Podcasts about Max Ernst

En este podcast exploramos la vida y obra de Dorothea Tanning, una de las figuras más enigmáticas y potentes del surrealismo del siglo XX. Más que la esposa de Max Ernst, Tanning fue pintora, escultora, escritora y poeta, con una carrera que desbordó los límites de cualquier etiqueta. Acompáñanos a descubrir sus mundos oníricos, su evolución artística —desde el surrealismo hasta la abstracción poética—, y su incansable búsqueda de lo desconocido. Episodio a episodio, desentrañamos cómo su visión desafió las normas del arte, la feminidad y la imaginación.

“Il surrealismo si fonda sull'idea di un grado di realtà superiore connesso a certe forme d'associazione finora trascurate, sull'onnipotenza del sogno, sul gioco disinteressato del pensiero.” scrive André Breton nel suo “Manifeste du surréalisme” nel 1924. Il Surrealismo – continua Breton – “Tende a liquidare definitivamente tutti gli altri meccanismi psichici e a sostituirsi ad essi nella risoluzione dei principali problemi della vita.”Cento anni dopo la pubblicazione del manifesto di Breton, critici e storici dell'arte ricostruiscono ed analizzano le vicende di un movimento internazionale attraverso una serie di pubblicazioni e mostre allestite nel corso del 2024 e del 2025.Per l'occasione la nostra redazione dedica due puntate al Surrealismo. La prima, andata in onda il 16 febbraio scorso, era interamente dedicata a Max Ernst e al Surrealismo storico. In questa puntata parliamo, invece, del Surrealismo in Italia.“È esistito, o si può propriamente parlare, di un Surrealismo italiano?”Ospiti della puntata:Alice Ensabella, professoressa di Storia dell'arte contemporanea presso l'Università Grenoble Alpes. Curatrice della mostra Giorgio de Chirico e Alberto Savinio, Una mitologia moderna (Parma, 2019), co-curatrice della mostra Il Surrealismo e l'Italia (Fondazione Magnani Rocca, 2024).Alessandro Nigro professore di Storia dell'arte contemporanea e Storia della critica d'arte presso l'Università di Firenze (dal 2005 al 2024). Autore della monografia Ritratti e autoritratti surrealisti (Padova 2015). Autore e co-curatore della mostra e del volume “Il Surrealismo e l'Italia” (Dario Cimorelli Editore).L'inserto della settimana ci consente di approfondire ancora la nostra indagine sul Surrealismo insieme a Raphaël Bouvier, curatore della mostra “La Chiave dei Sogni” alla Fondazione Beyeler. undefined

Reinhardt, Anja www.deutschlandfunkkultur.de, Fazit

Reinhardt, Anja www.deutschlandfunk.de, Kultur heute

Visit our Substack for bonus content and more: https://designbetterpodcast.com/p/trenton-doyle-hancock Aarron's friend Trenton Doyle Hancock did something remarkable when they were both in the graduate Painting and Drawing program at the Tyler School of Art in Philadelphia—he had work in the Whitney Biennial. It was a bit like winning an Oscar while in acting school, just not something that ever happens. Most people are thrown by early success, but not Trenton. He pressed forward in his studio where he crafted epic stories in large scale paintings that later expanded into installations, sculptures, and performance art. His creative process is unique. Piles of collected objects, receipts, food wrappers, etc find their way into his work where their color, texture and attitude unfold as the fabric of Trenton's universe of heroes, villains, and ancient mysteries. We spoke with Trenton about his neurodivergent approach to the world, how collecting influences his visual sensibilities, and how chaos becomes precise order in his work. At the time of our recording, Trenton had a large show at the Jewish Museum in New York exploring intersecting themes in his work and that of Philip Guston. Bio For nearly two decades, Trenton Doyle Hancock has created a vivid, fantastical universe where autobiographical elements blend seamlessly with references to art history, comics, superheroes, and popular culture. Through paintings, drawings, and expansive installations, Hancock crafts complex narratives exploring themes of good versus evil, infused with personal symbolism and mythology. His work draws stylistically from artists like Hieronymus Bosch, Max Ernst, Henry Darger, Philip Guston, and R. Crumb, integrating text as both narrative driver and visual element. His distinctive storytelling has extended beyond gallery walls into performances, ballet collaborations such as Cult of Color: Call to Color with Ballet Austin, and murals at prominent public spaces including Dallas Cowboys Stadium and Seattle Art Museum's Olympic Sculpture Park. *** Premium Episodes on Design Better This is a premium episode on Design Better. We release two premium episodes per month, along with two free episodes for everyone. Premium subscribers also get access to the documentary Design Disruptors and our growing library of books, as well as our monthly AMAs with former guests, ad-free episodes, discounts and early access to workshops, and our monthly newsletter The Brief that compiles salient insights, quotes, readings, and creative processes uncovered in the show. Upgrade to paid ***

Diese Folge des Kunstsnack widmet sich einem experimentierfreudigen Künstler, der die Betrachtenden in Fantasiewelten entführt. Max Ernst war einer der wichtigsten Vertreter des Surrealismus und entwickelte dabei eigene künstlerische Techniken. Was Käse, Ballermannhits und eine Toilette mit dem Kunstwerk "Die Windsbraut" zu tun haben, erzählt Kunstcomedian Jakob Schwerdtfeger in dieser Folge.

There have been many iterations of the man we know as Nehemiah Cisneros, but right now, in the most moment, he is most himself. If you know Nehemiah, he is a thoughtful, insightful and evolving figure in art who is a filmmaker in a painters' body. We met him as AUGOR, the graffiti writer who took over Los Angles in the late aughts with billboards and walls that were just as influenced by comics, video games and low brow art as it was the history of lettering and monikers. He was fresh air in a scene that was already full of major creative forces: SABER, REVOK, RETNA and the MSK crew members. Cisneros was the young buck making a name, with LA in his blood and something theatric in his vision. Across a few art schools, going through addiction and his own "trouble" that we mention in this podcast, Cisneros found a new voice in the art departments of Santa Monica City College, Kansas City Art Institute and then an MFA at UCLA. What that voice does is create a vision of his youth in Los Angeles and the aesthetic of a city of narratives, literally in its DNA. Cisneros, even now with a body of work on its way to Josh Lilley in London, has taken a life of influence from film, arcades, city streets, low brow and fine art into a beautiful and often overwhelmingly dense series of paintings. In this conversation on The Unibrow's Radio Juxtapoz podcast, Evan Pricco and Cisneros talk about life after an MFA, his time working in the arts and studying painting, how Mark Ryden influenced his early years and how now he is looking to Theodore Gericault, Max Ernst, gamer culture and Black Exploitation films for his new works. Off the the "goon cave"... Radio Juxtapoz' Unibrow podcast is hosted by Juxtapoz editor, ⁠⁠⁠Evan Pricco⁠⁠⁠. Episode 156 was recorded in Los Angeles on March 5, 2025 Follow us on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@radiojuxtapoz⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠

Last week marked the centennial of Edward Gorey's birth, so let's wish a happy birthday to our shared goth uncle with a listen back to episiode 23. Enjoy! Katie Skelly and Sally Madden discuss Edward Gorey's "Amphigorey: Fifteen Books" (1980). Topics discussed include Max Ernst, Edward Lear, Agatha Christie, Charles Addams, Tomie dePaola, Roald Dahl, holding newborns, ballet, New England, and more. Next time: "Magician A" by Natsuko Ishitsuyo. Find 50+ additional episodes at our patreon: https://www.patreon.com/thicklinespod Follow us on Instagram @thicklinespod and email us to join our Discord at thicklinespod@gmail.com

“La chiave dei sogni. Capolavori surrealisti della Collezione Hersaint” con questo titolo apre in anteprima mondiale alla Fondazione Beyeler (16 febbraio – 4 maggio 2025) una grande mostra sul Surrealismo che riporta al centro della nostra attenzione L'angelo del focolare un'iconica ed impressionante opera di Max Ernst. Un artista che da molti è considerato il più surrealista dei pittori.Con la figura di Max Ernst comincia il nostro viaggio in due puntate attraverso l'universo surrealista. Ospite della puntata: Martina Mazzotta, Associate Fellow all'Istituto Warburg di Londra, storica dell'arte, autrice e curatrice esperta dell'opera di Max Ernst.Anche l'inserto della settimana guarda alla Fondazione Beyeler dove è in corso “Nordlichter”, una mostra collettiva ci consente di immergerci nei paesaggi delle regioni boreali. Ne parla il curatore Ulf Küster al microfono di Emanuela Burgazzoli.

Comenzamos el programa desde el Círculo de Bellas Artes, donde hablamos con el director de la entidad, Valerio Rocco, sobre la gran primera exposición del CBA en este 2025: "Max Ernst. Surrealismo. Arte y cine". Un recorrido único por la vida y la trayectoria del artista, combinando la presencia de piezas en diferentes soportes: pinturas, esculturas, collages, frottages, libros ilustrados, fotografías, todos ellos seleccionados por sus conexiones con el séptimo arte.Durante el recorrido, fragmentos de películas y proyecciones inmersivas dialogan de forma constante y dinámica con las obras de arte, a través de un diseño expositivo que sumerge al visitante en la singular, aventurera e inquieta vida del artista, que abarca la mayor parte del siglo XX, revelando conexiones con temas clásicamente progresistas, como el exilio y las cuestiones transculturales y medioambientales.

Comenzamos el programa desde el Círculo de Bellas Artes, donde hablamos con el director de la entidad, Valerio Rocco, sobre la gran primera exposición del CBA en este 2025: "Max Ernst. Surrealismo. Arte y cine". Un recorrido único por la vida y la trayectoria del artista, combinando la presencia de piezas en diferentes soportes: pinturas, esculturas, collages, frottages, libros ilustrados, fotografías, todos ellos seleccionados por sus conexiones con el séptimo arte.Durante el recorrido, fragmentos de películas y proyecciones inmersivas dialogan de forma constante y dinámica con las obras de arte, a través de un diseño expositivo que sumerge al visitante en la singular, aventurera e inquieta vida del artista, que abarca la mayor parte del siglo XX, revelando conexiones con temas clásicamente progresistas, como el exilio y las cuestiones transculturales y medioambientales.

Hello Wonderful Readers,Last week, I interviewed Camilla Sievers, founder of Qi Health. Qi is a Traditional Chinese Medicine (TCM) company that creates personalized blends of natural herbs to solve various problems in women's health.Camilla was inspired to create her company from her journey using TCM to relieve her persistent period cramps and other symptoms. Now, her team has built a seamless digital experience to help people access one of the oldest medical systems in the world.I hope you enjoy our conversation! Feel free to reach out to Camilla on Instagram or LinkedIn to share your healing stories.Check out her interview in Entrepreneur!I hope you have a shamelessly sexy weekend

Was bewirkten "Junges Rheinland" und Mutter Ey 1924? Sie scharte die Maler des "Jungen Rheinland" um sich und zeigte 1921 die erste Einzelausstellung von Max Ernst. Otto Dix kam ihretwegen aus Dresden nach Düsseldorf und malte sie 1924. Von Michael Köhler.

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

Une large rétrospective est consacrée au surréalisme au Centre Pompidou, à l'occasion des 100 ans de la publication du Manifeste d'André Breton. Elle comprend 500 œuvres et documents. Vous découvrirez des peintures, des dessins, des films, des photographies, ainsi que des documents littéraires. Vous pourrez accéder aux rêves et aux cauchemars des plus grands artistes du 20ème siècle, comme Salvador Dali, René Magritte ou Max Ernst. J'aime le côté inclusif de l'exposition. Des artistes moins connus sont ainsi mis en valeur. Le surréalisme au féminin est aussi évoqué. « Surréalisme- l'exposition du centenaire », une exposition à voir jusqu'au 13 janvier 2025, au Centre Pompidou dans le 4ème.

L'émission 28 minutes du 13/11/2024 Exposition "Surréalisme" : le centre Pompidou fête le centenaire de ce mouvement planétaire Nous recevons Didier Ottinger, co-commissaire avec Marie Sarré de l'exposition “Surréalisme”, actuellement au Centre Pompidou à Paris jusqu'au 13 janvier. Conservateur général du patrimoine, il est spécialiste des mouvements surréaliste, futuriste et néo-expressionniste. L'exposition réunit 500 œuvres — comme “L'Ange du foyer” de Max Ernst choisi pour l'affiche — qui retracent plus de quarante années d'une exceptionnelle effervescence créative. Les femmes y ont une place particulière, comme elles en avaient une dans le mouvement, puisque plus de 40 % des œuvres exposées sont signées par des femmes. L'exposition fête le centenaire du surréalisme, mouvement conceptualisé par le “Manifeste du surréalisme” écrit par André Breton. Mais comment se définit ce mouvement caractéristique du XXe siècle qui s'est exporté à l'international ?   Plans sociaux : que faire face à la "saignée industrielle" qui arrive ?  La semaine dernière, Auchan et Michelin ont annoncé la fermeture de plusieurs sites, supprimant près de 3 700 emplois. L'OFCE s'attend à 150 000 destructions d'emplois en 2025. L'objectif du plein emploi que s'était fixé le gouvernement, avec un taux de chômage à 5 % en 2027, apparaît aujourd'hui illusoire. Alors, comment expliquer cette hausse des plans sociaux ? La direction de Michelin invoque un manque de compétitivité des usines européennes vis-à-vis de la concurrence chinoise et américaine, et une hausse des prix de l'énergie. Les syndicats, comme la CGT, dénoncent les marges importantes des employeurs et les dividendes versés aux actionnaires, ainsi que le “naufrage de la politique de l'offre menée par Emmanuel Macron”. Quelle stratégie économique et industrielle la France décidera-t-elle d'adopter pour les prochains mois, alors que le budget 2025 est débattu au Parlement ?   Enfin, Xavier Mauduit nous raconte l'histoire de John Cadbury après la disparition des célèbres gâteaux Fingers dans les rayons des supermarchés et Marie Bonnisseau évoque le phénomène du puzzle, ce jeu familial, vieux de plusieurs siècles, de nouveau en vogue.   28 Minutes est le magazine d'actualité d'ARTE, présenté par Elisabeth Quin du lundi au jeudi à 20h05. Renaud Dély est aux commandes de l'émission le vendredi et le samedi. Ce podcast est coproduit par KM et ARTE Radio. Enregistrement : 13 novembre 2024 - Présentation : Élisabeth Quin - Production : KM, ARTE Radio

Send us a textDAVID QUANTICKTHE HYENA KICKSTARTER SPECIAL. In this episode of the Carlisle Cult Cinema Club Presents, PD sits down with Emmy Award-winning writer David Quantick to discuss the Kickstarter for his latest novel, THE HYENA. Join us as David shares insights into the intriguing world of Deborah Parkinson!THE HYENA is the story of an artist called Deborah Parkinson. She was a surrealist who grew up in pre-WW2 Plymouth where her dad ran a pub, then she ran away to Paris where she met Dali and Picasso and Frida Kahlo, and fell in love with a mysterious artist called Marius.When war came, she followed Max Ernst and Leonora Carrington to Mexico, where she hung out with Kahlo again, and met Leon Trotsky. Implicated in Trotsky's murder, she fled back to Plymouth to deal with the death of her family in the Blitz.In her later years, she settled down with a family, resolved some issues in New York, and nearly died in an old people's home.  Nearly.So check the kickstarter link below and go and give David a hand to get his latest Novel released. https://www.kickstarter.com/projects/davidquantick/the-hyena/pledge/new?clicked_reward=falseYou can watch now on our YouTube Channelhttps://youtube.com/@CarlisleCultCinemaClub?si=0WSWvdtBGgXzEhwtListen Direct here on our Websitehttps://thecarlislecultcinemacast.buzzsprout.comOr Catch it on the Following Platforms.============== SPOTIFY. 

Abrangendo mais de 40 anos de excepcional efervescência criativa, entre 1924 e 1969, a exposição “Surrealismo” no Centro Pompidou de Paris comemora o centenário do movimento que começou com a publicação do Manifesto Surrealista de André Breton. Cerca de 500 pinturas, esculturas, desenhos, textos, filmes e documentos de artistas como Salvador Dali, Miró, René Magritte, Max Ernst e Dora Maar, incluindo muitos empréstimos excepcionais, estão expostos em uma área de 2.200 m². As obras revelam até que ponto esse movimento artístico, que nasceu em 1924 em torno de poetas como André Breton e se espalhou pelo mundo, foi visionário e permanece contemporâneo em seu desejo de não apenas transformar a relação entre os seres humanos e a natureza, mas lançando um olhar crítico e político sobre seu próprio tempo.Reproduzindo a forma de um labirinto, formato de predileção e projeção dos surrealistas, a mostra gira em torno de uma cena central na qual é apresentado o manuscrito original do "Manifesto Surrealista", documento valioso emprestado excepcionalmente para o ocasião da Biblioteca Nacional da França.Cronológico e temático, o percurso segue figuras literárias que inspiraram diretamente o Movimento Surrealista, como Lautréamont, Lewis Carroll e o Marquês de Sade, e também mitologias e temas que alimentaram o movimento, como a pedra filosofal, a floresta, a noite, o erotismo, o inconsciente. A cenografia brinca com a ilusão de ótica, tão cara aos surrealistas.O desafio surrealista a um modelo de civilização baseado apenas na racionalidade técnica e o interesse do movimento por culturas que conseguiram preservar o princípio de um mundo unificado (a cultura dos índios Turahumara, descoberta por Antonin Artaud, e a dos Hopis, estudada por André Breton) atestam sua modernidade.  Segundo Marie Sarré, co-curadora com Didier Ottinger, vice-diretor do Museu Nacional de Arte Moderna da França, “mais do que um dogma estético ou um formalismo, o surrealismo é uma filosofia que, por mais de 40 anos, reuniu homens e mulheres que acreditavam em uma relação diferente com o mundo”. O pôster da exposição apresenta uma criatura estranha, um monstro antropomórfico, com roupas largas e coloridas, faixas de tecido torcidas em todas as direções, terminando em mãos que lembram as garras de uma ave de rapina. No centro, na altura do busto, um abismo de sombras se abre. Logo acima, uma cabeça assustadora com uma mandíbula longa e desdentada. E um título que soa como uma ironia, “O Anjo do Lar”, uma obra de Max Ernst, pintada no auge da Guerra Civil Espanhola em 1937, ano em que Guernica foi bombardeada. Ela também é conhecida como “O triunfo do surrealismo” e é um lembrete de que o surrealismo sempre triunfa.Marie Serré dá mais detalhes sobre a exposição: "É essencial lembrar da preferência dos surrealistas pelas artes populares. Muito cedo eles questionaram completamente essa hierarquia entre as Belas Artes e as artes chamadas populares. Seu modelo não são as exposições de museu, são as festas regionais, o trem fantasma, o parque de diversões. Era necessário sublinhar isso fazendo os visitantes da mostra no Centro Pompidou adentrarem o espaço da exposição através desta enorme boca que reproduz o Cabaré do Inferno, que ficava na Praça Clichy, em Paris, logo atrás do ateliê de André Breton, que os surrealistas tinham o hábito de frequentar", explica.A exposição não escapa, no entanto, ao olho crítico dos franceses, como ressalta Françoise, uma aposentada que veio direito de Grenoble (leste) para ver a mostra no Pompidou. "A exposição foi feita de maneira muito interessante, por temas, mas ela é muito grande. Fica difícil apreciar tudo, ela acaba saturando o olhar da gente em um determinado momento". Ela manda um recado para os visitantes que ainda não conferiram a exposição em Paris."É melhor escolher um horário com menos gente, porque é realmente difícil ter acesso às obras", avisa.Já o brasileiro Bruno Damasco gostou da experiência. "Passamos por essa exposição com artistas mais das décadas de 1930, 40 e 50, como Salvador Dali, Miró, trabalhos fortes e que são boas referências, tanto de artistas famosos como de alguns que eu não conhecia, da Alemanha e da Suécia, bem bonito, gostei. Não conhecia ainda esse espaço, tinha visitado apenas os museus mais clássicos de Paris", contou.A mostra valoriza as muitas mulheres que participaram do Movimento Surrealista, com obras de Leonora Carrington, Remedios Varo, Ithell Colquhoun, Dora Maar, Dorothea Tanning e outras, e reflete ao mesmo tempo a expansão mundial do Surrealismo, apresentando artistas internacionais como Tatsuo Ikeda (Japão), Helen Lundeberg (Estados Unidos), Wilhelm Freddie (Dinamarca) e Rufino Tamayo (México), entre outros.A exposição "Surrealimo" fica em cartaz do Centro Pompidou de Paris até o dia 13 de janeiro de 2025.

Einmal die Woche spielen Hamburgs Kunsthallen-Direktor Alexander Klar und Abendblatt-Chefredakteur Lars Haider „Ich sehe was, was du nicht siehst“ – und zwar mit einem Kunstwerk.

Sie scharte die Maler des "Jungen Rheinland" um sich und zeigte 1921 die erste Einzelausstellung von Max Ernst. Otto Dix kam ihretwegen aus Dresden nach Düsseldorf und malte sie 1924. Zu diesem Kreis zählten auch Gert Wollheim, Walter Ophey, Karl Schwesig u.v.a. Der Grafiker Otto Pankok sagte: "Wir empfanden uns als Dynamit." Was für ein Aufbruch war das? Wie politisch, literarisch engagiert waren die Künstler des "Jungen Rheinland"? Wofür legten sie den Grundstein? Von Michael Köhler.

Le surréalisme fête ses 100 ans jusqu'au 13 janvier 2025 au 6e étage du Centre Georges Pompidou à Paris. Un événement qui marque un mouvement lancé en 1924 par André Breton, et qui raconte 40 ans d'effervescence créative, littéraire et picturale à travers des peintures, des dessins, des films, des photographies, des documents aussi. Sur l'affiche de l'exposition, une bien étrange créature. Un monstre anthropomorphe, avec des vêtements amples et colorés, des flots d'étoffes qui se tordent en tous sens qui se terminent par des mains qui rappellent des serres d'oiseau de proie. Au centre, au niveau du buste, se creuse un abîme d'ombre. Et juste au-dessus une tête blanche effrayante, avec une longue mâchoire édentée. Et un titre aux allures d'antiphrase, « L'ange du Foyer », une œuvre de Max Ernst, peinte en pleine guerre d'Espagne en 1937, l'année du bombardement de Guernica. Elle est également appelée « Le triomphe du surréalisme », et elle nous interpelle, et nous rappelle que le surréalisme triomphe toujours.Marie Sarré est l'invitée de VMDN. L'exposition Surréalisme du 4 septembre 2024 jusqu'au 13 janvier 2025 au Centre Georges Pompidou à Paris.

Le surréalisme fête ses 100 ans jusqu'au 13 janvier 2025 au 6e étage du Centre Georges Pompidou à Paris. Un événement qui marque un mouvement lancé en 1924 par André Breton, et qui raconte 40 ans d'effervescence créative, littéraire et picturale à travers des peintures, des dessins, des films, des photographies, des documents aussi. Sur l'affiche de l'exposition, une bien étrange créature. Un monstre anthropomorphe, avec des vêtements amples et colorés, des flots d'étoffes qui se tordent en tous sens qui se terminent par des mains qui rappellent des serres d'oiseau de proie. Au centre, au niveau du buste, se creuse un abîme d'ombre. Et juste au-dessus une tête blanche effrayante, avec une longue mâchoire édentée. Et un titre aux allures d'antiphrase, « L'ange du Foyer », une œuvre de Max Ernst, peinte en pleine guerre d'Espagne en 1937, l'année du bombardement de Guernica. Elle est également appelée « Le triomphe du surréalisme », et elle nous interpelle, et nous rappelle que le surréalisme triomphe toujours.Marie Sarré est l'invitée de VMDN. L'exposition Surréalisme du 4 septembre 2024 jusqu'au 13 janvier 2025 au Centre Georges Pompidou à Paris.

The Week in Art is back. In this first episode of the season: on Tuesday it was reported in the Financial Times that Sotheby's core earnings are down 88% in the first half of this year. This is the latest evidence to suggest that the art market may be in a far more serious economic rut than its major players have previously indicated, after disappointing sales and job cuts at the major auction houses, as well as closures and layoffs in the world of commercial galleries. In the September issue of The Art Newspaper, Scott Reyburn suggests that the art market could be entering a new era, and he joins our host Ben Luke to explain why. We then talk to Sasha Skochilenko, the artist who was freed in the prisoner exchange between Russia and the US in August, about her activism, arrest and incarceration as well as her experience of the swap and the art she has made since. And this episode's Work of the Week is The Angel of Hearth and Home, made by Max Ernst in 1937, and later renamed by the artist as The Triumph of Surrealism. The painting is part of the major travelling show marking the 100th anniversary of the first Surrealist manifesto, which makes its stop from this week at the Centre Pompidou, in Paris. Our associate digital editor, Alexander Morrison, went to Paris to talk to Didier Ottinger, the co-curator of the exhibition.Sasha Skochilenko: skochilenko.ru.Surrealism, Centre Pompidou, Paris, until 13 January 2025; Fundación MAPFRE, Madrid, Spain; 4 February-11 May 2025; Hamburger Kunsthalle, Hamburg, Germany, 12 June-12 October 2025; Philadelphia Museum of Art, Philadelphia, US, end of 2025-beginning of 2026. You can hear our discussion about the centenary of the first Surrealist manifesto with the Surrealism expert Alyce Mahon on the episode of this podcast from 23 February this year. Hosted on Acast. See acast.com/privacy for more information.

Luerweg, Susanne www.deutschlandfunkkultur.de, Fazit

This week - in the first of his summer solo specials - Phil speaks to writer Mary Dearborn about her biography of the remarkable Peggy Guggenheim. Peggy was probably the most significant collector of - and advocate for - the visual art of the 20th Century and she helped launch the careers of numerous internationally famous artists. She was also as renowned for her sexual exploits as her artistic ones, with a string of lovers and husbands that included some of the most famous men of the 20th Century, from Samuel Beckett to Max Ernst.It's a fascinating insight into a tempestuous, scandalous but also hugely important life. You can buy Mary's book here... https://www.amazon.co.uk/Peggy-Guggenheim-Modernism-Mary-Dearborn/dp/1844080609/ref=monarch_sidesheet_title***We now have a Thank You button (next to the 'three dots') for small donations that help support our work***Looking for the perfect gift for a special scandalous someone - or someone you'd like to get scandalous with? We're here to help...https://www.etsy.com/uk/shop/ScandalMongers*** If you enjoy our work please consider clicking the YouTube subscribe button, even if you listen to us on an audio app. It will help our brand to grow and our content to reach new ears.THE SCANDAL MONGERS PODCAST is also available to watch on YouTube...https://www.youtube.com/@thescandalmongerspodcast/videosAndrew Lownie...https://twitter.com/andrewlowniePhil Craig...https://twitter.com/philmcraigThe Scandal Mongers...https://twitter.com/MongersPodcastYou can get in touch with the show hosts via...team@podcastworld.org(place 'Scandal Mongers' in the heading)Produced byTheo XKerem IsikPodcastWorld.org Hosted on Acast. See acast.com/privacy for more information.

Fellow doodle Dad Max Ernst, who's also 1/3 of the band Shaed with his twin brother Spencer and sister-in-law Chelsea Lee, joins the show to compare and contrast his 2 year old female Golden Doodle Lenny with my 6 year old male Golden Doodle Charlie. And yes, I bring up the 2019 NYTimes article yet again. Shaed just released their new album Spinning Out and you can catch them live in Washington DC, Philadelphia and New York before baby #2 arrives for Spencer and Chelsea. For tickets and VIP packages go to shaedband.com Max chose to give a shout out to Sweet Paws Rescue, a Massachusetts rescue that is a shelterless, foster-based, and volunteer-powered organization who primarily work within two of the poorest counties in Mississippi and Alabama and since 2011, have rescued close to 22,000 puppies, dogs, kittens, and cats that would not have a chance at life otherwise. They are also a New England resource for the abandoned and displaced, and animals seized in cruelty cases within our home state. To becoming part of the Sweet Paws Family, please visit their volunteer page For more pics and clips of our interview with Max and Lenny follow us on Instagram at rockerdogpodcast

'When you look at your parents or grandparents it's hard to imagine them as young lovers full of adventure' Conjuring up an extraordinary tale and extra depths to the famous photographer, Lee Miller, Ami Bouhassane shares her grandmothers love letters, held in the Lee Miller's Archives.Episode 19 – Bonus episode – And they all lived happily ever after?In this episode we find out what happened next to the characters in Roland and Lee's love letters as the series comes to an end.This series explores the 300 pages of love letters written between the iconic photographer Lee Miller and the Surrealist artist Roland Penrose during their courtship. Starting just a few days after they first met in June 1937 at a fancy dress party in Paris, the letters continue for 2 years charting their love, their friends such as Man Ray, Picasso, Leonora Carrington, Max Ernst, Nusch and Paul Eluard, their adventures, the build up of world war II, some scandals and a lot of fun. Subscribe to support the Lee Miller Archives and Farleys and listen to other podcast series featuring Lee Miller's writing: www.patreon.com/leemillerarchivesGuest Speakers: Antony Penrose (son of Lee Miller and Roland Penrose and Co-Director of Lee Miller Archives), Hilary Roberts (Independent Curator, formerly senior curator of photography at Imperial War Museums, London), Hussein Omar (lecturer on Modern global history, University college Dublin) and Sam Bardaouil (Founder & curator of ArtReorientated). Lee Miller's letters read and presented by Ami Bouhassane Roland Penrose's letters read by Adam Grayson Music composed by David Cullen Series Producer: Tolly Robinson All content © Lee Miller Archives, England 2024. All rights reserved. www.leemiller.co.uk Hosted on Acast. See acast.com/privacy for more information.

'When you look at your parents or grandparents it's hard to imagine them as young lovers full of adventure' Conjuring up an extraordinary tale and extra depths to the famous photographer, Lee Miller, Ami Bouhassane shares her grandmothers love letters, held in the Lee Miller's Archives.Episode 18 – All my love to youIn this episode Roland and Lee's love letters draw to an end, and the outbreak of war nears, but what will they decide to do? 'Darling, I'm drinking quantities of gin and lime, mad with rage because you haven't answered my wire about Man and I wanted so much to see him. I feel like getting off here and going across France but I can't afford it.....'.' wrote Lee Miller to Roland Penrose, London 7th June 1939 This series explores the 300 pages of love letters written between the iconic photographer Lee Miller and the Surrealist artist Roland Penrose during their courtship. Starting just a few days after they first met in June 1937 at a fancy dress party in Paris, the letters continue for 2 years charting their love, their friends such as Man Ray, Picasso, Leonora Carrington, Max Ernst, Nusch and Paul Eluard, their adventures, the build up of world war II, some scandals and a lot of fun. Subscribe to support the Lee Miller Archives and Farleys and listen to other podcast series featuring Lee Miller's writing: www.patreon.com/leemillerarchivesGuest Speakers: Antony Penrose (son of Lee Miller and Roland Penrose and Co-Director of Lee Miller Archives), Hilary Roberts (Independent Curator, formerly senior curator of photography at Imperial War Museums, London), Hussein Omar (lecturer on Modern global history, University college Dublin) and Sam Bardaouil (Founder & curator of ArtReorientated). Lee Miller's letters read and presented by Ami Bouhassane Roland Penrose's letters read by Adam Grayson Music composed by David Cullen Series Producer: Tolly Robinson All content © Lee Miller Archives, England 2024. All rights reserved. www.leemiller.co.uk Hosted on Acast. See acast.com/privacy for more information.

'When you look at your parents or grandparents it's hard to imagine them as young lovers full of adventure' Conjuring up an extraordinary tale and extra depths to the famous photographer, Lee Miller, Ami Bouhassane shares her grandmothers love letters, held in the Lee Miller's Archives.Episode 17 – Marco PoloIn this episode Roland and Lee's adventures in Egypt together end and again they become separated by oceans... but is their future together more certain? 'I have no news only the old guess what? To which you know the answer. I miss you more that ever, the Siwa trip was the final proof to me that I love you insatiably – every moment was superb and every moment since I left you on the quay intolerable.' wrote Roland Penrose aboard the Marco Polo to Lee Miller, Cairo 19th March 1939 This series explores the 300 pages of love letters written between the iconic photographer Lee Miller and the Surrealist artist Roland Penrose during their courtship. Starting just a few days after they first met in June 1937 at a fancy dress party in Paris, the letters continue for 2 years charting their love, their friends such as Man Ray, Picasso, Leonora Carrington, Max Ernst, Nusch and Paul Eluard, their adventures, the build up of world war II, some scandals and a lot of fun. Subscribe to support the Lee Miller Archives and Farleys and listen to other podcast series featuring Lee Miller's writing: www.patreon.com/leemillerarchivesGuest Speakers: Antony Penrose (son of Lee Miller and Roland Penrose and Co-Director of Lee Miller Archives), Hilary Roberts (Independent Curator, formerly senior curator of photography at Imperial War Museums, London), Hussein Omar (lecturer on Modern global history, University college Dublin) and Sam Bardaouil (Founder & curator of ArtReorientated). Lee Miller's letters read and presented by Ami Bouhassane Roland Penrose's letters read by Adam Grayson Music composed by David Cullen Series Producer: Tolly Robinson All content © Lee Miller Archives, England 2024. All rights reserved. www.leemiller.co.uk Hosted on Acast. See acast.com/privacy for more information.

'When you look at your parents or grandparents it's hard to imagine them as young lovers full of adventure'Conjuring up an extraordinary tale and extra depths to the famous photographer, Lee Miller, Ami Bouhassane shares her grandmothers love letters, held in the Lee Miller's Archives.Episode 16 – Art and LibertyIn this episode Lee forges stronger links with an important surrealist group in Cairo and she finds out that Roland will visit her in Egypt.' Darling, I've delayed writing, and now I'm afraid that it will not reach you in time - - - it goes without saying, that I'm absolutely thrilled about your arrival --- it couldn't be better arranged that you come with folklore intentions and to join that English woman - - - - as if you want to, it will give me endless opportunities to be with you if you want me to be, of course and if she is agreeable to the idea. ' Lee Miller wrote to Roland Penrose in London, 23-27th January 1939This series explores the 300 pages of love letters written between the iconic photographer Lee Miller and the Surrealist artist Roland Penrose during their courtship. Starting just a few days after they first met in June 1937 at a fancy dress party in Paris, the letters continue for 2 years charting their love, their friends such as Man Ray, Picasso, Leonora Carrington, Max Ernst, Nusch and Paul Eluard, their adventures, the build up of world war II, some scandals and a lot of fun.Subscribe to support the Lee Miller Archives and Farleys and listen to other podcast series featuring Lee Miller's writing: www.patreon.com/leemillerarchives Guest Speakers: Antony Penrose (son of Lee Miller and Roland Penrose and Co-Director of Lee Miller Archives), Hilary Roberts (Independent Curator, formerly senior curator of photography at Imperial War Museums, London), Hussein Omar (lecturer on Modern global history, University college Dublin) and Sam Bardaouil (Founder & curator of ArtReorientated). Lee Miller's letters read and presented by Ami Bouhassane Roland Penrose's letters read by Adam Grayson Music composed by David Cullen Series Producer: Tolly Robinson All content © Lee Miller Archives, England 2024. All rights reserved. www.leemiller.co.uk Hosted on Acast. See acast.com/privacy for more information.

Penny Slinger is a Los Angeles–based artist whose work investigates the feminine, the magical and the erotic. In the late 1960s, her encounters with the work of Max Ernst initiated an enduring involvement with both the Surrealist movement and the medium of collage. Her groundbreaking publications such as 50% The Visible Woman (1971) and An Exorcism: A Photo Romance (1977) explore the image of woman through a series of often provocative photomontage self-portraits, and a new expanded edition of An Exorcism will be published by Fulgur Press later this year. Her studies of various divine feminine practices including Tantra led her to co-create The Secret Dakini Oracle deck in the 1970s, and the deck is still in print now under the name The Tantric Dakini Oracle Deck, and she has continued to work with dakini imagery over decades. Penny's work is in many international museum collections, including Tate Britain, and was included in the Tate's recent exhibition “Women in Revolt!” Other notable exhibitions showcasing Penny's work include “The Dark Monarch” at Tate Gallery St Ives, “Angels of Anarchy” at Manchester Art Museum, and countless solo shows around the world. She also recently collaborated with House of Dior, and, as you'll hear, has many more projects in the works.On this episode, Penny Slinger discusses her self-celebrating surrealist art practice, her lifelong devotion to the divine feminine, and how she's celebrating aging in her work and in her life.Pam also talks about older witch archetypes, and answers a listener question about embracing the magic of middle age.Our sponsors for this episode are Black Phoenix Alchemy Lab, Sphere + Sundry, BetterHelp, and Woodland MagicWe also have brand new print-on-demand merch like Witch Wave shirts, sweatshirts, totes, stickers, and mugs available now here.And if you want more Witch Wave, please consider supporting us on Patreon to get access to bonus Witch Wave Plus episodes, Pam's monthly online rituals, and more! That's patreon.com/witchwave

'When you look at your parents or grandparents it's hard to imagine them as young lovers full of adventure' Conjuring up an extraordinary tale and extra depths to the famous photographer, Lee Miller, Ami Bouhassane shares her grandmothers love letters, held in the Lee Miller's Archives.Episode 15 - It seems Mad that we should not be togetherIn this episode Lee is still travelling whilst Roland is now back in London touring Picasso's Guernica painting around the UK.'I took some quite startling pictures in Syria - - - -Palmyra, Balbeck - - - Djerash - - - Krack - - -Sergiopolis - - - the Euphrates and the Tigris - - - to say nothing of Homs, Hama, Alep, Damascus - - - Antioch and all the great empty spaces - - - but as usual I'm too indolent to do anything about them . . . . and they are stuck away, un-filed like my Romanian and Greek pictures. Altho I bought an enlarger, I don't think that I'll ever get around to using it.' Lee Miller wrote to Roland Penrose in London, 6th January 1939This series explores the 300 pages of love letters written between the iconic photographer Lee Miller and the Surrealist artist Roland Penrose during their courtship. Starting just a few days after they first met in June 1937 at a fancy dress party in Paris, the letters continue for 2 years charting their love, their friends such as Man Ray, Picasso, Leonora Carrington, Max Ernst, Nusch and Paul Eluard, their adventures, the build up of world war II, some scandals and a lot of fun. Subscribe to listen to other podcast series featuring Lee Miller's writing: www.patreon.com/leemillerarchives Guest Speakers: Antony Penrose (son of Lee Miller and Roland Penrose and Co-Director of Lee Miller Archives), Hilary Roberts (Independent Curator, formerly senior curator of photography at Imperial War Museums, London), Hussein Omar (lecturer on Modern global history, University college Dublin) and Sam Bardaouil (Founder & curator of ArtReorientated).Lee Miller's letters read and presented by Ami Bouhassane Roland Penrose's letters read by Adam Grayson Music composed by David Cullen Series Producer: Tolly Robinson All content © Lee Miller Archives, England 2024. All rights reserved. www.leemiller.co.uk Hosted on Acast. See acast.com/privacy for more information.

Né en 1907, le journaliste américain Varian Fry est connu pour avoir sauvé, durant la Seconde Guerre mondiale, de nombreux juifs réfugiés en France. Correspondant d'un journal américain à Berlin, il est témoin, en 1935, des violences que font subir aux juifs les nazis.Il assiste alors à des scènes choquantes, qui vont le marquer durablement. En août 1940, il débarque à Marseille. Officiellement, il est là comme journaliste. En fait, il est mandaté par l'"Emergency rescue comity", un organisme de secours parrainé par Eleanor Roosevelt, l'épouse du Président américain.Le but de ce comité est d'organiser la fuite vers les États-Unis des juifs menacés par les nazis, en Allemagne ou dans d'autres pays d'Europe.En principe, la mission de sauvetage confiée a Varian Fry ne concerne pas tous les réfugiés juifs. En effet, il doit permettre à des intellectuels, des écrivains ou des artistes, de s'échapper vers l'Amérique.Il arrive à Marseille avec une valise et une somme assez modeste en poche, environ 3.000 dollars. En principe, il est là pour trois mois, mais son séjour va durer plus d'un an.Il reçoit l'aide d'un syndicat américain et de certaines organisations juives. Le vice-consul américain à Marseille lui est d'un grand secours, ainsi que la riche collectionneuse d'art Peggy Guggenheim, qui lui apporte un soutien financier appréciable.Varian Fry fonde bientôt le Centre américain de secours (CAS), où une soixantaine de personnes viennent chaque jour demander de l'aide. Dans la vaste villa Air-Bel, située dans la banlieue de Marseille, se pressent des intellectuels renommés, pressés de quitter l'Europe.On y côtoie en effet des poètes, comme Tristan Tzara ou Benjamin Perret, ou des artistes, comme André Masson, Max Ernst, Marcel Duchamp ou encore Marc Chagall.Au total, plus de 2.000 personnes réussirent à fuir l'Europe grâce à l'intervention de Varian Fry. Le gouvernement de Vichy, qui appréciait peu ses activités, obtient son départ en septembre 1941.Tardivement reconnue, son action lui vaut pourtant, à titre posthume, le titre de Juste parmi les nations. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Né en 1907, le journaliste américain Varian Fry est connu pour avoir sauvé, durant la Seconde Guerre mondiale, de nombreux juifs réfugiés en France. Correspondant d'un journal américain à Berlin, il est témoin, en 1935, des violences que font subir aux juifs les nazis. Il assiste alors à des scènes choquantes, qui vont le marquer durablement. En août 1940, il débarque à Marseille. Officiellement, il est là comme journaliste. En fait, il est mandaté par l'"Emergency rescue comity", un organisme de secours parrainé par Eleanor Roosevelt, l'épouse du Président américain. Le but de ce comité est d'organiser la fuite vers les États-Unis des juifs menacés par les nazis, en Allemagne ou dans d'autres pays d'Europe. En principe, la mission de sauvetage confiée a Varian Fry ne concerne pas tous les réfugiés juifs. En effet, il doit permettre à des intellectuels, des écrivains ou des artistes, de s'échapper vers l'Amérique. Il arrive à Marseille avec une valise et une somme assez modeste en poche, environ 3.000 dollars. En principe, il est là pour trois mois, mais son séjour va durer plus d'un an. Il reçoit l'aide d'un syndicat américain et de certaines organisations juives. Le vice-consul américain à Marseille lui est d'un grand secours, ainsi que la riche collectionneuse d'art Peggy Guggenheim, qui lui apporte un soutien financier appréciable. Varian Fry fonde bientôt le Centre américain de secours (CAS), où une soixantaine de personnes viennent chaque jour demander de l'aide. Dans la vaste villa Air-Bel, située dans la banlieue de Marseille, se pressent des intellectuels renommés, pressés de quitter l'Europe. On y côtoie en effet des poètes, comme Tristan Tzara ou Benjamin Perret, ou des artistes, comme André Masson, Max Ernst, Marcel Duchamp ou encore Marc Chagall. Au total, plus de 2.000 personnes réussirent à fuir l'Europe grâce à l'intervention de Varian Fry. Le gouvernement de Vichy, qui appréciait peu ses activités, obtient son départ en septembre 1941. Tardivement reconnue, son action lui vaut pourtant, à titre posthume, le titre de Juste parmi les nations. Learn more about your ad choices. Visit megaphone.fm/adchoices

"Mutter Ey", geboren am 4.3.1864 als Johanna Stocken in eine arme Familie in Wickrath, wurde zur Galeristin und Förderin deutscher Avantgarde-Künstler – und zur damals wohl meistgemalten Frau Deutschlands... Von Christiane Kopka.

In episode 1, Claire and Zach look at "Europe After The Rain II" by Max Ernst, painted between 1940 - 1942. One of Claire's favorite pieces, Ernst's surrealist masterpiece uses color and technique to express personal and collective tragedy as the people of Europe suffer through two major wars. The episode image has been cropped, but you can check it out on our Instagram - or see it in person at the Wadsworth Athenaeum Museum of Art in Hartford, Connecticut.

In Part One we explored Gala's childhood, how she met her first husband Paul Eluard and traveled alone through Europe in the midst of World War I to be with him, their marriage and later menage-a-trois relationship with Max Ernst, and finally the fateful meeting of Gala and Dali. Part Two picks back up on Gala's story and honors Gala's complex legacy. Whether critical of Gala's behavior or not, one cannot deny that she was a force to be reckoned with. Gala knew the life she wanted to live, and was unwilling to let her size, gender, two world wars, and any force opposing her, get in her way. Listen to Part Two of Gala's story.  ArtMuse is produced by Kula Production Company. Please FOLLOW and RATE ArtMuse on Spotify and SUBSCRIBE and REVIEW our show on Apple Podcasts. Instagram/ Website/BuyMeACoffee

Am Kunstmarkt werden jährlich Milliarden umgesetzt. Wo so viel Geld ist, ist viel kriminelles Potenzial. Kunstverbrechen faszinieren: ob es der Raub aus der Bührle Kunstsammlung ist, oder die Bilder des sogenannten Meisterfälschers Wolfgang Beltracchi. «Kulturplatz» über True Crime in der Kunstwelt. Wolfgang Beltracchi narrte die Kunstwelt jahrzehntelang mit gefälschten Meisterwerken. Im Stil grosser Maler wie Matisse oder Max Ernst «erfand» er neue Werke, und schleuste sie für Millionenbeträge in den Kunstmarkt ein – bis er wegen der Verwendung eines falschen Pigments aufflog. 2011 wurde er wegen Betrugs verurteilt und sass eine mehrjährige Haftstrafe ab. Heute malt Beltracchi wieder, aber unter eigenem Namen. «Kulturplatz» besucht ihn in seinem Atelier im luzernischen Meggen und versucht herauszufinden, warum uns True Crime im Kunstmarkt so fasziniert. Das zeigen auch zwei Podcasts, die sich um wahre Kunstdelikte drehen und auf reges Interesse stossen. Bis zu 700'000 Aufrufe haben diese Formate. Der «Deutschlandfunk»-Podcast «Tatort Kunst» deckt auf, worüber die Kunstwelt lieber schweigt. Und auch «Kunstverbrechen» von «NDR Kultur» rollt Fälle auf, bei denen man kaum abschalten kann. Zu Recht, denn Verbrechen im Kunstmarkt-Sektor rangieren auf den vorderen Plätzen. Und bei einem Jahresumsatz (2022) von mehr als 67 Millionen wollen alle mitverdienen, auch die Delinquenten. Ganz anders lief es in der ehemaligen DDR, hier verhielt sich der Staat unredlich Er trickste die eigenen Bürgerinnen und Bürger aus: Denn wer in der DDR Kunst sammelte, musste damit rechnen, enteignet zu werden. Der Raub von Kunst und Antiquitäten durch die Staatssicherheit war gängige Praxis in einem Staat, der dringend Devisen brauchte, um weiter existieren zu können. Auch die Schweiz war eine Drehscheibe im Kunst- und Antiquitätenhandel der DDR. Einige Schweizer Kunsthändler haben mit DDR-Raubkunst Geld verdient. Die Geschäfte liefen meist über einen Stasi-Strohmann mit Waffen-SS-Vergangenheit. Der Bührle Kunstraub und seine Aufarbeitung Der Bührle Kunstraub ist der spektakulärste Kunstraub der Schweizer Geschichte. In einem kleinen Museum am Rande von Zürich wurden 2008 vier Gemälde gestohlen im Wert von 180 Millionen Franken. Wie die Zürcher Polizei mit verdeckten Ermittlern die hochkarätigen Gemälde zurückholte, gehört zu den Erfolgsgeschichten der Schweizer Kriminalgeschichte. Doch wie das genau gelang, war lange nicht klar. Der Autor Stefan Zucker hat den Fall 2023 nochmals aufgerollt und zusammen mit einem Filmteam ein Dokudrama gedreht. «Kulturplatz» wirft einen Blick hinter die Kulisse der Recherche.

What you'll learn in this episode: Why artist jewelry is more than just miniature versions of larger work The history of artist jewelry, and how Esther is helping its story continue How Esther helps artists with their first forays into jewelry, and why making jewelry can be a fruitful challenge for fine artists Why an artist's first idea for a piece of jewelry is often not their best Why artist jewelry collectors must be brave About Esther de Beaucé Esther de Beaucé is the founder and owner of Galerie MiniMasterpiece in Paris, France. MiniMasterpiece is a gallery entirely dedicated to contemporary artists, designers and architects' jewelry. The gallery is an invitation given to those who usually never design jewelry because their work evolves on a more monumental scale (i.e. sculptures). Esther's passion is to convince those artists to change the scale of their work and accompany them in that new field of wearable art. She has collaborated with acclaimed contemporary artists such as Phillip King, Bernar Venet, Andres Serrano, Lee Ufan, Jean-Luc Moulène, and Pablo Reinoso. A graduate of Brown University, Esther previously co-owned the gallery Schirman & de Beaucé in Paris, dedicated to young artists of contemporary art. Photos available on TheJewelryJourney.com Additional Resources: Website Instagram Transcript: For gallerist Esther de Beaucé, artist jewelry isn't completely art or completely contemporary jewelry. It's in a niche all its own—and that's what makes it fascinating. As founder and owner of Galerie MiniMasterpiece in Paris, she helps fine artists translate their art into jewelry, creating something entirely new rather than a smaller version of their typical work. She joined the Jewelry Journey Podcast to talk about how she challenges artists to think about their work differently; how interest in artist jewelry has evolved over the years; and why artist jewelry collectors are so open minded. Read the episode transcript here. Sharon: Welcome to the Jewelry Journey, exploring the hidden world of art around you. Because every piece of art has a story, and jewelry is no exception. Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please head to TheJewelryJourney.com. I don't remember how I found out about Esther de Beaucé's gallery in Paris. It is tucked back in the corner with other galleries. Welcome back. Do you have collectors, people who like a certain artist or piece they've found in your gallery, and then they come back and look for others, or you send them a postcard telling them, “We're having a show of that artist,” or something like that? Esther: Yes. I have shows at the gallery as well, maybe for a year. Most of the time they are solo shows. I like solo shows a lot because it's like for art, when when you have a solo show, you're surrounded by several pieces of work. You are emerging into their body of work. It's more interesting to me than having one piece by that artist and another piece by another artist. I like solo shows a lot, but solo shows are not easy to make because it means that obviously the artist had several ideas. It takes a lot of time to organize a solo show, but I try to make solo shows most of the time. I invite all my collectors to these shows. It's always difficult to know what's going to happen between a collector and a piece of jewelry, what connection is going to operate at that time. Sometimes collectors choose or fall for an object, and they don't know the artist who's behind it, but they really fall for an object. I really like that idea. Sometimes collectors are very close to an artist, and they have several pieces of that artist in their homes. When they realize that artist has also made a piece of jewelry, then of course they're going to be interested in it. Most of the jewels I have at the gallery, I hope they speak for themselves. You were asking me about collectors and jewelry. Sharon: You answered the question. But do have people who only collect, let's say, Pablo Picasso's jewelry or something that? Esther: Yeah, of course. Some women only wear silver or only wear gold or only wear rings or never wear any brooches. I try to remember all that so I can show them what they like. But I also enjoy presenting them with other things, too, because it's always interesting to make discoveries. And the collectors of artist jewelry are very open-minded people. It takes a lot of, I wouldn't say courage, but it takes a lot of personality to wear something that is different from common jewelry. You have to be strong because you're going to attract looks, and sometimes you have to speak about what you're wearing and answer people's reactions. Sometimes other people can be very narrow-minded, and you have to assume what you chose and what you wear on your body. So, this type of collector, they're very interesting to welcome. What I mean is that even though they have their taste, they are easy to counsel as well because they have that curiosity. They want to learn, and they want to see so much. So, they are very interesting people. Sharon: Do they go on to start liking the artist's other things, their paintings or drawings, after they started with the jewelry? Esther: Yes, of course. I have a lot of jewels at the gallery, but I also have a lot of books, and those books help me explain the artist's work at large. Often, when I can, I try to offer a book to accompany the jewel to give them more background on the artist. Yeah, definitely. Sharon: Do you make jewelry yourself? Did you ever make jewelry yourself? Esther: No. Never. Maybe as a kid playing with leaves and flowers, but that's it. Or pasta. Sharon: What did you study? When you were in the States, did you think about opening a gallery in France? Esther: No, I studied anthropology. I really wanted to work as an anthropologist, but it didn't happen. After that first art experience that ended in 2012, I wanted a new project working with artists. I had seen the year before, in 2011, a great artist jewelry show at the MAD in New York. That was actually my mother's collection of artist jewelry. I went to New York for her opening, and it was the first time that I saw her collection in the museum environment, and I was so impressed. I started thinking of a new project for myself, and this show in New York was really—how would you say— Sharon: Eye opening. Esther: That's it. Eye opening and a decision-making moment. And as I came back to Paris, I started really talking about it and organizing my professional life to make it possible. Sharon: That's interesting. When you said your mother was a collector, I thought, “Well, she must have started early, before anybody was wearing it or knew about it.” Today, more and more people know about it, but then she probably didn't have a lot of friends who were collecting the same thing. Esther: Yeah, for sure. That show was 12 years ago, but she started collecting artist jewelry 40 years ago. There are few women in the world who have done the same thing. There are few. It's a large and important collection. She focused on that in a professional way. Sharon: When you said that you thought it was a more active field in the 60s and 70s and then it sort of died down, why do you think that was? Esther: It's a matter of different elements. I think it was in 1969, there was a great show at the MOMA in New York on artist jewelry that's never happened since. You also had great artists, jewelry editors at that time in Italy. You had GianCarlo Montebello, who was a goldsmith and an editor, and he worked with fantastic artists like Fontana and the Pomodoro brothers. Montebello made fantastic pieces. In the south of France, you had François Hugo, who was a very important goldsmith as well. He's the one who made all the jewelry by Max Ernst and Man Ray and Picasso and Dorothea Tanning. Sometimes it's just a matter of a few people. They really made the artist jewelry world very active at the time, but then they stopped and did something else, so it went quiet again. Hopefully, it's getting more intense now, but you need people behind it. Once these people do something else, then it dies a little bit. And then you have a new generation of editors and it starts again. Sharon: By editor you also mean curator, right? It's a curator. Esther: Also, yeah. By editor I mean what I do personally, but what also has been done by Luisa Guinness or Elisabetta Cipriani or Marina Filippini, those active editors, meaning you invite artists to make jewelry pieces. This is what I called editor. This is what I do. Sharon: Do you only wear art jewelry that you have in your gallery or that an artist has made, or do you wear “normal” jewelry? Esther: It might sound weird to you, but I'm a low-key person. I'm a discreet person. When I'm at the gallery every day, I choose a piece of work and I wear it all day in the gallery with an immense pleasure. But when I go out, when I go to a dinner party or visit a show, I don't wear jewelry. It might sound funny, but I wouldn't want people to think I am always promoting what I do and my work. Imagine a regular art dealer. He wouldn't go to an art fair or to a to a dinner party carrying with him a painting or a sculpture. When I go out wearing a jewel from the gallery, I feel like I'm still working, and I don't like that idea. I don't want people to imagine that I'm always trying to sell jewelry. So, in dinner parties, I'm very often the only woman not wearing any piece of jewelry, which is very stupid. But yeah, this is me. Sharon: That's interesting. Has anybody ever stopped you on the street and said, “That's a really interesting necklace you have on”? Esther: Yeah, but not very often because when you see me on the street, I don't have it on me. Of course, on special occasions I do, but I mostly wear artist jewelry in the gallery, and it's a great pleasure to do so. I change every day and wear several of them because it's very important for people to see those jewels on the body. A piece of jewelry on the body is very different from a photo of a jewel. You really need to see how it goes on the neck or on the finger. It really makes it alive. So, to see me with artist jewelry, you have to come to the gallery. If you see me on the street, you would not really see any artist jewelry on me. I was telling you about collectors and how they are strong-minded, and I'm probably more shy. Sharon: Well, based on the collection in your gallery, I wouldn't call you shy. I'm curious, when you get dressed in the morning, do you walk to the gallery without anything on and then you put something on when you come to the gallery? Esther: Well, I have my clothes on, obviously, but I choose clothing that will fit the best with jewelry. I have funny pants and funny shoes, but I always have black or white tops. When you have too much information on a sweater or shirt, sometimes it draws away the attention from the jewel. So, this is something I pay attention to in the morning. This is why I have funny shoes but not funny outfits too much. Sharon: How do you describe what you do if somebody says, “Well, what do you do?” when you're at a party? Esther: I have a neighbor who's a great contemporary art gallerist, and he was introducing me to a friend of his a few days ago at an art fair. He said, “This is Esther, and she's doing the most rare job in the art world.” And I was like, “This is an interesting way of putting what I'm doing.” It's true that I am part of the art scene, yet it's such a tiny niche. This is how he saw and how he described my job. But I would say that what I do is invite those who never make jewelry because they are sculptors, and I ask these people, who are not jewelry specialists, to make a jewelry piece for the gallery. This is how I like to speak of my job. Otherwise, I say that I'm an artist jewelry editor, but then sometimes you have to give more explanations than just those three words. It doesn't explain well enough. So, to make it more clear, I usually say that I invite those who never make jewelry. Sharon: Do you consider yourself part of the art scene or jewelry? Are you part of the art world or the jewelry world? Esther: It's a tricky question. I'm part of the two, but the artists I work with are not part of the jewelry world. Obviously, they are a part of the art world, and through our collaboration, I bring them to the jewelry world. But I would say I'm maybe 80% from the art world and 20% from the jewelry world. I think artist jewelry is very interesting because it offers a new perspective on jewelry and contemporary jewelry. Because the artists I work with have nothing to do with jewelry, most of the time they're going to bring something new to the jewelry world, new ideas, new possibility. This is what makes it very interesting for the jewelry world. At the same time, I think the invitation I make to those artists is also both a challenge and recreation time. It has to be fun and it has to be, for them, a means to work with new material like silver and gold. It's a new experience for them. The invitation also has to feed them, in the way that it has to bring them something new and challenging. Otherwise, it's not interesting for them. I really try to value that new experience for them. Sharon: That's interesting what you're saying. Do you have to say some of that? Do you have to convince some of the artists that it will be interesting for them? Esther: When I invite them, I say all those things. I don't even wait for them to need me to convince them. I say it all at once, that my invitation is full of all these aspects. Of course, it's going to be difficult for them to find a good idea, yet I'm here to accompany them, and the goldsmiths that I chose and that I work with are extraordinary people. It's a great gift that I give to artists, to be able to work with these people, because they are fantastic goldsmiths and very interesting people to work with. Sharon: Do any of the artists ever call you and say, “Esther, I just don't have an idea. I don't know what to do. I've drawn 14 things, and I just don't like them.” What do you do then? Esther: Yeah, of course. It happens. Sometimes they need a little more time. I don't put any pressure on them. When they're ready, they're ready. Sometimes when they are very focused on an idea that I don't believe too much in, I make a prototype just so that I can show them the prototype and explain to them why I don't think it's strong enough. Sometimes they have to see it for real. This is sometimes something that I do. Okay, you really want to make this? I am going to show you what it looks like, and then we can continue our conversation. Sharon: Did you ever consider, before you started this or when you were thinking about what to do after the other gallery, did you think about selling a different kind of jewelry? Esther: No, I'm very busy with the jewels already. There are many contemporary jewelers that come to me, and sometimes I really fall for their work because there are many great contemporary jewelers. But I try to restrain myself. Sometimes I buy a piece for my own pleasure. But the gallery's story is something different, and I try to remain on that path because there is still a lot to do on it. I want to focus on that story for now. Sharon: So, you're saying if somebody comes in and shows you something that you don't think is on the path, let's say, you might buy it for yourself. You might like it. Esther: Of course, it has happened. Yeah, it has happened. But I have to tell you that I spend all my money on producing the artist jewels, because I produce myself. I pay the goldsmith who's going to work with the artist, so this is taking a lot of the gallery's budget. I don't have that much money left for buying other kinds of jewelry. But it has happened that I do. Sharon: Does the artist sign the piece? Do you both sign it, or do you sign it? Esther: No, no, no, I never sign. It's the artist's signature on it, of course. On certificates, I just add that it has been edited by Galerie MiniMasterpiece. Sharon: How did you come up with the name of the gallery, MiniMasterpiece? Esther: It was a conversation with my mother and my stepfather. We were looking for a name, and we wanted it to be linked to the art world more than the jewelry world. MiniMasterpiece is not a bad name. It is a reference to masterpieces, so to art. It has the mini, obviously, so it's a small work of art. But who knows? Maybe in the future I will find another name. But for now, it's this one. Sharon: It's a great name. I was just wondering how you came up with it. Mini seems very American, or very English and not very French. That's all. That's why I'm asking. Esther: Actually, masterpiece is obviously an English name, because we would say in French chef-d'œuvre. But mini is something that is used in French also. Sharon: Okay. So, the contemporary jewelry. I might do really interesting contemporary jewelry. I don't, but let's say I do, but I don't do pictures and drawings. Esther: Well, then you're not really what I'm interested in, because I like the idea that there is a movement from another body of work, and a movement from that body of work to jewelry. I like working with non-specialists. I think it makes projects very interesting. To me, this is the story I want to tell, those rare moments when a piece of jewelry is going to be possible for those artists. It's not their specialty. They're not doing this all the time. It remains rare. It's just from time to time. I like that idea. Sharon: Have they come to you and said, “I want to put gems in this piece,” or has an artist who's making the jewelry said, “I want to put gems”? Esther: No, very, very rarely because to them, gems are very linked to classic jewelry, to contemporary jewelry, and they don't want to use the same vocabulary. They are more into material and shapes and volumes than in gems. Sharon: Have you ever had the artists come in and describe their work? Do the artists come to the solo shows that you have and describe the work they do? Esther: Yeah, during the opening, of course all artists are present. Or if we make a special appointments, of course. Sharon: So, the artist says, “Yes, I want to make the jewelry for you.” What's the next step? Esther: The next step is them finding the good idea. Once they have ideas, we start the conversation and we discuss what's feasible, what's not feasible. We keep a few ideas, and then we go to the goldsmith and we discuss with them what's possible. Slowly it builds up. The first thing is the idea. Sharon: You come to the goldsmith or silversmith to say, “The artist is thinking about doing a loop. Can you do that?” Esther: No, we go to the goldsmith with a prototype or a maquette. The piece is there already. It's not in silver, it's not in gold, but it exists. Sharon: Do they ever look at you in surprise, the goldsmith? Esther: Yes, obviously, but after 12 years, less and less. They're like, “It's going to be very difficult, but it's going to work out.” They are less and less surprised. They know me now, and they know the artist. Sharon: A few last stray questions. Did you open in the courtyard where you are? Did you open the gallery where you are? Have you moved locations? Esther: No, I have been here the whole time. Sharon: And what would you say keeps your attention about jewelry, or artist jewelry, after doing it for so long? Esther: I think my motivation and my love is still very strong, and maybe stronger and stronger because the artists themselves have new ideas very often. So, the story continues, and I also invite new artists. I have all these parallel collaborations, so it's very enriching for me. Also, the relationship I have with collectors is very nice and very interesting because I am also building with them their collection. We're all growing up together, and this is what makes it very special. And maybe after 12 years, I'm also doing my job in a better way, with a better understanding of the project and a better understanding of what collectors are expecting. It's still a challenge and it's still a risky business, but I wouldn't do anything else. I wouldn't know what to do. I'm my own boss. I do what I want. I have to carry it all, but it's a great job. I'm very happy with what I do, and being surrounded by all these great artists is fabulous. Also getting that story more well-known and broadening the public for artist jewelry is a fantastic challenge. I love challenges. Sharon: If you love challenges, you picked a good field for a challenge. Esther, thank you so much for being with us today. Esther: You for inviting me, Sharon. Thank you very much. I enjoyed very much talking to you. Sharon: We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out. Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.  

Christopher & Jobst im Gespräch mit Nikel. Wir reden über musikalische Revolte, fürchterliche Bandschwemme von entsetzlichen Bombast-Bands, die großartige Band Third World War, so anonym wie möglich sein, als Subkultur-Flipper bezeichnet werden, Bravo als Ton Steine Scherben Hauslektüre, sich gegen konservative & reaktionäre Strukturen wehren müssen, die Memoiren von Max Ernst, Charlie Parker & BeBop, Joachim Ernst Behrends Jazz-Buch, Radio Hack, Red River Rock von Johnny & The Hurricanes, Spätling-Sein, Nicht-Wehrwürdig-Sein, Klassenclown, Ausbildung im Finanzamt, das Trou in Göttingen, Bielefelder Jazz-Katalog, Rock auf Radio Luxemburg, Chris Howland im WDR, das Love & Peace-Festival auf Fehmarn, Aufklärungsfilme über Geschlechtskrankheiten, "If you´re going to San Francisco", die Kommune 1, Arbeiten im Steuerbüro, das Versagen der Kosmetik-Industrie bei Nikels Haaren, mit dem Fiat 500 durch die DDR, ein entspannter Auftritt von Jimi Hendrix um 11 Uhr morgens, das Maskentheater Rote Steine, "Macht kaputt was Euch kaputt macht", die Wut ausleben, ein Fernseh-Beitrag über Kinderläden in Berlin mit einem Ton Steine Scherben-Musik, 3000 Singles, Live-Konzert in der alten Mensa, die Rotaprint-Druckmaschine von Gert Möbius, Platten in der U-Bahn, Preisbindung für Tonträger, Easy Rider ist nicht gut gealtert, Godards Außer Atem, Nikels legendärer Auftritt im WDR, indirekt auf ne schwarze Liste gesetzt, der Tod von Georg von Rauch, das Rauchhaus, warum es eigentlich keine Hausbesetzungen mehr gibt, die Landkommune Fresenhagen, wunderbar über die B5 nach Ludwigslust, Kunde der Volksbank Niebühl, mit 16 Menschen in der Großkommune am Tempelhofer Ufer, in einem abgehobenen ungeerdeten Zustand leben, einmal die Woche in die Landdisco, Circus Feuerstern im Trichter, die Theatergruppe Deichtraum, die Gründung von Schneeball Records, der Trikont Verlag, die Strassenjungs & Tritt Records, Indigo & Cargo, Home Office, uvm.

Hello, listeners! I've got a special surprise for you this week. I've been waiting to share this amazing conversation that I enjoyed recently with expat and author Joanna Moorhead about her fantastic new biography, Surreal Spaces: The Life and Art of Leonora Carrington. The British-born artist and writer Leonora Carrington (1917–2011) is one of the vanguards in the history of women artists and the history of Surrealism. The interests of this visionary—feminism, ecology, the arcane and the mystical, the interconnectedness of everything—are now shared by many. Challenging the conventions of her time, Carrington abandoned family, society, and England to embrace new experiences and forge a unique artistic style in Europe and the Americas. In this evocative illustrated biography, writer and journalist Joanna Moorhead traces her cousin's footsteps, exploring the artist's life, loves, friendships, and work. Leading readers on a personal journey across Britain, Ireland, France, Italy, Spain, Portugal, the United States, and Mexico, Surreal Spaces describes the places and experiences that would become etched in Carrington's memory and be echoed, sometimes decades later, in her art and writing—whether her grandmother's kitchen with its giant stove; a remote Cornish hideaway where she holidayed with Max Ernst, Lee Miller, and Man Ray; the Left Bank of Paris; an asylum in Santander, Spain; New York, where she lived among other European exiles; or Mexico City, her final sanctuary. “Houses are really bodies,” Carrington wrote in her novella The Hearing Trumpet. “We connect ourselves with walls, roofs and objects just as we hang on to our livers, skeletons, flesh and blood streams.” Featuring photographs, drawings, and paintings of the spaces that so richly influenced Carrington's work, Surreal Spaces is an intimate and vivid portrait of a fascinating artist. About the author: Joanna Moorhead is a British journalist and author whose critically acclaimed memoir, The Surreal Life of Leonora Carrington, chronicles her relationship with Carrington, her cousin. Moorhead writes for the Guardian, the Observer, the Times (London), and many other publications. Please enjoy this bonus episode, featuring my discussion with Joanna. Be sure to grab your copy of Surreal Spaces from Bookshop.org, below. If you prefer Amazon, that link is below as well. Please SUBSCRIBE and REVIEW our show on Apple Podcasts and FOLLOW on Spotify Instagram / Facebook / YouTube Buy Surreal Spaces here! Want to advertise/sponsor our show? We have partnered with AdvertiseCast to handle our advertising/sponsorship requests. They're great to work with and will help you advertise on our show. Please email sales@advertisecast.com or click the link below to get started. https://www.advertisecast.com/ArtCuriousPodcast Learn more about your ad choices. Visit podcastchoices.com/adchoices

In this episode of Locust Radio, we read excerpts from Bertolt Brecht's War Primer (1950); listen to readings from Locust Review (2022-2023) — R. Faze's “My Body's Portal to Another Dimension;” Adam Marks' “Rites of Obodena;” and Tish Turl's “Immortality Beaver” (Stink Ape Resurrection Primer). We also listen to music from Pet Mosquito, Omnia Sol, and Shrvg. Laura, Tish, and Adam  discuss Project 2025,  Agenda 47, and other far-right plans to roll back democratic norms, target trans persons, and implement other reactionary-to-fascist policies in the United States. We also discuss how this is related to Israel's genocidal war on Palestine, and the general authoritarian trajectory of mainstream politics — as expressed in the prosecution of the Cop City organizers in Atlanta, increasing prison sentences for climate protesters, and the recent attempts to ban Palestine solidarity in France, Germany, and the United Kingdom. To get the second — patron only — portion of the episode subscribe to Locust Review or join the Locust Review Patreon. Related readings, artworks, videos include: Walter Benjamin, “On the Concept of History” (1940); Bertolt Brecht, War Primer (1955); Ali Abunimah and David Sheen, “Israeli Forces Shot Their Own Civilians, Kibbutz Survivor Says,” Electronic Intifada (October 16, 2023); Aime Ceasaire, Discourses on Colonialism (1950); Chauncey DeVega, “Trump Plans to Become Dictator — Denial will Not Save You,” Salon (September 7, 2023); Max Ernst, The Elephant Celebes (1921); Huthifa Fayyad, “Israel-Palestine War: What You Need to Know After 10 Days,” Middle East Eye (October 16, 2023);  David Hearst, “The Nakba that Israel Has Started Will Backfire,” Middle East Eye (October 13, 2023); Naomi Klein, “In Gaza and Israel, Side with the Child over the Gun, The Guardian (October 11, 2023); Sabrine Kriebel, “Manufacturing Discontent: John Heartfield's Mass Medium” New German Critique No 107 (Summer 2009), 53-88; Michelangelo, Moses (1513-1515); China Miéville, The Last Days of New Paris (2016); TOI Staff, “Citing Israeli Example, Zelensky Says Ukraiainians ‘Need to Learn to Live with Conflict,'” The Times of Israel (August 28, 2023); Eran Torbiner, Matzpen, Anti-Zionist Israelis, video documentary about the Israeli Socialist Organization (2003); Leon Trotsky, “The German Catastrophe” (1933); Adam Turl, Dead Paintings (2011-present); Tish Turl, Stink Ape Resurrection Primer (ongoing in Locust Review); Tish Turl and Adam Turl, Big Muddy Monster Atlas Project (2021-present). The Locust Radio theme is by Omnia Sol. Locust Radio is produced by Omnia Sol, Alexander Billet, Adam Turl, and Tish Turl. Locust Radio is hosted by Laura Fair-Schulz, Tish Turl, and Adam Turl.

Despite being among the most-celebrated surrealists of the last century, British born artist Leonora Carrington is still overlooked as compared to her male counterparts, some of whom were close friends and collaborators. One surrealist was even her husband for a time—the famous painter Max Ernst. But over the years, more and more people are coming to know Carrington's work. The 2022 Venice Biennale was named after one of her books, titled The Milk of Dreams, about which curator Cecilia Alemani said "it describes a magical world where life is constantly re-envisioned through the prism of the imagination, and where everyone can change, be transformed, and become something or someone else." This kind of a liberated self was a cornerstone of Carrington's outlook on the world and a key to understanding the fascinating images she created. Her life story is one of world building. Dissatisfied with her well-to-do family's vision for her future, Carrington sought freedom through boundary-pushing art. After being kicked out of schools she eventually fell in with the Surrealists in Paris in the 1930s, who shared her thinking about art making and also how to live. But a dark era was dawning in Europe, and ultimately Carrington ended up in a mental asylum where she underwent a brutal treatment. And so she left Europe, her family, and everything behind her, and eventually landed in Mexico, where she found the liberation that she was searching for. She'd spend the rest of her days there, and she would become a national treasure. In many ways, she never looked back. If you look at Carrington's paintings, there is a constant haunting from both her youth and the rooms, spaces, and landscapes of Europe. Though totally estranged for decades from her family in Europe, one day, a family member came knocking on her door. It was a cousin, Joanna Moorhead, who had heard by chance of Carrington and went to tracke her down in Mexico City. Moorhead, a journalist whose writing has appeared in The Guardian and The Observer, among other titles, came to know Carrington very well over long nights and days of talking, and she wrote a book in 2017 called The Surreal Life of Leonora Carrington that chronicles her relationship with her cousin and her cousin's life and achievements in art. Moorhead has returned in more ways than one to Carrington's world since the artist died in 2011. Her newest book, out on August 22nd, delves into those spaces that defined Carrington's life and her paintings. Called Surreal Spaces, The Life and Art of Leonora Carrington, the book is a result of Moore's careful study of Carrington's intricate works. This week on the podcast, Europe editor Kate Brown speaks to Joanna about the places that formed and informed the work of such an important artist.

In this compelling Netflix original seven-part series, TRANSATLANTIC, takes us back to France in 1940, where American Varian Fry has traveled to Marseille carrying three thousand dollars and a list of imperiled artists and writers he hoped to help escape from the encroaching Nazi collaboration with the Vichy government, within a few weeks. Instead, he stayed more than a year, working to procure false documents, amass emergency funds, and arrange journeys across Spain and Portugal, where the refugees would embark for safer ports. His many clients included Hannah Arendt, Max Ernst, Marcel Duchamp, and Marc Chagall, and the race against time to save them is a tale of forbidden love, high-stakes adventure, and unimaginable courage. TRANSATLANTIC features an excellent cast of American and international actors that includes; Gillian Jacobs, Corey Stoll, Lucas Englander, Corey Michael Smith and Ralph Amoussou. TRANSATLANTIC was produced and co-written by Anna Winger (Daniel Handler), Co-directors Stephanie Chuat and Veronique Reymond (My Little Sister, join us for a conversation on the challenge of directing the first four of the seven episodes, how important it was for them to strike the appropriate tone for a “film” that moves between from life threatening to life affirming within each episodes, working with an international cast and their upcoming project, a English language reboot of their first film, The Little Bedroom. Watch on: netflix.com/Transatlantic

After years of pestering our friend Rik Vinegar, we welcome him to the roster with a special 4/20 soundtrack, enjoy! -- Follow @rik-vinegar https://www.instagram.com/rikvinegar https://www.instagram.com/tideswing.sc https://www.instagram.com/campbutter https://www.instagram.com/theaperoclub -- "Santa Cruz transplant Erik Vehmeyer aka Rik Vinegar, cofounder of the monthly Tide Swing parties at the infamous Apéro Club, shares some of his favorites beyond dancefloor centric club cuts. 'You know those rabbit holes you go down on late night Discogs digs, or the random unknown-to-you gems you come across when sifting through the $1 bins at your local shop? Songs about everything and nothing - feelings from brisk morning drives over the Santa Cruz Mountains or a glowing Monterey Bay sunset - enjoy

Sponsor ArtCurious for as little as $4 on Patreon Listeners, I heard you—a bunch of self-admitting hopeless romantics who wanted to hear more about people bound by attraction, fascination. By love. Though there are examples of romantic and sexual relationships between creators that are sprinkled throughout art history as we know it, it's true that we have the most information about relationships from folks who lived in the last century—because we have greater access to documentation recording the lives of these people, and because, as the 20th century progressed, people—artists, perhaps especially—became more vocal about their relationships, less inhibited. Modern artists, artists especially from the first half of the 20th century, lived their art, and their relationships, out loud-- writing about them, talking about them, and sometimes even creating works of art about them. This season, I'm rounding up stories about modern artists in love, in lust, in relationships— digging into these individuals, see how their liaisons, marriages, affairs, and connections played in or on their respective works of art, and how, if anything, they affected art history as we know it. I, for one, believe that it's time for Modern Love. Today: let's enjoy learning about the surrealist life and loves of Max Ernst and Dorothea Tanning. Please SUBSCRIBE and REVIEW our show on Apple Podcasts and FOLLOW on Spotify Instagram / Facebook / YouTube SPONSORS: Lume Deodorant: Control Body Odor ANYWHERE with @lumedeodorant and get over 40% off your starter pack with promo code ARTCURIOUS at lumedeodorant.com/ARTCURIOUS! #lumepod To advertise on our podcast, please reach out to sales@advertisecast.com or visit https://www.advertisecast.com/ArtCuriousPodcast Learn more about your ad choices. Visit podcastchoices.com/adchoices

Today we talk about invisible architecture, how buildings can define time, and holding ideas loosely. I wrote these notes while scrubbing my floor on my hands and knees. It was a satisfying experience. As I write this, my son is banging on the glass of the fireplace. I told him to stop. He doesn't look happy about that. Notes: Slapstick double helix, old school skater style, aesthetics as a manifestation of harmony, defining "woke," Hostile Witness, embracing the edge, needing a reminder, weapon salve as longitudinal measurement, Max Ernst's father's tree, building invisible cathedrals, invisible force data, the hospital as iconic form of architecture, the way that hospitals are decorated, Kris tells hospital stories, morgue pranks, remembering labor times, verbing nouns, post partum, butterfly messages, taking wounds with you, Infinite Jest's big metaphor, circling back to your own footprints, a dragon story, Hindu shadow puppets healing children with deformities, things only existing because they are remembered, Bishop Berkeley, pine needle tea, intellect of the first water, the joy of being wrong, cyberpunk dreams, listening to Chinese, "Through the Looking Glass," and dream causality.

A charming Tuesday crossword, with a theme that wasn't too difficult to SUSS out, and any grid that manages to work both LOOKSUPTO (2D, Admires) and STANDTALL (36D, Act confidently) into the same grid deserves some sort of HONOR, and we give it here: 5 squares on the JAMCR scale.On a side note, next Tuesday we are going to be hosting our *second* Triplet Tuesday Contest, so for training purposes, we recommend you listen all week, to ensure you'll be in peak form!Contact Info:We love listener mail! Drop us a line, crosswordpodcast@icloud.com.Also, we're on FaceBook, so feel free to drop by there and strike up a conversation!

We meet Alex Rotter, Chairman of Christie's 20/21 Art Departments, to discuss Christie's New York forthcoming auction 'Visionary: The Paul G. Allen Collection' which runs from 9–10 November 2022 at Rockefeller Center. The collection of philanthropist Paul G. Allen, co-founder of Microsoft, includes more than 150 masterpieces spanning 500 years of art history. Reflecting the depth and breadth of Paul G. Allen's collection, the auctions connect this visionary innovator to a range of ground-breaking artists, joining Paul Cezanne with David Hockney, Alberto Giacometti with Louise Bourgeois, Georges Seurat with Jasper Johns and Agnes Martin with Yayoi Kusama. Valued in excess of $1 billion, The Paul G. Allen Collection is poised to be the largest and most exceptional art auction in history. Pursuant to his wishes, the estate will dedicate all the proceeds to philanthropy.From 29 October – 8 November 2022, view The Paul G. Allen Collection in-person at Christie's Rockefeller Center galleries in New York. Follow @ChristiesInc and visit their official website: https://www.christies.com/en/events/visionary-the-paul-g-allen-collection/overviewFrom Canaletto's famed vistas of Venice and Paul Cezanne's magisterial vision of the Mont Sainte-Victoire to Gustav Klimt's Birch Forest, Georgia O'Keeffe's 'Red Hills with Pedernal, White Clouds', and latterly, David Hockney's joyful depictions of his native Yorkshire, the collection highlights landmark moments in the development of landscape painting through centuries. Botticelli's Madonna of the Magnificat, Georges Seurat's pointillist masterwork Les Poseuses, Ensemble (Petite version) and Lucian Freud's Large Interior, W11 (after Watteau) demonstrate the enduring power of the human figure in art, while the polyvalent practice of artists such as Max Ernst and Jasper Johns show how artists can subvert tradition to move art forward. We explore some of our own personal favourite works by Georgia O'Keeffe, Agnes Martin, David Hockney, Louise Bourgeois, Bridget Riley and Barbara Hepworth.Alex Rotter grew up in a family of art dealers in his native Austria, and studied at the University of Vienna. He currently lives in New York and is responsible for overseeing a global team of specialists spanning the full scope of 20th and 21st Century art. Rotter's progressive approach to presenting extraordinary works of art to the market has yielded many of the most groundbreaking moments in auction history. Career highlights include the 2017 sale of Leonardo da Vinci's Salvator Mundi , which sold for $450 million, becoming the most expensive object ever sold at auction, and Jeff Koons' Rabbit from the Collection of SI Newhouse, which sold for $91.1 million and set a world auction record for a living artist. Hosted on Acast. See acast.com/privacy for more information.

Leonora Carrington (1917-2011) was one of the most underappreciated Surrealists of the 20th century. For decades, she was famous for inspiring Surrealist painter Max Ernst, but she had a genius of her own in painting, writing and politics. This month, we're talking about muses–women who were drivers of creativity and inspiration. Once again, we're proud to partner with Mercedes-Benz (whose famous namesake was inspired by a young muse named Mercedes). Tune in daily for stories of women whose lives inspired work that has shaped our culture.History classes can get a bad rap, and sometimes for good reason. When we were students, we couldn't help wondering... where were all the ladies at? Why were so many incredible stories missing from the typical curriculum? Enter, Womanica. On this Wonder Media Network podcast we explore the lives of inspiring women in history you may not know about, but definitely should.Every weekday, listeners explore the trials, tragedies, and triumphs of groundbreaking women throughout history who have dramatically shaped the world around us. In each 5 minute episode, we'll dive into the story behind one woman listeners may or may not know–but definitely should. These diverse women from across space and time are grouped into easily accessible and engaging monthly themes like Educators, Villains, Indigenous Storytellers, Activists, and many more.  Womanica is hosted by WMN co-founder and award-winning journalist Jenny Kaplan. The bite-sized episodes pack painstakingly researched content into fun, entertaining, and addictive daily adventures. Womanica was created by Liz Kaplan and Jenny Kaplan, executive produced by Jenny Kaplan, and produced by Liz Smith, Grace Lynch, Maddy Foley, Brittany Martinez, Edie Allard, Lindsey Kratochwill, Adesuwa Agbonile, Carmen Borca-Carrillo, Taylor Williamson, Ale Tejeda, Sara Schleede, and Alex Jhamb Burns. Special thanks to Shira Atkins. Original theme music composed by Miles Moran.We are offering free ad space on Wonder Media Network shows to organizations working towards social justice. For more information, please email Jenny at pod@wondermedianetwork.com.Follow Wonder Media Network:WebsiteInstagramTwitter