Podcasts about Marsden Hartley

Ralph Roger Glöckler Lesung und Gespräch(Hördauer ca. 30  min) "Ein roter Straßenkreuzer" von R. R. Glöckler – der Autor lies aus und spricht über das Buch - Hörbahn on Stage Gespräch zwischen R. R. Glöckler und Uwe Kullnick (Hördauer ca. 49 min) Moderation Uwe Kullnick. Die Folgen des 11. September 2001 haben Abrams Autofirma fast ruiniert. Er ruft den verstorbenen Vater um Hilfe an, dessen widerwilliger Nachfolger er ist. Und vernimmt eine Stimme, die ihn vor sich hertreiben wird. Abram lernt, zu manipulieren. Auch seine Frau. Der Ruin wird abgewendet. Dafür wird Dankbarkeit verlangt: Ein Opfer. Abrams Sohn Ike. Ralph Roger Glöckler,  Jahrgang 1950, lebt in Frankfurt am Main. Germanistik-, Romanistik- und Völkerkundestudium in Tübingen, wo er Mitherausgeber der Zeitschrift EXEMPLA war. Nach dem Studium, das er mit einer Magisterarbeit über die expressionistische Lyrik von Anton Schnack abschloss, lebte Glöckler viele Jahre in Lissabon, eine Stadt, die er im Werk von Fernando Pessoa, vor allem in den Gedichten seines Heteronyms Álvaro de Campos, als Sehnsuchtsort für sich entdeckte. Ein Zyklus aus Glöcklers Gedichtbuch DAS GESICHT ABLEGEN (2001) ist Fernando Pessoa gewidmet. In den 1990iger Jahren begann auch die Stadt New York eine Rolle zu spielen, deren Energie eine Art kreativen Gegenpols zur portugiesischen Hauptstadt bildet. Hier ist Glöckler u. a. den Lebensspuren der Komponisten Charles Ives (1874-1954), Henry Cowell (1897-1965) und Marsden Hartley (1877-1943) gefolgt. Die Freundschaft zwischen Ives und Cowell ist Thema eines Romans geworden, die prägenden Lebensjahre Marsden Hartley das einer Novelle. Wenn Ihnen dieser Beitrag gefallen hat, hören Sie doch auch einmal hier hinein oder vielleicht in diese Sendung Kommen Sie doch auch einfach mal zu unseren Live-Aufzeichnungen nach Schwabing oder in den Gasteig Redaktion und Realisation Uwe Kullnick

Originally from New Hampshire, Brian Emerson moved to Maine to be closer to his future wife. In marrying Colleen Barter, and in spending time with her family, Brian would end up inspired to follow in his artist brother's footsteps and pursue art more seriously. The Barters, including Colleen's father, Philip, and brother, Matt, are a prolific and well-regarded artistic family. Brian's pieces are bold, colorful landscapes and seascapes, created in a style he says was influenced by artists like Georgia O'Keeffe and Maine native Marsden Hartley. Join our conversation with Portland Art Gallery artist Brian Emerson today on Radio Maine.

Jennifer Coates is an artist working in Brooklyn, NY and Lakewood, PA. Her work was featured in Untitled, Miami in December 2022 in a solo booth with High Noon Gallery. Recent solo shows include Para Pastoral at Pamela Salisbury Gallery, Hudson, NY; Lesser Gods of Lakewood, PA at High Noon Gallery; and Pagan Forest, West Chester University. She has been in numerous group shows, including an exhibit centered around the drawings of Marsden Hartley at the Bates College Museum of Art in Lewiston, ME; Unnatural Nature: Post Pop Landscapes at Acquavella Galleries in NYC and Palm Beach, FL, curated by Todd Bradway, and Psychedelic Landscape at Eric Firestone Gallery, NYC. She is the 2021 recipient of the John Koch Art Award from the American Academy of Arts and Letters, a 2021 NYFA Award in painting, a 2019 Fellowship at the Civitella Ranieri Foundation, and a Sharpe Walentas Studio residency (2018-2019). Her work has been written about in Hyperallergic, BOMB Magazine, the Brooklyn Rail and Two Coats of Paint, among other publications. LINKS:  www.jenniferlcoates.com www.instagram.com/jennifercoates666 Sponsors: New York Studio School- https://nyss.org/ Join the expansive NYSS community in New York City or virtually this fall.   Artist Shoutout:  Jackie Gendel  Lisa Sanditz Elizabeth Glaessner  Inka Essenhigh I Like Your Work Links: To celebrate Season 6, get your first month of The Works for only $20! Use the code SEASON6 ! https://theworksmembership.com/ Watch our Youtube channel: https://www.youtube.com/@ilikeyourworkpodcast Submit Your Work Check out our Catalogs! Exhibitions Studio Visit Artist Interviews I Like Your Work Podcast Say “hi” on Instagram  

On this First Look we look ahead into January's issue of American Art Collector Magazine! Michael Clawson discusses painter Adrienne Stein, a new exhibition inspired by Marsden Hartley at Bates College Museum of Art, the wonders of still life and so much more!

In our Late Bloomers series, Jenny Douglas interviews women across disciplines who have found their greatest professional power in their later years. This month Jenny is in conversation with visual artist Katherine Bradford! About Katherine:  Born in 1942, Katherine Bradford has only in recent years started receiving her full, unbridled recognition. Bradford blazed her own path in the art world, painting daily, and building a community of likeminded artists in both Maine and New York. At 80, she's at a pivotal moment in her career, creating some of her most thought-provoking paintings and exploring her biography as an artist, woman, mother, and lesbian. Bradford, who splits her time between New York and Maine, is aware of Maine's long lineage of nautical painting and builds upon the legacies of Marsden Hartley and John Marin, among others, yet her works transform the genre of marine painting into densely packed, metaphorical realms. More About Revel: www.hellorevel.com

Philip Barter turns 83 in 2023 and the Portland Art Gallery is celebrating his 60 years of creating iconic Maine art with a January retrospective that will open at a reception on Thursday January 12th. Much of the work presented will be from Philip's private collection that he has meticulously stored away for decades. This is what Carl Little, Maine art critic and author, says about Philip Barter "Barter's art harks back to Marsden Hartley and other American Modernists and their abstracting ways, a kind of school has spring up in his own impressive wake. You can hear the gallery-goer point to a brashly painted Maine landscape by a contemporary and say 'I see a bit of Barter there'. " In the meantime, join us for this Radio Maine interview with Philip Barter.

As a super fan, I was thrilled to welcome multi-media artist, Paula Wilson to the podcast this week. Paula joined me to talk about her current show, "Imago," at Denny Dimin Gallery in NYC (up right now through Oct 29, 2022) and also allowed me to pepper her with questions about her work in general. Paula works in expansive ways with collage, large-scale woodcut, video, and painting and lives and works in the remote high desert town of Carrizozo, NM. She uses personal symbols and experimentation to create a unique blend of art and life--all tied to the land. Find Paula online: paulajwilson.com/ (web) and @paulalights Carrizozo AIR Program and MoMAZoZo: https://carrizozoarts.com/air (co-run by Paula Wilson, Mike Lagg, Joan Malkerson & Warren Malkerson) Current and upcoming exhibitions: Denny Dimin Gallery "Imago" (thru Oct 29, 2022) MOCA Tucson "Plein Air" (thru Feb 5, 2023) The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College "Toward the Sky's Back Door" (Jul 15 - Dec 30, 2023) Colby College Museum of Art "Ashley Bryan / Paula Wilson: Take the World into Your Arms" (Feb 17 - July 17, 2023) Albuquerque Museum "Nicola López and Paula Wilson: Becoming Land" (thru Feb 12, 2023) Emerson Dorsch Gallery, Miami, FL (opens late Nov 2022) Artists mentioned: Paula's partner, collaborator & wood-worker, Mike Lagg, Sound artist, Soleil Corazón-Libre, Georgia O'Keeffe, Agnes Martin, Marsden Hartley, The Desert Transcendentalists (Agnes Pelton) Other shoutouts: Octavia Butler's "Xenogenesis" (Lilith) trilogy, Venus de Willendorf as self-portrait?, "Spread Wild: The Pleasures of the Yucca" at Smack Mellon, Turkey vultures, "Salty & Fresh" video work, Episodes 30 & 33 of this podcast Glue Tawk™: Paula uses Fusion 4000, an iron-on adhesive from Talas in Brooklyn AND Padding Compound Pep Talks on IG: @peptalksforartists Amy's website: https://www.amytalluto.com/ Amy on IG: @talluts Donate to the Peps: Buy Me a Coffee or https://anchor.fm/peptalksforartistspod/support. All music tracks and SFX are licensed from Soundstripe. --- Send in a voice message: https://anchor.fm/peptalksforartistspod/message Support this podcast: https://anchor.fm/peptalksforartistspod/support

Today's episode is all about avoiding the trap of that old heap of coffee grounds and lemon peels: Artistic Bitterness. I investigate how artists of history, like Carmen Herrera, Louise Bourgeois and Laurie Simmons, persevered and dealt with feeling like their work was ignored by the art scene. I also read some quotes from the eternally wise Enrique Martinez Celaya. Also, why am I always bringing up Lawrence of Arabia? I've never even watched the movie! Also, I hate discouraging art stats! Come along with me as I discover the secret keys to the Non-Bitterness Kingdom and attempt to quantify, label and identify them for fellow and future seekers. Artists mentioned: Carmen Herrera, Louise Bourgeois, Enrique Martinez Celaya, Marsden Hartley, Laurie Simmons, Liam Gillick, Portia Munson, Comedian Maria Bamford, Tik Tok Creator/Actor/Writer Kiersten Lyons (TTK @kierstenlyons or kierstenlyons.com) Texts Mentioned: "On Art and Mindfulness" by Enrique Martínez Celaya, "At 106, Carmen Herrera Is Taking the Art World By Storm" by Grace Bonney/Town & Country, "13 Artists Give Advice to Their Younger Selves by Alexxa Gotthardt"/Artsy, "The Bitter Pill You Must Swallow if You Want Success" by Bryan E. Robinson Ph.D./Psychology Today, "Shoshin (Zen Mind, Beginner's Mind)" by Shunryū Suzuki, "The Runaway Girl: The Artist Louise Bourgeois" by Jan Greenberg & Sandra Jordan *Special thanks to my sweet outro team: Steve Donelson, Abby Gardner and Claire Gardner, lover of lemons. You three are the best half-Talluto's in the world. Pep Talks on IG: @peptalksforartists Amy's website: https://www.amytalluto.com/ Amy on IG: @talluts Donate to the Peps: Buy Me a Coffee or https://anchor.fm/peptalksforartistspod/support. All music tracks and SFX are licensed from Soundstripe. --- Send in a voice message: https://anchor.fm/peptalksforartistspod/message Support this podcast: https://anchor.fm/peptalksforartistspod/support

Mandy is back to help me dissect this beloved classic book "Ways of Seeing" 1972 (and BBC TV show) by John Berger. Welcome back, Mandy! And, as always on Book Talks, much art-nerdery was indulged. Come along with us as we consider Berger's thoughts on Art: aka How it was changed by the age of reproduction, How the Nude functions as a tool for the Male Gaze, and How art is used as a status symbol for the wealthy, and in advertising to create Glamour. "Ways of Seeing" was created mainly by John Berger (writer/host), Michael Dibb (filmmaker), Delia Derbyshire (composer), and Richard Hollis (book designer) with help from others. The project was conceived specifically to "question some of the assumptions usually made about the tradition of European Painting. That tradition which was born about 1400, and dies about 1900.” In the TV series (and in direct contrast to Kenneth Clark's big budget show, “Civilisation”), Berger shows up against a slightly shabby blue screen in a partially unbuttoned white and brown patterned shirt (he bought it right before the shoot bc he had been wearing blue) with kind of wild curly hair (kinda like Michael Landon style), and in slacks…he's casual- he's scrappy - parts of the show were even assembled in his parent's living room. He's earnest, feminist, anti-capitalist and unlike the posh-speaking Clark, he has a slight speech impediment…and Berger is ready to burn it all to the ground. "Ways of Seeing," the book, is available at most bookstores and "Ways of Seeing," the BBC tv program, is available to stream for free on Youtube A few grateful shout-outs to writers who we used for research for this talk: Olivia Laing / The Guardian, Kate Abbott / The Guardian and Sam Haselby / Aeon.co John Berger's other books: His novel "G" and also books about art's role in contemporary society: "About Looking" and "The Shape of a Pocket" Extra shout-outs: Composer, Delia Derbyshire, "The Man with the Movie Camera" film by Dziga Vertov, poster by Alexander Rodchenko, Walter Benjamin's "The Work of Art in the Age of Mechanical Reproduction,” Eva Figes, book "Patriarchal Attitudes," Jane Kenrick, one of five who had been on trial for protesting against the 1970 Miss World contest, Laura Mulvey's “Visual Pleasure and Narrative Cinema,” Linda Nochlin's “Why Have There Been No Great Women Artists," "Landscape & Power" by WJT Mitchell, "Looking at the Overlooked" by Norman Bryson Send me a voice message on Speakpipe.com about what you love and dislike about NYC! I'll use the recording in a future ep about Marsden Hartley: https://www.speakpipe.com/peps Follow Pep Talks on IG: @peptalksforartists Donate to the Peps: Buy Me a Coffee or https://anchor.fm/peptalksforartistspod/support. Amy's website: https://www.amytalluto.com/ All music tracks and SFX are licensed from Soundstripe. --- Send in a voice message: https://anchor.fm/peptalksforartistspod/message Support this podcast: https://anchor.fm/peptalksforartistspod/support

This week I had an amazing conversation with artist, Adie Russell. We discussed her incredible new "Lacuna" series of charcoal works on cotton rag paper (based on old Victorian glass negative studio portraits that are put through an obscure Photoshop filter) and also, her newest video work, "Hydriogenesis," which was born of a craving for a feeling of safety in nature and from the long periods of introspection we all experienced during the pandemic. We also talked about the trickiness of navigating Instagram in an authentic way, what can be used as a sourdough starter for abstraction, Adie's "Covers" video project and Marlon Brando's idea about how everyone is ALWAYS acting, AND of course, the Caterpillar Pillar. (Please check out Episode 30 to learn all about said Pillar where I do a deep dive into Adie's recommended artist-pick-me-up book from the 70's: Hope for the Flowers.) Adie's website: adierussell.com and Instagram: @adie_russell Adie is opening her studio up (w/ guest artist Jesse Bransford) for Upstate Art Weekend, Sat-Sun July 23-24 12-6pm and is #20 (near the Stoneleaf Retreat) on the Map : upstateartweekend.org Adie is a mixed media artist currently working in drawing, painting and video. Russell has exhibited regularly since 2001 in the United States and abroad. She was the subject of a solo exhibition The Reveal at the Leeds College of Arts in Leeds, UK as well as the exhibition I Am (Richard Nixon) at The Center for Photography at Woodstock in Woodstock, NY, amongst others. Her work is in the collection of The Dorsky Museum, in New Paltz, NY. Episode mentions: Stephen Gill's "Night Procession" series, Rembrandt, Marlon Brando's interview with Dick Cavett, Ingmar Bergman's near-death anesthesia experience, Art and Ventriloquism by David Goldblatt, The Library of Congress online archives: Civil War era glass negative photos & the Arnold Genthe collection, "Photochrom" color postcards, Hilma Af Klint, Mediumistic drawing and Spirit Photography, Early 20th c American advertising postcards, Pessimistic postcards: "The Worst is Yet to Come," Stereoviews, Hope for the Flowers by Trina Paulus, Nog's Vision - A Fantasy Journey by Brian Hall & Joseph Osburn, "The Point!" a film by Harry Nilsson ("Think About Your Troubles" song) Send me a voice message on Speakpipe.com about what you love and dislike about NYC! I'll use the recording in a future ep about Marsden Hartley: https://www.speakpipe.com/peps Follow Pep Talks on IG: @peptalksforartists & Donate to the Peps: https://anchor.fm/peptalksforartistspod/support. Amy's website: https://www.amytalluto.com/ All music tracks and SFX are licensed from Soundstripe. --- Send in a voice message: https://anchor.fm/peptalksforartistspod/message Support this podcast: https://anchor.fm/peptalksforartistspod/support

We're posting a lightly edited rebroadcast of last year's popular program on the American modernist painter, Marsden Hartley. Peter and Sheila are hosts, and take an excursion into discussions of Emerson and Transcedentalism. Pictures of what we”re talking about…

Friend of the show, Mandy Wilson Rosen is back to co-host with me this week! Welcome back, Mandy! At a recent artist meet up on Clubhouse, we learned that many many artists cite "The Spiritual in Art: Abstract Painting 1890-1985" ed. Maurice Tuchman/LACMA as their most prized book on their studio bookshelf. Neither of us had heard of the book before, so we set about to find out what all the fuss was about. The book is a TOME (heavy as a brick, dense as a neutron star and 430 pages) and out of print, but available used on Ebay and Amazon...and at other used book sellers. Mandy and I collected our thought forms, focused our internal eyes, and ascended to a higher plane ...and dove in. Artists mentioned in this episode were: Paul Gauguin, Paul Serusier, Paul Ranson, Émile Schuffenecker, Édouard Vuillard, The Nabis, Le Lotus Bleu (periodical), Odilon Redon, Hilma Af Klint, Edvard Munch, Wassily Kandinsky, Johannes Itten, Umberto Boccioni, Ralph Waldo Emerson (poet), Henry David Thoreau (poet), Walt Whitman (poet), William Blake, Arthur Dove, Georgia O'Keeffe, Marsden Hartley, Albert Pinkham Ryder, Jackson Pollock, Navajo Sand Painters, Hohokam pottery showing Kokopelli, Eskimo/Inuit shaman masks, Agnes Pelton, Raymond Johnson, Nikolei Roerich, Kazimir Malevich, The Suprematists, Mikhail Matyushin, Vladimir Tatlin, Vasilisk Gnedov (poet), Pavel Filonov, Piet Mondrian, Theo van Doesburg, De Stijl movement, Max Weber Also, have a look at the fascinating "Thought-Forms: A Record of Clairvoyant Investigation" by Annie Besant and C.W. Leadbeater free online at Project Gutenberg: https://www.gutenberg.org/files/16269/16269-h/16269-h.htm Also, also, see Mandy's new number series here: https://mandolynwilsonrosen.com/section/501297-painting-collage.html Please check out the @peptalksforartists instagram in a special "stories highlight" because this episode is chock-a-block with references to specific paintings that we'd love for you to see. I've made a special IG story collection for this episode because there were too many to fit in a post! Thanks! Support the Peps by making a Donation, reviewing us on Apple Podcasts or following us on Instagram to see more images illustrating this episode: @peptalksforartists. All licensed music is from Soundstripe. --- Send in a voice message: https://anchor.fm/peptalksforartistspod/message Support this podcast: https://anchor.fm/peptalksforartistspod/support

Alicia Longwell is the Lewis B. and Dorothy Cullman Chief Curator, Art and Education, at the Parrish Art Museum in Water Mill, New York. She has organized numerous survey and solo exhibitions on Marsden Hartley, Frederick Kiesler, Dorothea Rockburne, Alan Shields, and Jack Youngerman. Longwell received her Ph.D. from the Graduate Center, City University of New York, where her dissertation topic was John Graham, the subject of a retrospective she organized for the Parrish Art Museum in 2017. · parrishart.org · www.creativeprocess.infoPhoto by: Kkwok7

Alicia Longwell is the Lewis B. and Dorothy Cullman Chief Curator, Art and Education, at the Parrish Art Museum in Water Mill, New York. She has organized numerous survey and solo exhibitions on Marsden Hartley, Frederick Kiesler, Dorothea Rockburne, Alan Shields, and Jack Youngerman. Longwell received her Ph.D. from the Graduate Center, City University of New York, where her dissertation topic was John Graham, the subject of a retrospective she organized for the Parrish Art Museum in 2017. · parrishart.org · www.creativeprocess.info

In honor of Pride Week, we discuss the paintings, career, and struggles of the American Modernist painter, Marsden Hartley (1877-1943).  We also examine Transcendentalism – the wild spiritual and artistic gift from Ralph Waldo Emerson – and its importance to Hartley's life and to American art in general.

This week, Ben Luke interviews the Danish artist Tal R about his influences and cultural experiences. In this in-depth conversation, the painter and sculptor discusses his early love of art and frustration with art school, the unlikely ritual that keeps his art fresh, and why pursuing mystery is perilous for an artist. He talks about the writers and music that he returns to, and discusses painters including Georges Rouault, Marsden Hartley and Alfred Wallis. Plus, he answers our usual questions, including which cultural experience changed the way he sees the world, what work of art he would most want to live with, and what he thinks art is for. See acast.com/privacy for privacy and opt-out information.

Season 6 continues! Recorded remotely on 3rd April 2020 during lockdown, Russell & Robert chat to leading artist Katherine Bradford, best known for her radiant paintings of swimmers, superheroes, ships and dreamy landscapes that critics describe as simultaneously representational and abstract, luminous, and richly metaphorical.We explore how Katherine changed her life aged 30 years old to become an artist moving with her twin children from Maine to New York City, making friends with Chris Martin and other passionate intense painters in 1980s Brooklyn: "It was quite a new idea. People were not going to Brooklyn to be artists. So we were in a sense pioneers and we all stuck together, we relied on each other.” We discuss landscape painting, lobsters and Brunswick Maine's cold water coast, the sense of night in her works and how she came to add figurative elements which in turn increased her audience and interest in her paintings. We learn of her admiration for Marsden Hartley’s clouds "logos of the sky", John Marin and Alex Katz who share a direct, simplified language of painting. We explore the influence of folk art and children’s art, the spiritual in art (à la Kandinsky), and how working with the influential CANADA gallery helped her to progress. We find out what success means to her and the themes within her new solo show Adams and Ollman gallery in Portland. We discuss the joy of Instagram and her love of other painter's works including Susan Rothenberg, Rothko, Rose Wylie, Chris Martin, Katherine Bernhardt and Nicole Eisenman.Follow @KatheBradford on Instagram and please also visit Katherine's galleries @CanadaGallery and @AdamsandOllman and visit their website to view Katherine's current solo exhibition 'Mother Joins The Circus' www.adamsandollman.com. For images of all artworks discussed in this episode visit @TalkArt. We've just joined Twitter too @TalkArt. If you've enjoyed this episode PLEASE leave us your feedback and maybe 5 stars if we're worthy in the Apple Podcast store. Thank you for listening to Talk Art, we will be back very soon. For all requests, please email talkart@independenttalent.com See acast.com/privacy for privacy and opt-out information.

Alicia Longwell is the Lewis B. and Dorothy Cullman Chief Curator, Art and Education, at the Parrish Art Museum in Water Mill, New York. She has organized numerous survey and solo exhibitions on Marsden Hartley, Frederick Kiesler, Dorothea Rockburne, Alan Shields, and Jack Youngerman. Longwell received her Ph.D. from the Graduate Center, City University of New York, where her dissertation topic was John Graham, the subject of a retrospective she organized for the Parrish Art Museum in 2017. · parrishart.org · www.creativeprocess.info

Alicia Longwell is the Lewis B. and Dorothy Cullman Chief Curator, Art and Education, at the Parrish Art Museum in Water Mill, New York. She has organized numerous survey and solo exhibitions on Marsden Hartley, Frederick Kiesler, Dorothea Rockburne, Alan Shields, and Jack Youngerman. Longwell received her Ph.D. from the Graduate Center, City University of New York, where her dissertation topic was John Graham, the subject of a retrospective she organized for the Parrish Art Museum in 2017. · parrishart.org · www.creativeprocess.info

ALICIA G. LONGWELL is the Lewis B. and Dorothy Cullman Chief Curator, Art and Education, at the Parrish Art Museum in Water Mill, New York. She has organized numerous survey and solo exhibitions on Marsden Hartley, Frederick Kiesler, Dorothea Rockburne, Alan Shields, and Jack Youngerman. Longwell received her Ph.D. from the Graduate Center, City University of New York, where her dissertation topic was John Graham, the subject of a retrospective she organized for the Parrish Art Museum in 2017. parrishart.org · www.creativeprocess.info

ALICIA G. LONGWELL is the Lewis B. and Dorothy Cullman Chief Curator, Art and Education, at the Parrish Art Museum in Water Mill, New York. She has organized numerous survey and solo exhibitions on Marsden Hartley, Frederick Kiesler, Dorothea Rockburne, Alan Shields, and Jack Youngerman. Longwell received her Ph.D. from the Graduate Center, City University of New York, where her dissertation topic was John Graham, the subject of a retrospective she organized for the Parrish Art Museum in 2017. parrishart.org · www.creativeprocess.info

Marsden Hartley’s Maine (Yale University Press, 2017), published to accompany a major exhibition of his work organized by The Metropolitan Museum of Art and the Colby College Museum of Art, traces the artist’s complex relationship to his native state. Essays examine Hartley’s negotiation of various identities including that of the American individualist, the native son, and the avant garde Modernist. Hartley’s literary work and interests in the Green Acre Transcendentalist community are also discussed. The book reveals how in his quest to serve as “the painter from Maine,” Hartley contended with the legacies of depictions of the region by earlier American painters, as well as questions of the role of technology on the landscape among others. The book features a chapter on new studies of Hartley’s materials and techniques that provide insight into his artistic process. An extensive Chronology that situates events in Hartley’s career amidst socio-cultural and historical events is included. Kirstin L. Ellsworth has a Ph.D. in the History of Art from Indiana University (2005) and currently is an Assistant Professor of Art History at California State University Dominguez Hills. She can be reached at kellsworth@csudh.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

Marsden Hartley’s Maine (Yale University Press, 2017), published to accompany a major exhibition of his work organized by The Metropolitan Museum of Art and the Colby College Museum of Art, traces the artist’s complex relationship to his native state. Essays examine Hartley’s negotiation of various identities including that of the American individualist, the native son, and the avant garde Modernist. Hartley’s literary work and interests in the Green Acre Transcendentalist community are also discussed. The book reveals how in his quest to serve as “the painter from Maine,” Hartley contended with the legacies of depictions of the region by earlier American painters, as well as questions of the role of technology on the landscape among others. The book features a chapter on new studies of Hartley’s materials and techniques that provide insight into his artistic process. An extensive Chronology that situates events in Hartley’s career amidst socio-cultural and historical events is included. Kirstin L. Ellsworth has a Ph.D. in the History of Art from Indiana University (2005) and currently is an Assistant Professor of Art History at California State University Dominguez Hills. She can be reached at kellsworth@csudh.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

Marsden Hartley’s Maine (Yale University Press, 2017), published to accompany a major exhibition of his work organized by The Metropolitan Museum of Art and the Colby College Museum of Art, traces the artist’s complex relationship to his native state. Essays examine Hartley’s negotiation of various identities including that of the American individualist, the native son, and the avant garde Modernist. Hartley’s literary work and interests in the Green Acre Transcendentalist community are also discussed. The book reveals how in his quest to serve as “the painter from Maine,” Hartley contended with the legacies of depictions of the region by earlier American painters, as well as questions of the role of technology on the landscape among others. The book features a chapter on new studies of Hartley’s materials and techniques that provide insight into his artistic process. An extensive Chronology that situates events in Hartley’s career amidst socio-cultural and historical events is included. Kirstin L. Ellsworth has a Ph.D. in the History of Art from Indiana University (2005) and currently is an Assistant Professor of Art History at California State University Dominguez Hills. She can be reached at kellsworth@csudh.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, we hear some stories and interviews from our archives. We find out what a Reveal/APM Reports investigation tells us about police de-escalation training in New England, and visit police in New Hampshire who are reaching out to children who've been traumatized by witnessing crime. We also explore the work of Marsden Hartley, whose art defined the rocky coast, the looming hills, and the working men of Maine. Plus we visit New England's biggest flea market, where the people are as fascinating as the stuff on display. A lobster made from horseshoes at the Brimfield Antiques Flea Market. Photo by Ziwei Zhang De-Escalation Many of the high-profile police shootings of the last few years across the U.S. have a disturbing common thread: they happen within a few minutes, or even a few seconds, after police arrive on the scene. Several states require “de-escalation” training for their police officers. It’s meant to avoid situations where deadly force is viewed as the only resort. Officer Jennifer Lazarchic at a police training session in March 2016. Photo by Courtney Perry for MPR News In New England, three of our six states have such mandates: Maine, Massachusetts, and Connecticut. Still, training requirements, and how well they are carried out, vary from state to state. Below: An interactive map from APM Reports. A recent episode of Reveal from the Center for Investigative Reporting worked with APM Reports to examine de-escalation state by state. Our guest is APM Reports correspondent Curtis Gilbert, author of the report “Not Trained to Not Kill.” We dig into the details and learn how New England states measure up. Types of police calls the Manchester ACERT team responded to July 2016 through March 2017. Graphic by Sara Plourde for NHPR When police respond to a domestic violence call or a drug overdose, children are often on the scene when officers arrive. Manchester, New Hampshire police found that in 2015, 400 children had been on-scene during such calls. Research shows that children exposed to trauma are more likely to be violent — and victims of violence — later in life. So Manchester police officers are trying something new: returning to the scene of such crises to see if they can help. The first-of-its-kind program is called ACERT: Adverse Childhood Experiences Response Team. New Hampshire Public Radio’s Emily Corwin reports. Marsden Hartley’s Maine Mt. Katahdin in Maine, Autumn -2 by Marsden Hartley, 1939-40, Metropolitan Museum of Art Portrait of Marsden Hartley by Carl Van Vechten, U.S. Library of Congress In the permanent collection of the Wadsworth Atheneum, the nation's oldest art museum in downtown Hartford, Connecticut, is a painting by Marsden Hartley called “Down East Young Blades,” depicting three colorful figures standing on a pier. Massive, strapping, working men with comically broad shoulders are pictured with the images of their trade: lobsters, fish, and logs. Hartley's career, stretching from the early years of the 20th century to his death in 1943, celebrated the vast and wild scenery of New England; specifically, his home state of Maine. The exhibition “Marsden Hartley's Maine” will be featured at the Colby College Museum of Art in Waterville, Maine July 8 through November 12, 2017. (“Downeast Young Blades” is on loan from the Wadsworth for the exhibition). Our guest Donna Cassidy, Professor of Art and American and New England Studies at the University of Southern Maine, co-authored the exhibition book about the artist's relationship with the Pine Tree State. Fiddlers and Peddlers Of the 530 refugees who arrived in the New Haven metro area last year, more than 270 were children. Many have just finished their first year in school in the United States. WNPR's Diane Orson reports on an arts program that's partnered with the region's resettlement agency to create a special after-school violin class for the young refugees. A piece of “folk art” made from a carousel horse and a mannequin. Photo by Ziwei Zhang In the 1954 film Brigadoon, the protagonists discover a magical village that only appears for one day every hundred years. Brimfield, Massachusetts is kind of like that. The town only has about 3,500 permanent residents. But for a week in each of May, July, and September, the town transforms into a bustling tent city known as the Brimfield Antique Flea Market. The market dates back to the 1950s and today boasts over 250,000 visitors, stretching half a mile down Route 20. The next show will run July 11 to July 16. At a market like this, the stuff comes with stories, and NEXT producer Andrea Muraskin found plenty on her visit last September. Be sure to check out the slideshow below. About NEXT NEXT is produced at WNPR. Host: John Dankosky Producer: Andrea Muraskin Executive Producer: Catie Talarski Digital Content Manager/Editor: Heather Brandon Contributors to this episode: Emily Corwin, Alexandra Oshinskie, and Diane Orson Music: Todd Merrell, Lightning on a Blue Sky by Twin Musicom, New England by Goodnight Blue Moon, “Family and Genus” by Shakey Graves, “The Mountain” by the Heartless Bastards, “A Hard Day’s Night” by the Beatles Get all the NEXT episodes. We appreciate your feedback! Send praise, critique, suggestions, questions, story leads, and pictures of your own flea market finds to next@wnpr.org.See omnystudio.com/listener for privacy information.

This week, we tackle the confusing and contradictory world of health care, from politics that are personal, to overcoming the trauma of being a refugee, to the shifting language of addiction. We also explore the work of Marsden Hartley, whose art defined the rocky coast, the looming hills, and the working men of Maine. Marden Hartley, Lobster Fishermen, 1940-41 Metropolitan Museum of Art New Ideas in Health Care We go to a clinic in Vermont that's working to help treat the mental health issues of the refugee community there, both from past traumas and the stresses of transitioning into a new culture. And caregivers are pushing back against terminology that they think minimizes an illness or condition. That means the term “post-traumatic” is out, in favor of language that acknowledges the ongoing nature of trauma. In New Hampshire, many on the front lines of the opioid epidemic are coming to see addiction as a medical disorder. And the Republican plan to repeal and replace the Affordable Care Act stalled in Washington, D.C., in part because of predictions that up to 24 million people could lose their health insurance. That would include many people who voted for Donald Trump. We hear from a high-profile skeptic of Obamacare who's changed his point of view. Ajuda Thapa, center in black, learns about Lake Champlain Chocolates on an outing with other Bhutanese refugees who have sought mental health treatment at UVM’s Connecting Cultures clinic. Kathleen Masterson/VPR Marsden Hartley’s Maine Portrait of Marsden Hartley by Carl Van Vechten, U.S. Library of Congress In the permanent collection of the Wadsworth Atheneum, the nation's oldest art museum in downtown Hartford, Connecticut, is a painting by Marsden Hartley called “Down East Young Blades,” depicting three colorful figures standing on a pier. Massive, strapping, working men with comically broad shoulders are pictured with the images of their trade: lobsters, fish, and logs. Hartley's career, stretching from the early years of the 20th century to his death in 1943, celebrated the vast and wild scenery of New England; specifically, his home state of Maine. The exhibition “Marsden Hartley's Maine” is at the Met Breuer in New York until June, when it moves to the Colby College Museum of Art. Our guest Donna Cassidy, Professor of Art and American and New England Studies at the University of Southern Maine, co-authored the exhibition book about the artist's relationship with this place. Mt. Katahdin (Maine), Autumn -2, 1939–40, Metropolitan Museum of Art Recognition Angelica Merino Monge was ten years old when she, her mother and her older brother fled El Salvador. She lived in the U.S. illegally until recently, when the Deferred Action for Childhood Arrivals or DACA was passed, enabling her to become authorized to work and stay in the country. She's putting herself through college and is now president of the Latino International Students Association at Holyoke Community College. We hear her story as told to the Words in Transit Project at New England Public Radio. Last, we hear a story about recognition, a long time coming. Portland, Maine is remembering a long forgotten African American man who served, and was injured, in one of the nation's earliest wars. It's a saga that began more than two centuries ago, and a story of justice twice denied — or at least delayed. Larry Glatz (left) and Herb Adams immediately make plans to add “Quazi-War with France” to William Brown’s gravestone after unwrapping it. Troy R. Bennett/Bangor Daily NewsSee omnystudio.com/listener for privacy information.

Painter and writer Timothy Hyman RA and curator Roger Malbert discuss the artists who have chosen to pursue figurative painting over the last century. With the arrival of abstraction and movements such as Abstract Expressionism in the 20th century, people began to see figurative painting as outdated and at odds with the very concept of modern art. Discussing Hyman's new book 'The World New Made: Figurative Painting in the Twentieth Century', Hyman and Malbert highlight a range of Modernists who, despite their awareness of abstraction, chose to work in narrative and confessional modes. Works by often-marginalised artists such as Max Beckmann and Stanley Spencer, Marsden Hartley and Alice Neel, Charlotte Salomon and Henry Darger, express the possibility of a new kind of figuration, as well as a foundation for our questioning of formalist readings of 20th-century art.

Taos artist Paul Pascarella lives in a spectacular spot, one many famous painters have discovered in the past - Agnes Martin, Arthur Dove, Georgia O'Keefe, Marsden Hartley, Rebecca James, Andrew Dasburg. The post Paul Pascarella – An Artist of the Mesa and the Mountain appeared first on ThoughtCast®.

Guest host: Ron Beard Studio Engineer: Amy Browne Issue: Community concerns and opportunities Program Topic: Conversation with William Irvine, painter, and Carl Little, writer Key Discussion Points: Bill grew up in the village of Troon, where it could be said he looked west, the sun setting over the Isle of Arran, and now he lives in Brooklin Maine, where it could be said that he looks east, with the sun rising over Tinker Island, in Blue Hill Bay. Bill tells a little about growing up in Scotland, eventually attending the Glasgow School of Art, and the world he encountered upon graduation. Those of us who love the sea can be very thankful that Bill didn't end up painting farms in Skowhegan… how did he come to Maine, and eventually to the Blue Hill area. The sea seems to both inspire Bill and ground him: waves, boats, fishermen… Some of Bill's paintings set a place for us at the table… how does he decide what to serve up? Small white houses, whether in Scotland, Cornwall or Maine… who lives in those houses? Some background on the connection Carl made when reviewing Bill's solo show at the University of Maine Museum of art in 2000—an approach to landscape that he shares with Marsden Hartley, John Marin and others. Pick two or three paintings of Bill's from your new book, and introduce them to listeners… what do we see, what do you see, what makes this painting one you would like in your home? What was it like for Carl to research and write this book? Tell us about the publisher, Karin Marshall Wilkes and the Courthouse Gallery in Ellsworth. Sometimes the world of art and artists seems removed from everyday life, though in paintings like Bills, everyday life is at the very core of his art. How do we help “everyman-everywoman” enjoy art, as producer and “consumer”? Guests: William Irvine, Painter, Brooklin, Maine Carl Little, writer, Somesville Maine, author of William Irvine: A Painter's Journey, published by Marshall Wilkes, Ellsworth Maine See also: : www.courthousegallery.com/_artists/irvine_william/_pdf/irvine_2014.pdf. The post Talk of the Towns 7/25/14 first appeared on WERU 89.9 FM Blue Hill, Maine Local News and Public Affairs Archives.

Marsden Hartley (1877 ‑ 1943) Hall of the Mountain King, ca. 1908‑1909 Oil on canvas 30 x 30 in.

Chris Crossman, Curator Emeritus and Aaron Jones, Interpretation Manager discuss Marsden Hartley's Madawaska Acadian Light-Heavy.

Broadcast originally aired June, 2013.Rockland County has a strong connection to the event that brought avant-garde art to New York in 1913 - The Armory Show. Clare Sheridan interviews Marilyn Kushner about the the importance of the Armory show and the roles that Rocklanders played in organizing the original Armory exhibition. Marilyn Kushner, PhD is co-curator of the exhibition at the New York Historical Society entitled: The Armory Show at 100.In addition to being the co-curator of this exhibition, Dr. Marilyn Kushner is Curator and Head of the Department of Prints, Photographs and Architectural Collections at the New York Historical Society in Manhattan. Her Co-Curator for the Armory Show at 100 is Kimberly Orcutt, Curator of American Art at the Henry Luce Foundation.The 1913 Armory Show, held in New York City, introduced the American public to European avant-garde painting and sculpture and the public sensation and the responses to the show represented a watershed in the history of American art. The 1913 Armory exhibition included works by such well-known European modernists as Paul Cezanne, Marcel Duchamp, Pablo Picasso and Paul Gauguin, as well as leaders of American art such as Davies, Childe Hassam, along with the early work by such budding modernists as Charles Sheeler, Marsden Hartley and Stuart Davis.To learn more about the upcoming exhibition at the New York Historical Society which opens October 11, 2013 and will extend until February 23, 2014 visit nyhistory.org/exhibitions/armory-show-at-100The interview originally aired 6/17/13.Listen to Crossroads of Rockland History locally on the third Monday of every month on WRCR 1300AM or stream it on your computer at www.WRCR.com.www.RocklandHistory.org

David C. Ward, historian and co-curator of "Hide/Seek," discusses Marsden Hartley's portrait of Hart Crane titled "Eight Bells Folly: Memorial to Hart Crane"

We are indebted to Tristan Tzara and his followers for the newest and perhaps the most important doctrinary insistence as applied to art which has appeared in a long time. Dada-ism is the latest phase of modernism in painting as well as in literature, and carries with it all the passion for freedom of expression which Marinetti sponsored so loudly in his futuristic manifestos. It adds likewise an exhilarating quality of nihilism, imbibed, as it is said, directly from the author of Zarathustra. Reading a fragment of the documentary statement of Dada-ism, we find that the charm of the idea exists mainly in the fact that they wish all things levelled in the mind of man to the degree of commonplaceness which is typical and peculiar to it. Nothing is greater than anything else, is what the Dada believes... --Marsden Hartley, 1921  The Voice of Free Planet X theme was written and performed by Russell Collins of www.clockworkaudio.net

Michael Murawski discusses Marsden Hartley's The Iron Cross (1915), part of the Kemper Art Museum's permanent collection. Presented in conjunction with the Museum's Spotlight Series.

Michael Murawski discusses Marsden Hartley's The Iron Cross (1915), part of the Kemper Art Museum's permanent collection. Presented in conjunction with the Museum's Spotlight Series.