Podcast appearances and mentions of lucy lippard

But Lippard has also been much more than a writer. She curated “Eccentric Abstraction” in 1966, helping to define what would come to be called post-Minimalism in sculpture. Her experimental and traveling card shows helped create the audience for conceptual, minimal, and land art. She curated maybe the first museum show of Second Wave feminist art at the Aldrich Museum in 1971, and was a part of the founding mother-collective behind Heresies, a journal that shaped the field of feminist art history. Radicalized by sixties activism, she participated in the Art Workers Coalition, a historic activist formation protesting against the Vietnam War and for equality in the museum world. She was part of many, many other collectives and activist groups thereafter, including the Artists Call Against U.S. Intervention in Central America in the early 1980s, a project she discussed with us on the Art Angle back in 2022. Now Lippard has written a new book called Stuff: Instead of a Memoir. It's a short-packed tome that surveys an eventful life through photos that catalog the items Lippard finds around her in the home where she has lived since moving from New York to the small town of Galisteo in rural New Mexico in the early nineties. It's a fitting way to tell the story of a writer who has thought so much about how images and words fit together, and how meaning emerges from place and community. This week on the podcast, Ben Davis speaks once again to Lucy Lippard about a life in and out of art.

But Lippard has also been much more than a writer. She curated “Eccentric Abstraction” in 1966, helping to define what would come to be called post-Minimalism in sculpture. Her experimental and traveling card shows helped create the audience for conceptual, minimal, and land art. She curated maybe the first museum show of Second Wave feminist art at the Aldrich Museum in 1971, and was a part of the founding mother-collective behind Heresies, a journal that shaped the field of feminist art history. Radicalized by sixties activism, she participated in the Art Workers Coalition, a historic activist formation protesting against the Vietnam War and for equality in the museum world. She was part of many, many other collectives and activist groups thereafter, including the Artists Call Against U.S. Intervention in Central America in the early 1980s, a project she discussed with us on the Art Angle back in 2022. Now Lippard has written a new book called Stuff: Instead of a Memoir. It's a short-packed tome that surveys an eventful life through photos that catalog the items Lippard finds around her in the home where she has lived since moving from New York to the small town of Galisteo in rural New Mexico in the early nineties. It's a fitting way to tell the story of a writer who has thought so much about how images and words fit together, and how meaning emerges from place and community. This week on the podcast, Ben Davis speaks once again to Lucy Lippard about a life in and out of art.

We read Lucy Lippard's "The Dematerialization of Art" (1967) and cover the emergence of conceptual art in the 60s in NYC.Lucy Lippard, "The Dematerialization of Art" (1967) PDFFollow us on InstagramJoin Office Hours for discussion! Hosted on Acast. See acast.com/privacy for more information.

Any short list of the most important art critics of the last decades would have to include Lucy R. Lippard. She would also be at the very top of Artnet's art critic Ben Davis's personal list of favorite writers about art. Lippard has written numerous important books, including Six Years: the Dematerialization of the Art Object from 1973, the book that defined what conceptual art was all about for many; as well as volumes like Mixed Blessings: New Art In a Multicultural America, The Pink Glass Swan: Selected Essays on Feminist Art; and The Lure of the Local: Sense of Place in a Multicentered Society—each helping set the agenda for a different art historical moment. But Lippard has also been much more than a writer. She curated "Eccentric Abstraction" in 1966, helping to define what would come to be called post-Minimalism in sculpture. Her experimental and traveling card shows helped create the audience for conceptual, minimal, and land art. She curated maybe the first museum show of Second Wave feminist art at the Aldrich Museum in 1971, and was a part of the founding mother-collective behind Heresies, a journal that shaped the field of feminist art history. Radicalized by sixties activism, she participated in the Art Workers Coalition, a historic activist formation protesting against the Vietnam War and for equality in the museum world. She was part of many, many other collectives and activist groups thereafter, including the Artists Call Against U.S. Intervention in Central America in the early 1980s, a project she discussed with us on the Art Angle back in 2022. Now Lippard has written a new book called Stuff: Instead of a Memoir. It's a short-packed tome that surveys an eventful life through photos that catalog the items Lippard finds around her in the home where she has lived since moving from New York to the small town of Galisteo in rural New Mexico in the early nineties. It's a fitting way to tell the story of a writer who has thought so much about how images and words fit together, and how meaning emerges from place and community. This week on the podcast, Ben Davis speaks once again to Lucy Lippard about a life in and out of art.

Any short list of the most important art critics of the last decades would have to include Lucy R. Lippard. She would also be at the very top of Artnet's art critic Ben Davis's personal list of favorite writers about art. Lippard has written numerous important books, including Six Years: the Dematerialization of the Art Object from 1973, the book that defined what conceptual art was all about for many; as well as volumes like Mixed Blessings: New Art In a Multicultural America, The Pink Glass Swan: Selected Essays on Feminist Art; and The Lure of the Local: Sense of Place in a Multicentered Society—each helping set the agenda for a different art historical moment. But Lippard has also been much more than a writer. She curated "Eccentric Abstraction" in 1966, helping to define what would come to be called post-Minimalism in sculpture. Her experimental and traveling card shows helped create the audience for conceptual, minimal, and land art. She curated maybe the first museum show of Second Wave feminist art at the Aldrich Museum in 1971, and was a part of the founding mother-collective behind Heresies, a journal that shaped the field of feminist art history. Radicalized by sixties activism, she participated in the Art Workers Coalition, a historic activist formation protesting against the Vietnam War and for equality in the museum world. She was part of many, many other collectives and activist groups thereafter, including the Artists Call Against U.S. Intervention in Central America in the early 1980s, a project she discussed with us on the Art Angle back in 2022. Now Lippard has written a new book called Stuff: Instead of a Memoir. It's a short-packed tome that surveys an eventful life through photos that catalog the items Lippard finds around her in the home where she has lived since moving from New York to the small town of Galisteo in rural New Mexico in the early nineties. It's a fitting way to tell the story of a writer who has thought so much about how images and words fit together, and how meaning emerges from place and community. This week on the podcast, Ben Davis speaks once again to Lucy Lippard about a life in and out of art.

Since her arrival on the art scene in the 1960s, legendary art writer Lucy Lippard's work - searing, novelistic, crisp, and endlessly curious - as well as her insights, activism, entrenchment in the art world, and friendships have secured her role as one of the most important minds in art criticism of her generation. Now, at 86 years old, all of the stuff that she's collected along the way – photographs, drawings, relationships, grandchildren – is the subject of her new memoir, or, actually, what she calls “Stuff (Instead of a Memoir).” She joined me to talk about the book, but also more than 60 years of writing about art in the way that centered life. After all, “art,” she often quotes, “is what makes life more interesting than art.” Art is the artists, the world they inhabit, their shared cultural references, their shared understanding of the art world and art history. Their human experiences rendered in paint. The stuff they leave behind. Music Used: The Blue Dot Sessions, “Lacquer Groove,” “Hardwood Lullaby” Episode Webpage: https://www.thelonelypalette.com/interview/2023/12/20/lucy-lippard-art-writer

Robin is leveled by COVID but muddles through hilariously. Special Guest: Feminist art historian and critic Lucy Lippard. New feature: Poetry Corner!

Join art critic Ben Davis and artists Julieta Aranda and Naeem Mohaiemen for a conversation about the role of art in a world on fire. It is a scary and disorienting time for art, as it is a scary and disorienting time in general. Aesthetic experience is both overshadowed by the spectacle of current events and pressed into new connection with them. The self-image of art as a social good is collapsing under the weight of capitalism's dysfunction. In his new book Art in the After-Culture, critic Ben Davis makes sense of our extreme present as an emerging "after-culture"—a culture whose forms and functions are being radically reshaped by cataclysmic events. In the face of catastrophe, he holds out hope that reckoning with the new realities of art, technology, activism, and the media, can help us weather the super-storms of the future. ”Here's to art criticism with an axe to grind.”—Boots Riley “This kaleidoscopic collection will help you see and comprehend the world anew—which is, in my book, what good art should do.”—Astra Taylor “Following in the footsteps of theorists like John Berger, Stuart Hall, and Lucy Lippard, Ben Davis is an essential guide to the politics of culture in the 21st Century.”—Trevor Paglen --------------------------------------------------------------------- Ben Davis is the author of 9.5 Theses on Art and Class, which ARTnews named one of the best art books of the decade in 2019. He has been Artnet News's National Art Critic since 2016. His writings have also been featured in The New York Times, New York Magazine, The Baffler, Jacobin, Slate, Salvage, e-Flux Journal, Frieze, and many other venues. In 2019, Harvard's Nieman Journalism Lab reported that he was one of the five most influential art critics in the United States. He lives in Brooklyn. Naeem Mohaiemen is Associate Professor of Visual Arts and Concentration Head of Photography at Columbia University, New York. His work combines photography, films, and essays to parse the many forms of utopia-dystopia (families, borders, architecture, and uprisings) in the postcolonial Muslim world(s). He is co-editor with Eszter Szakacs of the forthcoming Solidarity Must be Defended (Tranzit: Hungary, 2022). Julieta Aranda is an artist born in Mexico City, who currently lives and works between Berlin and New York. Central to Aranda's multidimensional practice are her involvement with circulation mechanisms; her interest in science-fiction, space travel, zones of friction; and her interest in the possibilities for the production of political subjectivities by way of all of the above. As a co-director of e-flux together with Anton Vidokle, Julieta Aranda has developed the projects Time/Bank, Pawnshop, and e-flux video rental, all of which started in the e-flux storefront in New York, and have traveled to many venues worldwide. Since 2008, Julieta Aranda has been the editor of e-flux journal, together with Anton Vidokle and Brian Kwan Wood. Watch the live event recording: https://youtu.be/SbwtXqwhfBc Buy books from Haymarket: www.haymarketbooks.org Follow us on Soundcloud: soundcloud.com/haymarketbooks

If you were out and about in 1984, you might have noticed a striking poster wheatpasted everywhere. It featured two heroic silhouettes pulling down a statue, clearly avatars of the People topping the icon of a hated political dictator. But instead of a statue of a man in uniform, they were bringing down an image of a huge banana. If you were an art fan you might also recognize the signature of Claes Oldenburg, one of the most famous Pop artists. But whereas Oldenburg was best known for playful, giant-sized sculptures of everyday objects, this giant banana had a clear and outspoken message of political solidarity: the term “banana republic” comes from the bad governments of Central America that the U.S. propped up at the behest of its fruit corporations. And the U.S. was once again intervening in Central America."Installation view, Art for the Future: Artists Call and Central American Solidarities at Tufts University Art Galleries, 2022. Peter Harris Photography."[/caption] Oldenburg's memorable lithograph was one image associated with the "Artists' Call Against U.S. Intervention in Central America." And it is one of a huge number of artworks and artifacts relating to this intense early-'80s moment of artist organizing that have just gone on view at Tufts University Art Galleries in the show “Art for the Future: Artists Call and Central American Solidarities.” The '80s are remembered as a time of political conservatism and yuppie excess. But it was also the height of the late Cold War machinations. The Ronald Reagan administration's backing of death squads and repression of left-wing movements in places like Nicaragua and El Salvador is one of its darkest chapters. A robust Central American solidarity movement across the United States in the early '80s organized to defend refugees and decry the U.S.'s backing of the brutality. The Artists Call was inspired and in dialogue with this wave of public activity, an attempt to use art's clout to raise money and to reach an influential public. Involving figures including the Salvadoran poet and exile Daniel Flores y Ascencio, the curator and artist Coosje van Breuggen, and the famed art critic Lucy Lippard, the Artists Call was an organizing network that brought together, as Lippard remembers, “young and old, Latin, Central, and North American, lefties and liberals, artists working in a broad spectrum of styles.” Emerging from the discussions around a show by the art collective Group Material dedicated to Central American activism in 1982, the Artists' Call would ultimately inspire participation from thousands of artists, including Vito Acconci, Louise Bourgeois, Sol LeWitt, Donald Judd, Ana Mendieta, and Cecilia Vicuña. Yet despite the high-profile names it rallied and the recent interest in historical models of artist activism, the Artists' Call has been little remembered until now. On this week's episode, Ben Davis, Artnet News's chief art critic, had the chance to talk about the Artists Call with the curators of “Art for the Future”: Erina Duganne and Abigail Satinsky, as well as Lucy Lippard herself.

If you were out and about in 1984, you might have noticed a striking poster wheatpasted everywhere. It featured two heroic silhouettes pulling down a statue, clearly avatars of the People topping the icon of a hated political dictator. But instead of a statue of a man in uniform, they were bringing down an image of a huge banana. If you were an art fan you might also recognize the signature of Claes Oldenburg, one of the most famous Pop artists. But whereas Oldenburg was best known for playful, giant-sized sculptures of everyday objects, this giant banana had a clear and outspoken message of political solidarity: the term “banana republic” comes from the bad governments of Central America that the U.S. propped up at the behest of its fruit corporations. And the U.S. was once again intervening in Central America."Installation view, Art for the Future: Artists Call and Central American Solidarities at Tufts University Art Galleries, 2022. Peter Harris Photography."[/caption] Oldenburg's memorable lithograph was one image associated with the "Artists' Call Against U.S. Intervention in Central America." And it is one of a huge number of artworks and artifacts relating to this intense early-'80s moment of artist organizing that have just gone on view at Tufts University Art Galleries in the show “Art for the Future: Artists Call and Central American Solidarities.” The '80s are remembered as a time of political conservatism and yuppie excess. But it was also the height of the late Cold War machinations. The Ronald Reagan administration's backing of death squads and repression of left-wing movements in places like Nicaragua and El Salvador is one of its darkest chapters. A robust Central American solidarity movement across the United States in the early '80s organized to defend refugees and decry the U.S.'s backing of the brutality. The Artists Call was inspired and in dialogue with this wave of public activity, an attempt to use art's clout to raise money and to reach an influential public. Involving figures including the Salvadoran poet and exile Daniel Flores y Ascencio, the curator and artist Coosje van Breuggen, and the famed art critic Lucy Lippard, the Artists Call was an organizing network that brought together, as Lippard remembers, “young and old, Latin, Central, and North American, lefties and liberals, artists working in a broad spectrum of styles.” Emerging from the discussions around a show by the art collective Group Material dedicated to Central American activism in 1982, the Artists' Call would ultimately inspire participation from thousands of artists, including Vito Acconci, Louise Bourgeois, Sol LeWitt, Donald Judd, Ana Mendieta, and Cecilia Vicuña. Yet despite the high-profile names it rallied and the recent interest in historical models of artist activism, the Artists' Call has been little remembered until now. On this week's episode, Ben Davis, Artnet News's chief art critic, had the chance to talk about the Artists Call with the curators of “Art for the Future”: Erina Duganne and Abigail Satinsky, as well as Lucy Lippard herself.

Writer, activist and Galisteo resident Lucy Lippard discusses how she came to live in the small, but much lauded, village in Northern New Mexico and reflects on her life there and the changes she has witnessed.Support the show (https://www.patreon.com/radiofreegalisteo?fan_landing=true)

www.proartesmexico.com.mx Interview in English with Melanie Yazzie by Peter Hay. Dec. 15th, 2020. Entrevista con Melanie Yazzie, por Peter Hay. 15 de dic, 2020. A printmaker, painter, and sculptor, the work of today’s guest draws upon her rich Diné cultural heritage. She works to serve as an agent of change by encouraging others to learn about social, cultural, and political phenomena shaping the contemporary lives of Native peoples in the United States and beyond. She travels the world to connect with other Indigenous peoples. Her visits to New Zealand, the Arctic, the Pueblos in the Southwest, and to Indigenous peoples of Russia have been the impetus for continued dialogue about cultural practices, language, song, story-telling, and survival. She is represented by Glenn Green Gallery in Santa Fe, New Mexico, her work is held in many collections around the USA and internationally, and participated in over 500 group and solo exhibitions. Melanie Yazzie has been reviewed in Focus Magazine, Santa Fe, the Los Angeles Times, New Zealand Herald, and she is mentioned in ‘Printmaking in the Sun’ by Dan Welden and Pauline Muir and ‘The Lure of the Local: Sense of Place in a Multi Centered Society’ by Lucy Lippard. Grabadora, pintora y escultora, el trabajo de la invitada de hoy se basa en su rica herencia cultural Diné. Trabaja para servir como agente de cambio al alentar a otros a aprender sobre los fenómenos sociales, culturales y políticos que dan forma a la vida contemporánea de los pueblos indígenas en los Estados Unidos y más allá. Viaja por el mundo para conectarse con otros pueblos indígenas. Sus visitas a Nueva Zelanda, el Ártico, los Pueblos en el Suroeste y los pueblos indígenas de Rusia han sido el ímpetu para el diálogo continuo sobre prácticas culturales, lenguaje, canciones, narración de historias y supervivencia. Está representada por Glenn Green Gallery en Santa Fe, Nuevo México. Su trabajo se encuentra en decenas de colecciones en los EUA e internacionalmente. Ha participado en más de 500 exposiciones grupales e individuales. Melanie Yazzie ha sido reseñada en Focus Magazine, Santa Fe, Los Angeles Times, New Zealand Herald, y se la menciona en 'Printmaking in the Sun' por Dan Welden y Pauline Muir; y en 'The Lure of the Local: Sense of Place in a Multicentered Society' de Lucy Lippard.

“What it Means to Write About Art features conversations with writers who average three decades of experience turning phrases that go to press with a bold, uninhibited passion for art.” Matt Hanson reviews Jarrett Earnest’s recent book, a collection of interviews with prominent art writers such as Jerry Saltz, Roberta Smith, Lucy Lippard, Rosalind Krauss, and Yve Alain Bois. Reading: Matt Hanson

No episódio #012 a colombiana artista arquivista Lorena Tabares Salamanca lê Curadoria por números de Lucy Lippard -- Investigadora (Cali, 1990) // Licenciada en Artes Visuales de la Universidad del Valle. Ha realizado estudios en Ingeniería Informática. Se desempeñó como asistente de investigación de LaSucursal.Clo entre 2014 y 2016. Ha realizado colaboraciones en curaduría y apoyo en investigaciones, tales como: La insurrección de la pintura o el tercer lado del espejo (2016) y Bajo la institución la calle: performando el espacio público, Cali – Ciudad de México 1995 -2005 (2016). En 2017 participó del proyecto “Estabilización, descripción y digitalización de documentos audiovisuales y fotográficos en formatos análogos del Fondo Ex Teresa Arte Actual”. Actualmente, desarrolla el proyecto de digitalización y clasificación digital del archivo fotográfico de António Juárez Caudillo. Vive y trabaja entre México, Portugal y Colombia. -- VER.SAR é um podcast com artistas convidadas a compartilhar leituras de textos sobre práticas artísticas, maternidades e feminismos. Este Podcast é uma plataforma de comunicação colaborativa que reúne mulheres artistas e seus referenciais textuais, a partir do exercício da leitura e busca criar um arquivo de consulta e compartilhamento gratuito de conteúdo relacionado às questões estruturais e conceituais implicadas em ser mulher na contemporaneidade. As artistas convidadas são mulheres que investigam e discutem os conflitos políticos da vida doméstica e pública produzindo pensamento crítico em nosso contexto e propondo mudanças significativas no mundo da arte. É preciso Ouvir as mulheres! --- Send in a voice message: https://anchor.fm/podcastversar/message

We're back! Talk Art Season 3!! Robert & Russell meet one of the world's most celebrated & iconic curators Hans-Ulrich Obrist. Best known for his groundbreaking work as Artistic Director of Serpentine Galleries, London, Obrist has curated shows by many of our favourite artists as wide-ranging as Rebecca Warren, Faith Ringgold, Lynette Yiadom-Boakye, Wolfgang Tillmans, Etel Adnan, Phyllida Barlow, Marina Abramović, Yoko Ono and many, many more. We discuss his childhood passion of reading books, an early exploration of curating and collecting art postcards, the impact of meeting Alighiero E Boetti in his mid teens and his first group exhibition (curated in his kitchen) with artists including Christian Boltanski and Fishli & Weiss. We discuss memory in art, the importance of listening, an ongoing exhibition ‘Do It’ started in 1993 that has since been realised in more than 160 museums across the world as well as the more recent 'It's Urgent' billboard international art poster project. We learn how he has been addressing the challenge of bringing art to as many people as possible (including a notable recent collaboration with Arthur Jafa) as well as his early interest of bringing together art & science, the legacy of curator Lucy Lippard, of caring for the environment and the importance of taking ecology to the centre stage. See acast.com/privacy for privacy and opt-out information.

No episódio #012 a colombiana artista arquivista Lorena Tabares Salamanca lê Curadoria por números de Lucy Lippard -- Investigadora (Cali, 1990) // Licenciada en Artes Visuales de la Universidad del Valle. Ha realizado estudios en Ingeniería Informática. Se desempeñó como asistente de investigación de LaSucursal.Clo entre 2014 y 2016. Ha realizado colaboraciones en curaduría y apoyo en investigaciones, tales como: La insurrección de la pintura o el tercer lado del espejo (2016) y Bajo la institución la calle: performando el espacio público, Cali – Ciudad de México 1995 -2005 (2016). En 2017 participó del proyecto “Estabilización, descripción y digitalización de documentos audiovisuales y fotográficos en formatos análogos del Fondo Ex Teresa Arte Actual”. Actualmente, desarrolla el proyecto de digitalización y clasificación digital del archivo fotográfico de António Juárez Caudillo. Vive y trabaja entre México, Portugal y Colombia. -- VER.SAR é um podcast com artistas convidadas a compartilhar leituras de textos sobre práticas artísticas, maternidades e feminismos. Este Podcast é uma plataforma de comunicação colaborativa que reúne mulheres artistas e seus referenciais textuais, a partir do exercício da leitura e busca criar um arquivo de consulta e compartilhamento gratuito de conteúdo relacionado às questões estruturais e conceituais implicadas em ser mulher na contemporaneidade. As artistas convidadas são mulheres que investigam e discutem os conflitos políticos da vida doméstica e pública produzindo pensamento crítico em nosso contexto e propondo mudanças significativas no mundo da arte. É preciso Ouvir as mulheres!

Live from our Elevator Studio @ Open Engagement: We are honored to be joined by OE Keynote presenter, the one and only Lucy Lippard! We find out what Lippard has been up to in New Mexico, her local newsletter, and Amanda and Dana vie for an invitation to move into her village. Hopefully you can hear us over the background sounds!

Ruth Wallen is a multimedia artist and writer whose work is dedicated to encouraging dialogue about ecology and social justice. She creates web sites and outdoor installations and has participated in innumerable exhibitions. Solo exhibitions range from Franklin Furnace, CEPA, New Langton Arts, to many San Diego venues. Web site hosts include the California Museum of Photography and the Exploratorium, where her work is currently on view. She was part of Weather Report: Art and Climate Change at the Boulder Museum of Contemporary Art, curated by Lucy Lippard, and recently has been addressing climate change in collaboration with scientists at Scripps Institution of Oceanography. Ruth writes critically about ecological art and race, gender and visual culture.  She is on the faculty of the MFA in Interdisciplinary Arts Program at Goddard College, a lecturer at UCSD, and was a Fulbright Lecturer at the Autonomous University of Baja California, Tijuana. Links to the Artwork of Ruth Wallen Listen to the Trees Las Comadres Light Up the Border Again View Points: Estuary Intimate Details Remember The Trees Articles Preserving Paradise A Day Without Mexicans Barrier or Bridge: Photojournalism of the San Diego/Tijuana Border Region LEONaRDo vol 45 calls for “Visionary intervention in a time of crisis” Other mentions Naomi Klein: This Changes Everything Ep. 24 Regan Rosburg: Breaching Grief, Melancholia and Mania with Biophilia Helen Newton . . . @ about 46:30 Public Address (public artists) Guest Contact information RuthWallen.netRuth Wallen on Facebook Purchase the podcast’s namesake Eco Music album "Let’s Talk About The Weather" on iTunes or Bandcamp.

York's site-sensitive installations of graphite forms, both sculpted and drawn, engage the existing architecture of a chosen site: a room, a wall, or a piece of paper. Her studies in graphite are a reverent homage to subtlety, with irregularities interrupting otherwise austere geometric forms and producing results that are perhaps more felt than seen. In the exhibition catalogue, Susan York: 3 Columns, Lucy Lippard wrote, “This nuanced fusion of the intellect and sensual experience is precisely what York achieves. In doing so, she takes Minimalism past the post, and into a realm of her own”.

Bio: Carol Conde + Karl Beveridge are Toronto-based artists whose practice has impacted the arts ecology here and elsewhere, in ways that could not easily be overstated. Their work consistently takes up themes of labour, social justice, representation, and the power and possibility of art to make meaningful change. They have worked closely with workers, unions, activists, and a range of social justice oriented arts collectives and community organizations. Their work appropriates figures of Western Canonical art and weaves together staged photographic images of actual artists, activists, actors, and workers to expose issues including: gender inequality in the home, the workplace and in the artist’s studio, the global water crisis, the 2008 crash, and Canada’s shameful relationship to resource extraction and indigenous rights. Apart from this, they’ve helped to organize artist unions, to establish the Worker’s Heritage and Arts Centre in Hamilton and they were founding members of Mayworks, the festival where this podcast began its life. Recording Notes: This interview was recorded at the dinner table in the artists’ home, not so far from Factory Theatre in downtown Toronto. You can at points hear their pets and the jangle of Carol’s several silver bracelets. The much despised Toronto air show. Along the walls hung cases of buttons and ribbons bearing union and activist slogans and insignias, and in Karl’s modest living room studio they showed me some of the coming projects they are at work on. Elements of this episode's sound design were contributed by Cale Weir. Check out his work here: https://taxhaven.bandcamp.com/ Links: Artist: Official Website: http://condebeveridge.ca/ References: Donald Judd: http://www.theartstory.org/artist-judd-donald.htm Carl Andre: http://www.artnet.com/artists/carl-andre/ Art & Language: https://www.flashartonline.com/article/art-language/ NSCAD in the 70s: https://en.wikipedia.org/wiki/NSCAD_conceptual_art Amiri Baraka: https://www.poetryfoundation.org/poets/amiri-baraka Paula Cooper Gallery: https://www.paulacoopergallery.com/ Lucy Lippard: https://exhibits.stanford.edu/women-art-revolution/feature/lucy-lippard Judy Chicago: http://www.judychicago.com/ The Fox Magazine: https://www.guggenheim.org/blogs/findings/this-short-lived-70s-magazine-shaped-conceptual-art United Steelworkers: https://www.usw.ca/ Radio Shack Strike: http://www.virtualreferencelibrary.ca/detail.jsp?Entt=RDMDC-TSPA_0017040F&R=DC-TSPA_0017040F&searchPageType=vrl D’Arcy Martin: http://aurora.icaap.org/index.php/aurora/article/view/24/35 Ian Burn: http://www.nytimes.com/1993/10/09/obituaries/ian-burn-53-artist-writer-and-founder-of-an-artists-union.html CARFAC: http://www.carfac.ca/ A Space: http://www.aspacegallery.org/ General Idea: https://canadianart.ca/reviews/general-idea-ago/ Workers Arts and Heritage Centre: http://wahc-museum.ca/ Florencia Berinstein: http://www.aspacegallery.org/index.php?m=programdetails&id=59 Plug In: https://plugin.org/ Fuse Magazine: https://canadianart.ca/news/fuse-magazine-folds-after-38-years/ Jack Pollacks Gallery: https://en.wikipedia.org/wiki/Jack_Pollock Carmen Lamanna Gallery: https://canadianart.ca/features/carmen-lamanna/ Young Lords: https://libcom.org/library/palante-brief-history-young-lords David Fennario: http://www.cbc.ca/news/canada/montreal/david-fennario-the-good-fight-takes-an-artistic-look-at-playwright-s-life-1.2836551 CAW Freelancer Local: https://en.wikipedia.org/wiki/Canadian_Freelance_Union Ai WeiWei: http://www.moonmoonmoonmoon.com/ Francis Alÿs: http://francisalys.com/ Theaster Gates: https://art21.org/artist/theaster-gates/

Yo veo / tú significas es una novela experimental sobre espejos, mapas, relaciones personales, sobre el océano, el éxito esquivo y la felicidad como posibilidad. A través de un collage de fotografías verbales, diálogos, encuentros sexuales, material encontrado y dispositivos de auto-identificación (astrología, el I Ching, quiromancia, Tarot) narra de pasado a futuro la cambiante relación entre dos hombres y dos mujeres. Entre líneas suceden muchas cosas. La crítica de arte Lucy Lippard escribió esta novela en 1970 y se convirtió feminista en el proceso: “Empecé escribiendo y me di cuenta que estaba avergonzada de ser una mujer. Entonces tuve que saber por qué. Luego me enfadé. La forma fragmentada y visual del texto bebe del arte contemporáneo y las emociones conflictivas de las confrontaciones políticas de los 60; todo esto sugirió una nueva forma de recolocar las cosas, de forma abierta, de una manera femenina que no pretende conclusiones”. Más información: https://www.consonni.org/es/publicacion/yo-veo-tu-significas

Writer, activist and curator, Lucy Lippard discusses the monograph she wrote in 1976 about her good friend and artist, Eva Hesse.

Writer, activist and curator, Lucy Lippard discusses the monograph she wrote in 1976 about her good friend and artist, Eva Hesse.

Sharon Siskin has an extensive national exhibition record, showing her work in museums, galleries and public sites for more than 27 years. She is the recipient of awards and grants that include a Visual Arts Fellowship from the California Arts Council in 2003, the 2001 Potrero Nuevo Prize, Noetic Arts Program Community Grant, San Francisco Arts Commission Market Street Art in Transit Commission and 12 California Arts Council Artist in Residence Grants for community-based public art projects in the San Francisco Bay Area AIDS support service community and in the City of Berkeley homeless women and children services community. She was the Artist in Residence at San Francisco Recycling & Disposal, Inc. in the summer of 2004. Her artwork has been featured in numerous publications including Women Artists in the American West, edited by Susan Ressler, Lure of the Local: Sense of Place in a Multicentered Society, by Lucy Lippard, Connecting Conversations: Interviews with 28 Bay Area Women Artists, edited by Moira Roth and Site to Sight, Mapping Bay Area Visual Culture, edited by Lydia Mathiews. She is currently Assistant Professor of Drawing at the University of San Francisco and co-directs with Professor Richard Kamler Arts Outreach: The Artist as Citizen, a year-long program which seeks to embed student art practitioners into communities to collaboratively engage in community-based art. She has also taught as a member of the Core Faculty as an Adjunct Professor in the Graduate Department of Arts and Consciousness at John F. Kennedy University and California College of Arts and Crafts, San Francisco Art Institute, California State University at Hayward and the University of New Mexico as well as at several California Community Colleges. She is a recognized leader in the field of community-based public art and is the founder of Positive Art in 1988, an art project in the Bay Area AIDS community continuing to provide a model for many communities internationally. She has lectured extensively in art colleges, universities, professional conferences, galleries and museums throughout the United States.