Podcasts about moma ps1

British-Nigerian artist, filmmaker, and researcher Onyeka Igwe talks with curator Jeanette Pacher about her project No Archive Can Restore this Chorus of (Diasporic) Shame (2024/26) that lends its title also to her solo show; her interest in sound, especially protest songs, and her love for sacred harp singing, filming in the abandoned Nigerian Film Unit in Lagos, and her iterative practice. Their conversation was recorded on 11 June 2026 at the Secession. Onyeka Igwe No Archive Can Restore this Chorus of (Diasporic) Shame 12.6. – 30.8.2026 In the exhibition, two video works unfold in close relation to one another. The film traces the afterlives of British colonialism in Nigeria through the abandoned site of the former Nigerian Film Unit in Lagos – once a key outpost of the Colonial Film Unit's propaganda apparatus. Today, the building stands in disrepair. The images once housed there are difficult to access – not only due to their material degradation, but also because of a broader reluctance to confront what they contain. Presented on the window front, the moving image blends with the institution's architecture and urban surroundings, situating its sonic and visual field within the specific conditions of its display. More Onyeka Igwe is a London-born & based moving image artist and researcher. Her work is aimed at the question: how do we live together? Not to provide a rigid answer as such, but to pull apart the nuances of mutuality and co-existence in our deeply individualized world. Onyeka's practice figures sensorial, spatial and counter-hegemonic ways of knowing as central to that task. For her, the body, archives and narratives both oral and textual act as a mode of enquiry that makes possible the exposition of overlooked histories. The work comprises untying strands and threads, anchored by a rhythmic editing style, as well as close attention to the dissonance, reflection and amplification that occurs between image and sound. Solo exhibitions include our generous mother, Tate Britain (2025), history is a living weapon in yr hand, Bonington Gallery and Peer, UK (2024), A Repertoire of Protest (No Dance, No Palaver), MoMA PS1, New York (2023), The Miracle on George Green, The High Line, New York, USA (2022), a so-called archive, LUX, London, UK and THE REAL STORY IS WHAT'S IN THAT ROOM, Mercer Union, Toronto, Canada (2021), and Corrections, with Aliya Pabani, Trinity Square Video, Toronto, Canada (2018). Onyeka jointly received the 2025 Film London Jarman Award, was awarded the 2021 Foundwork Artist Prize (2021), Arts Foundation Futures Award for Experimental Short Film (2020) and was the recipient of the Berwick New Cinema Award in 2019. Her video works are screened at film festivals internationally. Jeanette Pacher is a curator at the Vienna Secession since 2007. She is a regular lecturer in the Department of Site-Specific Art at the University of Applied Arts Vienna, member of the BIG ART advisory board, and from 2023 to 2025, she was jury member of KÖR – Art in Public Space Vienna. The Dorotheum is the exclusive sponsor of the Secession Podcast. Programmed by the board of the Secession. Jingle: Hui Ye with an excerpt from Combat of dreams for string quartet and audio feed (2016, Christine Lavant Quartett) by Alexander J. Eberhard Audio Editor: Paul Macheck Executive Producer: Jeanette Pacher    

PUTF Podcast — Season 4, Episode 5 featuring Jon Dieringer Jon Dieringer is the founder and editor-in-chief of Screen Slate. He has written for BOMB, TIME, n+1, and elsewhere. He has programmed many screenings and series, most notably at Spectacle (2011-2015), Anthology Film Archives, Roxy Cinema, Low Cinema, and many other venues both in NYC and abroad. His video work has shown at spaces including MoMA PS1, the Squeaky Wheel Art Center, Salon 94, and The Museum of Arts and Design. From 2012-2021 he oversaw the preservation and archiving of moving image artwork as the Technical Director of Electronic Arts Intermix (EAI).screenslate.com Jon's Film & Video Programming: https://jondotd.com/film-and-video-programming/Screen Slate's IG: https://www.instagram.com/screenslate/This episode was recorded at Public Sound Studios in NYC: https://www.publicsound.net/PUTF's interview series is dedicated to spotlighting inspiring creatives from the PUTF community and beyond. Guests share their unique career journeys, stories, and visions. Pick Up The Flow, is an online resource based in NYC striving to democratize access to opportunities. Opportunities are shared daily on this page and website, and weekly via our newsletter.Newsletter: https://putf.substack.comInstagram: https://www.instagram.com/pickuptheflownyc/Youtube: https://www.youtube.com/@pickuptheflow#jondieringer #nyc #screenslate #filmculture #repertorycinema #film #movingimage #nycculture Join the newsletter: https://putf.substack.com/and follow us on Instagram: https://www.instagram.com/pickuptheflownyc/ Hosted on Acast. See acast.com/privacy for more information.

Rain may be in the forecast for Memorial Day weekend, but New York City still has plenty to offer. WNYC arts and culture editor Matthew Schnipper joins us to share indoor arts and culture picks for the long weekend, from story time at The Metropolitan Museum of Art to free exhibits at MoMA PS1. Plus, we talk about New Yorkers fishing in city waters, a new immersive Radiohead experience, and the summer lineup for BRIC Celebrate Brooklyn! Festival, including our guesses for a mysterious Aaliyah tribute show. Photo: Anna Rawls -Got any questions, comments or story ideas? Send us a message at NYCNow@WNYC.org Hosted by Simplecast, an AdsWizz company. See https://pcm.adswizz.com for information about our collection and use of personal data for advertising.

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

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

This year is the 50th anniversary of MoMA PS1's opening. To celebrate the anniversary, the museum has organized a new exhibit, 'Greater New York 2026,' that features over 50 artists who live and work in the surrounding New York City area. MoMA PS1 director Connie Butler, and Ruba Katrib, Chief Curator and Director of Curatorial Affairs, reflect on 50 years of MoMA PS1 and discuss their vision for the exhibit, which runs until August 17. Photo by Kris Graves, courtesy MoMA PS1: Left: fields harrington. Unfree Free Time (Bike Rental). 2026. E-bike and bike rack. Right: Cevallos Brothers. Greater New York. 2026 Acrylic on wall. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Patricia Delgado, Cuban-American choreographer of Buena Vista Social Club, former lead dancer with Miami City Ballet, and professor at Juilliard, joins us to discuss dance, creativity, and motherhood. We also explore the world of Estévez/Paños y Compañía, with Rafael Estévez, Valeriano Paños, and Joel Vargas, as they reflect on breaking stereotypes in the flamenco world through movement. Finally, we feature Blanka Amezkua, an interdisciplinary artist and cultural producer whose work has been exhibited at MoMA PS1, the Queens Museum, and El Museo del Barrio.

This interview with the painter Taina H. Cruz first came out for the opening of the Whitney Biennial, and on the occasion of the opening of Greater New York at MoMA PS1, where Cruz is also featured, we're resurfacing it. This is a lot of attention for an artist who is relatively young (born in 1998), and who just earned her MFA from the famed Yale School of Painting last year. She's worked in a variety of media, but is known now for paintings often featuring images of Black female figures with a moody, woozy, sometimes unsettled or unsettling atmosphere. Sometimes Cruz works in suggestions of African American and Caribbean folklore, or intimations of horror and fantasy. Sometimes, she's played on the images of celebrities like Halle Berry or Tyra Banks. Sometimes she reworks her own personal photos of neighbors from New York. Since Cruz is an artist that the curators of these big shows are looking to, critic Ben Davis, wanted to get a sense of the influences—from art and otherwise—that are shaping her approach to art, and what she makes of all the attention.

This interview with the painter Taina H. Cruz first came out for the opening of the Whitney Biennial, and on the occasion of the opening of Greater New York at MoMA PS1, where Cruz is also featured, we're resurfacing it. This is a lot of attention for an artist who is relatively young (born in 1998), and who just earned her MFA from the famed Yale School of Painting last year. She's worked in a variety of media, but is known now for paintings often featuring images of Black female figures with a moody, woozy, sometimes unsettled or unsettling atmosphere. Sometimes Cruz works in suggestions of African American and Caribbean folklore, or intimations of horror and fantasy. Sometimes, she's played on the images of celebrities like Halle Berry or Tyra Banks. Sometimes she reworks her own personal photos of neighbors from New York. Since Cruz is an artist that the curators of these big shows are looking to, critic Ben Davis, wanted to get a sense of the influences—from art and otherwise—that are shaping her approach to art, and what she makes of all the attention.

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.

The Whitney Biennial is here. That would be the Whitney Museum's big curated show which every two years brings together dozens of artists, always closely watched by critics and public as a statement about what is important now in art. Hot on its heels, next month, MoMA PS1 is staging "Greater New York." That event happens every five years, bringing together dozens more artists to take the temperature of art in New York. Taína H. Cruz, my guest today, is featured in both these shows at once. For the Whitney, she is even, in a way, the face of the show: a work by Cruz, a green-tinged close-up painting of a grinning child, called I Saw the Future and It Smiled Back, is blown up on a billboard outside the museum in the Meatpacking District. This is a lot of attention for an artist who is relatively young, born in 1998, and just getting her MFA from the famed Yale School of Painting last year. She's worked in a variety of media, but is known now for paintings, often featuring images of Black female figures with a moody, woozy, sometimes unsettled or unsettling atmosphere. Sometimes Cruz works in suggestions of African American and Caribbean folklore, or intimations of horror and fantasy. Sometimes, she's played on the images of celebrities like Halle Berry or Tyra Banks. Sometimes she reworks her own personal photos of neighbors from New York. Since Cruz is an artist that the curators of these big shows are looking to, art critic, Ben Davis, wanted to get a sense of the influences—from art and otherwise— that are shaping her approach to art, and what she makes of all the attention.

The Whitney Biennial is here. That would be the Whitney Museum's big curated show which every two years brings together dozens of artists, always closely watched by critics and public as a statement about what is important now in art. Hot on its heels, next month, MoMA PS1 is staging "Greater New York." That event happens every five years, bringing together dozens more artists to take the temperature of art in New York. Taína H. Cruz, my guest today, is featured in both these shows at once. For the Whitney, she is even, in a way, the face of the show: a work by Cruz, a green-tinged close-up painting of a grinning child, called I Saw the Future and It Smiled Back, is blown up on a billboard outside the museum in the Meatpacking District. This is a lot of attention for an artist who is relatively young, born in 1998, and just getting her MFA from the famed Yale School of Painting last year. She's worked in a variety of media, but is known now for paintings, often featuring images of Black female figures with a moody, woozy, sometimes unsettled or unsettling atmosphere. Sometimes Cruz works in suggestions of African American and Caribbean folklore, or intimations of horror and fantasy. Sometimes, she's played on the images of celebrities like Halle Berry or Tyra Banks. Sometimes she reworks her own personal photos of neighbors from New York. Since Cruz is an artist that the curators of these big shows are looking to, art critic, Ben Davis, wanted to get a sense of the influences—from art and otherwise— that are shaping her approach to art, and what she makes of all the attention.

A note: On the interview concerning the 3 channel video “Same as me” from 2002 shows an abbreviated day in the life of a total of 18 different versions of the artist. Only viewed three at a time, the possible variations are synchronized across time and space or arise in daydreams of elsewhere or other than. For Campbell, the process of making the video revealed the thesis of the work. “It was very challenging to learn how to reenact my self…. it was hard to keep up with myself.” Beth Campbell, (USA, born in Illinois), demonstrates the inextricable entanglements of past, present, and future through her thought-provoking sculptures, installations, ceramics and works on paper. Equal parts humorous, prescient and morbid, Campbell confronts an overwhelming multiple future, culled from research on the philosophies that fueled the early internet and AI. Campbell is best recognized for her drawings and mobiles that draw from a specific moment in her life, multiplied into a profusion of speculative possibilities. The drawings, each titled with the opening line, “My potential future based on my present circumstances…”, mimic the form of a tree diagram, a graphic structure used to visualize probability and hierarchy. This diagram becomes Campbell's means to channel anxieties about an overwhelmingly multiple future. She began to make these drawings about her life as an artist in New York City in the late 1990's. In them, she suggests taking a moment to look both forward and backwards, taking into account actions and positions and the circumstances that led to them. Beth Campbell earned her BFA from Truman State University in 1993 (Kirksville, MO) and her MFA from Ohio University in 1997 (Athens, OH). She has held over a dozen solo exhibitions at galleries and institutions, including The Aldrich Contemporary Art Museum, Ridgefield, CT (2017); Sculpture Center, Cleveland, OH (2010); “Following Room” at The Whitney Museum of American Art, New York, NY (2007); Kate Werble Gallery, New York, NY (2020, 2017, 2012); the Public Art Fund, New York, NY (2007); White Columns, New York, NY (2000); and Nicole Klagsbrun Gallery, New York, NY (2008, 2005, 2004). Her work has been shown at MoMA PS1, the New Museum of Contemporary Art, the Brooklyn Museum of Art, Artists Space, and the Bloomberg Financial Offices in Conjunction with Sculpture Center. Campbell has also been featured in exhibitions at the Carnegie Museum of Art, (Pittsburgh, PA); Manifesta 7 (Italy); The Andy Warhol Museum, (Pittsburgh, PA); Contemporary Arts Center, (Cincinnati, OH); OK Center, (Linz, AT); and EX3 Centre for Contemporary Art, (Florence, IT). She has a large commission permanently on view in the Landmarks program at the University of Texas at Austin (Austin, TX). Campbell received a Guggenheim Fellowship (2011), a residency at John Michael Kohler Arts Center, Arts/Industry Residency (2010), a Louis Comfort Tiffany Fellowship (2009) a Pollock- Krasner Foundation Grant (2006) and a Rema Hort Mann Foundation Art Grant (2000). She currently lives and works in Brooklyn, NY. Beth Campbell, My Potential Future Based on Present Circumstances (11/3/25), 2025 Pencil on paper 50 × 38 ½ inches (127.00 × 97.79 cm) Courtesy of the artist and Kate Werble Gallery, New York Photo credit by Adam Reich photography Beth Campbell, There's no such thing as a good decision (fawn), 2025 Powder coated steel rod and wire, enamel paint 40 × 40 × 33 inches (101.60 × 101.60 × 83.82 cm) Courtesy of the artist and Kate Werble Gallery, New York Photo credit by Adam Reich photography Beth Campbell, lost socks, 2024 Tinted porcelain 2 ¼ × 6 ½ × 6 ¾ inches (5.72 × 16.51 × 17.15 cm) Courtesy of the artist and Kate Werble Gallery, New York Photo credit by Adam Reich photography

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

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It is the first episode of 2026. So we look ahead at the next 12 months with a guide to big museum openings, biennials and exhibitions. Ben Luke is joined by Jane Morris, editor-at-large at The Art Newspaper and Cultureshock, and Gareth Harris, chief contributing editor at The Art Newspaper, to discuss the key art fairs, major museum building projects and the top biennials of the year, and we pick our exhibition highlights.All of the events discussed and many more are featured in The Art Newspaper's guidebook The Year Ahead 2026, an authoritative look at the year's unmissable art exhibitions, museum openings and significant art events. Visit theartnewspapershop.com. £14.99 or the equivalent in your currency.Events discussed:ART FAIRS: Art Basel Qatar, Doha, Qatar, 5-7 Feb; Frieze Abu Dhabi, 17-22 Nov; MUSEUM OPENINGS: Guggenheim Abu Dhabi, date tbc; V&A East, opens 18 Apr; Los Angeles County Museum of Art (Lacma), opens Apr; Lucas Museum of Narrative Art, opens 22 Sep; Dataland, Los Angeles, opens spring; New Museum, New York, date tbc. BIENNIALS: Venice Biennale, In Minor Keys, 9 May-22 Nov; Arthur Jafa and Richard Prince: Helter Skelter, Fondazione Prada, Venice, 9 May-22 Nov; Marina Abramović: Transforming Energy, Gallerie dell'Accademia, Venice, 6 May-19 Oct; Whitney Biennial, opens 8 Mar; Greater New York 2026, MoMA PS1, 16 Apr-17 Aug; EXHIBITIONS: Gainsborough: The Fashion of Portraiture, Frick Collection, 12 Feb-11 May; Raphael: Sublime Poetry, Metropolitan Museum of Art, New York, 29 Mar-28 Jun; Zurbarán, National Gallery, London, 2 May-23 Aug; Michaelina Wautier, Royal Academy of Arts, 27 Mar-21 Jun; James McNeill Whistler, Tate Britain, 21 May-27 Sep, Van Gogh Museum, Amsterdam, 16 Oct-10 Jan 2027; Seurat and the Sea, Courtauld Gallery, ​​13 Feb-17 May; Peggy Guggenheim in London: The Making of a Collector, Peggy Guggenheim Collection, Venice, 25 Apr-19 Oct; Royal Academy, London, 21 Nov-14 Mar 2027, Cezanne, Fondation Beyeler, Basel, 25 Jan-25 May; Leonor Fini, Schirn Kunsthalle, Frankfurt, 22 Oct-28 Feb 2027; Hilma af Klint, Grand Palais, 6 May-30 Aug, Matisse 1941-1954, Grand Palais, Paris, 24 Mar-26 Jul; Chez Matisse: The Legacy of a New Painting, Caixa Forum, Barcelona, 27 Mar-16 Aug; Fratino and Matisse: To See This Light Again, Baltimore Museum of Art, 11 Mar-6 Sep; Matisse's Femme au Chapeau: A Modern Scandal, SFMOMA, San Francisco, 16 May-7 Sep; Marcel Duchamp, MoMA, New York, 12 Apr-22 Aug; Mary Cassatt: An American in Paris, National Gallery of Art, Washington, DC, 14 Feb-30 Aug; Mary Cassatt: After Impressionism, Art Institute of Chicago, 6 Sep-3 Jan 2027; Modern Iran and the Avant-Gardes, 1948-78, Vancouver Art Gallery, 11 Dec-2 May 2027; Spectrosynthesis Seoul, Art Sonje Center, Seoul, 20 Mar-28 Jun; Carol Bove, Solomon R. Guggenheim Museum, New York, 5 Mar-2 Aug; New Humans: Memories of the Future, New Museum, New York, opens early 2026; Hurvin Anderson, Tate Britain, 26 Mar-23 Aug; Tracey Emin: A Second Life, 26 Feb-31 Aug; Ana Mendieta, Tate Modern, London, 9 Jul-10 Jan 2027. Hosted on Acast. See acast.com/privacy for more information.

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The sonic world and career of composer Pauline Oliveros (1936-2016) featuring a 2008 interview with the artist conducted by David Weinstein for the radio station of the Clocktower Gallery in support of an exhibition at PS1 Contemporary Art Center (now MoMA PS1) entitled WACK: Art of the Feminist Revolution. We also hear solos and collaborative works recorded for the Roulette concert series dating from 1984 to 2014 including excerpts with the Deep Listening Band (Stuart Dempster, trombone, didjeridu and David Gamper (piano, "toys"), and a trio with David Arner(piano) and Doug Van Nort (custom electronics). The influence of Dr. Oliveros on contemporary music is unrivaled, from electronic innovations, sonic meditations, ceremonial works, the Deep Listening paradigm, her Expanded Instrument System (processing time and space), hot-wired accordion, and merging a social conscience with sound.https://roulette.org/

I dagens avsnitt lyfter vi fram den amerikanska konstnären Joan Semmel, en konstnär som många i USA känner till, men som ännu inte fått sitt genombrott i Sverige. Under våra resor har vi sett hennes verk på flera av de stora museerna och blivit allt mer fascinerade av hennes konstnärskap. Därför kändes det helt rätt att ägna ett avsnitt åt hennes konst. Joan Semmel föddes 1932 i New York, där hon fortfarande är verksam. Hon inledde sin bana som abstrakt expressionist men blev snart en av de tidiga feministiska konstnärerna som utmanade den traditionella bilden av den kvinnliga kroppen i konsten. Under sina mer än sex decennier som konstnär har kroppen, ofta hennes egen, varit ett återkommande motiv.I avsnittet fördjupar vi oss i ett av hennes senare, introspektiva självporträtt: ”Skin Patterns” från 2013. Här utforskar Semmel kroppens förändring över tid och hur dessa förändringar påverkar självbild och identitet. I målningen möter hon, och låter oss möta, den åldrande kroppen utan försköning, men med en stark estetisk närvaro.Genom att rikta blicken mot den äldre kvinnokroppen utmanar hon samtidens skönhetsideal, där det finns en fixering vid ungdomlighet och åldrandets fysiska spår länge varit tabubelagda. I sin konst återtar Joan Semmel blicken på kvinnokroppen, som inte finns till för att behagar, samtidigt som hon ger det levda livet och tidens spår på kroppen värdighet och kraft. I USA räknas Joan Semmel som en central gestalt inom den feministiska konsthistorien och hon har ställt ut på några av landets mest betydelsefulla institutioner, bland annat MoMA PS1 och The Whitney Museum of American Art.Support till showen http://supporter.acast.com/konsthistoriepodden. Hosted on Acast. See acast.com/privacy for more information.

The sonic world and career of composer Pauline Oliveros (1936-2016) featuring a 2008 interview with the artist conducted by David Weinstein for the radio station of the Clocktower Gallery in support of an exhibition at PS1 Contemporary Art Center (now MoMA PS1) entitled WACK: Art of the Feminist Revolution. We also hear solos and collaborative works recorded for the Roulette concert series dating from 1984 to 2014 including excerpts with the Deep Listening Band (Stuart Dempster, trombone, didjeridu and David Gamper (piano, "toys"), and a trio with David Arner (piano) and Doug Van Nort (custom electronics). The influence of Dr. Oliveros on contemporary music is unrivaled, from electronic innovations, sonic meditations, ceremonial works, the Deep Listening paradigm, her Expanded Instrument System (processing time and space), hot-wired accordion, and merging a social conscience with sound.

Today on the show, I get to chat with Marielena Ferrer and Viktorsha Uliyanova, a multidisciplinary artist and educator working with alternative photography, installation, video, and fiber art. Her work explores impermanence, the notions of home, and cultural identity narrated through the prism of memory. Her practice is informed by her upbringing in the Soviet Union, political repression, and the immigrant experience. In her research, Uliyanova explores neglected and overlooked histories, often using archives as a catalyst for her work. She received her BA in English Literature, Language, and Criticism from Hunter College and an MFA in Photography and Related Media at State University of New York at New Paltz. Her work has been exhibited at Samuel Dorsky Museum of Art, Baxter St., MOMA PS1, Participant Inc, Collarworks, among others. She is the recipient of New York State Council on the Arts Grant, Arts Mid-Hudson Culture Grant, Traverso Photography Award, Women's Studio Workshop SAI Grant, Sojourner Truth Diversity Fellowship, and Research for Creative Projects Grant. Recently, she completed a residency at Vermont Studio Center. She lives in the Hudson Valley and teaches photography at SUNY New Paltz.Viktorsha's upcoming solo exhibit “Quieter than Water, Lower than Grass” is a multimedia installation that examines the fragility of memory and its impact on history, immigrant narratives ,and cultural identity. This work explores themes of migration, belonging, and domesticity. The opening is November 8 at Roundabouts Now Gallery in Kingston, with a panel discussion on November 16 featuring Marielena, Viktorsha, and two additional women artists whose work addresses these same themes.Today, we talk about the meaning of the show title, and how this Russian idiom permeated culture and played a role in repression and control. Viktorsha shares about the layers of her creative process and how this show came to be. We discuss some of the pieces, their meaning, the process in creating them, and the meaning behind that process. One of the main pieces in the exhibition is an installation of suspended large scale cyanotypes of "Brezhnevka"s, prefabricated  panel buildings that were built in the Soviet Union from 1964-1980. They were built fast and cheap and can still be found and seen throughout former Soviet states. Our conversation weaves through themes of assimilation, (uniform)ity, culture, healing, memory, domestication, femininity, the multidimensionality of softness, and belonging.Viktorsha's Project Statement: “Quieter Than Water, Lower than Grass'” is a multimedia project that explores the intersection between history, memory, and photographic evidence. The work employs analogue photographic processes , fabric, and video to explore remembrance, storytelling, and ancestral healing. Drawing from family albums, oral histories, and archival images, I construct narrativesthat have been hidden by the Soviet regime and are often invisible within the dominant historical discourse. The project takes its name from an old Soviet proverb which instills a behavior of keeping a low profile, avoiding any attention from the self, and acting in a way that does notgenerate conflict. The phrase has been used as a deliberate linguistic tool to disseminate imperialist ideologies, generate fear, and maintain repressive socio-political tactics throughout the USSR. This project outlines the importance of critically engaging with mainstream narrativesin order to unlearn them and see their limitations and biases.Quilts are powerful conveyors of the human experience. They are valuable historical documents and memory transmitters that honor storytelling and intergenerational knowledge. Using bed sheets , I hand-sew patchwork of imagery into quilt forms preserving not only my personal memories but also those obscured within the larger cultural and geo-political discourse.Each fabric piece will source from historical documents, family albums, and collected objects to explore, visualize, and underscore the complexity of post-Soviet trauma and immigrant experience. Blue is a color of peace, a color found in our dreams, our hopes, and our memories. It is the color of the sky, water, and our planet, Earth. The cyanotype process uses the natural elements of sun and water to register a photograph. While it is stable, the final result is prone to changing over time. Using this photographic technique allows me to address all of the themes that show up in my work such as identity, history, and memory, all of which are fragmented, mutating, and ever-changing.The project combines a collection of materials and techniques that reference matrilineage, ancestry, and transgenerational trauma. Through layering of fabrics and utilizing the deep blue hues of the cyanotype process, the work visualizes histories that have been hidden, obscured, and lost. The project examines the selective nature of memory, challenging historical biases and emphasizing the importance of community knowledge and healing. The final project will be presented to the public in an exhibition fostering cultural exchange, community dialogue, andbridging the gap between the personal and collective memories.Here's your New Moon Astrology!Today's show was engineered by Ian Seda from Radiokingston.org.Our show music is from Shana Falana!Feel free to email me, say hello: she@iwantwhatshehas.org** Please: SUBSCRIBE to the pod and leave a REVIEW wherever you are listening, it helps other users FIND IThttp://iwantwhatshehas.org/podcastITUNES | SPOTIFYITUNES: https://itunes.apple.com/us/podcast/i-want-what-she-has/id1451648361?mt=2SPOTIFY:https://open.spotify.com/show/77pmJwS2q9vTywz7Uhiyff?si=G2eYCjLjT3KltgdfA6XXCAFollow:INSTAGRAM * https://www.instagram.com/iwantwhatshehaspodcast/FACEBOOK * https://www.facebook.com/iwantwhatshehaspodcast

A conversation with Paul Pfeiffer, Stanley Wolukau-Wanambwa, and Anthony Elms recorded in May 2025. Stanley Wolukau-Wanambwa makes art, writes about it, and occasionally edits essay anthologies. His artist's book, INDEX 2025, is out now from ROMA Publications, and his recent essay “ECHO—LOCATION,” on installations at Dia Art Foundation by Cameron Rowland and Steve McQueen, featured in the April issue of e-flux journal.  Recent exhibitions include Scene at Eastman, at George Eastman Museum (2025), Greater New York at MoMA PS1 (2021), and But Still, It Turns at the International Center of Photography, New York (2021).  Read more essays in e-flux journal by Stanley Wolukau-Wanambwa here. Paul Pfeiffer recasts the visual language of pop spectacle to investigate how media images shape our perception of the world and ourselves. Working in video, photography, sculpture, and sound, he is drawn to moments intended for mass audiences (live sports events, stadium concert tours, televised game shows, celebrity glamour shots), which he meticulously samples and re-edits to expose an uncanny emptiness underneath. From the hyperreality of photo retouching and digital erasure to the endless repetition of video loops, his mastery of postproduction allows him to magnify the surreal aspects of contemporary existence, where bodies become sites of saturated observation, and violence-as-entertainment flirts with nationalism, religion, and ancient myth. While he also experiments with the format and scale of his works, immersive audiovisual installations often cohabit with portable fetish objects in his exhibitions. Throughout his practice, Pfeiffer seeks to reflect and heighten the existential condition of the viewer as consumer by perversely blurring the boundary between voyeurism and contemplation. The recent exhibition discussed in this episode, Paul Pfeiffer: Prologue to the Story of the Birth of Freedom was presented at the Museum of Contemporary Art, Los Angeles, and the MCA Chicago.  Read a review from e-flux Criticism of Prologue to the Story of the Birth of Freedom at The Geffen Contemporary at MOCA, Los Angeles by Juliana Halpert. Anthony Elms organizes exhibitions and writes. He recently organized Rodney McMillian: Neighbors for the Henry Art Gallery, Seattle, Wa. opening in October 2025. An essay on artist Oliver Ressler, "Ellipsesverse," posts online this fall for Ressler's exhibition Scenes from the Invention of Democracy at the Museum Tinguely. His essay "Begin to begin to begin to begin to begin" is forthcoming in Ecstatic Aperture: Perspectives on the Life and Work of Terry Riley. from Auryfa / Shelter Press.

Talk Art Live in Berlin. Season 26 of Talk Art begins!!!!This episode is a special Paid Partnership collaboration with Berlin Art Week, who flew Russell & Robert to Berlin. Recorded live, in front of an audience, outside the Neue Nationalgalerie in September 2025. Special guests Peaches @peachesnisker (musician, producer, director, performance artist) and Klaus Biesenbach @klausbiesenbach (Director, Neue Nationalgalerie) join the conversation about art, music, and the Berlin art scene.An iconic feminist musician, producer, director, and performance artist, Peaches has spent nearly two decades pushing boundaries and wielding immeasurable influence over mainstream pop culture from outside of its confines, carving a bold, sexually progressive path in her own image that's opened the door for countless others to follow. She's collaborated with everyone from Iggy Pop and Daft Punk to Kim Gordon and Major Lazer, had her music featured cultural watermarks like Lost In Translation, The Handmaid's Tale, and Broad City among others, and seen her work studied at universities around the world.Dubbed a “genuine heroine” by the New York Times, Peaches has released five critically acclaimed studio albums blending electronic music, hip-hop, and punk rock while tackling gender politics, sexual identity, ageism, and the patriarchy. Uncut has raved that her work brought together "high art, low humour and deluxe filth [in] a hugely seductive combination,” while Rolling Stone called her “surreally funny [and] nasty.”An equally prolific visual artist, Peaches has directed over twenty of her own videos, designed one of the most raw and creative stage shows in popular music, and has appeared at modern art's most prestigious gatherings, from Art Basel Miami to the Venice Biennale. On top of it all, she mounted a one-woman production of 'Jesus Christ Superstar'—redubbed ‘Peaches Christ Superstar'—which earned international raves, composed and performed the electro-rock opera 'Peaches Does Herself,' which premiered at the Toronto International Film Festival, and sang the title role in a production of Monteverdi's epic 17th-century opera 'L'Orfeo' in Berlin. Visit: https://www.teachesofpeaches.com/Klaus Biesenbach began his career in Berlin 30 years ago aged 25, when he was one of a group that set up the KW Institute for Contemporary Art in a former margarine factory. In 2004, he became a curator at the Museum of Modern Art in New York, where he rose to the position of chief curator and founded a new department for media and performance art. In 2010, he became director of MoMA PS1, the museum's outpost in Queen's. At MOCA in Los Angeles, he introduced free admission, expanded the collection and navigated the museum through the pandemic. Hosted on Acast. See acast.com/privacy for more information.

Alec and Nick revisit an unreleased podcast from the archive, recorded one year ago, discussing the concept and experience of Turning Up. The episode reprises the idea of the Dionysian in terms of consumption of music, ideas, substances and social activity as these mingle within the interior life and institutional forms of attending, listening, partying, producing and performing. The conversation asks questions about the utility of  lit music events, fleeting public sounds, the script of turning up, uncoordinated and novel excitements, and the Apollonian state of Turning Down. Topics include MoMA PS1's Warm Up summer series, turning up in experimental music, and an extended discussion of the tension between aesthetic excitation and the pursuit of truth-value in Callahan and Witscher's “Think Differently” album and 2024 release show.

Jenny Montgomery is a New Yorker on a mission — scouring galleries for art she loves and can afford to buy. Bradley talks to her about the city's art scene, where to see great work right now, and how to think about starting your own collection. Get rich quick? Forget about it. But live a richer cultural life? That's well within your reach.Discussed on today's episode:Printed Matter's NY Art Book Fair at MoMA PS1: https://printedmatterartbookfairs.org/Join Bradley on Sept. 20 at P&T Knitwear as we celebrate Russ & Daughters Day to mark the legendary shop's first-ever cookbook in their 111 years on the Lower East Side. We'll be hosting a live Firewall recording at 3PM where Bradley will interview Russ & Daughters' fourth generation co-owners, Niki Russ Federman and Josh Russ Tupper. For more details and to RSVP, visit https://www.russanddaughtersday.com/This episode was taped at P&T Knitwear at 180 Orchard Street — New York City's only free podcast recording studio.Send us an email with your thoughts on today's episode: info@firewall.media.Be sure to watch Bradley's new TED Talk on Mobile Voting at https://go.ted.com/bradleytusk.Subscribe to Bradley's weekly newsletter and follow Bradley on Linkedin + Substack + YouTube.

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Jabari Canada brings an architect's eye and a documentarian's heart to the Visual Intonation Podcast. Studying at MIT by day and telling human stories through a lens by night, Canada traces his path from interning for Congressman Elijah Cummings to filming JPEGMAFIA for MoMA PS1. His work spans political campaigns, Les Blank, experimental art, and commercial sets, but always returns to one core principle: people over policy, and the stories they carry.In this conversation, Canada talks about burning out in the commercial industry, reigniting his creative drive on the campaign trail, and the intimacy that cinematography makes possible. You'll hear how Canada moves between shooting for Nike and filming in America's most polluted zip code without losing his grounding or his voice. For Canada, the medium isn't the message—it's the bridge.Social media plays both tool and obstacle in his work. Canada reflects on how algorithms silence the voices of those most affected by injustice and how, as a filmmaker, he codes his visuals to bypass digital gatekeepers. In a world where rage and virality often win, he chooses intention, care, and community. This episode digs into how digital platforms shape political reality, and how we might reclaim that narrative frame by frame.From riding a lift with Cai Guo-Qiang in a Frank Gehry–renovated barn to filming grassroots voters in Flint, Michigan, Canada's practice is shaped by proximity and trust. Whether teaching at MIT, DP'ing a queer skateboarding documentary, or simply sitting with someone long enough for them to feel seen, Canada doesn't just record life. He lives in it—and brings us closer to the truth along the way.Jabari Canada's Website: https://www.jabaricanada.comJabari Canada's Instagram: https://www.instagram.com/jabari.movSupport the showVisual Intonation Website: https://www.visualintonations.com/Visual Intonation Instagram: https://www.instagram.com/visualintonation/Vante Gregory's Website: vantegregory.comVante Gregory's Instagram: https://www.instagram.com/directedbyvante/ To support me on Patreon (thank you): patreon.com/visualintonations Tiktok: www.tiktok.com/@visualintonation Tiktok: www.tiktok.com/@directedbyvante

This episode is a conversation between the artist Jeremy Shaw and the curator Damian Lentini. It was recorded on 6 June 2025 in the context of his exhibition, when Jeremy returned to Vienna for the screening of Quantification Trilogy at the mumok. Jeremy Shaw Towards Logarithmic Delay 29.5. – 31.8.2025 The exhibition Towards Logarithmic Delay presents three new sculptural works that engage with the concept of border zones and the disorientation brought about by the dissolution of spatial and perceptual thresholds. The first work visitors encounter, Maximum Horizon (2024), comprises a triptych of stained-glass windows – akin to those commonly seen in churches and other places of worship – that are set into one of a number of a raw, unfinished drywalls that reappear throughout the exhibition. More Jeremy Shaw (b. North Vancouver, Canada, 1977) works in a variety of media to explore altered states of mind and the cultural and scientific practices that aspire to map transcendental experience. He has had solo exhibitions at Centre Pompidou, Paris, France, MoMA PS1, New York, USA, MAC Montréal, Canada, Schinkel Pavillon, Berlin, Germany, and MONA, Tasmania, Australia, and been featured in international surveys such as the 57th Venice Biennale, Italy; 16th Lyon Biennale, France; and Manifesta 11, Zurich, Switzerland. In 2016, Shaw was awarded the Sobey Art Award and in 2018 was artist-in-residence at the Hammer Museum, Los Angeles, USA. Damian Lentini worked as a curator at the Vienna Secession from 2024 to 2025. He is currently the Deputy Director at the Ludwig Forum in Aachen. In 2009, he obtained his doctoral degree at the University of Melbourne and has realised major projects with artists such as El Anatsui, Phyllida Barlow, Kapwani Kiwanga, Sarah Sze, Sung Tieu, Raqs Media Collective, Harun Farocki, Dumb Type, Khvay Samnang, Lina Lapelytė and the Karrabing Film Collective amongst others. Secession Podcast: Artists features artists exhibiting at the Secession. The Dorotheum is the exclusive sponsor of the Secession Podcast. Programmed by the board of the Secession. Jingle: Hui Ye with an excerpt from Combat of dreams for string quartet and audio feed (2016, Christine Lavant Quartett) by Alexander J. Eberhard Audio Editor: Paul Macheck Executive Producer: Jeanette Pacher

This episode, we are thrilled to be joined by the artist Frieda Toranzo Jaeger. Based in Mexico City, Frieda is known for her captivating works exploring technology, capitalism, and gender., her art frequently delves into themes of digital interfaces, luxury cars, and the commodification of desire, challenging traditional notions of painting. Frieda's distinctive style incorporates elements of abstraction and figuration, using vibrant colors and fragmented compositions to create dynamic tension. Her practice is known for its engagement with a rich array of territories, including embroidery traditions, mural painting, and Western religious altars. Much of this helps to envision a future that embraces queer freedom, ecological communion with nature, and the creation of joyful and convivial spaces.In 2022, her work was the subject of a solo survey exhibition at MoMA PS1, Queens. And in 2024, Frieda was the subject of a solo exhibition at Modern Art Oxford in the UK. That same year, she was included the 60th International Art Exhibition, curated by Adriano Pedrosa. And, most recently, she had a solo presentation at Bortolami here in New York.Some artists discussed in this episode:Lucas Cranach the Elder and Lucas Cranach the YoungerACT UP (AIDS Coalition to Unleash Power)Jutta KoetherLari PittmanCaravaggioCaspar David FriedrichFrieda is represented by the following galleries Bortolami Gallery and Trautwein Herleth.https://www.bortolamigallery.com/artists/frieda-toranzo-jaegerhttps://trautweinherleth.de/artists/friede-torenzo-jaeger/

MoMA PS1 har annonceret, at fotografen Inuuteq Storch får en udstilling til efteråret. Storchs fotografier fortæller historien om at være splittet mellem inuittraditioner, dansk kolonihistorie, klimaforandringer og øget globalisering. K-live spørger Storch, om han frygter, at hans kunst bliver brugt som et politisk værktøj i en geopolitisk konflikt om Grønland. Medvirkende: Sune Bang, kommunikationsrådgiver; Thea Hamborg Kristiansen, Emil Harboe Borg Lauritzen og Frederik Hjorth Rasmussen, medlemmer af Bænch; Peter Henningsen, etnolog og historiker; og Inuuteq Storch, fotograf. Vært: Linnea Albinus Lande Producer: Sarah Randeris Redaktør: Lasse Lauridsen

"These spaces are sacred." The Brooklyn trio reflect on 12 years of throwing parties that celebrate New York's queer community of colour. New York nightlife has a truly unique ecosystem. And for the last 12 years, the art collective Papi Juice has been right at the center of it, hosting parties, workshops, artist residencies, performances and exhibitions that affirm and celebrate the lives of queer and trans people of colour. In this RA Exchange recorded during Pride Weekend in Brooklyn, reviews editor Kiana Mickles sits down with the Papi Juice trio—Mohammed, Adam and Oscar—to talk about intersectionality and how they've maintained their principles and political integrity by continuing to put their community first. The DJs and multimedia artists have been active in leading fundraisers for Black trans organisations and archiving queer nightlife in Brooklyn. They recently received an award from the City Council of New York for their contributions to culture and have partnered with institutions like The Brooklyn Museum, MoMA PS1, El Museo del Barrio, Creative Time, The Metropolitan Museum of Art and the Leslie-Lohman Museum of Gay and Lesbian Art. In this interview, Mohammed, Adam and Oscar reflect on meeting for the first time, navigating New York's cabaret laws, creating a distinct visual identity, learning to work through internal conflict and differences in taste, and working towards a shared vision across many years. Listen to the episode in full. -Chloe Lula

A photo of the artist: Judith Simonian with Charles Yuen Many of Simonian's works in the exhibition at JJ MURPHY Gallery are still lifes, such as “Marysia's Salon” (2024), which was inspired by a visit to a Polish beauty parlor in her East Village neighborhood. “Bottle Symphony in Red” (2023) recalls Giorgio Morandi. Whereas Morandi's still lifes are a delicate arrangement of vases, jugs, bowls, urns, and bottles, painted in muted colors—whites, browns, and tans—set against a neutral background, Simonian bombards our senses through her use of high-intensity reds, pinks, blue-greens, grays, blacks, and yellow ochre. In “Inside Outside” (2023), the artist similarly portrays a room as an expressionistic whirlwind of vivid colors. Simonian's paintings deal with intervals, or the spaces between points. Simonian's still lifes often open up an interior space to an exterior one. In “Marysia's Salon,” a photograph tacked on the wall suggests the world outside. “Bobby Pins of Manhattan” (2023-24) provides a glimpse of the city skyline through the window, including the landmark Empire State Building. “Cat in the Lamp” (2024) depicts a black cat inside an illuminated yellow lampshade in front of a large window that overlooks water. Simonian employs careful framing to create meaning. It is possible to view several of her landscape paintings as political allegories. In "Greener Pastures" (2025), the shimmering image of the Statue of Liberty appears to be a mirage, while green brushstrokes seem to hint at water on deck or maybe even a school of fish. "Resting on Her Side" (2024) depicts rocky terrain and the bleak spectacle of a capsized ship. Judith Simonian has had solo exhibitions of her work at 1GAP, Brooklyn; Edward Thorp Gallery, New York City; and John Davis Gallery in Hudson, NY. Her work has been shown in numerous museums, including The New Museum, NYC; MoMA/PS1, NYC; Islip Museum, NY; Montclair Art Museum, NJ; Weatherspoon Art Museum, NC; San Francisco Museum of Art, CA; Santa Barbara Museum of Art, CA; Newport Harbor Art Museum, CA; and the Madison Museum of Contemporary Art, WI. Simonian has been awarded many prestigious honors, including a John Simon Guggenheim Memorial Foundation Fellowship, an Adolph and Esther Gottlieb Foundation Individual Support Grant, and a National Endowment for the Arts Grant. She received her BA and MA degrees from California State University, Northridge. The artist lives and works in New York City. Greener Pastures, 2025, acrylic on canvas, 24 x 32 inches Marysia's Salon, 2024, acrylic on canvas, 30 x 20 inches Enter the Mountain Yellow, 2023, acrylic on canvas, 50 x 66 inches

Today, Ceri is joined by Laleh Khorramian, painter, printmaker, animator and textile artist, whose work spans drawing, light, costume and collage. Laleh reveals the roots of her creative life, from drawing under duress to discovering Van Gogh in Costco. Laleh shares how growing up between cultures shaped a dual sense of self that still informs her work.   She explains how she rebuilt her practice and sense of self after cancer diagnoses and found her way back when the work felt lost. Whether you are building a sustainable practice, navigating reinvention or reclaiming your identity in your work, this episode is for you.   The Artist Mastermind Circle: Ready to stop second-guessing and start building momentum in your art career? Apply for the next Artist Mastermind Circle a six-month coaching programme for mid-career artists who are serious about growing their confidence, income, and opportunities. Apply by 21 July at https://cerihand.com/artist-mastermind-circle/ to take the next bold step.   KEY TAKEAWAYS   ·        Take notice of what you see, feel and dream, they are what you are destined to create. ·        Let go of shame about the things you get wrong and accept support.   BEST MOMENTS   “I became aware of that. It was okay, if it reflected me, it's okay. Actually, this is I'm, I'm the artist. It's that that work is what it is because of me, because I made it, and there's my voice in particular is important to what's happening there.”   “you have to sometimes become something very outside yourself. You have to create skills that you didn't know you had or think you could summon, including acceptance.”   “So you make something in response to a person or a character. Yeah, very often it's not someone I know it's, very often it's, it's a, it's a character, it's a, it's a, I think there's all constantly an ongoing opera in my mind.”   ABOUT LALEH   Laleh Khorramian (b. Tehran, raised in Florida) is multi-award-winning artist with degrees from RISD, SAIC, and Columbia University. Her work spans animation, painting, lighting, and textile art.   She exhibits internationally including at MoMA PS1, Times Square and the Saatchi Gallery. Her awards include the Vasseur Artists' Award and the Pollock Krasner Foundation Grant.   Laleh created LALOON - an ongoing project of hand-painted garments, gowns and costumes in NY.   https://www.lalehkhorramian.com https://www.instagram.com/lalehkhorramian   PODCAST HOST BIO   With over 30 years in the art world, Ceri has worked closely with leading artists and arts professionals, managed public and private galleries and charities, and curated more than 250 exhibitions and events. She sold artworks to major museums and private collectors and commissioned thousands of works across diverse media, from renowned artists such as John Akomfrah, Pipilotti Rist, Rafael Lozano-Hemmer and Vito Acconci. Now, she wants to share her extensive knowledge with you, so you can excel and achieve your goals.   Ceri Hand Coaching Membership: Group coaching, live art surgeries, exclusive masterclasses, portfolio reviews, weekly challenges. Access our library of content and resource hub anytime and enjoy special discounts within a vibrant community of peers and professionals. Ready to transform your art career? Join today!   https://cerihand.com/membership   Build Relationships The Easy Way Our self-study video course, "Unlock Your Artworld Network,"  offers a straightforward 5-step framework to help you build valuable relationships effortlessly and build the confidence you need to create new opportunities and thrive in the art world today.   https://cerihand.com/courses/unlock_your_artworld_network   Book a Discovery Call Today To schedule a personalised 1-2-1 coaching session with Ceri or explore our group coaching options, simply email us at hello@cerihand.com   This Podcast has been brought to you by Disruptive Media. https://disruptivemedia.co.uk/

Erica Schreiner is an experimental video and performance artist based in New York City. She shoots on VHS while performing before the camera. Erica creates allegorical, ethereal video art that combines feminine and anarchistic themes, ritual, and sensuality. Manipulating existing objects or building sets to perform in and film, Erica creates surreal, intimate worlds on VHS video, employing her clearly defined style.Erica received a Bachelor degree in Graphic Design from The Art Institute of Portland. Once in New York, she attended the School of Visual Arts Lens and Screen Art's Residency Program with a full scholarship, and went on to study performance art under the direction of Marina Abramović at MoMA PS1.Erica Schreiner has completed more than 100 performative video art pieces, including two feature films and several music videos. In 2021, Erica received a New York City Artist Corps Grant for her second feature film, The Special People.Erica's work has been exhibited internationally in galleries and film festivals, including The Museum of Modern Art, MoMA PS1, The Bill Hodges Gallery in NYC, Nick Knight's SHOWstudio, Hugh Lane Gallery in Dublin, The Portland Gay and Lesbian Film Festival, and Performance Space New York.Erica is a member of the New York Film-makers' Cooperative (est. 1961) and is on the curatorial committee at Millennium Film Workshop (est. 1967).The Skye Project documentary: https://donate.uniondocs.org/campaigns/skye-4ever/The MoMA curation I've been working on with MM Serra: https://www.moma.org/calendar/film/5807

ContemporaryPerformance.com and the Sarah Lawrence College MFA Theatre Program produce the SLC Performance Lab. During the year, visiting artists to the MFA Theatre Program's Performance Lab are interviewed after leading a workshop with the students. Performance Lab is one of the program's core components, where graduate students work with guest artists and develop performance experiments. Alex Tartarsky is interviewed by Amelia Munson (SLC'26) and Sheridan Merrick (SLC'26) and produced by Julia Duffy (SLC'25) Alex Tatarsky makes performances somewhere in between comedy, poetry, dance-theater, and rant—sometimes with songs. Tatarsky's pieces play with the tension and overlap between written and improvised sequences, careening between known and unknown, set and scored. Drawing on the lineage of the clown, Tatarsky plays with the expectations and power dynamics of a given context, dissolving the fourth wall to respond to what is actually happening in the room, and probing the construction of genre, self, and narrative in real time. Sad Boys in Harpy Land, which premiered in 2023 at Abrons Arts Center in New York, NY, is an adaptation of a German novel about a little boy who wants to change the world through art but isn't very good at it. This narrative collides with other stories of tormented artists during horrific times, moving through the inaction born of anxiety, shame, and overwhelm towards strange and ecstatic modes of re-writing the world together. The performance takes the form of the bildungsroman or development novel—a classic narrative of an individual's linear progress towards becoming a fully integrated member of society—and lets it decay, reveling in the insights of the fragment, the spiral, the wandering, and the broken bits. Sad Boys in Harpy Land was presented again in 2023 by Playwrights Horizons, New York, NY. Tatarsky's other works include MATERIAL, Whitney Biennial, New York, NY (2024); Gnome Core, Glen Foerd, Philadelphia, PA (2023); Dirt Trip, MoMA PS1, Long Island City, NY (2021); Untitled Freakout (Tell Me What To Do), The Kitchen, New York, NY (2021); and Americana Psychobabble, which premiered at La MaMa E.T.C., New York, NY (2016), with subsequent performances as part of the Exponential Festival, Brooklyn, NY (2019); and America(na) to Me, a program celebrating the 90th anniversary season at Jacob's Pillow, Becket, MA (2022). Photo: Maria Baranova

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This episode we are thrilled to be joined by the artist Jessica Rankin. Born in Sydney in 1971, Jessica is known for her vibrant and expansive exploration of the processes of memory, intuition, and interpretation.  For the first part of her career, Jessica produced textile works that adopted methods historically identified with feminine pursuits—embroidery and needlework. She created works featuring 'mental maps' that combined word and image to highlight her ongoing project: a hybrid weaving of personal, fictional and historical voices. In 2016, Jessica turned exclusively to painting, combining gestural abstraction with the sewn mark on raw canvas. These works often take their inspiration from the literature of marginalised voices: of women writers, gay writers or writers of colour. They have included lines of poetry by writers who have inspired Jessica's work, such as Etel Adnan, Paul Celan, and Carl Phillips. Throughout, Jessica has continued to adopt John Cage's adage to ‘be unfamiliar to yourself,” creating a rich and compelling practice that spans multiple media. Jessica has been the subject of numerous solo and group exhibitions including the Palazzo Grassi in Venice, the Whitworth Art Gallery, Manchester, UK, and MoMA PS1 here in New York. Last year, she had a solo show at White Cube in Hong Kong. Jessica is represented by White Cube. https://www.whitecube.com/artists/jessica-rankin Some artists and writers discussed in this episode: David Hammons Coco Fusco Martha Rosler Glenn Ligon Virginia Woolf Olivia Laing Julie Mehretu Lawrence Chua Paul Pfeiffer

Episode No. 682 is a holiday clips episode featuring artist Leslie Martinez. Martinez is included within "Shifting Landscapes," which is at the the Whitney Museum of American Art in New York until January 2026. The exhibition considers how evolving political, ecological, and social issues motivate artists as they address the world around them (which is to say US artists are addressing land and landscape as they have since the days of Ralph Waldo Emerson and Thomas Cole.) The show was curated by Jennie Goldstein, Marcela Guerrero, and Roxanne Smith, with Angelica Arbelaez. Seven previous MAN Podcast guests are in the exhibition, including Robert Adams (Episode No. 41,  227, 555), Teresita Fernández, LaToya Ruby Frazier, An-My Lê, Patrick Martinez, Amalia Mesa-Bains, and Alison Saar. Martinez was previously featured in solo shows at MoMA PS1 in Queens, and the Blaffer Art Museum, University of Houston. Their work is in the collection of museums such as the Dallas Museum of Art, the Pérez Art Museum Miami, and the High Museum of Art, Atlanta. For images, see Episode No. 635. Instagram: Leslie Martinez, Tyler Green.

I am so excited to say that my guest on the GWA Podcast is the renowned German painter, Katharina Grosse. Hailed for her site-specific paintings which she spray-paints onto rocks, walls, landscapes and architecture, Grosse's works explode with luminous colour. Working both indoor and outdoor, she upends all traditions when it comes to painting: dissolving framing devices, vantage points, or a clear indication of where a work begins and ends. Witness one of her all-engulfing work in person, and your perspective constantly shifts: from afar they feel like giant swathes of colour, but up close, details of the paint reveal themselves. Grosse is architect, sculptor and painter all at once. In her words, she aims to ‘reset' what painting is and can be. But while she employs the artforms in the most imaginative and inventive ways, she also gets us to think about their histories and traditions – for example, how we could compare her work to an all-encompassing painted renaissance chapel in Florence, something that became apparent to her on a year abroad to Italy in her youth. Fascinated by colour and light since childhood, Grosse was raised at a pivotal moment in German history. Born in 1961 in Freiberg, West Germany, but often visited family in East Germany, she grew p in a post-Second World War society – when artists were grappling with the identity of German art. As a teen she studied in Cambridge in the UK, before completing her studies at the University of Fine Arts Müster and Fine Arts Dusseldorf. She then went to live in Marseille and Florence, where she was an artist in residence at the Villa Romana… Today, she lives and works in Berlin, and has gone onto have some of the most important, mind-expanding exhibitions of the 21st century – from a installation at the Venice Biennale in 2015, to transforming the Historic Hall of Hamburger Bahnhof; her Colossal takeover at Sydney's Carriageworks and, for MoMA PS1, spray painting reds and whites on a former military site in the Rockaways. Today we meet her at her current exhibition at Gagosian in New York – titled Pie Sell, Lee Slip, Eel Lips – where she is exhibiting an extraordinary collection of works that she calls Studio Paintings – and I can't wait to find out more. -- THIS EPISODE IS GENEROUSLY SUPPORTED BY THE LEVETT COLLECTION: https://www.famm.com/en/ https://www.instagram.com/famm_mougins // https://www.merrellpublishers.com/9781858947037 Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Nada Smiljanic Music by Ben Wetherfield

Ep.221 Shinique Smith. Known for her monumental fabric sculptures and abstract paintings of calligraphy and collage, Smith's personal histories and belongings intertwine with thoughts of the vast nature of ‘things' that we consume, cherish, gift, and discard and how these objects resonate on intimate and social scales. Over the last twenty years, Smith has gleaned visual poetry from textiles and explored concepts of ritual using breath, bunding and mark-making as tools toward abstraction. Her layered works range from palm-sized bundled microcosms to monolithic bales to massive chaotic paintings that contain vibrant and carefully collected mementos from her life. Smith's practice operates at the convergence of consumption and spiritual sanctuary, balancing forces and revealing connections across space and time, race, gender, and place to suggest the possibility of new worlds. Born in Baltimore, MD, currently residing in Los Angeles, California, Smith has received awards and prizes from Joan Mitchell, the Tiffany Foundation, Anonymous Was a Woman and the American Academy of Arts and Letters among others. Her work has gained attention through her participation in celebrated biennials and group exhibitions including the 13th Bienal de Cuenca and 8th Busan Biennale; Frequency at the Studio Museum in Harlem, 30 Americans organized by the Rubell Family Collection, UnMonumental at the New Museum and Hauser + Wirth LA's Revolution in the Making. Smith's work has also been exhibited and collected by other prestigious institutions such as the Baltimore Museum of Art; Brooklyn Museum of Art; California African American Museum, Denver Art Museum, the Frist, Indianapolis Museum of Art at Newfields, Los Angeles County Museum of Art, Minneapolis Art Institute, MOMA PS1, Museum of Fine Arts, Boston, Musée d'art contemporain de Montréal, Nerman Museum of Contemporary Art, SCAD, the Ringling Museum of Art, the Whitney and the Guggenheim. Photo credit: Courtesy of the artist Artist https://www.shiniquesmith.com/ moniquemeloche https://www.moniquemeloche.com/artists/207-shinique-smith/biography/ https://www.moniquemeloche.com/exhibitions/218-collage-culture/press_release_text/ The Phillips Collection https://www.phillipscollection.org/event/2024-07-06-multiplicity The Ringling Museum https://www.ringling.org/event/shinique-smith-parade/ SRQ https://www.srqmagazine.com/srq-daily/2023-12-01/23073_The-Ringling-Presents-Shinique-Smith-Parade Hyperallergic https://hyperallergic.com/552240/meet-las-art-community-sharing-inspiration-with-people-of-color-has-always-been-a-priority-for-shinique-smith/ Centure for Maine Contemporary Art https://cmcanow.org/event/shinique-smith-continuous-poem/ Newfields https://discovernewfields.org/Shinique-Smith-Torque Guggenheim https://www.guggenheim.org/exhibition/by-way-of-material-and-motion-in-the-guggenheim-collection Kemper Museum of Contemporary Art https://www.kemperart.org/program/artist-talk-shinique-smith Products | For Freedoms https://checkout.forfreedoms.com/products/by-the-light-2024 ICASF https://www.icasf.org/exhibitions/16-the-poetics-of-dimensions See Great Art https://www.seegreatart.art/shinique-smith-artworks-displayed-with-european-masterpieces-at-ringling-museum/ Visit Indy https://www.visitindy.com/event/shinique-smith-torque/158358/ Guild Hall https://www.guildhall.org/events/ring-the-alarm-a-conversation-with-shinique-smith-renee-cox/ AWARE https://awarewomenartists.com/en/artiste/shinique-smith/ Flora Animalia https://floraanimalia.com/blogs/news/shinique-smith?srsltid=AfmBOorqjJTBqroKRSW96gcOjCXK374pQUKNseNnhQ1A0rZNtRrOdoaj

In this episode, artists Meghann Riepenhoff and Penelope Umbrico chat with MoCP curator, Kristin Taylor. The two artists discuss their backgrounds and shared interests in experimenting and pushing the indexical qualities of photography, as well as the work of Alison Rossiter and Joanne Leonard.Meghann Riepenhoff is most well-known for her largescale cyanotype prints that she creates by collaborating with ocean waves, rain, ice, snow, and coastal shores. She places sheets of light-sensitized paper in these water elements, allowing nature to act as the composer of what we eventually see on the paper. As the wind driven waves crash or the ice melts, dripping across the surface of the coated paper, bits of earth sediment like sand and gravel also become inscribed on the surface. The sun is the final collaborator, with its UV rays developing the prints and reacting with the light sensitizing chemical on the paper to draw out the Prussian blue color. These camera-less works harness the light capturing properties of photographic processes, to translate, in her words, “the landscape, the sublime, time, and impermanence.” Rieppenhoff's work has been featured in exhibitions at the High Museum of Art, the Museum of Fine Arts Boston, the Denver Art Museum, the Portland Museum of Art, Crystal Bridges Museum of Art, among many others. Her work is held in the collections of the High Museum of Art, the Museum of Fine Arts Houston, Harvard Art Museum, Amon Carter Museum of American Art, and the San Francisco Museum of Modern Art. She has published two monographs: Littoral Drift + Ecotone and Ice with Radius Books and Yossi Milo Gallery. She was an artist in residence at the Banff Centre for the Arts and the John Michael Kohler Center for the Arts, was an Affiliate at the Headlands Center for the Arts, and was a 2018 Guggenheim Fellow.Penelope Umbrico examines the sheer volume and ubiquity of images in contemporary culture. She uses various forms of found imagery—from online picture sharing websites to photographs in books and mail order catalogs—and appropriates the pictures to construct large-scale installations. She states: "I take the sheer quantity of images online as a collective archive that represents us—a constantly changing auto-portrait." In the MoCP permanent collection is a piece titled 8,146,774 Suns From Flickr (Partial) 9/10/10. It is an assemblage of numerous pictures that she found on the then widely used image-sharing website, Flickr, by searching for one of its most popular search terms: sunset. She then cropped the found files and created her own 4x6 inch prints on a Kodak Easy Share printer. She clusters the prints into an enormous array to underscore the universal human attraction to capture the sun's essence. The title references the number of results she received from the search on the day she made the work: the first version of the piece created in 2007 produced 2,303,057 images while this version from only three years later in 2010 produced 8,146,774 images. Umbrico's work has been featured in exhibitions around the world, including MoMA PS1, NY; Museum of Modern Art, NY; MassMoCA, MA; San Francisco Museum of Modern Art, CA; Milwaukee Art Museum, WI; The Photographers' Gallery, London; Daegu Photography Biennale, Korea; Gallery of Modern Art, Brisbane Australia; among many others, and is represented in museum collections around the world. She has received numerous awards, including a Guggenheim Fellowship; Sharpe-Walentas Studio Grant; Smithsonian Artist Research Fellowship; New York Foundation of the Arts Fellowship; Anonymous Was a Woman Award. Her monographs have been published by Aperture NYC and RVB Books Paris. She is joining us today from her studio in Brooklyn, NY.

Episode No. 669 is a summer clips episode featuring artist Tammy Nguyen. This late summer and fall Nguyen will be featured in two institutional exhibitions, one a solo show and the other a group show. On October 4, the Sarasota (Fla.) Art Museum will present "Tammy Nguyen: Timaeus and the Nations." The show was curated by Rangsook Yoon. On September 4 the Cantor Arts Center at Stanford University will present "Spirit House." It's an examination of how contemporary artists of Asian descent challenge the boundary between life and death through art. It was curated by Aleesa Pitchamarn Alexander with Kathryn Cua. Nguyen was a recipient of a 2023 Guggenheim fellowship, and has exhibited at museums such as MoMA PS1, the Metropolitan Museum of Art, The Factory Contemporary Arts Center in Ho Chi Minh City, Vietnam, and more. Her work is in the collection of museums such as the Institute of Contemporary Art Miami and the Dallas Museum of Art. This program was taped in 2023 on the occasion of her first museum solo exhibition, at the Institute of Contemporary Art, Boston. She is also the founder of Passenger Pigeon Press, an artists' book publisher. For images, see Episode No. 625B.

Episode No. 667 is a summer clips episode featuring artist Melissa Cody. MoMA PS1 is presenting "Melissa Cody: Webbed Skies," through September 9. The exhibition features over 30 weavings and a new work. It was curated by Isabella Rjeille and Ruba Katrib. Cody, a fourth-generation Navajo weaver, creates tapestries from traditional techniques that engage both ancestral and contemporary ideas and forms. Her work is partly informed by the Germantown style, developed in the nineteenth century by weavers who used industrially dyed yarns produced in Germantown, Pennsylvania and shipped west to be used by Diné weavers. Cody's work has been included in exhibitions at the Crystal Bridges Museum of American Art, Bentonville, Ark., the National Gallery of Canada, Ottawa, SITE Santa Fe, the Institute of American Indian Arts, and more. This program was taped on the occasion of Cody's inclusion in the 2023 Hammer Museum "Made in LA" biennial. For images, see Episode No. 623. Instagram: Melissa Cody, Tyler Green.

Land art, the movement which emerged in the 1960s and 70s with artists such as Robert Smithson, Nancy Holt, and Michael Heizer erecting monumental works in far-flung destinations, is widely regarded for its engagement with the environment and its elements. These remarkable installations are crafted in concert with the Earth, meant to evolve as sun, storms, and seasons weather them continuously over time. But what if you homed in on the core of this concept, creating sweeping land artworks in ways and places where they would be truly temporary, imprints made for a moment before disappearing back into the Earth? This is the crux of California-based artist Jim Denevan's dynamic practice, which involves interacting with topographies and terrains to craft ephemeral compositions that play with the impermanence of our ever-changing world. Since the mid-1990s, Denevan has traversed the globe creating unfathomably massive works in sand, earth, and ice, often using no more than a rake, stick, or even the soles of his feet. He has etched miles-long Fibonacci circles in Siberia's frozen Lake Baikal, drawn shore-spanning spirals in San Francisco's Ocean Beach, and sculpted concentric rings of sand mounds at international public art exhibitions Desert X AlUla in Saudi Arabia and Manar Abu Dhabi. His work has been featured in institutional shows at MoMA PS1, the Peabody Essex Museum, and the Yerba Buena Center for the Arts, as well as the Oscar long-listed documentary Man in the Field, which explored Denevan's artistic career and his culinary trajectory as the founder of Outstanding in the Field, a roving restaurant set where food is sourced to connect diners with the origins of their meals. This spring, Artnet collaborated with Denevan on an original project, titled “You Only Live Once,” showcasing the all-new 2024 Lexus GX alongside the artist bringing to life an incredible land artwork in Lake Harper north of Los Angeles. Taking the shape of the universal number “1,” the more than quarter-mile piece is a dramatic testament to making the most of our time on this Earth by confidently pursuing our curiosities and drive for adventure.

Welcome to Season 5 of The Art Career where we sit down with Sienna Fekete at The Lower East Side Girls Club. Sienna Fekete is a Curator and Educator based in New York City with a background in radio, podcasting, and music. She is currently the Senior Arts Manager at The Lower Eastside Girls Club. Additionally, she is the curator of The Community Cookbook project volumes 1-3, was the 2021–2022 Curatorial Fellow at The Kitchen, was the host of the Points of View podcast via Cultured Magazine, and and was a Co-founder of Chroma, a cultural agency and creative studio centering on the work and perspectives of women of color. She looks forward to creating more women of color-led initiatives, producing audio projects, spearheading public programming and educational opportunities, growing her practice as a curator, and building collectively with her community. She has worked with BBC Radio 1 and 1Xtra, On Air Fest, Red Bull Arts, NTS, The Lot Radio, StoryCorps, Top Rank Magazine, Domino Sound, SiriusXM, Adidas, Nike, CultureHub, AnOther Magazine, BOMB Magazine, Dazed Magazine, Awake NY, Knockdown Center, Abrons Art Center, Glossier, The Standard, Calvin, Klein, Silica Magazine, Sky High Farm, Ethel's Club, Buffalo Zine, 8 Ball Community, Documenting the Nameplate, POWRPLNT, TXTbooks, Park Avenue Armory, The New Museum, The Public Art Fund, The Studio Museum in Harlem, MoMa, MoMA PS1, Printed Matter, The Community Paris, The Guggenheim, and The Museum of Contemporary Art, Los Angeles. theartcareer.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Sienna Fekete: @sii_sii The Lower Eastside Girls Club @girlsclubny Follow us: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@theartcareer⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Podcast host: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@emilymcelwreath_art⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Editing: ⁠⁠⁠⁠⁠⁠⁠⁠⁠@benjamin.galloway⁠

Rudy has a show up and we are releasing this episode for 2016 on the occasion. KATES-FERRI PROJECTS is delighted to present Rudy Shepherd's first solo exhibition with the gallery, THE GOLDEN AGE, from April 3 to May 5, 2024, with a reception on Friday, April 5, from 6:00 PM to 8:00 PM at their 561 Grand Street space. This collection of acrylic on canvas paintings evolves from Shepherd's ongoing portrait series and delves into the visual culture of the golden age of hip-hop in the 1980s and 1990s, a period of tremendous innovation and stylistic experimentation in the genre. The artist renders intricate portraits of legendary musicians from iconic publicity photos and album covers, crafting massive 3' by 4' and 4' by 4' works that display the bravado and opulence of hip-hop while also interrogating it, prompting the viewer to reflect on the many meanings embedded in hip-hop imagery and music. Rudy Shepherd received a BS in Biology and Studio Art from Wake Forest University and an MFA in Sculpture from the School of Art Institute of Chicago. He has been in solo exhibitions at Aldrich Museum of Contemporary Art, CT, Latchkey Gallery, NY, Mixed Greens Gallery, NY, Smack Mellon, Brooklyn, NY, Regina Miller Gallery, Carnegie Mellon University, Pittsburgh, PA and group exhibitions at MoMA PS1, NY, The Studio Museum in Harlem, NY, Bronx Museum of Art, NY, Art in General, NY, Triple Candie, NY, Socrates Sculpture Park, NY, Cheekwood Museum of Art, TN, Contemporary Museum, Baltimore, MD, Aldrich Museum of Contemporary Art, CT, Southeastern Center of Contemporary Art, NC, Museum of Science and Industry, Chicago, IL, Tart Gallery, San Francisco, CA and Analix Forever Gallery, Geneva, Switzerland. He has been awarded Artist in Residence at PS1 National/International Studio Program, PS1 Contemporary Art Center, Long Island City, NY, Artist in Residence Visual + Harlem, Jacob Lawrence Institute for the Visual Arts, New York, N, Emerging Artist Fellowship, Socrates Sculpture Park, Long Island City, NY, Artist in Residence, Location One, NY, Process Space Artist in Residence Program Governors Island, Lower Manhattan Cultural Council, New York, NY. He has done public art projects on the campus of Carnegie Mellon University, Pittsburgh, PA, Penn State University, PA at Socrates Sculpture Park, Long Island City, NY, First Street Green Art Park, New York, NY and the Three Rivers Arts Festival, Pittsburgh, PA in 2015 and in Harlem in collaboration with the Studio Museum in Harlem.

Mic and Jenny work on their art practice with painter Phillip Gabriel. C O M E S E E U S L I V E https://www.eventbrite.com/e/hack-city-comedy-with-mic-nguyen-and-jenny-arimoto-tickets-814182952127F O L L O W U Shttps://www.instagram.com/asiannotasianpodhttps://www.instagram.com/nicepantsbrohttps://www.instagram.com/jennyarimoto/P A T R E O Nhttps://www.patreon.com/asiannotasianpod P A R T N E R S - Thanks to the U.S Department of Health and Human Services for making this episode happen visit vaccines.gov-Experience Magic mind, use code "asian20" to get 40% off at magicmind.co/asian- BETTER HELP: This episode is sponsored by BetterHelp. Give online therapy a try at betterhelp.com/asian and get on your way to being your best self. Get 10% off your first month by visiting our sponsor at BetterHelp.com/asian- EXPRESS VPN: 3 Months free at expressvpn.com/asian- EARNIN - Download the Earnin app today in the Google Play or Apple App store. Be sure to write in "Asian" under PODCAST when you sign up. - Helix Sleep Mattress: $125 off ALL mattress orders for ANALs at helixsleep.com/asian - Hawthorne.co is offering 10% off of your first purchase! Visit hawthorne.co and use PROMO CODE “NOTASIAN” - TUSHY Bidets: Go to hellotushy.com/ANA for 10% off!- THE SCRIPPS RESEARCH INSTITUTE: www.joinallofus.org/asiannotasian- HBO MAX: http://hbom.ax/ana2- FUNDRISE: Fundrise.com/asian- SANZO: DrinkSanzo.com and use promo code “ASIANNOTASIAN”- TruBill: Truebill.com/Asian- Quip: GetQuip.com/Asian- Athletic Greens: Athleticgreens.com/asiannotasian - Shopify: Shopify.com/asian - Manscaped: Get 20% Off and Free Shipping with the code ASIAN- Big Brother Big Sister: https://bit.ly/30zQZan- Nutrafol: www.nutrafol.com (Promo code: Asian)- Sesanood: www.sesanood.com (Promo code: AsianNotAsian)See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Episode No. 635 of The Modern Art Notes Podcast features artist Leslie Martinez and curator Anthony Graham. MoMA PS1 in Queens is presenting "Leslie Martinez: The Fault of Formation," through April 8. The exhibition features paintings built with paint, folds, pools, and collaged materials such as rags and dried acrylics. Martinez's way of making paintings both mines the history of abstraction, but also a no-waste approach informed by methodologies of rasquachismo, a term coined by scholar Tomás Ybarra-Fausto to describe a Chicano "attitude rooted in resourcefulness yet mindful of stance and style." The show was curated by Elena Ketelsen González. Martinez was previously featured in a solo show at the Blaffer Art Museum, University of Houston. Their work is in the collection of museums such as the Dallas Museum of Art, the Pérez Art Museum Miami, and the High Museum of Art, Atlanta. The Speed Art Museum in Louisville is showing Martinez's work in "Current Speed: Angel Otero/Leslie Martinez" through March 24. The exhibition features works by the two artists that are new to the Speed's collection. The presentation was organized by Tyler Blackwell. On the second segment, a re-presentation of curator Anthony Graham on the Alexis Smith retrospective he organized at the Museum of Contemporary Art San Diego in 2022. Smith died earlier this week. She was 74. For images, see Episode No. 568.