Podcasts about Modern art

In celebration of Women's History Month, this week's episode of The Learning Curve, co-hosts U-Ark Prof. Albert Cheng and MassPotential's Mary Tamer speak with Roxana Robinson to honor the extraordinary life and legacy of Georgia O'Keeffe, the pioneering artist often called the “Mother of American Modernism.” Drawing from Robinson's 1989 biography Georgia O'Keeffe: A Life, she traces O'Keeffe's life from the farmlands of Sun Prairie, Wisconsin to the bustling cultural landscape of early 20th-century New York City and to North Central New Mexico. The artist's reverence for natural landscapes, color, and light was shaped by her rural Midwestern upbringing and formal artistic training in Virginia. Robinson explains how O'Keeffe's stark transition to city life is reflected in her artwork, which often explores the line between modernism and traditional landscape painting. O'Keeffe's personal and professional relationship with celebrated photographer and art dealer Alfred Stieglitz marked another major turning point in her life and career. While Stieglitz championed her artistic talent, O'Keeffe also became the subject of more than 350 of his photographic portraits—some sparking public acclaim and controversy, while also helping shape her carefully constructed public image. Ms. Robinson further explores O'Keeffe's most famous works including Cow's Skull: Red, White, and Blue and Ram's Head, White Hollyhock – Hills, as well as her large-scale, magnified floral paintings, Jimson Weed/White Flower No. 1 and Red Canna. From O'Keeffe's early abstract experiments to her late-life desert visions, Robinson shares how the artist's expansive body of work reshaped American art and left a legacy that continues to inspire artists, scholars, and students in the 21st century. She closes with a reading from her book Georgia O'Keeffe: A Life.

Pokemon Day 2026 is here! Celebrate the 30th anniversary of Pokemon with the Krewe by reliving the 25th anniversary of Pokemon! lol Digging deep in the vault to pull out a special Pokemon Day throwback to Season 1, Episode 3 of the podcast... where we have the WHOLE OG Krewe freshly hatched out of our podcast Pokemon egg!  ++++++ In this episode, the Krewe gathers to discuss the iconic Japanese media franchise, Pokémon! Celebrating its 25th anniversary this February, Pokémon is the highest grossing media franchise in the world! From its anime and games, to trading cards and mobile apps, Pokémon truly unites people from across the world. Tune in to this episode to hear the krewe discuss the history, major moments, and each krewe member's favorite Pokémon! ------ About the Krewe ------ The Krewe of Japan Podcast is a weekly episodic podcast sponsored by the Japan Society of New Orleans. Check them out every Friday afternoon around noon CST on Apple, Google, Spotify, Amazon, Stitcher, or wherever you get your podcasts.  Want to share your experiences with the Krewe? Or perhaps you have ideas for episodes, feedback, comments, or questions? Let the Krewe know by e-mail at kreweofjapanpodcast@gmail.com or on social media (Twitter: @kreweofjapan, Instagram: @kreweofjapanpodcast, Facebook: Krewe of Japan Podcast Page, TikTok: @kreweofjapanpodcast, LinkedIn: Krewe of Japan LinkedIn Page, Blue Sky Social: @kreweofjapan.bsky.social, & the Krewe of Japan Youtube Channel). Until next time, enjoy! ------ Support the Krewe! Offer Links for Affiliates ------ Use the referral links below & our promo code from the episode! Support your favorite NFL Team AND podcast! Shop NFLShop to gear up for football season! Zencastr Offer Link - Use my special link to save 30% off your 1st month of any Zencastr paid plan!  ------ Past KOJ Pokemon/Nintendo Episodes ------ The History of Nintendo ft. Matt Alt (S4E18) The Evolution of PokéMania ft Daniel Dockery [Part 2] (S4E3) The Evolution of PokéMania ft Daniel Dockery [Part 1] (S4E2) We Love Pokemon: Celebrating 25 Years (S1E3) Why Japan? ft. Matt Alt (S1E1) ------ JSNO Upcoming Events ------ JSNO Event Calendar Join JSNO Today!

Episode No. 747 of The Modern Art Notes Podcast features artist Bethany Collins and curator Edouard Kopp. Collins is included in "Monuments," at the Museum of Contemporary Art, Los Angeles. The exhibition juxtaposes decommissioned Lost Cause monuments with commissioned artworks that address the histories the Lost Cause aimed to whitewash. Collins' contribution to the project is Love is dangerous (2024-25), a sculptural installation that remakes the base of the Stonewall Jackson monument that was installed in Charlottesville, Virginia. 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. On March 5 the Museum of Contemporary Art Denver opens "Bethany Collins: The Deluge," a presentation of Collins works that each address -- and navigate -- an existential storm. Across several media, Collins addresses major literary works such as Herman Melville's Moby Dick, and Sophocles' Antigone -- and the US songbook too. The exhibition was curated by Leilani Lynch and is on view through July 5. Among the many museums presenting solo exhibitions of Collins' work are the Seattle Art Museum, the Peabody Essex Museum, Salem, Mass., the Contemporary Art Museum Saint Louis, the Van Every and Smith Galleries at Davidson College, the Birmingham Museum of Art, and the Jule Collins Smith Museum of Fine Art at Auburn University. Edouard Kopp is the curator of "Wall Drawing Series: Gladys Nilsson" at the Menil Drawing Institute, Houston. The site-specific exhibition features an enormous Nilsson drawing that features fantastical, hybrid beings surrounding one monumental figure engaged in the act of drawing. It's on view through August 9. Nilsson's work has been the subject of dozens of exhibitions, including a 1973 solo exhibition at the Whitney Museum of American Art. Her work is in the collection of museums such as the Museum of Modern Art, New York, the Los Angeles County Museum of Art, and the Art Institute of Chicago. Instagram: Bethany Collins, Tyler Green.

In this episode of Makers & Mystics, Stephen Roach sits down with cultural critic, writer, and iconographer Jonathan Pageau to explore the state of contemporary storytelling and the enduring power of myth.Pageau, creator of The Symbolic World, explains how symbols operate beneath conscious awareness to shape imagination and culture. Together, they discuss why traditional narratives appear depleted, how propaganda differs from true myth, and why fairy tales continue to communicate truths modern culture struggles to articulate.The conversation turns toward artists and storytellers, what it means to create work rooted in beauty, transcendence, and enduring symbolic patterns rather than novelty or cynicism. The conversation also connects with the theme of The Breath and the Clay 2026 —what it means to make space: space in our art, in our imagination, and in our lives for transcendent meaning to take root.Jonathan Pageau will be our keynote presenter for this year's event in Winston-Salem, NC, March 20-22. http://www.thebreathandtheclay.com Send a textJoin Malcolm Guite, Jonathan Pageau, Stephen Roach, and so many others!http://www.thebreathandtheclay.comUse the code "mystic26" for a special podcast listener rate!Support the show Get Tickets to The Breath and The Clay 2026 featuring Malcolm Guite, Jon Guerra, and Jonathan Pageau! March 20-22 in Winston-Salem, NC. Sign Up for Our Newsletter! http://eepurl.com/g49Ks1

Stephen Shames – A Legendary Documentary Photographer (Part 2)

On this episode of the podcast, host Dr Pasquale Iannone is joined by author Ashley Clark to discuss his new book The World of Black Film (2026).Ashley is a writer, critic and broadcaster. He is also Curatorial Director at the Criterion Collection. His previous roles include director of film programming at the Brooklyn Academy of Music. Ashley has curated film series at BFI Southbank and the Museum of Modern Art amongst others. He has written for Film Comment, Reverse Shot, and Sight and Sound, and his first book - on Spike Lee's Bamboozled (2000) - came out in 2015.Spanning more than a century of film history, Ashley's new book The World of Black Film is a fascinating, illuminating survey of black cinema through 100 key works. From avant-garde dramas to action thrillers, blaxploitation films to biopics, comedies to war films. Ashley provides sharp, engaging analysis of  pictures by Ousmane Sembène, Spike Lee, Gordon Parks, Sara Gómez, Horace Ové, Kathleen Collins, Souleymane Cissé, Steve McQueen and many more.Ashley tells Pasquale about the background to the book and his approach to selecting the 100 films. He also reveals some of the personal memories and connections that feed into the book.

In this episode I spoke with Anthony Taylor about his book "Classic Monsters, Modern Art." Explore the groundbreaking (and terrifying) pantheon of monsters from the 20th century's greatest films and fiction interpreted by the world's most exciting contemporary artists and illustrators in Classic Monsters, Modern Art!

There are many ways to read the vast trove of documents tied to the convicted sex offender and financier Jeffrey Epstein, who died by suicide in prison in 2019. The Epstein files offer a window into the rarefied, power-brokering circles he inhabited. But the latest tranche—released by the U.S. Department of Justice in late January and comprising some three million pages, 2,000 videos, and 180,000 images—also provides a behind-the-scenes view of high-level financial maneuvering, including Epstein's connections to the art and cultural worlds. Revelations in the latest files have already had consequences: former French culture minister Jack Lang resigned as president of the Arab World Institute after disclosures connecting him to Epstein, and French financial-crimes prosecutors have opened a preliminary investigation into him and his daughter for alleged “aggravated tax-fraud laundering.” Art collector and film producer Steve Tisch is also facing scrutiny over email correspondence with Epstein in 2013 concerning multiple women. In early February, David A. Ross, chair of the Master of Fine Arts in Art Practice at New York's School of Visual Arts, resigned after documents showed ties to Epstein. The files also shed additional light on the art holdings of the billionaire Leon Black and his dealings with Epstein. Black, who served as chairman of the board of trustees of the Museum of Modern Art in New York from 2018 to 2021, stepped down from that role after backlash over his financial ties to Epstein, though he remained on the board as a trustee. Black has faced civil lawsuits and allegations that he sexually assaulted women introduced to him through Epstein. Black has denied the claims, and no criminal charges have been filed. So we knew about Black and Epstein, to an extent. But my colleague, senior reporter Katya Kazakina, recently focused on how the latest documents illuminate Epstein's sophisticated use of financial structures to enhance the value of Black's vast art holdings—and just how much of his wealth was effectively stored in art. This enormous release is wide-ranging, touching people and industries far beyond the criminal sexual activity in which Epstein was involved. Because of its sheer breadth, it bears emphasizing that inclusion in the files does not imply criminal wrongdoing. More will come to light as journalists and the public sift through the documents.

There are many ways to read the vast trove of documents tied to the convicted sex offender and financier Jeffrey Epstein, who died by suicide in prison in 2019. The Epstein files offer a window into the rarefied, power-brokering circles he inhabited. But the latest tranche—released by the U.S. Department of Justice in late January and comprising some three million pages, 2,000 videos, and 180,000 images—also provides a behind-the-scenes view of high-level financial maneuvering, including Epstein's connections to the art and cultural worlds. Revelations in the latest files have already had consequences: former French culture minister Jack Lang resigned as president of the Arab World Institute after disclosures connecting him to Epstein, and French financial-crimes prosecutors have opened a preliminary investigation into him and his daughter for alleged “aggravated tax-fraud laundering.” Art collector and film producer Steve Tisch is also facing scrutiny over email correspondence with Epstein in 2013 concerning multiple women. In early February, David A. Ross, chair of the Master of Fine Arts in Art Practice at New York's School of Visual Arts, resigned after documents showed ties to Epstein. The files also shed additional light on the art holdings of the billionaire Leon Black and his dealings with Epstein. Black, who served as chairman of the board of trustees of the Museum of Modern Art in New York from 2018 to 2021, stepped down from that role after backlash over his financial ties to Epstein, though he remained on the board as a trustee. Black has faced civil lawsuits and allegations that he sexually assaulted women introduced to him through Epstein. Black has denied the claims, and no criminal charges have been filed. So we knew about Black and Epstein, to an extent. But my colleague, senior reporter Katya Kazakina, recently focused on how the latest documents illuminate Epstein's sophisticated use of financial structures to enhance the value of Black's vast art holdings—and just how much of his wealth was effectively stored in art. This enormous release is wide-ranging, touching people and industries far beyond the criminal sexual activity in which Epstein was involved. Because of its sheer breadth, it bears emphasizing that inclusion in the files does not imply criminal wrongdoing. More will come to light as journalists and the public sift through the documents.

Rachel Scott, the founder of Diotima and the Creative Director of Proenza Schouler, put on two major shows in five days at New York Fashion Week. Her debut at Proenza Schouler was among the most anticipated shows of the week, with fellow designers like Maria Cornejo and Raul Lopez of Luar supporting from the front row.“There was a lot of my soul that I poured out in one week,” Scott told Nicole Phelps. “I'd say it's the hardest thing I've ever done.”At her Diotima show on Sunday, Scott collaborated with the estate of Wilfredo Lam, the late Cuban artist and current subject of a Museum of Modern Art retrospective. Scott has long admired Lam, and she found inspiration not only in the aesthetic beauty of his canvases but also the strong anti-imperialist statements in his work.Scott felt compelled to make her own political statement this season, given the many crises here in the U.S. and the world. “ICE out, number one,” she said. “We need to really think about what borders are. It's a statement against the repressive forces of colonialism and imperialism.”She also shared stories from her childhood growing up in Jamaica, her early fashion memories and career trajectory, and her favorite memories from her internship at Vogue. Learn about your ad choices: dovetail.prx.org/ad-choices

Public reaction to the exhibition was mixed and often hostile, but encouraged American artists to experiment with new forms and techniques and helped establish modern art as a legitimate field of artistic expression in the United ...

The work of acclaimed photographer Meghann Riepenhoff examines our relationship to nature and time, both in subject-matter and process. In projects like Litoral Drift, a series of cameral-less cyanotypes, Rieopenhoff makes use of natural elements like water and sediment. Her art is intentionally vulnerable to weather conditions like wind, and her interest in environmental degradation as well as the sublime carry across her work, from Waters of the Americas and State Shift. Based in the Pacific Northwest, Riepnhoff was born in Atlanta and received a BFA in Photography from the University of Georgia and an MFA from San Francisco Art Institute. Her work has been exhibited internationally at locations including the San Francisco Museum of Modern Art, the Museum of Fine Arts Boston, the Denver Art Museum, the Royal Maritime Museum, Centre d'art contemporain de l'Onde, and The Smithsonian. She has published two monographs: Littoral Drift and Ecotone and Ice.  Nigel Poor is a co-founder of Ear Hustle and Bay Area visual artist whose work explores the various ways people make a mark and leave behind evidence of their existence. Her work can be found in various museum collections including the the San Francisco Museum of Modern Art, the M.H. deYoung Museum and the Corcoran Gallery of Art, Washington, D.C. She is also a professor of photography at California State University, Sacramento. 

In the spirit of Carnival season, here's a special bonus rebroadcast of our Mardi Gras Super-Sized Special released in January 2025 about a unique connection between New Orleans, Japan & Mardi Gras that took place in 2024! ++++++2024 was a special year for Carnival and the Japan-New Orleans connection! Lafcadio Hearn's life & works inspired the theme for Rex Parade 2024: "The Two Worlds of Lafcadio Hearn - New Orleans & Japan". But why Hearn? What went into the float design? What other ways has Hearn left a lasting impact on both New Orleans & Japan? Find out today with a super-sized special Mardi Gras bonus episode, featuring insights from Rex historian/archivist Will French & historian/archivist emeritus Dr. Stephen Hales, Royal Artists float designer/artistic director Caroline Thomas, Lafcadio Hearn's great grandson Bon Koizumi,  legendary chef John Folse, Captain of the Krewe of Lafcadio John Kelly, JSNO's resident Lafcadio Hearn expert Matthew Smith, and even the Mayor of Matsue Akihito Uesada! Get ready for Mardi Gras 2025 by reflecting on this unique connection between New Orleans & Japan!------ About the Krewe ------The Krewe of Japan Podcast is a weekly episodic podcast sponsored by the Japan Society of New Orleans. Check them out every Friday afternoon around noon CST on Apple, Google, Spotify, Amazon, Stitcher, or wherever you get your podcasts.  Want to share your experiences with the Krewe? Or perhaps you have ideas for episodes, feedback, comments, or questions? Let the Krewe know by e-mail at kreweofjapanpodcast@gmail.com or on social media (Twitter: @kreweofjapan, Instagram: @kreweofjapanpodcast, Facebook: Krewe of Japan Podcast Page, TikTok: @kreweofjapanpodcast, LinkedIn: Krewe of Japan LinkedIn Page, Blue Sky Social: @kreweofjapan.bsky.social, & the Krewe of Japan Youtube Channel). Until next time, enjoy!------ Music Credits ------Background music provided by: Royalty Free Music by Giorgio Di Campo for Free Sound Music http://freesoundmusic.eu FreeSoundMusic on Youtube  Link to Original Sound Clip------ Audio Clip Credits ------Thanks to Dominic Massa & everyone at WYES for allowing us to use some of the audio from the below Rex Clips:Segment about Royal Artist & Float DesignFull 2024 Rex Ball Coverage (Krewe of Lafcadio/Nicholls State segment)Thanks to Matsue City Hall & Mayor Akihito Uesada for their video message below:Message from Matsue Mayor Akihito Uesada------ Support the Krewe! Offer Links for Affiliates ------Use the referral links below & our promo code from the episode!Support your favorite NFL Team AND podcast! Shop NFLShop to gear up for football season!Zencastr Offer Link - Use my special link to save 30% off your 1st month of any Zencastr paid plan! ------ Past KOJ Hearn/Matsue/History Episodes ------30 Years, 2 Cities: The 2024 New Orleans-Matsue Exchange ft. Katherine Heller & Wade Trosclair (S6E11)From Tokyo to Treme: A Jazz Trombone Tale ft. Haruka Kikuchi (S6E10)Foreign-Born Samurai: William Adams ft. Nathan Ledbetter (Guest Host, Dr. Samantha Perez) (S5E17)Foreign-Born Samurai: Yasuke ft. Nathan Ledbetter (Guest Host, Dr. Samantha Perez) (S5E16)Explore Matsue ft. Nicholas McCullough (S4E19)Jokichi Takamine: The Earliest Bridge Between New Orleans & Japan ft. Stephen Lyman (S4E13)The Life & Legacy of Lafcadio Hearn ft. Bon & Shoko Koizumi (S1E9)Matsue & New Orleans: Sister Cities ft. Dr. Samantha Perez (S1E2)------ Links about Rex ------2024 Rex Parade/Float PDF with Full DesignsCaroline Thomas's Website------ JSNO Upcoming Events ------JSNO Event CalendarJoin JSNO Today!

Fluent Fiction - Serbian: Bridging Time: A Valentine's Day Exhibition at Kalemegdan Find the full episode transcript, vocabulary words, and more:fluentfiction.com/sr/episode/2026-02-13-08-38-20-sr Story Transcript:Sr: Зимска снега нежно је прекривала Калемегданску тврђаву.En: The winter snow gently covered the Kalemegdan fortress.Sr: Камени зидови стајали су, величанствени и стари, као сведоци векова.En: The stone walls stood, majestic and ancient, as witnesses of centuries.Sr: Лепота панорамског погледа одузимала је дах.En: The beauty of the panoramic view was breathtaking.Sr: Петар, амбициозни кустос, гледао је преко река Саве и Дунава.En: Petar, an ambitious curator, looked out over the Sava and Danube rivers.Sr: Била је то савршена сценографија за изложбу коју је планирао месецима.En: It was the perfect backdrop for the exhibition he had been planning for months.Sr: За Дан заљубљених, Петар је желео да подари Београђанима изложбу која ће спојити прошлост и садашњост.En: For Valentine's Day, Petar wanted to gift the people of Belgrade with an exhibition that would unite the past and present.Sr: Његов циљ био је јасан: организовати културно значајну изложбу која чува традицију али и прославља модерну уметност.En: His goal was clear: to organize a culturally significant exhibition that preserves tradition while celebrating modern art.Sr: Међутим, свакодневица у организацији није била једноставна.En: However, the daily routine of organizing was not simple.Sr: Миодраг, историјски прецизан и традиционалан, није био одушевљен модернијим дизајном.En: Miodrag, historically precise and traditional, was not thrilled with the more modern design.Sr: „Треба да се држимо историјске веродостојности“, инсистирао је Миодраг.En: "We should stick to historical authenticity," insisted Miodrag.Sr: За њега је била важна безвременост тврђаве.En: For him, the timelessness of the fortress was important.Sr: С друге стране, Јелена, креативна дизајнерка, желела је да унесе савременост.En: On the other hand, Jelena, a creative designer, wanted to bring in modernity.Sr: „Морамо привући млађу публику, нова енергија ће оживети причу“, рекла је.En: "We have to attract a younger audience; new energy will revive the story," she said.Sr: На неколико дана пред изложбу, Петар се нашао у зеленој сали, окружен заклетвама, плановима и дискусијама.En: A few days before the exhibition, Petar found himself in the green hall, surrounded by vows, plans, and discussions.Sr: Миодраг и Јелена су разменили своје аргументе.En: Miodrag and Jelena exchanged their arguments.Sr: Соба је била испуњена тензијом као ваздушни фронтови који се сударе над земљом.En: The room was filled with tension like air fronts colliding over the land.Sr: Петар је морао донети одлуку.En: Petar had to make a decision.Sr: Заћутао је на трен.En: He fell silent for a moment.Sr: Размисао је о духу тврђаве.En: He considered the spirit of the fortress.Sr: Затим се сетио да се историја и модерност често испреплићу и да су, заправо, део исте приче.En: Then he remembered that history and modernity often intertwine and are, in fact, part of the same story.Sr: „Уредићемо просторије тако да сваки кутак буде део једне велике целине“, одлучио је на крају.En: "We will arrange the rooms so that every corner is part of one big whole," he decided in the end.Sr: Под Миодраговим водством, делови изложбе верно су представљали богатство прошлости.En: Under Miodrag's guidance, parts of the exhibition faithfully represented the richness of the past.Sr: Јелена је додала светла и модерну уметност која су истицала те историјске призоре.En: Jelena added lights and modern art that highlighted those historical scenes.Sr: Испало је савршено.En: It turned out perfectly.Sr: Посетиоци су били одушевљени, упијајући сваку нијансу изложбе.En: Visitors were delighted, absorbing every nuance of the exhibition.Sr: На крају, Петар је схватио да је тимски рад донео успех.En: In the end, Petar realized that teamwork had brought success.Sr: Поука коју је научио била је важна: савршенство се крије у споју историје и савремености.En: The lesson he learned was important: perfection lies in the blend of history and modernity.Sr: Калемегдан је добио још један сјај у својој раскошној књизи векова, а Петар је био задовољан.En: Kalemegdan had gained another shine in its lavish book of centuries, and Petar was satisfied.Sr: Изложба је обележила Дан заљубљених и донела топлину у ледени зимски дан.En: The exhibition marked Valentine's Day and brought warmth to a frosty winter day. Vocabulary Words:fortress: тврђаваmajestic: величанствениwitnesses: сведоциpanoramic: панорамскогcurator: кустосbackdrop: сценографијаexhibition: изложбаsignificant: значајнуroutine: свакодневицаprecise: прецизанauthenticity: веродостојностиtimelessness: безвременостcolliding: судареintertwine: испреплићуwhole: целинеfaithfully: верноrichness: богатствоnuance: нијансуteamwork: тимски радblend: спојуlavish: раскошнојvows: заклетвамаshimmer: сјајscenes: призореrevive: оживетиprediction: одлукуconsidered: размисаоattract: привућиyounger: млађуenergy: енергија

What if you shined the spotlight on 21st Century artists who loved painting, drawing and sketching classic monsters from the 20th Century? That's exactly what Author Anthony Taylor has done in his new book "Classic Monsters, Modern Art : 20th Century Horror in the 21st Century. Taylor, along with MONSTER ATTACK! regular and award-winning artist Mark Maddox join Jim for a discussion of the new book - which features Maddox's work along with more than 50 others - available this month. The book documents representations of monsters from the Silent Film Era to the turn of the Century with commentary by Taylor. Find out more on MONSTER ATTACK!, The Podcast Dedicated To Old Monster Movies.

Samora Pinderhughes is a singer, songwriter, and multimedia artist. His music exists at the intersection of jazz, hip hop, and community activism, and often deals with issues like racism, the prison system, and music as a place for healing - like The Healing Project(Opens in a new window). Samora's current project is a residency at the Museum of Modern Art that includes his film Real Talk and a series of live performances. The overall exhibition is called Samora Pinderhughes: Call And Response, and it brings Samora back to our studio and our piano. Set list: 1. Hold That Weight 2. For those lost, for those taken 3. Grief

What if you shined the spotlight on 21st Century artists who loved painting, drawing and sketching classic monsters from the 20th Century? That’s exactly what Author Anthony Taylor has done in his new book “Classic Monsters, Modern Art : 20th Century Horror in the 21st Century. Taylor, along with MONSTER ATTACK! regular and award-winning artist […] The post Classic Monsters, Modern Art| Episode 502 appeared first on The ESO Network.

Born in Ukraine, Margarita Fainshtein earned a BFA from the University of Haifa, Israel and MFA from School of the Art Institute of Chicago.Exhibitions include: Ukrainian Institute of Modern Art, Chicago; Chicago Art Department, Chicago; Art Gallery of Nova Scotia, Halifax; The Artist House, Jerusalem (forthcoming), The ArtCake Gallery, New York, USA (forthcoming), Katzman Art Projects, Halifax; and venues in North America and Europe.Fainshtein's work can be found in the permanent collections of Acadia University, Canada; Art Bank Nova Scotia, Canada; Art Institute of Chicago, USA.Fainshtein's work reflects the complexity of multi-cultural citizenship and immigrant status as it intersects with personal, political, and cultural relations. What relation do political movements have with individual histories? Is there a global citizen? She is Nova Scotian; however, she has other cultural identities which intersect and define who she is.Fainshtein lives and works in Halifax, NS.More of her work @margaritafainshtein

Where in the world am I? In San Diego, talking about Oslo, Norway, Part 2.  Welcome back to the  Dr. Mary Travelbest Guide podcast. A few months ago, I returned from a 90-day journey around the world, and I'm excited to connect with fellow travelers and share experiences. The FAQ is from Tabitha, who complained and then asked a question: I don't want to share a room because I use a sleeping device that makes a lot of noise. How can I save money on my travel without putting someone else out of their sleep?   Answer:  Sharing a room is a blunt instrument for saving money. If your sleep setup creates friction, the more brilliant move is to optimize timing, location, length of stay, and amenities—not to sacrifice privacy.   Here are seven tips for you, Tabitha, and listeners: ​​ 1. Question where the money is going Before changing lodging, look at the most significant cost drivers: Are you paying for location prestige you don't actually use? Are you staying more nights than needed? Are you locking yourself into inflexible dates? Often, lodging costs drop sharply one or two transit stops away from tourist cores. 2. Choose private rooms in shared properties Many hostels, guesthouses, and homestays offer private rooms with shared kitchens or bathrooms. You avoid roommates entirely. Prices are often 30–50% lower than hotels. Kitchens reduce food costs, which adds up fast. 3. Stay longer, pay less Weekly or monthly rates can dramatically undercut nightly pricing. This works exceptionally well for apartments, apart-hotels, and extended-stay properties. Even adding an extra night can lower the average nightly rate. Ask: Is speed costing me money? 4. Travel slightly off-peak. You don't need to travel in miserable weather to save money. Shoulder seasons often offer the same experience at lower prices. Midweek stays are consistently cheaper than weekends. Airfare and lodging both benefit from this shift. 5. Rethink room features you don't need Be skeptical of "comfort upgrades": Do you actually need daily housekeeping? A view? A large room when you're out most of the day? Smaller, simpler rooms are quieter, cheaper, and often better for sleep devices anyway. 6. Use points and cash together If you collect hotel or credit-card points: Use points for expensive nights. Pay cash for cheaper ones. This hybrid approach stretches value without compromising privacy. 7. Pick accommodations built for solo sleepers Some properties quietly cater to solo travelers: Business hotels Capsule-adjacent private rooms Budget chains with excellent soundproofing These are designed around individual sleep needs, not social lodging. Confidence Challenge in Oslo: If you're new to traveling with accessibility needs, your challenge may be trusting yourself to explore independently. Oslo's infrastructure is excellent, but navigating it alone in a foreign country can feel intimidating. The confidence builder is this: Norwegians are incredibly respectful and willing to help — they'll assist you if you ask, but they'll never intrude. Trust that combination of independence and quiet support.   If you enjoyed today's Confidence Challenge, my book series delves deeper into trusting your decisions when traveling solo. Get educated. Learn and do in that order. . You can find the series at the link in the description.    See Book A for addressing this concern. Step 5 travel Find it on the website​​ at https://www.5stepstosolotravel.com/ or on Amazon. It's a several-part series. Today's special destination is Oslo, Norway, Part 2 in more depth.   Oslo, Norway, is a breathtaking city embraced by stunning fjords and vibrant forests. Known as one of Europe's most welcoming and forward-thinking capitals, it offers a serene, safe, and modern atmosphere that's ideal for solo women travelers over 50, including those who use wheelchairs or mobility aids.   Explore Parks, History, and Nordic Design Kick off your adventure at the magnificent Vigeland Sculpture Park, one of the largest sculpture parks globally created by a single artist. With its wide, smooth paths, it's easy to explore at your leisure. The park's tranquil ambiance is just perfect for reflection and appreciation of its artistic beauty.       Visiting the Vigeland statues in the park reminds me of Versailles, France. Took Tram 15 directly there. The park features statues of babies, women, and faces, as well as a lovely rose garden. The park is open every day, all hours, and never closes.  My friend from an earlier trip to Sweden that week, Margaret, and her sister drove to Portebakken and Krikkleiva. Notable landscapes included white birch trees and blue skies with clouds. - Weather: 26-28 degrees Celsius.  We had an incredible experience visiting a museum dedicated to the Oslo tragedy involving homegrown terrorism that occurred in November 2011. Here are some highlights that genuinely stood out during our visit: - Exploring the beautiful moss and unique plants at Sundvolden, an outdoor museum just a short 30-minute drive from Selte, was a delightful experience. https://www.visitnorway.com/listings/sundvolden-hotel/279615/   - It was exciting to travel around in a Skoda electric car, showcasing Norway's commitment to sustainability. https://www.skoda-auto.com/emobility/electrified-models - Interestingly, Norway's independence from the EU economically, thanks to its rich agricultural and fishing resources, allows it to prioritize its own interests without contributing to the EU's financial struggles. Next time to see in Oslo….. - A trip to the renowned Louisiana Museum of Modern Art, only 45 minutes away, is definitely a must-see.  Explore Cobenhill, an eco-friendly destination featuring a ski slope, lifts, hiking trails, and a climbing wall, located near the waste-to-energy plant.    Check out The Fram Museum, where you can dive into the incredible tales of Norway's polar explorers. The museum is fully wheelchair accessible, with ramps leading to a replica of the historic polar ship Fram. Just a stone's throw away, the Kon-Tiki Museum awaits, accessible and showcasing Thor Heyerdahl's remarkable voyages.     For a delightful lunch, mentioned in Part 1 on Oslo, why not try one of the local seafood cafés on the scenic Bygdøy (bug-day) Peninsula? Enjoying outdoor seating with stunning fjord views is a fantastic way to immerse yourself in the local flavor.   Stroll along Karl Johans Gate, the city's vibrant main pedestrian street filled with charming shops, cozy cafés, and historic architecture. This lovely avenue leads you right to the Royal Palace, surrounded by inviting gardens and easy-to-navigate pathways.   Hop on a tram—most of Oslo's public transportation is low-floor and incredibly wheelchair-friendly—and soak in the enchanting city lights dancing on the water!       My missteps: Language barriers.   Can't pronounce the names, so just do your best as someone from the USA.  Most people speak English. Can't speak the language? Use Duolingo for practice, then keep trying. Fake it until you master it, and apologize in the meantime. People will appreciate that you tried. Thanks for listening, and I'll see you on the next journey.   AI was used to select some of the suggestions for this episode.   Connect with Dr. Travelbest 5 Steps to Solo Travel website Dr. Mary Travelbest X Dr. Mary Travelbest Facebook Page Dr. Mary Travelbest Facebook Group Dr. Mary Travelbest Instagram Dr. Mary Travelbest Podcast Dr. Travelbest on TikTok Dr.Travelbest onYouTube In the news  

Episode 514 / Michael BrennanMichael Brennan (b. 1965, Pine Island, FL; lives Brooklyn, NY) has exhibited his paintings and works on paper nationally and internationally for the past three decades, including in the United States, Mexico, Belgium, France, Germany, Italy, China, Australia, and New Zealand.  Here at the gallery, he previously mounted four very well-received solo exhibitions – Floating Weeds (2023), Late Spring (2018), Grey Razor Paintings (2014), and Knife Paintings (2006) – and has participated in numerous group exhibitions including our major survey exhibition MINUS SPACE at MoMA PS1 in 2008-2009 and Twenty (2023).Brennan's work have been reviewed in publications including The New York Times, Art in America, ARTnews, Art New England, The Brooklyn Rail, ArtNet Magazine, NY Arts, and Philadelphia Inquirer. He is also an accomplished arts writer, and his reviews and essays have been published in The Brooklyn Rail, ArtNet Magazine, Two Coats of Paint, The Village Voice, The Architect's Newspaper, American Abstract Artists, and Archives of American Art/Smithsonian Institution, as well as in numerous exhibition catalogues.Brennan's work is included in collections such as the Baltimore Museum of Art, National Gallery of Art, San Francisco Museum of Modern Art, San Jose Museum of Art, American Express, General Dynamics, Daimler AG, and Sony Corporation. He holds an MFA in Painting and an MS in Art History from Pratt Institute and a BA in Classics from the University of Florida. He has taught at Pratt Institute since 1998 and is currently Adjunct Professor in the Fine Arts Department. He has also previously taught at the School of Visual Arts, Hunter College, and Cooper Union (all NYC).  

In another solo adventure, Bendy dives deep into the wonderful world of JMW Turner.   Watch on YouTube: https://youtu.be/CxMJD9ZFC64  See the show notes: https://zczfilms.com/uncategorised/season-5-episode-2-2/ 

Episode Notes Full descrptions from the Library of Congress “The Tramp and the Dog” (1896)                                                          "The Tramp and the Dog," a silent film from Chicago's Selig Polyscope Company, is considered director William Selig's most popular early work. Filmed in Rogers Park, it is recognized as the first commercial film made in Chicago. Previously a lost film, it was rediscovered in 2021 at the National Library of Norway. The film depicts a tramp who attempts to steal a pie from a backyard windowsill, only to be met by a broom-wielding housewife and her dog, who foils the crime. The film is one of the first known as “pants humor,” where a character loses (or almost loses) his pants during an altercation. This scene inspired future comedy gags showing drifters and tramps losing their pants to dogs chasing them. “The Oath of the Sword” (1914)                                                                        A three-reel silent drama, "The Oath of the Sword" depicts the tragic story of two young lovers separated by an ocean. Masao follows his ambitions, studying abroad at the University of California, Berkeley, while Hisa remains in Japan, caring for her ill father. This earliest known Asian American film production featured Japanese actors playing Japanese characters and was produced by the Los Angeles-based Japanese American Film Company. Made at a time when Hollywood studios were not yet the dominant storytellers of the American film industry, "The Oath of the Sword" highlights the significance of early independent film productions created by and for Asian American communities. James Card, the founding curator at the George Eastman Museum, acquired “The Oath of the Sword” in 1963. The museum made a black and white photochemical preservation in 1980. In 2023, a new preservation reproducing the original tinting was done in collaboration with the Japanese American National Museum, and the film has since become widely admired. “The Maid of McMillan” (1916)Known to be the first student film on record, this whimsical, silent romance film was shot on campus in 1916 by students in the Thyrsus Dramatic Club at Washington University in St. Louis, Missouri. Club members Donald Stewart (Class of 1917) and George D. Bartlett (Class of 1920) wrote the screenplay. The original nitrate print of “The Maid of McMillan” was rediscovered in 1982, and two 16mm prints were made; the original nitrate was likely destroyed at this time. In 2021, with funding from the National Film Preservation Foundation, one of those 16mm prints was scanned at 4k and reprinted onto 35mm helping to secure the film's survival and legacy. “The Lady” (1925)When “The Lady” debuted in theaters in 1925, the silent film era had hit its stride, and this movie represents a powerhouse of artists at their peak. Director Frank Borzage was a well-established expert in drawing out intense expressions of deep emotion and longing in his actors. He did just that with the film's lead actress, Norma Talmadge, also at the height of her career, both in front of and behind the camera. Talmadge produced “The Lady” through her production company and commissioned one of the most prolific screenwriters, Frances Marion, to deliver a heartfelt story of a woman seeking to find the son she had to give up, to protect him from his evil grandfather. “The Lady” was restored by the Library of Congress in 2022. “Sparrows” (1926)As a silent actress, producer and key founder in the creation of the American film industry, Mary Pickford's performance in “Sparrows” represents her ability to master the genre she helped nourish: sentimental melodramas full of adventure and thrills, with dashes of comedy and heartfelt endings. Pickford plays Molly, the eldest orphan held within the swampy squalor of the Deep South, who moves heaven and earth to save the other orphan children from a Dickensian world of forced labor. The film takes some departures from the visual styles found in Pickford's other films, invoking an unusual tone of despair while deploying camera angles and lighting akin to German Expressionist cinema. “Sparrows” was preserved by the Library of Congress in collaboration with the Mary Pickford Company in 2020. “Ten Nights in a Barroom” (1926)                                                                     Featuring an all-Black cast, “Ten Nights in a Barroom” was produced in 1926 by the Colored Players Film Corporation of Philadelphia and is the earliest of only two surviving films made by the company. This silent film is based on the stage melodrama adapted from the 1854 novel “Ten Nights in a Bar-Room and What I Saw There” by Timothy Shay Arthur. Released in 2015 by Kino Lorber as part of the five-disc set “Pioneers of African-American Cinema,” the compilation was produced by the Library of Congress, in association with the British Film Institute, George Eastman Museum, Museum of Modern Art, National Archives, Smithsonian's National Museum of African American History and Culture, Southern Methodist University and the UCLA Film & Television Archive. Preserved by George Eastman Museum. “White Christmas” (1954)                                                           While the chart-topping song "White Christmas" was first performed by Bing Crosby for the 1942 film "Holiday Inn," its composer, Irving Berlin, was later inspired to center the song in the 1954 musical "White Christmas." Crosby, along with Danny Kaye, Rosemary Clooney, Vera-Ellen Rohe and director Michael Curtiz, embedded "White Christmas" in American popular culture as a best-selling single and the top-grossing film of 1954, as well as regular holiday viewing throughout the decades. The story of two World War II veterans-turned-entertainers and a singing sister act preparing a show for a retired general, the film and its grand musical numbers were captured in VistaVision, a widescreen process developed by Paramount Pictures and first used for "White Christmas." “High Society” (1956)                                                                  Often referred to as the last great musical of the Golden Age of Hollywood, “High Society” features an all-star cast including Bing Crosby, Grace Kelly, Frank Sinatra and Louis Armstrong (and his band), along with a memorable score of Cole Porter classics. Set in Newport, Rhode Island, the film showcases the Newport Jazz Festival (established in 1954) and features a remarkable version of Cole Porter's “Now You Has Jazz.” It includes the first big-screen duet by Frank Sinatra and Bing Crosby, singing “Well, Did You Evah?” This was Grace Kelly's last movie before she retired from acting and married the Prince of Monaco; she wore her Cartier engagement ring while filming. “Brooklyn Bridge” (1981)                                               With “Brooklyn Bridge,” Ken Burns introduced himself to the American public, telling the story of the New York landmark's construction. As with later subjects like the Civil War, jazz and baseball, Burns connects the building of the Brooklyn Bridge to American identity, values and aspirations. Released theatrically and nominated for an Academy Award for Best Documentary Feature, “Brooklyn Bridge” marked the beginning of Burns' influential career in public media*.* More than just a filmmaker, Burns has become a trusted public historian. His storytelling presents facts, but maybe more importantly, invites reflection on what America is, where it's been, and where it's going. His influence is felt not only in classrooms and through public broadcasting, but across generations who see history as something alive and relevant. “Say Amen, Somebody” (1982)George Nierenberg's documentary is a celebration of the historical significance and spiritual power of gospel music. With inspirational music, joyful songs and brilliant singers, the movie focuses on the men and women who pioneered gospel music and strengthened its connections to African American community and religious life. Prior to production, Nierenberg, who is white, spent over a year in African American churches and communities, gaining the trust of the performers. Restored by the Smithsonian's National Museum of African American History and Culture in 2020, the film features archival footage, photographs, stirring performances and reflections from the father of gospel Thomas A. Dorsey and its matron Mother Willie Mae Ford Smith. Nierenberg shows the struggles and sacrifices it takes to make a living in gospel, including criticism endured by women who sought to pursue careers as professional gospel singers while raising their families. “The Thing” (1982)Moody, stark, often funny and always chilling, this science fiction horror classic follows Antarctic scientists who uncover a long-dormant, malevolent extraterrestrial presence. “The Thing” revolutionized horror special effects and offers a brutally honest portrait of the results of paranoia and exhaustion when the unknown becomes inescapable. “The Thing” deftly adapts John W. Campbell's 1938 novella “Who Goes There?” and influenced “Stranger Things” and “Reservoir Dogs.” It remains a tense, thrilling and profoundly unsettling work of cinema. “The Big Chill” (1983)Lawrence Kasdan's best picture-nominated “The Big Chill” offers an intimate portrait of friends reunited after the suicide of one of their own and features actors who defined cinema in the 1980s – Glenn Close, William Hurt, Jo Beth Williams, Kevin Kline, Jeff Goldblum and Meg Tilly. This powerful ensemble portrays American stereotypes of the time – the yuppie, the drug dealer, the TV star – and deftly humanizes them. Through humor, tenderness, honesty and an amazing soundtrack, it shows formerly idealistic Americans making and dealing with the constant compromises of adulthood, while buoying one another with uncompromising love and friendship. “The Karate Kid” (1984)An intimate story about family and friendship, “The Karate Kid” also succeeds as a hero's journey, a sports movie and a teen movie – a feel-good movie, but not without grit. The film offers clearly defined villains, romance and seemingly unachievable goals, but also an elegant character-driven drama that is relatable and touching. A father who has lost his son meets the displaced son of a single mother and teaches him about finding balance and avoiding the pitfalls of violence and revenge. Race and class issues are presented honestly and are dealt with reasonably. Our hero practices a lot, gets frustrated, gets hurt, but still succeeds. It's as American as they come, and it's a classic. “Glory” (1989)“Glory,” described by Leonard Maltin as “one of the finest historical dramas ever made,” portrays a historical account of the 54th Regiment, a unit of African American soldiers who fought for the North in the Civil War. Authorized by the Emancipation Proclamation of 1863, the regiment consisted of an all-Black troop commanded by white officers. Matthew Broderick plays the young colonel who trains the troop, and Denzel Washington (in an Academy Award-winning performance) is among an impressive cast that includes Morgan Freeman, Cary Elwes and Andre Braugher. American Civil War historian James M. McPherson said the film "accomplishes a remarkable feat in sensitizing a lot of today's Black students to the role that their ancestors played in the Civil War in winning their own freedom.” “Philadelphia” (1993)                                                                  “Philadelphia” stars Tom Hanks in one of the first mainstream studio movies to confront the HIV/AIDS crisis. In the film, law partner Andrew Beckett (Hanks) is fired from his firm when they discover that he is gay and has AIDS. He hires personal attorney Joe Miller (Denzel Washington) to help him with litigation against his former employer. Director Jonathan Demme is quoted as saying, “The film is not necessarily just about AIDS, but rather everyone in this country is entitled to justice.” The film won two Oscars: one for Hanks and the other for Bruce Springsteen's original song, “The Streets of Philadelphia.” Through the song's mainstream radio and MTV airplay, it brought the film and its conversation around the HIV/AIDS pandemic to a wider audience. “Before Sunrise” (1995)                                                              Richard Linklater has explored a wide range of narrative storytelling styles while consistently capturing ordinary, everyday American life. However, his innovative use of time as a defining and recurring cinematic tool has become one of his most significant accomplishments. As the first film in his “Before” trilogy – three films, each shot nine years apart – “Before Sunrise” unfolds as one of cinema's most sustained explorations of love and the passage of time, highlighting the human experience through chance encounters and conversation. With his critically acclaimed 12-year production of the film “Boyhood” (2014) and a new 20-year planned production underway, his unique use of the medium of film to demonstrate time passing demonstrates an unprecedented investment in actors and narrative storytelling. “Clueless” (1995)                                                             A satire, comedy and loose Jane Austen literary adaptation dressed in teen movie designer clothing, “Clueless,” directed by Amy Heckerling, rewards both the casual and hyper-analytical viewer. It's impossible to miss its peak-1990s colorful, high-energy, soundtrack-focused on-screen dynamism, and repeated viewings reveal its unpretentiously presented and extraordinarily layered and biting social commentary about class, privilege and power structures. Heckerling and the incredible cast never talk down to the audience, creating main characters that viewers root for, despite the obvious digs at the ultrarich. The film centers on Cher (Alicia Silverstone) as a well-intentioned, fashion-obsessed high school student who is convinced she has life figured out. In the age of MTV, the film's popularity launched Paul Rudd's career and Silverstone's iconic-1990s status. The soundtrack, curated by Karyn Rachtman, helped solidify the film as a time capsule of clothing, music, dialogue and teenage life. “The Truman Show” (1998)Before social media and reality television, there was “The Truman Show.” Jim Carrey breaks from his usual comedic roles to star in this dramatic film about a man who, unbeknownst to him, is living his life on a soundstage filmed for a popular reality show. Adopted at birth by the television studio, Truman Burbank (Carrey) grew up in the (fictitious) town of Seahaven Island with his family and friends playing roles (paid actors). Cameras are all over the soundstage and follow his activities 24/7. Almost 30 years since its release, the film continues to be a study in sociology, philosophy and psychology, and has inspired university classes on media influence, the human condition and reality television. “Frida” (2002)Salma Hayek produced and starred in this biopic of Frida Kahlo, adapted from the book “Frida: A Biography of Frida Kahlo” by Hayden Herrera. The film explores Kahlo's rise as an artist in Mexico City and the impact disability and chronic pain from an accident as a young adult had on her life and work. The film centers around her tumultuous and passionate relationships, most significantly with her husband, painter Diego Rivera (Alfred Molina). Directed by Julie Taymor, the film was nominated for six Academy Awards, including Best Actress. It won awards for Best Makeup and Best Original Score for Elliot Goldenthal, who also won a Golden Globe in the same category. “The Hours” (2002)Director Stephen Daldry's “The Hours” weaves the novel “Mrs. Dalloway” into three women's stories of loneliness, depression and suicide. Virginia Woolf, played by Nicole Kidman (who won an Oscar and a Golden Globe for her performance), is working on the novel while struggling with what is now known as bipolar disorder. Laura, played by Julianne Moore (nominated for Best Actress in a Supporting Role), is unfulfilled in her life as a 1950s housewife and mother. Clarissa (played by Meryl Streep) is – like Mrs. Dalloway – planning a party, but for her close friend who is dying of AIDS. The film is based on Michael Cunningham's Pulitzer Prize-winning novel. It earned nine Academy Award nominations, including Best Picture, and won a Golden Globe for Best Picture. “The Incredibles” (2004)                                                 With an all-star cast and memorable soundtrack, this Academy Award-winning Pixar hit uses thrilling action sequences to tell the story of a family trying to live normal lives while hiding their superpowers. For the first time, Pixar hired an outside director, Brad Bird, who drew inspiration from spy films and comic books from the 1960s. The animation team developed a new design element to capture realistic human anatomy, hair, skin and clothing, which Pixar struggled with in early films like “Toy Story.” The film spawned merchandise, video games, Lego sets and more. The sequel, “Incredibles 2,” was also a huge hit, and together, both films generated almost $2 billion at the box office. “The Wrecking Crew” (2008)                                                     “The Wrecking Crew” is a documentary that showcases a group of Los Angeles studio musicians who played on many hit songs and albums of the 1960s and early 1970s, including “California Dreamin',” “The Beat Goes On,” “You've Lost That Lovin' Feeling” and “These Boots Are Made for Walkin'.” Through interviews, music, footage and his own narration, director Denny Tedesco reveals how the Wrecking Crew members – including his father, guitarist Tommy Tedesco – were the unsung heroes of some of America's most famous songs. Production for the film began in 1996, and the film was completed in 2008. Due to the high cost of song licenses, the official release was delayed until 2015, when a successful Kickstarter campaign raised over $300,000 to pay for the music rights. “Inception” (2010)                                                                         Writer and director Christopher Nolan once again challenges audiences with multiple interconnected narrative layers while delivering thrilling action sequences and stunning visual effects. “Inception” asks the question, “Can you alter a person's thoughts by manipulating their dreams?” Taking almost 10 years to write, the film was praised for its aesthetic significance and Nolan's ability to create scenes using cameras rather than computer-generated imagery. A metaphysical heist film with an emotional core driven by grief and guilt, “Inception” offers a meditation on how dreams influence identity, and it resonates deeply in an age of digital simulation, blurred realities and uncertainty. The film earned $830 million at the box office and won four Academy Awards. “The Loving Story” (2011)Nancy Buirski's acclaimed documentary gives an in-depth and deeply personal look at the true story of Richard Loving (a white man) and Mildred Loving (a Black and Native American woman), who were forbidden by law to marry in the state of Virginia in the 1960s. Their Supreme Court case, Loving vs. Virginia, was one of the most significant in history, and paved the way for future multiracial couples to marry. The movie captures the immense challenges the Lovings faced to keep their family and marriage together, through a combination of 16mm footage, personal photographs, accounts from their lawyers and family members, and audio from the Supreme Court oral arguments. “The Grand Budapest Hotel” (2014)“The Grand Budapest Hotel” stands as one of Wes Anderson's most successful films and demonstrates his own brand of unique craftsmanship, resulting in a visually striking and emotionally resonant story. As one of the most stylistically distinctive American filmmakers of the last half-century, Anderson uses historically accurate color and architecture to paint scenes to elicit nostalgia and longing from audiences, while at the same time weaving in political and social upheaval into the film. The film is an example of Anderson as a unique artist who uses whimsy, melancholy, innovative storytelling and a great deal of historical research, which is on display in this visually rich gem of a movie. Find out more at https://registry-a-podcast.pinecast.co

Watch the short film "The Space Between Ages" on Zeale: https://zeale.co/video/in-the-space-between-ages After Notre Dame unveiled its new, modernist stained-glass windows and reignited an old debate, Erika sat down with sculptor Dony MacManus to ask why modern art is so ugly – and what sacred beauty still demands of us. A bracing conversation on art, suffering, freedom, and faith.Timestamps:0:00 - Intro: Why is modern art so ugly?1:45 - Sculpting a monument for the U.S. Navy3:25 - Becoming an artist, turning towards the light6:24 - Creativity and freedom is found within constraints9:39 - Drawing is contemplating reality visually12:50 - How smartphones kill creativity14:32 - AI art = anti incarnational15:07 - Art history: how did we get to modern art that's so ugly?18:54 - Ugly art comes from ugly thought (truth leads to beauty)23:31 - Why are we not allowed to criticize modern art? 28:00 - Western tradition created beautiful art because it was centered on Jesus Christ (the mass)30:38 - Childlike delight in God's creation37:28 - Conclusion: watch the film on Zeale!Links:Short film “In the Space Between Ages”: https://zeale.co/video/in-the-space-between-ages Dony's show on Zeale.co: https://zeale.co/shows/clash-of-the-mastersRoger Scruton's “Why Beauty Matters”: https://vimeo.com/549715999 Want more Deep? Check out our new home! https://zeale.co/podcasts/the-deepSubscribe to the LOOPcast on YouTube: https://www.youtube.com/@theLOOPcast

Fluent Fiction - Korean: Unveiling Jeju's Hidden Stone: Tradition Meets Innovation Find the full episode transcript, vocabulary words, and more:fluentfiction.com/ko/episode/2026-01-29-23-34-02-ko Story Transcript:Ko: 제주의 겨울은 차갑고 아름다웠다.En: Winter in Jeju was cold and beautiful.Ko: 하얗게 덮인 눈이 제주의 돌하르방들 위에 얹혀 있었다.En: Snow covered the Jeju stone statues in white.Ko: 이곳은 제주 스톤 파크였다.En: This was Jeju Stone Park.Ko: 돌 조각들이 사람들에게 신비로운 느낌을 주었다.En: The stone sculptures gave people a mysterious feeling.Ko: 설날이 가까워지는 어느 날 아침, 주운은 공원을 돌아다녔다.En: One morning, as the Lunar New Year approached, Jun wandered around the park.Ko: 그때 그는 낯선 돌 조각을 발견했다.En: That was when he discovered an unfamiliar stone sculpture.Ko: 밤사이 생긴 새로운 조각이었다.En: It was a new sculpture that had appeared overnight.Ko: 그 조각은 전통적인 형태와 현대적인 스타일이 섞여 있었다.En: The sculpture blended traditional shapes with modern styles.Ko: 주운은 놀랐다.En: Jun was amazed.Ko: 이 조각은 누구의 작품일까?En: Whose work could this sculpture be?Ko: 그 곁에 조각을 바라보는 두 사람이 있었다. 미술을 공부하는 민지와 여행 중인 하나였다.En: There were two people looking at the sculpture nearby: Minji, who was studying art, and Hana, who was traveling.Ko: 민지는 영감을 얻기 위해 제주에 왔다.En: Minji had come to Jeju for inspiration.Ko: 하나는 꿈에 이끌려 제주로 여행을 왔다.En: Hana had been drawn to Jeju by a dream.Ko: 주운, 민지, 그리고 하나는 함께 조사를 시작하기로 했다.En: Jun, Minji, and Hana decided to investigate together.Ko: 주운은 제주 신화와 전설을 이야기해주었다.En: Jun told them about Jeju's myths and legends.Ko: 그는 전통을 소중히 여겼지만, 현대 예술에 대한 비밀스런 관심도 있었다.En: He valued tradition but also had a secret interest in modern art.Ko: 신화를 믿기 어려웠지만, 그는 이 신비로운 조각의 진실을 찾고 싶었다.En: Though it was hard to believe in myths, he wanted to uncover the truth about this mysterious sculpture.Ko: 셋은 공원 구석구석을 살펴보았다.En: The three of them explored every corner of the park.Ko: 마침내, 이 조각이 아주 오래된 신화와 현대 예술이 결합된 것임을 알게 되었다.En: Finally, they realized that the sculpture was a fusion of ancient myths and modern art.Ko: 옛날 신화에 나오는 돌하르방처럼 보였지만, 그 위에 현대적인 무늬가 새겨져 있었다.En: It looked like the stone guardians from old myths, but modern patterns were engraved on it.Ko: 이 발견은 사람들의 시선을 바꿔놓았다.En: This discovery changed people's perceptions.Ko: 시간이 흐르며 주운은 새롭게 발견한 것을 받아들이기 시작했다.En: As time went by, Jun began to accept what he had discovered.Ko: 전통과 현대가 만나는 것이 나쁜 것이 아님을 깨달았다.En: He realized that the meeting of tradition and modernity was not a bad thing.Ko: 마을 사람들도 점점 이 돌조각을 새로운 문화 자산으로 인정하기 시작했다.En: The villagers also gradually began to recognize the stone sculpture as a new cultural asset.Ko: 이렇게 주운은 전통과 혁신의 다리를 놓아가며 문화에 더 열려있는 사람이 되었다.En: In this way, Jun became a person more open to culture, bridging tradition and innovation.Ko: 제주 스톤 파크는 전통과 혁신이 만나는 장이 되었고, 새로운 이야기가 태어날 곳이 되었다.En: Jeju Stone Park became a place where tradition and innovation met, and where new stories would begin.Ko: 주운, 민지, 하나는 그것을 바라보며 미소 지었다.En: Jun, Minji, and Hana watched this with smiles.Ko: 이렇게 설날은 새로운 시작으로 기억될 것이다.En: In this way, the Lunar New Year would be remembered as a new beginning. Vocabulary Words:covered: 덮인statue: 돌하르방sculpture: 조각mysterious: 신비로운approached: 가까워지는wandered: 돌아다녔다unfamiliar: 낯선appeared: 생긴amazed: 놀랐다investigate: 조사하기로myth: 신화legend: 전설secret: 비밀스런uncover: 찾고explored: 살펴보았다fusion: 결합engraved: 새겨져perception: 시선realized: 깨달았다modernity: 현대villager: 마을 사람들cultural asset: 문화 자산innovation: 혁신bridging: 다리를 놓아가며new beginning: 새로운 시작cold: 차갑고beautiful: 아름다웠다discovery: 발견open to: 열려있는dream: 꿈

Artist, Judy Glantzman, is back on the pod this week to discuss her friend and incredible artist, Dawn Clements (1958-2018). Come along with me as I hear more about this brave, innovative artist who celebrated the idea of the ungovernable doodle. Her ink and gouache drawings span walls and rooms, yet she often made them folded up on trains and while lying in bed. It was wonderful to hear Judy's recollections of this artist I have long-admired. Exhibitions mentioned: James Barron Art "Dawn Clements: Paper Flowers" 2025Pierogi "Dawn Clements at the Boiler" 2010MANA Contemporary, Jersey City, NJ "Dawn Clements, Living Large: A Survey, " 2021Bates College Museum of Art, Lewiston, ME "Back and Forth" Dawn Clements and Marc Leuthold 2008Museum of Modern Art "High and Low: Modern Art and Popular Culture" 1990-91...and keep an eye out for Dawn's upcoming show at the RISD Museum!Dawn Clements works discussed: "Mrs. Jessica Drummond's Bedroom (My Reputation, 1946)" 2010, "Kitchen and Bathroom" 2003, "Tabletop (Black and White)" 2010, "The Boiler" 2010, "Triptych (Yaddo)" 2017, "Maele Luster" 2011, "Grass" 2017, "Oval" 1995-2000, Collaboration with Marc Leuthold 2008 PLUS find more images at Pierogi Residencies mentioned: Sint Trudo Abdij (Maele, Belgium), MacDowell, Yaddo, Civitella Ranieri FoundationOther artists mentioned: Janet Fish, Fra Angelico ("Noli me tangere", 1440–42. Fresco from the convent of San Marco, Florence), Jane Freilicher, Catherine Murphy, Morandi, David Wojnarowicz, Vija Celmins, George Condo, Gina Ruggeri, Charles Burchfield, Charles Garabedian, Mary TempleBook mentioned: "Looking at the Overlooked" by Norman BrysonLinks to online talks: Brooklyn Rail Panel: "Living Large: Dawn Clements"Vermont Studio Center LectureDawn's favorite art materials: PAPER • Fabriano Accademia roll paper, 80-lb., and Strathmore 400 drawing roll paper, 100-lb. INKS AND PENCILS • Sumi ink (both black and vermilion)• ballpoint pen (Bic Crystal or PaperMate medium point black)• No. 2 pencils WATERCOLOR • Sennelier GOUACHE: • Winsor & Newton BRUSHES • soft round watercolor-----Thank you to my guest, Judy Glantzman! Don't miss her upcoming solo show:"Playing with Dolls "Judy Glantzman atPPOW GalleryFeb 6 - March 14, 2026390 Broadway, 2nd Floor (2nd location)New York, NY 10013Also, find Judy on IG: @judyglantzmanThank you for listening!----------------------------Pep Talks on IG: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@peptalksforartists⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Pep Talks Website: ⁠⁠⁠⁠⁠https://www.peptalksforartists.com/⁠⁠⁠⁠⁠Amy, your beloved host, on IG: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@talluts⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Amy's website: ⁠⁠⁠⁠⁠https://www.amytalluto.com/⁠⁠⁠⁠⁠Pep Talks on Art Spiel as written essays: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://tinyurl.com/7k82vd8s⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠BuyMeACoffee⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Donations always appreciated!

In the 1970s, American curator Donna Stein served as an art advisor to Empress Farah Diba Pahlavi, the Shahbanu of Iran. Together, Stein and Pahlavi generated an art market in Iran, as Stein encouraged Pahlavi's patronage of the Tehran Museum of Contemporary Art. Today, the contemporary section of the Iranian National Collection―most of which continues to languish in storage―is considered one of the most significant collections of modern art outside of Europe and the United States. The Empress and I: How an Ancient Empire Collected, Rejected and Rediscovered Modern Art (Skira, 2020) is a vivid account of Stein's experience working on this storied intercultural initiative. In crafting her highly readable narrative, Stein cites a number of previously confidential documents, including private correspondence with artists and dealers. This text explores the relationship between two women united by their shared passion for the arts and the continued legacy of their partnership in today's art world. Kirstin L. Ellsworth holds a Ph.D. in the History of Art from Indiana University and is Associate Professor of Art History at California State University Dominguez Hills. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In the 1970s, American curator Donna Stein served as an art advisor to Empress Farah Diba Pahlavi, the Shahbanu of Iran. Together, Stein and Pahlavi generated an art market in Iran, as Stein encouraged Pahlavi's patronage of the Tehran Museum of Contemporary Art. Today, the contemporary section of the Iranian National Collection―most of which continues to languish in storage―is considered one of the most significant collections of modern art outside of Europe and the United States. The Empress and I: How an Ancient Empire Collected, Rejected and Rediscovered Modern Art (Skira, 2020) is a vivid account of Stein's experience working on this storied intercultural initiative. In crafting her highly readable narrative, Stein cites a number of previously confidential documents, including private correspondence with artists and dealers. This text explores the relationship between two women united by their shared passion for the arts and the continued legacy of their partnership in today's art world. Kirstin L. Ellsworth holds a Ph.D. in the History of Art from Indiana University and is Associate Professor of Art History at California State University Dominguez Hills. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/middle-eastern-studies

Episode No. 742 features artist Woody De Othello, and artists Jason Garcia, Michael Namingha, and curator Bess Murphy. The Pérez Art Museum Miami is presenting "Woody De Othello: coming forth by day," a presentation of new ceramic and wood sculptures, tiled wall works, and a large-scale bronze, all of which explore the primordial relationship between body, earth, and spirit. The exhibition was organized by Jennifer Inacio with the support of Fabiana A. Sotillo. It is on view in Miami through June 28 after which it will travel to the Manetti Shrem Museum of Art, University of California, Davis. De Othello's sculpture, painting, and drawing often investigate the still life genre. His previous institutional solo exhibition was at The Bowes Museum in the UK. Museums that have featured his work in group shows include the Metropolitan Museum of Art, New York, the Seattle Art Museum, the University of Michigan Museum of Art, and the Fine Arts Museums of San Francisco. The Whitney Museum of American Art included him in its 2022 biennial. Later this year, his work will be featured in a Public Art Fund solo presentation in Brooklyn's Brooklyn Bridge Park. He is an artist trustee of the San Francisco Museum of Modern Art. Garcia and Murphy are the co-curators of "Tewa Nangeh/Tewa Country" at the Georgia O'Keeffe Museum in Santa Fe. Namingha is among the 13 artists in the exhibition, 12 of whom are from the six Tewa Pueblos of northern New Mexico (Nambé, Ohkay Owingeh, Pojoaque, San Ildefonso, Santa Clara, and Tesuque).  "Tewa Nangeh" presents the work of Tewa artists while highlighting O'Keeffe's erasure of Tewa people. It is on view through September 7. Garcia's work is in the collection of museums such as the Heard Museum in Phoenix, the Art Institute of Chicago, the Nelson-Atkins Museum of Art, Kansas City, and the Smithsonian's National Museum of the American Indian. Namingha's work is also on view through April 5 at the Museum of Indian Arts and Culture, Santa Fe in "Essential Elements: Art, Environment, and Indigenous Futures." The El Paso Museum of Art and the IAIA Museum of Contemporary Native Arts, Santa Fe have featured solo exhibitions of his work; he's been in group shows at museums such as the Minneapolis Institute of Arts, the Metropolitan Museum of Art, New York, and the Hood Museum of Art, Dartmouth College. Instagram: Woody De Othello, Jason Garcia, Michael Namingha, Tyler Green. Air date: January 22, 2026.

Art, Agriculture, and Abruzzi Rye: How DOMA Is Redefining Georgia WhiskeyShow NotesThank you to Matt for entering the Whiskey Ring!If you haven't joined the Patreon community yet, please consider doing so at patreon.com/whiskeyinmyweddingringAs of December 2025, the $25/month bottle share club level is sold out! There is one member looking to retire - let me know if you'd like the spot!Join at the $5/month level for first shot at an open spot when a member retires and to keep receiving ad-free episodes via Patreon. If you haven't yet, please follow Whiskey in my Wedding Ring and the Whiskey Ring Podcast on Instagram and Facebook and subscribe to the newsletter on the website. Distillery of Modern ArtWebsite: https://distilleryofmodernart.com/Instagram: https://www.instagram.com/distilleryofmodernart/Facebook: https://www.facebook.com/distilleryofmodernart/LinkedIn: https://www.linkedin.com/company/distillery-of-modern-art/YouTube: https://www.youtube.com/channel/UCCv1WycErriGOF-q_tQHDzA

How do art heists actually work — and why do so many stolen masterpieces disappear forever? On Really? No, Really?, Jason Alexander and Peter Tilden talk with art-theft investigator Anthony Amore about the real mechanics of modern art crime. Amore cuts through the Hollywood myths, explaining why museums are more vulnerable than people think, how routine and insider knowledge get exploited, and why stolen art is often hidden for decades instead of sold. The conversation ranges from legendary unsolved heists and forgery scandals to the underground realities of fencing stolen art — plus some unexpected laughs, including Jason's own “missing” Tony Award moment. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this special episode of CounterPunch Radio, Bill Ayers, friend of Pilsen Community Books and fellow podcaster at Under the Tree, introduces Amos Kennedy and fellow artists and activists Monica Trinidad and Chi Nwosu. This evening at Pilsen Community Books in Chicago included a packed-house crowd for a celebration for the release of Citizen Printer by renowned letterpress printer Amos P. Kennedy, Jr. A self-described “humble negro printer,” Amos Paul Kennedy, Jr., is internationally recognized for his type-driven messages of social justice and Black power, emblazoned in rhythmically layered and boldly inked prints made for the masses. Borrowing words from civil rights heroes such as Rosa Parks, Fannie Lou Hamer, Frederick Douglass, and Sojourner Truth, Kennedy issues fearless statements on race, capitalism, history, and politics—along with plenty of witty truisms—in his exuberant, colorful, and one-of-a-kind posters and handbills. Amos P. Kennedy, Jr. was working a corporate job when, at nearly forty, he discovered the art of letterpress printing on a tour of Colonial Williamsburg. Kennedy then devoted himself to the craft, earning an MFA in graphic design at the University of Wisconsin–Madison. He now operates Kennedy Prints!, a letterpress printshop in Detroit. He has exhibited in dozens of museums and galleries across the United States, including the Library of Congress, and the libraries of the Museum of Modern Art and the Metropolitan Museum of Art. Monica Trinidad (she/they) is a queer Latine visual artist, communicator, and cultural strategist. A lifelong Chicagoan, Monica has created zines, graphics, mixed media posters, communication strategies, and plans highlighting youth-led, intergenerational, and intersectional grassroots organizing work in Chicago and nationally. Chi Nwosu is a Black, non-binary, queer, Nigerian artist based in Chicago. Their work is an alchemy of cultural narratives that centres marginalised experiences and utilises potent cultural, political, and spiritual symbols. Chi's art invites viewers to imagine collective liberation, envisioning communities rooted in kindness, compassion, and care. Please, head over to Pilsen Community Books and pick up some books! The post Citizen Printer, Bill Ayers w/ Amos Paul Kennedy, Jr., Monica Trinidad, and Chi Nwosu appeared first on CounterPunch.org.

For the 42nd episode of "Reading the Art World," host Megan Fox Kelly speaks with Dr. Matthew Affron, Muriel and Philip Berman Curator of Modern Art at the Philadelphia Art Museum, about his book "Dreamworld: Surrealism at 100," published by the museum and distributed by Yale University Press.Their conversation traces Surrealism from its 1924 origins in André Breton's manifesto—which asked "how should we live?"—to its evolution as both an artistic movement and a philosophy of liberation. Affron shows how Surrealism emerged not as a singular style but as a set of strategies for merging dream and reality, expressed through automatism, collage, found objects, and juxtaposition—techniques designed to bypass conscious control and access the unconscious.They discuss how the movement's early lyrical explorations gave way in the 1930s to urgent responses to fascism's rise, with monsters and hybrids becoming visual metaphors for political evil. Affron examines the wartime diaspora that transformed Surrealism from a Parisian phenomenon into an international force, as artists fled to Mexico City and New York, drawing on indigenous North American imagery alongside European traditions.Affron emphasizes that Surrealist images are not transcriptions of dreams but invitations into unstable territory where thinking, desiring, and imagining intersect. He explains why these works reward openness to surprise over attempts to decode them, and how their techniques—now part of popular culture—keep Surrealism relevant for contemporary audiences.For anyone interested in modern art's avant-garde movements, the intersection of art and politics, or how creative communities adapt under pressure, this episode offers essential insights into a movement that continues to shape how we think about imagination and freedom.ABOUT THE AUTHORMatthew Affron is the Muriel and Philip Berman Curator of Modern Art at the Philadelphia Art Museum. He holds a Ph.D. in art history from Yale University and has published extensively on early abstract art, Fernand Léger, and modern art's relationship to politics. His previous books include Paint the Revolution: Mexican Modernism, 1910–1950, The Essential Duchamp, and Inventing Abstraction, 1910-1925.ABOUT THE EXHIBITION"Dreamworld: Surrealism at 100" is on view at the Philadelphia Art Museum through February 16, 2026. The exhibition features approximately 200 works by more than 70 artists, with highlights including Joan Miró's Dog Barking at the Moon (1926), Salvador Dalí's Soft Construction with Boiled Beans (Premonition of Civil War) (1936), and Dorothea Tanning's Birthday (1942). Philadelphia is the sole North American venue for this international centennial celebration. Learn more here: https://www.visitpham.org/exhibitions/dreamworld-surrealismPURCHASE THE BOOKhttps://store.philamuseum.org/dreamworld-surrealism-at-100-exhibition-catalog/SUBSCRIBE, FOLLOW AND HEAR INTERVIEWS: For more information, visit meganfoxkelly.com, hear our past interviews, and subscribe at the bottom of our Of Interest page for new posts. Follow us on Instagram: @meganfoxkelly "Reading the Art World" is a podcast featuring live interviews with leading authors and writers on important new art books. Megan Fox Kelly is an art advisor and past President of the Association of Professional Art Advisors who works with collectors, estates and foundations. Music composed by Bob Golden

Modern art has always been a battleground — and the highly influential Museum of Modern Art has been partisan since its inception. Architectural historian Patricio Del Real discusses two differing political visions of modernism and modern architecture: one rooted in the left, and associated with figures such as Communist muralist Diego Rivera, and the other on the right, represented by the architect and fascist sympathizer Philip Johnson. He weighs in on the role of MoMa in promoting a view of modernism in Latin America, stripped of its radical politics and racial fusions, and radiating American power and hegemony. (Encore presentation.) Patricio del Real, Constructing Latin America: Architecture, Politics, and Race at the Museum of Modern Art Yale University Press, 2022 The post MoMa and Cultural Imperialism in Latin America appeared first on KPFA.

In the oceans of ink devoted to the monumental movie star/businesswoman/political activist Elizabeth Rosemond Taylor (1932-2011), her beauty and not-so-private life frequently overshadowed her movies. While she knew how to generate publicity like no other, her personal life is set aside in this volume in favor of her professional oeuvre and unique screen dynamism. In On Elizabeth Taylor: An Opinionated Guide (Oxford UP, 2024), her marriages, illnesses, media firestorms, perfume empire, violet eyes, and AIDS advocacy take a back seat to Elizabeth Taylor, the actress. Taylor's big screen credits span over fifty years, from her pre-adolescent debut in There's One Born Every Minute (1942) to her cameo in The Flintstones (1994). She worked steadily in everything from the biggest production in film history (Cleopatra in 1963) to a humble daytime TV soap opera (General Hospital in 1981). Each of her sixty-seven film appearances is recapped here with background on their inception, production, release, and critical and financial outcome. On Elizabeth Taylor: An Opinionated Guide is a cradle-to-grave chronology of Taylor's life, noting key events, achievements, and milestones. This book offers a work-by-work analysis of her entire career told in chronological order, each film headlined with year of release, distributing studio, and director. This in-depth overview provides an invaluable new way of understanding Taylor's full life and work, as well as the history and nuances of the film industry as it existed in the twentieth century. Kennedy engagingly reassesses Taylor's acting and the nuances she brought to the screen - this includes a consideration of her specific art, the development of her voice, her relationship to the camera, and her canny understanding of the effect she had on audiences worldwide. Kennedy also provides an elucidating guide to her entire filmography, one that speaks to the quality of her performances, their contours and shading, and their context within her extraordinary life and career. On Elizabeth Taylor is a beautifully comprehensive overview of a singular actress of the twentieth century, offering new ways to see and appreciate her skill and peerless charisma, in turn placing her among the greatest film stars of all time. Matthew Kennedy is a film historian based in Oakland, California. He is the author of Roadshow! The Fall of Film Musicals in the 1960s, biographies of actresses Marie Dressler and Joan Blondell, and of director-screenwriter Edmund Goulding. He has introduced film series at the Museum of Modern Art, UCLA Film & Television Archive, and Pacific Film Archive, and written for the San Francisco Silent Film Festival, Turner Classic Movies, and the National Film Registry. He is currently host and curator of the CinemaLit series at the Mechanics' Institute Library in San Francisco. Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers and articles on G. K. Chesterton and John Ford, he teaches research and Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In the oceans of ink devoted to the monumental movie star/businesswoman/political activist Elizabeth Rosemond Taylor (1932-2011), her beauty and not-so-private life frequently overshadowed her movies. While she knew how to generate publicity like no other, her personal life is set aside in this volume in favor of her professional oeuvre and unique screen dynamism. In On Elizabeth Taylor: An Opinionated Guide (Oxford UP, 2024), her marriages, illnesses, media firestorms, perfume empire, violet eyes, and AIDS advocacy take a back seat to Elizabeth Taylor, the actress. Taylor's big screen credits span over fifty years, from her pre-adolescent debut in There's One Born Every Minute (1942) to her cameo in The Flintstones (1994). She worked steadily in everything from the biggest production in film history (Cleopatra in 1963) to a humble daytime TV soap opera (General Hospital in 1981). Each of her sixty-seven film appearances is recapped here with background on their inception, production, release, and critical and financial outcome. On Elizabeth Taylor: An Opinionated Guide is a cradle-to-grave chronology of Taylor's life, noting key events, achievements, and milestones. This book offers a work-by-work analysis of her entire career told in chronological order, each film headlined with year of release, distributing studio, and director. This in-depth overview provides an invaluable new way of understanding Taylor's full life and work, as well as the history and nuances of the film industry as it existed in the twentieth century. Kennedy engagingly reassesses Taylor's acting and the nuances she brought to the screen - this includes a consideration of her specific art, the development of her voice, her relationship to the camera, and her canny understanding of the effect she had on audiences worldwide. Kennedy also provides an elucidating guide to her entire filmography, one that speaks to the quality of her performances, their contours and shading, and their context within her extraordinary life and career. On Elizabeth Taylor is a beautifully comprehensive overview of a singular actress of the twentieth century, offering new ways to see and appreciate her skill and peerless charisma, in turn placing her among the greatest film stars of all time. Matthew Kennedy is a film historian based in Oakland, California. He is the author of Roadshow! The Fall of Film Musicals in the 1960s, biographies of actresses Marie Dressler and Joan Blondell, and of director-screenwriter Edmund Goulding. He has introduced film series at the Museum of Modern Art, UCLA Film & Television Archive, and Pacific Film Archive, and written for the San Francisco Silent Film Festival, Turner Classic Movies, and the National Film Registry. He is currently host and curator of the CinemaLit series at the Mechanics' Institute Library in San Francisco. Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers and articles on G. K. Chesterton and John Ford, he teaches research and Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

In the oceans of ink devoted to the monumental movie star/businesswoman/political activist Elizabeth Rosemond Taylor (1932-2011), her beauty and not-so-private life frequently overshadowed her movies. While she knew how to generate publicity like no other, her personal life is set aside in this volume in favor of her professional oeuvre and unique screen dynamism. In On Elizabeth Taylor: An Opinionated Guide (Oxford UP, 2024), her marriages, illnesses, media firestorms, perfume empire, violet eyes, and AIDS advocacy take a back seat to Elizabeth Taylor, the actress. Taylor's big screen credits span over fifty years, from her pre-adolescent debut in There's One Born Every Minute (1942) to her cameo in The Flintstones (1994). She worked steadily in everything from the biggest production in film history (Cleopatra in 1963) to a humble daytime TV soap opera (General Hospital in 1981). Each of her sixty-seven film appearances is recapped here with background on their inception, production, release, and critical and financial outcome. On Elizabeth Taylor: An Opinionated Guide is a cradle-to-grave chronology of Taylor's life, noting key events, achievements, and milestones. This book offers a work-by-work analysis of her entire career told in chronological order, each film headlined with year of release, distributing studio, and director. This in-depth overview provides an invaluable new way of understanding Taylor's full life and work, as well as the history and nuances of the film industry as it existed in the twentieth century. Kennedy engagingly reassesses Taylor's acting and the nuances she brought to the screen - this includes a consideration of her specific art, the development of her voice, her relationship to the camera, and her canny understanding of the effect she had on audiences worldwide. Kennedy also provides an elucidating guide to her entire filmography, one that speaks to the quality of her performances, their contours and shading, and their context within her extraordinary life and career. On Elizabeth Taylor is a beautifully comprehensive overview of a singular actress of the twentieth century, offering new ways to see and appreciate her skill and peerless charisma, in turn placing her among the greatest film stars of all time. Matthew Kennedy is a film historian based in Oakland, California. He is the author of Roadshow! The Fall of Film Musicals in the 1960s, biographies of actresses Marie Dressler and Joan Blondell, and of director-screenwriter Edmund Goulding. He has introduced film series at the Museum of Modern Art, UCLA Film & Television Archive, and Pacific Film Archive, and written for the San Francisco Silent Film Festival, Turner Classic Movies, and the National Film Registry. He is currently host and curator of the CinemaLit series at the Mechanics' Institute Library in San Francisco. Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers and articles on G. K. Chesterton and John Ford, he teaches research and Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

Fluent Fiction - Danish: Art, Laughter, and Friendship Unite in København Find the full episode transcript, vocabulary words, and more:fluentfiction.com/da/episode/2026-01-10-23-34-02-da Story Transcript:Da: Det var en kølig vintereftermiddag i København.En: It was a chilly winter afternoon in København.Da: Vinden blæste blidt gennem de tomme gader, og snefnuggene faldt forsigtigt fra himlen, som om de havde travlt med at dække alt i en blød, hvid kappe.En: The wind blew gently through the empty streets, and snowflakes fell softly from the sky, as if they were in a hurry to cover everything in a soft, white cloak.Da: Indenfor i Statens Museum for Kunst var der en varm atmosfære.En: Inside the Statens Museum for Kunst, there was a warm atmosphere.Da: Museets store vinduer lod vinterlyset strømme ind, hvilket skabte skyggefulde mønstre på det polerede trægulv.En: The museum's large windows let the winter light stream in, creating shadowy patterns on the polished wooden floor.Da: Mikkel gik langsomt gennem museets haller.En: Mikkel walked slowly through the museum's halls.Da: Han var her for at studere moderne kunst.En: He was there to study modern art.Da: Det var altid spændende at se, hvordan kunstnere udtrykte sig.En: It was always exciting to see how artists expressed themselves.Da: Som kunststuderende elskede han at finde skjulte betydninger og symbolik i hver børste.En: As an art student, he loved to find hidden meanings and symbolism in every brushstroke.Da: Pludselig, ud af øjenkrogen, genkendte han et bekendt ansigt.En: Suddenly, out of the corner of his eye, he recognized a familiar face.Da: Astrid stod foran en enorm, abstrakt maleri, mens hun rastløst skrabede sin næse.En: Astrid stood in front of a huge, abstract painting, restlessly scratching her nose.Da: Han gik hen til hende med et bredt smil.En: He approached her with a broad smile.Da: "Astrid!En: "Astrid!Da: Hvad laver du her?"En: What are you doing here?"Da: Astrid vendte sig og lyste op.En: Astrid turned and lit up.Da: "Hej, Mikkel!En: "Hi, Mikkel!Da: Jeg er her for at finde noget inspiration til mit næste designprojekt.En: I'm here to find some inspiration for my next design project.Da: Moderne kunst har sådan en sjov måde at sætte gang i fantasien."En: Modern art has such a funny way of sparking the imagination."Da: De stod begge og betragtede kunstværket.En: They both stood and gazed at the artwork.Da: Maleriet var en kaotisk samling af farvepletter, sort og hvid, med en rød cirkel i midten.En: The painting was a chaotic collection of color splotches, black and white, with a red circle in the center.Da: Mikkel skrabede sin hage og sagde alvorligt, "Det ser ud som en refleksion over menneskets indre kamp."En: Mikkel scratched his chin and said seriously, "It looks like a reflection on the inner struggle of humanity."Da: Astrid fnisede.En: Astrid giggled.Da: "Ikke alt behøver at være så tungt.En: "Not everything needs to be so heavy.Da: Måske er det bare en rød ballon, der svæver væk."En: Maybe it's just a red balloon floating away."Da: Mikkel rettede sin holdning, stadig smilende.En: Mikkel straightened his posture, still smiling.Da: "Men du ser, der er denne spænding.En: "But you see, there's this tension.Da: Rød er passionens farve, og de sorte pletter viser hindringer."En: Red is the color of passion, and the black spots show obstacles."Da: Astrid blinkede til ham.En: Astrid winked at him.Da: "Eller måske er det bare et køkkenræs efter ketchupflasken?"En: "Or maybe it's just a kitchen race for the ketchup bottle?"Da: Deres diskussion fangede hurtigt opmærksomheden fra de andre besøgende, der begyndte at cirkle omkring dem.En: Their discussion quickly caught the attention of the other visitors, who began to circle around them.Da: Nogle smilede, andre grinede, mens Mikkel og Astrid nu næsten skiftedes til at give de mest skøre tolkninger af maleriet.En: Some smiled, others laughed, as Mikkel and Astrid now almost took turns giving the wackiest interpretations of the painting.Da: "Måske er det et kort over en glemt by!"En: "Maybe it's a map of a forgotten city!"Da: proklamerede Mikkel dramatisk og pegede på cirklens midte.En: Mikkel proclaimed dramatically, pointing at the circle's center.Da: "Nej, nej," Astrid lo.En: "No, no," Astrid laughed.Da: "Det er helt sikkert et portræt.En: "It's definitely a portrait.Da: Se den røde næse.En: See the red nose?Da: Det er en klovn!"En: It's a clown!"Da: Publikum omkring dem begyndte at klappe og grine højlydt.En: The audience around them began to clap and laugh loudly.Da: Til sidst, midt i et af Astrids dramatiske udfald, brød Mikkel ud i latter.En: Eventually, in the midst of one of Astrid's dramatic outbursts, Mikkel burst into laughter.Da: Astrid sluttede sig hurtigt til, og de hulkede af grin.En: Astrid quickly joined in, and they were doubled over with laughter.Da: De tog en dyb indånding og kiggede hinanden i øjnene.En: They took a deep breath and looked each other in the eyes.Da: Mikkel tørrede en tåre væk fra sin kind.En: Mikkel wiped a tear away from his cheek.Da: "Okay, du har ret, måske skal jeg ikke altid tage det så seriøst.En: "Okay, you're right, maybe I shouldn't always take it so seriously.Da: Det er faktisk ret sjovt at se det fra din vinkel."En: It's actually quite fun to see it from your perspective."Da: Astrid klappede ham på ryggen.En: Astrid patted him on the back.Da: "Og det er godt at høre dine tanker.En: "And it's good to hear your thoughts.Da: Du ser mange ting, jeg ikke gør."En: You see many things I don't."Da: Mens de gik videre gennem museets haller, følte begge venner glæden ved deres venskab.En: As they continued through the museum's halls, both friends felt the joy of their friendship.Da: Noget som overgik ethvert mesterligt malet billede.En: Something that surpassed any masterfully painted picture.Da: Når alt kom til alt, fandt de kunstens sande skønhed i latter, venskab og den evige ret til at se verden på deres helt egen måde.En: After all, they found the true beauty of art in laughter, friendship, and the eternal right to see the world in their very own way. Vocabulary Words:chilly: køligcloak: kappeshadowy: skyggefuldepolished: poleredehall: halsymbolism: symbolikabstract: abstraktrestlessly: rastløstspark: sætte gang isplotch: pletposture: holdningtension: spændingobstacle: hindringproclaim: proklamereportrait: portrætaudience: publikumclown: klovnburst: brødlaughter: lattertear: tåreperspective: vinkelpat: klappesurpass: overgåmasterfully: mesterligteternal: eviggaze: betragtechaotic: kaotiskinterpretation: tolkninginspiration: inspirationforgotten: glemt

Fluent Fiction - Danish: Inspiration Awaits: Unblocking Creativity through Courage Find the full episode transcript, vocabulary words, and more:fluentfiction.com/da/episode/2026-01-10-08-38-19-da Story Transcript:Da: Søren gik gennem den stille gang i Louisiana Museum of Modern Art.En: Søren walked through the quiet hallway in Louisiana Museum of Modern Art.Da: Udenfor var vinteren i fuld gang.En: Outside, winter was in full swing.Da: Kulden kunne mærkes gennem de store glasvinduer, hvor snefnug lejlighedsvis dansede forbi.En: The cold could be felt through the large glass windows, where snowflakes occasionally danced past.Da: Søren var kommet til museet for at finde inspiration.En: Søren had come to the museum to find inspiration.Da: Kunstblokken havde plaget ham i måneder.En: The artistic block had plagued him for months.Da: Som han nærmede sig museumsbutikken, kunne han lugte duften af nye bøger og malermaterialer.En: As he approached the museum shop, he could smell the scent of new books and painting materials.Da: Butikken var fyldt med alle mulige kunstneriske skatte.En: The shop was filled with all sorts of artistic treasures.Da: Astrid, museumskuratoren, var der også.En: Astrid, the museum curator, was there too.Da: Hun var midt i en samtale med en anden besøgende, men hendes øjne fangede Søren.En: She was in the middle of a conversation with another visitor, but her eyes caught Søren's.Da: De nikkede til hinanden.En: They nodded at each other.Da: Søren begyndte at kigge på de farvestrålende maling og blyanter.En: Søren began to look at the colorful paints and pencils.Da: Noget fangede hans opmærksomhed – et sæt dyrt, men smukt, akrylmaling.En: Something caught his attention — a set of expensive but beautiful acrylic paints.Da: Han tøvede og tænkte på sine sparsomme midler.En: He hesitated, thinking of his limited funds.Da: Men noget i ham blev draget til netop dette sæt.En: But something in him was drawn to this very set.Da: Måske var det netop det, der kunne bryde hans blokade?En: Perhaps it was just what could break his block?Da: Imens havde Astrid noget andet på hjerte.En: Meanwhile, Astrid had something else on her mind.Da: I mange år havde hun kurateret udstillinger og talt om andres kunst.En: For many years, she had curated exhibitions and talked about others' art.Da: Hun længtes efter at skabe sin egen.En: She longed to create her own.Da: Hendes skitseblok, fyldt med hemmelige tegninger, brændte i tasken.En: Her sketchbook, filled with secret drawings, burned in her bag.Da: Hun tog mod til sig og gik over til Søren.En: She mustered her courage and walked over to Søren.Da: "Kan jeg vise dig noget?"En: "Can I show you something?"Da: spurgte hun forsigtigt.En: she asked cautiously.Da: Søren nikkede nysgerrigt.En: Søren nodded curiously.Da: Astrid åbnede sin skitseblok og afslørede en verden af linjer og former, som hun aldrig havde delt med nogen.En: Astrid opened her sketchbook and revealed a world of lines and shapes that she had never shared with anyone.Da: "De er smukke," sagde Søren oprigtigt.En: "They're beautiful," said Søren sincerely.Da: "Du burde male dem."En: "You should paint them."Da: Astrids hjerte bankede af lettelse.En: Astrid's heart pounded with relief.Da: Hun så på Søren, der holdt det dyre malersæt i hænderne.En: She looked at Søren, who was holding the expensive paint set in his hands.Da: "Du skal tage dem," sagde hun beslutsomt.En: "You should take them," she said decisively.Da: "Du vil ikke fortryde det."En: "You won't regret it."Da: De indså begge, at deres udfordringer i virkeligheden handlede om frygt — frygten for ikke at være god nok eller at fejle.En: They both realized that their challenges were really about fear — the fear of not being good enough or of failing.Da: Søren købte malingssættet.En: Søren bought the paint set.Da: Han vidste, at det at skabe var vigtigere end at skabe noget perfekt.En: He knew that creating was more important than creating something perfect.Da: Astrid følte sig inspireret af hans mod og besluttede at begynde at male sine egne værker.En: Astrid felt inspired by his courage and decided to start painting her own works.Da: Da de forlod museet sammen, kunne de begge mærke en ny kraft i deres skridt.En: As they left the museum together, they both felt a new strength in their steps.Da: Kulden var stadig skarp, men den føltes mindre truende.En: The cold was still sharp, but it felt less threatening.Da: Søren havde fornyet tro på sin kunst, og Astrid havde modet til at tage første skridt mod noget nyt.En: Søren had renewed faith in his art, and Astrid had the courage to take the first step toward something new.Da: De gik deres veje fyldt med inspiration og drømme om, hvad deres hænder ville skabe næste gang.En: They went their separate ways filled with inspiration and dreams of what their hands would create next. Vocabulary Words:hallway: ganginspiration: inspirationblock: blokadeplagued: plagetcurator: kuratoroccasionally: lejlighedsvishesitated: tøvedemustered: tog mod tilsketchbook: skitsebloklines: linjersincerely: oprigtigtdecisively: beslutsomtregret: fortrydestrength: kraftthreatening: truendecreate: skabeexhibitions: udstillingerdanced: dansedecourage: modlonged: længtesshared: deltfaith: trochallenges: udfordringerfear: frygtperfect: perfektsharp: skarprenewed: fornyettreasures: skattesnowflakes: snefnugburned: brændte

Fluent Fiction - Mandarin Chinese: Finding Harmony: Lian's Artistic Awakening Find the full episode transcript, vocabulary words, and more:fluentfiction.com/zh/episode/2026-01-10-08-38-20-zh Story Transcript:Zh: 冬天的上海艺术博物馆，门口挂着大红灯笼，迎接即将到来的春节。En: In the winter, the Shanghai Art Museum had large red lanterns hanging at the entrance to welcome the upcoming Spring Festival.Zh: 博物馆内，人来人往，大家都在欣赏展出的作品。En: Inside the museum, people came and went, all admiring the artworks on display.Zh: 冬日的阳光透过高大的窗户，柔和地洒在地板上。En: The winter sunlight softly spilled onto the floor through the tall windows.Zh: 连和嘉一同走进博物馆。En: Lian and Jia entered the museum together.Zh: 连是个充满激情的年轻艺术家，她希望在这里找到她下次展览的灵感。En: Lian was a passionate young artist hoping to find inspiration for her next exhibition.Zh: 她心里有些忐忑，因为距离展览的时间越来越近，而她还没有找到满意的主题。En: She felt somewhat anxious because the exhibition date was approaching, and she had not yet found a satisfying theme.Zh: 嘉在她身边，关心地说：“连，别太压力了，健康最重要。En: Jia, standing by her side, said with concern, "Lian, don't stress too much, health is the most important."Zh: ”连笑着安慰她的朋友：“没事的，我一定能找到灵感。En: Lian smiled and reassured her friend, "It's fine; I'll definitely find inspiration."Zh: ”博物馆的大厅里，现代与传统的艺术作品混合在一起，充满了视觉冲击。En: In the museum's hall, modern and traditional art pieces were mixed together, creating a powerful visual impact.Zh: 连认真地观察每一幅作品，她希望找到一个能将传统与现代完美结合的主题。En: Lian carefully observed each artwork, hoping to find a theme that could perfectly combine the traditional with the modern.Zh: 时间慢慢过去，连的头开始发痛。En: Time slowly passed, and Lian's head began to ache.Zh: 她知道自己有些疲惫，但她不愿意停下来。En: She knew she was somewhat fatigued but was unwilling to stop.Zh: 她心想：“再看一会儿，只要找到灵感就好。En: She thought to herself, "Just look a little longer, as long as I find inspiration."Zh: ”嘉注意到了连的不适，她轻声说：“休息一下吧，我们可以去喝杯茶。En: Jia noticed Lian's discomfort and softly said, "Take a break, we can go have a cup of tea."Zh: ”连摇头：“再等等，再看看。En: Lian shook her head, "Just a little longer, let's keep looking."Zh: ”就在这时，连走到一幅色彩鲜明的作品面前，那幅画仿佛触动了她的内心深处。En: At that moment, Lian came across a vividly colored piece of art that seemed to touch something deep within her.Zh: 她心跳加速，突然间，眼前一黑，身体变得轻飘飘的，然后重重地倒下。En: Her heart raced, and suddenly her vision went black as her body felt light, then she heavily collapsed.Zh: “连！En: "Lian!"Zh: ”嘉惊恐地叫道，引起了周围游客的注意。En: Jia cried out in terror, drawing the attention of nearby visitors.Zh: 博物馆的工作人员也赶了过来，大家一起把连扶到一旁坐下休息。En: The museum staff also rushed over, and together they helped Lian over to sit and rest.Zh: 连慢慢醒来，看到嘉焦急的脸，她感到一阵心疼和歉疚。En: Lian gradually woke up and saw Jia's anxious face, feeling a pang of heartache and guilt.Zh: “对不起，让你担心了，”连虚弱地说。En: "I'm sorry for worrying you," Lian said weakly.Zh: 嘉握住连的手：“没关系，但健康很重要。En: Jia held Lian's hand, "It's okay, but remember health is important.Zh: 我们可以慢慢来，灵感不会消失。En: We can take our time; inspiration won't disappear."Zh: ”在工作人员的帮助下，连终于恢复了些力气。En: With the help of the staff, Lian finally regained some strength.Zh: 经过这次经历，她意识到自己一直以来忽略了健康的重要性。En: Through this experience, she realized she had been neglecting the importance of health all along.Zh: 几天后，在嘉的陪伴下，连重新走进博物馆，但这次她不再心急。En: A few days later, accompanied by Jia, Lian re-entered the museum, but this time she was no longer in a rush.Zh: 她明白了，只有在平衡中，才能找到真正的创作灵感。En: She understood that only in balance could she find true creative inspiration.Zh: 连不再只为追求成功而忽视自己的身体，她决定聆听内心的声音，踏实地走每一步。En: No longer would Lian pursue success at the expense of her health; she decided to listen to her inner voice and take each step steadily.Zh: 她握着嘉的手，笑着说：“谢谢你，我学会了放慢脚步，下次的展览一定会更好。En: Holding Jia's hand, she said with a smile, "Thank you, I've learned to slow down, and the next exhibition will definitely be better."Zh: ”两人相视而笑，温暖的阳光洒在她们身上，就像新年的祝福，带来希望与平和。En: The two exchanged smiles, with warm sunlight bathing them, like a blessing for the New Year, bringing hope and peace. Vocabulary Words:lanterns: 灯笼entrance: 门口admiring: 欣赏exhibition: 展览inspiration: 灵感anxious: 忐忑satisfying: 满意concern: 关心reassured: 安慰obserbed: 观察combining: 结合headache: 头痛fatigued: 疲惫discomfort: 不适vision: 视线collapsed: 倒下terror: 惊恐anxious: 焦急heartache: 心疼guilt: 歉疚regained: 恢复neglecting: 忽略importance: 重要性balance: 平衡pursue: 追求expense: 代价steadily: 踏实地blessing: 祝福hope: 希望peace: 平和

In this episode of PhotoWork with Sasha Wolf, Alejandro Cartagena returns to discuss his mid-career solo exhibition Ground Rules at San Francisco Museum of Modern Art, along with the accompanying book published by Aperture. Alejandro and Sasha dig into how both the exhibition and the book came together, from concept to execution. He also reflects on the lasting impact of his seminal project Carpoolers, and how it shaped his thinking around photography, technology, and intent. The conversation expands to the broader cultural stakes of the medium, including Alejandro's recent investigations into AI-generated imagery. https://alejandrocartagena.com https://www.sfmoma.org/exhibition/alejandro-cartagena-ground-rules/ https://aperture.org/books/alejandro-cartagena-ground-rules/ Alejandro Cartagena, Mexican (b. 1977, Santo Domingo, Dominican Republic) lives and works in Monterrey, Mexico. His projects employ landscape and portraiture as a means to examine social, urban, and environmental issues. Cartagena's work has been exhibited internationally in more than 50 group and individual exhibitions in spaces including the Fondation Cartier pour l'art contemporain in Paris and the CCCB in Barcelona, and his work is in the collections of several museums including the San Francisco MOMA, The J. Paul Getty Museum, The Museum of Contemporary Photography in Chicago, The MFAH in Houston, the Portland Museum of Art, The West Collection, the Coppel collection, the FEMSA Collection, Museum of Fine Arts in Houston, the George Eastman House and the Santa Barbara Museum of Art and among others. Alejandro is a self publisher and co-editor and has created several award wining titles including Insurrection Nation, Studio Cartagena 2021, Santa Barbara Save US, Skinnerboox, 2020, A Small Guide to Homeownership, The Velvet Cell 2020, We Love Our Employees, Gato Negro 2019, Santa Barbara Shame on US, Skinnerboox, 2017, A Guide to Infrastructure and Corruption, The velvet Cell, 2017, Rivers of Power, Newwer, 2016, Santa Barbara return Jobs to US, Skinnerboox, 2016, Headshots, Self-published, 2015, Before the War, Self-published, 2015, Carpoolers, Self-published with support of FONCA Grant, 2014, Suburbia Mexicana, Daylight/ Photolucida 2010. Some of his books are in the Yale University Library, the Tate Britain, and the 10×10 Photobooks/MFH Houston book collections among others. Cartagena has received several awards including the international Photolucida Critical Mass Book Award, the Street Photography Award in London Photo Festival, the Lente Latino Award in Chile, the Premio IILA-FotoGrafia Award in Rome and the Salon de la Fotografia of Fototeca de Nuevo Leon in Mexico among others. He has been named an International Discoveries of the FotoFest festival, a FOAM magazine TALENT and an Emerging photographer of PDN magazine. He has also been a finalist for the Aperture Portfolio Award and has been nominated for the Santa Fe Photography Prize, the Prix Pictet Prize, the Photoespaña Descubrimientos Award and the FOAM Paul Huff Award. His work has been published internationally in magazines and newspapers such as Newsweek, Nowness, Domus, the Financial Times, The New York Times, Le Monde, Stern, PDN, The New Yorker, and Wallpaper, among others.

Please welcome to our show award-winning filmmaker, Ondi Timoner, who lost her home in Altadena when the Eaton fire tore through neighborhoods there last January, killing 19 people and leaving thousands of others without a home.This is a tight-knit, multi-generational community where kids played safely in the streets, residents organized block parties, and neighbors would meet at nearby coffee shops. But that's all gone now, up in flames in just one night, leaving residents to mourn not just homes, but their community, wondering if they'll ever be able to rebuild, siting little help from government officials and most insurance companies. So Ondi did what she does best, and produced the documentary, "All The Walls Came Down," a magnificent portrayal of the struggle, sadness, and reality of those who lost so much, including those residents who tragically lost family members. This is a stunning portrayal of a community left to fend for themselves, hanging on to hope while still looking for answers. Ondi graduated cum laude from Yale and is the founder of Interloper Films. In fact, two of her films were acquired by New York's Museum of Modern Art for its permanent collection. We will talk with Ondi about her outstanding career in the arts and what fuels her as a filmmaker, particularly this latest film, where she's part of the action. Please join me in welcoming Ondi Timoner to all video and audio platforms of #DeborahKobyltLIVE. I'm your host, #DeborahZaraKobylt, and it's my pleasure to welcome you here.

Fluent Fiction - Danish: When Art Vision Meets Practical Precision at Rundetårn Find the full episode transcript, vocabulary words, and more:fluentfiction.com/da/episode/2026-01-09-23-34-02-da Story Transcript:Da: Lars og Freja stod i Rundetårn, midt i en verden af historie og moderne kunst.En: Lars and Freja stood in the Rundetårn, in the middle of a world of history and modern art.Da: Vinteren havde krøbet ind over København, og den kolde luft skubbede sig ind gennem den åbne dør.En: Winter had crept over København, and the cold air pushed in through the open door.Da: Rundetårnets snoede gang var fyldt med forventning.En: Rundetårn's spiral corridor was filled with anticipation.Da: Vinduerne højt oppe lod et blødt, hvidt lys falde på den tomme mur, der snart skulle fyldes med Frejas kunst.En: The windows high above let a soft, white light fall on the empty wall that would soon be filled with Freja's art.Da: Lars var erfaren.En: Lars was experienced.Da: Han havde installeret mange udstillinger før.En: He had installed many exhibitions before.Da: Men denne gang var det anderledes.En: But this time was different.Da: Frejas værker krævede noget særligt.En: Freja's works required something special.Da: Noget som han ikke havde prøvet før.En: Something he had not tried before.Da: Freja, derimod, var fuld af energi og idéer.En: Freja, on the other hand, was full of energy and ideas.Da: Hendes hænder malede i luften, når hun forklarede sin vision.En: Her hands painted in the air as she explained her vision.Da: Men Lars mærkede tvivlen gnave.En: But Lars felt doubt gnawing at him.Da: Han havde en perfekt rekord.En: He had a perfect record.Da: Ingen fejl.En: No mistakes.Da: Han ønskede, at det skulle forblive sådan.En: He wanted it to stay that way.Da: Freja kiggede på Lars med et bestemt blik.En: Freja looked at Lars with a determined gaze.Da: "Lysene skal komme fra gulvet," sagde hun.En: "The lights need to come from the floor," she said.Da: Lars rynkede panden.En: Lars frowned.Da: "Det er upraktisk," svarede han.En: "That's impractical," he replied.Da: "Det kan være en fare, og hvad med skyggerne?"En: "It could be a hazard, and what about the shadows?"Da: Freja sukkede.En: Freja sighed.Da: Skiftende lys og skygger var hele ideen bag hendes koncept.En: Changing lights and shadows were the whole idea behind her concept.Da: Men hun vidste også, at Lars' erfaring var uvurderlig.En: But she also knew that Lars' experience was invaluable.Da: Deres meningsudveksling blev til en ophedet debat.En: Their exchange of opinions turned into a heated debate.Da: Stemmerne steg, og lyden af deres ord ekkoede mod de gamle mursten.En: Their voices rose, and the sound of their words echoed against the old bricks.Da: "Du forstår ikke," sagde Freja frustreret.En: "You don't understand," said Freja frustrated.Da: "Dette er ikke bare kunst for mig, det er mit liv."En: "This is not just art for me; it is my life."Da: Lars svarede med ro, men beslutsomhed: "Jeg forstår, men sikkerhed er også vigtig."En: Lars replied calmly but decisively: "I understand, but safety is also important."Da: Tiden gik, og bekymringen om den kommende åbning voksede.En: Time passed, and the concern about the upcoming opening grew.Da: Begge måtte tage en beslutning.En: Both had to make a decision.Da: Lars tænkte over, hvor meget han virkelig kunne lære fra Frejas nye perspektiv.En: Lars thought about how much he could really learn from Freja's new perspective.Da: Samtidig erkendte Freja, at lidt praktisk sans måske ikke ville skade.En: At the same time, Freja recognized that a bit of practical sense might not hurt.Da: Sammen vendte de tilbage til arbejdet.En: Together they returned to work.Da: Freja justerede lysets vinkel en smule.En: Freja adjusted the angle of the light slightly.Da: Lars tillod de gulvplacerede lys, men sørgede for ekstra forsikringer.En: Lars allowed the floor-placed lights but ensured extra precautions.Da: Timerne fløj, mens de arbejdede side om side.En: The hours flew by as they worked side by side.Da: Og da de endelig trådte tilbage for at se resultatet, mødte deres blikke et stykke magi.En: And when they finally stepped back to see the result, their eyes met a piece of magic.Da: Frejas kunstværker strålede i det særlige lys, hun ønskede, mens Lars' tekniske skarphed sørgede for, at alt forløb glat og sikkert.En: Freja's artworks shone in the special light she wanted, while Lars' technical sharpness ensured everything ran smoothly and safely.Da: Åbningsdagen kom, og besøgende trådte ind i Rundetårnets lyse korridorer.En: Opening day arrived, and visitors stepped into Rundetårn's bright corridors.Da: Deres åndedræt blev synligt i den kolde luft, men der var en varme i de beundrende blikke.En: Their breath became visible in the cold air, but there was warmth in their admiring gazes.Da: Lars smilte tilfreds, og Freja så sine værker få den opmærksomhed, hun så længe havde drømt om.En: Lars smiled with satisfaction, and Freja saw her works receive the attention she had long dreamed of.Da: Fra den erfaring lærte Lars vigtigheden af at være åben for nytænkning, mens Freja indså værdien af at tilpasse sig realiteternes betingelser.En: From that experience, Lars learned the importance of being open to new thinking, while Freja realized the value of adapting to the conditions of reality.Da: Sammen havde de skabt mere end bare en udstilling; de havde bygget en bro mellem kunstnerisk kreativitet og teknisk præcision.En: Together they had created more than just an exhibition; they had built a bridge between artistic creativity and technical precision. Vocabulary Words:crept: krøbetanticipation: forventningexperienced: erfarenhazard: faregnawing: gnavedetermined: bestemtimpractical: upraktiskconcept: konceptdebate: debatechoed: ekkoederecognized: erkendtegaze: blikdecisively: beslutsomhedprecautions: forsikringershone: stråledetechnical: tekniskesharpness: skarphedsatisfaction: tilfredsrealized: indsåadapting: tilpasseconditions: betingelsercorridors: korridoreradmiring: beundrendeperspective: perspektivpractical: praktiskconcern: bekymringensured: sørgedeexhibition: udstillingcrafted: skabtbridge: bro

Episode No. 740 features artist Firelei Báez and curators Charlene Foggie-Barnett and Dan Leers. The MCA Chicago is presenting "Firelei Báez," the first North American mid-career survey of the artist's paintings and installations. Báez's work often explores the legacies of colonialism across the American and the African diaspora, in the Caribbean, and beyond. Her works are often explosively colorful and use complex and layered materials, including archival material and paint, to unsettle fixed categories and historical events. The exhibition was curated by Eva Respini with Tessa Bachi Haas; the MCA Chicago presentation was organized by Carla Acevedo-Yates with Cecelia González Godino and Iris Colburn. It is on view through May 31. A catalogue was published by the Institute of Contemporary Art/Boston in association with DelMonico Books. It is available from Amazon and Bookshop for $36-56. Institutions that have previously presented major Báez exhibitions include the Louisiana Museum of Modern Art in Copenhagen, The Momentary in Bentonville, Ark., the Witte de With Center for Contemporary Art in Rotterdam, The Schomburg Center for Research in Black Culture and The Studio Museum in Harlem, and the Pérez Art Museum Miami. Foggie-Barnett and Leers are the co-curators of "Black Photojournalism" at the Carnegie Museum of Art in Pittsburgh. The exhibition presents work by nearly 60 photographers chronicling historic events and daily life in the United States between 1945 and 1984. The exhibition was designed by David Hartt. It is on view through January 19, before traveling to the Amon Carter Museum of American Art in Fort Worth. An excellent catalogue was published by the Carnegie. Amazon and Bookshop offer it for about $60. In addition to the video below, the CMOA has produced an outstanding podcast series to accompany the show. Instagram: Firelei Báez, Charlene Foggie-Barnett, Tyler Green.

A thousand facets sits with contemporary artist Karl Fritsch. Karl, creates playful and unconventional contemporary jewelry. He crosses the line with his mix materials to make us ask, what is truly precious.  On the premiere of season 4, I sit with Karl and we talk about his beginnings, how he came into the world of jewelry and how even a comment from his kids will inspire his work.  About: Karl Fritsch has gained international recognition for his ever developing body of work, which has focussed almost solely on rings. Fritsch's jewellery is unmistakable. His works vary from hand-moulded one-off castings, to re-cast, contrastingly daintier jewel-embedded rings, to towering stacks of cut and colourful glass. His ability to continually create new rings is vast and varied. Combining traditional techniques, playing on jewellery history, he has developed has own personal language. He is capable of applying both careful and quick consideration to the materials and objects he works with, and employs precious and base metals, facetted and found stones in his work with egalitarian abandon, turning the most ordinary into the extraordinary. “Of course the ring wants to be beautiful. The technique also wants to be beautiful, and most often it's the idea that wants to be the most beautiful. But sometimes a ring likes nothing better than to sit in the mud and not give a damn about how it looks. If it's exactly what it wants to be in a given moment, it is precise, perfect and the most beautiful”. Karl Fritsch Born in Germany in 1962, Karl Fritsch was classically trained at the Goldsmith's College in Pforzheim, and then attended the Academy of Fine Arts in Munich. He has exhibited extensively, presented guest lectures around the world and his work is held in private and public collections internationally, including the Stedelijk Museum in Amsterdam, The Pinakothek of Modern Art in Munich, the Metropolitan Museum in New York and the Museum of New Zealand Te Papa Tongarewa. He has been the recipient of a number of awards including the Herbert Hoffman Prize from the International Craftsmen Trade Fair in Munich and the prestigious jury-selected Francoise van den Bosch Award (2006), given every 2 years to an international jewellery and object maker who is recognised for his/ her oeuvre, influence and contribution to the field. You can follow Karl on Instagram @karlfritschrings or his website https://www.karl-fritsch.com/ Please visit @athousandfacets on Instagram to see some of the work discussed in this episode. Music by @chris_keys__ Learn more about your ad choices. Visit podcastchoices.com/adchoices

Charlotte's arts scene continues to thrive, thanks to institutions that make creativity accessible and inspiring for everyone. At the heart of that movement stands the Bechtler Museum of Modern Art — a cultural landmark known for its stunning architecture, world-class collection, and inclusive approach to modern art. Since opening in 2010, the museum has become a hub for connection, conversation, and creative exploration for visitors from every walk of life. Our guest today, Todd Smith, is the Executive Director of the Bechtler Museum of Modern Art. With decades of experience leading museums across the country, Todd is passionate about making modern art meaningful and relevant to today's audiences. Under his leadership, the Bechtler continues to expand its community reach — through innovative programs like Wednesday Night Live, Jazz at the Bechtler, and Music & Museum — all of which invite visitors to experience art in new and unexpected ways. Todd, welcome to The BrandBuilders Podcast.

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. Happy New Year! Cheers to a great 2026! In today's Episode, we continue our Winter Hiatus with a Replay of EP27 from June of 2024, with Illustrator Tucker Nichols... Emily chats with NorCal based artist Tucker Nichols as he shares stories about his spontaneous move to Taiwan, where he immersed himself in a vibrant artistic community. He discusses his extensive body of work, including children's books and the initiative 'Flowers for Sick People.' He reflects on his background, including his mother's influence and his intense study of East Asian art. Tucker's journey includes struggling with Crohn's disease and a career shift to become a full-time artist, supported by his wife. He talks about influential works and places, emphasizing his lifelong passion for art. The podcast concludes with three thought-provoking questions Emily asks every guest.Stay tuned as we return in 2 weeks with a brand new Episode with featuring a new batch of Awesome Artists! About Artist  Tucker Nichols:Tucker Nichols is an artist based in Northern California. His work has been featured at the Drawing Center in New York, the San Francisco Museum of Modern Art, the Denver Art Museum, Den Frie Museum in Copenhagen, and the Asian Art Museum in San Francisco. A show of his sculpture, Almost Everything On The Table, was recently on view at the Aldrich Contemporary Art Museum. He is currently an Artist Trustee at SFMOMA.His drawings have been published in The New Yorker, The New York Review of Books, McSweeney's, The Thing Quarterly, and the Op-Ed pages of The New York Times. He is co-author of the books, Crabtree (with Jon Nichols) and This Bridge Will Not Be Gray (with Dave Eggers). Flowers for Things I Don't Know How to Say  was released in March 2024. Flowers for Sick People, his ongoing multimedia project, can be viewed here.Visit Tucker's Website:  TuckerNichols.comFollow Tucker  on Instagram:  @TuckerNichols--About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

This episode we are thrilled to be joined by the artist Martine Gutierrez. Martine is a transdisciplinary artist whose work uses photography, video, and performance to examine how identity is constructed and portrayed. Her projects range from billboards and music videos to her celebrated magazine Indigenous Woman, where she takes on every role — artist, subject, and producer — to challenge pop-culture tropes around gender, beauty, and representation.Her work has been shown internationally, including at the 58th Venice Biennale and in exhibitions at the Museum of Modern Art, the Whitney Museum of American Art, LACMA, Crystal Bridges, the Pérez Art Museum, and the Smithsonian American Art Museum. Her work is also held in major collections including MoMA, the Whitney, the Guggenheim, SFMOMA, LACMA, Crystal Bridges, the National Gallery of Art, and the Smithsonian American Art Museum. Martine will be in the 2026 Whitney Biennial.Martine received her BFA from the Rhode Island School of Design and lives and works in New York.Martine is represented by Fraenkel Gallery and Ryan Lee Galleryhttps://fraenkelgallery.com/artists/martine-gutierrez https://ryanleegallery.com/artists/martine-gutierrez/Some artists discussed in this episode:Yoko OnoMarina AbramovićFollow along on Instagram at @artfromtheoutsidepodcasthttps://www.instagram.com/artfromtheoutsidepodcast

Episode No. 737 features curators Beverly Adams and Jamillah James. With Christophe Cherix, Adams is the co-curator of "Wilfredo Lam: When I Don't Sleep, I Dream" at the Museum of Modern Art, New York. The exhibition includes more than 130 works made between the 1920s and 1970s, making it the most extensive Lam retrospective presented in the United States. "When I Don't Sleep, I Dream" argues that Lam, a Cuban-born artist who spent much of his life in Spain, France, and Italy, was a prototypical transnational artist. It is on view in New York through April 11, 2026. The exhibition catalogue was published by MoMA; Amazon and Bookshop offer it for $60-70. Jamillah James has organized the presentation of "Yoko Ono: Music of the Mind" at the Museum of Contemporary Art Chicago. The exhibition is one of the most comprehensive presentations to date of the pioneering Fluxus artist, musician, and world peace activist. "Music of the Mind" includes over 200 works across a vast array of media, including performance footage, music and sound recording, film, photography, installation, and more. It is on view at the MCA through February 22, 2026. An exhibition catalogue was published in North America by Yale University Press. Amazon and Bookshop offer it for $38-47. Air date: December 18, 2025.

Episode 506 / Ragnar Kjartansson Ragnar Kjartansson is an artist who lives and works in Reykjavik. He engages multiple artistic mediums in his performative practice. The history of film, music, theatre, visual culture and literature find their way into his video installations, durational performances, drawing and painting. Pretending and staging are key tools in Kjartansson's efforts to convey sincere emotion and offer genuine experiences to audiences. Kjartansson's work has been exhibited widely, including solo exhibitions and performances at the Louisiana Museum of Modern Art, Kunstmuseum Stuttgart, Metropolitan Museum of Art, Barbican Centre, Hirshhorn Museum and Sculpture Garden, Reykjavik Art Museum, Palais de Tokyo, and New Museum. 

Episode No. 736 features artist Dyani White Hawk. The Walker Art Center in Minneapolis is presenting "Dyani White Hawk: Love Language," a 15-year survey of White Hawk's career. The exhibition spotlights how White Hawk (Sičáŋǧu Lakota) has foregrounded Lakota forms and motifs to challenge prevailing histories and practices around abstract art. The exhibition was curated by Siri Engberg and Tarah Hogue with Brandon Eng. The Walker has published an excellent catalogue; Amazon and Bookshop offer it for around $50. After closing at the Walker on February 15, "Love Language" will travel to the Remai Modern in Saskatoon, Saskatchewan. White Hawk's work is in the collection of institutions such as the Walker, the Solomon R. Guggenheim Museum, New York; the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington; the Museum of Modern Art, New York; and the Whitney Museum of American Art, New York. White Hawk was previously a guest on Episode No. 610 of The MAN Podcast. Instagram: Dyani White Hawk, Tyler Green. Air date: December 11, 2025.