Podcasts about nari ward

New York based multidisciplinary artist Michael Dayton Hermann creates work that draws upon the inescapable bombardment of digital imagery to confront the familiar and examine the subconscious from unexpected perspectives. Hermann has exhibited consistently for the past 20 years following receipt of his MFA from Hunter College in NYC where he studied art theory with conceptual artist Robert Morris and executed his thesis under the advisement of Nari Ward. His polymath approach to life rejects easy categorization. He is as adept in his studio as he is in business, philanthropy, and public speaking aways centering the vital role visual art plays in society. He is the author of two books: Warhol on Basquiat and Andy Warhol: Love, Sex, and Desire and is a member of the board at Children's Museum of Art. In his role at the Warhol Foundation, Hermann conceived Andy Warhol: Machine Made, a ground-breaking online auction of five unique NFTs presented by Christie's, in addition to developing numerous high-profile Warhol projects including The Andy Warhol Diaries docuseries on Netflix and collaborations with Comme des Garçons, Dior, Tiffany, Absolut and many others, generating nearly $100M in revenue to support the philanthropic work of The Andy Warhol Foundation. The exhibit discussed is REconstituted at Baxter St, Camera Club of New York. Michael Dayton, Installation view of REConstituted at Baxter St, Camera Club of New York. Michael Dayton, Installation view of REConstituted at Baxter St, Camera Club of New York. Michael Dayton, Installation view of REConstituted at Baxter St, Camera Club of New York.

Jeffrey Deitch has been a prominent player in contemporary art for over fifty years. Born in 1952 and raised in Hartford, Connecticut, Deitch went on to study at Wesleyan University, turning his primary attention from economics to art history. As a college student, he opened his first gallery in 1972 in Lenox, Massachusetts. In 1978 Deitch received his MBA from Harvard Business School, where he authored his thesis on Andy Warhol as a business artist and sought to find synergy between aesthetics and economics. Such interest led him to Citibank, where he developed the art consultation division, the first professionally organized art advisory service attached to an international financial institution. Deitch has also contributed significantly to art criticism, becoming a regular columnist of Flash Art in 1980 and having his work published in Artforum, Garage, Interview magazine, and Paper magazine. In 1996, Deitch opened the Deitch Projects gallery in Soho, with shows including works from Vanessa Beecroft, Nari Ward, and Mariko Mori. Deitch has made a resounding impact on the art scene of Southern California. In 2010 he received the honor of being named the director of MOCA, relocating from New York to Los Angeles. As an early advocate of graffiti art in the 1980s, his first curated show, "Art in the Street," sold over 200,000 tickets- more than any previous show in MOCA history. In 2018 he opened a 15,000-square-foot space in Hollywood designed by Frank Gehry, where he presents museum-level exhibitions in a gallery setting. Further, in 2020, Deitch created the Gallery Association Los Angeles (GALA for short) to generate excitement about the LA gallery scene. He has also launched galleryplatform.la, an online program that serves the dynamic Los Angeles arts community with editorial content and rotating online viewing rooms. Deitch continues to operate galleries in New York and Los Angeles while advising private art collectors and institutions. As his number of shows, exhibition spaces, and artists exhibited surpass any art dealer in history, he has crafted a unique role that merges his curatorial profile with the business side of art. He and Zuckerman spoke about a daily practice of looking at art, the physicality of looking, feeling objects, time with artists, seeking communities, running an art museum and why “All Surface. No Structure.” matters!

Bruce Nauman all'Hangar Bicocca: una mostra esperienziale del grande artista americano. Il giardino di Villa Necchi ospita una videoinstallazione: “Un ambiente per l'ambiente”. Una piscina dorata, una macchina che fabbrica sorrisi: l'opera di Nari Ward, artista giamaicano alla piscina Romano. Siamo alla diciassettesima edizione: ha preso il via il Photofestival a Milano e non solo. E poi tanti altri appuntamenti da non perdere!

Cult è condotto da Ira Rubini e realizzato dalla redazione culturale di Radio Popolare. Oggi a Cult: a Cerviale, nella periferie di Roma, un festival riscopre le radici della canzone popolare; al Centro Balneare Romano di Milano la mostra "Gilded Darkness" dell'artista giamaicano Nari Ward; il Teatro Dal Verme compie 150 anni e li celebra con una serie di appuntamenti e una mostra che inaugura con le improvvisazioni di Paolo Rossi; Gian Mario Villalta introduce l'edizione 2022 di PordenoneLegge

The Jamaican-born, Harlem-based artist Nari Ward was barely out of his 20s when he exploded onto the New York art scene in 1993 with Amazing Grace, an extraordinary installation of 300 baby strollers he found abandoned around Harlem. The work, installed in a dimly lit former firehouse, resonated with audiences as a startling and humble commentary on the seemingly endless crises plaguing New York: the AIDS and crack epidemics, rampant homelessness, racial violence, and a city on edge after the Crown Heights and City Hall riots.In the nearly 30 years since, Ward has maintained his role as one of our mourners-in-chief, and his latest exhibition at Lehmann Maupin in Chelsea is no exception. The show, titled “I'll Take You There; A Proclamation,” again taps into musical and cultural history to offer a dignified yet sobering reflection on the Covid pandemic and its devastating fallout of economic inequality, political instability, and profound loss. More than anything, the brilliant new exhibition, which continues Ward's use of refuse and discarded objects, picked up around the streets of the city, suggests that none of us—not even Ward—knows exactly where we're headed next.To get a sense of the show, we called in Artnet News managing editor Pac Pobric to get the artist's take on his remarkable new work.

The Jamaican-born, Harlem-based artist Nari Ward was barely out of his 20s when he exploded onto the New York art scene in 1993 with Amazing Grace, an extraordinary installation of 300 baby strollers he found abandoned around Harlem. The work, installed in a dimly lit former firehouse, resonated with audiences as a startling and humble commentary on the seemingly endless crises plaguing New York: the AIDS and crack epidemics, rampant homelessness, racial violence, and a city on edge after the Crown Heights and City Hall riots.In the nearly 30 years since, Ward has maintained his role as one of our mourners-in-chief, and his latest exhibition at Lehmann Maupin in Chelsea is no exception. The show, titled “I'll Take You There; A Proclamation,” again taps into musical and cultural history to offer a dignified yet sobering reflection on the Covid pandemic and its devastating fallout of economic inequality, political instability, and profound loss. More than anything, the brilliant new exhibition, which continues Ward's use of refuse and discarded objects, picked up around the streets of the city, suggests that none of us—not even Ward—knows exactly where we're headed next.To get a sense of the show, we called in Artnet News managing editor Pac Pobric to get the artist's take on his remarkable new work.

Nari Ward talks to Ben Luke about his influences—including literature, music and, of course, art—and the cultural experiences that have shaped his life and work. Ward often uses found materials, from baby strollers to baseball bats and shoelaces, and repurposes them in sculptures, wall-based text works and installations. They address present and historical social and political issues, including race and poverty, and deal directly with emotions like loss and hope. Ward was born in 1963 in St Andrew, Jamaica, and moved with his family to the US when he was 12. He now lives and works in New York, and specifically Harlem, which has been much more than the location of his home and studio—often providing the raw materials and the thematic basis of his art. The late curator Okwui Enwezor said of Ward that he had “completely transformed the scale and the ambition of installation art”. He discusses his early interest in the Brothers Hildebrandt, his direct references to Piero Manzoni and Joseph Beuys and his use of Claude McKay's poetry and The Staple Singers' lyrics. Plus, he answers the questions we ask all our guests, including the ultimate: what is art for? See acast.com/privacy for privacy and opt-out information.

This weeks episode of This Week in Caribbean Art and Culture covers the PAMM Black Art Fund gala, Nari Ward's instillation Peacekeeper and Zona Macó in México City. We end our podcast with a conversation about Carnival Culture in Trinidad with dancer and professor Peter London.

Stance Podcast goes beyond the studio in conversation with world-renowned sculptors Antony Gormley & Nari Ward. From London and New York, they share unique, considered opinions on their own practices and each other's work, and highlight themes at the forefront of their creativity. We cover the subversive nature of art, architecture, fatherhood, the human body, the island nations they're from, and the role of community within their practice. It's a powerful discussion between two visual artists who have shaped the landscape of contemporary art as we know it.  Join the conversation at stancepodcast.com and all podcasting apps @stancepodcast @chrystalgenesis stancepodcast.com

WELCOME TO SEASON 2 OF ART FROM THE OUTSIDE!! We are so excited to kick off season two with the innovative artist Nari Ward! Originally from Jamaica; Ward works across a variety of media including: sculpture, installation, performance, photography and video. He is best known for his use of found-objects, such as baby strollers, cash registers and shoelaces, to compose sculptural installations that provoke complex thoughts regarding racism, poverty, and consumer culture. Ward earned a Bachelor of Fine Arts from City University of New York, Hunter College and a Master of Fine Arts from Brooklyn College. His work is included in the permanent collections of the Museum of Modern Art in New York; the Institute of Contemporary Art in Boston; the Museum of Contemporary Art in Los Angeles; and Crystal Bridges Museum of American Art in Bentonville, Arkansas - just to name a few. In addition, Ward is the recipient of numerous honors including the Fellowship Award from United States Artists; the Rome Prize from American Academy of Rome; and awards from the Pollock-Krasner Foundation and the National Endowment for the Arts - among many others. Some artists discussed in this episode: Piero Manzoni Mark Rothko Jacob Lawrence Romare Bearden David Hammons Howardena Pindell Lee Bontecou Melvin Edwards Betye Saar For images, artworks, and more behind the scenes goodness, follow @artfromtheoutsidepodcast on Instagram. Enjoy!

2019 was a year of protests and profound change. We look back on what happened, what our guests talked about and what our listeners most responded to. Tune in to hear Ian Alteveer (the Aaron I. Fleischman curator of Modern and contemporary art at the Metropolitan Museum), Julia Halperin (the executive editor of artnet News) and host Charlotte Burns review the year—and to hear snippets from our 2019 shows featuring museum directors Nicholas Serota (formerly Tate and now the head of Arts Council England), and Max Hollein (the Metropolitan Museum of Art); The New York Times co-chief art critic Roberta Smith; artists Catherine Opie, Mickalene Thomas, Derrick Adams and Nari Ward; architect David Adjaye; Ford Foundation president Darren Walker, and more. Transcript: https://www.artagencypartners.com/transcript-74-looking-back-at-2019/ "In Other Words” is a presentation of AAP and Sotheby's, produced by Audiation.fm.

2019 was a year of protests and profound change. We look back on what happened, what our guests talked about and what our listeners most responded to. Tune in to hear Ian Alteveer (the Aaron I. Fleischman curator of Modern and contemporary art at the Metropolitan Museum), Julia Halperin (the executive editor of artnet News) and host Charlotte Burns review the year—and to hear snippets from our 2019 shows featuring museum directors Nicholas Serota (formerly Tate and now the head of Arts Council England), and Max Hollein (the Metropolitan Museum of Art); The New York Times co-chief art critic Roberta Smith; artists Catherine Opie, Mickalene Thomas, Derrick Adams and Nari Ward; architect David Adjaye; Ford Foundation president Darren Walker, and more. Transcript: https://www.artagencypartners.com/transcript-74-looking-back-at-2019/ "In Other Words” is a presentation of AAP and Sotheby’s, produced by Audiation.fm.

Comparative analysis of two big exhibits: Frida Kahlo: Appearances Can Be Deceiving at The Brooklyn Museum, displaying her artwork alongside personal possessions, which had been stored in the Casa Azul, (translated as the "Blue House") her longtime Mexico City home; and Nari Ward: We The People at The New Musuem, which features over thirty sculptures, paintings, videos, and large-scale installations from throughout Ward’s twenty-five-year career, highlighting his status as one of the most important and influential sculptors working today. Frida Kahlo: Appearances Can Be Deceiving at The Brooklyn MuseumOn view through May 12Curated by Circe Henestrosa this is the first exhibition in the United States to display a collection of Kahlo’s clothing and other personal possessions. They are displayed alongside paintings, drawings, photographs, related historical films and ephemera, as well as works from the Brooklyn museum’s holdings of Mesoamerican art.  The examples of Kahlo’s personal artifacts in the exhibit, which had been stored in the Casa Azul, (translated as the "Blue House") her longtime Mexico City home, are intended to shed a new light on her crafted personal and public appearance and identity, which reflect her cultural heritage and political beliefs, while also addressing her physical disabilities. Friday Kahlo was born in Coyoacán, a suburb south of Mexico City in 1907.  Her work intertwines narratives of Mexican folk customs and Roman Catholic iconography to create works that are defined through her heritage, ethnicity, disability, and her political views. Her work is exemplified by uncompromising honesty, searching through the self-portraiture self-scrutiny and self-reflection. Kahlo was an activist during the Mexican revolutions of the early 1920s. Ministry of Education launched Mexican Muralist Movement and in 1922 Kahlo enrolled in National preparatory School where Diego Rivera was working on his first commission. She joined a Communist party as teenager in 1925 where, along with her husband Rivera, lead the Union of Mexican Technical Workers, Painters, and Sculptors. Like other artists within Mexico during the era, Kahlo infused her work with “Mexicanidad,” an identification with Mexico’s distinct national history, traditions, culture, and natural environment, but she did so in a much more personal way. Nari Ward: We The People  at The New Musuem On view through May 26 Curated by Gary Carrion-Murayari, Kraus Family Curator; Massimiliano Gioni, Edlis Neeson Artistic Director and Helga Chrisoffersen, the exhibit features over thirty sculptures, paintings, videos, and large-scale installations from throughout Ward’s twenty-five-year career, highlighting his status as one of the most important and influential sculptors working today. Ward relies on research into specific histories and sites to uncover connections among geographically and culturally disparate communities and to explore the tension between tradition and transformation.   Nari Ward was born in 1963, in St. Andrew, Jamaica and is known for his sculptural installations composed of discarded material found and collected in his neighborhood. Since the early 1990s, Ward has produced his works by accumulating staggering amounts of humble materials and repurposing them in consistently surprising ways. He has repurposed objects such as baby strollers, shopping carts, bottles, doors, television sets, cash registers and shoelaces, among other materials. Ward re-contextualizes these found objects in thought-provoking juxtapositions that create complex, metaphorical meanings to confront social and political issues surrounding race, poverty, and consumer culture. 

“As an artist I feel like it's my role to bring that moment of history—that moment of doubt, frustration, of fear—into the present,” says Nari Ward in conversation with fellow artist Derrick Adams on this episode of In Other Words. Ward is the subject of a major retrospective at the New Museum (“Nari Ward: We The People” until 26 May)—which spans 25 years of his work and has been heralded as “persistent and liberating” by The New York Times. The sculptor—who has been called an accumulation artist for his often large-scale work involving discarded material—has lived and worked in Harlem since the beginning of his career and uses the neighborhood as source and inspiration. Art is the perfect medium for exploring such complicated subjects as gentrification, power and the AIDS crisis, Ward says: “It should challenge, consume, maybe even disrupt—and then it should also figure out, because it is art. It is artifice. It is a safe space to consider those different moments.”Adams is the subject of two concurrent exhibitions on show in New York right now (“Derrick Adams: Interior Life” at Luxembourg & Dayan and “Derrick Adams: New Icons” at Mary Boone Gallery). “I thought that successful art was about penetrating the world with images that you want people to see,” he says to host Charlotte Burns. “I want to give viewers other options of looking at black American culture”, he says, especially the normalcy of “what people were doing as a break.” Together, Ward and Adams discuss all the big stuff: from God and spirituality in art, to the power and purpose of making art. They talk real estate and repression, and discuss the power of imagination and moral compassion.  Tune in to In Other Words today for this and much more. Transcript: https://www.artagencypartners.com/transcript-56-nari-ward-and-derrick-adams/ “In Other Words” is a presentation of AAP and Sotheby's, produced by Audiation.fm.

“As an artist I feel like it’s my role to bring that moment of history—that moment of doubt, frustration, of fear—into the present,” says Nari Ward in conversation with fellow artist Derrick Adams on this episode of In Other Words. Ward is the subject of a major retrospective at the New Museum (“Nari Ward: We The People” until 26 May)—which spans 25 years of his work and has been heralded as “persistent and liberating” by The New York Times. The sculptor—who has been called an accumulation artist for his often large-scale work involving discarded material—has lived and worked in Harlem since the beginning of his career and uses the neighborhood as source and inspiration. Art is the perfect medium for exploring such complicated subjects as gentrification, power and the AIDS crisis, Ward says: “It should challenge, consume, maybe even disrupt—and then it should also figure out, because it is art. It is artifice. It is a safe space to consider those different moments.”Adams is the subject of two concurrent exhibitions on show in New York right now (“Derrick Adams: Interior Life” at Luxembourg & Dayan and “Derrick Adams: New Icons” at Mary Boone Gallery). “I thought that successful art was about penetrating the world with images that you want people to see,” he says to host Charlotte Burns. “I want to give viewers other options of looking at black American culture”, he says, especially the normalcy of “what people were doing as a break.” Together, Ward and Adams discuss all the big stuff: from God and spirituality in art, to the power and purpose of making art. They talk real estate and repression, and discuss the power of imagination and moral compassion.  Tune in to In Other Words today for this and much more. Transcript: https://www.artagencypartners.com/transcript-56-nari-ward-and-derrick-adams/ “In Other Words” is a presentation of AAP and Sotheby’s, produced by Audiation.fm.

In We The People, Nari Ward, used colorful shoelaces to write out the three most recognizable words of the United States Constitution. He was interested in the idea that we all know these words, but we don’t always think about what they mean.

Often we think of masterpieces inspired by what's already beautiful. But what about the stuff we often overlook? What about neon signs, storefronts and baking sheets? When arranged by Nari Ward, these forgettable items turn from trash to timeless works of art. Nari Ward's work, currently on display at the Institute of Contemporary Art in Boston, celebrates and elevates the objects that surround our everyday lives. Guest: Nari Ward, artist.

Alex Ciccolo — a 24-year-old who was arrested two years ago in Adams, Massachusetts on charges of attempting domestic terrorism — is back in the news. His mother spoke with our reporter Jill Kaufman. Later in the show, we take a look inside the world of eel trafficking in Maine, and learn about an effort on Martha’s Vineyard to help small fishermen get a foothold. Plus, we discover the surprising origins of a body pulled in by a fishing boat off the coast of Cape Cod, and explore our region’s ambiguous relationship with inclusivity through the arts. On the fishing boat Diversion, Marvin Benitez dumps a pail full of crabs into a bin for preparation for sale to seafood retailers and restaurants on Martha’s Vineyard. Government-issued permits for fishing rights can be expensive, but nonprofit permit banks are leasing them to small fishermen at lower rates. Photo by Jesse Costa for WBUR In Despair, and Angry Shelley MacInnes holds pictures of her son, Alex Ciccolo, who faces domestic terrorism charges. Photo by Jill Kaufman for NEPR Alex Ciccolo, 24, of Adams, Massachusetts, has been in federal custody since July 4, 2015. He’s charged with attempting to commit domestic terrorism. Ciccolo’s father is a Boston police captain, and was among the first responders at the 2013 marathon bombings. He was the one who tipped off federal officials his son was becoming “obsessed” with ISIS. That led to an FBI sting, where Ciccolo described to a government informant his plans to explode pressure cooker bombs in a crowded place. After Ciccolo’s arrest, his father made a single statement to the public. His mother, Shelley MacInnes, has kept an even lower profile, until recently. New England Public Radio’s Jill Kaufman reports. Below, Alex Ciccolo is interviewed by the FBI hours after his 2015 arrest. Reporter Trevor Aaronson of The Intercept has been investigating the connections between domestic terrorism charges that have led to 800 arrests since 9-11. He told Jill Kaufman how Alex Ciccolo fits into the mix. Hauling It In Dutcher’s Dock in Menemsha, Martha’s Vineyard. Photo by Jesse Costa for WBUR The Massachusetts fishing industry in recent years has taken a beating. Stiff regulations and expensive fishing permits are making it difficult for small fishermen to stay above water. A nonprofit in Martha’s Vineyard now wants to help by acquiring fishing permits, and leasing them at subsidized rates to emerging fishermen. WBUR’s Simon Rios reports. What's slippery, see-through, and goes for $1,300 a pound? Listeners in coastal Maine probably know the answer. Our guest Rene Ebersole is a contributing writer for National Geographic and a reporter for the Food and Environment Reporting Network. Her recent article: “Inside the Multi-Million Dollar World of Eel Trafficking.” Glass eels are American eels in their juvenile phase. The price per pound of these animals jumped from $99.94 in 2009 to $891.49 in 2011. In 2012, it went over $1,800. Alvah Wendell, 43, rhythmically swishes his dip net to catch young eels as they swim up the Bagaduce River in Maine. He uses a green headlamp because white light spooks the fish. “You don't need to see them to catch them,” he says. “But I like to watch.” Photo by Sarah Rice for National Geographic  The little eels are destined for aquaculture farms in Asia, where they’re later harvested for sushi. The demand for American eels skyrocketed earlier this decade, because the European Union banned eel exports in 2010. European and Asian eels are considered superior to American. The 2011 tsunami, which damaged Japan’s fishery, also had an impact. Eels transform from leaf-shaped larvae into two-inch elongated juveniles with haunting eyes and a visible spine just before they swim from the ocean up freshwater rivers. Photo by Sarah Rice for National Geographic These days, if you're in the eel-catching business, Maine is the place to be. Fishing for American eels is illegal in every other East Coast state, except for South Carolina and Florida, where fisheries are small. High prices have led to poaching. In March, two Maine fishermen, Bill Sheldon and Timothy Lewis, were indicted for illegally trafficking wildlife. Sheldon could face a maximum of 35 years in prison. The Hera II, sister ship to the vessel that brought in a very unexpected catch last year. Both boats are draggers, trailing nets that scrape the ocean floor for groundfish. Photo by Andy Short Whether you're catching eel swimming upstream or haddock in the Atlantic, the work of fishing can get monotonous. On an early December morning, that routine was upended for the crew of the Hera, a commercial groundfishing boat from New Bedford, Massachusetts. Andy Short has the tale. Craving more fishy news? Listen to our own Episode 35: Outfished. You’ll learn about Carlos Rafael, a.k.a. “the Codfather” — the New Bedford fishing magnate who in March plead guilty to 28 counts of fraud. (On a side note, Rafael just happens to be the owner of the Hera). Making Good Neighbors Juan De La Cruz comforts his youngest daughter, Isabella, at their home in Vergennes, Vermont. Photo by Kathleen Masterson for VPR A Vermont father of six is facing deportation to Mexico in a case that highlights shifting federal immigration enforcement priorities. Juan De La Cruz came to the U.S. illegally over a decade ago, and later married a U.S. citizen. They formed a family and a farm business together, and Juan obtained a federal work authorization permit. But a previous deportation on his record now makes De La Cruz a target for ICE. Vermont Public Radio’s Kathleen Masterson has the story. Visiting the ICA on vacation from Colombia, Maria Alejandra Garcia Velez and her daughter Maria Jose Cortes Garcia, 9, approach the shoelace work by Nari Ward, “We the People.” Photo by Jesse Costa for WBUR Life often inspires art, and art in turn often reflects society. In a time of divisive political discourse, especially around immigration, an art show currently featured at Boston’s Institute of Contemporary Art opens up a space for dialogue. The exhibit offers museum-goers a glimpse into the naturalization process and what it means to be, and to become, American. WBUR’s Shannon Dooling takes us there. Thea Alvin is a “dry mason,” meaning she builds stone walls without using mortar. Photo by Amy Noyes for VPR Of course, we know that New Englanders have, and have always had a rocky relationship with inclusivity. For instance, the famous line from Robert Frost's 1912 poem “Mending Wall” — “Good fences make good neighbors” — has been used to describe Yankee culture. But building stone walls like the one in Frost's poem has become something of a dying art. Stonemason Thea Alvin explained to Vermont Edition how she builds her walls for their series “Summer School.” About NEXT Do you have a question about New England you’d like NEXT to investigate? Tell us about it here. NEXT is produced at WNPR. Host: John Dankosky Producer: Andrea Muraskin Executive Producer: Catie Talarski Digital Content Manager/Editor: Heather Brandon Contributors to this episode: Jill Kaufman, Simon Rios, Andy Short, Kathleen Masterson, Shannon Dooling, Amy Noyes. Music: Todd Merrell, “New England” by Goodnight Blue Moon Special thanks this week to Jane Lindholm at Vermont Edition Get all the NEXT episodes. We appreciate your feedback! Send critique, suggestions, questions, reflections and wildlife trafficking tips to next@wnpr.org.See omnystudio.com/listener for privacy information.

The recent Crystal Bridges acquisition We the People (black version) poses a fundamental question: How does an artwork serve as a call to action to challenge societal power structures? Artist Nari Ward discusses this with Curator Lauren Haynes.

Today’s podcast features a conversation about the Nari Ward opening at the Institute of Contemporary Art (ICA), Art in Bloom at the Boston Museum of Fine Arts …

Today’s podcast features a conversation about the Nari Ward opening at the Institute of Contemporary Art (ICA), Art in Bloom at the Boston Museum of Fine Arts …

Today’s podcast features a conversation about the Nari Ward opening at the Institute of Contemporary Art (ICA), Art in Bloom at the Boston Museum of Fine Arts …

At the Barnes Foundation, Nari Ward's direct engagement with issues of race, culture, and class in contemporary America makes for an interesting counterpoint to the African art collected by Dr. Barnes (and by the Penn Museum) in the early 20th century. Finally, the three shows of contemporary photography, textiles, and architecture that fill the first floor of the PMA's Perelman Building leave us with lots of questions about the “Africa” in “Creative Africa.” Just how fixed is regional or even national identity for both artists and artworks that circulate widely thanks to the global art market? What makes African art African?

At the Barnes Foundation, Nari Ward’s direct engagement with issues of race, culture, and class in contemporary America makes for an interesting counterpoint to the African art collected by Dr. Barnes (and by the Penn Museum) in the early 20th century. Finally, the three shows of contemporary photography, textiles, and architecture that fill the first floor of the PMA’s Perelman Building leave us with lots of questions about the “Africa” in “Creative Africa.” Just how fixed is regional or even national identity for both artists and artworks that circulate widely thanks to the global art market? What makes African art African?