Podcasts about milton avery graduate school

I visited Mark Alice Durant at his home in Maryland to talk about his book, Summer of the White Fox, and After, published by Saint Lucy Books. We talk about how Mark came to photography and why he started his own publishing imprint. Summer of the White Fox, and After is a memoir and a monograph, with a touch of history and philosophy weaved into the essay. It is a recounting of grief and loss that enveloped Mark and his family through distinct events and all during the pandemic. It is also a story about experiencing love and care in ways that were, perhaps, unforseeable before all of the tragedies struck Mark's family. https://www.saintlucybooks.com/shop/p/summer-of-the-white-fox-and-after | https://www.instagram.com/saint_lucy_books/ This podcast is sponsored by the Charcoal Book Club Begin Building your dream photobook library today at https://charcoalbookclub.com Mark Alice Durant is a photographer whose photographs, installations, and performances have been presented internationally including the Los Angeles County Museum of Art, the Museum of Contemporary Art in Chicago and Artist's Space in New York. In 1991, he co-founded the performance duo ‘men of the world' that for 10 years performed on the streets of Chicago, Toronto, Seattle, New York, Houston, San Francisco, and other cities. He has written extensively on the nexus of photography, performance and cultural phenomena with essays appearing in such journals as Art in America, Art on Paper, ArtUS, Art Journal, Afterimage, Dear Dave, Exposure, New Art Examiner, and PLUK. Durant is the editor of the online journal Saint Lucy which is devoted to writing about photography, contemporary art and the lovely people of Baltimore. He has contributed to numerous catalogs, monographs and anthologies including The Passionate Camera: Photography and Bodies of Desire, The Gothic, Jimmie Durham and Marco Breuer: Early Recordings. He is author of McDermott and McGough: A History of Photography, Robert Heinecken: A Material History and co-author of Vik Muniz: Seeing is Believing and Dressed for Thrills: 100 Years of Halloween Costume and Masquerade. In 2005, Durant co-curated and co-authored Blur of the Otherworldly: Contemporary Art, Technology and the Paranormal. Durant was co-curator of Some Assembly Required: Collage Culture in Post-War America in 2002 and in 2008, he curated Notes on Monumentality at the Baltimore Museum of Art. He has served on the faculties of the School of the Art Institute of Chicago, UCLA, the University of New Mexico, Syracuse University, and the Milton Avery Graduate School for the Arts at Bard College. He has received grants and fellowships from the National Endowment for the Arts, the Fleishhacker Foundation, the Center for Creative Photography, the Illinois Arts Council, and the MacDowell Colony. Professor Durant received his B.F.A. from Massachusetts College of Art and M.F.A. from the San Francisco Art Institute. Support Real Photo Show with Michael Chovan-Dalton by contributing to their tip jar: https://tips.pinecast.com/jar/real-photo-show

Self Portrait, Nicholas Buffon Nicholas Buffon (b. 1987) is a painter and sculptor who lives and works in New York. Buffon's research-based practice centers on community, history, memorial, and remembrance. Employing both 2D and 3D techniques, Buffon memorializes queer locations and the minutiae of an ever changing urban landscape, focusing on details of place and the impact it has on a community as a whole. Recent solo exhibitions include Marinaro (2022), a survey exhibition at Poets House, NYC (2019), Callicoon Fine Arts (2019 & 2016), and Freddy, Baltimore, MD (2014). In 2018, he participated in FRONT International: Cleveland Triennial for Contemporary Art, Akron Museum of Art; and Spatial Flux: Contemporary Drawings from the JoAnn Gonzalez Hickey Collection, Gregory Allicar Museum of Art. His work has been included in exhibitions at the Jewish Museum, New York; the Museum of Contemporary Art Detroit (MOCAD), Michigan; the Weatherspoon Art Museum, Greensboro, North Carolina; QT Gallery; The Hole, Foxy Production, and Shoot the Lobster. His work can be found in public collections including the Rubell Family Collection, Miami; the Kadist Foundation, San Francisco; and the Akron Art Museum, Ohio. He attended the School of the Museum of Fine Arts in Boston, MA (BFA, 2009), and the Milton Avery Graduate School of the Arts, Bard College, in Annandale-on-Hudson, NY (MFA, 2012).  Nicholas Buffon,  Caution Men Working, 2022 Acrylic on panel 17.5 x 14 inches 44.5 x 35.6 cm. Image © Nicholas Buffon, courtesy the artist and Marinaro, New York Nicholas Buffon,  Han's Deli (the Remains of Pfaff's), 2019 Acrylic paint, gouache, carbon transfer and primer on maple panel 16.25 x 10.75 x .75 inches 41.3 x 27.3 x 1.9 cm. Image © Nicholas Buffon, courtesy the artist and Marinaro, New York. Nicholas Buffon,  B&H Dairy, 2018 Foam core, Bristol paper, acrylic paint, Sobo glue, superglue, sculpey and pins 22 x 20 x 10 inches 55.9 x 50.8 x 25.4 cm, Image © Nicholas Buffon, courtesy the artist and Marinaro, New York.

Subject, the fourth episode of the series Ages of Receivership: On Generous Listening, is based on a talk by Bill Dietz, composer, writer, and co-chair of the Music/Sound Department in Bard College's Milton Avery Graduate School of the Arts in New York. Within the setting of his talk he speaks to the audience unamplified, reflecting on the power of the structural and infrastructural preconditions of audibility in spaces specially designed and equipped for talks and presentation. The podcast series Ages of Receivership: On Generous Listening emerges from the Spring 2022 Master Symposium, at the Institute Art Gender Nature HGK FHNW, moderated by Chus Martínez and Quinn Latimer, in collaboration with Vuslat Foundation.

Subject, the fourth episode of the series Ages of Receivership: On Generous Listening, is based on a talk by Bill Dietz, composer, writer, and co-chair of the Music/Sound Department in Bard College's Milton Avery Graduate School of the Arts in New York. Within the setting of his talk he speaks to the audience unamplified, reflecting on the power of the structural and infrastructural preconditions of audibility in spaces specially designed and equipped for talks and presentation. The podcast series Ages of Receivership: On Generous Listening emerges from the Spring 2022 Master Symposium, at the Institute Art Gender Nature HGK FHNW, moderated by Chus Martínez and Quinn Latimer, in collaboration with Vuslat Foundation.

Kyle Thurman (b. 1986, West Chester, PA) lives and works in Brooklyn, New York. In 2016 he received an MFA in painting from the Milton Avery Graduate School of the Arts at Bard College. From 2011 to 2012, Thurman studied with Christopher Williams and Peter Doig as a guest student at the Kunstakademie Dusseldorf. In 2009 he received his BA in Film Studies and Visual Arts from Columbia University. Most recently, Thurman was included in the 2019 Whitney Biennial curated by Rujeko Hockley and Jane Panetta; his work is now included in the permanent collection of the Whitney Museum of American Art. Other recent solo and group exhibitions include Central Fine, Miami Beach, FL; The Meeting, New York, NY; Sophie Tappeiner, Vienna, Austria; 1301PE, Los Angeles, CA; Off Vendome, New York, NY; The Cleveland Triennial, Cleveland, OH; Parapet Real Humans, St. Louis, MO; Hannah Hoffman Gallery, Los Angeles, CA; Cookie Butcher, Antwerp, Belgium; Office Baroque, Brussels, Belgium; Kostyal, London, England; Benevento, New York, NY; OFFSITE, New York, NY; Bodega, New York, NY; MOCA Tucson, Tucson, AZ; Fluxia Gallery, Milan, Italy; Laurel Gitlen, New York, NY; Dickinson Gallery, New York, NY; Galeria Marta Cervera, Madrid, Spain; Lisa Cooley and Laurel Gitlen, New York, NY; Room East, New York, NY; Middlemarch, Brussels, Belgium; Nudashank, Baltimore, MA; Shoot the Lobster, Miami, FL; Maison Particuliere, Brussels, Belgium; West Street Gallery, New York NY; Eleven Rivington, New York, NY; Clearing, Brussels, Belgium; M and B Art, Los Angeles, CA; Martos Gallery, New York, NY; Printed Matter, New York, NY; and The Mercantile Fiction Library, New York, NY among others. The artist's upcoming exhibitions include Central Fine, Miami Beach, FL and Sophie Tappeiner, Vienna, Austria. Kyle Thurman Dream Police (My neck) 2022 Acrylic dispersion, gouache, oil, and watercolor on PVA primed paper and Dibond panel in artist's frame 49 7/8 x 73 7/8 x 2 7/8 in 126.7 x 187.6 x 7.3 cm Image courtesy the artist and David Lewis. Kyle Thurman Forest (our shadow) 2022 Gouache, graphite, oil, and watercolor on PVA primed paper and Dibond panel in artist's frame 49 7/8 x 73 7/8 x 2 7/8 in 126.7 x 187.6 x 7.3 cm. Image courtesy the artist and David Lewis. Kyle Thurman Crown (model monument, emotion) 2022 with altar by Lesser Miracle Patinated bronze and wood Sculpture Dimensions: 21 1/10 x 21 1/10 x 21 1/10 in 53.6 x 53.6 x 53.6 cm Altar Dimensions: 30 x 70 x 33 in 76.2 x 177.8 x 83.82 cm. Image courtesy the artist and David Lewis.

Marley Freeman Portrait by Sarah Rice, The New York Times Marley Freeman is a New York-based artist who combines the disciplines of abstract and representational painting. Her unique facture is characterized by the hand-mixed gesso, acrylic, and oils she uses to create meticulous, psychologically-charged color fields. Through this technical process, she studies the ways in which paint “wants to perform.” “Pigments have their own ways of acting,” Freeman says, “and I became obsessed with learning their traits.” Freeman's distinct vocabulary of forms is made up of brushy strokes, color washes, and shapes that freely transform across the picture plane. The influence of textile design is evident in her close attention to the textural subtleties of her paints, and her reverence for their surface effects—their impressions in the warp and weft of the canvas. Freeman completed her MFA at the Milton Avery Graduate School of Arts at Bard College, New York, and her BFA at the School of the Art Institute of Chicago. Freeman's work can be found in the collections of the Whitney Museum of American Art, New York, New York; RISD Museum, Providence, Rhode Island; the San Antonio Museum of Art, San Antonio, Texas; and the Colorado University Art Museum, Bolder, Colorado. Marley Freeman, tuned to existence, 2021, Oil and acrylic on linen, 8⅛ x 9⅛ inches; 20.65 x 23.19 cm, 9¼ x 10¼ inches; 23.5 x 26 cm (framed) Marley Freeman, a self area, 2021, Oil and acrylic on linen, 54 x 54⅛ inches; 137.2 x 137.5 cm, 54¾ x 54⅞ inches; 139.1 x 139.4 cm (framed)  

Large Animals (Catapult) Jess Arndt's striking debut collection confronts what it means to have a body. Boldly straddling the line between the imagined and the real, the masculine and the feminine, the knowable and the impossible, these twelve stories are an exhilarating and profoundly original expression of voice. In "Jeff," Lily Tomlin confuses Jess for Jeff, instigating a dark and hilarious identity crisis. In "Together," a couple battles a mysterious STD that slowly undoes their relationship, while outside a ferocious weed colonizes their urban garden. And in "Contrails," a character on the precipice of a seismic change goes on a tour of past lovers, confronting their own reluctance to move on.  Arndt's subjects are canny observers even while they remain dangerously blind to their own truest impulses. Often unnamed, these narrators challenge the limits of language--collectively, their voices create a transgressive new formal space that makes room for the queer, the nonconforming, the undefined. And yet, while they crave connection, love, and understanding, they are constantly at risk of destroying themselves. Large Animals pitches toward the heart, pushing at all our most tender parts--our sex organs, our geography, our words, and the tendons and nerves of our culture. Praise for Large Animals"Reading Arndt is like walking toward a shimmering desert mirage and being met with a cloud of acid instead of an oasis of cool water. . . . A deeply transgressive, riveting shot out of the gate. Arndt is one to watch."--Kirkus Reviews  "Arndt's short stories are delicious flights of fancy, or obsession, or fertile curiosity--or, more accurately, some beguiling combination of all three...This is a playful and provocative collection, full of sly, deft turns of phrase and striking imagery."--Publishers Weekly "Arndt tells stories that resemble handfuls of ribbons--vibrant, overlapping, tangled, seemingly more middles than beginnings and endings. . . . Arndt's keen, wild stories are truly original, and readers will hope for more."--Booklist Jess Arndt received her MFA at the Milton Avery Graduate School of the Arts at Bard College, and was a 2013 Graywolf SLS Fellow and 2010 Fiction Fellow at the New York Foundation of the Arts. Her writing has appeared in Fence, Bomb, Aufgabe, Parkett, and Night Papers, and in her manifesto for the Knife's Shaking the Habitual world tour. She is a co-founder of New Herring Press, dedicated to publishing prose and polemics. She lives and works in Los Angeles. Maggie Nelson ​is ​the author of nine books of poetry and prose​, many of which have become cult classics which defy classification​. Her nonfiction titles include the National Book Critics Circle Award winner and New York Timesbestseller The Argonauts (2015), The Art of Cruelty: A Reckoning (2011; a New York Times Notable Book of the Year), Bluets (2009; named by Bookforum as one of the top 10 best books of the past 20 years), The Red Parts​: Autobiography of a Trial​ (​​2007,​ reissued ​in​ 2016), and Women, the New York School, and Other True Abstractions (2007). Her poetry titles include Something Bright, Then Holes (2007) and Jane: A Murder (2005; finalist for the PEN/ Martha Albrand Art of the Memoir). She has also been the recipient of a Guggenheim Fellowship in Nonfiction, an NEA in Poetry, an Innovative Literature Fellowship from Creative Capital, and an Arts Writers Fellowship from the Andy Warhol Foundation. She holds a PhD in English Literature from the Graduate Center of the City University of New York, and has taught literature, writing, art, criticism and theory at the New School, Pratt Institute, Wesleyan ​University, and CalArts. In 2016 she was awarded a MacArthur “genius” Fellowship. She lives in Los Angeles.

27 Contexts –An Anecdotal History in Photography by Mark Alice Durant was published by Saint Lucy Books (January, 2017) with 288 pages and 90 Color and black and white images. 27 Contexts is a series of linked essays that examine how photographs are inextricably bound in our personal and collective histories. Beginning with the author’s childhood obsession with his parents’ wedding album through a lifetime making photographs, teaching, and writing about photography, Durant’s narrative weaves memoir with photographic history and theory. Illustrated with a broad spectrum of images from family snapshots to Hubble space imagery, to the work of artists such as Josef Koudelka, Julia Margaret Cameron, Larry Sultan, Maya Deren, Odilon Redon, Nan Goldin, David Wojnarowicz and Chris Marker, 27 Contexts describes a life immersed in the quotidian, the political, and the enigmatic aspects of photography. Durant has contributed to numerous catalogs, monographs and anthologies including The Passionate Camera: Photography and Bodies of Desire, The Gothic, Jimmie Durham and Marco Breuer: Early Recordings. He is author of McDermott and McGough: A History of Photography, Robert Heinecken: A Material History and co-author of Vik Muniz: Seeing is Believing and Dressed for Thrills: 100 Years of Halloween Costume and Masquerade. In 2005, Durant co-curated and co-authored Blur of the Otherworldly: Contemporary Art, Technology and the Paranormal. He has served on the faculties of the School of the Art Institute of Chicago, UCLA, the University of New Mexico, Syracuse University, and the Milton Avery Graduate School for the Arts at Bard College, he is now Professor of Photography at the University of Maryland School of Visual Arts. 27 Contexts – An Anecdotal History in Photography is available through the publisher’s website: https://saint-lucy.com/shop/27-contexts/ . Learn more about your ad choices. Visit megaphone.fm/adchoices

27 Contexts –An Anecdotal History in Photography by Mark Alice Durant was published by Saint Lucy Books (January, 2017) with 288 pages and 90 Color and black and white images. 27 Contexts is a series of linked essays that examine how photographs are inextricably bound in our personal and collective histories. Beginning with the author’s childhood obsession with his parents’ wedding album through a lifetime making photographs, teaching, and writing about photography, Durant’s narrative weaves memoir with photographic history and theory. Illustrated with a broad spectrum of images from family snapshots to Hubble space imagery, to the work of artists such as Josef Koudelka, Julia Margaret Cameron, Larry Sultan, Maya Deren, Odilon Redon, Nan Goldin, David Wojnarowicz and Chris Marker, 27 Contexts describes a life immersed in the quotidian, the political, and the enigmatic aspects of photography. Durant has contributed to numerous catalogs, monographs and anthologies including The Passionate Camera: Photography and Bodies of Desire, The Gothic, Jimmie Durham and Marco Breuer: Early Recordings. He is author of McDermott and McGough: A History of Photography, Robert Heinecken: A Material History and co-author of Vik Muniz: Seeing is Believing and Dressed for Thrills: 100 Years of Halloween Costume and Masquerade. In 2005, Durant co-curated and co-authored Blur of the Otherworldly: Contemporary Art, Technology and the Paranormal. He has served on the faculties of the School of the Art Institute of Chicago, UCLA, the University of New Mexico, Syracuse University, and the Milton Avery Graduate School for the Arts at Bard College, he is now Professor of Photography at the University of Maryland School of Visual Arts. 27 Contexts – An Anecdotal History in Photography is available through the publisher’s website: https://saint-lucy.com/shop/27-contexts/ . Learn more about your ad choices. Visit megaphone.fm/adchoices

27 Contexts –An Anecdotal History in Photography by Mark Alice Durant was published by Saint Lucy Books (January, 2017) with 288 pages and 90 Color and black and white images. 27 Contexts is a series of linked essays that examine how photographs are inextricably bound in our personal and collective histories. Beginning with the author’s childhood obsession with his parents’ wedding album through a lifetime making photographs, teaching, and writing about photography, Durant’s narrative weaves memoir with photographic history and theory. Illustrated with a broad spectrum of images from family snapshots to Hubble space imagery, to the work of artists such as Josef Koudelka, Julia Margaret Cameron, Larry Sultan, Maya Deren, Odilon Redon, Nan Goldin, David Wojnarowicz and Chris Marker, 27 Contexts describes a life immersed in the quotidian, the political, and the enigmatic aspects of photography. Durant has contributed to numerous catalogs, monographs and anthologies including The Passionate Camera: Photography and Bodies of Desire, The Gothic, Jimmie Durham and Marco Breuer: Early Recordings. He is author of McDermott and McGough: A History of Photography, Robert Heinecken: A Material History and co-author of Vik Muniz: Seeing is Believing and Dressed for Thrills: 100 Years of Halloween Costume and Masquerade. In 2005, Durant co-curated and co-authored Blur of the Otherworldly: Contemporary Art, Technology and the Paranormal. He has served on the faculties of the School of the Art Institute of Chicago, UCLA, the University of New Mexico, Syracuse University, and the Milton Avery Graduate School for the Arts at Bard College, he is now Professor of Photography at the University of Maryland School of Visual Arts. 27 Contexts – An Anecdotal History in Photography is available through the publisher’s website: https://saint-lucy.com/shop/27-contexts/ . Learn more about your ad choices. Visit megaphone.fm/adchoices

27 Contexts –An Anecdotal History in Photography by Mark Alice Durant was published by Saint Lucy Books (January, 2017) with 288 pages and 90 Color and black and white images. 27 Contexts is a series of linked essays that examine how photographs are inextricably bound in our personal and collective histories. Beginning with the author’s childhood obsession with his parents’ wedding album through a lifetime making photographs, teaching, and writing about photography, Durant’s narrative weaves memoir with photographic history and theory. Illustrated with a broad spectrum of images from family snapshots to Hubble space imagery, to the work of artists such as Josef Koudelka, Julia Margaret Cameron, Larry Sultan, Maya Deren, Odilon Redon, Nan Goldin, David Wojnarowicz and Chris Marker, 27 Contexts describes a life immersed in the quotidian, the political, and the enigmatic aspects of photography. Durant has contributed to numerous catalogs, monographs and anthologies including The Passionate Camera: Photography and Bodies of Desire, The Gothic, Jimmie Durham and Marco Breuer: Early Recordings. He is author of McDermott and McGough: A History of Photography, Robert Heinecken: A Material History and co-author of Vik Muniz: Seeing is Believing and Dressed for Thrills: 100 Years of Halloween Costume and Masquerade. In 2005, Durant co-curated and co-authored Blur of the Otherworldly: Contemporary Art, Technology and the Paranormal. He has served on the faculties of the School of the Art Institute of Chicago, UCLA, the University of New Mexico, Syracuse University, and the Milton Avery Graduate School for the Arts at Bard College, he is now Professor of Photography at the University of Maryland School of Visual Arts. 27 Contexts – An Anecdotal History in Photography is available through the publisher’s website: https://saint-lucy.com/shop/27-contexts/ . Learn more about your ad choices. Visit megaphone.fm/adchoices

Mark and I met at Milos pub on Talbot Street in London Ontario.  Mark recently returned from a visit to the Detroit Institute of the Arts and the Museum of Contemporary Art in Detroit (MOCAD) as well. We had a two part conversation about what he saw and about my work as a student and how things tied together.  At the Detroit Institute, Mark and his girlfriend Ashley saw works by Claes Oldenburg (he makes huge sculptures of everyday objects, Mark saw an outlet, but he also made a clothespin, needle and thread, lipstick), by Lichtenstein (Brushstroke number something, which we talked about in my Drawing class, in relation to "scale." We are learning about 'scale') by Rothko, and others. He also saw an exhibit at the Museum of contemporary Arts by Latin American artists and one piece struck a chord with him. The exhibit is called "The United States of Latin America" and assembles over 50 artists from Latin America. Mark described a piece that was done right inside the walls of the gallery and it reminded me of my experience with a visiting artist Duane Linklater. In the podcast I said that Duane was Oskago but in fact he is Omaskeko, also, he graduated from the Milton Avery Graduate School of Art at Bard College in Upstate New York but did his undergrad at UofA not at the University of Calgary (I mix them up all the time), and the piece I was referring to is called it means it is raining and it is at the JCA Philadelphia. In this piece, Duane wanted to find the drawings of an artist named Kimowan Metchewais. Linklater sanded the walls of the gallery in order to find the old drawings. It is very wonderful when somehow things seem to be interconnected.  The noise in the Milos pub is a bit loud but I hope you enjoy our conversations. Please feel free to comment and if you feel like joining us, let us know!!

April 9, 2015 Teresa Hubbard and Alexander Birchler have been working collaboratively in video, photography, and sculpture since 1990. Their work invites suggestive, open-ended reflections on memory, place, and cinema. Both are graduate faculty members at the Milton Avery Graduate School of the Arts, Bard College, and Hubbard is a Professor in the Department of Art and Art History at the University of Texas at Austin. In Conversation with Senior Curator of Modern and Contemporary Art Vesela Sretenović. In collaboration with The George Washington University.

Monday Reading Series Mark Johnson lives in Philadelphia. He hosts a reading series at his book and record shop, Hiding Place. Recent publications include Dream of a Like Place (SUS Press), rful (Lulu), and Gruon BS (Make Now). His first full-length is due out from Make Now in the fall of 2014. Claire Wilcox is a writer based in New York City. Recent works of poetry and criticism have appeared in/on BOMBlog, 98edition's Makhzin, and No Dear. She is a recent graduate of the Milton Avery Graduate School of the Arts. Her first chapbook Change, Changes & .01 and Change is available from Sus Press in Australia and the US.

If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to digicomm@uchicago.edu. Ann Lauterbach, the David and Ruth Schwab Professor of Languages and Literature; Faculty, Milton Avery Graduate School of the Arts, Bard College; and the University of Chicago's Sherry Poet-in-Residence, 2012-2013, gives a lecture on her poetry as a part of the The Pearl Andelson Sherry Memorial Poetry Reading and Lecture series. Ann Lauterbach has published several volumes of poetry, including Many Times, but Then (1979), Before Recollection (1987), Clamor (1991), And, for Example (1994), On a Stair (1997), If in Time (2001), Hum (2005), and Or to Begin Again (2009), which was a finalist for the National Book Award. As described by Thomas Fink in the Boston Review: “Lauterbach has found new forms for expressing the continuousness of change: its ways of summoning and disrupting intimacy, of evoking and subverting the position of perceptions and the framing and decentering play of language itself.” In addition to poetry, Lauterbach has published a book of essays, The Night Sky: Writings on the Poetics of Experience (2005). She has received fellowships from the Guggenheim Foundation, the Ingram Merrill Foundation, and the MacArthur Foundation. For more than 15 years, she has taught at Bard College and codirected the Writing Division of the MFA program. She has also taught at the Graduate Center of the City University of New York, Columbia University, Princeton University, and the University of Iowa. Learn more at creativewriting.uchicago.edu/writers/sherry-memorial

If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to digicomm@uchicago.edu. Ann Lauterbach, the David and Ruth Schwab Professor of Languages and Literature; Faculty, Milton Avery Graduate School of the Arts, Bard College; and the University of Chicago's Sherry Poet-in-Residence, 2012-2013, gives a lecture on her poetry as a part of the The Pearl Andelson Sherry Memorial Poetry Reading and Lecture series. Ann Lauterbach has published several volumes of poetry, including Many Times, but Then (1979), Before Recollection (1987), Clamor (1991), And, for Example (1994), On a Stair (1997), If in Time (2001), Hum (2005), and Or to Begin Again (2009), which was a finalist for the National Book Award. As described by Thomas Fink in the Boston Review: “Lauterbach has found new forms for expressing the continuousness of change: its ways of summoning and disrupting intimacy, of evoking and subverting the position of perceptions and the framing and decentering play of language itself.” In addition to poetry, Lauterbach has published a book of essays, The Night Sky: Writings on the Poetics of Experience (2005). She has received fellowships from the Guggenheim Foundation, the Ingram Merrill Foundation, and the MacArthur Foundation. For more than 15 years, she has taught at Bard College and codirected the Writing Division of the MFA program. She has also taught at the Graduate Center of the City University of New York, Columbia University, Princeton University, and the University of Iowa. Learn more at creativewriting.uchicago.edu/writers/sherry-memorial

If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to digicomm@uchicago.edu. Ann Lauterbach, the David and Ruth Schwab Professor of Languages and Literature; Faculty, Milton Avery Graduate School of the Arts, Bard College; and the University of Chicago's Sherry Poet-in-Residence, 2012-2013, reads her poetry as a part of the The Pearl Andelson Sherry Memorial Poetry Reading and Lecture series. Ann Lauterbach has published several volumes of poetry, including Many Times, but Then (1979), Before Recollection (1987), Clamor (1991), And, for Example (1994), On a Stair (1997), If in Time (2001), Hum (2005), and Or to Begin Again (2009), which was a finalist for the National Book Award. As described by Thomas Fink in the Boston Review: “Lauterbach has found new forms for expressing the continuousness of change: its ways of summoning and disrupting intimacy, of evoking and subverting the position of perceptions and the framing and decentering play of language itself.” In addition to poetry, Lauterbach has published a book of essays, The Night Sky: Writings on the Poetics of Experience (2005). She has received fellowships from the Guggenheim Foundation, the Ingram Merrill Foundation, and the MacArthur Foundation. For more than 15 years, she has taught at Bard College and codirected the Writing Division of the MFA program. She has also taught at the Graduate Center of the City University of New York, Columbia University, Princeton University, and the University of Iowa.

If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to digicomm@uchicago.edu. Ann Lauterbach, the David and Ruth Schwab Professor of Languages and Literature; Faculty, Milton Avery Graduate School of the Arts, Bard College; and the University of Chicago's Sherry Poet-in-Residence, 2012-2013, reads her poetry as a part of the The Pearl Andelson Sherry Memorial Poetry Reading and Lecture series. Ann Lauterbach has published several volumes of poetry, including Many Times, but Then (1979), Before Recollection (1987), Clamor (1991), And, for Example (1994), On a Stair (1997), If in Time (2001), Hum (2005), and Or to Begin Again (2009), which was a finalist for the National Book Award. As described by Thomas Fink in the Boston Review: “Lauterbach has found new forms for expressing the continuousness of change: its ways of summoning and disrupting intimacy, of evoking and subverting the position of perceptions and the framing and decentering play of language itself.” In addition to poetry, Lauterbach has published a book of essays, The Night Sky: Writings on the Poetics of Experience (2005). She has received fellowships from the Guggenheim Foundation, the Ingram Merrill Foundation, and the MacArthur Foundation. For more than 15 years, she has taught at Bard College and codirected the Writing Division of the MFA program. She has also taught at the Graduate Center of the City University of New York, Columbia University, Princeton University, and the University of Iowa.

Margaret De Wys is a professor at Bard College, Milton Avery Graduate School of the Arts as well as a composer and sound installation artist. A dramatic shift in her life set her on a pilgrimage to Ecuador and to becoming a world traveler and explorer dedicated to the preservation and transmission of traditional wisdom […] The post A Women’s Journey of Healing appeared first on Future Primitive Podcasts.