Podcasts about Nasher Sculpture Center

Episode No. 696 features curators Natalie Dupêcher and Leigh Arnold. Dupêcher is the curator of "Joe Overstreet: Taking Flight" at the Menil Collection, Houston. "Taking Flight" offers work from three of Overstreet's abstract painting series: Flight Pattern (early 1970s), and related bodies of work from the 1960s and 1990s. While recent exhibitions such as "Now Dig This!" (Hammer Museum, 2011) and "Soul of a Nation" (Tate Modern, 2017) have included Overstreets, this is the first solo museum exhibition of his work in 30 years. The Menil's exhbition guide is available here. An exhibition catalogue will be available in the late spring. "Taking Flight" is on view through July 13. Arnold is the curator of "Haegue Yang: Lost Lands and Sunken Fields" at the Nasher Sculpture Center, Dallas. Across two floors, the exhibition reveals Yang's critique of the modernist project and its tendency toward singular Western domination. It is on view through April 27. Works discussed on the program include: Yang's Spring Sailors – Six Synecologies Aloft (2024) at 2024's Lahore Biennial. Instagram: Natalie Dupêcher, Leigh Arnold, Tyler Green.

Chris and Courtney sit down with Dr. Thomas Wynn, the Hand Axe Man, AKA: CU Distinguished Professor Emeritus of Anthropology at the University of Colorado. Colorado Springs, where he taught from 1977 until his retirement. Dr. Wynn specializes in the archaeology of the Lower Palaeolithic, led pioneering research in Tanzania, and introduced psychological theory—specifically Piagetian concepts—into Palaeolithic studies, laying the groundwork for evolutionary cognitive archaeology. Dr. Wynn has published over 100 papers and authored key books such as The Rise of Homo Sapiens (2009) and How to Think Like a Neandertal (2012), which he co-authored with Dr. Frederick Coolidge. In 2011, Wynn co-founded the UCCS Center for Cognitive Archaeology, offering online courses on human cognition's evolutionary development. His recent work includes curating First Sculpture, an exhibition on Acheulean handaxes and early aesthetics, which opened at the Nasher Sculpture Center in Dallas in 2018. ------------------------------ Find the book discussed in this episode: Wynn, Thomas, and Frederick L. Coolidge. How to think like a Neanderthal. Oxford University Press, 2011. ------------------------------ Contact Dr. Wynn via e-mail: twynn@uccs.edu ------------------------------ Contact the Sausage of Science Podcast and Human Biology Association: Facebook: facebook.com/groups/humanbiologyassociation/, Website: humbio.org, Twitter: @HumBioAssoc Chris Lynn, Host Website: cdlynn.people.ua.edu/, E-mail: cdlynn@ua.edu, Twitter:@Chris_Ly Courtney Manthey, Guest-Co-Host, Website: holylaetoli.com/ E-mail: cpierce4@uccs.edu, Twitter: @HolyLaetoli Cristina Gildee, SoS Co-Producer, HBA Junior Fellow Website: cristinagildee.org, E-mail: cgildee@uw.edu, Twitter:@CristinaGildee

Episode No. 679 features artist Hugh Hayden.  The Nasher Sculpture Center in Dallas is presenting "Hugh Hayden: Homecoming," an exhibition of new works informed by Hayden's upbringing in Dallas. The show includes sculptures that explore themes such as nostalgia, childhood, education, and religion. The exhibition was curated by Leigh Arnold and will be on view through January 5, 2025.  The Rose Art Museum at Brandeis University is presenting "Hugh Hayden: Home Work," a survey of the last decade of Hayden's work. The show includes a site-responsive installation conceived for the Rose. "Home Work" was curated by Gannit Ankori and Sarah Montross, and will be on view through June 1, 2025. Among the museums that have presented solo shows of Hayden's work are the deCordova Sculpture Park and Museum, Lincoln, Mass.; the Blaffer Art Museum, University of Houston; the Institute of Contemporary Art Miami, and White Columns, New York. His work is in the collection of museums such as the Metropolitan Museum of Art, New York, the Studio Museum in Harlem, the Whitney Museum of American Art, New York, and the Baltimore Museum of Art.  Instagram: Hugh Hayden, Tyler Green. 

In her summer 2024 exhibition Trial By Fire at Core Art Space, Lakewood, Colorado, Maria Sheets exhibited a series of colorful, sculpturally dense, illuminated glass panels of portraits and landscapes created in a unique process that combines the mediums of traditional stained glass grisaille/enameling with fused glass “painting” known as Vitreonics. The technique was documented in Justin Monroe's award-winning documentary Holy Frit. The movie traces artist/designer Tim Carey's journey through making the world's largest stained and fused glass window with the help of Italian glass maestro Narcissus Quagliata. Says Sheets: “Our family experienced a major loss in late 2023 that inspired a radical shift in what I was producing. In an attempt to address this swing of emotional intensity, I found I desperately needed to break some sh#t. Inspired by the project created in the new film Holy Frit, I began to learn Vitreonics. The process, particularly the intense smashing, layering, and heating of glass, gave me the change I needed. Vitreonics brought balance to my creative world and reminded me that though I can and do use my skills to make art that is highly technical, I can also relax into flexibility and levity.” With a conservation and glass studio located in Evergreen, Colorado, Sheets is a senior conservator of Foothills Art Conservation and a master glass designer, painter and fabricator. She was Chief Conservator of a fire recovery project with the Museum of Biblical Art, Dallas from 2005-2018. A partial list of additional clients includes the Ross Perot Collection, George Bush Family, Gerald Ford, Dallas Museum of Art, Nasher Sculpture Center, and the Ann and Gabriel Barbier-Mueller Samurai Collection. She served as President of the Conservators Private Practice Group of the American Institute for Conservation and holds a Professional Associates status.  Signed commissioned works in architectural glass include large-scale projects presently housed in museums, universities, houses of worship, businesses and private residences internationally. In 2021, Sheets designed and painted the Legacy Window for Tulsa's Vernon AME in Greenwood, illustrating 120 years of the church's history and survival from the Tulsa Race Massacre. Her own work was included in recent juried exhibitions such as American Glass Guild NOW 2016 (juror, contemporary artist Judith Schaechter), Texas National 2018 (juror Jed Perl, international art critic), and Materials Hard and Soft International Craft Exhibition 2019 (2nd place of 1100 entries). She is a resident artist for Valkarie Gallery in Lakewood, Colorado, where her work will be exhibited in a solo exhibition from November 13 through December 8, 2024.  In 2022, Martin Faith, Scottish Stained Glass, Centennial, Colorado, approached Sheets with a project that involved reproducing an artist's pieces made in the 1970s onto glass. Sheets explains: “He showed them to me, and I gasped, recognizing the work as Judy Chicago's. I had read her early biographies while I was in college in the ‘90s. My feminist art teacher taught us about her work and the famous piece The Dinner Party, which congress was crucifying along with a number of artists trying to get funding through the National Endowment for the Arts.  I even wrote her fan mail.” Sheets and Chicago met and spent several years working collaboratively in Chicago's Belen, New Mexico studio. There they created complex airbrushed/masked pieces onto glass. These took five months of research and development as the technique/design would be some of the most unforgiving yet enlightening of Sheet's life. Last year Chicago had a blockbuster show of the work at New Museum in New York accompanied by a four-page spread in the New York Times as well as an exhibition at Serpentine in London. Occupying a rare niche in the art world, Sheets was inspired by her great-uncle, a Russian Orthodox priest and iconographer to apply old-world art materials on stained glass to create both traditional religious imagery or modern portraits and scenes rife with politics. Her work Motherboard Madonna was recently exhibited in AI Love You at Niza Knoll Gallery, Denver, Colorado.  Says Sheets: “The gallery got blackballed, but the whole point of show was to discuss the ethical concerns and use of AI as a tool. One could say creativity was used in the creation of this technology and that “paint” is not the only medium. Adapt or die…”  

Episode No. 662 features artists Sarah Sze and Zoë Charlton. The Nasher Sculpture Center in Dallas is showing "Sarah Sze," a presentation of new works that explore how memory marks time and space, and how art negotiates image and object. The exxhibition is on view through August 18. Sze represented the United States at the 2013 Venice Biennale. Other -ennials at which her work has been featured include the Whitney (2000), Carnegie (1999), Berlin (1998), Guangzhou (2015), Liverpool (2008), and Lyon (2009). She has made public artworks for sites such as LaGuardia Airport in New York, and Storm King Art Center. Charlton is included in "A Movement in Every Direction: Legacies of the Great Migration" at the Berkeley Art Museum and Pacific Film Archive, University of California, Berkeley. The exhibition presents impressions of the Great Migration as considered by a dozen contemporary artists. The exhibition, which was co-curated by Ryan N. Dennis and Jessica Bell Brown, was organized for Berkeley by Anthony Graham with Matthew Villar Miranda. It's on view through September 22. Charlton's work often addresses culturally loaded landscapes and histories. It has been included in exhibitions at museums such as the Studio Museum in Harlem and Crystal Bridges Museum of American Art, Bentonville, Ark. Her work is in the collection of museums such as The Phillips Collection, Washington, DC, the Birmingham (Ala.) Museum of Art, and the Baltimore Museum of Art. Instagram: Zoe Charlton, Tyler Green.

Episode No. 659 features artists Barbara Bosworth and the Haas Brothers. Two art museums are showing exhibitions of Bosworth's work: the Museum of Fine Arts, Boston is presenting "Barbara Bosworth: The Meadow" through December 1. The show features photographs of a meadow in Carlisle, Massachusetts and near the Concord River that Bosworth made over 15 years, pictures that investigate time, human presence, and nature. The exhibition was curated by Karen Haas. In 2015 Radius Books published a book of Bosworth's "The Meadow" pictures accompanied by texts by poet Margot Anne Kelley. "Barbara Bosworth: Sun Light Moon Shadow" is at the Cleveland Museum of Art through June 30. The exhibition offers Bosworth's photographs of light, including eclipses, sunrises, and sunsets, many of which were made near Bosworth's childhood home in eastern Ohio. It was curated by Barbara Tannenbaum. The Nasher Sculpture Center in Dallas is showing "Haas Brothers: Moonlight" through August 25. The exhibition, which highlights the fusion of art, design, and technology in the brothers' practice, shows work made by twin brothers Nikolai and Simon Haas both inside and outside the museum. The Haas Brothers have previously had solo exhibitions at the Katonah (NY) Museum of Art, the SCAD Museum of Art, Savannah, Ga., and at the Bass Museum of Art, Miami Beach, Fla. Instagram: Barbara Bosworth, Barbara Bosworth (weather), Haas Brothers, Tyler Green.

Episode No. 644 features artists Thenjiwe Niki Nkosi and Trey Burns. The Hammer Museum is presenting "Hammer Projects: Thenjiwe Niki Nkosi" through August 11. The exhibition features ARENA V (2024), Nkosi's latest investigation of the social and psychological experiences of Black gymnasts. "Nkosi" is curated by Ikechúkwú Onyewuenyi with Connie Butler. Nkosi is a South Africa-based artist whose work often uses the world of sport, and especially athletes, to consider imperial histories and their impacts on the present, fellowship, competition, and performance. She has been featured in group exhibitions at the 15th Sharjah Biennial, United Arab Emirates, at the Zeitz Museum of Contemporary Art Africa, Cape Town, the Aga Khan Museum, Toronto, and more. In collaboration with East Side Projects, Nkosi presented the multimedia work Equations for a Body at Rest across many spaces in Birmingham, UK as part of the 2022 Commonwealth Games. Nkosi's short film The Same Track, referenced on the program, may be viewed here. The Nasher Sculpture Center in Dallas is showing "Nasher Public: Trey Burns" through April 21. The exhibition features Burns' Prairie Piece which examines north Texas' ecology through seemingly incongruent subjects such as Robert Smithson's unrealized proposals for the Dallas-Fort Worth airport, and the George W. Bush administration and Bush's presidential library at Southern Methodist University. Burns has exhibited at the Pavilion Vendôme and the Ecole Nationale d'Architecture in Paris, at Wassaic Projects, and more. He is also the co-director of Dallas' Sweet Pass Sculpture Park, a non-profit that provides space and support for outdoor sculpture.

Do you know how many millionaires live in Dallas? The answer may surprise you, but a look at the cost of an average night in Dallas may not. We also do a quick dive into the history of the local art scene and the influence of the Nasher Sculpture Center.

Jessica Fuentes, William Sarradet, and Brandon Zech discuss recent shows they've seen across Texas, the opening of new galleries in Houston, Austin, and Wimberley, and the art news that's been making headlines this fall. "In a lot of ways, Jeremy Strick's retirement from the Nasher Sculpture Center isn't surprising — we've talked recently about how we're kind of at a turning point where organizations across Texas are starting to see a certain generation retire or step back and new people come in to lead. It will be interesting to see what will happen next for the museum." See related readings here: https://glasstire.com/2023/11/19/art-dirt-rounding-up-fall-art-news-exhibitions-weve-loved If you enjoy Glasstire and would like to support our work, please consider donating. As a nonprofit, all of the money we receive goes back into our coverage of Texas art. You can make a one-time donation or become a sustaining, monthly donor here: https://glasstire.com/donate

Episode No. 624 features curator Leigh Arnold and artist Sarah Crowner. Arnold is the curator of "Groundswell: Women of Land Art," a survey of artists who have worked in the land that revises ossified male-centric histories at the Nasher Sculpture Center, Dallas. The exhibition provides a broad overview of themes, interests, and artworks that women created beginning in the 'usual' land art era, the 1960s and 1970s, and updates our understanding of land art to include not only work made in the most rural reaches of North America, but also work made and installed in and around urban and suburban centers. The exhibition is on view through January 7, 2024. An excellent catalogue was published by the Nasher and DelMonico Books. Bookshop and Amazon offer it for about $55. The Pulitzer Arts Foundation is presenting "Sarah Crowner: Around Orange," a presentation of site-specific artworks that engage with the Pulitzer's Tadao Ando building and Ellsworth Kelly, whose monumental sculpture Blue Black is on permanent view at the Pulitzer. The exhibition, which was curated by Stephanie Weissberg, is on view through February 4, 2024. Concurrently, The Hill Art Foundation, New York, is showing "The Sea, the Sky, a Window," an exhibition of site-specific works Crowner is presenting with sculptures and paintings from several private collections. The exhibition is on view through February 17, 2024. Instagram: Leigh Arnold, Sarah Crowner, Tyler Green.

Ep.170 MAREN HASSINGER (b. 1947) has built an interdisciplinary practice that articulates the relationship between nature and humanity. Carefully choosing materials for their innate characteristics, Hassinger has explored the subject of movement, family, love, nature, environment, consumerism, identity, and race. The artist uses her materials to mimic nature, whether bundling it to resemble a monolithic sheaf of wheat or planting it in cement to create an industrial garden. Within the past five years, the artist has executed commissions for Dia Bridgehampton, Socrates Sculpture Park, the Hirshhorn Museum, and the Aspen Art Museum. Work is currently installed on the terrace of the Art Institute of Chicago, along the Schuylkill River in Philadelphia, at Longhouse Reserve in East Hampton, and in Ugo Rondinone's Sculpture Milwaukee. Hassinger will be included in the upcoming exhibition Groundswell: Women of Land Art at the Nasher Sculpture Center, Dallas and will be honored with an upcoming two-person survey alongside Senga Nengudi at IVAM, Valencia as well as an exhibition focused on their work in performance at the Cooley Gallery, Reed College, Portland, OR. She is the recipient of the Women's Caucus for the Arts Lifetime Achievement Award. Her work can be found at the Art Institute of Chicago; the Hirshhorn Museum; the Los Angeles County Museum of Art; the Museum of Modern Art, NYC; the San Francisco Museum of Art; the Walker Art Center, and the Whitney Museum, among others.  Photo credit ~ Museum Associates/LACMA  Susan Inglett Gallery https://www.inglettgallery.com/artists/255-maren-hassinger/overview/Smithsonian | Hirshhorn Museum  https://hirshhorn.si.edu/explore/maren-hassinger-hirshhorn-artist-diaries/ Getty https://www.getty.edu/news/getty-acquires-maren-hassinger-archive/ Dia Art https://www.diaart.org/exhibition/exhibitions-projects/maren-hassinger-exhibition-301 LongHouse Reserve https://longhouse.org/products/artist-maren-hassinger MICA https://www.mica.edu/graduate-programs/rinehart-school-of-sculpture-mfa/maren-hassinger/ Inquirer https://www.inquirer.com/arts/schuylkill-river-public-art-steel-bodies-philadelphia-20230623.html Brooklyn Rail https://brooklynrail.org/events/2023/06/02/maren-hassinger-process/ Culture Type https://www.culturetype.com/2023/09/05/latest-news-in-black-art-sonia-boyce-now-represented-by-hauser-wirth-getty-acquires-maren-hassinger-archive-tomashi-jackson-wins-rappaport-prize-more/ The Grio https://thegrio.com/2023/09/08/getty-acquires-archive-of-renowned-artist-maren-hassinger/ Sculpture Milwaukee  https://www.sculpturemilwaukee.com/nature-doesnt-know-about-us/maren-hassinger MCAD https://www.mcad.edu/events/visiting-artist-lecture-maren-hassinger Art Pil https://artpil.com/announcements/maren-hassinger-process/ MICA https://www.mica.edu/graduate-programs/rinehart-school-of-sculpture-mfa/maren-hassinger/ Wikipedia   https://en.wikipedia.org/wiki/Maren_Hassinger MoMA https://www.moma.org/artists/41280 Hammer https://hammer.ucla.edu/now-dig-this/artists/maren-hassinger Socrates Sculpture Park  https://socratessculpturepark.org/artist/maren-hassinger/ Artic https://www.artic.edu/exhibitions/10139/maren-hassinger-this-is-how-we-grow Association For Public Art https://www.associationforpublicart.org/apa-now/news/the-association-for-public-art-brings-maren-hassingers-steel-bodies-to-philadelphia/ The Great Northern Festival https://thegreatnorthernfestival.com/2023/maren-hassinger-love-for-minneapolis The Art Newspaper https://www.theartnewspaper.com/2023/08/30/maren-hassinger-archive-acquired-getty-research-institute Beverly Press https://beverlypress.com/2023/09/hassinger-works-added-to-getty-archive/

Ep.156 features Thaddeus Mosley (b. 1926, New Castle, PA), a Pittsburgh-based artist whose monumental sculptures are crafted with the felled trees of Pittsburgh's urban canopy, via the city's Forestry Division. Using only a mallet and chisel, Mosley reworks salvaged timber into biomorphic forms. With influences ranging from Isamu Noguchi to Constantin Brâncuși—and the Bamum, Dogon, Baoulé, Senufo, Dan, and Mossi works of his personal collection—Mosley's sculptures mark an inflection point in the history of American abstraction. These “sculptural improvisations,” as he calls them, take cues from the modernist traditions of jazz. “The only way you can really achieve something is if you're not working so much from a pattern. That's also the essence of good jazz,” Mosley says of his method. Mosley is the recipient of the 2022 Isamu Noguchi Award. His work has been exhibited and acquired by major museums and foundations since 1959, including the Mattress Factory Museum, Pittsburgh, Pennsylvania (2009); the Carnegie Museum of Art, Pittsburgh, Pennsylvania (2018); Harvard Business School, Boston, Massachusetts (2020); Sculpture Milwaukee, Milwaukee, Wisconsin (2020); Baltimore Museum of Art, Baltimore, Maryland (2021); Bergen Kunsthall, Bergen, Norway (2022) and Art + Practice, Los Angeles, California (2022). His work is held in public collections including the Baltimore Museum of Art, Baltimore, Maryland; the Art Institute of Chicago, Chicago, Illinois; High Museum of Art, Atlanta, Georgia; Whitney Museum of American Art, New York, New York; Brooklyn Museum, New York, New York; Carnegie Museum of Art, Pittsburgh, Pennsylvania; and the Colby College Museum of Art, Waterville, Maine. His traveling solo exhibition Forest, previously at the Baltimore Museum of Art, Baltimore, and Art+Practice, Los Angeles, will continue on to the Nasher Sculpture Center, Dallas May 2023. Photo credit: the gallery Karma karmakarma https://karmakarma.org/artists/thaddeus-mosley/ NYTimes https://www.nytimes.com/2023/02/17/arts/design/thaddeus-mosley-photographer.html Dallas News https://www.dallasnews.com/arts-entertainment/visual-arts/2023/05/25/thaddeus-mosleys-rugged-wooden-sculptures-explore-balances-of-forces-at-the-nasher/ Artforum https://www.artforum.com/picks/thaddeus-mosley-82787 Sculpture Magazine https://sculpturemagazine.art/thaddeus-mosley-2/ Touchstone Center for Crafts https://touchstonecrafts.salsalabs.org/mosleystudiotour/index.html Pitt Magazine https://www.pittmag.pitt.edu/news/wood-work WSJ https://www.wsj.com/articles/a-modern-vision-henri-matisse-etta-cone-claribel-cone-collecting-thaddeus-mosley-forest-sculpture-baltimore-museum-of-art-11636142617 Carnegie Museums (1997) https://carnegiemuseums.org/magazine-archive/1997/mayjun/feat3.htm Noguchi Museum https://www.noguchi.org/museum/support/special-events/benefit/2022-11-17/ Nasher Sculpture Center https://www.nashersculpturecenter.org/press/press-releases/news/id/221 https://www.nashersculpturecenter.org/art/exhibitions/exhibition/id/1981?thaddeus-mosley-forest United States Artist https://www.unitedstatesartists.org/fellow/thaddeus-mosley/ Colby Museum https://museum.colby.edu/2022/08/05/art-break-directional-by-thaddeus-mosley-2/ Baltimore Museum of Art https://artbma.org/exhibition/thaddeus-mosley-forest ARTnews https://www.artnews.com/list/art-news/artists/paris-plus-sites-best-installations-1234643842/alicja-kwade/ A+P https://artandpractice.org/exhibitions/exhibition/thaddeus-mosley-forest/ Ocula https://ocula.com/art-galleries/karma/exhibitions/thaddeus-mosley-recent-sculpture/ Wikipedia https://en.wikipedia.org/wiki/Thaddeus_Mosley Mattress https://mattress.org/works/sculpture-studio-home/

Paul Cox is the Vice President and Principal at Environmental Design, Inc. He is a graduate of Texas A&M University and attended the University of Houston to study international business and the Spanish language. Paul is a certified arborist through the International Society of Arboriculture, and he is credentialed as a consulting arborist. His experience in the tree industry includes contract negotiations, tree preservation, plant health care, project management, and tree relocation to name a few. Paul's responsibilities have included high-profile sites which include the National September 11th Memorial in Lower Manhattan, the Flight 93 Memorial in Shanksville, Pennsylvania, Governors Island Park installation in New York, and the Nasher Sculpture Center in Dallas, Texas. Paul's current responsibilities include multiple business units operating in the Eastern United States, Canada, Mexico, Central America, and Europe. --- Send in a voice message: https://podcasters.spotify.com/pod/show/plantatrilliontrees/message Support this podcast: https://podcasters.spotify.com/pod/show/plantatrilliontrees/support

Jeremy Strick has been the Director of the Nasher Sculpture Center since March 2009. Mr. Strick oversees collections, exhibitions and operations at the 2.4-acre museum located in the heart of downtown Dallas' Arts District.Prior to the Nasher, Mr. Strick served as Director of The Museum of Contemporary Art (MOCA) in Los Angeles, California, for more than nine years. Throughout his tenure, MOCA received international acclaim for its exhibition program, which included such landmark shows as Martin Kippenberger: The Problem Perspective (2008); Marlene Dumas: Measuring Your Own Grave (2008); Andy Warhol Retrospective (2002); Willem de Kooning: Tracing the Figure (2002), among many others. Mr. Strick also served as a senior curator at the Art Institute of Chicago, and held curatorial posts at the Saint Louis Art Museum and the National Gallery of Art, Washington, D.C. He pursued graduate studies in Fine Arts at Harvard University and received his Bachelor of Arts (History of Art) in 1977 from the University of California at Santa Cruz. Additionally, he has curated numerous exhibitions and has written and lectured extensively about modern and contemporary art.www.nashersculpturecenter.orgHost, Earlina Green Hamilton

Episode No. 593 remembers artist Phyllida Barlow. Barlow died this week. She was 78. Barlow came from an illustrious British family, one thick with Huxleys and Wedgwoods, a royal physician, and one particularly famous Darwin. Instead of joining a parade of ancestors within the British establishment, she devoted her life and career to questioning, upturning, and reinventing. Her chosen profession was teaching, at University College London's Slade School of Fine Art, and sculpting, a medium which she seemed to reject and change in equal measure. She represented Britain in the Venice Biennale, and had had solo shows in at museums in Nuremberg, West Palm Beach, Des Moines, Munich, and Zurich, and in London at the Tate and the Royal Academy. Her first US shows were in Dallas, in 2003 and 2005. This week's episode features Barlow's two visits to The MAN Podcast: in 2013 on the occasion of the Carnegie International (in which Barlow was the breakout star); and in 2015 when Barlow installed a spectacular solo exhibition at the Nasher Sculpture Center in Dallas.

Leslie Moody Castro talks with Dallas artist Vicki Meek about her Nasher Sculpture Center fellowship, for which she and a group of artists are researching, documenting, and interpreting the history of the Tenth Street Historic District Freedman's Town in Oak Cliff.  "I wanted to be able to have a group of artists tap into this community, which is currently under siege in Dallas. We don't know whether or not it is going to survive." See related readings here: https://glasstire.com/2023/02/26/art-dirt-a-conversation-with-vicki-meek If you enjoy Glasstire and would like to support our work, please consider donating. As a nonprofit, all of the money we receive goes back into our coverage of Texas art. You can make a one-time donation or become a sustaining, monthly donor here: https://glasstire.com/donate

Episode No. 587 features curators Jed Morse and Perrin Lathrop. Morse is the curator of "Mark di Suvero: Steel Like Paper" at the Nasher Sculpture Center in Dallas. The exhibition surveys di Suvero's career with a special focus on di Suvero's in-studio practice, such as his drawings and his little-considered modestly scaled sculptures (which make up the vast majority of his oeuvre). It is the most extensive survey of di Suvero's work in over 30 years, and the largest museum exhibition of such since 1975. "di Suvero" is on view through August 27. The excellent catalogue was published by the museum. Along with Nikoo Paydar and Jamaal Sheats, Lathrop is a co-curator of "African Modernism in America, 1947-67" at the Fisk University Galleries in Nashville. The exhibition investigates the connections between African artists and American patrons, artists, and cultural organizations such as the Harmon Foundation, the Museum of Modern Art, and HBCUs during the early Cold War. It also features The Politics of Selection, a commission from Lagos-based sculptor Ndidi Dike that interrogates the collecting histories presented in the exhibition. "African Modernism" is on view through February 12, after which it will travel to the Kemper Art Museum at Washington University, Saint Louis; the Phillips Collection in Washington; and the Taft Museum of Art in Cincinnati. The outstanding catalogue was published by the American Federation of Arts. Amazon and Indiebound offer it for about $45.

Brandon Zech and special guest Pete Gershon discuss the history of Houston's artist-run spaces, and also talk about Gershon's new position as Curator of Programs at the Orange Show Center for Visionary Art. "If a space lasted for a year or a couple of years and then the proprietor moved on to do something else, that's hardly a failure."  See related readings here: https://glasstire.com/2022/12/04/art-dirt-discussing-houstons-alternative-spaces-with-pete-gershon This week's podcast is sponsored in part by the Nasher Sculpture Center. Muse on art, the body, and change in "Nairy Baghramian: Modèle vivant," an exhibition that The Dallas Morning News calls a “human and industrial mix.” See new works by the artist and explore the dialogue with classic masterpieces at the Nasher Sculpture Center, including Roy Lichtenstein, Aristide Maillol, and Henri Matisse. Plan your visit here: https://www.nashersculpturecenter.org/art/exhibitions/exhibition/id/1897/nairy-baghramian-modle-vivant/utm_medium/referral-paid/utm_campaign/exh-1pr-ae/utm_source/glasstire/utm_content/baghramian

Episode No. 573 features artists Matthew Ronay and Jade Doskow. The Nasher Sculpture Center in Dallas is presenting "Matthew Ronay: The Crack, the Swell, an Earth, an Ode" through January 15, 2023. The exhibition features a nearly 24-foot-long sculpture that functions as both an introduction to Ronay's exploration of surrealism, abstraction, representation and art's history, and also as a summary of the last decade of his work. The exhibition was curated by Leigh Arnold and is accompanied by a catalogue published by the Nasher and Gregory R. Miller & Co. Indiebound and Amazon offer it for about $55. Ronay's work has been featured in solo shows at the Blaffer Art Gallery and at the Pérez Art Museum Miami. He has been included in group shows at the Dallas Museum of Art, the North Carolina Museum of Art, the Williams College Museum of Art, and more. The John Hartell Gallery at the Cornell University College of Architecture, Art, and Planning is presenting "A New Wilderness: Freshkills." The exhibition features photographs by Freshkills photographer-in-residence Jade Doskow and a series of soundscapes by Heather Campanelli. The work shows the evolution of Staten Island's Freshkills from a landfill -- the world's largest household garbage dump -- into a 2,200-acre city park. The exhibition is on view through November 4. Doskow's Freshkills work debuted in The New York Times. Black Dog London published a monograph of Doskow's "Lost Utopias" work in 2016. Instagram: Matthew Ronay, Jade Doskow, Tyler Green.

Ashley Sharp spends her career in public service- as Executive Director of Dwell with Dignity, Ashley has helped the organization reach new heights, including being awarded 40 Under 40 by the Dallas Business Journal, Social Innovator of the Year and the Best Place to Donate by D Magazine, and attaining national recognition through their innovative Decade of Dignity dining series. She has also served Interfaith Family Services as the Chief Development Officer, was the Manager of Patron Relations at the Nasher Sculpture Center, and worked with the Dallas Symphony Orchestra. In addition to her professional career, she currently serves on the KERA Community Advisory Board, Mayor's Star Council as the Engage Dallas Chair, is a graduate of the inaugural class of the UT Austin Lyndon B. Johnson's Women's Campaign School, is a Professor at the University of Houston, and was a finalist in the United Way's Social Innovation Accelerator. Ashley is a past president of the Business Council on the Art's Leadership Arts Institute and has been part of the International Rescue Committee, Dallas Summer Musicals, and Junior League of Dallas. She holds a BA in Arts Administration and an MPA in Public Affairs with a concentration in Nonprofit Management, both from the University of Texas at Dallas, as well as a degree in Social Impact Design from the University of Pennsylvania. --- Support this podcast: https://podcasters.spotify.com/pod/show/grayson-mask/support

On today's episode, we'll be visiting with Lucky Star instructor, Carolyn Marco.✨ Carolyn is a Dallas native with a passion for creating, teaching, and helping others.  Former Creative Director and Jewelry Designer for Fossil, she traded the corporate world for a chance to focus on more creative experiences through her business, Kiki Knows Art.  She enjoys experimenting with new techniques and materials to share with groups of all ages.  From youth art camps at the Dallas Museum of Art, family programs at the Nasher Sculpture Center, maker workshops at the Perot Museum to facilitating workshops at local breweries – Carolyn enjoys any opportunity to create with others.   Committed to putting less waste in the world, she primarily shapes projects based on material donations received and re-purposes old or worn items into something new.  A forever student, Carolyn explores various creative outlets, from glass painting to paint pouring, fabric design to weaving and macrame, jewelry making to stained glass.  A frequent traveler, museum-goer, coffee-drinker, beer-sipper, concert-goer, sun-worshiper, mermaid-in-training, she enjoys any reason to be outdoors or to spend time with friends and family.   Facebook: https://www.facebook.com/kikiknowsart (kiki_knows_art) Instagram: https://instagram.com/kiki_knows_art?igshid=YmMyMTA2M2Y= (@kiki_knows_art) Website: www.kikiknowsart.com Lucky Star Classes: Intro to Metalsmithing, Soldering Crash Course, Upcycled Holiday Ornaments *********************************************************************************** Lucky Star is a women's art and whole living sleepaway camp that takes place each fall in the Texas hill country. This is no art retreat in a hotel conference room…and no, we're not camping in tents… we're actually “glamping” in climate controlled cabins that are built into the hillside overlooking the Guadalupe River, and we're eating gourmet, chef-prepared food in a dining hall like we're at Hogwarts!  We're fully immersed in creative workshops like jewelry making, astrology, mixed media collage, apothecary, abstract painting, writing, sewing, yoga, welding, pottery, and we've even had classes on raising alpacas and tomahawk throwing!  No dishes, no laundry, no driving kids, and no deadlines or demanding bosses.  Just a solid five days to be YOU because we believe in the importance of discovering/reigniting the authentic part of you that makes you feel ALIVE and we know that CREATIVITY can be a powerful catalyst for growth, healing, self-care, connection, and just the spark you need to thrive.  When we're not at camp learning, laughing, making, and singing by the campfire, we're a thriving creative community of supportive women known as the Lucky Star Galaxy and we'd love for you to join us!   For dates and more information about our upcoming camps, visit our website at https://my.captivate.fm/www.luckystarartcamp.com (www.luckystarartcamp.com). Upcoming Camps— Lucky Star Art Camp - November 2-6, 2022 Find us on Instagram: https://www.instagram.com/luckystarartcamp/ (@luckystarartcamp) Facebook:  https://www.facebook.com/luckystarartcamp (@Lucky Star) or Search https://www.facebook.com/groups/1104922463040763 (Lucky Star Galaxy)

Los performances de Christian Cruz no dejan a nadie indiferente ya que se expone ante el público de un modo muy poco convencional. En una de sus últimas propuestas, en el Nasher Sculpture Center de Dallas (Texas), la artista sostenía en su cabeza hasta 12 canastos de ropa sucia y se quedaba inmóvil y de espaldas al público en un rincón de la galería. Con este trabajo Christian buscaba revalorizar el trabajo doméstico. Esta original artista se abre en esta conversación sobre sus orígenes, su historia familiar y su particular vision sobre el arte, la maternidad y el feminismo. https://agujasenelpajar.com https://www.youtube.com/watch?v=9riexF5ErKghttps://www.christiancruzperformance.com/https://www.instagram.com/christiancruzperformance/   

Concrete is full of contradictions. First it's dust, then liquid, then hard as stone. It's both rough and smooth, it's modern and ancient, it can preserve history or play a hand in destroying it. Unsurprisingly, concrete is all about the gray area. Hear about this material from its supporters and detractors alike: why it's so controversial, why it's so often used in memorials, and how Colombian artist Doris Salcedo uses it to address grief and mourning. Guests: Nadine M. Orenstein, Drue Heinz Curator in Charge, Drawings and Prints, The Metropolitan Museum of Art Abraham Thomas, Daniel Brodsky Curator of Modern Architecture, Design, and Decorative Arts, Modern and Contemporary Art, The Metropolitan Museum of Art Adrian Forty, professor of architectural history, University College London, and author of Concrete and Culture (2012) Marco Leona, David H. Koch Scientist in Charge, Scientific Research, The Metropolitan Museum of Art Iria Candela, Estrellita B. Brodsky Curator of Latin American Art, Modern and Contemporary Art, The Metropolitan Museum of Art Featured object: Doris Salcedo (Colombian, b. 1958), Untitled, 1997–99. Wood, concrete, and steel, 32 x 15 1/4 x 16 1/2 in. (81.3 x 38.7 x 41.9 cm). The Metropolitan Museum of Art, New York, Purchase, Lila Acheson Wallace Gift and Latin American Art Initiative Gift, 2020 (2020.25) For a transcript of this episode and more information, visit metmuseum.org/immaterial #MetImmaterial Immaterial is produced by The Metropolitan Museum of Art and Magnificent Noise and hosted by Camile Dungy. This episode was produced by Eleanor Kagan. Special thanks to Doris Salcedo, Laura Ubate, the San Francisco Museum of Modern Art, the Museum of Contemporary Art in Chicago, Harvard Art Museums, and the Nasher Sculpture Center.

Today's episode is brought to you by Meadowood Creative. Meadowood Creative delivers beautifully packaged branding that brings client's stories to life. Through artful design Meadowood Creative helps you to forge valuable connections with your target audience. Meadowood designs for all of your creative needs including Branding, Logos, Print, Websites, Murals, Patterns, Illustrations, and more. Check out www.meadowoodcreative.com to learn more about it! We're so thrilled to announce longtime camper-turned-instructor, Melissa Gonzales, will be teaching at Lucky Star again in November!! Melissa's classes always bring so much joy and her passion for art education shines brightly.✨Melissa is a museum educator at the Nasher Sculpture Center in Dallas, where she leads tours and workshops, develops resources for teachers, and shares her love of art and creativity. When she isn't teaching, Melissa spends time with her husband, two kids, and rescue dog. She loves to travel, get lost in a good book, watch movies and sing karaoke…all. night. long.   You can find Melissa on Instagram: https://instagram.com/msegonzales?igshid=YmMyMTA2M2Y= (@msegonzales)  Lucky Star 2022 Classes:  Play with Paper! *********************************************************************************** Lucky Star is a women's art and whole living sleepaway camp that takes place each fall in the Texas hill country. This is no art retreat in a hotel conference room…and no, we're not camping in tents… we're actually “glamping” in climate controlled cabins that are built into the hillside overlooking the Guadalupe River, and we're eating gourmet, chef-prepared food in a dining hall like we're at Hogwarts!  We're fully immersed in creative workshops like jewelry making, astrology, mixed media collage, apothecary, abstract painting, writing, sewing, yoga, welding, pottery, and we've even had classes on raising alpacas and tomahawk throwing!  No dishes, no laundry, no driving kids, and no deadlines or demanding bosses.  Just a solid five days to be YOU because we believe in the importance of discovering/reigniting the authentic part of you that makes you feel ALIVE and we know that CREATIVITY can be a powerful catalyst for growth, healing, self-care, connection, and just the spark you need to thrive.  When we're not at camp learning, laughing, making, and singing by the campfire, we're a thriving creative community of supportive women known as the Lucky Star Galaxy and we'd love for you to join us!   For dates and more information about our upcoming camps, visit our website at https://my.captivate.fm/www.luckystarartcamp.com (www.luckystarartcamp.com). Upcoming Camps Lucky Star Art Camp - November 2-6, 2022 Lucky Star at Wander Inn - June 17-19, 2022 Find us on Instagram: https://www.instagram.com/luckystarartcamp/ (@luckystarartcamp) Facebook:  https://www.facebook.com/luckystarartcamp (@Lucky Star) or Search https://www.facebook.com/groups/1104922463040763 (Lucky Star Galaxy)

Interdisciplinary artist Alicia Eggert creates captivating work, which wrestles with fundamental existential questions in witty and awe-inspiring ways. From monumental inflatables, flashing neon signs, cut flowers, and more, her dynamic works have been exhibited globally. Often taking the form of text, she transforms words and phrases collected in her journals into profound, arresting installations that illuminate her interplay with time and language. She credits her preoccupation with time and existence to her upbringing as a child of evangelical Pentecostal missionaries. At a young age her family moved to South Africa to establish a ministry and she spent much of her time listening to her father's sermons, contemplating life and performance, which left an indelible impact on her work. One of the beautiful things about her work is its simplicity and legibility which render them easily comprehensible. As a sculpture professor at the University of North Texas, she teaches a course about public art that culminates in students executing their work formally. Her dedication to her craft and students is inspiring and a reminder to live in the present, but with an eye to the future. About Alicia:(b. 1981) is an interdisciplinary artist whose work gives material form to language and time, the powerful but invisible forces that shape our perception of reality. Her creative practice is largely motivated by an existential pursuit to understand the linear and finite nature of human life within a seemingly infinite universe. She derives her inspiration from physics and philosophy, and her sculptures often co-opt the styles and structures of commercial signage to communicate messages that inspire reflection and wonder. Alicia creates neon signs that illuminate the way light travels across space and time, and billboards that allow Forever to appear and disappear in the fog. These artworks have been installed on building rooftops in Russia, on bridges in Amsterdam, and on uninhabited islands in Maine, beckoning us to ponder our place in the world and the role we play in it.Alicia's work has been exhibited at notable institutions nationally and internationally, including the CAFA Art Museum in Beijing, the Triennale Design Museum in Milan, the Philadelphia Museum of Art, the Corning Museum of Glass, the Albuquerque Museum of Art and History, the Telfair Museums, and many more. Recent solo exhibitions have been held at Galeria Fernando Santos (Porto, Portugal), The MAC (Dallas, TX), and T+H Gallery (Boston, MA). Alicia is the recipient of numerous honors and awards, including a TED Fellowship, a Washington Award from the S&R Foundation, a Direct Artist Grant from the Harpo Foundation, an Artist Microgrant from the Nasher Sculpture Center, and an Individual Artist Fellowship from the Maine Arts Commission. She has been an artist in residence at Google Tilt Brush, Sculpture Space, True/False Film Festival, and the Tides Institute and Museum of Art. In 2020, she was added to the Fulbright Specialist Roster by the U.S. Department of State's Bureau of Educational and Cultural Affairs.Alicia earned a Bachelor of Science degree from Drexel University in 2004, and a Masters of Fine Arts in Sculpture/Dimensional Studies from Alfred University in 2009. She is currently a Presidential Early Career Professor of Studio Art and the Sculpture Program Coordinator at the University of North Texas. Her work is represented by Galeria Fernando Santos in Porto, Portugal, and Liliana Bloch Gallery in Dallas. She lives with her son, Zephyr, in Denton, Texas.Learn more about Alicia on her website and follow her on Instagram @aplaceintheuniverse.

Episode No. 535 of The Modern Art Notes Podcast features curator and historian Marin Sullivan and artist Olivia Block. Along with Jed Morse, Sullivan is the co-curator of "Harry Bertoia: Sculpting Mid-Century Modern Life," the first American museum retrospective of Bertoia's work in over 50 years. The exhibition is at the Nasher Sculpture Center in Dallas through April 24. The exhibition features over 100 works, including Bertoia's early jewelry and furniture designs, monotypes, sculptures, and commissions he fulfilled for architect-clients such as Gordon Bunshaft, Eero Saarinen and Minoru Yamasaki. The exhibition is accompanied by an excellent catalogue published by the museum in collaboration with Verlag Scheidegger & Spiess. Indiebound and Amazon offer it for $59. The Nasher has commissioned Olivia Block to make a new sound installation from recordings of Bertoia's so-called sonambient sculptures. Block's new composition, titled The Speed of Sound in Infinite Copper, will highlight the Bertoias' ability to create a palpable sonic space while allowing the audience to activate the sonic experience by moving about a gallery. The Speed of Sound in Infinite Copper will be presented at the museum through April 24. Block's discography includes over 20 solo and collaborative recordings. She has performed and exhibited around the world including in Chicago's Millennium Park, and at venues such as the Institute of Contemporary Art, London and the Museo Nacional Centro de Arte Reina Sofia, Madrid.

10 reasons why you should relocate your business to DFW? Seriously?? I'm limited to 10? Come be our neighbors...you'll like it! Let's dive right in: Central Time Zone - with the advent of constant shipping/traveling/gotta be there now being centrally located in the country is highly desirable. Distribution of good is faster and cheaper and travel is more convenient. DFW Airport - having a huge, international airport that flies practically anywhere is invaluable to business owners. You can fly anywhere in North and Central America within about 3 hours or less. It's the 4th busiest airport in the world based on passenger travel behind 2 in China and Atlanta. It's interesting, of the top 15 airports in the world, 9 are in China, 1 in Japan and 5 in the US - Atlanta, DFW, Denver and LAX. A great airport like that is a huge economic engine for the region. Low Taxes (corporate & individual) - Texas has always prided itself on having no income tax. That said, we do have a higher property tax rate, but the net is still heavily advantaged to us. Corporate taxes incentives are normally given away like candy whenever a big company states they wish to move to a city in Texas. If you look at the total tax burden paid by individuals in the US, guess which state is #1 (and not in a good way) - NY. Hawaii, Vermont, Maine and Connecticut or Minnesota (depending on the source) round out the top 5. Texas is #30 according to Wallethub.com and #47 according to TaxFoundation.org. Corporate taxes are a little different. South Dakota & Wyoming tie for 1st, then Missouri, North Carolina and South Carolina are the top 5 according to Taxfoundation.org. Texas is #47. Low Cost of Living - housing, food, taxes (again-see above), transportation-just across the board we rate better than most big areas. NYC is the worst in the US followed by SF, Anchorage, Honolulu and Brooklyn. Dallas is #52 according to Numbeo.com Labor Force - we've always had a wealth of blue collar workers, financial and oil and gas workers etc. While Austin is now called "Silicon Hills" for the tech companies it's attracting, DFW is one of the top cities in terms of high-quality tech worker availability. Weather - normally, Texas is a more moderate climate than other locales, but of late, it's hard to predict the weather anywhere! 120 degrees in Seattle recently? All said, we still experience more sunshine and less rain, sleet and snow than many metropolitan areas. This translate to more reliable transportation of people and goods and a smoother overall economy. Education - while I know you are referencing our big universities and their panoply of disciplines, I also would point out that there are lots of other educational venues locally from tech to real estate to hospitality to culinary. Cultural Opportunities - DFW area is the home to many one-of-a-kind culture venues from the Kimball and Amon Carter Museums in Fort Worth to the Nasher Sculpture Center in Downtown Dallas. There are far too many to name. Quality of Life - DFW is highly liveable with lots of things to do and the weather to allow you to do it. Pro-Business Attitude of People and Governments - one of the best reasons to live here are people's attitudes. Government and schools understand that businesses and the jobs they create are what attracts people to DFW. People move here with no jobs just because of the reputation.

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.

Karla García is an artist born in 1977 in Juarez, Mexico and is a Professor of Art and ceramics assistant at the Dallas College - Mountain View Campus. She completed an MFA degree in Ceramics and a Museum Education Certificate from the University of North Texas in May of 2019. The same year, she was awarded the Top Prize at the Sixth Annual Artspace 111 Regional Exhibition. Karla was selected as a visiting artist at the Dallas Museum of Art where she created a four-month interactive installation titled Carrito de Memorias which was selected to be exhibited at a Latin American Fine Art Competition in New York. Karla attended an international artist residency in St. Raphael, France where she began the exploration of her work Home and Land Project which was exhibited at Nasher Sculpture Center for the Nasher Windows series in August of 2020. This episode is sponsored by The NYC Crit Club , Golden Artist Colors and the New York Studio School.

This week we look at the future of work and art, by stepping into the world of Joyce Goss. Joyce Goss is the Executive Director of The Goss-Michael Foundation, which is internationally renowned for its Goss-Michael Collection of important contemporary and modern British art. She is a leading philanthropist and activist in the art world and has served in executive positions, a board member and chair of key events for The Family Place, MTV RE:DEFINE, U.S. Fund for UNICEF, Dallas Women’s Foundation, The Nasher Sculpture Center, Planned Parenthood of North Texas, The Dallas Contemporary and the Dallas Opera among others. If you enjoy the podcast, please consider leaving us a short review. It really makes a difference! For show notes and past guests, please visit: wndyr.com/podcasts/ For transcriptions of this episode visit: wnydr.com/podcasts/Joyce_Goss Follow Wndyr: LinkedIn: linkedin.com/company/wndyrsocial/ Twitter: twitter.com/wndyrsocial Facebook: facebook.com/wndyrsocial

Episode No. 481 of The Modern Art Notes Podcast features artist Michael Rakowitz and curator Julie Aronson. Rakowitz is the winner of the 2020 Nasher Prize, given by the Nasher Sculpture Center in Dallas. The Nasher is showing an exhibition of Rakowitz's work through April 18. It includes work from Rakowitz's series The invisible enemy should not exist, a 2007-and-after engagement with the looting of the Iraq Museum in Baghdad in the wake of the United States-led invasion. The series includes placeholders for many of the 15,000 artifacts that were stolen or lost in the museum's partial dissolution. The Nasher exhibition also includes Rakowitz's stop-motion film The Ballad of Special Ops Cody. The Wellin Museum at Hamilton College in Clinton, NY is presenting "Michael Rakowitz: Nimrud" through June 18. As of the publishing of this episode, the exhibition is open only to members of the Hamilton College community. On the second segment, curator Julie Aronson discusses "Frank Duveneck: American Master," a retrospective of the Gilded Age, Cincinnati-based painter whose teaching and work was also influential in the American northeast and in Europe. The exhibition is on view at the Cincinnati Art Museum through March 28.

Francisco Moreno was born in Mexico City in 1986 and immigrated to Arlington, Texas, in 1992. He attended the Conceptual Design Summer Program at the Tecnológico de Monterrey, Querétaro Campus in Mexico. Moreno returned to Arlington to complete his Bachelor in Fine Art at the University of Texas at Arlington in 2010, where he received the James S. Barnett Jr. Ideas in Art Charitable Foundation Scholarship. In 2012, Francisco graduated from the Rhode Island School of Design with a Master in Fine Art, aided by the prestigious Presidential Scholar Tuition award.Moreno and I discuss choosing the path of originality, how drawing gives him purpose, the metaphorical power of images, and his current large scale work at the Dallas Museum of Art. Moreno received The Arch and Anne Giles Kimbrough from the Dallas Museum of Art to complete the WCD Project. In 2016, he received an Artist Microgrant from the Nasher Sculpture Center to start his Chapel project production. Francisco lives and works in Dallas, Texas.Originally recorded on October 9, 2020Host, Earlina Green Hamilton

Against the backdrop of COVID-19 closures and racial unrest, artists are finding new ways to capture this historic moment in time. Jeremy Strick, Director of the Nasher Sculpture Center, and artist Ciara Elle Bryant join Dr. John Warner to discuss the power of art to heal and promote a deeper sense of community.

Christopher Blay and Bernardo Vallarino discuss Vallarino's work which addresses the hollow sentiments of "Thoughts and Prayers" in the face of violence in society. Blay's conversation with Vallarino took place at the Nasher Sculpture Center where Vallarino is the inaugural artist for Nasher Public, a new initiative at the Nasher. "The ribbons [central to Vallarino's installation at the Nasher] became a physical manifestation of this very hollow action that, without any real action behind it, has no effect on the violence that exists out there." If you enjoy Glasstire and would like to support our work, please consider donating. As a nonprofit, all of the money we receive goes back into our coverage of Texas art. You can make a one-time donation or become a sustaining, monthly donor here: glasstire.com/donate

Episode No. 463 features curator Shirley Reece-Hughes and artist Barry X Ball. Reece-Hughes is the curator of "Texas Made Modern: The Art of Everett Spruce" at the Amon Carter Museum in Fort Worth. The exhibition will be on view through November 1. The excellent exhibition catalogue was published by Texas A&M University Press. It is available from Amazon and from Indiebound for $35. The exhibition includes nearly 50 works Spruce made between 1929 and 1977. Spruce was an Arkansas-born painter who lived and worked in Dallas. Across his career, Spruce applied lessons learned from early Renaissance painting and early modernism to the Texas landscape. He exhibited widely was collected by institutions across the United States, including those in San Francisco, Philadelphia, and New York. As the American art world began to narrowly focus on the coasts in the 1960s and beyond, Spruce's work and career were substantially neglected. On the second segment, sculptor Barry X Ball discusses his work on the occasion of a career-spanning survey at the Nasher Sculpture Center in Dallas. That exhibition, “Barry X Ball: Remaking Sculpture,” has been extended through January 3, 2021. It was curated by Jed Morse. Ball’s sculptures are typically created out of rare stones with the assistance of 3-D scanning and printing technology and CNC milling machines. His work typically addresses and often updates mostly European major work from sculpture’s history, such as Michelangelo’s Rondanini Pieta or Medardo Rossos. This is Ball’s first survey exhibition in the United States; previous exhibitions of his work have been at Ca’ Pesaro in Venice, the Castello Sforzesco in Milan, and the Villa Panza in Varese. The fine exhibition catalogue was published by the Nasher.

A.Kendra Greene is an author, writer and artist; she has an MFA in nonfiction from the University of Iowa; she is a Fulbright scholar and is the reicipient of a Jacob K. Javits Fellowship and Harvard Library Innovation Lab Fellowship. She is a visiting assistant professor at the University of Texas, a guest artist at Dallas’ Nasher Sculpture Center and an associate editor at Southwest Review. She joins us today from Dallas to discuss her just-released work published by Penguin Books, “The Museum of Whales You Will Never See.”

Enrico Riley is an artist and the George Frederick Jewett Professor of Studio Art at Dartmouth College in Hanover, NH. He currently lives in Norwich, VT. Enrico received a BA in Visual Studies from Dartmouth College and an MFA in painting from Yale University School of Art. He is the recipient of a John Simon Guggenheim Memorial Foundation Fellowship, a Rome Prize in Visual Arts, an American Academy of Arts and Letters Purchase Prize in painting and a Jacobus Family Fellowship through Dartmouth College. He has exhibited work both nationally and internationally. Selected exhibitions include: Jenkins Johnson Projects, Brooklyn, NY, Crystal Bridges Museum of American Art, Bentonville, AR, The American Academy in Rome, Rome, Italy, The Virginia Museum of Fine Arts in Richmond, VA. The Columbus Museum, Columbus, Georgia, The Nasher Sculpture Center, Dallas, Texas, The American Academy of Arts and Letters in New York City, Hood Museum of Art, Hanover, NH, The Museum for the National Center of Afro-American Arts in Roxbury, MA, Accademia di Belle Arti di Roma, Rome, Italy, Rhode Island School of Design Ehp, Rome, Italy, Teckningsmuseet, Laholm, Sweden, Giampietro Gallery, New Haven, CT, SACI School of Art Florence, Italy, Pageant Gallery in Philadelphia, PA, Hampshire College, Amherst, MA, Lori Bookstein Fine Art in New York City, The Painting Center in New York City, SACI School of Art Florence, Italy, His work had been reviewed in Art New England, The New Criterion, The Hudson Review and the New York Times.

From Teaching Tolerance: "White privilege is—perhaps most notably in this era of uncivil discourse—a concept that has fallen victim to its own connotations. The two-word term packs a double whammy that inspires pushback. 1) The word white creates discomfort among those who are not used to being defined or described by their race. And 2) the word privilege, especially for poor and rural white people, sounds like a word that doesn’t belong to them—like a word that suggests they have never struggled. This defensiveness derails the conversation, which means, unfortunately, that defining white privilege must often begin with defining what it’s not. Otherwise, only the choir listens; the people you actually want to reach check out. White privilege is not the suggestion that white people have never struggled. Many white people do not enjoy the privileges that come with relative affluence, such as food security. Many do not experience the privileges that come with access, such as nearby hospitals. And white privilege is not the assumption that everything a white person has accomplished is unearned; most white people who have reached a high level of success worked extremely hard to get there. Instead, white privilege should be viewed as a built-in advantage, separate from one’s level of income or effort." "Systemic Racism includes the policies and practices entrenched in established institutions, which result in the exclusion or promotion of designated groups. It differs from overt discrimination in that no individual intent is necessary. It manifests itself in two ways: institutional racism: racial discrimination that derives from individuals carrying out the dictates of others who are prejudiced or of a prejudiced society structural racism: inequalities rooted in the system-wide operation of a society that excludes substantial numbers of members of particular groups from significant participation in major social institutions." Jess Garland is a Dallas based singer/songwriter, recording and performing artist.
 Jess co-produced the film and composed music for Their Lives Mattered: A Dialogue Honoring Stolen Lives by Dallas law enforcement on September 5th at Texas Theatre, the project funded by the City of Dallas’ Office of Cultural Affairs. Jess most recently received a grant from The Nasher Sculpture Center to record her single "Live Again" and create a music video on Fair Park grounds. Jess performed in Austin on July 5th for New Media Art and Sound Summit
sponsored by Church of The Friendly Ghost. Jess received a grant from the City of Dallas' Office of Cultural Affairs for her performance "Take Me Oya" in April 2019 for Dallas Arts Month at South Dallas Cultural Center. Jess received a grant for Aurora’s 2018 Future Worlds theme for her performance "Resurrecting Gaia" in October at Kettle Art Gallery. Resurrecting Gaia was featured in New York’s Vulture Magazine and also listed as a top pick of events to see by KERA’s Art and Seek and D Magazine. Jess opened for The Academy member, Gingger Shankar for Fortress Fest Presents Modern Music Series at The Modern Museum of Ft. Worth. She has composed music for Art Pena’s play, “Nameless/Endless” where she also performed at The Reading Room Gallery. Jess is also the harpist with Sunshine Village Band.
Jess is an educator and has a non-profit free music education program, Swan Strings that has been recently featured in Advocate Magazine and D Magazine. https://www.gofundme.com/f/swanstringsmusicprogram www.allwaysanotherway.com

Episode No. 446 features artists John Edmonds and Tamara Johnson. This month the Brooklyn Museum had planned to open "John Edmonds: A Sidelong Glance," an exhibition of 25 new and recent pictures including portraits and still-lifes of Central and West African sculpture, including works in Brooklyn's own collection (some of which were donated by writers Ralph and Fanny Ellison). Edmonds is the first winner of the Uovo Prize, a new annual exhibition award for an artist living or working in Brooklyn. Due to the COVID-19 pandemic, the exhibition's opening date is to be determined; it is scheduled to be on view through August 8, 2021. The Brooklyn exhibition was curated by Drew Sawyer. A mural-sized Edmonds, "A Lesson in Looking with Reverence," is installed at Uovo's forthcoming storage facility in Bushwick, where it will remain on view into November. John Edmonds is also included in "Riffs and Relations: African American Artists and the European Modernist Tradition" at the Phillips Collection in Washington, DC. The museum has extended the show through January 3, 2021. "Riffs and Relations" offers works by African American artists of the twentieth and twenty-first centuries alongside works of the European modernists whose work they engaged. The exhibition includes art from Edmonds's "Tribe" series, which examines early modernism. The exhibition was curated by Adrienne L. Childs, who was recently on Episode No. 444. On the second segment, Tamara Johnson discusses her installation of Deviled Egg and Okra Column (2020) at the Nasher Sculpture Center in Dallas. The Nasher is temporarily closed due to the COVID-19 pandemic, but it has scheduled installations for its new "Nasher Windows," series of exhibitions sited within the Nasher’s entrance vestibule on Flora Street. ("Nasher Windows" installations may be seen from outside the institution's Renzo Piano-designed building.) Johnson's sculpture goes up Friday, May 22, and will remain on view through Wednesday, May 27. Johnson is a Dallas-based artist who has previously exhibited her work at CUE Art Foundation, New York, in Maria Hernandez Park in Bushwick in partnership with the NYC Parks and Recreation Department, at Wave Hill in the Bronx, and at and in partnership with Socrates Sculpture Park in Long Island City. Along with Trey Burns, she operates the Sweet Pass Sculpture Park in West Dallas. Sweet Pass presents the work of early and mid-career artists in an outdoor setting, and on a rotating basis. Johnson and host Tyler Green mention Paulina Pobocha's 2018 presentation of Brancusi at the Museum of Modern Art, New York; Pobocha discussed the exhibition on Episode No. 353.

DONATE TO SWAN STRINGS HERE --> https://www.gofundme.com/f/SwanStringsMusicProgram I love a game changer. A doer. Someone who sees a problem and just goes right in to fix it. The amazingly talented Jess Garland is changing the GAME. Jess Garland is a Dallas based singer/songwriter, recording and performing artist. She is a multi-instrumentalist, using a combination of harp and guitar loops evoking elements of ambient folk and celestial tones. Jess most recently opened for Madame Gandhi at Babes Fest 2019 in Austin on September 7th. Jess co-produced the film and composed music for Their Lives Mattered: A Dialogue Honoring Stolen Lives by Dallas law enforcement on September 5th at Texas Theatre, the project funded by the City of Dallas’ Office of Cultural Affairs. Jess most recently received a grant from The Nasher Sculpture Center to record her single "Live Again" and create a music video on Fair Park grounds. Jess performed in Austin on July 5th for New Media Art and Sound Summit sponsored by Church of The Friendly Ghost. Jess received a grant from the City of Dallas' Office of Cultural Affairs for her performance "Take Me Oya" in April 2019 for Dallas Arts Month at South Dallas Cultural Center. Jess received a grant for Aurora’s 2018 Future Worlds theme for her performance "Resurrecting Gaia" in October at Kettle Art Gallery. Resurrecting Gaia was featured in New York’s Vulture Magazine and also listed as a top pick of events to see by KERA’s Art and Seek and D Magazine. Jess opened for The Academy member, Gingger Shankar for Fortress Fest Presents Modern Music Series at The Modern Museum of Ft. Worth. She has composed music for Art Pena’s play, “Nameless/Endless” where she also performed at The Reading Room Gallery. Jess is also the harpist with Sunshine Village Band. Jess is an educator and has a non-profit free music education program, Swan Strings that has been recently featured in Advocate Magazine and D Magazine. www.allwaysanotherway.com

Often, when we think about the intersection of art and tech our minds wander to innovations like artificial intelligence, augmented reality, projection mapping, etc. In this episode, new SOTA host, Gabriel Barcia-Colombo speaks with interdisciplinary artist, Alicia Eggert on technology as a medium by which she explores our understanding of time, language, and everyday abstractions we take for granted. How do we measure "now"? What is "eternity"? Together the two also touch upon Alicia's current experiments in interactive art underscoring the importance of collaboration and connectivity, and how her creative process is influenced by her childhood growing up within a Pentecostal family. -About Alicia Eggert-Alicia is an interdisciplinary artist whose work focuses on the relationship between language, image and time. Alicia's work has been exhibited at notable institutions nationally and internationally, including the CAFA Art Museum in Beijing, the Triennale Design Museum in Milan, the Corning Museum of Glass in New York, the Amsterdam Light Festival, the International Symposium on Electronic Art (ISEA2012) at the Albuquerque Museum of Art and History in New Mexico, Sculpture By the Sea in Sydney, Australia, and many more. Recent solo exhibitions have been held at Galeria Fernando Santos (Porto, Portugal), The MAC (Dallas, TX), T+H Gallery (Boston, MA), Harvard Medical School (Boston, MA), and Artisphere (Arlington, VA). Alicia’s work is represented by Galeria Fernando Santos in Porto, and Liliana Bloch Gallery in Dallas.Alicia is the recipient of numerous honors and awards, including a TED Fellowship, a Washington Award from the S&R Foundation, a Direct Artist Grant from the Harpo Foundation, an Artist Microgrant from the Nasher Sculpture Center, and an Individual Artist Fellowship from the Maine Arts Commission. She has been an artist in residence at Google Tilt Brush, Sculpture Space, True/False Film Festival, and the Tides Institute and Museum of Art. Her work has been featured in The Washington Post, The Houston Chronicle, The Dallas Morning News, BBC Future, Vulture, and publications such as Typoholic: Material Types in Design, Foundations of Digital Art and Design, and Elements and Principles of 4D Art & Design.Alicia earned a Bachelor of Science degree in Interior Design from Drexel University in 2004, and a Masters of Fine Arts in Sculpture/Dimensional Studies from Alfred University in 2009. She is currently a Presidential Early Career Professor of Studio Art and the Sculpture Program Coordinator in the College of Visual Arts & Design at the University of North Texas. She lives with her son, Zephyr, in Denton, Texas.Learn more at https://aliciaeggert.com/nav/about.htmlFollow her @APlaceintheUniverse

Julian Hoeber (b. 1974, Philadelphia, PA) holds a BA in Art History from Tufts University, Medford, MA, a BFA from the School of the Museum of Fine Arts, Boston, MA and an MFA from the ArtCenter College of Design, Pasadena, CA.  Hoeber is a multidisciplinary artist whose practice centers on themes such as the problem of the proximity of thought and form, intuitive processes within geometrical compositional systems, and the quest to combine conceptualist strategies (mind) with that which is experiential (body). For Hoeber, many of the binary categories used to define art, culture, and social relations are non-functional or imperfect. Rather than operating as polarities, categories such as interior and exterior, psychic and somatic, rational and irrational, are able to occupy the same space in his work. Hoeber harnesses rigor and exactitude in service of the emotional and idiosyncratic, revealing that his conceptual strategies and modes of inquiry are subjective and poetic.  Going Nowhere, a years-long endeavor to design an architectural structure in the shape of the artist’s thinking is explored through tromp l’oeil paintings, architecturally inspired sculpture, and drawing.  Hoeber’s work is featured in public and private collections internationally including Dallas Museum of Art, Dallas, TX; de Young Museum, San Francisco, CA; DESTE Foundation for Contemporary Art, Athens, Greece; Hammer Museum, Los Angeles, CA; Museum of Contemporary Art, Los Angeles, CA; Museum of Modern Art, New York, NY; Nasher Sculpture Center, Dallas, TX; Rosenblum Collection, Paris, France; Rubell Family Collection, Miami, FL; Francis Young Tang Teaching Museum and Art Gallery, Skidmore College, Saratoga Springs, NY; and the Western Bridge Museum, Seattle, WA. Julian Hoeber lives and works in Los Angeles, CA. Installation View of Julian Hoeber at Rosenwald-Wolf Gallery, Philadelphia, PA 2019. Photo © Heather Rasmussen Mood, Latex, enamel on plywood with polyester resin, fiberglass, bondo, epoxy, acrylic paint, 36 x 24 x 6 inches / 91.4 x 61 x 15.2cm, 2018. Photo © Heather Rasmussen

Catherine Craft is Curator at the Nasher Sculpture Center, Dallas and a scholar of Dada, Surrealism, Abstract Expressionism, and Neo-Dada. She is curator of the recent exhibition The Nature of Arp, the first North American museum survey of the artist Jean (Hans) Arp in three decades; she will also oversee that exhibition’s installation at the Peggy Guggenheim Collection in Venice, where it will open April 2019. Dr. Craft curated the Nasher’s 2015 touring retrospective Melvin Edwards: Five Decadesand, as with The Nature of Arp, was principal author of the accompanying publication. She was also a contributing author for Nasher exhibition catalogues on the artists Ann Veronica Janssens and Katharina Grosse; on Isamu Noguchi for Return to Earth: Ceramic Sculpture of Fontana, Melotti, Miró, Noguchi, and Picasso, 1943-1963; and Lara Almarcegui, Rachel Harrison, and Liz Larner for Nasher XChange: 10 Years. 10 Artists. 10 Sites. In 2017 she curated the group exhibition Paper into Sculpture, which examined contemporary artists who use paper as a sculptural material, and she has also worked on research and presentation of works from the Nasher’s permanent collection. Dr. Craft holds a B.A. in art history from Texas Christian University and an M.A. from the University of Virginia. She worked in the Department of Modern and Contemporary Art at the National Gallery of Art in Washington, D.C., where she worked on Robert Rauschenberg and Ellsworth Kelly exhibitions, before receiving her doctoral degree in art history from the University of Texas at Austin. She is the author of An Audience of Artists: Dada, Neo-Dada, and the Emergence of Abstract Expressionism(University of Chicago, 2012) and Robert Rauschenberg(Phaidon, 2013), as well numerous articles and reviews. She has presented talks at the Solomon R. Guggenheim Museum, the Metropolitan Museum of Art, the Museum of Modern Art, New York; the National Portrait Gallery, Washington, D.C.; and Yale University Art Gallery, New Haven. As a senior research fellow at the Metropolitan Museum of Art, she conceived and co-curated the 2011 exhibition Paper Trails: Selected Works from the Permanent Collection 1934-2001. She joined the Nasher Sculpture Center in 2011.

Catherine Craft is Curator at the Nasher Sculpture Center, Dallas and a scholar of Dada, Surrealism, Abstract Expressionism, and Neo-Dada. She is curator of the recent exhibition The Nature of Arp, the first North American museum survey of the artist Jean (Hans) Arp in three decades; she will also oversee that exhibition’s installation at the Peggy Guggenheim Collection in Venice, where it will open April 2019. Dr. Craft curated the Nasher’s 2015 touring retrospective Melvin Edwards: Five Decadesand, as with The Nature of Arp, was principal author of the accompanying publication. She was also a contributing author for Nasher exhibition catalogues on the artists Ann Veronica Janssens and Katharina Grosse; on Isamu Noguchi for Return to Earth: Ceramic Sculpture of Fontana, Melotti, Miró, Noguchi, and Picasso, 1943-1963; and Lara Almarcegui, Rachel Harrison, and Liz Larner for Nasher XChange: 10 Years. 10 Artists. 10 Sites. In 2017 she curated the group exhibition Paper into Sculpture, which examined contemporary artists who use paper as a sculptural material, and she has also worked on research and presentation of works from the Nasher’s permanent collection. Dr. Craft holds a B.A. in art history from Texas Christian University and an M.A. from the University of Virginia. She worked in the Department of Modern and Contemporary Art at the National Gallery of Art in Washington, D.C., where she worked on Robert Rauschenberg and Ellsworth Kelly exhibitions, before receiving her doctoral degree in art history from the University of Texas at Austin. She is the author of An Audience of Artists: Dada, Neo-Dada, and the Emergence of Abstract Expressionism(University of Chicago, 2012) and Robert Rauschenberg(Phaidon, 2013), as well numerous articles and reviews. She has presented talks at the Solomon R. Guggenheim Museum, the Metropolitan Museum of Art, the Museum of Modern Art, New York; the National Portrait Gallery, Washington, D.C.; and Yale University Art Gallery, New Haven. As a senior research fellow at the Metropolitan Museum of Art, she conceived and co-curated the 2011 exhibition Paper Trails: Selected Works from the Permanent Collection 1934-2001. She joined the Nasher Sculpture Center in 2011.

Tom Sachs is an artist who was born in NYC, grew up in Connecticut and lives and works in New York City . Tom has had exhibitions at the Nasher Sculpture Center in Dallas, The Noguchi Museum in Queens, The Brooklyn Museum, Sperone Westwater, Thaddaeus Ropac in Paris, the Park Avenue Armory, Baldwin Gallery, Gagosian Tomio Koyama in Tokyo and many more. His work is in the collections of The Museum of Modern Art, The Getty, LACMA, the Guggenheim, the Whitney Museum, the Yale Univeristy Art Gallery, the Art Institute of Chicago, the Albright Knox and many more. He is also one fourth of the collective Satan Ceramics with Mary Frey, Pat McCarthy and JJ Peet. Brian stopped by Tom’s downtown Manhattan studio for a chat about music, craft, hand value, school uniforms, the importance of lighting and more. Sound & Vision is sponsored by Golden Artist Colors. Find out more about Golden at goldenpaints.com.

Diana Al-Hadid is an artist who creates sculptures, installations, and drawings using various media. She was born in Aleppo, Syria and immigrated to Ohio when she was five. In 2003, she received a BA in Art History and a BFA in sculpture from Kent State University in Ohio. In 2007, she received an MFA in sculpture fromVirginia Commonwealth University. She Also attended Skowhegan before setting up shop in her studio in East Williamsburg. Diana is represented in New York City by Marianne Boesky Gallery. Her work is included in the Whitney Museum of American Art, the Virginia Museum of Fine Arts, The Museum of Fine Arts in Houston, the Weatherspoon Art Museum, amongst many others. Al-Hadid has had solo exhibitions at Marianne Boesky Gallery, the NYUAD Gallery in Abu Dhabi, OHWOW Gallery, the Columbus College of Art and Design, the Weatherspoon Art Museum, the Virginia Museum of Fine Arts, the Nasher Sculpture Center, the Nevada Museum of Art, and the Hammer Museum just to name a few. She’s received the The Joan Mitchell Foundation Painters and Sculptors Grant, a Louis Comfort Tiffany Foundation Grant, a Pollock-Krasner Foundation Grant, and she’s a United States Artists Rockefeller Fellow and a a New York Foundation for the Arts Fellow in Sculpture. Brian stopped by Diana’s studio in Brooklyn, where he used to have a studio in the same building for years to catch up and talk about art, music and life.

March 31, 2016. Dakin Hart discussed Martha Graham and Isamu Noguchi's explorations of the archetypal spaces of myth, including the American west, the Minotaur's labyrinth and the "cave of the heart." Speaker Biography: Dakin Hart is a senior curator at the Noguchi Museum in Long Island City, New York. He previously served as an independent curator and researcher, assistant director of the Nasher Sculpture Center in Dallas, and has organized a retrospective of Davi Det Hompson that was on view at the ZieherSmith Gallery in New York. For transcript, captions, and more information, visit http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=7426

#02 - Matthew Barney and “The Cremaster Cycle” w/Lucia Simek of The NasherThe “What is Cinema?” podcast presents Episode 2: Matthew Barney and “The Cremaster Cycle”. In this episode we discuss and break down the cinematic and visual arts career of American artist, Matthew Barney and his art film series, “The Cremaster Cycle”, a five-chapter series meditating on America’s occult and Masonic roots, as well as themes of masculinity, the inter-sectionality of film and sculpture, and audience endurance.We are delving into Barney’s work as a precursor to Texas Theatre’s newest partnership with The Nasher Sculpture Center, bringing art films to be screened at the theatre. Barney’s newest film, the five hour, “River of Fundament” is the newest film to be screened as part of this series.Continuing on our mission to build cultural bridges, we invited Manager of Communications at The Nasher, Lucia Simek as our guest for this episode. Simek is a writer, critic, and artist living and working in Oak Cliff. We speak to Simek about her love for her neighborhood, the new collaboration between Texas Theatre and The Nasher, and the idea of film as sculpture.Hosts, Lee Escobedo and Patrick Patterson-Carroll also list their top five favorite art spaces in Dallas! Take a listen and enjoy episode two! Download Link: https://archive.org/download/WIC002_201603/WIC002.mp3

Nasher Sculpture Center director Jeremy Strick talks about the new exhibit by British artist Phyllida Barlow, ‘Tryst’, and the announcement of a $100,000 Nasher Prize for Sculpture. Next, thanks to historic flooding, the Trinity River is suddenly a hot cultural attraction. Dallas Morning News architecture critic Mark Lamster and Dallas Observer columnist Jim Schutze join us to talk about what happens when the waters recede. Finally, Chris Vognar just got back from this year’s BookExpo America in New York and will have a complete breakdown of the annual industry love-fest.