Podcasts about Modern art

Fluent Fiction - Hebrew: From Pixels to Paint: A Day of Discovery in Tel Aviv Find the full episode transcript, vocabulary words, and more:fluentfiction.com/he/episode/2026-06-13-22-34-01-he Story Transcript:He: בים של ציורים צבעוניים ופסלים מרהיבים, עונה האביב שירדה בלב פרחיה על תל אביב, נאומי נאנחה עמוקות, היא הסתובבה באולמות של מוזיאון האמנות.En: Amid a sea of colorful paintings and stunning sculptures, spring descended on Tel Aviv with the song it brought in its flowers.He: היא הייתה מורה בחטיבת ביניים, אך אהבתה האמיתית הייתה אמנות.En: Naomi sighed deeply, as she wandered through the halls of the art museum.He: אלי, בנה הצעיר, היה לידם.En: She was a middle school teacher, but her true love was art.He: הוא הביט במכשיר הנייד שלו, מנותק מהסביבה.En: Eli, her young son, was beside her.He: "אלי," היא אמרה בקול רך, "בוא ננסה משהו.En: He was absorbed in his mobile device, oblivious to the surroundings.He: אני רוצה שתמצא ציור אחד שמדבר אליך.En: "Eli," she said softly, "let's try something.He: "אלי עצר לרגע, הרים את עיניו מהמכשיר ושאל, "למה?En: I want you to find one painting that speaks to you."He: ""כי אני רוצה שתראה את העולם שאני רואה.En: Eli paused for a moment, lifted his eyes from the device, and asked, "Why?"He: אולי תוכל למצוא משהו חדש.En: "Because I want you to see the world as I see it.He: "אלי כיווץ את מצחו, אך אחרי רגעים של שתיקה, הוא החליף את המבט במוזאון הבוהק באור טבעי.En: Maybe you'll find something new."He: הצללים שיחקו על הקירות והאולמות היו שקטים ורגועים.En: Eli furrowed his brow, but after a few moments of silence, he shifted his gaze around the museum, which was bathed in natural light.He: נאומי הלכה לצידו, מסתכלת על היצירות, חלקן עתיקות, חלקן מודרניות.En: Shadows danced on the walls, and the halls were quiet and serene.He: בפינת האולם, עיניו של אלי נעצרו על יצירה מודרנית.En: Naomi walked alongside him, looking at the artwork, some ancient, some modern.He: צבעים עזים, דמויות חזקות.En: In the corner of the hall, Eli's eyes caught on a modern piece.He: הציור רעד בתוכו, משהו תפס את תשומת ליבו.En: Bold colors, strong figures.He: "זה," הוא אמר בפשטות.En: The painting resonated within him, something grabbed his attention.He: נאומי הופתעה ושאלה, "למה דווקא זה?En: "This one," he simply said.He: ""זה צבעוני, אבל יש בזה גם חושך.En: Surprised, Naomi asked, "Why this one?"He: אני מרגיש שזה אני, לפעמים מלא חיים ולפעמים.En: "It's colorful, but there's also darkness in it.He: לא," השיב אלי בקול אילם כמעט.En: I feel like it's me, sometimes full of life and sometimes... not," Eli replied in an almost silent voice.He: היא חייכה אליו, חיוך קטן של הבנה.En: She smiled at him, a small smile of understanding.He: "אני לא ראיתי את זה ככה," היא לחשה.En: "I didn't see it that way," she whispered.He: הם עזבו את המוזיאון בצעדים שווים ובלב שמח.En: They left the museum with even steps and cheerful hearts.He: הם דיברו על עוד יצירות, אך הפעם הם הקשיבו אחד לשני באמת.En: They talked about more artworks, but this time they really listened to each other.He: בדרך חזרה, נאומי הסתכלה על אלי ואמרה, "מה את אומר על עוד יום כיף יחד?En: On the way back, Naomi looked at Eli and said, "How about another fun day together?"He: "אלי חייך קלות, "כן, נשמע טוב.En: Eli smiled slightly, "Yeah, sounds good."He: "באותו רגע, נאומי הבינה שיש צורך להתקרב לאלי, לא רק דרך האמנות שהיא אהבה, אלא גם דרך הדברים שעניינו אותו.En: At that moment, Naomi realized the need to connect with Eli, not just through the art she loved, but also through the things that interested him.He: "סיכמנו," אמרה, והחזיקה לו את היד ללחיצת יד תקיפה.En: "Agreed," she said, giving his hand a firm handshake.He: הם לא חזרו להיות אותו הדבר.En: They wouldn't be the same again.He: זה היה שינוי קטן, אך משמעותי.En: It was a small but significant change. Vocabulary Words:amid: ביםdescended: שירדהsighed: נאנחהwandered: הסתובבהoblivious: מנותקpaused: עצרfurrowed: כיווץgaze: מבטbathed: בוהקshadows: צלליםdanced: שיחקוresonated: רעדattention: תשומת לבsurprised: הופתעהdarkness: חושךwhispered: לחשהcheerful: שמחיםconnect: להתקרבfirm: תקיפהsignificant: משמעותיartworks: יצירותserene: רגועיםdevices: מכשיריםfigures: דמויותsilence: שתיקהbrow: מצחancient: עתיקותmodern: מודרניותunderstanding: הבנהlisten: הקשיבוBecome a supporter of this podcast: https://www.spreaker.com/podcast/fluent-fiction-hebrew--5818690/support.

Fluent Fiction - Danish: Mikkel's Bold Leap: Transforming Doubt into Artistry Find the full episode transcript, vocabulary words, and more:fluentfiction.com/da/episode/2026-06-13-22-34-01-da Story Transcript:Da: Det var en solrig sommerdag ved Louisiana Museum of Modern Art.En: It was a sunny summer day at the Louisiana Museum of Modern Art.Da: Solens stråler spillede på vandoverfladen, og en let brise snurrede gennem skulpturhaven.En: The sun's rays danced on the water's surface, and a gentle breeze swirled through the sculpture garden.Da: Mikkel stod nervøst foran museets store glasfacade sammen med sine klassekammerater.En: Mikkel stood nervously in front of the museum's large glass facade with his classmates.Da: Han holdt sin projektmappe tæt til sig, som om den kunne beskytte ham mod den kommende udfordring.En: He held his project folder close to him, as if it could shield him from the coming challenge.Da: Ida og Elias snakkede ivrigt om deres projekter.En: Ida and Elias chatted eagerly about their projects.Da: "Mit maleri viser, hvordan lys og skygge skaber drama," sagde Ida med et selvsikkert smil.En: "My painting shows how light and shadow create drama," said Ida with a confident smile.Da: Elias grinede, "Jeg har lavet en skulptur af genbrugsmaterialer.En: Elias laughed, "I've made a sculpture from recycled materials.Da: Den symboliserer forandring."En: It symbolizes change."Da: Mikkel lyttede stille, bange for, at hans eget projekt ville falme ved siden af deres.En: Mikkel listened quietly, afraid that his own project would pale in comparison to theirs.Da: Museet var fyldt med kunst fra hele verden.En: The museum was filled with art from all over the world.Da: Sammensmeltningen af moderne værker og den danske kystlinjes skønhed gav Mikkel den inspiration, han behøvede.En: The fusion of modern works and the beauty of the Danish coastline gave Mikkel the inspiration he needed.Da: Alligevel greb usikkerheden fat i ham.En: Still, uncertainty took hold of him.Da: Hans projekt virkede pludselig simpelt.En: His project suddenly seemed simple.Da: Kun en serie af farverige abstrakte malerier.En: Just a series of colorful abstract paintings.Da: Men så, en installation fangede hans opmærksomhed.En: But then, an installation caught his attention.Da: Et kreativt samspil af lys og farver, der legede med beskuerens perception.En: A creative interplay of light and colors that played with the viewer's perception.Da: Mikkel blev betaget.En: Mikkel was captivated.Da: Måske skulle han tage en chance?En: Perhaps he should take a chance?Da: Skabe noget uventet?En: Create something unexpected?Da: Det blev Mikkels tur til at præsentere.En: It was Mikkel's turn to present.Da: Han tog en dyb indånding og så på sine lærere og klassekammerater.En: He took a deep breath and looked at his teachers and classmates.Da: "Jeg vil vise, hvordan farver kan ændre vores opfattelse af virkeligheden," sagde han og pegede mod sin installation, der nu inkluderede et lysværk inspireret af det, han havde set tidligere.En: "I want to show how colors can change our perception of reality," he said, pointing to his installation, which now included a light piece inspired by what he had seen earlier.Da: Rummet blev stille, men snart fyldt med hvisken.En: The room went silent, but soon filled with whispers.Da: Mikkel kunne mærke sit hjerte banke hurtigt.En: Mikkel could feel his heart pounding rapidly.Da: Hans lærer, fru Jensen, betragtede værket nøje.En: His teacher, Mrs. Jensen, examined the work closely.Da: "Det er modigt, Mikkel.En: "It is bold, Mikkel.Da: Jeg ser, hvordan du har brugt lys sammen med maleriet.En: I see how you have used light together with the painting.Da: Det skaber noget helt nyt," sagde hun med en varm stemme.En: It creates something entirely new," she said in a warm voice.Da: Ida nikkede.En: Ida nodded.Da: "Det er virkelig inspirerende," mumlede hun, og Elias tilføjede, "Det er anderledes, og jeg kan lide det."En: "It's truly inspiring," she murmured, and Elias added, "It's different, and I like it."Da: Mikkel mærkede en bølge af lettelse og stolthed som aldrig før.En: Mikkel felt a wave of relief and pride like never before.Da: Han smilede bredt for første gang den dag.En: He smiled widely for the first time that day.Da: Han indså, at modet til at tage chancer kunne føre til noget smukt og uventet.En: He realized that the courage to take chances could lead to something beautiful and unexpected.Da: Louisiana havde ikke blot givet ham inspiration til hans projekt, men også en ny tillid til at stole på sine kreative instinkter.En: Louisiana had not only given him inspiration for his project but also a newfound confidence to trust his creative instincts.Da: Havet bruste stille i baggrunden, mens solen sænkede sig over horisonten.En: The sea roared quietly in the background as the sun set over the horizon.Da: Mikkel gik hjem den dag med nyfundet selvtillid og viden om, at hans vej i kunstens verden lige var begyndt.En: Mikkel went home that day with newfound self-assurance and the knowledge that his journey in the world of art had just begun. Vocabulary Words:gentle: letbreeze: brisenervously: nervøstfacade: glasfacadeboosted: opfattetchallenge: udfordringeagerly: ivrigshadow: skyggesymbolizes: symbolisererpale: falmefusion: sammensmeltningcoastline: kystlinjeuncertainty: usikkerhedabstract: abstrakteinstallation: installationinterplay: samspilperception: perceptioncaptivated: betagetunexpected: uventetinspired: inspireretpresent: præsenterebold: modigtreality: virkelighedwhispers: hviskenexamined: betragtederelief: lettelsepride: stolthedcourage: modjourney: vejself-assurance: selvtillid

What does it take to photograph elite athletes pushing their bodies to the point of collapse, or freeze the motion of cars hurtling by at speeds that blur the line between control and catastrophe? Two of our favorite recent podcasts went deep inside those worlds: one with Phil Penman and Kristof Ramon on the brutal beauty of competitive cycling, and the other with Camden Thrasher and Jamey Price on the relentless sensory overload that comes with photographing motor sports. While our video podcast studio gets its finishing touches, we're revisiting our archive for an encore that pairs the best of both sports—from the many stages of suffering baked into professional cycling to the wild mix of visual stimulation and sleep deprivation that comes with shooting a 24-hour endurance race. In each conversation, you'll find sparks of enlightenment that happens when photographers who thrive on adrenaline get a chance to really talk shop. The excerpts here contain the highlights. Yet, the full episodes are also worth your time—links to those are in the timeline below. And make sure to subscribe @BHPodcastNetwork to get our latest updates on YouTube, Instagram, and TikTok. Guests: Phil Penman, Kristof Ramon, Camden Thrasher & Jamey Price Episode Timeline: The Art of Competitive Cycling Photography, with Phil Penman & Kristof Ramon 3:25: Phil Penman's background in competitive cycling and how this informs his photographs of the sport. 5:48: Logistics to shooting competitive cycling and perils of damaging photo gear. 9:21: Creative aspects to competitive cycling photography and how to get impactful shots. 14:00: The many stages of suffering in competitive cycling, and the pride riders take in having this photographed. 20:02: Technical aspects of cycling photography, understanding light, capturing speed, and learning to react intuitively to the action. 25:00: Gaining access and building rapport with athletes and teams. 31:28: The back story to Kristof's book and how he identified suffering as a narrative element. 37:38: Starting out and getting credentials as a competitive cycling photographer. 41:13: Balancing the technical with an emotional response while building in certainties and calculating risk. 50:29: EPISODE BREAK High-Octane Motor Sports Photography, with Camden Thrasher & Jamey Price 53:46: Jamey's start as a jockey, plus comparisons between photographing horse racing and motorsports 55:25: Camden's early years at auto races and exploring the mechanics of his father's film camera. 56:55: The logistics behind working as a motor sports photographer and a race day timeline. 1:10:58: The thrill of endurance racing and how covering these 24-hour races differs from other auto racing events. 1:16:34: Camden and Jamey's go-to gear, and using manual focus for panning shots.  1:23:00: How to capture adverse weather or unique atmospheric conditions for great results.  1:27:15: Camera settings and creative techniques for panning, plus challenges to calculating relative distance combined with speed.  1:33:42: Varied limits to image use, copyright ownership, and licensing images to clients. 1:37:36: Parting advice to fans seeking to become a credentialed motor sport photographer. Guest Bios: British-born, New York-based photographer Phil Penman has documented the ever-changing scene of New York City's streets for more than 25 years. and he has quite a bit of experience in the world of professional cycling himself. In his career as a news and magazine photographer, Phil has photographed major public figures and historical events. His reportage following the 9/11 terrorist attack was featured in major print publications and media broadcasts worldwide, and his work covering New York City's pandemic lockdown is in the collection of the U.S. Library of Congress. In addition to exhibiting at Leica galleries in New York, Washington, D.C., Boston, and London, Phil's signature street photography has appeared in international exhibitions as far afield as Venice, Berlin, and Sydney. He also tours the world teaching photo workshops for Leica Akademie. Phil's books, "Street" published in 2019, and "New York Street Diaries" published in 2023 both became best-sellers and have been featured at New York's Museum of Modern Art. Kristof Ramon is a pro-cycling photographer who covers some of the world's most prestigious races, including the Tour de France, the Giro d' Italia, the Tour of Flanders and Paris Roubaix. Born and raised in Belgium, Kristof discovered photography while attending film school at age 19. He eventually followed his passion for cycling and photography and has focused exclusively on this sport since 2011. Working under the name Kramon, his talent for storytelling and his ability to capture the atmosphere and raw emotion of racing makes his images stand out from typical race photography. Kristof's reputation has earned him the respect and trust of many of the biggest racing teams and riders - which is why he's able to capture such extraordinary in-between moments and behind-the-scenes images. The riders are always his primary focus, as evidenced in his close-up portraits of racers caked in sweat, mud, dust, snow, and grime. Kristof's first book, The Art of Suffering, was released in June 2024 by Laurence King Publishing. Camden Thrasher is a motor sports photographer with a distinctive ability to capture unique scenes of fast action. Growing up in Vancouver, Washington, it was the sound of engines from a nearby racetrack that first drew him to motor sports. After becoming a fixture at the track with his camera during high school, Camden studied automotive design and engineering in college, expecting to work as an engineer or on a pit crew. But the money he was making as a side hustle with his camera convinced him to stick with photography, and he hasn't looked back since. Using a unique slow shutter speed method, perfected over many exposures, Camden revels in showcasing the abstract qualities of gleaming metal, bright lights, and dynamic action that are hallmarks of this sport. Now based out of Atlanta, Georgia, Camden's work has been commissioned by top racing teams and featured in a wide range of media, from print magazines to automotive branding campaigns. Jamey Price is an automotive photographer based in Charlotte, North Carolina, whose motor sports work has taken him to more than 25 countries, and across most of the continental US. Jamey's photography career began while he was competing as a thoroughbred horse racing jockey and exercise rider. During this time, he completed more than 50 races, notching 11 wins in the saddle. His life in horse racing was eventually compiled into the self-published book Chasing: Racing Life in England & Ireland. Yet, in 2011, Jamey's photography career switched from horses to horse-power. Since he began chasing race cars, his images have been published worldwide in magazines, distributed by sports imagery wire services, and featured by top commercial clients. Additionally, Jamey is a LEXAR Elite Artist, since 2014. Stay Connected: Phil Penman Website: https://www.philpenman.com Phil Penman Instagram: https://www.instagram.com/philpenman/ Phil Penman Facebook: https://www.facebook.com/philpenmanphotography/ Phil Penman Twitter: https://x.com/Penmanphoto Phil Penman Wikipedia: https://en.wikipedia.org/wiki/Phil_Penman Kristof Ramon Website: https://kramon.be/ Kristof Ramon Instagram: https://www.instagram.com/kramon_velophoto Kristof Ramon Facebook: https://www.facebook.com/kramon/ Kristof Ramon Twitter: https://x.com/kristoframon Kristof Ramon Photoshelter: https://kramon.photoshelter.com/ Kristof Ramon Flickr: https://www.flickr.com/photos/kristoframon/ Kristof Ramon at Lawrence King Publishing:  https://us.laurenceking.com/products/the-art-of-suffering Camden Thrasher Website: https://www.camdenthrasher.com/ Camden Thrasher Instagram: https://www.instagram.com/camdenthrasher/ Camden Thrasher Facebook: https://www.facebook.com/CTimages/ Camden Thrasher Flickr: https://www.flickr.com/photos/cthrash/  Jamey Price Website: https://www.jameypricephoto.com/ Jamey Price Instagram: https://www.instagram.com/jameypricephoto/ Jamey Price Facebook: https://www.facebook.com/jameypricephoto/ Jamey Price Twitter: https://x.com/jameypricephoto/ Jamey Price YouTube: https://www.youtube.com/jameypricephoto Jamey Price TikTok: https://www.tiktok.com/@jameypricephoto/ Jamey Price Lexar: https://americas.lexar.com/lexar-elite-team/jamey-price/  For more information on our guests and the gear they use, see: www.bhphotovideo.com/explora/podcasts

Episode No. 762 features artist John Akomfrah. The Menil Collection, Houston is showing "John Akomfrah: The Hour of The Dog" through October 11. The work, co-commissioned by the Menil and the Baltimore Museum of Art, explores the history of the US civil rights movement between 1954 and 1963. The presentation was curated by Michelle White and Cecilia Wichmann. Akomfrah is one of the world's most celebrated film-based artists. His work often investigates memory, colonialism, diaspora, and the intersection of time and aesthetics. He has had solo exhibitions at several Smithsonian museums, the San Francisco Museum of Modern Art, and at the Tate Britain. He represented the UK in the 2024 Venice Biennale, a year after the UK honored him with a knighthood. This is Akomfrah's third time on the program. His previous visits were on Episode No. 332 and Episode No. 339. Air date: June 11, 2026.

Roberta Smith is the exemplar of popular art criticism. For almost four decades, Smith was a familiar voice on the arts pages of the New York Times, serving for many of those years as co-lead art critic. Both feared and revered, she is known above all for close looking, precise description, and a style that's accessible but serious. In 2019, she won the Rabkin Award for Lifetime Achievement. Smith moved to New York in the late 1960s, studying at the Whitney's Independent Study Program and meeting her first mentor, the sculptor Donald Judd. In the early 1970s, she worked at the Museum of Modern Art and Paula Cooper Gallery, then began writing for various art magazines. In the 1980s, she began writing for larger audiences at the Village Voice, and then for the Times starting in 1986. Smith retired two years ago. This week, she is back because a film, called House of Criticism, about her and her husband, New York magazine art critic Jerry Saltz, is making its debut at the Tribeca Film Festival. Ben Davis took that as his cue to interview someone who has shaped the worlds of art-making and art-writing so deeply. Smith was nice enough to talk to him about her method, what she thinks people get wrong about the art world, and what she's looking at now.

Roberta Smith is the exemplar of popular art criticism. For almost four decades, Smith was a familiar voice on the arts pages of the New York Times, serving for many of those years as co-lead art critic. Both feared and revered, she is known above all for close looking, precise description, and a style that's accessible but serious. In 2019, she won the Rabkin Award for Lifetime Achievement. Smith moved to New York in the late 1960s, studying at the Whitney's Independent Study Program and meeting her first mentor, the sculptor Donald Judd. In the early 1970s, she worked at the Museum of Modern Art and Paula Cooper Gallery, then began writing for various art magazines. In the 1980s, she began writing for larger audiences at the Village Voice, and then for the Times starting in 1986. Smith retired two years ago. This week, she is back because a film, called House of Criticism, about her and her husband, New York magazine art critic Jerry Saltz, is making its debut at the Tribeca Film Festival. Ben Davis took that as his cue to interview someone who has shaped the worlds of art-making and art-writing so deeply. Smith was nice enough to talk to him about her method, what she thinks people get wrong about the art world, and what she's looking at now.

French art in the late 19th Century was at a crossroads. Between Impressionism and Post-Impressionism and the various Modernist movements that would dominate the early 20th Century, the Turn-of-the-Century was a transitional period. And yet, no movement better embodied this transition than the Nabis, a fringe movement that would ultimately bridge the gap between the two. Tune in this week to discover more about them!

In this episode of ‘My Identity' Professor Colin Graham (Maynooth) is in conversation with Joy Gerrard and Paul Seawright. This episode was recorded live, at Belfast Exposed as part of as part of the BIEN programme — an ongoing series of exhibitions and events under the title “British? Irish? Either? Neither?” sponsored by the Office of Identity and Cultural Expression (OICE). Joy Gerrard lives and works in Belfast. She is known for work that investigates different systems of relations between crowds, architecture and the built environment. Using Japanese ink on paper and canvas Gerrard makes detailed ink works which re-create recent political protests from around the world, including recent work on UK based Brexit demonstrations and political protest in the USA. Professor Paul Seawright OBE is the Deputy Vice-Chancellor at Ulster University. He was Executive Dean of the Faculty of Arts Humanities and Social Sciences for five years and previously Head of Belfast School of Art. Paul has an international profile as an artist and researcher. His work is held in many museum collections including the Irish Museum of Modern Art, the Tate, San Francisco Museum of Modern Art, International Centre of Photography New York, Arts Councils of Ireland, England and Northern Ireland, the UK Government Collection and the Museum of Contemporary Art in Rome. The My Identity series is hosted by Professor Colin Graham, Maynooth. In this series, Colin is in conversation with a range of people whose ideas, work and life experiences shed light on the topic of identity on the Island of Ireland. My Identity is part of the ARINS project. About ARINS Colin Graham is Professor English and formerly Dean of the Faculty of Arts at Maynooth University. His books include Northern Ireland: Thirty Years of Photography, Deconstructing Ireland and Ideologies of Epic. He was editor of The Irish Review from 2004 to 2020. During the Brexit negotiations he created the Twitter account @borderirish and wrote the book I am the Border, so I am, published by HarperCollins. ARINS: Analysing and Researching Ireland North and South brings together experts to provide evidence-based research and analysis on the most significant questions of policy and public debate facing the island of Ireland, north and south. The project publishes, facilitates and disseminates research on the challenges and opportunities presented to the island in a post-Brexit context, with the intention of contributing to an informed public discourse. More information can be found at www.arinsproject.com ARINS is a joint project of The Royal Irish Academy, an all-island body, and the Keough-Naughton Institute for Irish Studies at Notre Dame's Keough School of Global Affairs. My Identity is hosted by Professor Colin Graham. Podcast management and production by Dr Susie Deedigan (University of Notre Dame). With thanks to Conor Patterson and Morgan Blain-Crehan, The Spinner's Mill, Belfast.

In this episode of Franchise Marketing Radio, Lee interviews Matt Ross, CEO and founder of One River School, a modern art education franchise with 15 locations across six states. Drawing from his experience scaling School of Rock, Matt built One River to fill a gap in relevant, contemporary art education for K-12 students and adults. […]

Photography Historian and Curator Audrey Sands joins PhotoWork with Sasha Wolf to discuss her book, Lisette Model: The Jazz Pictures (Eakins Press Foundation). Drawing on years of research, Sands presents Lisette Model's rarely seen archive of photographs of 1950s jazz legends, including Louis Armstrong, Billie Holiday, Duke Ellington, Percy Heath, Miles Davis, and Dizzy Gillespie. Sands and Wolf discuss the rise of fine art photography as a collectible medium in the latter half of the 20th century, the role of museums and institutions in shaping the narrative of photographic history, and the role of the historian in editing and interpreting an artist's work posthumously. https://harvardartmuseums.org/about/press-media/audrey-sands-appointed-associate-curator-of-photography-at-the-harvard-art-museums https://www.instagram.com/audreyleesands/  Audrey Sands is a historian of photography and curator who specializes in twentieth-century American photography.. She holds a Ph.D. and M.Phil. in the History of Art from Yale University, an M.St. in the History of Art and Visual Culture from the University of Oxford, and a B.A. in Art History from Barnard College. Since February 2025, Sands has served as the Richard L. Menschel Associate Curator of Photography at the Harvard Art Museums, where she oversees a collection of approximately 75,000 photographs and time-based media ranging from the early 19th century to the present. Her appointment followed a postdoctoral fellowship as Andrew W. Mellon Postdoctoral Curatorial Fellow in the Department of Photographs at the National Gallery of Art, Washington, D.C. (2022–25), during which she contributed to the exhibitions Gordon Parks: Camera Portraits from the Corcoran Collection (2024–25) and the multi-venue Photography and the Black Arts Movement, 1955–1985 (2025–26). Prior to the NGA, from 2019 to 2022, Sands held the Norton Family Assistant Curator of Photography position at the Center for Creative Photography (CCP), University of Arizona—a joint appointment with Phoenix Art Museum—where her exhibitions included Freedom Must Be Lived: Marion Palfi's America, 1940–1978 (2021–22) and Farewell Photography: The Hitachi Collection of Postwar Japanese Photographs, 1961–1989 (2022). Earlier curatorial positions include the Department of Photographs at The Museum of Modern Art, the National Gallery of Art, and the J. Paul Getty Museum. Sands has been the lead scholar on the work of photographer Lisette Model for over a decade, beginning with her Yale dissertation, “Lisette Model and the Inward Turn of Photographic Modernism.” Her most recent publication, Lisette Model: The Jazz Pictures (Eakins Press Foundation, 2025), realized a suppressed collaboration between Model and Langston Hughes that had been shelved during the McCarthy era, publishing for the first time nearly 200 of Model's approximately 1,500 jazz negatives alongside Hughes's original essay and new scholarship by Sands. Her ongoing research on flash photography—supported by a 2021 Curatorial Research Fellowship from the Andy Warhol Foundation for the Visual Arts—is developing toward a publication and exhibition titled The Shape of Light: History, Ethics, and Aesthetics of Flash Photography.

Episode No. 760 features curators Marko Daniel and Elsa Smithgall, and curator Rachel Vogel. With Matthew Gale and Dolors Rodríguez Roig, Daniel and Smithgall are the co-curators of "Miró and the United States" at the Phillips Collection, Washington, DC. The exhibition explores the exchanges between Joan Miró and the mid-twentieth-century US art scene. Not only did Miró have retrospectives at the Museum of Modern Art, New York in 1941 and 1959, but he traveled to the US seven times between 1947 and 1968, when he made a point of seeing US art and visiting US artists. The exhibition at the Phillips is on view through July 5. The Phillips and the Fundació Joan Miró have published a catalogue; the Phillips offers it for $65. As discussed on the program: Alexander Calder, Calder's Circus, 1926-31; "High Wire: Calder's Circus at 100" at the Whitney Museum of American Art, New York; Joan Miró's Constellations, 1940-41; Joan Miró, Blue Triptych, 1961; and "Miró Mural," exhibition at the Museum of Modern Art, New York, 1948; Vogel is the curator of "Parasol Press: Breaking New Ground," a survey of Parasol Press' 1970-2014 output at the Addison Art Gallery, Andover, Mass. Robert Feldman's Parasol Press came to significance by working with minimalist and conceptualist artist such as Dorothea Rockburne, Sylvia Plimack Mangold, Sol LeWitt, Chuck Close, and more. The exhibition is on view through July 31. Instagram: Rachel Vogel, Tyler Green. Air date: May 28, 2026.

Episode 528 / Marina AdamsMarina Adams is a painter based in New York, NY, Bridgehampton, New York, and Parma, Italy. She earned degrees from Tyler School of Art, Temple University, Philadelphia, PA and Columbia University, New York, NY. Her solo exhibitions include Cosmic Repair at Timothy Taylor, The Art of Living Slowly and Mother Tongue at Galerie Thomas Schulte, Berlin,  Devals x Salon 94, Paris, France, To a World Full of Others, von Bartha, Basel, Switzerland; Flower Power at Copenhagen and Deep Breathing at S-Chanf, Switzerland, Stephen Friedman Galleryin London,  FOCUS: Marina Adams at The Modern Art Museum, Fort Worth, Texas, Anemones and Soft Power at Salon 94 and many others.She is in the public collection of the Buffalo AKG Art Museum, the Longlati Foundation in Shanghai, the Metropolitan Museum of Art, the Modern Art Museum of Fort Worth and the Museum of Modern Art in New York, among others. She is a 2016 recipient of the John Simon Guggenheim Memorial Fellowship and received the 2018 Award of Merit Medal for Painting from the American Academy of Arts and Letters.Adams has collaborated with poets Norma Cole, Charles Bernstein, Vincent Katz, Leslie Scalapino and Christian Prigent and has published prints with TwoPalms NY, ULAE, Niels Borch Jensen Copenhagen and VanDeb Editions.

Arthur Jafa is probably the most revered artist of the last decade. Born in 1960, in Tupelo, Mississippi, he came up through the world of cinema. But Jafa also found his way into the art world with his difficult video work and strange objects. In art, his reputation went viral in 2016 with the video, Love Is the Message, the Message Is Death. It is a collage of found footage from social media that included police violence against Black people and also moments of viral celebration and joy. It was both experimental and accessible, and drew huge crowds when it was first shown at Gavin Brown's Enterprise in New York. A follow-up film, called The White Album, won the Golden Lion for Best Artist as part of the main show of the Venice Biennale back in 2019. And this month, Jafa is back in Venice, this time in a two-person show called “Helter Skelter,” curated by Nancy Spector, pairing him with the famous artist Richard Prince, also known for using found and appropriated imagery to disorienting effect. That show opened alongside the Venice Biennale at the Prada Foundation, and was one of the few things during the opening weekend that everyone could agree was a must-see event. Jafa has also curated a show currently on view at the Museum of Modern Art, called “Less Is Morbid,” a deliberately packed display of his favorite art. He is also one of the winners of this year's Art Basel Award, to be honored at that fair. In the middle of all this intense activity, Jafa agreed to talk to Artnet's Ben Davis about his art, his view of art history, and what comes next.

Arthur Jafa is probably the most revered artist of the last decade. Born in 1960, in Tupelo, Mississippi, he came up through the world of cinema. But Jafa also found his way into the art world with his difficult video work and strange objects. In art, his reputation went viral in 2016 with the video, Love Is the Message, the Message Is Death. It is a collage of found footage from social media that included police violence against Black people and also moments of viral celebration and joy. It was both experimental and accessible, and drew huge crowds when it was first shown at Gavin Brown's Enterprise in New York. A follow-up film, called The White Album, won the Golden Lion for Best Artist as part of the main show of the Venice Biennale back in 2019. And this month, Jafa is back in Venice, this time in a two-person show called “Helter Skelter,” curated by Nancy Spector, pairing him with the famous artist Richard Prince, also known for using found and appropriated imagery to disorienting effect. That show opened alongside the Venice Biennale at the Prada Foundation, and was one of the few things during the opening weekend that everyone could agree was a must-see event. Jafa has also curated a show currently on view at the Museum of Modern Art, called “Less Is Morbid,” a deliberately packed display of his favorite art. He is also one of the winners of this year's Art Basel Award, to be honored at that fair. In the middle of all this intense activity, Jafa agreed to talk to Artnet's Ben Davis about his art, his view of art history, and what comes next.

Guests: Christina and Courtney LongHost:  Christopher KardambikisRecorded on March 11, 2024 and May 8, 2026This episodes contains two conversations recorded two years apart. #Blkgrlswurld ZINE is an award-winning indie publishing house based in New York City. Led by Christina Long, MFA (Global Creative Director) and her younger sister Courtney Long (Senior Editor), since 2014. The press celebrates and documents Black Womxn & Womxn of Color who participate in heavy music genres like Metalcore, Hardcore, Punk and Black Metal. Interviewing bands, reviewing music and vending at zine fairs allow #Blkgrlswurld ZINE to introduce readers to new music and the diversity within music scenes.Zines and artists' books published by #Blkgrlswurld Press can be found in libraries at The Metropolitan Museum of Art, The Museum of Modern Art, The Schomburg Center for Research On Black Culture, The Barnard Zine Library, The NY Public Library and many more.In 2019 Christina Long was awarded a grant from the Sachs Program for Arts Innovation for her work in indie publishing. The grant led to #Blkgrlswurld launching their very first Punk Music Fest and Zine Fair at Philadelphia's Institute of Contemporary Art in September of 2019.The press accepts open submissions from anyone who supports womxn identifying fans & musicians in the heavy music scene. #heavygirlsloveheavymusicblkgrlswurld.com“Paper Cuts Theme” by The Early@theearly_band // http://theearly.net

Employing My Lens C.2026 ISBN 978-976-97942-6-9.mp3AbstractThis textual analysis examines the theological, metaphorical, and cultural intersections between photography and biblical interpretation through the interdisciplinary lens of visual culture, media theory, and scriptural exegesis. Drawing upon the perspectives of cultural theory, photojournalism, media arts, and theology, the study explores how photographic concepts such as zoom, focus, exposure, framing, and telephoto compression illuminate biblical interpretation and spiritual perception. Particular attention is given to Matthew 26:35–75 and its symbolic parallels to visibility, fear, identity, witness, and moral exposure. Through exegetical reflection and etymological analysis, this paper argues that photography functions as a compelling hermeneutical framework for understanding revelation, discernment, and human consciousness. Supported by interdisciplinary scholarship, the essay demonstrates that visual media and biblical interpretation share common concerns regarding truth, perspective, memory, and illumination. All things being equal it should be noted that the terms "exegesis," "photography," "theology," "hermeneutics," "visual culture," "Matthew 26," "symbolism," "telephoto lens," and "media studies" are key terms in this academic discourse because they serve as signifiers and signposts, directing the reader through my arguments and emphasizing the main ideas. Additionally, by offering clarity, coherence, emphasis, structure, and organization, this tool improves the overall impact of my work. Crucially, it should be noted that this phrase turns into an efficient keyword that makes work easier to find for other researchers studying related subjects. This is especially helpful for online publications or research archives. The University of Melbourne supports this viewpoint.Dr. William Anderson Gittens, D.D.Podcast 294 Employing My Lens: An Exegetical, Etymological, and Metaphorical Exploration of Photography, Scripture, and Perception © 2026  ISBN 978-976-97942-6-9  Dr. William Anderson Gittens, D.D Devgro Media Arts Services Publishing®2015 In collaboration with iMovie present Podcast 294 Employing My Lens: An Exegetical, Etymological, and Metaphorical Exploration of Photography, Scripture, and Perception © 2026  ISBN 978-976-97942-6-9   RECOGNITIONSI am incredibly appreciative of the Creator's hand that has guided me every step of the way as I pause to consider my path. I am incredibly grateful to my late parents, Charles and Ira Gittens, for all the blessings life has bestowed upon me. They gave me their creative spirit and wisdom, which have consistently inspired me throughout my life. Their counsel and encouragement continue to resonate within me, shaping my path and purpose. Magnola Gittens, my dear wife, your steadfast support has been my rock during stormy times. Your compassion and love give me the fortitude I need to deal with the challenges of life. Your presence uplifts and consoles me, and for that I will always be grateful. I would want to express my gratitude to my sisters, Emerald, Marcella, and Cheryl, as well as my brothers, Shurland, Charles, Ricardo, and my late brothers Arnott and Stephen, for being my unwavering travel partners.Every one of you has made a distinct contribution to my story, reminding me of the significance of family relationships in forming my current identity. My relatives Joy Mayers, Kevin and Ernest Mayers, Donna Archer, Avis Dyer, and Jackie Clarke have my sincere gratitude. My life has been immensely enhanced by your love and friendship. My uncles Clifford, Leonard Mayers, David Bruce, and Collin Rock, thank you for your vital assistance that has strengthened our family ties. You are my pride and delight, my children Laron and Lisa, and my grandson Elijah. You are the inspiration behind my work and the source of my drive to inspire and create.I also want to express my gratitude to everyone who has supported me and wished me nothing but the best. Mr. and Mrs. Andrew Platizky, Mr. Matthew Sutton, Mr. Juan Arroyo, Mr. and Mrs. David Lavine, and several others have been instrumental in my growth and have inspired me to constantly follow my passions. I had the honuor of learning from outstanding mentors while attending New Jersey City University (NJCU), including the late Dr. Joseph Drew, Merline Mayers, Mrs. Ellen Gordon, Dr. Nicholas Gordon, Rev. Dr. Scofield Eversley BSS, and numerous more. After graduation, discussions about improving my writing abilities were crucial to my development and laid the groundwork for my future aspirations. My journey has been greatly influenced by my experiences in the leisure activities business over the last thirty years. I dedicated myself to writing from 1995 to 2026, producing 294 podcasts that are well-received by the community and 466E-Publications. As a modest measure of appreciation for Dr. Joseph Drew's huge influence on my life, I dedicated my 66th publication, "A Tribute to Culture" Vol. 1, to him in acknowledgment of the profound impact he had on my academic and personal development.I continue to be grateful to everyone who has contributed to my tale and to the Creator for the limitless opportunities this trip presents as I anticipate what is ahead. My life has been profoundly impacted by each person's presence, pointing me in the direction of a promising future.Dr. William Anderson Gittens, D.D.COPYRIGHT Podcast 294 Employing My Lens: An Exegetical, Etymological, and Metaphorical Exploration of Photography, Scripture, and Perception © 2026  ISBN 978-976-97942-6-9   First Edition All rights reserved.No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, whether electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the copyright owner, Dr. William Anderson Gittens, D.D.Credits:Typeset, layout design, photographs, and illustrations by Dr. William Anderson Gittens, D.D.Published by Devgro Media Arts Services Publishing ® 2015Contact Information:Email: wgittens11@gmail.comTwitter: [@lisalaron](https://twitter.com/lisalaron)Facebook: [wgittens2](https://www.facebook.com/wgittens2)LinkedIn: [William Andersongittens](https://www.linkedin.com/in/williamandersongittensauthorb1886b26)YouTube Channel: [G2fHej_RKbA](https://www.youtube.com/channel/UCxYWov8tzbe5rHzik528dAw)Academia Profile: [William Gittens](https://independent.academia.edu/WilliamGittens)For additional insights, you can watch this video: [Watch Here](https://youtu.be/G2fHej_RKbA)Location: Based in Bridgetown, BarbadosREFERENCESA Devgro Media Arts Services Publishing ® 2015 Production copyright2026Academia.edu. (2026).Berger, J. (1972). SectionWays of seeingSection. Penguin Books.Brown, W. P. (2019). SectionSeeing the Psalms: A theology of metaphorSection. Westminster John Knox Press.Brown, W. P. (2019). SectionSeeing the Psalms: A theology of metaphorSection. Westminster John Knox Press.Fee, G. D., & Stuart, D. (2014). SectionHow to read the Bible for all its worthSection (4th ed.). Zondervan.Fee, G. D., & Stuart, D. (2014). SectionHow to read the Bible for all its worthSection (4th ed.). Zondervan.Gittens, W.A. (2026)Employing My Lens: An Exegetical, Etymological, and Metaphorical Exploration of Photography, Scripture, and Perception Copyright © 2026   ISBN 978-976-97942-6-9   Dr. William Anderson Gittens, D.D.Hall, S. (1997). SectionRepresentation: Cultural representations and signifying practicesSection. Sage Publications.Harper, D. (2024). SectionOnline etymology dictionarySection. https://www.etymonline.comLangford, M., & Fox, A. (2010). SectionLangford's basic photography: The guide for serious photographersSection (9th ed.). Focal Press.Lewis, C. T., & Short, C. (1879). SectionA Latin dictionarySection. Clarendon Press.Liddell, H. G., & Scott, R. (1996). SectionA Greek-English lexiconSection (Rev. ed.). Oxford University Press.Liddell, H. G., & Scott, R. (1996). SectionA Greek-English lexiconSection (Rev. ed.). Oxford University Press.McLuhan, M. (1964). SectionUnderstanding media: The extensions of manSection. McGraw-Hill.New Revised Standard Version Bible. (1989). National Council of Churches.New Revised Standard Version Bible. (1989). National Council of Churches.Newhall, B. (1982). SectionThe history of photographySection. Museum of Modern Art.Oxford English DictionarySupport the showCultural Factors Influence Academic Achievements© 2024 ISBN978-976-97385-7-7 A_MEMOIR_OF_Dr_William_Anderson_Gittens_D_D_2024_ISBNISBN978_976_97385_0_8Academic.edu. Chief of Audio Visual Aids Officer Mr. Michael Owen Chief of Audio Visual Aids Officer Mr. Selwyn Belle Commissioner of Police Mr. Orville Durant Dr. William Anderson Gittens, D.D En.wikipedia.org/wiki/Lifelong_learning Hackett Philip Media Resource Development Officer Holder, B,Anthony Episcopal Priest,https://brainly.com/question/36353773https://en.wikipedia.org/wiki/Lifelong_learning#cite_note-19https://en.wikipedia.org/wiki/Lifelong_learning#cite_note-:2-18https://independent.academia.edu/WilliamGittens/Bookshttps://scholar.google.com/scholar?hl=en&as_sdt=0%2C5&q=william+anderson+gittens+barbados&oq=william+anderson+gittenshttps://www.academia.edu/123754463/https://www.buzzsprout.com/429292/episodes. https://www.youtube.com/@williamandersongittens1714. Mr.Greene, Rupert

Jo Gamel is back, and this conversation covers a lot of ground. A Philadelphia-based fine artist, gallery liaison, teaching artist, science fiction writer, and member of the music project Medal of Jupiter, Jo embodies what it looks like to follow genuine curiosity across disciplines without apology. In this episode, we get into her participation in the 100 Day Painting Challenge, how she built a consistent studio practice around a fully funded medical billing program, and what it actually takes to show up for your work when your schedule is packed. Jo shares how she used block scheduling to protect her 5 a.m. studio hours, how pre-selecting a limited palette and 300 reference photos from her phone set her up for creative flow rather than decision fatigue, and how her miniature series became a portal into memory, travel, and her great-grandmother's immigration story. We also talk about the sensory, cafe-style exhibition she mounted at the Jane Gallery, the power of immersive art presentations, and why she believes every artist should be loudly celebrating their wins so others know what is possible. Jo has shown at the Louvre during Paris+ Art Basel, Chelsea Old Town Hall during London Art Week, and the European Museum of Modern Art in Barcelona. This fall, she is directing the Arts League gallery for Collective Futures (a citywide Philadelphia collaboration, October 2 to 23, themed around Bohemia as a trans-historical state of mind), and she announces something she visualized years ago: she will be showing at the Stockholm Affordable Art Fair this September. This one is full of practical insight, ancestral warmth, and a lot of encouragement to say the big dream out loud.   In this episode:   What it means to be pluridisciplinary and why the old masters were too Building a block schedule that actually holds up during a demanding program How the 100 Day Painting Challenge became a meditation on petite pleasures and personal history Creating a fully immersive, sensory gallery experience on your own terms The role of community and mutual aid in a sustainable art career Why sharing your achievements is just as important as achieving them Jo's upcoming exhibitions in Philadelphia and Stockholm   Links and resources:   Join us on Substack: https://createmagazine.substack.com   Jo Gamel: www.jogamel.com   Jo on Instagram: https://www.instagram.com/jogamel/   Join the Create! Collective: https://createcollective.mykajabi.com/collective   Free Studio Workbook and Workshop: https://createmagazine.myflodesk.com/studio-party    100 Day Challenge Waitlist: https://createmagazine.myflodesk.com/challenge    Connect with Jo: www.jogamel.com   Past episode: https://createmagazine.substack.com/p/mixed-media-magic-embracing-a-multi-245  

During fair week in New York in mid-May, Andrew Russeth had the high pleasure of moderating a panel about the state of arts philanthropy at TEFAF New York. Joining him on stage at the Park Avenue Armory were two leading figures in American patronage, Sarah Arison and Michi Jigarjian. Arison was named president of the board of the Museum of Modern Art in New York in 2024 at the age of only 39, making her the youngest person to ever hold that position. The president of the Arison Arts Foundation, she also chairs the board of YoungArts and serves on a variety of boards, including those of MoMA PS1 and American Ballet Theatre. Jigarjian is CEO of Work of Art Holdings and a partner at 7G Group. She is the force behind the culturally rich Rockaway Hotel out in Queens, and for 15 years led the Baxter St at CCNY as its president. A first-generation Mexican American, she is on the boards of the Brooklyn Museum and MoMA PS1. During the panel, which was titled “Who Supports Art Now? Patronage in a Shifting Cultural Landscape,” Arison and Jigarjian charted how arts philanthropy has changed in recent decades and described how they and their peers are leading institutions and supporting artists in a period of tremendous uncertainty—and potential.

Johanna Calle was born in 1965 in Bogotá, where she lives and works. Following her studies in the visual arts at the Talleres Artísticos of the Universidad de los Andes in Bogotá from 1984 to 1989, Calle received a British Council scholarship in 1992 to earn a master's degree at the Chelsea College of Art and Design in London. Her work draws on a range of archival and deciphering techniques, often associated with everyday life, to address the violence of recent Colombian history and evoke the victims of forced disappearances. Johanna Calle has been honored with numerous prestigious awards, including major prizes and honorary recognitions in Colombian art salons (1996–2003), a fellowship at the Cité Internationale des Arts in Paris (2001), and international grants and residencies in Europe and the United States (2008–2013). She has been included in international biennials such as the Sydney Biennale (2016), the São Paulo Biennial (2014), SITE Santa Fe (2014), and the Istanbul Biennial (2014). Selected exhibitions include Arquitecturas, Bienvenu Steinberg & C, New York (2026); Museum of Contemporary Art Denver (2024); Hayward Gallery (2020); Josée Bienvenu Gallery, New York (2019); La Maison de l'Amérique latine, Paris (2017); Museum of Modern Art (2017); Silentes 1985–2015, Museo de Arte del Banco de la República, Bogotá, traveled to Museum Amparo, Puebla, Mexico (2015); Fondation Cartier pour l'art contemporain (2013); the Drawing Room, London (2013); Wattis Institute for Contemporary Arts in San Francisco (2012); Museum of Latin American Art in Long Beach, California (2012); Sàn Art in Ho Chi Minh City, Vietnam (2012); and San Francisco Museum of Modern Art (2011). Her work is included in institutional collections such as the Museum of Modern Art; Tate Modern; San Francisco Museum of Modern Art; Museum of Modern Art, Buenos Aires; Fondation Cartier pour l'art contemporain; Museum of Fine Arts, Houston; Museum of Latin American Art, Long Beach; Museum of Bogotá; National Museum of Colombia, Bogotá; National Bank of the Republic of Colombia, Bogotá; Cisneros Fontanals Art Foundation, Miami; Sur Collection, San Francisco; Comfenalco Antioquia, Medellín; Enersis Collection, Santiago; and Teorética Museum, San José. Johanna Calle Arquitecturas, 2026 Signed and dated on the back Nail polish on chromogenic print (anonymous photograph) Framed in Optium Museum Acrylic 3.5 x 3.5 in (image) Johanna Calle Arquitecturas, 2026 Signed and dated on the back Nail polish on chromogenic print (anonymous photograph) Framed in Optium Museum Acrylic 3.5 x 3.5 in (image) Johanna Calle Abstractas, 2026 Signed and dated on the back Erased found chromogenic print (anonymous photograph) Framed in Optium Museum Acrylic 3.5 x 6 in (image)

Nicola Tyson was born in 1960 in London, England. She attended Chelsea School of Art, St. Martins School of Art and Central/St. Martins School of Art in London, and currently lives and works in New York. Primarily known as a painter, Tyson has also worked with photography, film, performance and the written word, in addition to running Trial BALLOON, an NYC project space in the early 90s. In 2023, Nicola Tyson: Selected Paintings 1993-2022, the most comprehensive overview of the artist's work to date, was published. In 2011, Tyson released the limited-edition book Dead Letter Men, which is a collection of satirical letters addressing famous male artists. Her unique archive of color photos documenting the London club scene of the late 1970's — Bowie Nights at Billy's Club — was the subject of shows, both in New York and London, in 2012 and 2013. In 2025, Tyson was commissioned for Hayward Gallery's public project banner. Tyson has mounted solo exhibitions at Petzel Gallery, New York (2026, 2025, 2024, 2020, 2016); Nino Mier Gallery, Los Angeles (2024); Nino Mier Gallery, Brussels (2022); Sadie Coles HQ, London (2021, 2017, 2013); The Contemporary Art Museum St. Louis, St. Louis (2017); The Drawing Room, London (2017); Nathalia Obadia, Paris (2015); Susanne Vielmetter Gallery, Los Angeles (2014); White Columns, New York (2012), among others. She has participated in group exhibitions at the Design Museum, London (2025); The Modern Art Museum of Forth Worth, Fort Worth (2022); Art Institute of Chicago, Chicago (2021); Drawing Room, London (2021, 2018); Drawing Center, New York (2020); Whitechapel Gallery, London (2018); Cleveland Institute of Art, Cleveland (2016); Wexner Center for the Arts (2013); and Museum of Modern Art, New York (2012); among others. Tyson's work is included in major collections such as Museum of Modern Art, New York; Whitney Museum of Art, New York; Solomon R. Guggenheim Museum, New York; Philadelphia Museum of Art, Philadelphia; Museum of Contemporary Art, Chicago; UCLA Hammer Museum, Los Angeles; San Francisco Museum of Modern Art, San Francisco; Walker Art Center, Minneapolis; Corcoran Gallery of Art, Washington, D.C.; and Tate Modern, London. Nicola Tyson, Random Attachments, 2026 Charcoal, conte, pastel on sanded paper 50 x 38 in 127 x 96.5 cm. Photo: Meg Symanow Courtesy of the artist and Petzel, New York. Nicola Tyson Nature Nurture, 2026 Charcoal, conte, pastel on sanded paper 50 x 38 in 127 x 96.5 cm. Photo: Meg Symanow Courtesy of the artist and Petzel, New York. Nicola Tyson Motherload, 2026 Charcoal, conte, pastel on sanded paper 50 x 38 in 127 x 96.5 cm. Photo: Meg Symanow Courtesy of the artist and Petzel, New York.

Leon Black's fall from grace at the Museum of Modern Art came in early 2021, after intense public backlash over his deep financial relationship with Jeffrey Epstein. Reports revealed that Black had paid Epstein approximately $158 million for tax and estate advisory services, long after Epstein's 2008 conviction for soliciting sex from a minor. The revelations sparked outrage across New York's art world, with artists, staff, and activists demanding his removal from MoMA's board. Protesters accused the museum of moral hypocrisy for maintaining ties with a man linked to Epstein's network, arguing that his presence tainted the institution's credibility and mission. As pressure mounted from both within and outside MoMA, calls for his resignation grew louder, and donors began quietly voicing discomfort about his continued leadership.In March 2021, facing unrelenting scrutiny, Black announced that he would step down as chairman of MoMA's board and not seek re-election when his term ended. While he technically remained on the board as a trustee, his exit from the chairmanship was viewed as a forced retreat under immense public pressure. His resignation from the top spot came shortly after he also resigned as CEO of Apollo Global Management amid the same Epstein scandal. MoMA attempted to minimize the fallout by framing his departure as voluntary, but the timing — coming amid protests and reputational damage — made clear that Black's position had become untenable. His exit marked one of the most high-profile instances of cultural institutions severing ties with financiers connected to Epstein.to contact me:bobbycapucci@protonmail.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-epstein-chronicles--5003294/support.

Photographer, director, and producer Mitch Epstein joins PhotoWork with Sasha Wolf to discuss his storied career in photography, environmental activism, and artistic influences. From early inspiration by Garry Winogrand to guidance from John Szarkowski, Epstein reflects on how he evolved into a research-driven, project-based photographer focused on environmental issues. He also discusses his work in film as a production designer and co-producer on Mississippi Masala (1991) and Salaam Bombay! (1988), and shares insights on privilege, longevity, and sustaining a life in photography. https://www.mitchepstein.net Mitch Epstein has photographed the landscape and culture of America for half a century. A graduate of Cooper Union, he became a pioneer of 1970s fine-art color photography.  Epstein has been inducted into the National Academy of Design (2020) and was awarded the Prix Pictet (2011), Berlin Prize (2008), and a Guggenheim Fellowship (2002). His work has been shown and collected by museums worldwide, including New York's Museum of Modern Art, Metropolitan Museum of Art, and Whitney Museum of American Art, the National Gallery in Washington DC, The Art Institute of Chicago, Tate Modern in London, Museum of Modern Art in Paris, Los Angeles's Getty Museum and LACMA, the Amon Carter Museum in Fort Worth, TX, and the San Francisco Museum of Modern Art. Recent exhibitions include “American Nature” (photographs and multi-media installations) at the Gallerie d'Italia museum in Torino, Italy (2024-25); “In India,” (photographs and films) at Les Rencontres d'Arles in the Abbey of Montmajour, Arles, France (2022); and “Property Rights” at The Amon Carter Museum of American Art in Fort Worth, Texas (2020-21). Epstein's seventeen books, mostly published by Steidl Verlag, include Recreation (2022, 2005), Property Rights (2021), New York Arbor (2013), American Power (2009), and Family Business (2004), winner of the Kraszna-Krausz Photography Book Award. Epstein's mixed media work includes films, moving image with sound installations, and performance. In 2013, The Walker Art Center commissioned and premiered a theatrical rendition of his American Power series. Directed by Annie B. Parsons and Paul Lazar, the performance combined original live music by Erik Friedlander and live storytelling by Epstein; and included video, projected photographs, and archival material. In documentary film, Epstein was director of Dad and Retail (2003) and director of photography for India Cabaret (1988). He was production designer and co-producer for the feature films Mississippi Masala (1991) and Salaam Bombay! (1988). Epstein's most recent exhibition, American Nature, assembles three self-contained yet integrated photographic series (Old Growth, Property Rights, American Power); a multi-channel video-sound installation with tonal music by Mike Tamburo and Samer Ghadry filmed performing in the forest (Forest Waves), and a looped projection with music by David Lang, performed by Maya Beiser (Darius Kinsey: Clear Cut). Together these five pieces investigate notions of wilderness and human society; and their both collaborative and troubled co-existence. Epstein lives in New York City and Massachusetts.

Today we chat with Ondi Timoner - the only filmmaker to have twice won the U.S. Grand Jury Prize for Documentary at the Sundance Film Festival, for Dig! (2004) and We Live in Public (2009); both films were later acquired by New York's Museum of Modern Art for its permanent collection. Her documentary Last Flight Home (2022), about the final days of her father Eli Timoner, was shortlisted for the Academy Award for Best Documentary Feature and received an Emmy nomination for Exceptional Merit in Documentary Filmmaking.This is an amazing conversation with an amazing person. Don't miss it!

Enjoy a Uno-reversed conversation with Nathan Ragland, an amateur voice actor and the host of the Post Modern Art Podcast, as he answers questions from special guest host Tae Draws and former guests of the podcast, including his most anticipated projects, his favorite wrestler, bacon, and so much more!Special Guest Host Tae's Links:YouTube: https://www.youtube.com/@TAEDRAWSCaard: https://taedraws.carrd.co/Fourthwall: https://tae-draws-shop.fourthwall.com/Bluesky: https://bsky.app/profile/taedraws.bsky.socialThumbnail Done By: Tae DrawsLaura Miller GoFundMe: https://www.gofundme.com/f/help-ease-laura-millers-funeral-costsCheck out the MERCH SHOP: https://post-modern-art-podcast-shop.fourthwall.com/Join the PostModArtPod Discord server: https://discord.gg/bdg4UFbmm9Join the PMAP Patreon: https://www.patreon.com/pmapIntro Animated by: https://bsky.app/profile/fasado.bsky.socialIntro Song - "Seductive Treasure" - Color of IllusionOutro Song - "Parts In Motion" - Vera Much Stream her EP "Thank U!": https://veramuch.bandcamp.com/album/thank-uLinktree (To find other platforms, socials, etc.): https://linktr.ee/PostModernArtPodcastFor business inquiries, contact postmodernartpodcast@gmail.com Showrunners of the podcast are Nathan Ragland and TipsyJHeartsTipsy's Links:Twitter: https://twitter.com/TipsyJHeartsBluesky: https://bsky.app/profile/tipsyjhearts.bsky.socialInstagram: https://www.instagram.com/tipsyjhearts/Patreon: https://www.patreon.com/tipsyjheartsKo-fi: https://ko-fi.com/tipsyjheartsPortfolio: https://tipsyjhearts.wixsite.com/portfolioProduced with A1denArtzAiden's Links:Carrd: https://a1denartz.carrd.co/Tumblr: https://a1denartz.tumblr.com/Bluesky: https://bsky.app/profile/a1denartz.bsky.socialInkblot: https://inkblot.art/profile/a1denartzInstagram: https://www.instagram.com/a1denartz/Go out there and create something special!

Sven Stoffels is the author and illustrator of the Butch Killigan series, which you can order now on Kickstarter.To decide our next film to discuss, join our Listener Sponsored tier on https://patreon.com/lowres Hosted on Acast. See acast.com/privacy for more information.

In 1953, Life Magazine published a widely read story titled “Mystic Painters of the Northwest.” It put Seattle in the spotlight as a creative hub of modernist art. A new exhibition at Seattle Art Museum explores modernist art in the Northwest, beyond the major artists. Theresa Papanikolas curated “Beyond Mysticism: The Modern Northwest.” We met recently at the museum to get a tour of the exhibition. We can only make Seattle Now because listeners support us. Tap here to make a gift and keep Seattle Now in your feed. Got questions about local news or story ideas to share? We want to hear from you! Email us at seattlenow@kuow.org, leave us a voicemail at (206) 616-6746 or leave us feedback online.See omnystudio.com/listener for privacy information.

Andrew Cranston talks to Ben Luke about his influences—from writers to musicians, film-makers and, of course, other artists—and the cultural experiences that have shaped his life and work. Cranston, who was born in 1969 in Hawick, Scotland, draws on experiences—moments seen, felt or remembered—which are filtered, embellished, complicated, and sometimes almost obliterated through the process of being painted. As well as reflecting on personal events, from childhood memories and the recollections of family members, to more recent rituals and exploits, Cranston's pictures are rich in cultural resonance. Images and ideas from the history of art and cinema, from poems and television series, are central to his work, whether as a core motif or a subtle reference in the title. As a result, his practice is deeply concerned with time and history—not just in recalling past events and experiences and transforming them in the present, but in his materials and methods. He often uses the covers of old hardback books, bleached by light over the years, as a surface, for instance, and the paintings hold time in their very physicality—in the immediacy of a painted gesture, in the steady build-up of layers and marks, and in the hints of their journeys to completion. Cranston's paintings reflect his medium's capacity for thrillingly diverse effects, modes and moods; they are full of poetry and longing, as well as absurdity and joy. He reflects on the fragility of his images, how with reiteration they gain meaning and weight. He talks about the silence in his works and what he calls his “fight with visibility”. He discusses a wealth of painterly influences, from Pieter Bruegel the Elder to Paul Klee, Pierre Bonnard and Winifred Nicholson, writers including Hugh MacDiarmid and Elizabeth Bishop, and cinematic and televisual references including the films of Nicholas Roeg and the teleplays of Dennis Potter. Plus, he gives insights into his life in the studio and answers our usual questions, including the ultimate: what is art for?Andrew Cranston: I'm going in a field, Modern Art, Bennet Street, London, until 30 May Hosted on Acast. See acast.com/privacy for more information.

 “The large paintings envelop the viewer and invite him or her in, it is an invitation to a self contained world where one can lose oneself and perhaps in the process find oneself. And for all their grandest of scale it is an intimate experience, a world unique to that particular encounter” - Christopher Rothko, Mark Rothko and the Inner WorldWelcome to Episode #140:In Italy, Mark Rothko (1903-1970) found what he was looking for. On a long voyage in Europe in 1950 with his wife, Rothko found himself in Florence, in the cradle of the Italian Renaissance - Today I share the story about this encounter and the shift in perspective that occurred for his painting, and the places in Italy that opened a new dialogue, a liberation of colour.Mark Rothko is currently on exhibit at the Palazzo Strozzi in Florence. There are three site specific places to see this exhibition including the Laurentian Library (Biblioteca Medicea Laurenziana) and the Museum of San Marco (Museo di San Marco) in Florence.Mark Rothko is most known for his colour field paintings, the great abstract artworks that have become iconic in modern art. Today I share about his life, the influence of Italy, and the experience of seeing a Rothko artwork in person (think rapture meets a direct experience of a unified colour field) and why you should go if you can."Rothko's art is an invitation. It is a doorway and really demands that you pay attention" - Michelle JohnstonVisit: Fondazione Palazzo Strozzi "Rothko's first encounter with Florence dates to 1950, during a trip to Italy with his wife Mell. He was deeply moved by Fra Angelico's frescoes at the Convent of San Marco and by Michelangelo's architectural vision in the Vestibule of the Biblioteca Medicea Laurenziana, which would inspire the Seagram Murals painted in the late 1950s—a dialogue that Rothko further developed during his second visit to Florence in 1966. In some of his more delicate works, one can also perceive the influence of fifteenth-century Italian art and, in particular, of Angelico's fresco technique. Rothko and Angelico shared a desire to evoke a sense of transcendence, a dimension at once distant and profoundly familiar. While Angelico achieved this through the emotional resonance of divine figures in dialogue with earthly reality, Rothko created color fields capable of accompanying viewers into different emotional depths, challenging accepted notions of abstraction and color theory" - Palazzo Strozzi, FlorenceEnjoy, Michelle xShownotes A Writer in Italy InstagramSubstack - At My TableMichelle's BooksMusical Scores by Richard JohnstonA Writer in Italy is about travel and life. A place to share the beautiful travel journeys and the discoveries along the way. Support the show

Learn more at TheCityLife.org

Paloma Contreras did not begin her professional life in a design studio; instead, she spent four and a half years teaching foreign languages at the high school level. Her transition into the creative world was sparked by a deep-seated love for culture, art, and architecture, which eventually led her to start a design blog in 2007. Originally intended as a creative outlet and a way to document decorating her first home on a budget, the blog served as her "entree" into the design world as it gained unexpected traction.Despite her success, Contreras candidly discusses the "imposter syndrome" she felt for years because she did not attend design school. She reflects on her childhood bedroom—a product of the 1980s filled with wicker and Laura Ashley bedding—as an early, unrecognized influence on her path. Her story is one of evolution, showing how professional skills from one field, such as teaching, can translate effectively into running a successful interior design firm.Today, Paloma is a celebrated designer with two books, a retail store, and multiple product lines. Looking back, she believes her younger self would be proud of her accomplishments and the courage it took to follow a creative path. This version of the show notes highlights the grit and passion required to pivot from a stable career into the competitive world of interior design.

The head of DC's Hirshhorn Museum is leaving to take over the Guggenheim in New York. Ordinarily, that's something that might be looked at as a normal career move. But at a moment when the Smithsonian museums are in the MAGA crosshairs, everything's a bit complicated. Journalist Kriston Capps is here to take us inside the departure of Melissa Chiu and talk through what it means for arts in our city.   Want some more DC news? Then make sure to sign up for our morning newsletter Hey DC. You can text us or leave a voicemail at: (202) 642-2654. You can also become a member, with ad-free listening, for as little as $10 a month.  Learn more about the sponsors of this April 22nd episode: Window Nation National Museum of the American Indian Interested in advertising with City Cast? Find more info HERE.

Today, we'll talk about Liu Haisu, whose life and work over nearly a century helped to pioneer modern art education in China and forge a bold new path that blended Chinese tradition with Western artistic innovation.

This week we're excited to present a conversation from this year's edition of New Directors/New Films with the team behind the new film Erupcja. Co-presented by Film at Lincoln Center and The Museum of Modern Art, the 55th edition of New Directors/New Films took place April 8-19, with many filmmakers attending in person. In Erupcja, Charli XCX stars as a 365 party girl who wonders whether the music is finally stopping, as a weekend in Warsaw with her boyfriend resurfaces the unresolved, tantalizing excitements of an old friendship. Erupcja is now in select theaters, courtesy of 1-2 Special. The following conversation features Erupcja director Pete Ohs and cast members Jeremy O. Harris and Lena Góra, moderated by New Directors/New Films selection committee member Madeline Whittle.

Get to know inventor, architect, and designer Neri Oxman, who narrated the story of the Queen of the curve Zaha Hadid. Neri tells us how she became interested in design, and how she uses the natural world to invent and create amazing things in art and architecture, including the challenge of creating a giant structure made of silk in the Museum of Modern Art in New York City! [This episode originally aired in May 2021.]

All the queens want is boundless love in this episode about the love life of Frank O'Hara.Please Support Breaking Form!Review the show on Apple Podcasts here.Aaron's STOP LYING is available from the Pitt Poetry Series. And BEAUTIFUL PEOPLE is available from Bridwell Press. James's ROMANTIC COMEDY is available from Four Way Books. Show Notes:Read Frank O'Hara's "Homosexuality"For more about Chester Kallman, read here. Kallman was a poet, librettist, and writer who was also Auden's partner (and, later, his estate's executor). He published three collections of poems: Storm at Castelfranco (1956), Absent and Present (1963), and The Sense of Occasion (1971). Grace Hartigan's relationship with Frank O'Hara is detailed a bit more in this Sebastian Smee essay in Washington Post: "Portrait of a Poet." Read O'Hara's "In Memory of My Feelings"Much of Frank O'Hara's papers are at the Museum of Modern Art in NYCRead a review of Ada Calhoun's memoir "Also a Poet," about her father, art critic Peter Schjeldahl, who was working on a memorial project about O'Hara when he died. Calhoun believes that her father's book was torpedoed by O'Hara's sister and literary executor, Maureen Granville-Smith Calhoun. For more about The Glory Hole Café in Buenos Aires (which we mention in the show), go here. 

This week we're excited to present a conversation with the team behind the opening night selection of this year's New Directors/New Films. Presented by Film at Lincoln Center and The Museum of Modern Art, the 55th edition of New Directors/New Films takes place April 8-19, with many filmmakers scheduled to attend in person. Get tickets at newdirectors.org The following conversation features Leviticus director Adrian Chiarella and lead actors Joe Bird and Stacy Clausen, moderated by New Directors/New Films selection committee member Madeline Whittle. Sundance favorite Leviticus expounds daringly on the horror-movie truism that sexual desire makes you vulnerable—notably, to gruesome death. Named for the book of the Old Testament used to justify homophobia, the wrenching and terrifying feature debut from Adrian Chiarella begins with Naim (Joe Bird) and Ryan (Stacy Clausen) breaking into an abandoned mill, their matey horseplay soon surrendering to its powerful homoerotic subtext. Fans of Heated Rivalry will appreciate how Chiarella draws out the intuitive connections that form beneath the show of machismo that the young men take pains to maintain for their traditional community—in this case, the provincial Australian town where Naim's mother (Mia Wasikowska in a complex, calibrated performance) has relocated them, dragging him along to a local church's praise meetings in search of fellowship. Gothic iconography lurks in Chiarella's oppressive and foreboding widescreen compositions, and soon, after Ryan and another boy are subjected to a disturbing exorcism intended to cure them of their urges, the community's queer youths, already picked on, begin to be picked off by a spectral killer that appears to them in the form of their forbidden love objects. Ingeniously complicating the deep interrelation between teen sexuality and slasher movie iconography, and staging his set pieces with chilling precision, Chiarella announces himself as a new Aussie horror auteur to stand alongside Jennifer Kent and the Philippous.

What we see in modern art - the peculiarity of ourselves

Three artists who in different ways connect to the Surrealist movement are the subject of this week's podcast. At the Museum of Modern Art in New York, the first major US survey of the full career of Marcel Duchamp since 1973 opens this weekend, before travelling later in the year to Philadelphia. Ben Luke talks to its curators at MoMA, Ann Temkin and Michelle Kuo. A new book, Dorothea Tanning: A Surrealist World, exploring the extraordinary life and work of the Surrealist artist, is published this week by Yale University Press and Ben speaks to its author, Alyce Mahon. And this episode's Work of the Week is Down Below (1940), a painting by another of the great women artists of Surrealism, the British Mexican painter Leonora Carrington. It was made while she was hospitalised in Santander in Spain in the early stages of the Second World War, before her pivotal journey to Latin America. The picture is part of an exhibition at the Freud Museum in London, The Symptomatic Surreal, which also features drawings from Carrington's sketchbooks. We speak to Vanessa Boni, the curator of special projects at the museum, about the work and the show.Marcel Duchamp, Museum of Modern Art, New York, 12 April-22 August; Philadelphia Museum of Art, 10 October-31 January 2027Dorothea Tanning: A Surrealist World by Alyce Mahon, Yale University Press, $45 or £30 (hb)Leonora Carrington: The Symptomatic Surreal, Freud Museum, London, until 28 June 2026 Hosted on Acast. See acast.com/privacy for more information.

This is a replay from Season 1. A single line from Cy Twombly cracks open a huge question for artists: “One must desire the ultimate essence even if it is contaminated.” We sit with that tension between purity and grit and ask what “essence” really means in abstract expressionism, mark making, and the real studio process where rust, dust, scraps, and revisions refuse to stay out of the frame.From there, we trace why Twombly still feels so magnetic and so misunderstood. He left few interviews and little public persona, which forces viewers to do the work themselves. We talk through Joshua Rivkin's Here We Go Chalk and the image that won't let go: the unswept floor. What's more contaminated than what falls, gets cast aside, and ends up as leftovers? Rivkin treats that debris like a mosaic, and it becomes a clean way to see how Twombly gathers fragments of history, poetry, the body, and the mind, then buries and reveals them through layers.We also get practical about how art communicates. What does it mean for a painting to “claim the room it inhabits” when the artist is not there to explain it? How much context should titles and statements provide, and when does mystery make the work stronger? If you've ever stood in a museum and felt pulled into a surface like an archaeologist, this one puts language to that experience and gives you a better way to look.If this sparks a reaction, share the episode with an artist friend, subscribe so you do not miss the next conversation, and leave a review to help more people find the show.Send us a message - we would love to hear from you! Make sure to follow us on Instagram here:@justmakeartpodcast   @tynathanclark   @nathanterborgWatch the Video Episode on Youtube or Spotify,https://www.youtube.com/@JustMakeArtPodcast

Curator Franz W. Kaiser considers the avant-garde paintings of Karel Appel, in relation to the historic CoBrA Movement and contemporary ecologies, via Human Being and Animals (1949).Karel Appel: Variations on a Theme is at Galerie Max Hetzler in London until 16 April 2026.Karel Appel's Hip, Hip, Hoorah! (1949) is on view in the collection display In the Studio: The Disappearing Figure: Art after Catastrophe at Tate Modern in London.For more from curators Winnie Sze and Pim Arts, listen to the episode about Ernest Mancoba's African Madonna (1939) a⁠t the Cobra Museum of Modern Art in Amstelveen: pod.link/1533637675/episode/68ec0da40322500dc1f9be4865ac19d9You can also read my article about the exhibition, We Kiss the Earth: Danish Modern Art, 1934-1948⁠, and the CoBrA movement (Copenhagen, Brussels, and Amsterdam), in gowithYamo: gowithyamo.com/blog/a-triptych-of-danish-modernism-cobra-and-degenerate-art-in-denmarkFor more from the artist Sylvia Snowden, listen to the episode about M Street (1978-1997), recorded at White Cube Paris: pod.link/1533637675/episode/8e803c218bc4238d8ffceb5877f4a541This episode was supported by Galerie Max Hetzler.PRODUCER: Jelena Sofronijevic.Follow EMPIRE LINES on Instagram: ⁠⁠instagram.com/empirelinespodcast⁠⁠Support EMPIRE LINES on Patreon: ⁠⁠patreon.com/empirelines

Photographer and artist Ed Templeton joins PhotoWork with Sasha Wolf to reflect on his evolution from professional skateboarder to photographer and painter, and how early influences like Nan Goldin and Larry Clark shaped his approach to documenting his own life. Templeton discusses his photobook Wires Crossed (Aperture), an intimate look at skate culture from an insider's perspective, and his collaborative process with editor Lesley A. Martin. The conversation looks into Templeton's hybrid analog and digital workflow and concludes with the development of Contemporary Suburbium (Nazraeli Press), an accordion style book, made in collaboration with his wife, photographer Deana Templeton, highlighting his ongoing engagement with the photobook and everyday subject matter. https://ed-templeton.com Ed Templeton (b.1972) is an American painter and photographer whose work reflects human behavior with emphasis on youth subcultures, religious affectation, and suburban conventions using a cinéma vérité approach embracing chance encounters. Templeton is a respected cult figure in the subculture of skateboarding, a two-time world-champion, and Skateboarding Hall of Fame inductee. He is best known for his photographic books and multimedia exhibitions. His work has been exhibited in museums worldwide including MOCA, Los Angeles, ICP, NYC, Palais de Tokyo, Paris, Kunsthalle, Vienna, Pier 24 Photography, San Francisco. His work is held in the collections of the Museum of Modern Art in New York, SMAK Museum Belgium, Orange County Museum of Art, Bonnefanten Museum, Maastricht.

In 1981 one of the world's most iconic works of art – Guernica - was finally handed to Spain after a 44-year exile.Pablo Picasso had created the huge mural in 1937 followed the bombing of the Basque town of Guernica during the Spanish civil war. And, after being shown in Paris, the painting went on tour in Europe and America, where it was loaned to the Museum of Modern Art in New York.At the time, Picasso swore the painting would never hang in Spain until the country returned to democracy.It wasn't until after the death of the dictator General Francisco Franco that discussions began to transfer the painting to Spain. Ambassador Rafael Fernandez-Quintanilla was one of the negotiators.Jane Wilkinson has been through the BBC archives to find out how Rafael helped end the exile. Additional archive from British Pathe.Eye-witness accounts brought to life by archive. Witness History is for those fascinated by and curious about the past. We take you to the events that have shaped our world through the eyes of the people who were there. For nine minutes every day, we take you back in time and all over the world, to examine wars, coups, scientific discoveries, cultural moments and much more. Recent episodes explore everything from how the Excel spreadsheet was developed, the creation of cartoon rabbit Miffy and how the sound barrier was broken.We look at the lives of some of the most famous leaders, artists, scientists and personalities in history, including: the moment Reagan and Gorbachev met in Geneva, Haitian singer Emerante de Pradines' life and Omar Sharif's legendary movie entrance in Lawrence of Arabia.You can learn all about fascinating and surprising stories, like the invention of a stent which has saved lives around the world; the birth of the G7; and the meeting of Maldives' ministers underwater. We cover everything from World War Two and Cold War stories to Black History Month and our journeys into space.(Photo: Guernica on display in Madrid, 1981. Credit: Gianni Ferrari/Getty Images)

In episode 257, Dean and Deron talk their favorite auction/bidding games. If you enjoy our podcast, please consider rating us and giving us a review. If you like our YouTube channel, please consider subscribing. If you have questions you would like us to answer on the podcast, please email us at meepletownmail@gmail.com. To support us further, check out www.patreon.com/meepletown or www.buymeacoffee.com/meepletown9. Join us on Discord: https://discord.gg/uasmBx326h  00:00     Intro 07:53     Top 5 Auction/Bidding Games 38:28     Honorable Mentions ***Spoilers Below*** . . . . . . . . . Dean's Top 5 5. QE (09:17) 4. Biblios (17:04) 3. For Sale (23:28) 2. Ra (28:09) 1. Modern Art (33:20) Deron's Top 5 5. Money (12:31) 4. Nightmare Productions (20:39) 3. High Society (26:16) 2. Ra (28:09) 1. Modern Art (33:20) Thanks for coming down to MeepleTown!

Founded in Nov 2016, Park City UT's Uncharted Supply Co's mission is to provide high-quality, intuitive gear to help people navigate emergencies big and small. Uncharted's first product, The Seventy2 Survival System, reimagined the personal preparedness space and launched an industry. Christian Schauf is an entrepreneur, adventurer, and the founder and CEO of Uncharted Supply Co, a manufacturer of high-quality survival systems and products designed to empower people in emergency situations. Growing up on a Wisconsin farm, he developed a strong sense of preparedness that later inspired him to create the SEVENTY2™ Survival System, a comprehensive 72-hour emergency kit. Schauf's diverse experiences have fueled his passion for innovation in emergency preparedness and outdoor adventure. From climbing some of the world's tallest mountains to hunting in the Yukon, his adventures continue to inspire his work and philanthropic efforts.Today, Christian Schauf shares his unique upbringing on a farm, highlighting the strong work ethic and valuable life lessons instilled by his parents. He discusses how these early experiences shaped his resilience and success in various fields, including music, adventure, and entrepreneurship. The conversation explores Christian's impactful work performing for troops in remote and dangerous locations, emphasizing the profound effect these performances had on soldiers' morale and mental well-being.From their appearance on Shark Tank, to placements in the Museum of Modern Art, to the product selected for use by government and private security agencies around the world, Uncharted has continued to design products that have saved lives around the world. Today, Uncharted's expanded product line is available in over 200 retail stores, and provides coverage for the adventurer as well as those looking to prepare for an ever-changing world.https://unchartedsupplyco.comSo God Made a "Farmer", by Paul Harveyhttps://www.youtube.com/watch?v=7UBj4Rbq3ZI

Episode No. 751 features artist Kahlil Robert Irving and curator Rebecca Head Trautmann. Irving is included in "Monuments," at the Museum of Contemporary Art, Los Angeles. The exhibition juxtaposes decommissioned Lost Cause monuments with artworks that address the histories the Lost Cause aimed to whitewash. "Monuments" features two Irvings: New Nation (States) Battle of Manassas - 2014, 2024-25; and Viewfinder, 2024 which address the 2014 police killing of Michael Brown Jr. in Ferguson, Missouri and its aftermath. The exhibition, which is on view through May 3, was curated by Hamza Walker, Kara Walker, and Bennett Simpson with Hannah Burstein and Paula Kroll. The museum says that a catalogue is forthcoming. Irving has had solo exhibitions at the Museum of Modern Art, New York, the Walker Art Center, Minneapolis, and at the Contemporary Art Museum Saint Louis; he's been featured in group exhibitions at the Carnegie Museum of Art in Pittsburgh, MASS MoCA in North Adams, Mass., the Whitney Museum of American Art in New York, and more. He was also a guest on Episode No. 591 in 2023. Trautmann is the curator of "Water's Edge: The Art of Truman Lowe" at the National Museum of the American Indian, Smithsonian Institution, Washington, DC. "Water's Edge" is the first career-length survey of Hoocąk (Ho-Chunk) artist. It is on view through January 1, 2027. Smithsonian Books published a catalogue of the exhibition; Amazon and Bookshop offer it for about $33-37. Instagram: Kahlil Robert Irving, Tyler Green. Air date: March 26, 2026.

This Spring, renowned Mexican artists Frida Kahlo and Diego Rivera are being celebrated by the Museum of Modern Art in a dual exhibition. 'Frida and Diego: The Last Dream,' looks at how Kahlo and Rivera represented a shift in the development of Mexican identity, art, and culture in the early 20th century. The show is presented in conjunction with the Metropolitan Opera, which is presenting 'El Último Sueño de Frida y Diego,' an opera debuting this Spring that explores the relationship between Rivera and Kahlo through a fictional narrative. MoMA worked with the opera's set designer Jon Bausor to create unique setting for the art on view. Bausor discusses the process for designing this exhibit alongside Beverly Adams, MoMA curator of Latin American Art. 'Frida and Diego: The Last Dream' is on view through September 12. Photo by Robert Gerhardt via MoMA

Talk Art Season 27 continues with COLLIER SCHORR.Over four decades, Collier Schorr has used photography to scrutinise the conditions and realities of contemporary subjectivity and what it means to visually represent a body - and a self. Motivated, in part, by an underlying search for alternatives to the desirous heterosexual gaze; her work has remained focused on several key themes including beauty, desire, selfhood, and masculinity and its discontents. Schorr's early work was made in the 1980s and 1990s in New York and Germany, during the coalescence of postmodernism and identity politics. Her work from that period navigated the tension between documentary and fiction, and tested out the capacity of photography to unveil desire and repression, explore taboo identities, and highlight the contradictions inherent in subjectivity, especially in relation to gender norms. In more recent times, the artist has incorporated dance into her practice predominantly through adapting Chantal Ackerman's film, ‘Je Tu Il Elle' (1975), into a full-length filmed ballet performance featuring Schorr as Ackerman and a core group of professional dancers collaborating to create a multi-channel video installation.Schorr's new exhibition in Paris is now open. ‘Problems and other stories' brings together photographs, collages, notes, drawings and video produced over the past seven years that reconsider who an artwork is for, the multitude of places people belong and the way Schorr encounters different worlds. The title is drawn from John Updike's collection of short stories written over the 1970s. For Schorr, the ‘problem' opens out into a place of resistance and exploration, rather than a limitation or constraint. Runs until 4th April at Modern Art, Paris. Follow @CollierSchorrStudioVisit: https://www.modernart.net/en/exhibitions/collier-schorr-2026Special thanks to @StuartShaveModernArt & @303Gallery Listen to Talk Art podcast, stream now: Spotify, Apple Podcasts, or wherever you get your podcasts! Hosted on Acast. See acast.com/privacy for more information.

Episode No. 750 (!!!) is a clips episode featuring artist Jo Ann Callis. Starting in the early 1970s, Callis has constructed both black-and-white and color photographs that consider, sex, sexuality, pleasure and more pleasure. This program was taped in 2014 when Aperture published "Other Rooms," a book of Callis' investigations of the nude body and sexuality, mostly from the mid-1970s. Last year Luhz Press published "Jo Ann Callis - Dish Trick," featuring Callis pictures that explores the emotions latent in the objects of the home. Luhz lists it at $45; Amazon offers it for $80. Callis is a leading feminist artist and one of the most important photographers of her generation. In 2009 the J. Paul Getty Museum presented a retrospective of her work titled "Woman Twirling." Callises are in the permanent collection of museums such as the Museum of Modern Art, the Los Angeles County Museum of Art and the San Francisco Museum of Modern Art. Air date: March 19, 2026.

The New Museum opens its new building this week. And it's doing so with a big show called “New Humans: Memories of the Future,” about how artists rethought what it means to be human through technology. It's a topic on a lot of people's minds. Among the many artists whose visions feature in the show is Christopher Kulendran Thomas. Kulendran Thomas has a lot going on. Aside from the New Museum, he's got another video installation up at the Museum of Modern Art right now, while last fall, his work “Peace Core” showed at Gagosian Gallery in New York. He also runs a project space, Earth, on the Lower East Side in New York and in Echo Park in L.A. Kulendran Thomas's works are complicated. They often feature paintings, inspired by A.I.-generated images. His video installations at MoMA and the New Museum involve deepfake interviews with celebrities like Taylor Swift, Kim Kardashian, or even other artists, together with documentary footage about Sri Lanka, where his family is from. Beneath all these complex parts, Kulendran Thomas is weaving together an ambitious and maybe even unsettling argument, about political systems, philosophy, technology, human creativity, post-human creativity, and where we might be heading in the future—as artists and as a civilization.

TODAY on the GWA Podcast: the renowned art historian and writer, Nicholas Fox Weber discussing ANNI ALBERS! A graduate of Columbia College and Yale University, who received his PhD at the University of Groningen, Weber is a prolific and esteemed author of over a dozen books – including The Bauhaus Group, Le Cor­busier, Balthus A Biography, Patron Saints, The Art of Babar, and many more – as well as being the founder of a non-profit organisation that supports arts, education and medical care in Senegal… But! The reason why we are speaking to him today is because, for nearly 50 years, he has devoted himself to the lives and works of the pioneering 20th century German-born artists – who lived in the US for much of their adult life – Josef and Anni Albers. As the Executive Director of their foundation, Weber has written extensively on them, bringing their work to the fore, and championing and preserving their legacy. While Josef Albers is a trailblazing artist whose theories on colour, and teaching methods, have shaped much of contemporary art, it is the brilliant Anni Albers who we will be discussing today. Born in 1899, and a student of the Bauhaus and a teacher at Black Mountain College, Albers is known for spellbinding weavings that span large-scale practical wall-coverings to smaller thread-based works that she infused with geometric, rhythmic patterning and electric colouring. The first artist working in textile to be honoured with a major solo exhibition at the Museum of Modern Art, and a celebrated writer known for her books – On Designing / On Weaving – Albers, it is fair to say brought the medium into the modernist world, while also deeply rooting it in ancient textile traditions from around the world. I am delighted to be speaking to Weber ahead of the publication of his extraordinary new book, Anni Albers: A Life, out this April, that charts the life of this artist who he was lucky enough to call a close friend, and who we are lucky to now witness in a new way thanks to the extensive personal stories he has gathered from the many times they would meet, whereby he would rush to write down everything she said verbatim, so we could one day have this extraordinary record. HIS BOOK: https://www.waterstones.com/book/anni-albers/nicholas-fox-weber//9780300269376?sv1=affiliate&sv_campaign_id=626889&awc=3787_1773140986_d2d13306eaf5d21d4b7bc0e74ed2dd43&utm_source=626889&utm_medium=affiliate&utm_campaign=adstrong -- THIS EPISODE IS GENEROUSLY SUPPORTED BY THE LEVETT COLLECTION: https://www.famm.com/en/ https://www.instagram.com/famm_mougins // https://www.merrellpublishers.com/9781858947037 Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Nada Smiljanic Music by Ben Wetherfield