Podcasts about material studies

Episode 435 / Jacqueline Surdell was born and raised in Chicago, IL. She reimagines the woven canvas as a space of undulation and growth. As the expanded histories of painting materialize in her work as content, simultaneously, swollen tendrils and textures of bound rope deny illusions of the classically painted picture plane. The works actively work to bridge the division between painting and sculpture. In this way, her work calls into association other binary categorizations such as rigid and collapsed, construction techniques coded as masculine or feminine, and ontological spaces between body and sculpture.  She has an MFA in Fiber and Material Studies from the Art Institute of Chicago and a BFA from Occidental College in LA. She's shown in venues such as Gallery Common in Tokyo, Devening Prijects in Chicago, Library Street Collective in Detroit, Patricia Sweetow Gallery in San Francisco, the South Bend Museum of Art and many more.  Her work has been covered in the Chicago Tribune, Detroit Art Review, New City, DesignMilk and more. 

Ep.174 Yvette Mayorga is a multidisciplinary artist based in Chicago, Illinois. Her work links feminized labor and the aesthetics of celebration to colonial art history and racialized oppression through the guise of using pink as a weapon of mass destruction. Mayorga holds an MFA in Fiber and Material Studies from the School of the Art Institute of Chicago. Mayorga's first solo museum exhibition What a Time to be at the Momentary, Crystal Bridges Museum of American Art, is on view through October 2023. Mayorga's first East Coast solo museum exhibition Dreaming of You at The Aldrich Contemporary Art Museum, is on view through March 2024. Her work has been exhibited at the Museum of Art and Design, New York, NY; Vincent Price Art Museum, Monterey Park, CA; El Museo del Barrio, the Center for Craft, Asheville, NC; Museo Universitario del Chopo, Mexico City, MX; and Los Angeles Museum of Contemporary Art, Los Angeles, CA. Currently, Mayorga is working on a large-scale installation for the City of Chicago's permanent public art collection at O'Hare International Airport's Terminal 5. Mayorga has been featured in Artforum, Artnet, Art in America, Art News, Cultured Magazine, DAZED, Galerie Magazine, Hyperallergic, Latina Magazine, Teen Vogue, The Guardian, The New York Times, Vogue, W Magazine, and Women's Wear Daily. Her works are in the permanent collections of 21c Museum Hotels, Crystal Bridges Museum of American Art, DePaul Art Museum, El Museo del Barrio, John D. and Catherine T. MacArthur Foundation, Museum of Fine Arts Boston, and New Mexico State University Art Museum. Photo credit : Kevin Penczak Artist https://www.yvettemayorga.com/ The Alridrich https://thealdrich.org/exhibitions/yvette-mayorga-dreaming-of-you MAZ https://maz.zapopan.gob.mx/sala-abierta-20/ Hyperallergic https://hyperallergic.com/790993/decolonizing-rococo-yvette-mayorga/ Latinx Project https://www.latinxproject.nyu.edu/intervenxions/in-her-bag-yvette-mayorgas-first-solo-museum-exhibition-what-a-time-to-be-is-a-declaration-of-latina-artist-autonomy W Magazine https://www.wmagazine.com/culture/yvette-mayorga-interview-artist Cultured Mag https://www.culturedmag.com/article/2023/09/07/women-artist-exhibitions-new-york-armory Vogue https://www.vogue.com/article/must-see-american-art-exhibitions-fall-2023 Art For Change https://artforchange.com/collections/yvette-mayorga The Momentary https://themomentary.org/calendar/yvette-mayorga-what-a-time-to-be/ Invisible Culture Journal https://www.invisibleculturejournal.com/pub/yvettemayorga/release/1 Fondazione Imago Mundi https://fondazioneimagomundi.org/en/webdoc/yvette_mayorga/ SAIC https://www.saic.edu/news/alum-yvette-mayorga-highlighted-in-wwd University of Illinois https://art.illinois.edu/about-us/news/alumna-yvette-mayorga-feature-in-vogue/ Chicago Gallery News https://www.chicagogallerynews.com/events/the-politics-of-desire-yvette-mayorga David b Smith Gallery https://www.davidbsmithgallery.com/cn/artists/65-yvette-mayorga/works/4182-yvette-mayorga-smile-now-from-the-vase-of-the-century-2023/ Geary https://geary.nyc/yvette-mayorga 3Arts https://3arts.org/artist/Yvette-Mayorga/ Hyde Park Art https://www.hydeparkart.org/directory/yvette-mayorga/

The Archaeology Centers Coalition and RadioCIAMS present “SAPIENS Talk Back”: eight conversations with students and scholars that expand upon the insights of Season 4 of the SAPIENS podcast entitled “Our Past is the Future.” In the final episode of our series, we look back on both the SAPIENS series and the conversations we have had here on SAPIENS Talk Back in order to look ahead to the future of archaeology. Our guests this episode represent new professional organizations that are pushing the discipline of archaeology in consequential new directions: Dr. Ayana Omilade Flewellen, Assistant Professor in the Department of Anthropology at the University of California, Riverside and co-founder and current president of the Society of Black Archaeologists (SBA); Dr. Sara Gonzalez, Associate Professor in the Department of Anthropology at the University of Washington and Curator of Archaeology at the Burke Museum of Natural History and Culture, and a co-founder of the Indigenous Archaeology Collective (IAC); and Dr. Lewis Borck, an Assistant Professor in the Department of Sociology, Anthropology, and Criminal Justice at New Mexico Highlands University and a founding member of the Black Trowel Collective. You can support the Black Trowel Collective microgrants program at blacktrowelcollective.wordpress.com and follow them on Twitter @BlackTrowel. To join the SBA, go to societyofblackarchaeologists.com and follow their work on Twitter @SbaArch. You can follow the Indigenous Archaeology Collective on FaceBook and Twitter @indigarchs. “SAPIENS Talk Back” was developed in collaboration with the Indigenous Archaeology Collective and the Society of Black Archaeologists, with special help from Drs. Sara Gonzalez, Justin Dunnavant, and Ayana Flewellen. Special thanks also to Chip Colwell and the production team at SAPIENS, the Wenner-Gren Foundation for Anthropological Research, and House of Pod.   This episode was made possible by financial support from Department of Anthropology at the University of Colorado, Denver. Hosts Sophia Taborski and Alice Wolff from the Cornell Institute of Archaeology and Material Studies join graduate student members from the SBA, IAC, and Black Trowel Collective: Ashleigh Thompson (University of Arizona), Elliot Helmer (Washington State University), and Yoli Ngandali (University of Washington) for a conversation on how to reshape the discipline. SAPIENS Talk Back is a production of the Archaeological Centers Coalition. You can find more information about their work at archaeologycoalition.org.  RadioCIAMS is a member of the American Anthropological Association's podcast library. Our theme music was composed by Charlee Mandy and performed by Maia Dedrick and Russell Dedrick. This episode was produced at Cornell University by Adam Smith, with Liam McDonald as engineer and Rebecca Gerdes as production assistant.

The Archaeology Centers Coalition and RadioCIAMS present “SAPIENS Talk Back”: eight conversations with students and scholars that expand upon the insights of Season 4 of the SAPIENS podcast entitled “Our Past is the Future.” In this episode, we continue the discussion that began in episode 7 of season 4 of the SAPIENS podcast, a conversation that examines “repatriation” and what it means for archaeology. Our guests this episode are Dr. Rachel Watkins, an associate professor in the Department of Anthropology at American University and a specialist in African American biohistory, and Dr. Dorothy Lippert, an expert in repatriation and a tribal liaison for the Smithsonian National Museum of Natural History. “SAPIENS Talk Back” was developed in collaboration with the Indigenous Archaeology Collective and the Society of Black Archaeologists, with special help from Drs. Sara Gonzalez, Justin Dunnavant, and Ayana Flewellen. Special thanks also to Chip Colwell and the production team at SAPIENS, the Wenner-Gren Foundation for Anthropological Research, and House of Pod.   This episode was made possible by financial support from the Cotsen Institute of Archaeology at UCLA with additional support from the University of Arizona's School of Anthropology. Hosts Ruth Portes and Claire Challancin from the Cornell Institute of Archaeology and Material Studies join Dr. Wendy Teeter (UCLA), Mina Nikolovieni (Brown University), and Amanda Althoff (Columbia University) for a conversation on how to reshape the discipline. SAPIENS Talk Back is a production of the Archaeological Centers Coalition. You can find more information about their work at archaeologycoalition.org.  RadioCIAMS is a member of the American Anthropological Association's podcast library. Our theme music was composed by Charlee Mandy and performed by Maia Dedrick and Russell Dedrick. This episode was produced at Cornell University by Adam Smith, with Rafael Cruz Gil as engineer and Rebecca Gerdes as production assistant.

The Native American Graves Protection and Repatriation Act of 1990, or NAGPRA, is supposed to curb the illegal possession of ancestral Native American remains and cultural items. But a year after it was passed by the U.S. federal government, a significant African burial ground in New York City was uncovered. And there was zero legislation in place for its protection. Dr. Rachel Watkins shares the story of the New York African Burial Ground—and what repatriation looks like for African American communities.   (00:00:44) Enter the Peabody Museum of Archeology and Ethnology and its NAGPRA controversy. (00:03:19) A discovery in Manhattan is not covered by NAGPRA. (00:05:19) Intro. (00:05:44) Dr. Rachel Watkins, the New York African Burial Ground Project and Michael Blakey.  (00:11:40) Dr. Rachel Watikins meets the Cobb Collection. (00:23:44) Exploring Repatriation for the New York African Burial Ground Project. (00:28:26) The issue of repatriation for the Cobb Collection. (00:34:02) Revisiting season 4. (00:40:49) Credits.   SAPIENS: A Podcast for Everything Human, is produced by House of Pod and supported by the Wenner-Gren Foundation. SAPIENS is also part of the American Anthropological Association Podcast Library. This season was created in collaboration with the Indigenous Archaeology Collective and Society of Black Archaeologists, with art by Carla Keaton, and music from Jobii, _91nova, and Justnormal. For more information and transcriptions, visit sapiens.org.     Thank you this time also to The Harvard Review and their podcast, A Legacy Revealed for permitting us to use a clip from Episode 4 I Could See Family in Their Eyes, hosted by Raquel Coronell Uribe and Sixiao Yu and produced by Lara Dada, Zing Gee, and Thomas Maisonneuve.   Additional Sponsors: This episode, and entire series, was made possible by the Cornell Institute of Archaeology and Material Studies, the Denver Museum of Nature & Science, UC San Diego Scripps Center for Marine Archaeology, the University of Michigan Museum of Anthropological Archaeology, the Joukowsky Institute for Archaeology at Brown University, UMASS Boston's Fiske Center for Archaeological Research, UC Berkeley's Archaeological Research Facility, and the Imago Mundi Fund at Foundation for the Carolinas.   Additional Resources:   From SAPIENS: Why the Whiteness of Archaeology Is a Problem Craft an African American Graves Protection and Repatriation Act  New York African Burial Ground  The Mismeasure of Man Guest: Rachel Watkins is a biocultural anthropologist with an emphasis on African American biohistory and social history, bioanthropological research practices, and histories of U.S. biological anthropology.

The Archaeology Centers Coalition and RadioCIAMS present “SAPIENS Talk Back”: eight conversations with students and scholars that expand upon the insights of Season 4 of the SAPIENS podcast entitled “Our Past is the Future.” In this episode, we continue the discussion that began in episode 6 of season 4 of the SAPIENS podcast, a conversation that examines “Slavery, Sustenance, and Resistance,” or what we might think of as “Setting the Table for an Archaeology of Resistance.” Our guests for this episode are Dr. Peggy Brunache, Lecturer of the History of Atlantic Slavery at the University of Glasgow and the first director of the Beniba Centre for Slavery Studies; and Dr. Kelly Fanto Deetz, Director of Collections and Visitor Engagement at Stratford Hall Plantation, and visiting Scholar in the Department of African American Studies at the University of California, Berkeley. “SAPIENS Talk Back” was developed in collaboration with the Indigenous Archaeology Collective and the Society of Black Archaeologists, with special help from Drs. Sara Gonzalez, Justin Dunnavant, and Ayana Flewellen. Special thanks also to Chip Colwell and the production team at SAPIENS, the Wenner-Gren Foundation for Anthropological Research, and House of Pod.   This episode was made possible by financial support from the Archaeological Research Facility at the University of California at Berkeley. Hosts Rebecca Gerdes and Sam Disotell from the Cornell Institute of Archaeology and Material Studies join Sara Ann Knutson (University of California, Berkeley), Jess Johnson (University of California, Berkeley), José Julián Garay Vázquez (University College London), and Helen Wong (University of Pennsylvania) for a conversation on how to reshape the discipline. SAPIENS Talk Back is a production of the Archaeological Centers Coalition. You can find more information about their work at archaeologycoalition.org.  RadioCIAMS is a member of the American Anthropological Association's podcast library. Our theme music was composed by Charlee Mandy and performed by Maia Dedrick and Russell Dedrick. This episode was produced at Cornell University by Adam Smith, with Ruth Portes as engineer and Rebecca Gerdes as production assistant.

The Archaeology Centers Coalition and RadioCIAMS present “SAPIENS Talk Back”: eight conversations with students and scholars that expand upon the insights of Season 4 of the SAPIENS podcast entitled “Our Past is the Future.” In this episode, we continue the discussion that began in episode 5 of season 4 of the SAPIENS podcast, a conversation that examines how archaeologists study sacred sites, and when they don't. Our guests for this episode are Dr. Ora Marek-Martinez, Assistant Professor of Anthropology at Northern Arizona University and Director of the Office of Native American Initiatives, and co-host of the SAPIENS podcast this season, and Dr. Nicholas Laluk, Assistant Professor in the Department of Anthropology at the University of California, Berkeley. “SAPIENS Talk Back” was developed in collaboration with the Indigenous Archaeology Collective and the Society of Black Archaeologists, with special help from Drs. Sara Gonzalez, Justin Dunnavant, and Ayana Flewellen. Special thanks also to Chip Colwell and the production team at SAPIENS, the Wenner-Gren Foundation for Anthropological Research, and House of Pod.   This episode was made possible by financial support from The Andrew Fiske Memorial Center for Archaeological Research at the University of Massachusetts, Boston. Hosts Anna Whittemore and Alex Symons from the Cornell Institute of Archaeology and Material Studies join Gabby Hartemann (Federal University of Minas Gerais, Brazil), Eric Mazariegos (Columbia University), and Maryan Ragheb (UCLA) for a conversation on how to reshape the discipline. SAPIENS Talk Back is a production of the Archaeological Centers Coalition. You can find more information about their work at archaeologycoalition.org.  RadioCIAMS is a member of the American Anthropological Association's podcast library. Our theme music was composed by Charlee Mandy and performed by Maia Dedrick and Russell Dedrick. This episode was produced at Cornell University by Adam Smith, with Olivia Graves as engineer and Rebecca Gerdes as production assistant.

The Archaeology Centers Coalition and RadioCIAMS present “SAPIENS Talk Back”: eight conversations with students and scholars that expand upon the insights of Season 4 of the SAPIENS podcast entitled “Our Past is the Future.” In this episode, we welcome the featured guests of Episode 4 of SAPIENS Season 4: Dr. Tiffany Fryer, Cotsen Postdoctoral Fellow in the Princeton University Society of Fellows and a lecturer in Princeton's Department of Anthropology, and Dr. Sven Haakanson, Associate Professor in the Department of Anthropology at the University of Washington, Curator of Native American Anthropology at the Burke Museum, and a former MacArthur Fellow. “SAPIENS Talk Back” was developed in collaboration with the Indigenous Archaeology Collective and the Society of Black Archaeologists, with special help from Drs. Sara Gonzalez, Justin Dunnavant, and Ayana Flewellen. Special thanks also to Chip Colwell and the production team at SAPIENS, the Wenner-Gren Foundation for Anthropological Research, and House of Pod.   This episode was made possible by financial support of the Joukowsky Institute for Archaeology at Brown University and Columbia University's Center for Archaeology. Hosts Olivia Graves and Henry Ziegler from the Cornell Institute of Archaeology and Material Studies join Erynn Bentley and Ana González San Martín from Brown University for a conversation on how to reshape the discipline. SAPIENS Talk Back is a production of the Archaeological Centers Coalition. You can find more information about their work at archaeologycoalition.org.  RadioCIAMS is a member of the American Anthropological Association's podcast library. Our theme music was composed by Charlee Mandy and performed by Maia Dedrick and Russell Dedrick. This episode was produced at Cornell University by Adam Smith, with Sam Disotell as engineer and Rebecca Gerdes as production assistant.

The Archaeology Centers Coalition and RadioCIAMS present “SAPIENS Talk Back”: eight conversations with students and scholars that expand upon the insights of Season 4 of the SAPIENS podcast entitled “Our Past is the Future.” In this episode, we welcome the featured guests of Episode 3 of SAPIENS Season 4: Dr. Kisha Supernant, Associate Professor in the Department of Anthropology at the University of Alberta and Director of the Institute of Prairie and Indigenous Archaeology, and Lenora McQueen, an activist who has worked tirelessly to preserve the Shockoe Hill African Burying Ground in Richmond. “SAPIENS Talk Back” was developed in collaboration with the Indigenous Archaeology Collective and the Society of Black Archaeologists, with special help from Drs. Sara Gonzalez, Justin Dunnavant, and Ayana Flewellen. Special thanks also to Chip Colwell and the production team at SAPIENS, the Wenner-Gren Foundation for Anthropological Research, and House of Pod.   This episode was made possible by financial support of the University of Michigan Museum of Anthropological Archaeology. Hosts Rafael Cruz Gil and Carol Anne Barsody from the Cornell Institute of Archaeology and Material Studies join Elspeth Geiger (University of Michigan), Mariela Declet Pérez (University of California, San Diego), and Dan Plekhov (Brown University) for a conversation on how to reshape the discipline. SAPIENS Talk Back is a production of the Archaeological Centers Coalition. You can find more information about their work at archaeologycoalition.org.  RadioCIAMS is a member of the American Anthropological Association's podcast library. Our theme music was composed by Charlee Mandy and performed by Maia Dedrick and Russell Dedrick. This episode was produced at Cornell University by Adam Smith, with Alex Symons as engineer and Rebecca Gerdes as production assistant.

Hi everyone. I hope you are doing well. I got a wonderful episode to share with you today as I speak with Aram Han Sifuentes, a fiber and social practice artist, writer, and educator who works to center immigrant and disenfranchised communities. Her work often revolves around skill sharing, specifically sewing techniques, to create multiethnic and intergenerational sewing circles, which become a place for empowerment, subversion, and protest. Aram got her BA in Art and Latin American Studies from the University of California, Berkeley and an MFA in Fiber and Material Studies from the School of the Art Institute of Chicago, where she is currently an Associate Professor Adjunct. Aram's energy is infectious and I found myself laughing a lot with her in our discussion as we chatted about growing up in rural California, protest banners, voting rights, and political literacy among immigrant communities. Aram also just opened with a solo show at moCa Cleveland, so go check it out if you are in the area, something I would like to be able to see before it closes in the summer. Otherwise, sit back, relax, and I hope you enjoy this.Links Mentioned:Aram's WebsiteAram's InstagramJin Soo KimThe Intimacies of Four Continents by Lisa LoweThe Ruptures of American Capital by Grace Kyungwon HongBone Black: Memories of Girlhood by bell hooksCauleen SmithJane Addams Hull-House MuseumThe Sentencing ProjectIshita DharapMinariFollow Seeing Color:Seeing Color WebsiteSubscribe on Apple PodcastsFacebookTwitterInstagram

The Archaeology Centers Coalition and RadioCIAMS present “SAPIENS Talk Back”: eight conversations with students and scholars that expand upon the insights of Season 4 of the SAPIENS podcast entitled “Our Past is the Future.” In this episode, we welcome the featured guests of Episode 2 of SAPIENS Season 4: two co-founders of the Society of Black Archaeologists, Dr. Justin Dunnavant, Assistant Professor of Anthropology at UCLA, and Dr. Ayana Flewellen, Assistant Professor in the Department of Anthropology, University of California, Riverside; and Gabrielle Miller, a PhD student studying African Diaspora Archaeology at the University of Tulsa. “SAPIENS Talk Back” was developed in collaboration with the Indigenous Archaeology Collective and the Society of Black Archaeologists, with special help from Drs. Sara Gonzalez, Justin Dunnavant, and Ayana Flewellen. Special thanks also to Chip Colwell and the production team at SAPIENS, the Wenner-Gren Foundation for Anthropological Research, and House of Pod.   This episode was made possible by financial support from the Scripps Center for Marine Archaeology at the University of California, San Diego. Hosts Maia Dedrick and Ayesha Matthan from the Cornell Institute of Archaeology and Material Studies join panelists Jordan Griffin and Loren Clark from the University of California, San Diego for a conversation on how to reshape the discipline. SAPIENS Talk Back is a production of the Archaeological Centers Coalition. You can find more information about their work at archaeologycoalition.org.  RadioCIAMS is a member of the American Anthropological Association's podcast library. Our theme music was composed by Charlee Mandy and performed by Maia Dedrick and Russell Dedrick. This episode was produced at Cornell University by Adam Smith, with Anna Whittemore as engineer and Rebecca Gerdes as production assistant.

The Archaeology Centers Coalition and RadioCIAMS present “SAPIENS Talk Back”: eight conversations with students and scholars that expand upon the insights of Season 4 of the SAPIENS podcast entitled “Our Past is the Future.” In this episode, we welcome Yoli Ngandali, one of the hosts of the SAPIENS series and a graduate student in the Department of Anthropology at the University of Washington, for a conversation on how we can achieve real and lasting change in the stories archaeology tells and, just as importantly, who gets to tell them.   “SAPIENS Talk Back” was developed in collaboration with the Indigenous Archaeology Collective and the Society of Black Archaeologists, with special help from Drs. Sara Gonzalez, Justin Dunnavant, and Ayana Flewellen. Special thanks also to Chip Colwell and the production team at SAPIENS, the Wenner-Gren Foundation for Anthropological Research, and House of Pod.   This episode was made possible by financial support from the Cornell Institute of Archaeology and Material Studies and the Denver Museum of Nature & Science. Hosts Alma Cortez Alvarez and Liam McDonald from the Cornell Institute of Archaeology and Material Studies join panelists Jarre Hamilton (University of California, Berkeley), Iman Nagy (University of California, Los Angeles), and Javier García Colón (University of California, San Diego) for a conversation on how to reshape the discipline. SAPIENS Talk Back is a production of the Archaeological Centers Coalition. You can find more information about their work at archaeologycoalition.org.  RadioCIAMS is a member of the American Anthropological Association's podcast library. Our theme music was composed by Charlee Mandy and performed by Maia Dedrick and Russell Dedrick. This episode was produced at Cornell University by Adam Smith, with Rebecca Gerdes as the engineer and production assistant.

Hosts Dr. Ora Marek-Martinez and Yoli Ngandali share how they found their way to archaeology and what it means to be Black and Indigenous archaeologists. From defying the status quo in a classroom to diving through sunken ships, Ora and Yoli bring listeners on a journey of reclaiming stories and reimagining history. Time Stamps: (00:00:10) How hosts Dr. Ora Merek-Martinez and Yoli Ngandali met. (00:03:27) Why Indigenous archaeology is not the same as non-Indigenous archaeology. (00:09:11) What is Maritime archaeology? (00:12:18) Important vocabulary for Season 4. (00:18:10) What is the future of archaeology? (00:19:38) Credits. SAPIENS: A Podcast for Everything Human, is produced by House of Pod and supported by the Wenner-Gren Foundation. SAPIENS is also part of the American Anthropological Association Podcast Library. This season was created in collaboration with the Indigenous Archaeology Collective and Society of Black Archaeologists, with music from Jobii, _91nova, and Justnormal.   Additional Sponsors: This episode was made possible by the Cornell Institute of Archaeology and Material Studies, the Denver Museum of Nature & Science, and the Imago Mundi Fund at Foundation for the Carolinas. For more information including episode transcripts, visit sapiens.org and check out the additional resources below: Webinar Series: From the Margins to the Mainstream: Black and Indigenous Futures in Archaeology Land Acknowledgments Are Not Enough About The Hosts: Dr. Ora Marek-Martinez (she/her/asdzaìaì) is a citizen of the Diné Nation, she's also Nez Perce. A Director at the Native American Cultural Center, her work includes supporting & ensuring the success of Northern Arizona University Native American & Indigenous students through Indigenized programming & services. An Assistant Professor in the Northern Arizona University Anthropology Department, her research interests include Indigenous archaeology & heritage management, research and approaches that utilize ancestral knowledge, decolonizing & Indigenizing methodologies and storytelling in the creation of archaeological knowledge to reaffirm Indigenous connections to land & place. Dr. Marek-Martinez is a founding member of the Indigenous Archaeology Coalition. Yoli Ngandali (she/he/hers) is a member of the Ngbaka Tribe from the Democratic Republic of the Congo, a Ronald E. McNair Fellow, and a Ph.D. Candidate in Archaeology at the University of Washington. Her research interests span Archaeologies of colonialism, Indigenous archaeology, Archaeologies of Central Africa, Trans-Indigenous traditions of culture sharing, Black & Indigenous futurity, digital conservation science, remote sensing, and multi-spectral imaging. Her doctoral dissertation develops digital and community-based participatory research approaches to Indigenous art revitalization within museum settings and highlights Indigenous carving traditions in the Pacific Northwest.

This week we are speaking with John Paul Morabito of Chicago, Illinois. John Paul is a transdisciplinary weaver who engages the medium of tapestry reimagined in the ditigial age. Their work outputs woven forms, moving images, and relational actions to imagine queer grace. Their work has been exhibited internationally, including but not limited to the Zhejiang (zhuh-zhong) Art Museum in China, Dorsky Gallery Curatorial Projects in New York and the Nerman Museum of Contemporary Art in Kansas. They also have work in collections like the Textile Resource Center at the School of the Art Institute of Chicago. They have presented papers at the College Art Association Conference and the Textile Society of America Symposium, published essays with Art China, the China Academy of Art Textile Reader 2, and the Journal of Textile Design Research and Practice. Morabito holds a BFA from the Maryland Institute College of Art and an MFA from the School of the Art Institute of Chicago, where they currently serve on the faculty as an Assistant Professor, Adjunct of Fiber and Material Studies. We hope you enjoy our conversation with John Paul as cover how they discovered weaving early in their life, queer identity and creation through textiles, the future of weaving and more. Find John Paul Online : Website | Instagram - - Join the Discord : https://professionalweaversociety.org/join-the-discord/ - - Sponsored by : Comfortcloth Weaving LLC Read full show notes and resources at : https://professionalweaversociety.com/podcast - - Sponsor the Podcast : Become A Sponsor Support the Podcast : Become A Patron (Shop on Amazon) Music by Rawhead The Wreckloose : https://rawheadthewreckloose.bandcamp.com/ Rawhead the Wreckloose's new album 'Cold Bill' : https://rawheadthewreckloose.bandcamp.com/album/cold-bill Intro Music : Guesthouse

This week we are speaking with Rachel Snack of Weaver House Co from Philadelphia, Pennsylvania. Weaver House is a project that Rachel created as an intuitive response to returning home after living in Peru, and the continual longing to be at the loom. She received her Bachelor of Fine Art in Fiber and Material Studies from the The School of the Art Institute of Chicago, and her Master of Science in Textile Design from Philadelphia University. She can normally be found in the studio or nearby in the woods, always inspired and constantly creating. Weaver House is a yarn shop, textile studio, and weaving school located in Philadelphia. The goal of the space is to create heirloom textiles in homage to craft tradition, and the dialect between maker and loom. Creating a space where the woven practice is grounded in the idea of growing a tangible language, to regain tactility and a hand-making consciousness within the home and in relation to the body. Though the school is currently closed due to the ongoing pandemic, Rachel is finding new ways to inspire communal collaboration and weaving education. We hope you enjoy our conversation with Rachel as we talk about finding weaving, starting Weaver House, her new podcast, and more! Find Rachel Online : Website | Weaver House | Instagram | Material Culture Podcast - - Sponsored by : Comfortcloth Weaving LLC Read full show notes and resources at : https://professionalweaversociety.com/podcast - - Sponsor the Podcast : Become A Sponsor Support the Podcast : Become A Patron (Shop on Amazon) Music by Rawhead The Wreckloose : https://rawheadthewreckloose.bandcamp.com/ Rawhead the Wreckloose's new album 'Cold Bill' : https://rawheadthewreckloose.bandcamp.com/album/cold-bill Intro Music : Guesthouse

In this week’s episode LaChaun speaks with Bryana Bibbs. Bryana is a Chicago-based textile artist, painter, and art educator who earned her Bachelor of Fine Arts with an emphasis in Fiber and Material Studies at The School of the Art Institute of Chicago. She is the founder of the “We Were Never Alone Project, a weaving workshop for victims and survivors of domestic violence. She is a current artist in residence at the Chicago Artist Coalition HATCH and serves on the Surface Design Association’s Education Committee. Bryana’s work has been on view at the Evanston Art Center, ARC Gallery, and the Bridgeport Art Center. Shownotes: www.gistyarn.com/episode-135

In this week's episode, LaChaun is speaking with Jessie Mordine Young. Jessie is a textile curator, teacher of traditional textile techniques, and maker living in New York City. She is an MA candidate in the History of Decorative Arts, Design History, and Material Culture at the Bard Graduate Center in New York City. She also graduated from the School of the Art Institute of Chicago (SAIC) with a dual degree in Art History and Studio Art in Fiber and Material Studies. Show notes: www.gistyarn.com/episode-125

Nastassja Swift is a visual artist holding a Bachelors degree of Fine Art from Virginia Commonwealth University with a major in Painting & Printmaking and a minor in Craft & Material Studies. She is the owner and artist of D for Dolls, an online collection of handmade needle felted figures. Outside of being a doll maker, she works with fiber, audio, performance and film within her studio practice. Nastassja’s work is currently on display in a group exhibition at The Colored Girls Museum in Philadelphia, and the Wa Na Wari Art Space in Seattle; as well as upcoming shows and screenings in several spaces throughout Richmond, including Sediment Art Gallery, Afrikana Independent Film Festival, and The Valentine Museum. She has participated in several national and international residencies and exhibitions, including her solo exhibit in Doha, Qatar in 2016, and fellowships at the Vermont Studio Center and MASS MoCA. Nastassja is currently living and working in Virginia. http://www.nastassjaswift.com/ - Hamilton Perkins Collection Bags. In 2014, Hamilton Perkins founded Hamilton Perkins Collection, an independent brand, designing and producing unique and award winning bags and accessories from recycled materials. Hamilton Perkins Collection exists to create timeless limited edition bags made from recycled plastic water bottles, pineapple leaf fiber, and billboard vinyl. The result is that no two bags are ever the same. Our first design, the Earth Bag Premium, was created so that our customers would not only carry a bag that was stylish but carry a bag they could be proud of. We surveyed more than 1,000 consumers to obtain their thoughts and feedback for each component of the Earth Bag Premium, which soon became one of our most popular designs. Perkins was the winner of the Virginia Velocity Tour hosted by the Governor of Virginia, and the recipient of a HUD Community Development Block Grant. The non-profit B Lab honored Hamilton Perkins Collection as a "Best for the World Overall" B Corporation in 2017. Hamilton Perkins Collection has been featured in Forbes, Fast Company, Money Magazine, and The Washington Post. The brand is currently offered in nearly 100 leading department stores and specialty stores in the United States, Canada, and Europe. https://hamiltonperkins.com/

Adriane Dalton is an artist, writer, and educator based in Richmond, Virginia. She is the Editor of Metalsmith and Metalsmith Tech magazines, and the annual Jewelry and Metals Survey (JaMS) published by the Society of North American Goldsmiths (SNAG). She received her MA in History of Decorative Arts and Design (now the History of Design and Curatorial Studies) from Parsons The New School for Design in partnership with the Cooper Hewitt, Smithsonian Design Museum, and her BFA in Craft & Material Studies from The University of the Arts in Philadelphia.She was formerly the Assistant Curator and Exhibitions Manager at the Nora Eccles Harrison Museum of Art (NEHMA) in Logan, Utah where she co-curated ARTsySTEM: The Changing Climate of the Arts and Sciences and taught History of American Studio Craft, among many other curatorial and educational projects. She is a past contributor to Art Jewelry Forum and the Cooper Hewitt, Smithsonian Design Museum Object of the Day blog.Over the past fifteen years, her studio practice has evolved from traditional metalsmithing and enameling techniques to incorporate alternative and recycled materials. Lately, she is using disused and discarded materials to engage with intersections of labor, class, gender, and consumption. She brings her appreciation for creative reuse into her role as lead instructor for Teen Stylin’—a twelve-week wearable arts program at the Virginia Museum of Fine Arts. She also teaches recycled materials jewelry and enameling at the Visual Arts Center of Richmond, and is a past Program Leader at ART 180, a non-profit providing art-related programming for young people in Richmond.APPLY TO THE NEW VOICES WRITING CONTESTIn celebration of its 40th year of publication, Metalsmith magazine invites new and aspiring writers to submit proposals to the New Voices Writing Contest. Do you have a research topic that feels congruent with the varieties of content featured in Metalsmith? Are you interested in broadening the discourse within the fields of jewelry, metalworking, adornment, design, and craft? Do you have a fresh perspective, unique voice, or a radical idea? We want to hear about it!New Voices: https://www.snagmetalsmith.org/metalsmith-magazine/new-voices-writing-contest/Application: https://www.snagmetalsmith.org/metalsmith-magazine/new-voices-writing-contest/

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Lucy Louise Derickson is a metalsmith and educator currently residing in Washington DC. She received her BFA in Jewelry/Metalsmithing and Teaching Certification from the University of Wisconsin-Milwaukee. After spending 2 years teaching k-12 Art Education, and receiving Teacher of the Year from the Greenfield Chamber of Commerce, she moved to Richmond to earn her MFA in Craft and Material Studies from Virginia Commonwealth University.Lucy is currently Assistant Professor and Coordinator of the Jewelry/Metalsmithing and Crafts Area at Montgomery College, Maryland. Lucy is a board member of the non-profit organization Ethical Metalsmiths, where she works as facilitator to EM Students.Links:http://lucyderickson.com/IG: @LucydericksonUpcoming Workshop at Baltimore Jewelry Center: Pewter? I hardly know her, https://baltimorejewelrycenter.org/classes/SO FRESH + SO CLEAN: Call For Entry MissionA Letter from 2019 EM Student Jury:We would like So Fresh + So Clean 2019 applicants to deeply consider how their work & studio practice builds on EM Student's dedication to innovative thinking in their approach to the field of jewelry and metalsmithing. It is our hope to foster a generous, honest and investigative conversation around the many ways we evolve our studio and work in an ever shifting world. In this spirit of re-imagining what a practice can look like from an ethical perspective, EM Student’s is also interested in how this outlook affects your creative output. How does an ethical practice inform your work and push you to discovery, transformation and innovation? Where does your work fit in today’s contemporary practice in fresh and exciting new ways?-Taylor Zarkades King and Andy LowrieEM Students: VCU ChapterFind all information regarding the call for entry here.Instagram: @emstudentsDon't forget to Rate AND Review us on iTunes!SUPPORT PERCEIVED VALUE!www.patreon.com/perceivedvaluewww.perceivedvaluepodcast.com/how-to-support-donate/Want a chance on the mic? Visit our events page at www.perceivevaluepodcast.com/events to find out when Perceive Value Podcast will be in your area!Instagram + Facebook: @perceivedvalueFind your Host:sarahrachelbrown.comInstagram: @sarahrachelbrownThe music you hear on Perceived Value is by the Seattle group Song Sparrow Research.All You Need to Know off of their album Sympathetic Buzz.Find them on Spotify!

This week batted sports presents a panel on making and being presented at Hauser and Wirth by our partners BFAMFAPhD. Step 1: Modes of Critique What modes of critique might foster racial equity in studio art classes at the college level? Friday 1/18 from 6-8pm Billie Lee and Anthony Romero of the Retooling Critique Working Group Respondent: Eloise Sherrid, filmmaker, The Room of Silence Modes of Critique   What modes of critique might foster racial equity in studio art classes at the college level?   Friday 1/18 from 6-8pm Billie Lee and Anthony Romero of the Retooling Critique Working Group Respondent: Eloise Sherrid, filmmaker, The Room of Silence   Billie Lee is an artist, educator, and writer working at the intersection of art, pedagogy, and social change. She holds a BFA from the Rhode Island School of Design, an MFA from Yale University, and is a doctoral candidate at the University of Hawai‘i at Mānoa in American Studies. She has held positions at the Queens Museum, the Yale University Art Gallery, Doris Duke Foundation for Islamic Art, University of New Haven, University of Hawai‘i at Mānoa, and is currently an Assistant Professor of Art History at Hartford Art School.   Anthony Romero is an artist, writer, and organizer committed to documenting and supporting artists and communities of color. Recent projects include the book-length essay The Social Practice That Is Race, written with Dan S. Wang and published by Wooden Leg Press, Buenos Dias, Chicago!, a multi-year performance project commissioned by the Museum of Contemporary Art Chicago and produced in collaboration with Mexico City based performance collective, Teatro Linea de Sombra. He is a co-founder of the Latinx Artists Retreat and is currently a Professor of the Practice at The School of the Museum of Fine Arts at Tufts University.   Judith Leemann is an artist, educator, and writer whose practice focuses on translating operations through and across distinct arenas of practice. A long-standing collaboration with the Boston-based Design Studio for Social Intervention grounds much of this thinking. Leemann is Associate Professor of Fine Arts 3D/Fibers at the Massachusetts College of Art and Design and holds an M.F.A. in Fiber and Material Studies from the School of the Art Institute of Chicago. Her writings have been included in the anthologies Beyond Critique (Bloomsbury, 2017), Collaboration Through Craft (Bloomsbury, 2013), and The Object of Labor: Art, Cloth, and Cultural Production (School of the Art Institute of Chicago and MIT Press 2007). Her current pedagogical research is anchored by the Retooling Critique working group she first convened in 2017 to take up the question of studio critique’s relation to educational equity.   The Retooling Critique Working Group is organized by Judith Leemann and was initially funded by a Massachusetts College of Art and Design President's Curriculum Development Grant.   Eloise Sherrid is a filmmaker and multimedia artist based in NYC. Her short viral documentary, "The Room of Silence," (2016) commissioned by Black Artists and Designers (BAAD), a student community and safe space for marginalized students and their allies at Rhode Island School of Design, exposed racial inequity in the critique practices institutions for arts education, and has screened as a discussion tool at universities around the world.   Step 2:  Artist-Run Spaces How do artists create contexts for encounters with their projects that are aligned with their goals? Friday 2/1 from 6-8pm Linda Goode-Bryant, Heather Dewey-Hagborg, and Salome Asega   Upcoming Event: Building Cooperatives What if the organization of labor was integral to your project? Friday 2/22 from 6-8pm Members of Meerkat Filmmakers Collective and Friends of Light RSVP https://www.eventbrite.com/e/making-and-being-building-cooperatives-tickets-54313881281?aff=ebdssbdestsearch   http://bfamfaphd.com/ Making and Being is a multi-platform pedagogical project that offers practices of contemplation, collaboration, and circulation in the visual arts. Making and Being is a book, a series of videos, a deck of cards, and an interactive website with freely downloadable content created by authors Susan Jahoda and Caroline Woolard with support from Fellow Emilio Martinez Poppe and BFAMFAPhD members Vicky Virgin and Agnes Szanyi. Bio BFAMFAPhD is a collective that employs visual and performing art, policy reports, and teaching tools to advocate for cultural equity in the United States. The work of the collective is to bring people together to analyze and reimagine relationships of power in the arts. BFAMFAPhD received critical acclaim for Artists Report Back (2014), which was presented as the 50th anniversary keynote at the National Endowment for the Arts and was exhibited at the Brooklyn Museum, the Museum of Art and Design, Gallery 400 in Chicago, Cornell University, and the Cleveland Institute of Art. Their work has been reviewed in The Atlantic, the New York Times, the Washington Post, the New Yorker, Andrew Sullivan’s The Dish, WNYC, and Hyperallergic, and they have been supported by residencies and fellowships at the Queens Museum, Triangle Arts Association, NEWINC and PROJECT THIRD at Pratt Institute. BFAMFAPhD members Susan Jahoda and Caroline Woolard are now working on Making and Being, a multi-platform pedagogical project which offers practices of collaboration, contemplation, and social-ecological analysis for visual artists.

Duncan catches up with two of the members of BFAMFAPhD for a chat about the upcoming event series, which for those of you in NYC starts friday with MAKING & BEING.   Conversations about Art & Pedagogy co-presented by BFAMFAPhD & Pioneer Works, hosted by Hauser & Wirth, with media partners Bad at Sports and Eyebeam.   image credit... BFAMFAPhD, Making and Being Card Game, print version, 2016-2018, photograph by Emilio Martinez Poppe. Full details below... ____________________________   Hauser & Wirth   BFAMFAPhD is a collective that employs visual and performing art, policy reports, and teaching tools to advocate for cultural equity in the United States.   Pioneer Works is a cultural center dedicated to experimentation, education, and production across disciplines.   Contemporary art talk without the ego, Bad at Sports is the Midwest's largest independent contemporary art podcast and blog. Eyebeam is a platform for artists to engage society’s relationship with technology.   Access info:   The event is free and open to the public. RSVP is required through www.hauserwirth.com/events.   The entrance to Hauser & Wirth Publishers Bookshop is at the ground floor and accessible by wheelchair. The bathroom is all-gender. This event is low light, meaning there is ample lighting but fluorescent overhead lighting is not in use. A variety of seating options are available including: folding plastic chairs and wooden chairs, some with cushions.   This event begins at 6 PM and ends at 8 PM but attendees are welcome to come late, leave early, and intermittently come and go as they please. Water, tea, coffee, beer and wine will be available for purchase. The event will be audio recorded. We ask that if you do have questions or comments after the event for the presenters that you speak into the microphone. If you are unable to attend, audio recordings of the events will be posted on Bad at Sports Podcast after the event.   Parking in the vicinity is free after 6 PM. The closest MTA subway station is 23rd and 8th Ave off the C and E. This station is not wheelchair accessible. The closest wheelchair accessible stations are 1/2/3/A/C/E 34th Street-Penn Station and the 14 St A/C/E station with an elevator at northwest corner of 14th Street and Eighth Avenue. ____________________________ "While knowledge and skills are necessary, they are insufficient for skillful practice and for transformation of the self that is integral to achieving such practice.” - Gloria Dall’Alba BFAMFAPhD presents a series of conversations that ask: What ways of making and being do we want to experience in art classes? The series places artists and educators in intimate conversation about forms of critique, cooperatives, artist-run spaces, healing, and the death of projects. If art making is a lifelong practice of seeking knowledge and producing art in relationship to that knowledge, why wouldn’t students learn to identify and intervene in the systems that they see around them? Why wouldn't we teach students about the political economies of art education and art circulation? Why wouldn’t we invite students to actively fight for the (art) infrastructure they want, and to see it implemented?   The series will culminate in the launch of Making and Being, a multi-platform pedagogical project that offers practices of collaboration, contemplation, and social-ecological analysis for visual artists. Making and Being is a book, a series of videos, a deck of cards, and an interactive website with freely downloadable content created by authors Susan Jahoda and Caroline Woolard with support from Fellow Emilio Martinez Poppe and BFAMFAPhD members Vicky Virgin and Agnes Szanyi.   ____________________________   SCHEDULE ____________________________ Modes of Critique   What modes of critique might foster racial equity in studio art classes at the college level?   Friday 1/18 from 6-8pm Billie Lee and Anthony Romero of the Retooling Critique Working Group Respondent: Eloise Sherrid, filmmaker, The Room of Silence   Billie Lee is an artist, educator, and writer working at the intersection of art, pedagogy, and social change. She holds a BFA from the Rhode Island School of Design, an MFA from Yale University, and is a doctoral candidate at the University of Hawai‘i at Mānoa in American Studies. She has held positions at the Queens Museum, the Yale University Art Gallery, Doris Duke Foundation for Islamic Art, University of New Haven, University of Hawai‘i at Mānoa, and is currently an Assistant Professor of Art History at Hartford Art School.   Anthony Romero is an artist, writer, and organizer committed to documenting and supporting artists and communities of color. Recent projects include the book-length essay The Social Practice That Is Race, written with Dan S. Wang and published by Wooden Leg Press, Buenos Dias, Chicago!, a multi-year performance project commissioned by the Museum of Contemporary Art Chicago and produced in collaboration with Mexico City based performance collective, Teatro Linea de Sombra. He is a co-founder of the Latinx Artists Retreat and is currently a Professor of the Practice at The School of the Museum of Fine Arts at Tufts University.   Judith Leemann is an artist, educator, and writer whose practice focuses on translating operations through and across distinct arenas of practice. A long-standing collaboration with the Boston-based Design Studio for Social Intervention grounds much of this thinking. Leemann is Associate Professor of Fine Arts 3D/Fibers at the Massachusetts College of Art and Design and holds an M.F.A. in Fiber and Material Studies from the School of the Art Institute of Chicago. Her writings have been included in the anthologies Beyond Critique (Bloomsbury, 2017), Collaboration Through Craft (Bloomsbury, 2013), and The Object of Labor: Art, Cloth, and Cultural Production (School of the Art Institute of Chicago and MIT Press 2007). Her current pedagogical research is anchored by the Retooling Critique working group she first convened in 2017 to take up the question of studio critique’s relation to educational equity.   The Retooling Critique Working Group is organized by Judith Leemann and was initially funded by a Massachusetts College of Art and Design President's Curriculum Development Grant.   Eloise Sherrid is a filmmaker and multimedia artist based in NYC. Her short viral documentary, "The Room of Silence," (2016) commissioned by Black Artists and Designers (BAAD), a student community and safe space for marginalized students and their allies at Rhode Island School of Design, exposed racial inequity in the critique practices institutions for arts education, and has screened as a discussion tool at universities around the world.   __________________________   Artist-Run Spaces   How do artists create contexts for encounters with their projects that are aligned with their goals?   Friday 2/1 from 6-8pm Linda Goode-Bryant, Heather Dewey-Hagborg, and Salome Asega   Linda Goode-Bryant is the Founder and President of Active Citizen Project and Project EATS. She developed Active Citizen Project while filming the 2004 Presidential Elections and developed Project EATS during the 2008 Global Food Crisis. She is also the Founder and Director of Just Above Midtown, Inc. (JAM), a New York City non-profit artists space. Linda believes art is as organic as food and life, that it is a conversation anyone can enter. She has a Masters of Business Administration from Columbia University and a Bachelor of Arts Degree in painting from Spelman College and is the recipient of a Guggenheim Fellowship and a Peabody Award.   Heather Dewey-Hagborg is a transdisciplinary artist who is interested in art as research and critical practice. Heather has shown work internationally at events and venues including the World Economic Forum, the Shenzhen Urbanism and Architecture Biennale and PS1 MOMA. Her work is held in public collections of the Centre Pompidou, the Victoria and Albert Museum, and the New York Historical Society, and has been widely discussed in the media, from the New York Times to Art Forum. Heather is also a co-founder of REFRESH, an inclusive and politically engaged collaborative platform at the intersection of Art, Science, and Technology.   Salome Asega is an artist and researcher based in New York. She is the Technology Fellow in the Ford Foundation's Creativity and Free Expression program area, and a director of POWRPLNT, a digital art collaboratory in Bushwick. Salome has participated in residencies and fellowships with Eyebeam, New Museum, The Laundromat Project, and Recess Art. She has exhibited and given presentations at the 11th Shanghai Biennale, Performa, EYEO, and the Brooklyn Museum. Salome received her MFA from Parsons at The New School in Design and Technology where she also teaches.   ____________________________   Building Cooperatives   What if the organization of labor was integral to your project?   Friday 2/22 from 6-8pm Members of Meerkat Filmmakers Collective and Friends of Light   Meerkat Media Collective is an artistic community that shares resources and skills to incubate individual and shared creative work. We are committed to a collaborative, consensus-based process that values diverse experience and expertise. We support the creation of thoughtful and provocative stories that reflect a complex world. Our work has been broadcast on HBO, PBS, and many other networks, and screened at festivals worldwide, including Sundance, Tribeca, Rotterdam and CPH:Dox. Founded as an informal arts collective in 2005 we have grown to include a cooperatively-owned production company and a collective of artists in residence.   Friends of Light develops and produces jackets woven to form for each client.  We partner with small-scale fiber producers to source our materials, and with spinners to develop our yarns.    We construct our own looms to create pattern pieces that have complete woven edges (selvages) and therefore do not need to be cut. The design emerges from the materials and from methods developed to weave two dimensional cloth into three dimensional form. Each jacket is the expression of the collective knowledge of the people involved in its creation. Our business is structured as a worker cooperative and organized around cooperative principles and values. Friends of light founding members are Mae Colburn, Pascale Gatzen, Jessi Highet and Nadia Yaron.   ____________________________   Healing and Care (OFFSITE EVENT)   How do artists ensure that their individual and collective needs are met in order to dream, practice, work on, and return to their projects each day?   Thursday 2/28 from 6-8pm Adaku Utah and Taraneh Fazeli NOTE this event will be held at 151 West 30th Street  # Suite 403, New York, NY 10001   Adaku Utah was raised in Nigeria armed with the legacy of a long line of freedom fighters, farmers, and healers. Adaku harnesses her seasoned powers as a liberation educator,healer, and performance ritual artist as an act of love to her community. Alongside Harriet Tubman, she is the co-founder and co-director of Harriet's Apothecary, an intergenerational healing collective led by Black Cis Women, Queer and Trans healers, artists, health professionals, activists and ancestors. For over 12 years, her work has centered in movements for radical social change, with a focus on gender, reproductive, race, and healing justice. Currently she is the Movement Building Leadership Manager with the National Network for Abortion Funds. She is also a teaching fellow with BOLD (Black Organizing for Leadership and Dignity) and Generative Somatics.   Taraneh Fazeli is a curator from New York. Her multi-phased traveling exhibition “Sick Time, Sleepy Time, Crip Time: Against Capitalism’s Temporal Bullying” deals with the politics of health. It showcases the work of artists and groups who examine the temporalities of illness and disability, the effect of life/work balances on wellbeing, and alternative structures of support via radical kinship and forms of care. The impetus to explore illness as a by-product of societal structures while also using cultural production as a potential place to re-imagine care was her own chronic illnesses. She is a member of Canaries, a support group for people with autoimmune diseases and other chronic conditions.   ____________________________   When Projects Depart   What practices might we develop to honor the departure of a project?  For example, where do materials go when they are no longer of use, value, or interest?   Thursday 3/14 from 6-8pm Millet Israeli and Lindsay Tunkl   Millet Israeli is a psychotherapist who focuses on the varied human experience of loss.  She works with individuals and families struggling with grief, illness, end of life issues, anticipatory loss, and ambiguous loss.  Her approach integrates family systems theory, cognitive restructuring, mindfulness, and trauma informed care. Millet enjoys creating and exploring photography and poetry, and both inform her work with her clients. Millet holds a BA in psychology from Princeton, a JD from Harvard Law School, an MSW from NYU and is certified in bioethics through Montefiore. She sits on an Institutional Review Board for Human Subjects Research at Weill Cornell.   Lindsay Tunkl is a conceptual artist and writer using performance, sculpture, language, and one-on-one encounters to explore subjects such as the apocalypse, heartbreak, space travel, and death. Tunkl received an MFA in Fine art and an MA in Visual + Critical Studies from CCA in San Francisco (2017) and a BFA from CalArts In Los Angeles (2010). Her work has been shown at the Hammer Museum, LA, Southern Exposure, SF, and The Center For Contemporary Art, Santa Fe. She is the creator of Pre Apocalypse Counseling and the author of the book When You Die You Will Not Be Scared To Die.   ____________________________   Group Agreements   What group agreements are necessary in gatherings that occur at residencies, galleries, and cultural institutions today?   Friday 4/19 from 6-8pm Sarah Workneh, Laurel Ptak, and Danielle Jackson   Sarah Workneh has been Co-Director at Skowhegan for nine years leading the educational program and related programs in NY throughout the year, and oversees facilities on campus. Previously, Sarah worked at Ox-Bow School of Art as Associate Director. She has served as a speaker in a wide variety of conferences and schools. She has played an active role in the programmatic planning and vision of peer organizations, most recently with the African American Museum of Philadelphia. She is a member of the Somerset Cultural Planning Commission's Advisory Council (ME); serves on the board of the Colby College Museum of Art.   Laurel Ptak is a curator of contemporary art based in New York City. She is currently Executive Director & Curator of Art in General. She has previously held diverse roles at non-profit art institutions in the US and internationally, including the Guggenheim Museum (New York), MoMA PS. 1 Contemporary Art Center (New York), Museo Tamayo (Mexico City), Tensta Konsthall (Stockholm) and Triangle (New York). Ptak has organized countless exhibitions, public programs, residencies and publications together with artists, collectives, thinkers and curators. Her projects have garnered numerous awards, fellowships, and press for their engagement with timely issues, tireless originality, and commitment to rigorous artistic dialogue.   Danielle Jackson is a critic, researcher, and arts administrator. She is currently a visiting scholar at NYU’s Center for Experimental Humanities.  As the co-founder and former co-director of the Bronx Documentary Center, a photography gallery and educational space, she helped conceive, develop and implement the organization’s mission and programs.  Her writing and reporting has appeared in artnet and Artsy. She has taught at the Museum of Modern Art, International Center of Photography, Parsons, and Stanford in New York, where she currently leads classes on photography and urban studies.   ____________________________ Open Meeting for Arts Educators and Teaching Artists   How might arts educators gather together to develop, share, and practice pedagogies that foster collective skills and values?   Friday 5/17 from 6-8pm Facilitators: Members of the Pedagogy Group   The Pedagogy Group is a group of educators, cultural workers, and political organizers who resist the individualist, market-driven subjectivities produced by mainstream art education. Together, they develop and practice pedagogies that foster collective skills and values. Activities include sharing syllabi, investigating political economies of education, and connecting classrooms to social movements.Their efforts are guided by accountability to specific struggles and by critical reflection on our social subjectivities and political commitments.   ____________________________   Book Launch: Making and Being: A Guide to Embodiment, Collaboration and Circulation in the Visual Arts   What ways of making and being do we want to experience in art classes?   Friday 10/25 from 6-8pm Stacey Salazar in dialog with Caroline Woolard, Susan Jahoda, and Emilio Martinez Poppe of BFAMFAPhD   Stacey Salazar is an art education scholar whose research on teaching and learning in studio art and design in secondary and postsecondary settings has appeared in Studies in Art Education, Visual Arts Research, and Art Education Journal. In 2015 her research was honored with the National Art Education Association Manuel Barkan Award. She holds a Doctorate of Education in Art and Art Education from Columbia University Teachers College and currently serves as Associate Dean of Graduate Studies at the Maryland Institute College of Art, where she was a 2013 recipient of the Trustee Fellowship for Excellence in Teaching.   BFAMFAPhD is a collective that employs visual and performing art, policy reports, and teaching tools to advocate for cultural equity in the United States. The work of the collective is to bring people together to analyze and reimagine relationships of power in the arts. Susan Jahoda is a Professor in Studio Arts at the University of Amherst, MA; Emilio Martinez Poppe is the Program Manager at Fourth Arts Block (FABnyc) in New York, NY; Caroline Woolard is an Assistant Professor of Sculpture at The University of Hartford, CT. Supporting this series at Hauser and Wirth for Making and Being are BFAMFAPhD collective members Agnes Szanyi, a Doctoral Student at The New School for Social Research in New York, NY and Vicky Virgin, a Research Associate at The Center for Economic Opportunity in New York, NY. Making and Being is a multi-platform pedagogical project that offers practices of collaboration, contemplation, and social-ecological analysis for visual artists. Making and Being is a book, a series of videos, a deck of cards, and an interactive website with freely downloadable content created by authors Susan Jahoda and Caroline Woolard with support from Fellow Emilio Martinez Poppe and BFAMFAPhD members Vicky Virgin and Agnes Szanyi.

Christy Matson became a tenured Associate Professor of Fiber and Material Studies at the School of the Art Institute of Chicago when she was 33, but she decided to leave full-time teaching to devote herself to weaving on her Jacquard computerized loom. She lives and works in Los Angeles, and for the past six years she has been exhibiting at a number of museums, including the Long Beach Museum of Art and The San Francisco Museum of Craft+Design.  

Paiks Virtual Archive | Book presentation Lecture/Talk ZKM_Lecture Hall Fri, 15.09.2017 Dr Hanna Hölling, lecturer in the History of Art and Material Studies at the University College London, presented her book »Paik's Virtual Archive«. Video Documentary: ZKM | Institute for Visual Media Camera: Hannah Radgen, Martina Rotzal Editing: Hannah Radgen /// Buchpräsentation von Dr. Hanna Hölling Vortrag/Gespräch ZKM_Vortragssaal Fr, 15.09.2017 Dr. Hanna Hölling, Dozentin für Kunstgeschichte und materielle Kultur am Institut für Kunstgeschichte des University College London präsentierte ihr Buch »Paik's Virtual Archive«, welches die Werke des Urvaters der Videokunst Nam June Paik analysiert. Videodokumentation: ZKM | Institut für Bildmedien Kamera: Hannah Radgen, Martina Rotzal Schnitt: Hannah Radgen

Susie Ganch is a jeweler, sculptor, and environmentalist who lives in Richmond, Virginia. She teaches in the Craft and Material Studies program at Virginia Commonwealth University, and she works frequently with Radical Jewelry Makoever and Ethical Metalsmith. Susie initially studied geology and only got into jewelry making when she decided to take what she thought would be an easy course on the side of her science labs. But jewelrymaking resonated with her, and she couldn't leave it behind. Since then, she has had a full career, recently moving back to the larger scale with sculptures made from trash as a part of her interest in the environment and the ecological impact of jewelrymaking. Stuart Kestenbaum joined her at VCU to talk about her path and her passion for ethical metalsmithing. Make/Time shares conversations about craft, inspiration, and the creative process. Listen to leading makers and thinkers talk about where they came from, what they're making, and where they're going next. Make/Time is hosted by Stuart Kestenbaum and is a project of craftschools.us. Major funding is provided by the Windgate Charitable Foundation.

On today’s episode of the Craft Industry Alliance podcast we're talking about embroidery as illustration with my guest, Sarah K. Benning. Sarah K. Benning is an American fiber artist with a nomadic studio practice.  Originally from Baltimore, she attended the School of the Art Institute of Chicago and received her BFA in Fiber and Material Studies in 2013.  Shortly after graduating, Sarah discovered her love for embroidery, started her own business and has never looked back. +++++ Today’s episode is sponsored by The Merriweather Council where makers learn that gainful self employment through craft can be a reality and how to make it happen in their own lives. Visit merriweathercouncil.com for more information. +++++ Please note that this show used to be called the While She Naps podcast. The name has changed, but the content and host have stayed the same. To get the full show notes for this episode, visit Craft Industry Alliance where you can learn more about becoming a member of our supportive trade association. Strengthen your creative business, stay up to date on industry news, and build connections with forward-thinking craft professionals. Meet with show host, Abby Glassenberg, each month for our Craft Business Roundtable, get access to courses and webinars taught by industry leaders, and much more.

Lucy Branch is a director of her family’s firm Antiques Bronze Ltd, one of the UK’s leading conservation and restoration companies. She has a degree in History of Art with Material Studies and a Masters from The Royal College of Art and the Victoria & Albert Museum. Branch is an accredited member of the Institute of Conservation. Lucy lives with her husband and their three children in North London.  About the book: Abigail Argent stands out. Some people notice that she always wears gloves and shudder when they know why. The ones who know her best notice her ability with metal. Abigail's particular talent lies in the colouring of alloys, for seeing the beauty in a plain piece of metal and being able to draw it out. Her study leads her to discover a connection between her own craft and that of her favourite childhood myth: changing lead into gold. Moving to Venice, Abigail continues to uncover more about the history of her trade while making friends, and a lover, whose lives become inextricably linked with her own. But her abilities soon peak the interests of a powerful group, determined to guard the secret that she may unwittingly expose. Delving into the deepest secrets of ancient Italy, Abigail's story will take everything you think you know about alchemy and turn it on its head.

It's all Duncan all the time this week. This week's show is a three for the price of one deal!In preparation for the biggest printmaking event of the year, the Southern Graphics Council meeting for 2009 hosted by Chicago's Columbia College, Duncan interrogates Mark Pascale (Curator of Prints and Drawings, Art Institute of Chicago), Debora Wood (Senior Curator, Northwestern University's Mary and Leigh Block Museum) and Christine Tarkowski (Associate Professor, Fiber and Material Studies, School of the Art Institute of Chicago) about the current state of Printmaking as an autonomous art form and its position in the academy. We had better see all of you in Wicker Park this Friday for a kick ass set of openings at the Green Lantern, Roots and Culture, Llyod Dobbler, and Heaven! See you then. http://www2.colum.edu/sgc/