Podcasts about nasher museum

Episode No. 702 is a holiday weekend clips episode featuring artist María Magdalena Campos-Pons. The J. Paul Getty Museum, Los Angeles is presenting "María Magdalena Campos-Pons: Behold" through May 4. It is the first multimedia survey of Campos-Pons' work in 17 years. The exhibition spotlights Campos-Pons' photography, installation, and performance-based practices, which typically address global histories of enslavement, indentured labor, motherhood, and migration — and how their impacts continue into the present. It was curated by Carmen Hermo and Mazie Harris with Jenée-Daria Strand. It is accompanied by a catalogue published by the Getty and the Brooklyn Museum. Amazon and Bookshop offer it for $33-42. This program was taped on the occasion of the exhibition's presentation at the Nasher Museum of Art at Duke University in 2024. For images, please see Episode No. 656.

Episode No. 695 features artist Cannupa Hanska Luger and curator Ken Myers. The Nasher Museum of Art at Duke University is presenting "Cannupa Hanska Luger: Speechless," an examination of the complications of colonial histories from an Indigenous perspective. "Speechless" particularly focuses on how narratives, myths, and histories are constructed through the concept of the cargo cult, which developed as a result of Western military campaigns that delivered supplies to foreign lands inhabited by Indigenous peoples. These cults formed around the provisions that were delivered by the imperial forces (such as radios), the very groups that were colonizing Indigenous lands. The exhibition was curated by Apsara DiQuinzio and remains on view through July 6. Concurrently, Luger's work may be seen in the 16th Sharjah Biennial, "Breath(e): Toward Climate and Social Justice" at the Moody Center, Rice University, and in "Indigenous Identities: Here, Now & Always" at the Zimmerli Art Museum, Rutgers University. Luger is an enrolled member of the Three Affiliated Tribes of Fort Berthold and is Mandan, Hidatsa, Arikara and Lakota. His work, across a wide range of media, extends cultural awareness and enables action. His work has been presented in solo or two-person shows by the Public Art Fund, New York; the University of Michigan Museum of Art; the Peabody Essex Museum, Salem, Mass., and more. Works discussed on the program include: A single-channel version of Luger's Future Ancestral Technologies: New Myth, 2021; Luger's extended Mirror Shield project; and Luger's Uŋziwoslal Wašičuta installation series, which celebrates the Transportable Intergenerational Protection Infrastructure (TIPI), 2021-. Myers is the curator of "Painted with Silk: The Art of Early American Embroidery" at the Detroit Institute of Arts. "Painted with Silk" looks at how US schoolgirl embroideries made from the seventeenth to nineteenth centuries helped build and extend ideas around nation, gender, class, and religion. It also includes contemporary embroideries by Elaine Reichek that repurpose the form of earlier embroideries and investigate their constructions of gender, class, and race. The exhibition is on view through June 15. Instagram: Cannupa Hanska Luger, Tyler Green.

In this episode of High Theory, Esther Gabara talks with us about Non-Literary Fiction, that is, works of fiction that belong to the world of contemporary art, rather than the world of contemporary literature. She focuses on literary and narrative strategies used by Latin American and Indigenous American artists to make “non-objective” forms of visual art under the pressures of neoliberalism. To learn more, check out her book, Non-Literary Fiction: Art of the Americas under Neoliberalism (Chicago University Press, 2022). In our conversation, Esther gave us a theoretical bibliography of thinkers from Latin America who have shaped her work on non-literary fiction. Prominent among these figures are Ferreira Gullar in Brazil and Juan Acha in Mexico, who were the founding thinkers of the term “Non-Objectualism”-- a term that informs the fiction making practices Esther studies. We found this cool piece on Juan Acha that might be worth reading. She also named the philosopher Rodolfo Kusch and his work with indigenous storytellers. Kusch's book on Indigenous and Popular Thinking in América was translated into English and published by Duke in 2010. And finally she named the indigenous artist and activist Manuel Quintín Lame, who collaborated with the Columbia artist Antonio Caro. Each of these figures features in her book as a theorist in their own right, in a context where art is a critical practice. Esther Gabara is a professor of Romance Studies at Duke University, where she works with modern and contemporary art, literature, and critical theory from the Americas. Her teaching in the departments of Romance Studies and Art, Art History & Visual Studies at Duke University covers visual studies, modernism, photography, Pop Art and popular culture, feminism, public art, and coloniality in contemporary art. Her prior publications include the bilingual exhibition catalogue, Pop América, 1965-1975 (Nasher Museum of Art/Duke University Press, 2018), for an exhibition she curated at the Nasher Museum of Art, and Errant Modernism: The Ethos of Photography in Mexico and Brazil (Duke University Press, 2008). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In this episode of High Theory, Esther Gabara talks with us about Non-Literary Fiction, that is, works of fiction that belong to the world of contemporary art, rather than the world of contemporary literature. She focuses on literary and narrative strategies used by Latin American and Indigenous American artists to make “non-objective” forms of visual art under the pressures of neoliberalism. To learn more, check out her book, Non-Literary Fiction: Art of the Americas under Neoliberalism (Chicago University Press, 2022). In our conversation, Esther gave us a theoretical bibliography of thinkers from Latin America who have shaped her work on non-literary fiction. Prominent among these figures are Ferreira Gullar in Brazil and Juan Acha in Mexico, who were the founding thinkers of the term “Non-Objectualism”-- a term that informs the fiction making practices Esther studies. We found this cool piece on Juan Acha that might be worth reading. She also named the philosopher Rodolfo Kusch and his work with indigenous storytellers. Kusch's book on Indigenous and Popular Thinking in América was translated into English and published by Duke in 2010. And finally she named the indigenous artist and activist Manuel Quintín Lame, who collaborated with the Columbia artist Antonio Caro. Each of these figures features in her book as a theorist in their own right, in a context where art is a critical practice. Esther Gabara is a professor of Romance Studies at Duke University, where she works with modern and contemporary art, literature, and critical theory from the Americas. Her teaching in the departments of Romance Studies and Art, Art History & Visual Studies at Duke University covers visual studies, modernism, photography, Pop Art and popular culture, feminism, public art, and coloniality in contemporary art. Her prior publications include the bilingual exhibition catalogue, Pop América, 1965-1975 (Nasher Museum of Art/Duke University Press, 2018), for an exhibition she curated at the Nasher Museum of Art, and Errant Modernism: The Ethos of Photography in Mexico and Brazil (Duke University Press, 2008). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

In this episode of High Theory, Esther Gabara talks with us about Non-Literary Fiction, that is, works of fiction that belong to the world of contemporary art, rather than the world of contemporary literature. She focuses on literary and narrative strategies used by Latin American and Indigenous American artists to make “non-objective” forms of visual art under the pressures of neoliberalism. To learn more, check out her book, Non-Literary Fiction: Art of the Americas under Neoliberalism (Chicago University Press, 2022). In our conversation, Esther gave us a theoretical bibliography of thinkers from Latin America who have shaped her work on non-literary fiction. Prominent among these figures are Ferreira Gullar in Brazil and Juan Acha in Mexico, who were the founding thinkers of the term “Non-Objectualism”-- a term that informs the fiction making practices Esther studies. We found this cool piece on Juan Acha that might be worth reading. She also named the philosopher Rodolfo Kusch and his work with indigenous storytellers. Kusch's book on Indigenous and Popular Thinking in América was translated into English and published by Duke in 2010. And finally she named the indigenous artist and activist Manuel Quintín Lame, who collaborated with the Columbia artist Antonio Caro. Each of these figures features in her book as a theorist in their own right, in a context where art is a critical practice. Esther Gabara is a professor of Romance Studies at Duke University, where she works with modern and contemporary art, literature, and critical theory from the Americas. Her teaching in the departments of Romance Studies and Art, Art History & Visual Studies at Duke University covers visual studies, modernism, photography, Pop Art and popular culture, feminism, public art, and coloniality in contemporary art. Her prior publications include the bilingual exhibition catalogue, Pop América, 1965-1975 (Nasher Museum of Art/Duke University Press, 2018), for an exhibition she curated at the Nasher Museum of Art, and Errant Modernism: The Ethos of Photography in Mexico and Brazil (Duke University Press, 2008). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

In this episode of High Theory, Esther Gabara talks with us about Non-Literary Fiction, that is, works of fiction that belong to the world of contemporary art, rather than the world of contemporary literature. She focuses on literary and narrative strategies used by Latin American and Indigenous American artists to make “non-objective” forms of visual art under the pressures of neoliberalism. To learn more, check out her book, Non-Literary Fiction: Art of the Americas under Neoliberalism (Chicago University Press, 2022). In our conversation, Esther gave us a theoretical bibliography of thinkers from Latin America who have shaped her work on non-literary fiction. Prominent among these figures are Ferreira Gullar in Brazil and Juan Acha in Mexico, who were the founding thinkers of the term “Non-Objectualism”-- a term that informs the fiction making practices Esther studies. We found this cool piece on Juan Acha that might be worth reading. She also named the philosopher Rodolfo Kusch and his work with indigenous storytellers. Kusch's book on Indigenous and Popular Thinking in América was translated into English and published by Duke in 2010. And finally she named the indigenous artist and activist Manuel Quintín Lame, who collaborated with the Columbia artist Antonio Caro. Each of these figures features in her book as a theorist in their own right, in a context where art is a critical practice. Esther Gabara is a professor of Romance Studies at Duke University, where she works with modern and contemporary art, literature, and critical theory from the Americas. Her teaching in the departments of Romance Studies and Art, Art History & Visual Studies at Duke University covers visual studies, modernism, photography, Pop Art and popular culture, feminism, public art, and coloniality in contemporary art. Her prior publications include the bilingual exhibition catalogue, Pop América, 1965-1975 (Nasher Museum of Art/Duke University Press, 2018), for an exhibition she curated at the Nasher Museum of Art, and Errant Modernism: The Ethos of Photography in Mexico and Brazil (Duke University Press, 2008). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Episode No. 673 of The Modern Art Notes Podcast features artist Matthew Brandt.  Brandt is included in "Second Nature: Photography in the Age of the Anthropocene" at the Nasher Museum of Art at Duke University. The exhibition shows how 45 photo-based artists from around the world have examined the Anthropocene. "Second Nature" was curated by Jessica May and Marshall N. Price and is on view through January 5, 2025. An excellent catalogue was published by Rizzoli Electa. Amazon and Bookshop offer it for about $49-60.  Brandt's works often join physical elements from the subjects he photographs to investigations of the land and our impacts on it. He's received solo shows at museums such as the Newark Museum, and he's been included in major group shows at museums such as the J. Paul Getty Museum, Los Angeles, the Metropolitan Museum of Art, New York, and more. His work is in nearly all major institutional US photography collections.  Brandt's website includes extensive galleries of the series of work discussed on the program, including:  Lakes and Reservoirs; Carbon; Trees (including George Bush Park 1, 2009-11); Taste Tests (featuring Yosemite); Eagles; Woodblocks; Waterfalls; and 1864. Instagram: Matthew Brandt, Tyler Green.

Ep. 214 Kim Dacres is a first-generation American sculptor of Jamaican descent, who lives in Harlem and practices her studio work in the Bronx. She primarily uses rubber from recycled tires to create sculptures celebrating the influential forces in her life such as family, friends, artists and musicians. Dacres was born in the Bronx and has a Bachelor's degree from Williams College in Political Science, Art, and Africana Studies as well as a Masters in Teaching English as a Second Language from Lehman College City University of New York. She spent over a decade in New York City public and charter schools working as a teacher and middle school principal. Now, in her second full time career as an artist, Kim has had solo exhibitions in New York, Los Angeles, and Palm Beach, FL as well group exhibitions internationally and within the U.S., including Surrealism and Us: Caribbean and African Diasporic Artists Since 1940 at the Modern Art Museum of Fort Worth, Texas; Black American Portraits at Spelman College Museum of Fine Art and the Los Angeles County Museum of Art, Sounds of Blackness at The Metropolitan Museum of Manila in the Philippines, Godhead – Idols in Times of Crisis at Lustwarande in the Netherlands, and Bronx Calling Part I at the Bronx Museum as part of the esteemed AIM – Artist in the Marketplace Program. Kim is the recipient of the Artadia New York Award Grant in 2022 and the Bronx Recognizes Its Own (BRIO) Grant in 2023. Her work is in numerous private and public collections including – The Beth DeWoody Collection, the LACMA collection in Los Angeles, The ICA in Miami, the Nasher Museum at Duke University, and the International African American Museum in South Carolina. Portrait: Max Yawney Kim Dacres https://www.kimdacres.com/ Colossal https://www.thisiscolossal.com/2023/07/kim-dacres-tire-busts/ NYTimes https://www.nytimes.com/interactive/2023/06/22/t-magazine/art/kim-dacres-art-exhibit.html Juxtapoz https://www.juxtapoz.com/news/installation/we-insist-upon-ourselves-in-perpetuity-throughout-the-universe-april-bey-and-kim-dacres-in-atlanta/ Hyperallergic https://hyperallergic.com/871489/bronx-museum-sixth-aim-biennial-is-all-about-knowledge-and-agency/ The Hopper Prize https://hopperprize.org/kim-dacres/ Gavlak Gallery https://www.gavlakgallery.com/artists/kim-dacres Welancora Gallery https://www.welancoragallery.com/artists/86-kim-dacres/works/ The Bronx Museum https://bronxmuseum.org/aim-fellow/kim-dacres/ Observer https://observer.com/2023/06/becoming-an-artist-was-a-dream-deferred-for-sculptor-kim-dacres/ Artadia https://artadia.org/artist/kim-dacres/ Office Magazine https://officemagazine.net/skin-hair-muscles-and-bones-kim-dacres Charles Moffett https://charlesmoffett.com/exhibitions/55-kim-dacres-measure-me-in-rotations/ https://charlesmoffett.com/press/65-on-view-bantu-knots-and-braids-sculpted-from/

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. In this episode, Emily chats with south asian multidisciplinary artist Suchitra Mattai.  Suchitra, born in Guyana and now based in Los Angeles, discusses her journey and the influences behind her artwork. She details her move from a background in statistics to a career in art, highlighting how her work addresses themes of memory, labor, migration, and colonization. Suchitra shares insights about her solo exhibit, 'She Walked in Reverse and Found Their Songs' at ICA San Francisco, which explores her ancestors' forced migration and personal history through installations made of used saris. The episode also includes discussion about how she combines different materials to tell stories and reconcile her multicultural experiences. Additionally, Suchitra talks about the impactful art pieces and places that inspire her creative process.About Artist Suchitra Mattai:Suchitra is a multi-disciplinary Guyanese American artist of South Asian descent. She received an MFA in painting and drawing and an MA in South Asian art from the University of Pennsylvania, Philadelphia. Recent projects include group exhibitions at the MCA Chicago, Crystal Bridges Museum of Art, the Art Gallery of Ontario, the MCA Denver, the John Michael Kohler Arts Center and the Sharjah Biennial 14 and solo exhibitions at the Boise Museum of Art , Roberts Projects, and Kavi Gupta Gallery. Upcoming projects include solo exhibitions at the ICA San Francisco (San Francisco), the Tampa Museum of Art (Tampa, FL) , the National Museum for Women in the Arts (Washington, DC) and Socrates Sculpture Park (NYC, NY). Her works are represented in collections which include Crystal Bridges Museum of Art, the Nasher Museum of Art, the Denver Art Museum, the Tampa Museum of Art, the Joselyn Museum, the Tia Collection, the Perez Collection, the Shah Garg collection, and the University of Michigan Museum of Art. Visit Suchitra's  Website:  SuchitraMattaiArt.comFollow  on Instagram:  @SuchitraMattaiStudioFor more about her exhibit, "She Walked In Reverse And Found Their Songs" at the ICA San Francisco, CLICK HERE. --About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com

Ep.204 Nina Chanel Abney (b. 1982, Harvey, IL) has been honored with solo exhibitions at the Savannah College of Art and Design, Georgia (2023); the Museum of Contemporary Art, Cleveland (2023); the Institute of Contemporary Art, Miami (2022); the Gordon Parks Foundation, Pleasantville, New York (2022;traveled to Henry Art Gallery, Seattle); the Institute of Contemporary Art, Boston (2019–21); Palais de Tokyo, Paris (2018); and the Contemporary Dayton, Ohio (2021). Additionally, her solo exhibition at the Nasher Museum of Art, Duke University, Durham, North Carolina (2017), toured to the Chicago Cultural Center; Institute of Contemporary Art, Los Angeles, and the California African American Museum, Los Angeles; and the Neuberger Museum of Art, Purchase College, State University of New York. Abney was recently commissioned to transform Lincoln Center's new David Geffen Hall façade in New York, drawing from the cultural heritage of the neighborhood previously known as San Juan hill that comprised African American, Afro-Caribbean, and Puerto Rican families. Abney's recent public mural at the Miami World Center was similarly inspired by Overtown, a historic Black neighborhood in Miami. Abney's work is held in the collections of the Whitney Museum of American Art, New York; the Museum of Modern Art, New York; the Brooklyn Museum, New York; the Bronx Museum, New York; the Dallas Museum of Art, Texas; the Rubell Family Collection, Florida; the Nasher Museum of Art, North Carolina; and the Pennsylvania Academy of the Fine Arts; amongst others.  Photo credit: Jesper Damsgaard Lund  Artist https://ninachanel.com/ Jack Shainman https://jackshainman.com/ Chronogram  https://www.chronogram.com/hv-towns/review-nina-chanel-abneys-lie-doggo-at-jack-shainman-gallerys-the-school-20807734 Blockonomi  https://blockonomi.com/super-punk-world-nfts-face-backlash-over-focus-on-race-and-gender/ Cultured Mag https://www.culturedmag.com/article/2024/05/16/nina-chanel-abney-jack-shainman-upstate-show Air Jordan 3 Collaboration https://ninachanel.com/news/10-closer-look-at-nina-chanel-abney-s-air-jordan/ nft now https://nftnow.com/art/cryptopunks-debut-artist-residency-program-with-nina-chanel-abney/ NYTimes https://www.nytimes.com/2024/02/18/arts/design/abney-bey-fordjour-simmons-harlem-renaissance-met.html The Cut https://www.thecut.com/2023/11/where-nina-chanel-abney-gets-her-custom-hats.html Surface Magazine https://www.surfacemag.com/articles/scad-museum-of-art-life-affirming-power-of-personhood-fall-2023-exhibitions/ Juxtapose https://www.juxtapoz.com/news/in-session/big-butch-energy-synergy-a-conversation-with-nina-chanel-abney/ W Magazine https://www.wmagazine.com/culture/nina-chanel-abney-exhibition-big-butch-energy-artist-interview Hyperallergic https://hyperallergic.com/767955/nina-chanel-abney-jacolby-satterwhite-david-geffen-hall-lincoln-center/

Episode No. 656 features artist María Magdalena Campos-Pons and curator Lauren Applebaum. "María Magdalena Campos-Pons: Behold", now at the Nasher Museum of Art at Duke University, is the first multimedia survey of Campos-Pons' work in 17 years. The exhibition spotlights Campos-Pons' photography, installation, and performance-based practices, which typically address global histories of enslavement, indentured labor, motherhood, and migration -- how their impacts continue into the present. The exhibition is on view at Duke through June 9. It was curated by Carmen earmo Hermo and Mazie Harris with Jenée-Daria Strand. The exhibition is accompanied by a catalogue published by the Getty and the Brooklyn Museum. Amazon and Bookshop offer it for $33-42. On the program host Tyler Green mentions this excellent website published by the Peabody Essex Museum, Salem, Mass. on the occasion of its 2016 Campos-Pons exhibition. With Daniel Ackermann, Lea Lane, and Jenny Garwood, Applebaum is a co-curator of "Layered Legacies: Quilts from the Museum of Early Southern Decorative Arts at Old Salem" at the North Carolina Museum of Art, Raleigh. The exhibition includes more than 30 quilts and related objects from the MESDA collection (as well as some from private collections) and presents new, revised investigations into their making. It is on view through July 21. NCMA published a catalogue to accompany the exhibition; it is only available at the museum.

Ep.198 Allison Janae Hamilton (b. 1984 in Kentucky, raised in Florida) has exhibited widely across the U.S. and abroad. Her work has been the subject of institutional solo exhibitions at the Georgia Museum of Art, the Joslyn Art Museum, Massachusetts Museum of Contemporary Art (MASS MoCA), and Atlanta Contemporary, as well as a commissioned solo project with Creative Time. Her sculpture, Love is like the sea… (2023) is currently on view in the Poydras Corridor Sculpture Exhibition, presented by The Helis Foundation in New Orleans, LA. Select recent group exhibitions include The Dirty South: Contemporary Art, Material Culture, and the Sonic Impulse, Virginia Museum of Fine Arts; Shifting Horizons, Nevada Museum of Art; Enunciated Life, California African Art Museum; More, More, More, TANK Shanghai; and Indicators: Artists on Climate Change, Storm King Art Center. Work by the artist is held in public collections such as the Studio Museum in Harlem, the Hood Museum of Art, The Menil Collection, Nasher Museum of Art, Nevada Museum of Art, and Speed Museum of Art, among others. Hamilton has participated in a range of fellowships and residencies, including at the Whitney Independent Study Program, New York, NY; the Studio Museum in Harlem, New York, NY; and Fundación Botín, Santander, Spain. She is the recipient of the Creative Capital Award and the Rema Hort Mann Foundation Grant. Hamilton holds a PhD in American Studies from New York University and an MFA in Visual Arts from Columbia University. She lives and works in New York. Portrait: Heather Sten Artist https://www.allisonjanaehamilton.com/ Marianne Boesky Gallery https://marianneboeskygallery.com/artists/60-allison-janae-hamilton/press/ Storm King Art Center https://indicators.stormking.org/allison-janae-hamilton/ Georgia Museum of Art https://georgiamuseum.org/exhibit/allison-janae-hamilton-between-life-and-landscape/ University of Georgia https://www.wuga.org/show/museum-minute/2022-10-28/museum-minute-allison-janae-hamilton Nasher Museum of Art https://nasher.duke.edu/stories/allison-janae-hamilton-floridawater-ii-sisters-wakulla-county-fl-and-when-the-wind-has-teeth/ Helis Foundation https://www.thehelisfoundation.org/pcse/love-is-like-the-sea... Pippy HouldsworthGallery https://www.houldsworth.co.uk/exhibitions/140-tales-of-soil-and-concrete-brett-goodroad-allison-janae-hamilton-yun-fei-ji-arturo/works/ The Highline https://www.thehighline.org/art/projects/allison-janae-hamilton/ Contemporary Art Library https://www.contemporaryartlibrary.org/artist/allison-janae-hamilton-6327 Artpil https://artpil.com/allison-janae-hamilton/ The Clark https://www.clarkart.edu/microsites/humane-ecology/about-the-artists/allison-janae-hamilton UGA Today https://news.uga.edu/nature-is-at-the-center-of-allison-janae-hamiltons-work/ Rema Hort Mann Foundation https://www.remahortmannfoundation.org/allison-janae-hamilton/ Ogden Museum https://ogdenmuseum.org/event/florida-stories-a-conversation-with-author-lauren-groff-and-visual-artist-allison-janae-hamilton/ Kids Kiddle https://kids.kiddle.co/Allison_Janae_Hamilton WWD https://wwd.com/feature/allison-janae-hamilton-marianne-boesky-gallery-art-exhibition-1234792142/ Whitewall Art https://whitewall.art/art/allison-janae-hamilton-interrogates-myths-around-landscape-and-stories-of-paradise/ Whitewall Art https://whitewall.art/whitewaller/allison-janae-hamilton-a-romance-of-paradise/ Where y'at https://www.whereyat.com/allison-janae-hamilton-lauren-groff-florida-new-orleans The Bitter Southerner https://bittersoutherner.com/summer-voices/aunjanue-ellis/allison-janae-hamilton C& https://contemporaryand.com/exhibition/allison-janae-hamilton-a-romance-of-paradise/ The University of Texas at Austin https://repositories.lib.utexas.edu/items/3f37e356-f2a7-4f3b-a9d4-7614ddfac848 Urban Milwaukee https://urbanmilwaukee.com/people/allison-janae-hamilton/

Cornell Watson is a Dope-Ass Black photographer based in Durham, North Carolina.  He frequently contributes photography to national publications such as The New York Times, The Washington Post, The Wall Street Journal, NPR, and Bloomberg. He has also photographed national ad campaigns for companies such as T-Mobile, MeUndies, Bombas, and Adidas. His photography centers Black stories and has been featured in museums such as The Mint Museum, Nasher Museum of Art, and most recently at the National Civil Rights Museum with a solo exhibition titled “Tarred Healing”. When he's not watching the 1000th episode of CoComelon, being the best spouse in the world, problem-solving changing his baby diaper blowouts in men's bathrooms without changing stations, or editing photos while his five-year-old daughter edits the furniture with non-washable crayons, you can find him passed out from exhaustion on the living room couch. In this episode, Cornell reflects on his transition into becoming a professional photographer, the artistry sparked by his love of music, and how making a photograph eternalizes moments and how it can be a form of resistance by helping preserve and tell black stories. Visit Cornell's website: Durham Commerical, Editorial, and Family Photographer Take his next class through Illuminate Classes - registration opens 3/27!   As always, you can learn more about what we do at thedocumentedheart.com And follow along on Instagram @thedocumentedheart  

Since opening in 2005, the Nasher Museum of Art at Duke University has been dedicated to building a groundbreaking collection of all different kinds of art. We spoke with three members of the Nasher team, Veronika Payne, Jade Packer, and Gabrielle Tenedero about the museum's mission, their favorite pieces, and a lot more.

This week on Sinica I'm delighted to bring you a live conversation with writer Peter Hessler, recorded at Duke University's Nasher Auditorium in Durham, North Carolina on November 10, 2023. The event was sponsored by the Duke Middle East Studies Center and the Asian Pacific Studies Institute, and was titled "Modern Revolutions in Ancient Civilizations."Peter, known for both his trilogy of books written in China — Rivertown, Oracle Bones, and Country Driving — as well as for his reporting for The New Yorker, talks about how his years in China gave him perspective when living in Cairo and writing about Egypt during the Arab Spring. His book on Egypt, The Buried: An Archaeology of the Egyptian Revolution, was made richer for me by the comparisons and contrasts with China threading throughout.Special thanks to Griffin Orlando of the Middle East Study Center and Alex Nickley from the Asia Pacific Studies Institute, and Ralph Litzinger from Duke Anthropology.6:27 – What Peter's China experience brought to his writing on China — and vice-versa9:45 – Contrasting the Chinese and Egyptian revolutions18:37 – Revolution in thinking in Egypt and China35:49 – Peter on his approach to the craft of reporting and writing51:47 – Peter's work in China as a longitudinal cohort study — and what it reveals so far58:03 – A preview of Peter's forthcoming book, Other RiversRecommendations:Peter: Gerald Durrell, My Family and Other Animals is one of the booksKaiser: Kenneth W. Harl's book Empires of the Steppes: A History of the Nomadic Tribes Who Shaped Civilization.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Artworks are regularly sold at auctions around the world for record sums of money, but today's guest believes that auctions serve a greater purpose than just growing the highest bidder's collection. Every object is an invitation to consider our personal and collective histories through the unique and often fascinating story it has to tell. Today, you'll hear from a local auctioneer, Southern fine art specialist, and Senior Vice President of Brunk Auctions, Lauren Brunk. Brunk is a private auction house specializing in the sale of fine art, jewelry, antique furniture, coins, and countless other areas of collecting ranging from contemporary art to antiquities. In this episode, Lauren offers some insight into the world of auctions, the types of people that make up the buyers and sellers, how auctions retell the stories of the items they sell, and so much more. For a comprehensible guide to the secondary art market, be sure to tune in today!Key Points From This Episode:Defining the secondary art market and how it differs from the primary art market.How virtual art sales have evolved since the COVID-19 pandemic.The wide variety of people who make up Brunk's buyer and seller communities.Ways that auctions retell the story of the items they sell.Insight into the relationship between auction houses and museums.Lauren's relationship with the Black Potter, Jim McDowell.How Brunk supports the next generation of art storytellers through community outreach.What the objects at art auctions can teach us about value.Links Mentioned in Today's Episode:Brunk Auctions — https://brunkauctions.com/Brunk Auctions on Instagram — https://www.instagram.com/brunkauctions/Email Brunk Auctions — info@brunkauctions.comLauren Brunk on LinkedIn — https://www.linkedin.com/in/lauren-brunk-291ab51/Lauren Brunk on Instagram — https://www.instagram.com/laurenb1969/Jim McDowell — https://blackpotter.com/‘Jim McDowell: The Need to Look Back in Order to Move Forward' (Episode 13) — https://www.artsvilleusa.com/jim-mcdowell/Nasher Museum of Art — https://nasher.duke.edu/Ogden Museum of Southern Art — https://ogdenmuseum.org/A Question of Value: Stories from the Life of an Auctioneer — https://www.amazon.com/dp/1469678098Artsville — https://www.artsvilleusa.com/Scott “Sourdough” Power — https://www.notarealartist.com/Louise Glickman — https://www.louiseglickman.com/Daryl Slaton — http://www.tailsofwhimsy.com/Crewest Studio —

Episode No. 628 features artist Lyle Ashton Harris and curator Scott Allan.  The Nasher Museum of Art at Duke University is presenting "Lyle Ashton Harris: Our first and last love," a survey of Harris' career featuring photographs, collage, archival material, and more. It's on view through January 7. 2024. Harris' work engages transatlantic social and political dialogues even has he foregrounds personal struggles, sorrows, and self-illuminations. The exhibition was co-curated by Caitlin Julia Rubin and Lauren Haynes. A catalogue is forthcoming.  Harris' work is also included in "Going Dark: The Contemporary Figure at the Edge of Visibility," at the Solomon R. Guggenheim Museum in New York. The exhibition, which was curated by Ashley James with Faith Hunter, presents works of art that feature partially obscured or hidden figures, works that conceal the body to explore a key tension in contemporary society: the desire to be seen, and the desire to be hidden from sight. It's on view through April 7, 2004. A catalogue was published by the museum. Amazon and Indiebound offer it for about $60-65.   With Nii Obodai, Harris is the co-editor of the latest issue of Aperture magazine, which considers the Ghanaian capital of Accra as a site of dynamic photographic voices and histories that connect visual culture in West Africa to the world. It's available from Aperture for $25. Allan curated "Reckoning with Millet's Man with a Hoe," at the J. Paul Getty Museum, Los Angeles. The exhibition is an intensive look at arguably the most historically significant painting in the JPGM's collection of nineteenth-century European art. Man with a Hoe debuted in Paris in 1863, where it was attacked for its depiction and glorification of peasant labor. The exhibition is on view through December 10. The Getty-published catalogue is available from Amazon and Indiebound for about $27-30. Instagram: Lyle Ashton Harris, Scott Allan, Tyler Green. 

Ep. 163 features Jammie Holmes. Born and raised in Thibodaux, Louisiana, Jammies Holmes (b. 1984) is known for his paintings that portray intimate and poignant scenes of distinctly American communities, families, and traditions. Holmes draws heavily on his own recollections to depict the stories and experiences of Black life in the deep American South, capturing moments of celebration and struggle. The artist, who works intuitively and without formal artistic training, creates expressive tableaux that incorporate portraiture, symbols, text, and objects to reveal universal truths through personal narratives. Jammie Holmes is a self-taught painter. Following his graduation from high school, Holmes spent more than a decade working in an oil field. He relocated to Dallas in 2016. His work has most recently been presented in exhibitions at Library Street Collective, Detroit; Deitch Projects, Los Angeles; Marianne Boesky, New York; Nassima-Landau Projects, Tel Aviv; Dallas Museum of Art; and Dallas Contemporary, among others. His work is also included in the permanent collections of the Aïshti Foundation, Brooklyn Museum, Dallas Museum of Art, Hammer Museum, ICA Miami, Museum of Fine Arts, Houston, Nasher Museum of Art at Duke University, New Orleans Museum of Art, Perez Museum of Art, X Museum, and The Xiao Museum of Contemporary Art. Artist https://www.jammieholmes.com/ The Modern Art Museum of Fort Worth https://www.themodern.org/exhibition/jammie-holmes-make-revolution-irresistible e-flux https://www.e-flux.com/announcements/510210/jammie-holmesmake-the-revolution-irresistible/ Library Street Collective https://lscgallery.com/artists/jammie-holmes The Gordon Parks Foundation https://www.gordonparksfoundation.org/grants/fellowships-in-art/jammie-holmes2 Various Small Fires https://www.vsf.la/exhibitions/127/works/artworks-5351-jammie-holmes-somewhereinamerica-2023/ ARTNews https://www.artnews.com/art-news/artists/jammie-holmes-paintings-various-small-fires-1234657924/ Artnet News https://news.artnet.com/art-world/wet-paint-in-the-wild-jammie-holmes-2300880 Hyperallergic https://hyperallergic.com/795017/jammie-holmes-and-jose-parla-named-gordon-parks-fellows/ Mousse Magazine https://www.moussemagazine.it/magazine/jammie-holmes-various-small-fires-los-angeles-2023/ Dallas News https://www.dallasnews.com/event/c2c3bb5b-f7c7-edc0-7329-f9f9bf48d4e1/ Contemporary Art Daily https://www.contemporaryartdaily.com/project/jammie-holmes-at-various-small-fires-los-angeles-27148 Dallas Contemporary https://www.dallascontemporary.org/jammie-holmes

Episode No. 614 features curator Kate Clarke Lemay and artist Maia Cruz Palileo. With Taína Caragol, Lemay is the co-curator of "1898: US Imperial Visions and Revisions" at the Smithsonian's National Portrait Gallery in Washington. (Carlina Maestre assisted them.) The exhibition examines late-nineteenth-century US imperialism, especially the War of 1898 (often called the Spanish-American War), the Congressional Joint Resolution to annex Hawai'i (which was passed in July 1898), the Philippine-American War (1899-1913) and the US extension of its sphere to include Cuba, Guam, and Puerto Rico. The exhibition particularly -- but not exclusively -- looks at how portraiture was used by the US in an attempt to define peoples, and by both the US and by the leaders of other countries to establish status within the community of nations, and to project power. "1898" is on view through February 25, 2024. The forthcoming exhibition catalogue features an essay by Caragol that looks at how several contemporary artists are addressing the legacies of US imperialism in their work. Among the artists on whom Caragol focuses is Palileo, whose work often addresses her family's arrival in the United States from the Philippines, as well as the colonial relationship between the two countries. (The other artists Caragol addresses in her essay are Stephanie Syjuco, Gisela McDaniel, and Miguel Luciano.) Palileo's work often extends from research she conducted at the Newberry Library in 2017. The library's holds significant research collections related to the US imperial project in the Philippines, including a watercolor album by Damián Domingo and photographs made by Dean C. Worcester, a US zoologist who worked in the Philippines. Worcester's work was influential in shaping US public opinion about Filipinos. Palileo's work has been featured in solo exhibitions at the Katzen Arts Center at Washington's American University and at the Wattis Institute for Contemporary Arts at the California College for the Arts in San Francisco. She's been in group shows at institutions such as the Moderna Museet in Sweden, the Nasher Museum of Art at Duke University, the Bemis Center, Omaha, and the NPG. On September 8-9 the NPG will convene over 40 scholars and artists from the Philippines, Guam, Puerto Rico, Hawai‘i, Cuba, Spain, the United Kingdom, and the US for a two-day symposium. In addition to panel discussions and gallery talks, the event will feature a keynote address by Pulitzer Prize-winner Ada Ferrer. All panels and the keynote address will take place in the McEvoy Auditorium in the Reynolds Center for American Art and Portraiture in Washington. RSVP here (it's free). Instagram: Kate Lemay, Tyler Green.

Ep.160 features Tunji Adeniyi-Jones (b. 1992, London, United Kingdom), an artist living and working in New York, NY. Adeniyi-Jones received a BFA from The Ruskin School of Art, University of Oxford, Oxford, United Kingdom, in 2014, and an MFA from Yale University School of Art, New Haven, CT, in 2017. Recent solo exhibitions include Deep Dive, White Cube, Hong Kong, China (2023); Tranquil Dive, Morán Morán, CDMX, Mexico (2023); Emergent Properties, Nicelle Beauchene Gallery, New York, NY (2022); Voix Intérieures, White Cube, Paris, France (2022) among others. His work has been included in numerous group exhibitions, including When We See Us: A Century of Black Figuration in Painting, Zeitz MOCAA, Cape Town (2022); In Our Time: Selections from the Singer Collection, Scottsdale Museum of Contemporary Art, AZ (2022); Out of the Fire: The 14th Dakar Biennale, Senegal (2022); Fire Figure Fantasy: Selections from the ICA Miami's Collection, ICA Miami, FL (2022); All Things Bright and Beautiful, Birmingham Museum of Art, AL (2022); among others. Adeniyi-Jones's work is included in the permanent collections of the Aishti Foundation, Lebanon; the Dallas Museum of Art, TX; the Nasher Museum of Art, Durham, NC; Institute of Contemporary Art, Miami, FL; The Studio Museum, Harlem, NY; among others. Headshot Photo © On White Wall, 2023 Artist https://www.tunjiadeniyi-jones.com/ White Cube https://www.whitecube.com/artists/tunji-adeniyi-jones David Zwirner https://www.davidzwirner.com/viewing-room/2022/utopia-editions-tunji-adeniyi-jones Flag art foundation https://www.flagartfoundation.org/exhibitions-tunji-adeniyi-jones Ocula https://ocula.com/art-galleries/white-cube/exhibitions/tunji-adeniyi-jones-deep-dive/ ARTNews https://www.artnews.com/art-news/market/phillips-london-tunji-adenjiyi-jones-jean-dubuffet-results-1234589900/ Cultured https://www.culturedmag.com/article/2021/09/20/tunji-adeniyi-jones Hypebae https://hypebae.com/2023/3/tunji-adeniyi-jones-deep-dive-exhibition-white-cube-hong-kong-about Art Asia Pacific https://artasiapacific.com/people/the-mischievous-clamoring-of-ornament-interview-with-tunji-adeniyi-jones Morán Morán https://moranmorangallery.com/artists/tunji-adeniyi-jones/ Tatler Asia https://www.tatlerasia.com/lifestyle/arts/tunji-adeniyi-jones-first-exhibition-hong-kong Guest Artists Space https://www.guestartistsspace.com/News/event-interwoven-histories Black Rock Senegal https://blackrocksenegal.org/tunji-adeniyi-jones/ Contemporary Art Daily https://www.contemporaryartdaily.com/project/tunji-adeniyi-jones-at-nicelle-beauchene-gallery-new-york-25835

Episode No. 608 is a holiday clips episode featuring artist Ebony G. Patterson. The New York Botanical Garden is presenting "…things come to thrive…in the shedding…in the molting…," a site-specific exhibition that immerses Patterson's work in the NYBG's spaces. It is on view in the Bronx through October 22. This episode was taped in 2020 on the occasion of “Ebony G. Patterson… while the dew is still on the roses…”, a survey of work Patterson had made in the previous decade that was on view at the Nasher Museum of Art at Duke University. Patterson's installations, tapestries, videos and sculptures wield beauty to address disenfranchised communities, violence, masculinity and the impacts of colonialism. “… while the dew” especially examines her consideration of gardens. Patterson's work has been the subject of solo exhibitions at the Baltimore Museum of Art, the Savannah College of Art and Design Museum of Art, The Studio Museum in Harlem, the Bermuda National Gallery, and more. For images, see Episode No. 436.

Today's episode is many months in the making. We are very excited because this is the culmination of a series of features we have written about Jim McDowell and his Face Jug: A story about how it has traveled throughout our audience and how Susan and Michael Hershield made it possible to give it to the Nasher Collection. We heard from the collectors, the artists, and the museum. We are trying to do more work to explain to people how to buy art, what to look for, and what a museum looks for when they collect a piece. The conversation with our guest today was a unique opportunity to launch into a series on how to buy art. Marshall N. Price is the Curator of Modern and Contemporary Art at the Nasher Museum of Art at Duke University. He graduated from Western Maryland College and received a Master's degree in Art History from Penn State. He also received a Ph.D. in Art History from the City University of New York. We hear from Marshall about his journey to becoming the Chief Curator at Nasher and his experience in the position. He talks about the challenges he faced and his thoughts on the benefits of being embedded in an academic community. He also talks about the collection, programs and the greatest things about the Nasher Museum. We then hear about the incredible story of Jim McDowell's Face Jug acquisition and the history behind the Red Tails jug. You do not want to miss out on this amazing episode. So start listening now! Key Points From This Episode:Recapping the journey of Jim McDowell's new Face Jug to the Nasher MuseumA dream job: how Marshall got there and when he realized art would become his life.The experience of being the Chief Curator at Nasher and the pressures it includes.Marshall talks about the challenges he faced as he walked into the curator role.His thoughts on the benefits of being embedded in an academic community.More about the different programs running at Nasher (at any given time).Marshall talks about the collection at Nasher and the focus of the institution.How Nasher is working to continue to incorporate artists of Color in their collection.One of the great things about Nasher Museum. Marshall's story of Jim McDowell's Face Jug acquisition: The Red Tails as homage to the Tuskegee Army Airfield. How people can enjoy Jim's work at the Nasher.Marshall's thoughts on what this acquisition will mean for Jim's career.Plans surrounding youth programming at Nasher and how they plan to educate the young. Links Mentioned in Today's Episode:Marshall N. Price Ph.D. on Instagram — https://www.instagram.com/mnormanprice/ Nasher Museum of Art at Duke University — https://nasher.duke.edu/ Jim McDowell — https://blackpotter.com/ From Concept to Collection: How Jim McDowell's New Face Jug Made It to the Nasher Museum Collection [Part I] — https://www.artsvilleusa.com/jim-mcdowell-nasher-museum/ From Concept to Collection: How Jim McDowell's New Face Jug Made It to The Nasher Museum Collection [Part II] — https://www.artsvilleusa.com/jim-mcdowell-nasher-museum-part-two/From Concept to Collection: How Jim McDowell's New Face Jug Made It to the Nasher Museum Collection [Part III] —

In this episode, we had the privilege of talking with Trevor Schoonmaker, the current director and former curator of contemporary art at the Nasher Museum of Art in Durham, North Carolina. Together, we will delve into Trevor's remarkable journey as an art curator and discuss his most recent exhibition, Spirit in the Land. Spirit in the Land is a contemporary art exhibition that examines today's ecological concerns from a cultural perspective, demonstrating the interconnection between nature and our identities. Through diverse artworks, it emphasizes the importance of environmental justice, preservation of marginalized histories and communities, and the restoration of our collective relationship with the natural world. Join us as we go beyond the canvas and explore Schoonmaker's motivations, challenges, stories, and insights in bringing this incredible exhibit to life. See the Nasher's website here!: https://nasher.duke.edu/  Visit Spirit in the Land yourself before it closes on July 9th! Guest: Trevor Schoonmaker Host: Mira Polishook Reporters: Charlotte Caddell, Emily Nagamoto, Kendra Rentz, Mira Polishook Audio Editor: Kendra Rentz Music Credit: Sunshower by LATASHA --- Support this podcast: https://podcasters.spotify.com/pod/show/operation-climate/support

Episode No. 601 of The Modern Art Notes Podcast features artists Jonathan Lyndon Chase and Sheldon Scott. Jonathan Lyndon Chase is included in "The Culture: Hip Hop and Contemporary Art in the 21st Century" at the Baltimore Museum of Art. The exhibition, on view through July 16, presents art, fashion and high-end consumer goods in consideration of the influence hip hop has had on contemporary society. It was curated by Asma Naeem, Gamynne Guillotte, Hannah Klemm, and Andréa Purnell. A catalogue was published by the BMA, the Saint Louis Art Museum and Gregory R. Miller & Co. Amazon and Bookshop offer it for about $55. Chase's paintings, video, sound, and sculpture depicts queer Black love and community. Their work has been the subject of solo exhibitions at the Fabric Workshop and Museum, Philadelphia; they have been included in recent group shows at the ICA Miami, the Los Angeles County Museum of Art, the Columbus Museum of Art, the RISD Museum of Art, the Philadelphia Museum of Art, and soon at the Whitney Museum of American Art (opening June 28). Scott is included in "Spirit in the Land" at the Nasher Museum of Art at Duke University. The exhibition considers today's ecological concerns and demonstrates how our identities and natural environments are intertwined. The show particularly focuses on the relationship between the mainland United States and the Caribbean. Curated by Trevor Schoonmaker, it is on view through July 9. The exhibition is accompanied by a catalogue which is available only at the Nasher. Scott is presenting a performance titled "Portrait, numba 1 MAN (day clean ta sun down)" at the Ogden Museum of Southern Art, New Orleans on May 13. Scott's work builds upon his upbringing in Gullah/Geechee culture and his background in storytelling to examine the Black male form. His work has been exhibited at the Driskell Center at the University of Maryland, the National Portrait Gallery, Smithsonian Institution, and more.

Episode No. 590 features artist Monique Verdin. It was taped live at the Nasher Museum of Art at Duke University. Verdin is included in the Nasher's "Spirit in the Land," an exhibition that considers today's ecological concerns and demonstrates how our identities and natural environments are intertwined. The show particularly focuses on the relationship between the mainland United States and the Caribbean. Curated by Trevor Schoonmaker, it will be on view through July 9. The exhibition is accompanied by a catalogue which, as of the show posting date, is available only at the Nasher. Verdin's work is also on view at the Contemporary Arts Center New Orleans in "The Float Lab: The Heartbeat of Invisible Rivers." It is a project of Verdin's The Land Memory Bank, Mondo Bizarro and Jeff Becker that uses music, theater, visual art, and boat-building to respond to Louisiana's interconnected struggles against land loss, environmental racism, and displacement. "The Float Lab" is on view through Oct. 1. Verdin's photography, filmmaking and collages most often examine how climate change and industry are impacting traditional lifeways in a part of southwest Louisiana known to the Houma people as Yakni Chitto. Among her many exhibition credits is Prospect Four in New Orleans. Verdin is also the director of the Land Memory Bank & Seed Exchange, a former member of the United Houma Nation Tribal Council and is part of the Another Gulf Is Possible Collaborative core leadership circle of brown (indigenous, latinx and desi) women, from Texas to Florida, working to envision just economies, vibrant communities and sustainable ecologies. Instagram: Monique Verdin, Tyler Green.

Episode No. 583 features artist William Cordova and curator Michelle White. Cordova is featured in "Beyond the Surface: Collage, Mixed Media and Textile Works from the Collection" at the Nasher Museum of Art at Duke University. The exhibition is on view through May 14. Cordova's work uses a range of media to address and re-make historical narratives. His practice understands that present knowledge of history is always changing, and that artists are part of the process of revising our understandings of the past. Cordova has had solo shows at the Baltimore Museum of Art, the Pérez Art Museum Miami, the Yerba Buena Center for the Arts in San Francisco, and at LAXART in Los Angeles. In 2019 he was included in the Havana Biennial, previously he was included in -ennials at the Whitney Museum of American Art, New York, and in Prague, Venice, and New Orleans (Prospect). On the second segment, White discusses "Walter De Maria: Boxes for Meaningless Work," a survey of De Maria's career drawn mostly from the Menil Collection's outstanding de Maria collection. The exhibition is on view in Houston through April 23.

In this episode of PhotoWork with Sasha Wolf, Sasha and photographer, David Benjamin Sherry have a deeply personal and moving conversation about the decisions and influences that lead David to pursue photography and to work in the uniquely exuberant and process forward manner that he does. https://davidbenjaminsherry.com David Benjamin Sherry (Santa Fe, NM) is an artist whose work is both challenging and reinvigorating the American Western landscape tradition. His work revolves around interests in environmentalism, queer identity and alternative analog film processes. He's best known for his colorful landscape work, brought upon by the desire to explore the last remaining wilderness in America. Through numerous projects, Sherry's work expresses deep concern for the rapidly changing environment, while continuing to sustain a queer sensibility in the hetero-male dominated canon of landscape photography. Sherry has referred to himself as a “nostalgic futurist” and currently uses a large format 8x10 film camera in order to reflect and understand our connection within the contemporary American landscape. Sherry was born in 1981 in Stony Brook, NY and lives and works in Santa Fe, New Mexico. He received his BFA in Photography from Rhode Island School of Design in 2003 and his MFA in Photography from Yale University in 2007 where he was awarded the Richard Dixon Welling Prize. In 2010 he received the Rema Hort Mann Foundation Visual Arts Grant. Sherry taught Western Landscape and Large Format photography as a distinguished faculty member at the San Francisco Art Institute in 2018. In the fall of 2020, joined the Yale MFA Photography program as a Visiting Critic. A multi-part installation of his work was exhibited in Greater New York 2010 at MoMA PS1, New York, a survey show organized by Klaus Biesenbach Connie Butler, and Neville Wakefield. His work has been exhibited in numerous solo presentations and also included in many group presentations including: The Anxiety of Photography, Aspen Art Museum (2011), New York Minute at Garage Museum of Contemporary Art, Moscow (2011), Out of Focus at Saatchi Gallery, London (2012), Lost Line, LACMA Los Angeles County Museum of Art (2013), What is a Photograph? at ICP International Center for Photography, New York (2014), Fotofocus Biennial, Cincinnati, Ohio (2014) Color Fields at MassArt Museum (2015) and Ansel Adams In Our Time, Museum of Fine Arts, Boston (2018). His work is in permanent collections at The Whitney Museum of American Art, NY, The Nasher Museum of Art, Durham, NC, Walker Art Center, Minneapolis, MN, Wexner Center of the Arts, Columbus, OH, Los Angeles County Museum of Art, Los Angeles, CA, The Saatchi Collection, London, UK, The Alfond Collection of Contemporary Art, Cornell Fine Arts Museum, FL, and The Marciano Foundation, Los Angeles, CA Sherry's work has been featured in many prominent international publications, including Artforum, Aperture Magazine, Architectural Digest, Art in America, Interview Magazine, The New Yorker, New York Magazine, and The New York Times, among many others. In September 2014, his work was featured on the cover of The New York Times Magazine. In the spring of 2019, his work was featured on the cover of Aperture Magazine for the Earth issue. There are four monographs of his work: It's Time (Damiani, 2010); Quantum Light (Damiani, 2013); Earth Changes (Mörel Books, 2015) and his most recent monograph, “American Monuments” (Radius, 2019) features essays by top environmentalists and activists Terry Tempest Williams and Bill McKibben. David Benjamin Sherry is represented by Salon 94 Gallery, New York and Morán Morán Gallery, Los Angeles. Find out more at https://photowork.pinecast.co

Episode No. 487 is a summer clips episode featuring curators Marshall N. Price and Elizabeth Finch. Price and Finch are the co-curators of "Roy Lichtenstein:  History in the Making, 1948-60." The exhibition examines Lichtenstein's early work, with particular attention to Lichtenstein's synthesis of European modernism, American painting and contemporary vernacular sources. The exhibition is on view at the Colby Nasher Museum of Art at Duke University through January 8, 2023. The excellent exhibition catalogue was published by Rizzoli Electa. Indiebound and Amazon offer it for about $33. From Waterville, Maine, the exhibition will travel to the Parrish Art Museum in Water Mill, NY, the Columbus Museum of Art, and the Nasher Museum of Art at Duke University. Price and Finch are curators at the Nasher and Colby, which originated the show, respectively. For images see Episode No. 487. 

Casey Cook received her masters degree from the University of California Los Angeles. She has participated in numerous group and solo exhibitions in Los Angeles, NYC and NC at galleries and museums including Dan Bernier Gallery, Lehmann Maupin, I-20, Branch Gallery, Light Art and Design, LUMP Gallery and The Nasher Museum. Her most recent solo show, Kissing The Scarecrow, was in May of this year at Shrine in NYC. Cook works in a multitude of genres including sculpture, video, film, music and predominately painting.  She was a founding members of the art rock band Americans in France and currently fronts Sunny Slopes. She is working on a solo album of her music collaborations to be released in 2023.

In this episode of PhotoWork with Sasha Wolf, Sasha and photographer, Wendy Red Star discuss how making work that is meaningful, informative, and healing is not the same as making work that has to explain everything to the audience, especially when there may be expectations that you are a representative of a larger group of people. Wendy and Sasha also talk about the excitement of creating her first monograph, Delegation published by Aperture. https://www.wendyredstar.com https://aperture.org/books/wendy-red-star-delegation/ Paris Photo/Aperture Foundation PhotoBook Awards Entry Initiated in November 2012 by Aperture Foundation and Paris Photo, the Paris Photo–Aperture Foundation PhotoBook Awards celebrate the photobook's contribution to the evolving narrative of photography, with three major categories: First PhotoBook, PhotoBook of the Year, and Photography Catalogue of the Year. https://aperture.org/calls-for-entry/photobook-awards/ Wendy Red Star lives and works in Portland, OR. Red Star has exhibited in the United States and abroad at venues including the Metropolitan Museum of Art (New York, NY), Brooklyn Museum (Brooklyn, NY), both of which have her works in their permanent collections; Fondation Cartier pour l'Art Contemporain (Paris, France), Domaine de Kerguéhennec (Bignan, France), Portland Art Museum (Portland, OR), Hood Art Museum (Hanover, NH), St. Louis Art Museum (St. Louis, MO), Minneapolis Institute of Art (Minneapolis, MN), the Frost Art Museum (Miami, FL), among others. Her work is in the permanent collections of the Museum of Modern Art (New York, NY), the Metropolitan Museum of Art (New York, NY), the Whitney Museum of American Art (New York, NY), the Amon Carter Museum of American Art (Fort Worth, TX), the Denver Art Museum (Denver, CO), the Ruth and Elmer Wellin Museum of Art at Hamilton College (Clinton, NY), the Baltimore Museum of Art (Baltimore, MD), the Fralin Museum of Art at the University of Virginia (Charlottesville, VA), the Nasher Museum of Art at Duke University (Durham, NC), the Birmingham Museum of Art (Birmingham, AL), the Williams College Museum of Art (Williamstown, MA), the Memorial Art Gallery of the University of Rochester (Rochester, NY), and the British Museum (London, UK), among others. She served a visiting lecturer at institutions including Yale University (New Haven, CT), the Figge Art Museum (Davenport, IA), the Banff Centre (Banff, Canada), National Gallery of Victoria in Melbourne (Melbourne, Australia), Dartmouth College (Hanover, NH), CalArts (Valencia, CA), Flagler College (St. Augustine, FL), and I.D.E.A. Space in Colorado Springs (Colorado Springs, CO). In 2017, Red Star was awarded the Louis Comfort Tiffany Award and in 2018 she received a Smithsonian Artist Research Fellowship. Her first career survey exhibition “Wendy Red Star: A Scratch on the Earth” was on view at the Newark Museum in Newark, New Jersey through May 2019, concurrently with her first New York solo gallery exhibition at Sargent's Daughters. Red Star is currently exhibiting at the Museum of Contemporary Art Chicago (Chicago, IL), The Broad (Los Angeles, CA), Santa Cruz Museum of Art & History (Santa Cruz, NM), The Drawing Center (New York, NY), The Rockwell Museum (Corning, NY), amongst others. Her new solo exhibition American Progress is on view at the Anderson Collection at Stanford University (Stanford, CA) through August 2022. Red Star holds a BFA from Montana State University, Bozeman, and an MFA in sculpture from University of California, Los Angeles. She is represented by Sargent's Daughters. Find out more at https://photowork.pinecast.co

Welcome painter and collage artist Clarence Heyward to the Studio Noize fam! Clarence has an amazing story about how he became a full-time artist. In the short time, he's been working he's gotten museum shows, placed into collections around the country, and has built an art practice that gets him excited to work every day. We talk about doing studio visits, how to paint Black people, and using his family as inspiration for his work. Of course, we talk about the paintings, some of them have some very surprising inspirations. Listen, subscribe, and share!Episode 141 topics include:teaching artart residencies getting studio visitspainting Black peoplevulnerability and authenticityfiguring out what worksjumping into art full-time never burning outthe importance of familyClarence Heyward (American, b.1983) was born and raised in Brooklyn, NY. He is a painter and collagist whose work explores notions of the Black American experience.His work investigates cultural truths, challenges stereotypes, and questions identity. Clarence believes it's important to "paint his truth" and uses persons of color as subjects in his work as homage to his culture. Beginning his journey as a full-time artist in 2019, he is best known for his dynamic and fresh take on figurative art. Heyward relocated to North Carolina to study Art Education at North Carolina Central University. He has shown his work nationally and has been featured in venues including the 21c Museum of Durham, the Harvey B. Gantt Center for Cultural Arts, the Block Gallery Raleigh, the Nasher Museum of Art at Duke University, and (CAM) the Contemporary Art Museum of Raleigh.Heyward was the recipient of The Brightwork Fellowship residency at Anchorlight, Raleigh in 2020, the Emerging Artist in Residence at Artspace, Raleigh in 2021 and was the 2022 Artist in Residence at NC State University. His work is in the collections of several notable private and public institutions. He currently lives and works in Raleigh, NC.See More: www.clarenceheyward.com + Clarence Heyward IG @clarenceheywardartFollow us:StudioNoizePodcast.comIG: @studionoizepodcastJamaal Barber: @JBarberStudioSupport the podcast www.patreon.com/studionoizepodcast

Episode No. 547 features artists Leslie Hewitt and Cornell Watson. Hewitt is included in "A Movement in Every Direction: Legacies of the Great Migration" at the Mississippi Museum of Art in Jackson. The exhibition, which was curated by Ryan N. Dennis and Jessica Bell Brown, features newly commissioned work from 12 Black artists that addresses the Great Migration. The Great Migration was the movement of more than six million Black Americans from the South to cities across the United States. The exhibition is in Jackson through September 11, when it will travel to Baltimore. Hewitt's photography and sculpture revisit art historical forms such as the still-life and minimalist sculpture through the lens of personal history, biography and America's past. The Minneapolis Institute of Art, the MCA Chicago, the Contemporary Art Museum St. Louis, the Des Moines Art Center and the Menil Collection are among the institutions that have presented solo or two-person exhibitions of her work. Cornell Watson's work is included in “Reckoning and Resilience: North Carolina Art Now” at the Nasher Museum of Art at Duke University. The exhibition features over 100 works by 30 artists working across North Carolina. It features work from Watson's "Behind the Mask" series, a visual consideration of Black life in present-day America. Instagram: Leslie Hewitt, Cornell Watson, Tyler Green.

Episode 104 features painter Lavar Munroe (b. 1982, Nassau, Bahamas). He earned his BFA from Savannah College of Art and Design in 2007 and his MFA from Washington University in 2013. In 2014, Munroe was awarded a postdoctoral research fellowship at the University of North Carolina at Chapel Hill. He was included in Prospect.4: The Lotus in Spite of The Swamp, the New Orleans triennial curated by Trevor Schoonmaker, and the 12th Dakar Biennale, curated by Simon Njami, in Senegal. In 2015, Munroe's work was featured in All the World's Futures, curated by Okwui Enwezor as part of the 56th Venice Biennale. His work has been included in museums such as the Nasher Museum of Art in Durham; Perez Art Museum, Miami; National Gallery of Bahamas, Nassau; MAXXI Museum of Art, Rome; Museum of the African Diaspora, San Francisco; Virginia Museum of Modern Art, Virginia Beach; Ichihara Lakeside Museum Ichihara, Japan; and The Drawing Center, New York. Munroe was awarded residencies at the Skowhegan School of Painting and Sculpture, MacDowell Colony, the Headlands Center for the Arts, Joan Mitchell Center, Thread: Artist Residency & Cultural Center (a project of the Josef and Anni Albers Foundation), a recipient of the Joan Mitchell Foundation Painters and Sculptors Grant. and was an inaugural Artists in Residence at the Norton Museum of Art. He is included in upcoming exhibitions at The Centre Pompidou-Metz (France) , The Zeitz Museum of Contemporary Art Africa (South Africa) and a solo exhibition in London, among others things. Lavar Munroe lives and works between Baltimore, Maryland and Nassau, Bahamas. Headshot photo credit: Thomas Towles Artist https://lavar-munroe.com/home.html Joan Mitchell foundation https://www.joanmitchellfoundation.org/lavar-munroe M+B https://www.mbart.com/exhibitions/216/overview/ Jack Bell Gallery https://www.jackbellgallery.com/artists/64-lavar-munroe/works/7963-lavar-munroe-today-the-last-boy-2020/ ArtForum https://www.artforum.com/picks/lavar-munroe-84697 Artnet http://www.artnet.com/artists/lavar-munroe/ Wikipedia https://en.wikipedia.org/wiki/Lavar_Munroe Baltimore Art News https://bmoreart.com/2021/06/lavar-munroe-2021-sondheim-finalist.html Kampala Art Biennale 2020 https://kampalabiennale.org/artists-3/masters2020/ Culture VOLT https://www.culturevolt.co/thebusinessofart/2020/9/15/lavar-munroe

Stylist/Creative director: Rebekka Fellah Photographer: Enrique Leyva © Hugo McCloud Courtesy: Sean Kelly, New York Born in Palo Alto California in 1980, Hugo McCloud is one of the most prolific young artists working today. In a career that has now spanned fifteen years, Hugo McCloud's work has quickly evolved through a process of restless experimentation, bringing inventiveness and fearlessness to the act of making. The artist is engaged in an ongoing quest to elevate and master diverse methodologies and the array of subjects his work addresses. An abiding, unifying theme is Hugo's preoccupation with finding beauty in the everyday. Self-taught with a background in industrial design, McCloud's practice is unrestricted by classical, academic tenets. He has gravitated toward materials that could be considered abject – roofing materials, solder, and presently, single-use plastic bags. Drawing inspiration from the rawness of the urban landscape, McCloud creates rich, large-scale abstract paintings and by fusing unconventional industrial materials with traditional pigment and woodblock printing techniques. McCloud's newest body of figural work touches on notions of class, particularly through his use of plastic bags. His investigation into plastic began approximately five years ago after traveling to India and seeing multi-color polypropylene plastic sacks everywhere. Observing the downcycle of these bags from their creation, to the companies that purchased them for the distribution of products, to the trash pickers in Dharavi slums, McCloud saw how this ubiquitous material passed through the hands of individuals at every level of society. These representational works address issues concerning the economics of labor, geopolitics and the environmental impact of plastic. McCloud continues his practice of incorporating industrial materials using plastic as a tool to better understand our similarities and differences as a human race; to connect to our environment; and to contribute to reversing the negative impact of our carbon footprint. McCloud has been the subject of solo exhibitions at The Aldrich Contemporary Art Museum in Ridgefield, Connecticut, The Arts Club, London and Fondazione 107, in Turin, Italy. He has also been featured in group exhibitions at the Studio Museum in Harlem, New York, and The Drawing Center, New York. His work is in the collections of the National Museum of African American History and Culture in Washington, D.C., the North Carolina Museum of Art, the Detroit Institute of the Arts, The Margulies Collection at the Warehouse, the Nasher Museum of Art at Duke University, the Brooklyn Museum, the Mott Warsh Collection, and The Joyner/Giuffrida Collection. Hugo McCloud lives and works in Brooklyn, New York and Tulum, Mexico. Hugo McCloud upcycled, 2021 single use plastic mounted on panel panel: 65 x 94 inches (165.1 x 238.8 cm) framed: 66 1/2 x 95 1/2 x 2 7/8 inches (168.9 x 242.6 x 7.3 cm) © Hugo McCloud Courtesy: Sean Kelly, New York Hugo McCloud evening stroll, 2022 single use plastic mounted on panel panel: 76 x 66 inches (193 x 167.6 cm) framed: 77 1/2 x 67 1/2 x 2 1/8 inches (196.8 x 171.4 x 5.4 cm) © Hugo McCloud Courtesy: Sean Kelly, New York

Episode No. 538 features curator Virginia Mecklenburg and artist Elizabeth Alexander. Mecklenburg is the curator of "Fighters for Freedom: William H. Johnson Picturing Justice," which is at the Gibbes Museum of Art in Charleston through August 7. The exhibition features a series of paintings Johnson made in the 1940s. It shows mostly Black activists, scientists, and educators, and spotlights their impacts on their communities and on the American nation. Johnson's subjects include Crispus Attucks, Harriet Tubman, Marian Anderson, and John Brown. The series also the international heads of state who brought an end to World War II. The exhibition was organized from the collection of the Smithsonian American Art Museum, which holds over 1,000 Johnsons within its collection. Mecklenburg is a senior curator at SAAM. The exhibition will travel to SAAM in 2023-24; a significant national tour is in development. Elizabeth Alexander is included in "Reckoning and Resilience: North Carolina Art Now" at the Nasher Museum of Art at Duke University. The exhibition features over 100 works by 30 artists working across North Carolina. Alexander's sculptures and installation are often made from deconstructed domestic materials and address America's history, especially the construction and memory of white supremacy. She's been included in exhibitions at the North Carolina Museum of Art, Raleigh; and the Museum of Art and Design, New York. Museums such as the Crystal Bridges Museum of American Art, Bentonville, Ark., and the Mint Museum, Charlotte hold her work in their collections.

The final session of American University's Feminist Art History Conference, cohosted by the National Gallery, brings together distinguished curators to discuss contemporary issues in museum practice. Lauren Haynes, Patsy R. and Raymond D. Nasher Senior Curator of Contemporary Art, Nasher Museum of Art at Duke University; Catherine Morris, Sackler Senior Curator for the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum; Asma Naeem, chief curator of the Baltimore Museum of Art; Christine Sciacca, associate curator, European art 300–1400 CE, Walters Art Museum; and Christina Yu Yu, Matsutaro Shoriki Chair, Art of Asia, Museum of Fine Arts, Boston. Moderated by Mikka Gee Conway, chief, diversity, inclusion, and belonging officer and EEO director, National Gallery of Art. Held in collaboration with the National Gallery's John Wilmerding Symposium on America Art and the traveling exhibition Alma W. Thomas: Everything is Beautiful. In 1952, at age sixty-one, Thomas enrolled in graduate-level art history and painting coursework at American University to pursue “creative painting.” American University offers the Alma Thomas Award to an outstanding student studying painting. For the Feminist Art History Conference, Melanee Harvey will chair a session titled ACTIVISM: MAKING SPACE and Jonathan Frederick Walz will present a lecture titled "Alma W. Thomas's Moving Pictures." Celebrate Alma W. Thomas's Legacy: https://www.nga.gov/learn/adults/john-wilmerding-symposium-community-celebration-alma-thomas.html Still haven't subscribed to our YouTube channels? National Gallery of Art ►►https://www.youtube.com/NationalGalleryofArtUS National Gallery of Art | Talks ►►https://www.youtube.com/NationalGalleryofArtTalks

Episode No. 524 of The Modern Art Notes Podcast features artists Odili Donald Odita and David Hartt. Odili Donald Odita is featured in "Point of Departure: Abstraction 1958-Present" at the Sheldon Museum of Art at the University of Nebraska. The exhibition is drawn from the Sheldon's excellent collection of two-dimensional abstraction and reveals how artists have used abstraction to advance ideas and ideologies from outside art's own history. Odita's abstract paintings marry color and composition to history, sociopolitical investigation and ideology. He has fulfilled major mural commissions for museums such as the Nasher Museum of Art at Duke University, the Philadelphia Museum of Art and the Virginia Museum of Fine Arts in Richmond. Recent exhibitions of his work have included the Laumeier and Jeske Sculpture Parks in Saint Louis and Ferguson, Missouri, the ICA Miami, the Sarasota Museum of Art, the Front International triennial in Cleveland, the Newark Museum of Art, and more. David Hartt is the subject of a Hammer Projects exhibition on view at the Hammer Museum through January 2, 2022. The show features Hartt's 2020 The Histories (Old Black Joe), two jacquard-woven tapestries and a quadraphonic soundtrack arranged by musician Van Dyke Parks. Hartt's work joins and interrogates three nineteenth-century figures : American painter Robert S. Duncanson, Trinidadian painter Michel-Jean Cazabon, and composer Stephen Foster, whose song “Old Black Joe” has endured as a dying slave's lament even though of Foster mostly wrote for blackface minstrel shows. The Hammer presentation was curated by Aram Moshayedi with Nicholas Barlow. Other Hartt museum projects have included "David Hartt: A Colored Garden," which just closed at The Glass House in New Canaan, Conn., and exhibitions at the Art Institute of Chicago, The Graham Foundation in Chicago, LAXArt in Los Angeles, the Henry Art Gallery in Seattle, and the Studio Museum in Harlem.

Episode No. 518 features artist Hugo McCloud and curator Erin Christovale. McCloud's work is on view in "In Relation to Power: Politically Engaged Works from the Collection" at the Nasher Museum of Art at Duke University, which was curated by Marshall Price and Adria Gunter, and is on view through February 13, 2022; and in "Hugo McCloud: from where I stand" at the Aldrich Contemporary Art Museum, which was curated by Richard Klein and is on view through January 2, 2022. McCloud's work engages questions around labor, environmental impacts and global markets and politics often through materials that relate to the people, histories and issues he addresses. He has been featured in group shows at the Studio Museum in Harlem and at The Drawing Center in New York. His work is in the collection of museums such as the Detroit Institute of Arts, the Smithsonian's National Museum of African American History and Culture, and the North Carolina Museum of Art. On the second segment, Christovale discusses the retrospective "Ulysses Jenkins: Without Your Interpretation," which is at the Institute of Contemporary Art, Philadelphia through December 30, 2021. Christovale co-curated the exhibition with Meg Onli. Jenkins is an influential video and performance artist whose work has examined how cultural iconography and history have informed representation.The exhibition will travel to the Hammer Museum, Los Angeles next year. The exhibition catalogue was published by the two museums. Indiebound and Amazon offer it for about $40. The museums will also republish Jenkins's memoir, "Doggerel Life: Stories of a Los Angeles Griot."

For the past couple of weeks, we've been running a little experiment here at the Art Angle—namely our first-ever breakout mini-series, called Shattering the Glass Ceiling, dedicated to remarkable women in the art world who have succeeded in changing the game in their respective arenas. It's such a good group of interviews, and we want to make sure you have a chance to hear it. We also, it so happens, are taking a little Memorial Day vacation to rest up after the launch of Artnet News Pro, our brand-new members-only offering for participants in the art trade. And so, without further ado, please enjoy this re-air of the first installment of Shattering the Glass ceiling, featuring Artnet News executive editor talking to the powerhouse curator Lauren Haynes, who recently took a prominent post at Duke Museum's Nasher Museum. Here's the conversation.

Episode No. 500 features artists Nancy Grossman and Stacy Lynn Waddell. Grossman is featured in "Nasher Mixtape," a series of micro-exhibitions at the Nasher Sculpture Center in Dallas through September 26; and in "Vibrant: Artists Engage with Color" at the Weatherspoon Art Museum at the University of North Carolina, Greensboro through June 26. Grossman's leather-wrapped wooden sculptures are among the most iconic works of twentieth-century art, but are far from her only engagements with the figure. Grossman started her career by painting the female figure, went on to collages built from leather and other found material, to dyed-paper collages of the human figure and more. The Tang Museum at Skidmore College presented a retrospective of her work in 2012. Waddell is included in three ongoing museum exhibitions, including: "Graphic Pull: Contemporary Prints from the Collection" at the Nasher Museum of Art at Duke University through June 6. The exhibition is open to to the Duke community only; a thorough virtual tour is available here. "Silent Streets: Art in the Time of the Pandemic" at the Mint Museum Uptown in Charlotte. A closing date has not yet been determined; and "Taking Space: Contemporary Women Artists and the Politics of Scale" at the Pennsylvania Academy of Fine Arts in Philadelphia through September 5. Waddell's work examines both real and imagined histories, often with materials and processes that themselves reference the past.

For the past couple of weeks, we've been running a little experiment here at the Art Angle—namely our first-ever breakout mini-series, called Shattering the Glass Ceiling, dedicated to remarkable women in the art world who have succeeded in changing the game in their respective arenas. It's such a good group of interviews, and we want to make sure you have a chance to hear it. We also, it so happens, are taking a little Memorial Day vacation to rest up after the launch of Artnet News Pro, our brand-new members-only offering for participants in the art trade. And so, without further ado, please enjoy this re-air of the first installment of Shattering the Glass ceiling, featuring Artnet News executive editor talking to the powerhouse curator Lauren Haynes, who recently took a prominent post at Duke Museum's Nasher Museum. Here's the conversation.

This episode is the first in a series dedicated to talking about teaching art while still having some personal success as an artist. Everyone in this series will be asked Who were your teachers or mentors How do you balance teaching and making Who do you see getting hired today as teachers Where does art rank in importance in your school Who are the students that you serve What's your favorite teaching assignment Give us a pro-tip for teaching or photographing Endia Beal is a North Carolina based artist, curator, and author. Beal's work merges fine arts with social justice. She uses photography and video to reveal the often overlooked and unappreciated experiences unique to people of color. Specifically, Beal's first monograph, Performance Review, brings together work over a 10-year period that highlights the realities and challenges for women of color in the corporate workplace. She lectures about these experiences, which also addresses bias in corporate hiring practices. https://endiabeal.com This episode is sponsored by the Charcoal Book Club - https://charcoalbookclub.com Beal is featured in several online editorials including The New York Times, NBC, BET, Huffington Post, and National Geographic; she also appeared in TIME Magazine, VICE Magazine, Essence, Marie Claire and Newsweek. Her work has been exhibited in several institutions including the Nasher Museum of Art at Duke University in Durham, NC; The Charles H. Wright Museum of African American History in Detroit, MI, and Aperture Foundation in New York, NY. Beal's photographs are in private and public collections, such as The Studio Museum in Harlem in New York, NY, Museum of Contemporary Photography at Columbia College Chicago in Chicago, IL, and Portland State University in Portland, OR. She is a fellow of the Center for Curatorial Leadership and completed residencies at Harvard Art Museums, the Center for Photography at Woodstock and McColl Center for Art + Innovation. Beal received grants from the Magnum Foundation and the Open Society Foundation, among others. Endia holds a dual BFA-AH in art history and studio art from the University of North Carolina at Chapel Hill and an MFA from Yale University; she has also completed the certification from the Executive Education in Fostering Inclusion and Diversity Program at Yale School of Management.

Welcome to Shattering the Glass Ceiling, a podcast from the team at the Art Angle where we speak to boundary-breaking women in the art world and beyond about how art has shaped their lives and careers. In the first episode of this four-part podcast mini series, Artnet News executive editor Julia Halperin spoke to Lauren Haynes, the director of artist initiatives and curator of contemporary art at the Crystal Bridges Museum of American Art and the Momentary in Arkansas. In June, she will take on the role of Patsy R. and Raymond D. Nasser senior curator of contemporary art at the Nasher Museum of Art at Duke University. Haynes, who was born in East Tennessee and grew up in New York, has worked in museums including the Brooklyn Museum and the Studio Museum in Harlem, curating distinctive and influential shows on artists like Alma Thomas and Stanley Whitney. She has worked at Crystal Bridges since 2016, where she helmed the first U.S. presentation of the exhibition “Soul of a Nation: Art in the Age of Black Power” (2018), which traveled from the U.K.

Welcome to Shattering the Glass Ceiling, a podcast from the team at the Art Angle where we speak to boundary-breaking women in the art world and beyond about how art has shaped their lives and careers. In the first episode of this four-part podcast mini series, Artnet News executive editor Julia Halperin spoke to Lauren Haynes, the director of artist initiatives and curator of contemporary art at the Crystal Bridges Museum of American Art and the Momentary in Arkansas. In June, she will take on the role of Patsy R. and Raymond D. Nasser senior curator of contemporary art at the Nasher Museum of Art at Duke University. Haynes, who was born in East Tennessee and grew up in New York, has worked in museums including the Brooklyn Museum and the Studio Museum in Harlem, curating distinctive and influential shows on artists like Alma Thomas and Stanley Whitney. She has worked at Crystal Bridges since 2016, where she helmed the first U.S. presentation of the exhibition “Soul of a Nation: Art in the Age of Black Power” (2018), which traveled from the U.K.

Episode No. 488 features artist Alex Bradley Cohen and curator Ann Dumas. The Nasher Museum of Art at Duke University has recently acquired Alex Bradley Cohen's 2015 For a More Just Future. Cohen's paintings of people and places are often blendings of his personal relationships with art history. His work has been exhibited in "State of the Art 2020" at the Crystal Bridges Museum of American Art and The Momentary and at group shows at the University Art Museum at the University of Albany, the Art Institute of Chicago and the Studio Museum in Harlem. On the second segment, curator Ann Dumas discusses "Hockney-Van Gogh: The Joy of Nature,"  which is at the Museum of Fine Arts Houston through June 20. The exhibition reveals how David Hockney has mined Vincent Van Gogh's paintings and drawings in ways that have informed his mark-making, compositions and more. BONUS: Hear an excerpt from recent Bemis Center resident Lea Bertucci's forthcoming album "A Visible Length of Light!"

Episode No. 487 features curators Marshall N. Price and Elizabeth Finch, and artist Candice Lin. Price and Finch are the co-curators of "Roy Lichtenstein:  History in the Making, 1948-60." The exhibition examines Lichtenstein's early work, with particular attention to Lichtenstein's synthesis of European modernism, American painting and contemporary vernacular sources. The exhibition is at the Colby College Museum of Art through June 6. For now, the museum is open only to current Colby students, faculty and staff. The excellent exhibition catalogue was published by Rizzoli Electa. Indiebound and Amazon offer it for about $33. From Maine, the exhibition will travel to the Parrish Art Museum in Water Mill, NY, the Columbus Museum of Art, and the Nasher Museum of Art at Duke University. Finch and Price are curators at Colby and at the Nasher, respectively. On the second segment, Candice Lin discusses her work on the occasion of "Visionary New England" at the de Cordova Sculpture Park and Museum in Lincoln, Mass. The exhibition, which was curated by Sarah Montross, jumps off from New England's embrace of visionary and utopian cultures in the nineteenth and twentieth centuries -- think Brook Farm, Fruitlands and experimental psychology -- to look at how artists address some of the same ideas. It is on view through March 14. Lin's work examines trade routes and material histories as part of her investigation of colonialism, racism and sexism. Her first solo museum show will open at the Walker Art Center in Minneapolis in August before traveling to Harvard's Carpenter Center in 2022.

This episode, we are very lucky to speak with the visionary collector, philanthropist, and our personal art world hero, Pamela Joyner. Based in San Francisco, California, Pamela is a true champion for artists of African descent. Together with her husband Fred Giuffrida, she has built one of the world’s leading collections of artworks by Black and African diaspora artists, including deep holdings of works by artists including Alma Thomas, Mark Bradford, Jack Whitten, and Sam Gilliam - among many others. Their collection has been the subject of several museum exhibitions, including shows at Chicago’s Smart Museum of Art and the Nasher Museum of Art at Duke University. The collection is also documented in the beautiful book, Four Generations: The Joyner Giuffrida Collection of Abstract Art. Pamela is also a distinguished and highly active philanthropist, sitting on the boards of multiple non-profit institutions, including the San Francisco MoMA, the J. Paul Getty Trust, the Art Institute of Chicago, and the Tate Americas foundation. She is also a founding member of the Black Trustee Alliance for Art Museums an organization of and for Black trustees currently serving on the boards of art museums within the United States. Some artists discussed: Doron Langberg Leonardo Drew Alma Thomas Norman Lewis Sam Gilliam Mark Bradford Emanoel Araujo Rachel Jones Charles Gaines Malik Gaines Lauren Halsey Rodney McMillian Catherine Opie David Huffman Jordan Casteel Kerry James Marshall Lorna Simpson William Kentridge Christina Quarles Michael Armitage Jean-Michel Basquiat For images, artworks, and more behind the scenes goodness, follow @artfromtheoutsidepodcast on Instagram.

Episode No. 456 features museum director Trevor Schoonmaker and art historian Sarah Beetham. Schoonmaker, the director of the Nasher Museum of Art at Duke University, joins host Tyler Green to discuss how art museums engage America's history. The Nasher, of which Schoonmaker was the chief curator before becoming director earlier this year, is a sector-leader in addressing under-represented histories in its collecting, exhibition and programming practices. Beetham is an assistant professor of art history at the Pennsylvania Academy of the Fine Arts. She came onto the program in May 2019 to discuss art and its relationship to monuments and memorials in the United States. Beetham's forthcoming book on the subject is titled “Monumental Crisis: Accident, Vandalism and the Civil War Citizen Soldier.” It will examine how monuments have become central to a range of American discourses in the decades since the Civil War.

Jaki Shelton Green is the first African American and the third woman to serve as the North Carolina's ambassador for poetry and the spoken word. She will be installed during a public celebration later this summer. Green succeeds Shelby Stephenson, who was named poet laureate Feb. 2, 2015. and poet, a North Carolina native whose publications include Dead on Arrival, Dead on Arrival and New Poems, Masks, Conjure Blues, singing a tree into dance, breath of the song, Blue Opal (a play), and Feeding the Light. Her work has appeared in publications such as The Crucible, Obsidian, Essence Magazine, Callaloo, and Black Gold: An Anthology of Black Poetry, among many others. In 2014 the North Carolina native was inducted into the state's Literary Hall of Fame and was nominated for a Pushcart Prize; in 2009 she served as the North Carolina Piedmont Laureate. Among other honors, she was named the 2016 Lenoir-Rhyne University Writer-in-Residence and received a 2007 Sam Ragan Award for Contributions to the Fine Arts of North Carolina and a 2003 North Carolina Award (literature), the state's highest civilian honor for significant contributions to the state and nation in fine art, literature, public service, and science. Green has taught poetry and facilitated creative writing classes at public libraries, universities and community colleges, public/private schools, and literary organizations. As a creativity coach, Green facilitates workshops and trainings in the United States and abroad, and as a community arts advocate, creates and facilitates programs that serve diverse audiences and populations. Additionally, she judges poetry for schools, anthologies, and prizes such as the Lucille Clifton Poetry Award. Green is the owner of SistaWRITE, which provides retreats and travel excursions for women writers. As a community arts advocate, Green has created and facilitated programs that serve various audiences and populations, including the incarcerated, homeless, chronically and mentally ill, victims of domestic violence, public and private schools, literacy programs, immigrants, and community economic development and social justice nonprofitsGreen's poetry has been widely choreographed by dance companies including the Chuck Davis African American Dance Company in conjunction with the Kennedy Center and the Nasher Museum at Duke University; Murmurations Dance; Two Near the Edge Dance Company; Danca Nova Dance Company, in collaboration with the Colorado Naropa Dance Institute; and Miami City Ballet." https://www.ncarts.org/resources/jaki-shelton-green-new-poet-laureate https://library.unc.edu/2020/02/jaki-shelton-green-video/ Learn more about Jaki here: https://www.youtube.com/watch?v=2ic1j8cYu4c Follow Camille: https://camillekauer.com/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/camillekauer/message Support this podcast: https://anchor.fm/camillekauer/support

“People don’t want to feel dumb. They don’t want to feel like they’ve done something wrong.” Myra Weise brings a human-centered approach to creating more hospitable museum spaces.  This interview is from our first live podcast event at the North Carolina Museum of Art as part of a month-long training for frontline staff about hospitality. Weise, Manager of Museum Services at the Nasher Museum of Art at Duke University, shared her specific training methodology and bigger vision about how to create a welcoming environment for visitors, including how to balance the inherent tension between hospitality and protecting the object. 

For the one year anniversary of Collect Wisely and our fifteenth episode we are speaking with Gary Yeh. Gary discovered his passion for art whilst in high school and pursued it throughout college. While studying at Duke University, he served as a co-chair of the student advisory board at the Nasher Museum of Art and launched a virtual art gallery. Gary is the founder of ArtDrunk, an art media company he launched on Instagram that aims to break down barriers to connect a new generation of art enthusiasts.

Hello, Sweet Spirits! Ready for another peek inside the underbelly of the museum world? This is your lucky day! Jeff has a fascinating conversation with Jessica Ruhle, the Director of Education and Public Programs at the Nasher Museum of Art at Duke University, where she founded “Reflections,” a program for visitors with dementia and their care givers. Ruhle is a graduate of Davidson College with a masters from George Washington University. She also kicks butt in roller derby. You don't want to miss this episode!

Hassan Hajjaj is a contemporary artist who lives and works between London and Marrakech. In his body of work, Hajjaj celebrates his nomadic lifestyle and the diverse people he meets - from musicians, to athletes, artists and performers. Hajjaj is influenced by his love for music - the hip-hop, reggae scenes of London - and popular music of Marrakech. His work has been collected by the Brooklyn Museum, the Nasher Museum of Art, the Newark Museum, Los Angeles Museum of Contemporary Art, the Victoria & Albert museum and Kamel Lazaar Foundation. In 2017, Hassan Hajjaj photographed Cardi B for the November issue of New York magazine. Hassan invited me to his studio and we had a chat about his journey as an artist. IN STUDIO with Sharon Obuobi is a series about the stories of art makers, curators and influencers who inspire thoughtful perspectives on the world around us. To see more from our interview, visit our Instagram page @InStudiowithSO. Learn more about us at www.instudiowithso.com. -- All views and opinions expressed by guests are their own.

Lauren Mayr of Bluebird Wellness discusses holistic medicine. We are also joined by Jessica Kay Ruhle and Brittany Halberstadt from the Nasher Museum of Art at Duke University and they tell us about the Reflections Program, an interactive tour designed for visitors who live with memory loss.

Lauren Mayr of Bluebird Wellness discusses holistic medicine. We are also joined by Jessica Kay Ruhle and Brittany Halberstadt from the Nasher Museum of Art at Duke University and they tell us about the Reflections Program, an interactive tour designed for visitors who live with memory loss.

Amy Cappellazzo talks about her record setting sales of three works by Barkley Hendricks, the recently deceased artist whose unique portrait style, developed in the 1960s and 70s, has been gaining attention for the last decade since the Nasher Museum held a retrospective of his work called, The Birth of Cool. In this podcast, Cappellazzo talks about having encountered the artists work and then getting the rare opportunity a few decades later to sell three works from one collection as it came to market. Faced with a series of choices about how to position and market the work, Cappellazzo walks us through her thinking and strategy. The record prices ultimately achieved were the product of a combination of cultivating new buyers, personal selling and the value of a sense of discovery.

Whoa! In this episode, we give you a behind-the-scenes tour of how art ends up in museum collections and what's involved in getting it on the gallery walls. Jeff talks with Jennifer Dasal, the NC Museum of Art's associate curator of contemporary art and the creator and host of the Art Curious podcast. But wait, there's more! Jeff also quizzes Brad Johnson, the exhibition designer at the Nasher Museum of Art at Duke University in Durham, NC.  Feeling greedy? OK. Beverly McIver makes a return visit to discuss one of her former art students, Lamar Whidbee. Lamar is graduating with his MFA at UNC Chapel Hill. His work can be seen in the current MFA exhibition, Time Will Tell, at the Ackland Art Museum in Chapel Hill. Our very own Jeff Bell curated the exhibition! Whew!

This week things get crazy. We check in from inside the Cultural Center with Tracie Hall and Amy Mooney. Together we look into the heart of the building, the city, and explore the legacy of Archibald Motley. This weeks show is dedicated to Paul Woodrow. Our hearts go out to his family.   Motley's show is still up. Go check it out.   1.     Archibald J. Motley Jr., Blues, 1929. Oil on canvas, 36 x 42 inches (91.4 x 106.7 cm). Collection of Mara Motley, MD, and Valerie Gerrard Browne. Image courtesy of the Chicago History Museum, Illinois. © Valerie Gerrard Browne.          2.     Archibald J. Motley Jr., Self-Portrait (Myself at Work), 1933. Oil on canvas, 57.125 x 45.25 inches (145.1 x 114.9 cm). Collection of Mara Motley, MD, and Valerie Gerrard Browne. Image courtesy of the Chicago History Museum, Illinois. © Valerie Gerrard Browne.     3.     . Oil on canvas, 31.875 x 39.25 inches (81 x 99.7 cm). Collection of Mara Motley, MD, and Valerie Gerrard Browne. Image courtesy of the Chicago History Museum, Illinois. © Valerie Gerrard Browne.   _____________   UPCOMING EVENTS August 6th, 6:00-7:00 pm, Chicago Artists and Authors Respond to the Art of Archibald Motley: Cándida Alvarez Chicago Cultural Center, 78 E. Washington, Sidney Yates Gallery, 4th Floor North For this series of informal gallery talks, Chicago artists and authors are invited to reflect on how this modern master influences their own work. Painter Cándida Alvarez will join art historian Amy Mooney in a conversation about the space, form, and meaning in the paintings of Motley as well as her own large, abstract canvases.Presented by Columbia College Chicago in collaboration with the City of Chicago’s Department of Cultural Affairs and Special Events as part of the ongoing city-wide cultural program, The Art of Archibald Motley: Connect, Collaborate, & Create. Learn more about the dynamic ways that our faculty, staff, students, and community at large has engaged the themes, innovations, and vision of this African American Chicago painter at colum.edu/motley Sunday, August 16th 4:00-6:00 pm: Archibald Motley and the Matter of Film, Part III Chicago Cultural Center, Claudia Cassidy Theatre, 2nd Floor North    In partnership with the Chicago Cultural Center and Columbia College Chicago, Black Cinema House is proud to present Archibald Motley and the Matter of Film, a three-part film series that complements the Archibald Motley: Jazz Age Modernist exhibition at the Chicago Cultural Center and explores how the formal and thematic concerns of filmmakers from the 1920s-1940s; including uses of light and color; images of city life; and portraits of race, align with the formal and thematic endeavors of the painter Archibald Motley. Curated by Dr. Romi Crawford (School of the Art Institute and Co-Chair of the Chicago Film Archives), each event consists of a screening followed by a brief response by a local filmmaker, artist, or scholar. The first two installments of this series will take place at Black Cinema House, while the third and final screening will be held at the Chicago Cultural Center and also in collaboration with Chicago Film Archives. Part III: The Matter of City Life will include: ·      Manhatta (Paul Strand and Charles Sheeler, 1921)    An experimental film comprised of 65 shots, which evoke the progression of a day in New York City;   ·      Études sur Paris (André Sauvage, 1928). Considered a “city symphony” film of Paris in the 1920s. It offers a poetic and experimental portrait of the city;   ·      Bronzeville selections from the Don McIlvaine Collection (In collaboration with Chicago Film Archives). Short film clips shot by Chicago artist and muralist Don McIlvaine featuring scenes from the city of Chicago still under development.     Originating at the Nasher Museum of Art at Duke University, Archibald Motley: Jazz Age Modernist was curated by Dr. Richard J. Powell, John Spencer Bassett Professor of Art and Art History at Duke. Grant support to the Chicago Department of Cultural Aff­airs and Special Events provided by the Nasher Museum of Art and the Terra Foundation for American Art; the National Endowment for the Humanities: Exploring the human endeavor; and the Henry Luce Foundation; and the Wyeth Foundation for American Art. The exhibition is on display at the Chicago Cultural Center until August 31,2015. See more on our city-wide cultural programming at http://www.colum.edu/academics/fine-and-performing-arts/initiatives/archibald-motley.html

This exhibit at Duke University's Nasher Museum of Art assembles the Impressionist collection of the Cone sisters.

Host and Duke University Professor Mark Anthony Neal is on location at the Nasher Museum of Art in Durham, NC with curator Trevor Schoonmaker, who curated The Record: Contemporary Art and Vinyl, which runs at the Nasher Museum until February. Schoonmaker’s previous exhibitions at the Nasher Museum include Barkley L. Hendricks: Birth of the Cool (2008-10) and Street Level: Mark Bradford, William Cordova and Robin Rhode (2007-08). Prior to joining the Nasher Museum his exhibitions included The Beautiful Game: Contemporary Art and Fútbol (2006), DTroit (2003-04), and Black President: The Art and Legacy of Fela Anikulapo-Kuti (2003-05). He edited the book Fela: From West Africa to West Broadway.

Jacob takes us to Duke University’s Nasher Museum to tour their new exhibit on the record.

Jacob takes us to Duke University’s Nasher Museum to tour their new exhibit on the record.

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The Hon. Justice Albie Sachs, Constitutional Court of South Africa.Moderated by Prof. Catherine Adcock Admay, Public Policy Studies and the Duke Center for International Development.”To appreciate the alliance between justice and art and its relation to the fine art of persuasion,Justice Albie Sachs is the very best guide.” Hon. Ruth Bader Ginsburg, United States Supreme Court.Reception to follow event. Co-sponsors: Concilium on Southern Africa, Provost’s Office, Vice Provost for International Affairs, DeWitt Wallace Center for Media and Democracy, Duke Center for International Development, Duke Human Rights Center, Law School, Franklin Humanities Institute, Kenan Institute for Ethics, Nasher Museum of Art and Duke University Center for International Studies

The Duke University Center for International Studies Globalization and the Artist project presents a lunchtime talk/reading – “Museologies” with Diego Cortez – Director, Benetton Collection, Treviso; Curator of Photography, New Orleans Museum of Art; and frequent curator, John Hope Franklin Center, Durham. Cortez will discuss and read texts from two curated 2008 exhibitions: “Ari Marcoupolos: Architectures” and “Photography and Depression” as well as his liner notes from “Out of Noise,” a 2009 release by Japanese composer Ryuichi Sakamoto. Co-sponsors: Duke University Center for International Studies, John Hope Franklin Center, Nasher Museum of Art and Center for Documentary Studies