Podcast appearances and mentions of megan cope

We start this week's episode on a lapping city harbour where Quandamooka artist Megan Cope has prepared 85,000 oyster shells for her monumental artwork Whispers for the 50th anniversary of the Sydney Opera House —  before that, it's where Gadigal people gathered for thousands of years.Tarek Atoui is attuned to the sounds of harbours -- from Sydney to Beirut, Porto to Singapore, the Lebanese sound artist records the many frequencies and sounds that make up the bodies of water around which cities thrive.My Thing is... The Master's Pupil.  What would it be like to see the world through the eyes of the Impressionist master Claude Monet? The story of Monet's failing eyesight is a slice of art history that inspired indie game developer Pat Naoum to create his hand-painted video game.Daniel meets up with Nicole Barakat, an Australian artist on residence in Paris, who found inspiration in the stories of the Lebanese diaspora, connected to an old cedar tree growing in the city.

Floods have ravaged art galleries and studios in northern New South Wales. We hear from a gallery director and artist Megan Cope. Plus Ukrainian-Australian artist Stanislava Pinchuk. And a spotlight on the bold modernist printmaker Ethel Spowers.

Floods have ravaged art galleries and studios in northern New South Wales. We hear from a gallery director and artist Megan Cope.Plus Ukrainian-Australian artist Stanislava Pinchuk.And a spotlight on the bold modernist printmaker Ethel Spowers.

Floods have ravaged art galleries and studios in northern New South Wales. We hear from a gallery director and artist Megan Cope. Plus Ukrainian-Australian artist Stanislava Pinchuk. And a spotlight on the bold modernist printmaker Ethel Spowers.

Floods have ravaged art galleries and studios in northern New South Wales. We hear from a gallery director and artist Megan Cope. Plus Ukrainian-Australian artist Stanislava Pinchuk. And a spotlight on the bold modernist printmaker Ethel Spowers.

On Episode #79 of the podcast I have a deadly yarn with Megan Cope. Megan is a Quandamooka (North Stradbroke Island in South East Queensland) artist. Her site-specific sculptural installations, video work and paintings investigate issues relating to identity, the environment and mapping practices.Megan's work often resists prescribed notions of Aboriginality, and examines psychogeographies that challenge the grand narrative of ‘Australia' and our sense of time and ownership in a settler colonial state. These explorations result in various material outcomes. Megan's work has been exhibited in Australia and internationally including at the Queensland Art Gallery/Gallery of Modern Art; Art Gallery of New South Wales; Para Site Contemporary Art Space, Hong Kong; Careof Art Space, Milan; the Australian Embassy, just to name a few.In 2020, Cope presented newly-commissioned work at the 2020 Adelaide Biennial of Australian Art: Monster Theatres. She has also featured work in the NGV Triennial 2020, the 2021 TarraWarra Museum of Art Biennial: Slow Moving Waters and in the 2021 exhibition, OCCURRENT AFFAIR: ProppaNOW at the University of Queensland Art Museum. Recent solo exhibitions include Fractures and Frequencies presented at UNSW Galleries as part of Sydney Festival 2020/21, and Unbroken Connections at Canberra Glassworks, following an artist residency. Join our yarn as we dive deep into Megan's story. It's fascinating! We learn all about her journey as an artist, travelling the world and some of the exciting projects she currently has in the works. Don't miss this one!Recommendations throughout this episode: https://www.megancope.com.au/aboutWebsite: www.blackmagicwoman.com.auFollow us on Instagram - @blackmagicwomanpodcastThe Black Magic Woman Podcast is hosted by Mundanara Bayles and is an uplifting conversational style program featuring mainly Aboriginal guests and explores issues of importance to Aboriginal people and communities. Mundanara is guided by Aboriginal Terms of Reference and focusses more on who people are rather than on what they do.If you enjoyed this episode, please ‘Subscribe' on Apple Podcasts or ‘Follow' on your Spotify app and tell your friends and family about us! If you'd like to contact us, please email, info@blackmagicwoman.com.auSupport this show http://supporter.acast.com/black-magic-woman. See acast.com/privacy for privacy and opt-out information.

To mark the opening of Southern Highlands' first regional gallery, a new large-scale installation by Megan Cope was unveiled in Ngununggula's Entry Pavilion.

Megan Cope's new exhibition Unbroken Connections features — among other things — glass forms cast from dugong bones washed up on the shores of her island home off Brisbane.

We speak with Pulitzer prize-winning American art critic, Jerry Saltz about his new book How to Be an Artist, and find out how Quandamooka country on North Stradbroke Island inspires the art of Megan Cope.

We speak with Pulitzer prize-winning American art critic, Jerry Saltz about his new book How to Be an Artist, and find out how Quandamooka country on North Stradbroke Island inspires the art of Megan Cope.

We speak with Pulitzer prize-winning American art critic, Jerry Saltz about his new book How to Be an Artist, and find out how Quandamooka country on North Stradbroke Island inspires the art of Megan Cope.

We speak with Pulitzer prize-winning American art critic, Jerry Saltz about his new book How to Be an Artist, and find out how Quandamooka country on North Stradbroke Island inspires the art of Megan Cope.

We speak with Pulitzer prize-winning American art critic, Jerry Saltz about his new book How to Be an Artist, and find out how Quandamooka country on North Stradbroke Island inspires the art of Megan Cope.

This episode is Stone, and is one of three episodes, Stone, Sand and Salt which are bound together by the overarching theme of Ground. Stone is the stuff of buildings, borders and walls. And when those structures fall, their rubble and ruins are stone. Stone is the home of ancestors, the surface on which we walk. Stone is an embodiment of time, hard and rigid but when worn down, crumbly and soft.  Stone is heavy with history and knowledge and rich with the potential to create futures. Stone is the grounding theme of this episode. Stone features an insightful discussion with artist Megan Cope, a Quanda-mooka woman, about her work Re Formation and the Aboriginal architecture of middens. We hear the sound artwork Body Remembering - Grinding Stone by Yindjibarndi artist Katie West and a responsive poem by Narrm-based writer and educator Neika Lehman. CANVAS Host Ayeesha Ash is joined by artist Alana Hunt to unpack her work Faith in a Pile of Stones, they are joined later in the conversation by Chris Griffith, a Miriwoong man, to further discuss practices of extraction. See omnystudio.com/listener for privacy information.

In this episode, Megan Cope chats virtually to Sky News and Talk Sport's Laura Woods about what it's like to broadcast during a pandemic. How difficult is it to think of things to broadcast when no sport is on? How do female sports journalists deal with trolling online? What can an aspiring journalist do with their spare time during lockdown to get ahead in their career? Laura shares her expertise. Introduction featuring News Intro Music Jingle (Copyright Music by Ruesche-Sounds).

We speak with Pulitzer prize-winning American art critic, Jerry Saltz about his new book How to Be an Artist, and find out how Quandamooka country on North Stradbroke Island inspires the art of Megan Cope.

We speak with Pulitzer prize-winning American art critic, Jerry Saltz about his new book How to Be an Artist, and find out how Quandamooka country on North Stradbroke Island inspires the art of Megan Cope.

We speak with Pulitzer prize-winning American art critic, Jerry Saltz about his new book How to Be an Artist, and find out how Quandamooka country on North Stradbroke Island inspires the art of Megan Cope.

We speak with Pulitzer prize-winning American art critic, Jerry Saltz about his new book How to Be an Artist, and find out how Quandamooka country on North Stradbroke Island inspires the art of Megan Cope.

Revisit this panel discussion with Amelia Wallin, Edition Office, Mark Feary, Mathieu Briand and Megan Cope, as they investigate the possible guidelines and outcomes for the creation of contemporary art spaces, and explore the important relationship between architects and the contemporary Australian arts ecology: How is a contemporary narrative suggested through architecture and design? What is the significance of this to the community when we don’t all share the same perspective.

We can't seem to talk about gambling without reference to its very real, very serious social problems -- whether it's the association with organized crime, the addictiveness, or the ruination of many people's lives. But what if we look at gambling through the lens of everyday life? Where does it come from, what does it say about us, and how should we manage it in our society? Ben is in Edmonton to chat with University of Alberta gambling expert Fiona Nicoll. About the Guest My greatest strength as a researcher is the creation of interdisciplinary conversations about some of the most challenging political issues of our time, from cultural genocide and reconciliation to gambling policy, white nationalist movements and the challenges facing the neoliberal university. I apply this research expertise to facilitate public art and other knowledge transfer projects. In addition to producing a body of art writing for books and catalogues, I have curated, managed and produced media (including websites and film) related to whiteness, reconciliation and Indigenous sovereignties. In 2002 I curated a social history exhibition for the Liverpool Regional Museum on the life of Aunty Nance DeVries, a survivor of the ‘stolen generations’ of Aboriginal children and speaker to the New South Wales Parliament on the occasion of the Government’s apology in 1997. Working with veteran documentary photographer, Mervyn Bishop and videographer, Sandra Peel, I drew upon and exhibited extracts from a large archive of documents about Nancy’s ‘case’, from her birth up to the age of eighteen when she was released from institutions of state care. Titled Ten Hours in a Lifetime (a reference to the time spent with her biological mother), this exhibition was the most popular in the museum’s history, with thousands of school children attending tours while it was on site, before later travelling to the New South Wales Parliament House. In 2014-2015 I delivered a major project for the University of Queensland titled Courting Blakness: Recalibrating Knowledge in the Sandstone University. This project centred on the Great Court as the symbolic and material heart of the University of Queensland. Reflecting the University’s heritage, traditions and prestige, this gathering place and thoroughfare is also a space where images of Aboriginal people prior to, during and after the colonization of Australia are carved in sculptural reliefs. Curated by Fiona Foley, Courting Blakness entered a creative visual dialogue with these carvings. Works by eight Aboriginal artists (Archie Moore, Ryan Presley, r e a, Natalie Harkin, Megan Cope and Michael Cook, Christian Thompson and Karla Dickens) made the Great Court a unique staging platform for discussions about the relationship between Indigenous people and the University; the edited collection of essays published by UQP provides a permanent record of these discussions. While on site, it reached over 25,000 people, including 800 students across fourteen different courses through disciplinary specific frameworks of discussion and assessment tasks. It delivered staff training through public seminars and two university-wide ‘Diversity Discussions’ and provided over 1,000 hours of volunteer activity. The website attracted over 3031 unique users and was a valuable teaching, learning and research resource for the exhibition. It now forms a digital archive for future research on public art and universities. As convenor of the 2017-2018 Political Science Department Speakers’ series, I brought scholars to campus to reflect on some of the most difficult questions raised by the Canadian Truth and Reconciliation Commission. Speakers included Glen Coulthard, Audra Simpson, Jaskiran Dhillon, Robert Nichols, Jeremy Schmidt and Aileen Moreton-Robinson. I am currently producing a short film titled Afterlives of the Truth and Reconciliation Commission: What Comes Next? Directed by award winning Métis film-maker, Conor McNally, it will feature provocative research presentations by Indigenous and non-Indigenous academics and interviews with leaders of Prairie Aboriginal communities. The film will be used in classrooms and boardrooms to educate non-Indigenous people about the meaning and ramifications of ‘cultural genocide’ and current aspirations to national reconciliation. Mentioned in this Episode Where the Action Is: Three Essays by Erving Goffman On Liberty by John Stuart Mill Beyond Freedom and Dignity by BF Skinner The Reality Bubble: Blind Spots, Hidden Truths, and the Dangerous Illusions that Shape Our World by Ziya Tong Yuval Noah Harari, popular historian Anzac Day No Logo: No Space, No Choice, No Jobs by Naomi Klein Governmentality, concept invented by French philosopher Michel Foucault The Quote of the Week "Gambling is a principle inherent in human nature." - Edmund Burke (1729-1797)

How important is it to connect with a place that is part of your history? What are your responsibilities to make work for ‘your people’ as well as an art audience? Tai Snaith and Megan Cope discuss what it means to move back to work ‘on country’ as a contemporary Indigenous artist. They unpack the complexities of relating to a place and its people, and how that might inform your work in a number of different ways. Megan talks about her involvement with proppaNOW and various travels from the bush to the city, overseas and now back to her father’s country on Quandamooka land. She sheds light on her passion for Middens and how they function in Indigenous culture, and their history as one of the earliest forms of architecture in the landscape. Additional resources: Middens: https://en.wikipedia.org/wiki/Midden RE FORMATION at The National, Art Gallery of NSW: https://thisisnofantasy.com/exhibition/the-national-new-australian-art/ ‘Haunt’ at IMA Brisbane: https://ima.org.au/2019-program-announced/ Sovereignty at ACCA: https://thisisnofantasy.com/exhibition/acca-sovereignty-2/ https://acca.melbourne/exhibition/sovereignty/ Blaktism: https://www.abc.net.au/radionational/programs/awaye/the-blaktism/5391966 Elizabeth Durack: https://en.wikipedia.org/wiki/Elizabeth_Durack proppaNOW: https://proppanow.wordpress.com/about-us/

How important is it to connect with a place that is part of your history? What are your responsibilities to make work for ‘your people' as well as an art audience?Tai and Megan discuss what it means to move back to work ‘on country' as a contemporary Indigenous artist. They unpack the complexities of relating to a place and its people, and how that might inform your work in a number of different ways. Megan talks about her involvement with proppaNOW and various travels from the bush to the city, overseas and now back to her father's country on Quandamooka land. She sheds light on her passion for Middens and how they function in Indigenous culture, and their history as one of the earliest forms of architecture in the landscape.Links, more episodes, and information about A World of One's Own, at taisnaith.com/podcastAudio production: Bec FaryTheme music: ‘End of the Day' by Phia www.listentophia.com

Artist Megan Cope talks about her work for the exhibition Coast: The artists’ retreat. We are also joined by Aunty Carolyn Briggs an elder of the Boon wurrung nation, cultural advisor and historian. Megan Cope’s art investigates mapping practices, concepts of ownership and power, colonisation and the legal implications of occupation. Megan describes how she collaborated with Aunty Carolyn Briggs to tell stories of how the landscape of the Mornington Peninsula was dramatically altered through deforestation and industrialisation. The welcome to country is made by Aunty Carolyn Briggs. A conversation with MPRG curator Danny Lacy. Our 2018 podcast program is supported by the Gordon Darling Foundation. Introduction by Nathan Schroeder, Music courtesy of The Basics

In part II of my exploration into how place, environment and our surroundings impacts the way we tell stories, I speak with Rebecca Giggs and Megan Cope, two women whose art is inextricably tied up with place, land and environment. Visit Chart Collective: www.chartcollective.org