Podcasts about montreal museum

Ugo and Léo reveal how they turned their youthful skateboard years into a (two time winning) design studio of the year. Hear about the Montreal design scene, the FORUM festival they launched, and getting inked. ABOUT OUR GUESTS:Léo Breton-Allaire and Ugo Varin Lachapelle are Partners & Creative Directors at Caserne.Léo is partner and creative director at Caserne. His role involves guiding teams and clients through identity-focused and applied design exercises. He has actively contributed to shaping brands both locally and internationally, including the Canadian Council for Refugees (CCR), Moment Factory, the Montreal Museum of Fine Arts (MBAM), the Montreal Museum of Contemporary Art (MAC), Adisq, Orage, 2K Games, and many others. Over the past 12 years, his work has earned more than a hundred and fifty awards in various national and international competitions, including Art Directors Club, Type Directors Club, Dieline, Communication Arts, Advertising and Design Club of Canada, Applied Arts, and Idéa. Léo has participated in design workshops and conferences, such as Adobe Live in San Francisco, RDV Design and The Open House. In 2022, he chaired the design jury for Idéa Awards and co-founded Forum, an annual event dedicated to graphic design, featuring renowned international speakers such as Mirko Borsche, Elizabeth Goodspeed, and Andrea A. Trabucco Campos. In 2023 and 2024, Caserne was named ADCC Design Studio of the Year two years in a row, further solidifying its reputation for excellence in design. In 2024, Léo's profile was selected for Parcours, an exhibition celebrating the 50th anniversary of the UQAM School of Design, which highlighted 50 graduates from the school since its founding in 1974. That same year, Léo was honored with the TDC Ascenders Award by The One Show in New York. The award recognizes emerging talent, with winners joining the prestigious and exclusive Type Directors Club—an esteemed community of creatives at the pinnacle of their craft.Ugo is a passionate designer with an unwavering commitment to crafting at scale. He stands out for his strong design expertise and unwavering commitment to excellence. He co-founded Caserne in 2012 and now leads the studio alongside Léo Breton-Allaire and Sébastien Paradis. He has served on numerous design competition juries and has won over a hundred awards for his work. He is also the co-founder of FORUM, a design event. Held annually in Montreal, it brings together designers and artists on a mission to network, educate, and create. ADCC Created is brought to you by The Advertising & Design Club of Canada, hosted by Lyranda Martin Evans (Fellow Human), with music and studio care of Grayson Music. Follow us on Instagram @theadccEmail us at created@theadcc.ca

On the quiet Labour Day weekend of 1972, three masked men executed a daring heist at the Montreal Museum of Fine Arts. Scaling a tree and slipping through a skylight under repair, they descended into the museum, subdued the guards, and made off with 18 paintings and 39 pieces of jewelry—valued at $2 million at the time, making it the largest art theft in Canadian history.Among the stolen works was a rare Rembrandt landscape, along with pieces by Delacroix, Rubens, and Millet.Despite ransom negotiations and extensive investigations, only two items have ever been recovered, and the culprits remain unidentified.All our links:https://bio.to/canboringThis podcast is hosted two idiots and created purely for entertainment purposes. By accessing this Podcast, I acknowledge that the CIB Podcast makes no warranty, guarantee, or representation as to the accuracy or sufficiency of the information featured in this Podcast. The information, opinions presented in this Podcast are for general entertainment and humor only and any reliance on the information provided in this Podcast is done at your own risk. However, if we get it badly wrong and you wish to suggest a correction, please email canadianpoliticsisboring@gmail.com Hosted on Acast. See acast.com/privacy for more information.

Caroline Monnet is a multidisciplinary artist of Anishinaabe and French ancestry, based in Montreal. She has carved out her own path as an artist and filmmaker, building a practice rooted in Indigenous knowledge systems and contemporary expression. Her work explores identity, community, and the impact of colonialism—offering any creative entrepreneur or artist a powerful model of what it means to build a practice anchored in intention and vision.Caroline brings a rich, critical perspective to her work. Her art has been exhibited globally—from the Whitney Biennial to the Montreal Museum of Fine Arts and the National Gallery of Canada. Her films have screened at TIFF, Sundance, Berlinale, and beyond. And she's received major accolades, including the Prix Pierre-Ayot, a Sobey Art Award nomination, and a residency with the Cannes Film Festival's Cinefondation.In our conversation, Caroline shares the realities of navigating the art world independently—and speaks candidly about how, as she puts it, “no one tells artists they need to be entrepreneurs too.” Her insights offer powerful takeaways not only for creatives, but for any woman building a business or forging her own path professionally.This conversation airs this week as we get ready to debut our new podcast, Collection'elle, in a few days. This new show aims to encourage women to engage in contemporary art collecting—at a time when women are rising in influence in the art world, yet women artists remain underrepresented in collections. Collection'elle highlights the voices of women artists like Caroline, while also decoding market dynamics through conversations with gallerists, curators, and art-world insiders. Her full interview will continue there, but today, you'll get a first listen to Caroline's story of building a creative practice that's deeply personal, political, and visionary.This season of our podcast is brought to you by TD Canada Women in Enterprise. TD is proud to support women entrepreneurs and help them achieve success and growth through its program of educational workshops, financing and mentorship opportunities! Please find out how you can benefit from their support! Visit: TBIF: thebrandisfemale.com // TD Women in Enterprise: td.com/ca/en/business-banking/small-business/women-in-business // Follow us on Instagram: instagram.com/thebrandisfemale

Kent Monkman talks to Ben Luke about his influences—from writers to musicians, film-makers and, of course, other artists—and the cultural experiences that have shaped his life and work. Monkman was born in 1965 in St Mary's, Ontario, and today lives and works between New York City and Toronto. He is a member of the Fisher River Cree Nation in Treaty 5 Territory, in Manitoba, Canada, and uses the language of European and North American art to reflect on Indigenous experiences. He addresses colonisation and its legacies, loss and memory, resistance and protest, and the disparities between Native American and settler colonial attitudes to gender and sexuality, among many other subjects.Monkman is often present in his work through his gender-fluid alter ego Miss Chief Eagle Testickle, a glamorous, supernatural, shapeshifting time-traveller. At once a witness, a trickster and an agent of change, Miss Chief is a key means for Monkman to subvert colonial perspectives, in challenging both the imagery of Old Master paintings and the construction of histories relating to Indigenous peoples. In the conversation, he describes Miss Chief's role—“living inside” his paintings—reflects on the reimagining of queer narratives of the American fur trade, and discusses the historical and present reverence for gender-fluid or two-spirit people in Indigenous communities. He reflects on the enduring impact of Eugène Delacroix's painting and writing, the influence of Jaune Quick-to-See Smith on his political conviction, and the dramatic impact of seeing Antonio Gisbert Pérez's painting The Execution of Torrijos and his Companions on the Beach at Málaga (1988) at the Prado in Madrid. He gives insight into the complex process of making his paintings and other aspects of his studio life. Plus, he answers our usual questions, including the ultimate: what is art for?Kent Monkman: History is Painted by the Victors, Denver Art Museum, Colorado, US, 20 April-17 August; Montreal Museum of Fine Arts, 27 September-8 March 2026 Hosted on Acast. See acast.com/privacy for more information.

In this episode of The Art Career, Emily sits down with the incomparable Melissa Auf der Maur — musician, visual artist, filmmaker, and co-founder of the multidisciplinary arts center Basilica Hudson.Known for her role as the bass player in iconic 1990s rock bands Hole and The Smashing Pumpkins, Melissa's journey spans far beyond the stage. From self-producing solo albums to launching a nationally recognized cultural venue in Hudson, NY, Melissa has spent the past two decades creating space — literally and metaphorically — for artists to gather, experiment, and thrive.This conversation covers the full spectrum of her creative life: music, motherhood, mythology, and the radical act of sustaining a long-term, independent practice. We also talk about her upcoming literary memoir, which will explore her time inside the legendary 1990s rock scene — set to be released in 2026 by Grand Central Publishing / Hachette Books.We discuss:• Touring the world with Hole and The Smashing Pumpkins• Creating Basilica Hudson as a haven for artists and community• Her deep roots in visual art and photography• Storytelling, place-making, and the role of women in music history• Writing her forthcoming memoir on the 90s rock eraFollow Melissa: @xmadmxLearn more about Basilica Hudson: basilicahudson.orgFollow Emily: @emilymcelwreath_artFollow The Art Career: @theartcareerMelissa Auf der Maur was born and raised in Montreal, Canada where she received a fine arts education focused on music and photography. Auf der Maur is most prominently known for herrole as the bass player and band member in two Grammy Nominated and Winning 90's rock bands, Hole and The Smashing Pumpkins. At the turn of the millennium, after multiple world tours she set off on her own to self-produce two solo albums, released on Capitol Records andRoadRunner / Warner Brother Records. In 2010 she co-founded the multidisciplinary art center Basilica Hudson in Hudson, NY with filmmaker Tony Stone, which welcomes up to 20,000 yearly visitors to genre-pushing music festivals, large-scale marketplace events, film screenings, and public installations. In addition to her work as an arts and music curator at Basilica Hudson, Auf der Maur has produced films that have been presented at Sundance Film Festival, Berlin Film Festival, New Directors New Films, and released by NEON and Magnolia Pictures. Her photography work has been published in National Geographic, American Photo, SPIN and BUST Magazines, and exhibited at the Montreal Museum of Fine Arts and Sotheby's NY, among other venues. Her literary memoir, focusing on her time in the iconic 90's rock scene, is due to be released in 2026 by Grand Central / Hachettes Books.

This week: a huge survey of the work of the late linchpin of the Los Angeles contemporary scene Mike Kelley has arrived at Tate Modern in London. We speak to its co-curator Catherine Wood about this enormously influential artist and his visceral and absurd response to popular culture and folk traditions of the US. A major show of Indian art made between 1975 and 1998, a pivotal period of political, social and economic change in the country, opened this week at the Barbican Art Gallery in London. Shanay Jhaveri, a former curator of international art at the Metropolitan Museum of Art in New York who is now head of visual arts at the Barbican, leads us in a tour of show. And this episode's Work of the Week is Raoul Dufy's Thirty Years or La Vie en Rose (1931), a painting made originally for the 30th anniversary of a gallery in Paris, that was owned by the pioneering woman gallerist Berthe Weill. She is the subject of an exhibition at the Grey Art Museum at New York University, which will tour next year to Montreal and Paris. Lynn Gumpert, the co-curator of the show and director of the Grey Art Museum, tells us about the painting, the artist and the dealer.Mike Kelley: Ghost and Spirit, Tate Modern, London, until 9 March 2025; Mike Kelley: Ghost and Spirit; Moderna Museet, Stockholm, 12 April-15 September 2025.The Imaginary Institution of India: Art 1975–1998, Barbican Art Gallery, London, 5 October-5 January 2025; and you can hear an in-depth interview with Nalini Malani on A brush with…, that's the episode from 21 February this year.Make Way for Berthe Weill: Art Dealer of the Parisian Avant-Garde, Grey Art Museum, New York, until 1 March; Montreal Museum of Fine Arts, 10 May-7 September 2025; Musée de l'Orangerie, Paris, 8 October 2025-25 January 2026.Subscription offer: get three months of The Art Newspaper for just £1/$1/€1. Choose between our print and digital or digital-only subscriptions. Visit theartnewspaper.com to find out more. Hosted on Acast. See acast.com/privacy for more information.

This week on the CEO Series, Professor Karl Moore sits down with Mary-Dailey Desmarais, Chief Curator at the Montreal Museum of Fine Arts. Join us to hear her thoughts on the museum's commitment to uplifting Indigenous art in North America, how her refined curation process shapes the museum's exhibitions, and the evolving role of art museums in fostering cultural dialogue today.

Montreal Misadventures & Shakespearean DreamsHosts: Marco Timpano & Amanda BarkerThis episode covers:Montreal Adventures: Marco dives into his podcasting workshop with the Quebec Writers Federation (QWF) alongside Linda Morra from Getting Lit with Linda. Amanda shares her experience at The Montreal Museum of Fine Arts (Musée des beaux-arts de Montréal) and a relaxing bath-time read the one hundred years of lenni and margot By Marianne CroninBook Recommendations: Amanda spills the tea on a book recommendation from Linda, sure to spark your interest. Valley of the Birdtail by Andrew Stobo Sniderman & Douglas SandersonEclipse Chat: The hosts discuss their recent eclipse experience (details to be shared in the episode).Shakespearean Dreams: Marco and Amanda delve into their Shakespearean experiences and Marco remembers his lines from many many years ago.As always, The Insomnia Project wishes you a peaceful slumber.Connect with Us:Twitter: @listenandsleepInstagram: @theinsomniaprojectWebsite: theinsomniaproject.comPatreon: www.patreon.com/theinsomniaprojectSpread the word! Recommend The Insomnia Project to your fellow night owls. Become a member at https://plus.acast.com/s/the-insomnia-project. Hosted on Acast. See acast.com/privacy for more information.

Principally a sculptor who employs cast glass and drawing as primary methodologies, Clifford Rainey creates work that is interdisciplinary, incorporating a wide spectrum of materials and processes. A passionate traveler, his work is full of references to the things he has seen and experienced. Celtic mythologies, classical Greek architecture, the blue of the Turkish Aegean, globalization and the iconic American Coca-Cola bottle, the red of the African earth, and the human figure combine with cultural diversity to provide sculptural imagery charged with emotion.  A British artist whose work has been exhibited internationally for 50 years, Rainey was born in Whitehead, County Antrim, Northern Ireland, in 1948. He began his career as a linen damask designer and worked in William Ewarts linen manufacturers from 1965 to 1968. Later, the artist studied at Hornsey College of Art, the Walthamstow School of Art, where he specialized in bronze casting, and the Royal College of Art, where he received his MA and specialized in glass. Between 1973 and 1975, Rainey ran his own glass studio in London and won a commission for a small sculpture to commemorate the Silver Jubilee of Elizabeth II. In 1984, the artist moved to New York and established additional studios there. Rainey's sculptural work has been exhibited internationally including: The Ulster Museum in Northern Ireland, The Victoria and Albert Museum in London, The Kunstmuseum in Dusseldorf, Germany, The Millennium Museum in Beijing, China, and the Museo de Arts Contemporaneo in Monterrey, Mexico. His work is in the permanent collections of numerous museums including:  The Irish Museum of Modern Art, Dublin, Ireland, The DeYoung Museum, San Francisco, California, The Los Angeles County Museum of Art, The Museum of Art and Design, New York, The Fine Arts Museum of Boston, and The Montreal Museum of Fine Art, Canada. Rainey has realized a number of public art commissions including: The Lime Street Railway Station in Liverpool, England, the Jeddah Monument in Saudi Arabia, and the 911 Communication Center in San Francisco. He is a recipient of the Virginia A. Groot Foundation Award, Chicago, and the 2009 UrbanGlass Outstanding Achievement Award, New York. Balancing his commitment to studio practice with his desire to share knowledge, Rainey has lectured extensively around the world. He lectured at The Royal College of Art in London for seven years and was a Professor of Fine Art and Chair of the Glass Program at The California College of the Arts from 1991 through 2022.  On October 8, 2017 at 10:30 p.m., Rainey and his partner, Rachel Riser, were awakened by a neighbor's frantic telephone call warning them that a wind-driven wildfire had kicked up and was blazing toward their shared Napa, California, residence. They needed to get out immediately. Far more devastating than the destruction of his home and studio was the complete loss of all the artwork on the property — not only two year's worth of work for an upcoming exhibition, but the artist's archive of drawings of every project he'd ever done, as well as a collection of his strongest work he was planning to donate to a museum.  Rainey still resides in Napa, California, and in March 2024 took time away from rebuilding his studio to participate in an artist residency at the Museum of Glass, Tacoma. There, he advanced ideas and processes originally seen in works he lost to fire.    

Ep. 168 features Chase Hall's (b. 1993, St. Paul, Minnesota). His paintings and sculptures respond to generational celebrations and traumas encoded throughout American history. Responding to a variety of social and visual systems, each of which intersects with complex trajectories of race, hybridity, economics, and personal agency, Hall generates images whose materiality is as crucial to their compositional makeup as their indelible approach to representation. A central body of paintings, made with drip-brew techniques derived from coffee beans and acrylic pigments on cotton supports, is notable for both its conceptual scope and its intimacy. The use of brewed coffee carries powerful symbolic weight since it evokes centuries-old geopolitical systems associated with the commodification of a plant native to Africa, but in Hall's hands, it also becomes a means of achieving subtle visual textures, a range of brown skin tones, and a mark-making vocabulary precipitated on the closeness of touch. Above all, however, it is his improvisational willingness to immerse himself in the indefinable personal hieroglyphics of each picture that gives his work its resonance and impact. Chase Hall was the subject of a solo exhibition at the SCAD Museum of Art, Savannah, Georgia in 2023. In 2022, Hall was commissioned by the Metropolitan Opera to produce a large-scale artwork, the monumental diptych Medea Act I & II, for its opera house in New York, on view through June 2023. Hall has been included in group exhibitions including Together in Time: Selections from the Hammer Contemporary Collection, Hammer Museum (2023), Los Angeles; Black American Portraits, Los Angeles County Museum of Art (2021); Young, Gifted and Black: The Lumpkin-Boccuzzi Family Collection of Contemporary Art, University of Illinois Chicago (2021); and This Is America | Art USA Today, Kunsthal KAdE, Amersfoort, the Netherlands. Hall has been an artist-in-residence at The Mountain School of Arts, Los Angeles; Massachusetts Museum of Contemporary Art (MASS MoCA), North Adams, Massachusetts; and Skowhegan School for Painting and Sculpture, Maine. Hall's work is in the permanent collections of institutions including the Los Angeles County Museum of Art; Dallas Museum of Art; Institute of Contemporary Art, Miami; Fondation Louis Vuitton, Paris; Baltimore Museum of Art; Brooklyn Museum, New York; Hammer Museum, Los Angeles; High Museum of Art, Atlanta; Montreal Museum of Fine Arts; Walker Art Center, Minneapolis; The Studio Museum in Harlem, New York; and Whitney Museum of American Art, New York. Hall lives and works in New York. Artist https://chasehallstudio.com/ David Kordansky Gallery https://www.davidkordanskygallery.com/exhibitions/chase-hall2 Pace Prints https://paceprints.com/2023/chase-hall-melanoidin Galerie Eva Presenhuber https://www.presenhuber.com/selected-public-exhibitions/chase-hall#tab:slideshow Aspen Art Museum https://www.aspenartmuseum.org/artcrush/live-auction/chase-hall Met Opera https://www.metopera.org/visit/exhibitions/current-exhibition/ Whitney Museum of Art https://whitney.org/artists/20278 Document Journal https://www.documentjournal.com/2023/03/chase-hall-the-close-of-the-day-scad-moa-art-exhibition-painting-black-culture-savannah-american-south/ New York Times https://www.nytimes.com/2022/06/02/arts/television/the-wire-20th-anniversary.html New York Times Opinion https://www.nytimes.com/2021/04/16/opinion/sunday/george-floyd-daunte-wright-minnesota.html New York Magazine https://nymag.com/author/chase-hall/ Cultured Mag https://www.culturedmag.com/article/2023/06/20/painter-chase-hall-met-opera The Art Newspaper https://www.theartnewspaper.com/2023/07/13/curator-playing-matchmaker-emerging-artists-aspen-collectors Hollywood Reporter https://www.hollywoodreporter.com/lifestyle/arts/frieze-week-2023-artists-shows-los-angeles-1235325588/

He's done it again. In our final season, Justin has gone to the well once more and written yet another game about strange, unexplained events. We also talk about punk rock, baseball, and ancient history!2:28: Q1 (Movies & TV): What multiple-time Academy Award nominee drowned under mysterious circumstances near Santa Catalina Island while on a boat with Christopher Walken and her husband Robert Wagner?9:50: Q2 (Times & Places): Named for a mythical king and generally considered the first advanced civilization in Europe, what ancient civilization centered on the island of Crete declined and disappeared around 3,000 years ago, for reasons that remain unknown?15:28: Q3 (Everything Else): While Jane Goodall studied chimpanzees and Birutė Galdikas studied orangutans, and what third member of the “Trimates” studied gorillas, and was the victim of a still-unsolved murder in 1985?22:57: Q4 (Music): What American rock band never released its planned album Cigarettes and Valentines after the demo recordings were mysteriously stolen, choosing instead to focus on a new project called American Idiot?29:25: Q5 (Sports & Games): Before seemingly disappearing without a trace, a man named Roger Szmodis won contest to name what Pacific Northwest MLB team, who were formed after the Pilots left town?38:49: Q6 (Arts & Literature): You know I love an art heist.  Among other works, Landscape with Cottages was stolen from the Montreal Museum of Art in 1972.  What Dutch master painted this still-lost work?Theme music: "Thinking it Over" by Lee Rosevere, licensed under CC BY 2.0E-Mail: quizandhers@gmail.com Facebook: https://www.facebook.com/quizandhers/Twitter: https://twitter.com/quizandhersInstagram: https://www.instagram.com/quizandhers/Deep Into History Podcast: https://podcasts.apple.com/us/podcast/deep-into-history/id1440486315Cormac on Twitter: @CormacsThoughts

Xavier talks through the creative process for Heinz A.I. Ketchup and Decathlon Ability Signs. Plus, he talks candidly about living, working, and creating in Montreal. And reminds us not to trip on the flowers on the carpet.SEE THE WORK:Heinz A.I. KetchupDecathlon Ability SignsABOUT OUR GUEST:Xavier Blais is Partner, Executive Creative Director at Rethink in Montreal. Over the past 13 years, Xavier was lucky enough to consistently create effective, smart-yet-dumb, attention-worthy work for brands like IKEA, Heinz Ketchup, Decathlon, Molson Coors and non-profits like Greenpeace, Fondation Émergence, the National Film Board of Canada. He was an ADC Young Guns finalist in 2019 and he has been ranked amongst Canada's most awarded creatives for the past 6 years. His ideas were used as school material against discrimination, put on display in the Montreal Museum of Fine Arts and featured on his mom's laptop desktop background.ADCC Created is brought to you by The Advertising & Design Club of Canada, hosted by Lyranda Martin Evans (Fellow Human), with music and studio care of Grayson Music.Follow us on Instagram @theadccEmail us at created@theadcc.ca

Welcome to The Voice of Retail podcast. I'm producer & host Michael LeBlanc, and this podcast is produced in conjunction with the Retail Council of Canada. Veteran retailer, entrepreneur, investor and friend of the pod David Lui is back this episode with his new business partner, Canadian retail legend Joe Mimran in an exclusive interview to talk about buying Vancouver's Kit & Ace, a retailer with an origin story that goes back almost a decade to it's founding by Lululemon lead designer Shannon Wilson and son JJ Wilson.   We talk about their impression of the brand today, what makes it great, and growth plans for this innovative apparel retailer.  About DavidDavid Lui is an accomplished global brand and entrepreneurial leader.With a wealth of experience in leading complex retail, digital and consumer environments, his impressive portfolio includes developing global award-winning marketing campaigns, scaling online e-commerce brands, and being named CEO of the twelfth Fastest Growing Company in Canada's PROFIT100, First for Fastest-Growing Company in British Columbia, Canada, winner of the BDC Young Entrepreneur Award, and a Business in Vancouver Forty under 40. In 2022, he was also ranked 11th in the Global CEO Award.David has significantly impacted the retail industry and community through his involvement as an investor and board member. He has served on the Board and Governance Committee for Hypertension Canada, the Retail Leadership Committee for the Canadian Marketing Association, the Marketing Advisory Committee for the Retail Council of Canada, and as a Board Member and Chair of the Marketing Committee for Theatre Calgary. He holds an MBA from the Ivey Business School at Western University.About JoeJoe Mimran is a leading contributor to the fashion and design industry and is best-known for creating a succession of visionary brands and retail concepts, including Club Monaco, Caban, Joe Fresh, Joe Fresh Beauty and Alfred Sung. Recognized universally as having a sharp eye, impeccable attention to detail, and insight into emerging trends, Joe is always on the forefront of what's next. Joe is also an avid investor and champions exceptional entrepreneurs. Joe also stars on the popular CBC show, Dragons Den, now in its 12th season.Chronology of entrepreneurial ventures:In 1978 Joe co-founded a manufacturing apparel business in Toronto Canada.In 1980 the Company launched the Alfred Sung brand which achieved immediate consumer acceptance and success. While the company controlled the design and manufacturing of the women's collection the company embarked on expanding the brand into a myriad of consumer products under license. In 2013 Joe sold his interest.In 1985 Joe founded Club Monaco, a vertical retail concept known for its distinctive minimalistic style and monochromatic palette. Club Monaco instantly became a cult brand that grew to over 150 stores in Canada, US, and Asia.In 2000, Club Monaco and Caban it's home products lifestyle concept, were purchased by Ralph Lauren, marking Ralph Lauren's first-ever acquisition.In 2001 Joe created Joseph Mimran and Associates. a consulting practice that has serviced numerous high profile international retailers, including Holt Renfrew, Saks Fifth Avenue, Woolworths, South Africa, Coles a major food retailer in Australia and Loblaws, Staples US and Kroger.In 2003 Joe created a range of home products for Loblaws under the Presidents Choice brands.In 2006 Joe created the Joe Fresh concept for Loblaws. He oversaw the brand's design and retail concepts, and made it the country's second largest apparel brand in dollars and units, with a vision of well-designed, well-priced clothes for a broad audience. Joe Fresh is sold in over 350 Loblaw stores in Canada and abroad.In addition to PC home in 2009 to Joe was also responsible for general merchandise products including the design, sourcing and presentation of all the GM private label brands.Joe retired from his position as Creative Director of Joe Fresh and General Merchandise in 2014.In 2019, Joe created and introduced gry mattr, a beautiful collection of home and office accessories that live at the intersection of work and life. Intelligently designed, globally inspired - and smartly priced. livegrymattr.comJoe's community efforts have included Chairman of the Fashion Design Council of Canada and honorary Chairman of the inaugural Canadian Arts and Fashion Awards. Joe has been the recipient of many industry awards including the Canadian Style Award and the lifetime achievement award by the Design Exchange. in 2015, Joe was inducted into Canada's Marketing Legends Hall of Fame. A patron of the arts, Mimran's philanthropic activities include support of the Art Gallery of Ontario, the Montreal Museum of Fine Arts, New Museum, New York and is a Luminaire for Luminato Arts Festival.An avid traveler and art collector, Joe divides his time between Toronto and New York and is the father of four wonderful children. About Michael Michael is the Founder & President of M.E. LeBlanc & Company Inc. and a Senior Advisor to Retail Council of Canada and the Bank of Canada as part of his advisory and consulting practice. He brings 25+ years of brand/retail/marketing & eCommerce leadership experience with Levi's, Black & Decker, Hudson's Bay, Today's Shopping Choice and Pandora Jewellery.   Michael has been on the front lines of retail industry change for his entire career. He has delivered keynotes, hosted fire-side discussions with C-level executives and participated worldwide in thought leadership panels. ReThink Retail has added Michael to their prestigious Top Global Retail Influencers list for 2023 for the third year in a row. Michael is also the president of Maven Media, producing a network of leading trade podcasts, including Canada's top retail industry podcast, The Voice of Retail. He produces and co-hosts Remarkable Retail with best-selling author Steve Dennis, now ranked one of the top retail podcasts in the world. Based in San Francisco, Global eCommerce Leaders podcast explores global cross-border issues and opportunities for eCommerce brands and retailers. Last but not least, Michael is the producer and host of the "Last Request Barbeque" channel on YouTube, where he cooks meals to die for - and collaborates with top brands as a food and product influencer across North America. 

Over 50 years ago, the Montreal Museum of Fine Arts was ransacked by three thieves who entered through an open skylight. Millions of dollars in paintings and antiques were stolen in the largest art heist Canada had ever seen. Twenty years later, after very few leads, an eccentric new detective took over the case. Learn more about your ad choices. Visit podcastchoices.com/adchoices

What you'll learn in this episode: Why sacred geometry is the underlying link between Eva's work in jewelry, architecture and design How growing up in an isolated Soviet Bloc country influenced Eva's creative expression Why jewelry is one of the most communicative art forms How Eva evaluates jewelry as a frequent jewelry show judge Why good design should help people discover new ideas and apply them in other places  About Eva Eisler A star of the Prague art world, Eva Eisler is an internationally recognized sculptor, furniture/product designer, and jeweler. Rooted in constructivist theory, her structurally-based objects project a unique spirituality by nature of their investment with “sacred geometry.” The current series of necklaces and brooches, fabricated from stainless steel, are exemplars of this aesthetic. In 2003, she developed a line of sleek, stainless steel tabletop objects for mono cimetric design in Germany.  Eisler is also a respected curator and educator. She is chairman of the Metal and Jewelry Department at the Academy of Arts, Architecture and Design in Prague, where she heads the award-winning K.O.V. (concept-object-meaning) studio. Her work is in the collections of the Metropolitan Museum of Art, Brooklyn Museum and Cooper-Hewitt, Smithsonian Design Museum in New York; Museum of Fine Arts, Boston; Museum of Fine Arts, Houston; Renwick Gallery, Smithsonian American Art Museum, Washington, D.C.; Montreal Museum of Fine Arts in Canada; Pinakothek der Moderne, Munich; and Museum of Decorative Arts, Prague, among others.  Additional Resources: Eva's Instagram Photos available on TheJeweleryJourney.com Transcript: Eva Eisler is the rare designer who works on projects as small as a ring and as large as a building. What connects her impressive portfolio of work? An interest in sacred geometry and a desire to discover new ideas that can be applied in multiple ways. She joined the Jewelry Journey Podcast to talk about how she communicates a message through jewelry; why jewelry students should avoid learning traditional techniques too early; and her thoughts on good design. Read the episode transcript here.  Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please head to TheJewelryJourney.com. My guest today is Eva Eisler, Head of the Jewelry Department of the Academy of Arts in Prague. She's probably one of the most well-known artists in the Czech Republic. Welcome back.    How long were you in New York? A long time?   Eva: 25 years.    Sharon: Wow! I didn't realize that. And did you teach the whole time?   Eva: I taught for a few years at Parsons School of Design, and then New York University pulled me in. It was Judith Schwartz, who was the Director of the Department of Art Education, who wanted to expose the students to metalworking. So, she asked me to come and teach there.   Sharon: Did you do jewelry and other things because you wanted to have not so much grayness in the world, to have color, to have joy?   Eva: Are you asking?   Sharon: Yeah, I'm asking. Did you break out, in a sense, because of the world around you?   Eva: I think that one challenge after the other gave me strength and conviction. This is something I can work with, the medium of jewelry, because it's so communicative. I had so many incredible encounters through wearing a piece of jewelry. For example, I went to a party at Princeton University. I'm talking to this professor of physics. He's telling me how they are developing an artificial sun, and he's looking at my piece. When he finished talking about his project, he said, “Is this what I think it is?” I said, “Clearly, yes.” It was a piece of metal bent into an S, one line and one dot. It's basically telling you that it depends on a point of view and how you perceive things. I used to like to come up with a concept that I would play with in different theories.    Sharon: Did you expect to be in the States for 25 years? That's a long time.   Eva: No. We were allowed by Czechoslovakia to go for one year. After one year, we politely applied for an extension. It was denied to us. So, we were actually abroad illegally and we could not return because we did not obey the rules.    Sharon: When you came back, did you teach? We saw some of your students' work. What do you tell them about your work? What do you teach them?    Eva: It's a different system. In New York, you teach one class at a time if you're not a full-time professor at the university. In New York, it's very rare. The intensity and the high quality of professionals in all different fields allows schools to pull them in, so they can take a little bit of their time and share with students what they do. It's not that you devote your full time to teaching.    In the Czech Republic, it's different. At the academy where I have taught for 16 years, you're the professor, and you have a student for six years with a special degree in the master's program. For six years, you're developing the minds of these young people. I don't teach them techniques. We have a workshop and there is a workshop master. I talk to them about their ideas. We consult twice a week for six years. It's a long time. I would be happy if somebody talked about my work for half an hour once a year. I would have to ask somebody because I need it as well. It's a different system, the European system of schools.   Sharon: You're head of the K.O.V. Studio. How would you translate that?   Eva: The academy is divided into departments, and each department is a different media: Department of Architecture, Department of Industrial Design and so on. We are part of the Department of Applied Arts, which is divided between ceramics, glass, textile, fashion. My studio is about metal, and for metal in Czech, you write “kov.” When I took over the studio, I put dots in between the letters, which stands for “concept, object, meaning.” In Czech, meaning isn't even a word. That way, I could escape the strict specialization for metal, because when you're 20 and you go study somewhere, do you know you want to work for the rest of your life in metal? No. Today, we are also exploring different materials, discovering new materials. I am giving them assignments and tasks. Each of them has to choose the right material, so the person comes up with using concrete or cork or wood or paper or different things, glass or metal.   Sharon: How do you balance everything? You have so much going on. How do you balance it?    Eva: I have to do three jobs because teaching does not make a living, even though I'm a full-time professor. It's an underpaid profession, maybe everywhere.   Sharon: I was going to say that, everywhere.   Eva: Then I do my own art, and I do large projects like designing exhibitions, curating exhibitions, designing a design shop. Things like that to make money to support those other two. It's a lot, yes. I have grandchildren.   Sharon: A family. Yes, it's a lot. You've done jewelry shows and you've evaluated shows. What's important to you? What stands out? What jumps out at you?   Eva: I sit on juries. In 2015, I was invited to be a curator of Schmuck, the jewelry exhibition in Munich. It's a big challenge, selecting out of 600 applicants for a show that at the end has only 60 people from all over the world. When I looked at the work, we flipped through pictures one after the other. It's so incredible what jewelry has evolved into, this completely open, free thing, many different styles, many different trends and materials. There's organic and geometric and plastic. I noticed these different groups and that I could divide all these people into different groups, different styles, different materials. Then I was selecting the best representation of these groups. It made it quite clear and fast when I came up with this approach.   Sharon: Does something jump out at you, though, when you're looking through all these—let's say you've divided all the glass, all the metal—   Eva: Very rarely, because we go to Munich every year. I go and see exhibitions all over, so it's very random. You can see something completely different and new. I worked on a very interesting exhibition that year at the Prague Castle. Cartier does not have a building for their collection, a museum. They have the collection traveling around in palaces and castles and exhibition galleries around the world, and each place has a different curator. I was invited to curate it in Prague. It was the largest Cartier exhibition ever displayed. It was around 60 pieces for this show, and it was in Bridging Hall of the Prague Castle, an enormous space.    That was very interesting because at the moment I accepted this challenging job, I had never walked into a Cartier anywhere in the world, in New York, Paris, London, because I was never curious. It was real jewelry, but when I started working with the collection, which is based in Geneva, and I was going to Paris to these workshops and archives, I discovered the completely different world of making jewelry, how they, in the middle of the 19th century, approached this medium and based it on perfection and mechanisms and the material. So, the best of the best craftsmen were put together in one place. It was very challenging.   Another exhibit I worked on was for a craft museum. It was called The Radiant Geometries. Russell Newman was the curator, and I was doing the display faces. My work was part of the show as well. That was a super experience.    An interesting show I had was at Columbia University at the School of Architecture. The dean was Bernard Tschumi, the deconstructivist architect. He invited me to do an exhibition of jewelry and drawings for their students of architecture. Can you imagine? The students looked at the work, and they thought they were small architecture models. I developed a new system for how to hold them together. For that exhibition, I built cabinets that I later developed into a system with vitrines. After the exhibition with vitrines, I started making chairs and tables and benches, and later on I used it again for an exhibition when I was in Brussels. One thing leads me to another. One thing inspires the other. I go from flats, from drawings and paintings, into three-dimensional objects. I need a lance, so I design it and then some company makes it.   Sharon: Wow! What do you think has kept your attention? We'll have pictures of the jewelry on the website so people can see it. I love the necklace you have on. It's avant garde. Everything in the exhibit and everything your students did was avant garde. So, what holds your attention about it? How would you describe it?   Eva: I think making something like many people did before you doesn't make any sense. We are surrounded by so much stuff. It only makes it worth spending your talent and time when it's something new. You're discovering something new that somebody else can learn from and apply somewhere else. For example, this necklace is just held by the tension of the spring wire. Next time, maybe I can use it for some lighting. Who knows?   Sharon: I'd like to see that if you do it. What makes a good exhibit? You've been in charge of so many exhibits. What makes a good jewelry exhibit?   Eva: It should be based on a common theme or concept, and all the objects should together tell a story. Also, the exhibition design or architectural design of the show is very important. A lot of exhibition architects are creating something so powerful that you can't see the work that is showing. My rule is that the installation basically should disappear. The work is the most important thing, right?   Sharon: Yes, that's true. You mentioned a story, like each area or part should tell a story. Would you agree with that?   Eva: If it's large exhibition of jewelry in different styles, let's say, it should be grouped into similar topics so it empowers them. If you have one piece of this kind, another piece of a different kind next to each other, then—I don't know; it can be anything. It depends on the curator or the architect. Look at the Danner Rotunda in Munich. Their collection is strung together. Maybe the curator or the artist who did the installation wanted to create a dialogue of completely different characters, like when you have guests for dinner and you're thinking who sits next to whom. You want to create an exciting dialogue.   Sharon: When you came to New York, do you think you stood out? In Czechoslovakia did you stand out? Could you hold your own within these different parties?   Eva: I'm not the one who can judge it, but yes. I heard from different people what caught their attention, and why, for example, Judy Schwartz said, “I was waiting patiently all these years,” whenever she finds the time to teach at NYU. I was always amazed by her education. Toni Greenbaum wrote a beautiful piece when we first met. She was intrigued by what I wore and how I looked, but mostly by a piece of jewelry I wore. I sewed the dress a day before because I thought, “What am I going to wear?” I designed it myself. If somebody asks me what I collect—mostly everybody collects something—I usually say I collect people. People together create society, create culture. One cannot stand alone. Through the work I do, it brings me to people. I try, and the results bring me to better people. That's what I value most.   Sharon: That's interesting. That was going to be my next question, but you answered it. Everybody does collect something, and people have different definitions of collections. Collecting people is a collection, yes, and you collect people all over the world. Thank you so much for being with us today, Eva. I really appreciate it.   Eva: Thank you so much for inviting me and talking to me. I'm saying hello to everyone who is listening.   Sharon: Well will have photos posted on the website. Please head to TheJewelryJourney.com to check them out.   Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.  

What you'll learn in this episode: Why sacred geometry is the underlying link between Eva's work in jewelry, architecture and design How growing up in an isolated Soviet Bloc country influenced Eva's creative expression Why jewelry is one of the most communicative art forms How Eva evaluates jewelry as a frequent jewelry show judge Why good design should help people discover new ideas and apply them in other places  About Eva Eisler A star of the Prague art world, Eva Eisler is an internationally recognized sculptor, furniture/product designer, and jeweler. Rooted in constructivist theory, her structurally-based objects project a unique spirituality by nature of their investment with “sacred geometry.” The current series of necklaces and brooches, fabricated from stainless steel, are exemplars of this aesthetic. In 2003, she developed a line of sleek, stainless steel tabletop objects for mono cimetric design in Germany.  Eisler is also a respected curator and educator. She is chairman of the Metal and Jewelry Department at the Academy of Arts, Architecture and Design in Prague, where she heads the award-winning K.O.V. (concept-object-meaning) studio. Her work is in the collections of the Metropolitan Museum of Art, Brooklyn Museum and Cooper-Hewitt, Smithsonian Design Museum in New York; Museum of Fine Arts, Boston; Museum of Fine Arts, Houston; Renwick Gallery, Smithsonian American Art Museum, Washington, D.C.; Montreal Museum of Fine Arts in Canada; Pinakothek der Moderne, Munich; and Museum of Decorative Arts, Prague, among others.  Additional Resources: Eva's Instagram Photos available on TheJeweleryJourney.com Transcript: Eva Eisler is the rare designer who works on projects as small as a ring and as large as a building. What connects her impressive portfolio of work? An interest in sacred geometry and a desire to discover new ideas that can be applied in multiple ways. She joined the Jewelry Journey Podcast to talk about how she communicates a message through jewelry; why jewelry students should avoid learning traditional techniques too early; and her thoughts on good design. Read the episode transcript here.    Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the first part of a two-part episode. Please make sure you subscribe so you can hear part two as soon as it's released later this week.    My guest today is Eva Eisler, s. She's probably one of the most well-known artists in the Czech Republic. Her work is minimal and refined. She also designs clothing, furniture, sculpture and so many other things I can't tell you about. She has taught and studied at Parsons School of Design, and she'll fill us in on everything she's learned. I'm sure I'm leaving something out, but she'll fill us in today. Eva, welcome to the program.   Eva: Thank you for having me.   Sharon: Great to have you. Tell us about your jewelry journey. Did you study it? Were you artistic as a youth?   Eva: I only thought about this yesterday. You're the first person I'm going to tell this story to. During the war, my grandfather, because he was very practical and forward-thinking, was buying jewelry from people who needed money to have safety deposits for later, whatever happened after the war. When I was born in 1952, there was still a little bit left of the treasure he collected and enclosed in a beautiful wooden treasure box. When I was a good girl, I could play with real jewelry in gold and stones.    When I grew older, I never thought of jewelry as something I would design. It was something I could play with as a girl, but when I got older, living in a communist country—Czechoslovakia turned into a Soviet Bloc country after the war—everything was so gray and constrained and monotonous. People were afraid to say whatever they thought, and I was feeling that I had to start something provocative, to start some kind of dialogue about different things. So, I started making jewelry, but because I didn't know any techniques, I did it in the form of ready-mades, looking for different metal parts out of machines, kitchen utensils, a stainless-steel shower hose, a clock spring, sunglasses, all different things. I didn't know people like that existed somewhere else, like Anni Albers, who in the 40s created a beautiful necklace out of paperclips. I learned that much, much later.   I was not only making jewelry. I was also making lamps and small sculptures, because creating things always made me happy. My mother was an art teacher. My father was a scientist. He was one of the founders of robotics in the 50s, and he ended up teaching at the most famous universities around the world later on. That's how I started making jewelry, but I wanted to proceed with a profession in architecture. That was always my main interest. After school, I worked for a few years as an architect. Later on, I got married and had children, and I wanted to be free from a steady job and do what I loved most, create.   Sharon: When you were an architect, were you designing buildings?   Eva: I was part of a team for experience. I was given smaller tasks that I had to do, mostly parts of the interior.   Sharon: Did you do sculpture and jewelry on the side? Your sculpture is such a big part.   Eva: Yeah, we're talking about when I was 25, 26. In 1983, my husband and I and our two children moved to New York, because John was invited by Richard Maier to come and work for him. That was a big challenge that one should not refuse. So, we did the journey, even though it was not easy with two little children.   Sharon: Did you speak English at all, or did you have to learn when you came?   Eva: I did because my father, in the 60s, when it was possible, was on a contract with Manchester University in England teaching. Me and my brothers went there for summer vacations for two years. One year, I was sent to one of his colleagues to spend the summer, and then I married John, who is half-British. His British mother didn't speak Czech, so I had to learn somehow. But it was in Europe when I got really active, because I needed to express my ideas.   Sharon: Does your jewelry reflect Czechoslovakia, the Czech Republic? It's different than jewelry here, I think.   Eva: There were quite a few people who were working in the field of contemporary avant garde jewelry. I can name a few: Anton Setka, Wasoof Siegler. Those were brilliant artists whose work is part of major museums around the world, but I was not focused on this type of work when I still lived in the Czech Republic, Czechoslovakia at that time. It was when I arrived in New York. I thought, “What am I going to do? I have two little children. Should I go and look for a job in some architecture office?” It would be almost impossible if you don't have the means to hire babysitters and all the services. So, I thought, “I have experience with jewelry. I love it, and I always made it as a means of self-expression and a tool for communication. O.K., I am going to try to make jewelry, but from scratch, not as a ready-made piece out of components that I would find somewhere.”    I didn't know any techniques. Somebody gave me old tools after her late husband died. I started trying something, and I thought, “Maybe I can take a class.” I opened the Yellow Pages looking at schools, and I closed my eyes and pointed my finger at one of the schools and called there. This woman answered the phone, and she said, “Why don't you come and see me and show me what you did?” When I showed it to her, she said, “Are you kidding? You should be teaching here.” It was one of my ready-made pieces. Actually, a few years before I came to New York, I went to London and showed it to Barbara Cartlidge, who had the first gallery for contemporary jewelry anywhere in the world in London. She loved it. She loved my work, and she bought five pieces. She took my work seriously, because basically I was playing and wearing it myself and giving it to a few friends who would get it as a present. So, I was shocked and very pleased.    This is what I showed this woman at the Parsons School of Design. This woman was the chair that took care of the department. I said, “I cannot teach here. I don't know anything,” and she said, “Well, clearly you do, but you're right. You should take a class and get to know how the school works, and maybe we can talk about you teaching here a year later.” I took a foundation course in jewelry making. It was Deborah Quado(?) who taught it. One day she said to my classmates, “This woman is dangerous.” I forgot to say that before I started this class, the chair invited me to a party at her house to introduce me to her colleagues. It was funny, because I was fresh out of the Czech Republic, this isolated, closed country, and I was in New York going to a party. I needed those people that became my friends for life.    That was a super important beginning of my journey in New York into the world of jewelry. A few years later, when I made my first collection, someone suggested I show it to Helen Drutt. I had no idea who Helen Drutt was. She was somewhere in Philadelphia. I went there by train, and Helen is looking at the work and says, “Would you mind if I represent your work in the gallery?” I said, “Well, sure, that's great,” but I had no idea that this was the beginning of something, like a water drain that pulls me in. The jewelry world pulled me in, and I was hooked.    From then on, I continued working and evolving my work. When I started teaching at Parsons, students would ask me whether they could learn how to solder and I said, “I advise you not to learn any traditional techniques because when you do, you will start making the same work as everybody else. You should give it your own way of putting things together.” At the end, I did teach them how to solder, and I was right.    I tried to continue with the same techniques I started when I was making these ready-made pieces, but with elements I created myself. Then I tried to put it together held by tension and different springs and flexible circles. I got inspired by bridges, by scaffolding on buildings, by electric power towers. I was transforming it into jewelry, and it got immediate attention from the press and from different galleries and collectors. I was onto something that kept me in the field, but eventually, when my kids grew older, this medium was too small for me. I wanted to get larger. Eventually, I did get back into designing interiors, but it was not under my own name.   Sharon: When you look at your résumé, it's hard to distill it down. You did everything, sculpture, architecture, interior design and jewelry. It's very hard to distill down. Interior design, does it reflect the avant garde aspect?   Eva: Yes, I am trying to do it my way. I love to use plywood and exposed edges to make it look very rough, but precise in terms of the forms. If you think of Donald Judd, for example, and his sculptures and nice furniture, it's a similar direction, but I'm trying to go further than that. I'm putting together pieces of furniture and vitrines for exhibitions and exhibition designs. While I am taking advantage of the—   Sharon: Opportunity?   Eva: Opportunity, yes. Sorry. I don't have that many opportunities lately to speak English, so my English is—   Sharon: It's very good.    Eva: On the other hand, yes, I'm interested in doing all these things, especially things that I never did before. I always learn something, but it's confusing to the outside world. “So, what is she? What is she trying to say?” For example, this famous architectural historian and critic, Kenneth Frampton from Columbia University, once said, “If one day somebody will look at your architectural works all together, they will understand that it's tight with a link, an underlying link.”    Sharon: Do you think you have an underlying link? Is it the avant garde aspect? What's your underlying link?   Eva: It's the systems. It's the materials. It's the way it's constructed. I'm a humble worshipper of sacred geometry. I like numbers that have played an important role in the past.   Sharon: Do you think the jewelry you saw when you came to the States was different than what you had seen before? Was it run-of-the-mill?   Eva: When I came to New York a few years later, I formed a group because I needed to have a connection. I organized a traveling show for this group throughout Europe and the group was—   Sharon: In case people don't know the names, they are very well-known avant garde people.    Eva: All these people were from New York, and we exhibited together at Forum Gallery and Robert Lee Morris on West Broadway. That brought us together a few times in one show, and through the tours I organized in New York, Ghent, Frankfurt, Berlin, Vienna and Prague.   Sharon: Wow! We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out.

A live broadcast at ARTEXTE gallery presented on Nov. 16 2022 within the context of the exhibition Sonic Fields of Reflection. In this broadcast Stefan Christoff speaks with exhibition curator Mojeanne Behzadi and sound artist Martín Rodríguez about their sound work along the US / Mexico colonial border line. Thank you to Spencer Curtis from CKUT and Jonathan Lachance from Artexte for the technical support for this broadcast. The photo is of Martín Rodríguez, below are the bios of the speakers you hear in this transmission. As a transmission and sound artist, Martín Rodríguez's work emerges from his Chicanx upbringing along the Arizona-Mexico border. He employs performance, intervention, and installation as a process for deciphering aural histories and intertwined identities. Mojeanne Behzadi is a curator and poet based in Tiohtià:ke/Mooniyang/Montreal. She is currently the director of Art Speaks, an international contemporary art lecture series and the curator of research and programs at Artexte. Mojeanne holds an MA in Art History from Concordia University and works as an independent curator on numerous projects. She recently developed and hosted the Trajectories podcast for the Montreal Museum of Fine Arts and curated Spillover Love at the Stewart Hall Art Gallery in Pointe-Claire, a group show presented in the summer of 2021. Her current curatorial research focuses on community practices as a framework for resistance, mobilization and social transformation.

This week: is art censorship on the rise? The Art Newspaper's chief contributing editor, Gareth Harris, joins Ben Luke to discuss his new book, Censored Art Today. We look at the different ways in which freedom of expression is being curbed across the globe and at the debates around contested history and cancel culture. This episode's Work of the Week is Diane Arbus's Puerto Rican woman with a beauty mark, N.Y.C., 1965, one of the 90 images that feature in Diane Arbus: Photographs, 1956-1971, which opens at the Montreal Museum of Fine Arts, Canada, on 15 September. Sophie Hackett, the exhibition's curator, discusses Arbus's remarkable eye and technical brilliance. As the Guggenheim Bilbao celebrates its 25th anniversary, Thomas Krens, the director and chief artistic officer of the Solomon R. Guggenheim Foundation from 1988 to 2008, reflects on the genesis and development of a museum that had a dramatic impact on contemporary art and museums' role in the cultural regeneration of cities across the world. Gareth Harris, Censored Art Today, Lund Humphries, 104pp, £19.99 or $34.99, out now in the UK, published in December in the USDiane Arbus: Photographs, 1956-1971, Montreal Museum of Fine Arts, 15 September-29 January 2023Sections/Intersections: 25 Years of the Guggenheim Museum Bilbao Collection, Guggenheim Bilbao, 19 October-22 January 2023 Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

Actor Denzel Washington talks about his turn as Lord Macbeth in the film The Tragedy of Macbeth, plus what the legacy of the late Sidney Poitier means to him. Record executive Nabil Ayers discusses his new memoir, My Life in the Sunshine, which describes how his complex relationship with his father, jazz musician Roy Ayers, shaped his own successful career in the music business. Roshi Chadha, the vice-chair of the board of trustees for the National Gallery of Canada, talks about bringing Canada's first permanent exhibit of Sikh art to the Montreal Museum of Fine Arts. Veteran DJ Dr. Jay de Soca Prince presents his gateway to soca music as Caribbean Carnival takes over cities across North America.

What you'll learn in this episode: Why the best modernist pieces are fetching record prices at auction today How “Messengers of Modernism” helped legitimize modernist jewelry as an art form The difference between modern jewelry and modernist jewelry Who the most influential modernist jewelers were and where they drew their inspiration from Why modernist jewelry was a source of empowerment for women About Toni Greenbaum Toni Greenbaum is a New York-based art historian specializing in twentieth and twenty-first century jewelry and metalwork. She wrote Messengers of Modernism: American Studio Jewelry 1940-1960 (Montréal: Musée des Arts Décoratifs and Flammarion, 1996), Sam Kramer: Jeweler on the Edge (Stuttgart: Arnoldsche Art Publishers, 2019) and “Jewelers in Wonderland,” an essay on Sam Kramer and Karl Fritsch for Jewelry Stories: Highlights from the Collection 1947-2019 (New York: Museum of Arts and Design and Arnoldsche, 2021), along with numerous book chapters, exhibition catalogues, and essays for arts publications. Greenbaum has lectured internationally at institutions such as the Pinakothek der Moderne, Munich; Academy of Arts, Architecture and Design in Prague; Yale University Art Gallery, New Haven; Cooper Hewitt Smithsonian Design Museum and Museum of Arts and Design, New York; Museum of Fine Arts, Boston; and Savannah College of Art and Design Museum of Art, Savannah. She has worked on exhibitions for several museums, including the Victoria and Albert in London, Musée des beaux-arts de Montréal, and Bard Graduate Center Gallery, New York. Additional Resources: Link to Purchase Books Toni's Instagram The Jewelry Library  Photos Available on TheJewelryJourney.com Transcript: Once misunderstood as an illegitimate art form, modernist jewelry has come into its own, now fetching five and six-figure prices at auction. Modernist jewelry likely wouldn't have come this far without the work of Toni Greenbaum, an art historian, professor and author of “Messengers of Modernism: American Studio Jewelry, 1940 to 1960.” She joined the Jewelry Journey Podcast to talk about the history of modernist jewelry; why it sets the women who wear it apart; and where collectors should start if they want to add modernist pieces to their collections. Read the episode transcript here.     Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please go to TheJewelryJourney.com. Today my guest is art historian, professor and author Toni Greenbaum. She is the author of the iconic tome, “Messengers of Modernism: American Studio Jewelry, 1940 to 1960,” which analyzes the output of America's modernist jewelers. Welcome back.    Do you think that if you had looked up and seen Sam Kramer's shop, would you have been attracted?   Toni: Oh, my god, I would have been up in a shot. Are you kidding? I would have tumbled up those stairs had I known it was there. I never even knew what it was, but I was always seeking out that aesthetic, that kind of thing. Like I said, my mother would buy handmade jewelry, silver jewelry, and I loved what she bought. I would go to galleries with her. When I say gallery, they were more like shops; they were like shop-galleries, multimedia boutiques, not specifically jewelry, that would carry handmade jewelry. I loved it. Had I seen Sam Kramer's shop, I would have been up like a shot. The same thing with Art Smith. I would have been down those steps like a shot, but I didn't know they were there, and I was too busy running after boys and going to the coffee shops in Greenwich Village to look carefully.   Sharon: Out here, I don't know if you would have had those influences.   Toni: You had a few shops. You're in the Los Angeles area?   Sharon: Yeah.   Toni: There were a few shops in L.A., not so much in Northern California. There was Nanny's in San Francisco, which was a craft gallery that carried a lot of jewelers. In Southern California there were a few studio shops, but I don't know how prominent they were. I don't know how obvious they were. I don't think that they were as much on people's radar as the ones in New York.   Sharon: When you say studio jewelers, was everything one-off, handmade?   Toni: Yes—well, not necessarily one-off. Generally, what these jewelers would do—this is the best generalization—for the larger, more expensive, more involved pieces, they would make one. When they sold it, they'd make another one, and when they sold that, they'd make another one. If the style was popular, they would also have what they would think of as production lines—earrings, cuff links, tie bars that they would replicate, but they were not cast usually. At that time, very little of it was cast. It was hand-wrought, so there were minor differences in each of the examples. But unless we get into the business records of these jewelers, we don't really know exactly how many they made of each design.   Sharon: Why is it, do you think, that modernist jewelry has been so popular today?   Toni: Oh, that's a good question. That's a very good question. I think a lot has to do with Fifty/50 Gallery's promotion. Fifty/50 was on Broadway at 12th Street, and it was a multimedia gallery that specialized in mid-20th century material. There were three very smart, very savvy, very charismatic owners who truly loved the material like I love it, and when you love something so much, when you have a passion, it's very easy to make other people love it also. I think a lot of the answer to that question is Fifty/50's promotion. They were also a very educative gallery. They were smart, and they knew how to give people the information they needed to know they were buying something special. I think it appeals to a certain kind of person.    Blanche Brown was an art historian in the midcentury who was married to Arthur Danto, who was a philosopher who taught art history at Columbia. His wife, Blanche Brown, was also an art historian. She did a lot of writing, and she would talk about the modernist jewelry, which she loved. It was a badge that she and her cohort would wear with pride because it showed them to be aesthetically aware, politically progressive. It made them stand apart from women who were wearing diamonds and precious jewelry just to show how wealthy their husbands were, which was in the 1940s and 1950s, the women who would wear this jewelry. So, for women like Blanche Brown and women through the 1960s, 70s, 80s and even now—well, now it's different because we have all the contemporary jewelers—but I think it set these women apart. It made them special in a way. It set them apart from the women who were wearing the Cartier and the Van Cleef and Arpels.    You dress for your peers. You dress to make your peers admire you, if not be envious. Within the Bohemian subculture of the 1950s, within the Beat Generation of the 1950s and through the 1960s and the hippies in the 1970s, it set apart that kind of woman. Remember, also, feminism was starting to become a very important aspect of lifestyle. I think when “The Feminine Mystique” came out around 1963—I would have to check it—women were starting to feel empowered. They wanted to show themselves to be intelligent and secure and powerful, and I think modernist jewelry imparted that message when one wore it. It's not that different than people who wear the contemporary jewelry we love so much now. Art Jewelry Forum says it's jewelry that makes you think, and that is what I think a lot of us relate to in that jewelry. It's jewelry with a real concept behind it.   Sharon: That leads me to the next question. I know the biographies repeat themselves. When I was looking up information about you, they said you're an expert in modernist and contemporary jewelry. Contemporary can mean anything. Would you agree with the contemporary aspect?   Toni: I don't view myself as an expert in contemporary. I think I know more than a lot of people about it only because I study it. It's very hard to keep up because there are so many new jewelers popping up all the time. The name of my course that I teach at Pratt is Theory and Criticism of Contemporary Jewelry. Because of that, I do have to keep up to the day because it's a required course for the juniors majoring in jewelry studies, and I feel a responsibility to make them aware of what's happening right at that point I'm teaching it. Things are changing so much in our field, but I don't view myself as an expert. I just think I know a lot about it. It's not my field of expertise, and there's so much. You've got German jewelers, and you've got Chinese jewelers, and you've got Australian and New Zealand jewelers, and you've got Swedish jewelers. All over the world. You've got Estonia, a little, small country, as these major jewelers. They are each individual disciplines in and of themselves.   Sharon: How is it that you wrote the catalogue that became “Messengers of Modernism”? Were you asked to write the catalogue?    Toni: Yeah, I was hired by David Hanks and Associates, which was and still is the curatorial firm. They're American, but they work for the Montreal Museum of Fine Arts. At that time, there was a separate Montreal Museum of Decorative Arts, and that's really where Messengers of Modernism—it came under the Montreal Museum of Decorative Arts. Now, it has been absorbed into the Montreal Museum of Fine Arts. It's just one building. It was a separate building. Basically I was hired by the museum to write the catalogue.   Sharon: And how did it become a book?    Toni: It is a book.    Sharon: Yes, but how did it become—it was a catalogue.   Toni: It's a book, but it functions as the catalogue in the next edition.   Sharon: Right, but I was saying that you wrote the catalogue, and then you said it was published by Flammarion in Paris. Did they say, “Oh, let's take it and make it a book?” How did it transform?   Toni: It was always a book, but it functioned as the catalogue for a particular collection, which is their collection of modernist jewelry. Many exhibitions, even painting exhibitions, when you go to a museum and view a painting exhibition and you buy the accompanying text, it's the catalogue of the exhibition.   Sharon: Yes, but a lot of those don't become books per se. That's why I was wondering, did somebody at the publishers see your catalogue and say, “This would make a great book?” I have never seen the exhibition, but I have the book.   Toni: I think this is a semantic conversation more than anything else. It has become, as I said, the standard text, mostly because nothing else really exists, except I believe Marbeth Schon wrote a book on the modernist jewelers which is more encyclopedic. This book, “Messengers of Modernism,” first of all, it puts the collection in the context of studio craft from the turn of the century up until then, which was then the present. The book was published in 1996. I think what you're saying is it's more important than what we think of as a museum catalogue and it's become a standard text.   Sharon: Yeah.   Toni: It was always conceived as a book about modernist jewelry; it was just focusing on this one collection. What I'm saying is people would say, “Well, why isn't this one in the book? Why did you leave this one out?” and I said, “Well, I didn't leave this one out. This is a book about a finite collection that's in the Montreal Museum of Fine Arts.” If I were writing a book about modernist jewelry, of course I would have included Claire Falkenstein, but she wasn't in their collection, so it's not in that book. That was basically what I meant.   Sharon: Is there a volume two that's going to be coming out with the ones that weren't in the collection that you think should be in the book?   Toni: That book was published in 1996. We're already in 2022. People are always asking me, but one never knows.    Sharon: I guess you don't need an exhibition to write a catalogue.    Toni: No, to write a book, of course you don't.   Sharon: To write a book. What's on your radar? What do you think you have next? Is it in the realm of modernism that you would be writing about?   Toni: That's really what I write about. I lecture about contemporary jewelry to my students and occasionally to the public, but my area of expertise is modernism. There are cardiologists that have a part of their practice in general medicine, but if somebody has a gastrointestinal problem, they're going to send them to a gastroenterologist. I can deal with the broad strokes, which I do, but unless it's one specific jeweler that I would write about, I would not attempt a book about contemporary jewelry. I would stick with modernism, what I feel very confident and comfortable with.   Sharon: If somebody who's passionate about jewelry but not wealthy said they want to start building a modernist collection, where would they start?   Toni: That is another good question. First of all, they would really have to comb the auctions. If they were very serious about collecting important works, I would send them to Mark McDonald, who's the premier dealer in this material. He was one of the partners of Fifty/50.   Sharon: Right, does he still work in that area? Didn't they close the store? Yeah, they closed the store.   Toni: Yeah, two of the partners tragically died. Mark had Gansevoort Gallery after. That was on Gansevoort Street in the Meatpacking District here in New York, which was a wonderful gallery also specializing in modernist material, multimedia. Then he had a shop up in Hudson, New York, for many years, right opposite Ornamentum Gallery. That closed, but he still deals privately. He is the most knowledgeable dealer in the period that I know of. If anybody was really serious about starting to collect modernist jewelry, he would be the person I recommend they go to.   Sharon: It sounds like somebody to collaborate with if you're writing your next book.   Toni: We always collaborate. We're good friends and we always collaborate.   Sharon: Where do you see the market for modernist jewelry? Do you see it continuing to grow? Is it flat? Is it growing?   Toni: Yes, the best of it will continue to grow. There was an auction right before the pandemic hit. I think it was February of 2020, right before we got slammed. It was an auction that was organized by David Rago Auction in New Hope, Pennsylvania, and Wright, which is also an auction gallery specializing in modern and modernism from Chicago. Mark McDonald curated the collection, and the idea behind that exhibition was it was going to go from modernist jewelry from the mid-20th century up to the present and show the lineage and the inheritance from the modernist jewelers. It also included Europeans, and there was some wonderful modernist jewelry in that exhibition that sold very well—the move star pieces, the big pieces.    Then there was—I guess a year ago, no more than that—there was an auction at Bonhams auction house which was one couple's collection of modernist jewelry, artist jewelry—and by artists, I mean Picasso and Max Ernst, modernist artists. They collected a lot of Mexican jewelry and two of Art Smith's most major bracelets, his modern cuff and his lava cuff. I always forget which sold for what, but these were copper and brass cuffs. One sold for $18,000 and one sold for $13,000. I think the modern cuff was $18,000 and the lava cuff was $13,000. If anybody comes to my lecture tomorrow for GemEx, I talk about both of them in detail. This is big money. Five figures is very big money for these items, but these are the best of the best, the majors of the major by Art Smith. Art Smith is currently very, very coveted.   Sharon: Who's your favorite of the modernist jewelers? Who would you say?   Toni: Well, I have two favorites. There are three that are the most important, so let's say three favorites. One is Art Smith, and the reason is because the designs are just brilliant. They really take the body into consideration, negative space into consideration, and they're just spectacularly designed and beautiful to wear. Sam Kramer, the best of his work, the really weird, crazy, surrealist pieces like the one that's on the cover and the back of the Sam Kramer book. Margaret de Patta, who was from the San Francisco Bay area, and she was diametrically opposite to these two because her work was based upon constructivism. She had studied under Moholy-Nagy, the Hungarian constructivist painter, sculptor, photographer. Her work is architectural based upon these eccentrically cut stones. She would be inspired by the rutilations, which are the inclusions within quartz, and she would design her structures around them. I would say those are my three favorites.   Sharon: That's interesting. I wouldn't have thought of Margaret de Patta. I guess I think of her in a different category. I don't know why.   Toni: She's one of the most important modernist jewelers. She founded that whole San Francisco Bay Area MAG, the Metal Arts Guild. She was their guru.    Sharon: When I think of San Francisco at that time, I think of all the jewelry I bought when I was 16 and then I said, “What did I want this for?” Now I see it in the flea markets for 14 times the price I paid for it.   Toni: Right.   Sharon: But who knew. Anyway, Toni, thank you so much. It's been so great to have you. We really learned a lot. It's a real treat. Thank you.   Toni: I had a great time also. Thank you for inviting me. Thank you.   Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.

Season 3 of Countless Journeys from the Canadian Museum of Immigration at Pier 21 celebrates the contributions of Canadian immigrants to the performing and visual arts. We begin with a celebration of the life and work of legendary photographer Yousuf Karsh. Karsh was 13 years old when his family fled the Armenian Genocide, escaping to Syria. Two years later, his family sent Karsh, alone, to Halifax, where he was met by an uncle who brought him to his home in Sherbrooke Quebec. Karsh's life story, from refugee to world-class photographer, unfolds, along with more than 100 of his portraits, in a wonderful exhibit featured at the Canadian Museum of Immigration, The World of Yousuf Karsh: A Private Essence. We speak with Dr. Hilliard Goldfarb, who is senior curator emeritus with the Montreal Museum of Fine Arts, and the lead curator of the exhibit. “By the time of his closing the studio in Ottawa in 1993, he had literally photographed most of the famous people in the world: Churchill, Castro, Trudeau, Khrushchev, Jacqueline and John Kennedy, Nelson Mandela, Eleanor Roosevelt, Einstein, Picasso,” says Goldfarb. And Dinuk Wijeratne is a Juno award winning composer and performer whose music blurs boundaries and shakes up traditional approaches to classical music. Born in Sri Lanka, raised in Dubai, Dinuk came to Canada in 2004 after landing a job with Symphony Nova Scotia. Dinuk has performed on the biggest stages, like Carnegie Hall, the Lincoln Centre and the Opera Bastille, alongside musical luminaries like Yo Yo Ma and Zakir Hussain. Dinuk Wijeratne speaks with host Paolo Pietropaolo about his life and musical journey, and his devotion to eliminating barriers in the world of classical music. “Classical music has a very traditional past, it has a very centralised past, but I firmly believe that it should be accessible to everyone. I think that everyone, every single artist who says they engage with classical music should feel totally free to express and explore their own identity.”

Chloë Lum and Yannick Desranleau are installation artists who work across video, performance, sculpture, sound, text, and photography,. Their collaborative practice is rooted in the theatrical and choreographic, and examines the slippery and complex relationships between bodies and inanimate objects. Since several years, these subjects are examined through the lens of chronic illness. They are based in Tiohtiá:ke (Montréal) and have worked collaboratively since 2000. Their works have been exhibited internationally, and are included in the collection of the Victoria and Albert Museum, the Montreal Museum of Fine Art, and the Musée d'art contemporain de Montréal.  Special thanks to @harrison.owen for co-hosting this episode.  Listen on Spotify, Apple, Deezer and most podcast providers or by clicking here:  www.redtransmissions.libsyn.com Songs: Spit tastes like metal // Like PHT of Aerosol by AIDS Wolf. Learn more:  www.lum-desranleau.com @lumdesranleau (instagram)

https://linktr.ee/mycrimepod Tonight i will be finishing up part 2 of cultural property crimes. We take a look at the art heist of Montreal Museum of fine arts and also to the thefts that took place in the Whitworth Art Gallery. I would love to hear from you guys. so leave me a review. So come find me on Facebook: at My So-called True Crime podcast. Twitter: @mysocalledcrimepod Warning: I have no Idea what to do on twitter, but I'm trying. So hey send me a tweet. Instagram: Mytruecrimepod Email: Mysocalledtruecrimepod@gmail.com Also if you would like to show your support with donations, then buy me a coffee. And on Anchor you can show your support. I'm completely listener funded right now, but I promise you guys that I have so much planned for you. https://www.buymeacoffee.com/mycrimepod https://anchor.fm/my-so-called-crime-pod/support And I have recently created a patreon to give you guys the opportunity to have a place where we can discuss true crime without any judgment and to get your episodes ad-free and a day early. There is just 1 tier for now, but I will be adding more in the months to come. https://www.patreon.com/socalledtruecrimepod . My so-called true crime podcast is hosted, produced and edited by me. Intro and outro music is “Partners in crime” by Christoffer Moe Ditlevinson Sources: Pt 2 https://www.thecanadianencyclopedia.ca/en/article/skylight-caper-1972-montreal-art-heist https://www.artnews.com/art-news/news/interpol-art-crime-survey-2021-illegal-excavations-1234607580/ https://www.fbi.gov/investigate/violent-crime/art-theft --- Support this podcast: https://anchor.fm/my-so-called-crime-pod/support

In this clip, J.F. discusses an exhibit he created for the Montreal Museum of Fine Arts. If you want some ideas on how to create immersive experiences for groups, have a listen to this!

As an alternative for those who would rather listen ad-free, sign up for a premium subscription to receive the following: All JBP Podcast episodes ad-free Monthly Ask-Me-Anything episodes (and the ability to ask questions) Presale access to events Premium show notes for future episodes Sign up here: https://jordanbpeterson.supercast.comThis episode was recorded on November 10th, 2021.Charles Joseph is a Kwakwaka'wakw artist known for his masks, totem poles, and canoes. His work can be found in homes and businesses worldwide, including mine. His “Residential School Totem” stands before the Montreal Museum of Fine Arts for “all Canadians, not just residential school survivors.” It represents Charles' “reconciliation” and his “story is on the pole.”Charles' carving homepagehttps://charlesnativeart.caFacebook pagehttps://facebook.com/charlesjosephnativeart_______________Approximate Timestamps_______________[00:00] Intro[02:21] Charles' background[03:36] Backstory: Jordan's first non-native friend[09:59] Tough times at residential school; finding enough to eat[12:35] Being locked in as punishment[14:14] Isolation and treatment by so-called Christians; rejecting religion[16:35] Unmarked graves at Canadian residential schools[19:29] Jordan asks what could motivate such cruelty towards innocent children[22:08] Leaving & coming of age [22:19] Blaming the world[30:08] Charles describes more of what happened to him at residential school[34:24] Looking in the mirror[36:11] His grandparents' influence [41:26] Creative process & dreams [47:08] The spiritual effect of art & culture[48:03] Carving as a personal church[49:38] History and cultural significance of specific elements in Charles' art[54:36] The 55-foot totem pole sculpture[01:04:07] Seeking out the meaningful and positive[01:09:07] The Residential School Totem at the Montreal Museum of Fine Arts[01:11:11] Reconciliation[01:17:26] Accused of racism and welcomed into a new family in 24 hours[01:20:15] Wrapping up#ResidentialSchool #Art #Native #Carving #Canada// SUPPORT THIS CHANNEL //Newsletter: https://linktr.ee/DrJordanBPetersonDonations: https://jordanbpeterson.com/donate// COURSES //Discovering Personality: https://jordanbpeterson.com/personalitySelf Authoring Suite: https://selfauthoring.comUnderstand Myself (personality test): https://understandmyself.com// BOOKS //Beyond Order: 12 More Rules for Life: https://jordanbpeterson.com/Beyond-Order12 Rules for Life: An Antidote to Chaos: https://jordanbpeterson.com/12-rules-for-lifeMaps of Meaning: The Architecture of Belief: https://jordanbpeterson.com/maps-of-meaning// LINKS //Website: https://jordanbpeterson.comEvents: https://jordanbpeterson.com/eventsBlog: https://jordanbpeterson.com/blogPodcast: https://jordanbpeterson.com/podcast// SOCIAL //Twitter: https://twitter.com/jordanbpetersonInstagram: https://instagram.com/jordan.b.petersonFacebook: https://facebook.com/drjordanpeterson// SPONSORS //For Advertising Inquiries, visit https://www.advertisecast.com/TheJordanBPetersonPodcast Learn more about your ad choices. Visit podcastchoices.com/adchoices

As an alternative for those who would rather listen ad-free, sign up for a premium subscription to receive the following: All JBP Podcast episodes ad-free Monthly Ask-Me-Anything episodes (and the ability to ask questions) Presale access to events Premium show notes for future episodes Sign up here: https://jordanbpeterson.supercast.com This episode was recorded on November 10th, 2021. Charles Joseph is a Kwakwaka'wakw artist known for his masks, totem poles, and canoes. His work can be found in homes and businesses worldwide, including mine. His “Residential School Totem” stands before the Montreal Museum of Fine Arts for “all Canadians, not just residential school survivors.” It represents Charles' “reconciliation” and his “story is on the pole.” Charles' carving homepage https://charlesnativeart.ca Facebook page https://facebook.com/charlesjosephnativeart _______________ Approximate Timestamps _______________ [00:00] Intro [02:21] Charles' background [03:36] Backstory: Jordan's first non-native friend [09:59] Tough times at residential school; finding enough to eat [12:35] Being locked in as punishment [14:14] Isolation and treatment by so-called Christians; rejecting religion [16:35] Unmarked graves at Canadian residential schools [19:29] Jordan asks what could motivate such cruelty towards innocent children [22:08] Leaving & coming of age  [22:19] Blaming the world [30:08] Charles describes more of what happened to him at residential school [34:24] Looking in the mirror [36:11] His grandparents' influence  [41:26] Creative process & dreams  [47:08] The spiritual effect of art & culture [48:03] Carving as a personal church [49:38] History and cultural significance of specific elements in Charles' art [54:36] The 55-foot totem pole sculpture [01:04:07] Seeking out the meaningful and positive [01:09:07] The Residential School Totem at the Montreal Museum of Fine Arts [01:11:11] Reconciliation [01:17:26] Accused of racism and welcomed into a new family in 24 hours [01:20:15] Wrapping up #ResidentialSchool #Art #Native #Carving #Canada // SUPPORT THIS CHANNEL // Newsletter: https://linktr.ee/DrJordanBPeterson Donations: https://jordanbpeterson.com/donate // COURSES // Discovering Personality: https://jordanbpeterson.com/personality Self Authoring Suite: https://selfauthoring.com Understand Myself (personality test): https://understandmyself.com // BOOKS // Beyond Order: 12 More Rules for Life: https://jordanbpeterson.com/Beyond-Order 12 Rules for Life: An Antidote to Chaos: https://jordanbpeterson.com/12-rules-for-life Maps of Meaning: The Architecture of Belief: https://jordanbpeterson.com/maps-of-meaning // LINKS // Website: https://jordanbpeterson.com Events: https://jordanbpeterson.com/events Blog: https://jordanbpeterson.com/blog Podcast: https://jordanbpeterson.com/podcast // SOCIAL // Twitter: https://twitter.com/jordanbpeterson Instagram: https://instagram.com/jordan.b.peterson Facebook: https://facebook.com/drjordanpeterson // SPONSORS // For Advertising Inquiries, visit https://www.advertisecast.com/TheJordanBPetersonPodcast Learn more about your ad choices. Visit megaphone.fm/adchoices

This week's episode is an amazing conversation with the incredible Melissa Auf der Maur.  We met on the NY Preservation Webinar back in the spring of 2021 and we recorded this episode in the summer.   This is our first in-depth conversation so you'll hear more about both of our backgrounds. It's a longer episode but she was so gracious with her time I didn't want to cut out too much of the conversation.  We cover so much ground in this conversation including polite racism, gender roles, feminism, climate change, preservation, sustainability, music, culture, inequities designed into the American system, cultural differences between the US & Canada, as well as where we think we are on the pendulum swing of progress and our hopes for the future.Building Highlight: Basilica Hudson in Hudson Valley which was originally built in 1880 as a forge and foundry for steel railway wheels (later housing a glue factory until the 1980s)Links:Basilica Hudson Basilica Hudson podcastBasilica Hudson on InstagramTangible Remnants on InstagramTangible Remnants WebsiteBio:Melissa Auf der Maur is Co-Founder and Director of Basilica Hudson. From 1994-1999, Auf der Maur was a member and bass player of the alternative rock band Hole, and she is featured on the Grammy-nominated album, Celebrity Skin. She joined the Smashing Pumpkins in 2000 for their Farewell World Tour. She has also released two solo albums, Auf der Maur (2004) and Out of Our Minds (2010). The latter project comprises an album, a comic book, and a short film. Auf der Maur's photographs have been exhibited internationally, including at the Montreal Museum of Fine Arts, and have appeared in such publications as Spin, Elle, Nylon, and American Photo. She was born in Montreal, Canada and raised with a fine arts education, focusing on Music and Photography.**This episode is sponsored by www.Smartsheet4architects.com, a better way to manage architecture projects.**Support the show (https://www.patreon.com/user?u=66435616)

On this episode of Highkey Obsessed Thomas talks about the Skylight Caper also known as the 1972 Montreal Museum of Fine Arts Robbery. This heist is mostly forgotten, completely unsolved, and sort of weird. It involves organized crime, Quebecois Liberation, tea, and robe... probably, maybe, maybe not? This is a super confusing case, where not a lot, outside of what went down with the heist is actually known! So be sure to tune in to learn all about it! If you dig what you're hearing be sure to give us a rating and review wherever you get your podcasts. We welcome feedback on Instagram @highkey_obsessed_podcast and Twitter @HighkeyOPodcast. We also have a new website www.highkeyobsessed.com and an email highkeyobsessedpodcast@gmail.com, so pretty fancy stuff. Thanks for listening! Instagram: @highkey_obsessed_podcast Twitter: @HighkeyOPodcast

If there's a quaternity of artists whose work in the Western genre continues to attract legions of fans and inspire generations of filmmakers, it's most certainly John Ford, John Wayne, Sergio Leone, and Clint Eastwood.  On this episode, co-host Andrew Patrick Nelson discusses the profound impact these four giants had on the genre, and reveals that many of the popular notions we have about them may not paint the full picture. It's a fascinating lecture that was originally delivered at the Montreal Museum of Fine Arts in November of 2017, and has been revised and rerecorded for this episode.For more information about the original multidisciplinary museum exhibition, titled "Once Upon a Time... The Western," visit the MMFA website. To learn more about the award-winning publication that accompanied the show (and to buy your own copy), visit Amazon.

The growing field of art therapy argues that paintings and sculpture can improve your wellness. In collaboration with Art Toronto, host Shaun Francis examines the evidence with such experts as the contemporary artist Marcel Dzama, RxArt founder Diane Francis, Sinai Health psychiatrist-in-chief Dr. Lesley Wiesenfeld and Montreal Museum of Fine Arts art therapist Stephen Legari. Plus: Medcan's art strategist, Stacy Francis, discusses her innovative approach to art.   Episode 89 webpage   LINKS   See this year's Art Toronto event featuring more than 300 Canadian artists, running from October 29-31 at the Metro Toronto Convention Centre, and online until November 7.    Here's a FAQ about the art therapy process    Check out Diane Brown's nonprofit organization, RxART   See Sinai Health's Creative Arts Therapy program.   Learn more about Marcel Dzama here.   Read about museotherapy at the Montreal Museum of Fine Arts, where art therapist Stephen Legari practices.    See Medcan's art collection, curated by Marshall Webb and Stacy Francis, including Liz Magor's Gut Jacket.   Check out some existing scientific research on art therapy, like a 2019 trial that suggested art therapy was effective in reducing anxiety and improving quality of life. Plus a 2017 study showed how just one art therapy session improved participants' mood, and reduced pain and anxiety. A 2014 article suggested art therapy can affect those with Alzheimer's and other dementias.    The World Health Organization's 2019 scoping review on the role of the arts in improving health and wellbeing   INSIGHTS   “When we're patients, we're still people, and we're people who are going through stress and strain.” According to Dr. Lesley Wiesenfeld, our healthcare experience can be improved by the presence of art that is beautiful, engaging or thought-provoking. [04:31]   The art on the walls at Medcan has been carefully picked out by Stacy Francis and art consultant Marshall Webb. The pieces were chosen for their potential to provoke attention and create a reaction in the people who see it. “I wanted [clients] to just have a contemplative moment that was not about the next test that they were about to receive,” says Francis. [07:03]   Art therapy is the combination of therapy with the presence or creation of art. Stephen Legari is an art therapist at the Montreal Museum of Fine Arts. “Art therapy allows people to externalize their experience, enjoy a therapeutic relationship with art and feel supported as they're doing that,” says Legari. [10:36]   When we do things that don't come naturally to us (like art!), we use and connect more neurons in our brains. And that becomes more important as we age, according to Dr. Lesley Wiesenfeld. “This is why people get advice about, if you're left handed, use your right hand, [and] if you love crosswords, you should actually try a number puzzle instead,” she says. [13:54]   When we realize we aren't good at a hobby or activity, we tend to move on to something else. But Dr. Lesley Wiesenfeld says that “there's good support for the value of developing habits that are about both mastery, and tolerating our absolute mediocrity at something.” [26:24]   Interest in art therapy is growing fast. RxART is a nonprofit organization that commissions artists to transform hospitals and healthcare settings, and its founder Diane Brown has seen the interest first-hand, both from hospitals and from artists. Every RxART project is fully funded by the charity and free to the hospitals. Artists receive small honorariums.  “We don't have problems getting artists to collaborate. Rarely does an artist turn us down,” says Brown. [29:06] 

Transdisciplinary artist Maria Hupfield activates her creations in live performances. She is interested in the production of shared moments that open spaces for possibility and new narratives. In her work, these moments of connection are recalled and grounded by coded and re-coded hand-sewn industrial felt creations and other material mash-ups worn on the body. An Urban off-reservation member of the Anishinaabek People she belongs to Wasauksing First Nation in Ontario, Hupfield is deeply invested in embodied practice, Native Feminisms, collaborative processes, craft and textiles. Sound shared in this episode Maria Hupfield and Tusia Dabrowska Electric Prop and Hum Freestyle documentation from 3 performances by Maria Hupfield and Tusia Dabrowska, including: 11.30.2017 MAD Museum 12.06.2017 The Gibney Dance Theater 07.03.2018 The Bric Media House Maria Hupfield Performance Piece at Bronx Museum of the Arts June 15th 2015 with Laura Ortman “The one who keeps on giving” performance by Maria Hupfield 2017-01-29 documented at The Power Plant Contemporary Art Gallery Toronto Biography: Maria Hupfield is a 2020-2022 inaugural Borderlands Fellow for her project Breaking Protocol at The Vera List Center for Art and Politics at the New School and the Center for the Imagination in the Borderlands at Arizona State University, and was awarded the Hnatyshyn Mid-career Award for Outstanding Achievement in Canada 2018. Previous projects at Galerie Hugues Charbonneau included her 2014 Performance Lab and 2017 transdisciplinary installation Stay Golden. She has exhibited and performed her work through her touring solo exhibition The One Who Keeps On Giving (organized by The Power Plant) 2017-2018, and solo Nine Years Towards the Sun, at the Heard Museum, Phoenix, 2019-2020. Amongst other places, she has also presented her work at the Montreal Museum of Contemporary Art, the NOMAM in Zurich, the Montreal Museum of Fine Arts, Galerie de L'UQAM, the New York Smithsonian Museum of the American Indian, the New York Museum of Art and Design, BRIC House Gallery, the Bronx Museum, Boston Museum of Fine Arts, Site Santa Fe, and the National Gallery of Canada. She is co-owner of Native Art Department International with her husband artist Jason Lujan, and a founding member of the Indigenous Kinship Collective NYC. Website: https://mariahupfield.wordpress.com This episode first aired June 14, 2021 for Broken Boxes on Radio Coyote, a project initiated by Raven Chacon and CCA Wattis Institute, on the occasion of Chacon's 2020-21 Capp Street Artist-in-Residency. Radio Coyote is currently produced by Atomic Culture and will transition to new programming Summer, 2021. www.radiocoyote.org

Transdisciplinary artist Maria Hupfield activates her creations in live performances. She is interested in the production of shared moments that open spaces for possibility and new narratives. In her work, these moments of connection are recalled and grounded by coded and re-coded hand-sewn industrial felt creations and other material mash-ups worn on the body. An Urban off-reservation member of the Anishinaabek People she belongs to Wasauksing First Nation in Ontario, Hupfield is deeply invested in embodied practice, Native Feminisms, collaborative processes, craft and textiles. Sound shared in this episode Maria Hupfield and Tusia Dabrowska Electric Prop and Hum Freestyle documentation from 3 performances by Maria Hupfield and Tusia Dabrowska, including: 11.30.2017 MAD Museum 12.06.2017 The Gibney Dance Theater 07.03.2018 The Bric Media House Maria Hupfield Performance Piece at Bronx Museum of the Arts June 15th 2015 with Laura Ortman “The one who keeps on giving” performance by Maria Hupfield 2017-01-29 documented at The Power Plant Contemporary Art Gallery Toronto Biography: Maria Hupfield is a 2020-2022 inaugural Borderlands Fellow for her project Breaking Protocol at The Vera List Center for Art and Politics at the New School and the Center for the Imagination in the Borderlands at Arizona State University, and was awarded the Hnatyshyn Mid-career Award for Outstanding Achievement in Canada 2018. Previous projects at Galerie Hugues Charbonneau included her 2014 Performance Lab and 2017 transdisciplinary installation Stay Golden. She has exhibited and performed her work through her touring solo exhibition The One Who Keeps On Giving (organized by The Power Plant) 2017-2018, and solo Nine Years Towards the Sun, at the Heard Museum, Phoenix, 2019-2020. Amongst other places, she has also presented her work at the Montreal Museum of Contemporary Art, the NOMAM in Zurich, the Montreal Museum of Fine Arts, Galerie de L'UQAM, the New York Smithsonian Museum of the American Indian, the New York Museum of Art and Design, BRIC House Gallery, the Bronx Museum, Boston Museum of Fine Arts, Site Santa Fe, and the National Gallery of Canada. She is co-owner of Native Art Department International with her husband artist Jason Lujan, and a founding member of the Indigenous Kinship Collective NYC. Website: https://mariahupfield.wordpress.com This episode first aired June 14, 2021 for Broken Boxes on Radio Coyote, a project initiated by Raven Chacon and CCA Wattis Institute, on the occasion of Chacon's 2020-21 Capp Street Artist-in-Residency. Radio Coyote is currently produced by Atomic Culture and will transition to new programming Summer, 2021. www.radiocoyote.org

PORCH HANGS PODCAST with Amy Violette.  This week Amy and Ariel, Curator of Fine Art at the Georgia O'Keeffe Museum, discuss the legacy of O'Keeffe, grief, writing, not being a "one hit wonder," relationships, the Enneagram, scuba diving, and fashion. Follow us on Instagram: @porchhangspodEmail us at: porchhangspod@gmail.comFollow Ariel's  fiancé, Amanda on Instagram: @bahia_jewelry --Ariel's Bio:Dr. Plotek is the Curator of Fine Art at the Georgia O'Keeffe Museum. His studies and career have been international in scope. He has an MA and PhD from the Institute of Fine Arts, New York University, and completed his BA honors at the Courtauld Institute of Art, University of London. He has held a variety of museum and teaching positions at institutions that include the University of San Diego, Clemson University, New York University, the Metropolitan Museum of Art, and the Montreal Museum of Fine Arts.

Irene Frolic: Personal History, Memory, and the Interdependence of Beauty and Decay   In 1948 at the age of 7, Irene Frolic arrived in Canada after almost three years in a United Nations refugee camp in Salzburg, Austria. A Jewish child, who had miraculously survived the grimmest of Grimm Fairy tales in the dark heart of Europe, arrived not knowing a word of English into a new world. Trying to make sense of these mysteries remains at the heart of her work in cast glass to this day.  The little Canadian girl grew into a well-educated young woman. Frolic married, travelled the world, had children, and held a good job before discovering glass in her early 40s, inspiring a sea change witnessed in her evolution to becoming an artist. Almost 40 years later, Frolic continues to infuse her cast glass with knowledge, feelings, history and heritage.  Working from her Toronto studio, Frolic has been involved in the international Studio Glass movement, helping to develop the art of kiln cast glass as a material for artistic expression by teaching workshops, lecturing and exhibiting world-wide. Past president of the Glass Art Association of Canada (GAAC), which honored her with a Lifetime Achievement award, she is a member of the Royal Canadian Academy of Art (RCA). Her work is exhibited internationally and found in many public and private collections, including those of the Museum of Decorative Art, Lausanne, Switzerland, Montreal Museum of Fine Art, Museo del Vidreo, Monterrey, Mexico, and the Canadian Clay and Glass Gallery, Waterloo, Ontario. Glass, which surrounds us in our modern urban landscape, is one of the most ancient, seductive and mysterious of materials. The quest to find a way to use it beyond its easy allure has propelled Frolic and has sustained her 40-year art career. By developing and exploring the emotive qualities of glass as a medium, she has explored her personal history, commented on memory, and mused on the interdependence of beauty and decay. As the Covid pandemic continues, new sculpture is underway at Frolic’s studio. Her latest work, She Loves Us Still: Earth, addresses humanity’s treatment of our planet and each other. She says: “It goes back to my beginnings and how close I came to be extinguished. On October 13, 1941, in my hometown, Stanislawow, at nine weeks of age I was held in my 18-year-old mother’s arms, at the edge of an enormous hastily dug pit at the Jewish cemetery. I understand it was bitterly cold. The thousands of people herded there were all naked. The shooting continued all day – 12,000 Jewish citizens met their deaths that day. The reason I am still here, approaching my 80th year, is that it got dark…too dark to kill. I am full of anguish about the way we treat each other today. If strangers live among you, love the stranger as yourself and do him no harm. Love the stranger, both within and without.”

Alinka Echeverría: HeroineOctober 26 – December 10, 2020Kathleen O. Ellis GalleryWith great pleasure, Light Work presents Heroine, a solo exhibition of work by Mexican-British multimedia artist and visual anthropologist Alinka Echeverría. Heroine is the culmination of the artist’s extensive research into the representation of women and femininity since the origins of the medium of photography. “With few exceptions, the place of women was before the lens, not behind it,” she acknowledges. As Echeverría immersed herself in the colonial archives of the Nicéphore Nièpce Museum in France, work she embarked on in 2015, the aesthetics of the fetishized and exoticized depiction of women both intrigued and appalled her. Directly referencing the “inventor of photography,” Nicéphore Niépce, Echeverría titles this work more broadly as Fieldnotes for Nicéphora (incorporating the “a” at the end to feminize the name that he had adopted for its meaning: victorious)—thereby explicitly reframing the legacy of this white, male pioneer of photography to a feminist and postcolonial perspective.We are mindful of installing the exhibition amidst an ongoing global pandemic, as we all work to reimagine how physical gallery spaces exist (or don’t) and perhaps expand how works on walls may take on new forms. With that in mind, Echeverría has opened up the ways in which she would normally exhibit photographic work in a gallery. She revisits past collage work innovatively, re-adapting stills from a video piece as large-scale photographic prints and pages from a photobook project, brought to life here as a continuous stream of images wrapping around three of the gallery walls.Echeverría reframes the photographs to examine how she can alter their purpose both through their context and materiality. “As a link between the past and the present, the photographic archive makes time resurface by way of stored visual forms,” Echeverría explains. “In my view, an active reframing allows them to acquire a certain contemporaneity with the new interpretations brought by our contemporary gazes as practitioners and viewers.” Echeverría’s works in Heroine are both visually arresting and profoundly thoughtful—urging viewers to investigate the complexities of the photographic object itself as well as the ways in which its creation, reproduction, and distribution has been problematic since the early 1800s.—Alinka Echeverría is a Mexican-British artist and visual anthropologist working in multiple media. She holds a Master’s degree in Social Anthropology from the University of Edinburgh, 2004 (Erasmus exchange, Università di Bologna, 2003). After working on HIV prevention projects in rural East Africa, she completed a post-graduate degree in Photography from the International Center for Photography in New York in 2008. She has exhibited widely, including solo exhibitions at Arles’ Les Rencontres de la Photographie, The California Museum of Photography, Johannesburg Art Gallery, The Montreal Museum of Fine Arts, and Preus Museum (Norway’s National Museum of Photography). She is the recipient of the 2020 MAST Foundation for Photography Grant and in recent years she has received the BMW Art & Culture Residency at the Nicéphore Niépce Museum, as well as FOAM Museum’s Talent award, and the HSBC Prize for Photography. The Lucie Awards voted her International Photographer of the Year and she was a finalist for the Musée de l’Elysée’s Prix Elysée for mid-career artists. Several public collections and institutions hold her work, including BMW Art & Culture France, FOAM Museum, Houston’s Museum of Fine Arts, LACMA, The Montreal Museum of Fine Arts, Musée de l’Elysée, Musée Nicéphore Niépce, and the Swiss Foundation of Photography. In 2017 she was the presenter for a three-part series for BBC Four called The Art That Made Mexico.—Special thanks to Daylight Blue Mediadaylightblue.comLight Worklightwork.orgMusic: "Adrift" and "Resonance" by Airtone See acast.com/privacy for privacy and opt-out information.

Today on the Take on Board podcast Helga is speaking to Caroline Codsi about her journey to the boardroom and the importance of diversity.Caroline is on the board of Montreal Museum of Fine Arts and has previously been on the boards of Music and drama Conservatory, Missing Children's Network and College International Marie-de-France.A passionate and strategic leader, Caroline has had a successful career in the corporate world of over 25 years including the past decade in VP and SVP roles within major organizations.Caroline founded Women in Governance in 2010, a non-for-profit organization with mission to encourage women to develop their leadership, advance their career and sit on boards. She dedicates her life to all matters relating to the access of women to executive roles and board positions in the corporate world in Canada as well as women’s equality rights everywhere in the world.Contact Caroline or find out more about her:https://www.linkedin.com/in/carolinecodsi/https://twitter.com/carolinecodsi?lang=enResources mentioned in this episode:Women in Governance: https://lagouvernanceaufeminin.org/ (in French and English)Women in Governance Facebook Group https://www.facebook.com/lagouvernanceaufeminin/?fref=tsWoman in Governance LinkedIn group https://www.linkedin.com/company/la-gouvernance-au-f%C3%A9minin/WOMAN (trailer) https://www.youtube.com/watch?v=k6-S6m1qZDg&t=14sGlobal Parity SummitThis unprecedented event will take place online on November 12 from 5:30pm to 8:30pm and November 13 from 11:30am to 3pm EST and will bring together international leaders, women and men, working together to achieve parity. https://womeningovernance.org/?post_type=post_events&p=4880EventBrite link to our Summithttps://www.eventbrite.co.uk/e/global-parity-summit-sommet-mondial-de-la-parite-tickets-122270589625Links to Caroline's Ted TalksThe Path to Equality | Caroline Codsi - https://www.youtube.com/watch?v=SvA4h_aQH_MLa résilience, le pouvoir de rebondir plus haut après une épreuve. | Caroline Codsi - https://www.youtube.com/watch?v=MieE9C2sdqoFOR MORE INFORMATION:Join the Take on Board community: https://www.facebook.com/groups/TakeOnBoard/Follow along on Twitter: @TakeOnBoardFor more information about Helga Svendsen: https://www.helgasvendsen.com.au/Interested in working with Helga? https://www.helgasvendsen.com.au/workwithmeTo contact Helga: helga@helgasvendsen.com.au

I interview Yehudit Silverman who is the Author of The Story Within book and movie, creative arts therapy, isolation, depression, suicide & trauma as well as interfaith dialogue! Take a Listen! Yehudit is committed to the arts as a method for inquiry, creative expression, therapy, and social change. Creative Arts Therapist, R-DMT, RDT, extensive clinical and community experience Award Winning Documentary Filmmaker Former Chair and professor, Department of Creative Arts Therapies, Concordia University, Montreal Director Seeds of Hope Project with The Montreal Museum of Fine Arts Director Interfaith Arts Dialogue Mask maker, creative ritual leader, singer, swimmer, seeker, dreamer… The Story Within on Facebook https://www.yehuditsilverman.com/ --- Support this podcast: https://podcasters.spotify.com/pod/show/twopartypodcast/support

1997 年，蒙特利尔工程公司 SNC-Lavalin 把张芷美派到山西太原工作。 在太原期间，张芷美有个业余爱好，就是去逛古玩市场，她说，经常是一看见中国民间那些带有浓郁色彩的物品就走不动了。 在五年的时间里，她收藏了很多，返回魁北克省后，她把大部分收藏品都捐献给了当地的不同博物馆和美术馆，其中有100 件青花瓷器，全部捐献给了蒙特利尔市美术馆  The Montreal Museum of Fine Arts / Musée des beaux-arts de Montréal 的亚洲馆。 当地艺术圈的人称张芷美是一位  “丝绸制魁北克人”。 张芷美的捐赠，给蒙特利尔市美术馆带来了启发，美术馆说，以前一直没有重视收藏民间艺术品，而民间艺术品更与历史息息相关，有着独特的意义。 播客音频： https://www.rcinet.ca/zh/wp-content/uploads/sites/6/2020/09/009cd30c.mp3

In this episode: - Grace Powell from the Montreal Museum of Fine Arts discusses the exhibit Paris in the Days of Post-impressionism

Jules de Balincourt is an artist based out of Brooklyn. He has had solo museum exhibitions at Kasseler Kunstverein, Germany (2015); The Modern Art Museum of Fort Worth, Texas (2014–2015); Montreal Museum of Fine Arts, Montreal, Canada (2013); and Mori Art Museum, Tokyo (2010). He has been in select group exhibitions at institutions including the Collezione Maramotti (2009, 2012, 2019); Whitney Museum of American Art (2006); MoMA PS1 (2004); the Brooklyn Museum (2008, 2013); MASS MoCA (2008); MACRO Museum of Contemporary, Rome (2009); the Guggenheim Museum in Bilbao (2007); Palais de Tokyo, Paris (2006); and the Shanghai Museum (2007). Other solo exhibitions include There Are More Eyes Than Leaves On The Trees, Galerie Thaddaeus Ropac, Paris, France (2020); One Island Many People, Galleri Bo Bjerggaard, Copenhagen, Denmark (2018); They Cast Long Shadows, Victoria Miro, London, UK (2018); We Come Together at Night, Galerie Thaddaeus Ropac, Salzburg, Austria (2017); Stumbling Pioneers, Victoria Miro, London, UK (2016); Ecstatic Contact, Salon 94, New York (2012); and Premonitions, Deitch Projects, New York (2010). Jules has been featured in the New York Times, Wall Street Journal, the New Yorker, Vanity Fair, the Guardian, Telegraph, and le Monde among other major publications. He is currently represented by Victoria Miro in London, Thaddeaus Ropac in Paris, and Bo Bjerggaard in Denmark. He is currently working for an upcoming show at CAC Malaga that will feature paintings from the past 10 years along with new work. It will open March 2021.

In capturing the transcendent moments between silence, introspection and self-discovery, Sibylle Peretti seeks to find and depict places of mystery and wonder as launching spots in a journey towards the infinite. Ethereal imagery and haunting subtexts flow freely from porcelain sculpture and mixed media panels, which incorporate multiple layers of paper, oil paint, and watercolor on either side of Plexiglas. Through these techniques the artist creates a darkly romantic mix of fairytale and tension. Her skillful combination of engraving, photography, painting, and glass casting exposes exquisitely subtle environments we wish to enter in spite of some uneasiness.  Heller Gallery, New York City, has recently extended Peretti’s current online solo exhibition, Backwater, through June 13, 2020. The show features nine major new works – five wall pieces and four cast sculptures, as well as an installation of Glass Notes, an ongoing collaboration between Peretti and her husband, artist Stephen Paul Day.  Peretti says: “One aspect of my work reflects on our disrupted relation to nature and our yearning to achieve a unity with the natural world. Backwater describes places that are isolated and constantly changing. Living in New Orleans just footsteps away from the Mississippi river, I explore almost daily the ever-changing alluvial land with its magical backwaters.” Anchoring Backwater is Tchefuncte, Peretti’s large 48-panel wall piece (60 x 80 inches), which combines photography and drawing with surface interventions such as engraving, mirroring and glass slumping. It is based on a photograph she took along the riverbanks of the Tchefuncte river north of New Orleans, an area that was populated by the Tchefuncte culture as early as 500 BCE, and which derives its name from the Choctaw word for a dwarf chestnut, a plant used as medicine by the first people who inhabited this area. Peretti calls it a “temporal place that is likely to soon vanish due to flooding and human expansion,” but the composition suggests a portal, “a waterway that is open to the viewer’s imagination. When you look at the landscape, you also see your own reflection in the mirrored parts of the glass, and you become a part of the journey.”  Peretti received her MFA in Sculpture and Painting from the Academy of Fine Arts in Cologne, Germany, after first studying glassmaking and design at the State School of Glass in Zwiesel, Germany. In the past year her work was added to the collections of the Toledo Museum of Art, Toledo, OH; the newly established Barry Art Museum in Norfolk, VA; and most recently to the Huntsville Museum of Art in Huntsville, AL. Her work can be found in the permanent collections of the New Orleans Museum of Art, New Orleans, LA; the Corning Museum of Glass, Corning, NY; the Carnegie Museum of Art, Pittsburgh, PA; the Montreal Museum of Fine Arts, Canada; the Museum of Applied Arts, Frankfurt, Germany; the Hunter Museum, Chattanooga TN; and the Speed Museum and 21c Museum, both in Louisville, KY.  Awards and endorsements include grants from the Pollock-Krasner Foundation and the Joan Mitchell Foundation, as well as the 2013 United States Artist Fellowship. In 2018 Peretti’s work was featured in a solo exhibition Promise and Perception: The Enchanted Landscapes of Sibylle Peretti, at the Chrysler Museum of Art in Norfolk, VA.  Exploring the relationship between time, loss, emotion, memory and solitude, Peretti’s multimedia collages and sculptures provide a place into which her protagonists- the people and animals that inhabit her work – retreat. Impactful and unforgettable, the work balances the nostalgia of impending loss with the profound fortitude of understanding ourselves… and the world. In October 2020, during her residency at the Corning Museum of Glass, Peretti will work on a new project inspired by the Werner Herzog movie Heart of Glass. She will explore ideas of the historic importance of making Gold Ruby, and how it can be seen as a metaphor for a collapsing world.  

Tonight, head to Egypt to talk about the pyramids !!Gabriel Veiga summarizes the meeting between Sanaa Bendahmane and Sébastien-Paul Desparois, architect, professor and director of professional practice at the Ordre des Architectes du Québec.Subsequently, Sanaa meets Laura Vigo, curator at the Montreal Museum of Fine Arts and watches over the exhibition Mummiesfrom the British Museum!We’re finishing the show with Rosalie Nardi and a great story. Good night!

Tonight, head to Egypt to talk about the pyramids !!Gabriel Veiga summarizes the meeting between Sanaa Bendahmane and Sébastien-Paul Desparois, architect, professor and director of professional practice at the Ordre des Architectes du Québec.Subsequently, Sanaa meets Laura Vigo, curator at the Montreal Museum of Fine Arts and watches over the exhibition Mummiesfrom the British Museum!We're finishing the show with Rosalie Nardi and a great story. Good night!

Episode 2: Jean Verville Jean Verville is a Canadian architect and artist whose choice of medium is housing. His works exhibit a wide range of experimentation with powerful contrasts, playfulness, and ideas of what a place to live in could be. He is also a professor of architecture at Laval University and recipient of several awards including the Award of Excellence in Architecture in 2017, Azure's Best Architecture in 2016, Winner of the 2016 Montreal Museum of Fine Arts Installation Competition, Interiors Fredie Award in 2010, and the list goes on and on. More recently, Jean completed an art installation tilled ‘B15' that his students took part in. The piece was inspired by the musical artist KROY, which became a source of inspiration for this installation, resulting in a multidisciplinary experiment combining music, architecture, video and photography, What you are about to hear is a conversation we had with Jean before his Design Matters Lecture Series. Please Enjoy.

This week on Out of Office: A Travel Podcast, Ryan takes us through one of his favorite cities in the world: Montreal. He’ll give his recommendations for great places to eat, to see world-class art, and to check out go-go boys. Plus, bagels! Things we talked about in today’s podcast: Montreal Museum of Fine Arts https://www.mbam.qc.ca/en/ Old Montreal https://en.wikipedia.org/wiki/Old_Montreal Jacques Cartier https://en.wikipedia.org/wiki/Jacques_Cartier  Mount Royal https://www.lemontroyal.qc.ca/en Joe Beef https://www.joebeef.ca/ Au Pied de Cochon https://aupieddecochon.ca/en/ Nora Gray http://noragray.com/ Larrys http://lawrencemtl.com/larrys/ Montreal bagels https://en.wikipedia.org/wiki/Montreal-style_bagel Bagels on Greene http://www.bagelsongreene.com/ Club Social P.S. https://montreal.eater.com/venue/51149/club-social-p-s Cloakroom https://www.cloakroombar.co/ Montreal Gay Village https://en.wikipedia.org/wiki/Gay_Village,_Montreal Dealey Plaza in Dallas https://www.jfk.org/the-assassination/history-of-dealey-plaza/ Johnny Horton “North to Alaska” https://en.wikipedia.org/wiki/North_to_Alaska_(song) - Listen to past episodes at: https://outofofficepod.com/ - Follow us on Instagram at: https://www.instagram.com/ooopodcast/

I am excited to share this week's interview with the incredibly successful and talented painter, Kim Dorland! I have been a fan of Kim for a long time. His thick oil paintings depict the landscape and the psyche of the individuals in them. In this episode, we talk about Kim's background and overcoming hardships in Wainwright, Alberta Canada, meeting the person that is now his wife, how he started studying art, his studio practice, how his work has shifted, and the importance of his family life. Kim is funny, sharp and insightful.   Kim has shown extensively nationally and internationally. He was born in Wainwright, Alberta, Canada and received his BFA from Emily Carr University of Art + Design and his MFA from York University. His work is featured in The Sander Collection (Berlin); Nerman Museum of Contemporary Art (KS); Montreal Museum of Fine Arts; Montreal Museum of Contemporary Art, Blanton Museum of Art (TX); Glenbow Museum (Calgary); Art Gallery of Alberta; Museum of Contemporary Art San Diego, and numerous private collections. Dorland was recently the focus of a solo exhibition at the MCA Denver. Kim lives and works in Vancouver.   LINKS Kim Dorland Kim Dorland Instagram Equinox Gallery, Vancouver, B.C., Canada Galerie Antoine Ertaskiran, Montreal, Quebec, Canada Angell Gallery MCA Denver          

Demetrios Papakostas is a Canadian painter who makes abstract paintings characterized by his passion for bold technical investigation, colour spatial and perception. His thoughtful inquiry into the subtleties of the relationship between abstract thinking and the human condition, are characteristic of his deeply held conviction that art must speak from, and to, heart, mind and soul. Born in 1960 in Montreal, Canada, he studied with Nicole Lebel, Heather Yamada, and with prominent Canadian painter Harold Klunder, at the Saidye Bronfman Center for the Arts, Concordia’s art classes and the Visual Arts Centre. He is a member of GEOFORM.COM which features prominent artists working primarily in geometric abstraction from around the world. In addition to his painting practice, Demetrios runs a art gallery attached to his studio and is a teacher’s assistant to Heather Yamada at the Montreal Museum of Fine Arts. Demetrios has participated in exhibitions at Gallery Latitude 44 in Toronto, and at the Visual Arts Centre, Galerie Espace, and Galerie E.K. Voland, Galerie Beaux Arts des Ameriques and Galerie Erga in Montreal. Some of his artwork was selected to appear in a Quebec-made film, entitled “Sur le Rythme”. His work is collected by and present in several businesses, corporations and private homes. Papakostas is represented by Denison Gallery in Toronto Ontario. http://www.demetriospapakostas.com/ Galerie Erga: www.galerie-erga.com

In this Canadian edition of "The Places We Have Gone," Sigi and Jezzie talk about their favourite memories of four Canadian Cities as their warmup.  Montreal, Halifax, Vancouver, and Quebec City play centre stage as they reminisce about what made those cities so memorable.  Which city has a Goldilocks and which city served as a retreat?  Find out the answer to these questions, and much more on this warmup!   In this extra helping: Past Exhibitions of the Montreal Museum of Fine Arts, Vancouver port for Disney Cruise, Goldilocks (Canada), Wikipedia Entry on The Plains of Abrahams, Culture Trip's "The Most Beautiful Buildings in Quebec City"

In Canada, an incredible new program allows doctors to prescribe museum visits to their patients. Hyperallergic's Zachary Small visited the Montreal Museum of Fine Arts to talk with Stephen Legari, the first full-time art therapist on staff at a North American museum (he sees 1,200 patients a year), about his work in the city's encyclopedic museum and what role art can plan in healing. It's a fascinating story that might also point to new possibilities for art museums eager to play important roles in their local communities by teaching people to learn from and engage with art. A special thanks to Dried Spider for the music to this week’s episode. You can visit driedspider.bandcamp.com, for more information.

“There is no future without a past, so I hope that this exhibition will inspire in its visitors a new creative future” Thierry Mugler The Thierry Mugler archive comprises some of fashion's most fantastical, forward-looking creations from the late seventies to the early naughts. The designer's place as a visionary showman in the annals of fashion is well-secured as evidenced by the recent opening of THIERRY Mugler: Couturissime, a retrospective of the designer's body of work at the Montreal Museum of Fine Art. In these banal creative times, we were struck by the flawless broadcast of designs from another time finding new life in this hyper digital age and on the bodies of today's most powerful celebrities.

In 1972, The Montreal Museum of Fine Arts is burgled under the cover of night by three mysterious vandals. How did they know how to circumvent the Museum's security and, more importantly, what happened to all of that stolen art?Sources:WikipediaCBCArt CrimeBlogspotMona Lisa ThiefMona Lisa FactsAlain LacoursièreArt:Elou Carroll's work can be found at the following:https://www.instagram.com/eloucarrollcreative/https://www.instagram.com/eloucarroll/https://eloucarroll.com/https://www.eloucarrollcreative.com/Music:♫ Track: [Electro Swing] Ritorikal- Jive [No Copyright Music]♫ Watch: https://youtu.be/gPBzBJ75kgs[Support Ritorikal]- Patreon: http://patreon.com/ritorikal- Twitter: http://twitter.com/ritorikal- YouTube: http://YouTube.com/ritorikal- SoundCloud: http://soundcloud.com/ritorikal

Labour day weekend 1972 3 guys got into the Montreal Museum of Fine Arts to steal as much art as they could. It's our most Canadian podcast yet filled with Quebecois politics, seminal moments in Canadian hockey history and our love for the incredible city of Montreal.

Another heist episode babyyyy! On Labour Day Weekend 1972, three thieves made off with 2 million dollars worth of art and jewelry from the Montreal Museum of Fine Art in Canada's largest art heist - and it's never been solved. Shan walks Jaybee through the case, digging into the research of Catherine Schofield Sezgin to lay out the known facts of The Skylight Caper! True crime in museums? Dreamy.   Learn more on Ms. Sezgin's blog here http://unsolved-1972-theft-montreal.blogspot.ca/ Or in her article for the Journal of Art Crime, Fall 2010 issue, here (pdf): http://www.artcrimeresearch.org/wp-content/uploads/2012/09/JAC-Fall-2010-eVersion-Final.pdf

Museum Audio Guide #6: Montreal Museum of Fine Arts, 1978 Season Two Episode 6 of 10 # Brand new Within the Wires T-Shirts and Posters and a Claudia Atieno art print are now available, withinthewires.com. Music: Mary Epworth, maryepworth.com Written by Jeffrey Cranor and Janina Matthewson. Performed by Rima Te Wiata (as Roimata Mangakāhia). Featuring Kate Leth (as Zoe Tremblay). Logo by Rob Wilson, robwilsonwork.com Part of the Night Vale Presents network. nightvalepresents.com

Karel Funk was born in 1971. He received a BFA from the University of Manitoba in 1997 and an MFA from Columbia University in New York in 2003. He’s had Solo exhibitions at the Winnipeg Art Gallery, the Rochester Art Center, MN, and the Contemoprary Museum of Art in Montreal. He has been included in group exhibitions at venues including the Montreal Museum of Fine Art; the Kiasma Museum of Contemporary Art, in Helsinki; the Plug In Institute of Contemporary Art in Winnipeg; and the Fondation Antoie de Galbert, Paris. His work is held in major museum collections, including the Guggenheim and the Whitney in New York, the National Gallery of Canada, and the Los Angeles County Museum of Art. He lives and works in Winnipeg, Canada. Brian met up with Karel at 303 Gallery, where he recently had a solo show of paintings which was reviewed in the New York Times, the New Yorker and several other places. They spoke about art school, working in Canada, electronic music, painting to movies and more.

Divine 2005 welcomes you and your closest friends to a New Year's Eve celebration with a touch of class and elegance. Located in the downtown core, the Montreal Museum of Contemporary Arts (also known as the "Musee d'art Contemporain de Montreal") is the perfect setting for this memorable occasion. The Museum boasts two magnificent floors including the atrium and the Champagne room that will cater to all of your essential needs. A stunning location, an exquisite ambience, beautiful people, and a quintessential vibe will commence the new year on the right path. Raise a glass when the clock strikes midnight and ring in the New Year at an event that will surpass all your expectations. Why spend this memorable occasion in an over-packed club when you can party inside a venue with class, style and ambiance like no other of its kind Divine 2005 is expected to make nightlife history as Montreal's strongest promotion teams come together and bring you a New Year's Eve experience like no other. A beautiful venue, a unique concept, and the best in urban music are our key solutions in providing you with an amazing party experience.  LIVE COUNTDOWN / FREE CHAMPAGNE A MIDNIGHT / MASSIVE BALLOON DROP / OVER 10 DJ'S Music: Music means a lot to us and that is why we put together one of the most impressive DJ line-ups in the city. R&B, Tasteful Hip-Hop, Soca, Classic House, and Reggae will be played by North America's greatest DJs.DJ MAJESS (The Ultimate Old School Parties, Montreal)MYSTIK (Club Orchid, Montreal)INFAMOUS (Power Jam, Montreal)VENOM (World Premiere, West Island)DJ ATOMIK (Club Dome, djatomik.com)EPIC (Kokino, Toronto)GOLDENCHILD (Jet Club, Goontribe.Net)DJ KIDD (Tokyo Sundays, Montreal)CUE (Silver Nightclub, Montreal)Rocaway Sound Crew (Club Bed, West Island)Hostyle (Club La Boom, Montreal)Cracked (Club Soda, Montreal) Venue: THE MONTREAL MUSEUM OF CONTEMPORARY ARTS185 RUE SAINTE-CATHERINE STREET OUEST / DOWNTOWN MONTREAL, CANADA 

Divine 2005 welcomes you and your closest friends to a New Year's Eve celebration with a touch of class and elegance. Located in the downtown core, the Montreal Museum of Contemporary Arts (also known as the "Musee d'art Contemporain de Montreal") is the perfect setting for this memorable occasion. The Museum boasts two magnificent floors including the atrium and the Champagne room that will cater to all of your essential needs. A stunning location, an exquisite ambience, beautiful people, and a quintessential vibe will commence the new year on the right path. Raise a glass when the clock strikes midnight and ring in the New Year at an event that will surpass all your expectations. Why spend this memorable occasion in an over-packed club when you can party inside a venue with class, style and ambiance like no other of its kind Divine 2005 is expected to make nightlife history as Montreal's strongest promotion teams come together and bring you a New Year's Eve experience like no other. A beautiful venue, a unique concept, and the best in urban music are our key solutions in providing you with an amazing party experience.  LIVE COUNTDOWN / FREE CHAMPAGNE A MIDNIGHT / MASSIVE BALLOON DROP / OVER 10 DJ'S Music: Music means a lot to us and that is why we put together one of the most impressive DJ line-ups in the city. R&B, Tasteful Hip-Hop, Soca, Classic House, and Reggae will be played by North America's greatest DJs.DJ MAJESS (The Ultimate Old School Parties, Montreal)MYSTIK (Club Orchid, Montreal)INFAMOUS (Power Jam, Montreal)VENOM (World Premiere, West Island)DJ ATOMIK (Club Dome, djatomik.com)EPIC (Kokino, Toronto)GOLDENCHILD (Jet Club, Goontribe.Net)DJ KIDD (Tokyo Sundays, Montreal)CUE (Silver Nightclub, Montreal)Rocaway Sound Crew (Club Bed, West Island)Hostyle (Club La Boom, Montreal)Cracked (Club Soda, Montreal) Venue: THE MONTREAL MUSEUM OF CONTEMPORARY ARTS185 RUE SAINTE-CATHERINE STREET OUEST / DOWNTOWN MONTREAL, CANADA 

Nathalie Bondil, Director and Chief Curator of the Montreal Museum of Fine Arts, talks about the labour of love behind the current Rodin exhibit that brought the Thinker to North America for the first time.

Jill Ronsley visits Paul Lawrence Vann, host of The Wealthy Speaker Show to provide expert knowledge, content and backstory on her book, 10 Steps to Publish & Succeed: How to Put Your Best Book Forward. Whether you're contemplating writing your first book or next book, this episode of The Wealthy Speaker Show is one you shouldn't miss. Jill has extensive experience in the publishing industry as an editor, book designer, publisher and consultant to writers, self-publishers and new small presses. That's not all, Jill counts New Times bestselling authors, Canadian literary publishers and British educational publishers among her list of clients, and she has contributed to many award-winning books in different genres.She is sought out for books in genres such as, fiction, self-help, spiritual to children's books and business books to memoirs. She has assisted established mainstream publishers and authors, independent publishers, and budding authors in a variety of capacities. Jill Ronsley won the Best Book Editor award from the Editors and Preditors Readers Poll and has served as a judge in several writing competitions.She is a member of the Association of Publishers for Special Slaes, the Bay Area Editors Forum, the Canadian Authors Association and Adopbe InDesign User Groups.  Jill graduated from McGill University and studied at the Montreal Museum of Fine Arts and the University of Grenoble. Tune in, listen in and call in with questions at (877) 404-1615 and or join us in the web chat room: www.blogtalkradio.com/paullawrencevann

On March 8th, the exhibition Once Upon a Time Walt Disney opens at the Montreal Museum of Fine Arts. Yesterday we did a tour of the exhibit, which presents the work of the Walt Disney Studio from 1928 (the first Mickey Mouse cartoon, Plane Crazy) through to 1967 (The Jungle Book), in its artistic context. Hundreds of production drawings, concept sketches, background paintings, character studies and film clips are presented side by side with classical artwork and contemporary media to show how Walt Disney and his artists drew from the world around them to create animated movies that are still astonishing to this day. In this podcast I interview the exhibit's curator, Bruno Girveau. Links The Montreal Museum of Fine Arts Shop Once Upon a Time Walt Disney (hardcover) Il était une fois Walt Disney (hardcover) Direct download: 070307fps_podcast.mp3

Much of the artwork seen at the Once Upon a Time Walt Disney exhibit comes courtesy of the Disney Animation Research Library, which is under the direction of Lella Smith, who was present for the exhibit's opening at the Montreal Museum of Fine Art. Direct download: 070313fps_podcast.mp3 Photo credit: Emru Townsend

Much of the artwork seen at the Once Upon a Time Walt Disney exhibit comes courtesy of the Disney Animation Research Library, which is under the direction of Lella Smith, who was present for the exhibit's opening at the Montreal Museum of Fine Art.

Veteran Disney animator Andreas Deja was an unexpected guest at the press conference for the Once Upon a Time Walt Disney exhibit at the Montreal Museum of Fine Arts. I sat down with him and talked about how he was inspired to become an animator, and how he feels about anime, CGI, and people referencing his animation the way he used to reference his predecessors. Links Andreas Deja (Wikipedia) Direct download: 070312fps_podcast.mp3 Photo credit: Emru Townsend

On March 8th, the exhibition Once Upon a Time Walt Disney opens at the Montreal Museum of Fine Arts. Yesterday we did a tour of the exhibit, which presents the work of the Walt Disney Studio from 1928 (the first Mickey Mouse cartoon, Plane Crazy)...