Podcasts about mapplethorpe

Descubre la vida y obra de Robert Mapplethorpe, uno de los fotógrafos más provocadores e influyentes del siglo XX. Conocido por sus retratos en blanco y negro de una intensidad cruda y una estética impecable, Mapplethorpe desafió los límites del arte, la sexualidad y la censura. Desde sus íntimos retratos de artistas y celebridades, hasta sus impactantes imágenes del cuerpo masculino y la subcultura BDSM, su trabajo sigue generando debates y admiración en todo el mundo. En este video exploramos su evolución artística, su relación con la poeta Patti Smith, su legado en el arte contemporáneo y la controversia que marcó su carrera hasta su muerte en 1989. Un viaje visual y reflexivo a través de la mirada de un artista que se atrevió a mostrar lo que muchos preferían ocultar.

In this episode, we welcome cinematographer Nancy Schreiber, ASC. Nancy has a long career working in film, television and documentaries. Some of her credits include Your Friends and Neighbors, Loverboy, The Nines, November, Path to War, Linda Ronstadt: The Sound of My Voice, Mapplethorpe, Visions of Light — and TV shows such as “P-Valley,” “Station 19,” “The Family,” “Blue” and “The Comeback.” In our chat, Nancy shares about her upbringing in Michigan, early days working in New York City, on through lensing countless feature films and TV shows. She also talks about her workflow, technologies used, and other insights from a life making movies. “The Making Of” is presented by AJA:Meet AJA Ki Pro GO2Easily record up to four channels of simultaneous HEVC or AVC to cost-efficient USB drives and/or network storage with flexible connectivity, including four 3G-SDI and four HDMI digital video inputs, to connect to a wide range of video sources.Learn more hereOWC Atlas Ultra CFexpress Cards:Experience the unparalleled performance and reliability of Atlas Ultra CFexpress Type B 4.0 cards purpose-built for professional filmmakers and photographers to capture flawlessly and offload files quickly in the most demanding scenarios.Check it out hereFrom our Friends at Broadfield…All-new pricing for RED KOMODO and KOMODO-X unlocks exceptional cinema quality, global shutter performance, and the power of RED to filmmakers at every level. The KOMODO is a compact cinema camera featuring RED's unparalleled image quality, color science, and groundbreaking global shutter sensor technology in a shockingly small and versatile form factor. The KOMODO-X is the next evolution with all-new sensor technology that multiplies frame rate and dynamic range performance within a new advanced platform.Inquire hereFeatured Event:Cine Gear Atlanta | October 4-5thThousands of industry professionals will surge to attend this year at Trilith Studios in Fayetteville, Georgia. A focal point of Southern filmmaking, Cine Gear 2023 drew thousands to the studio, which houses productions like Black Adam and Francis Ford Coppola's Megalopolis. Visitors met with equipment exhibitors from across the globe, attended panels and workshops from the International Cinematographer's Guild, the ASC, and numerous tech brands, and partied at the Friday night Southern Cine Soirée.Comp passes hereFeatured Book:Cronenberg on CronenbergCronenberg on Cronenberg charts Cronenberg's development from maker of inexpensive 'exploitation' cinema to internationally renowned director of million-dollar movies, and reveals the concerns and obsessions which continue to dominate his increasingly rich and complex work.Available here Podcast Rewind:Sept 2024 - Ep. 48…“The Making Of” is published by Michael Valinsky.Partner with us and feature your products to 85,000 film, TV, video and broadcast professionals reading this newsletter. Email us at mvalinsky@me.com Get full access to The Making Of at themakingof.substack.com/subscribe

durée : 00:59:25 - Toute une vie - Navigant dans le New-York underground des années 1970, Robert Mapplethorpe a photographié des visages du show business, des corps sculpturaux, des figures sado-masochistes, choquant et fascinant tout à la fois ses contemporains. - invités : Michael Ward Stout Avocat et ami. Aujourd'hui à la tête de la Fondation Robert Mapplethorpe à New York.; Judith Benhamou - Huet Journaliste sprécialiste de l'art et le marché de l'art aux « Echos » et au « Point »; Jean-Charles De Castelbajac Styliste et créateur de mode, ami de Vivienne Westwood; Hélène Pinet Chargée des collections de photographies du Rodin à Paris.; Judith Judith Childs Habitante du Chelsea Hôtel.; Bob Collacello Journaliste, rédacteur en chef de Vanity Fair.; Edmund White Ecrivain

Join Zak and Lianne as they explore the life of controversial photographer Robert Mapplethorpe ft. a pet monkey named Scratch, his first love Patti Smith, and a meteoric rise to fame for his black and white photographs (despite not knowing how to process film!). We'll also cover how activist groups are waging war in museums to fight for climate change. Follow us on Instagram! @notarthistorians Sources: https://www.max.com/movies/mapplethorpe-look-at-the-pictures/cff1b8d5-e6e4-4bdd-a764-3925d5f6a888?utm_source=universal_search https://www.artnews.com/art-news/news/monet-vandalized-by-climate-activist-musee-dorsay-1234708643/ https://www.artnews.com/art-news/news/louvre-museum-paris-protest-eugene-delacroix-painting-1234705732/ https://www.artnews.com/art-news/news/climate-protestors-soup-monet-painting-museum-le-printemps-lyon-1234695821/ "Danse Macabre" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/

It's no secret Vanity Project has been taking frequent trips to the sauna, not least of all the one at Ian Thorpe Aquatic Centre in the heart of steamy sex sydney! Come join Charles and Laura as they uncover the mystery of the Man-Hole, and find themselves in a sticky situation with one of Australia's most awarded gay Olympians. Vanity Project finds that the Ex-Olympian turned bored-of-Qtopia member shares their penchant for perversity. Your favourite podcasters run the risk of entering the Syphilitic Games, if only there was a way out of this sticky situation…Consider this Vanity Project's Sex Olympics coverage! Pledge allegiance to the struggle: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/vanity_project

My guest today is Composer/Producer/Engineer BZ Lewis who has worked on projects for Blame Sally, Roberta Flack, MTV, Microsoft, Mapplethorpe, World Poker Tour, Dateline, All My Children, The Shield, and Guitar Hero to name just a few.  In this episode, we discuss The Origin of BZ Big Spring, TX Tumbleweed Smith Reel to Reel Duplication Outlier Status David Koresh UT Austin Guilt Over Leaving Music Prophetic Dreams Starting a Production Company Making a Movie Moving From Texas Easily Digital Audio Riding a Bike San Francisco Studio Working in a Mall Music Store Media Creature Luck POPTUNA Company Splits Working with New Beginners Music Libraries Saving Early Frugal Living Work-Life Balance Yellow Page Crowd Matt's Rant: Taking the Weekend Off Links and Show Notes BZ's Site BZ's Dad's Site Credits Guest: BZ Lewis Host: Matt Boudreau Engineer: Matt Boudreau Producer: Matt Boudreau Editing: Anne-Marie Pleau  WCA Theme Music: Cliff Truesdell  Announcer: Chuck Smith         

A Ronnie le late, el futuro del podcast, el ano anotado, la rumpología, "estamos bien los 33", Michael Jordan y Shaquille O'Neal, el sistema Arias, la culpa de Bb, beboteando con el ano, Marta y Rodolfo, Mapplethorpe era un degenerado, abriendo el libro en la colimba, NO SUFRAN ANTES DE TIEMPO, dos para adelante y uno para atrás, el peor escenario, llevando los dólares a Uruguay, BB SE GANÓ UN PREMIO EN LA FIESTA DE LA RADIO, "adoptá, no compres!", Feliz Navidad!

In this episode of the podcast, I talk to and Gary Kornblau about the 30th anniversary edition of Dave Hickey's seminal 1993 book The Invisible Dragon: Four Essays on Beauty. Blake is currently a fellow with the Center for Advanced Study in Sofia, Bulgaria, as well as the author a great (which is to say, very flattering) review of my 2021 book on Hickey, and he was a stalwart participant in the Substack “book club” I organized on the new edition of Dragon. Gary is faculty at the ArtCenter College of Design. More pertinently, he was Dave's great editor, having plucked him out of obscurity to write for art Issues, the small LA-based journal that Gary founded and edited. He was the one who gave Dave just the right amount of rein to do his best work, and also the one who conceptualized and edited both Invisible Dragon and Dave's subsequent book Air Guitar. The episode covers a lot of ground, including the impact of the original version of the book, the reasons why Gary decided to put out a 30th anniversary edition, and Gary's decision to use the opportunity to try to “queer” Dave. It's a blast. I hope you listen. I also wanted to take the opportunity to run the below excerpt from my book on Dave. It covers the background to the writing and reception of Invisible Dragon, and is, IMO, a mighty fine piece of writing in its own right. Hope you enjoy.On June 12, 1989, the Corcoran Gallery of Art in Washington, DC, announced that it was cancelling Robert Mapplethorpe: The Perfect Moment, its scheduled exhibition of photographs by the celebrated American photographer, who had died of AIDS in March. The Corcoran's primary motive in cancelling was fear.Only a few months before, a long-simmering debate about the role of the federal government in funding the arts had boiled over in response to Piss Christ, a photograph of a small icon of Jesus on the cross floating in a vitrine of urine. Its creator, Andres Serrano, had received a small chunk of a larger grant from the National Endowment for the Arts (NEA), and the offending photograph had been included in a touring exhibition that was also funded by federal money. During that tour, the photograph caught the eye of the American Family Association, a conservative Chris­tian advocacy group dedicated to fighting what it saw as anti-Christian values in entertainment and the arts. They rang the alarm.Soon after, New York Senator Alfonse D'Amato called out Piss Christ from the floor of the Senate. He tore up a reproduction of the photo and denounced it as a “deplorable, despicable display of vulgarity.” North Carolina Senator Jesse Helms, who would soon lead the charge against Mapplethorpe, added: “I do not know Mr. Andres Serrano, and I hope I never meet him. Because he is not an artist, he is a jerk. . . . Let him be a jerk on his own time and with his own resources. Do not dishonor our Lord.” Patrick Trueman, president of the American Family Association, testified to Congress that governmental support of work like Piss Christ would make it less likely that prosecutors would pursue or win cases against child pornographers.The ensuing congressional battle, over funding for the NEA, became the first in a series of broader cultural and political battles that would come to be known, in retrospect, as the “culture wars” of the 1990s. These battles would range not just over sex and politics in the arts, but also over issues like gays in the military, federal funding for abor­tion, and control over history and social studies curricula in the public schools. It was “a war for the soul of America,” as Pat Buchanan framed it at the 1992 Republican Party convention, a contest over whether the nation would continue to secularize and liberalize or would return to a more conservative social equilibrium.The full contours of the conflict weren't immediately evident in the aftermath of the Serrano affair, but it was very clear, right away, that the Mapplethorpe exhibit was another grenade ready to go off. Its orga­nizers at the University of Pennsylvania had received NEA money, and the Corcoran Gallery, walking distance from the White House, was too visible an institution to slide by the notice of people like Helms and D'Amato. So the Corcoran begged off, hoping to shield themselves from the shrapnel and avoid giving conservatives another opportunity to question the value of federal funding for the arts.Instead, they got fragged by all sides. By fellow curators and museum administrators, who believed the Corcoran's appeasement would only encourage more aggression from haters of contemporary art. By civil lib­ertarians, who saw the Corcoran's actions as an example of how expres­sive speech was being chilled by the culture war rhetoric of the right. By a major donor, a friend of Mapplethorpe, who angrily withdrew a promised bequest to the museum of millions of dollars. And, of course, by the conservatives they had been hoping to appease, who accurately recognized the blasphemy in Mapplethorpe's federally funded portraits of sodomites doing naughty things to each other and themselves.Piss Christ had been useful to the conservative cultural cause as an example of how homosexual artists were taking taxpayer money to spit on the values that decent Americans held dear, but it wasn't ideal. How blasphemed could a good Christian really feel, after all, by an image of Jesus as reverential as what Serrano had in fact made? His Christ was bathed in glowing red-orange-yellow light, the image scored by dots and lines of tiny bubbles that come off almost like traces of exhumation, as if the whole thing has been recently, lovingly removed from the reliquary in which it's been preserved for thousands of years.“I think if the Vatican is smart,” Serrano later said, “someday they'll collect my work. I am not a heretic. I like to believe that rather than destroy icons, I make new ones.”Mapplethorpe's pictures, though, were something else entirely, a real cannon blast against the battlements of heterosexual normativity. Where Serrano was mostly using new means to say some very old things about the mystery of the incarnation and the corporeality of Christ, Mapplethorpe was using orthodox pictorial techniques to bring to light a world of pleasure, pain, male-male sex, bondage, power, trust, desire, control, violation, submission, love, and self-love that had been ban­ished to the dark alleyways, boudoirs, bathhouses, and rest stops of the West since the decline of Athens. And he was doing so masterfully, in the language of fine art, in the high houses of American culture.There was Lou, for instance, which could have been a photograph of a detail from an ancient bronze of Poseidon except that the detail in question is of Poseidon's muscled arm holding his cock firmly in one hand while the pinky finger of his other hand probes its hole. In Helmut and Brooks, a fist disappearing up an anus plays like an academic exercise in shape and shadow. And in the now iconic Self-Portrait, Mapplethorpe has the handle of a bullwhip up his own rectum, his balls dangling in shadow beneath, his legs sheathed in leather chaps, his eyes staring back over his shoulder at the camera with a gaze so full of intelligence and vitality that it almost steals the show from the bullwhip.In response to these kinds of beautiful provocations, the outrage, which had been largely performative vis-à-vis Serrano, became rather genuine, and the whole thing escalated. By July, a month after the exhibition at the Corcoran had been cancelled, Congress was debating whether to eliminate entirely the $171 million budget of the National Endowment for the Arts. By October, a compromise was reached. The NEA and its sister fund, the National Endowment for the Humanities, would get their usual rounds of funding, minus a symbolic $45,000 for the cost of the Serrano and Mapplethorpe grants. They would be pro­hibited, however, from using the monies to support work that was too gay, too creepy in depicting children, or just too kinky. Exceptions were made for art that violated these taboos but had “serious literary, artis­tic, political, or scientific value.” But the point had been made, and the enforcement mechanism, in any case, wasn't really the articulated rules. It was the threat of more hay-making from the right and, ultimately, the implied promise that if NEA-supported institutions kept sticking their noses (or fists) where they didn't belong then it wouldn't be too long before there wouldn't be any NEA left.A few months later, in April 1990, the Contemporary Arts Cen­ter in Cincinnati, Ohio, took up the Mapplethorpe baton by opening their own exhibition of The Perfect Moment. Hoping to head off trouble, they segregated the most scandalous of the photos in a side room, with appropriate signage to warn off the young and the delicate. They also filed a motion in county court asking that the photographs be preemp­tively designated as not obscene. But the motion was denied, and the separate room proved insufficient buffer. When the exhibit opened to the public, on April 7, its attendees included members of a grand jury that had been impaneled by Hamilton County prosecutors to indict the museum and its director for violating Ohio obscenity law. Of the more than 150 images in the exhibit, seven were selected out by the grand jury for being obscene. Five depicted men engaged in homoerotic and/ or sado-masochistic acts, and two were of naked children.The trial that followed was symbolically thick. Motions were filed that forced the judge to rule on fundamental questions about the mean­ing and political status of art. Art critics and curators were called in to witness, before the largely working-class members of the jury, to the artistic merit of Mapplethorpe's photography. The indictment read like an update of the Scopes trial, captioned by Larry Flynt, in which “the peace and dignity of the State of Ohio” was being ravaged by bands of cavorting homosexuals.The jury issued its verdict in October 1990, acquitting the museum and its director. It was a victory for the forces of high art and free expres­sion, but a complicated one. The exhibition could go on. And Map­plethorpe's photographs—indeed, the most outrageous of them—had been designated as art by the State of Ohio and by a group of decent, law-abiding, presumably-not-gay-sex-having American citizens. But the cost had been high. Museums and galleries everywhere had been warned, and not all of them would be as willing as the Contemporary Arts Center of Cincinnati to risk indictment and the threat of defunding for the sake of showing dangerous art.Perhaps most significantly, the National Endowment for the Arts, and its new director, announced a shift in funding priorities in order to take the institution out of the crossfire of the culture wars. Less and less of their money, it was decided, would go to individual artists and exhibitions, and more of it would go to support arts enrichment—to schools, outreach programs, arts camps, and educational campaigns. Mapplethorpe and Serrano were out. Sesame Street was in.For Dave Hickey, a critic and ex-gallery owner, it was, finally, all too much. Not the opportunism of the Hamilton County sheriff and his allies. Not the predictable huffing from the bow-tied brigades, who took to the pages of their tweedy magazines to bellyache, as always, about what a precipitous decline there had been in cultural standards since the 1960s ruined everything. Not even the rednecking of the senator from North Carolina was the problem for Hickey.Each of these parties was performing its assigned role in the passion play of American cultural politics. Narrow-minded prosecutors would always try to run dirty pictures out of town. New Criterion-ites would avert their eyes from new art. Senators from North Carolina would dem­agogue about queers from New York City. You could be angry at having to contend with these actors, but you couldn't genuinely feel betrayed. You knew where they stood from the get-go, and half the joy of art, and of the artistic life, lay in trying to figure out how to shock, outwit, or seduce them.The betrayal, for Hickey, came from his colleagues, from the crit­ics, curators, gallerists, professors, and arts administrators with whom he had been uneasily mixing since the late 1960s when he dropped out of his doctoral program in linguistics to open an art gallery in Austin, Texas. They had been handed a rare opportunity to represent for all that was queer and decadent and artsy-fartsy in American life, to make the case that this—beautiful pictures of men seeing what it felt like to shove things up their asses—wasn't the worst of America but the best of it. And they had whiffed.“The American art community, at the apogee of its power and privi­lege, chose to play the ravaged virgin,” wrote Hickey, “to fling itself pros­trate across the front pages of America and fairly dare the fascist heel to crush its outraged innocence. . . . [H]ardly anyone considered for a moment what an incredible rhetorical triumph the entire affair signi­fied. A single artist with a single group of images had somehow managed to overcome the aura of moral isolation, gentrification, and mystifica­tion that surrounds the practice of contemporary art in this nation and directly threaten those in actual power with the celebration of margin­ality. It was a fine moment, I thought . . . and, in this area, I think, you have to credit Senator Jesse Helms, who, in his antediluvian innocence, at least saw what was there, understood what Robert was proposing, and took it, correctly, as a direct challenge to everything he believed in.”The Corcoran had been bad enough, throwing in the towel before an opponent had even stepped into the ring. But far worse, for Hickey, were the ones who had shown up to fight but had misread the aesthet­ical-political map so badly that they had gone to the wrong arena. The fight, he believed, should have been over whether it was okay or not in our culture to make beautiful the behaviors that Mapplethorpe had made beautiful. The fight should have been over what Mapplethorpe had done with his art. Instead, the public got bromides about free expression and puritanical lectures about the civilizing function of arts in society. Worst of all, in Hickey's eyes, was how quickly the art experts ran away from the rawness of Mapplethorpe's work, characterizing him as though he were a philosopher of aesthetics, rather than an artist, as though he chose and framed his subjects for the sake of what they allowed him to say, propositionally, about the nature of light and beauty and other such things.“Mapplethorpe uses the medium of photography to translate flowers, stamens, stares, limbs, as well as erect sexual organs, into objet d'art,” wrote curator Janet Kardon in her catalogue essay for the exhibition. “Dramatic lighting and precise composition democratically pulverize their diversities and convert them into homogeneous statements.””When it came to it on the witness stand in Cincinnati, even the folks who had curated the exhibition, who surely knew that Mapplethorpe would bring the people in precisely because he was so titillating—Look at the dicks! Hey, even the flowers look like dicks!—couldn't allow them­selves even a flicker of a leer. So Hickey called them out.In a series of four essays written between 1989 and 1993, which were assembled into the sixty-four-page volume The Invisible Dragon, he launched a lacerating critique of American art critical and art historical practice. It was so unexpected, and so potent, that by the time he was done, his own intervention—a slim, impossibly cool, small-batch edi­tion from Art issues Press—would be as transformative in the art critical realm as Mapplethorpe's photographs had been in the photographic.The Invisible Dragon began with a story. It wasn't necessarily a true story, but it was a good one. So good, in fact, that it has conditioned and, in significant ways, distorted perceptions of Hickey ever since.“I was drifting, daydreaming really,” wrote Hickey, “through the wan­ing moments of a panel discussion on the subject of ‘What's Happening Now,' drawing cartoon daggers on a yellow pad and vaguely formulating strategies for avoiding punch and cookies, when I realized I was being addressed from the audience. A lanky graduate student had risen to his feet and was soliciting my opinion as to what ‘The Issue of the Nine­ties' would be. Snatched from my reverie, I said, ‘Beauty,' and then, more firmly, ‘The issue of the nineties will be beauty'—a total improvisatory goof—an off-the-wall, jump-start, free association that rose unbidden to my lips from God knows where. Or perhaps I was being ironic; wishing it so but not believing it likely? I don't know, but the total, uncompre­hending silence that greeted this modest proposal lent it immediate cre­dence for me.”Hickey, an experienced provocateur, had been expecting some kind of pushback. (Beauty?! That old thing? The issue of the '90s? You gotta be kidding me.) When he got none, he was intrigued. His fellow panelists hadn't jumped in to tussle. The moderator didn't seem ruffled. No one from the audience harangued him after he stepped down from the dais. Rather than setting off sparks, he had soft-shoed into a vacuum, which meant he had misjudged something, and in that misjudgment, he sensed, there lay potential. (“I was overcome by this strange Holme­sian elation. The game was afoot.”) He began interrogating friends and colleagues, students and faculty, critics and curators for their thoughts on beauty and its role in the production, assessment, and consump­tion of art. What he got back, again and again, was a simple and rather befuddling response: When asked about beauty, everyone talked about money. “Beauty” was the surface glitz that sold pictures in the bourgeois art market to people who lacked an appreciation for the deeper qualities of good art. It was a branding scheme of capitalism and the province of schmoozy art dealers, rich people, and high-end corporate lobby deco­rators. Artists themselves, and critics and scholars, were more properly concerned with other qualities: truth, meaning, discourse, language, ideology, form, justice. There were high-brow versions of this argument in journals like Art Forum and October, and there were less sophisticated versions, but the angle of incidence was the same.Hickey was stunned. Not by the content of such an argument— he knew his Marx and was familiar with left cultural criticism more broadly—but by the completeness of its triumph. He hadn't realized the extent, almost total, to which beauty had been vanquished from the sphere of discursive concern.“I had assumed,” he wrote, “that from the beginning of the sixteenth century until just last week artists had been persistently and effectively employing the rough vernacular of pleasure and beauty to interrogate our totalizing concepts ‘the good' and ‘the beautiful'; and now this was over? Evidently. At any rate, its critical vocabulary seemed to have evap­orated overnight, and I found myself muttering detective questions like: Who wins? Who loses?”The quest to reconstruct what had happened to beauty soon evolved for Hickey into a more fundamental effort to understand what even he meant by the term. What was he defending? What was he trying to res­cue or redeem? The critical vocabulary and community he had assumed were there, perhaps fighting a rearguard battle but still yet on the field, had winked out of existence without even a good-bye note. It was left to him, in the absence of anyone else, to reconstitute its concepts and arguments, restock its supply chain and armament.So he did, and he called it The Invisible Dragon. The issue, he wrote, is not beauty but the beautiful. The beautiful is the visual language through which art excites interest and pleasure and attention in an observer. It is a form of rhetoric, a quiver of rhetorical maneuvers. Artists enchant us through their beautiful assemblages of color, shape, effects, reference, and imagery, as a writer ensnares us with words and sentences and para­graphs, as a dancer enthralls us with legs and leaps, as a rock star cap­tures us with hips and lips and voice. The more mastery an artist has of the rhetoric of the beautiful, the more effectively he can rewire how our brains process and perceive visual sense data. It is an awesome power.Beauty, in this equation, is the sum of the charge that an artist, deploy­ing the language of the beautiful, can generate. It is a spark that begins in the intelligence and insight of the artist, is instantiated into material being by her command of the techniques of the beautiful, and is crystal­lized in the world by its capacity to elicit passion and loyalty and detes­tation in its beholders, to rally around itself constituencies and against itself enemies. Like all arks and arenas of human value, beauty is his­torically grounded but also historically contingent. In the Renaissance, where The Invisible Dragon begins its modern history of beauty, masters like Caravaggio were negotiating and reconstructing the relations among the Church, God, man, and society. They were deploying the tools of the beautiful to hook into and renovate primarily theological systems of meaning and human relation. In a liberal, pluralistic, commerce-driven democracy like America, the primary terrain on which beauty was medi­ated, and in some respects generated, was the art market.To dismiss beauty as just another lubricant of modern capitalism, then, was to miss the point in a succession of catastrophic ways. It was to mistake the last part of that equation, the creation and negotiation of value on and through the art market, for the entirety of it. It was to mistake the exchange of art for other currencies of value, which was a human activity that preceded and would persist after capitalism, for capitalism. It was to believe that the buying and selling of art in modern art markets was a problem at all, when, in fact, it was the only available solution in our given historical configuration of forces. And it was to radically underestimate the capacity of beauty to destabilize and reorder precisely the relations of politics, economy, and culture that its vulgar critics believed it was propping up.Beauty had consequences. Beautiful images could change the world. In America, risking money or status for the sake of what you found beautiful—by buying or selling that which you found beautiful or by arguing about which objects should be bought or sold on account of their beauty—was a way of risking yourself for the sake of the vision of the good life you would like to see realized.The good guys in Hickey's story were those who put themselves on the line for objects that deployed the beautiful in ways they found per­suasive and pleasure-inducing. They were the artists themselves, whose livelihoods depended on participation in the art market, who risked poverty, rejection, incomprehension, and obscurity if their work wasn't beautiful enough to attract buyers. They were the dealers, who risked their money and reputation for objects they wagered were beautiful enough to bring them more money and status. They were the buyers, who risked money and ridicule in the hopes of acquiring more status and pleasure. They were the critics, like Hickey, who risked their rep­utations and careers on behalf of the art that struck them as beautiful and on behalf of the artists whose idiosyncratic visions they found per­suasive or undeniable. And finally they were the fans, who desperately wanted to see that which they loved loved by others and to exist in com­munity with their fellow enthusiasts. The good guys were the ones who cared a lot, and specifically.The villains were the blob of curators, academics, review boards, arts organizations, governmental agencies, museum boards, and fund­ing institutions that had claimed for themselves almost total control of the assignment and negotiation of value to art, severing art's ties to the messy democratic marketplace, which was the proper incubator of artis­tic value in a free society. The blob cared a lot, too, but about the wrong things.“I characterize this cloud of bureaucracies generally,” wrote Hickey, “as the ‘therapeutic institution.'”In the great mystery of the disappeared beauty, the whodunnit that fueled The Invisible Dragon, it turned out that it was the therapeutic institution that dunnit. It had squirted so many trillions of gallons of obfuscating ink into the ocean over so many decades that beauty, and the delicate social ecosystems that fostered its coalescence, could barely aspirate. Why the therapeutic institution did this, for Hickey, was simple. Power. Control. Fear of freedom and pleasure and undisciplined feeling. It was the eternally recurring revenge of the dour old Patriarch who had been haunting our dreams since we came up from the desert with his schemas of logic, strength, autonomy, and abstraction, asserting control against the wiles and seductions of the feminine and her emanations of care, vulnerability, delicacy, dependence, joy, and decoration. It was the expression of God's anger in the Garden of Eden when Eve and Adam defied Him to bite from the juicy apple of knowledge and freedom.In one of the most extraordinary passages in the book, Hickey turned Michel Foucault, a favorite of the blob, back on the blob. It was Fou­cault, he wrote, who drew back the curtain on the hidden authoritarian impulse at work in so many of the modern institutions of social order, particularly those systems most committed to the tending of our souls. Such systems weren't content with establishing regimes of dominance and submission that were merely or primarily external. Appearances canbe too deceiving. Too much wildness can course beneath the facade of compliance. It was inner consent, cultivated therapeutically through the benevolent grooming of the institutions, that mattered. Thus the disciplined intensity with which the therapeutic institution had fought its multi-generational war to crowd out and delegitimize the market, where appearance was almost everything and where desire, which is too unpredictably correlated with virtue, was so operative.“For nearly 70 years, during the adolescence of modernity, profes­sors, curators, and academicians could only wring their hands and weep at the spectacle of an exploding culture in the sway of painters, dealers, critics, shopkeepers, second sons, Russian epicures, Spanish parvenus, and American expatriates. Jews abounded, as did homosexuals, bisex­uals, Bolsheviks, and women in sensible shoes. Vulgar people in manu­facture and trade who knew naught but romance and real estate bought sticky Impressionist landscapes and swooning pre-Raphaelite bimbos from guys with monocles who, in their spare time, were shipping the treasures of European civilization across the Atlantic to railroad barons. And most disturbingly for those who felt they ought to be in control— or that someone should be—‘beauties' proliferated, each finding an audience, each bearing its own little rhetorical load of psycho-political permission.”After getting knocked back on their heels so thoroughly, wrote Hickey, the bureaucrats began to get their act together around 1920. They have been expanding and entrenching their hegemony ever since, developing the ideologies, building the institutions, and corralling the funding to effectively counter, control, and homogenize all the unruly little beauties. There had been setbacks to their campaign along the way, most notably in the 1960s, but the trend line was clear.In this dialectic, Mapplethorpe proves an interesting and illustra­tive figure. He was so brilliant in making his world beautiful that the therapeutic institution had no choice but to gather him in, to celebrate him in order to neutralize him, to pulverize his diversities and convert them into homogeneous statements. But it turned out that he was too quicksilver a talent to be so easily caged, and the blob was overconfident in its capacity to domesticate him. It/they missed something with Map­plethorpe and made the mistake of exposing him to the senator from North Carolina and the prosecutor from Hamilton County, who saw through the scrim of institutional mediation. All the therapeutic testi­mony that followed, in the case of Cincinnati v. Contemporary Arts Center, wasn't really about defending Mapplethorpe or fending off conservative tyranny. It was about reasserting the blob's hegemony. In truth, Senator Helms and the therapeutic institution were destabilized by complemen­tary aspects of the same thing, which was pleasure and desire rendered beautiful and specific.“It was not that men were making it then,” wrote Hickey, “but that Robert was ‘making it beautiful.' More precisely, he was appropriating a Baroque vernacular of beauty that predated and, clearly, outperformed the puritanical canon of visual appeal espoused by the therapeutic institution.”Confronted by this beautiful provocation, the conservative and art establishments, whatever they thought they were doing, were, in fact, collaborating to put Mapplethorpe back in his place. The ostensible tri­umph of one side was the secret triumph for both. It was beauty that lost. The Invisible Dragon was a howl of frustration at this outcome. It was also a guerrilla whistle. Not so fast . . .Eminent Americans is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. Get full access to Eminent Americans at danieloppenheimer.substack.com/subscribe

Chapter 1 What's Just Kids"Just Kids" is a memoir written by Patti Smith, the iconic singer-songwriter, poet, and artist. The book explores her relationship with photographer Robert Mapplethorpe and their journey together as young artists navigating the vibrant art scene in New York City during the 1960s and 1970s. It details their friendship, creative influences, and the challenges they faced while pursuing their artistic ambitions. "Just Kids" won the National Book Award for Nonfiction in 2010 and has been highly praised for its beautifully written prose and intimate portrayal of a unique artistic partnership.Chapter 2 Why is Just Kids Worth ReadJust Kids by Patti Smith is worth reading for several reasons:1. Engaging storytelling: Patti Smith has a unique and captivating way of telling her story, which keeps the readers hooked from start to finish. Her writing style is honest, poetic, and infused with emotions, making the book a compelling read.2. Insight into the art scene of the 1960s and 1970s: Just Kids provides a firsthand account of the vibrant art and music scene in New York City during the 1960s and 1970s. Smith shares her experiences as she navigates her way through the bohemian culture of the time, providing readers with a deeper understanding of the era.3. Captures the essence of creativity and friendship: The book focuses not only on Smith's personal journey but also on her relationship with photographer Robert Mapplethorpe. Their artistic collaborations, struggle for recognition, and unwavering support for each other make for a touching and inspiring portrayal of friendship and artistic ambition.4. Reflections on art, love, and loss: Just Kids is not just a memoir; it is a reflection on the themes of art, love, and loss. Smith explores her own artistic process, the sacrifices artists make, and the impact of personal relationships on creative endeavors. Her introspective musings give readers a deeper understanding of the human experience.5. Impact on popular culture: Just Kids has received critical acclaim and won numerous awards, including the 2010 National Book Award for Nonfiction. It has also inspired artists, musicians, and readers around the world. The book's influence on popular culture, combined with its powerful narrative, makes it a must-read for anyone interested in art, music, or the counterculture movement of the time.Chapter 3 Just Kids Summary"Just Kids" is a memoir written by Patti Smith, a singer-songwriter and artist, and it focuses on her relationship with photographer Robert Mapplethorpe. The book primarily takes place in New York City during the late 1960s and 1970s, and it provides a vivid and intimate account of their friendship and artistic pursuits.The narrative begins with Smith's early life in New Jersey and her decision to move to New York City to pursue her dreams of becoming an artist. She encounters Mapplethorpe, who is struggling with his own artistic ambitions, and they form a deep and lasting bond as they navigate the often harsh and impoverished bohemian lifestyle of the city.Smith and Mapplethorpe support each other emotionally and artistically, pushing one another toward success and creating a profound impact on each other's lives. They live together in various apartments, collaborate on artistic projects, and immerse themselves in the vibrant and influential art scene of the time.The memoir also delves into their relationships with other artists and musicians, such as Janis Joplin, Jimi Hendrix, and Sam Shepard, as well as their encounters with famous figures like Andy Warhol and Allen Ginsberg. Smith describes the challenges and obstacles they face, such as poverty, addiction, and the early days of

Banksy, BobRoss and Mapplethorpe assault KFC headquarters in the conclusion to TEENAGE MUTANT NINJA TURTLES & OTHER STRANGENESS. https://en.wikipedia.org/wiki/Teenage_Mutant_Ninja_Turtles_%26_Other_Strangeness https://www.patreon.com/bastardquest https://www.barrelandbondky.com/ https://www.norsefoundry.com/

In this episode, Wes and Todd sit down with Photographer, Edward Mapplethorpe. Edward discusses his early life growing up in Queens, his father introducing him to photography, his brother Robert and Patti Smith, his introduction to the darkroom and how it solidified his path in photography, his education at SUNY Stony Brook, the importance of being a dreamer, his interest in art in his youth, being a goal setter, going to work for his brother Robert, collaborating with Robert, Robert predicting Edward would be an Artist in his youth, Tom Baril, leaving Robert's studio and moving to Los Angeles, assisting Playboy photographers, the magic of photography, beginnings of a series of work, changing his name, being a reactionary Artist, the catalyst for his series “Undercurrents”, finding his voice, the “Transmographs” series, process, ideas, Analog vs. Digital, his “One” series, commissioned portraits, polaroids and light meters, film stocks, his love of the darkroom, his abstract work, chemograms, “Timezones”, “The Cube”, Screw Magazine and silly putty, and his thoughts on his legacy as Photographer and Artist.Join us for a remarkable conversation with one of the most significant Photographic Artists working today.  Experience Edward's magnificent work at his website www.edwardmapplethorpe.com Hear Edward speak about his various series in his presentation “In Process” for B&H  https://youtu.be/-2P2LOz361w

Special guest Carla from Burnt Korn, Alabama, hates childproof caps. Hey, pill companies! If you're designing a capsule bottle for arthritis sufferers, and the only way they can open the damn thing is with a sledgehammer, then JUST MAYBE you need to go back to the design drawing board! Lick alert! Next, we have a Waylon the Basset hound sitting! During which co-host Arik relives a Basset hound bladder-milking epic tale—or is that tail? Folks, only on the world's penultimate worst-rated podcast will you stumble into moments like these! Next, what to do when your local library starts banning books and songs? That's right, folks! The local library system in Arik's neck of the woods has officially banned “Five Little Monkeys” from childhood story time. This wouldn't be the same library system that incinerates tens of thousands of books per year, would it? Somewhere, Ray Bradbury rolls in his grave. (Five Science Fiction Classics sitting in a tree, teasing Mr. Book Burner, “Can't catch me!”) Speaking of “Fahrenheit 451,” we are sick of smoky hotel rooms that smell like ashtrays. Also, Carla is sick of ass hats who toss their garbage out of car windows. And Arik is fed up with Mr. Stanky Uber passengers who reek of BO, pot and fried chicken: “It smells like someone in the back seat just made it with a rotting rhinoceros carcass. I spend half my money on Febreze these days!” Finally, how the hell did cerebral palsy end up on The Hate Napkin? Tune in to find out! THN PSA: If everyone had a Basset hound, no one would need The Hate Napkin. I mean, no one does actually need The Hate Napkin. But Basset hounds are pretty awesome, anyway. Leave a voicemail of something you hate: https://anchor.fm/thehatenapkin/message Support this podcast: https://anchor.fm/thehatenapkin/support See all episodes: https://www.thehatenapkin.com/category/episodes/ --- Support this podcast: https://anchor.fm/thehatenapkin/support

Special guest Carla from Burnt Korn, Alabama, hates childproof caps. Hey, pill companies! If you're designing a capsule bottle for arthritis sufferers, and the only way they can open the damn thing is with a sledgehammer, then JUST MAYBE you need to go back to the design drawing board! Lick alert! Next, we have a Waylon the Basset hound sitting! During which co-host Arik relives a Basset hound bladder-milking epic tale—or is that tail? Folks, only on the world's penultimate worst-rated podcast will you stumble into moments like these! Next, what to do when your local library starts banning books and songs? That's right, folks! The local library system in Arik's neck of the woods has officially banned “Five Little Monkeys” from childhood story time. This wouldn't be the same library system that incinerates tens of thousands of books per year, would it? Somewhere, Ray Bradbury rolls in his grave. (Five Science Fiction Classics sitting in a tree, teasing Mr. Book Burner, “Can't catch me!”) Speaking of “Fahrenheit 451,” we are sick of smoky hotel rooms that smell like ashtrays. Also, Carla is sick of ass hats who toss their garbage out of car windows. And Arik is fed up with Mr. Stanky Uber passengers who reek of BO, pot and fried chicken: “It smells like someone in the back seat just made it with a rotting rhinoceros carcass. I spend half my money on Febreze these days!” Finally, how the hell did cerebral palsy end up on The Hate Napkin? Tune in to find out! THN PSA: If everyone had a Basset hound, no one would need The Hate Napkin. I mean, no one does actually need The Hate Napkin. But Basset hounds are pretty awesome, anyway. Leave a voicemail of something you hate: https://anchor.fm/thehatenapkin/message Support this podcast: https://anchor.fm/thehatenapkin/support See all episodes: https://www.thehatenapkin.com/category/episodes/ --- Support this podcast: https://anchor.fm/thehatenapkin/support

The subject of death has been a constant throughout the history of photography. This episode we discuss the many ways death has been represented (both literally and metaphorically) in photographs. We'll look at the past practice of post-mortem and mourning photography, as well as ponder the words and images of more contemporary  writers and image-makers. This is a special "Day of the Dead" episode.Links:"Beyond The Black Veil" book"Dead Soldier" photo by Matthew BradyRobert Mapplethorpe's DeathSusan SontagRoland Barthes

Growing up in Los Angeles, Joan Agajanian Quinn befriended artists at a young age. Over time, her relationships in the art world grew, and she was soon at the center of the LA art scene, befriending artists like Andy Warhol and David Hockney. Quinn explains to host Giselle Fernandez how she became known as one of the most painted women in the world, with world-famous artists, such as Jean-Michel Basquiat, George Hurrell, Kenneth Price and Robert Mapplethorpe capturing her portrait. As the West Coast editor of Warhol's Interview Magazine, and host of her own interview series, "Joan Quinn Profiles," Quinn used her fame in the art world to shine a spotlight on up-and-coming artists.

Lou Mensah is the founder of award winning Shade Podcast, where she created her podcast for black creatives to share their experiences more widely. Shade Podcast was founded in 2019 and by 2021 had won a British Podcast Award. Lou has worked in the creative industries for 20 years, as a fine art photographer, gaining awards from Nick Knight & Alexander McQueen, and commercially she has worked on film stills for directors including Antony Minghella, as well as photographing musicians. Lou has exhibited her work alongside Mapplethorpe, Hirst & Helmut Newton, photographed at London Fashion Week and for Condé Nast.   In this interview we discuss a range of topics including black art, the creative industries, identity, podcasting, black imagery, activism and much more.   At 1000 Voices we are on a mission to create a more equitable society for black Britons. Like what we're about? Support by subscribing to our channel!    —————————————————————————   ✉️ Are you or do you know someone with a powerful story that you believe needs to be amplified? Send us an email: hello@1000voicesuk.com  

Rebem Anna Roca i Marc Garc

Rebem Anna Roca i Marc Garc

Rebem Anna Roca i Marc Garc

Context for future historians: the world is currently ON ONE. Things are looking pretty dark right now. But if there's one theme for this week's episode, it's that we've been here before and we will fight again. This week, Kris and Tara go hard. Kris talks about her moving experience supporting queer kids who were targeted by parents at their school. And watch out supporters of Friends, Pretty Woman and Batman (individually or all together, you know who you are), because Kris is coming in hot with some blistering takes on your formative cinema. Tara details her trip from reading Jonathan Van Ness's new book to digging into the queer history of her hometown and do you know what she finds? We've been here before. We'll do it again. Despite the darkness and the erasure, these books, films, games, and everything that Kris and Tara recommend or talk about on this show are the result of queer lives coming to light. Queer isn't new. It's old as bones. None of us is alone. If you enjoy this episode, please consider buying Kris & Tara a Ko-fi! Transcript coming soon Official Recommendations Kris's official recommendation for this week is the British coming-of-age romantic series, Heartstopper, which follows Charlie Spring, a gay schoolboy who falls in love with someone he sits next to in class, Nick Nelson. She (and so many other people) say it's ADORABLE. This week, Tara recommends the 2018 documentary Mapplethorpe, which tracks the Robert Mapplethorpe from his rise to fame in the 1970s to his untimely death in 1989. Mapplethorpe was a photographer best known for his black-and-white photographs and his controversial works that detailed the gay male BDSM subculture of New York City in the late 60s and early 70s. Works/People Discussed Truth and Measure/Above All Things by Roslyn Sinclair All That Matters by Susan X Meagher While You Were Sleeping (1995) Luca (2021) Ambulance (2022) The State of Modern Action Films The Batman (2022) Love That Story: Observations from a Gorgeously Queer Life by Jonathan Van Ness Womontown | A Kansas City PBS Documentary Listen to the episode Watch this clip

Since COVID began and people have been isolated and unable to connect with friends and family, opioid overdose deaths have doubled. Our country is in crisis and Coming Clean hopes to create awareness and impact solutions to change the trajectory of this epidemic. Our loved ones' lives depend on it!"This documentary by award-winning filmmaker Ondi Timoner brings together artists, political leaders, the lead prosecutor against big pharma, recovering addicts, and those working on the frontlines to fight this - the deadliest drug epidemic in history. We want to ground the opioid epidemic in stories that show us just how connected we are, and what's at stake when we turn away from one another. Most importantly, we wanted to connect the dots on how we got here, and how we can find our way out of this crisis."About Ondi Timoner:Ondi Timoner is known to be one of the greatest talents in non-fiction filmmaking. She often takes on the stories of visionaries fighting against all odds with a gripping and unique narrative style. Ondi has the rare distinction of winning the Grand Jury Prize at the Sundance Film Festival twice - for her documentary, DIG! (2004) and WE LIVE IN PUBLIC (2009). Both films were acquired by MoMA, NY for its permanent collection. Other award-winning features include: THE NATURE OF THE BEAST (1994), JOIN US (2007), COOL IT (2010), BRAND: A SECOND COMING (2015) and COMING CLEAN (2020). In 2017, Ondi created and produced the critically-acclaimed 10-hour nonfiction television series JUNGLETOWN about the building of “the world's most sustainable town” for Viceland. Ondi wrote, directed, produced and edited the scripted film, MAPPLETHORPE, starring Matt Smith. After premiering at Tribeca, the film was released theatrically in 2019 after winning eight Audience Awards and Best Narrative Feature at several festivals. The MAPPLETHORPE Director's Cut will be released in the Spring of 2021. Ondi has also produced and directed music videos for The Dandy Warhols, The Vines, Paul Westerberg, Lucinda Williams, Vanessa Carlton, The Jonas Brothers, and Run DMC, among others. Ondi was nominated for a Grammy for Best Long Form Music Video for an EPK she directed about the band Fastball in 1999. Ondi has also enjoyed a career in front of the camera, interviewing filmmakers and innovators for a number of shows. In 2011, she created and hosted BYOD (Bring Your Own Doc) for thelip.tv producing over 300 episodes with top documentary filmmakers over five years. In 2012, she founded A TOTAL DISRUPTION, an online network dedicated to telling the stories of entrepreneurs & artists who are using technology to innovate new ways to live. Subjects include musician Amanda Palmer, graphic artist Shepard Fairey, comedian Russell Brand, musician Moby, Twitter-founder Jack Dorsey, Instagram-founder Kevin Systrom, and the late founder of Zappos, Tony Hsieh. Ondi has released two master classes for filmmakers, “Lean Content” with Eric Ries & “How to Make a Great Documentary (In My Opinion).” Additionally, Ondi has produced & hosted WeTalk, a traveling talk show about the women shaping our culture with the mission of taking #MeToo to #WeDo, since 2018. In 2014, she gave a popular TEDxKC talk entitled “When Genius and Insanity Hold Hands” explaining why she tells the stories of “impossible visionaries.” Ondi is currently helming a new film called ALONE, TOGETHER (w.t.) which looks through the eyes of scientists and artists at how technology is transforming our ways of connecting and loving, given the societal trend towards increasing physical isolation, accelerated by the onset of the COVID-19 global pandemic. Ondi Timoner is a member of the Academy of Motion Picture Arts & Sciences, the DGA, the PGA, the International Documentary Association, Film Fatales and Women in Film.LINKS:Watch: https://watch.laemmle.com/.../5ffcffae5113db0001d1b7a8 Website/Resources: https://www.comingcleanmovie.com/ Join the Fight and Host a Screening: https://www.comingcleanmovie.com/the-crisis FB: https://www.facebook.com/comingcleanmovie IG: https://www.instagram.com/comingcleanmovie/ Twitter: https://twitter.com/comingcleanmov

In this episode, Nick Wooster shares his Photographic Memory: the images of Bruce Weber he admired in magazines as a teenager.Nick Wooster is a fashion consultant based in New York City. His career reads like a who's who of fashion with over 30 years working for Barney's New York, Bergdorf Goodman, Neiman Marcus, Calvin Klein and Ralph Lauren - spanning retail, buying and design.Nick has a cult following for his personal style, featuring on Vanity Fair's International Best Dressed List. He explores how it felt to become a street style star at 50 years old, his struggle with addiction and observing cultural shifts in New York City.In conversation with Vogue, Mr Porter & New York Times photographer Jonathan Daniel Pryce aka GarçonJon. Find more info on the guests and photographs mentioned in this episode below:Web:https://photographicmemory.show/Instagram:https://www.instagram.com/garconjon/

You've heard of the Immersive Van Gogh and Kaloh exhibits, now get ready for the Immersive Mapplethorpe exhibit coming soon to Pittsburgh.

The story of singer/songwriter Patti Smith and her friend and lover photographer Robert Mapplethorpe and their time of healing at the Chelsea Hotel.

The topic of discussion today is Patti Smith's memoir about her relationship with photographer Robert Mapplethorpe. Smith was a prominent singer-songwriter, poet, and punk icon in the 70s. She and Mapplethorpe formed an iconoclastic duo within the era of American social revolution. She published her memoir "Just Kids" in 2010; it went on to win the National Book Award for Nonfiction. Host: Kyle Johnson (@panic_kyle); Guest: Anna Tesch (@cinnamon.puns); Music: Julian Loida (@julianloida); Get in touch with the show! panic.kyle.tt@gmail.com

· «Gangsterrapperne må stilles til ansvar for den økte volden i Oslo», skriver samfunnsdebattant Thomas Haile i VG. Han mener at sjangeren fremmer et voldelig budskap som oppfordrer til å drepe, skyte og voldta. Bør vi stille gangsterrappen til ansvar for økt vold på østkanten i Oslo?· I det nye EU-systemet for merking av klesprodukter, vil bunaden, samekofta og strikkegenseren komme dårlig ut. Produksjonen av norske nasjonaldrakter menes å skade klimaet for mye. Burde vi følge EU-stemplingen og ofre den norske bunaden på Gretha Thunbergs alter?· Homosammenligningen mellom Munch og Mapplethorpe, omskriving av Munch-tittelen «Neger med grønt skjerf» og plansjer om Munchs angivelig progressive syn på kjønn. Munchmuseets kuratorer kritiseres for å trekke årvåkne paralleller til politiske korrekte standpunkter. Men er det å framstille Munch som woke en god måte å forvalte kunstnerskapet på?I sesongens tiende og siste episode møter vi LIM-leder Sarah Gaulin og NBK-styreleder Ruben Steinum til debatt om gangsterrap, bunad og Edvard Munch. Hosted on Acast. See acast.com/privacy for more information.

Tune in every Friday for more WOW Report. 10) Madonna's Madame X on Paramount+ @00:41 9) Madonna on The Tonight Show with Jimmy Fallon @06:01 8) Madonna & Mapplethorpe @09:51 7) Hot Tune: RuPaul's “Blame it on the Edit” @16:24 6) La Brea, Big Sky and the Future of Network TV @19:27 5) Hot Read: Stephanie Grisham's I'll Take Your Questions Now @24:09 4) Kim K on Saturday Night Live @30:40 3) Superman Comes Out as Bisexual @35:00 2) Blake's Trip to ATX & ACL @37:56 1) Dave Chappelle's Closer @43:15

Patti Smith es una obra de Patricio Abadi, quien dirige el radioteatro y lo actúa junto Lucía Adúriz y Demián Ledesma Becerra. Durante esta pieza, Patti nos sumerge en su vida, en su obra y en su relación simbiótica con Robert Mapplethorpe, quien aparece en este radioteatro a través de diferentes flashbacks que funcionan como hilo conductor. Mapplethorpe acaba de morir y Patti Smith se comparte ante sus oyentes en una suerte de velorio performático que es a su vez una conferencia de amor. Las claves de este ritual de despedida que cuenta con la impronta beatnik son el Hotel Chelsea, el feminismo, los años 60, la proliferación del HIV; el LSD, el erotismo, el arte, la inspiración y la locura.

HE'S BACK! Yes, Deacon Carpenter was back in the studio with Nina and Danielle and full of valuable info, as usual. This week's episode includes a theme word: Ap•o•plec•tic (we had to Google it)There were more than a few things we had to Google when we took our regular mid-episode break - it was a learning episode for sure. Keep your browser open and nearby and enjoy this one! Topics covered:Deacon's travel adventuresShadow work and Existential KinkShopping for Shirts and ShagsMadonna, Mapplethorpe and MickHow old is old, really?Empowered women love James BondThis episode was produced by audio ephemera. I'm Not Gonna Lie is a proud member of the NorCal Pods podcast network.

Writer Daniel Oppenheimer joins me to discuss his new book on the legendary art critic Dave Hickey, "Far From Respectable." We explore Hickey's case for the continued vitality of beauty as a criterion for thinking about art and culture, his defense of controversial artist Robert Mapplethorpe and simultaneous critique of Mapplethorpe's other defenders, his aesthetic populism, his abandoned project "Pagan America," and the relevance of all of these to the current cultural panorama. We also explore Hickey's critique of institutions alongside the ironic fact that institutions sustained his best work – and what that might mean for current institutional outsiders in the Substack economy and elsewhere. Daniel's website: http://www.danieloppenheimer.com/ Far From Respectable: https://utpress.utexas.edu/books/oppenheimer-far-from-respectable

We're talking queer eggs, the struggle of breaking into male-dominated spaces, the hazardous effect of gender roles, and normalizing periods as we break down the 2018 film SKATE KITCHEN! I'm joined by return special guest--writer, actor, and creator of the show Choose Me: An Abortion Story--Hannah Gamble! After dark, we touch on Wilde, Mapplethorpe, three Gregg Araki films (Mysterious Skin, The Living End, and Totally F**ked Up), My Own Private Idaho, High Maintenance, Hacks, Townmouse, and They Came Together. Find Hannah's new book "The Traditional Feel of the Ballroom" at your local bookstore, and stream her webseries on OTV. You can find us on instagram and everywhere else @screenvomit, or hit the links here: http://linktr.ee/screenvomit!

Mark Moses is an actor & writer, who you've seen in many films and tv shows such as Desperate Housewives, Mad Men, The Last Ship, Berlin Station, Deputy, Manhattan, Homeland, Bombshell, Mapplethorpe, Platoon plus a lot more. We cover a lot in this chat such as reading negative comments, Desperate Housewives, having a thick skin, Platoon, hustle, doubts, having a balanced life, importance of community, almost getting a major role in Iron Man, competitiveness, getting a big break in his 40's and his positive outlook on life. Check Mark out on: Instagram: https://www.instagram.com/themarkmoses/ Twitter: https://twitter.com/themarkmoses Follow @Funny in Failure on Insta and FB and @Michael_Kahan on Insta & Twitter to keep up to date with the latest info.

In this episode Jenny talks to friend, colleague and professional women's beauty and fitness photographer Paul Buceta. We get to hear the inside scoop of how Jenny ended up becoming the President of Strong Fitness Magazine, and Paul's journey leading up to the point he handed it over to Jenny. Paul takes us through how and why he moved away from the glamour side of photography and into shooting for fitness - as well as inspiration of the style and approach he takes for his subjects. We listen in on how liberating and empowering the experience can be for women, and get some tips on how to get published. Follow Paul on Social Media:Paul on IGAndivero Magazine on IGPaul on FbPaul Buceta websiteAndivero Magazine websiteIf you enjoyed this episode, make sure and give us a five star rating  and leave us a review on iTunes, Podcast Addict, Podchaser and Castbox.STRONG Fitness Magazine Subscription Use discount code STRONGGIRLResourcesSTRONG Fitness MagazineSTRONG Fitness Magazine on IGTeam Strong GirlsCoach JVBFollow Jenny on social mediaInstagramFacebookYouTube

Anthony Michael Lopez is a queer, disabled actor known for his appearances on Broad City, Homeland, and the feature film “Mapplethorpe” starring Matt Smith. He recently shared the stage with Daniel Craig, David Oyelowo, and Rachel Brosnahan in New York Theatre Workshop's production of “Othello.” Anthony's new streaming miniseries “desert in” - premiering June 3 on Operabox.tv - is a supernatural story exploring queer love, loss, and the price of memories. Episode Highlights Anthony shares his journey as an actor and how his identities of being queer and disabled have shaped that path. We discuss the intersection of disability and queerness in media and how Anthony is working to bring more representation into the field. Anthony shares how his work with attachment theory has been very healing for him. He talks about his most recent project, “Desert In,” an operatic online mini-series. We explore why it's so important to have queer and disabled people on both sides of the camera in the entertainment business.  Web links Connect with Anthony on Instagram Watch "Desert In" online at Boston Lyric Opera Help us support the queer community & keep the podcast going - Support us on Patreon. Grab your FREE Guide: The Self-Confident Queer - Download it  here. Join the Queer Spirit Community Facebook group to continue the conversation and stay up to date on new episodes.   And follow us on Instagram!  Join our mailing list  to get news and podcast updates sent directly to you.

Thanks for watching! This week on Paint on Canvas on Tape, Sinclaire discusses Gustav Klimt's "Woman in Gold" aka "Adele Bloch-Bauer." Kendal discusses the famous gay erotic photographer, Robert Mapplethorpe, and his photograph "Brian Ridley and Lyle Heeter." Hope you enjoyed! Let us know your thoughts in the comments. Rate and review us on iTunes! POCOT Instagram: @paint_on_canvas_on_tapeEmail: paintoncanvasontape@gmail.com

It's Pride Month, round two! This week, Mason and Sean are discussing the history of censorship of LGBTQ+ art from Robert Mapplethorpe (NSFW link) to now, and what that history can tell us about the evolution of American fine art and culture as a whole. We all discuss moral panic, religion in legislation, and deceased Republican Senator Jesse Helms. Mason rants about capitalism, Sean tries to advance the Gay Agenda, and we make an honest attempt at organically pitching our Patreon. There's something here for everyone. ——— Meaning What is a product of it's no sam studios Created by Mason Hershenow Produced by Sean Ang and Christopher Scott McNeill Edited and mixed by Mason Hershenow Original music by Mason Hershenow

A chronicle of the career of photographer Robert Mapplethorpe, from his rise to fame in the 1970s to his death in 1989. Director Ondi Timoner discusses her provocative biopic Mapplethorpe, The Director's Cut.

Filmmaker Ondi Timoner talks with Emmy Winner Charlotte Robinson host of OUTTAKE VOICES™ about the recently released “Mapplethorpe, The Director's Cut” featuring an all-new soundtrack, previously unseen footage and also addresses Robert Mapplethorpe’s important relationship with Patti Smith and his subsequent pivotal romance with powerhouse art collector Sam Wagstaff. The film stars Matt Smith in the title role, best known as Prince Philip in the Netflix series “The Crown.” The stellar cast includes Marianne Rendón as Patti Smith and John Benjamin Hickey as Sam Wagstaff. LGBTQ icon and photographer Robert Mapplethorpe was one of the most important and controversial artists of the 20th Century living his life boldly and authentically until his untimely death 1989 at age of 42 due to complications from HIV/AIDS. Mapplethorpe’s most controversial works documented and examined the gay male BDSM subculture of New York City in the late 1960s and early 1970s. His historic and provocative 1989 exhibition entitled “Robert Mapplethorpe: The Perfect Moment” generated controversy and even sparked a Congressional debate when Senator Jesse Helms introduced legislation that attempted to stop the National Endowment for the Arts from funding artwork he considered “obscene.” Though Helms’ extreme measures did not pass, a compromise was reached in Congress placing restrictions on NEA funding procedures that’s still in effect today. “Mapplethorpe, The Director’s Cut” also includes restored scenes depicting Mapplethorpe’s childhood love of photography, his embattled relationship with his father and his lingering ambivalent connection to the Catholic faith. We talked to Ondi about her inspiration for creating “Mapplethorpe, The Director's Cut” and her spin on our LGBTQ issues.  Ondi Timoner is one of the most outstanding talents in non-fiction filmmaking. She often takes on the stories of visionaries fighting against all odds with a gripping and unique mixed-media, narrative style. Ondi wrote, directed, produced and edited “Mapplethorpe” that won an Audience Award at the Tribeca Film Festival and was released theatrically by Samuel Goldwyn in 2018. “Mapplethorpe, The Director’s Cut” is now available on Hulu, Amazon and various digital platforms. Currently she’s putting the finishing touches on a new screenplay “A Stroke of Genius” about the life and career of her late father Eli Timoner who in 1971 founded Air Florida an airline that saw remarkable rapid growth both at the time of its inception and afterwards before suffering a stroke and living the next forty years as a hemiplegic. Timoner is a member of the Academy of Motion Picture Arts & Sciences, the DGA, the PGA, the International Documentary Association, Film Fatales and Women in Film. For More Info...  LISTEN: 500+ LGBTQ Chats @OUTTAKE VOICES 

This episode of Big Blend Radio features Ondi Timoner, award-winning filmmaker and director of “Mapplethorpe, The Director's Cut.”Robert Mapplethorpe was one of the most celebrated and controversial artists of the 20th Century. The film, “Mapplethorpe, The Director's Cut” features an all-new soundtrack and previously unseen footage of the artist's childhood, his embattled relationship with his father and the Church, and the nuances of his photo process and key relationships with Patti Smith and powerhouse art collector, Sam Wagstaff.Featured music on this episode is “Marsha in Pictures” by Red Wedding.

A great entertainer says what we’re all feeling, and since it’s been a hell of a year, Lil’ Nas X hung up his adorable pink cowboy hat and traded it for a skin tight bondage getup to ride a stripper pole to hell.Lil Nas X’s new music video Montero has everything: he plays all the characters in a magical biblical world, Adam in the Garden of Eden, the seductive serpent, his own judge and judy condemning him to hell where he booty bounces for the devil, also played by himself, where spoiler alert! He snaps old Lucifer’s neck, steals his horns and becomes the new queen of hell. With a Lil Nasty help from right wing outrage, the single has shot to #1 on the charts, and his collaboration with fashion line MSCHF to sell Satanic sneakers embedded with a single drop of human blood has raked in $666,000 and opened up a trademark infringement lawsuit from Nike!Now Lil Nas is wrestling with the real devil: corporate lawyers! Today we’re cutting loose like Lil Nas X did with the devil and looking at all the wild stuff rolling around regarding his new controversial video Montero and those wickedly evil shoes. Plus-- ➤ Was Robert Mapplethorpe as cranky in real life as he’s in the film Mapplethorpe? ➤ The Jewish legacy of Peeps. ➤ Kate Winslet feels bad for all the actors trapped in the closet.➤ The scandalous tea that didn’t make it onto our Tina Turner podcast.

Join Nancy J. Reid and Lisa D. Smith, the mother-daughter travel team on the Love Your Parks Tour and publishers of Big Blend Magazines, along with Tanya Ortega, photographer and founder of the National Parks Arts Foundation, for Big Blend Radio. This episode features Ondi Timoner, award-winning filmmaker and director of  “Mapplethorpe, The Director's Cut.” Robert Mapplethorpe was one of the most celebrated and controversial artists of the 20th Century. The film, “Mapplethorpe, The Director's Cut” features an all-new soundtrack and previously unseen footage of the artist’s childhood, his embattled relationship with his father and the Church, and the nuances of his photo process and key relationships with Patti Smith and powerhouse art collector, Sam Wagstaff. Featured music on this episode is “Marsha in Pictures” by Red Wedding.

Couldn't get to the museum this year? That's okay, join us this week as we bring the museum to you by examining artists Andy Warhol and Robert MappleThorpe.

About the Performance: This production contains extreme sexually explicit images from the Robert Mapplethorpe collection that may be inappropriate for attendees under 18. Discretion is advised. Thirty years after the death of Robert Mapplethorpe, we still cannot turn away from what his photos reveal. Composer Bryce Dessner, Librettist Korde Arrington Tuttle, and director Kaneza Schaal in collaboration with Roomful of Teeth and a musical ensemble of 12 players explore the ways Mapplethorpe's works compel an audience's complicity and characterizes them in the act of attention. As a young man growing up in Cincinnati, Dessner's own exposure to the protests surrounding this galvanizing artist rooted a lifelong kinship to his pivotal body of work. Mapplethorpe's pictures both unite and divide viewers, provoking a consideration of perceived opposites–their literal as well emotional and cultural meanings – Black/White, Male/Female, Gay/Straight, Art/Porn, Classical/Contemporary. His pictures seduce, shock, offend, excite, intrigue and scare us all at once.  Single images take our breath away through the classic capture of everyday acts of nature and the beauty of their composition. On the other hand, a single image has the power to reveal our fears and our desires and the razor-thin line between the two. We confront this work privately, flipping through coffee table books or seeing the work in a museum gallery. But in Triptych (Eyes of One on Another), Dessner, Tuttle & Schaal ask an audience to experience these reactions collectively. Through music, projection of Mapplethorpe's images, and the poetry of Tuttle, Essex Hemphill and Patti Smith, the work puts the audience inside the artist's view finder, inside his beautiful, bold, voracious view of how nature and humans look, touch, feel, hurt and love one another. Co-produced by Los Angeles Philharmonic, Gustavo Dudamel Music and Artistic Director. Produced in Residency with and Commissioned by University Musical Society, University of Michigan, Ann Arbor, MI. TRIPTYCH was co-commissioned by BAM; Luminato Festival, Toronto, Canada; Stavros Niarchos Foundation Cultural Center, Athens, Greece; Cincinnati Opera, Cincinnati, OH; Cal Performances, UC Berkeley, Berkeley, CA; Stanford Live, Stanford University, Stanford, CA; Adelaide Festival, Australia; John F. Kennedy Center for the Performing Arts for performance as part of DirectCurrent 2019; ArtsEmerson: World on Stage, Emerson College, Boston, MA; Texas Performing Arts, University of Texas at Austin, Austin, TX; Holland Festival, Amsterdam; Barbican Centre, London; Wexner Center for the Arts, Ohio State University, Columbus, OH; and Celebrity Series, Boston, MA. Residency development through MassMOCA, North Adams, MA. Photo credits: Alistair Butler, 1980 © Robert Mapplethorpe Foundation. Used by permission. Bryce Dressner photo by Shervin Lainez Korde Arrington Tuttle photo courtesy of the artist Roomful of Teeth photo by Bonica Ayala Produced in cooperation with The Robert Mapplethorpe Foundation Program: Bryce DESSNER : Triptych (Eyes of One on Another) Artists: LA Phil New Music Group Sara Jobin conductor Bryce Dessner composer Korde Arrington Tuttle featuring words by Essex Hemphill & Patti Smith librettist Roomful of Teeth Kaneza Schaal director Simon Harding video Yuki Nakase lighting design Carlos Soto costume design Talvin Wilks dramaturgy ArKtype / Thomas O. Kriegsmann co-producers TUE / MAR 5, 2019 - 8:00PM Upcoming concerts: www.laphil.c

Patti Smith wasn't seeking fame when she landed in Manhattan in 1969. She was a fan of the greats of the day - like Dylan, Mapplethorpe, Pollock, Ginsberg - who she followed and emulated, hoping to find her own creative space next to those she most admired. Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.

In Minute 111 of The Whole Shebang, Jenny and Mike look at the history of the legendary green pin (and our awesome pins available on Patreon), take a side trip to Mike's intimidating leather jacket-wearing college years, talk about the problems of provenance in Mike's Museum Corner, especially when it comes to alien artifacts, our return to the beginning of the film through the pin, memories of the fairytale narrator who's never appeared again, and how that fits Velvet Goldmine's postmodern aesthetic, how Mike doesn't like The Neverending Story, how cute Ewan McGregor is as 1984 Curt, how Curt's dual flashbacks to his lovers Brian and Arthur use the same film stock and how that signifies nostalgia, Curt's peeing off the side of the Rainbow Theater and the role of urine in gay and in transgressive art from Warhol to Mapplethorpe to Serrano, how the pin represents something Arthur still cannot access within himself, and how the pin represents handing on an artistic, musical, and cultural legacy. Find us on the web at thewholeshebangpodcast.com, and on Facebook, Twitter, and Patreon at wholeshebangpod.

Patti Smith wasn't seeking fame when she landed in Manhattan in 1969. She was a fan of the greats of the day - like Dylan, Mapplethorpe, Pollock, Ginsberg - who she followed and emulated, hoping to find her own creative space next to those she most admired. Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.

Filmmakers Fenton Bailey and Randy Barbato discuss controversy and timelessness in their documentary Mapplethorpe: Look at the Pictures.

On Twitter: @fbailey @randybarbato @WorldofWonder @HBODocs @thompowersThanks to SundanceNow Doc Club for sponsoring this episode.This episode was recorded at SVA MFA Social Documentary Film Program.Show notes:Mapplethorpe: Look at the PicturesWorld of WonderThe Fabulous Pop Tarts

What does Robert Mapplethorpe, Rob Schneider and the Shining have in common? Find out now as the Charlie Tonic Hour returns with a vengeance! Listen in as we discuss the 25th anniversary of the Mapplethorpe obscenity trial and the ways in which Cincinnati has shifted culturally over the years. From there we invite you along for a preview of the new Overlook Lodge bar opening in Pleasant Ridge (with guests Jacob Trevino and Otto Baum). All this plus the usual storytelling and a music recommendation make for a packed episode so full an hour couldn't contain it!