Podcasts about Marcel Duchamp

Artist Jay Slyce talks about erasure in painting as it relates to history, spiraling one's practice toward possibility, exposing real-time decision making through the work, and more.Jay Slyce (b. 2001, Hackney, London) is a British-American artist based in London. He completed his MA at the Royal College of Art in 2024, and his BA at Leeds Arts University in 2023. He works across media engaging both with image and object. This might manifest in a painting, a video, or three-dimensional work. Slyce's work is held in the collection of the Josef and Anni Albers foundation as well as private collections across the UK and US.Jay's Instagram: @jayslyceJay's website: jayslyce.comReference links:Joel Wyllie, Aerial the Projectionist (solo exhibition, 2025)Europa Logistics (logo)Selena Corsellis, Close But Not Quite (text from solo exhibition, 2026)Jay Slyce, The Hospital (2026)Hackney People's Press (active 1973-85)Jay Slyce, Well (2026)Jay Slyce, We Write of Eternal Things (2026)Jay Slyce, Wall (2026)Sedrick ChisomSean ScullyRobert Smithson, A Tour of the Monuments of Passaic, New Jersey (1967)Antoine de Saint-Exupéry, The Little Prince (1943)Paul Klee, Pedagogical Sketchbook (1953)Walter Benjamin, Theses on the Philosophy of History (1940)Marcel Duchamp (retrospective at MoMA, 2026)Jay Slyce, The Unfinished Project of Modernity: Social Housing and Civic Ground at Hoxton, (short film for Lynch Architects, 2026)Maurice Merleau-Ponty, Cézanne's Doubt (1945)Patrick Leigh Fermor, A Time to Keep Silence (1953)Francis Alÿs, Ricochetes (exhibition, 2024)Francis Alys : Le temps du sommeil (1995-present)Gerhard Richter (exhibition at Fondation Louis Vuitton, 2026)Francis Alÿs, Children's Game #19: Haram Football (2017)Rónán Hession, Leonard and Hungry Paul (2019)Jay Slyce, The Shame of Compiegne is erased (2026)Entartete Kunst (Nazi "Degenerate Art" exhibition, 1937)The Presidents Heads (attraction, current location from 2013)David E. Scherman, Lee Miller in Hitler's Bathtub (1945)Episode cover art: Jay Slyce, The Hospital, oil on canvas, 70x50 cm, 2026Support People Painting

Episode No. 766 of The Modern Art Notes Podcast features curators Matthew Affron, Michelle Kuo, and Ann Temkin, and artist Nic Nicosia. The Museum of Modern Art, New York is presenting "Marcel Duchamp" through August 22. The exhibition, the first Duchamp retrospective in the United States since 1973, features over 300 works from across Duchamp's career. The show was curated by Affron, Kuo, and Temkin, with assistance from with Alexandra "Lo" Drexelius, Helena Klevorn, Danielle Cooke, and Julia Vázquez. MoMA has published a catalogue for the show; Amazon offers it for $63. The Nasher Sculpture Center, Dallas is showing "Nic Nicosia: Everyday Surreal" through August 16. The exhibition surveys the last 25 years of Nicosia's career (the period since a 1999-2000 mid-career retrospective) a time during which he has particularly focused on sculpture, films, and drawing. The exhibition was curated by Jed Morse. The Nasher has published a valuable catalogue of the exhibition. It is available from the museum.  Air date: July 9, 2026.

El fotógrafo Nicanor García comparte en El Placer de Viajar sus trucos para hacer fotos en los viajes y para tener éxito en Instagram. En este nuevo episodio de El Placer de Viajar , el podcast de viajer de Libertad Digital y esRadio, nuestros anfitriones presentadores Carmelo Jordá y Kelu Robles se sumergen en el apasionante mundo de la fotografía de viajes. Para empezar, se recuerdando la importancia histórica de la primera cámara Kodak, patentada por George Eastman, un hito que democratizó la captura de momentos especiales hasta tal punto que hoy en día la fotografía es una parte fundamental de cualquier viaje, influyendo incluso en la elección de los destinos turísticos por parte de los viajeros. Además, la primera parte del espacio cuenta con la participación de Eva Sanchidrián, representante de Mundomar Cruceros, quien analiza el notable incremento en la demanda de cruceros premium por el Caribe. Este tipo de viaje permite a los turistas explorar la inmensa diversidad de la región —que abarca desde las Antillas hasta las islas Vírgenes— sin la incomodidad de deshacer las maletas continuamente. Además, las navieras de lujo ofrecen servicios personalizados y una gastronomía de primer nivel a precios muy competitivos, desmontando el mito de que el Caribe es únicamente un destino para la época invernal. Y por último, recuerda que en esta página web y en el teléfono 911 975 520 los oyentes de El Placer de Viajar y esRadio pueden reservar su crucero con descuento. El invitado estrella de este episodio es Nicanor García, un reconocido fotógrafo, arquitecto y creador de contenido con más de 750.000 seguidores en Instagram. García explica cómo su andadura en la fotografía comenzó de manera fortuita y se consolidó durante la crisis de la construcción de 2008, cuando empezó a documentar sus propios proyectos arquitectónicos. Su formación académica como arquitecto le proporcionó una mirada única y muy visual sobre el espacio, permitiéndole plasmar la relación entre los edificios y su entorno a través del objetivo. Al abordar el eterno debate sobre el equipo fotográfico, el experto aconseja a los principiantes empezar a practicar con los dispositivos que ya poseen, destacando la excelente resolución de los teléfonos móviles actuales. Para García, la clave de una buena fotografía reside en la mirada de quien la toma y en el dominio de la composición, más que en la sofisticación de la máquina. No obstante, Carmelo Jordá matiza que, aunque los móviles son herramientas muy útiles, la experiencia y el proceso de aprendizaje que brinda una cámara tradicional resultan mucho más divertidos y enriquecedores. Respecto a la técnica y el uso del modo manual, García sugiere comenzar en automático para concentrarse plenamente en la composición y la búsqueda de la luz antes de adentrarse en los ajustes complejos. Asimismo, comparte valiosos consejos compositivos, como la importancia de no cortar los elementos esenciales y de evitar situar siempre el horizonte o el sujeto principal en el centro geométrico de la imagen. Introducir elementos en el primer término para dotar de profundidad y tridimensionalidad a la fotografía es otro de los trucos recomendados para capturar la esencia de un lugar de forma más dinámica. La postproducción y edición digital también son tratadas en la conversación. García y Jordá coinciden en que la edición debe ser una herramienta sutil que realce la realidad sin llegar a desvirtuarla, buscando siempre la naturalidad en la imagen final. En el contexto de los viajes, se debate sobre la conveniencia de investigar previamente los destinos; mientras que García prefiere documentarse para no perderse localizaciones de gran valor, Jordá aboga por dejarse sorprender. Finalmente, llegan los consejos referentes a todo relativo a después del viaje, ideas para manejar la cuenta de Instagram y consejos como realizar copias de seguridad de todo el material gráfico acumulado para evitar pérdidas irreparables. En la sección dedicada a los hoteles, Kelu Robles describe con entusiasmo su experiencia en el hotel Palacio de Santa Paula en Granada. Este establecimiento de cinco estrellas, perteneciente al grupo Marriott, destaca por estar ubicado en un antiguo convento del siglo XVI que conserva un espectacular claustro rehabilitado. El hotel también alberga una casa morisca del siglo XII, ofreciendo a los huéspedes una inmersión única en la historia de la ciudad de la Alhambra mediante una decoración rústica muy cuidada y un servicio de máxima calidad. La gastronomía de este hotel granadino merece una mención especial gracias a su restaurante El Claustro, liderado por el chef Luismi Luque. Robles destaca el desayuno del hotel por su excepcional surtido de productos andaluces de alta calidad, como el aceite de oliva virgen extra y el jamón ibérico de bellota. Además, el restaurante ofrece una sofisticada propuesta de almuerzo y cena que rinde homenaje a la gastronomía tradicional granadina mediante técnicas culinarias modernas, consolidando la tendencia de que los grandes hoteles pueden albergar restaurantes de primerísimo nivel. Finalmente, Santi Molina cierra el programa con sus habituales noticias del sector turístico, destacando la nueva conexión directa de United Airlines entre Bilbao y Nueva York, disponible durante la temporada estival. También menciona la apertura en Sevilla del hotel Sevilla, que se une a la prestigiosa marca Preferred Hotels & Resorts. En el ámbito cultural, Molina recomienda la exposición sobre Zurbarán en la National Gallery de Londres y la gran retrospectiva dedicada a Marcel Duchamp en el MoMA de Nueva York, citas indispensables para los amantes del arte que viajen este verano. Escríbenos, explícanos qué te gusta más y si hay algo que no te gusta tanto de El Placer de Viajar, dinos de qué destinos quieres que hablemos y si quieres que tratemos algún tema y, por supuesto, pregúntanos lo que quieras en el correo del programa: elplacerdeviajar@libertaddigital.com.

A volte ci sono aziende che creano i mercati, arrivano con un prodotto talmente forte da creare una domanda che prima non c'era. È il caso di un'azienda orgogliosamente made in Italy che celebra quest'anno il suo 65esimo compleanno: Piscine Castiglione. 70 mercati, 14 filiali nel mondo, 6 Olimpiadi con 193 record mondiali, centri wellness e piscine spa realizzate per le più importanti catene alberghiere, 65 anni fa a Castiglione delle Stiviere, in provincia di Mantova, nasceva Piscine Castiglione, oggi leader mondiale nell'ambito della progettazione e realizzazione di piscine sia per il settore residenziale che per grandi impianti sportivi. Un brand orgogliosamente made in Italy nato in un contesto in cui un vero mercato della piscina privata in Italia non esisteva. Al ceo Roberto Colletto, abbiamo chiesto di raccontarci quale fu l'intuizione di allora e di raccontarci un mondo che ci parla di innovazione, ricerca, sostenibilità e dialoga con il mondo dell'ospitalità, del design e dello sportFocus sui trend dedicato all'Ai retail: quando l'intelligenza artificiale punta a fare la differenza nell'esperienza d'acquisto. Riflessione finale dedicata invece all'artista che più di ogni altro ha rivoluzionato l'arte del 900, padre dell'arte concettuale: Marcel Duchamp. Le sue influenze si sentono tuttora anche nel mondo dei consumi.

States of Discovery is officially back, and Marisa and Sara are wasting no time catching up. After a behind-the-scenes hiatus, they're diving straight into what they've been up to, from a music festival in Salt Lake City to solo adventures in New York and LA. This episode covers the OIYS articles that have been turning heads lately, some genuinely great travel tips, and a big announcement about where the two are headed together at the end of June.Life Updates & Recent Travel:Sara is deeply invested in the 50 Best Sandwich Shops series (and yes, she knows how that sounds)Marisa shares why she can't stop thinking about Diablo Lake in Washington's North Cascades and the wild reason its water is that shade of turquoiseFrom a hidden omakase spot in New York to a J-pop festival in LA, Sara's solo trip itinerary will make you want to book a flight immediatelyMarisa makes a strong case for Salt Lake City, including an Evo Hotel with an indoor rock climbing gym, a dry sauna she didn't know about until check-in, and a laundromat connected to a pizza shopTimestamps:00:12 - Welcome back! The hiatus is over and summer travel is on01:47 - Sara's love letter to the 50 Best Sandwich Shops series (Delhi, Ohio represent)05:06 - Marisa's Caribbean water obsession and why Diablo Lake stopped her cold09:02 - Kilby Block Party, lime scooters, and the thrift-to-laundromat pipeline in Salt Lake City17:22 - Sara's solo New York and LA trip: hidden izakaya, MoMA's fallout shelter exhibit, and a J-pop festival28:08 - The big announcement: Marisa and Sara are heading to Fayetteville Pride, one of the biggest Pride festivals in the Southeast35:14 - "Tree trunk travel": how anchoring a trip around one event leads to the best discoveriesEpisode Summary:Marisa and Sara are back on the mic and picking up exactly where they left off. The episode moves fast, from gushing over reader-nominated sandwich shops to trading notes on recent solo travels that each turned into something way more interesting than the original plan. Marisa's Salt Lake City trip is a great reminder that staying at the right hotel, being willing to do laundry in a new city, and just wandering with a color challenge can be its own kind of adventure. Sara's New York visit hit differently once a Marcel Duchamp exhibit led her straight into a fake Cold War fallout shelter. The episode closes on a genuinely exciting note: both hosts are heading to Fayetteville, Arkansas for a three-day Pride celebration, and they want listeners along for the ride.Stay tuned for the Fayetteville Pride episode dropping in early July. Have a Pride festival recommendation or a sandwich shop worth a road trip? Leave us a message at 805-298-1420 or email podcast@onlyinyourstate.com. If you're listening on Spotify, drop a comment. Subscribe, rate, and review States of Discovery so more people find us.

In this first episode of the new series, Lisa Yuskavage talks to Ben Luke about her influences—from writers to musicians, film-makers and, of course, other artists—and the cultural experiences that have shaped her life and work. Yuskavage, was born in Philadelphia in 1962 and lives today in New York, makes paintings that involve a cast of stylised and often eroticised, mostly female characters set within invented interiors and landscapes. Deeply engaged with the history of art and representation, Lisa's pictures explore centuries-old traditions and genres and play with them, along a sliding scale from homage to subversion, sometimes within the space of one canvas. Her figures can derive from everyday observation, draw from soft-porn magazines or a wealth of other pop-cultural sources, or quote from historic paintings. But set within enigmatic spaces, accompanied by a range of props and objects, and allied to Lisa's intoxicating colour sense, they are encapsulated in a singular realm of imagination and unleashed into the peculiar communion between this artist and us—one which can be delightful and disquieting, often at once.She reflects on the “emotional formalism” at the heart of her work, her early visit to the Philadelphia Museum of Art and trip to Italy and their transformative effect on her work. She discusses the seismic effect of seeing a Giovanni Bellini painting in Venice, the ongoing influence of Marcel Duchamp's Étant Donnés and her admiration for, among others, Agnes Martin, Philip Guston and Laura Owens. She talks about the poet Wallace Stevens's impact on her work and her interest in the films of Stanley Kubrick. Plus, she gives insight into her life in the studio and answers our usual questions, including the ultimate: what is art for?Lisa Yuskavage, David Zwirner, New York, until 26 June. Hosted on Acast. See acast.com/privacy for more information.

durée : 00:59:56 - par : Nathalie Piolé -

The first American retrospective of the work of pioneering artist Marcel Duchamp in 50 years has landed at the MoMA. Curators Ann Temkin and Michelle Kuo discuss the show, running now through August 22. Image by Alfred Stieglitz; 'Fountain' (photograph of readymade by Marcel Duchamp). New York, 1917. Gelatin silver print. Box in a Valise Archive, private collection, USA. © Association Marcel Duchamp / ADAGP, Paris / Artists Rights Society (ARS), New York 2026

Drees, Jan www.deutschlandfunk.de, Büchermarkt

Friðrik Margrétar-Guðmundsson sendi frá sér plötuna Ymur um helgina. Hann verður gestur Víðsjár og segir frá tilurð verksins og umfjöllunarefni hennar. Haukur Þorgeirsson, málfræðingur og rannsóknarprófessor við Árnastofnun, heldur áfram að fjalla um íslenska ljóðlist fyrri alda, í dag segir Haukur okkur frá Máríu, móður guðs, í kvæðum íslenskra skálda á miðöldum. Við heyrum af pólitískum menningarvendingum í Frakklandi sem varða Éditions Grasset útgáfufyrirtækið og rifjum upp pistil um Pissuskálina, listaverk sem jafnan hefur verið eignað franska listamanninum Marcel Duchamp en gæti hafa verið úr smiðju myndlistakonunnar Elsu von Freytag-Loringhoven

Nous sommes en avril 1917, à New York au Grand Central Palace, sur Lexington Avenue. C'est là, à partir du 9, que se tient la première exposition de la « Society of Independent Artists ». Marcel Duchamp, le plasticien français pas encore naturalisé américain, en est membre directeur. Pour son premier salon, la Société américaine autorise librement tout membre à exposer l'objet de son choix moyennant un droit s'élevant à six dollars. Le principe défendu est qu'aucun artiste ne peut être refusé pour « raisons esthétiques ». Duchamp décide d'envoyer, sous le pseudonyme de Richard Mutt, un urinoir en porcelaine destine à être présenté comme une sculpture. Mais les choses vont prendre une tournure inattendue. En effet, l'objet n'est pas exposé au prétexte que « sa place n'est pas dans une exposition d'art et que ce n'est pas une œuvre d'art, selon quelque définition que ce soit ». La décision est prise par William Glackens, le président de la Société des Artistes Indépendants, au terme d'un vote à la majorité qui a réuni les membres du comité directeur, la veille du vernissage, contrairement donc au principe suivant lequel il n'y a pas de jury. Les motifs du refus vont du « immoral et vulgaire » au « pièce commerciale ressortissant de l'art du plombier ». Au moment où Duchamp apprend que son objet est refusé, il démissionne du comité directeur de la société, sans dévoiler toutefois son lien avec Richard Mutt. L'exposition se déroulera normalement, avec succès, et personne, jusqu'à la clôture, ne verra l'urinoir resté caché derrière une cloison du Grand Central Palace. Mais la polémique va s'enclencher à la suite de la publication d'un article anonyme paru dans « The Blind Man », une revue satirique fondée par Duchamp et quelques autres. On peut y lire « Les seules œuvres d'art que l'Amérique ait données sont ses tuyauteries et ses ponts ». L'argument consiste à démontrer que l'important n'est pas que Mutt ait fabriqué cette sculpture avec ses mains ou non, mais qu'il ait choisi un objet de la vie quotidienne en lui retirant sa valeur d'usage avec un nouveau titre et un nouveau point de vue ; conséquemment, la création consiste en une nouvelle pensée de l'objet. » L'urinoir de Duchamp passera à la postérité sous le titre de « Fountain ». A l'époque, le terme « installation » n'est pas encore employé pour parler de ce type d'œuvre qui « installe » un rapport particulier avec l'espace, le temps et les spectateurs. Revenons aujourd'hui aux origines et à la signification d'un art qui interroge, déconcerte et parfois dérange : l'installation. Sujets traités : installation, art, William Glackens, Marcel Duchamp, plasticien,Richard Mutt, urinoir, sculpture Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be :https://auvio.rtbf.be/emission/5936 Intéressés par l'histoire ? Vous pourriez également aimer nos autres podcasts : L'Histoire Continue: https://audmns.com/kSbpELwL'heure H : https://audmns.com/YagLLiKEt sa version à écouter en famille : La Mini Heure H https://audmns.com/YagLLiKAinsi que nos séries historiques :Chili, le Pays de mes Histoires : https://audmns.com/XHbnevhD-Day : https://audmns.com/JWRdPYIJoséphine Baker : https://audmns.com/wCfhoEwLa folle histoire de l'aviation : https://audmns.com/xAWjyWCLes Jeux Olympiques, l'étonnant miroir de notre Histoire : https://audmns.com/ZEIihzZMarguerite, la Voix d'une Résistante : https://audmns.com/zFDehnENapoléon, le crépuscule de l'Aigle : https://audmns.com/DcdnIUnUn Jour dans le Sport : https://audmns.com/xXlkHMHSous le sable des Pyramides : https://audmns.com/rXfVppvN'oubliez pas de vous y abonner pour ne rien manquer.Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Three artists who in different ways connect to the Surrealist movement are the subject of this week's podcast. At the Museum of Modern Art in New York, the first major US survey of the full career of Marcel Duchamp since 1973 opens this weekend, before travelling later in the year to Philadelphia. Ben Luke talks to its curators at MoMA, Ann Temkin and Michelle Kuo. A new book, Dorothea Tanning: A Surrealist World, exploring the extraordinary life and work of the Surrealist artist, is published this week by Yale University Press and Ben speaks to its author, Alyce Mahon. And this episode's Work of the Week is Down Below (1940), a painting by another of the great women artists of Surrealism, the British Mexican painter Leonora Carrington. It was made while she was hospitalised in Santander in Spain in the early stages of the Second World War, before her pivotal journey to Latin America. The picture is part of an exhibition at the Freud Museum in London, The Symptomatic Surreal, which also features drawings from Carrington's sketchbooks. We speak to Vanessa Boni, the curator of special projects at the museum, about the work and the show.Marcel Duchamp, Museum of Modern Art, New York, 12 April-22 August; Philadelphia Museum of Art, 10 October-31 January 2027Dorothea Tanning: A Surrealist World by Alyce Mahon, Yale University Press, $45 or £30 (hb)Leonora Carrington: The Symptomatic Surreal, Freud Museum, London, until 28 June 2026 Hosted on Acast. See acast.com/privacy for more information.

In October 1942, the great French conceptualist artist Marcel Duchamp helped put on the first major surrealist exhibition in New York. Carroll Janis's parents were friends of Duchamp.Louise Hidalgo spoke to him in October 2016 about the exhibition, the man and his art, including his famous urinal, Fountain.Eye-witness accounts brought to life by archive. Witness History is for those fascinated by and curious about the past. We take you to the events that have shaped our world through the eyes of the people who were there. For nine minutes every day, we take you back in time and all over the world, to examine wars, coups, scientific discoveries, cultural moments and much more. Recent episodes explore everything from how the Excel spreadsheet was developed, the creation of cartoon rabbit Miffy and how the sound barrier was broken.We look at the lives of some of the most famous leaders, artists, scientists and personalities in history, including: the moment Reagan and Gorbachev met in Geneva, Haitian singer Emerante de Pradines' life and Omar Sharif's legendary movie entrance in Lawrence of Arabia.You can learn all about fascinating and surprising stories, like the invention of a stent which has saved lives around the world; the birth of the G7; and the meeting of Maldives' ministers underwater. We cover everything from World War Two and Cold War stories to Black History Month and our journeys into space.(Photo: Duchamp's famous urinal. Credit: Michael Macor/The San Francisco Chronicle via Getty Images)

Nous sommes au tout début du XVIe siècle, à une époque où l'Europe débat vivement des vices humains, de la vanité et du ridicule social. Des débats influencés, notamment, par Érasme de Rotterdam, le chanoine et philosophe humaniste, auteur d'un essai qui va marquer durablement les siècles « L'Éloge de la folie ». Un ouvrage dans lequel le théologien tourne en dérision, entre autres sujets, les femmes cherchant à masquer leur vieillesse. L'essai est publié en 1511. Deux ans plus tard environ, Quinten Massys, né à Louvain, peint une figure grotesque, au visage marqué de rides profondes, au nez écrasé, aux traits hypertrophiés, une figure peut-être inspirée d'échanges de textes ou de dessins satiriques avec d'autres artistes, on sait que Massys et Léonard de Vinci ont échangé des caricatures. L'œuvre passera à la postérité sous le titre de « La laide duchesse ». Depuis l'Antiquité, l'art n'a jamais cessé d'explorer le rapport entre beauté, pouvoir et représentation, même dans ses formes les plus inattendues. Si les Grecs classiques privilégient l'harmonie et l'idéalisation, ils n'ont pourtant jamais ignoré la laideur, notamment dans leurs créatures hybrides, monstrueuses ou grotesques. Le Moyen Âge fera de cette laideur un outil d'enseignement moral, visible dans les gargouilles, les démons et les scènes infernales sculptés sur les cathédrales. À la Renaissance, malgré le retour aux canons classiques, la laideur reste présente chez des artistes fascinés par l'étrange, comme Bosch et ses visions chimériques. Au XIXᵉ siècle, le réalisme revendique l'importance du laid pour représenter la vérité sociale, loin de toute idéalisation académique. Avec le XXᵉ siècle, les avant-gardes transforment la laideur en un manifeste, comme le montre l »'Urinoir » de Marcel Duchamp, qui érige un objet trivial en œuvre d'art contestataire. Ce geste radical brise l'idée que seul le beau mérite la dignité artistique et ouvre la voie à de nouvelles formes d'expression. Dans l'art contemporain, la laideur devient un langage critique, permettant de dénoncer les violences du monde et l'absurdité des normes imposées. Les artistes n'hésitent plus à utiliser matières organiques, déchets ou dispositifs dérangeants pour questionner notre tolérance esthétique et émotionnelle. De quelles manières l'art a-t-il fait de la laideur un autre miroir du monde et de notre humanité ? Avec Anne Hustache, historienne de l'art Sujets traités : Laideur, miroir, âme, Quinten Massys, Léonard de Vinci, Antiquité, Moyen-âge, Renaissance Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be :https://auvio.rtbf.be/emission/5936 Intéressés par l'histoire ? Vous pourriez également aimer nos autres podcasts : L'Histoire Continue: https://audmns.com/kSbpELwL'heure H : https://audmns.com/YagLLiKEt sa version à écouter en famille : La Mini Heure H https://audmns.com/YagLLiKAinsi que nos séries historiques :Chili, le Pays de mes Histoires : https://audmns.com/XHbnevhD-Day : https://audmns.com/JWRdPYIJoséphine Baker : https://audmns.com/wCfhoEwLa folle histoire de l'aviation : https://audmns.com/xAWjyWCLes Jeux Olympiques, l'étonnant miroir de notre Histoire : https://audmns.com/ZEIihzZMarguerite, la Voix d'une Résistante : https://audmns.com/zFDehnENapoléon, le crépuscule de l'Aigle : https://audmns.com/DcdnIUnUn Jour dans le Sport : https://audmns.com/xXlkHMHSous le sable des Pyramides : https://audmns.com/rXfVppvN'oubliez pas de vous y abonner pour ne rien manquer.Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

An epic art show at the Lexington Avenue Armory made a young Marcel Duchamp, who was back in France, one of America's first modern celebrities even before he first arrived in New York City for what became decades of painting, conceiving, chess-playing and love-making — though not always in that order. John Strausbaugh, the author of Duchamp Takes New York, joins the LIT NYC podcast for a wide-ranging discussion of an artist's life in the Big Apple's old San Juan Hill, and much more with Amy Sohn and guest co-host Brian Berger.

Modularità, semplicità e sottrazione: sono questi i pilastri della moda di Monica Bolzoni. Con Bianca e Blu - un negozio e una linea di abbigliamento entrati nel mito - ha riscritto le regole di un settore, percorrendo con coerenza e rigore una strada tutta sua, fino a diventare il prototipo di una moda che dialoga con il design e l'arte.Al centro del suo abbigliamento ha sempre messo il corpo e il piacere di vestirsi, per una moda per trent'anni è stata sinonimo di oggetti pensati per durare. In un dialogo a tutto tondo, Monica racconta a Parola Progetto la sua visione e il suo metodo con rara generosità. Un invito a non aver paura di cambiare rotta, a non smettere mai di cercare, a definire una propria voce chiara, personale, indipendente.------------------------------I link dell'episodio:- L'account Instagram di Monica Bolzoni Bianca e Blu https://www.instagram.com/monicabolzonibiancaeblu/- La mostra "Bianca e Blu Monica Bolzoni. Storia e narrazioni di una moda designer" presso il Museo della Città di Rimini (2012) https://zonemoda.unibo.it/bianca-e-blu-di-monica-bolzoni-2/- La mostra "Poetica del semplice. Moda e design secondo Monica Bolzoni/Bianca e Blu" presso La Galleria Nazionale d'Arte Moderna e Contemporanea di Roma (2022) https://gnamc.cultura.gov.it/en/event/poetica-del-semplice-moda-e-design-secondo-monica-bolzoni-bianca-e-blu/- La mostra "Monica Bolzoni. Il modulo" presso La Triennale di Milano (2024) https://triennale.org/eventi/monica-bolzoni-modulo- Il libro "Marcel Duchamp. La vita a credito" di di Bernard Marcadé https://www.ibs.it/marcel-duchamp-vita-a-credito-libro-bernard-marcade/e/9788860103741- Il libro "Le Grand Meaulnes" di Alain-Fournier https://it.wikipedia.org/wiki/Il_grande_Meaulnes- Il libro "Mademoiselle de Maupin" di Théophile Gautier https://it.wikipedia.org/wiki/Mademoiselle_de_Maupin

A história da capital do Brasil, de sua idealização até sua concretização, é o tema da exposição Brasília: da Utopia à Capital, em cartaz no Palácio de Iéna, em Paris, até dia 21 de março. O objetivo da mostra é evidenciar a relevância geopolítica, histórica, social e cultural da cidade. Um projeto iniciado em 2010, que já passou por mais de 16 países, reunindo arquitetura e arte. “A gente trouxe uma coleção com mais de 300 obras sobre a história de Brasília. Então, a gente fala desde 1750 até os dias atuais”, explica a curadora Danielle Athayde. “É um relato histórico dessa saga que foi a construção da cidade nesse período”, diz. Toda a história de Brasília é retraçada, desde 1750, quando o Marquês de Pombal sugere ao príncipe-regente, em Portugal, mudar a capital da costa para o interior do Brasil, até a decisão do presidente Juscelino Kubitschek, que, em 1955, transformou a utopia em realidade. Além de croquis de Oscar Niemeyer, o acervo conta com documentos importantes, como o memorial descritivo do Plano Piloto, projeto de Lúcio Costa. “O Lúcio Costa participa do concurso de criação da cidade e escreve esse projeto, que foi selecionado. É um projeto simples, mas muito original e que dá origem ao Plano Piloto”, explica a curadora. Também estão expostas fotos históricas de Marcel Gautherot e Peter Scheier, fotógrafos que documentaram a construção da capital e cujos trabalhos mostram a utilização do concreto e do ferro nas cúpulas do Congresso Nacional, materiais pouco usados nas construções brasileiras da época. Cartas trocadas entre Oscar Niemeyer, Lúcio Costa e Le Corbusier mostram o entusiasmo do arquiteto franco-suíço, que afirma que os projetos do Palácio da Alvorada e da Catedral contêm algumas das formas mais ousadas da arquitetura. Le Corbusier também afirma que Brasília é a cidade “mais arrojada que o Ocidente já criou”. Passeio histórico A exposição faz um passeio histórico pelas obras dos escultores Bruno Giorgi, Alfredo Ceschiatti, Maria Martins e da artista francesa Marianne Peretti, autora dos vitrais da Catedral de Brasília. Também traz materiais do paisagista Roberto Burle Marx e do pintor, escultor e desenhista Athos Bulcão. Além de documentos arquitetônicos, a mostra conta com obras da Coleção Brasília do Acervo Izolete e Domício Pereira, que reúne grandes artistas modernistas de Brasília, entre eles os contemporâneos Alex Flemming, Carlos Bracher, Naura Timm — com as esculturas Mandrágoras do Cerrado — e João Facó. A Brasília de hoje é representada em uma grande maquete com imagens aéreas da capital, que mostram o desenvolvimento da cidade e de seu entorno nos últimos 65 anos. Danielle Athayde ressalta que “são três toneladas de acervo” que mostram ao visitante uma cidade menos conhecida que Rio de Janeiro e São Paulo, mas que tem muito a oferecer. “A importância dessa exposição é justamente mostrar que a capital do Brasil respira arte e cultura e que a gente está preparado para receber turistas para conhecerem o que temos de melhor, que é a nossa arquitetura, esse projeto tão maravilhoso que foi a construção de uma capital única no mundo”, salienta. “O público fica muito emocionado quando vem conhecer a nossa história, então é isso que dá vida ao projeto.” Local emblemático A exposição acontece no Palácio de Iéna, sede do Conselho Econômico, Social e Ambiental da França e um lugar emblemático. O arquiteto do edifício, Auguste Perret, foi um dos primeiros a compreender a linguagem arquitetônica do concreto armado, influenciando gerações de arquitetos, entre eles Oscar Niemeyer. Esta relação entre França e Brasil também está fortemente presente na exposição, por meio dos artistas expostos. “Lúcio Costa, por exemplo, nasceu em Toulon”, revela Danielle Athayde. “Marianne Peretti é francesa. Maria Martins teve uma relação de amizade muito forte com o (Marcel) Duchamp. Então, não existem coincidências, as coisas vão se ligando. E o público francês é muito aberto à arte, então essa exposição causa bastante impacto e presença também”, diz, salientando que, no primeiro dia, a exposição recebeu 600 visitantes. Brasília: Da Utopia à Capital também inclui a conferência Arquiteturas Utópicas, Auguste Perret e Oscar Niemeyer, que pode ser vista na página do YouTube Brasília Museu Aberto, e a mostra de cinema Brasília Viva, com os filmes Vik Muniz – A Arte no Caos, de Jimi Figueiredo, e JK – O Futuro Chamado ao Presente, de Fábio Chateaubriand, que acontece na Maison du Brésil nos dias 19 e 20 de março às 19h. A entrada para os eventos é gratuita.

O Fundo Regional de Arte Contemporânea de Marselha (Frac Sud), no sul da França, acolhe até 15 de novembro a exposição "Champ étoilé" (Campo estrelado), da dupla de artistas gaúchos Angela Detanico e Rafael Lain. A mostra é um mergulho na imensidão do universo, contemplando linguagem e instigando o público a refletir sobre os mistérios do cosmos.  Daniella Franco, enviada especial da RFI a Marselha Composta por seis obras guiadas pela luz como elemento central, “Champ étoilé” articula peças que se entrelaçam para criar pontes entre beleza, poesia e ciência. O conjunto oferece um recorte emblemático da pesquisa de Detanico e Lain, marcada pela linguística e pela exploração da relação entre tempo e espaço. "É uma exposição que nos fala das nossas origens, dos seres vivos, desde o Big Bang. Mais de 13 bilhões de anos depois, essa luz que criou a vida na Terra, continua existindo. Então, essa reflexão nos convida a nos descentralizar e a compreender que, nesta cadeia ambiental e do universo, nós somos apenas um elo", diz a curadora da mostra e diretora do Frac Sud, Muriel Enjalran.  Para ela, as obras de Angela e Rafael vão além da poesia do cosmos, abordando também o lugar dos seres humanos no mundo, algo que não é novo para os brasileiros. "O Brasil, com seus povos indígenas, reflete há muito tempo sobre essa intercorrelação dos astros, da natureza e da humanidade", ressalta.  Angela Detanico explica que a ideia era colocar em diálogo diferentes momentos da história da luz e do universo. "As obras fazem um pouco esse passeio pelo tempo e pelo espaço, falando um pouquinho também de linguagem, que é um dos nossos temas de predileção. Então nós temos o sol, a lua, estrelas, galáxias muito distantes. A nossa ideia era realmente criar essas diferentes temporalidades", diz.   "Para nós é importante a compreensão de que toda a matéria do universo estava, no passado, unida em um mesmo ponto. Então, tudo faz parte de um todo. Mesmo que a gente tenha a experiência e a consciência da individualidade, no fundo, nós somos todos parte de um sistema que se equilibra e que é interdependente", completa Rafael.  Telescópios e campos de flores Entre as obras exibidas, está a monumental instalação "Floraison de la Lumière" (Florescimento da Luz), concebida no âmbito do Prêmio Marcel Duchamp 2024, a maior recompensa de artes plásticas e visuais da França, para o qual Angela e Rafael foram nomeados. A peça, exposta no ano passado no Centro Pompidou, em Paris, associa imagens de telescópios a fotografias de campos de flores feitas pelos artistas.  Outro destaque da exposição é a instalação "Les Mers de lune" (Os Mares da Lua), projeções em um disco de pedras brancas, que reproduzem uma espécie de jardim zen. A instalação é acompanhada de uma etérea trilha sonora composta para uma peça de dança apresentada por Angela e Rafael em Marselha em 2013. Outras peças foram concebidas especialmente para a exposição "Champ étoilé" , como a luminosa tela "Souleu". A obra é uma representação do sol feita na língua provençal de Marselha. Já "Analema"é um trabalho em texto que evoca os 365 dias do ano.  Angela e Rafael são naturais de Caxias do Sul (RS) e viveram mais de vinte anos na França, antes da recente decisão de retornar ao Brasil. Para eles, todo o trabalho desenvolvido se conecta com o país. "Tudo vem de lá e acaba lá, com essa natureza tão presente no Brasil, além desta conexão com os elementos que a gente carrega", observa Angela. 

durée : 00:59:19 - Toute une vie - par : Matthieu Garrigou-Lagrange, Barbara Turquier - De la "Fontaine" aux autres "ready-made", Marcel Duchamp a exploré de nouvelles voies artistiques, questionnant sans cesse la notion même d'œuvre. Cet épisode retrace son parcours, de ses débuts à ses expérimentations audacieuses. - réalisation : Nathalie Battus - invités : Marc Decimo Critique d'art et écrivain; Giovanna Zapperi Historienne de l'art et docteure de l'EHESS; Bernard Blistène Président du programme "Mondes Nouveaux" et ancien Directeur du Musée National d'Art Moderne au Centre Pompidou; Raphaël Zarka Plasticien français, à la fois photographe, sculpteur, et vidéaste; Bernard Marcadé Historien de l'art et professeur d'esthétique et d'histoire de l'art, critique d'art, commissaire d'expositions

It is the first episode of 2026. So we look ahead at the next 12 months with a guide to big museum openings, biennials and exhibitions. Ben Luke is joined by Jane Morris, editor-at-large at The Art Newspaper and Cultureshock, and Gareth Harris, chief contributing editor at The Art Newspaper, to discuss the key art fairs, major museum building projects and the top biennials of the year, and we pick our exhibition highlights.All of the events discussed and many more are featured in The Art Newspaper's guidebook The Year Ahead 2026, an authoritative look at the year's unmissable art exhibitions, museum openings and significant art events. Visit theartnewspapershop.com. £14.99 or the equivalent in your currency.Events discussed:ART FAIRS: Art Basel Qatar, Doha, Qatar, 5-7 Feb; Frieze Abu Dhabi, 17-22 Nov; MUSEUM OPENINGS: Guggenheim Abu Dhabi, date tbc; V&A East, opens 18 Apr; Los Angeles County Museum of Art (Lacma), opens Apr; Lucas Museum of Narrative Art, opens 22 Sep; Dataland, Los Angeles, opens spring; New Museum, New York, date tbc. BIENNIALS: Venice Biennale, In Minor Keys, 9 May-22 Nov; Arthur Jafa and Richard Prince: Helter Skelter, Fondazione Prada, Venice, 9 May-22 Nov; Marina Abramović: Transforming Energy, Gallerie dell'Accademia, Venice, 6 May-19 Oct; Whitney Biennial, opens 8 Mar; Greater New York 2026, MoMA PS1, 16 Apr-17 Aug; EXHIBITIONS: Gainsborough: The Fashion of Portraiture, Frick Collection, 12 Feb-11 May; Raphael: Sublime Poetry, Metropolitan Museum of Art, New York, 29 Mar-28 Jun; Zurbarán, National Gallery, London, 2 May-23 Aug; Michaelina Wautier, Royal Academy of Arts, 27 Mar-21 Jun; James McNeill Whistler, Tate Britain, 21 May-27 Sep, Van Gogh Museum, Amsterdam, 16 Oct-10 Jan 2027; Seurat and the Sea, Courtauld Gallery, ​​13 Feb-17 May; Peggy Guggenheim in London: The Making of a Collector, Peggy Guggenheim Collection, Venice, 25 Apr-19 Oct; Royal Academy, London, 21 Nov-14 Mar 2027, Cezanne, Fondation Beyeler, Basel, 25 Jan-25 May; Leonor Fini, Schirn Kunsthalle, Frankfurt, 22 Oct-28 Feb 2027; Hilma af Klint, Grand Palais, 6 May-30 Aug, Matisse 1941-1954, Grand Palais, Paris, 24 Mar-26 Jul; Chez Matisse: The Legacy of a New Painting, Caixa Forum, Barcelona, 27 Mar-16 Aug; Fratino and Matisse: To See This Light Again, Baltimore Museum of Art, 11 Mar-6 Sep; Matisse's Femme au Chapeau: A Modern Scandal, SFMOMA, San Francisco, 16 May-7 Sep; Marcel Duchamp, MoMA, New York, 12 Apr-22 Aug; Mary Cassatt: An American in Paris, National Gallery of Art, Washington, DC, 14 Feb-30 Aug; Mary Cassatt: After Impressionism, Art Institute of Chicago, 6 Sep-3 Jan 2027; Modern Iran and the Avant-Gardes, 1948-78, Vancouver Art Gallery, 11 Dec-2 May 2027; Spectrosynthesis Seoul, Art Sonje Center, Seoul, 20 Mar-28 Jun; Carol Bove, Solomon R. Guggenheim Museum, New York, 5 Mar-2 Aug; New Humans: Memories of the Future, New Museum, New York, opens early 2026; Hurvin Anderson, Tate Britain, 26 Mar-23 Aug; Tracey Emin: A Second Life, 26 Feb-31 Aug; Ana Mendieta, Tate Modern, London, 9 Jul-10 Jan 2027. Hosted on Acast. See acast.com/privacy for more information.

durée : 00:25:07 - Gavin Bryars, compositeur et contrebassiste (3/5) - par : Thomas Vergracht - À 82 ans, Gavin Bryars continue de réinventer la musique. Invité du festival Musica à Strasbourg, le compositeur revient, en cinq épisodes, sur un parcours éclectique croisant jazz, minimalisme et expérimentations avant-gardistes. - réalisé par : Béatrice Trichet Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Reber, Simone www.deutschlandfunkkultur.de, Fazit

In Locust Radio 31,  Tish and Adam read poems from the forthcoming issue, discuss Trumpism and art in Venice, and try to unpack the editorial for Locust Review  13. Tish and Adam also listen to the song “Dortn” by Sister Wife Sex Strike. Discussed in this episode: Alma Allen; Suvrat Arora, “People are using AI to talk to God,” BBC (October 18, 2025); Editorial, “Lucky 13,” Locust Review 13 (Winter 2025/2026); Emily M. Bender, Alex Hanna, The AI Con: How to Fight Big Tech's Hype and Create the Future We Want (Harper Collins, 2025); Timothy Binkley, “Autonomous Creations: Birthing Intelligent Agents,” Leonardo 31.5 (1998), 333-336; Ben Davis, “What is the Mysterious New Group Behind Trump's Venice Biennale Pick?,” Artnet (November 25, 2025); Benoit Dillet, “Technofascism and the AI Stage of Late Capitalism,” Blog of the APA (American Philosophical Association), (March 10, 2025); Marcel Duchamp, Fountain (1917); Robert M. Geraci, "Apocalyptic AI: Religion and the Promise of Artificial Intelligence,” Journal of the American Academy of Religion 76.1 (March 2008), 138-166; Jesse Clyde Howard; Holly Lewis, “Towards AI Realism: Opening Notes on Machine Learning and Our Collective Future,” Spectre (June 7, 2024); Alex Press, “US Unions Take on Artificial Intelligence,” Jacobin (November 8, 2024); Michael A. Rosenthal, “Benjamin's Wager on Modernity: Gambling and the Arcades Project,” The Germanic Review: Literature, Culture, Theory 87.3 (2012), 261-278; Victor Tangermann, “AI Now Claiming to Be God,” Futurism (September 16, 2025); Adam Turl, “All is Concealed: CAM's Direct Drive,” West End Word (October 5, 2016); Adam Turl, “Selling Out,” Locust Review 13 (Winter 2025/2026); Tish Turl, “Elegy for the Faithful Mapmakers,” Locust Review 13 (Winter 2025/2026); Gareth Watkins, “AI: The New Aesthetics of Fascism,” New Socialist (February 9, 2025); Luke Winkie, “Lost Vegas,” Slate (November 18, 2025); Eliezer Yudkowsky, Nate Soares, If Anyone Builds It, Everyone Dies: Why Superhuman AI Would Kill Us All (Little, Brown and Company, 2025)

Pablo Echaurren"L'eterna periferia"Il Neanderthal e DuchampBordeaux Edizioniwww.bordeauxedizioni.itIn questo libro affascinante e visionario, Pablo Echaurren intreccia archeologia, arte contemporanea, filosofia e autobiografia per riflettere sul senso profondo dell'umano, a partire dalla figura del Neanderthal. L'autore esplora la “periferia” come luogo fisico, mentale e simbolico, opponendola alla centralità egemonica della storia ufficiale, dell'arte istituzionalizzata e del pensiero dominante. Muovendosi tra le selci preistoriche della bonifica pontina e i readymade di Marcel Duchamp, Echaurren immagina un'altra umanità: meno aggressiva, più contemplativa, forse più gentile. Attraverso passeggiate, osservazioni, intuizioni e confronti con studiosi e scoperte scientifiche, il libro propone un'alternativa utopica alla narrazione evolutiva e culturale del sapiens, elevando il Neanderthal a simbolo di una possibilità diversa, non ancora del tutto svanita. Un invito a “cambiare specie”, a immaginare nuove forme di esistenza, più umane dell'umano.Pablo Echaurren (Roma, 22 gennaio 1951) è un pittore, fumettista e scrittore italiano.La sua produzione si è sviluppata all'insegna della contaminazione fra generi, fra alto e basso, arte e arti applicate, secondo un approccio progettuale, manuale e mentale, tipico del laboratorio. Ne discende un'idea dell'artista come artefice e inventore a tutto campo (pittura, ceramica, illustrazione, fumetto, scrittura, video), indifferente agli steccati e alle gerarchie che solitamente tendono a comprimere la creatività.Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

durée : 00:59:42 - Banzzaï du lundi 27 octobre 2025 : Compter les moutons - rediffusion - par : Nathalie Piolé -

Il y a d'abord le clair obscur, puis des formes géométriques, puis des fragments de moulages d'où surgit le buste d'Alexandre Le Grand. La scène ne se passe pas loin de Shanghai, en Chine fin des années 80, au bout des doigts de Xie Lei. Diplômé de l'Académie centrale des Beaux-Arts de Pékin et de l'École nationale supérieure des Beaux-Arts de Paris, cet artiste peintre, en lice pour le prix Marcel Duchamp 2025, tutoie les anges de la peinture italienne et espagnole. Mieux, avec ses camaïeux, ses têtes décapitées et ses corps en chute libre, il explore une poétique de l'étrange. Ces toiles, qui attendent le verdict du Prix, sont exposées au Musée d'art moderne de Paris (le MAM), cependant que son auteur nous rend visite. Programmation de l'invité : • Hu Ge He mei li • Joan Manuel Serrat Nanas de la Cebolla.   Les toiles de Xie Lie sont exposées au Musée d'Art Moderne de Paris.

durée : 01:00:06 - It's a Shame - par : Nathalie Piolé -

SCAD Savannah – Summer 2024 – Exhibitions – Anthony Akinbola – ”Good Hair” – Artist Portrait – SCAD Museum of Art, Gallery 109 – Photography Courtesy of SCAD Born in Columbia,Missouri, Anthony Olubunmi Akinbola, is a first-generation American raised by Nigerian parents in the United States and Nigeria. His layered, richly colored compositions celebrate and signify the distinct cultures that shape his identity. The artist's signature Camouflage paintings, consisting of single and multi-panel works, utilize the ubiquitous du-rag as their primary material. Universally available and possessed of significant cultural context, the du-rag represents for Akinbola a readymade object that engages the conceptual strategies of Marcel Duchamp and other significant artistic predecessors. Throughout his work Akinbola unpacks the rituals and histories connecting Africa and America, addressing the power of fetishization around cultural objects. His previous interview on Yale University radio can be found here. Anthony Olubunmi Akinbola recently was recently selected for the Pullman Yards Artist Residency, which will begin in early 2026. He also recently completed his residency at Black Rock Senegal in Dakar. In 2024, he was named Artist-in-Residence at Dragon Hill in France and in 2022, Akinbola was selected to be in The Artsy Vanguard, an annual feature spotlighting the most promising artists working today. That same year, Akinbola was also awarded the Silver Arts Project residency in New York. In 2019, he was awarded the Van Lier Fellowship and named the eighth Museum of Arts and Design Artist Fellow, which resulted in a solo exhibition at the museum. Akinbola was also selected for the Anderson Ranch Art Center Residency in 2017. Akinbola has exhibited his work in group and individual shows at renowned institutions such as the SCAD Museum of Art, Savannah, GA; the Institute of Contemporary Art San Francisco, San Francisco, CA; Schirn Kunsthalle, Frankfurt, Germany; The Queens Museum, New York; the Randall Recreation Center, Washington D.C.; the August Wilson African American Cultural Center, Pittsburgh, PA; the John Michael Kohler Arts Center, Sheboygan, WI; the Saint Louis Art Museum, St. Louis, MO; Kunsthaus Graz, Graz, Austria; the Bruce Museum, Greenwich, CT; and the Museum of Art and Design, New York, NY, among others. Anthony Akinbola Brick “Sandstone”, 2025, durags on wood panel 48 x 48 x 3 1/4 inches. Anthony Akinbola Celestial “Space Jam”, 2025, durags on wood panel 36 x 36 x 3 1/4 inches. Anthony Akinbola Icarus, 2025, durags on wood panel panel: 72 x 72 x 3 1/4 inches.

Nous sommes le 20 octobre 1942, à New York, à Manhattan, au numéro 30 de la 57e rue. C'est à cette adresse que Peggy Guggenheim ouvre sa galerie d'art. Elle l'appelle « Art of this Century » (L'Art de ce siècle). Pour sa première exposition, elle présente Paul Klee, l'artiste d'origine allemande, naturalisé suisse, mort deux ans plus tôt, qui sera reconnu comme l'un des artistes majeurs de la première moitié du XXe siècle. C'est un événement artistique et mondain que cette inauguration. La presse rapporte : « Les éclairages rendaient les gens complètement fous. Une foule imposante arpentait les lieux (...) poussant, généralement en français, de grands cris d'admiration. On s'extasiait surtout devant la mise en scène de Kiesler le décorateur, et on regardait peu les tableaux. » A l'occasion d'une deuxième exhibition consacrée, notamment, à Marcel Duchamp, un journaliste du « Time » évoque les artistes surréalistes exilés aux Etats-Unis et écrit : « Elle fait pratiquement vivre le groupe en achetant ses toiles. » « Nous nous devons de comprendre l'art de notre temps : c'est un devoir moral », déclarera Peggy Guggenheim qui, avec le temps et les moyens financiers dont elle disposait, s'était lancé comme défi d'acheter une œuvre par jour. La mécène et collectionneuse américaine a joué un rôle crucial dans l'histoire de l'art du vingtième siècle. Ses collections racontent les soubresauts politiques, sociaux et économiques des deux côtés de l'Atlantique, durant trois décennies. Avec nous : Anne Hustache, historienne de l'art. A lire : « Peggy Guggenheim, Ma Vie, mes folies » Ed. Perrin. A voir : Fondation Guggenheim, Venise Sujets traités : Peggy Guggenheim, Manhattan, Paul Klee, Marcel Duchamp, collections, peinture, Venise Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be :https://auvio.rtbf.be/emission/5936 Intéressés par l'histoire ? Vous pourriez également aimer nos autres podcasts : L'Histoire Continue: https://audmns.com/kSbpELwL'heure H : https://audmns.com/YagLLiKEt sa version à écouter en famille : La Mini Heure H https://audmns.com/YagLLiKAinsi que nos séries historiques :Chili, le Pays de mes Histoires : https://audmns.com/XHbnevhD-Day : https://audmns.com/JWRdPYIJoséphine Baker : https://audmns.com/wCfhoEwLa folle histoire de l'aviation : https://audmns.com/xAWjyWCLes Jeux Olympiques, l'étonnant miroir de notre Histoire : https://audmns.com/ZEIihzZMarguerite, la Voix d'une Résistante : https://audmns.com/zFDehnENapoléon, le crépuscule de l'Aigle : https://audmns.com/DcdnIUnUn Jour dans le Sport : https://audmns.com/xXlkHMHSous le sable des Pyramides : https://audmns.com/rXfVppvN'oubliez pas de vous y abonner pour ne rien manquer.Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Η Μαριλένα και ο Δημήτρης συζητάνε για την βιοποικιλότητα της Ελλάδας που ζει σε αρχαιολογικούς χώρους, που περιλαμβάνει βόες! Σημειώσεις εκπομπής Το Συντριβάνι του Marcel Duchamp (https://en.wikipedia.org/wiki/Fountain_(Duchamp)) Τούρκικη τουαλέτα (https://www.tokoulouri.com/culture/greek_toilet/) ηχώ (https://el.wiktionary.org/wiki/%CE%B7%CF%87%CF%8E) Η έκφραση της εβδομάδας το φυσάω και δεν κρυώνει (https://www.slang.gr/lemma/15599-to-fysao-kai-den-kryonei) Το θέμα της εβδομάδας Καμπανούλες στους Δελφούς, Πέρδικες στο Σούνιο. Ό,τι φυτρώνει και ζει στους αρχαιολογικούς χώρους (https://www.lifo.gr/culture/arxaiologia/kampanoyles-stoys-delfoys-perdikes-sto-soynio-oti-fytronei-kai-zei-stoys) ΒΙοποικιλότητα στους Αρχαιολογικούς χώρουΣ - ΒΙΑΣ (https://hub.uoa.gr/viopoikilotita-stous-archaiologikous-chorous-vias-parousiasi-apotelesmaton-03-04-2025/) το τραβάω απ' τα μαλλιά (https://www.slang.gr/lemma/10776-trabigmeno-ap-ta-mallia) Eryx jaculus, ερημόφιδο (https://el.wikipedia.org/wiki/%CE%95%CF%81%CE%B7%CE%BC%CF%8C%CF%86%CE%B9%CE%B4%CE%BF) Απομαγνητοφώνηση Δημήτρης: [0:17] Γεια σας και καλώς ήρθατε στο Easy Greek Podcast, το podcast που σας μαθαίνει ελληνικά με καθημερινούς αυθεντικούς διαλόγους. Είμαι ο Δημήτρης και βρίσκομαι στην Κίμωλο. Μαριλένα: [0:29] Ακόμα. Δημήτρης: [0:30] Ακόμα! Με τη Μαριλού, όπως μάλλον μαντέψατε, την οποία έχω δίπλα μου. Μαριλένα: [0:38] Γεια και χαρά! Δημήτρης: [0:39] Παιδιά, έχουνε μεσολαβήσει τρεις εβδομάδες από το τελευταίο επεισόδιο που κυκλοφορήσαμε και είμαστε ακόμα στην Κίμωλο. Βέβαια, όταν εσείς ακούτε αυτό το επεισόδιο, δεν θα είμαστε πια στην Κίμωλο. Μαριλένα: [0:52] Εγώ μόλις θα έχω γυρίσει. Δημήτρης: [0:53] Μάλλον. Μαριλένα: [0:54] Μάλλον. Δημήτρης: [0:55] Δεν ξέρουμε ακριβώς πότε θα γυρίσεις (ναι) ακόμα. Η τελευταία μέρα ήτανε επεισοδιακή! Μαριλένα: [1:01] Η δικιά σου, γιατί φεύγεις. Δημήτρης: [1:02] Εγώ φεύγω, ναι, φεύγω αύριο. Και σήμερα το πρωί ξυπνάω με κομπρεσέρ και λέω: «Μα πού βρίσκομαι; Στο Κουκάκι;». Το λέω γιατί στο Κουκάκι παντού κάνουνε ανακαινίσεις στα διαμερίσματα για να τα κάνουν Airbnb και όπου και να πηγαίναμε ακούγαμε κομπρεσέρ και τρυπάνια στους τοίχους και αυτό το [ήχος]. Μαριλένα: [1:25] Κάθε φορά μου θυμίζει οδοντίατρο, Δημήτρη, και ανατριχιάζω, ε; Για ολόκληρη την απομαγνητοφώνηση, γίνετε μέλη μας! (https://bit.ly/EaGrPodcast)

In this episode of Jo's Art History Podcast, Jo McLaughlin is joined by Vannie Gama to discuss artist Marcel Duchamp's Female alter ego - Rrose SelavyWhether you're an art enthusiast, a history buff, or just curious about the stories behind the masterpieces of the past, this episode is packed with fascinating discussions and fresh perspectives.Guest Details:Vannie Gama is a Brazilian artist currently based in Paris.Find Vannie online:Website: https://vanniegama.wordpress.com/Host Details:Jo McLaughlin is the creator and host of Jo's Art History Podcast, an art historian, writer, and passionate storyteller dedicated to making art history accessible and engaging for all.Find Jo online:Website: www.josarthistory.comInstagram: @josarthistoryLinkedIn: Jo McLaughlinResources & References:Dechamphttps://en.wikipedia.org/wiki/Marcel_Duchamphttps://www.youtube.com/watch?v=lv78ebotgrYhttps://www.youtube.com/watch?v=Bj7FJGrxtXYSmall cases mentioned in the podcast:https://www.clevelandart.org/art/2007.157Rrose Selavy:https://www.youtube.com/shorts/NxQ1OWW7BtMhttps://en.wikipedia.org/wiki/Why_Not_Sneeze,_Rose_S%C3%A9lavy%3Fhttps://www.youtube.com/watch?v=KCnOzi721mYSupport the Podcast:If you enjoyed this episode, please consider leaving a review and rating on whatever platform you are listening on. Your support helps us reach more art lovers!Follow Jo's Art History Podcast for more episodes on iTunes, Spotify or wherever you listen to podcasts. Let's keep the conversation going! Please share your thoughts on social media using #JoArtHistoryPod and tag us @josarthistory.If you would like to purchase a book from my Amazon wish list as a gift to say thank you and support a future episode, please do so here: https://www.amazon.co.uk/hz/wishlist/ls/FZ1XZKILJJCJ?ref_=wl_shareThanks for listening!

Tai Shani talks to Ben Luke about her influences—from writers to musicians, film-makers and, of course, other artists—and the cultural experiences that have shaped her life and work.Shani makes sculpture and installations, paintings, performances and films, underpinned by writing that is experimental in approach and singular in its voice. Shani, who was was born in 1976 in London, where she lives and works today, creates bodies of work that evolve and expand across her diverse media, often over several years. They take particular cultural forms, historical events or theoretical ideas as a cornerstone in creating worlds that are at once fantastical and utopian, yet shot through with contemporary political and social ideas and convictions. Tai's vision is fecund and colourful, and her aesthetic enters the sphere of the epic, the sublime and the gothic. She reflects with particular profundity on how the modes in which she engages have been historically gendered, and reimagines them for today's audiences. She reflects on writing as the cornerstone of her work, how her political outlook has shifted through her various projects, reflects on the revolutionary possibilities of art in a time of extreme right wing politics, and her enduring ambitions for her own work: “I still want to split the atom.” She discusses the early impact of seeing Ophelia by John Everett Millais, and how it ​​prompted in her a desire “to be able to move someone through an act of creativity”. She recalls seeing Valie Export at Camden Art Centre and how it “completely blew my mind, and nothing was the same afterwards”. She describes the deeply personal circumstances behind Epilogue, a new work responding to Marcel Duchamp's Étant Donnés. She reflects on the dramatic impact on her of writers including Christine de Pizan, Amy Hollywood and Octavia Butler, and of filmmakers including David Lynch and Carl Dreyer. Plus, she gives insights into life in the studio, and answers our usual questions, including the ultimate: “What is art for?”Tai Shani: The Spell or The Dream, Somerset House, 8 August-14 September; Tai Shani, Gathering, London, 26 September–8 November. Shani has a work in Dulwich Picture Gallery in London's new sculpture park which is unveiled as part of an opening weekend on 6-7 September; her sculpture for the High Line in New York will remain on view until March 2026.What is art for? Contemporary artists on their inspirations, influences and disciplines, by Ben Luke, featuring illustrated, edited versions of 25 artist interviews drawn from the A brush with… podcast series, along with new writings, published by HENI on 2 September (US) and 4 September (UK). Available exclusively from HENI.com now. Hosted on Acast. See acast.com/privacy for more information.

durée : 01:01:08 - Les Nuits de France Culture - par : Albane Penaranda, Mathias Le Gargasson, Antoine Dhulster - Par Aurélie Charon - Avec Ben, nom d'artiste de Benjamin Vautier (artiste, membre du mouvement Fluxus), Zabou Breitman (comédienne), Lyn Thibault et deux membres du collectif de théâtre IRMAR (Institut de Recherche Menant à Rien) : Olivier Veillon et Victor Lenoble - Lectures de textes de Ben par Zabou Breitman - Avec en archives, la voix de John Cage, Marcel Duchamp et du philosophe Alain - Réalisation Delphine Lemer - réalisation : Massimo Bellini, Vincent Abouchar

A young girl forms a special connection to the modernist painter Florine Stettheimer, and imagines herself joining in on Florine's exciting life.When a young girl visits the museum, she finds an unexpected friend in a self-portrait of Florine Stettheimer. They're both artists; they both have Jewish families; they even look alike!Florine's life was wild and glamorous. She painted people in flight and buildings that grew from the ground like crooked trees, bright colors and shapes and animals. She threw parties frequented by other famous visionaries like Marcel Duchamp and Carl Van Vechten.Soon, our narrator is dreaming up her own fantastical parties for Florine, with table spreads of colorful treats, and painting and dancing and poetry. With Florine in her life, even a rainy day can't make the world seem humdrum anymore.A Party for Florine: Florine Stettheimer and Me (Neal Porter Books, 2024) is an unapologetically whimsical fan letter to an artist whose influence is clear in Sydney Taylor Honoree Yevgenia Nayberg's captivating illustrations. Dreamers, creators, and budding modernists will be drawn into the young protagonist's party just as strongly as she is drawn into Stettheimer's paintings. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

A young girl forms a special connection to the modernist painter Florine Stettheimer, and imagines herself joining in on Florine's exciting life.When a young girl visits the museum, she finds an unexpected friend in a self-portrait of Florine Stettheimer. They're both artists; they both have Jewish families; they even look alike!Florine's life was wild and glamorous. She painted people in flight and buildings that grew from the ground like crooked trees, bright colors and shapes and animals. She threw parties frequented by other famous visionaries like Marcel Duchamp and Carl Van Vechten.Soon, our narrator is dreaming up her own fantastical parties for Florine, with table spreads of colorful treats, and painting and dancing and poetry. With Florine in her life, even a rainy day can't make the world seem humdrum anymore.A Party for Florine: Florine Stettheimer and Me (Neal Porter Books, 2024) is an unapologetically whimsical fan letter to an artist whose influence is clear in Sydney Taylor Honoree Yevgenia Nayberg's captivating illustrations. Dreamers, creators, and budding modernists will be drawn into the young protagonist's party just as strongly as she is drawn into Stettheimer's paintings. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

A young girl forms a special connection to the modernist painter Florine Stettheimer, and imagines herself joining in on Florine's exciting life.When a young girl visits the museum, she finds an unexpected friend in a self-portrait of Florine Stettheimer. They're both artists; they both have Jewish families; they even look alike!Florine's life was wild and glamorous. She painted people in flight and buildings that grew from the ground like crooked trees, bright colors and shapes and animals. She threw parties frequented by other famous visionaries like Marcel Duchamp and Carl Van Vechten.Soon, our narrator is dreaming up her own fantastical parties for Florine, with table spreads of colorful treats, and painting and dancing and poetry. With Florine in her life, even a rainy day can't make the world seem humdrum anymore.A Party for Florine: Florine Stettheimer and Me (Neal Porter Books, 2024) is an unapologetically whimsical fan letter to an artist whose influence is clear in Sydney Taylor Honoree Yevgenia Nayberg's captivating illustrations. Dreamers, creators, and budding modernists will be drawn into the young protagonist's party just as strongly as she is drawn into Stettheimer's paintings. Learn more about your ad choices. Visit megaphone.fm/adchoices

Vita e opere di Marcel Duchamp, l'artista più innovativo e influente del XX secolo considerato il padre dell'arte contemporanea. Caratteristiche dello stile e analisi di alcuni suoi lavori più importanti.

A new week means new questions! Hope you have fun with these!The formula πr² calculates the area of what geometric shape?What is the tiger's name in "Life of Pi"?Name either Roman Emperor that agreed to issue the Edict of Milan, making Christianity legal.Foods that are poached are cooked in what?The Recording Industry Association of America lists Gold album certification as how many album sales in the U.S.?What does ESP stand for?In 1993, Marisa Tomei was the surprise winner of the Oscar for Best Supporting Actress for her performance in what film?What object, publicly-available in some restrooms, did artist Marcel Duchamp sign "R. Mutt" before submitting it as a readymade sculpture in 1917?MusicHot Swing, Fast Talkin, Bass Walker, Dances and Dames, Ambush by Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 3.0 http://creativecommons.org/licenses/by/3.0/Don't forget to follow us on social media:Patreon – patreon.com/quizbang – Please consider supporting us on Patreon. Check out our fun extras for patrons and help us keep this podcast going. We appreciate any level of support!Website – quizbangpod.com Check out our website, it will have all the links for social media that you need and while you're there, why not go to the contact us page and submit a question!Facebook – @quizbangpodcast – we post episode links and silly lego pictures to go with our trivia questions. Enjoy the silly picture and give your best guess, we will respond to your answer the next day to give everyone a chance to guess.Instagram – Quiz Quiz Bang Bang (quizquizbangbang), we post silly lego pictures to go with our trivia questions. Enjoy the silly picture and give your best guess, we will respond to your answer the next day to give everyone a chance to guess.Twitter – @quizbangpod We want to start a fun community for our fellow trivia lovers. If you hear/think of a fun or challenging trivia question, post it to our twitter feed and we will repost it so everyone can take a stab it. Come for the trivia – stay for the trivia.Ko-Fi – ko-fi.com/quizbangpod – Keep that sweet caffeine running through our body with a Ko-Fi, power us through a late night of fact checking and editing!

Marcel Duchamp abriu uma caixa de pandora para o dadaísmo. Assim, no Encontro com a Beleza, recebemos Francis Poulenc, mas desta vez de uma forma completamente diferente através da "Rapsódia Negra". See omnystudio.com/listener for privacy information.

In this audio essay, I roam from post-war France to the abstract expressionists to the artists of the East Village and even to outer space to consider times in art history when art was forced to bloom in the dark. These under-the-radar moments yielded deeply experimental work, and I wonder how we might channel some of that spirit in our own time.Artists mentioned: Laurie Anderson, Joan Miro, Jean Dubuffet, Marcel Duchamp, David Wojnarowicz, and Judy GlantzmanScientists mentioned: Robert H Dicke, Jim PeeblesJim Peebles interviewed by Alan Lightman for the American Institute of Physics January 19, 1988 Princeton, NJ: https://www.aip.org/history-programs/niels-bohr-library/oral-histories/33957All music by Soundstripe----------------------------Pep Talks on IG: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@peptalksforartists⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Pep Talks website: https://www.peptalksforartists.com/Amy, your beloved host, on IG: ⁠⁠⁠⁠⁠⁠@talluts⁠⁠⁠⁠⁠⁠Pep Talks on Art Spiel as written essays: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://tinyurl.com/7k82vd8s⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠BuyMeACoffee⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Donations always appreciated!

ABOUT LOUISA WHITMORE:TIK TOK: LOUISA'S BIO:Louisa Whitmore is an architecture content creator on TikTok with over 350K followers, as well as the host of the cable television documentary series “The Nature of Design.” A former commentator for the USModernist podcast, Whitmore has also worked as a live radio host and PSA producer at CHMA 106.9FM, the local radio station at Mount Allison University, where she's currently an honors student studying international relations and French. She enjoys telling stories, and is passionate about sustainable design.SHOW INTRO:Welcome to the NXTLVL Experience Design podcast.EPISODE 75… and my conversation with Louisa Whitmore. On the podacast our dynamic dialogues based on our acronym DATA - design, architecture, technology, and the arts crosses over disciplines but maintains a common thread of people who are passionate about the world we live in and human's influence on it, the ways we craft the built environment to maximize human experience, increasing our understanding of human behavior and searching for the New Possible.    he NXTLVL Experience Design podcast is presented by VMSD Magazine part of the Smartwork Media family of brands.VMSD brings us, in the brand experience world, the International Retail Design Conference. The IRDC is one of the best retail design conferences that there is bringing together the world of retailers, brands and experience place makers every year for two days of engaging conversations and pushing the discourse forward on what makes retailing relevant. You will find the archive of the NXTLVL Experience Design podcast on VMSD.com.Thanks also goes to Shop Association the only global retail trade association dedicated to elevating the in-store experience. SHOP Association represents companies and affiliates from 25 countries and brings value to their members through research, networking, education, events and awards. Check then out on SHOPAssociation.orgLouisa Whitmore is a TikTok creator phenom whose content is about architecture. With almost 400 thousand followers her no holds-barred, straight from the heart and to the point commentary about the buildings she loves and loves to hate, brings a user experience point of view and accessible critique into the mainstream.We'll get to all of that in a moment but first though, a few thoughts…                  *                                  *                                  *The great thing about doing this podcast is it gives me an opportunity to rethink some of the assertions that have held to be true and cross check whether in fact they are immutable or whether there is room for challenging myself and maybe digging into some subtleties and nuances… and seeing things a different way.Like for example the idea of criticism – who does it and its value…I have to admit I haven't been particularly fond of the idea of critics for a very long time. This would be generally true of the kind who dole out the negative kind of commentary.Years ago when commenting on something, I think it was some art piece, and my son said to me “…dad why is it that you never really say you hate anything…”which I sort of thought was kind of funny then. I think I responded “…well because I don't really hate anything… I try to always view things from the other side - a different point of view. I try to get beyond the visceral reaction and look to design principles and comment from a place of applying principles to the work and see how they line up…and then make a comment that is based yes on whether I simply like it, the colors, shapes, energy, feeling , may be a message it is trying to impart AND  whether I can see the value in it based on principles determined to be generally accepted by experts in the domain…” so yeah I don't really hate things…If I apply the idea of casting judgement on art, music, architecture… it got me thinking… again…What is the value of judgement? Is it to determine the appropriateness of something to a particular context or challenge?I have my favorite architects and artists and musical performers, I like different styles and periods. But I don't listen to heavy metal (though my sons love it). I don't know that I can say that I hate it. Perhaps I just don't understand it and maybe if I did, it still wouldn't jibe with me.It just doesn't go in my body well. It's a sensory mismatch.I don't hate it – It makes me agitated. So, I just don't listen to it. And I guess you could say the same thing for certain genres of art.For example… I'm not particularly crazy about a lot of contemporary art.I have a hard time understanding a performance artist dipping her hair in paint and swinging aloft from a rope while her hair drags across a canvas and the painting while on lookers wrapped in dimly lit light bulbs stand slightly by  selling for millions of dollars… it isn't something I quite get. And I know that authorized replicas of the Marcel Duchamp sculpture called the “Fountain” - which is a urinal - sell for somewhere between 3 and $4 million each and here's the kicker... apparently because the original has been lost the financial the value of the original piece is unknown and might be considered as being priceless. I don't know… it sort of leaves me just trying too hard... knowing I'm falling profoundly short of ascending to the intellectualized rarefied air that somehow makes this sort of thing makes sense. And I also suspect that if I'm voicing these concerns or questions that I am likely to get a lot of people commenting that my remarks point out my ignorance, that I just don't understand and I would …well…agree with them.I'm ok with that. Really.And I think I'm not alone in this category of not understanding contemporary art and the extraordinary prices that contemporary art paintings fetch at auctions and then again maybe if I did, I still wouldn't spend $25 million on a Rothko painting.The thing about critics, I think, is that we entrust these individuals with being in the know, of having deep insight, knowledge or experience into the making of the art. That these are people who understand its value and relevancy to culture and somehow able to unfold the deep meaning in the work whatever format the creativity comes in and to bestow upon us their opinion as if it is fact.The challenge of course is that I think there may be an ignorance in the public and that the deeper inner meaning of things is somehow held in reserve for the creators of the work or select few who follow it.But I've always had a challenge with the idea that the critic seems to have the extraordinary power to completely destroy the creative work as well as raise it to high levels of adulation and praise.I think that in some ways we have come to trust to the critic as certainly knowing more than we do and therefore what they say about a particular piece of art or architecture should be taken as truth and the presumed value of the creation lies in whether their commentary is positive or negative.How many people have not gone to see a movie because it only got 2 stars… and who said it should only have two stars?Maybe I would have found the comedy hilarious… but not the critic.I often don't even check reviews by the masses on restaurant or hotel booking sites and if I do read the reviews, I do it very carefully. I look to see what it was that these people did or didn't like. What it was that made their experience a must see or a definite red tomato. Personally, I dig to see if there is anything at a lower level that suggests what was driving the positive or negative review? What it was in this message that this particular critic is trying to convey?I've often thought that to be able to criticize art or other forms of creative invention you'd have to understand what it was the maker was intending to convey.You'd have to understand the basic ideas, for example, of composition to be able to determine whether a Jackson Pollock or a Kandinsky or a Basquiat was worth all the fuss and on what basis you were making the comments about the work.I guess it's not all critics that I have a problem with but maybe more those who simply present negative opinions. And it's not like I should even care that critic X didn't like thing Y. It was their opinion. Okay so they have an opinion. The challenge is the uninformed may come to accept the opinion as fact and turn away from somethings simply because some one says its not good.I guess the role of the professional critic is to study and assess the value of a creative work and pass judgment on the product based on facts and logical assertions. This is kind of like knowing a bit about composition before offering an opinion the write something off.It seems to me that the idea of a critic is to connect ideas, arrive at reasonable conclusions and perhaps open avenues for discussing new directions and fostering an awareness of ideas and cultural trends.It also seems to me that the role of the critic is to challenge our general assumptions about things to get us to look more deeply at our assertions and to get us to not simply accept things at face value but to continue to search for excellence, challenge the status quo, in all of the things that we bring into the world so that we don't fill it with the mundane or banal.There's something about the critic as ‘educator' - increasing our collective level of understanding of things, pointing out where things might likely be improved and offering positive commentary on what might be a series of next steps in order to develop the output and make it better - that I align with.And I know that the idea of making it ‘better' is full of all manner of subtext and necessity to consider contextual considerations… ‘better' for whom, for what and why?And maybe this is where I mostly land on the idea of the value of the critique is that of using constructive criticism for the value of enhancing people's understanding of a particular subject or giving the creator tools to go back to the drawing board, so to speak, and make it better.Jazz master saxophonist David Liebman wrote a concise piece on his website called “The Critic Dilemma: Criticism vs. Review”. He describes many of the same ideas about who's making he comments, are they objective facts or subjective opinions, and why should we trust one critic's opinion over another? Liebman differentiates between critique and a review:“…When the writer's opinion and taste is the focal point, this constitutes a critique. On the other hand, a review should be the dissemination of information with the desired intention being elucidation. The idea is that with this information, the listener is equipped to form his own opinion…”.And this is where this episode's guest Louisa Whitmore begins to fit into the story.When Louisa was 16 years old she began to share architecture commentary on Tik Tok. She blew up the social media sphere with posts that were personal and occasionally pointed. She came at her critiques of buildings not from the expert or architectural practioner point of view but from that of the user, the general public mindset.She didn't profess to be a building expert, to have deep knowledge in construction but rather to simply be part of the general public who experienced the built environment every day but who had little to nothing to do with how buildings got there in the first place.Her negative commentary on 432 Park Avenue - the luxury condo building designed by Rafael Viñoly and SLCE Architects – lit up the digisphere with 100s of thousands of followers lining up behind her to voice their impressions of this building. Most of them not very good I might add. Which was actually ok since there was a ton of press – not particularly good I might add – about problems with the building. Now, Louisa didn't know about these issues about the engineering, the building swaying (which would be natural by the way) and other problems but felt vindicated nevertheless with the press that effectively substantiated her intuitive feelings about this super-tall condo on the Central Park's edge.I see her posts more like David Leibman's construct of the ‘Review' – “…that with this information, the listener is equipped to form his own opinion…”.And opinions her followers had. 1000's of them.In the spirit of “…the dissemination of information with the desired intention being elucidation…” Whitmore turned her attention to projects thatfocused on Biophilia and how buildings with ample integration of plants seemed to simply feel better. Her noteriaty on Tik Tok, articulate whit, intuition and ability to articulate the ‘person on the street's' perception of the built environment, landed her the role as host of “the cable television documentary series “The Nature of Design”.Over the course of a number of episodes Whitmore tours properties talking about biophilic principles and with the support of a variety of experts ranging from architects to neuroscientists she dives into the science of how buildings with a biophilic approach effect our well-being…Whitmore is called a teenage architecture critic. While her rise on social media platforms may have been based on the building she loved to hate, it seems that she is using her notoriety to review and elucidate…. ABOUT DAVID KEPRON:LinkedIn Profile: linkedin.com/in/david-kepron-9a1582bWebsites:  https://www.davidkepron.com    (personal website)vmsd.com/taxonomy/term/8645  (Blog)Email: david.kepron@NXTLVLexperiencedesign.comTwitter: DavidKepronPersonal Instagram: https://www.instagram.com/davidkepron/NXTLVL Instagram: https://www.instagram.com/nxtlvl_experience_design/Bio:David Kepron is a multifaceted creative professional with a deep curiosity to understand ‘why', ‘what's now' and ‘what's next'. He brings together his background as an architect, artist, educator, author, podcast host and builder to the making of meaningful and empathically-focused, community-centric customer connections at brand experience places around the globe. David is a former VP - Global Design Strategies at Marriott International. While at Marriott, his focus was on the creation of compelling customer experiences within Marriott's “Premium Distinctive” segment which included: Westin, Renaissance, Le Meridien, Autograph Collection, Tribute Portfolio, Design Hotels and Gaylord hotels. In 2020 Kepron founded NXTLVL Experience Design, a strategy and design consultancy, where he combines his multidisciplinary approach to the creation of relevant brand engagements with his passion for social and cultural anthropology, neuroscience and emerging digital technologies. As a frequently requested international speaker at corporate events and international conferences focusing on CX, digital transformation, retail, hospitality, emerging technology, David shares his expertise on subjects ranging from consumer behaviors and trends, brain science and buying behavior, store design and visual merchandising, hotel design and strategy as well as creativity and innovation. In his talks, David shares visionary ideas on how brand strategy, brain science and emerging technologies are changing guest expectations about relationships they want to have with brands and how companies can remain relevant in a digitally enabled marketplace. David currently shares his experience and insight on various industry boards including: VMSD magazine's Editorial Advisory Board, the Interactive Customer Experience Association, Sign Research Foundation's Program Committee as well as the Center For Retail Transformation at George Mason University.He has held teaching positions at New York's Fashion Institute of Technology (F.I.T.), the Department of Architecture & Interior Design of Drexel University in Philadelphia, the Laboratory Institute of Merchandising (L.I.M.) in New York, the International Academy of Merchandising and Design in Montreal and he served as the Director of the Visual Merchandising Department at LaSalle International Fashion School (L.I.F.S.) in Singapore.  In 2014 Kepron published his first book titled: “Retail (r)Evolution: Why Creating Right-Brain Stores Will Shape the Future of Shopping in a Digitally Driven World” and he is currently working on his second book to be published soon. David also writes a popular blog called “Brain Food” which is published monthly on vmsd.com. The next level experience design podcast is presented by VMSD magazine and Smartwork Media. It is hosted and executive produced by David Kepron. Our original music and audio production by Kano Sound. The content of this podcast is copywrite to David Kepron and NXTLVL Experience Design. Any publication or rebroadcast of the content is prohibited without the expressed written consent of David Kepron and NXTLVL Experience Design.Make sure to tune in for more NXTLVL “Dialogues on DATA: Design Architecture Technology and the Arts” wherever you find your favorite podcasts and make sure to visit vmsd.com and look for the tab for the NXTLVL Experience Design podcast there too. The next level experience design podcast is presented by VMSD magazine and Smartwork Media. It is hosted and executive produced by David Kepron. Our original music and audio production by Kano Sound. The content of this podcast is copywrite to David Kepron and NXTLVL Experience Design. Any publication or rebroadcast of the content is prohibited without the expressed written consent of David Kepron and NXTLVL Experience Design.Make sure to tune in for more NXTLVL “Dialogues on DATA: Design Architecture Technology and the Arts” wherever you find your favorite podcasts and make sure to visit vmsd.com and look for the tab for the NXTLVL Experience Design podcast there too.

Hear the extraordinary life of Elsa Schiaparelli. From her rebellious youth and surrealist collaborations to her iconic designs like the lobster dress and shocking pink, discover how Schiaparelli redefined fashion as art and left a legacy of daring innovation, with guest and fashion enthusiast, Darrian Wright._______Support this podcast with a small donation: Buy Me A CoffeeThis show is powered by Nice PeopleJoin this podcast and the Patreon community: patreon.com/womendesignersyoushouldknowHave a 1:1 mentor call with Amber Asay: intro.co/amberasay_______Sources:Shocking: The Surreal World of Elsa Schiaparelli by Marie-Sophie Carron de la Carrierehttps://www.schiaparelli.comPodcast —  Dressed: The History of Fashion on SchiaparelliAbout ElsaElsa Schiaparelli was the ultimate rebel of fashion, a designer who turned shocking ideas into art. Born in 1890 to an aristocratic family in Rome, Elsa's life was anything but conventional. As a child, she released a box of fleas under her parents' dinner table and later staged a hunger strike to escape a Swiss convent. After a whirlwind marriage to a charming con man, she found herself as a single mother in New York, scraping by while mingling with avant-garde artists like Marcel Duchamp and Man Ray. It wasn't until she moved to Paris and met legendary designer Paul Poiret that she discovered her true calling: inventing fashion. From surrealist collaborations with Salvador Dalí to creating her signature shocking pink, Schiaparelli defied norms, blending wit, art, and bold femininity. She gave us iconic designs like the lobster dress, the shoe hat, and the first wrap dress. A pioneer who refused to play by the rules, Elsa didn't just make clothes—she made statements.Follow Darrian@iamdarrian ____View all the visually rich 1-min reels of each woman on IG below:Instagram: Amber AsayInstagram: Women Designers Pod

Episode No. 690 features curators Vivien Greene and Michael Hartman. With Tracey Bashkoff, Greene is the co-curator of "Harmony & Dissonance: Orphism in Paris, 1910-1930" at the Solomon R. Guggenheim Museum, New York. The exhibition surveys a transnational art movement that joined abstraction to dance, music, and poetry and that engaged with ideas of simultaneity across kaleidoscopic pictures and sculpture. Among the artists included in "Harmony & Dissonance" are Robert Delaunay, Sonia Delaunay, Marcel Duchamp, František Kupka, Francis Picabia, and Stanton Macdonald-Wright. The exhibition is on view through March 9. The Guggenheim published an excellent catalogue for the exhibition. It's available from Amazon and Bookshop for about $60. Hartman is the curator of "Beyond the Bouquet: Arranging Flowers in American Art" at the Hood Museum of Art at Dartmouth College. The exhibition looks at how North American artists have made use of floral beauty. Instagram: Michael Hartman, Tyler Green.

Founded in Chicago in 1914, the avant-garde journal the Little Review became a giant in the cause of modernism, publishing literature and art by luminaries such as T.S. Eliot, Djuna Barnes, William Butler Yeats, James Joyce, Ezra Pound, Pablo Picasso, Max Ernst, Gertrude Stein, Jean Toomer, William Carlos Williams, H.D., Amy Lowell, Marcel Duchamp, Joseph Stella, Hans Arp, Mina Loy, Emma Goldman, Wyndham Lewis, Hart Crane, Sherwood Anderson, and more. Perhaps most famously, the magazine published Joyce's Ulysses in serial form, causing a scandal and leading to a censorship trial that changed the course of literature. In this episode, Jacke talks to scholar Holly A. Baggett about her book Making No Compromise: Margaret Anderson, Jane Heap, and the Little Review, which tells the story of the two Midwestern women behind the Little Review, who were themselves iconoclastic rebels, living openly as lesbians and advocating for causes like anarchy, feminism, free love, and of course, groundbreaking literature and art. PLUS Phil Jones (Reading Samuel Johnson: Reception and Representation, 1750-1970) stops by to discuss his choice for the last book he will ever read. Additional listening: 600 Doctor Johnson! (with Phil Jones) 564 H.D. (with Lara Vetter) 165 Ezra Pound The music in this episode is by Gabriel Ruiz-Bernal. Learn more at gabrielruizbernal.com. Help support the show at patreon.com/literature or historyofliterature.com/donate. The History of Literature Podcast is a member of Lit Hub Radio and the Podglomerate Network. Learn more at thepodglomerate.com/historyofliterature. Learn more about your ad choices. Visit megaphone.fm/adchoices

Crafts... they're fun, they're hands-on, they're practical and evolutionary. And they had to start somewhere. We take our Debut Buddies Time Machine back to 30,000 BC to discuss the FIRST CRAFT(S)! Maybe it was pottery, maybe it was weaving and looming, but one thing's for sure, we each tried to do a craft and some of us (Chelsea and Kelly) succeeded in creating NON-ABOMINATIONS! But Nate's pot isn't too bad and could be useful for self-defense if nothing else. Join us for a survey of crafting history from pottery to baskets to linens and more! Plus, there's a very special MouthGarf Report and I See What You Did There!Please give us a 5 star rating on Apple Podcasts! Want to ask us a question? Talk to us! Email debutbuddies@gmail.comListen to Kelly and Chelsea's awesome horror movie podcast, Never Show the Monster.Get some sci-fi from Spaceboy Books.Get down with Michael J. O'Connor's music!Next time: First Female Elected Official (in the U.S.)

In 1915, Marcel Duchamp bought a snow shovel at a hardware store in New York City. He inscribed his signature and the date on its wooden handle. On the evening this episode is released, the fourth version of this classic “ready-made,” which he titled “In Advance of the Broken Arm,” will be auctioned off at Christie's during their 20th Century Evening Sale. It's estimated to sell for $2 million to $3 million.How could a simple snow shovel be valued at such a steep price? Was  Duchamp an unmatched genius, or a product of some of the biggest museums' dirtiest little secrets: the results of pure, unadulterated capitalism?Northeastern University professor, essayist, poet, and editor Eunsong Kim has illuminated the underlying influences of industrial capitalism and racism behind some of the most prized museum collections in her new book, The Politics of Collecting: Race and the Aestheticization of Property. She traces how Duchamp was brought to prominence through the patronage of collectors Louise and Walter Arensberg, heirs of a fortune wrought by the steel industry. Their family operated steel mills in the same setting as titans such as Andrew Carnegie and Henry Clay Frick, whose wealth also underlies their own valuable art collections.And as it turns out, the “death of the author,” celebrated in conceptual art like that of Duchamp, is a convenient idea for the ultrawealthy. Devaluing labor pairs well with violent crackdowns on striking workers to deny them adequate pay. Or even Frederick Winslow Taylor's development of “scientific management,” a system that is still cited today but is based on the idealization of the slave plantation.How much of the Modernist archive was canonized by union-busting bosses? How much of conceptual art in the 20th and 21st centuries has been buoyed by the reverence of scientific management? In this episode, Editor-in-chief Hrag Vartanian sits down to talk with Kim about her new volume, which challenges generations of unquestioned received knowledge and advocates for a new vision of art beyond cultural institutions. In the process, they discuss the craft of writing, how a White artist was counted as a Black artist at the 2014 Whitney Biennial, and how Marcel Duchamp got away with selling bags of air.Subscribe to Hyperallergic on Apple Podcasts, and anywhere else you listen to podcasts.—Subscribe to Hyperallergic NewslettersBecome a member

How does art influence our perception of the world? Can fostering creativity in education lead to overall personal happiness and growth? What lessons can be drawn from historical and modern art practices?Will Gompertz is the director of Sir John Soane's Museum in London, and the author of several books, including What Are You Looking At?: The Surprising, Shocking, and Sometimes Strange Story of 150 Years of Modern Art, Think Like an Artist: How to Live a Happier, Smarter, More Creative Life, and most recently See What You're Missing.Greg and Will discuss the transformative power of art as a tool for self-help and critical engagement. Will analyzes the impact of creativity in education, emphasizing the need for a balanced curriculum that fosters both artistic and analytical thinking. Greg and Will talk about some key figures in the modern art world such as Pierre Mondrian and Marcel Duchamp, who serve as examples of revolutionary artists that challenged the status quo. Will and Greg also explore new ways to look at the importance of teaching art in schools, and how supportive environments in schools and workplaces, like those fostered under leaders like Satya Nadella, can enhance curiosity and innovation. *unSILOed Podcast is produced by University FM.*Show Links:Recommended Resources:Leonardo da VinciPiero della FrancescaMarcel DuchampFountain (Duchamp)The Death of SocratesSteve JobsLouise BourgeoisPiet MondrianRiccardo MutiSir John Soane's MuseumRoyal Academy of ArtsSatya NadellaDavid Foster WallacePaul CézanneAlbert RothenbergMaurizio CattelanSol LeWittDavid HockneyAlan AyckbournGuest Profile:Profile at the Sir John Soane's Museum of LondonWikipedia ProfileSocial Profile on InstagramSocial Profile on XHis Work:Amazon Author PageSee What You're MissingThink Like an Artist: How to Live a Happier, Smarter, More Creative LifeWhat Are You Looking At?: The Surprising, Shocking, and Sometimes Strange Story of 150 Years of Modern ArtArticles in The GuardianEpisode Quotes:Why is art considered self-help?01:18: I think art is self-help. I think art is self-help by the artist when he or she is trying to express themselves. It's self-help for us as viewers when we're trying to commune with this idea, this thing which has been put before us and asked us to consider it. And so, I think actually for this sort of the crazy world we live in now, museums, galleries, art, the arts more broadly, are the sanest things that are available to us, where humans are thinking and sharing and considering and challenging and sharing their feelings in a way that seems to be completely disappearing from everyday life, which seems to be getting more hectic, more insular, more anxiety-ridden. So actually, I think the arts are an entity, a form of self-help for all involved.Creativity and asking questions make us human07:05: Creativity and asking questions are what make us human. Therefore, when we're doing that, we're at our most human; we're feeling the life force at its most powerful. On creating safe spaces for self-discovery in schools17:56: School should be a place of self-discovery, friendship, community, and expression, not somewhere which feels like an army drill camp; where you get shouted at and told to sit still, sit still, then sit still. But why don't you want to sit still? So we start asking questions and start creating environments where young people feel respected and safe.Do people need to set aside some time for the consumption of art?53:45: Human beings have created art in one way, shape, or form since the very first person walked on this earth. And we will continue to create art until the very last person walks on this earth. It (art) is an essential part of the human experience. Therefore, we should all be given the time and space to enjoy.

In The Politics of Collecting: Race and the Aestheticization of Property (Duke University Press, 2024), Eunsong Kim traces how racial capitalism and colonialism situated the rise of US museum collections and conceptual art forms. Investigating historical legal and property claims, she argues that regimes of expropriation—rather than merit or good taste—are responsible for popular ideas of formal innovation and artistic genius. In doing so, she details how Marcel Duchamp's canonization has more to do with his patron's donations to museums than it does the quality of Duchamp's work, and she uncovers the racialized and financialized logic behind the Archive of New Poetry's collecting practices. Ranging from the conception of philanthropy devised by the robber barons of the late nineteenth century to ongoing digitization projects, Kim provides a new history of contemporary art that accounts for the complicated entanglement of race, capital, and labor behind storied art institutions and artists. Drawing on history, theory, and economics, Kim challenges received notions of artistic success and talent and calls for a new vision of art beyond the cultural institution. Eunsong Kim is Associate Professor of English at Northeastern University. Jen Hoyer is Technical Services and Electronic Resources Librarian at CUNY New York City College of Technology. Jen edits for Partnership Journal and organizes with the TPS Collective. She is co-author of What Primary Sources Teach: Lessons for Every Classroom and The Social Movement Archive. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In The Politics of Collecting: Race and the Aestheticization of Property (Duke University Press, 2024), Eunsong Kim traces how racial capitalism and colonialism situated the rise of US museum collections and conceptual art forms. Investigating historical legal and property claims, she argues that regimes of expropriation—rather than merit or good taste—are responsible for popular ideas of formal innovation and artistic genius. In doing so, she details how Marcel Duchamp's canonization has more to do with his patron's donations to museums than it does the quality of Duchamp's work, and she uncovers the racialized and financialized logic behind the Archive of New Poetry's collecting practices. Ranging from the conception of philanthropy devised by the robber barons of the late nineteenth century to ongoing digitization projects, Kim provides a new history of contemporary art that accounts for the complicated entanglement of race, capital, and labor behind storied art institutions and artists. Drawing on history, theory, and economics, Kim challenges received notions of artistic success and talent and calls for a new vision of art beyond the cultural institution. Eunsong Kim is Associate Professor of English at Northeastern University. Jen Hoyer is Technical Services and Electronic Resources Librarian at CUNY New York City College of Technology. Jen edits for Partnership Journal and organizes with the TPS Collective. She is co-author of What Primary Sources Teach: Lessons for Every Classroom and The Social Movement Archive. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history