Podcasts about Moma

Pescatariana desde os 16 anos e com obras expostas no MOMA, Ana Mestre celebra 25 anos de carreira focada no design e na sustentabilidade e apresenta a sua exposição “Designing Sustainable Futures”See omnystudio.com/listener for privacy information.

Before getting into today’s episode, I want to acknowledge the passing of Jeff Schewe. Jeff’s contributions to the photographic community were immense, and his passion for the craft touched countless photographers worldwide. I learned so much about printing and processing from Jeff. He will be deeply missed, and my thoughts are with his family, friends, and everyone whose life he influenced through his teaching and work.On a happier note, congratulations to Makeda Best, who recently stepped into a wonderful new role as the photo curator at the MOMA. I can’t wait to see the programming, exhibitions and content that the photo department puts out under Makeda’s watch. She has a great background and has curated several really interesting projects and exhibitions in the past. As for today’s podcast topic, we are exploring a simple idea: the photographs we almost make are, in some ways, one of our greatest barriers to our true work. Most photographers think their biggest mistakes happen after pressing the shutter, things like exposure errors, missed focus, or weak composition. But the greatest loss is the image we never make at all. We see something interesting, pause for a moment, and then let hesitation talk us out of taking the photograph.My biggest issue is that I sometimes expect something better down the road. For Others, we’re uncertain whether the scene is worth photographing. Sometimes we’re distracted. Whatever the reason, the moment passes, and the photograph exists only in memory.This week, I’ll explore why hesitation may cost us more images than technical mistakes and how learning to trust our curiosity can lead to richer photographic experiences. After all, some of our favorite photographs are often the ones we almost walked past.Thanks for listening, and as always, keep seeing the world through your images as gifts that keep giving. 

Send us Fan MailRuth Lewis, founder of Moma Breastfeeding, joined our morning panel at the Derby Women's Festival on Saturday 9 May 2026 - an event organised by the Women's Rights Network Derby and Staffordshire groupRuth was here to talk about “Breastfeeding support and the mother-baby dyad” .  MoMa is a mother-led, not-for-profit organisation, dedicated to providing mother-to-mother support for breastfeeding. The event gave Ruth the chance to debate and network with the audience and other speakers  - Sorcha Nic Lochlainn from The Countess, Lexi Ellingsworth from Stop Surrogacy Now, Jennifer Gourley from Protect and Teach, Stephanie Davies-Arai from Transgender Trend and Kathleen Richardson Author of Sex Robots - The end of love, Professor of Ethics and Culture of Robots and AI at Leicester's De Montfort University, Find Ruth on X @MoMaBfing and for more information take a look at the website  https://momab.org.uk/ #DerbyWomensFestivalIf you enjoyed listening to this podcast and would like to hear more, go to womensrights.network/wrn-podcast to listen, download and subscribe to more of our episodes.  And if you'd like to join our conversations, go to womensrights.network/join-wrn

This episode explores Apollo, the Muses, Memory, and Helichrysum—where mythology, culture, and aromatherapy meet.As the season turns from Artemis to Apollo, I look at what happens when the young yang aspects of the psyche mature into clarity, direction, and mastery — and what collapses when that masculine principle forgets its lineage. We explore the Muses as channels of collective memory, Mnemosyne as the river that keeps hubris in check, and Apollo Musagetes as the conductor who can only function when he's in right relationship with them.I talk about the Duchamp exhibit at MoMA and the cultural drift into “look culture,” drawing on Sophie Gilbert's Girl on Girl and the long shadow of the AIDS crisis — how desire moved into the visual realm and left us with a disembodied gaze. We trace how this shift severed Apollo from the Muses, leaving us with spectacle instead of depth, performance instead of relationship.And then we return to the body — to aromatherapy as an embodied antidote. To the intelligence of aromatic molecules and their direct line to memory, emotion, and meaning. This leads us to Helichrysum — Immortelle — a plant of memory and deep healing. A plant that cools swollen yang, steadies drifting yin, and reminds us that creation is never ours alone.If you're drawn to myth, memory, culture, and the living intelligence of aromatic plants, this episode will meet you where you are.Access the companion article here.

Le sujet :Après l'explosion des NFTs en 2021, beaucoup ont enterré le secteur aussi vite qu'il était apparu. Collections spéculatives, célébrités, fortunes perdues… le mot “NFT” est presque devenu tabou.Pourtant, derrière le crash, certaines œuvres continuent de se vendre, des musées exposent désormais de l'art numérique, et de nouveaux usages émergent dans le jeu vidéo, la billetterie ou les objets de collection.Alors : les NFTs sont-ils vraiment morts ?L'invité du jour :John Karp est entrepreneur, collectionneur et fondateur de NFT Morning ainsi que du salon Non Fungible Conference à Lisbonne.Au micro de Matthieu Stefani, il revient sur l'effondrement du marché NFT, les erreurs de la bulle spéculative et les usages qui, selon lui, pourraient survivre sur le long terme.Découvrez :Pourquoi les NFTs se sont effondrés aussi brutalement après 2021Ce qui distingue aujourd'hui les projets “historiques” des collections sans valeurPourquoi certains CryptoPunks valent encore plusieurs dizaines de milliers de dollarsComment les grands musées et galeries commencent à intégrer l'art numériqueLes nouveaux usages des NFTs dans le gaming, la billetterie et les objets de collectionIls citent les références suivantes :CryptoPunksBeepleRefik AnadolXcopyArt BaselCentre PompidouMoMALACMANFT MorningOpenSeaSuperRareMerci à notre partenaire eToro de soutenir la Martingale.Allez sur etoro.com et prenez le contrôle de vos investissements. E-T-O-R-O point com.eToro est une plateforme d'investissement multi-actifs. La valeur de vos placements peut augmenter ou diminuer. Votre capital est assujetti à un risque.La libre antenne de votre podcast préféré, Allo La Martingale, a désormais son propre flux ! Abonnez-vous sur Spotify, Apple Podcasts ou votre plafeforme audio favorite pour ne manquer aucun nouvel épisode. Pour s'abonner à la newsletter, c'est ici : https://lamartingale.io/ La Martingale, c'est aussi un assistant IA qui vous apporte des réponses éclairées issues des interventions des experts passés au micro du podcast. Pour tester, direction https://beta.lamartingale.ioLa Martingale est un média d'Orso Media. Vous souhaitez entrer en contact avec a rédaction ? Ou nous soumettre une collaboration ? Ecrivez-nous ici : https://orsomedia.io/contactHébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

#162 NYC Itinerary: Art, Flowers, Soda Floats & More In this episode of The Everyday Bucket List Podcast, Karen, Rich, and Cedric share a relaxing 1-day New York City itinerary packed with iconic NYC attractions, great food, modern art, and classic New York experiences. From seeing Vincent van Gogh's The Starry Night at MoMA to walking through Central Park and ending the day with old-fashioned soda floats at Lexington Candy Shop, this Manhattan day trip is full of realistic travel inspiration and practical NYC tips. They talk about visiting the Museum of Modern Art (MoMA), exploring Central Park during tulip season, eating gluten-free food in NYC, and experiencing one of New York City's most nostalgic old-school soda fountains. In this episode, we cover: MoMA, The Starry Night + NYC museum tips Central Park walking spots + Conservatory Garden Lexington Candy Shop, gluten-free food + NYC travel tips We also share transportation advice, portable charger travel tips, and ideas for planning a simple but memorable New York City day trip. Whether you're planning your first NYC vacation or looking for a simple Manhattan itinerary with art, food, parks, and classic New York charm, this episode will help you plan a fun and realistic day in the city. CLICK THE LINKS BELOW OR CUT AND PASTE THEM INTO YOUR BROWSER: Binge-listen to my New York Bucket List Ideas playlist https://open.spotify.com/playlist/07q6GH9BLjr3PWgCxOjreB?si=w9BDltD9RsmOHkao9lyPoA&pi=kg_a0reoT6i9C Binge-listen to my playlist about traveling to Europe https://bit.ly/4g4Bb07 Listen to these episodes next: Spring Bucket List: See the Most Beautiful Tulip Garden in the World Spotify or Apple (Ep157)   RESOURCES: Portable Phone Charger https://amzn.to/4nJd8Ji Grab a copy of The Everyday Bucket List Book https://amzn.to/3vwxz2K Support my work: https://buymeacoffee.com/edbl   Connect with me: Website: KarenCordaway.com Twitter (X): @KarenCordaway https://x.com/karencordaway Pinterest: @Everyday_Bucket_List https://www.pinterest.com/EverydayBucketList/ TikTok: @Everyday_Bucket_List https://www.tiktok.com/@everyday_bucket_list   If you're enjoying this podcast, please rate and review it to let me know what content you want more of! Disclaimer: Some outbound links financially benefit the podcast. Using them is a small way to support the show at zero cost to you. I only endorse products I personally use or would recommend to close friends and family. https://karencordaway.com/disclaimer/    

Beka Goedde and Mandolyn Wilson Rosen join me this episode to unpack our experience visiting renowned artist, Louise Bourgeois' home in NYC. We entered her historic brownstone and were immediately transported to another world and time. Louise lived a full life but was very much an artistic homebody. She made her home her studio in every sense of the word, stuffing each room full of materials to be on hand whenever inspiration struck. She found a way to balance family life with making her work and rode out long career lulls with grace and determination. Come along with us as we discuss our peek inside her sanctuary.More about Louise Bourgeois: https://www.moma.org/artists/710-louise-bourgeoishttps://www.theguardian.com/artanddesign/gallery/2013/oct/18/bourgeoishttps://hicarquitectura.com/2022/12/louise-bourgeoise-femme-maison/Great film about Louise Bourgeois: Louise Bourgeois: The Spider, the Mistress, and the Tangerine 2008Bourgeois works mentioned: "Arched Figure" 1993, "Maman" 1999Bourgeois exhibitions mentioned: The Women at Peggy Guggenheim's Art of This Century gallery NYC 1945, Eccentric Abstraction, curated by Lucy Lippard at The Fischbach Gallery NYC 1966 Artists / Writers mentioned: Joyce Kosloff, Faith Ringgold, Sylvia Sleigh, Lucy Lippard, Linda Nochlin, Joan Snyder, Nancy Spero, Howardena Pindell, Delacroix, Matisse, Suzanne ValadonBeka mentioned Felix Harlan, master printmaker and co-founder of Harlan & Weaver, a fine art print publishing studio who made so many Bourgeois prints.1973 Feminists' letter to William Rubin at MoMA: https://brooklynrail.org/2017/11/verbatim/Louise-Bourgeois-Breaking-the-Mold/Further reading: Louise Bourgeois: Drawings and Observations, Ed. Lawrence Rinder; Runaway Girl: The Artist Louise Bourgeois , a YA book by Jan Greenberg (with Sandra Jordan); "New York Real Estate and the Ruin of American Art" by Josh Kline / OctoberThank you to my guests, Beka Goedde and Mandolyn Wilson Rosen! Find them online at:BekaGoedde.com and @bekagoeddeMandolynWilsonRosen.com and @mandolyn_rosenThank you to the wonderful guides and archivists at the Louise Bourgeois home who made this episode possible.Thank you, Peps Listeners!All music by Soundstripe----------------------------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!

Its Chocolate time! We chat with Momma Cacao (Juliet Davies) a Cacoa farmer and chocolate maker plus some great CT chocolate destinations! 

Quando si pensa all'Italia, il caffè è tra le prime cose che vengono in mente. Ma come è arrivato in Italia? Perché gli italiani lo bevono così? E perché, se ordini «un caffè» in un bar italiano, ti arriva sempre e solo un espresso? In questo articolo scoprirai tutta la storia del caffè in Italia — dalle origini africane fino alla moka — e imparerai il vocabolario e le curiosità che ti faranno fare un'ottima figura con gli italiani. Non è italiano! Tutta la verità sul CAFFÈ 1. Le Origini del Caffè: un Viaggio Lunghissimo Oggi il caffè sembra italianissimo — quasi come se fosse nato tra le colline della Toscana o nei vicoli di Napoli. Ma la verità è un'altra: il caffè non è italiano, almeno non all'inizio. Le origini del caffè si trovano probabilmente in Etiopia, in Africa. Esiste una leggenda che racconta di un pastore di nome Kaldi, che un giorno notò qualcosa di strano: le sue capre, dopo aver mangiato alcune bacche rosse di una pianta particolare, non riuscivano più a dormire la notte — erano iperattive, quasi euforiche. Kaldi assaggiò quelle bacche, le portò a dei monaci, e da lì cominciò tutto. Dalla penisola arabica — soprattutto dallo Yemen — il caffè si diffuse rapidamente. Nel mondo arabo nacquero i primi luoghi pubblici dove si beveva caffè, si discuteva di politica, si facevano affari, si raccontavano storie: i precursori dei nostri bar. Il caffè era già un fatto sociale ancora prima di arrivare in Europa. 2. Il Caffè Arriva in Italia Il caffè arrivò in Italia intorno al XVI e XVII secolo, grazie ai commerci tra Venezia e l'Impero Ottomano. Venezia, in quel periodo, era uno dei centri commerciali più importanti d'Europa — la porta tra Oriente e Occidente. Ed è proprio da quella porta che entrò il caffè. Ma all'inizio non tutti erano contenti di questa novità. Alcune persone lo consideravano una bevanda sospetta, straniera, persino pericolosa. C'erano voci che lo definivano «la bevanda del diavolo». Secondo una storia molto popolare, fu Papa Clemente VIII a risolvere la questione: assaggiò il caffè, gli piacque molto, e lo "benedisse" ufficialmente. Da quel momento, nessuno poteva più dire che fosse una bevanda del diavolo — se lo beve il Papa, va bene per tutti. Nel Seicento aprirono le prime botteghe del caffè, che erano molto più di semplici bar: erano luoghi di incontro, di cultura, di discussione. Artisti, scrittori, filosofi, commercianti — tutti si ritrovavano lì per parlare, leggere, discutere. Bere caffè era già, da subito, un atto collettivo e sociale. 3. L'Italia Reinventa il Caffè: Nasce l'Espresso Fin qui, il caffè era semplicemente importato. Ma gli italiani non si accontentano: devono sempre migliorare le cose. Alla fine dell'Ottocento e all'inizio del Novecento, l'Italia fece qualcosa di rivoluzionario: inventò un modo completamente nuovo di preparare il caffè. Grazie all'uso della pressione del vapore, si riuscì a estrarre il caffè in pochi secondi, in modo rapido, concentrato, intenso. Nacque così l'espresso. L'espresso non è solo un tipo di caffè — è quasi una metafora dello stile di vita italiano: breve, intenso, e senza fronzoli. Si beve in piedi al banco, in trenta secondi, si chiacchiera un momento con il barista, e si torna alla vita. Se qualcuno offre un espresso, non bisogna aspettarsi di sedersi e sorseggiarlo per venti minuti come un tè inglese: l'espresso si beve subito, finché è ancora caldo. 4. La Moka: il Caffè Entra nelle Case Italiane Se l'espresso è il re del bar, la moka è la regina di casa. Nel 1933, un uomo di nome Alfonso Bialetti inventò un oggetto destinato a diventare iconico: la moka, quella piccola caffettiera ottagonale in alluminio che probabilmente si è vista mille volte. L'idea era geniale nella sua semplicità: l'acqua nella parte inferiore, il caffè macinato nel filtro nel mezzo, e la pressione del vapore che spinge l'acqua attraverso il caffè, facendolo salire nella parte superiore. Il risultato? Un caffè forte, profumato, fatto comodamente a casa. Con la moka, il rito del caffè entrò nelle cucine italiane. E con esso, entrarono anche tutti i momenti che ci girano intorno: aspettare che il caffè salga, sentire quel gorgoglio caratteristico, gridare in cucina «Il caffè è pronto!» Se l'espresso al bar è la pausa veloce, la moka è il momento lento — il caffè della domenica mattina, quello dopo pranzo in famiglia, quello che fa la nonna. C'è qualcosa di profondamente affettivo nella moka: non è solo uno strumento, è un oggetto carico di ricordi. Il suo nome, tra l'altro, deriva da Mokha, una città dello Yemen famosa per il commercio del caffè — un altro segno del lungo viaggio che il caffè ha fatto prima di arrivare nelle nostre case. 5. Quanti Tipi di Caffè Esistono in Italia? In Italia il caffè non è uno solo. Esistono tantissime varianti, e conoscerle permette di ordinare al bar come un vero italiano. Espresso — il caffè classico: corto, intenso, concentrato. Quando si ordina semplicemente «un caffè» in un bar italiano, arriva sempre questo. Caffè lungo — più acqua rispetto all'espresso, sapore meno concentrato. Adatto a chi preferisce un caffè meno intenso. Caffè ristretto — meno acqua dell'espresso normale, ancora più concentrato e intenso. Non è per tutti — ma chi lo ama non lo cambierebbe con niente. Caffè macchiato — un espresso con una piccola quantità di latte, solo una «macchia». Non è un cappuccino: è un espresso leggermente ammorbidito. Cappuccino — espresso con latte montato a schiuma. È il caffè tipico della colazione italiana. Attenzione: in Italia il cappuccino si beve al mattino, mai dopo pranzo. Ordinarlo nel pomeriggio o dopo cena è considerato una cosa da turisti. Marocchino — espresso con cacao in polvere e schiuma di latte. Una piccola coccola per chi ama la combinazione di caffè e cioccolato. Caffè corretto — espresso con l'aggiunta di un liquore: grappa, sambuca o brandy, a seconda dei gusti. Si dice che il liquore «corregga» il caffè — viene bevuto spesso la mattina da chi ama iniziare la giornata con un tocco in più. Caffè americano — espresso allungato con acqua calda. Più simile al caffè filtrato americano: più lungo e meno intenso rispetto all'espresso classico. Consiglio pratico: per fare colazione come un italiano, ordina un cappuccino e un cornetto. Siediti al banco, bevi veloce, e vai avanti con la giornata. Domande Frequenti Perché in Italia "Un Caffè" Significa Sempre Espresso? Perché l'espresso è diventato il caffè per antonomasia in Italia fin dalla sua invenzione a fine Ottocento. Quando si dice «un caffè» senza specificare altro, il barista capisce automaticamente che si vuole un espresso. Qualsiasi altra variante — lungo, macchiato, americano — va specificata esplicitamente. È Vero che il Cappuccino Non Si Beve dopo Pranzo in Italia? Sì, è una delle regole non scritte più radicate della cultura italiana. Gli italiani ritengono che il latte appesantisca la digestione, quindi il cappuccino — e in generale qualsiasi caffè con latte abbondante — si beve al mattino, a colazione. Dopo pranzo o cena si beve sempre e solo l'espresso. Ordinare un cappuccino nel pomeriggio non è un errore grammaticale, ma è un segnale infallibile che si è stranieri. Qual È la Differenza tra Caffè Macchiato e Cappuccino? La differenza principale sta nella quantità di latte. Il caffè macchiato è un espresso con una piccola «macchia» di latte — pochissimo, giusto per ammorbidire leggermente il sapore. Il cappuccino invece ha una quantità molto maggiore di latte montato a schiuma, che bilancia l'espresso in modo più deciso. In termini di volume, il cappuccino è circa tre volte più grande di un macchiato. Come Mai il Caffè Fu Chiamato "Bevanda del Diavolo"? Quando il caffè arrivò in Europa nel XVI e XVII secolo, era una bevanda completamente sconosciuta e di provenienza orientale. In un'epoca in cui tutto ciò che veniva dall'Oriente o che aveva effetti stimolanti era guardato con sospetto, alcuni ecclesiastici lo considerarono pericoloso e lo associarono al diavolo. Fu Papa Clemente VIII, secondo la tradizione, a eliminare questa diffidenza assaggiandolo personalmente e approvandolo — rendendo di fatto impossibile continuare a condannarlo. La Moka Si Usa Ancora nelle Case Italiane? Sì, moltissimo. Nonostante la diffusione delle macchine per il caffè in capsule, la moka rimane presente nella stragrande maggioranza delle cucine italiane. Ha un valore che va oltre il pratico: è un oggetto carico di significato affettivo e culturale, legato ai ricordi di famiglia, alle domeniche mattina, al caffè della nonna. Nel 2021 la moka Bialetti è stata addirittura inserita nella collezione permanente del MoMA di New York come esempio di design italiano iconico. La storia del caffè è lunga e ricca, così come la sua varietà. Scoprila nell'articolo dedicato a tutti i tipi di caffè. { "@context": "https://schema.org", "@type": "Quiz", "name": "Quiz sul Caffè nella Cultura Italiana", "description": "Quiz interattivo sul caffè italiano con 10 domande su storia, tradizioni, tipi di caffè e vocabolario per studenti di italiano.", "educationalLevel": "Intermedio B1-B2", "learningResourceType": "Quiz", "inLanguage": "it", "hasPart": [ { "@type": "Question", "name": "Qual era la funzione principale delle prime botteghe del caffè in Italia nel Seicento?", "acceptedAnswer": { "@type": "Answer", "text": "Luogo di incontro culturale e politico" } }, { "@type": "Question", "name": "Secondo la tradizione, fu Papa Clemente VIII a far sì che il caffè fosse accettato in Italia dopo averlo assaggiato.", "acceptedAnswer": { "@type": "Answer", "text": "Vero" } }, { "@type": "Question", "name": "Quale caratteristica rende l'espresso diverso dagli altri modi di preparare il caffè?", "acceptedAnswer": { "@type": "Answer",...

S10 E1—When you walk into a room, what does that room tell you about who you are as a human being? What assumptions go into our restaurants and civic buildings and churches and homes and schools? What do they say about who we are and about how we relate to each other? Artist and design researcher Sara Hendren joins Amy Julia Becker to explore how modern spaces—from office buildings to nursing homes—shape what we believe about dignity, dependence, and belonging. Together they uncover how design can either diminish or restore our shared humanity, and why the good life depends on reimagining how we live together.00:00 Introduction to Design and Humanity05:24 Understanding the Machine Model and Anti-Human Design14:32 What Spaces Communicate About Being Human29:29 Design Choices and Human Dignity34:49 Innovations in Dementia Care Design37:26 Art and Dignity for Individuals with Disabilities41:32 The Metaphysics of Dignity and Human Connection51:07 Designing for the Good Life: Relationality and CommunityMENTIONED IN THIS EPISODE:What Can a Body Do? How We Meet the Built World by Sara HendrenPrevious podcast conversation: “S3 E15 | Who Belongs? Disability and the Built World with Sara Hendren”Comment Magazine essay by Sara Hendren: “Pattern Recognition: Design for humans in unexpected places.”Short film: Simple MachineBeing Mortal by Atul Gawande_WATCH this conversation on YouTube: Amy Julia Becker on YouTubeSUBSCRIBE to Amy Julia's Substack: amyjuliabecker.substack.comJOIN the conversation on Instagram: @amyjuliabeckerLISTEN to more episodes: amyjuliabecker.com/shows/_ABOUT OUR GUEST:Sara Hendren is an artist, design researcher, writer, and professor at Northeastern University. Her book What Can a Body Do? How We Meet the Built World explores the places where disability shows up in design at all scales: assistive technology, furniture, architecture, urban planning, and more. It was named one of the Best Books of 2020 by NPR and won the 2021 Science in Society Journalism book prize.Her art and design works have been exhibited on the White House lawn under the Obama presidency, at the Victoria & Albert Museum, the Seoul Museum of Art, the Vitra Museum, and many others, and her work is held in the permanent collections at MoMA and the Cooper Hewitt. She has been an NEH Public Scholar and a fellow at New America, and her commentary and criticism have been published in Harper's, Art in America, The New York Times, the Washington Post, and elsewhere.Website: sarahendren.com__We want to hear your thoughts. Send us a text!Connect with me:InstagramFacebookYouTubeWebsiteThanks for listening! 

Manhattan, Central Park, la Statue de la Liberté, le MOMA, Broadway… Aujourd'hui, on vous emmène à New York, la ville la plus peuplée des États-Unis ! Avec ses activités financières et culturelles foisonnantes, son métro et ses restaurants 24h/24, elle mérite bien son surnom de “ville qui ne dort jamais”. Mais on l'appelle également Big Apple, la grosse pomme. Le lien vous semble peut-être moins évident, mais il existe différentes hypothèses. Une première hypothèse remonte aux années 20, dans le milieu hippique. À cette époque, de nombreuses courses de chevaux ont lieu à New York. Un célèbre journaliste sportif John J. Fitz Gerald couvre ces événements alors très populaires dans le New York Morning Telegraph. Il décide d'appeler sa chronique sur les plus grandes compétitions new-yorkaises “Around the Big Apple”. Et quelle est la suite de l'histoire ? Comment est-ce devenue une expression connue ? Et existe-t-il d'autres hypothèses ? Écoutez la suite de cet épisode de "Maintenant Vous Savez - Culture". Un podcast Bababam Originals, écrit et réalisé par Béatrice Jumel. Première diffusion : novembre 2023 À écouter aussi : ⁠Pourquoi écoute-t-on des chansons tristes quand on est déjà triste ?⁠ ⁠Quel auteur incontournable écrivait ses romans entièrement nu ?⁠ ⁠Quels sont ces films tournés en une seule prise ?⁠ Retrouvez tous les épisodes de ⁠"Maintenant vous savez - Culture"⁠. Suivez Bababam sur ⁠Instagram⁠. Learn more about your ad choices. Visit megaphone.fm/adchoices

Erika Gangsei has run the interpretive media team at SFMOMA for nearly two decades, and for 15 of those years she's been quietly building one of the most coherent game-based programming initiatives inside any major cultural institution in the country.In this conversation, we get into the origins of Play SFMOMA, which launched in 2011, before games as an art form had any real institutional legitimacy, and what it actually took to sustain a program built on deliberate experimentation rather than proven outcomes. Erika talks about the decision to treat game designers the way SFMOMA treats sound artists and filmmakers: as essential creative collaborators, not afterthoughts. She makes a sharp distinction between gamification (which museums were chasing then, and still are) and authentic game-based programming — and explains why that difference matters for visitors.We also talk about the institutional immune system. Erika uses the phrase literally: museums have white blood cells that attack unfamiliar things, and Play SFMOMA has spent 15 years slowly inoculating SFMOMA to interactivity. That means running an AR game jam knowing none of the prototypes would go into production, because the goal was to socialize the idea internally, not ship a product.Other topics: why interpretive departments may actually be a better entry point for games than curatorial, the case for analog and paper-based work in a screen-fatigued world, what it means when a founder-driven program finally becomes an entity unto itself, and the LARPocracy research project—an EU Horizon-funded study using Nordic LARP as a model for deliberative democracy.This one is essential listening if you're inside an institution trying to build something with games and doing it without a clear mandate from above.(00:00) - Meet Erika and Play (01:08) - Broadway Trip Catch Up (03:19) - Origin Story to SFMOMA (08:14) - Why Play SFMOMA Started (13:38) - Where Games Belong (29:01) - Analog Play and Fatigue (34:48) - Scaling Up and Larpocracy For more insights, signup for my newsletter.Jamin Warren founded Gameplayarts, an advisory that helps museums and cultural organizations engage with the world of gaming. He provides them with the research, strategy, and execution they need to reach gamers for the first–or millionth–time. Gameplayarts' past and present clients organizations like MoMA, the Getty Research Institute, Tribeca Enterprises, and PBS.

Learn more at TheCityLife.org

Michael Furfari of Gay Smut Club and Gay Smut Studio explains his love of 'smut' photography Michael shares why he loves polaroids What makes a good model Why the bartenders, go go boys, staff make some of the best models What was it like working with our very own Kodi A new project that involves MOMA... Michael weighs in on why so many gay guys are fed up with gay dating apps and shares a recent dating story... Hot Topic: Gay immigrant couple reunited after 150 days in ICE detention... Hot Topic: Gay men reveal their getting-ready hacks for a great night out and the hosts share theirs... Hot Topic: Luke Evans is a Tom of Finland real life model at the MET... Advice: Difference between 'Friends with Benefits' and 'F*ck Buddy'.... Visit: Steve V's new app - Studio.com/stevev for the website version and visit the app version: Studio.com/stevev/connect Follow our Special Guest on IG: @gaysmutclub and @gaysmutstudio Follow Gay Smut Club on X: https://x.com/gaysmutclub Follow Stevie on IG: @iam_stevev Follow Kodi on IG: @mistahmaurice Rate and Review us! Wanna drop a weekly or one time tip to TAGSPODCAST - Show your love for the show and support TAGS! Visit our website: tagspodcast.com Needs some advice for a sex or relationship conundrum? Ask TAGS! DM US ON IG or https://www.talkaboutgaysex.com/contact Follow Of a Certain Age on IG: @ofacertainagepod Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

"But What Time Is It Really?" Because their legacy is so vast, their musical output so singular and their influence so far-reaching, telling you a little bit about Cabaret Voltaire is like telling you a little bit about outer space. A long tine ago, say 1973, in a galaxy far, far away, say Sheffield, England, Richard H. Kirk, Stephen Mallinder and Chris Watson got together to, in their words, make music without musical instruments. What did that mean? Well, it meant innovation because this was not a three-piece banging away in a garage, it was three guys experimenting with tape loops, custom-built kit oscillators, keyboards and wind instruments. Although traditional instruments were included, Cabaret Voltaire were anything but a traditional band. Falling somewhere between performance art and industrial music, Cabaret Voltaire remain one of the most innovative, idiosyncratic and unique bands of all time. Incorporating elements of techno, house, funk, synthpop, electronica and dub, the band's striking soundscapes were massively influential to bands like Depeche Mode, New Order, Skinny Puppy, David J. and Nine Inch Nails. Watson left the band in 1981 but Mallinder and Kirk soldiered on, keeping up Cabaret Voltaire's unbelievable working pace. The band put out fifteen albums in as many years, including classics like Mix-Up, Red Mecca, The Crackdown and Micro-Phonies. Kirk died in 2021 at 65 and to celebrate the 50th anniversary of the band, Mallinder and Watson started touring, put out a live album and will be on the road until year's end, taking their valedictory bow. A journalist, an academic, a studio owner, a producer and a filmmaker whose videos have been exhibited at MOMA in New York, Mallinder remains a busy man and I'll let him tell you all about that. But let me say this: if you listen to Cabaret Voltaire, it's like listening to the future before it happened. Their work is an astounding blend of multi-media and post-punk that eludes the timeline--their records aren't fixed to any point on the map and instead sound like they come from a universe that is at once both distant and familiar. www.cabaretvoltaire.bandcamp.com www.bombshellradio.com (http://www.bombshellradio.com) www.stereoembersmagazine.com www.alexgreenbooks.com (http://www.alexgreenbooks.com) Stereo Embers: IG + THREADS + BLUESKY: @emberspodcast Email: editor@stereoembersmagazine.com

【紐約夢．台灣魂】藝術誰說了算?（下） ft. 紐約MoMA導覽徐之陽Yang

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

A special in-studio appearance and performance of audio art by Kamari Carter and Gladstone Deluxe in partnership with CU Boulder's Media Archaeology Lab, during Carter's artist residency at the MAL! Kamari Carter is a New York-based artist primarily working with sound, video, installation, and performance. His practice critically engages with materiality through a variety of recording and amplification techniques to investigate notions such as space, systems of identity, oppression, control, and surveillance. Carter's work has been exhibited at such venues as Automata Arts, MoMA, Mana Contemporary, RISD Museum, Flux Factory, Lenfest Center for the Arts, WaveHill and has been featured in a range of major publications including ArtNet, Precog Magazine, LevelGround and WhiteWall. Kamari Carter is represented by Microscope Gallery in New York City. Gladstone Deluxe is a New York based artist working with percussion and electronics. As a percussionist, Gladstone is interested in how conceptions and politics of time are embodied, and can bleed into the social topography of a culture through rhythmic performance. As a technologist, they develop systems for the augmentation and amplification of percussive messages. Their experimental approach towards composition and interface design is a collision of the spiritual and the cybernetic. They've appeared in galleries like The Warhol Museum, Rubin Foundation, Chashama, the Carnegie Museum of Art, and clubs all over the country.

Kognitívny protokol a ťahák, ktorý zhŕňa najdôležitejšie body nájdete už teraz na mojom novom herohero.co/momahornakova , ktoré tvorím tak, aby sa vám hodnota niekoľkonásobne vrátila a výsledky ste videli v reálnom živote.Už 103 dní žijem inak a sledujem, čo sa v mojom živote zmenilo, aby som mohla urobiť čo najdôveryhodnejší report. Podľa štatistík som nescrollovaním ušetrila 15 rokov života oproti času, ktorý na mobile trávi priemerný človek. Ale toto video nie je o číslach. Je o tom, kto v skutočnosti vlastní vašu pozornosť a prečo sú vaše názory možno len výsledkom algoritmu.V tejto časti rozoberám, prečo nás prepínanie medzi aplikáciami kognitívne ničí, prečo potrebujeme „luxus nudy“ na riešenie životných problémov a ako si vybudovať integritu vo svete, ktorý nás o ňu oberá.V dnešnom podcaste uvidíte:Prečo vás každé jedno pozretie na Instagram stojí oveľa viac času, než si myslíte.Ako algoritmy kradnú vašu schopnosť kriticky myslieť.Prečo najlepšie nápady prichádzajú v sprche a nie pri scrollovaní.Ako ovládnuť vlasnú myseľ a aký náskok v živote nám to dá?Moma: https://www.instagram.com/martinahornakova/GGW instagram: https://www.instagram.com/girlsgonewild_ggw/Video ,,You need to be bored'', o ktorom hovorím v podcaste: https://youtu.be/orQKfIXMiA8?si=MR5PVmkq-7Fic7-8Timeline:Život bez sociálnych sietí a kognitívna záťaž:• [00:00] Úvod a osobná skúsenosť: 103 dní bez sociálnych sietí.• [03:06] Zvládanie začiatkov: Tipy na aplikácie, benefity a zlepšenie disciplíny sa ukážu až po dlhšom čase (cca 70 dňoch).• [08:19] Kognitívna záťaž: Ako skákanie medzi aplikáciami a zahlcovanie sa krátkym obsahom preťažuje a unavuje náš mozog.• [10:13] Sústredenie: po vyrušení telefónom trvá mozgu až 20 minút, kým sa vráti do stavu hlbokého sústredenia.• [17:31] Pravidlo 20 % : V dnešnej dobe roztrieštenej pozornosti stačí byť o 20 % lepší, aby ste získali obrovský životný a kognitívny náskok.Algoritmy, AI a strata kritického myslenia:• [20:37] Pasívne konzumovanie: Ako nám algoritmy mažú schopnosť kriticky zhodnocovať situáciu a vlastný úsudok.• [22:49] Potvrdzovacie skreslenie (Confirmation bias): Algoritmy nám posúvajú len to, čomu už veríme, čím extrémne posilňujú naše presvedčenia (napr. pri hoaxoch).• [24:05] Komory ozvien a nebezpečenstvo AI: ako nám umelá inteligencia slúži len ako ozvena, ktorá potvrdzuje naše domnienky.• [29:58] Utváranie názorov podľa komentárov: Experimenty dokazujúce, že namiesto kritického myslenia často len preberáme názor "najlajkovanejšieho" komentára.• [34:41] Strata osobnej integrity: Tým, že sa neustále prispôsobujeme online väčšine, bojíme sa prejaviť autentický názor aj v reálnom živote.Pseudoproduktivita, vyhorenie a nuda:• [36:54] Pomalá produktivita: problém neustáleho prepínania medzi úlohami (task switching), ktoré vedie k vyhoreniu.• [38:52] Pseudoproduktivita: Kultúra neustálej zaneprázdnenosti, ktorá však neprináša žiadne výsledky.• [42:15] Prečo sa o svoju hlavu staráme tak zle?• [45:19] Ako neustále zabíjanie nudy telefónom blokuje podvedomé riešenie problémov a sťažuje nám hľadanie zmyslu života.• [49:32] Záver a plány: Zhrnutie, vytváranie výcucov z kníh a "ťahákov" z podcastu na platforme Herohero.

Casey Baltes led the effort to build the Tribeca Games Festival from the ground up—and she'll tell you the hardest part wasn't the games. It was building internal credibility. In this episode, we talk about curation, community, and why institutions that try to do everything in games end up doing nothing well.For more insights, signup for my newsletter.Jamin Warren founded Gameplayarts, an advisory that helps museums and cultural organizations engage with the world of gaming. He provides them with the research, strategy, and execution they need to reach gamers for the first–or millionth–time. Gameplayarts' past and present clients organizations like MoMA, the Getty Research Institute, Tribeca Enterprises, and PBS.

This weekend, we’ve got one movie Em couldn’t finish… and one we’ve been counting down to for years.First, a chilling new thriller set frighteningly close to home, where a solo wilderness trip turns into a full-blown nightmare. Think high-stakes survival, a relentless predator, and the kind of tension that will have you questioning every outdoor plan you’ve ever made.Then, the sequel that’s been decades in the making has finally arrived — and yes, we have thoughts. From long-awaited reunions and career shake-ups to shocking betrayals and emotional moments that genuinely land, we break down what works, what doesn’t, and whether it lives up to the legacy.Test your knowledge with our Devil Wears Prada quiz here and let us know how you go! Remember The Spill drops the tea twice a day in this feed so follow us for all the latest entertainment news… OR you can WATCH our show in full length video on the Apple Podcast app - make sure your phone is up to date and enjoy the watch! Link here. THE END BITS Find and follow us on socials: Instagram: https://www.instagram.com/thespillpodcast/ TikTok: https://www.tiktok.com/@thespillpod Facebook: https://www.facebook.com/thespillpodcast/ Read all the latest entertainment news on Mamamia: https://mamamia.com.au/entertainment/ Read more weekly watch recommendations from the Mamamia entertainment team here. Support Independent Women’s Media: https://www.mamamia.com.au/subscribe/ Your subscription helps us continue to tell the stories that matter to women. Want to join the conversation? Have feedback or a topic you want us to discuss? Send us a voice message or email us at thespill@mamamia.com.au and we’ll get back to you ASAP! Executive Producer: Monisha Iswaran Audio & Video Producer: Michael Kean Mamamia acknowledges the traditional owners of the land on which we have recorded this podcast. You're listening to a MoMA mea podcast from Mamma Mia. Welcome to this spill your daily pop culture fix. I'm Laura Brandy and I'm Vernon, and welcome to Weekend Weekend, where we talk about the best new TV shows and movies that have just dropped this week. Although this week we have two movie recommendations for you to Buzzy movie recommendation. 00:31Speaker 2 Sorry, we need to correct that we have a movie and a half recommendation. 00:34Speaker 1 Okay, I'm already off you for just saying that. A half recommendation Emily Treesman and what do you. 00:41Speaker 2 Mean, guys? I tried really hard. So the movie I'm recommending is called Apex. Yes, it is on Netflix and it stars Charlie Theron and Taron Egerton. This movie is a horror suspense movie in the wilderness. It is so scary. I've only watched half of it. 01:03Speaker 1 Are you serious? 01:04Speaker 2 It's so scared. 01:05Speaker 1 It's okay, But also I just want people to take that with a grade of salt, because you're a scared cat. 01:09Speaker 2 I'm like, you're easily scared, easily scared, but this one just reached a whole new level. 01:15Speaker 1 I don't know what it is. 01:16Speaker 2 Maybe it's a type of horror that I am scared of, which I've only just established from watching this movie. Anyway, I'll let you know what the movie is about. 01:24Speaker 1 Please do so. 01:25Speaker 2 Charlie's Theron plays. This happens in the first few minutes of the film, so I feel like I can say, ye say it. She's like an adrenaline junkie. Yeah, she's like loves rock climbing. She's like one of those dar devil kind of people. And both her and her partner are in the like early early stages of the movie, so this is not a spoiler. They're climbing up this mountain and he falls to his death. 01:46Speaker 1 Okay, just so you know, every climbing adventure movie starts like that. 01:50Speaker 2 Yeah, yeah, yeah, it sets up her as a person. 01:53Speaker 1 Yeah, exactly every movie I've watched about people being like dare devil junkies climbing blah blah blah. Yeah, like for that movie where they're it's on top of the tower and there has to climb up death at the start. Also, yeah, every every kind of climber, you have to. 02:05Speaker 2 Figure out the main character's purpose. 02:07Speaker 1 Yeah, you need to know the steaks straight away. Because all of a sudden, you're just like, this is so dangerous, people are gonna diet. It makes you And also, can I say nothing is more terrifying than watching on screen someone accidentally fall to their death because you can feel it. I don't find it like a like a like my hands. And it's the type of the it's the type of horror that I can't get around. Yeah, it is so scary because it's so rare. You're so worried that one day you might And you famously don't love the outdoors. You don't love activities, You don't love anything that would put you at a great height. 02:35Speaker 2 Why why hate nature? 02:36Speaker 1 Yeah no, why not famously hate nature? Hate adventures? So why do you think you'd find yourself in the situation that you would be climbing a great like mountain or something. 02:45Speaker 2 I'll tell you why, because this movie is set in the blue mountains. 02:48Speaker 1 Yeah, it's way to Also, if she was doing it with her partner, you're like, of course that's gonna happen to you. If you go on a date with someone that let's go climb a mountain, You're like, okay. 02:58Speaker 2 God, you'll never catch me with someone like that. 03:01Speaker 1 Oh see, I think it'd be a fun day. 03:02Speaker 2 I can immediately suss out on dating apps who the adrenaline junkies are in the men that I match with, and it's an immediate I can't shite past s, white past I can't do it. I can't do it. I am not an adventurous woman. 03:14Speaker 1 So this is set in the Blue Mountains, right, And can I just say, we're only just getting over Australia's like pr problem of the whole Wolf Creek situation where for years people were just like because obviously that's about that's based on a true story of a man in the outback who hunted and killed backpackers and those movies and the TV show are so gruesome. 03:32Speaker 2 Well I think they learned from that. So it's not actually like mentioned that it is the Blue mass if they made up like some fictional like national park. But it was very it's very clearly the Blue Mountains, and we all know that they filmed in the Blue Mountains. 03:45Speaker 1 People know it's in Australia. 03:46Speaker 2 Yes, it's very because Taron Egerton has a very Bogan accent and it's a very well done Bogen action. 03:53Speaker 1 We we love a stereotype when it hits. 03:55Speaker 2 Yes, it is, that's what it works so good, to the point where I was like, I forgot he was Australian. Then I was like, but he's not. He's very British. It's very British man anyway. So yeah, Charlie's husband dies. She now goes traveling to Australia to do this like long long nature walk. It's giving Wild, Yeah, it's giving cake. 04:16Speaker 1 It's giving Reese with a spoon, like trudging along a long. 04:19Speaker 2 Path with a backpack, except a man is hunting her. 04:22Speaker 1 Yeah, and you know what, Wild could have used that infusion of a bit of drama. 04:26Speaker 2 It's like, let's hurry it up, let's speed it on, walk faster Reese. So it's basically about Charlie. He's like going through the Blue Mountains while being hunted by a man, hence Apex. It is so scary because it's so real. 04:41Speaker 1 Oh okay, it just feels real, Yeah, because the fantasy element or anything like that to it, Like it's just an evil man doing evil thing, and it's all about. 04:50Speaker 2 Like women like exploring on their own and how are reminded that we can't do that? 04:54Speaker 1 Oh okay, well yeah, exactly that's everyone's biggest fear when they go out on these things. It's like, again, I love that. 04:59Speaker 2 I can't even walk to me corner shop at nine pm because you're so scared. This movie has blindlessly the spirit. 05:04Speaker 1 A woman is literally out in nature by herself, doing dangerous things, and the most dangerous thing is still a miss, it's still a man. Well that you should have just got a bear in there and called it a day. 05:14Speaker 2 The bear would have actually helped her movie Cocaine bear. That would have been a great bed to have. Anyway, It's so scary, but it's so good. And the filming of the actual like scenes of like the walkthrough of the bush and like her in the river and like getting like thrown over in the kayak is like so like so scary. It's so so well done. It doesn't feel any like it's a proper film. It's not like anything cgi at all. It's just done really well. Her acting is amazing. His acting is amazing. We already would have known that. But it's just one of those movies if you are like an adrenaline junkie or you love like that kind of like suspense horror of like will he catch her. Won't he catch her? 05:54Speaker 1 Then? 05:54Speaker 2 This is like the kind of movie for you. You're on the edge of your seat. You're like sweating through the whole thing. 05:58Speaker 1 And how shary, isn't it? Because she's a good action stuff. 06:01Speaker 2 She is so good. She comes across like the good thing about her being in this film is that it's not I feel like if it was a different actress, that could have gone the way of like the poor woman can't get away, Like she's so small and fragile, she can't escape this. She comes across as like a badass in this film, Like it's not like Damsel in distress. It's very much like you can do it, you can make it out like she's so strong. I think that's also the premise of the film. And in that beginning scene, you know she is like well experienced in this world. So it's nothing like, oh my god, I don't know what to do. I don't know how to fire a gun, I don't know what to do. It's like very much like she can do this, she can do this. We're backing her. She's gonna win, okay. Taron Egerton so scary. 06:40Speaker 1 So scary. That's complicated for you because you love. 06:44Speaker 2 Him, she's so and he's like been in an Australia bondai watching the paparazzi photos, pretending it's. 06:50Speaker 1 Filming or horror. Okay, so apex on Netflix. Someone please watch the movie and then tell scaredy Cat Emily the ending. 06:58Speaker 2 Oh my god, yes, and tell me where if you can. I'm not wearing the Blue Mountains. I did the filming. I don't want to go there. 07:02Speaker 1 Don't you want to go there and take a picture. 07:04Speaker 2 I don't want to avoid that. They at all casts. 07:07Speaker 1 Okay. I can't believe this day has finally come. The build up to this for years. But also I feel like I have been living this movie the last month or so, at least because I traveled overseas into the cast. I've written multiple articles about it, We've released multiple videos and podcasts. And what will I do with my life? 07:28Speaker 2 It is that true? What? What are your plans? I don't know. 07:30Speaker 1 There's just darkness. There's just dark. 07:32Speaker 2 Take up a hobby, maybe go go bushwalking in the Blue Mountains. 07:35Speaker 1 I call you. I'm like, okay, I tried to be Telly's throw and I'm hanging from a mountain. What do I do of course, I'm talking about the fact that the devil weares prior to to is finally in cinemas. 07:48Speaker 2 You are here to help us through our current scandal, but I did not hire you, and all I need to do is my time until you've failed what you check the train do. 07:59Speaker 1 I'm going to make something of this job. You could write a book, The Definitive Miranda Priestley Expose Sindy. We did that. 08:08Speaker 2 The Brunello Cucinelli pants. Love those, and you definitely need an embroidered two piece to tam set, but not the terra cotta. Because you're so pale. 08:20Speaker 1 So. 08:22Speaker 2 Jealous that you watch it, I have such fomo. If you've listened to our episode where we talked about your interviews, I said I was saving to watch it with my mum, which I'm doing this Sunday. It's only a few days away. I was so jealous because you and a lot of the team got to watch it. You went to the Sydney premiere for it. Was it on the Tuesday, Yes, it was on the Tuesdays. 08:44Speaker 1 It was the very fans. 08:45Speaker 2 This has been a very long week for me space It's. 08:47Speaker 1 Been a lot. Yes, it was very fancy premiere at the State Theater. It was all done with the iconic red Devil Wears shoe. The champagne was flowing. They had like Devil Wears prior to like customized coke can give back some. 08:59Speaker 2 Of you didn't bring me back? 09:00Speaker 1 Oh my god, actually said, I didn't break myself back. But actually I'm why. I'm really sad that you're there. Just as a quick note is that you know how normally at the State Theater to line up, you line up along the street and it's chaos. And this time I was like, oh, there's no line, this is great. No, the line was down a back alleyway, so every person moved there and I saw like really famous people, like people have had huge TV shows overseas, like Australian influences, like Australian actorssh stars. No, I didn't see Practice Brummel here, who's obviously in the movie. No, No, I'm assuming that they didn't make him. We had to go all line up at an alleyway and at one point you're standing next to bins and barbed wire, and I was like, our jobs are so bad. 09:38Speaker 2 As Miranda would have won it. 09:39Speaker 1 Yeah, exactly, I have everyone being like this is us at the Devil was problem. No, it was so fun to see in a cinema because obviously, despite the fact that I interviewed the cast, I've written about it and done all these podcasts, I hadn't actually seen the full movie until that night because it was kept under lock and key. So now that I've seen the full thing. 09:55Speaker 2 I'm like, God, do you think I love it? Did you love it? 09:58Speaker 1 I liked it so and that's really high praise love. No, no, no, I loved I loved parts of it. I'm not even exaggerating, Like, here's the thing about the Devil weares prior too so so much to say. So it does pick up twenty years after the original, and again this is this is spoiler free because Emily hasn't seen it. I wouldn't do that to you, so don't you guys worry. So obviously we find Andy Sack. She's back in New York. She looks at the fact that she's been living overseas for many years and she's fulfilled her dream of becoming a serious journalist. But then that job gets ripped away from her and I won't say why, but it's very upsetting and sad. And also can I just say PSA to anyone who works in the media industry, This movie is very sober. You're like, oh, I should find another job just in something, but I have no other skills. 10:43Speaker 2 This is the one thing. 10:44Speaker 1 What do I do? So there's that. And at the same time, Miranda is still at Runway Magazine where she is the editor in chief, but she's up for a really big promotion. But the promotion yeah to like with a lives Clark, which is the publishing house, Like still be at Runway, but be like a drive kind of like how Adam Wintaur is now like still the Bosses, but now the overseeral of all the Conde Nast kind of products and things. But then a huge scandal breaks and Miranda and Runway face cancelation and also what will become of her promotion? Yeah, so the states could not be higher. Nigel, obviously played by the incredible Stanley Tucci, is still at Runway Magazine, still the fashion editor, but because of the way media has gone, now his fashion empire, I think I wrote in my review his fashion closet is now a cutlery draw, as in, like not a physical culturally draw, but like the size and the end and stuff. And at the same time, Emily Blunt's character Emily Charleston, is an executive at Deal. But there's a whole backstory there that I shan't get into, so there's a bit of a twist of fate to get it at what I give too much away that Andy ends up back at Runway Magazine as the head of the features department, and then it's this kind of thing of like her having to prove herself to Miranda, save the magazine, save people's careers. And then a lot of the movie also takes place in Italy. Oh yeah, okay, and those things are right switch like Emily, Yeah, They're like, hey, let's do our last season somewhere else. So I will say the best things about it. The original screenwriter, Aleene Broch McKenna, who wrote the first Devil west prit Of movie, is back and out of any movie where it's important to have the original screenwriter, the Devil Wes Prior, I would say is the one that matters the most because the dialogue is such a huroow piece of like the quotable lines, every line exactly, it's like every there's no it's all, it's just so snappy, so smart, so interesting, and so she's penned the sequel script and you can so tell it's exactly the same kind of humor. It's so cutting and interesting and you have these great one liners, so we love that. Of course, the cast are amazing, like watching them step back into these roles, and it's done a way where it doesn't feel jarring and it doesn't feel like you know, sometimes you step back into watching something and it just feels weird, like a lot of people said that with the Gilmore Girls Reboo, that it felt off with the pacing and how they spoke and the delivery and staff, whereas this feels correct. And also it starts so strong like the Devil we is Prota too, Like they jump straight back into the kind of the mix of the drama and you have the four main characters of Emily Blunt, Stanley Tucci, Meryl Streep and Anne Hathaway on screen together very quickly, which was actually a request I found out from Emily Blunt when she read the original script of saying like I don't think we have enough scenes with the core four, and we need one earlier on and that and it doesn't feel like fan service. It just really works and puts you into this world. 13:30Speaker 2 So do we have a lot of montages? You know? I love a montage, really a montage. 13:35Speaker 1 That's the thing. That's the thing. It's not as bring back montages, I know, I bring back makeovers. 13:40Speaker 2 So there's no, there's not and has always the best on montage, no, I know. 13:43Speaker 1 But also because she they explain why she still looks really good and she has nice clothes, like there's a plot point for that. She does get to go into the fashion closet a few times with Stanley tucciin and he pulls or a few things and stuff like that. But I will just say from my untrained fashion eye that the fashion this movie is nowhere near as good as the first. And I give it a little bit of grace because I've been watching the first one for twenty years, so those outfits are burnt into my brain. But I have such a vivid memory of watching The Devil Wes Prita, and every time like a new outfit would come on, you'd be like yeah, yeah, and me going home. And I was like working as a checkout chicken at Kmart in Townsville and I'd like try and like dress like The Devil Wears Pride of characters and it just. 14:20Speaker 2 Like so many movies have taken that, like yeah, montage of the fashion, like coming out of the car door, but then going in the building in a different outfit, and then going into a room and they're in a different outfit, and being at your desk and she's in a different outfit. 14:33Speaker 1 Oh okay, Okay, look, there's great clothes in there, but the clothes don't feel like this incredible character like they did in the first Mate. Okay, I will say, just going back to the good things because I'll get to the bad stuff in a minute. It doesn't feel like a sequel that shouldn't exist, Like it feels like there was more storyless deserve. It feels really deserved, not just because it's so good, but also because The Devil Wears Pritor. When I was really thinking about when I was sitting at my computer writing my review very late last night in this office, I was like, what is it that made this movie so ripe? For the fact that you could make a sequel, despite the fact that it's so beloved, because it's heaps of beloved movies that have released sequels that have not been good and that felt not correct and not needed. But The Devil wes Prator is one of the very few movies that ends on both an ending and a beginning because it ends with Andy leaving going off to forge her career. It ends where Emily is also starting her career. So it kind of it's very natural to wonder what came next because we're seeing the beginning of these women's careers, not the ending. And also Andy was like, she was kind of you getting back together with Nate, but she also was breaking out with him, So it's not like because to make a sequel in general, you often have to break things from the original. You have to break up a happily ever after, you have to end a friendship, you have to bring back a villain to make it work. It's like where people are upset about and just like that with Sex and the City because in order to bring Sex and the City back, they had to break all the things from the finale, and that's why people found it jarring. Whereas Devil we was pritor. It's just like you didn't have to break mething. 16:01Speaker 2 It was very much to be continued. 16:03Speaker 1 Yeah, exactly, and so that's why it feels like it the story is worth it. But also the story and the plot I thought was so great at the end. It has like I would feel like Shakespearean level twists and betrayal. Like a few times I was a gasping. I was like, and she said that, Oh my god, she says, someone says such. We'll talk about this when we do a brially honest review, which mystery. There's a few lines in there. I'm like, that is the meanest thing that anyone has ever said on film, but so but so like needed. There's some really emotional moments in it too, and the emotion didn't feel like, oh, we're just piggybacking off the original like they felt earned in the new movie. So that's all the good stuff. Ten out of ten love recommend see it in the cinema if you can. It kind of peetered a bit in the middle, and I began to get this like kind of sinking feeling in my stomach that The Devil was product had ruined the character of Miranda Priestley, because I felt like it had taken away some of her mystique and some of her the things that made her an iconic character by some times making her look really helpless or making her like giddy and happy. There's the point where she's like in the kitchen of her home, like just like making a drink and like she's chatting away to Andy, and I was like, I feel like I'm watching a female she doesn't do that, but Jed it makes sense later on the movie. It's like in the first movie, how they had to have that scene of her with no makeup where Andy comes upon her. 17:19Speaker 2 You had was that a scene that Meryl Street requested? 17:22Speaker 1 Yeah, they wanted to take it out of the first movie, and she was like, if you don't have that scene of her broken and different, then the movie doesn't work and the charactersn't work. And as I watched this movie, I was like, Oh, we needed those giddy, helpless scenes in the middle. She needed to kind of falter so that when she started flying get at the end, you were like, oh, I get it, I get it. There was that, And also the other thing is like the new character is so great, like somewhere in Ashley Turn Out of Ten, Caleb Haron, Turn Out of Tan, like everyone else so good. There was obviously so much that was shot that had to be cut, Like we've heard about all the cameos and scenes. 17:54Speaker 2 God and ashually wasn't cut. 17:55Speaker 1 Yeah, no, no, she was. Well, I think she'd have a lot more scenes, but obviously they didn't all make it into the movie. Even Meryl Strip told me in our interview that her scenes were cut. 18:02Speaker 2 Yeah, that's right. 18:03Speaker 1 But where I think having so much of the storyline needing to be cut was with Patrick Bramble's character Peter. And he's very charming in it, but it's such a small storyline in the movie, and. 18:16Speaker 2 So he's meant to be like ane Haeway's love and. 18:18Speaker 1 She's only love interest. Yeah, and there's a lot of paparazzi photos of them that came out because he's so hot, really, he's hot, and there's a lot of they became like iconic paparazzi photos of him and Anne Hathaway filming outside in New York and they look so crazy in love and it looked like an old school romance, and we were like like an old school room calm, and everyone's like, oh my god, can't wait to see that. That's one in the movie. Yeah, I just want you to be he's he's in it. He's definitely he's a character, Like he's fine. He hasn't been like he's not he's not Sidney Sweeney, Like he didn't get chopped. Yeah, cameo. But it did feel like that storyline wasn't given enough room to breathe. And I understand why because there was so much plot happening, and you want the plot to be with the four main characters, but then to meet for a little uneven at the end when he and like Anne Hathaway's character were having their big moment, I'm like, you guys are acting off these scenes. You've already shot your head, like. 19:12Speaker 2 They haven't had enough moments to have a big moment. 19:14Speaker 1 Yeah, Like, you guys are acting in the way that your characters spend so much time together, but we as the audience haven't seen that, so we're on the back foot with it a little bit. 19:23Speaker 2 And you don't even know him. 19:25Speaker 1 I was like, wait, is that strange man? But yeah, So that's my only note so on that, I would just say, release the director's cut. I would watch a four hour version of this movie, so easily avenge this. Yeah, bring back director's cuts where we get to see the full thing. So obviously more to say next week when we do a b really honest review and you've seen it, I can't wait to hear what you think. 19:45Speaker 2 I don't wait to watch you with my mum. I just rewatched the original. 19:48Speaker 1 Oh and yeah, per person, So The Devil was prot Of too is out in cinemas now, and stay tuned for. 19:57Speaker 2 If you love the Devil's product. I mean, I've just rewatch the original film. If you're on that same bandwagon and you feel like you know everything about it, we actually have a little gift for you. We have developed a Devil west Prada quiz to test your knowledge on the original film. If you want to give it a go. It is a little bit hard, but I felt like I made it through. I think I got like eighty six percent. 20:18Speaker 1 You thought it was okay? 20:20Speaker 2 Bye, Sorry Devil west Prada. I got of course you did. Anyone gets that you let me more than Emily or an LB. If you want to find out, we'll put a link to the quiz in our show notes. 20:31Speaker 1 We should do a quiz out you got. 20:32Speaker 2 Laura, thank you so much for listening to this episode of the Spill. Don't forget We'll be back this afternoon with a very special Brudleons review about a TV show that both of us are currently obsessed with. The Spill is produced by Minitius Warren with video production by Michael Kaine. 20:50Speaker 1 Bye Bye, Mamma Mia acknowledges the traditional owners of the land. We have recorded this podcast on the Gadigal people of the Orination. We pay our respects to their elders past and present, and extend that respect to all Aboriginal and Torrestrate Islander cultures.Become a Mamamia subscriber: https://www.mamamia.com.au/subscribeSee omnystudio.com/listener for privacy information.

The first American retrospective of the work of pioneering artist Marcel Duchamp in 50 years has landed at the MoMA. Curators Ann Temkin and Michelle Kuo discuss the show, running now through August 22. Image by Alfred Stieglitz; 'Fountain' (photograph of readymade by Marcel Duchamp). New York, 1917. Gelatin silver print. Box in a Valise Archive, private collection, USA. © Association Marcel Duchamp / ADAGP, Paris / Artists Rights Society (ARS), New York 2026

runDisney Springtime Surprise 2026 is in the books, and it might have been the best weather the race has ever had. The Will Run For crew is back with a full recap of all three races: the Zootopia 5K, the Winnie the Pooh 10K, and the 10-Miler, including character line strategy, merch opinions, snack box verdicts, and every chaotic moment in between. We also have a ton of Goal Getters and celebrate our friends at On the Runs.runDisney Springtime Surprise 2026 full recap — 5K, 10K & 10-Miler• Zootopia 5K: cool weather, smooth character lines & course breakdown• Winnie the Pooh 10K: character line strategy, costumes & longest wait times• 10-Miler: Tom's strongest runDisney performance & three and a half hours of Disney magic• runDisney character line tips: what worked and what didn't this year• Springtime Surprise merch review: $45 tank tops • runDisney snack box verdict: the return of Fritos and the cheese situation• Meeting listeners in person — including Margaret who went straight to the Boston Marathon• Inside the Runner's Studio is coming back — how to sign up• Bryana's NYC weekend: BookCon, MoMA, The Lost Boys musical & Flyers in the playoffs• AI art controversy: Earth Day, workplace AI mandates, and training your replacement• Goal Getters: Boston Marathon finishers, Dollywood, Broad Street, Tori's appendix removal & more• Soul of the City 10K this Saturday in Baltimore• Something Good: Love on the Spectrum, The Dark Wizard (HBO documentary), Artemis II missionCome laugh with us as we share our running experiences and talk about everything from our favorite beer runs to our chafing nightmares. Tell us what YOU run for... Email us or leave a voice memo at WillRunForPodcast@gmail.com Find us on Facebook and Instagram @WillRunForPodcast Tag your pictures and stories @WillRunForPodcast and help grow our community.

【紐約夢．台灣魂】藝術誰說了算?（上） ft. 紐約MoMA導覽徐之陽Yang

Casey Baltes, VP of Games at Tribeca Enterprises, breaks down why most institutional game-based programs stall — and the structural decisions that have made Tribeca Games one of the few that hasn't. We get into executive buy-in, curatorial focus, the case for interpretive content over exhibitions, and why financial sustainability is the conversation no one in the cultural sector wants to have.For more insights, signup for my newsletter.Jamin Warren founded Gameplayarts, an advisory that helps museums and cultural organizations engage with the world of gaming. He provides them with the research, strategy, and execution they need to reach gamers for the first–or millionth–time. Gameplayarts' past and present clients organizations like MoMA, the Getty Research Institute, Tribeca Enterprises, and PBS.

“These technologies are morally agnostic. They could be the best things ever and the worst things ever, and the determinant is us.” — Jamie Metzl Two summers ago, Jamie Metzl gave a talk on AI and spirituality at the Chautauqua Institution in Upstate New York. That same spot where Salman Rushdie was stabbed on stage a couple of years earlier. Rather than an assassination attempt, Metzl's talk triggered The AI Ten Commandments: A New Moral Code for Humanity — a book co-authored with GPT-5. Metzl humbly claims that AI enabled him to incorporate other non-Christian traditions in a new moral code for humanity. Some might think, however, that this type of ChatGPT-5 co-production reflects a new moral crisis for humanity. The victory of AI slop. Fast information. High on intellectual calories, low on everything else. Five Takeaways •       Co-Authoring with GPT-5: Five to six thousand back-and-forth exchanges over the course of writing the book. Metzl is a novelist who cares deeply about language and the provenance of ideas — he is explicit that this is not the kind of AI fraud that got Mia Ballard's book pulled from Hachette. The analogy he reaches for: Refik Anadol at MoMA, whose installation uses the museum's entire digital collection not to reproduce the images but to create something new from them. The collaboration with AI isn't about outsourcing the thinking. It's about gaining a vantage point that no individual human could have — the same way we collaborate with machines in biology to see the genome, which no one could simply observe by looking at another person. •       Moses's Problem: The biblical 10 commandments, examined closely, don't hold up. The first two are preamble. “Thou shalt not kill” — Moses received it on Sinai and then came down and murdered 3,000 people at God's instruction. The commandments were written by people with no awareness of the moral traditions of the Americas, Asia, or Africa. Metzl's counterproposal uses AI to look at all of human recorded history simultaneously — every tradition, every culture, every spiritual framework — and decipher what they share. The analogy: the Artemis II astronauts seeing Earth holistically from space, rather than one community at a time. •       The Ten Commandments, Listed: (1) Treat every being with compassion and dignity. (2) Do no harm; actively protect the vulnerable. (3) Speak and act truthfully, with integrity and humility. (4) Share generously, especially with those in need. (5) Seek to understand others before judging them. (6) Resolve conflict with fairness, forgiveness, and the intent to heal. (7) Live in harmony with nature and all forms of life. (8) Value wisdom over dominance; cultivate inner growth. (9) Honour the freedom and uniqueness of others. (10) Remember the sacredness of life; live with awe, gratitude, and love. Metzl's favourite is number ten. Andrew's objection: you don't need GPT-5 to come up with any of these. You could get most of them from a local Buddhist centre. •       Humanistic Slop vs. Selfish Survivalism: Andrew's repeated challenge: these principles are so unobjectionable that they amount to nothing — a kind of AI-laundered platitude. Metzl half-concedes, but argues that the absence of articulated universal norms is itself a political danger. Kant described the League of Peace in 1795. It took a hundred and fifty years and two world wars before the UN Charter was signed in 1945. The UN has now largely failed. If we don't articulate what we're trying to achieve, it becomes even harder to get there. Globalism, in Metzl's framing, isn't idealism. It's survivalism. Our fates are intertwined whether we recognise it or not. •       The Eleventh Commandment: World-changing technologies must be governed responsibly, including through national regulation and accountability frameworks. The hope that AI CEOs will voluntarily do the right thing — even the best of them, even Dario, even Demis — is a terrible strategy. It will fail, because some companies will always seek opportunity. The nuclear analogy: at the dawn of the nuclear age, nobody said “alright, just do whatever you want and good luck.” These are civilizational transformations. They require governance. These technologies are morally agnostic. They could be the best things ever and the worst things ever. The determinant is us. About the Guest Jamie Metzl is a technology futurist, geopolitics expert, sci-fi novelist, and founder and chair of OneShared.World. He is a Senior Fellow at the Atlantic Council and a Singularity University expert. He is the author of The AI Ten Commandments: A New Moral Code for Humanity (co-authored with GPT-5, April 21, 2026), Superconvergence, and Hacking Darwin. References: •       The AI Ten Commandments: A New Moral Code for Humanity by Jamie Metzl and GPT-5 (April 21, 2026). •       OneShared.World — Metzl's global social movement and Declaration of Interdependence. •       Episode 2877: Keith Teare on AI Is Not Dangerous — the Silicon Valley seminary argument, one episode prior. •       Episode 2878: Victoria Hetherington on The Friend Machine — the AI intimacy investigation that immediately precedes this show. About Keen On America Nobody asks more awkward questions than the Anglo-American writer and filmmaker Andrew Keen. In Keen On America, Andrew brings his pointed Transatlantic wit to making sense of the United States — hosting daily interviews about the history and future of this now venerable Republic. With nearly 2,900 episodes since the show launched on TechCrunch in 2010, Keen On America is the most prolific intellectual interview show in the history of podcasting. WebsiteSubstackYouTubeApple PodcastsSpotify Chapters: (00:31) - Why GPT-5 and not Claude? The co-author question (02:58) - Is this a joke? The Chautauqua origin story (05:09) - The Refik Anadol distinction: collaboration vs. fraud (07:57) - From the genome to the moral code: why collaborate with AI (08:54) - What is Chautauqua? The six-thousand-person standing ovation (09:53) - Moses's problem: the biblical 10 commandments examined (12:48) - Sam Altman and the Ronan Farrow piece (14:00) - Advanced praise from the Vatican and a leading reform rabbi

Luxa https://linktr.ee/LuxaStrata welcomes Michael Metatron Girard from Enochian Today https://enochiantoday.wordpress.com/ and author of the new book, Enochian Magic: An Introductory Guide, back to the show to talk about the Power in a Name, possible Risks and Rewards of using a powerful system like Enochian and how the approach to Enochian laid out in Michael's book is different than those which are informed by or based on the work that the Golden Dawn. Also discussed is Michael's work as a Certified Astrological Consultant. Luxa also shares an update about The Green Mushroom Project https://greenmushroomproject.com/ and Void House- creating consent centered magical spaces for conducting group work both in person and online, investigating the magical and alchemical properties of consent, and providing consent education to magically inclined people. Thanks for listening to the Lux Occult Podcast! Support the show by helping Luxa buy books and curtail other costs, as well as taking a bibliomancy break by giving on Patreon: https://www.patreon.com/luxoccult . Or, Buy Me a Coffee.com is an option for a one time donation: https://www.buymeacoffee.com/luxoccultpod?new=1 We would love to hear from you! Please send your thoughts, questions, suggestions or arcane revelations to luxoccultpod@gmail.com or message on Instagram @luxoccultpod https://www.instagram.com/luxoccultpod/ and on BlueSky https://bsky.app/profile/luxastrata919.bsky.socialCheck out the Lux Occult YouTube Channel:https://www.youtube.com/channel/UCn8n4oQIH1uo08NhMvjjlBMerch! https://www.etsy.com/shop/IlluminIndustriesCommunity Protection Salt Ritual https://docs.google.com/document/d/1Atu6rNWkCSajdF6Fp6KYiMSHk7Sai-6IAlZfopNKFOU/edit?usp=sharing Music for Good: A Mixtape for MN Mutual Aid by Community Aid Network MN (CANMN) https://canmn.bandcamp.com/album/music-for-good-a-mixtape-for-mn-mutual-aidCheck out The Consent Academy https://www.consent.academy/Michael Metatron Girard:Enochian Today: https://enochiantoday.wordpress.com/For astrological consultations: https://skymirror.today/The new book is on Amazon: https://www.amazon.com/Enochian-Magic-Michael-Metatron-Girard-ebook/dp/B0GP9DB775/ (countries other than US will need to search for the title: “Enochian Magic: An Introductory Guide” by Michael Metatron Girard)Referenced in today's episode:Psalm 595A by Luxa Strata from Serpents of Circe: A Manual to Magical Resilience edited by Laura Tempest Zakroff and Ron Padrón https://revelore.press/product/serpents-of-circe-a-manual-to-magical-resilience/Resistance notes created by Claude Cahun and Marcel Moore, c.1940-1944https://www.jerseyheritage.org/research-and-collections/object-in-focus/resistance-notes/Claude Cahun. Brittanica.com https://www.britannica.com/biography/Claude-CahunClaude Cahun (Lucy Schwob).MOMA.com https://www.moma.org/artists/8195The Soldiers With No Name. TheTribuneMagazine.com https://tribunemag.co.uk/2019/07/the-soldiers-with-no-nameLux Occult is produced by Luxa Strata. All Rights Reserved. 2026.

Screenwriters/producers Scott Alexander and Larry Karaszewski have written some of the most offbeat and imaginative movies of the last three decades, including "Ed Wood," "The People vs. Larry Flynt," "Man on the Moon" and "Big Eyes." Gilbert and Frank dropped by Scott and Larry's hotel as the boys prepped for the MOMA premiere of "Big Eyes" to talk about everything from their critically reviled debut film, "Problem Child" (featuring a certain shrill-voiced comedian) to their attempts at a Marx Brothers biopic and an "It's a Mad, Mad, Mad, Mad World" sequel. PLUS: Margaret Keane's existential crisis! Kelton the Cop demands a cameo! Gallagher vs. Gallagher II! “Ed Wood & Bela Lugosi: A Love Story”! And Scott and Larry meet the King of Pop! Learn more about your ad choices. Visit megaphone.fm/adchoices

Books That Matter for Photographers: John Szarcowski and ‘The Photographer's Eye' — The Thing Itself, The Detail, The Frame, Time, and Vantage PointIn this episode of Beyond the Lens, Richard revisits John Szarkowski's 1966 classic The Photographer's Eye for the latest episode in the Books That Matter series. Szarkowski spent nearly thirty years as Director of Photography at MoMA, studying thousands of images across every era and genre. What he discovered was a quiet internal logic that the best photographs share, regardless of style or subject.Richard breaks down all five of Szarkowski's core themes, including the tethering of photography to reality, the power of isolation and detail, and why a camera is, at its heart, an instrument of selection rather than invention.Notable Links: John Szarcowski The Photographer's Eye Beyond The Lens Episode 106: Steven Pressfield and 'The War of Art'  The Thing Itself essay on Substack The Frame essay on SubstackThis episode is brought to you by:Muench Workshops - Photography workshops and expeditions to the coolest places on the planet.Luminar Neo - Try Luminar Neo today at skylum.com, and use promo code "RICHARD" for a 15% discount, just for my listeners.Kase Filters - My listeners can get 10% off the Kase Filters Amazon page when they visit. beyondthelens.fm/kase and use coupon code BERNABE10 Follow Richard Bernabe:Substack: https://richardbernabe.substack.comInstagram: https://www.instagram.com/bernabephoto/Twitter/X: https://x.com/bernabephotoFacebook: https://www.facebook.com/bernabephoto

Gli ospiti dell'ottantesima puntata di Parola Progetto sono Fabio Calvi e Paolo Brambilla, architetti e designer. Da vent'anni, con lo studio Calvi Brambilla uniscono la progettazione di spazi e oggetti alla direzione creativa, collaborando con le più importanti aziende italiane del settore. Dalle collezioni soriche (come quelle di Flos e Zanotta) fino ai padiglioni del Salone del Mobile, dagli showroom agli oggetti innovativi del quotidiano, il loro lavoro spazia fra diverse scale e tipologie di progetto.Nella nostra conversazione, Calvi e Brambilla ci raccontano la loro passione per i libri, il dialogo fra matite e algoritmi, e soprattutto come risolvere problemi in poco tempo rappresenti una delle competenze più apprezzate dalle aziende. Perché ogni designer, tra progetti temporanei e permanenti, rimane sempre un abile trapezista.---------------------------------------I link dell'episodio:La mostra “Calder: Mostra retrospettiva” (1983) al Palazzo a Vela di Torino, con l'allestimento di Renzo Piano https://calder.org/exhibitions/solo-exhibition/palazzo-a-vela-turin-italy-1983-2/ La mostra “Il progetto domestico - Teatro domestico di Aldo Rossi” (1988) alla Triennale di Milano https://archivio.triennale.org/item/43861  La mostra “Lella and Massimo Vignelli A Language of Clarity” (2026) alla Triennale di Milano https://triennale.org/eventi/vignelli La poltrona “Gomma” di  De Pas, D'Urbino, Lomazzi (1970) https://www.zanotta.com/it/prodotti/poltrone/gomma La seduta “Galeotta” di De Pas, D'Urbino, Lomazzi (1968-2023) https://www.zanotta.com/it/prodotti/poltrone/galeotta L'appendiabiti “Sciangai” di De Pas, D'Urbino, Lomazzi (1973) https://www.zanotta.com/it/prodotti/complementi-d-arredo/sciangai La mostra “Italy: The New Domestic Landscape” (1972) al MoMA di New York https://www.moma.org/calendar/exhibitions/1783 Il libro suggerito “Mobili come architetture. Il disegno della produzione Zanotta” di Stefano Casciani https://www.lafeltrinelli.it/mobili-come-architetture-disegno-della-libri-vintage-stefano-casciani/e/2570072128721  Il libro suggerito da Fabio Calvi, “Una cosa divertente che non farò mai più” di David Foster Wallace https://it.wikipedia.org/wiki/Una_cosa_divertente_che_non_farò_mai_piùIl libro suggerito da Paolo Brambilla, “Altri libertini” di Pier Vittorio Tondelli https://www.lafeltrinelli.it/altri-libertini-libro-pier-vittorio-tondelli/e/9788807950742

In March 2026, I travelled to Atlanta for the National Convening on Art and Social Connection, a two-day event hosted by the High Museum of Art. It brought together people from the arts, public health, research, aging, social services and policy to explore one big question: how can engagement with visual art help combat loneliness and build more connected communities?In this special episode, I take you inside the convening and share what I heard, what I learned, and what I think it means for those of us working in museums and cultural spaces.I carried three questions with me to Atlanta. What does it actually take to do this work well? How do we build the evidence that it works? And how do we make sure the wider world hears about it? Listen to the episode for where those questions led me.The Art Engager is written and presented by Claire Bown. Editing is by Matt Jacobs and Claire Bown. Music by Richard Bown. Support on PatreonMentioned in this episodeThe High Museum of Art: https://high.orgThe Museums That Helped Power Atlanta's Rise Are Still Pushing Ahead:https://www.nytimes.com/2026/04/14/arts/atlanta-museums.html?unlocked_article_code=1.bVA.UEVq.IQUdMdoYDuWI&smid=url-shareOasis at the High Museum of Art: https://high.org/event-category/for-adults/oasis/Art Story: How the High is Engaging Mindfulness with Art at Oasis: https://medium.com/high-museum-of-art/art-story-how-the-high-is-engaging-mindfulness-with-art-at-oasis-8b3592f5f876Art After Loss at the High Museum of Art: https://high.org/art-after-loss/Art After Loss: Creating Space for Grief, Connection, and Reflection: https://medium.com/high-museum-of-art/art-after-loss-creating-space-for-grief-connection-and-reflection-7ab2a1113643TimeSlips: https://www.timeslips.orgMeet Me at MoMA: https://www.moma.org/visit/accessibility/meetme/LSU Museum of Art: https://www.lsumoa.orgTwo prompts to sit withFor me, social connection looks like…One thing I can do next is…

durée : 00:01:43 - Les 80'' - par : Florence Paracuellos - En 2010, Marina Abramovic proposait au MoMA une performance fondée sur la présence à l'autre. La professeure Yanina Raskova suggère d'appliquer ce même concept au management cette fois-ci pour transformer la qualité des échanges au sein des entreprises. Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Michalik has exhibited internationally in art institutions, fairs, university galleries, community spaces, and commercial galleries the current show of this interview at Kathryn Markel. Her paintings have been published internationally in Architectural Digest, Michalik's newspaper,  “Devour,” was published in collaboration with Brooklyn based Raw Meat Collective, and was recently acquired by the Museum of Modern Art Library in New York. It was displayed in the exhibit, “Please Knock: A Teen Album of Art” at MoMA through October 1st, 2023. Her painting “I Feel with my Eyes,” is in the permanent collection of WAG-Qaumajuq and is currently on view in the exhibition “Backyard Florilegium” through March 31, 2025.  Michalik lives and works in Brooklyn, NY. Tess Michalik, Possession, 2026 oil on canvas 48 x 40 in. Tess Michalik, Could Heaven Ever Be Like This, 2025 oil on canvas 45 x 32 in. Tess Michalik, Love Crimes, 2025 oil on panel 30 x 24 in.

Description: We dive into movies where the title is the main character—and whether that's a good or bad marketing move.Show Notes: Get more information at SpeakingHuman.com/MOMAFade In: In a world where movies rely on marketing more than ever to connect with audiences, one podcast aims to make sense of it all...Become a supporter of this podcast: https://www.spreaker.com/podcast/moma-movies-marketing--3296937/support.

Spring is here, and there's plenty to do without leaving the city. Arts & Culture Editor Matthew Schnipper chats with us about staycation alternatives to pricey travel destinations, the New Directors/New Films Festival at MoMA and Lincoln Center, and what it's like to show up to a 24-hour Brooklyn techno party in corduroys at 8am. -Got any questions, comments or story ideas? Send us a message at NYCNow@WNYC.org

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

[REBROADCAST FROM November 13, 2025] An exhibition at the MoMA celebrates the career of Cuban artist Wifredo Lam, an artist who helped push the boundaries of modernism. Curators Christophe Cherix and Beverly Adams discuss "Wifredo Lam: When I Don't Sleep, I Dream," on view through April 11 2026. Painting is 'The Jungle,' by Wifredo Lam, courtesy of MoMA

Prečo je v dnešnej dobe toľko ochorení, alergií a hormonálnych problémov? Zamysleli ste sa niekedy nad tým, čoho sa denne dotýkame, z čoho pijeme a čo nosíme priamo na koži? V dnešnej epizóde sa spolu prelúskame štúdiami, ktoré vám možno zmenia pohľad na produkty dennej spotreby. Moma: https://www.instagram.com/martinahornakova/GGW instagram: https://www.instagram.com/girlsgonewild_ggw/

Laura Parnes is an extremely accomplished filmmaker and artist . (Scroll down for bio—impressive!!) One of the themes in Laura Parnes's work is female adolescence. Here's a quote from an interview with her in ⁠FEMEXFILM Archive⁠: "A really big focus of the work is the romantic vision of a teen peering in on a culture that they haven't personally participated in and how this holds potential for criticality. But, it's really tempered by a desire to gain status, power, and agency. " Bearing that in mind, I wanted to find out about Laura's own upbringing and teen years and how that has influenced her work. It turns out there were about two years in Laura's life that were filled with older friends and drugs. After that she chose to put her energy into art, got accepted to Tyler Art School and the rest is history. Art history to be specific. Laura's work has been clearly ahead of it's time as well as an influence on the period we are living in today. Gen Z has picked up on one of her films from 2017, No Is Yes, depicting two teen girls with a crush on a rockstar they kill accidentally and then mutilate. Clips of it have gone viral on Tik Tok. Please check out her work, if you're not familiar, on her website and Vimeo. BIO:     Laura Parnes' critically acclaimed films and installations fuse comedy with pathos to probe social and political trauma. Informed by traditions and genres in narrative film, video art and queer theater, her work blurs the lines between conventions of storytelling and experimentation. The performers in her projects are often part of a diverse community of artists and musicians, many of whom are responsible for the rich underground scene in NYC, and who have shaped and affected other mainstream art cultures. Laura Parnes has screened and exhibited her work widely in the US and internationally, including: The Wexner Center for the Arts, Columbus, Ohio; The Institute of Contemporary Art University of Pennsylvania, Philadelphia, PA; The International Film Festival Rotterdam, Rotterdam, Netherlands; Deste Foundation for Contemporary Art, Athens, Greece., LOOP Festival, Barcelona, Spain; Light Industry, Brooklyn, NY; Kusthalle Winterhur, Switzerland; Overgaden- Institute for Contemporary Art, Copenhagen, Denmark; iMOCA, Indianapolis, IN; Cinematexas, Austin, TX; Contemporary Art Center, Vilnius, Lithuania; Museo Nacional Centro De Arte Reina Sofia, Madrid; Whitney Museum of American Art (1997 Whitney Biennial), NY; Dunedin Public Art Gallery, New Zealand; PSI Contemporary Art Center MoMA, NY; Miami Museum of Contemporary Art, FL; and Brooklyn Museum, NY. Her solo exhibitions include Pioneer Works, Brooklyn, NY; Burchfield Penney Art Center, Buffalo, NY; Human Resources, LA, CA; Fitzroy Gallery, NYC, NY; LAXArt, LA, CA; Alma Enterprises, London, UK; Locust Projects, Miami, FL; Upstream Gallery, Amsterdam, Holland; Los Angeles Contemporary Exhibitions, LA, CA; Participant Inc, NYC, NY and Deitch Projects, NYC, NY. She has had solo screenings at The MoMA, NYC, NY; The Kitchen, NYC, NY; MoMA PS1, LIC, NY; NYCATE 10-year Anniversary, presented by the School of Art Institute of Chicago and Video Data Bank, Gene Siskel Film Center, Chicago, IL; Pacific Film Archive, Berkeley Art Museum, Berkeley, CA; Vtape, Toronto, Canada; and in a two-person screening at The MoMA, NYC, NY. She was presented by Participant Inc. in a two-person exhibition at No Soul for Sale at X Initiative, NYC, NY.      Parnes is a 2021 MacDowell Fellow, a 2019 Yaddo Artist in Residence, a 2019 Wave Farm Media Arts Awardee, a 2016 Creative Capital Awardee, a 2014 NYFA recipient, a 2013 John Simon Guggenheim Memorial Fellow and has lectured as a visiting artist at numerous institutions including Harvard University, Columbia University and UCLA. She has participated in panels at Yale University, the Solomon R. Guggenheim Museum and MoMA PS1.

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

"Lumière, Le Cinéma!" (or "Lumière! The Adventure Continues") is a documentary film directed by Thierry Frémaux, director of the Institute Lumière, of the Lumière Film Festival, and of the Cannes Film Festival. Frémaux serves as a curator and guide through a collection of over 100 short films by Auguste and Louis Lumière and their collaborators, showcasing both well-known and rarely seen works. The film explores the origins of cinema and how the Lumière brothers pioneered filmmaking techniques such as framing, staging, and early narrative storytelling. This curated presentation offers both a historical account of the birth of film and a meditation on cinema's ability to capture reality and imagination. The film highlights the enduring legacy of the Lumières and their foundational impact on the art form. Frémaux was kind enough to spend some time talking with us about his work and experience making the film, which you can listen to below. Please be sure to check out the film, which is now playing at MOMA in New York City from Janus Films. Thank you, and enjoy! Check out more on NextBestPicture.com Please subscribe on... Apple Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT YouTube - https://www.youtube.com/channel/UCWA7KiotcWmHiYYy6wJqwOw And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture and listen to this podcast ad-free Learn more about your ad choices. Visit megaphone.fm/adchoices

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

Ed Atkins is a British contemporary artist known for his haunting, hyperreal digital videos—works that combine computer-generated bodies, poetic monologues, and a profound sense of longing, absurdity, and decay. Since the early 2010s, his art has been exhibited at major institutions around the world, including Tate Britain and MoMA, and he's taken part in various festivals, including the Venice Biennale, the Holland Festival, and Manchester International Festival. He's also written a series of books of poetry and memoir, most recently ‘Flower', which he describes as an anti-memoir. Working across video, text, and performance, he often explores what it means to be human in an age of simulation and screens, where flesh, feeling, and code are increasingly intertwined. Become a My Perfect Console supporter and receive a range of benefits at www.patreon.com/myperfectconsoleTake the Acast listener survey to help shape the show: My Perfect Console with Simon Parkin Survey 2025 Hosted on Acast. See acast.com/privacy for more information.

Leon Black's relationship with Jeffrey Epstein spanned decades and has been a source of sustained scandal. Black, cofounder of Apollo Global Management, paid Epstein at least $158 million (and recent investigations suggest as much as $170 million) between 2012 and 2017 for tax, estate planning, and art-collection services. Black has acknowledged that working with Epstein was a “horrible mistake” and said he deeply regrets their association. Nonetheless, his payments and closeness to Epstein have invited intense scrutiny about what Black knew — or should have known — about Epstein's criminal network. Meanwhile, congressional and regulatory probes have sought to uncover the full extent of their financial entanglements and whether Black's use of Epstein's services was beyond mere professional consults.In addition to the financial scandal, Black's ties to Epstein have been tangled with serious allegations of sexual misconduct. Multiple lawsuits accuse Black of rape, including claims that in 2002, when introduced by Epstein, he assaulted a 16-year-old autistic girl in Epstein's Manhattan townhouse. One prominent lawsuit filed by Cheri Pierson accused Black of attacking her in Epstein's home; that lawsuit was later dismissed. Black has denied all criminal wrongdoing, asserting consensual relationships and rejecting claims against him as false. These overlapping allegations and financial links with Epstein have undermined Black's reputation, led to his resignation as MoMA board chair and Apollo executive, and triggered ongoing legal and reputational battles.to contact me:bobbycapucci@protonmaill.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-epstein-chronicles--5003294/support.

I talk with Liz Reitzig, about her new book, Raw Milk Mama, The Rise of the Mooshiners!   Raw milk underground, the history of raw milk, turn of the century propaganda, armed government attacks against small farmers and Liz's leadership in the rise of Moo-shiners! Learn more about what she does and the book here: https://www.nourishingliberty.comAlso, I am back on Youtube Please subscribe to my channel: @judsoncarroll5902   Judson Carroll - YouTubeIn The Jailhouse Now No 2 on guitarI show you how to play a thumb style version of Jimmie Rogers" "In The Jailhouse Now No. 2". This was the sequel to the version that was featured in "Oh Brother Where Art Thou". This was the version Doc Watson used to play, and I used Doc's lyrics. Unfortunately, I do yodel a little on this one.... apologies!https://youtu.be/LVekZ6CC6fwEmail: judson@judsoncarroll.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/southern-appalachian-herbs--4697544/supportRead about The Spring Foraging Cookbook: https://southernappalachianherbs.blogspot.com/2024/01/the-spring-foraging-cookbook.htmlAvailable for purchase on Amazon: https://www.amazon.com/dp/B0CRP63R54Medicinal Weeds and Grasses of the American Southeast, an Herbalist's Guidehttps://southernappalachianherbs.blogspot.com/2023/05/medicinal-weeds-and-grasses-of-american.htmlAvailable in paperback on Amazon:https://www.amazon.com/dp/B0C47LHTTHandConfirmation, an Autobiography of Faithhttps://southernappalachianherbs.blogspot.com/2023/05/confirmation-autobiography-of-faith.htmlAvailable in paperback on Amazon:https://www.amazon.com/dp/B0C47Q1JNKVisit my Substack and sign up for my free newsletter:https://judsoncarroll.substack.com/Read about my new other books:Medicinal Ferns and Fern Allies, an Herbalist's Guide https://southernappalachianherbs.blogspot.com/2022/11/medicinal-ferns-and-fern-allies.htmlAvailable for purchase on Amazon: https://www.amazon.com/dp/B0BMSZSJPSThe Omnivore's Guide to Home Cooking for Preppers, Homesteaders, Permaculture People and Everyone Else: https://southernappalachianherbs.blogspot.com/2022/10/the-omnivores-guide-to-home-cooking-for.htmlAvailable for purchase on Amazon: https://www.amazon.com/dp/B0BGKX37Q2Medicinal Shrubs and Woody Vines of The American Southeast an Herbalist's Guidehttps://southernappalachianherbs.blogspot.com/2022/06/medicinal-shrubs-and-woody-vines-of.htmlAvailable for purchase on Amazon https://www.amazon.com/dp/B0B2T4Y5L6andGrowing Your Survival Herb Garden for Preppers, Homesteaders and Everyone Elsehttps://southernappalachianherbs.blogspot.com/2022/04/growing-your-survival-herb-garden-for.htmlhttps://www.amazon.com/dp/B09X4LYV9RThe Encyclopedia of Medicinal Bitter Herbs: https://southernappalachianherbs.blogspot.com/2022/03/the-encyclopedia-of-bitter-medicina.htmlAvailable for purchase on Amazon: https://www.amazon.com/dp/B0B5MYJ35RandChristian Medicine, History and Practice: https://southernappalachianherbs.blogspot.com/2022/01/christian-herbal-medicine-history-and.htmlAvailable for purchase on Amazon: www.amazon.com/dp/B09P7RNCTBHerbal Medicine for Preppers, Homesteaders and Permaculture People: https://southernappalachianherbs.blogspot.com/2021/10/herbal-medicine-for-preppers.htmlAlso available on Amazon: www.amazon.com/dp/B09HMWXL25Podcast:  https://www.spreaker.com/show/southern-appalachian-herbsBlog: https://southernappalachianherbs.blogspot.com/Free Video Lessons: Herbal Medicine 101 - YouTube https://www.youtube.com/playlist?list=PL7QS6b0lQqEclaO9AB-kOkkvlHr4tqAbs

In this new Book Talks episode, Mandolyn Wilson Rosen is back to help me review a new art book: Jack Whitten: Notes From the Woodshed, Edited by Katy Siegel for Hauser & Wirth. Equal parts profound, strident and hilarious, Jack Whitten's (1939-2018) 50 year studio log packs a wallop. And it's meaty at 581 pages, so we had lots to discuss! Stick around to hear some sage advice, inspiring tales of studio experimentation and even some positive affirmations from this incredible painter and sculptor.Links to shows, videos, articles mentioned:⁠"Jack Whitten: The Messenger" Exhibition at MOMA 2025⁠⁠"Jack Whitten: Ready-nows" Two Coats of Paint Blog⁠⁠⁠Xerox PARC Artist-in-Residence (PAIR) program⁠⁠⁠Jack Whitten – ‘The Political is in the Work' by TateShots⁠⁠Jack Whitten: An Artist's Life | Art21 "Extended Play"⁠⁠Uncovering Jack Whitten's mysterious abstractions | HOW TO SEE (MOMA)⁠Artists mentioned: Willlem DeKooning, Robert Blackburn, Romare Bearden, Jacob Lawrence, Norman Lewis, Barnett Newman, Franz Kline, Gerhard Richter, Richard Serra, Ron Gorchov, Sol Lewitt, Frank Stella, Caravaggio, Berrisford Boothe, Kerry Downey, Amy Sillman, Jake BerthotWhitten works mentioned: "The Messenger: For Art Blakey," "Homecoming: For Miles," "Black Monolith 2: Homage to Ralph Ellison, The Invisible Man," "Head IV Lynching," Homage to Malcolm," "King's Wish (Martin Luther's Dream)," "King's Garden," The Slab Paintings, "Asa's Palace," Gray Paintings, Greek Alphabet Paintings, "Dead Reckoning I," "9-11-01," "Apps for Obama," "Nine Fire CDS: For the Fire Spitter (Jane Cortez)," "Zeitgeist Traps (For Michael Goldberg)," "Quantum Wall VIII for Arshile Gorky (My First Love in Painting)," "Crystal Palace: For Jeanne Siegel"Philosophers Jack loved: Immanuel Kant, Martin Heidegger, Edmund Husserl, Taha Hussein (Egyptian, Arab Renaissance), Friedrich Nietzsche, Slavoj ŽižekOther artist logs: Day Book by Anne TruittThe Andy Warhol Diaries Edited by Pat HackettPhilip Guston: Collected Writings, Lectures and Conversations Edited by Clark Coolidge Agnes Martin: Painting, Writings, Remembrances Edited by Arne GlimcherWhere to get the book:Hauser & Wirth , Abe Books, Thrift Books, Ebay, AmazonPlease find Mandolyn Wilson Rosen online here: ⁠⁠mandolynwilsonrosen.com⁠⁠ and IG ⁠⁠@mandolyn_rosen⁠⁠Thank you, Mandy! Thank you, Peps Listeners!All music by Soundstripe----------------------------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!

New York City offers nearly unlimited activities, restaurants, and unique landmarks to explore. Wasting your time on overhyped or overpriced attractions can eat away at your valuable time in the city.In this article, we're gonna help you avoid wasted time and money by calling out five overrated NYC attractions you can keep OFF your itinerary.Plus, we'll provide alternatives to each of these common tourist traps.1- Serendipity 3The crowds are hectic, the ambiance is overstimulating, and none of the food or desserts we tried were very good.Instead, go to Caffè Panna or Grace Street.2- Statue of Liberty/Ellis IslandWe've covered this in full detail previously, but this experience is too long, too crowded, and too much waiting in line to be worth your time. Instead, take the free Staten Island Ferry or simply view the Statue of Liberty from Lower Manhattan.3- The Charging Bull in FiDi The crowds around this statue overstate what you'll actually get out of the experience. While passing by is great, we wouldn't go out of our way to view this statue. Instead, go to the 9/11 Memorial Pools.4- Central Park ZooThe Central Park Zoo is actually quite small, with not very many animals. If you want a zoo experience, go to the Bronx Zoo. It has 265 acres and SO many exhibitions.5- Museum of Ice Cream/Color/IllusionsIf social media didn't exist, neither would these "museums". Instead of spending the $30 or so for one of these money grabs, go to any of the iconic museums like the MoMA, The MET, or the Museum of Natural History.You'll Have to Check It Out - Swift Hibernian LoungeProbably the coziest Irish pub you'll find, with an unbelievable pour of Guinness. We also loved the communal table in the back section! Check out Swift here.Want even more NYC insights? Sign up for our 100% free newsletter to access:Dozens of Google Maps lists arranged by cuisine and location50+ page NYC Navigation Guide covering getting to & from airports, taking the subway & moreWeekly insights on top spots, upcoming events, and must-know NYC tipsGet started here: ⁠⁠⁠⁠⁠⁠https://rebrand.ly/nyc-navigation-guide

Most cultural institutions know games matter. Very few know what to do about it. Kristian Volsing is one of the people who figured it out — and built the path in real time.As part of the V&A's contemporary design team, Kristian co-curated Design/Play/Disrupt, one of the most significant museum exhibitions ever dedicated to game design. He navigated studio NDAs, convinced the National Gallery of Art to lend a Magritte for a game show, and flew a colleague to Kyoto — where Nintendo showed her exactly one meeting room.In this conversation, we go deep on what it actually takes to build a sustainable games program inside a cultural institution: why live events beat collection-building as a starting point, how to work with an industry that guards its IP fiercely, and what experimental game designers actually need from institutions like yours. If you're a champion inside an organization who sees the opportunity but doesn't yet have the authority to act on it — this one is for you.(00:00) - Why Cultural Institutions Can't Afford to Ignore Games Anymore (01:36) - Kristian Volsing's Path From Film Student to V&A Curator (05:27) - How a New Director Opened the Door for Digital Design at the V&A (09:20) - Inside Design/Play/Disrupt: Why Depth Beats the "50 Games on a Wall" Approach (17:32) - Nintendo, NDAs, and What It Actually Takes to Partner With Game Studios (27:55) - The Hard Truth About Collecting and Preserving Digital Work (40:50) - Where Your Institution Should Start: Practical Advice From Someone Who Built the Path For more insights, signup for my newsletter.Jamin Warren founded Gameplayarts, an advisory that helps museums and cultural organizations engage with the world of gaming. He provides them with the research, strategy, and execution they need to reach gamers for the first–or millionth–time. Gameplayarts' past and present clients organizations like MoMA, the Getty Research Institute, Tribeca Enterprises, and PBS.

Designer, craftsman, artist and educator, Norman Teague, grew up in Chicago absorbing the sounds, colors, textures and vibes of his “hood,” fancy cars, and Auntie Aretha's painting. A highschool Drafting elective was his first real step into the design field, which he then traversed with aplomb through an MFA at SAIC, to the Venice Architecture Biennale, to MoMA, to the design team of the Obama Presidential Center. At the helm of his namesake design studio, he's built a storied, critically acclaimed career, and a powerful legacy of challenging the design canon, cultural storytelling, and educating generations of future designers.Images and more from Norman Teague on our website!Special thanks to our sponsor: Wix Studio is a platform built for all web creators to design, develop, and manage exceptional web projects at scale.Clever is hosted & produced by Amy Devers, with editing by Mark Zurawinski, production assistance from Ilana Nevins and Anouchka Stephan, and music by El Ten Eleven.SUBSCRIBE - listen to Clever on any podcast app!SIGN UP - for our Substack for news, bonus content, new episode alertsVISIT - cleverpodcast.com for transcripts, images, and 200+ more episodesSAY HI! - on Instagram & LinkedIn @cleverpodcast @amydeversSpecial thanks to our sponsors!Wix Studio is a platform built for all web creators to design, develop, and manage exceptional web projects at scale. Hosted on Acast. See acast.com/privacy for more information.

Podcasting is a privilege as Steve is joined by Dan Kois and Rebecca Onion to unpack and cackle at the domestic thriller schlockfest The Housemaid. Sydney Sweeney and Amanda Seyfried star in the Paul Fieg-directed tale of two women facing off to rule the McMansion roost.Next, Seyfried proves she's got the range as the panel joins the chorus appraising her performance in The Testament of Ann Lee, the epic tone poem and musical biopic about the founder of the Shakers directed by Mona Fastvold. Finally, Julia hops on the call to join a conversation with Alia Hanna Habib, the influential book agent who is divulging hard-won publishing world insights in a new book Take It from Me and in the Substack Delivery & Acceptance.In a Slate Plus bonus episode, the panel addresses a listener questioner from a U.S. history teacher about syllabus-worthy pop culture.EndorsementsDan: The Ruth Asawa retrospective at MoMA which illuminates the work and life of the prolific artist.Rebecca: A bunch of books including Canticle by Janet Rich Edwards, The Ax by Donald E. Westlake, and True Grit by Charles Portis.Steve: The essay "East Side Story" about Marty Supreme by Nawal Arjini in the New York Review of Books.---Email us your thoughts at culturefest@slate.com. Podcast production by Benjamin Frisch. Production assistance by Daniel Hirsch. Hosted on Acast. See acast.com/privacy for more information.