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2 episodes with martine syms
2 episodes with martine syms
2 episodes with martine syms
2 episodes with martine syms
Gay homosexuals Nick and Joseph review Tombstone - a 1993 American Western film directed by George P. Cosmatos, written by Kevin Jarre , and starring Kurt Russell, Val Kilmer, Sam Elliott, Bill Paxton, Powers Boothe, Michael Biehn, and Dana Delany.Additional topics include:Gay cruises vs. regular cruisesCarrot cakeCher in The Widow PainBlack filmmakers who are not Tyler Perry: Bridgett M. Davis, Martine Syms, Reginald Hudlin, Tayarisha Poe, and Gerard BushThe deaths of Richard Chamberlain and Val KilmerJoin us on Patreon: https://www.patreon.com/FishJellyFilmReviewsWant to send them stuff? Fish Jelly PO Box 461752 Los Angeles, CA 90046Find merch here: https://fishjellyfilmreviews.myspreadshop.com/allVenmo @fishjellyVisit their website at www.fishjellyfilms.comFind their podcast at the following: Anchor: https://anchor.fm/fish-jelly Spotify: https://open.spotify.com/show/388hcJA50qkMsrTfu04peH Apple Podcasts: https://podcasts.apple.com/us/podcast/fish-jelly/id1564138767Find them on Instagram: Nick (@ragingbells) Joseph (@joroyolo) Fish Jelly (@fishjellyfilms)Find them on Letterboxd: https://letterboxd.com/ragingbells/ https://letterboxd.com/joroyolo/Nick and Joseph are both Tomatometer-approved critics at Rotten Tomatoes: https://www.rottentomatoes.com/critics/nicholas-bell https://www.rottentomatoes.com/critics/joseph-robinson
Deep Read #35 is with the artist and director, Martine Syms. Martine is one of the most prominent names in the contemporary art world. Her work encompasses sculpture, digital art, video, publishing, and photography, and has been shown in dozens of galleries and iconic art institutions worldwide. In 2022, she made her directorial debut with 'The African Desperate', and she's currently working on her second feature. Martine is as fun as she is brilliant! We discussed shame, astrology, Sapphic poetry, badmind people, awkward stages, visibility, and so much more. - Deep Reading lists for every episode can be found at phoebe.substack.com - @phoebelovatt @phoebelovattpubliclibrary @martinesyms
(Airdate 1/21/25) Artist, Writer and Director Martine Syms has earned wide recognition for a practice that combines conceptual grit, humor, and social commentary. She has shown extensively, including solo exhibitions at the Museum of Modern Art, the Art Institute of Chicago, and Tate Liverpool. She has also done commissioned work for brands such as Prada, Nike, Celine and Kanye West among others. Martine and her family were also profoundly impacted by the Eaton Canyon Altadena fire. On this podcast she talks about her work, her beloved community and the ways artists and neighbors are rising to help one another.https://the-brick.org/ https://www.gofundme.com/f/rebuild-hope-for-the-syms-family https://hammer.ucla.edu/exhibitions/2025/alice-coltrane-monument-eternal
Merriam-Webster's Word of the Day for January 6, 2025 is: tome • TOHM • noun Tome is a formal word for a book, and especially a very large, thick, often scholarly book. // We picked up a tome on the Ghana Empire for our history project. See the entry > Examples: “‘The way that we've approached publishing at Climax is almost having these two very separate worlds that live perfectly together,' [Isabella] Burley says of her business's work in both the archival and contemporary worlds. Climax returned with its second title earlier this month, a 550-page tome surveying ten years of images produced between 2014 and 2024 by artist Martine Syms, whose work examines themes of identity, gender and Black culture.” — Sarah Kearns, Hypebeast Magazine, 15 Nov. 2024 Did you know? When is a book not a book? When it's a tome—tome being a word that has always suggested something less or more than the word book. When tome was first used in English, it referred to a book that was part of a larger, multi-volume work, which makes sense given that it comes from tomos, a Greek noun meaning “section” or “roll of papyrus” that comes in turn from the verb temnein, meaning “to cut” (in ancient times, long scrolls of papyrus were often divided into sections). While tome retains this meaning today, it usually refers instead to a book that is larger and more scholarly than average, as evidenced by some of the most common adjectives that precede it, including weighty, lengthy, massive, heavy, hefty, and academic.
This week on The Curatorial Blonde we have Allison Glenn. Allison Glenn is a New York-based curator and writer focusing on the intersection of art and public space, through public art and special projects, biennials, and major new commissions by a wide range of contemporary artists. She is a Visiting Curator in the Department of Film Studies at the University of Tulsa, organizing the Sovereign Futures convening, and Artistic Director of The Shepherd, a three-and-a-half-acre arts campus part of the newly christened Little Village cultural district in Detroit. Previous roles include Co-Curator of Counterpublic Triennial 2023; Senior Curator at New York's Public Art Fund, where she proposed and developed Fred Eversley: Parabolic Light (2023) and Edra Soto Graft (2024) for Doris C. Freedman Plaza; Guest Curator at the Speed Art Museum, and Associate Curator of Contemporary Art at Crystal Bridges Museum of American Art. In this role, Glenn shaped how outdoor sculpture activates and engages Crystal Bridges 120-acre campus through a series of new commissions, touring group exhibitions, and long-term loans. She also realized site-specific architectural interventions, such as Joanna Keane Lopez, A dance of us (un baile de nosotros), (2020), as part of State of the Art 2020 at The Momentary. She acted as the Curatorial Associate + Publications Manager for Prospect New Orleans' international art triennial Prospect.4: The Lotus in Spite of the Swamp. A Curatorial Fellowship with the City of Chicago's Department of Cultural Affairs and Special Events, culminated with In the beginning, sometimes I left messages in the street (2016), a citywide billboard and performance exhibition. As Program Manager at University of Chicago's Arts Incubator, she worked with a team led by Theaster Gates to develop the emergent space, where she curated exhibitions and commissioned performances such as Amun: The Unseen Legends (2014), a new performance from Terry Adkin's Lone Wolf Recital Corps, that included Kamau Patton. Glenn has been a visiting critic, lecturer, and guest speaker at a number of universities, including The University of Tulsa, University of Pennsylvania, School of the Art Institute of Chicago, Louisiana State University, and Pacific Northwest College of Art. Her writing has been featured in catalogues published by The Los Angeles County Museum of Art, The Neubauer Collegium, Counterpublic Triennial, Prospect New Orleans Triennial, Princeton Architectural Press, Crystal Bridges Museum of American Art, Scottsdale Museum of Contemporary Art, Kemper Museum, Studio Museum in Harlem, and she has contributed to Artforum, ART PAPERS, Brooklyn Rail, Hyperallergic, ART21 Magazine, Pelican Bomb, Ruckus Journal, and Newcity, amongst others. She has curated notable public commissions, group exhibitions, and site specific artist projects by many artists, including Mendi + Keith Obadike, Matthew Angelo Harrison, Maya Stovall, Rashid Johnson, Basel Abbas + Ruanne Abou-Rahme, Lonnie Holley, Ronny Quevedo, Edra Soto, Terry Adkins, Kamau Patton,Shinique Smith, Torkwase Dyson, George Sanchez-Calderon, Hank Willis Thomas, Odili Donald Odita, Martine Syms, Derrick Adams, Lisa Alvarado, Sarah Braman, Spencer Finch, Jessica Stockholder, Joanna Keane-Lopez, Genevieve Gaignard and others. Her 2021 exhibition Promise, Witness, Remembrance was name one of the Best Art Exhibitions of 2021 by The New York Times. Glenn is a member of Madison Square Park Conservancy's Public Art Consortium Collaboration Committee and sits on the Board of Directors for ARCAthens, a curatorial and artist residency program based in Athens, Greece, New Orleans, LA and The Bronx, New York. She received dual Master's degrees from the School of the Art Institute of Chicago in Modern Art History, Theory and Criticism and Arts Administration and Policy, and a Bachelor of Fine Art Photography with a co-major in Urban Studies from Wayne State University in Detroit.
Listen to author and critic Erica Wagner in conversation with Sheena Patel, writer of “I'm a Fan”, her first novel published by Rough Trade Books in 2022, and soon to be published in French by Gallimard. In her novel, Sheena Patel explores the blurred lines between reality and the online world through the involvement of an unnamed female character in an unequal romantic relationship. Through this conversation with Erica Wagner, Sheena Patel talks about her desire to capture the spirit of her time. They also evoke “Four Brown Girls Who Write”, a collective of women writers created with her friends to support each other in their writing processes.As part of the Rendez-vous littéraires rue Cambon [Literary Rendezvous at Rue Cambon], the podcast "les Rencontres" highlights the birth of a writer in a series imagined by CHANEL and House ambassador and spokesperson Charlotte Casiraghi.Sheena Patel, I'm a fan, © Sheena Patel, 2022. Cover © Granta Books, 2023.© Rough Trade Books.Women Who Run with the Wolves by Clarissa Pinkola Estes, Ph.D., published byBallantine Books, copyright © 1992, 1955 by Clarissa Pinkola Estes, Ph.D.Minor Feelings : An Asian American Reckoning by Cathy Park Hong, Random House, 2020.Martine Syms, Shame Space, 2020. © Martine Syms. Published by Primary Information.Martine Syms, The African Desperate, © Dominica Publishing, 2022Maggie Nelson, Bluets, © Copyright 2009 by Maggie Nelson, Wave Books, 2009The Argonauts © 2015 by Maggie Nelson. First published by Graywolf Press, Minneapolis.© Guardian News & Media Ltd 2024.Kathy Acker, Blood and Guts in High School, © Grove Press, 1984.Celia Dale, A Spring of Love, © Daunt Books, 2024.© The British Book Awards.© The Women's Prize.© Swansea University Dylan Thomas Prize.© Jhalak Prize.© Foyles. All Rights Reserved.© Los Angeles Times. All Rights Reserved.Sheena Patel, I'm a fan, Translated into French by French novelist and translator Marie Darrieussecq, © Éditions Gallimard, 2025.Juan Carlos Medina, The Limehouse Golem, ©New Sparta Films, 2016.Roshni Goyate, Sharan Hunjan, Sunnah Khan, Sheena Patel, 4 BROWN GIRLS WHO WRITE, © Rough Trade Books, 2020.© 4 BROWN GIRLS WHO WRITE
Listen to author and critic Erica Wagner in conversation with Sheena Patel, writer of “I'm a Fan”, her first novel published by Rough Trade Books in 2022, and soon to be published in French by Gallimard. In her novel, Sheena Patel explores the blurred lines between reality and the online world through the involvement of an unnamed female character in an unequal romantic relationship. Through this conversation with Erica Wagner, Sheena Patel talks about her desire to capture the spirit of her time. They also evoke “Four Brown Girls Who Write”, a collective of women writers created with her friends to support each other in their writing processes.As part of the Rendez-vous littéraires rue Cambon [Literary Rendezvous at Rue Cambon], the podcast "les Rencontres" highlights the birth of a writer in a series imagined by CHANEL and House ambassador and spokesperson Charlotte Casiraghi.Sheena Patel, I'm a fan, © Sheena Patel, 2022. Cover © Granta Books, 2023. © Rough Trade Books. Women Who Run with the Wolves by Clarissa Pinkola Estes, Ph.D., published by Ballantine Books, copyright © 1992, 1955 by Clarissa Pinkola Estes, Ph.D. Minor Feelings : An Asian American Reckoning by Cathy Park Hong, Random House, 2020. Martine Syms, Shame Space, 2020. © Martine Syms. Published by Primary Information. Martine Syms, The African Desperate, © Dominica Publishing, 2022 Maggie Nelson, Bluets, © Copyright 2009 by Maggie Nelson, Wave Books, 2009 The Argonauts © 2015 by Maggie Nelson. First published by Graywolf Press, Minneapolis. © Guardian News & Media Ltd 2024. Kathy Acker, Blood and Guts in High School, © Grove Press, 1984. Celia Dale's A Spring Love is available from Daunt Books Publishing.© The British Book Awards. © The Women's Prize. © Swansea University Dylan Thomas Prize. © Jhalak Prize. © Foyles. All Rights Reserved. © Los Angeles Times. Sheena Patel, I'm a fan, Translated into French by French novelist and translator Marie Darrieussecq, © Éditions Gallimard, 2025. Juan Carlos Medina, The Limehouse Golem, © New Sparta Films, 2016. Roshni Goyate, Sharan Hunjan, Sunnah Khan, Sheena Patel, 4 BROWN GIRLS WHO WRITE, © Rough Trade Books, 2020. © 4 BROWN GIRLS WHO WRITE
Watch on YoutubeJames Hoff is an artist living and working in New York. His work encompasses a variety of media, including sound, video, painting, and publishing.Hoff's multidisciplinary approach begins at the user level—the level at which we interact with consumer technologies, media, and data. He has worked with computer viruses, inaudible data signals, ear worms, culture bound illnesses, dead zones, and hacked google maps as tools and framing devices for works that reimagine and expand the creative potential of digital and cultural networks beyond their economic and corporate-engineered use value.By exploiting and manufacturing technological and cognitive glitches, Hoff illuminates the social, political, and historical context of the software and media that we interact with on a daily basis.Hoff co-founded Primary Information in 2006 to publish historical and contemporary artists' books. The organization has published hundreds of titles, including facsimile editions of Art-Rite, Broken Music, Black Art Notes, Cornelius Cardew's Stockhausen Serves Imperialism, Godzilla: Asian American Art Network, The New Woman's Survival Catalog, and Womens Work as well as new works by Lawrence Abu Hamdan, DeForrest Brown Jr, Tony Conrad, Dara Birnbaum, Constance DeJong, Alexandro Segade, Martine Syms, and Flora Yin-Wong, among many others.Website: https://www.james-hoff.comInstagram: https://www.instagram.com/jameshoff/Linktree: https://linktr.ee/_james_hoffPrimary Information: https://primaryinformation.orgMusic releases mentioned:Blaster: https://jameshoff.bandcamp.com/album/blasterJames Hoff — HOBO UFO (v. Chernobyl) (PAN 109): https://vimeo.com/366489963We also requested James to share with us some of his favorite things.Catch them all in our newsletter: https://putf.substack.com/The PUTF show is an interview series, dedicated to showcasing inspiring creatives from the PUTF community and beyond. Guests are invited to share their unique career journeys, stories, and visions.The PUTF show is produced by WAVDWGS, a video production company based in NYC.https://wavdwgs.com/Pick Up The Flow, is an online resource based in NYC striving to democratize access to opportunities. Opportunities are shared daily on this page and website, and weekly via our newsletter.More on https://putf.substack.com/Listen to this episode on audio platforms:Spotify: https://tinyurl.com/spotify-putfApple: https://tinyurl.com/putf-applepodcast Hosted on Acast. See acast.com/privacy for more information.
Eric Newman and Kate Wolf speak to the author Kristin Ross about her recent book, The Politics and Poetics of Everyday Life, a collection of essays that examine how everyday life emerges as a vantage point for understanding and transforming our social world. The book represents three decades of Ross's writing about the everyday in French political, social, and cultural theory and history, including the commune form and current autonomous zones in France, the romance and memory of the May 1968 protests, and the present predicaments both faced and created by the Macron government. Featuring a long interview with the pioneering philosopher Henri Lefebvre, the book also invokes the work of Frederic Jameson, Jacques Ranciere, Emile Zola, and many others, to explore the intersections of political transformation and cultural representation as resources for thinking opposition and liberation in the present. Plus, artist Martine Syms, whose new exhibition Loser Back Home is currently on view at Spruth Magers in Los Angeles, returns to recommend Steffani Jemison's novel A Rock, A River, A Street.
Eric Newman and Kate Wolf speak to the author Kristin Ross about her recent book, The Politics and Poetics of Everyday Life, a collection of essays that examine how everyday life emerges as a vantage point for understanding and transforming our social world. The book represents three decades of Ross's writing about the everyday in French political, social, and cultural theory and history, including the commune form and current autonomous zones in France, the romance and memory of the May 1968 protests, and the present predicaments both faced and created by the Macron government. Featuring a long interview with the pioneering philosopher Henri Lefebvre, the book also invokes the work of Frederic Jameson, Jacques Ranciere, Emile Zola, and many others, to explore the intersections of political transformation and cultural representation as resources for thinking opposition and liberation in the present. Plus, artist Martine Syms, whose new exhibition Loser Back Home is currently on view at Spruth Magers in Los Angeles, returns to recommend Steffani Jemison's novel A Rock, A River, A Street.
Kate Wolf is joined by the acclaimed artist and filmmaker Martine Syms to discuss her new exhibition Loser Back Home, currently on view at Spruth Magers in Los Angeles. Sym's work in the show encompasses video, sculpture, painting, photography, installation, publishing, and clothes. It merges recognizable brand names with personal ephemera to create a form of self-portraiture and explores the slippery nature of self as distilled through technology, as well as a state of "dysplacement"—a term coined by the historian Barbara Fields to describe the loss of a shared sense of connection to one's familiar or home country. Last fall, Syms also released her first narrative feature film, The African Desperate, which she co-wrote and directed. The African Desperate (now streaming on MUBI) takes place over the course of 24-hours in the life of an artist named Palace on the day she receives her Masters of Fine Arts degree at a small college in upstate New York, combining formal innovation with humor, pathos, and astute social commentary. Also, Craig Seligman, author of Who Does That Bitch Think She is?, returns to recommend Liz Brown's Twilight Man: Love and Ruin in the Shadows of Hollywood and the Clark Empire .
Kate Wolf is joined by the acclaimed artist and filmmaker Martine Syms to discuss her new exhibition Loser Back Home, currently on view at Spruth Magers in Los Angeles. Sym's work in the show encompasses video, sculpture, painting, photography, installation, publishing, and clothes. It merges recognizable brand names with personal ephemera to create a form of self-portraiture and explores the slippery nature of self as distilled through technology, as well as a state of "dysplacement"—a term coined by the historian Barbara Fields to describe the loss of a shared sense of connection to one's familiar or home country. Last fall, Syms also released her first narrative feature film, The African Desperate, which she co-wrote and directed. The African Desperate (now streaming on MUBI) takes place over the course of 24-hours in the life of an artist named Palace on the day she receives her Masters of Fine Arts degree at a small college in upstate New York, combining formal innovation with humor, pathos, and astute social commentary. Also, Craig Seligman, author of Who Does That Bitch Think She is?, returns to recommend Liz Brown's Twilight Man: Love and Ruin in the Shadows of Hollywood and the Clark Empire .
This week's text is a review of The African Desperate, the new film by Martine Syms about an art school in upstate New York starring Diamond Stingily. You can read the review on our website here: thewhitepube.co.uk/misc/theafricandesperate/ The African Desperate is streaming exclusively on MUBI now. **Get 30 days free.** This text was commissioned by MUBI, and as usual, you can check our accounts to see what jobs we do & how much we are paid for them. We are alsooo gonna follow this up with a podcast discussing people's art school experiences so keep ya eyes peeled over on instagram @thewhitepube. But if you wana get in there early, you can anonymously tell us the weirdest thing that happened to you in art school here.
(Airdate 9/23/22) Martine Syms has earned wide recognition for a practice that combines conceptual grit, humor, and social commentary. Using a combination of video, installation, and performance, often interwoven with explorations into technique and narrative, Syms examines representations of Blackness and its relationship to vernacular, feminist thought, and radical traditions.
Directors of iconic bookshop Lucy Kumara Moore and Lilly Markaki discuss their art book selections for the Summer Reader. Along the way, we discussed the history of the shop, how personal experience shapes what ends up on the shelves, and some of the books they selected to showcase, which included a tome on the riotously creative domestic life of the Cherry family and Martine Syms's pocket-Bible-style mediation on the self image. Find out more about Lucy and Lilly's selections in our Summer Reader. Claire de Rouen can be found at 260 Globe Road, London.
Directors of iconic bookshop Lucy Kumara Moore and Lilly Markaki discuss their art book selections for the Summer Reader. Along the way, we discussed the history of the shop, how personal experience shapes what ends up on the shelves, and some of the books they selected to showcase, which included a tome on the riotously creative domestic life of the Cherry family and Martine Syms's pocket-Bible-style mediation on the self image. Find out more about Lucy and Lilly's selections in our Summer Reader. Claire de Rouen can be found at 260 Globe Road, London.
Tomorrow Is The Problem PodcastWelcome to the ICA Miami Podcast. Each season, we'll explore familiar concepts from everyday life that we often take for granted.We'll expand these concepts to understand their critical historical and cultural underpinnings and forever change the way you view them.Oceanic Ways of KnowingThe focus of this first season is the ocean as a source of knowledge. Understanding identity and history inevitably requires a study of the seas, the communities it affects, and the secrets it was made to hold in the deep.Transoceanic RelationsWhether firmly grounded in the geographical idea of “place” or that of placelessness, the diasporic experience across oceans manages to keep historical notions of connectivity.Our guests ponder the crisis or borders in voluntary and forced migrations across borderless oceans.Timestamps + Takeaways[0:00] Drexciya provides one perception of Afro-Futurism, but not all agree…The Mundane Afro-Futurist Manifesto by Martine Syms sets the tone.[4:12] The world's deadliest border was born of a crisis of European identity. SA Smythe breaks down how this identity also defines the “other” and the ways shifting ocean borders have enabled the abandonment of black bodies.[7:11] The Black Mediterranean enables framing of the current migrant crisis by recentering African participation in the historical building of Europe and the intersecting aspects of black culture throughout the diaspora.[10:00] A migrant crisis or a crisis of border treatment of migrants? Racial issues are not the trope of America, the European treatment of Ukrainians, as opposed to racialized migrants, has shed a stark light on this.[12:57] Edwidge Danticat speaks to the highly transient nature of Miami as well as her obsession with the ocean's borderless connectivity.[18:38] On the other side of the water in Haitian Kreyol can mean migration or death, Edwidge shares her understanding of continued ancestry, culture and History through — and despite — the middle passage break.[21:16] There tends to be an assumption that Europe is a place of whiteness. SA talking openly about black activism in Italy and around the Mediterranean raises the major point that black people in Europe exist.[22:40] Both historically and currently, migration and the precarity it bears is central to the diasporic experience as Edwidge sees it.[25:00] Mapping the overlapping, historical, and connective sea.[26:04] Episode 4 is next: Rising Tides.Contributors + GuestsDonna Honarpisheh / Assistant Curator and Host.SA Smythe / Writer, Translator, Performer, and Scholar.Edwidge Danticat / Novelist and Writer.This podcast was made in partnership with Podfly Productions. This episode was written by Isabelle Lee and Donna Honarpisheh, and edited by Frances Harlow. Our showrunner is Jocelyn Arem, and our Sound Designer and Audio Mixer is Nina Pollock. Links + LearnICA MIAMIPodflyThe Mundane Afro-Futurist Manifesto, by Martine SymsQuotes“What if the migrant crisis as we heard about it in the media isn't a crisis of migrants, but a crisis of how migrants are treated at the border.” Donna Honarpisheh“The race problem comes from Europe itself. It's a crisis of European white supremacist identity because the ships that went to the African continent and brought black people across the Atlantic were European ships. They exported race and racecraft.” SA Smythe“They didn't take everything away from us, they didn't divide us completely with languages and locations. There is still something that is unbreakable in our ties and even if it's a small thing like gesturing, movements that we make, some things are unerasable.” Edwidge Danticat
This week on the show we sit down with gallerist and curator Bridget Donahue. If you know Bridget it's likely through her gallery's sharp programming and the impactful work she has done over the years to help steward the careers of time-based media artists like Sondra Perry, Martine Syms, and Lynn Hershman Leeson – but did you know that Bridget got her start in the gallery world as an archivist? Tune in for a real behind-the-scenes glimpse into the important work that Bridget has been doing over the years.Links from the conversation with Bridget> https://www.bridgetdonahue.nyc/> http://www.cleopatras.us/Join the conversation:https://twitter.com/ArtObsolescencehttps://www.instagram.com/artobsolescence/Support artistsArt and Obsolescence is a non-profit podcast, sponsored by the New York Foundation for the Arts, and we are committed to equitably supporting artists that come on the show. Help support our work by making a tax deductible gift through NYFA here: https://www.artandobsolescence.com/donate
In episode 70 of The Great Women Artists Podcast, Katy Hessel interviews the acclaimed writer, fashion critic, and art curator, Charlie Porter on Louise Bourgeois, Anne Truitt, Sarah Lucas and Martine Syms !!!!!! In this episode, which will work slightly differently from normal, we will focus on four artists mentioned in Charlie's latest book, one of my favourite books of this year: What Artists Wear!!! An incredibly fascinating book that chronicles the lives and careers of artists through their clothes and how they have worn, incorporated, used, recycled, referenced, and drawn from garments from the early 20th century to the present day. From chapters dedicated to Louise Bourgeois and Martine Syms, an in-depth look into the history of the suit (think Frida Kahlo to Georgia O'Keeffe); a focus on the subject of workwear with the likes of Agnes Martin and Barbara Hepworth, and how they dressed ‘for the studio'. What ‘casual' means today, how artists have worn jeans, how they integrate clothing for performance or made ‘wearable art', to those who use garments as their chosen medium or for acts of transformation. This book, for me, provided such a rich, fascinating insight into artists and their work, mostly for the reason that it offered an alternative viewpoint. Never has something made me think so deeply about how artists presented themselves, and in effect our own identities, but also how clothing has been used in art in so many different ways, circumstances, and for so many different reasons. ENJOY!!!!!! A visiting lecturer in fashion at the University of Westminster, Charlie is one of the leading cultural commentators of our time and has been described as one of the most influential fashion journalists of his generation, with many of his garments now in the collection of the V&A. Further links: https://www.penguin.co.uk/books/314/314590/what-artists-wear/9780141991252.html#:~:text=In%20What%20Artists%20Wear%2C%20style,at%20home%20and%20at%20play. https://lismorecastlearts.ie/read-watch-listen/curator-of-palimpsest-charlie-porter-gives-an-introduction-to-the-exhibition LISTEN NOW + ENJOY!!! Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Nada Smiljanic Sound recording by Amber Miller Artwork by @thisisaliceskinner Music by Ben Wetherfield https://www.thegreatwomenartists.com/
The Mirror with a Memory podcast focuses on different facets of the conversation around artificial intelligence and photography—from biometrics and racial bias to the ways that we perceive the environment and international borders. Hosted by renowned American artist Martine Syms, the six-episode series features leading artists and thinkers in dialogue accompanied by excerpts from important artworks, unpacking the ways in which the collision of photography, surveillance, and artificial intelligence impacts everyone.
In this Roundtable we are thrilled to be talking with this inimitable group; filmmakers Jenn Nkiru, Terence Nance, and conceptual artist Martine Syms, moderated by Tamir Muhammad. The intention behind this expansive discussion is how each of them take their holistic approaches toward their life, their art, and in their wellness. That the whole is more than merely the sum of its parts; in theory or in practice. And also questioning why Black artists have had to "hustle" for so long, and when or if that won't be the case.
Tierney Talks hosted the very first TELETHON ForYourart at Frieze Los Angeles in February. We brought the talk show to the art fair and broadcasted live from the ForYourArt booth on the Paramount Pictures Studio backlot, all Frieze long. The result is a collection of 60+ interviews about art, entertainment and community in Los Angeles. We had so much much! This is the third in a five-part series of Tierney Talks episodes documenting TELETHON ForYourArt. Today’s guests include: Saturn (Listen to their new single "Ready" on Bandcamp) Cyrus Dunham (Read his book "A Year Without A Name")Martine Syms (Subscribe to Scene Report) Jonny Makeup & Christopher Schwartz (View The Gallery @'s exhibition "Chips") Casey Jane Ellison (Watch this tbt of her talkshow) Lili Lakich (Take the Van Nuys Flyaway to see one of her public sculptures) Jason Correa (Visit his project space and gallery for some the best contemporary art, music, and performance in Van Nuys) Willy Boston (Remember this tweet?) Samantha Blake Goodman (Look at stunning documentation of her choreography). Amelian Kashiro Hamilton (founder of Sisters With Invoices) Follow Tierney on IG and Twitter @TSTAR7 and subscribe if you haven’t already. Our show music is “Let Me Love You” by Dis Fantasy (streaming everywhere!) Today’s show was recorded and edited by Margot Padilla and hosted, written and produced by Tierney Finster.Tierney Talks is pleased to partner with For Your Art to present this series of talks. ForYourArt is a source of free information about art in LA and ForYourArt’s mission is to inspire more people to make art a part of their daily lives. Follow ForYourArt on IG @foryourart and check out http://foryourart.com/. Special thanks to Jess Calleiro, Niko Karamyan, Bryan Johnson, Ali Madigan, Bettina Korek, Cobi Krieger, Kayne Griffin Corcoran, Kevin McGary and Pretend Plants and Flowers. Support the show (https://cash.app/$TierneyFinster)
Crossover at Cosmic Cafe with Martine Syms Ep. 2 Today’s episode takes an alternate route when @MaterialGirlsPodcast teams up with @NTS_radio show CCARTALK LA with Martine Syms. Come along for the ride while Lucy and Kelly learn what Martine’s favorite tool is, The Cosmic Cafe hours of operation, and the expensive way to dodge pesky EMF waves. Scroll through our Instagram @MaterialGirlsPodcast to see images of Martine’s work along with other subjects mentioned in today’s podcast. This one's a two-parter folks, click the link in our bio to hear our half of the podcast on Spotify and tune in to @NTS_radio to hear the other half tomorrow at 12pm on 2/12/20.
In this two-part episode I sit down with Los Angeles based writer and curator Marie Heilich to talk about who, what, and where has influenced her trajectory of working with artists and ideas. Originally from St. Louis, where she grew up off Route 66, Marie now lives off the same historic route halfway across the country in Hollywood. In the interview we discuss how American identity politics hinges on her biography to shape her writing and curatorial practice. She is currently researching and writing on the life and work of Santa Monica-based painter, Luchita Hurtado. Previously, Marie served as Assistant Director of White Flag Projects in St. Louis where she organized solo projects with artists Martine Syms, Dena Yago, Ligia Lewis, Carlos Reyes, and Darja Bajagić among others. Marie has contributed writing to ETC: Revue De L’art Actual, BOMB Daily, Temporary Art Review, and catalogues published by SculptureCenter, Long Island City and the Contemporary Art Museum St. Louis. She holds a masters degree in Curatorial Studies from the Center for Curatorial Studies, Bard College. marie-heilich.com instagram.com/partofthisbalancedbreakfast
Contemporary art is often defined as the art of the now. The work of Martine Syms is of this very moment. Defining herself as a conceptual entrepreneur, she adopts any discipline, any distribution method, any formal strategies and models that respond to the shifting boundaries of culture and business. Regardless of the lens she is using, her work investigates how Blackness is circulated as an image. One of her main interests has been the entertainment industry, especially film. Black references are at the core of the movies - black gestures, movement, language style, and fashion all essentially shape what we see on the screen. Through her work Syms pushes us to see that more clearly. With her installation at the Institute for Contemporary Art at VCU, Martine Syms moves into examining technology, specifically artificial intelligence and social media. In this space, unlike entertainment, there is very little, if any, reference to Blackness. The third “release” of what Syms refers to as a research project, Shame Space asks what Blackness and Black femininity might look like in this space. Amber Esseiva, assistant curator at the ICA, talks about Martine Syms and this paradigm-shifting installation that happily raises many more questions than it answers.
History catches up with Tracey Emin: the artist on love, loss and #MeToo. And it's the Academy Awards...who should win, who should not and who cares anyway? Plus: Frieze LA — local artist Martine Syms drives around Los Angeles, exploring the relationship between cars, culture and life through the windscreen. See acast.com/privacy for privacy and opt-out information.
As an artist, Martine Syms says she's interested in how her experience—in particular, her experience as a young black woman—gets shaped and determined by various forms of media—especially digital media. She's interested in the power of that media—not just the obvious power of those who produce it, but the ways in which reading and consuming can also be acts of power. One of Syms's best-known projects is a critique of Afrofuturism, the artistic movement that explores and imagines the intersections between black culture and technology, typified by writers like Octavia Butler and Samuel Delany or musicians like Sun Ra or Janelle Monáe. Syms's work is preoccupied with the connections between media, technology, and black culture, but she rejects the afrofuturist mythology that imagines technology as a radical liberating funk-inflected fantasy. Syms is an afrofuturist, but, in her words, a mundane one. For her, the stakes are too high for an art that dwells in fantasy or the “harmless fun” of funky space aliens. The imaginative work of Afrofuturism takes the form of art that, for all its futurism and digitality, remains focused on our world, however upsetting, unjust, and mundane it may be. For the Organist, Syms spoke with our contributing editor, Niela Orr, about Syms's life and approach to art, and the new languages she invents for herself. In this episode, we also travel with Carmen Maria Machado to an Iowa gas station, where we find a dusty Subaru, a herd of cat-eyed children, and air that smells like diesel and manure and, inexplicably, limes. Carmen's book Her Body and Other Parties was recently long-listed for the National Book Award. Her writing has appeared in the New Yorker, Granta, Tin House, and elsewhere. Produced by Niela Orr and Jenny Ament Image by Martine Syms, courtesy of the Museum of Modern Art.
There are new paintings and drawings by Sol LeWitt being made all the time -- even though the artist died in 2007. That’s possible because LeWitt’s wrote instructions for creating his works art, for other people to make. Abbi and writer Samantha Irby consider a piece by Glenn Ligon that takes a line by Zora Neale Hurston and repeats it over and over -- transforming the text into something new. Plus, Martine Syms tells Abbi why she puts giant letters right on the gallery walls. Also featuring: Mark Joshua Epstein Special thanks to Tracie Hunte and Brianne Doak. Sol LeWitt. Wall Drawing #1144, Broken Bands of Color in Four Directions. 2004. Synthetic polymer paint on wall, 8' x 37' (243.8 x 1127.8 cm) (The Museum of Modern Art, New York. Given anonymously. © 2017 Sol LeWitt/Artists Rights Society (ARS), New York) Glenn Ligon. Untitled (How it feels to be colored me...Doubled). 1991. Oilstick on paper, 31 3/4 x 16" (80.6 x 41 cm). (The Museum of Modern Art, New York. Gift of The Bohen Foundation. © 2017 Glenn Ligon)
Way before viral videos, since the invention of the medium in the 1960s, artists have made video to critique the culture around them. Howardena Pindell delivers a direct-to-camera account of the racism she experienced coming of age as a black woman in America; Martine Syms tells her characters’ stories across several screens -- from flatscreens to smartphones. Abbi and the comedian Hannibal Buress ponder the sweeping shots in Steve McQueen’s video of the Statue of Liberty. Plus, hear one of Abbi’s own video experiments from her art school days! Also featuring: Thelma Golden and Thomas Lax Steve McQueen. Static. 2009. 35mm film transferred to video (color, sound), 7:03 min. Digital image © 2017 The Museum of Modern Art. Photo: John Wronn. (The Museum of Modern Art, New York. The Michael H. Dunn Memorial Fund. Installation view, Inbox: Steve McQueen, The Museum of Modern Art, New York, May 3–Summer 2017. © 2017 Steve McQueen.) Howardena Pindell. Free, White and 21. 1980. Video (color, sound), 12:15 min. The Museum of Modern Art, New York. (Gift of Jerry I. Speyer and Katherine G. Farley, Anna Marie and Robert F. Shapiro, and Marie-Josée and Henry R. Kravis. © 2017 Howardena Pindell. Courtesy of the artist and The Kitchen, New York) Installation view of Projects 106: Martine Syms. (The Museum of Modern Art, New York, May 27–July 16, 2017. © 2017 The Museum of Modern Art. Photo: John Wronn)
We explored Afrofuturism with filmmaker Martine Syms and discussed her latest project ARTBOUND which profiles emerging artists whose work explores the intersection of race, class, identity, and aesthetics. Vegan activist Aph Ko joined us to discuss her project Black Vegans Rock as well as systemic racism, oppression and stereotypes about the vegan community. Music featured: Sammus and Ash
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