of the latter half of the twentieth century. Kirstin L. Ellsworth has a Ph.D. in the History of Art from Indiana University and is Associate Professor of Art History at California State University Dominguez Hills. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Offering a fresh perspective on the influence of the American southwest—and particularly West Texas—on the New York art world of the 1950s, Three Women Artists: Expanding Abstract Expressionism in the American West (Texas A&M UP, 2022) aims to establish the significance of itinerant teaching and western travel as a strategic choice for women artists associated with traditional centers of artistic authority and population in the eastern United States. The book is focused on three artists: Elaine de Kooning, Jeanne Reynal, and Louise Nevelson. In their travels to and work in the High Plains, they were inspired to innovate their abstract styles and introduce new critical dialogues through their work. These women traveled west for the same reason artists often travel to new places: they found paid work, markets, patrons, and friends. This Middle American context offers us a “decentered” modernism—demanding that we look beyond our received truths about Abstract Expressionism. Authors Amy Von Lintel and Bonnie Roos demonstrate that these women's New York avant-garde, abstract styles were attractive to Panhandle-area ranchers, bankers, and aspiring art students. Perhaps as importantly, they show that these artists' aesthetics evolved in light of their regional experiences. Offering their work as a supplement and corrective to the frameworks of patriarchal, East Coast ethnocentrism, Von Lintel and Roos make the case for Texas as influential in the national art scene of the latter half of the twentieth century. Kirstin L. Ellsworth has a Ph.D. in the History of Art from Indiana University and is Associate Professor of Art History at California State University Dominguez Hills. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

Offering a fresh perspective on the influence of the American southwest—and particularly West Texas—on the New York art world of the 1950s, Three Women Artists: Expanding Abstract Expressionism in the American West (Texas A&M UP, 2022) aims to establish the significance of itinerant teaching and western travel as a strategic choice for women artists associated with traditional centers of artistic authority and population in the eastern United States. The book is focused on three artists: Elaine de Kooning, Jeanne Reynal, and Louise Nevelson. In their travels to and work in the High Plains, they were inspired to innovate their abstract styles and introduce new critical dialogues through their work. These women traveled west for the same reason artists often travel to new places: they found paid work, markets, patrons, and friends. This Middle American context offers us a “decentered” modernism—demanding that we look beyond our received truths about Abstract Expressionism. Authors Amy Von Lintel and Bonnie Roos demonstrate that these women's New York avant-garde, abstract styles were attractive to Panhandle-area ranchers, bankers, and aspiring art students. Perhaps as importantly, they show that these artists' aesthetics evolved in light of their regional experiences. Offering their work as a supplement and corrective to the frameworks of patriarchal, East Coast ethnocentrism, Von Lintel and Roos make the case for Texas as influential in the national art scene of the latter half of the twentieth century. Kirstin L. Ellsworth has a Ph.D. in the History of Art from Indiana University and is Associate Professor of Art History at California State University Dominguez Hills. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Offering a fresh perspective on the influence of the American southwest—and particularly West Texas—on the New York art world of the 1950s, Three Women Artists: Expanding Abstract Expressionism in the American West (Texas A&M UP, 2022) aims to establish the significance of itinerant teaching and western travel as a strategic choice for women artists associated with traditional centers of artistic authority and population in the eastern United States. The book is focused on three artists: Elaine de Kooning, Jeanne Reynal, and Louise Nevelson. In their travels to and work in the High Plains, they were inspired to innovate their abstract styles and introduce new critical dialogues through their work. These women traveled west for the same reason artists often travel to new places: they found paid work, markets, patrons, and friends. This Middle American context offers us a “decentered” modernism—demanding that we look beyond our received truths about Abstract Expressionism. Authors Amy Von Lintel and Bonnie Roos demonstrate that these women's New York avant-garde, abstract styles were attractive to Panhandle-area ranchers, bankers, and aspiring art students. Perhaps as importantly, they show that these artists' aesthetics evolved in light of their regional experiences. Offering their work as a supplement and corrective to the frameworks of patriarchal, East Coast ethnocentrism, Von Lintel and Roos make the case for Texas as influential in the national art scene of the latter half of the twentieth century. Kirstin L. Ellsworth has a Ph.D. in the History of Art from Indiana University and is Associate Professor of Art History at California State University Dominguez Hills. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Offering a fresh perspective on the influence of the American southwest—and particularly West Texas—on the New York art world of the 1950s, Three Women Artists: Expanding Abstract Expressionism in the American West (Texas A&M UP, 2022) aims to establish the significance of itinerant teaching and western travel as a strategic choice for women artists associated with traditional centers of artistic authority and population in the eastern United States. The book is focused on three artists: Elaine de Kooning, Jeanne Reynal, and Louise Nevelson. In their travels to and work in the High Plains, they were inspired to innovate their abstract styles and introduce new critical dialogues through their work. These women traveled west for the same reason artists often travel to new places: they found paid work, markets, patrons, and friends. This Middle American context offers us a “decentered” modernism—demanding that we look beyond our received truths about Abstract Expressionism. Authors Amy Von Lintel and Bonnie Roos demonstrate that these women's New York avant-garde, abstract styles were attractive to Panhandle-area ranchers, bankers, and aspiring art students. Perhaps as importantly, they show that these artists' aesthetics evolved in light of their regional experiences. Offering their work as a supplement and corrective to the frameworks of patriarchal, East Coast ethnocentrism, Von Lintel and Roos make the case for Texas as influential in the national art scene of the latter half of the twentieth century. Kirstin L. Ellsworth has a Ph.D. in the History of Art from Indiana University and is Associate Professor of Art History at California State University Dominguez Hills. Learn more about your ad choices. Visit megaphone.fm/adchoices

Offering a fresh perspective on the influence of the American southwest—and particularly West Texas—on the New York art world of the 1950s, Three Women Artists: Expanding Abstract Expressionism in the American West (Texas A&M UP, 2022) aims to establish the significance of itinerant teaching and western travel as a strategic choice for women artists associated with traditional centers of artistic authority and population in the eastern United States. The book is focused on three artists: Elaine de Kooning, Jeanne Reynal, and Louise Nevelson. In their travels to and work in the High Plains, they were inspired to innovate their abstract styles and introduce new critical dialogues through their work. These women traveled west for the same reason artists often travel to new places: they found paid work, markets, patrons, and friends. This Middle American context offers us a “decentered” modernism—demanding that we look beyond our received truths about Abstract Expressionism. Authors Amy Von Lintel and Bonnie Roos demonstrate that these women's New York avant-garde, abstract styles were attractive to Panhandle-area ranchers, bankers, and aspiring art students. Perhaps as importantly, they show that these artists' aesthetics evolved in light of their regional experiences. Offering their work as a supplement and corrective to the frameworks of patriarchal, East Coast ethnocentrism, Von Lintel and Roos make the case for Texas as influential in the national art scene of the latter half of the twentieth century. Kirstin L. Ellsworth has a Ph.D. in the History of Art from Indiana University and is Associate Professor of Art History at California State University Dominguez Hills. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-west

Ben Luke talks to Lina Iris Viktor about her influences—including writers, film-makers, musicians, and, of course, other artists—and the cultural experiences that have shaped her life and work. Born in the UK in 1987, the Liberian-British artist works in painting, sculpture, photography, performance and installation. She creates works that reflect on her own identity amid broader themes—history and geopolitics, astrophysics and maths, ancient myths and belief systems—to explore universal implications of blackness. Among much else, she discusses her love of Rebecca Horn's Concert for Anarchy (1990); the influence of Chris Ofili, Louise Nevelson and Seydou Keïta; her enduring engagement with the writing of Jun'ichirō Tanazaki and Sylvia Plath; and her response to the films of Ingmar Bergman and Carl Dreyer. And, as usual, we find out about her life in the studio, and ask the ultimate question: what is art for?In the Black Fantastic, Hayward Gallery, London, until 18 September; Rite of Passage: Lina Iris Viktor with César, Louise Bourgeois, Louise Nevelson and Yves Klein, LGDR, London, until 17 September See acast.com/privacy for privacy and opt-out information.

In this episode Ariel talks about the power of tarot, its history and how the divination technique works. https://apple.news/Awy0lpBzwRzmr6ChYmvD7-A This article details the creation of the art of the Rider-Waite deck, an influential deck in the early 20th century that was actually designed by a woman, Pamela Colman Smith, who got no credit for her work. "Now, over 70 years after her death, the creator Pamela Colman Smith has been included in a new exhibition at the Whitney Museum of American Art in New York highlighting many underappreciated artists of early 20th-century American modernism in addition to famous names like Georgia O'Keeffe and Louise Nevelson." This show at the Whitney Museum is curated by Barbara Haskell. She was interviewed and quoted for the article quoted, below. "Tarot has been around since early 15th-century Italy, spun off from traditional playing cards. The 78 cards are split into two groups called the Major and Minor Arcana. The Major Arcana features allegorical characters like the moon, sun, the fool and the lovers, while the Minor Arcana is divided into numbered and face cards in four suits: wands, swords, cups and pentacles. While prior decks were less pictorial in nature, Smith's is filled with lush imagery that makes their interpretation easier for the reader." Information from Ariel Hubbard's Handout for her Introduction to Tarot Part One Class. You may take this class directly with Ariel on Zoom or in person. Reach out to enroll. Divination is an art, not a science. It also takes time to develop your ability to be divine. These cards empower your ability to intuitively sense the flow of energetic, spiritual, physical, emotional and archetypal influences in your life, and how they have manifested in your past, present or future. If you work with these cards regularly, their energy as well as the practice will assist you. It is important to clear the cards before and after each reading. Use the Violet Flame, Reiki, prayer, White Light, crystals, or any other preferred method. Set your intention before each reading, or portion of a reading. “Please let the cards tell us what we need to know in this situation, for the Highest Good for All.” Or, “Please give us insight into the people involved in this situation (name the situation.)” Or, “Where is this situation taking us?” Be as specific as you can. “Please tell us what we most need to know.” You can set the cards in specific locations to do a reading, and then you can also change their locations as you discuss options or suggestions to help a client address issues associated with a situation. This shifts energy when you do this. Remember that if you are doing a reading for yourself and you are attached to the outcome, it is important to do your best to release the attachment or have someone else do a reading for you so the information can be clear. Avoid doing readings if you are not clear energetically or emotionally. KEY TAKEAWAYS The art of the Tarot cards was done by a woman, Pamela Coleman Smith, who had synesthesia, which is a neurological condition that causes the person to see shapes and colours when they hear sounds. The art itself is from the symbolist tradition, influenced by English artist Aubrey Beardsley and the Pre-Raphaelites. They work with archetypes which all people can relate to, all of your thoughts, feelings, perceptions, influences and beliefs exist as energy patterns in your auric field. As you move through your life, the universe scans your energy and it knows what you’re thinking, feeling, believing, what you think is true, what’s coming to you, all of those things. It reads those energies so that when you hold a clear deck of tarot cards and you set the intention “please let me know what I need to for my highest good” your energies are read, and it selects the information that you need to know and shows you pictures of what’s happening using the images on the cards. You may not always understand what the cards are saying, you may have to let it settle in, sometimes you need have to let yourself know what it means a week later, because it could be reading what’s coming to you along your timeline, like a psychic, or what has come to you, or what you’re experiencing right now. People can have thoughts, beliefs, emotions, perceptions and then when they alter and change them, they can get a totally different result in their external life. That’s why a lot of people talk about using affirmations and changing your thoughts and belief systems to create or manifest different results in your life. It’s different from magical thinking. BEST MOMENTS “People who have lived with Christian influences are often told that divination, which is thousands of years old, is influenced by negative energies. That’s not true if you set the correct intention.” “Tarot cards can read events from your past, your present and your future provided that that’s what you set the intention for.” “It’s important to work with a skilled practitioner who’s energetically clear themselves. You can read the cards yourself, but you need to be unattached to the outcome to get more accurate information.” “Divination is an art not a science, obviously. It takes a long time to develop your divine ability to divine.” ABOUT THE HOST Ariel is a Licensed Massage Therapist, Registered Clinical Hypnotherapist, Reiki Master, Empath and Psychic who has been involved in holistic healing since 1988. She is also an educator, speaker, author and mentor for empaths, spiritual seekers and medical professionals. To reach Ariel, go to www.arielhubbard.com, where you will be able to contact her directly. Please let her know you heard her on the podcast and the assistance you need or question you have. Website: www.arielhubbard.com Online Courses: http://hubbardeducationgroup.myclick4course.com Podcast: Woman Power Zone on all major platforms LinkedIn: @arielhubbard IG: @arielhubbard Facebook: @HubbardEducationGroup YT: @arielhubbard11 CH: @arielhubbard Pinterest: https://pin.it/6Z6RozS Pre-order form for Ariel's educational, hilarious and spicy dating book: The Empowered Woman's Guide to Online Dating: Set Your BS Tolerance to Zero https://eworder.replynow.ontraport.net/ See omnystudio.com/listener for privacy information.

Otevření rekonstruovaného paláce Procuratie Vecchie architekta Davida Chiperfielda i výstavy Louise Nevelson se odehrálo letos v dubnu, současně se zahájením uměleckého bienále v Benátkách. A to, co spojuje přístup obou autorů, bychom mohli nazvat asambláží prostoru. Všechny díly podcastu Mozaika můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

Otevření rekonstruovaného paláce Procuratie Vecchie architekta Davida Chiperfielda i výstavy Louise Nevelson se odehrálo letos v dubnu, současně se zahájením uměleckého bienále v Benátkách. A to, co spojuje přístup obou autorů, bychom mohli nazvat asambláží prostoru.

Nu ligger vår livepodd på Hasselblad center om Duane Michals konstnärsporträtt ute bland våra poddavsnitt. Vi tar oss med hjälp av porträtten genom den amerikanska konsthistorien under 1900-talet och undersöker hur Michals visualiserade olika konstnärskap. Följ med från Dada via surrealismen och den abstrakta expressionismen till popkonsten. Vi pratar om Michals porträtt av Marcel Duchamp, René Magritte, Louise Nevelson, Willem de Kooning, Jasper Johns, Andy Warhol och David Hockney.Följ med till Duane Michals New York! Support till showen http://supporter.acast.com/konsthistoriepodden. See acast.com/privacy for privacy and opt-out information.

Blacksmith, Metalsmith, Queen of the Forge— all fitting titles for Atlanta-based artist CORRINA SEPHORA. Introduced to welding before she finished elementary school, Corrina crafted an intentional career path in metal that has allowed her to make her living as an artist for over 25 years. In this episode, Corrina shares how she overcame the barriers to entry of her chosen field and how she manages her team with transformational leadership principles to create towering sculptures and celestial paintings that explore navigation, transformation, love and loss.Find Corrina:Website: corrinasephora.comInstagram: @corrinasephora.metalartistLinkedin: corrina-sephora-mensoffFacebook: corrina.mensoffYoutube: https://www.youtube.com/channel/UC69uM-WCFUCx4GwEDSVOi5w Mentioned:Transformational workshops, Landmark Wisdom (featured panelist) Goat Farm, Atlanta GA, artist community (learn) Diamondback Art Surfaces , wood panels (buy) Alyson Stanfield, art business coach (learn) Louise Nevelson, sculptor (learn) Louise Bourgeois, sculptor (learn) Kiki Smith, sculptor (learn)James Turrell, light and space artist (learn) Flowing is Water, Corrina Sephora fairytale, video (watch) A Reckless Insistence on Beauty, Elaine Sutton (read) Chastain Arts Center, 2022 Spring Show (visit) Spalding Nix Fine Art, gallery  Atlanta GA (explore) Blue Heron Nature Preserve, Roswell, GA (explore) Find Me, Kristy Darnell Battani: Website:    https://www.kristybattani.com Instagram:  kristybattaniart Facebook:  kristybattaniart Did you enjoy this episode? If so, please take a moment to leave a rating and a comment: https://lovethepodcast.com/artishplunge   Music:"Surf Guitar Madness," Alexis Messier, Licensed by PremiumBeat.comSupport the show (https://www.buymeacoffee.com/artishplunge)

What you'll learn in this episode: The history of Sculpture to Wear and how Lisa maintains its legacy Why editorial and media coverage is crucial for getting art jewelry recognized as a fine art What the role of a jewelry gallery is Why Lisa always advises artists to keep good records of their work How the bold brooches of the 80s paved the way for today's art jewelry About Lisa M. Berman Lisa M. Berman is an internationally recognized “Ambassador of Wearable Art.” Based in Southern California, her expertise extends to major manufacturing and retail markets, museums and corporations in the United States, Canada, Mexico, Asia and Europe. Lisa is the owner of the iconic gallery Sculpture to Wear, which was instrumental in launching the studio jewelry movement in the United States. The gallery offers an eclectic array of art, jewelry and unique objects to discerning collectors, media producers and institutions, which have been featured in film, television and publications. Her recently launched Berman Arts Agency offers artist representation, career management, corporate acquisition, sponsorship advisement, museum placement, exhibition curation and education services on the disciplines of fine art, jewelry, design and fashion. Lisa holds degrees in Plastics Manufacturing Technology from California State University Long Beach, Product & Jewelry Design from Otis College of Art & Design and Merchandising/Marketing from Fashion Institute of Design and Merchandising (FIDM). She has served on the Board of Governors for OTIS College of Art & Design; as Public Relations Chair for the Textile and Costume Council at the Los Angeles County Museum of Art (LACMA); and on the Museum Collection Board at FIDM. She volunteers for Free Arts for Abused Children, STEAM projects and Art & Fashion Councils. Additional Resources: Sculpture To Wear Website Sculpture To Wear Instagram Sculpture To Wear Facebook Lisa Berman Instagram Photos: Lisa M. Berman wearing Archival 18k gold plate PEBBLES Necklace by Robert Lee Morris, her own sterling silver pendant by K. Lamberti, Issey Miyake coat and holding a signed ARTWEAR Catalog (RLM). Photo by Daniel Oropeza NUE Magazine Holiday 2020  Model Neva Cole, Photo by Daniel Oropeza  ICE Collar by Greg Orloff, 2018, $15,000 Creative Director / styled by: Lisa M. Berman  NUE Magazine Holiday 2020  Feature article "Powerful Woman of Dissent" from the "Feel the Frill" Exhibition honoring RBG curated by L.M. Berman.  Sculpture: LUX MAXIMUS, Winner of ARTPRIZE 2017 by Daniel Oropeza $350,000.  Model Neva Cole wears Emancipation Collar by 2Roses, 2020, $1,500.  Photo by Daniel Oropeza  Creative Director / styled by: Lisa M. Berman  Cover of IONA Magazine  Model wears Beaded Galaxy by 3 Tribes, from our Timeless Measures Exhibition 2006, curated by Lisa M. Berman & Pamela McNeil  1 year collaboration with women from 3 tribes in Africa - elders teaching the younger generation how to bead.  Cuffs (sterling Silver & Copper) by Tana Action  IONA Magazine  Models wears pieces by Jan Mandel: “REVEALED” Collar $50,000 (worn to the EMMY Television Academy's Governors Ball) and “POIGNET” (French meaning Wrist) $25,000 - both with created from Stainless steel mesh, outlined with 18k gold wire, Citrine, 2001. IONA Magazine  Models wears pieces by Jan Mandel: Earrings - 18k gold & aqamarine (NFS), “TRANSITION” Collar, 18k gold, Onyx, Aquamarine $20,000  and “GOLDEN” Cuff, 18k gold, $10,000, made in 2001. Niche Magazine - TOP RETAILER SPIKED, red collar (Collection of Myra Gassman) & Cuffs on left side by Michelle Ritter  “POIGNET” (French meaning Wrist) $25,000 -  both with created from Stainless steel mesh, outlined with 18k gold wire, Citrine. Bouquet Ring, Stainless steel & garnet by Wendy Gwen Hacker $800 Collaboration with Sculpture To  Wear Designer Gina Pankowski & MOEN Facet manufacturer. Utlilitary into Wearable Art Cover of W Magazine  - January Jones wears LATTICE necklace (oxidized Sterling Silver) by Gina Pankowski, $4,000 And Bridge Bracelet sterling silver by Sergey Jivetin, SOLD in Private Collection    The images below are from a PHOTO shoot based in the music video Rico Mejia Photography Fashion Beauty Celebrity Lifestyle Mobile number: 323-370-0555 https://www.behance.net/ricomejia https://twitter.com/RicoMejiaFoto https://www.instagram.com/ricomejiaphoto/ Perpetual Light in Motion - editorial photography by Rico Meija for Costumes bResin and Diamond Bangle by Cara Croninger from 24K Show, 1979, $4,000 Citrus Collar of acrylic, stainless steel & magnetic closure $650, and Bracelet $300 by Adriana Del Duca of Genos Jewelry  Vintage Earrings- acrylic, one of a kind by Frank & Anne Vigneri, 1984, $350 Perpetual Light in Motion - editorial photography by Rico Meija for Costumes by Swinda Reichelt  Resin DROP earrings by Cara Croninger $200 REGINA Collar of acrylic, stainless steel & magnetic closure $800 by Adriana Del Duca of Genos Jewelry for "Feel the Frill" exhibition honoring RBG, curated by L.M. Berman. Bracelet by Genos, NFS in collection of Julie Laughton Perpetual Light in Motion - editorial photography by Rico Meija for Costumes by Swinda Reichelt  BLUE DROP earrings Teri Brudnak $98 HEDGEHOG Collar of acrylic, stainless steel & magnetic closure $850 by Adriana Del Duca of Genos Jewelry for "Feel the Frill" exhibition honoring RBG, curated by L.M. Berman. Clear CUFF by Cara Croninger, NFS collection of L.M. Berman        Cover of Vogue with Cherize Theron     Transcript: Lisa Berman, owner of art jewelry gallery Sculpture to Wear, has been a figure in the art jewelry world for over 20 years, and she has a wealth of insight to share with fellow jewelry lovers. For her second appearance on the Jewelry Journey Podcast, she talked about how she's maintained relationships with hundreds of designers and collectors over the years, what advice she offers the designers she works with, and why art jewelry is coming into its own as a fine art collected by museums. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. Today, my guest is Lisa Berman. Although we share the same last name, I'm not related to Lisa; however, over the years she has become a friend and a trusted dealer. Lisa has been a guest on the show before. Today, we'll have a wide-ranging discussion with less of a focus on a particular piece, more talking about her experience in the jewelry and fashion world. Per our practice, the podcast is audio only. We will be posting photos of many of the pieces Lisa mentions today on our website, which is JewelryJourney.com. This is also a two-part podcast, so please keep your eyes open for our second episode which will air later this week. Please make sure you're a member of our jewelry community by subscribing to the Jewelry Journey Podcast. That way you can listen to both episodes hot of the presses, so to speak. With that, I'd like to welcome Lisa to the program. Lisa: Thank you, Sharon. I'm so delighted to be back here again. Sharon: It's great to have you. For those who don't know your background, can you give us a brief overview of your background? Lisa: Of course. I grew up in the fashion industry and had a career in fashion design. I had an accessory business for many, many years, and then I acquired the name of Sculpture to Wear Gallery in 1998. Of course, that was originally launched in 1973 in New York City in the Park Plaza Hotel. I launched my first exhibition at Bergamot Station Art Center, which I'll tell you about in a second, on January 16, 1999. I'm proud to be the second owner of Sculpture to Wear Gallery. Now, location is important. Location, location, location, you've heard a million times in real estate. Bergamot Station Art Center is in Santa Monica, California, Southern California, and it was formerly the home to 25 thriving contemporary galleries and the Santa Monica Museum of Art. It was, I believe, a five-acre complex. Now the Red Line runs through it. Sharon: The Red Line being the Metro. Lisa: Yes, the metro. Anyway, that's where I started my journey. I actually met my former husband, Robert Berman, there as well. It was the heyday. It was like Soho. It was the happening place on the West Side; it was a lot of fun. Every Thursday, Friday and Saturday night for 10 years, there were gallery openings. There was constant influx of artists and jewelers and collectors and educators and writers, so it was definitely the place to be. Sharon: What was groundbreaking about—first, it was groundbreaking that Sculpture to Wear was on the West Coast, but what was groundbreaking about the original Sculpture to Wear? Lisa: The owner, Joan Sonnabend, was basically located in Boston, but she had a tiny, little, postage-stamp gallery. Robert Lee Morris told me it was only about 400 square feet. The delineation was that she only showed work by signed artists. For example, you had Alexander Calder making jewelry, and he actually made his jewelry. There were pieces by Picasso; those were in addition to the series and those were made by other craftsmen. Of course, you have people like Robert Lee Morris, whose entire career was launched at the original Sculpture to Wear. The idea was that she was selling one-of-a-kind, sculptural jewelry made by fine artists, not by jewelry artists. That was the idea. Sharon: From what I've heard, nobody else was doing that then. This was unusual. Lisa: It was extremely unusual. The only person that was doing something similar was in Philadelphia. That's our beloved Helen Drutt, who is about to turn 91. She was also very monumental and important in bringing studio jewelry and wearable art to the United States, but she worked with jewelers and makers, mostly in Europe. Sharon: How did you know the Sculpture to Wear license was available? How did you find out about that? Lisa: I was introduced to the idea through Cindy Forbes, who's now Cindy Brown. She ultimately ended up being my gallery manager. We had a conversation, one thing led to another, and that was kind of it. It was available, so I capitalized on that and the domain and the name. When I acquired the name, I felt it was very important that every decision I made was legacy-driven, because it was a very important part of history. This is not something I just launched; they had an important history and legacy on the East Coast. That's why for my business card, I purposely selected the title of “visionary proprietor,” because it kept me on point and on target. At first, I got a little flak from it, but as I explained, that kept me on point to do my best. That was it. Sharon: Flak because people said, “Oh my gosh—”  Lisa: A lot of gumption that I would profess to be this visionary proprietor. Now, everyone on social media is a visionary and all the museum collectors' groups are visionaries. I don't know; I guess I was ahead of the curve. Sharon: You are a visionary. Lisa: This was 23 years ago. There you go.  Sharon: So, you opened at Bergamot Station and then you moved the gallery to Montana Avenue in Santa Monica? Well, they're both in Santa Monica. Lisa: I was in Bergamot Station from 1999 until 2003. In Bergamot Station, I had two separate little locations. In 2003, I moved to a much larger location. That was on Montana Avenue at the cross street of 11th Street. I moved there knowing I was a destination, that I had built a brand with Sculpture to Wear and with the artists through a number of different ideologies and media and exposure. We'll get into that in a second, but I knew I was a destination. I was not going to rely on walk-in traffic on Montana Avenue, like so many of the other stores did. That was really important, that I had built up that mailing list, the collector base. People would be traveling, or friends would be coming in from out of town and our collectors would pick them up at the airport and say, “We have to take you to Sculpture to Wear first.” It was those kinds of relationships we had built there. Sharon: Did people stumble on your gallery in Bergamot Station? How did they find you? Lisa: Bergamot had 25 galleries, so at any given day at any given moment, you had tons of people walking around. It's completely different than it is today; of course during the pandemic, but completely different. There was no problem reaching collectors, and I was the complete anomaly. You have this sculptural jewelry, and it was an education to a new audience. A lot of these people weren't necessarily open to the idea of jewelry not having diamonds or gold. People that had an educated eye in regard to design, like architects, were some of our first clients because they understood the design. It literally was a small-scale sculpture.  I think my passion for that and some of the artists were also incorporated into that conversation. I made a request of any artists that were local to the gallery that they do three things: they had to work in the gallery, they had to come and help set up an exhibition that wasn't theirs, and they had to attend an opening that wasn't theirs. I wanted them to understand the role of a gallery and what we did. At first it was, “Well, why I would give you 50 percent of the retail price?” This was a demonstration for them to learn why. There wasn't any artist who partook in those three requests that came to me and said, “No, this isn't right.” They all were shocked at what we did on a daily basis. Robert Lee Morris, I told him about that, and he was shocked. He said, “You did that?”  Sharon: You mentioned Robert Lee Morris. A lot of people will know who he is, especially New Yorkers or fashionistas, but tell us who he is and why he's important. Lisa: Robert Lee Morris is an icon. He's been designing jewelry for over 50 years. He's the only designer to earn the Coty Award for his jewelry design an unprecedented three times. He was the designer who made the big, bold, gold jewelry in conjunction with Donna Karan's black cashmere new work uniform in the late 80s, early 90s. Digressing to understand why he's important in my world, our world of art jewelry, is that he was one of the most important and prolific designers at the original Sculpture to Wear in New York.  He was self-taught. He was literally found at a tiny, little show in an offbeat path. He was immersed in this incredible work from Alexander Calder, Salvador Dalí, Louise Nevelson—amazing artists who already had these incredible careers, and as it turns out, people loved Robert's work. He outsold all the other artists combined at Sculpture to Wear. Then he launched his own gallery. After Sculpture to Wear closed, he launched Artwear. That launched a number of careers from a lot of famous artists, jewelers, studio jewelers, some of whom are still with us and some are not. That's his legacy; first at Sculpture to Wear, then Artwear. He has these amazing archives, and we'll talk about how editorial and prior images play a role in the secondary market. That might be a good place to talk about that. Sharon: O.K., please. Lisa: What's a phenomenon for me is that when I started and someone would ask if I sold jewelry, I knew the context. They would immediately think of CZ or— Sharon: Engagement rings. Lisa: Engagement rings. I said, “No, that's not at all what I do,” and I would always be wearing a piece. I was always wearing largescale pieces of jewelry. At that time when I first opened my gallery, I had very short hair; I think it was two inches long. People may not have remembered my name, but they would point at me from across the room and say, “Oh, that's the jewelry lady. That's the Sculpture to Wear lady,” and that was just fine.  This type of work, like photography 80 or 60 years ago, was not accepted in the realm of a fine art museum. Now you see photography auctioned at over $1 million, and some of the most incredible collections in the world are simply photography. Art jewelry is now collected in some specific fine art institutions, and that is for a number of reasons. First of all, it's because of exposure from editorial and media, and also because of the stewardship of specific collectors and designers like Helen Drutt, who bequeathed her collection to the Houston Fine Art Museum. I think it was almost a decade ago, and there's an incredible book. It's on my bookshelf. I can see it from here; it's very orange and large. She wanted her collection to be viewed at a fine arts museum versus a craft museum, and that started that conversation.  Lois Boardman on the West Coast donated her collection to LACMA, LA County Museum of Art, I believe five years ago. Also, for example, the Renwick Gallery at the Smithsonian has been collecting this work for a lot longer. For example, Jen Mandel and I were there for her induction into the Smithsonian. That was incredible. We were standing right next to a piece made by Alexander Calder, and that's where her vitrine was placed. It's really about this conversation, and I think it's a conversation of education.  As for the secondary market, we were just attending the Bonhams preview for the Crawford Collection. That's an unprecedented phenomenon, to have a collection of that level, of that stature, being auctioned by Bonhams without diamonds, without gold. There are a few elements and pieces to that, but you're looking at Art Smith pieces, modernists, studio jewelers. This is a very exciting and fertile time to be involved in studio and art jewelry. This is what I've been doing for the last 22, 25 years. We're at a very exciting place and there are a number of forums, especially with Covid and Zoom, with Art Jewelry Forum having open conversations about this, introducing collectors to artists and, of course, your podcast. There are a lot of variations and factors for the secondary market. Sharon: Lisa, because your jewelry and art jewelry in general is still avant garde—although it's coming into its own—do you think collectors or people like you are going to say, “O.K., what's next? What's on the horizon now? That's become old hat.” It hasn't, but do you think people are going to move on? Lisa: Sharon, I hope not. Within the genre of studio jewelry and wearable art, it has progressed and become so sophisticated. There are so many different makers out there, especially with the internet connecting us. When I first started in 1999, we didn't really have the internet; we barely had email, and now that's how everyone communicates. I think that people's creativity, the way people wear pieces and where they wear them—the reality is that we're not going anyplace right now during the pandemic, and I'm looking at different generations and how to include that next generation in collecting. For example, some of my first clients were in their 60s and 70s when they started collecting, and some are no longer with us. So, how do we engage their family members? You're our most recent convert to art jewelry. My gallery was so close to your house, yet you would have had no interest in what we did. I think it's a journey. Can you say someone's going to have a different trend? No.  I also think technology has played an important role not only in studio jewelry and the exposure, but also the techniques. People are using laser cutting, 3D printing. Technology has also been accepted into fine arts institutions and it has blurred the lines of the conversation of craft and fine art. Even five years ago, there was a delineation that was very distinct. There are still institutions that are not interested in immersion, but I think technology has been a friend, not a foe, to studio jewelers and the paths they can cross. Sharon: I do have to tell a story. Lisa and I were laughing because I lived close to where her gallery used to be. I lived not so far in the Valley, 10 miles away. I was never in your gallery, but I remember seeing an ad one day and thinking, “Who is going to wear this stuff?”  Lisa: And now the Jewelry Journey Podcast. Sharon: It was way out. When you say that people who were older started collecting it, that's the sort of people who don't automatically say, “Wow, that's so new and so cool.” Lisa: My collectors—and I'm sure a number of the gallerists across the United States who have been around for decades would say the same—our clientele, they're not interested in trends. If they open a Vogue, they might see a dress they like, but they're not going to buy it because it's on trend or in fashion. All my clientele, they're well-traveled; they're well-heeled; they're generally educated. They're willing to be avant garde. They don't want to wear the same thing everyone else is wearing, so it's a little bit different. The whole conversation now is that there are younger generations. I just met an incredible student at USC at the Bonhams preview. She's running this entire magazine department in her off time while she's full-time at USC. That's to reach a new collector base and new makers, but that's exciting. That's what makes it viable. Sharon: Yes, it keeps on going. Lisa: Right. That was one of the things I wanted to talk about in regards to when I first started in 1999: it was not only the relationships we built with the artists and the collectors, but we also had our version of social media, which was just printed publications. We didn't have social media, so building relationships with well-known stylists, who were either Emmy award winners or high-profile people that worked with celebrities, that was really important. We got to the point where they would literally call me up with the theme, tell me what it was, and I would already pull the pieces and have a box ready for them. We had a shorthand. That was, again, a relationship that would have to be cultivated. It was very exciting, and that's part of building the legacy of why this work is important. For example, Robert Lee Morris is pulling out his archives. Part of the excitement of these presentations is showing some of the editorial, these great magazine covers and shows that these pieces were included in. I have two decades of binders of images. So, that's very exciting, to show the relevance 20 years ago to now.

Ryan sits down with two of his WT colleagues, Dr. Amy Von Lintel, Professor of Art History, and Dr. Bonnie Roos, Professor of English, who join him to discuss their new book, Three Women Artists: Expanding Abstract Expressionism in the American West, forthcoming in February 2022 from Texas A&M University Press. The book seeks to “recenter” Abstract Expressionism by examining how this NYC-based movement flourished in the Texas Panhandle in the 1960s and ‘70s, as Amarillo art dealer Dord Fitz helped create a network of patrons and students for Elaine de Kooning, Louise Nevelson, and Jeanne Reynal (whose 1974 mosaic portrait of Nevelson is the image accompanying this episode). The book also explores how the work of these artists was shaped by their time in the “Middle American West”; considers the role of gender performance in defining and re-defining Ab Ex; and makes the case for why Reynal's mosaics and Nevelson's wall sculptures should be considered part of this painting-centric movement. The interview touches on what being a part of this artistic community meant for queer and Black artists in this deeply conservative region, and it ends with a consideration of Fitz's legacy here in the Panhandle. (Who, if anyone, is the modern-day Dord Fitz?) For more information on “The Women: Tops in Art,” the 1960 show that helped create the art scene explored in this book, see Von Lintel and Roos's article in the Fall/Winter 2021 edition of Woman's Art Journal, available for order here.

WORKS - On paper - Awful print - Outdoor - Sky Cathedral - Column SHOW NOTES - 00:12 - Bacon forgeries - 01:18 - Is Colbert listening to SubRant? - 01:28 - Catherine eats 'fake' bacon - 02:30 - The "googling" of Rick Steves - 04:05 - Inspiration from garbage - 04:35 - Clothing landfills in Africa - 05:44 - Recycled clothing into art - 06:24 - Let's just talk about Louise Nevelson - 07:20 - Repeatedly pronouncing "assemblage" - 08:37 - Everyone is credited with influencing Abstract Expressionism - 08:46 - Deconstructing "The Scream" - A "really off" Van Gogh - 09:24 - Do you have an Xbox? - 10:25 - Honing endoscopy skills via Halo? - 10:45 - James's wife hides from the aliens - 11:05 - Catherine borders on nihilistic - 12:03 - Compelling monochromatic boxy work - 13:02 - Inspiration: Mannequins from garbage - 16:40 - Scale is everything - 17:30 - Protective patina of COR-TEN steel - 18:15 - Nevelson created her world - 19:48 - Vertical pieces, rhythm, "Seventh Decade Garden 9 & 10" - 20:21 - Master of Composition - 20:40 - Between interior design and fine art - 21:02 - The environment and rectilinear border - 21:22 - Can you really do this? - 21:37 - Some recycled "art" looks like garbage - 22:20 - Would take years to level up - 23:07 - New York was her palette - 23:20 - Art stores are overwhelming & sterile - 23:56 - James is drawn to found items - 24:30 - From the ground of Vegas parking lot - 25:10 - Boxes of stuff with no purpose - 25:21 - TikTok found object artist/geologist - 26:23 - James just wants to cut up graham cracker boxes - 26:40 - Saving Lays potato chip bags - 27:30 - Non-recyclable flexible plastic/metal food packaging - 29:00 - Palm tree torsos? - 29:55 - You need to get dirty for your art! - 30:24 - Rewinding to Nevelson - 30:40 - Comparing Nevelson to Rothko - 33:03 - Roots in Cubism - 33:27 - Diego Rivera, pre-Columbian influence - 34:07 - Representative of their time - 34:34 - Does gender-bias exist in art? - 35:15 - Art critic legends in our own minds - 35:27 - Thank you for listening! - 35:49 - "Assemblage" one more time

- 01:29- "Joining Plastic, Glass, and Metal On the Recycle List: Fake Art" (NY Times paywall) - 01:35 - It's not about recycling - 01:50 - Commas trigger James - 02:15 - Pretentious words trigger James - 03:25 - Art world vs elites vs the masses - 03:36 - Language as a weapon? - 03:45 - Catherine sums article up in seconds, but they will talk about it for 20 minutes - 04:00 - Most of the fake art is not destroyed - 04:10 - The only recycling is that fake pieces keep showing up for sale and authentication - 04:15 - If everyone is upset about forgeries, just destroy them! - 04:30 - Catalogues of fakes as teaching tools - 04:45 - If a piece has merits, does the author really matter? - 04:56 - "Tyranny of authorship" - 05:40 - Celebrate the work, not the author - 06:28 - Forged pieces are stamped, retained, and potentially resurface in art world - 07:58 - Deconstructing authentication - 08:54 - The case of the "thrift store Pollack" - 09:44 - It's a sleazy market - 10:00 - Once a forgery, always a forgery? - 10:55 - Bad stamp - 11:30 - James holds back re: Damien Hirst - 12:23 - Digression about makers' marks - 13:54 - The found piece will not be destroyed - 14:20 - Catherine has a knack! - 15:12 - Unanswered questions - 15:55 - Who authenticates the authenticator? - 17:00 - James proposes a "forgery registry", Catherine suggests putting a notch in it! - 19:12 - James approves NY Times web design - 20:10 - What bikinis? - 21:50 - Both Chagall's in article are forgeries - 23:05 - Just didn't get any vibes - 23:45 - Catherine proposes recycling ideas - 25:00 - Authenticator's opposing specialties: Egon Schiele vs Grandma Moses - 26:17 - Deconstructing the term "Folk Art" - 27:00 - The genius of Grandma Moses - 28:27 - Villeroy & Boch "Naif" pattern - 29:00 - The term Folk Art is purely marketing - 30:00 - Again, the work must stand on its own - 30:12 - Training does not beget great work - 31:50 - "Craft" is legit - 32:25 - Catherine "paints" with fibers - 32:43 - Affirmation is great - 33:45 - Was this an angry podcast? - 34:05 - Next week, Louise Nevelson and a discussion of "recycling" in art

Kathy Caraccio is a New York based master printer who started out studying under Arun Bos at Hunter College in the 60's, and after graduating spent four years printing and absorbing all kinds of knowledge at Robert Blackburns Print Workshop. It was there she learned the ins and outs of being a collaborating printer and got glimpses into the world of dealing and collecting prints by watching Robert Blackburn sell the prints published in his studio. Her first publishing job was for Pace, before they had their own print operation, printing a commemorative suite of etchings  for Louise Nevelson. She opened her studio and has been a printer for the past 43 years, printing for the likes of Ema Amos, Ed Clarke, Romaire Beardon, Sol LeWitt and many other artists. Kathy comes on the Print Cast to tell her story about she got into printmaking, what it was like working at Robert Blackburn's print studio, and stories of the many collaborations she has done since then.Today's Let's Get Technical is all about Collagraph! Hear some great tips from the master herself. -Using a PVC plastic or polystyrene plate (sintra is one brand )-How to prepare the plate with a mesh that simulates an aquatint-Adding collage materials...but not too much-Printing the plate in intaglio and relief stylesSee Kathy's collection and learn more about her at https://www.kcaracciocollection.com/Follow Kathy on Instagram @kathyprintSome other announcements:Self Help Graphics is having its Biennial Print Summit over Zoom, March 10,11,12 of 2021. Check their website for more info. Selfhelpgraphics.comSelf Help Graphics in Los Angeles is also hiring a Master Printer with a specialty in Serigraphy. Learn more at selfhelpgraphics.com/opportunitites

We've got Movie Sign! This week, Jonah sits down with actors/writers Trace Beaulieu and Kevin Murphy to watch Mystery Science Theater 3000: The Movie!Trace and Kevin talk about their fraught relationship with the studio, the early crowdfunding plan they considered, making MST3K more cinematic for the big screen, scenes and songs they wish they'd filmed, the joys of riffing, and finding your people on the fringes of comedy!LinksFind out where you can watch Mystery Science Theater 3000: The MovieCheck out The Mads Are Back with Frank Conniff and Trace BeaulieuFollow Trace on TwitterListen to Rifftrax with Mike Nelson, Bill Corbett, and Kevin MurphyFollow Kevin on Twitter and InstagramThank you to Allie Goertz for our theme song and Perry Shall for our artwork.

In this program we discuss the late careers of artists whose work evolved into something different, something new, and something beautiful.  The artists discussed today are: Francisco Goya, Jasper Johns, Winslow Homer, Marc Chagall, Grandma Moses, and Louise Nevelson. This is the third in a series of programs on this topic, while COVID minimizes our […]

To celebrate my 100th episode, I take you through my personal journey into the visual arts and the women artists that shaped me to live more boldly. Highlighted is the first woman to toss me from complacency to creating my own artistic path: Louise Nevelson..I also announce the winners of the 100th Episode Celebration Giveaway. Thank you to everyone who took part and for your support of my efforts to celebrate with you women artists and makers. .I want to give a special shout out to the women artists that entered the giveaway. Please explore their sites and works. Adrea Filiatrault: www.artistsmakeart.com; Gina Lee Robbins: www.ginaleerobbins.com; Kat Zagria: www.katzagaria.com; Agathe Bouton: www.agathebouton.com; Melanie Pennington: www.melaniepennington.com; Valerie Carmet: valeriecarmet.com; Alex Bigatti: www.alexbigattiart.com; Christine Lyons: www.christianelyons.com; Ariania Tavares; www.arianatavares.com; Jean Rill Alberto: www.withheartbyhand.com; Kathryn Hart: www.kathrynhart.com; Sally Brown: www.sallyjanebrown.com; Kathy Piercy: 100women100yearsart.com.Image Credit: Louise Nevelson: "Sky Cathedral," 1982; SAAM (Smithsonian American Art MuseumResources for this podcast are available through my website. www.beyondthepaint.net

I get lost in the Metropolitan Museum and Central Park. I also tell the story of artist Louise Nevelson.Support the show (https://www.patreon.com/touristintown)

Shirley Wagner was on the podcast today. She is a three-dimensional artist specializing in modern sculpture inspired by the great Louise Nevelson. An interesting podcast for any artist who is in the struggle to find a way to create and make a living in the difficult field of art. To live a full life while trying to follow your vision when life doesn't want to let you go down that alley is exactly what Shirley Wagner faced. Whether it was her mom dying as soon as she graduated from art school or her husband Marius passing in 2017. This podcast addresses the obstacles that keep can stop the creative process and how to push through it. Shirley was very candid about her struggles and was really fascinating to hear her story and I hope it will be for you as well.

Maria Nevelson, granddaughter of artist Louise Nevelson, describes the early days in Rockland for Louise's family, after their arrival from what is present-day Kiev

Hello, poets unplugged and anyone listening this is going to be something a little different...the first in what might be a series on Poets Unplugged, and an opportunity for other sculptors and artists. I'm a poet, writer, sculptor—and this episode is about sculpture. What I'm asking you to do is go to a website, and I'll talk about each piece of ten sculptures for a few seconds not long ten-twelve seconds each l've got so much stuff on the site that it could take forever so I'll just do the first ten pieces, okay? the website address is wisesculpture.com (spell wisesculpture) while you're looking up the site, I'll just tell you a little about my work—it's mostly welded steel. I use anything weldable and some material that's not—like glass, rubber, wood. And it usually happens in the process. The materials guide me. The steel tells me what to do. A dallas art magazine called me a cross between John Chamberlain and Rube Goldberg. I like that. A lot of my work looks like it's going to do something in the next few seconds—like you maybe should get out of the way. you should be able to just google wisesculpture.com or you can put www in front of it, either way it'll get there now when you get to the site a popup will...pop up, and you can subscribe if you want to the red car is my hot rod cruiser, 1949 ford with a 1988 mercury engine. A sculpture all in itself to us car guys. it's like the car I had in high school a very very long time ago anyway, get that out of the way by either signing up, or clicking the X in the upper right hand corner Then you'll see the first piece of sculpture. it's non representational. but it's as good a use of space as anything I've ever done. It's part of a car, some chrome, part of a road sign. Click anywhere to the right of it, or on that little sign that says next. Number two is called Benelli because it uses a part of a Bennelli motorcycle. It's a wall hanging, stainless steel, about one foot by 18 inches. next Three is a rocket ship. It's about two feet tall. It was to be in a solo show in Kansas City but a guy walked in, saw it in a corner where I'd unloaded it, bought it on the spot for his son who was a rocket scientist in Los Angeles. Four This is called Tyke's Gatling. All of this stuff is welded steel, most of it. This one is in a gallery in Santa Monica. Five. Blue horse and blue wagon. He's uncomfortable on that wagon. And pissed at me for putting him there. Six. Inspired by Louise Nevelson. She's a genius. Look her up. I Call this one monochromatic. People don't get it. I love this one. Gallery goers don't even look at it. Maybe they think it's part of the HVAC. Seven Balanced investments. This was a commission for an outfit called Frontier Wealth Management and it's in their lobby. It's about fifteen feet long. Can you find the airport landing light? Eight Hommage a Baron Samedi. He was the new Orleans voodoo guy. About four feet tall. It has a couple of real pistols in it, what they called Saturday night specials, a necklace, an art deco lighter, an I.D. bracelet, a laudanum bottle, 30's stuff. Nine Cutting Cane. Made from a Tupelo tree from the Louisiana bayou, and a cane cutter. And Ten A wall hanging made from auto metals and a spotlight. Hope you enjoyed the tour. Keep going—there are a lot more. Any questions, comments, use the comment form on the site—I always answer. Thanks for listening and watching. Stay safe and well.

Bjarke Ingels i international shitstorm: Den danske stjernearkitekt er havnet i et stormvejr af kritik, fordi han måske skal arbejde sammen med Brasiliens præsident, Jair Bolsonaro. Må arkitekter arbejde i lande, hvor minoriteter bliver undertrykt og pengene lugter af korruption? Og hvor går grænsen? Forbudte bøger på Amazon: Ambitionen var, at alle bøger skulle være tilgængelige for alle, men nu er verdens største boghandel, Amazon, begyndt at fjerne titler fra deres onlinekatalog. Der er ikke blevet offentliggjort en liste med bandlyste bøger, men vi ved, at det bl.a. andet handler om nazilitteratur og bøger med racistisk indhold. Vi laver vores egen liste med forbudte bøger i Kulturen på P1 i dag. Dansk Kulturinstituts nye linje: Danmark har seks faste kulturinstitutter rundt i verden, men snart lukker det polske institut, og så åbner et nyt i Ukraine. Hvorfor? Det kan du få svar på, når direktøren for Dansk Kulturinstitut er gæst i studiet i dag. I Kulturen på P1 i dag kan man også komme med på besøg i det nye Frihedsmuseum, høre Suzanne Brøgger fortælle om Louise Nevelson og så kigger vi på ugens bestsellerlister, som er domineret af kvindelige forfattere. Værter: Jesper Dein og Karen Secher.

American artist Charles Gaines has been delving into philosophy, abstraction and mathematics to address politics and race since the 1970s. In August 2019, Gaines receives the 60th Annual Edward MacDowell Medal, an award celebrating his high achievements in visual art, musical composition and performance, and his influence as a teacher, writer and curator. An artist whose work is described as formulating the DNA of the conceptual movement, Gaines is a key figure in contemporary art history. Born in Charleston, South Carolina, Gaines was the first African American accepted into the School of Art and Design MFA program at the Rochester Institute of Technology. He now lives and works in Los Angeles. He’s been a faculty member at the California Institute of the Arts, for more than three decades. As Charles Gaines prepares for high profile exhibitions in Los Angeles, San Francisco and London, through 2022, we reflect on what his art says to the world. Resolutely abstract in his practice, Charles Gaines refuses traditional representation—resisting both dominant racial stereotypes, and pressure from within the black community. His gridworks and manifestos deliberately counter deep-seated assumptions about the forms that nature and culture, art and music should take. Gaines shows us how art can embody conceptual, aesthetic, and personal freedom. This episode features conversations recorded with Charles Gaines in 2015, 2017 and 2019. About the MacDowell Medal: A Haven for Artists since 1907, the MacDowell Colony in New Hampshire, was the first artist residency program established in the United States. Each year, the MacDowell Medal recognizes one individual for outstanding contributions to American arts and culture. Merce Cunningham, Louise Nevelson, Isamu Noguchi, Sonny Rollins, and Toni Morrison are among past honorees. Sound Editor: Anamnesis Audio | Special Audio: Charles Gaines, Manifestos performance, 56th Venice Art Biennale Related Episodes: Mark Bradford Connects Art with the Real World, Contemporary Art and the Black Imagination Related Links: Charles Gaines | MacDowell Honors Visual Artist‎, Solidary & Solitary: The Joyner/Giuffrida Collection, Charles Gaines, Institute of Contemporary Art, Miami, Charles Gaines, The Studio Museum in Harlem, Biennale Arte 2015, All the World's Futures

Our guest today is Albert Cleophus Willis, artist, designer, music producer and resident of the fourth dimension! Working as a multidisciplinary artist over the last four decades has provided Cleophus with an obvious wealth of experiences and lessons, way too much to fit into one podcast. His continuing journey through new ideas, traversing inspiring and unchartered territories and a commitment to practicality and making ends meet are just some of the ways in which our guest has kept himself busy over his life time. We chat about his three dimensional work, daily routines, art school and portraiture. We also ruminate on the digital age and the computer as a creative tool, its pros and cons. Cleophus opens up about the artist as a rebel and someone who breaks the status quo while the world around them is trying to categorize everything and he shares openly about the wealth of creativity that is present in his family and amongst his siblings. There is also a surprising moment in the conversation where Cleophus admits to working under an alias that we all might know! For all this great stuff and a whole lot more, tune in with us today, on the Not Real Art Podcast!   Key Points From This Episode: The array of work Cleophus has done over four decades. Creation of three dimensional artworks and legacy portraits. Influences, early years and finding a path to a career in art How he became an award winning producer at Motown Records! The digital age, undoing mistakes and using digital tools Artists as rebels and non-conformists; going against the grain and breaking the rules. A creative family, his upbringing and growing up with dyslexia. Parenting and allowing space and structure for kids to grow into their passion. How Cleophus came to design the cover for a Ray Charles album. Art by design and why Cleophus primarily considers himself a designer. Working under an alias; selling art online that did not interfere with his career. The Art Master company and how Cleophus ended up parting ways with them. Print on demand, Instagram filters and the rise of amateur art. Cleophus' hopes for the future, keeping on with the artist mentality he believes in. And much more! Links Mentioned in Today’s Episode: Al Art Design — http://alartdesign.com/index.php Cleophus Email — alartdeisgn@hotmail.com Cleophus on Instagram — https://www.instagram.com/cleophusone/?hl=en Art Masters — http://www.alartdesign.com/artmasters-collections Ray Charles — https://raycharles.com/ A Message from the People — https://www.soultracks.com/node/6460 Chuck Close — https://www.theartstory.org/artist-close-chuck.htm Louise Nevelson — http://www.louisenevelsonfoundation.org/ Norman Rockwell — https://www.nrm.org/ Motown Records — https://www.motownrecords.com/ CERTX — http://certx.me/ ArtPrize — http://www.artprize.org/ Man One — http://www.manone.com/ Man One on Twitter — https://twitter.com/ManOneArt Scott “Sourdough” Power — https://www.instagram.com/sourdoughpower/ Not Real Art Conference — https://www.notrealartconference.com/ Not Real Art on Instagram — https://www.instagram.com/notrealartofficial/

Talk Art returns! To kick off Season 2, Russell & Robert meet Zoe Bedeaux, the multi-disciplinary artist, poet, super-stylist and creative shapeshifter. We discuss harlequins, Picasso, Irving Penn and Louise Nevelson. Whilst learning about Zoe's collaborations with iconic image makers Judy Blame, Ray Petri and more recently leading photographers Juergen Teller and Tim Walker. You can view Zoe's film work 'From The Mouth of Babes Speak I' at Somerset House in London as part of a major new exhibition 'Get Up, Stand Up Now' until 15th September 2019. The show celebrates the past 50 years of Black creativity in Britain and beyond. @zoebedeaux @talkart See acast.com/privacy for privacy and opt-out information.

Celebrate National Women's History Month through #5WomenArtists challenge and enter into the world abstract constructions by American sculptor Louise Nevelson.Visit @EncounterswithArtpodcast on Facebook and Instagram to view the images.Links to picture image for this podcast description: carriemaeweems.net (the kitchen project), https://americanart.si.edu (louise nevelson), metmuseum.org (mary cassatt), brooklynmuseum.org (faith ringgold) and georgiaokeeffe.net

Celebrate National Women's History Month through #5WomenArtists challenge and enter into the world abstract constructions by American sculptor Louise Nevelson.Visit @EncounterswithArtpodcast on Facebook and Instagram to view the images.Links to picture image for this podcast description: carriemaeweems.net (the kitchen project), https://americanart.si.edu (louise nevelson), metmuseum.org (mary cassatt), brooklynmuseum.org (faith ringgold) and georgiaokeeffe.net

Suzette McAvoy has served as executive director and chief curator at the Center for Maine Contemporary Art since September 2010. She spearheaded the institution’s recent $5.2 million capital campaign and relocation to a newly constructed building, designed by internationally known architect Toshiko Mori, which opened in Rockland, Maine, on June 26, 2016. McAvoy previously served for 12 years as chief curator of the Farnsworth Art Museum and has more than 30 years’ experience in the art and museum field. She has lectured and written extensively on the art and artists of Maine, and has organized national traveling exhibitions of the work of Louise Nevelson, Alex Katz, Kenneth Noland, Lois Dodd, Karl Schrag, and Alan Magee. Additionally, she has organized recent exhibitions of the work of Jonathan Borofsky, Richard Van Buren, Inka Essenhigh, David Driskell, Katherine Bradford, and Steve Mumford, among others. She is currently working on upcoming exhibitions with John Walker, William Wegman, and Ann Craven. Prior to moving to Maine, McAvoy was Director of the University of Rhode Island Art Galleries in Kingston, Rhode Island, and also worked at the Herbert F. Johnson Museum of Art, Cornell University, and the Smithsonian Institute’s National Museum of American History. She has served as adjunct professor of museum studies at the University of Maine, and as a lecturer for the Smithsonian Journeys Program. She has also been an arts writer for Maine Home and Design magazine and an art advisor to private collectors. She received a BA in art history from Hobart and William Smith College in Geneva, New York, and an MA in museum studies from the Cooperstown Graduate Program at State University of New York. She lives in Belfast, Maine. https://www.themainemag.com/radio/radio-guests/suzette-mcavoy-executive-director-cmca/

Donna Seaman, author of Identity Unknown: Rediscovering Seven American Women Artists in conversation with Richard Wolinsky. The art world has not been kind to women artists. Being taken seriously, getting exhibited, getting remembered after their deaths: none of this happens automatically. Donna Seaman, book critic for Booklist, takes a look at seven twentieth century American woman artists whose work has been somewhat forgotten in the years since their deaths: Louise Nevelson, Gertrude Abercrombie, Lois Madou Jones, Ree Morton, Joan Brown, Lenore Tawney and Christina Ramberg. In this discussion, Donna Seaman talks about each of these artists and how they related to the world and to art. She also talks about the recent controversy over the Bull sculpture on Wall Street, on sexism in the arts, and on the pull between artistic freedom and stylistic fads. A shorter version of this interview aired as a Bookwaves program. The post Donna Seaman: Rediscovering Seven American Women Artists appeared first on KPFA.

Rev. Ralph Peterson has had a lifelong passion for incorporating the arts into his ministry. He speaks with MOCRA Director Terrence Dempsey, SJ, about his role in commissioning the Erol Beker Chapel of the Good Shepherd, designed by artist Louise Nevelson, and located in St. Peter's Lutheran Church in Manhattan. They are also joined by art historian Dr. Jane Daggett Dillenberger, who consulted on the chapel project. Be sure to listen to the Audio Extra, "Taking the Narrative Seriously." Visit the MOCRA Voices website to learn more about Ralph Peterson and Jane Daggett Dillenberger, and to explore a Listening Guide to the interview.   Recording Engineer: Joe Grimaldi Editor: Mike Schrand Producer: David Brinker Original release date: 7/8/2013 This episode was made possible with financial support from the Regional Arts Commission.

Stacy Harrison and Janet Meyer talked with Chris and Tim about the current state of arts in Jackson - including the Glidden Parker Mural revival and the importance of the Louise Nevelson sculpture. Find out more about the mural at http://www.mlive.com/news/jackson/index.ssf/2016/08/about_100000_remains_in_fundin.html

Louise Nevelson was a key American sculptor in the mid-20th century. Her Modernist artwork changed the world of sculpture – much like what Jackson Pollock did for painting.

Get to know artists in our collection, Louise Nevelson and Robert Indiana, through the documentary films of Dale Shierholt. Shierholt will share his process of developing relationships with artists in their studios, and with their family and colleagues.

Time-lapse video captured the installation of Louise Nevelson’s large work, Night Zag Wall, in Crystal Bridges’ Twentieth-Century Art Gallery.

Closely examine the shadows and shapes in Louise Nevelson’s Night Zag Wall, a large-scale wall sculpture of individual boxes and geometric shapes painted black which, when assembled together, form a larger image in its entirety. Deputy Director of Museum Relations Sandy Edwards and Preparator Clay Little discuss the physicality of the piece and the intricate installation of this artwork. Delve into the artist’s fascinating life and philosophy toward art-making, which transformed the tradition of sculpture.

David Houston, Director of Curatorial and Sandy Edwards, Deputy Director of Museum Relations, share their thoughts on Louise Nevelson’s Night Zag Wall.

Aluminum painted black

Night Presence II 1976 Size: 155 5/8 in. x 95 3/4 in. x 55 1/4 in. (395.3 cm x 243.2 cm x 140.3 cm) Museum purchase through the Earle W. Grant Endowment Fund, 1976:137 Louise Nevelson, 1899–1988 The outdoor May S. Marcy Sculpture Court, adjacent the Museum’s main building, is a must-see for monumental art. Under cover of the Sculpture Court Café stands Louise Nevelson’s Night Presence II of 1976, an arresting meditation on architecture composed of columns, finials and scroll-sawed steel offcuts. Experimenting first with wall-mounted assemblages of found objects, mostly wood, which the artist painted either all black or all white to unify her three-dimensional compositions, Nevelson began in the 1960s to translate these reliefs into freestanding sculptures. The use of welded Cor-Ten steel, its oxidized patina a rusty red, allowed Nevelson to install her work outdoors, her boxy abstractions recalling oversized Cubist collages. In contrast to Night Presence II’s forest of standing forms, the sculpture court also showcases Henry Moore’s Reclining Figure: Arch Leg of 1969, alongside works by such sculptors as Barbara Hepworth and David Smith.

The San Jose Museum of Art is pleased to offer this audio tour to compliment your visit to the exhibition De-Natured: Works from the Anderson Art Collection. In it you will hear commentary by curator Heather Green, interviews with several of the artists in the exhibition, and insight into the collection provided by Harry W. Anderson himself. You can download it to your iPod or other audio device for your next visit to the museum! In this episode for the exhibition De-Natured: Works from the Anderson Collection curator Heather Green talks about the ideas behind the exhibition and the Anderson art collection; on view at the San Jose Museum of Art Oct. 13, 2007 - Jan. 6, 2008. Broadly defined, to denature is to change the character or condition of something. In the milieu of contemporary painting, sculpture, and work on paper seen in this exhibition, it is the connection between artist and nature that has changed. Gone are the romantic vistas and picturesque scenes of traditional landscape painting. Instead we find images of pollution and alienation that mirror the post-war urban-industrial landscape, depictions in which artistic media have been pressed into embodiments of natural elements (and vice versa), and abstractions that highlight a distance between the world perceived and the world represented. Featuring works by artists such as Wayne Thiebaud, Roy DeForest, David Hockney, Vija Celmins, Ed Ruscha, Frank Stella, Louise Nevelson, and Richard Diebenkorn, the art of De-Natured presents a sampling of the many ways that artists have engaged with their changing environs. At a time when we are increasingly “growing up denatured,” as one New York Times writer recently described the divide between urban and pastoral life, these artistic collisions with nature (or its absence) have much to tell us about our own relationships with the environment, both natural and urban. This exhibition was curated by Heather Pamela Green, a doctoral candidate in Art History at Stanford University, and features work drawn from the Collection of Harry W. and Mary Margaret Anderson, as well as the Fine Arts Museums of San Francisco's Anderson Graphic Arts Collection.

The San Jose Museum of Art is pleased to offer this audio tour to compliment your visit to the exhibition De-Natured: Works from the Anderson Art Collection. In it you will hear commentary by curator Heather Green, interviews with several of the artists in the exhibition, and insight into the collection provided by Harry W. Anderson himself. You can download it to your iPod or other audio device for your next visit to the museum! In this episode William Allen speaks about his large scale painting, Half a Dam, in the exhibition De-Natured: Works from the Anderson Collection; on view at the San Jose Museum of Art October 13, 2007 - January 6, 2008. Broadly defined, to denature is to change the character or condition of something. In the milieu of contemporary painting, sculpture, and work on paper seen in this exhibition, it is the connection between artist and nature that has changed. Gone are the romantic vistas and picturesque scenes of traditional landscape painting. Instead we find images of pollution and alienation that mirror the post-war urban-industrial landscape, depictions in which artistic media have been pressed into embodiments of natural elements (and vice versa), and abstractions that highlight a distance between the world perceived and the world represented. Featuring works by artists such as Wayne Thiebaud, Roy DeForest, David Hockney, Vija Celmins, Ed Ruscha, Frank Stella, Louise Nevelson, and Richard Diebenkorn, the art of De-Natured presents a sampling of the many ways that artists have engaged with their changing environs. At a time when we are increasingly “growing up denatured,” as one New York Times writer recently described the divide between urban and pastoral life, these artistic collisions with nature (or its absence) have much to tell us about our own relationships with the environment, both natural and urban. This exhibition was curated by Heather Pamela Green, a doctoral candidate in Art History at Stanford University, and features work drawn from the Collection of Harry W. and Mary Margaret Anderson, as well as the Fine Arts Museums of San Francisco's Anderson Graphic Arts Collection.

The San Jose Museum of Art is pleased to offer this audio tour to compliment your visit to the exhibition De-Natured: Works from the Anderson Art Collection. In it you will hear commentary by curator Heather Green, interviews with several of the artists in the exhibition, and insight into the collection provided by Harry W. Anderson himself. You can download it to your iPod or other audio device for your next visit to the museum! In this episode William T. Wiley talks about his marker and watercolor work on paper in the exhibition De-Natured: Works from the Anderson Collection; on view at the San Jose Museum of Art October 13, 2007 - January 6, 2008. He also sung an original song, that accompanies the episode, to us. Broadly defined, to denature is to change the character or condition of something. In the milieu of contemporary painting, sculpture, and work on paper seen in this exhibition, it is the connection between artist and nature that has changed. Gone are the romantic vistas and picturesque scenes of traditional landscape painting. Instead we find images of pollution and alienation that mirror the post-war urban-industrial landscape, depictions in which artistic media have been pressed into embodiments of natural elements (and vice versa), and abstractions that highlight a distance between the world perceived and the world represented. Featuring works by artists such as Wayne Thiebaud, Roy DeForest, David Hockney, Vija Celmins, Ed Ruscha, Frank Stella, Louise Nevelson, and Richard Diebenkorn, the art of De-Natured presents a sampling of the many ways that artists have engaged with their changing environs. At a time when we are increasingly “growing up denatured,” as one New York Times writer recently described the divide between urban and pastoral life, these artistic collisions with nature (or its absence) have much to tell us about our own relationships with the environment, both natural and urban. This exhibition was curated by Heather Pamela Green, a doctoral candidate in Art History at Stanford University, and features work drawn from the Collection of Harry W. and Mary Margaret Anderson, as well as the Fine Arts Museums of San Francisco's Anderson Graphic Arts Collection.

The San Jose Museum of Art is pleased to offer this audio tour to compliment your visit to the exhibition De-Natured: Works from the Anderson Art Collection. In it you will hear commentary by curator Heather Green, interviews with several of the artists in the exhibition, and insight into the collection provided by Harry W. Anderson himself. You can download it to your iPod or other audio device for your next visit to the museum! In this episode Charles Arnoldi speaks about his stick sculpture in the exhibition De-Natured: Works from the Anderson Collection; on view at the San Jose Museum of Art October 13, 2007 - January 6, 2008. Broadly defined, to denature is to change the character or condition of something. In the milieu of contemporary painting, sculpture, and work on paper seen in this exhibition, it is the connection between artist and nature that has changed. Gone are the romantic vistas and picturesque scenes of traditional landscape painting. Instead we find images of pollution and alienation that mirror the post-war urban-industrial landscape, depictions in which artistic media have been pressed into embodiments of natural elements (and vice versa), and abstractions that highlight a distance between the world perceived and the world represented. Featuring works by artists such as Wayne Thiebaud, Roy DeForest, David Hockney, Vija Celmins, Ed Ruscha, Frank Stella, Louise Nevelson, and Richard Diebenkorn, the art of De-Natured presents a sampling of the many ways that artists have engaged with their changing environs. At a time when we are increasingly “growing up denatured,” as one New York Times writer recently described the divide between urban and pastoral life, these artistic collisions with nature (or its absence) have much to tell us about our own relationships with the environment, both natural and urban. This exhibition was curated by Heather Pamela Green, a doctoral candidate in Art History at Stanford University, and features work drawn from the Collection of Harry W. and Mary Margaret Anderson, as well as the Fine Arts Museums of San Francisco's Anderson Graphic Arts Collection.

The San Jose Museum of Art is pleased to offer this audio tour to compliment your visit to the exhibition De-Natured: Works from the Anderson Art Collection. In it you will hear commentary by curator Heather Green, interviews with several of the artists in the exhibition, and insight into the collection provided by Harry W. Anderson himself. You can download it to your iPod or other audio device for your next visit to the museum! In this episode Carole Seborovski talks about two drawings she has in the exhibition De-Natured: Works from the Anderson Collection; on view at the San Jose Museum of Art October 13, 2007 - January 6, 2008. Broadly defined, to denature is to change the character or condition of something. In the milieu of contemporary painting, sculpture, and work on paper seen in this exhibition, it is the connection between artist and nature that has changed. Gone are the romantic vistas and picturesque scenes of traditional landscape painting. Instead we find images of pollution and alienation that mirror the post-war urban-industrial landscape, depictions in which artistic media have been pressed into embodiments of natural elements (and vice versa), and abstractions that highlight a distance between the world perceived and the world represented. Featuring works by artists such as Wayne Thiebaud, Roy DeForest, David Hockney, Vija Celmins, Ed Ruscha, Frank Stella, Louise Nevelson, and Richard Diebenkorn, the art of De-Natured presents a sampling of the many ways that artists have engaged with their changing environs. At a time when we are increasingly “growing up denatured,” as one New York Times writer recently described the divide between urban and pastoral life, these artistic collisions with nature (or its absence) have much to tell us about our own relationships with the environment, both natural and urban. This exhibition was curated by Heather Pamela Green, a doctoral candidate in Art History at Stanford University, and features work drawn from the Collection of Harry W. and Mary Margaret Anderson, as well as the Fine Arts Museums of San Francisco's Anderson Graphic Arts Collection.

The San Jose Museum of Art is pleased to offer this audio tour to compliment your visit to the exhibition De-Natured: Works from the Anderson Art Collection. In it you will hear commentary by curator Heather Green, interviews with several of the artists in the exhibition, and insight into the collection provided by Harry W. Anderson himself. You can download it to your iPod or other audio device for your next visit to the museum! In this episode Vija Celmins speaks about her two drawings in the exhibition De-Natured: Works from the Anderson Collection; on view at the San Jose Museum of Art October 13, 2007 - January 6, 2008. Broadly defined, to denature is to change the character or condition of something. In the milieu of contemporary painting, sculpture, and work on paper seen in this exhibition, it is the connection between artist and nature that has changed. Gone are the romantic vistas and picturesque scenes of traditional landscape painting. Instead we find images of pollution and alienation that mirror the post-war urban-industrial landscape, depictions in which artistic media have been pressed into embodiments of natural elements (and vice versa), and abstractions that highlight a distance between the world perceived and the world represented. Featuring works by artists such as Wayne Thiebaud, Roy DeForest, David Hockney, Vija Celmins, Ed Ruscha, Frank Stella, Louise Nevelson, and Richard Diebenkorn, the art of De-Natured presents a sampling of the many ways that artists have engaged with their changing environs. At a time when we are increasingly “growing up denatured,” as one New York Times writer recently described the divide between urban and pastoral life, these artistic collisions with nature (or its absence) have much to tell us about our own relationships with the environment, both natural and urban. This exhibition was curated by Heather Pamela Green, a doctoral candidate in Art History at Stanford University, and features work drawn from the Collection of Harry W. and Mary Margaret Anderson, as well as the Fine Arts Museums of San Francisco's Anderson Graphic Arts Collection.

The San Jose Museum of Art is pleased to offer this audio tour to compliment your visit to the exhibition De-Natured: Works from the Anderson Art Collection. In it you will hear commentary by curator Heather Green, interviews with several of the artists in the exhibition, and insight into the collection provided by Harry W. Anderson himself. You can download it to your iPod or other audio device for your next visit to the museum! In this episode Harry W. Anderson speaks about the Anderson art collection, philanthropy and several of the artists in the exhibition De-Natured: Works from the Anderson Collection; on view at the San Jose Museum of Art October 13, 2007 - January 6, 2008. Broadly defined, to denature is to change the character or condition of something. In the milieu of contemporary painting, sculpture, and work on paper seen in this exhibition, it is the connection between artist and nature that has changed. Gone are the romantic vistas and picturesque scenes of traditional landscape painting. Instead we find images of pollution and alienation that mirror the post-war urban-industrial landscape, depictions in which artistic media have been pressed into embodiments of natural elements (and vice versa), and abstractions that highlight a distance between the world perceived and the world represented. Featuring works by artists such as Wayne Thiebaud, Roy DeForest, David Hockney, Vija Celmins, Ed Ruscha, Frank Stella, Louise Nevelson, and Richard Diebenkorn, the art of De-Natured presents a sampling of the many ways that artists have engaged with their changing environs. At a time when we are increasingly “growing up denatured,” as one New York Times writer recently described the divide between urban and pastoral life, these artistic collisions with nature (or its absence) have much to tell us about our own relationships with the environment, both natural and urban. This exhibition was curated by Heather Pamela Green, a doctoral candidate in Art History at Stanford University, and features work drawn from the Collection of Harry W. and Mary Margaret Anderson, as well as the Fine Arts Museums of San Francisco's Anderson Graphic Arts Collection.

The San Jose Museum of Art is pleased to offer this audio tour to compliment your visit to the exhibition De-Natured: Works from the Anderson Art Collection. In it you will hear commentary by curator Heather Green, interviews with several of the artists in the exhibition, and insight into the collection provided by Harry W. Anderson himself. You can download it to your iPod or other audio device for your next visit to the museum! In this episode Harry W. Anderson speaks about the Anderson art collection, philanthropy and several of the artists in the exhibition De-Natured: Works from the Anderson Collection; on view at the San Jose Museum of Art October 13, 2007 - January 6, 2008. Broadly defined, to denature is to change the character or condition of something. In the milieu of contemporary painting, sculpture, and work on paper seen in this exhibition, it is the connection between artist and nature that has changed. Gone are the romantic vistas and picturesque scenes of traditional landscape painting. Instead we find images of pollution and alienation that mirror the post-war urban-industrial landscape, depictions in which artistic media have been pressed into embodiments of natural elements (and vice versa), and abstractions that highlight a distance between the world perceived and the world represented. Featuring works by artists such as Wayne Thiebaud, Roy DeForest, David Hockney, Vija Celmins, Ed Ruscha, Frank Stella, Louise Nevelson, and Richard Diebenkorn, the art of De-Natured presents a sampling of the many ways that artists have engaged with their changing environs. At a time when we are increasingly “growing up denatured,” as one New York Times writer recently described the divide between urban and pastoral life, these artistic collisions with nature (or its absence) have much to tell us about our own relationships with the environment, both natural and urban. This exhibition was curated by Heather Pamela Green, a doctoral candidate in Art History at Stanford University, and features work drawn from the Collection of Harry W. and Mary Margaret Anderson, as well as the Fine Arts Museums of San Francisco's Anderson Graphic Arts Collection.

The San Jose Museum of Art is pleased to offer this audio tour to compliment your visit to the exhibition De-Natured: Works from the Anderson Art Collection. In it you will hear commentary by curator Heather Green, interviews with several of the artists in the exhibition, and insight into the collection provided by Harry W. Anderson himself. You can download it to your iPod or other audio device for your next visit to the museum! In this episode Sam Richardson talks about his cast resin sculptures in the exhibition De-Natured: Works from the Anderson Collection; on view at the San Jose Museum of Art October 13, 2007 - January 6, 2008. Broadly defined, to denature is to change the character or condition of something. In the milieu of contemporary painting, sculpture, and work on paper seen in this exhibition, it is the connection between artist and nature that has changed. Gone are the romantic vistas and picturesque scenes of traditional landscape painting. Instead we find images of pollution and alienation that mirror the post-war urban-industrial landscape, depictions in which artistic media have been pressed into embodiments of natural elements (and vice versa), and abstractions that highlight a distance between the world perceived and the world represented. Featuring works by artists such as Wayne Thiebaud, Roy DeForest, David Hockney, Vija Celmins, Ed Ruscha, Frank Stella, Louise Nevelson, and Richard Diebenkorn, the art of De-Natured presents a sampling of the many ways that artists have engaged with their changing environs. At a time when we are increasingly “growing up denatured,” as one New York Times writer recently described the divide between urban and pastoral life, these artistic collisions with nature (or its absence) have much to tell us about our own relationships with the environment, both natural and urban. This exhibition was curated by Heather Pamela Green, a doctoral candidate in Art History at Stanford University, and features work drawn from the Collection of Harry W. and Mary Margaret Anderson, as well as the Fine Arts Museums of San Francisco's Anderson Graphic Arts Collection.