Podcasts about modern art new york

We visit major museum projects unveiled this week in London and New York: Ben Luke takes a tour of V&A East Storehouse in London's Queen Elizabeth Olympic Park, which offers unprecedented access to the Victoria and Albert Museum's collection. He meets the deputy director of the V&A, Tim Reeve, and speaks to key members of the team that are making this radical museological vision for London a reality: the museum's lead technician, Matt Clarke, its senior curator Georgia Haseldine, and Kate Parsons, the director of collections care and access. The Art Newspaper's editor-in-chief, Americas, Ben Sutton, visits the Metropolitan Museum of Art, which this week unveiled its revamped Michael C. Rockefeller Wing. The wing holds the Met's collections of work from Africa, the Ancient Americas, and Oceania. Ben talks to Alisa LaGamma, the curator of African art who is in charge of the Rockefeller Wing, and the Papua New Guinea-born, Brisbane-based artist Taloi Havini, one of a number of contemporary artists who created new works for the the project. And this episode's Work of the Week is Down and Up (2024-25) by Rachel Whiteread. It features in a new show of Whiteread's work, the first at the Goodwood Art Foundation, a not-for-profit contemporary art gallery and sculpture park in West Sussex, UK. Ben Luke talks to Rachel about the work.V&A East Storehouse, London, opens 31 May.The Michael C. Rockefeller Wing at the Metropolitan Museum of Modern Art New York, reopens 31 May.Rachel Whiteread, Goodwood Art Foundation, West Sussex, UK, 31 May-2 November.Summer subscription offer: get up to 50% off an annual print & digital subscription to The Art Newspaper. Link here: https://www.theartnewspaper.com/subscriptions-SUMMER25P&D?promocode=SUMMER25&utm_source=special+offer+banner&utm_campaign=SUMMER25 Hosted on Acast. See acast.com/privacy for more information.

Themen u.a.: Ausstellung zum 100. Geburtstag des Suhrkamp-Verlegers Siegfried Unseld; Nicolas Stemann wird Intendant in Bochum - ein Kommentar; Thomas Schütte in Museum of Modern Art New York; Hape Kerkelings Buch "Gebt mir etwas Zeit", Streaming-Tipps: "Midnight Family" und "Der Upir"; Moderation: Jörg Biesler Von Jörg Biesler.

Karla Knight in her studio Andrew Edlin Gallery is pleased to announce Universal Remote, a solo exhibition of new work for artist Karla Knight, running from November 3 – December 22, 2023.  A solo display of Knight's work will be held concurrently at The Art Show (ADAA) at the Park Avenue Armory from November 1–5. Over the past four decades, Knight has executed her idiosyncratic visons of UFO related imagery with the stubborn persistence of an artist unbeholden to the dictates of art world trends, although contemporary interest in spiritualist art has certainly offered a favorable context. Knight's relationship with what might be broadly termed “the occult” is rooted in her upbringing; her father authored publications on, among other subjects, UFOs and ghosts, and her grandfather, also a writer, penned a book about afterlife communication. Her solo exhibition at the Aldrich Museum in 2021-22 expanded Knight's recognition markedly and came at the same time she was beginning to experiment with weathered feedbags from the 1940s and '50s, attracted to their creamy color and the traces they bore of past lives. She calls these works “tapestries,” as she embroiders the fabric and embellishes it with a combination of acrylic paint pens, vinyl paint, colored pencil, and graphite. Her new Universal Remote series of drawings and tapestries riffs on the notion of channels with central motifs inspired by anachronistic television sets that hail from the early decades of the Cold War; a time when the frequency of UFO sightings was a source of great national anxiety. The tapestry Universal Remote 1, 2022, is painted with a boxy television-like form—or “receiver,” a word the artist relishes—bearing her cryptic characters along with circles that suggest various dials and buttons: channel selectors, speakers, fine tuners, picture expanders. A large, rounded shape marked with blue crosshatching and abstract designs, some of which resemble yellow eyes with slivered pupils, overtakes the “screen.” At the mandala's heart is Knight's returning volumetric orb, here coronated with concentric circles. This celestial sphere's significance denoted by its centrality to the composition, becomes a kind of universal picture, open to an endlessly expanding universe of possible readings. Karla Knight's work is currently featured in the group exhibition, Sightings, at the Sun Valley Museum of Art (ID), and is represented in the collections of the Museum of Modern Art (New York), the Brooklyn Museum of Art, and the Walker Art Center (Minneapolis), among others. A second edition of her Aldrich Museum exhibition catalogue, Navigator, with added images of recent works and a new essay by Cassie Packard will be available on November 1, 2023. Karla Knight (b. 1958) Big Night Vision, 2023 Flashe, acrylic marker, pencil, and embroidery on cotton 46 x 73 inches Karla Knight (b. 1958) Delphi 3, 2023 Flashe, acrylic marker, pencil, and embroidery on cotton 33.5 x 30 inches Karla Knight (b. 1958) Universal Remote 1, 2022 Flashe, acrylic marker, pencil, and embroidery on cotton 68 x 49 inches.

This episode we are hugely excited to be joined by the artist Tiona Nekkia McClodden! Tiona is a visual artist, filmmaker, and curator whose work explores and critiques issues at the intersections of race, gender, sexuality, and social commentary.  Born in Blytheville, Arkansas and raised in Greenville, South Carolina, Tiona weaves narratives through archives, memories and objects, integral to her past and present, that shape her broader practice.  In 2022, Tiona's exhibitions at The Shed and 52 Walker alongside her year-long installation at MoMA in New York, garnered significant acclaim, prompting The New York Times to identify Teeona as “one of the most singular artists of our aesthetically rich, free-range time.” Her work have been shown at Kunsthalle Basel, the Institute of Contemporary Art-Philadelphia, the Philadelphia Museum of Art; the Museum of Modern Art (New York); the Whitney Museum of American Art (New York) ; the New Museum (New York); Haus der Kulturen der Welt (HKW) – Berlin, among many others. And, just in September, Tiona opened up the installation Tiona Nekkia McClodden: Play Me Home at the Baltimore Museum. Some artists and institutions discussed in this episode: Chryssa Jacob Lawrence Brad Johnson (American, 1952–2011) Barbara Hammer Steve McQueen Palais de Tokyo, Paris Walker Art Center, Minneapolis Conceptual Fade, Philadelphia Whitney Museum, New York Museum of Modern Art, New York 52 Walker, New York Tiona is represented globally by White Cube gallery. https://www.whitecube.com/artists/tiona-nekkia-mcclodden For images, artworks, and more behind the scenes goodness, follow @artfromtheoutsidepodcast on Instagram. Enjoy! https://www.instagram.com/artfromtheoutsidepodcast/

Welcome back to Art Farts! Today we explore the idea of the muse, take a dive into greek mythology, and discuss what it means to be an artist's muse. Socials: twitter: @artfartspod instagram: @artfartspodcast tiktok: @artfartspodcast email us at theartfartspodcast@gmail.com Sources: https://www.riseart.com/article/2291/art-world-news-frida-kahlo-and-diego-rivera-romance-and-heartbreak https://www.goodreads.com/quotes/845014-there-have-been-two-great-accidents-in-my-life-one https://www.barnebys.com/blog/6-female-artists-and-the-male-muses-who-inspired-them https://latina.com/frida-kahlos-self-portrait-diego-y-yo-expected-to-sell-for-a-record-30-million/?amp Bee, H. S., & Heliezer, C. (2004). Moma highlights: 350 works from the Museum of Modern Art New York. Museum of Modern Art.  https://en.wikipedia.org/wiki/Gaston_Lachaise https://en.wikipedia.org/wiki/Isabel_Dutaud_Nagle_Lachaise https://www.lachaisefoundation.org/biography/ "Art: Radiating Sex & Soul". Time. January 17, 1964. Archived from the original on March 5, 2010. https://web.archive.org/web/20100305004003/http://www.time.com/time/magazine/article/0,9171,875608,00.html https://www.widewalls.ch/magazine/muses-in-art https://greekreporter.com/2022/06/16/muses-of-greek-mythology/ https://www.clevelandart.org/research/conservation/apollo-and-muses --- Support this podcast: https://podcasters.spotify.com/pod/show/artfarts037/support

➜ La Newsletter de TheBoldWay : https://www.theboldway.fr/newsletter Pour ce nouvel épisode, j'ai l'honneur de reçevoir Erwan Bouroullec, designer français d'origine bretonne, qui travaille en collaboration avec son frère aîné, Ronan Bouroullec. Ensemble, ils forment le duo "Les Frères Bouroullec" et sont largement reconnus dans le domaine du design contemporain pour leur travail innovant et diversifié. Erwan m'accueille chez lui, afin de me raconter son histoire. Les frères Bouroullec ont créé pour de nombreuses entreprises internationales, dont Vitra, Kvadrat, Magis, Alessi et Samsung. Leur travail couvre une large gamme, des meubles aux textiles, en passant par la céramique et l'architecture. Leur approche est caractérisée par leur simplicité, leur clarté et leur fonctionnalité, avec une attention particulière portée aux détails et aux finitions. Le travail des frères Bouroullec a été exposé dans de nombreux musées à travers le monde, dont le Museum of Modern Art à New York et le Centre Pompidou à Paris. Ils ont reçu de nombreux prix pour leur travail, dont le Grand Prix du Design de la Ville de Paris et le Design Award de la Finlande. En arrivant chez Erwan je voulais comprendre comment lui et son frère avaient si tôt rencontré le succès, comment on conçoit un bon objet et comment on innove dans un monde où tout a déjà été inventé. J'ai le sentiment d'avoir tiré quelques apprentissages clés de cette longue interview. Vous verrez, Erwan est un champion de la digression, mais pour le meilleur, notamment les anecdotes sur ses collaborations avec Virgil Abloh et Issey Miyake. Installez-vous confortablement vous allez prendre une leçon d'innovation. Ce que vous allez apprendre dans cet épisode : Le parcours d'Erwan, son enfance et ses études aux Beaux-Arts L'intérêt d'Erwan pour la musique et ses influences Sa transition de l'art au design Sa collaboration avec Ronan, son frère L'évolution de la carrière d'Erwan et de sa relation avec Ronan L'énergie et les défis de leur parcours créatif La création de best-sellers et leur impact sur l'entreprise Le rôle des royalties dans la génération de revenus L'importance des prototypes et des collaborations dans le processus de design L'importance de l'apprentissage et de l'exploitation des ressources en tant que designer La pertinence de créer de nouveaux objets dans un monde en évolution L'importance des choix de consommation et de l'impact de l'industrie ➜ Retrouvez toutes les références et les photos prises lors de l'enregistrement sur www.theboldway.fr Références : Ronan Bouroullec : Frère et collaborateur d'Erwan Marques Vitra : Fabricant suisse de mobilier design Kvadrat : Entreprise textile danoise Samsung : Entreprise spécialisée dans la fabrication de produits électroniques Alessi : Entreprise italienne de design de mobilier Magis : Entreprise qui réalise du mobilier design et des accessoires innovants pour la maison de façon innovante, créative et conceptuelle Musées MOMA : Musée d'art moderne de New-York Centre Pompidou : Centre d'art dédié à l'art moderne et contemporain à Paris Concours et prix Le Grand Prix du Design : Prix du design français Design Award : Prix du design finlandais Artistes Issey Miyake : Designer japonais Virgil Abloh : Créateur américain pluridisciplinaire TheBoldWay ou The Bold Way, anciennement connu sous le nom de Entreprendre dans la mode ou EDLM , est un podcast produit et réalisé par Adrien Garcia.

“Doucet et Camondo”une passion pour le XVIIIe siècleau musée Nissim de Camondo – Musée des Arts Décoratifs, Parisdu 16 mars au 3 septembre 2023Interview de Juliette Trey, directrice adjointe du Département des études et de la recherche à l'INHA, et commissaire de l'exposition,par Anne-Frédérique Fer, à Paris, le 15 mars 2023, durée 17'39.© FranceFineArt.https://francefineart.com/2023/03/18/3407_doucet_musee-des-arts-decoratifs/Communiqué de presseCommissaire :Juliette TREY, directrice adjointe du Département des études et de la recherche à l'INHALes Arts Décoratifs et l'Institut national d'histoire de l'art (INHA) présentent, au musée Nissim de Camondo, du 16 mars au 3 septembre 2023, une exposition consacrée à la riche collection d'œuvres d'art du XVIIIe siècle constituée par Jacques Doucet.Célèbre couturier et grand mécène, Jacques Doucet (1853-1929) est aussi l'un des plus importants collectionneurs de son temps. Une sélection de dessins, photographies et documents d'archives conservés à l'INHA retrace l'histoire de ce prestigieux patrimoine. L'exposition dévoile les décors éphémères de l'hôtel particulier situé rue Spontini dans le XVIe arrondissement que Doucet fait spécialement édifier pour accueillir cet ensemble de tableaux, dessins, sculptures, meubles et objets d'art du XVIIIe siècle. Elle met en lumière les œuvres ayant appartenu à Jacques Doucet, conservées notamment au musée Nissim de Camondo, ancien hôtel particulier de Moïse de Camondo, tissant ainsi le lien entre ces deux grands collectionneurs.Homme aux multiples facettes, grand couturier, fondateur de la première bibliothèque d'art et d'archéologie publique en France et d'une bibliothèque littéraire, Jacques Doucet est aujourd'hui plus connu pour son activité de mécène et de collectionneur d'art moderne. Il compte, parmi ses plus belles acquisitions, des œuvres d'Henri Matisse, Francis Picabia, Amedeo Modigliani, Paul Klee, Marcel Duchamp ou encore Constantin Brancusi et surtout Les Demoiselles d'Avignon. C'est sur les conseils d'André Breton que Doucet achète en 1923 ce chef d'œuvre de Pablo Picasso, aujourd'hui au Museum of Modern Art à New York. Jacques Doucet est également un des grands mécènes de l'Art déco. Une partie de sa collection de mobilier, qui comprend plusieurs pièces de créateurs tels que Paul Iribe, Pierre Legrain ou André Groult, est aujourd'hui conservée au musée des Arts décoratifs.Pourtant, avant de se consacrer avec tant d'enthousiasme à la modernité, Doucet rassemble entre le milieu des années 1870 et 1912 une importante collection d'oeuvres d'art du XVIIIe siècle : objets d'art français et asiatiques, peintures italiennes, espagnoles et anglaises, dessins, pastels… C'est pour abriter sa collection qu'il décide de se faire construire en 1903 son hôtel particulier, situé rue Spontini à Paris que des photographies et archives de l'INHA viennent ici illustrer.[...] Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Minneapolis-based artist, Maria Cristina (Tina) Tavera investigates the constructions of racial, ethnic, gender, national and cultural identity via numerous mediums including printmaking, installation, and public art. Tavera is a dual citizen with Mexico and the United States. Her artwork focuses on the Latinidad within the United States by examining cultural signifiers determined by our society on how people define themselves and their cultures in everyday life. Tavera holds a Master of Leadership in the Arts from the Humphrey School and a BA in Spanish and BA in Latin American Studies from the University of Minnesota. She has received fellowships and grants: McKnight Visual Artist Fellowship, Bush Leadership Fellowship, Shannon Leadership Institute, Smithsonian Latino Museum Studies program, Museum of Modern Art-New York, Forecast Public Art, Minnesota State Arts Board, Metropolitan Regional Arts Council (MRAC), and Institute of Mexicans Abroad (IME). Tavera has exhibited nationally and internationally, and artwork can be found in the collections of the City of Minneapolis Public Art, Weisman Art Museum, Fargo Plains Art Museum, Oglethorpe Museum, Tweed Museum of Art, Minnesota History Center, and the Biblioteca Central de Cantabria, Santander, Spain. Her writings have been published by the Walker Art Center, Minneapolis Institute of Arts, as well as in a book titled, Mexican Pulp Art. Website: https://www.mariacristinatavera.com/ IG: https://www.instagram.com/tina.tavera/?hl=en Facebook: https://www.facebook.com/tina.tavera/ Wikipedia: https://en.wikipedia.org/wiki/Maria_Cristina_Tavera

Today on Mushroom Hour we have the opportunity to speak with Maurizio Montalti. Maurizio Montalti is a designer, researcher, educator and entrepreneur. Working at the junction of design and biotech, he is one of the early pioneers committed to the study and development of wide-ranging mycelium-based technologies and products. Maurizio is Chief Mycelium Officer, Chairman, and co-Founder of SQIM, the (bio)technology company developing innovative processes and products by unravelling the potential of mycelium as key biofabrication agent and technology, for application and use across different industries, as fundamentally rooted in the valorisation of residual materials' streams by means of microbial fermentation. As (bio-)technological holding, today SQIM serves its two verticals/brands: MOGU (biomaterials/products dedicated to interior design and architecture) and EPHEA (biomaterials/products dedicated to fashion, automotive, etc.). Maurizio's work has been honoured with multiple awards, widely featured in the global media, and exhibited worldwide in prestigious musea, galleries, and institutions, including Museum of Modern Art (New York), Centre Pompidou (Paris), Design Museum (London), Triennale (Milano), MAXXI (Rome), and MAK- Museum of Applied Arts (Vienna), among others.   TOPICS COVERED:   Into the Spiraling Vortex of Mycelium   From Degradation of Waste to Regenerative Materials   Mogu Acoustic Collection   Selecting Fungal Species & Strains as Materials   Standardizing Unpredictable Myco-Materials   Can Organisms Retain Agency when Enlisted to Human Scientific and Economic Endeavour?   Wild Genetic Variation within Fungal Species   Fungal Strains SQIM Collaborates With   Becoming Fluent in the Language of Fungi    Living Buildings & Autonomous Biowelding   “Ephea” Leather and Fabric Product Lines   Scaling SQIM & Modular Mycelium Production   Circular Production Processes, Seeing Waste as a Resource   Fungi in Space   EPISODE RESOURCES:   Mogu Website: https://mogu.bio/   Mogu IG: https://www.instagram.com/mogumycelium/   Fungal Architecture Project: https://www.fungar.eu/   Officina Corpuscoli: https://www.corpuscoli.com/   Schizophyllum commune (AKA Split Gill Mushroom): https://en.wikipedia.org/wiki/Schizophyllum_commune   "Braiding Sweetgrass": https://milkweed.org/book/braiding-sweetgrass   "Designs for the Pluroverse": https://www.dukeupress.edu/designs-for-the-pluriverse   "Mushroom at the End of the World": https://press.princeton.edu/books/paperback/9780691220550/the-mushroom-at-the-end-of-the-world   

In this episode of PhotoWork with Sasha Wolf, Sasha and photographer, Wendy Red Star discuss how making work that is meaningful, informative, and healing is not the same as making work that has to explain everything to the audience, especially when there may be expectations that you are a representative of a larger group of people. Wendy and Sasha also talk about the excitement of creating her first monograph, Delegation published by Aperture. https://www.wendyredstar.com https://aperture.org/books/wendy-red-star-delegation/ Paris Photo/Aperture Foundation PhotoBook Awards Entry Initiated in November 2012 by Aperture Foundation and Paris Photo, the Paris Photo–Aperture Foundation PhotoBook Awards celebrate the photobook's contribution to the evolving narrative of photography, with three major categories: First PhotoBook, PhotoBook of the Year, and Photography Catalogue of the Year. https://aperture.org/calls-for-entry/photobook-awards/ Wendy Red Star lives and works in Portland, OR. Red Star has exhibited in the United States and abroad at venues including the Metropolitan Museum of Art (New York, NY), Brooklyn Museum (Brooklyn, NY), both of which have her works in their permanent collections; Fondation Cartier pour l'Art Contemporain (Paris, France), Domaine de Kerguéhennec (Bignan, France), Portland Art Museum (Portland, OR), Hood Art Museum (Hanover, NH), St. Louis Art Museum (St. Louis, MO), Minneapolis Institute of Art (Minneapolis, MN), the Frost Art Museum (Miami, FL), among others. Her work is in the permanent collections of the Museum of Modern Art (New York, NY), the Metropolitan Museum of Art (New York, NY), the Whitney Museum of American Art (New York, NY), the Amon Carter Museum of American Art (Fort Worth, TX), the Denver Art Museum (Denver, CO), the Ruth and Elmer Wellin Museum of Art at Hamilton College (Clinton, NY), the Baltimore Museum of Art (Baltimore, MD), the Fralin Museum of Art at the University of Virginia (Charlottesville, VA), the Nasher Museum of Art at Duke University (Durham, NC), the Birmingham Museum of Art (Birmingham, AL), the Williams College Museum of Art (Williamstown, MA), the Memorial Art Gallery of the University of Rochester (Rochester, NY), and the British Museum (London, UK), among others. She served a visiting lecturer at institutions including Yale University (New Haven, CT), the Figge Art Museum (Davenport, IA), the Banff Centre (Banff, Canada), National Gallery of Victoria in Melbourne (Melbourne, Australia), Dartmouth College (Hanover, NH), CalArts (Valencia, CA), Flagler College (St. Augustine, FL), and I.D.E.A. Space in Colorado Springs (Colorado Springs, CO). In 2017, Red Star was awarded the Louis Comfort Tiffany Award and in 2018 she received a Smithsonian Artist Research Fellowship. Her first career survey exhibition “Wendy Red Star: A Scratch on the Earth” was on view at the Newark Museum in Newark, New Jersey through May 2019, concurrently with her first New York solo gallery exhibition at Sargent's Daughters. Red Star is currently exhibiting at the Museum of Contemporary Art Chicago (Chicago, IL), The Broad (Los Angeles, CA), Santa Cruz Museum of Art & History (Santa Cruz, NM), The Drawing Center (New York, NY), The Rockwell Museum (Corning, NY), amongst others. Her new solo exhibition American Progress is on view at the Anderson Collection at Stanford University (Stanford, CA) through August 2022. Red Star holds a BFA from Montana State University, Bozeman, and an MFA in sculpture from University of California, Los Angeles. She is represented by Sargent's Daughters. Find out more at https://photowork.pinecast.co

Elinor Carucci is an Israeli-American Fine Art Photographer based in New York City. Her photographs are included in the collections of The Museum of Modern Art New York, the Brooklyn Museum of Art, Houston Museum of Fine Art, among others. Her work has been published in The New York Times Magazine, The New Yorker, W, Aperture, and many other publications. She has published four monographs: Closer, Diary of a Dancer, MOTHER and Midlife.In this episode we chat about her wonderful book Midlife and the gifts of getting older. We also discuss long term projects, and the nuances of moving between cultures and existing in two languages. This episode was audio produced by Katie McMurran. Music is by Madisen Ward.

In A Cultural Arsenal for Democracy: The World War II Work of US Museums (University of Massachusetts Press, 2022), Dr. Ceglio argues that attempts during the war years to fit exhibition craft to the aims of social instrumentality constitute an important but forgotten moment in the field's debates over whether museums should take active stances on public issues or, to use current parlance, remain neutral. In the book, she investigates how many American museums saw engagement with wartime concerns as consistent with their vision of the museum as a social instrument. She examines how these museums worked to strike the right balance between education and patriotism, hoping to attain greater relevance. Dr. Ceglio focuses on exhibitions, which unsurprisingly served as the primary vehicle through which museums, large and small, engaged their publics with wartime topics with fare ranging from displays on the cultures of Allied nations to "living maps" that charted troop movements and exhibits on war preparedness. Dr. Ceglio chronicles debates, experiments, and collaborations from the 1930s to the immediate postwar years, investigating how museums re-envisioned the exhibition as a narrative medium and attempted to reconcile their mission with new modes of storytelling. She demonstrates how what today may seem standard museum practice—that exhibitions take explicitly narrative forms appealing to the mental, emotional, and physical— was still a novel and controversial idea to museums in the 1930s and '40s. Research for this book drew from administrative records, correspondence, and reports held by the archives of the American Museum of Natural History, the Brooklyn Museum of Art, the Museum of Modern Art (New York), the National Art Gallery, the Newark Museum, the Rockefeller Archive Center, the Smithsonian Institution, and the Wadsworth Atheneum (Hartford), among others. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

In A Cultural Arsenal for Democracy: The World War II Work of US Museums (University of Massachusetts Press, 2022), Dr. Ceglio argues that attempts during the war years to fit exhibition craft to the aims of social instrumentality constitute an important but forgotten moment in the field's debates over whether museums should take active stances on public issues or, to use current parlance, remain neutral. In the book, she investigates how many American museums saw engagement with wartime concerns as consistent with their vision of the museum as a social instrument. She examines how these museums worked to strike the right balance between education and patriotism, hoping to attain greater relevance. Dr. Ceglio focuses on exhibitions, which unsurprisingly served as the primary vehicle through which museums, large and small, engaged their publics with wartime topics with fare ranging from displays on the cultures of Allied nations to "living maps" that charted troop movements and exhibits on war preparedness. Dr. Ceglio chronicles debates, experiments, and collaborations from the 1930s to the immediate postwar years, investigating how museums re-envisioned the exhibition as a narrative medium and attempted to reconcile their mission with new modes of storytelling. She demonstrates how what today may seem standard museum practice—that exhibitions take explicitly narrative forms appealing to the mental, emotional, and physical— was still a novel and controversial idea to museums in the 1930s and '40s. Research for this book drew from administrative records, correspondence, and reports held by the archives of the American Museum of Natural History, the Brooklyn Museum of Art, the Museum of Modern Art (New York), the National Art Gallery, the Newark Museum, the Rockefeller Archive Center, the Smithsonian Institution, and the Wadsworth Atheneum (Hartford), among others. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

In A Cultural Arsenal for Democracy: The World War II Work of US Museums (University of Massachusetts Press, 2022), Dr. Ceglio argues that attempts during the war years to fit exhibition craft to the aims of social instrumentality constitute an important but forgotten moment in the field's debates over whether museums should take active stances on public issues or, to use current parlance, remain neutral. In the book, she investigates how many American museums saw engagement with wartime concerns as consistent with their vision of the museum as a social instrument. She examines how these museums worked to strike the right balance between education and patriotism, hoping to attain greater relevance. Dr. Ceglio focuses on exhibitions, which unsurprisingly served as the primary vehicle through which museums, large and small, engaged their publics with wartime topics with fare ranging from displays on the cultures of Allied nations to "living maps" that charted troop movements and exhibits on war preparedness. Dr. Ceglio chronicles debates, experiments, and collaborations from the 1930s to the immediate postwar years, investigating how museums re-envisioned the exhibition as a narrative medium and attempted to reconcile their mission with new modes of storytelling. She demonstrates how what today may seem standard museum practice—that exhibitions take explicitly narrative forms appealing to the mental, emotional, and physical— was still a novel and controversial idea to museums in the 1930s and '40s. Research for this book drew from administrative records, correspondence, and reports held by the archives of the American Museum of Natural History, the Brooklyn Museum of Art, the Museum of Modern Art (New York), the National Art Gallery, the Newark Museum, the Rockefeller Archive Center, the Smithsonian Institution, and the Wadsworth Atheneum (Hartford), among others. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

In A Cultural Arsenal for Democracy: The World War II Work of US Museums (University of Massachusetts Press, 2022), Dr. Ceglio argues that attempts during the war years to fit exhibition craft to the aims of social instrumentality constitute an important but forgotten moment in the field's debates over whether museums should take active stances on public issues or, to use current parlance, remain neutral. In the book, she investigates how many American museums saw engagement with wartime concerns as consistent with their vision of the museum as a social instrument. She examines how these museums worked to strike the right balance between education and patriotism, hoping to attain greater relevance. Dr. Ceglio focuses on exhibitions, which unsurprisingly served as the primary vehicle through which museums, large and small, engaged their publics with wartime topics with fare ranging from displays on the cultures of Allied nations to "living maps" that charted troop movements and exhibits on war preparedness. Dr. Ceglio chronicles debates, experiments, and collaborations from the 1930s to the immediate postwar years, investigating how museums re-envisioned the exhibition as a narrative medium and attempted to reconcile their mission with new modes of storytelling. She demonstrates how what today may seem standard museum practice—that exhibitions take explicitly narrative forms appealing to the mental, emotional, and physical— was still a novel and controversial idea to museums in the 1930s and '40s. Research for this book drew from administrative records, correspondence, and reports held by the archives of the American Museum of Natural History, the Brooklyn Museum of Art, the Museum of Modern Art (New York), the National Art Gallery, the Newark Museum, the Rockefeller Archive Center, the Smithsonian Institution, and the Wadsworth Atheneum (Hartford), among others. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. 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 A Cultural Arsenal for Democracy: The World War II Work of US Museums (University of Massachusetts Press, 2022), Dr. Ceglio argues that attempts during the war years to fit exhibition craft to the aims of social instrumentality constitute an important but forgotten moment in the field's debates over whether museums should take active stances on public issues or, to use current parlance, remain neutral. In the book, she investigates how many American museums saw engagement with wartime concerns as consistent with their vision of the museum as a social instrument. She examines how these museums worked to strike the right balance between education and patriotism, hoping to attain greater relevance. Dr. Ceglio focuses on exhibitions, which unsurprisingly served as the primary vehicle through which museums, large and small, engaged their publics with wartime topics with fare ranging from displays on the cultures of Allied nations to "living maps" that charted troop movements and exhibits on war preparedness. Dr. Ceglio chronicles debates, experiments, and collaborations from the 1930s to the immediate postwar years, investigating how museums re-envisioned the exhibition as a narrative medium and attempted to reconcile their mission with new modes of storytelling. She demonstrates how what today may seem standard museum practice—that exhibitions take explicitly narrative forms appealing to the mental, emotional, and physical— was still a novel and controversial idea to museums in the 1930s and '40s. Research for this book drew from administrative records, correspondence, and reports held by the archives of the American Museum of Natural History, the Brooklyn Museum of Art, the Museum of Modern Art (New York), the National Art Gallery, the Newark Museum, the Rockefeller Archive Center, the Smithsonian Institution, and the Wadsworth Atheneum (Hartford), among others. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/military-history

In A Cultural Arsenal for Democracy: The World War II Work of US Museums (University of Massachusetts Press, 2022), Dr. Ceglio argues that attempts during the war years to fit exhibition craft to the aims of social instrumentality constitute an important but forgotten moment in the field's debates over whether museums should take active stances on public issues or, to use current parlance, remain neutral. In the book, she investigates how many American museums saw engagement with wartime concerns as consistent with their vision of the museum as a social instrument. She examines how these museums worked to strike the right balance between education and patriotism, hoping to attain greater relevance. Dr. Ceglio focuses on exhibitions, which unsurprisingly served as the primary vehicle through which museums, large and small, engaged their publics with wartime topics with fare ranging from displays on the cultures of Allied nations to "living maps" that charted troop movements and exhibits on war preparedness. Dr. Ceglio chronicles debates, experiments, and collaborations from the 1930s to the immediate postwar years, investigating how museums re-envisioned the exhibition as a narrative medium and attempted to reconcile their mission with new modes of storytelling. She demonstrates how what today may seem standard museum practice—that exhibitions take explicitly narrative forms appealing to the mental, emotional, and physical— was still a novel and controversial idea to museums in the 1930s and '40s. Research for this book drew from administrative records, correspondence, and reports held by the archives of the American Museum of Natural History, the Brooklyn Museum of Art, the Museum of Modern Art (New York), the National Art Gallery, the Newark Museum, the Rockefeller Archive Center, the Smithsonian Institution, and the Wadsworth Atheneum (Hartford), among others. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

I invested energy, time and focus into the storytelling ethos within the craft of DJing and that investment keeps paying off. Back in 2005 I asked the HBO Special Events brain trust to have me approach their events with this mindset and they said yes…they're still saying yes. Thank you, HBO!  Qool DJ Marv Live at the Finale Event for the HBO series Scenes from a Marriage - October 10 2021 - Museum of Modern Art - New York City Lotta LoveLove BalladDon't Make Me Wait Too LongRise Baby Come BackI'll Be AroundYou'll Never Find Another Love Like Mine When I Think of You Everything She WantsWork To DoIt's Too LateHow LongWhat A Fool BelievesDreams Here Comes The Rain AgainOwner of a Lonely Heart It's My Life Don't Leave Me This WayThinkAin't No Mountain High EnoughCan't Take My Eyes Off YouSay a Little PrayerYou're The Biggest Part of MeSteal Away I Feel For YouG'night T'nightYou & ILove HangoverWho's That LadyLove is the MessageWithout LoveGypsy WomanYou Send MeHigher LoveThe Captain of Her Heart Includes versions, remixes and re-edits by Ole Smokey, Kygo, Jay-k, Mike Dominico, The Reflex, Funkskool, Dmitiri from Paris, Young Pulse, Conan Liquid, Scrimshire & Joey Negro https://www.hbo.com/scenes-from-a-marriagehttps://linktr.ee/qooldjmarv

Tiffany has received over 80 awards and distinctions for her films and work, including selection by the Albert Einstein Foundation's as one of the 100 visionaries who carry on his legacy, inclusion on NPR's list of Best Commencement Speeches, and being listed as one of Newsweek's "Women Shaping the 21st Century." Tiffany lectures worldwide on topics ranging from the relationship between humanity and technology, digital wellbeing and happiness, gender and women's rights, to neuroscience and creativity. The Museum of Modern Art New York premiered her new one-woman performance Dear Human at the start of 2020.https://www.tiffanyshlain.com/  Plus see East Forest LIVE in Denver on 9/14SLC on 9/16Austin (w/Jon Hopkins) on 9/21Boise on 9/25TICKETS at http://eastforest.org/tour Also. New Music from East Forest! -"Possible" - the latest studio album  from East Forest - LISTEN NOW:Spotify / AppleOrder the album on vinyl - limited edition + check out the new Possible clothing: http://eastforest.org*** Support this free podcast by joining the East Forest COUNCIL on Patreon.  Monthly Zoom Council, Podcast exclusives, private Patreon live-stream ceremony, and more.  Check it out and a great way to support the podcast and directly support the work of East Forest! - http://patreon.com/eastforest*****Please rate Ten Laws w/East Forest on iTunes.  It helps us get the guests you want to hear. Tour - Catch East Forest LIVE - Pledge your interest in the upcoming East Forest Ceremony Concert events this Spring/Summer 2021.  More info and join us at eastforest.org/tourCommunity - Join the newsletter and be part of the East Forest Community.Meditation - Listen to East Forest guided meditations on Spotify & AppleRam Dass album - Check out the East Forest x Ram Dass album on (Spotify & Apple) + East Forest's Music For Mushrooms: A Soundtrack For The Psychedelic Practitioner 5hr album (Spotify & Apple).Socials -Stay in the East Forest flow:Mothership:  http://eastforest.org/IG:  https://www.instagram.com/eastforest/FB:  https://www.facebook.com/EastForestMusic/TW:  https://twitter.com/eastforestmusicJOIN THE COUNCIL - PATREON: http://patreon.com/eastforest

Elinor Carucci and I talk about her book Midlife, an autobiographical exploration of life, ageing, mortality, and the challenges women face as they get older to not become invisible. We talk about the hard work and stresses involved with making personal and commercial work, raising children, and teaching. Elinor talks about her mentors, and the ways in which she has changed as an educator and how she learns from her students.   http://www.elinorcarucci.com   Born 1971 in Jerusalem, Israel, Elinor Carucci graduated in 1995 from Bezalel Academy of Arts and Design with a degree in photography, and moved to New York that same year. In a relatively short amount of time, her work has been included in an impressive amount of solo and group exhibitions worldwide, solo shows include Edwynn Houk gallery, Fifty One Fine Art Gallery, James Hyman and Gagosian Gallery, London among others and group show include The Museum of Modern Art New York and The Photographers' Gallery, London.   Her photographs are included in the collections of The Museum of Modern Art New York, the Brooklyn Museum of Art, Houston Museum of Fine Art, among others and her work appeared in The New York Times Magazine, The New Yorker, Details, New York Magazine, W, Aperture, ARTnews and many more publications.   She was awarded the International Center of Photography Infinity Award for Young Photographer in 2001, The Guggenheim Fellowship in 2002 and NYFA in 2010. Carucci has published two monographs to date, Closer, Chronicle Books 2002 and Diary of a dancer, SteidlMack 2005 and MOTHER, Prestel 2013. In fall of 2019 Monacelli Press published her fourth monograph, Midlife.   Carucci teaches at the graduate program of Photography and Related Media at School of Visual Arts and is represented by Edwynn Houk Gallery.

Kirstine Roepstorff is a multidisciplinary artist who has spent the better part of the last two decades building a highly successful international career.  From large scale collages incorporating materials like fabrics, cuttings, foil, wood and newspaper, through to creating sculptures in bronze and concrete she has been described as one of the most versatile artists of her generation.  Her work is included in among others, the permanent collection of Museum of Modern Art (New York) and The Saatchi Gallery (London) and in 2017 she represented Denmark at the prestigious 57th Bienniale in Venice.Explore more of Kirstine's work at:www.kirstineroepstorff.net

Roxane Gay reflects on Kara Walker's Christ's Entry into Journalism (2017). The Way I See It, "Roxane Gay and Kara Walker's Christ's Entry into Journalism" was produced by the BBC in association with the Museum of Modern Art New York. More episodes at www.bbc.co.uk/programmes/m0009bf6.

Today I would like to introduce you to Elinor Carucci. The breadth of Elinor’s career has been extensive, she has just published her 4th monograph Midlife by Monacelli Press, now part of Phaidon Press. Represented by Edwynn Houk Gallery in New York her work is included in the collections of Museum of Modern Art New York, the Brooklyn Museum of Art, Houston Museum of Fine Art, among others, and has appeared in The New York Times Magazine, The New Yorker, W, Aperture, ARTnews, and numerous other publications. Elinor has exhibited extensively, but one of her greatest achievements is the personal and professional honestly and integrity she brings to her work and career. She is an obsessive image maker with patience and vision. Elinor, welcome to the podcast.  

Andrei Morariu și Bogdan Costea. Împreună au readus la viață primul ceas românesc, Optimef. Însă cu o nouă poveste, un nou design și bineînțeles cu o viziune fresh ce depășește granițele țării. Optimef este acum un brand și se adresează celor care știu deja ce înseamnă un produs de designer, accesibil și modern.Adevărata recunoaștere a venit din partea MoMa (Museum of Modern Art New York), care a dorit să includă produsul lor în shopul muzeului, Optimef devenind astfel primul produs de design românesc vândut în shopul MoMa. Din 2019, Optimef Fărăzece (prima colecție) este de asemenea vândut de shopul SFMOMA (San Francisco Museum of Modern Art). Iar de curând au lansat și o linie de genți premium, Prima și Prima Mini. 

Thursday, November 7, 2019 The complexity of software-based art continues to challenge media conservators in their quest for best preservation practices. An ever growing body of literature on case studies has been written and published underlining how often multiple and concurrent preservation strategies are needed in order to ensure the perpetuation and unfolding of these works in the future. In the last few years, institutions have started collecting iOS mobile applications. Multi-faceted in their platform dependencies and distribution systems, App-based software preservation is intrinsically linked to the the breakneck pace with which mobile phone technologies and related software are released, adopted, and rendered obsolete. This process is further heightened by the reliance on the authoring and delivery restrictions enforced by Apple which limits the control the creators have over the availability and sustainability of their iOS App-based artworks. How can the preservation challenges of these artworks add to our understanding of software based art? Which strategies, tools, and workflows can be applied to mitigate risks associated to iOS App-based art obsolescence? This talk will examine cases studies of mobile app artworks from two institution's collections - Los Angeles County Museum of Art and the Museum of Modern Art (New York). Session Type30-Minute Session (Presentation or Case Study) TrackSystems Chatham House RuleNo Key Outcomes After attending this session, participants will have a more informed understanding for what enables a mobile application and the many interdependent systems that must be frozen in time in order for these applications to be accessible and usable into the future. It will hopefully instill thoughtfulness around how to promote advocacy for digital preservation within the app-development community and find pathways to sustain these objects through creative partnerships (e.g. with developers or producers of these diffuse technologies). Speakers Session Leader : Joey Heinen, Digital Preservation Manager, LACMA Co-Presenter : Morgan Kessler, Media Collections Manager, Los Angeles County Museum of Art

It's every artist's dream to have their work in the permanent collections of The Metropolitan Museum of Art and Museum of Modern Art (New York). It means you're part of the history of art. But Michael Hafftka's is focusing on the present and the future. His creative career is going strong after more than four decades as an internationally acclaimed visual artist.  His accomplishments check all the boxes for achieving the status of a legend in the art world.  His work has been recognized by renowned art critics  from The Sunday Times of London and The New York Times. . In this podcast, Hafftka discusses his career from the 1970's to the present, how he's embraced social media, and the "dying gallery model". If you want to know how an artist achieves longevity in his career and what it takes to persist, listen to what art legend Michael Hafftka has to say.

In episode 74 UNP founder and curator Grant Scott is in his shed considering Instagram requests for image usage, young photographers starting out on a photography education, the documentation of self and the death of photographer John Cohen. Plus this week photographer Elinor Carucci takes on the challenge of supplying Grant with an audio file no longer than 5 minutes in length in which she answer's the question ‘What Does Photography Mean to You?' If you have enjoyed this podcast why not check out our A Photographic Life Podcast Plus. Created as a learning resource that places the power of learning into the hands of the learner. To suggest where you can go, what you can read, who you can discover and what you can question to further your own knowledge, experience and enjoyment of photography. It will be inspiring, informative and enjoyable! You can find out here: www.patreon.com/aphotographiclifepodcast You can also access and subscribe to these podcasts at SoundCloud https://soundcloud.com/unofphoto on iTunes https://itunes.apple.com/gb/podcast/a-photographic-life/id1380344701 on Player FM https://player.fm/series/a-photographic-life and Podbean www.podbean.com/podcast-detail/i6uqx-6d9ad/A-Photographic-Life-Podcast Elinor Carucci was born 1971 in Jerusalem, Israel, and graduated in 1995 from the Bezalel Academy of Arts and Design, Jerusalem with a degree in photography, the same year that she moved to New York. Her work has been included in an impressive amount of solo and group exhibitions worldwide, including solo shows at the Edwynn Houk Gallery, New York, the Fifty One Fine Art Gallery, Antwerp and the James Hyman and Gagosian Gallery, London among others. Her work has also been included within group shows at The Museum of Modern Art New York and The Photographers' Gallery, London. Her photographs are included in the collections of The Museum of Modern Art New York, the Brooklyn Museum of Art, Houston Museum of Fine Art, among others and her work has appeared in The New York Times Magazine, The New Yorker, Details, New York Magazine, W, Aperture, ARTnews and many more publications. She was awarded the International Center of Photography, New York, Infinity Award for a Young Photographer in 2001, The Guggenheim Fellowship in 2002. Carucci has published three monographs to date, Closer, in 2002, Diary of a Dancer, in 2005 and MOTHER in 2013. Her latest book titled Midlife, chronicles one woman's passage through ageing, family, illness, and intimacy and will be published by Monacelli Press in October this year. Elinor has held teaching positions at Princeton University, Harvard University and ICP, New York and currently teaches on the graduate programme of photography at the School of Visual Arts, New York. She is represented by the Edwynn Houk Gallery, New York. www.elinorcarucci.com Grant Scott is the founder/curator of United Nations of Photography, a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, a working photographer, and the author of Professional Photography: The New Global Landscape Explained (Focal Press 2014) and The Essential Student Guide to Professional Photography (Focal Press 2015). His next book New Ways of Seeing: The Democratic Language of Photography will be published by Bloomsbury Academic in 2019. His documentary film, Do Not Bend: The Photographic Life of Bill Jay can now be seen at www.youtube.com/watch?v=wd47549knOU&t=3915s. © Grant Scott 2019

This Freelancer Life talks to Jasmine Ng Kin Kia, a filmmaker who tells stories across different media. She’s worked in film, television, theatre, and site-specific installations. Her credit list includes Moveable Feast, Eating Air, SHIRKERS, Lonely Planet Six Degrees, FUTURE FEED, Our Town, In The Silence of Your Heart). She edited Eric Khoo’s 12 Storeys (Cannes-Un Certain Regard), co-directed and produced Moveable Feast (Clermont-Ferrand, Museum of Modern Art-New York), and co-directed Eating Air with Kelvin Tong. (Rotterdam IFF VPRO Tigers Competition, FIPRESCI Special Critics Mention, SFC Young Cinema Award). She also has many broadcast-commissioned hours under her belt, having directed narrative-factual programmes for Discovery Channel, National Geographic, and others. She's also passionate about giving back to the industry and is the first president of the Singapore Association of Motion Picture Professionals (https://sampp.org.sg) 

Allison Janae Hamilton is an artist born in Kentucky, raised in Florida, and on her family's farm in western Tennessee. She has exhibited at museums and institutions such as the Museum of Modern Art (New York, NY); MASS MoCA (North Adams, MA); Storm King Art Center (New Windsor, NY); the Studio Museum in Harlem (New York, NY); the Smithsonian National Portrait Gallery (Washington, DC); The Jewish Museum (New York, NY); Atlanta Contemporary (Atlanta, GA); (Fundación Botín (Santander, Spain); Tacoma Art Museum (Tacoma, WA); the Brighton Photo Biennial (Brighton, UK); and the Istanbul Design Biennial (Istanbul, Turkey). Allison has been awarded artist residencies at the Studio Museum in Harlem (New York, NY); Recess (New York, NY); Fundación Botín (Santander, Spain); and the Whitney Museum of American Art Independent Stu dy Program (New York, NY). She is a 2018 NYSCA/NYFA Artist Fellow. Allison received her PhD in American Studies at New York University and her MFA in Visual Arts at Columbia University. Her artwork has appeared in publications such as Art in America, Transition Magazine, Women and Performance, Arte Al Límite, Oxford American, Studio Magazine, Esquire Magazine, New York Times, Artsy and Artforum, among others. Hamilton's first solo museum exhibition, Allison Janae Hamilton: Pitch, is currently on view at the Massachusetts Museum of Contemporary Art (MASS MoCA) through March 2019. Brian met up with Allison in her Chelsea studio to talk about her days growing up in the south, farm life, taking photos, fashion, culture, P-funk and a lot more. Sound & Vision is supported by Topo Designs and Golden Artist Colors.

This week: Artist and educator Steve Reinke. Steve Reinke is an artist and writer best known for his single channel videos, which have been screened, exhibited and collected worldwide. He received his undergraduate education at the University of Guelph and York University, as well as a Master of Fine Arts from NSCAD University. The Hundred Videos — Mr. Reinke's work as a young artist — was completed in 1996, several years ahead of schedule. Since then he has completed many short single channel works and has had several solo exhibitions/screenings, in various venues such as the Museum of Modern Art (New York), the National Gallery of Canada (Ottawa), The Power Plant (Toronto), the Art Gallery of Ontario (Toronto), the International Film Festival Rotterdam and the Argos Festival (Brussels), Barcelona Museum of Contemporary Art, and the Tate (London). His tapes typically have diaristic or collage formats, and his autobiographical voice-overs share his desires and pop culture appraisals with endearing wit. His fertile brain and restless energy have led to a prolific output: Reinke's ambitious project The Hundred Videos (1989-1996), which runs about five hours, appeared first in a VHS video-cassette compilation, then was released as a triple DVD set by Art Metropole in Toronto in 2007. His double DVD set My Rectum is not a Grave (Notes to a Film Industry in Crisis), also from Art Metropole, 2007, includes fourteen titles dating from 1997 to 2006. Mr. Reinke's video work is an extension of literature, focusing on the voice and performance. His video essays often feature first-person monologues in an ironic/satiric mode. Where earlier work was often concerned with an interrogation of desire and subjectivity, more recent work, collected under the umbrella of Final Thoughts, concerns the limits of things: discourse, experience, events, thought. His single channel work is distributed in Canada by Vtape and he is represented by Birch Libralato Gallery in Toronto. He is currently associate professor of Art Theory & Practice at Northwestern University. In the 1990's he produced a book of his scripts, Everybody Loves Nothing: Scripts 1997 – 2005, which was published by Coach House (Toronto). He has also co-edited several books, including By the Skin of Their Tongues: Artist Video Scripts (co-edited with Nelson Henricks, 1997), Lux: A Decade of Artists' Film and Video (with Tom Taylor, 2000), and The Sharpest Point: Animation at the End of Cinema (with Chris Gehman, 2005). In awarding the Bell Canada prize for Video Art to Steve Reinke, the assessment committee said: “Steve Reinke is one of the most influential artists currently working in video. With the first installments of The Hundred Videos in the early 1990's he led a generation away from the studio into a new conceptual fiction. But Mr. Reinke's contribution goes beyond his important tapes, he is a committed teacher and he has edited and co-edited several important media arts anthologies.” Check out Steve's websites: www.myrectumisnotagrave.com www.fennelplunger.com