Dutch painter
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5 episodes with mondrian
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3 episodes with mondrian
2 episodes with mondrian
2 episodes with mondrian
2 episodes with mondrian
5 episodes with mondrian
On this episode I'm joined by Michelle Kuo, Chief Curator at Large and Publisher, of the MoMA, as we discuss Jack Whitten: The Messenger, the first comprehensive retrospective dedicated to the groundbreaking art of Jack Whitten (American, 1939–2018). The exhibition showcased more than 175 works from the 1960s to the 2010s, including paintings, sculptures, rarely shown works on paper, and archival materials to explore the depth and breadth of Whitten's near six-decade career. The show was critically acclaimed, and emotionally impactful. In the episode, Kuo describes the collaborative and intensive five-year process involved in curating the exhibition, highlighting Whitten's innovative approaches to art, his engagement with technology, and the deep emotional and historical context in his work. As Kuo describes Whitten's work alongside canonical figures such as Rothko, Picasso, and Mondrian, she more importantly references the ways in which he reconfigured art history and the abstract expressionist movement with the use of new tools and techniques. Whitten's oeuvre is marked by a courageous and uncompromising vision to resist the pressures of conformity, and instead carve his own path through abstraction. This episode emphasizes Whitten's visionary nature and the lasting legacy of his art, which continues to inspire and move audiences.Thank you to our hosts WSA Podcast Studios. --------------------------------- Follow & Subscribe Website - Sign up for the Light Work newsletter https://lightworkco.com/ Instagram - Follow Light Work on Instagram https://www.instagram.com/sadeolo/https://www.instagram.com/lightworkcompany/ YouTube - Subscribe to the Light Work YouTube Channel www.youtube.com/@lightworkco
From intentionally acclaimed hotel openings to the cities annual arts festival, the Gold Coast is more than lifestyle, it's culturally dynamic & engaging-stay tuned for Ken Done's exhibition ‘No Rules' opening at HOTA next month.
Cette semaine sur Bordeaux Stories, on part à la découverte d'un univers aussi discret qu'exigeant : celui de l'hôtellerie de luxe.Et pour nous guider dans cet univers d'excellence, un invité de choix : Maxime BLOT. 2ème lauréat dans l'histoire des Meilleurs Ouvriers de France dans la Classe Réception, Bordelais d'adoption depuis quelques années, il nous ouvre les coulisses d'un secteur où chaque détail compte.Pendant 1h30, Maxime nous partage son parcours, mais aussi ses anecdotes :recrutement improvisé avec un Directeur Général de palacehôtel plein à craquer de chefs d'état avec un accueil armé à la sortie de l'ascenseurgestion de clients venus avec... des faucons de chasse !on parle des différences entre les attentes d'un touriste américain, d'un japonais et celles d'un Bordelais en week-end,il répond pour nous à la question : Beyoncé a-t-elle fait venir des tigres dans sa chambre ?ou encore on évoque la privatisation du week-end de Jay-Z, Rihanna et Kris Jenner aux Sources de CaudalieUn vrai voyage dans les codes, les cultures du monde, et les coulisses du service haut de gamme.Ensemble, on vous embarque pour un tour d'horizon des plus belles adresses de Bordeaux et de la région : le Grand Hôtel, le Mondrian, Ha(a)ïtza, La Corniche, Caudalie.Alors que vous soyez curieux d'en savoir plus sur ce secteur d'excellence, amateur de belles tables, ou juste en quête d'inspiration pour votre prochain week-end bordelais, cet épisode est pour vous !Allez, on boucle sa valise, on règle son check-out, et on part pour une immersion d'une heure dans les coulisses de l'hôtellerie de luxe à Bordeaux. Go !Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.
Unpack the unique and demanding world of Special Forces medical operations with our guest, Sergeant First Class Mo Bogert, an Army 18 Delta Special Forces medic. This episode promises an enlightening journey through predictive medicine, the vital skill set for prolonged casualty care, and the transformative role of telemedicine in combat scenarios. Mo shares his personal story of resilience and adaptability, offering invaluable advice for new medics stepping into this challenging field, and paints a vivid picture of the complexities and decisions that define the life of a Special Forces medic. Our conversation ventures into the heart of field medic training and the integration of telemedicine in austere environments, especially during prolonged field care situations. Discover how early and consistent vitals tracking can become a lifeline in identifying life-threatening conditions and making difficult resource allocation decisions. We explore the synergy of telemedicine and traditional methods, showcasing how this blend enables medics to perform better under pressure and prioritize patient care effectively in some of the toughest military environments. Explore with us the dynamic nature of military medical training and operations. Mo shares insights from organizing a medical symposium at the National Training Center, detailing the need for medics to think beyond conventional protocols. From navigating "care under fire" scenarios to understanding the significance of collaboration among Special Operations medics, this episode underscores the importance of resilience, training, and strategic adaptability. As we wrap up, we extend our gratitude to listeners and invite them to support War Docs, a nonprofit dedicated to sharing gripping stories from the intersection of war and medicine. Chapters: (00:03) Special Forces Medic Challenges and Training (10:39) Field Medic Training and Telemedicine Integration (16:03) Integrating Medical Training in Special Operations (28:23) Medic Training and Evacuation Scenarios (39:52) Combat Medic Training and Priorities (45:42) Resilience and Realism in Medic Training (54:32) Building Resilience and Adaptability in Medics (01:00:52) Military Medic Training and Career Journey Chapter Summaries: (00:03) Special Forces Medic Challenges and Training An Army 18 Delta Special Forces medic, SFC Bogert shares insights on predictive medicine, prolonged casualty care, and the importance of realistic training. (10:39) Field Medic Training and Telemedicine Integration Discusses challenges and strategies in prolonged field care, including early vitals tracking and the role of telemedicine. (16:03) Integrating Medical Training in Special Operations Telemedicine supports Special Forces medics in challenging scenarios, aids in objective assessment, and highlights the need for better coordination and understanding of medical protocols. (28:23) Medic Training and Evacuation Scenarios Nature's adaptability in military medical training and operations, emphasizing critical decision-making and unconventional methods for success. (39:52) Combat Medic Training and Priorities Prioritizing fire superiority and self-care, TCCC training, clear roles, and advance planning are crucial for effective care under fire. (45:42) Resilience and Realism in Medic Training Training military medics in conventional forces faces challenges and limitations, but efforts are made to simulate realistic combat scenarios. (54:32) Building Resilience and Adaptability in Medics Resilience, flexibility, and foresight are crucial in medical and military contexts, along with adaptability and continuous planning. (01:00:52) Military Medic Training and Career Journey Military medicine in Special Forces requires flexibility, adaptability, and personal growth, with a focus on embracing discomfort for professional development. Take Home Messages: Resilience and Adaptability: The episode emphasizes the critical importance of resilience and adaptability for military medics, especially those operating in Special Forces. The ability to navigate unpredictable environments and adjust to changing conditions is crucial for both personal and professional growth in high-stakes scenarios. Predictive and Telemedicine: The integration of predictive medicine and telemedicine in combat situations is highlighted as a game-changer. These technologies enhance decision-making and patient care, allowing medics to anticipate future medical needs and provide support over prolonged periods, which can be lifesaving in austere environments. Comprehensive Training: The podcast delves into the depth and intensity of training required for Special Forces medics, underscoring the necessity of mastering both basic and advanced medical skills. This comprehensive training prepares medics to handle complex scenarios, from trauma management to prolonged field care, effectively transforming them into versatile medical managers. Collaboration and Innovation: The episode discusses the importance of fostering collaboration and innovative thinking among military medics. Symposiums and joint training exercises are vital for sharing knowledge, integrating different medical protocols, and enhancing overall medical support in demanding environments. Role of Non-Medics: The podcast highlights the essential role of non-medically trained personnel in combat care. Effective cross-training ensures that team members can perform basic medical interventions, thereby supporting medics in managing casualties and maintaining optimal patient care during critical situations. Episode Keywords: Special Forces Medic, Army 18 Delta, Military Medicine, Telemedicine in Combat, Predictive Medicine, Combat Care, Prolonged Field Care, Battlefield Medicine, Military Training, Resilience and Innovation, Mo Bogert, National Training Center, Care Under Fire, Military Medics, Combat Medic Challenges, Military Podcast, War Docs Podcast, Military Medical Symposiums, Medic Resilience, Tactical Medicine, Evacuation Scenarios Hashtags: #MilitaryMedicine #SpecialForces #Telemedicine #PredictiveMedicine #CombatCare #Resilience #InnovationInMedicine #ProlongedFieldCare #MilitaryTraining #WarDocsPodcast Honoring the Legacy and Preserving the History of Military Medicine The WarDocs Mission is to honor the legacy, preserve the oral history, and showcase career opportunities, unique expeditionary experiences, and achievements of Military Medicine. We foster patriotism and pride in Who we are, What we do, and, most importantly, How we serve Our Patients, the DoD, and Our Nation. Find out more and join Team WarDocs at https://www.wardocspodcast.com/ Check our list of previous guest episodes at https://www.wardocspodcast.com/our-guests Subscribe and Like our Videos on our YouTube Channel: https://www.youtube.com/@wardocspodcast Listen to the “What We Are For” Episode 47. https://bit.ly/3r87Afm WarDocs- The Military Medicine Podcast is a Non-Profit, Tax-exempt-501(c)(3) Veteran Run Organization run by volunteers. All donations are tax-deductible and go to honoring and preserving the history, experiences, successes, and lessons learned in Military Medicine. A tax receipt will be sent to you. WARDOCS documents the experiences, contributions, and innovations of all military medicine Services, ranks, and Corps who are affectionately called "Docs" as a sign of respect, trust, and confidence on and off the battlefield,demonstrating dedication to the medical care of fellow comrades in arms. Follow Us on Social Media Twitter: @wardocspodcast Facebook: WarDocs Podcast Instagram: @wardocspodcast LinkedIn: WarDocs-The Military Medicine Podcast YouTube Channel: https://www.youtube.com/@wardocspodcast
13 février 2025Rencontre avec Claudio D'AURIZIO autour de Gilles DeleuzeEn conversation avec Daniela ANGELUCCI et Fabrizio PALOMBIClaudio D'Aurizio est auteur de l'essai Una filosofia della piega éditions Mimesis et traducteur de Sulla pittura éditions EinaudiUna filosofia della piega - Saggio su Gilles DeleuzeL'ouvrage retrace rétroactivement l'ensemble du parcours philosophique de Gilles Deleuze (1925-1995) à la lumière du concept de pli, et se divise en deux parties qui abordent, sous des angles différents, la fonction de cette notion dans l'évolution de sa pensée. Una filosofia della piega offre au lecteur un riche parcours théorique qui participe au débat sur l'héritage et la pertinence de la pensée de l'un des plus importants intellectuels français du XXe siècle.Sulla pittura - Corso marzo-maggio 1981Par David LapoujadeTraduction de Claudio D'AurizioDe 1970 à 1987, Gilles Deleuze a enseigné un cours hebdomadaire de philosophie à l'Université expérimentale de Vincennes, transférée à Saint-Denis en 1980. Les huit conférences données par le philosophe français entre mars et juin 1981, transcrites et annotées dans ce volume, sont entièrement consacrées au problème de la peinture. Cézanne, Van Gogh, Michel-Ange, Turner, Klee, Mondrian, Pollock, Bacon, Delacroix, Gauguin ou Caravage constituent pour Deleuze autant d'occasions de discuter de concepts philosophiques fondamentaux tels que code, diagramme, figure, analogie, modulation. Avec ses étudiants, le philosophe français repense radicalement les concepts qui constituent habituellement la base de notre compréhension de l'activité créatrice des peintres.Claudio D'Aurizio est titulaire d'un doctorat en études humanistes en co-direction de l'Université de Calabre et de l'Université de Reims Champagne-Ardenne. Professeur de philosophie théorique à l'Université de Calabre, secrétaire de rédaction de la revue L'inconscio, il a traduit David Lapoujade, Deleuze. Mouvements aberrants (2020) et Alain Badiou, Nietzsche. Antiphilosophie 1 (2022). Il traite de la philosophie moderne et contemporaine et de son intersection avec la littérature, la psychanalyse, l'art.Daniela Angelucci enseigne l'esthétique à l'Université de Roma Tre. Ses principaux domaines d'intérêt comprennent la théorie de l'image et la philosophie du cinéma.Fabrizio Palombi est professeur associé de philosophie théorique à l'Université de Calabre, professeur à l'Institut pour la clinique des liens sociaux et directeur de L'inconscio.
La reciente venta de un cuadro de Mondrian por 47 millones de dólares sorprendió ayer a la casa de apuestas Christie's y contrasta con las cifras de un mercado en contracción. Lo analizamos en Hora 25 de los Negocios.
La reciente venta de un cuadro de Mondrian por 47 millones de dólares sorprendió ayer a la casa de apuestas Christie's y contrasta con las cifras de un mercado en contracción. Lo analizamos en Hora 25 de los Negocios.
La reciente venta de un cuadro de Mondrian por 47 millones de dólares sorprendió ayer a la casa de apuestas Christie's y contrasta con las cifras de un mercado en contracción. Lo analizamos en Hora 25 de los Negocios.
La reciente venta de un cuadro de Mondrian por 47 millones de dólares sorprendió ayer a la casa de apuestas Christie's y contrasta con las cifras de un mercado en contracción. Lo analizamos en Hora 25 de los Negocios.
Viaxamos ao París dos anos 20, para descubrir algo máis sobre a Historia da Arte Contemporánea, seguindo a guia das obras seleccionadas polo grupo de Historia de Arte da CIUG para as probas PAU. Obras- Composición número I con vermello e azul, de Piet Mondrian. Serie: Historia da Arte Contemporánea, Historia da Arte, 2º de Bacharelato. Músicas:Sintonía (Creative Commons Attribution 3.0): District Four, de Kevin MacLeod (https://incompetech.com), Temptation March, de Jason Shaw (http://audionatix.com). Episodio: Take Off, de Andy Kirk e orquestra.Este pódcast está baixo a licencia CC BY-NC 4.0. Máis recursos en: facemoshistoria.gal
THESE ARE NOTES ON THE EPISODE - NOT THE TEASER!
Viel Privates und Pseudo-Privates von und über Harald Schmidt. Sein erster Klammerblues. Seine Büro-Tasse garantiert kein Mondrian! Und Suzana? Mal wieder genial.
El cierre de la entrevista en Mondrian Mexico City Condesa con Ulises Reyes. ¿Cómo llegas a ser director de Marketing y Ventas? Nos contó su paso por la venta offline, telefónica, la transformación digital... ¡Entérese de todo dando click aqui!
Para conocer la experiencia, nada como para ir a ver. Ulises nos da un brevísimo recorrido por la experiencia de lujo que te espera en el Hotel Mondrian.
Llega a #LosDioses187 Ulises Reyes, nada más y nada menos que el Sales and Marketing Director de Hotel Mondrian, la firma de lujo en hospitalidad. ¡Nos fuimos hasta el Sky Bar para entrevistarlo!Ulises Reyes es un profesional de la industria del hospedaje de lujo. Con más de 20 años de carrera, ha colaborado en las empresas y marcas de mayor prestigio en el mundo de la hotelería: Hilton Worlwide, Grupo Presidente, Fairmont Mayakoba, Belmond, The Luxury Collection y Numu Boutique Hotel, propiedad de Hyatt. Desde 2023, es el Sales and Marketing Director de Mondrian Mexico City, la primer marca de Ennismore en tener presencia en México (tiene hoteles en Cannes, Doha, Hong Kong, Ibiza, Los Angeles, Seoul, Singapore, SouthBeach). Tiene un Master en Marketing Strategy por la Universidad en Cornell, y una Especialización en Marketing and Hotel Sales por el ITESM.#LosDiosesDelMarketing es una producción básica para Genio.soy
Fabriano Fabbri"La voce del diavolo"L'arte contemporanea e la moda.Einaudi Editorewww.einaudi.itNel lungo arco della contemporaneità, l'arte del vestire ha sedotto il corpo per liberarlo da disagi e inibizioni, lo ha accarezzato per divorarne le energie, lo ha spinto oltre i suoi limiti per urlare al mondo «la voce del diavolo», come scriveva William Blake: lo ha protetto con cura per reciderlo dai lacci della morale e del perbenismo. Fabriano Fabbri rilegge la storia dell'arte dalla fine del Settecento agli anni Duemila usando come metronomo le funamboliche evoluzioni del guardaroba di ieri e di oggi, fra i tumulti della tecnologia e le tempeste della rivoluzione sessuale.Moda e arte vivono di intrecci senza fine, di trame a doppio filo, di storie nelle storie che incantano, che sorprendono, che illudono e divertono. Nelle sue frenetiche rapsodie creative, ogni stile indumentale ha stretto da sempre un accordo di alleanza con i movimenti artistici piú noti al grande pubblico, dal Neoclassicismo alla Pop art. Eppure, in pochi conoscono le spinte sotterranee che animano moda, pittura e scultura, in pochi afferrano le ragioni profonde che spingono le une fra le braccia dell'altra. Quante volte abbiamo incontrato la parola «Minimalismo » curiosando fra rete e riviste? Quante volte abbiamo sentito parlare di Dalí e Schiaparelli o di Mondrian e Saint Laurent? E i colorati parei di Gauguin, quanto li abbiamo visti fra le pitture tropicali del simbolista francese e la sua impudica «casa del piacere»? E poi, ancora, chi non ha presente le danzatrici di Canova o la Madame Récamier di David in provocanti «vesti di velo», per rubare le parole al «Divin marchese» de Sade?«Vèstiti, cosí alla sdrucciola, potrebbe suonare come un imperativo, un invito piú o meno scoperto a dare un tocco di ricercatezza agli ingredienti del nostro stile. Oppure potrebbe essere un sostantivo: vestíti intesi come abiti, come capi d'abbigliamento, come divise, come fogge. Infine, vestíti, participio passato di vestire. Sia quel che sia, quando ci copriamo di tessuti non stiamo avvolgendo il corpo per semplice necessità di decoro e protezione: stiamo indossando le forme – le tele? – di Picasso e di Chanel, se ci infiliamo in un rettangolo; ci stiamo abbigliando con le visioni di Turner o Pollock quando i tessuti sono sdruciti, grinzosi e caotici; siamo invece avvolti dall'ironia di Duchamp se il nostro look è sofisticato, insolito, a volte street – come ci insegna Virgil Abloh. E siccome la storia dell'arte e del costume è sempre una storia di spazio e di volumi, partiremo proprio dall'amplesso mai interrotto fra gli artisti e gli stilisti del nostro tempo. Sia chiaro, è fin troppo ovvio mettere le mani in avanti, spiegare a mo' di preambolo che il primo impatto con un'opera d'arte o con un'opera vestimentaria coinvolge l'interezza della nostra sfera emotiva, del gusto e della personalità, delle cose che semplicemente “ci piacciono” cosí, in via istintiva; ma se vogliamo entrare nel merito dei valori che favoriscono uno stile piuttosto che un altro per capirne a fondo il senso culturale, spazio e volume sono le materie prime di un approccio obiettivo, il piú fedele possibile al nostro oggetto di interesse. E nel farlo sarà fondamentale tenere ben salda la distinzione tra le forme della modernità e le forme del contemporaneo».Fabriano Fabbri insegna Stili e arti del contemporaneo, Forme della moda contemporanea e Contemporary fashion all'Università di Bologna. È autore di numerose monografie su arte e moda, tra cui Sesso arte rock'n'roll, Atlante, Bologna 2006; Lo zen e il manga, Bruno Mondadori, Milano 2009; Boris Bidjan Saberi. 11, Atlante, Bologna 2013; L'orizzonte degli eventi, Atlante, Bologna 2013; Angelo Marani, Atlante, Bologna 2015. Per Einaudi ha pubblicato La moda contemporanea. Arte e stile da Worth agli anni Cinquanta (2019), La moda contemporanea. Arte e stile dagli anni Sessanta alle ultime tendenze (2021) e La voce del diavolo. L'arte contemporanea e la moda (2024).IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.
Programa de regreso tras el parón vacacional, y como venimos con las pilas bien cargadas, os ofrecemos muchos y variados contenidos. De hecho, las tres piezas que compondrán el programa serán totalmente nuevas. Y la primera será una entrega de Por los Dioses con Sergio Alejo y Ángel Portillo hablándonos de la Guerra, en mayúscula, en la antigua Grecia. Lo harán como preámbulo para el viaje que ambos realizarán con Grupeando Tour del 27 al 31 de marzo. Podéis sumaros al mismo en el siguiente enlace con el mayor descuento posible usando el código BIBLIOPERDIDA25. grupeandotour.com/viajes-tematicos/atenas-y-las-guerras-medicas La segunda propuesta es doblemente especial, y es que vuelven, tras mucho tiempo ausente, los Viajes de Aspasia, de Mariajo Noain, acompañada por Mikel Carramiñana. Y lo hacen por todo lo alto, hablando de la vida y la obra de Hilma af Klint, una artista desconocida hasta hace no muchos años, pero que es, ni más ni menos, la pionera de la pintura abstracta, ya que su obra, que permaneció décadas oculta por deseo póstumo de la propia artista, fue anterior a la de Kandinski o Mondrian. El tercer audio es una sorpresa para los fans de una de las sagas más queridas de esta Biblioteca. Sencillamente escuchadla y disfrutad. Y si todavía queréis más, la despedida correrá a cargo de Pello Larrinaga. Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals
Send us a textDavid Lee Csicsko's distinctive artwork, stained glass, and mosaics beautify train stations, hospitals, churches, and universities across the United States. His many credits include designing the Obamas' White House Christmas in 2012. David's lively illustrations can also be seen in The Skin You Live In from the Chicago Children's Museum, now in its 18th printing. Through his use of color, bold graphics and playful patterns, David Lee Csicsko celebrates the richness and diversity of life.He's created five books for Trope Books, LGBTQ ICONS, SCIENCE PEOPLE, ICONIC COMPOSERS, FASHION ICONS and ICONIC ARTISTS.Unlock the secrets of artistic evolution and interconnectedness as we journey through the pulsating worlds of Toulouse-Lautrec and his 1890s Paris, right through to the revolutionary pop art of Andy Warhol and the trailblazing creativity of Jean-Michel Basquiat. We promise a vibrant tapestry that connects the dots between different art movements and eras, exploring how artists like Keith Haring echoed the innovative spirit of their predecessors. From the aristocratic roots and artistic challenges of Toulouse-Lautrec to Warhol's iconic Campbell's soup cans, this episode reveals how these creators were not only shaped by their times but also became shapers of history.Our guest, David, guides us through the intriguing life of Alexander Calder, whose engineering precision transformed the art world with his kinetic mobiles. Discover how Calder's encounters with the likes of Picasso and Mondrian in 1920s Paris ignited his imagination, leading to groundbreaking creations that redefined modern art. We also uncover the fascinating journeys of surrealist artists like Remedios Varo, who defied exclusion in Paris to thrive in the vibrant artistic community of Mexico, alongside iconic figures such as Diego Rivera and Frida Kahlo.Celebrating artists who dared to break norms, we shed light on the self-taught trailblazers who carved their unique paths, like Lee Goethe, whose artistic genius gained recognition only posthumously. The stories of these passionate creators, alongside those of iconic art innovators, invite you to connect with the personal side of art. With insight from our featured artist Cisco Kid, who shares his own creative journey, this episode not only inspires but also challenges you to see art through a new lens, where history and creativity converge to shape our world.Support the showif you enjoyed the show be sure to check out my info:https://app.wingcard.io/ROB3SA64
Welcome to Episode 17 of Pattern Portraits!Lauren Godfrey chats with artist David Batchelor, about the legacy of the Bauhaus, gilding tortoises and pattern as a cardinal sin.David Batchelor is an artist well known for his sculptural and light based work that explores his experience of colour within a modern urban environment, and historical conceptions of colour within Western culture. David has exhibited worldwide with recent solo exhibitions in Sao Paolo, London and Edinburgh. He has delivered large scale commissions for London St Pancras Station and Art on the Underground. His book Chromophobia was published in 2000 and is a staple of art school reading lists worldwide.David's work delights in colour and shape, playing with the edges, the reflections and the shadows, drawing attention to the underside, the reverse or the back of a sculptural form, testing and flexing the parameters of our relationship to colour and the myriad ways we experience it.David and I met earlier this year when I was tasked with making a series of beaded works on his behalf for his solo exhibition at Cecilia Brunson Projects in London. Though I was already a fan of his work, upon visiting his studio I discovered a cocoon of colour and a party of patterned references beyond what I could have imagined. We bonded over a shared love of colour charts for zips and getting giddy about chains dripping with perspex swatches!David has chosen a delicious selection of patterns with a global reach including a Mondrian painting (Composition with Grid IX) from 1919, an Anni Albers work on paper from 1967, a 1965 quilt by Sue Willie Seltzer of the Gee's Bend quilt makers and a Zulu beadwork date unknown. You can see all of David's patterns and more on instagram @patternportraitspodcast‘Purple Punctuation' - The PATTERN PORTRAIT print artwork to accompany David's interview and featuring the patterns we discuss is available to buy now at www.laurengodfrey.co.uk Hosted on Acast. See acast.com/privacy for more information.
Explore the genius of Ray Eames, from her key role in shaping mid-century modernism to the iconic Eames Lounge Chair, with insights from guest Amanda Jane Jones, designer and author of Mother / Founder._______Support this podcast with a small donation: Buy Me A CoffeeThis show is powered by Nice PeopleJoin this podcast and the Patreon community: patreon.com/womendesignersyoushouldknowHave a 1:1 mentor call with Amber Asay: intro.co/amberasay_______Sources:Documentary — Eames: The Architect and the Painter (2011)Podcast — New Angle: Voice — Ray Eames: Beauty in the EverydayWebsite — Pioneering Women of Architecture: Ray Kaiser EamesBook — Eames: Beautiful DetailsWebsite — Eames Office Official WebsiteAbout RayRay Eames was more than a design partner—she was the quiet force behind every iconic creation that bears the Eames name. From the revolutionary Lounge Chair to the vibrant, Mondrian-inspired glass walls of their Case Study House, Ray's vision and meticulous artistry shaped modernism as we know it.But behind the sleek lines and bold colors was a woman often mistaken for a man—'Ray,' they assumed, must surely be Charles's male counterpart. This misconception gave her an unexpected advantage, opening doors that might have otherwise stayed closed.Yet, Ray's journey was anything but easy. She endured a lifetime of her contributions being overshadowed, her name eclipsed by Charles's fame, and even the painful betrayal of his infidelity. Still, she poured everything into their work, her impact far deeper than most people know. About AmandaNEW BOOK! Mother / FounderAmanda Jane Jones is a graphic designer, author, and illustrator whose minimalist aesthetic has redefined modern editorial and product design. Amanda's talent became widely recognized through her role as the founding designer of Kinfolk, where she crafted the magazine's iconic, minimalist style, inspiring countless designers and publications.Her creative influence extends beyond editorial design; she has collaborated with major brands such as Opinel, Revival Rugs, Solly Baby, and Schoolhouse Electric, blending her clean and thoughtful aesthetic across diverse projects. In addition to brand collaborations, Amanda has illustrated children's books, including Yum Yummy Yuck and The Hair Book, inspired by her own children and designed to engage young readers with playful simplicity.Amanda's latest project, Mother / Founder, celebrates the journeys of 68 women balancing the challenges of entrepreneurship and motherhood. Her work has been featured by Architectural Digest, The New York Times, Martha Stewart Living, and online platforms such as Mother Mag, Cup of Jo, and Domino. Now based in the Wasatch Mountains of Utah, Amanda continues to shape the design world with her distinctive vision, seamlessly blending elegance, versatility, and purpose into each projectFollow Amanda:InstagramWebsite: amandajanejones.com ____View all the visually rich 1-min reels of each woman on IG below:Instagram: Amber AsayInstagram: Women Designers Pod
When developing a business centered around Japanese prints, there are many factors to consider: the audience, the history, and how you want to be perceived by the public. The appeal of the Japanese aesthetic, along with your own personal aesthetic and brand identity, can also be just as important to your business. On this episode of The Unfinished Print, I speak with Malene Wagner, a gallerist, curator, writer, and art historian whose business operates under the name Tiger Tanuki. Malene shares her passion for collecting and selling Japanese prints, and we explore the European perspective on Japanese prints and printmaking. We also dive into Japanese aesthetics and how they are interpreted through a Western lens. Additionally, Malene discusses how these aesthetics influence her brand, Tiger Tanuki, the role history plays in shaping her business, and her upcoming book. Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me at theunfinishedprint@gmail.com Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note if available. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Print publishers are given if known. Malene Wagner & Tiger Tanuki - Instagram, website ukiyo-e - is a multi colour woodblock print generally associated with the Edo Period (1603-1867) of Japan. What began in the 17th Century as prints of only a few colours, evolved into an elaborate system of production and technique into the Meiji Period (1868-1912). With the advent of photography and other forms of printmaking, ukiyo-e as we know it today, ceased production by the late 19th Century. Uniqlo - a Japanese clothing brand known for its affordable, minimalist, and high-quality everyday wear. It focuses on functional designs, using innovative fabrics like Heattech for warmth and AIRism for breathability. Uniqlo is popular worldwide for offering essential wardrobe staples and often collaborates with well-known designers and artists to create unique collections. Clear Day With A Southern Breeze (1831) is a print usually known as "Red Fuji." From the series Thirty Six Views of Mt. Fuji this print was actually pink, red was used in later impressions by publisher Nishimuraya Yohachi. The Great Wave off Kanagawa - is a woodblock print designed by Katsushika Hokusai in 1831. It is very famous. Yayoi Kusama - is a pioneering Japanese artist known for her immersive installations and polka dot motifs that explore themes of infinity, identity, and mental health. Born in 1929 in Matsumoto, Japan, Kusama began her artistic journey through painting and avant-garde practices, eventually moving to New York in the late 1950s, where she became a key figure in the pop art and feminist movements. Her works, range from large-scale installations like the "Infinity Mirror Rooms" to her vibrant sculptures and paintings. Kusama's art is a deeply personal expression of her own experiences with mental illness, transforming her obsessions into stunning visual experiences that resonate globally. Today, she is celebrated as one of the most influential contemporary artists, with exhibitions and installations that captivate audiences worldwide. From "Life Is The Heart of A Rainbow", Installation (2017) MANGA - was an exhibition from May 23 - August 26, 2019 held at the British Museum in London, England. shin hanga - is a style of Japanese woodblock printmaking that emerged in the early 20th century, marking the end of the nishiki-e period. Originating around 1915 under the direction of Watanabe Shōzaburō (1885-1962), the art form responded to the foreign demand for "traditional" Japanese imagery. Shin hanga artists focused on motifs like castles, bridges, famous landscapes, and bamboo forests. The style was initiated when Watanabe discovered Austrian artist Fritz Capelari (1884-1950) and commissioned him to design prints for Watanabe's budding printing house. This collaboration led to the evolution of shin hanga into a distinctive new style of Japanese woodblock printing. The shin hanga movement thrived until its inevitable decline after the Second World War (1939-1945). sōsaku-hanga - or creative prints, is a style of printmaking which is predominantly, although not exclusively, prints made by one person. It started in the early twentieth century in Japan, in the same period as the shin-hanga movement. The artist designs, carves, and prints their own works. The designs, especially in the early days, may seem rudimentary but the creation of self-made prints was a breakthrough for printmakers moving away from where only a select group of carvers, printers and publishers created woodblock prints. Tomoo Inagaki (1902-1980) - introduced to mokuhanga by Onchi Kōshirō and Un'cihi Hiratsuka in 1923. Beginning in 1924, Inagaki published his first prints in magazines such as Shi to hanga (issue 13), Hanga (issues 6, 9/10, 11, 14), and Kitsutsuki, and exhibited with the Nihon Sôsaku-Hanga Kyôkai (Japan Creative Print Association). He became a member of the Nihon Hanga Kyôkai (Japan Print Association) in 1932 and participated in various post-war international competitions, including the Paris, Tokyo, and Lugano biennales. His cat prints have been highly collectible. More info can be found at Viewing Japanese Prints, here. The Rival Cats - 18" x 24" (1960's - 1970's) Oliver Statler (1915-2002) - was an American author and scholar and collector of mokuhanga. He had been a soldier in World War 2, having been stationed in Japan. After his time in the war Statler moved back to Japan where he wrote about Japanese prints. His interests were of many facets of Japanese culture such as accommodation, and the 88 Temple Pilgrimage of Shikoku. Oliver Statler, in my opinion, wrote one of the most important books on the sōsaku-hanga movement, “Modern Japanese Prints: An Art Reborn.” Frances Blakemore (1906-1997) - was an American-born artist, writer, philanthropist and curator of modern Japanese mokuhanga. She lived in Japan for over fifty years and helped to support the burgeoning sōsaku hanga print movement of the 1950s. Blakemore worked in mokuhanga (collaborating with Watanabe Shōzaburō) and making self-printed and carved prints. She also worked in oils. Japanese Bath (1937) - 11 7/8" x 9 5/8 " Yoshitomo Nara - is a renowned Japanese contemporary artist and is celebrated for his distinctive paintings and sculptures featuring figures with large heads and expressive eyes, often exploring themes of innocence, rebellion, and solitude. Change The History (2007) acrylic on wood 74-7/16" × 55-1/2" × 3-1/8" Mingei - is a Japanese term that translates to "folk craft" or "people's art." It refers to a movement that emerged in the early 20th century, emphasizing the value and beauty of traditional, handmade crafts created by anonymous artisans. Mingei focuses on everyday objects, such as pottery, textiles, furniture, and utensils, that reflect the culture and daily life of the people who made them. Lawrin Smith - is the author of the book "The Prints of Yoshitoshi: A Complete Illustrated Catalog" (2009). This comprehensive catalog focuses on the works of Tsukioka Yoshitoshi. The book provides detailed descriptions and illustrations of Yoshitoshi's prints, showcasing his significant contributions to the ukiyo-e genre and his influence on modern printmaking. Wabi-sabi is a Japanese aesthetic philosophy that celebrates the beauty of imperfection, transience, and the natural cycle of life. It combines two concepts: "wabi," which refers to rustic simplicity and tranquility found in nature, and "sabi,"which denotes the beauty that comes with age and wear. Wabi-sabi values simplicity, asymmetry, and the unique characteristics of objects and experiences, encouraging appreciation for the impermanent and humble aspects of life. This philosophy is reflected in various forms of art, architecture, and design, emphasizing natural materials and handcrafted items, and fostering mindfulness and acceptance of the imperfections that make life beautiful. A-yo - is a renowned Japanese artist associated with the Gutai Art Association, an avant-garde group that emerged in post-war Japan. Known for his vibrant colors and distinctive style, Ay-O's work often incorporates elements of nature, light, and movement, reflecting themes of playfulness and spontaneity. He engages with materials in innovative ways and has explored performance art as part of his creative expression. With extensive exhibitions both in Japan and internationally, Ay-O has made significant contributions to contemporary art, emphasizing the joy of creation and the aesthetic experience. Marcel Duchamp (1887–1968) was a French-American artist and a key figure in modern art, known for his significant influence on the Dada movement and conceptual art. He initially trained as a painter but became renowned for challenging traditional notions of art through his controversial works, such as "Fountain"(1917), a readymade sculpture of a urinal that questioned the definition of art and the role of the artist. Duchamp's other notable pieces, including "The Large Glass" (1915–1923) and "Bicycle Wheel" (1913), explored themes of chance and perception. His innovative ideas about art as a conceptual experience rather than a purely visual one continue to resonate, solidifying his status as one of the most influential artists of the 20th century. Fountain (1917) replica (1964) Naoko Matsubara - is a contemporary Japanese printmaker known for her expertise in mokuhanga. Born in Osaka, she studied at Kyoto Seika University, where she specialized in printmaking and mastered the techniques of this ancient art form. Matsubara's work often blends traditional methods with contemporary themes, exploring the relationship between nature, culture, and identity. Her prints are characterized by intricate details, vibrant colors, and a deep appreciation for the materials and techniques involved in woodblock printing. She teaches and promotes mokuhanga both in Japan and abroad, exhibiting her work in galleries and museums worldwide and receiving numerous awards for her contributions to the field. Naoko's interview with The Unfinished Print can be found, here. Gihachiro Okuyama (1907-1981) - was a prominent Japanese printmaker and painter associated with the sōsaku hanga (creative prints) movement. Born in Tokyo, he studied traditional Japanese painting and was influenced by Western art styles, leading to innovative woodblock prints characterized by bold colors and dynamic compositions that blend traditional aesthetics with modern elements. Throughout his career, Okuyama exhibited extensively in Japan and internationally, contributing significantly to contemporary printmaking while also playing a vital role in art education by sharing his expertise with future generations. His work reflects a deep engagement with the cultural exchanges between East and West during the post-war period. Moonscape - 10" x 21" Utagawa Kuniyoshi (1798-1861) - is considered one of the last “masters” of the ukiyo-e genre of Japanese woodblock printmaking. His designs range from landscapes, samurai and Chinese military heroes, as well as using various formats for his designs such as diptychs and triptychs. Prince Rokuson Tsunemoto from Suikoden of Japanese Heroes (1843) 10" x 7" Utagawa Kunisada III (1848–1920) - was a ukiyo-e print designer from the Utagawa school of mokuhanga. Kunisada III's print designs were designed during the transformation of the Edo Period (1603-1868) into the Meiji Period (1868-1912) of Japanese history, where his prints showed the technological, architectural and historical changes in Japan's history. Kabuki Plays - Narukami and Princess Toki (ca. 1890's) triptych Saitō Kiyoshi (1907-1997) - was a Japanese woodblock printmaker and artist who worked in the sōsaku hanga style of mokuhanga. HIs fame outside of Japan was fairly comprehensive with his peak fame being in the 1950's and 1960's. For a comprehensive book on his life and times, Saitō Kiyoshi: Graphic Awakening published by The John & Mable Ringling Museum is an excellent source. Can be found, here. Lecture by Dr. Paget about Saitō can be found, here. My interview with Professor Paget can be found, here. Dog, Daschund 2 10" x 15" Edvard Munch (1863-1944) - was a Norweigan artist, who initially was a painter, but also ventured into printmaking making 850 images. His print medium was etching, lithography, and woodcut. More information can be found here, at Christie's. Anxiety (1894) Pieter Cornelius Mondrian (1872-1944) - a Dutch artist who's work helped found De Stijl in 1917, a group of Dutch painters who helped codify Mondrian's abstraction and industrial design. Mondrian has a wide spectrum of works and styles created throughout his career. More information can be found, here from the Guggenheim. Mill in Sunlight (1908). Credit: Kunstmuseum Den Haag, The Hague, The Netherlands © 2021 Mondrian/Holtzman Trust Shunga - meaning "spring pictures," is a genre of Japanese erotic art that flourished during the Edo period (1603–1868), characterized by woodblock prints, paintings, and illustrated books depicting explicit sexual scenes often combined with humor, romance, and social commentary. Notable for its vibrant colors and intricate details, shunga explores themes of intimacy and sexuality, serving both as entertainment and education in a culture where such topics were often taboo. The genre reflects societal attitudes toward love and relationships and has a rich history despite facing censorship at various times. Today, shunga is recognized as a significant part of Japanese art history, appreciated for its aesthetic qualities and cultural context. Paul Binnie - Candlelight (1994) kappazuri print 24" x 18" Tosa Prefecture - historically known as Tosa Province, is located in the southern part of Shikoku, Japan, and corresponds to present-day Kochi Prefecture. Renowned for its natural beauty, including mountains, rivers, and coastal landscapes, Tosa has a rich cultural heritage that includes traditional crafts like Tosa washi (handmade paper) and Tosa pottery. The region is famous for its vibrant festivals, such as the Yosakoi Festival, which features lively dance performances, and is known for its agricultural products, particularly citrus fruits like yuzu and sudachi, along with seafood. Kochi City, the capital of Kochi Prefecture, serves as the cultural and economic center, showcasing local cuisine, historical sites, and museums. Tosa's unique blend of natural scenery, traditional crafts, and cultural events contributes to its significance within Japan. © Popular Wheat Productions opening and closing credit - I Am Pentagon by the band Make Up from their album Save Yourself (1999) released by K Records. logo designed and produced by Douglas Batchelor and André Zadorozny Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Українi If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***
In this coffee talk style discussion we are focusing on a new direction that Armin is taking with his artwork. Makes sense that we would put the spotlight on each other once in awhile and I had a such a great time coming up with questions for this interview. In October of 2023, we had the good fortune of our downtown studio space opening up with a couple of spaces that would fit our needs. One for a painting studio for Armin and one as a new gallery where we can welcome interested art lovers. This new space allowed Armin to explore his love of abstraction by returning to oil painting. Of course, he continues the graphite drawing practice in his home studio. The shift to abstraction is a natural transition for Armin. Throughout art history artists have made this shift. Think of Picasso, Mondrian, Georgia O'Keeffe. Armin natural ability of achieving stellar compositions works Weill with both the real and the abstract. I deem him the master of composition and it is a joy to work beside him in the studio. We have so much to share on this wonderful journey through the world of art. We hope you enjoy this episode. Please let us know your thoughts. Sincerely, Val Armin's website Valerie's website
Nikki Villagomez knows a thing or two about fonts, not only because she's a designer but also because she's a published author and historian who loves typography. Learn about her new book Culture+Typography: Examples in Font Pairings, and learn about why Pretty in Pink means so much to her. Plus, we touch on Miami Vice, the Brat Pack Brats documentary, Mondrian, and hair gel.
In episode 92 of Game Design Unboxed: Inspiration to Publication we talk with Joseph Brower, one of the designers of Mondrian: Color in Motion. This Ion Award finalist design brought manufacturing challenges when they had to figure out what materials made the cards stop sliding during gameplay. Learn how they created an abstract game inspired […]
Growing up in Kent in southeast London, Mark Eacott was always a curious kid—inspired by his artist grandfather, who taught him how to sketch and draw, and his dad, who was a builder with a strong do-it-yourself skillset. Those influences, coupled with Eacott's creative mind, fostered his passion for design. He majored in architecture at the University of Bath, where he studied abroad as part of the Erasmus exchange program at TU Delft, a specialized architecture school in Holland. That was a life-changing experience for Eacott, ultimately leading to an internship at OMA in Rotterdam where he worked alongside Rem Koolhaas. (Eacott went on to earn his master's degree from the Royal College of Art in London.)His career took off from there, and he added a list of hospitality giants to his résumé including Soho House, Yoo, HBA, and SBE, before landing at Ennismore (the latter two companies were both acquired by Accor), where he's been the global vice president of design since 2019. Eacott's philosophy is centered around service and experience. He's unafraid to retool brands that need a facelift or to call upon nostalgia for reboots of industry gamechangers, like the refresh of the Delano in Miami. Now based in Dubai, Eacott shares lessons learned along his impressive journey and how a successful brand is rooted in emotion.Thank you for listening! For more of our great interviews, find us at hospitalitydesign.com.
In episode 92 of Game Design Unboxed: Inspiration to Publication we talk with Joseph Brower, one of the designers of Mondrian: Color in Motion. This Ion Award winning design brought manufacturing challenges when they had to figure out what materials made the cards stop sliding during gameplay. Learn how they created an abstract game inspired by the Dutch painter Piet Mondrian's art. Featuring: Joseph Brower - Guest Danielle Reynolds - Host
London has long been a cultural melting pot for artists from around the world who, in their own unique ways, have revealed with each touch of a brush, the impact of the dynamic environment in which they found themselves. So in celebration of its role in the artistic journeys of so many, Sotheby's has partnered with Art UK to showcase 12 extraordinary masterpieces by international artists on loan from regional museums across the UK. London: An Artistic Crossroads will bring together works by artists who have passed through or settled in the UK during their lifetime, including Zoffany, Derain, Mondrian, Odundo and Freud. We're taking you along with us on this special podcast episode, where you'll hear insights from the directors of each museum. These engaging discussions are a rare chance to uncover the unique narratives behind each work, celebrating London's reputation as a multicultural melting pot of creativity. You can visit the exhibition at Sotheby's London until 5th July 2024. This podcast was originally recorded at Sotheby's in London in June 2024 as part of the exhibition London: An Artistic Crossroads. Art UK is an art education charity and artuk.org is the online home for every public collection of art in the UK. To step further into the world of Sotheby's, you can visit any of our galleries around the world; they're open to the public. For more information, visit sothebys.com. Learn more about your ad choices. Visit podcastchoices.com/adchoices
This episode is sponsored by BetterHelp. Give online therapy a try at betterhelp.com/everyonesbusiness and get on your way to being your best self.This week marks the season finale of The Valley! Wig and Janet's friendship ends for good, Jax and Brittany have a soft opening of the bar and hard launch of their separation, Michelle moves 2 blocks closer to the Mondrian and more!Find me on Patreon, social media and more here! Hosted on Acast. See acast.com/privacy for more information.
Send us a Text Message.Teachers in Transition – Episode 203: Cold Hard Math and Pool NoodlesVanessa talks about the importance of slowing down and caring for yourself as school lets out. She breaks down the cold hard math on just how much teachers work. She talks about how fear can hold us back from stepping out of our comfort zones, and we'll wrap up with some fun hacks with POOL NOODLES. And yes, she manages to get some chatter in here about Captain America and a brief Deadpool mention. Link to the Chris Evans clip where he talks about why he ultimately took the role of Captain America Go see my My Happy Wall (and yes, that's a teddy bear in the picture), circa 2008 The Pool Noodle Listen WallAnd yes, the Pool Noodle Large Spider – if you're afraid of spiders, don't go here. But this is the friendlier version of one, so maybe use this moment to take that deep breath and do something scary. Learn more about the artist Mondrian, What the heck is a FLOAT? – not an ad – just an explanationA link to our Facebook Page! Join us! And remember to send your comments, stories, and random thoughts to me at TeachersinTransitionCoaching@gmail.com! I look forward to reading them. Would you like to hear a specific topic on the pod? Send those questions to me and I'll answer them. Feel free to connect with Vanessa on LinkedIn!The transcript of this podcast can be found on the podcasts' homepage at Buzzsprout.
Lara and Carey discuss Sexsomnia: a rare sleep disorder turning afflicted people into unconscious sex pests, and a thirty-something woman who got busted for living as a 13-year-old girl for almost a year. Back over the hill, the crew, still at the Mondrian dinner, has whiplash from their brawl with Doute and Luke. Michelle announces the alleged rumor Kristen has been "protecting," and not everyone is buying it. Jesse and Michelle make a shaky amends, and Nia and Danny continue to deal with her baby blues. Brittany deals with a cornea scratch, just in time to go to a tantric sex coach with Jax. Then, an overnight Cauchi DATE NIGHT turns sour when Jax reveals to Britt his second thoughts about having a second child...Buy tickets to the SUP SUMMER 2024 TOUR!Listen to this episode ad-free AND get access to weekly bonus episodes + video episodes by joining the SUP PATREON.Be cheap as hell and get full-length videos of the pod for free by subscribing to the SUP YOUTUBE.Relive the best moments of this iconic podcast by following the SUP TIKOK. Hosted on Acast. See acast.com/privacy for more information.
In this special 2-PART SERIES, we're dropping you inside a Tony Robbins Business Mastery seminar. Learn HOW TO BUILD A BRAND, SHOWCASE YOUR X FACTOR, and BRING YOUR UNIQUE PRODUCT or SERVICE to the COMPETITIVE MARKET! In PART ONE, Tony Robbins sits down for an exclusive one-on-one with SAM NAZARIAN, the visionary entrepreneur behind an empire of hospitality, nightlife, and real estate. Best known for founding SBE Entertainment Group in 2002, Nazarian transformed it into a global powerhouse, boasting an impressive portfolio of hotels, restaurants, nightclubs, and luxury residences. His brainchild, the SLS brand, redefined luxury hospitality with its innovative design and expanded globally under his leadership. Born into a Persian Jewish family in Tehran, Nazarian's journey from immigrant to business mogul is nothing short of inspiring. Nazarian's remarkable achievements include acquiring iconic properties like the Delano and the Mondrian to merging SBE with hospitality giant AccorHotels, creating SBE | AccorHotels and solidifying his position as a leader in the luxury hospitality sector. Nazarian's entrepreneurial spirit and determination is nothing short of inspiring. Don't miss this exclusive opportunity to elevate your business game to new heights and learn how to turn your own dreams into empires! *** Business Mastery is the world's premier business training event designed and hosted by the world's #1 authority on personal growth, business transformation and peak performance – Tony Robbins. This five-day event equips entrepreneurs, business owners and operators with cutting-edge systems, skills and strategies not found anywhere else to create an invincible advantage against competitors. Business Mastery is designed to help participants thrive in any economic climate as they discover critical factors impacting their businesses currently and design an action plan for the next phase of growth, whether they seek more profits or an exit strategy. This includes marketing tips, maximizing a business' digital presence to get seen and discovered online and how to anticipate and solve the biggest business problems. During this comprehensive program, participants gain the same proprietary tools and methodologies Tony Robbins has used to make more than 70 businesses profitable. They'll also unlock exclusive growth tips from industry giants from companies like Airbnb, Orangetheory, Shake Shack, SoulCycle, Warby Parker and more. Now available as an immersive virtual event, Tony Robbins's Business Mastery is drawing even larger crowds and a new generation of business owners. Learn more about Business Mastery: https://tonyr.co/bm-podcast SHOW NOTES: 00:33 - Tony's Introduction 03:00 - Sam's Journey to America 05:48 - Sam's Father's Story of the American Dream 06:45 - "Never Look Backwards" 08:30 - Recognizing Opportunities, Filling Voids, and Scaling Up 09:23 - "Turbulence Defines You" 11:30 - Entry into the LA Nightclub Business 12:00 - Seeing Potential Where Others Don't 14:53 - Navigating Economic Challenges 16:20 - Sam's "Secret Sauce" to Success 18:29 - Impact of Design on Customer Experience 19:00 - Creating Memorable Customer Experiences 21:00 - Developing Original Restaurant Brands 22:57 - Knowing When to Sell 24:52 - Audience Question: Scaling Passion into Multiple Restaurants 29:08 - Audience Question: Scaling Multiple Brands in Hospitality 34:30 - Building Company Culture 37:42 - Importance of Removing Toxic Employees 39:18 - Insights from Stanford's Study on Employee Depression 40:45 - C3: Digital Restaurant Company 45:40 - Creating the Future You Want to See 50:30 - Establishing a New Legacy 53:00 - Tony and Sam's Joint Venture in Longevity 57:00 - Tony's Closing Remarks Tony Robbins is a #1 New York Times best-selling author, entrepreneur, and philanthropist. For more than four and a half decades, millions of people have enjoyed the warmth, humor and dynamic presentation of Mr. Robbins' corporate and personal development events. As the nation's #1 life and business strategist, he's called upon to consult and coach some of the world's finest athletes, entertainers, Fortune 500 CEOs, and even presidents of nations.
Isabel and Emma are all caught up on The Valley and wow - this is gooooood TV. They get into some of the dynamics, and the explosive end of this week's episode in the hallway of the Mondrian. A quick interlude to discuss Ariana Biermann's video not-so-subtly shading her mom's clickbait posts. Next they recap last week / this week's Summer House, focusing on Carl's convo with his parents and the Danielle realizations in the group. Finally, touching on the VPR pool party, and continued sexual tension with Katie and Schwartz. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices
Isabel and Emma are all caught up on The Valley and wow - this is gooooood TV. They get into some of the dynamics, and the explosive end of this week's episode in the hallway of the Mondrian. A quick interlude to discuss Ariana Biermann's video not-so-subtly shading her mom's clickbait posts. Next they recap last week / this week's Summer House, focusing on Carl's convo with his parents and the Danielle realizations in the group. Finally, touching on the VPR pool party, and continued sexual tension with Katie and Schwartz. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
Detroit friends Jaime Moyer and Garrett Fuller join me to talk about this explosive episode of The Valley! What happens in the hallways of The Mondrian, doesn't stay in the hallways of the Mondrian. For more Drama, Darling, and tons of content, subscribe to my Patreon: http://Patreon.com/dramadarlingGet 20% OFF @honeylove by going to honeylove.com/drama#AD #HoneyLovePodGet 15% off OneSkin with the code drama at https://www.oneskin.co/
Em is back for part of the episode and so is Ro's Husband! This is basically a double episode to make sure we covered it all for you guys! There is more than we even listed in the markers. Since Em is a speech pathologist and Ro is a teacher, we also delve in a bit during our News section to our thoughts on Speech Therapy. Hope you enjoy this one!! Vanderpump S11 Episode 11 Recap (00:03:10) Continuation of the Beach (00:03:10) The Waterfront Bar - Ariana, Lala & Scheana Scene (00:18:01) The Ariana, Lala, Scheana Talk (00:26:54) Lala & Jo Get a Hot Dog (00:34:37) Commercial 1 (00:46:24) Top Golf (00:47:09) Lala & Scheana at the Cryobank (00:53:13) Jo Bleaching Schwartz's Hair (01:05:58) Katie, Ariana, Lala & Scheana Walk Into a Bar (01:13:21) The Mondrian (01:29:24) Paintball (01:42:20) Jo at Schwartz's Apartment (01:44:17) Commercial 2 (01:52:58) Vanderpump/Valley News & Tea With Ro & Em (01:54:16) Rachel & Jo (01:54:16) Scheana, Jax & Then Baby Talk(02:32:12) Lala & The Reunion (02:58:00) Last Minute News & Closing (03:07:52) Loving the deep dives, tea and random side stories? Help spread the word by sharing with a friend, neighbor, coworker or mail carrier! We also love reviews!! Who doesn't? If you love the Podcast, please leave us a review and 5 star rating on Apple and Spotify! The support is greatly appreciated! Give us a follow on our pages! Instagram & TikTok: @downtorealitypod / @realityops / @connectionqueenx
This week Taylor and Sara dive into the tea of the week, along with a recap and react to Season 11, Episode 11 of Vanderpump Rules, and Season 1, Episode 4 of the Valley. For those who might have missed episode 9, it IS available on the streaming platforms listed below, and stay tuned in this episode to see why the video version is not currently available on YouTube. Subscribe to the YouTube channel @PumpedUpTea Follow us on Instagram: https://www.instagram.com/pumpeduptea/ Follow us on TikTok: https://www.tiktok.com/@pumpeduptea Join Our Patreon for some bonus content: patreon.com/pumpeduptea Stream Pumped Up Tea on Spotify, Apple Podcasts, Amazon Music, and IHeartRadio! Timestamps: - Intro (0:00-0:33) - Why there was no video of Pumped Up Tea: Episode 9 (0:38-1:30) - Tea of the Week: Lala Kent Announces the gender of her baby (1:35-2:32) - The 4.8 magnitude earthquake that hit New Jersey was felt in NY and Connecticut (2:35-5:45) - Tea of the Week: Ann Maddox will be working at Something About Her (6:08-6:34) - Tea of the Week: Ariana Madix has performed her last show as Roxie Hart in Chicago on Broadway on April 7th (6:35-6:47) - Vanderpump Rules Season 11, Episode 11 Recap and Reaction (7:00-34:00) - The Valley Season 1, Episode 4 Recap and Reaction (34:35-45:00) - Tea of the Week: Faith Stowers is suing Bravo (46:00-49:10) - Teen of the Week: Katie and Dayna's reaction to Rachel Leviss' apology (49:15-51:40) - Closing (51:45-52:58) --- Send in a voice message: https://podcasters.spotify.com/pod/show/pumpeduptea/message
Piet Mondrian is considered an icon of modern art, but he didn't start off that way. While he always loved art, he got his degree in education. Mondrian's early paintings were somewhat traditional landscapes. He experimented with Impressionist and Post Impressionist styles, then moved on to some Cubist influence. His major breakthrough was with the De Stijl movement focusing on the basic elements of art using straight lines and primary colored rectangles. Mondrian was one of the most prominent theorists of the group as he developed a style he referred to as Neoplasticism. While I have covered Mondrian previously, I wanted to release this episode today to celebrate the publication of my first article for The Art of Education University. Check out my article in their magazine over at www.theartofeducation.edu Arts Madness 2024 links: The Brackets Spotify Playlist Prediction Form Vote in the Current Round Check out my other podcasts Art Smart | Rainbow Puppy Science Lab Who ARTed is an Airwave Media Podcast. If you are interested in advertising on this or any other Airwave Media show, email: advertising@airwavemedia.com Learn more about your ad choices. Visit megaphone.fm/adchoices
The Le Random team met up to celebrate a year since our public launch. thefunnyguys, Zack Taylor, Peter Bauman and Conrad House discuss: -One year of LR: Our favorite collected pieces 36 Points by Sage Jensen & seeds of seeds by Entangled Others Polygona Nervosa by Golan Levin RGB Elementary Cellular Automaton #1 by ciphrd Mondrian by Herbert W. Franke -One year of LR: Our favorite editorial pieces Demystifying Generative Aesthetics by Peter Demystifying Generative Art by Peter AGH on Glorifying the Computer by Peter Il(Lumina)ting Marfa by Nathaniel Stern Zach Lieberman on the Resonance of Generative Art by Peter -One year of LR: Our favorite moments -Our current thoughts on the market -Questions from the audience
En este episodio te ponemos al día con las últimas noticias de viaje: la guerra de los "lounges", el update del 2024 de la AMEX Platinum y la Chase Sapphire, y los nuevos vuelos desde SJU. Suscríbete a nuestro nuevo canal Youtube. ¿Necesitas ayudas utilizando tus puntos o millas? ¿Quiéres que evalúemos tus opciones? ¡Envía tus preguntas por Instagram, Facebook y Youtube y te podemos seleccionar para ayudarte! Con Myriam Ocasio, Juany Nadal y Luis Herrero. Si te gusta Que Buena Vida!, recuerda dejarnos 5 estrellas Michellin en Apple Podcasts. Y síguenos en Instagram, Facebook y Youtube. No olvides visitar Puerto Rico Eats y seguirlos en Instagram, Facebook y Twitter. SHOW NOTES Delta Sky Club - ¿cómo entrar? - https://www.nerdwallet.com/article/travel/how-to-get-into-the-delta-sky-club-before-your-flight Vuela en primera clase o clase ejecutiva en Delta o uno de sus socios. Vuela internacionalmente como miembro élite de Delta SkyMiles. Vuela internacionalmente como miembro SkyTeam Elite Plus. Mantén el estatus élite con LATAM, Virgin Atlantic o WestJet. Si tienes estatus élite de Delta, puedes comprar una membresía Sky Club. Lleva la tarjeta adecuada: la tarjeta Delta SkyMiles® Reserve American Express o la tarjeta The Platinum Card® from American Express te brindan acceso a los Sky Clubs. Pero… Reglas de Tarjetas: - Los titulares de tarjetas estarán limitados a 10 visitas por año al Delta Sky Club. El acceso ilimitado se puede obtener al gastar $75,000 o más en la tarjeta en el año calendario anterior. - La Delta SkyMiles® Reserve American Express Card, que ofrece acceso a los salones Sky Club cuando viajas en un vuelo operado o comercializado por Delta, además de otros beneficios como pases de invitados y millas de bonificación. - La The Platinum Card® from American Express, que además de acceso a los salones Delta Sky Club, ofrece acceso a más de 1,200 salones en todo el mundo a través de la American Express Global Lounge Collection y una amplia gama de beneficios de viaje adicionales. Chase Lounges https://thepointsguy.com/news/chase-sapphire-airport-lounge/ Actualmente, hay cinco ubicaciones abiertas en aeropuertos como JFK, LaGuardia, Austin, Boston y Hong Kong, con planes confirmados para otros cinco aeropuertos. Los lounges ofrecen una variedad de servicios y comodidades, como bebidas y bocadillos gratuitos, áreas de relajación y opciones de entretenimiento. Los titulares de tarjetas como Chase Sapphire Reserve, J.P. Morgan Reserve o Ritz-Carlton Credit Card pueden acceder a estos lounges de manera ilimitada, mientras que los usuarios autorizados tienen acceso ilimitado una vez que activen su membresía Priority Pass gratuita. Los titulares de tarjetas pueden llevar hasta dos invitados de cortesía por visita, mientras que los titulares de la tarjeta Ritz-Carlton pueden llevar invitados ilimitados sin cargo adicional. Además, los miembros de Priority Pass pueden acceder a un lounge de Chase una vez al año, y los viajeros selectos de Etihad también pueden acceder a ciertos lounges de Chase. Amex y Chase 2024 update AMEX Viajes: Crédito de Viaje de $200 3x Puntos en Viajes Crédito para Global Entry o TSA PreCheck: Recibe un crédito de hasta $100 cada cuatro años como reembolso por la tarifa de solicitud de Global Entry, TSA PreCheck o NEXUS. Beneficios en Hoteles y Resorts de Lujo Beneficios de Hotel Elite en Relais & Châteaux Privilegios Especiales de Alquiler de Autos: Inscríbete en programas de recompensas de alquiler de autos de National Car Rental, Avis y Silvercar, y disfruta de beneficios mejorados como upgrades y descuentos en tarifas de alquiler. Beneficios en Hoteles Ennismore: Acceso VIP a beneficios en hoteles y resorts Delano, Hyde, Mondrian, House of Originals y SLS en todo el mundo. Door Dash Pass y crédito Costo: $695 Chase Acceso ilimitado a los lounges de Chase Sapphire en aeropuertos seleccionados. Prioridad Pass Select con acceso a más de 1,300 lounges en todo el mundo. Reembolso de hasta $300 dólares anuales en viajes. Crédito de hasta $100 dólares para TSA PreCheck o Global Entry. 3 puntos por cada dólar gastado en viajes y restaurantes. Reembolso de hasta $60 dólares al año por la membresía de DoorDash. Beneficios de alquiler de autos de lujo y seguro de viaje. Seguro de protección de compra y garantía extendida. Servicio de conserjería disponible las 24 horas del día. Sin cargo por transacciones internacionales. Costo: $695 Nuevo vuelos desde SJU Medellín Aumento frecuencia Panamá Aumento frecuencias Bogotá Denver New Orleans Nashville Austin Norfolk, VirginiaSee omnystudio.com/listener for privacy information.
Kyle Wood is back on the podcast today, just ahead of his first articles being published on the AOEU Magazine next month! He joins Tim to talk about what he will be writing, and of course they can't pass up an opportunity to tell some of their favorite stories and share some of their favorite facts about art history. Listen as they discuss upside-down paintings, famous forgeries, getting students excited about art, and--of course--Kyle's Arts Madness tournament for 2024. Resources and Links Six Seedy Parts of the Art World Art Educators Love to Teach Learn About Kyle's Arts Madness Tournament, see the brackets, and predict the winner The Mondrian that hung upside down for 75 years Keep an eye on the AOEU Magazine for Kyle's upcoming articles!
Piet Mondrian is best known for painting primary colored squares and rectangles. For this episode, fellow art teacher, Jeff Arndt and I talked about the big ideas that led Mondrian to make such simple work. He pushed the ideas of modern abstract art further than anyone else. Mondrian limited himself to basic elements of simple lines, shapes, and colors to focus on the principles of design like balance and proportion. A common misconception about Mondrian is that his personal life was as bland as his art. Mondrian was actually quite charming. He took pains to be elegantly dressed at all times, he was kind and an avid dancer. He was said to be great at the foxtrot and the Charleston in particular. The ladies loved him, and he had multiple relationships including an engagement he called off in 1911, but he never married. I think my favorite odd bit though is according to a biographer, among the women of Amsterdam, Mondrian “developed a reputation for interesting, prolonged kisses, sometimes lasting for more than half an hour.” but back on point, he loved dancing and he loved music. While he was in Paris, he was particularly fond of the black American musicians that passed through including greats like Louis Armstrong. Mondrian talked about how the pianist accompanying Armstrong “allowed the bass line played with his left hand to fall out of sync, contrasting with the rhythmically varied ‘melody' played by his right hand” Mondrian was all about the rhythm. Arts Madness 2024 links: The Brackets Spotify Playlist Prediction Form Check out my other podcasts Art Smart | Rainbow Puppy Science Lab Who ARTed is an Airwave Media Podcast. If you are interested in advertising on this or any other Airwave Media show, email: advertising@airwavemedia.com Learn more about your ad choices. Visit megaphone.fm/adchoices
In the news InDesign 2024 updated to 19.01 Register for the Design + AI Summit! CreativePro Magazine November 2023: Multilingual Design, Glyph panel in depth Secrets of the Align Panel and its weirdo cousin, the Gap tool Obscure Feature of the Week: Auto Update URL Status Links mentioned in this podcast Great article about Glyphs panel: https://creativepro.com/digging-into-the-glyphs-panel/ Align Panel Tutorials: Setting Exact Space Between Objects in InDesign What and Where is Distribute Spacing? InDesign How-to Video: Use the Align Panel Align Panel Enhancements InDesign How-to: Make a Mondrian-inspired Grid InDesign Basics: Making a Photo Grid The Right Way to Vertically Distribute Text Frames A quick way to abut the edges of 2 (or more) objects Gap Tool Articles: What Exactly Does That InDesign Tool Do?! Creating a Dynamic Autofit Effect for Image Grids With the Gap Tool The Gap Tool and Groups Split Images That Span Across Two Pages The "Spring Loaded Tool" tip: https://creativepro.com/spring-loaded-tools/ The Tool Hints panel: https://creativepro.com/using-tool-hints-panel/
We had the pleasure of interviewing FiNE and Lizwi over Zoom video!Emerging twin brother DJ duo and Progressive Afro House producers FiNE have teamed up with Lizwi to release their debut MoBlack single “The Light.”“The Light” is an extraordinary fusion of Progressive Afro House and traditional African sounds. The combination of the unique musical backgrounds of the FiNE twins and Lizwi creates a sonic experience that is both captivating and deeply rooted in their shared heritage.Since moving to Los Angeles recently, FiNE have been taking the local scene by storm with recurring shows at La Mesa called FiNE Fridays, and additional sets at venues including Hotel Shangri-La, The Mondrian, Aya Lounge Beverly Hills, The Cooks Garden in Venice, Cafe Roma and more.FiNE is an artist project from twin brothers born in Johannesburg, and raised in Botswana. Given their upbringing, they describe their music and DJ sets as Progressive Afro House. With a life journey already covering South Africa, Botswana, Israel and Australia, they have deep connections to global audiences and it shows through their signature sound. It's undeniable that the twins' multicultural upbringing shapes their Afro-infused DJ sets and original productions.ABOUT FiNE:Craig and Darren Fine, twin brothers, share an unbreakable lifelong bond like most siblings. However, their journey in life has been extraordinary and has shaped them into unique individuals and musical artists. The Fine brothers, pioneers of the Progressive Afro House genre, have developed their distinctive sound through a blend of diverse musical influences.Originally from Johannesburg, South Africa, Craig and Darren relocated to Botswana during their early schooling years. As expatriates in Botswana, they embraced the local customs, culture, and music. The brothers displayed their musical talents at a very young age with Craig on drums, Darren on piano, and both playing instruments like steel pans and marimbas.During their time in high school, Craig and Darren moved to Sydney, Australia, where they immersed themselves in the vibrant local electronic music scene. Their next adventure took them to Tel Aviv, where they balanced a day job while refining their fresh and eclectic sound in the city's pulsating underground scene. They performed at numerous venues and festivals, including a prominent slot on the main stage at the Corona Sunsets Festival, garnering international support.Following their overseas success, the Fine brothers returned to Australia, captivating audiences from coast to coast at the country's hottest venues. Eventually, they settled in their current home of Los Angeles. With their unique sound, FiNE has made waves in the Melodic and Afro House charts, consistently achieving top 10 Beatport releases. Notable among their successes is a remix of Paul Okenfold and Aloe Blacc's hit “I'm In Love'' and their chart-topping debut EP “Forbidden Fruit” released on Australia's esteemed label, Recovery Collective.In November 2022, they celebrated the release of their newest single “Cloud 9” on Recovery Collective. The original track captures the essence of FiNE's Progressive Afro House style–melodic, driving, euphoric, and yet possessing a distinct edge. The single's remix package features interpretations from renowned artists such as Kalil, Elliott Creed, and Jack Colletta. Most recently, FiNE collaborated with EPHIMERA Tulum, delivering a breathtaking live sunset mix.Currently, FiNE is planning an end-of-year tour in South Africa, Australia, and Bali. With their unparalleled sound, exceptional discography, and wealth of musical and life experiences, FiNE possesses an undeniable “it factor” that will captivate fans and propel the Progressive Afro House movement to new heights.We want to hear from you! Please email Hello@BringinitBackwards.comwww.BringinitBackwards.com#podcast #interview #bringinbackpod #FiNE #Lizwi #NewMusic #ZoomListen & Subscribe to BiBhttps://www.bringinitbackwards.com/followFollow our podcast on Instagram and Twitter! https://www.facebook.com/groups/bringinbackpodThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/4972373/advertisement
Behind every unforgettable space and every extraordinary experience is a certain je ne sais quoi. If anyone has an idea of what exactly that is, it's the hospitality impresario and Studio 54 co-founder Ian Schrager. For more than four decades, Schrager has been a defining cultural catalyst and beacon across industries, from hotels and nightlife, to art and architecture, to fashion and food, and beyond. Since the early 1980s, Schrager has devised and developed more than 20 ahead-of-the-curve hospitality properties, including the Public hotel (2017) in New York City and the Edition line of hotels, as well as, going further back, the Morgans (1982), the Paramount (1990), the Hudson (2000), and the Gramercy Park Hotel (2006) in New York; the Mondrian (1996) in Los Angeles; the Delano (1995) in Miami; St. Martins Lane and the Sanderson (both 1998) in London; and the Clift (2000) in San Francisco. Beyond designing for mere aesthetic appreciation, Schrager cultivates places with a soul and spirit all their own.On this episode—our 100th—Schrager discusses his tried-and-true design philosophies and definition of luxury today; his admiration for the visionary thinking of Steve Jobs, Elon Musk, and Walt Disney; and the enduring aura of Studio 54.Special thanks to our Season 8 sponsor, Van Cleef & Arpels.Show notes: [00:33] Ian Schrager[02:54] Morgans Hotel[02:59] Studio 54[03:02] Steve Rubell[06:26] Edition Hotels[06:33] Arne Sorenson[12:44] Public Hotels[13:03] Paramount Hotel[13:29] The Royalton[14:45] Hudson Hotel[24:37] John Pawson[26:04] The Palladium[26:05] Arata Isozaki[33:24] “Studio 54” Documentary[42:41] Enchanted Garden[50:48] Bianca Jagger[50:51] Truman Capote[50:51] Andy Warhol[50:56] Issey Miyake[53:33] Paul Goldberger[01:03:01] Paperless Post
¡Hola y bienvenidos a otro fascinante episodio! En este caso les contamos todo acerca de la pintora y mística sueca Hilma af Klint. Su singular obra de la primera mitad del siglo XX, permaneció prácticamente escondida durante décadas hasta que, en 2018 el Museo Guggenheim de Nueva York, presentó “Pinturas para el futuro”. La extraordinaria exposición la lanzó a la fama de la noche a la mañana. Además de que su innovadora y visionaria obra nos fuerza a cuestionar el entendimiento tradicional de la historia del arte, la artista logró de manera póstuma, eclipsar a los artistas más famosos de su época, entre ellos Kandinsky y Mondrian.Los invitamos sumergirse en un mundo de colores, formas y conceptos revolucionarios mientras exploramos esta increíble historia. Las imágenes de todos los episodios las encuentran en nuestra página web y la cuenta de Instagram Suscríbanse en SpotifySuscríbanse y dejen un comentario en Apple Podcasts
This week, Rory celebrates a birthday rampage and Laurie recounts her Disney adventure. Rory and Laurie bask at the Mondrian and argue but also agree that tandem pees are good etiquette. Plus, Rory proves he's a Good Samaritan! Subscribe and follow us at @superexcitedpod Follow Rory: @itsRORYjames Follow Laurie: @lalamartina_
Episode 164 of A History of Rock Music in Five Hundred Songs looks at "White Light/White Heat" and the career of the Velvet Underground. This is a long one, lasting three hours and twenty minutes. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-three minute bonus episode available, on "Why Don't You Smile Now?" by the Downliners Sect. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Errata I say the Velvet Underground didn't play New York for the rest of the sixties after 1966. They played at least one gig there in 1967, but did generally avoid the city. Also, I refer to Cale and Conrad as the other surviving members of the Theater of Eternal Music. Sadly Conrad died in 2016. Resources No Mixcloud this week, as there are too many songs by the Velvet Underground, and some of the avant-garde pieces excerpted run to six hours or more. I used a lot of resources for this one. Up-Tight: The Velvet Underground Story by Victor Bockris and Gerard Malanga is the best book on the group as a group. I also used Joe Harvard's 33 1/3 book on The Velvet Underground and Nico. Bockris also wrote one of the two biographies of Reed I referred to, Transformer. The other was Lou Reed by Anthony DeCurtis. Information on Cale mostly came from Sedition and Alchemy by Tim Mitchell. Information on Nico came from Nico: The Life and Lies of an Icon by Richard Witts. I used Draw a Straight Line and Follow it by Jeremy Grimshaw as my main source for La Monte Young, The Roaring Silence by David Revill for John Cage, and Warhol: A Life as Art by Blake Gopnik for Warhol. I also referred to the Criterion Collection Blu-Ray of the 2021 documentary The Velvet Underground. The definitive collection of the Velvet Underground's music is the sadly out-of-print box set Peel Slowly and See, which contains the four albums the group made with Reed in full, plus demos, outtakes, and live recordings. Note that the digital version of the album as sold by Amazon for some reason doesn't include the last disc -- if you want the full box set you have to buy a physical copy. All four studio albums have also been released and rereleased many times over in different configurations with different numbers of CDs at different price points -- I have used the "45th Anniversary Super-Deluxe" versions for this episode, but for most people the standard CD versions will be fine. Sadly there are no good shorter compilation overviews of the group -- they tend to emphasise either the group's "pop" mode or its "avant-garde" mode to the exclusion of the other. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I begin this episode, there are a few things to say. This introductory section is going to be longer than normal because, as you will hear, this episode is also going to be longer than normal. Firstly, I try to warn people about potentially upsetting material in these episodes. But this is the first episode for 1968, and as you will see there is a *profound* increase in the amount of upsetting and disturbing material covered as we go through 1968 and 1969. The story is going to be in a much darker place for the next twenty or thirty episodes. And this episode is no exception. As always, I try to deal with everything as sensitively as possible, but you should be aware that the list of warnings for this one is so long I am very likely to have missed some. Among the topics touched on in this episode are mental illness, drug addiction, gun violence, racism, societal and medical homophobia, medical mistreatment of mental illness, domestic abuse, rape, and more. If you find discussion of any of those subjects upsetting, you might want to read the transcript. Also, I use the term "queer" freely in this episode. In the past I have received some pushback for this, because of a belief among some that "queer" is a slur. The following explanation will seem redundant to many of my listeners, but as with many of the things I discuss in the podcast I am dealing with multiple different audiences with different levels of awareness and understanding of issues, so I'd like to beg those people's indulgence a moment. The term "queer" has certainly been used as a slur in the past, but so have terms like "lesbian", "gay", "homosexual" and others. In all those cases, the term has gone from a term used as a self-identifier, to a slur, to a reclaimed slur, and back again many times. The reason for using that word, specifically, here is because the vast majority of people in this story have sexualities or genders that don't match the societal norms of their times, but used labels for themselves that have shifted in meaning over the years. There are at least two men in the story, for example, who are now dead and referred to themselves as "homosexual", but were in multiple long-term sexually-active relationships with women. Would those men now refer to themselves as "bisexual" or "pansexual" -- terms not in widespread use at the time -- or would they, in the relatively more tolerant society we live in now, only have been in same-gender relationships? We can't know. But in our current context using the word "homosexual" for those men would lead to incorrect assumptions about their behaviour. The labels people use change over time, and the definitions of them blur and shift. I have discussed this issue with many, many, friends who fall under the queer umbrella, and while not all of them are comfortable with "queer" as a personal label because of how it's been used against them in the past, there is near-unanimity from them that it's the correct word to use in this situation. Anyway, now that that rather lengthy set of disclaimers is over, let's get into the story proper, as we look at "White Light, White Heat" by the Velvet Underground: [Excerpt: The Velvet Underground, "White Light, White Heat"] And that look will start with... a disclaimer about length. This episode is going to be a long one. Not as long as episode one hundred and fifty, but almost certainly the longest episode I'll do this year, by some way. And there's a reason for that. One of the questions I've been asked repeatedly over the years about the podcast is why almost all the acts I've covered have been extremely commercially successful ones. "Where are the underground bands? The alternative bands? The little niche acts?" The answer to that is simple. Until the mid-sixties, the idea of an underground or alternative band made no sense at all in rock, pop, rock and roll, R&B, or soul. The idea would have been completely counterintuitive to the vast majority of the people we've discussed in the podcast. Those musics were commercial musics, made by people who wanted to make money and to get the largest audiences possible. That doesn't mean that they had no artistic merit, or that there was no artistic intent behind them, but the artists making that music were *commercial* artists. They knew if they wanted to make another record, they had to sell enough copies of the last record for the record company to make another, and that if they wanted to keep eating, they had to draw enough of an audience to their gigs for promoters to keep booking them. There was no space in this worldview for what we might think of as cult success. If your record only sold a thousand copies, then you had failed in your goal, even if the thousand people who bought your record really loved it. Even less commercially successful artists we've covered to this point, like the Mothers of Invention or Love, were *trying* for commercial success, even if they made the decision not to compromise as much as others do. This started to change a tiny bit in the mid-sixties as the influence of jazz and folk in the US, and the British blues scene, started to be felt in rock music. But this influence, at first, was a one-way thing -- people who had been in the folk and jazz worlds deciding to modify their music to be more commercial. And that was followed by already massively commercial musicians, like the Beatles, taking on some of those influences and bringing their audience with them. But that started to change around the time that "rock" started to differentiate itself from "rock and roll" and "pop", in mid 1967. So in this episode and the next, we're going to look at two bands who in different ways provided a model for how to be an alternative band. Both of them still *wanted* commercial success, but neither achieved it, at least not at first and not in the conventional way. And both, when they started out, went by the name The Warlocks. But we have to take a rather circuitous route to get to this week's band, because we're now properly introducing a strand of music that has been there in the background for a while -- avant-garde art music. So before we go any further, let's have a listen to a thirty-second clip of the most famous piece of avant-garde music ever, and I'll be performing it myself: [Excerpt, Andrew Hickey "4'33 (Cage)"] Obviously that won't give the full effect, you have to listen to the whole piece to get that. That is of course a section of "4'33" by John Cage, a piece of music that is often incorrectly described as being four minutes and thirty three seconds of silence. As I've mentioned before, though, in the episode on "Papa's Got a Brand New Bag", it isn't that at all. The whole point of the piece is that there is no such thing as silence, and it's intended to make the listener appreciate all the normal ambient sounds as music, every bit as much as any piece by Bach or Beethoven. John Cage, the composer of "4'33", is possibly the single most influential avant-garde artist of the mid twentieth century, so as we're properly introducing the ideas of avant-garde music into the story here, we need to talk about him a little. Cage was, from an early age, torn between three great vocations, all of which in some fashion would shape his work for decades to come. One of these was architecture, and for a time he intended to become an architect. Another was the religious ministry, and he very seriously considered becoming a minister as a young man, and religion -- though not the religious faith of his youth -- was to be a massive factor in his work as he grew older. He started studying music from an early age, though he never had any facility as a performer -- though he did, when he discovered the work of Grieg, think that might change. He later said “For a while I played nothing else. I even imagined devoting my life to the performance of his works alone, for they did not seem to me to be too difficult, and I loved them.” [Excerpt: Grieg piano concerto in A minor] But he soon realised that he didn't have some of the basic skills that would be required to be a performer -- he never actually thought of himself as very musical -- and so he decided to move into composition, and he later talked about putting his musical limits to good use in being more inventive. From his very first pieces, Cage was trying to expand the definition of what a performance of a piece of music actually was. One of his friends, Harry Hay, who took part in the first documented performance of a piece by Cage, described how Cage's father, an inventor, had "devised a fluorescent light source over which Sample" -- Don Sample, Cage's boyfriend at the time -- "laid a piece of vellum painted with designs in oils. The blankets I was wearing were white, and a sort of lampshade shone coloured patterns onto me. It looked very good. The thing got so hot the designs began to run, but that only made it better.” Apparently the audience for this light show -- one that predated the light shows used by rock bands by a good thirty years -- were not impressed, though that may be more because the Santa Monica Women's Club in the early 1930s was not the vanguard of the avant-garde. Or maybe it was. Certainly the housewives of Santa Monica seemed more willing than one might expect to sign up for another of Cage's ideas. In 1933 he went door to door asking women if they would be interested in signing up to a lecture course from him on modern art and music. He told them that if they signed up for $2.50, he would give them ten lectures, and somewhere between twenty and forty of them signed up, even though, as he said later, “I explained to the housewives that I didn't know anything about either subject but that I was enthusiastic about both of them. I promised to learn faithfully enough about each subject so as to be able to give a talk an hour long each week.” And he did just that, going to the library every day and spending all week preparing an hour-long talk for them. History does not relate whether he ended these lectures by telling the housewives to tell just one friend about them. He said later “I came out of these lectures, with a devotion to the painting of Mondrian, on the one hand, and the music of Schoenberg on the other.” [Excerpt: Schoenberg, "Ode to Napoleon Buonaparte"] Schoenberg was one of the two most widely-respected composers in the world at that point, the other being Stravinsky, but the two had very different attitudes to composition. Schoenberg's great innovation was the creation and popularisation of the twelve-tone technique, and I should probably explain that a little before I go any further. Most Western music is based on an eight-note scale -- do, re, mi, fa, so, la, ti, do -- with the eighth note being an octave up from the first. So in the key of C major that would be C, D, E, F, G, A, B, C: [demonstrates] And when you hear notes from that scale, if your ears are accustomed to basically any Western music written before about 1920, or any Western popular music written since then, you expect the melody to lead back to C, and you know to expect that because it only uses those notes -- there are differing intervals between them, some having a tone between them and some having a semitone, and you recognise the pattern. But of course there are other notes between the notes of that scale. There are actually an infinite number of these, but in conventional Western music we only look at a few more -- C# (or D flat), D# (or E flat), F# (or G flat), G# (or A flat) and A# (or B flat). If you add in all those notes you get this: [demonstrates] There's no clear beginning or end, no do for it to come back to. And Schoenberg's great innovation, which he was only starting to promote widely around this time, was to insist that all twelve notes should be equal -- his melodies would use all twelve of the notes the exact same number of times, and so if he used say a B flat, he would have to use all eleven other notes before he used B flat again in the piece. This was a radical new idea, but Schoenberg had only started advancing it after first winning great acclaim for earlier pieces, like his "Three Pieces for Piano", a work which wasn't properly twelve-tone, but did try to do without the idea of having any one note be more important than any other: [Excerpt: Schoenberg, "Three Pieces for Piano"] At this point, that work had only been performed in the US by one performer, Richard Buhlig, and hadn't been released as a recording yet. Cage was so eager to hear it that he'd found Buhlig's phone number and called him, asking him to play the piece, but Buhlig put the phone down on him. Now he was doing these lectures, though, he had to do one on Schoenberg, and he wasn't a competent enough pianist to play Schoenberg's pieces himself, and there were still no recordings of them. Cage hitch-hiked from Santa Monica to LA, where Buhlig lived, to try to get him to come and visit his class and play some of Schoenberg's pieces for them. Buhlig wasn't in, and Cage hung around in his garden hoping for him to come back -- he pulled the leaves off a bough from one of Buhlig's trees, going "He'll come back, he won't come back, he'll come back..." and the leaves said he'd be back. Buhlig arrived back at midnight, and quite understandably told the strange twenty-one-year-old who'd spent twelve hours in his garden pulling the leaves off his trees that no, he would not come to Santa Monica and give a free performance. But he did agree that if Cage brought some of his own compositions he'd give them a look over. Buhlig started giving Cage some proper lessons in composition, although he stressed that he was a performer, not a composer. Around this time Cage wrote his Sonata for Clarinet: [Excerpt: John Cage, "Sonata For Clarinet"] Buhlig suggested that Cage send that to Henry Cowell, the composer we heard about in the episode on "Good Vibrations" who was friends with Lev Termen and who created music by playing the strings inside a piano: [Excerpt: Henry Cowell, "Aeolian Harp and Sinister Resonance"] Cowell offered to take Cage on as an assistant, in return for which Cowell would teach him for a semester, as would Adolph Weiss, a pupil of Schoenberg's. But the goal, which Cowell suggested, was always to have Cage study with Schoenberg himself. Schoenberg at first refused, saying that Cage couldn't afford his price, but eventually took Cage on as a student having been assured that he would devote his entire life to music -- a promise Cage kept. Cage started writing pieces for percussion, something that had been very rare up to that point -- only a handful of composers, most notably Edgard Varese, had written pieces for percussion alone, but Cage was: [Excerpt: John Cage, "Trio"] This is often portrayed as a break from the ideals of his teacher Schoenberg, but in fact there's a clear continuity there, once you see what Cage was taking from Schoenberg. Schoenberg's work is, in some senses, about equality, about all notes being equal. Or to put it another way, it's about fairness. About erasing arbitrary distinctions. What Cage was doing was erasing the arbitrary distinction between the more and less prominent instruments. Why should there be pieces for solo violin or string quartet, but not for multiple percussion players? That said, Schoenberg was not exactly the most encouraging of teachers. When Cage invited Schoenberg to go to a concert of Cage's percussion work, Schoenberg told him he was busy that night. When Cage offered to arrange another concert for a date Schoenberg wasn't busy, the reply came "No, I will not be free at any time". Despite this, Cage later said “Schoenberg was a magnificent teacher, who always gave the impression that he was putting us in touch with musical principles,” and said "I literally worshipped him" -- a strong statement from someone who took religious matters as seriously as Cage. Cage was so devoted to Schoenberg's music that when a concert of music by Stravinsky was promoted as "music of the world's greatest living composer", Cage stormed into the promoter's office angrily, confronting the promoter and making it very clear that such things should not be said in the city where Schoenberg lived. Schoenberg clearly didn't think much of Cage's attempts at composition, thinking -- correctly -- that Cage had no ear for harmony. And his reportedly aggressive and confrontational teaching style didn't sit well with Cage -- though it seems very similar to a lot of the teaching techniques of the Zen masters he would later go on to respect. The two eventually parted ways, although Cage always spoke highly of Schoenberg. Schoenberg later gave Cage a compliment of sorts, when asked if any of his students had gone on to do anything interesting. At first he replied that none had, but then he mentioned Cage and said “Of course he's not a composer, but an inventor—of genius.” Cage was at this point very worried if there was any point to being a composer at all. He said later “I'd read Cowell's New Musical Resources and . . . The Theory of Rhythm. I had also read Chavez's Towards a New Music. Both works gave me the feeling that everything that was possible in music had already happened. So I thought I could never compose socially important music. Only if I could invent something new, then would I be useful to society. But that seemed unlikely then.” [Excerpt: John Cage, "Totem Ancestor"] Part of the solution came when he was asked to compose music for an abstract animation by the filmmaker Oskar Fischinger, and also to work as Fischinger's assistant when making the film. He was fascinated by the stop-motion process, and by the results of the film, which he described as "a beautiful film in which these squares, triangles and circles and other things moved and changed colour.” But more than that he was overwhelmed by a comment by Fischinger, who told him “Everything in the world has its own spirit, and this spirit becomes audible by setting it into vibration.” Cage later said “That set me on fire. He started me on a path of exploration of the world around me which has never stopped—of hitting and stretching and scraping and rubbing everything.” Cage now took his ideas further. His compositions for percussion had been about, if you like, giving the underdog a chance -- percussion was always in the background, why should it not be in the spotlight? Now he realised that there were other things getting excluded in conventional music -- the sounds that we characterise as noise. Why should composers work to exclude those sounds, but work to *include* other sounds? Surely that was... well, a little unfair? Eventually this would lead to pieces like his 1952 piece "Water Music", later expanded and retitled "Water Walk", which can be heard here in his 1959 appearance on the TV show "I've Got a Secret". It's a piece for, amongst other things, a flowerpot full of flowers, a bathtub, a watering can, a pipe, a duck call, a blender full of ice cubes, and five unplugged radios: [Excerpt: John Cage "Water Walk"] As he was now avoiding pitch and harmony as organising principles for his music, he turned to time. But note -- not to rhythm. He said “There's none of this boom, boom, boom, business in my music . . . a measure is taken as a strict measure of time—not a one two three four—which I fill with various sounds.” He came up with a system he referred to as “micro-macrocosmic rhythmic structure,” what we would now call fractals, though that word hadn't yet been invented, where the structure of the whole piece was reflected in the smallest part of it. For a time he started moving away from the term music, preferring to refer to the "art of noise" or to "organised sound" -- though he later received a telegram from Edgard Varese, one of his musical heroes and one of the few other people writing works purely for percussion, asking him not to use that phrase, which Varese used for his own work. After meeting with Varese and his wife, he later became convinced that it was Varese's wife who had initiated the telegram, as she explained to Cage's wife "we didn't want your husband's work confused with my husband's work, any more than you'd want some . . . any artist's work confused with that of a cartoonist.” While there is a humour to Cage's work, I don't really hear much qualitative difference between a Cage piece like the one we just heard and a Varese piece like Ionisation: [Excerpt: Edgard Varese, "Ionisation"] But it was in 1952, the year of "Water Music" that John Cage made his two biggest impacts on the cultural world, though the full force of those impacts wasn't felt for some years. To understand Cage's 1952 work, you first have to understand that he had become heavily influenced by Zen, which at that time was very little known in the Western world. Indeed he had studied with Daisetsu Suzuki, who is credited with introducing Zen to the West, and said later “I didn't study music with just anybody; I studied with Schoenberg, I didn't study Zen with just anybody; I studied with Suzuki. I've always gone, insofar as I could, to the president of the company.” Cage's whole worldview was profoundly affected by Zen, but he was also naturally sympathetic to it, and his work after learning about Zen is mostly a continuation of trends we can already see. In particular, he became convinced that the point of music isn't to communicate anything between two people, rather its point is merely to be experienced. I'm far from an expert on Buddhism, but one way of thinking about its central lessons is that one should experience things as they are, experiencing the thing itself rather than one's thoughts or preconceptions about it. And so at Black Mountain college came Theatre Piece Number 1: [Excerpt: Edith Piaf, "La Vie En Rose" ] In this piece, Cage had set the audience on all sides, so they'd be facing each other. He stood on a stepladder, as colleagues danced in and around the audience, another colleague played the piano, two more took turns to stand on another stepladder to recite poetry, different films and slides were projected, seemingly at random, onto the walls, and the painter Robert Rauschenberg played scratchy Edith Piaf records on a wind-up gramophone. The audience were included in the performance, and it was meant to be experienced as a gestalt, as a whole, to be what we would now call an immersive experience. One of Cage's students around this time was the artist Allan Kaprow, and he would be inspired by Theatre Piece Number 1 to put on several similar events in the late fifties. Those events he called "happenings", because the point of them was that you were meant to experience an event as it was happening rather than bring preconceptions of form and structure to them. Those happenings were the inspiration for events like The 14 Hour Technicolor Dream, and the term "happening" became such an integral part of the counterculture that by 1967 there were comedy films being released about them, including one just called The Happening with a title track by the Supremes that made number one: [Excerpt: The Supremes, "The Happening"] Theatre Piece Number 1 was retrospectively considered the first happening, and as such its influence is incalculable. But one part I didn't mention about Theatre Piece Number 1 is that as well as Rauschenberg playing Edith Piaf's records, he also displayed some of his paintings. These paintings were totally white -- at a glance, they looked like blank canvases, but as one inspected them more clearly, it became apparent that Rauschenberg had painted them with white paint, with visible brushstrokes. These paintings, along with a visit to an anechoic chamber in which Cage discovered that even in total silence one can still hear one's own blood and nervous system, so will never experience total silence, were the final key to something Cage had been working towards -- if music had minimised percussion, and excluded noise, how much more had it excluded silence? As Cage said in 1958 “Curiously enough, the twelve-tone system has no zero in it.” And so came 4'33, the piece that we heard an excerpt of near the start of this episode. That piece was the something new he'd been looking for that could be useful to society. It took the sounds the audience could already hear, and without changing them even slightly gave them a new context and made the audience hear them as they were. Simply by saying "this is music", it caused the ambient noise to be perceived as music. This idea, of recontextualising existing material, was one that had already been done in the art world -- Marcel Duchamp, in 1917, had exhibited a urinal as a sculpture titled "Fountain" -- but even Duchamp had talked about his work as "everyday objects raised to the dignity of a work of art by the artist's act of choice". The artist was *raising* the object to art. What Cage was saying was "the object is already art". This was all massively influential to a young painter who had seen Cage give lectures many times, and while at art school had with friends prepared a piano in the same way Cage did for his own experimental compositions, dampening the strings with different objects. [Excerpt: Dana Gillespie, "Andy Warhol (live)"] Duchamp and Rauschenberg were both big influences on Andy Warhol, but he would say in the early sixties "John Cage is really so responsible for so much that's going on," and would for the rest of his life cite Cage as one of the two or three prime influences of his career. Warhol is a difficult figure to discuss, because his work is very intellectual but he was not very articulate -- which is one reason I've led up to him by discussing Cage in such detail, because Cage was always eager to talk at great length about the theoretical basis of his work, while Warhol would say very few words about anything at all. Probably the person who knew him best was his business partner and collaborator Paul Morrissey, and Morrissey's descriptions of Warhol have shaped my own view of his life, but it's very worth noting that Morrissey is an extremely right-wing moralist who wishes to see a Catholic theocracy imposed to do away with the scourges of sexual immorality, drug use, hedonism, and liberalism, so his view of Warhol, a queer drug using progressive whose worldview seems to have been totally opposed to Morrissey's in every way, might be a little distorted. Warhol came from an impoverished background, and so, as many people who grew up poor do, he was, throughout his life, very eager to make money. He studied art at university, and got decent but not exceptional grades -- he was a competent draughtsman, but not a great one, and most importantly as far as success in the art world goes he didn't have what is known as his own "line" -- with most successful artists, you can look at a handful of lines they've drawn and see something of their own personality in it. You couldn't with Warhol. His drawings looked like mediocre imitations of other people's work. Perfectly competent, but nothing that stood out. So Warhol came up with a technique to make his drawings stand out -- blotting. He would do a normal drawing, then go over it with a lot of wet ink. He'd lower a piece of paper on to the wet drawing, and the new paper would soak up the ink, and that second piece of paper would become the finished work. The lines would be fractured and smeared, broken in places where the ink didn't get picked up, and thick in others where it had pooled. With this mechanical process, Warhol had managed to create an individual style, and he became an extremely successful commercial artist. In the early 1950s photography was still seen as a somewhat low-class way of advertising things. If you wanted to sell to a rich audience, you needed to use drawings or paintings. By 1955 Warhol was making about twelve thousand dollars a year -- somewhere close to a hundred and thirty thousand a year in today's money -- drawing shoes for advertisements. He also had a sideline in doing record covers for people like Count Basie: [Excerpt: Count Basie, "Seventh Avenue Express"] For most of the 1950s he also tried to put on shows of his more serious artistic work -- often with homoerotic themes -- but to little success. The dominant art style of the time was the abstract expressionism of people like Jackson Pollock, whose art was visceral, emotional, and macho. The term "action paintings" which was coined for the work of people like Pollock, sums it up. This was manly art for manly men having manly emotions and expressing them loudly. It was very male and very straight, and even the gay artists who were prominent at the time tended to be very conformist and look down on anything they considered flamboyant or effeminate. Warhol was a rather effeminate, very reserved man, who strongly disliked showing his emotions, and whose tastes ran firmly to the camp. Camp as an aesthetic of finding joy in the flamboyant or trashy, as opposed to merely a descriptive term for men who behaved in a way considered effeminate, was only just starting to be codified at this time -- it wouldn't really become a fully-formed recognisable thing until Susan Sontag's essay "Notes on Camp" in 1964 -- but of course just because something hasn't been recognised doesn't mean it doesn't exist, and Warhol's aesthetic was always very camp, and in the 1950s in the US that was frowned upon even in gay culture, where the mainstream opinion was that the best way to acceptance was through assimilation. Abstract expressionism was all about expressing the self, and that was something Warhol never wanted to do -- in fact he made some pronouncements at times which suggested he didn't think of himself as *having* a self in the conventional sense. The combination of not wanting to express himself and of wanting to work more efficiently as a commercial artist led to some interesting results. For example, he was commissioned in 1957 to do a cover for an album by Moondog, the blind street musician whose name Alan Freed had once stolen: [Excerpt: Moondog, "Gloving It"] For that cover, Warhol got his mother, Julia Warhola, to just write out the liner notes for the album in her rather ornamental cursive script, and that became the front cover, leading to an award for graphic design going that year to "Andy Warhol's mother". (Incidentally, my copy of the current CD issue of that album, complete with Julia Warhola's cover, is put out by Pickwick Records...) But towards the end of the fifties, the work for commercial artists started to dry up. If you wanted to advertise shoes, now, you just took a photo of the shoes rather than get Andy Warhol to draw a picture of them. The money started to disappear, and Warhol started to panic. If there was no room for him in graphic design any more, he had to make his living in the fine arts, which he'd been totally unsuccessful in. But luckily for Warhol, there was a new movement that was starting to form -- Pop Art. Pop Art started in England, and had originally been intended, at least in part, as a critique of American consumerist capitalism. Pieces like "Just what is it that makes today's homes so different, so appealing?" by Richard Hamilton (who went on to design the Beatles' White Album cover) are collages of found images, almost all from American sources, recontextualised and juxtaposed in interesting ways, so a bodybuilder poses in a room that's taken from an advert in Ladies' Home Journal, while on the wall, instead of a painting, hangs a blown-up cover of a Jack Kirby romance comic. Pop Art changed slightly when it got taken up in America, and there it became something rather different, something closer to Duchamp, taking those found images and displaying them as art with no juxtaposition. Where Richard Hamilton created collage art which *showed* a comic cover by Jack Kirby as a painting in the background, Roy Lichtenstein would take a panel of comic art by Kirby, or Russ Heath or Irv Novick or a dozen other comic artists, and redraw it at the size of a normal painting. So Warhol took Cage's idea that the object is already art, and brought that into painting, starting by doing paintings of Campbell's soup cans, in which he tried as far as possible to make the cans look exactly like actual soup cans. The paintings were controversial, inciting fury in some and laughter in others and causing almost everyone to question whether they were art. Warhol would embrace an aesthetic in which things considered unimportant or trash or pop culture detritus were the greatest art of all. For example pretty much every profile of him written in the mid sixties talks about him obsessively playing "Sally Go Round the Roses", a girl-group single by the one-hit wonders the Jaynettes: [Excerpt: The Jaynettes, "Sally Go Round the Roses"] After his paintings of Campbell's soup cans, and some rather controversial but less commercially successful paintings of photographs of horrors and catastrophes taken from newspapers, Warhol abandoned painting in the conventional sense altogether, instead creating brightly coloured screen prints -- a form of stencilling -- based on photographs of celebrities like Elvis Presley, Elizabeth Taylor and, most famously, Marilyn Monroe. That way he could produce images which could be mass-produced, without his active involvement, and which supposedly had none of his personality in them, though of course his personality pervades the work anyway. He put on exhibitions of wooden boxes, silk-screen printed to look exactly like shipping cartons of Brillo pads. Images we see everywhere -- in newspapers, in supermarkets -- were art. And Warhol even briefly formed a band. The Druds were a garage band formed to play at a show at the Washington Gallery of Modern Art, the opening night of an exhibition that featured a silkscreen by Warhol of 210 identical bottles of Coca-Cola, as well as paintings by Rauschenberg and others. That opening night featured a happening by Claes Oldenburg, and a performance by Cage -- Cage gave a live lecture while three recordings of his own voice also played. The Druds were also meant to perform, but they fell apart after only a few rehearsals. Some recordings apparently exist, but they don't seem to circulate, but they'd be fascinating to hear as almost the entire band were non-musician artists like Warhol, Jasper Johns, and the sculptor Walter de Maria. Warhol said of the group “It didn't go too well, but if we had just stayed on it it would have been great.” On the other hand, the one actual musician in the group said “It was kind of ridiculous, so I quit after the second rehearsal". That musician was La Monte Young: [Excerpt: La Monte Young, "The Well-Tuned Piano"] That's an excerpt from what is generally considered Young's masterwork, "The Well-Tuned Piano". It's six and a half hours long. If Warhol is a difficult figure to write about, Young is almost impossible. He's a musician with a career stretching sixty years, who is arguably the most influential musician from the classical tradition in that time period. He's generally considered the father of minimalism, and he's also been called by Brian Eno "the daddy of us all" -- without Young you simply *do not* get art rock at all. Without Young there is no Velvet Underground, no David Bowie, no Eno, no New York punk scene, no Yoko Ono. Anywhere that the fine arts or conceptual art have intersected with popular music in the last fifty or more years has been influenced in one way or another by Young's work. BUT... he only rarely publishes his scores. He very, very rarely allows recordings of his work to be released -- there are four recordings on his bandcamp, plus a handful of recordings of his older, published, pieces, and very little else. He doesn't allow his music to be performed live without his supervision. There *are* bootleg recordings of his music, but even those are not easily obtainable -- Young is vigorous in enforcing his copyrights and issues takedown notices against anywhere that hosts them. So other than that handful of legitimately available recordings -- plus a recording by Young's Theater of Eternal Music, the legality of which is still disputed, and an off-air recording of a 1971 radio programme I've managed to track down, the only way to experience Young's music unless you're willing to travel to one of his rare live performances or installations is second-hand, by reading about it. Except that the one book that deals solely with Young and his music is not only a dense and difficult book to read, it's also one that Young vehemently disagreed with and considered extremely inaccurate, to the point he refused to allow permissions to quote his work in the book. Young did apparently prepare a list of corrections for the book, but he wouldn't tell the author what they were without payment. So please assume that anything I say about Young is wrong, but also accept that the short section of this episode about Young has required more work to *try* to get it right than pretty much anything else this year. Young's musical career actually started out in a relatively straightforward manner. He didn't grow up in the most loving of homes -- he's talked about his father beating him as a child because he had been told that young La Monte was clever -- but his father did buy him a saxophone and teach him the rudiments of the instrument, and as a child he was most influenced by the music of the big band saxophone player Jimmy Dorsey: [Excerpt: Jimmy Dorsey, “It's the Dreamer in Me”] The family, who were Mormon farmers, relocated several times in Young's childhood, from Idaho first to California and then to Utah, but everywhere they went La Monte seemed to find musical inspiration, whether from an uncle who had been part of the Kansas City jazz scene, a classmate who was a musical prodigy who had played with Perez Prado in his early teens, or a teacher who took the class to see a performance of Bartok's Concerto for Orchestra: [Excerpt: Bartok, "Concerto for Orchestra"] After leaving high school, Young went to Los Angeles City College to study music under Leonard Stein, who had been Schoenberg's assistant when Schoenberg had taught at UCLA, and there he became part of the thriving jazz scene based around Central Avenue, studying and performing with musicians like Ornette Coleman, Don Cherry, and Eric Dolphy -- Young once beat Dolphy in an audition for a place in the City College dance band, and the two would apparently substitute for each other on their regular gigs when one couldn't make it. During this time, Young's musical tastes became much more adventurous. He was a particular fan of the work of John Coltrane, and also got inspired by City of Glass, an album by Stan Kenton that attempted to combine jazz and modern classical music: [Excerpt: Stan Kenton's Innovations Orchestra, "City of Glass: The Structures"] His other major musical discovery in the mid-fifties was one we've talked about on several previous occasions -- the album Music of India, Morning and Evening Ragas by Ali Akhbar Khan: [Excerpt: Ali Akhbar Khan, "Rag Sindhi Bhairavi"] Young's music at this point was becoming increasingly modal, and equally influenced by the blues and Indian music. But he was also becoming interested in serialism. Serialism is an extension and generalisation of twelve-tone music, inspired by mathematical set theory. In serialism, you choose a set of musical elements -- in twelve-tone music that's the twelve notes in the twelve-tone scale, but it can also be a set of tonal relations, a chord, or any other set of elements. You then define all the possible ways you can permute those elements, a defined set of operations you can perform on them -- so you could play a scale forwards, play it backwards, play all the notes in the scale simultaneously, and so on. You then go through all the possible permutations, exactly once, and that's your piece of music. Young was particularly influenced by the works of Anton Webern, one of the earliest serialists: [Excerpt: Anton Webern, "Cantata number 1 for Soprano, Mixed Chorus, and Orchestra"] That piece we just heard, Webern's "Cantata number 1", was the subject of some of the earliest theoretical discussion of serialism, and in particular led to some discussion of the next step on from serialism. If serialism was all about going through every single permutation of a set, what if you *didn't* permute every element? There was a lot of discussion in the late fifties in music-theoretical circles about the idea of invariance. Normally in music, the interesting thing is what gets changed. To use a very simple example, you might change a melody from a major key to a minor one to make it sound sadder. What theorists at this point were starting to discuss is what happens if you leave something the same, but change the surrounding context, so the thing you *don't* vary sounds different because of the changed context. And going further, what if you don't change the context at all, and merely *imply* a changed context? These ideas were some of those which inspired Young's first major work, his Trio For Strings from 1958, a complex, palindromic, serial piece which is now credited as the first work of minimalism, because the notes in it change so infrequently: [Excerpt: La Monte Young, "Trio for Strings"] Though I should point out that Young never considers his works truly finished, and constantly rewrites them, and what we just heard is an excerpt from the only recording of the trio ever officially released, which is of the 2015 version. So I can't state for certain how close what we just heard is to the piece he wrote in 1958, except that it sounds very like the written descriptions of it I've read. After writing the Trio For Strings, Young moved to Germany to study with the modernist composer Karlheinz Stockhausen. While studying with Stockhausen, he became interested in the work of John Cage, and started up a correspondence with Cage. On his return to New York he studied with Cage and started writing pieces inspired by Cage, of which the most musical is probably Composition 1960 #7: [Excerpt: La Monte Young, "Composition 1960 #7"] The score for that piece is a stave on which is drawn a treble clef, the notes B and F#, and the words "To be held for a long Time". Other of his compositions from 1960 -- which are among the few of his compositions which have been published -- include composition 1960 #10 ("To Bob Morris"), the score for which is just the instruction "Draw a straight line and follow it.", and Piano Piece for David Tudor #1, the score for which reads "Bring a bale of hay and a bucket of water onto the stage for the piano to eat and drink. The performer may then feed the piano or leave it to eat by itself. If the former, the piece is over after the piano has been fed. If the latter, it is over after the piano eats or decides not to". Most of these compositions were performed as part of a loose New York art collective called Fluxus, all of whom were influenced by Cage and the Dadaists. This collective, led by George Maciunas, sometimes involved Cage himself, but also involved people like Henry Flynt, the inventor of conceptual art, who later became a campaigner against art itself, and who also much to Young's bemusement abandoned abstract music in the mid-sixties to form a garage band with Walter de Maria (who had played drums with the Druds): [Excerpt: Henry Flynt and the Insurrections, "I Don't Wanna"] Much of Young's work was performed at Fluxus concerts given in a New York loft belonging to another member of the collective, Yoko Ono, who co-curated the concerts with Young. One of Ono's mid-sixties pieces, her "Four Pieces for Orchestra" is dedicated to Young, and consists of such instructions as "Count all the stars of that night by heart. The piece ends when all the orchestra members finish counting the stars, or when it dawns. This can be done with windows instead of stars." But while these conceptual ideas remained a huge part of Young's thinking, he soon became interested in two other ideas. The first was the idea of just intonation -- tuning instruments and voices to perfect harmonics, rather than using the subtly-off tuning that is used in Western music. I'm sure I've explained that before in a previous episode, but to put it simply when you're tuning an instrument with fixed pitches like a piano, you have a choice -- you can either tune it so that the notes in one key are perfectly in tune with each other, but then when you change key things go very out of tune, or you can choose to make *everything* a tiny bit, almost unnoticeably, out of tune, but equally so. For the last several hundred years, musicians as a community have chosen the latter course, which was among other things promoted by Bach's Well-Tempered Clavier, a collection of compositions which shows how the different keys work together: [Excerpt: Bach (Glenn Gould), "The Well-Tempered Clavier, Book II: Fugue in F-sharp minor, BWV 883"] Young, by contrast, has his own esoteric tuning system, which he uses in his own work The Well-Tuned Piano: [Excerpt: La Monte Young, "The Well-Tuned Piano"] The other idea that Young took on was from Indian music, the idea of the drone. One of the four recordings of Young's music that is available from his Bandcamp, a 1982 recording titled The Tamburas of Pandit Pran Nath, consists of one hour, thirteen minutes, and fifty-eight seconds of this: [Excerpt: La Monte Young, "The Tamburas of Pandit Pran Nath"] Yes, I have listened to the whole piece. No, nothing else happens. The minimalist composer Terry Riley describes the recording as "a singularly rare contribution that far outshines any other attempts to capture this instrument in recorded media". In 1962, Young started writing pieces based on what he called the "dream chord", a chord consisting of a root, fourth, sharpened fourth, and fifth: [dream chord] That chord had already appeared in his Trio for Strings, but now it would become the focus of much of his work, in pieces like his 1962 piece The Second Dream of the High-Tension Line Stepdown Transformer, heard here in a 1982 revision: [Excerpt: La Monte Young, "The Second Dream of the High-Tension Line Stepdown Transformer"] That was part of a series of works titled The Four Dreams of China, and Young began to plan an installation work titled Dream House, which would eventually be created, and which currently exists in Tribeca, New York, where it's been in continuous "performance" for thirty years -- and which consists of thirty-two different pure sine wave tones all played continuously, plus purple lighting by Young's wife Marian Zazeela. But as an initial step towards creating this, Young formed a collective called Theatre of Eternal Music, which some of the members -- though never Young himself -- always claim also went by the alternative name The Dream Syndicate. According to John Cale, a member of the group, that name came about because the group tuned their instruments to the 60hz hum of the fridge in Young's apartment, which Cale called "the key of Western civilisation". According to Cale, that meant the fundamental of the chords they played was 10hz, the frequency of alpha waves when dreaming -- hence the name. The group initially consisted of Young, Zazeela, the photographer Billy Name, and percussionist Angus MacLise, but by this recording in 1964 the lineup was Young, Zazeela, MacLise, Tony Conrad and John Cale: [Excerpt: "Cale, Conrad, Maclise, Young, Zazeela - The Dream Syndicate 2 IV 64-4"] That recording, like any others that have leaked by the 1960s version of the Theatre of Eternal Music or Dream Syndicate, is of disputed legality, because Young and Zazeela claim to this day that what the group performed were La Monte Young's compositions, while the other two surviving members, Cale and Conrad, claim that their performances were improvisational collaborations and should be equally credited to all the members, and so there have been lawsuits and countersuits any time anyone has released the recordings. John Cale, the youngest member of the group, was also the only one who wasn't American. He'd been born in Wales in 1942, and had had the kind of childhood that, in retrospect, seems guaranteed to lead to eccentricity. He was the product of a mixed-language marriage -- his father, William, was an English speaker while his mother, Margaret, spoke Welsh, but the couple had moved in on their marriage with Margaret's mother, who insisted that only Welsh could be spoken in her house. William didn't speak Welsh, and while he eventually picked up the basics from spending all his life surrounded by Welsh-speakers, he refused on principle to capitulate to his mother-in-law, and so remained silent in the house. John, meanwhile, grew up a monolingual Welsh speaker, and didn't start to learn English until he went to school when he was seven, and so couldn't speak to his father until then even though they lived together. Young John was extremely unwell for most of his childhood, both physically -- he had bronchial problems for which he had to take a cough mixture that was largely opium to help him sleep at night -- and mentally. He was hospitalised when he was sixteen with what was at first thought to be meningitis, but turned out to be a psychosomatic condition, the result of what he has described as a nervous breakdown. That breakdown is probably connected to the fact that during his teenage years he was sexually assaulted by two adults in positions of authority -- a vicar and a music teacher -- and felt unable to talk to anyone about this. He was, though, a child prodigy and was playing viola with the National Youth Orchestra of Wales from the age of thirteen, and listening to music by Schoenberg, Webern, and Stravinsky. He was so talented a multi-instrumentalist that at school he was the only person other than one of the music teachers and the headmaster who was allowed to use the piano -- which led to a prank on his very last day at school. The headmaster would, on the last day, hit a low G on the piano to cue the assembly to stand up, and Cale had placed a comb on the string, muting it and stopping the note from sounding -- in much the same way that his near-namesake John Cage was "preparing" pianos for his own compositions in the USA. Cale went on to Goldsmith's College to study music and composition, under Humphrey Searle, one of Britain's greatest proponents of serialism who had himself studied under Webern. Cale's main instrument was the viola, but he insisted on also playing pieces written for the violin, because they required more technical skill. For his final exam he chose to play Hindemith's notoriously difficult Viola Sonata: [Excerpt: Hindemith Viola Sonata] While at Goldsmith's, Cale became friendly with Cornelius Cardew, a composer and cellist who had studied with Stockhausen and at the time was a great admirer of and advocate for the works of Cage and Young (though by the mid-seventies Cardew rejected their work as counter-revolutionary bourgeois imperialism). Through Cardew, Cale started to correspond with Cage, and with George Maciunas and other members of Fluxus. In July 1963, just after he'd finished his studies at Goldsmith's, Cale presented a festival there consisting of an afternoon and an evening show. These shows included the first British performances of several works including Cardew's Autumn '60 for Orchestra -- a piece in which the musicians were given blank staves on which to write whatever part they wanted to play, but a separate set of instructions in *how* to play the parts they'd written. Another piece Cale presented in its British premiere at that show was Cage's "Concerto for Piano and Orchestra": [Excerpt: John Cage, "Concerto for Piano and Orchestra"] In the evening show, they performed Two Pieces For String Quartet by George Brecht (in which the musicians polish their instruments with dusters, making scraping sounds as they clean them), and two new pieces by Cale, one of which involved a plant being put on the stage, and then the performer, Robin Page, screaming from the balcony at the plant that it would die, then running down, through the audience, and onto the stage, screaming abuse and threats at the plant. The final piece in the show was a performance by Cale (the first one in Britain) of La Monte Young's "X For Henry Flynt". For this piece, Cale put his hands together and then smashed both his arms onto the keyboard as hard as he could, over and over. After five minutes some of the audience stormed the stage and tried to drag the piano away from him. Cale followed the piano on his knees, continuing to bang the keys, and eventually the audience gave up in defeat and Cale the performer won. After this Cale moved to the USA, to further study composition, this time with Iannis Xenakis, the modernist composer who had also taught Mickey Baker orchestration after Baker left Mickey and Sylvia, and who composed such works as "Orient Occident": [Excerpt: Iannis Xenakis, "Orient Occident"] Cale had been recommended to Xenakis as a student by Aaron Copland, who thought the young man was probably a genius. But Cale's musical ambitions were rather too great for Tanglewood, Massachusetts -- he discovered that the institute had eighty-eight pianos, the same number as there are keys on a piano keyboard, and thought it would be great if for a piece he could take all eighty-eight pianos, put them all on different boats, sail the boats out onto a lake, and have eighty-eight different musicians each play one note on each piano, while the boats sank with the pianos on board. For some reason, Cale wasn't allowed to perform this composition, and instead had to make do with one where he pulled an axe out of a single piano and slammed it down on a table. Hardly the same, I'm sure you'll agree. From Tanglewood, Cale moved on to New York, where he soon became part of the artistic circles surrounding John Cage and La Monte Young. It was at this time that he joined Young's Theatre of Eternal Music, and also took part in a performance with Cage that would get Cale his first television exposure: [Excerpt: John Cale playing Erik Satie's "Vexations" on "I've Got a Secret"] That's Cale playing through "Vexations", a piece by Erik Satie that wasn't published until after Satie's death, and that remained in obscurity until Cage popularised -- if that's the word -- the piece. The piece, which Cage had found while studying Satie's notes, seems to be written as an exercise and has the inscription (in French) "In order to play the motif 840 times in succession, it would be advisable to prepare oneself beforehand, and in the deepest silence, by serious immobilities." Cage interpreted that, possibly correctly, as an instruction that the piece should be played eight hundred and forty times straight through, and so he put together a performance of the piece, the first one ever, by a group he called the Pocket Theatre Piano Relay Team, which included Cage himself, Cale, Joshua Rifkin, and several other notable musical figures, who took it in turns playing the piece. For that performance, which ended up lasting eighteen hours, there was an entry fee of five dollars, and there was a time-clock in the lobby. Audience members punched in and punched out, and got a refund of five cents for every twenty minutes they'd spent listening to the music. Supposedly, at the end, one audience member yelled "Encore!" A week later, Cale appeared on "I've Got a Secret", a popular game-show in which celebrities tried to guess people's secrets (and which is where that performance of Cage's "Water Walk" we heard earlier comes from): [Excerpt: John Cale on I've Got a Secret] For a while, Cale lived with a friend of La Monte Young's, Terry Jennings, before moving in to a flat with Tony Conrad, one of the other members of the Theatre of Eternal Music. Angus MacLise lived in another flat in the same building. As there was not much money to be made in avant-garde music, Cale also worked in a bookshop -- a job Cage had found him -- and had a sideline in dealing drugs. But rents were so cheap at this time that Cale and Conrad only had to work part-time, and could spend much of their time working on the music they were making with Young. Both were string players -- Conrad violin, Cale viola -- and they soon modified their instruments. Conrad merely attached pickups to his so it could be amplified, but Cale went much further. He filed down the viola's bridge so he could play three strings at once, and he replaced the normal viola strings with thicker, heavier, guitar and mandolin strings. This created a sound so loud that it sounded like a distorted electric guitar -- though in late 1963 and early 1964 there were very few people who even knew what a distorted guitar sounded like. Cale and Conrad were also starting to become interested in rock and roll music, to which neither of them had previously paid much attention, because John Cage's music had taught them to listen for music in sounds they previously dismissed. In particular, Cale became fascinated with the harmonies of the Everly Brothers, hearing in them the same just intonation that Young advocated for: [Excerpt: The Everly Brothers, "All I Have to Do is Dream"] And it was with this newfound interest in rock and roll that Cale and Conrad suddenly found themselves members of a manufactured pop band. The two men had been invited to a party on the Lower East Side, and there they'd been introduced to Terry Phillips of Pickwick Records. Phillips had seen their long hair and asked if they were musicians, so they'd answered "yes". He asked if they were in a band, and they said yes. He asked if that band had a drummer, and again they said yes. By this point they realised that he had assumed they were rock guitarists, rather than experimental avant-garde string players, but they decided to play along and see where this was going. Phillips told them that if they brought along their drummer to Pickwick's studios the next day, he had a job for them. The two of them went along with Walter de Maria, who did play the drums a little in between his conceptual art work, and there they were played a record: [Excerpt: The Primitives, "The Ostrich"] It was explained to them that Pickwick made knock-off records -- soundalikes of big hits, and their own records in the style of those hits, all played by a bunch of session musicians and put out under different band names. This one, by "the Primitives", they thought had a shot at being an actual hit, even though it was a dance-craze song about a dance where one partner lays on the floor and the other stamps on their head. But if it was going to be a hit, they needed an actual band to go out and perform it, backing the singer. How would Cale, Conrad, and de Maria like to be three quarters of the Primitives? It sounded fun, but of course they weren't actually guitarists. But as it turned out, that wasn't going to be a problem. They were told that the guitars on the track had all been tuned to one note -- not even to an open chord, like we talked about Steve Cropper doing last episode, but all the strings to one note. Cale and Conrad were astonished -- that was exactly the kind of thing they'd been doing in their drone experiments with La Monte Young. Who was this person who was independently inventing the most advanced ideas in experimental music but applying them to pop songs? And that was how they met Lou Reed: [Excerpt: The Primitives, "The Ostrich"] Where Cale and Conrad were avant-gardeists who had only just started paying attention to rock and roll music, rock and roll was in Lou Reed's blood, but there were a few striking similarities between him and Cale, even though at a glance their backgrounds could not have seemed more different. Reed had been brought up in a comfortably middle-class home in Long Island, but despised the suburban conformity that surrounded him from a very early age, and by his teens was starting to rebel against it very strongly. According to one classmate “Lou was always more advanced than the rest of us. The drinking age was eighteen back then, so we all started drinking at around sixteen. We were drinking quarts of beer, but Lou was smoking joints. He didn't do that in front of many people, but I knew he was doing it. While we were looking at girls in Playboy, Lou was reading Story of O. He was reading the Marquis de Sade, stuff that I wouldn't even have thought about or known how to find.” But one way in which Reed was a typical teenager of the period was his love for rock and roll, especially doo-wop. He'd got himself a guitar, but only had one lesson -- according to the story he would tell on numerous occasions, he turned up with a copy of "Blue Suede Shoes" and told the teacher he only wanted to know how to play the chords for that, and he'd work out the rest himself. Reed and two schoolfriends, Alan Walters and Phil Harris, put together a doo-wop trio they called The Shades, because they wore sunglasses, and a neighbour introduced them to Bob Shad, who had been an A&R man for Mercury Records and was starting his own new label. He renamed them the Jades and took them into the studio with some of the best New York session players, and at fourteen years old Lou Reed was writing songs and singing them backed by Mickey Baker and King Curtis: [Excerpt: The Jades, "Leave Her For Me"] Sadly the Jades' single was a flop -- the closest it came to success was being played on Murray the K's radio show, but on a day when Murray the K was off ill and someone else was filling in for him, much to Reed's disappointment. Phil Harris, the lead singer of the group, got to record some solo sessions after that, but the Jades split up and it would be several years before Reed made any more records. Partly this was because of Reed's mental health, and here's where things get disputed and rather messy. What we know is that in his late teens, just after he'd gone off to New
I've got a great interview for you today— this time, I'm featuring a conversation with Julia Voss on her fascinating book, Hilma af Klint, a Biography, which was released recently in its English translation. The Swedish painter Hilma af Klint (1862–1944) was forty-four years old when she broke with the academic tradition in which she had been trained to produce a body of radical, abstract works the likes of which had never been seen before. Today, it is widely accepted that af Klint was one of the earliest abstract academic painters in Europe. But this is only part of her story. Not only was she a working female artist, she was also an avowed clairvoyant and mystic. Like many of the artists at the turn of the twentieth century who developed some version of abstract painting, af Klint studied Theosophy, which holds that science, art, and religion are all reflections of an underlying life-form that can be harnessed through meditation, study, and experimentation. Well before Kandinsky, Mondrian, and Malevich declared themselves the inventors of abstraction, af Klint was working in a nonrepresentational mode, producing a powerful visual language that continues to speak to audiences today. The exhibition of her work in 2018 at the Guggenheim Museum in New York City attracted more than 600,000 visitors, making it the most-attended show in the history of the institution. Despite her enormous popularity, there has not yet been a biography of af Klint—until now. Please enjoy this bonus episode, featuring my discussion with Julia Voss. Buy Hilma af Klint, a Biography here! Please SUBSCRIBE and REVIEW our show on Apple Podcasts and FOLLOW on Spotify Instagram / Facebook / YouTube SPONSORS: Lomi: Enjoy $50 off a Lomi Composter by visiting our link and using promo code ARTCURIOUS Lume Deodorant: Control Body Odor ANYWHERE with @lumedeodorant and get over 40% off your starter pack with promo code ARTCURIOUS at lumedeodorant.com/ARTCURIOUS! #lumepod Want to advertise/sponsor our show? We have partnered with AdvertiseCast to handle our advertising/sponsorship requests. They're great to work with and will help you advertise on our show. Please email sales@advertisecast.com or click the link below to get started. https://www.advertisecast.com/ArtCuriousPodcast Learn more about your ad choices. Visit podcastchoices.com/adchoices
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