Podcast appearances and mentions of lynda benglis

File Under: Slime by Christopher Michlig — a cultural history of Slime — was recently published by Hat & Beard Editions. What is slime? We are well acquainted with its qualities in conjunction with certain things from which we tend to recoil but to which we are also at times attracted. Despite being everywhere, slime is a surprisingly unexamined cultural phenomenon. File Under: Slime collates a cultural history of “slime” and “sliminess,” with particular emphasis on precedents in pop-culture, contemporary art, ecology, science fiction, literature, critical theory, and cinema. Artist and professor Christopher Michlig's research characterizes slime as a pervasive, oozing, cultural phenomenon, documenting instances of its evolving representations. The appearance of slime in such films as The Blob, Ghostbusters, and Poltergeist are diligently and humorously analyzed, commercial and graphic design precedents are incorporated, and the work of such artists as Lynda Benglis, Cindy Sherman, Robert Smithson, Sterling Ruby, and Jason Rhoades are discussed. Alongside a multitude of visual references, File Under: Slime is supplemented with literary and theoretical references from such writers as Jean Paul Sartre, Julia Kristeva, Mike Kelley, Rosalind Krauss, Laura Mulvey, and others. +++ SLIME: A NATURAL HISTORY by SUSANNE WEDLICH — a different but like-minded cultural history of slime — was also recently published by Melville House in New York. This groundbreaking, witty, and eloquent exploration of slime will leave you appreciating the nebulous and neglected sticky stuff that covers our world, inside and out. Slime exists at the interfaces of all things: between the organs and layers in our bodies, and between the earth, water, and air in the world, and is often produced in the fatal encounter between predator and prey. In this fascinating, ground-breaking book, Wedlich leads us on a scientific journey through the 3-billion-year history of slime—from the part it played in the evolution of life on this planet to the way it might feature in the post-human future. She also explores the cultural and emotional significance of slime, from its starring role in the horror genre to its subtle influence on Art Nouveau. +++ Susanne Wedlich studied biology and political science in Munich and has worked as a writer in Boston and Singapore. She is currently a freelance science journalist for Der Spiegel and National Geographic. She lives in Munich. Christopher Michlig, meanwhile, makes work in a wide range of media, including collage, printmaking, sculpture, and film. His work has been reviewed and featured in The Los Angeles Times, Mousse Magazine, Saatchi Online, Flavorpill, and New City and exhibited nationally and internationally.  Michlig received an MFA from Art Center College of Design, Pasadena, California and he is currently Associate Professor and area Coordinator of Core Studio at the University of Oregon, Eugene. The authors caught up this spring to discuss their books and mutual fascination with slime.

My guests for this special Independent art fair episode are Susan Inglett, founder of the eponymous gallery, since 1994 in New York and David Platzker, an expert in artists' books and related ephemera. Susan Inglett Gallery provides representation for a range of artists, emerging to established, working across media and develops a program of surprising juxtapositions. David Platzker is President of Specific Object, a gallery, bookstore and think-tank dedicated to art post 1959, archiving and selling a range of items from art to counterculture. From 2013 to 2018 David was Curator of Drawings and Prints at the Museum of Modern Art. Susan and David will have a joint presentation with artists Yayoi Kusama, Lynda Benglis and Beverly Semmes at this years Independent. Susan and David lead us through an exciting, in depth story about the New York art world of the 1960s and 70s. The talk covers artists projects in pornographic publications, explores their backgrounds, discusses feminist liberation vs. the male gaze and reveals what we can learn through those analog ways of communication in our digital age. David talks the (acclaimed) artists he met on the way, which were engaged with those special publications and covers the joint booth with Susan Inglett at the Independent, highlighting three feminist artists from different generations, addressing nudity and porn, reclaiming sexuality. Susan shares insights about her path as a gallerist and the special work gallery artist Beverly Semmes will contribute to their three artists booth. 37 min., recorded April 5, 2023 Susan Inglett portrait by Grace Roselli, Pandora's BoxX Project David Platzker portrait by Martin Seck Shownotes: https://www.independenthq.com/ https://specificobject.com/ https://www.inglettgallery.com/ #IndependentArtFair #IndependentNewYork #Independent2023 #SusanInglett #SusanInglettGallery #DavidPlatzker #SpecificObject #NewYorkCity #VoicesOnArt #VanHornGallery #DanielaSteinfeld #Podcast #Talk #Storytelling

This is LiveArt's Hot List for the second quarter of 2022. Using our comprehensive data, we looked at the sales in April, May and June in London, New York and Hong Kong. We tried to identify the artists with high hammer ratios across multiple sales. Hammer ratio is the hammer price over low estimate. We narrowed that list to a few dozen artists, excluding, for example, the names from the Winter Hot List. Then we boiled it down further to 16 artists whose markets we think are worth paying some attention to right now. To give all 16 artists the time they deserve, along with some related observations from the marketplace by George O'Dell, we split the podcast into two parts. In this episode, George discusses the markets for Ernie Barnes, Anna Weyant, Robert Motherwell, Scott Kahn, Lynda Benglis, Donald Baechler, Francesco Clemente, Roby Dwi Antono, and Katherine Bernhardt. If you want to follow along as we discuss the sales, go to analytics.liveart.io. Type the artist's name in the nav-bar search window in the upper right hand corner. Once you're on the artist's page, scroll down to the search results. In the right-hand corner you can sort by date sold, newest to oldest. Or use the Auction Sales tab to select only the sales for 2022.

A partner at Mnuchin Gallery since 2013, Sukanya Rajaratnam has played an important role in connecting some of the world's most respected collectors with artists whose work has been previously overlooked or undervalued. Trained in finance but finding her way into the art world, Rajaratnam explains that although she is self-taught in art history and deal-making, her experience looking for value in the financial world has been instrumental in her role as an art dealer. In this podcast, she talks about the exhibitions Mnuchin Gallery has put on for artists like Ed Clark, Sam Gilliam, Lynda Benglis, Mary Lovelace O'Neal and more.

Lynda Benglis is most celebrated for her engagement with the physicality of material within her artistic practice. Studying in New York City, Benglis propelled Abstract Expressionism's gestural temperament away from the confines of the canvas. In the 1960s, she created fluid sculptures by pouring pigmented wax and latex within the gallery space, allowing the work to dictate its final form, while subverting the bravado of the male art stars from that period. The following decades saw production of provocative video and photographic work that explored the artist's concern of gender stereotypes, critique of the art market and the artist as celebrity. Benglis continues to create today, compelling an ongoing conversation between abstraction and femininity and is featured in BMoA's current exhibition On the Edge: Los Angeles Art 1970s - 1990s from the Joan and Jack Quinn Family Collection. For Further Information: On the Edge Exhibition: www.bmoa.org/exhibition/on-the-edge Lynda Benglis: www.pacegallery.com/artists/lynda-benglis/    

The East Wing of the National Gallery of Art in Washington DC has re-opened, and we visit the exhibitions of Lynda Benglis and Sarah Cain.

True art comes from inside, deep inside, near that hummus you ate earlier. Join Maria Denolt as she looks back on the work of a towering figure in…

Rebecca Crowell interviews Paula Roland about her life as an artist and entrepreneur. (From https://paularoland.com/roland-bio/) Paula Roland is a life-long artist and teacher with an MFA in painting and sculpture from the University of New Orleans. After many years teaching painting and drawing at the college level, Paula found a niche specializing in encaustic monotype printing and related encaustic topics. Since 1996, these processes and materials have informed her own works, and in turn inspired her teaching. Born on the Mississippi Gulf Coast, Paula spent much of her adult life living and working in nearby New Orleans. Her works address the extremes in nature and the natural world's nexus with ecology, science, art, and spirit. Since the early 1980s her works have examined natural phenomena and human interaction. Drawn to areas with a strong sense of place that are culturally rich, diverse, and visually inspiring, Roland moved to Santa Fe, New Mexico in 1989. “Living near Los Alamos National Labs and Chaos Theory think tanks has led to a heightened interest in science, including systems, fractals, and strange attractors. In recent works, I examine ecology through intuitive mapping, finding my way in rapidly changing environments in the natural world through my art. I choose materials for their ability to be somewhat unpredictable or have the ability to change and therefore partner with me in making the work. This process circumvents preconceived ideas and opens me to new possibilities. I engage with the image and medium in a direct and intimate way. With encaustic printing, thought and action are one, much like improvisational music or dance.” Roland's awards include commissions from the National Endowment for the Arts and for the US Department of State's American Embassies in South Africa and Uganda. She was awarded residencies at VCCA in Virginia and in France, and two at the Santa Fe Art Institute, working with Lynda Benglis and with Elizabeth Murray. Articles on Paula Roland have appeared in New American Painting, Surface Design Journal, Artist's Magazine, New Mexico Magazine, the Santa Fean Magazine and Vasari21 online art magazine. Her works are included in books and media on art, encaustic and installation. Check out Paula's websites: https://paularoland.com/ https://www.rolandworkshops.com/ More Messy Studio available at: www.messystudiopodcast.com www.facebook.com/messystudiopocast Rebecca Crowell: www.rebeccacrowell.com www.squeegeepress.com Special Guest: Paula Roland.

Lynda Benglis’s work generally exists in an indefinable space between painting and sculpture, and explores metaphorical and biomorphic shapes as well as the materiality of the surface.

Lynda Benglis (artist) in conversation with Eike Schmidt (Galleria degli Uffizi, Florence)

Climate Interactive’s Co-Director Drew Jones, and NASA scientist Dr. Gavin Schmidt talk about recent trends with the warming Earth, and climate change science. Next, Dr. Karin Muraszko, Chair of Neurosurgery at the University of Michigan, talks multiple sclerosis and other neurological health issues as she attends a neurological conference in New Orleans. Then, local attorney and art collector Chris Alfieri discusses a lost sculpture by Lynda Benglis from the 1984 World’s Fair in New Orleans that he found in Kenner, restored with the help of the Helis Foundation, and placed in City Park. Finally, artist Monique Verdin, discusses her work that focuses on the culture and challenges of Houma Indians.

Moore is pleased to announce that Judith Tannenbaum will be this year’s Commencement speaker and will be receiving an Honorary Doctorate of Fine Arts from the College. Tannenbaum was named The Rhode Island School of Design (RISD) Museum’s first curator of contemporary art in 2000. In 2002, she became the Richard Brown Baker Curator of Contemporary Art, the Museum’s first endowed position, which she held until 2013. She recently relocated to Philadelphia but continues her connection to RISD as Adjunct Curator. Moore’s 165th Commencement will be held on Sunday, May 18 at 11 am in Aviator Park, across from the College. Tannenbaum has organized numerous exhibitions focusing on painting, sculpture, video, and interdisciplinary work--with a particular interest in connections between visual art and performance and relationships among fine art, craft, and design. Exhibitions and publications for RISD include Arlene Shechet: Meissen Recast (2014), Painting Air: Spencer Finch (2012); Lynda Benglis (2010); Styrofoam (2008); Beth Lipman: After You’re Gone (2008); Wunderground: Providence, 1995 to the present (2006); Betty Woodman: Il Giardino dipinto (2005); Island Nations: New Art from Cuba, the Dominican Republic, Puerto Rico, and the Diaspora (2004); On the Wall: Wallpaper by Contemporary Artists (2003); and Jim Isermann: Logic Rules (2000). From 1986 to 2000, Tannenbaum served variously as curator, associate director, and interim director at the Institute of Contemporary Art (ICA), University of Pennsylvania, in Philadelphia. As interim director of ICA in 1989-90, she became the spokesperson for the defense of public funding for the arts and artistic freedom in relation to the Robert Mapplethorpe exhibition originated by ICA. Among the shows she curated for ICA are: Glenn Ligon:Unbecoming (1998), PerForms (1995) featuring the work of Janine Antoni, Charles Ray, and Jana Sterbak; Vija Celmins (1992), a retrospective exhibition that toured nationally; and Interactions (1991), a large group shows about collaborations between the visual and performing arts. In January, 2014, Tannenbaum was honored by the Frick Center for the History of Collecting for her contribution to the book Get There First, Decide Promptly: The Richard Brown Baker Collection of Postwar Art (Yale University Art Gallery/Yale University Press, 2011). The book won the Sotheby’s Book Prize for a Distinguished Publication on the History of Collecting in America.

New York-based artist Lynda Benglis has been pouring, dripping, and splattering her way through unexpected media, color, and texture for decades. Her work sometimes shocks, and always surprises. Forty years after posing nude with a dildo for the photo that appeared in a full-page ArtForum advertisement, Lynda is at last being recognized for her significant impact on contemporary art. In this episode, we talk about her passion for creating and resurrecting fountains. Sound Editor: Kris McConnachie | Sound effects courtesy Dylan Farnum, Walla Walla Foundry

Museum Executive Director Don Bacigalupi and Sandy Edwards, Director of Museum Relations, talk about Eat Meat.