Podcasts about national art gallery

Ep.237 Amanda Coulson has worked for three decades as a scholar, critic, curator and cultural producer, having collaborated with artists and institutions, private and corporate colleagues, in the US, Europe, and various sites in the Caribbean. A dual-national (Bahamas/US), she grew up between London, Nassau, and New York, where she studied for her Master's Degree at the Institute of Fine Arts (NYU) and started her career at the Old Master dealers, Wildenstein & Sons, going on to work in various art galleries in London, Paris and Milan. Developing as a writer, Coulson spent 2 years as the international Editor of tema celeste, an Italian bi-lingual contemporary art magazine, before consolidating her critical practice writing for a variety of publications (Frieze, Modern Painters, ARTNews, among others) and providing critical texts for monographic gallery and museum shows. Coulson also worked as a freelance curator in Germany, organizing several exhibitions in Berlin, Frankfurt, Wiesbaden, Leipzig and Vienna (Austria), with special attention to Bahamian artists. Noting a lack of platforms for galleries representing emerging art, in 2005 she co-founded the VOLTA art fairs, which take place annually in New York and Basel, Switzerland. In 2011, she was invited home to The Bahamas to be Executive Director at the National Art Gallery of The Bahamas (NAGB), where her focus was on increasing global awareness of the contemporary Caribbean art scene and on expanding the capacity and reach of the NAGB through a rigorous combination of capital works, collaborative projects and the building of strong inter-island, regional and international networks. She served on the Davidoff Art Initiative (now Caribbean Art Initiative) Board from 2012-2018, and on the Board of the Museums Association of the Caribbean (MAC) until she stepped down from the NAGB in 2021, after a decade at the helm. She is the founding partner at TERN, a new Nassau-based gallery operated by three Bahamian women whose aim is to support Bahamian and Caribbean artists in telling their own stories the global stage. Image ~ Photo Credit: Blair Meadows Tern Gallery https://www.terngallery.com/ The Armory 2024 https://www.artsy.net/article/artsy-editorial-armory-2024-pommery-prize-awarded-anina-major The Armory 2023 https://www.thearmoryshow.com/info/past-exhibitors/2023/presents/tern C& https://amlatina.contemporaryand.com/places/tern-gallery/ VOLTA https://www.voltaartfairs.com/journal/volta-voices-amanda-coulson Festival Bahamar https://festival.bahamar.com/speaker/tern-gallery/ Bahamas Local https://www.bahamaslocal.com/showlisting/21880/Tern_Gallery.html Carib Voxx https://caribvoxx.com/tern-gallery-revolutionizing-caribbean-art-on-bahamian-terms/ Burn Away https://burnaway.org/daily/a-blue-haunting-between-the-caribbean-and-the-carolinas/ Culture Type https://www.culturetype.com/2021/06/01/on-view-tern-gallery-of-nassau-bahamas-presenting-slate-of-caribbean-artists-at-online-atlantic-world-art-fair/ interlocutorinter https://interlocutorinterviews.com/new-blog/2021/10/19/exhibition-feature-the-other-side-of-the-pentaprism-at-tern-gallery Cayman Art Week https://www.caymanartweek.com/amanda-coulson Frieze https://www.frieze.com/contributor/amanda-coulson ArtForum https://www.artforum.com/news/amanda-coulson-departs-national-art-gallery-of-the-bahamas-to-lead-new-tern-gallery-249206/ Our News https://ournews.bs/articles/regional/

This is a pot-pourri episode, beginning with a look at Valletta's art scene: the National Art Gallery, 3 artists linked to the island and the oratory where the 2 most famous paintings are hidden away.  Next, some pointers on the city's architecture: typical design features and the three main periods, all of which are represented by buildings to look out for in Valletta today.  Lastly, a trip to the National Museum of Archaeology, where you can learn lots about the island's very distant past and pick up some tips to inform visits to the rest of the island. Reading Suggestion Seven Temples on Malta by Betsy Ross-Edison Links for this post The National Art Museum       The Grand Master's Palace     St John's Cathedral    The National Museum of Archaeology  

Jordia Benjamin, recognized in MaineBiz's "40 Under 40," is a prominent figure in the arts community. As the co-founder and executive director of Indigo Arts Alliance, she focuses on supporting artists of color and fostering cultural representation. Benjamin's leadership emphasizes collaboration, creativity, and community engagement. Her work has significantly impacted the Maine arts landscape, promoting diversity and inclusion while nurturing emerging talent. Through her initiatives, she aims to inspire social change and enhance the visibility of underrepresented artists.Kristan speaks to Jordia about her previous careers that helped her get to where she is today. The ones that have a really special place are those that continue to have an impact today. Twelve years ago, under the auspices of the National Art Gallery of the Bahamas, she created the first teacher's art resource guide (over 100 pages) that provided an art curriculum for each grade school level based on Bahamian artists and history. The guide is still in use today.In addition to her work on an art resource guide, she fostered a program allowing gifted emerging Bahamian artists to exhibit their work alongside Bahamian masters in conjunction with the gallery, many of whom are now represented by international galleries and have exhibited in international museums.Today, her work at Indigo Arts Alliance allows her to advance the professional development of Black and Brown artists aligning with her moral compass. With an amazing team, they can advance through their residency program, the artistic excellence of local/national and global creatives.You can learn more about Indigo Arts Alliance by visiting their website.  If you enjoyed this Makers of the USA episode, please leave a rating and review on Apple Podcasts, Spotify or Facebook. Please check out Makers of the USA's YouTube channel, Facebook and Instagram. Thank you all and stay safe and healthy.

On this episode I'm joined by LaToya M. Hobbs. LaToya M. Hobbs is an artist, wife, and mother of two from Little Rock, AR, who is currently living and working in Baltimore, MD. She received her B.A. in Painting from the University of Arkansas at Little Rock and M.F.A. in Printmaking from Purdue University. Her work deals with figurative imagery that addresses the ideas of beauty, cultural identity, and womanhood as they relate to women of the African Diaspora. Her exhibition record includes numerous national and international venues, including the National Art Gallery of Namibia, Windhoek, Namibia; SCAD Museum of Art; Albright Knox Museum, and Sophia Wanamaker Galleries in San Jose, Costa Rica, among others. Her work is housed in private and public collections such as the Harvard Art Museum, Petrucci Family Foundation Collection of African American Art, the National Art Gallery of Namibia, the Getty Research Institute, and the Baltimore Museum of Art. Other accomplishments include the 2020 Janet and Walter Sondheim Artscape Prize, a nomination for the 2022 Queen Sonja Print Award and a 2022 IFPDA Artis Grant. Hobbs is also a Professor at the Maryland Institute College of Art and a founding member of Black Women of Print, a collective whose vision is to make visible the narratives and works of Black women printmakers, past, present and future. 

Joined by Mr. Kevin Farmer of the Barbados Museum and Historical Society, we explore identity, cultural preservation, and the journey of Caribbean museums from colonial-era institutions to centers that shape national consciousness and safeguard heritage. Mr. Farmer's insights illuminate the evolution of Caribbean museums, spotlighting their crucial role in giving voice to marginalized communities and confronting complex histories within their walls. We capture the essence of a collective awakening, when cultural policies and spaces like the National Art Gallery in Jamaica emerge, nurturing local talent and innovation, as well as national journeys to define identity through cultural institutions. We also tackle global resonance, the repatriation of artifacts, to discuss the wider challenges of decolonizing archaeology. From this episode, gain a richer appreciation for the power of museums in both reflecting and shaping our collective memory and identity.Kevin Farmer is currently Deputy Director of the Barbados Museum and Historical Society (BMHS). As Deputy Director of the Barbados Museum, he has the responsibility for museum exhibition programming and capital campaign fundraising. He holds a Master's degree in History (Heritage Studies) from the University of the West Indies, Cave Hill, Barbados, and has lectured in Archaeology at the Department of History at the University of the West Indies, St. Augustine, Trinidad and taught at the UWI Cave Hill in their MA Heritage Studies program.   A member of the Barbados World Heritage Committee, he was site manager for the property Historic Bridgetown and its Garrison, and is currently site manager for the Newton Enslaved Burial Ground. Mr. Farmer is co-editor of the publication entitled:  Pre-colonial and Post-Colonial Contact Archaeology in Barbados (2019); Plantation to Nation: Caribbean Museums and National Identity(2012) along with articles written on cultural resource management, historical archaeology, and the future of heritage development.A member of the International Association of Caribbean Archaeologists and Museum Association of the Caribbean he has provided expert advice to Regional partners on the 1970 Convention, Disaster Resilience, and Museum Development. His research interests include the creation of cultural identity in post-colonial states, the role of museums in national development, the management and curation of archaeological resources, and the role of heritage in national development. Support the Show.Connect with Strictly Facts - Instagram | Facebook | Twitter | LinkedIn | YouTube Looking to read more about the topics covered in this episode? Subscribe to the newsletter at www.strictlyfactspod.com to get the Strictly Facts Syllabus to your email!Want to Support Strictly Facts? Rate the Show Leave a review on your favorite podcast platform Share this episode with someone who loves Caribbean history and culture Send us a DM or voice note to have your thoughts featured on an upcoming episode Share the episode on social media and tag us Donate to help us continue empowering listeners with Caribbean history and education Produced by Breadfruit Media

Tune in here for this Wednesday edition of Breaking with Brett Jensen! Brett starts the program by talking about Mecklenburg County Commissioner Pat Cotham running for re-election + explain why she usually gets the most votes while running at-large but why he thought she might not run this cycle.  He also explains why he thinks that any political or news reporter should have to disclose who they vote for after an election.  We take some of your calls with questions about how money designated to improve CMS will actually help + Brett shares his experience interviewing for a job in Detroit in the past.  Finally we close out the show with Brett sharing a bunch of local headlines from WBTV that all have one depressing connection + Oprah Winfrey getting a portrait in the National Art Gallery next to some of the most important figures in history and who Brett think's deserves one. See omnystudio.com/listener for privacy information.

Hey Teachers! Welcome back to another episode of the Teacher Cast! We start by catching up on our weeks, as Adam went to Waterford and Hayley went to the National Art Gallery! This episode we discuss how we approach teaching Maths, especially during Maths Week! We chat about how we try to make Maths fun and interactive with looks of suggestions of games and activities! We also reveal our Resources of the Week! Be sure to like, rate and follow the podcast on all platforms! Find Hayley: Instagram (@theteacherstudent): https://www.instagram.com/theteacherstudent/?hl=en Instagram (@theteachercast): https://www.instagram.com/theteachercast/?hl=en TikTok (@theteacheredit) Mash Store: https://mash.ie/theteacherstudent Find Adam: Instagram (@mister_muinteoir_): https://www.instagram.com/mister_muinteoir_/?hl=en Links mentioned: Symmetry Generator: http://weavesilk.com/ Daily 10: https://www.topmarks.co.uk/maths-games/daily10 Hit the Button: https://www.topmarks.co.uk/maths-games/hit-the-button Sesame Street Number of the Day: https://www.youtube.com/watch?v=E45ZZKPXX80 Shape Song: https://www.youtube.com/watch?v=OEbRDtCAFdU Oíche Shamhna vocab cards: https://mash.ie/oiche-shamhna-vocab-cards-and-questions How Big is a Foot by Rolf Myller: https://youtu.be/p5vJrB68K_o?feature=shared A Pair of Socks by Stuart J. Murphy: https://youtu.be/ye1PgKhZIow?feature=shared Interactive Maths Clock: https://apps.mathlearningcenter.org/math-clock/

Camille Myles is a French-Canadian multi-disciplinary contemporary artist and conservation activist exploring imagery that is grounded in our identity and reflects our impacts on the environment. Working in public art, painting, sculpture and installation, she creates art that tells a story linked to community connection, self-reflection, and the restorative effects of nature.   She received her BFA in Sculpture & Installation at Ottawa University and her MA in Heritage Conservation at Carleton University. Marrying her passion for conservation and art, she has worked as an archaeologist in artist-run centres, the National Art Gallery in Ottawa, ICCROM in Rome, Canada's National Trust and was a Park Superintendent at Parks Canada. Myles has exhibited extensively including Quest Art Gallery, Ottawa Art Gallery, BHA Gallery, Arts Mums United, Visionary Art Collective, Arts to Hearts Project, PxP Contemporary, Ottawa Art Gallery, Gallery 115, among others. In 2022, she was invited in 2022 to join the International Broken Forests Art Collective. She was awarded an art residency in June 2022 at Studio H Canada in Victoria BC where she developed her new painting collection of “Crying Landscapes” - a plea for change as well as “I Stand Alone” an interactive drawing installation which has been exhibited at Quest Art Gallery in August-Sept 2022.   Being drawn to the power of public art as a social community conversation, the artist has been creating murals and large-scale public art sculptures in Midland and in Penetanguishene. Her work has been featured by the Art Seen Magazine, Jealous Curator, Toronto Star, Create! Magazine, Visionary Art Collective, Arts to Hearts Project, Women United in Art Magazine and podcasts, including Arts Mums United, Hot Mess to Awesomeness & CFRH. She won the Diamond Jubilee Medal and was a Canadian RBC New Painting Competition finalist. She's a founding artist member of the Art Queens and The Works by Erika B Hess from I like your Work. Originally from Gatineau, Quebec, she now lives along the shores of Georgian Bay, in Tiny Ontario with her husband and three young children. https://linktr.ee/camillemylesart Camillemylesart --- Send in a voice message: https://podcasters.spotify.com/pod/show/borntocreatepodcast/message

Derv from Dublin! Places in the order they are mentioned:Circle Sessions - www.instagram.com/circlesessions/Bray to Greystones walk - https://visitwicklow.ie/listing/cliff-walk-bray-to-greystones/The Happy Pear - https://thehappypear.ie/The Howth Cliff Walk - www.theirishroadtrip.com/howth-cliff-walk/The Flo Sho - www.instagram.com/theflosho/National Art Gallery - www.nationalgallery.ie/Merrion Square Market - www.dublinguide.ie/events/merrion-square-marketSmithfield Creatives - www.instagram.com/smithfieldcreatives/Dashi - www.dashi.ie/Rustic Stone - www.rusticstone.ie/Botanic Gardens - https://botanicgardens.ie/Irish Museum of Modern Art - https://imma.ie/Glove Box - www.instagram.com/g.l.o.v.e.b.o.x/The Port House - www.porthouse.ie/River Bar - www.instagram.com/riverbardublin/Cleaver East - https://cleavereast.ie/Bang Restaurant - www.bangrestaurant.com/Tea Gardens - www.teagarden.ie/The Black Sheep - https://galwaybaybrewery.com/blacksheep/Ayla - www.ayla.ie/All The Food (blog) - www.allthefood.ie/Sin E - www.sin-e.ieThe Cobblestone - https://visitidublin.com/cobblestoneAnseo - https://anseo.pubWhelans - www.whelanslive.comAgite Colest - agitecloset.comLe Zetigeist Market - instagram.com/lezeitgeistfleamarketGeorges Street Arcade - www.georgesstreetarcade.ie Hosted on Acast. See acast.com/privacy for more information.

In our Season 3 premiere of How Art is Born we welcome Houston-based educator and visual artist Kaneem Smith. Kaneem creates sculptural works out of fabric materials such as burlap formerly used for import/export purposes, referencing concerns on ethical trade, colonialist interactions on the natural environment, and contemporary issues concerning global civil justice. Her work has been included in numerous venues such as the African American Museum in Dallas, National Art Gallery in Athens, Greece; Lima Art Museum, Peru, the Museum of Fine Arts, Houston, and the Museum of Contemporary Art Denver.In this episode, Kaneem and host, R. Alan Brooks talk about growing up in the south, finding your lane to create within your community, and working through the process of overcoming fear of failure.

In this inspirational episode, Canadian artist and conservation activist Camille Myles encourages us to step out of our comfort zones, put ourselves out there, and trust in our capabilities. By embracing bravery and a healthy amount of risk-taking, Camille has paved the way forward in her art career. Here's what we discuss:1. Why Camille is passionate about pursuing a multi-disciplinary art career, and the ways in which experimentation benefits her work.2. What inspired Camille to bridge the gap between visual art and conservation work in her creative practice.3. The importance of making brave choices (even if they feel scary!) and taking leaps of faith in our art careers.4. What we can learn from trusting ourselves on a deeper level, both personally and professionally.About Camille:Camille Myles is a French-Canadian multi-disciplinary contemporary artist and conservation activist exploring imagery that is grounded in our identity and reflects our impacts on the environment. Working in public art, painting, sculpture and installation, she creates art that tells a story linked to community connection, self-reflection and the restorative effects of nature. She received her BFA in Sculpture & Installation at Ottawa University and her MA in Heritage Conservation at Carleton University. Marrying her passion for conservation and art, she has worked as an archaeologist, in artist-run centres, the National Art Gallery in Ottawa, ICCROM in Rome, Canada's National Trust and was a Park Superintendent at Parks Canada. Myles has exhibited extensively including Quest Art Gallery, Ottawa Art Gallery, BHA Gallery, Arts Mums United, Visionary Art Collective, Arts to Hearts Project, PxP Contemporary, Ottawa Art Gallery, Gallery 115, among others. In 2022, she was invited in 2022 to join the International Broken Forests Art Collective. She has been awarded an art residency in June 2022 at Studio H Canada in Victoria BC where she developed her new painting collection of “Crying Landscapes” - a plea for change as well as “I Stand Alone” an interactive drawing installation which has been exhibited at Quest Art Gallery in August-Sept 2022.Follow Camille on Instagram: @camillemylesartWebsite: camillemylesart.com Visit our website: visionaryartcollective.com Join our newsletter:visionaryartcollective.com/newsletter

Derv is a Dubliner who has spent the majority of her adult life living outside of Ireland, mainly based between New York City and Mexico. We chat to her to get her perspective on Dublin since she has returned and also to hear about some of the challenges she faced as an expat living abroad. This is a great episode if you want to get some ideas for things to do and places to go while in Dublin. In the order they are mentioned:Circle Sessions - www.instagram.com/circlesessions/Bray to Greystones walk - https://visitwicklow.ie/listing/cliff-walk-bray-to-greystones/The Happy Pear - https://thehappypear.ie/The Howth Cliff Walk - www.theirishroadtrip.com/howth-cliff-walk/The Flo Sho - www.instagram.com/theflosho/National Art Gallery - www.nationalgallery.ie/Merrion Square Market - www.dublinguide.ie/events/merrion-square-marketSmithfield Creatives - www.instagram.com/smithfieldcreatives/Dashi - www.dashi.ie/Rustic Stone - www.rusticstone.ie/Botanic Gardens - https://botanicgardens.ie/Irish Museum of Modern Art - https://imma.ie/Glove Box - www.instagram.com/g.l.o.v.e.b.o.x/The Port House - www.porthouse.ie/River Bar - www.instagram.com/riverbardublin/Cleaver East - https://cleavereast.ie/Bang Restaurant - www.bangrestaurant.com/Tea Gardens - www.teagarden.ie/The Black Sheep - https://galwaybaybrewery.com/blacksheep/Ayla - www.ayla.ie/All The Food (blog) - www.allthefood.ie/Sin E - www.sin-e.ieThe Cobblestone - https://visitidublin.com/cobblestoneAnseo - https://anseo.pubWhelans - www.whelanslive.comAgite Colest - agitecloset.comLe Zetigeist Market - instagram.com/lezeitgeistfleamarketGeorges Street Arcade - georgesstreetarcade.ie Hosted on Acast. See acast.com/privacy for more information.

Join Valentine and Camille as they dive openly into the behind the scenes of building a cohesive practice as a multipassionate artist. Camille Myles is a French-Canadian multi-disciplinary contemporary artist and conservation activist exploring imagery that is grounded in our identity and reflects our impacts on the environment. Working in public art, painting, sculpture and installation, she creates art that tells a story linked to community connection, self-reflection and the restorative effects of nature. She received her BFA in Sculpture & Installation at Ottawa University and her MA in Heritage Conservation at Carleton University. Marrying her passion for conservation and art, she has worked as an archaeologist, in artist-run centres, the National Art Gallery in Ottawa, ICCROM in Rome, Canada's National Trust and was a Park Superintendent at Parks Canada. Myles has exhibited extensively including Quest Art Gallery, Ottawa Art Gallery, BHA Gallery, Arts Mums United, Visionary Art Collective, Arts to Hearts Project, PxP Contemporary, Ottawa Art Gallery, Gallery 115, among others. In 2022, she was invited in 2022 to join the International Broken Forests Art Collective. She has been awarded an art residency in June 2022 at Studio H Canada in Victoria BC where she developed her new painting collection of “Crying Landscapes” - a plea for change as well as “I Stand Alone” an interactive drawing installation which has being exhibited at Quest Art Gallery in August-Sept 2022. Being drawn to the power of public art as a social community conversation, the artist has been creating murals and large-scale public art sculptures in Midland and in Penetanguishene. Her work has been featured by the Art Seen Magazine, Jealous Curator, Toronto Star, Create! Magazine, Visionary Art Collective, Arts to Hearts Project, Women United in Art Magazine and podcasts including Arts Mums United, Hot Mess to Awesomeness & CFRH. She's won the Diamond Jubilee Medal and finalist of the Canadian RBC New Painting Competition. She's a founding artist member of the Art Queens and The Works by Erika B Hess from I like your Work. Originally from Gatineau, Quebec, she now lives along the shores of Georgian Bay, in Tiny Ontario with her husband and three young children.www.camillemylesart.comwww.artconnectsociety.comSupport the show

In this episode I visited George Masarira's art studio at The National Art Gallery of Zimbabwe In Bulawayo and we talk how COVID-19 has impacted his art practice.

LaToya Hobbs returns to Studio Noize! LaToya has been on an amazing run with her latest work since her last time on the podcast. We catch back up with her in hearing all about her exciting show and successes including the phenomenal Carving Time installation that is currently on view at the Baltimore Museum of Art through April 3. She talks about how she was inspired by Kerry James Marshall to create Carving time and all the levels to this amazing piece. We. talk about how much her work has changed, leaning into what she does, and some of her work with Black Women of Print. Warning we get into all the printmaking nitty-gritty and you know your boy JBarber loves that. Listen, subscribe, and share!Episode 134 topics include:developing as an artistimportance of drawingCarving TIme installationtackling a big projectartistic influenceKerry James MarshallElizabeth CatlettBlack Women of PrintBlack family and legacyLaToya M. Hobbs is an artist, wife, and mother of two from Little Rock, AR who is currently living and working in Baltimore, MD. She received her BA in Painting from the University of Arkansas at Little Rock and MFA in Printmaking from Purdue University. LaToya's work deals with figurative imagery that addresses the ideas of beauty, cultural identity, and womanhood as they relate to women of the African Diaspora. She creates a fluid and symbiotic relationship between her printmaking and painting practice producing works that are marked by texture, color, and bold patterns. Her exhibition record includes several national and international exhibits in locations such as the National Art Gallery of Namibia, Windhoek, Namibia, Prizm Art Fair, Miami, FL, the Community Folk Arts Center in Syracuse, NY, Woman Made Gallery, Chicago, IL and the Sophia Wananmaker Galleries in San Jose, Costa Rica among others.See More: www.latoyamhobbs.com + LaToya Hobbs IG @latoyahobbsFollow us:StudioNoizePodcast.comIG: @studionoizepodcastJamaal Barber: @JBarberStudioSupport the podcast www.patreon.com/studionoizepodcast

In this episode we learn about the art world of Ukraine and its markets with guests Bohdan Mysiuha, curator of the Museum of Modernism, Lviv and Olena Grubb (alumna of the MA Art Business, Sotheby's Institute of Art, London) who also acts as interpreter for Bohdan's Ukrainian language.  The artistic community in Lviv, in the west of Ukraine, is preparing for the possibility of the current Russian invasion reaching their city.  Bohdan also talks about the history of modern Ukrainian art under Soviet and post-Soviet rule.   Here are some links:   Museum of Modernism https://www.ukrgate.com/eng/?p=13433  https://euromaidanpress.com/2021/05/13/ukrainian-modernism-revealed-lviv-artists-in-interwar-period-search-for-true-art-self-national-identity/    Ukraine Unofficial - project dedicated to the works of artists of the XX century. http://www.archive-uu.com/en   Have a look at Yevhen Lysyk scenography here. It's amazing : http://www.archive-uu.com/en/profiles/lysyk-yevhen   This is one of Bohdan's monographs on Ukrainian art of the XX century. https://issuu.com/archive.uu/docs/uu_23lviv_1?fbclid=IwAR19Cw5oBT31Z-1vujEuHLfi8zzqJLy6mspeofHtPzu7yr4_dg6pe-B8m0Y   These are some of Bohdan's articles for the Ukrainian newspaper (all in Ukrainian though).  https://zbruc.eu/taxonomy/term/25831?fbclid=IwAR2dTK5QEkdNBlTrDZO1SkiAu25ao54tv8xVzAhMGyOwQxlfriE_UUxXvcU   NB  Information about the Fund for Documentation of the Crimes Against Ukrainian Art formed by the artists from Eastern Ukraine will be posted here later. It was only formed yesterday and its creators are still working on official accounts etc.   Names of some of the artists mentioned: Oleksandr Archipenko, Alexandra Exter, Davyd Burliuk, Ivan Trush, Mikhail Vrubel   intro and outro music ‘Baby, I Miss The Internet' (Rama, Rama, Rama)  by TOT TAYLOR is used by kind permission of the artist ©Tot Taylor/Songmatic Music (2020) PRS/MCPS/PPL

Welcome to The Times of Israel's Daily Briefing, your 15-minute audio update on what's happening in Israel, the Middle East, and the Jewish world, from Sunday through Thursday. Diplomatic correspondent Lazar Berman joins us from Lviv, along with The Times of Israel Editor David Horovitz and host Amanda Borschel-Dan. Berman, as a religiously observant journalist, shares his experiences attending services in Lviv for Rosh Hodesh (the new month) and Shabbat. He explains how the Jewish community is now a sanctuary for Jews and non-Jews seeking refuge. Late last week, Berman visited Lviv's National Art Gallery, Ukraine's leading art museum, which is now being used as a volunteer center for distributing medical supplies. We'll hear a clip of a conversation he had with Mark Fetsych, head of oncology at a local hospital before the invasion. Berman also spoke with the governor of the Lviv region, Maksym Kozytskyy. He is a civilian with no military experience but is now in charge of his region's defenses. We hear about a very specific request he has for Israel. Finally, Horovitz appraises our listeners of Prime Minister Naftali Bennett's past few days of travel -- to Moscow and Berlin -- and other conversations he is having with world leaders including France's Emanuel Macron and Ukraine President Volodymyr Zelensky. Israel is now in the spotlight as a potential peacemaker, but is that actually a good spot for the Jewish state to be in? Discussed articles include: Live Blog March 6, 200 Ukraine's leading art museum transforms into busy volunteer hub We need air defenses from Israel, not goodwill statements, Lviv commander tells ToI With trip to Kremlin, Bennett flies Israel into the eye of the Russia-Ukraine storm Zelensky aide says purpose of Bennett's trip to meet Putin is unclear to Kyiv Bennett returns to Israel after whirlwind trip to meet Putin, Germany's Scholz Subscribe to The Times of Israel Daily Briefing on iTunes, Spotify, PlayerFM, Google Play, or wherever you get your podcasts. IMAGE: Tsori Gilod Synagogue (also known as Beis Aharon V'Israel Synagogue) in Lviv, Ukraine, March 4, 2022. (Lazar Berman/Times of Israel) See omnystudio.com/listener for privacy information.

In A Cultural Arsenal for Democracy: The World War II Work of US Museums (University of Massachusetts Press, 2022), Dr. Ceglio argues that attempts during the war years to fit exhibition craft to the aims of social instrumentality constitute an important but forgotten moment in the field's debates over whether museums should take active stances on public issues or, to use current parlance, remain neutral. In the book, she investigates how many American museums saw engagement with wartime concerns as consistent with their vision of the museum as a social instrument. She examines how these museums worked to strike the right balance between education and patriotism, hoping to attain greater relevance. Dr. Ceglio focuses on exhibitions, which unsurprisingly served as the primary vehicle through which museums, large and small, engaged their publics with wartime topics with fare ranging from displays on the cultures of Allied nations to "living maps" that charted troop movements and exhibits on war preparedness. Dr. Ceglio chronicles debates, experiments, and collaborations from the 1930s to the immediate postwar years, investigating how museums re-envisioned the exhibition as a narrative medium and attempted to reconcile their mission with new modes of storytelling. She demonstrates how what today may seem standard museum practice—that exhibitions take explicitly narrative forms appealing to the mental, emotional, and physical— was still a novel and controversial idea to museums in the 1930s and '40s. Research for this book drew from administrative records, correspondence, and reports held by the archives of the American Museum of Natural History, the Brooklyn Museum of Art, the Museum of Modern Art (New York), the National Art Gallery, the Newark Museum, the Rockefeller Archive Center, the Smithsonian Institution, and the Wadsworth Atheneum (Hartford), among others. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

In A Cultural Arsenal for Democracy: The World War II Work of US Museums (University of Massachusetts Press, 2022), Dr. Ceglio argues that attempts during the war years to fit exhibition craft to the aims of social instrumentality constitute an important but forgotten moment in the field's debates over whether museums should take active stances on public issues or, to use current parlance, remain neutral. In the book, she investigates how many American museums saw engagement with wartime concerns as consistent with their vision of the museum as a social instrument. She examines how these museums worked to strike the right balance between education and patriotism, hoping to attain greater relevance. Dr. Ceglio focuses on exhibitions, which unsurprisingly served as the primary vehicle through which museums, large and small, engaged their publics with wartime topics with fare ranging from displays on the cultures of Allied nations to "living maps" that charted troop movements and exhibits on war preparedness. Dr. Ceglio chronicles debates, experiments, and collaborations from the 1930s to the immediate postwar years, investigating how museums re-envisioned the exhibition as a narrative medium and attempted to reconcile their mission with new modes of storytelling. She demonstrates how what today may seem standard museum practice—that exhibitions take explicitly narrative forms appealing to the mental, emotional, and physical— was still a novel and controversial idea to museums in the 1930s and '40s. Research for this book drew from administrative records, correspondence, and reports held by the archives of the American Museum of Natural History, the Brooklyn Museum of Art, the Museum of Modern Art (New York), the National Art Gallery, the Newark Museum, the Rockefeller Archive Center, the Smithsonian Institution, and the Wadsworth Atheneum (Hartford), among others. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

In A Cultural Arsenal for Democracy: The World War II Work of US Museums (University of Massachusetts Press, 2022), Dr. Ceglio argues that attempts during the war years to fit exhibition craft to the aims of social instrumentality constitute an important but forgotten moment in the field's debates over whether museums should take active stances on public issues or, to use current parlance, remain neutral. In the book, she investigates how many American museums saw engagement with wartime concerns as consistent with their vision of the museum as a social instrument. She examines how these museums worked to strike the right balance between education and patriotism, hoping to attain greater relevance. Dr. Ceglio focuses on exhibitions, which unsurprisingly served as the primary vehicle through which museums, large and small, engaged their publics with wartime topics with fare ranging from displays on the cultures of Allied nations to "living maps" that charted troop movements and exhibits on war preparedness. Dr. Ceglio chronicles debates, experiments, and collaborations from the 1930s to the immediate postwar years, investigating how museums re-envisioned the exhibition as a narrative medium and attempted to reconcile their mission with new modes of storytelling. She demonstrates how what today may seem standard museum practice—that exhibitions take explicitly narrative forms appealing to the mental, emotional, and physical— was still a novel and controversial idea to museums in the 1930s and '40s. Research for this book drew from administrative records, correspondence, and reports held by the archives of the American Museum of Natural History, the Brooklyn Museum of Art, the Museum of Modern Art (New York), the National Art Gallery, the Newark Museum, the Rockefeller Archive Center, the Smithsonian Institution, and the Wadsworth Atheneum (Hartford), among others. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

In A Cultural Arsenal for Democracy: The World War II Work of US Museums (University of Massachusetts Press, 2022), Dr. Ceglio argues that attempts during the war years to fit exhibition craft to the aims of social instrumentality constitute an important but forgotten moment in the field's debates over whether museums should take active stances on public issues or, to use current parlance, remain neutral. In the book, she investigates how many American museums saw engagement with wartime concerns as consistent with their vision of the museum as a social instrument. She examines how these museums worked to strike the right balance between education and patriotism, hoping to attain greater relevance. Dr. Ceglio focuses on exhibitions, which unsurprisingly served as the primary vehicle through which museums, large and small, engaged their publics with wartime topics with fare ranging from displays on the cultures of Allied nations to "living maps" that charted troop movements and exhibits on war preparedness. Dr. Ceglio chronicles debates, experiments, and collaborations from the 1930s to the immediate postwar years, investigating how museums re-envisioned the exhibition as a narrative medium and attempted to reconcile their mission with new modes of storytelling. She demonstrates how what today may seem standard museum practice—that exhibitions take explicitly narrative forms appealing to the mental, emotional, and physical— was still a novel and controversial idea to museums in the 1930s and '40s. Research for this book drew from administrative records, correspondence, and reports held by the archives of the American Museum of Natural History, the Brooklyn Museum of Art, the Museum of Modern Art (New York), the National Art Gallery, the Newark Museum, the Rockefeller Archive Center, the Smithsonian Institution, and the Wadsworth Atheneum (Hartford), among others. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/military-history

In A Cultural Arsenal for Democracy: The World War II Work of US Museums (University of Massachusetts Press, 2022), Dr. Ceglio argues that attempts during the war years to fit exhibition craft to the aims of social instrumentality constitute an important but forgotten moment in the field's debates over whether museums should take active stances on public issues or, to use current parlance, remain neutral. In the book, she investigates how many American museums saw engagement with wartime concerns as consistent with their vision of the museum as a social instrument. She examines how these museums worked to strike the right balance between education and patriotism, hoping to attain greater relevance. Dr. Ceglio focuses on exhibitions, which unsurprisingly served as the primary vehicle through which museums, large and small, engaged their publics with wartime topics with fare ranging from displays on the cultures of Allied nations to "living maps" that charted troop movements and exhibits on war preparedness. Dr. Ceglio chronicles debates, experiments, and collaborations from the 1930s to the immediate postwar years, investigating how museums re-envisioned the exhibition as a narrative medium and attempted to reconcile their mission with new modes of storytelling. She demonstrates how what today may seem standard museum practice—that exhibitions take explicitly narrative forms appealing to the mental, emotional, and physical— was still a novel and controversial idea to museums in the 1930s and '40s. Research for this book drew from administrative records, correspondence, and reports held by the archives of the American Museum of Natural History, the Brooklyn Museum of Art, the Museum of Modern Art (New York), the National Art Gallery, the Newark Museum, the Rockefeller Archive Center, the Smithsonian Institution, and the Wadsworth Atheneum (Hartford), among others. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

In A Cultural Arsenal for Democracy: The World War II Work of US Museums (University of Massachusetts Press, 2022), Dr. Ceglio argues that attempts during the war years to fit exhibition craft to the aims of social instrumentality constitute an important but forgotten moment in the field's debates over whether museums should take active stances on public issues or, to use current parlance, remain neutral. In the book, she investigates how many American museums saw engagement with wartime concerns as consistent with their vision of the museum as a social instrument. She examines how these museums worked to strike the right balance between education and patriotism, hoping to attain greater relevance. Dr. Ceglio focuses on exhibitions, which unsurprisingly served as the primary vehicle through which museums, large and small, engaged their publics with wartime topics with fare ranging from displays on the cultures of Allied nations to "living maps" that charted troop movements and exhibits on war preparedness. Dr. Ceglio chronicles debates, experiments, and collaborations from the 1930s to the immediate postwar years, investigating how museums re-envisioned the exhibition as a narrative medium and attempted to reconcile their mission with new modes of storytelling. She demonstrates how what today may seem standard museum practice—that exhibitions take explicitly narrative forms appealing to the mental, emotional, and physical— was still a novel and controversial idea to museums in the 1930s and '40s. Research for this book drew from administrative records, correspondence, and reports held by the archives of the American Museum of Natural History, the Brooklyn Museum of Art, the Museum of Modern Art (New York), the National Art Gallery, the Newark Museum, the Rockefeller Archive Center, the Smithsonian Institution, and the Wadsworth Atheneum (Hartford), among others. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. 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

This free public lecture was part of the History Trust of South Australia's Talking History series. Hans Heysen and Nora Heysen are Australia's most well-known father-daughter artistic duo. In this episode, Professor Speck explores the letters written to each other from the time Nora moved to London in 1934 until Hans Heysen died in 1968. During that time Nora Heysen won the Archibald Prize, was appointed an official war artist, fell in love with a married man, Robert Black, with whom she lived with and eventually married, relocated to Sydney, and travelled extensively to the Pacific. Hans Heysen was knighted, sat on the board of the National Art Gallery of South Australia and was connected to leading figures in the Australian art world. The letters take readers into these events, life at The Cedars, Sallie Heysen's role there, and the art itself. Music in this episode courtesy of: Parting of the Ways - Part 2 by Kevin MacLeod Link: https://filmmusic.io/song/4196-parting-of-the-ways---part-2 License: https://filmmusic.io/standard-license No. 9 Esther's Waltz by Esther Abrahmi  Link: https://www.youtube.com/watch?v=fbGJgzJS3Ws Vision of Persistence by Kevin MacLeod Link: https://filmmusic.io/song/4592-vision-of-persistence License: https://filmmusic.io/standard-license

Farai Chideya talks with Dr. Leana Wen about how public health can save lives, especially during the Covid-19 pandemic, and about her book “Lifelines.” Lydia X.Z. Brown explains how important it is to have a safe learning environment, especially with the return to in-person teaching. The new chief curator at the National Gallery of Art, E. Carmen Ramos, talks about elevating Latino and Latin American art in mainstream museums. On Sippin' the Political Tea, Errin Haines of The 19th and political scientist Christina Greer of Fordham University join Farai to discuss the real-life ramifications of the abortion ban in Texas, and the Biden-Harris administration's handling of the withdrawal from Afghanistan.EPISODE RUNDOWN0:49 Public health expert Dr. Leana Wen answers listener questions about Covid-1912:30 Disability justice advocate and lawyer Lydia X.Z. Brown on the anxiety around returning to in-person teaching25:15 The National Art Gallery's new chief curator E. Carmen Ramos on spreading her love of Latino art31:16 Sippin' the Political Tea: Errin Haines of The 19th and political scientist Christina Greer discuss the week's news, including the abortion ban in Texas

Born and raised in Nassau, Bahamas, TraiCeline Pratt is a multi-disciplinary Artist, with an emphasis in clothing design, communication and construction. Minoring in disciplines ranging from Visual display, Furniture Design, Photography and Creative Direction. Currently a student at UAL, first London College of Fashion, now Central Saint Martins, TraiCeline has worked as a freelance designer for John Bull Ltd. which represents brands such as Rolex, Cartier, David Yurman, Tiffany and Co, Chanel, Givenchy, and Yves Saint Laurent.  Interning at brands and galleries such as A-COLD-WALL, CIMONE UK and The National Art Gallery of The Bahamas.  TraiCeline’s designs are based off of social class systems that reflects a classist issue in his home country of The Bahamas. Resulting works aim to convey emotion, mood and meaning with the human form; garments are then aim to connect the inspiration for its creation with the personality of the body wearing it; aiming to encourage viewers to consider wearable garments as more than fashion, so that they might experience them as ART. --- Send in a voice message: https://anchor.fm/10p/message

On 9th April, some of the interesting events that took place were: 1838: National Art Gallery was opened. 1957: Suez Canal was opened for trade route. Listen in to know more interesting things that happened today.  www.chimesradio.com   http://onelink.to/8uzr4g   https://www.facebook.com/chimesradio/   https://www.instagram.com/vrchimesradio/   See omnystudio.com/listener for privacy information.

This is part 2 of a four-part series put together by Centrum and Cleo Woelfle-Erskine and July Hazard to ask “what is queer ecology?” of climate scientists, ecologists, choreographers, poets, and creatives who each share unique perspectives on how queer and trans identities can and do play important roles in shifting the way we think about the sciences and our relations with the more-than-human. This project is part of Woelfle-Erskine and Hazard’s 2019-2020 Centrum Northwest Heritage residencies, made possible by the National Endowment for the Arts. For this conversation, Woelfle-Erskine and Hazard meet up with Melecio Estrella and Andrew Jones to talk about the ways their practices in the performing arts and earth sciences intersect with queer ecologies. We learn about the processes and thoughts that have brought vertical dance, activism, and Earth science together and together the group starts to outline new possibilities for understanding how queerness and queer identities are integral to relations with the human and non-human. Melecio Estrella has been a Bay Area performing artist, director, and teacher for the past 19 years. He is co-artistic director of Fog Beast, artistic director of BANDALOOP, and a member of the Joe Goode Performance Group since 2004. Recent notable directorial engagements include the opening of The Momentary at Crystal Bridges in Bentonville, AK (Feb. 2020), The National Art Gallery of Malaysia in Kuala Lumpur (2019), The Big Reveal at the Asian Art Museum of SF (2019), Art and About in Sydney Australia (2018), and the JFK Centennial Celebration at The Kennedy Center (2017). Andrew Jones is an Earth scientist who works at the interface of human and environmental systems. His research uses quantitative models and data analysis to understand climate change and human-Earth system interactions at decision-relevant scales. He also collaborates with social scientists and interacts closely with stakeholders to understand how science can effectively provide actionable insight into strategies for increasing resilience of energy water, food, and urban systems. Andrew is an Adjunct Professor in the Energy and Resources Group at UC Berkeley where he teaches courses on the intersection of science of and society. He has participated in a number of science-art collaborations over the years including The Climate Music Project and several dance-theatre works with performance group Fog Beast. He also helped to organize and facilitate a series of thematic residencies at Headlands Center for the Arts at the intersection of artistic practice, scientific practice, and climate equity.

Claudette Dean Expressing the Inexpressible Through Color, Form, and Word Natural mystic and visionary, Claudette Dean, has been practicing as a visual artist, poet, and author. Her spiritually based work expresses universal themes such as love, light, and connection, and is often inspired by nature. Issues of identity and womanhood are also often at the forefront of her work. Having successfully practiced as a painter and mixed media artist since the early 1990’s, her portfolio includes four solo exhibitions, numerous group shows both national and international, an award for excellence in Fine Art from the Commonwealth of the Bahamas, and inclusion in most major art collections in the Bahamas, including the National Collection. In 2010, Claudette first added the written and spoken word to her arsenal of creativity when she was prompted to write a series of love poems to the Divine. These poems are featured in her book, Inner Sanctum, along with original paintings from her second solo exhibition. She went on to write and perform Resurrection, a performance art video which was featured at The National Art Gallery in their 6th National Exhibition. Then in 2018, she published her first novel, Smelling Roses - A Tale of Connection and Transformation. Claudette considers her journey to self discovery through her art, as most notable, and the greatest measure of her success, those who’ve mentioned being touched by her work. In her own words: “I create because it is my place of connection. Embracing the unknown, I continue exploring and expressing from this place of connection as I follow the Golden Thread. Through the process, I discover my gifts, and through the work, I share them. And the journey continues.” In the wake of Hurricane Dorian, Claudette works from her rebuilt home studio and office, and resides with husband, Donald Dean, on the island of Grand Bahama. Buddhist Biohacker Podcast https://www.lisamgunshore.com/podcast Buddhist Biohacker Partners https://www.lisamgunshore.com/partners Become A Patron or Donate https://www.lisamgunshore.com/patron

April Bey grew up in The Bahamas (New Providence) and now resides and works in Los Angeles, CA as a visual artist and art educator. Bey’s interdisciplinary artwork is an introspective and social critique of American and Bahamian culture, feminism, generational theory, social media, AfroFuturism, AfroSurrealism, post-colonialism and constructs of race within supremacist systems.   Bey’s work is in the collection of The California African American Museum, The National Art Gallery of The Bahamas, The Center for Contemporary Printmaking, Fullerton College Art Gallery, Museum of Art and History, Lancaster, CA, and more. Bey has exhibited in biennials NE7, NE8 and NE9 in The Bahamas. Bey has also exhibited internationally in Italy, Spain and Accra Ghana, West Africa. Bey has launched 5 solo exhibitions: Picky Head at Liquid Courage Gallery in Nassau, Bahamas, COMPLY at Coagula Curatorial in Chinatown, Los Angeles, MADE IN SPACE at Band of Vices Gallery in West Adams, a large survey of work spanning several years, Welcome to Atlantica at Fullerton College Art gallery and most recently a solo presentation with UPFOR Gallery at UNTITLED ART ONLINE Art Fair.  Bey is both a practicing contemporary artist and art educator having taught a controversial course at Art Center College of Design called Pretty Hurts analyzing process-based art and Beyoncé hashtag faux feminism.  Bey is currently a tenured professor at Glendale College. And I'm Calm, Calculated and Perfectly Aligned aprilbey@gmail.com Watercolor drawing, acrylic paint, epoxy resin, hand-sewn "African" fabric, oil impasto 40 x 30 in 2020 COLONIAL SWAG: First Edition Atlanticans aprilbey@gmail.com Digital print stapled into eco fur on panel 30 x 24 in 2021      

A Habit – One Hour – a More Fulfilling Life When, in your working week, do you give yourself a break to do something very different? To be kind to yourself, to take a little me-time out of your daily routine, possibly “grind” if you are working from home and trying to balance work and family. Do you feel fatigued, exhausted? Weary may be a better word to describe how you feel? You have not been out socializing since whenever, and even if you have, it feels regimented; make a booking, obey the rules, you must have this, you cannot do that, leave now, even though you are not ready to go, as you were just starting to unwind a little. Is that you? It certainly was me! Until I discovered this straightforward suggestion in Julia Cameron’s book ‘The Artist Date’. The book was introduced to me by Eve Earley on ‘The Artist Date Program’ she hosts here in Ireland. I have spoken to you before about the power of ‘morning pages’ and how they can set you up for a great and productive day. Now, let me introduce you to what Julia Cameron calls ‘Artist Dates’. It’s a very simple idea (like all good ideas); once a week, you set aside an hour or two just for yourself and do something creative. Things I have done over the last year include: Visiting the bandstand in the Phoenix Park (last time there was as a child) Spend some time in the National Art Gallery or any other Gallery Sit in the sun in Saint Stephens Green Libraries are a great place to go (as you are surrounded by people quietly reading and studying, it will rub off on you) Go to a movie (on your own) Take a train journey Walk on a beach or by a Lake Take a walk through the fields Find a quiet place and just sit and read You will say I have not got the time; make an effort for your mental health and those around you. You will return to base refreshed, reinvigorated and ready to have more ‘Artists Dates’; please be sure to book a time in your calendar, make it a habit. The Positive Outcome: You are likely to become less stressed; you will renew your creativity for whatever, taking photographs, sketching, doing jigsaws, walking (without devices), fishing, reading, it does not matter what you do, just enjoy the me-time. P.S. There is no need to announce your plan to the world or to explain what you were doing to your nearest and dearest. (This is for you). Be a little more generous to yourself, and you will find your quality of life and the lives of those around you enhanced in numerous ways, in the coming months and years. I’d love to know what works for you? By Executive Coach Andrew Keogh of Aristo.ie

Tune into the fifth digital edition of #InTheStudio with #ArtAboveReality as we visit the studio workspace of LA based artist #AprilBey! (@aprilbey_), this FRIDAY at 11a! *pacific. • #InTheStudio: The series offers an inside look into the studio practice of the visual artist. From fabricated materials and works in progress to exhibition preparation, viewers get a chance to understand and experience the process firsthand. • The Artist: April Bey grew up in the Caribbean (Nassau, Bahamas) and now resides and works in Los Angeles, CA as a contemporary visual artist and art educator. Bey’s interdisciplinary artwork is an introspective and social critique of American and Bahamian culture, contemporary pop culture feminism, generational theory, social media, AfroFuturism and constructs of race. • She received her BFA in drawing in 2009 from Ball State University and her MFA in painting in 2014 at California State University, Northridge in Los Angeles. Bey is in the permanent collection of The California African American Museum, The National Art Gallery of The Bahamas and The Current, Baha Mar in Nassau, Bahamas. Bey has exhibited internationally in biennials NE7, NE8 and NE9 in The Bahamas. Bey has also exhibited internationally in Italy, Spain and Accra Ghana, West Africa. • April has launched 3 solo exhibitions: Picky Head at Liquid Courage Gallery in Nassau, Bahamas, COMPLY at Coagula Curatorial in Chinatown, Los Angeles and most recently MADE IN SPACE at Band of Vices Gallery in West Adams. • April travels extensively to collect data for her work having traveled to Canada, Iceland, London, Bali, Dubai, Morocco, Senegal, Nigeria, Benin, Togo and Ghana, West Africa. Bey is both a practicing contemporary artist and art educator having taught a controversial course at Art Center College of Design called Pretty Hurts analyzing process-based art and Beyoncé hashtag faux feminism. • #ArtAboveReality

Claudette Dean was born in 1954 and raised on the beautiful north shore of Lake Huron in Blind River, Ontario, Canada. In 1975, she obtained a Bachelor of Arts degree in French Literature from the University of Windsor. She spent the summer of '75 continuing her studies at The University of Nice, France, and it was while studying there, that she first sensed an intuitive pull towards the visual arts—a direction which she was not yet ready to embark upon. After living and working in Toronto, and then in Montreal, in 1979 Claudette left the shores of her native land and crossed the ocean to marry her fiancee, Donald, and make The Bahamas her new home. Settling into her new life, she worked as a French teacher, and in 1982 gave birth to her son, Donald Jr. She spent the next eleven years owning and operating two local successful businesses. At a time in her life when the status quo was no longer enough, and as a search for Self intensified, the visual arts came back into focus. She headed into the waters of creativity and soon found herself joyfully swept up in the flow. Claudette totally devoted herself to her craft. Through focus, dedication, and consistent studio work—along with the mentorship of noted Bahamian artist and sculptor Antonius Roberts, and the support of family and friends—a successful career as an artist ensued. Beginning in the early 1990s, her voyage has encompassed four solo exhibitions, countless group and juried shows on both national and international levels, an award for Excellence in the Realm of Fine Art from the Commonwealth of The Bahamas, and the pleasure of seeing her work in the most prestigious collections at home and abroad, including The National Collection of The Bahamas. In 2005, Dr. Erica M. James, then Director of the National Art Gallery of The Bahamas wrote: “Claudette Dean paints from the spirit, what she believes in that moment is true… for her, and artists like her, art can become a medium in and of itself. The process of art making can initiate a spiritual transformation on the part of the artist, and the potential also exists for this spirit to move in the viewer as they engage the work.”Claudette DeanThe process of art making did indeed initiate spiritual transformation on the part of the artist—and Claudette considers the greatest measure of her success to be those who have expressed being moved by the transformational spirit of her work. Beginning in the early 1990s, she navigated the waters of creativity primarily as a painter and mixed media artist. In 2010, acting upon an intuitive prompt, she wrote a series of poems to compliment a body of work for her second solo exhibition. The poems—love poems to the divine—and the paintings, are featured in a book named for this exhibition, Inner Sanctum. Claudette subsequently broadened her sights to include the written and spoken word, and adjusted her compass accordingly. The Circles of Life, a personal essay describing her spiritual awakening, was selected for publication in the 2012 edition of WomanSpeak—A Journal of Literature and Art by Caribbean Woman—a publication which from its 4th volume in 1999, has featured Claudette’s artwork, and has selected her paintings for the covers of the 2010 and 2014 editions. She went on to write and perform Resurrection, a performance art video which was shown at the National Art Gallery of The Bahamas in their 6th National Exhibition, Kingdom Come. The producer of the video, David Mackey of Mackeymedia.com, described the video as Claudette’s Magnus Opus and wrote: “Seeing Claudette's work, one can't help but conclude that she is spiritually connected to unwritten laws that foster harmonious coexistence free from the superficial veils of delusion that mask our true selves."In 2016, Claudette joined a local writers group. A story she wrote in response to a prompt given at one of the meetings would, over the next two years, spill out into a full blown novel. In 2018, with the publication of Smelling Roses––A Tale of Connection and Transformation, Claudette became an author. “Claudette Dean’s inspirational artistry now manifests itself in this intriguing book written in her unique style. A very plausible story, it is interspersed with intuited messages of Universal truth illuminating The Way. Smelling Roses is a beautiful thought-provoking work from a spiritually guided writer.” — Barbara R.H. Chester, founder of the Grand Bahama LabyrinthIn Claudette's own words, “Embracing the unknown, I continue exploring and expressing from my place of connection as I follow the Golden Thread. Through the process, I discover my gifts, and through the work, I share them. And the journey continues.”In the wake of Hurricane Dorian, Claudette works from her rebuilt home studio and office, and resides with husband, Donald Dean, on the island of Grand Bahama. www.claudettedean.com

The so-called “discovery” of the world by European navigators in the XV century is the event that defines the beginning of the historical process known as colonialism, a system marked by the exploitation of labor and expropriation of land that is still present in different forms in the international geopolitical arena. In this episode, the first of a small series, we will discuss how these colonial structures are present in modern times and how they are reflected in the Covid-19 crisis we currently live. Our attention will focus on the Navajo Nation and the Republic of Zimbabwe. Our guests today are Dr. Farina King, a citizen of the Navajo Nation and an Assistant Professor of History as well as an affiliated faculty of Cherokee and Indigenous Studies at Northeastern State University and author of The Earth Memory Compass: Diné Landscapes and Education in the Twentieth Century; and Tinashe Goronga, a physician from Zimbabwe who is focused on social medicine, public health, and health equity. Tinashe is also member of the Global Campaign Against Racism’s, Zimbabwe chapter. ** This episode was recorded on July 10th, the data presented refers back to that moment and might have changed by now. Here are links to further the discussion, based on the conversation: NAVAJO INITIATIVES Dr. Farina King’s website - https://farinaking.com/dinedoctorhistorysyllabus/ Healing Songs sung by the Navajo and the Sioux – https://youtu.be/x1uJidwo77s The Official Navajo Nation COVID-19 Relief Fund - https://www.nndoh.org/donate.html Utah Navajo Health System - https://www.unhsinc.org/ NDN Collective COVID-19 Project – https://ndncollective.org/covid-19/ Pueblo Relief Fund - https://pueblorelieffund.org/ Far East Navajo COVID-19 Response Fund - https://www.gofundme.com/f/far-east-navajo-covid19-relief Utah Diné Bikéyah - https://utahdinebikeyah.org/contribute-2/ K'é Infoshop - http://keinfoshop.org/donate The National Council of Urban Indian Health - https://www.ncuih.org/index ZIMBABWE INITIATIVES CHEZ- health education – https://twitter.com/CHEZimbabwe Zim Citizens COVID Response - https://www.instagram.com/zimccr/ Rare Diseases & Disabilities Africa Foundation – https://www.facebook.com/RaDDA.Foundation/ Kufema - https://kufemazimbabwe.org/ Kufunda Village Community – https://www.kufunda.org/ National Art Gallery of Zimbabwe - http://www.nationalgallery.co.zw/ Institute of afrikology - https://instituteofafrikology.wordpress.com/ Women for the Environment Africa - https://www.womenforenvironment.org/ Feministing while African - https://twitter.com/FeministingWAF BRAZILIAN INITIATIVES UNEAFRO Brazil - https://uneafrobrasil.org/ Popular health agents project - https://agentespopularesdesaude.org.br/

Ahmad Fuad Osman is one of Malaysia’s most interesting contemporary artists, who has been creating work since the early 1990s. His work draws on Malay and Malaysian culture, history and sociopolitical events, with a lot of emphasis on research. A mid-career survey of Fuad’s work, called “At the end of the day even art is not important”, is being held at the National Art Gallery, which looks at the past 30 years of his art. So, we sit down with Fuad and exhibition curator Shabbir Hussain Mustafa, to reflect on Fuad’s journey as an artist thus far, what lies ahead, and why it is so important for an artist to provide sociopolitical commentary.

Ahmad Fuad Osman is one of Malaysia’s most interesting contemporary artists, who has been creating work since the early 1990s. His work draws on Malay and Malaysian culture, history and sociopolitical events, with a lot of emphasis on research. A mid-career survey of Fuad’s work, called “At the end of the day even art is not important”, is being held at the National Art Gallery, which looks at the past 30 years of his art. So, we sit down with Fuad and exhibition curator Shabbir Hussain Mustafa, to reflect on Fuad’s journey as an artist thus far, what lies ahead, and why it is so important for an artist to provide sociopolitical commentary.

The National Art Gallery, or Balai Seni Negara, is the premier national institution for the visual arts. What does it have planned for 2020 and beyond, and what role does it see itself playing when it comes to educating the Malaysian public on the visual arts? And what can we expect from the Kuala Biennale 2020? We speak with Zanita Anuar, Director of Exhibition Services, Collection and Conservation, and curator Intan Rafiza Abu Bakar, both from the National Art Gallery.

The National Art Gallery, or Balai Seni Negara, is the premier national institution for the visual arts. What does it have planned for 2020 and beyond, and what role does it see itself playing when it comes to educating the Malaysian public on the visual arts? And what can we expect from the Kuala Biennale 2020? We speak with Zanita Anuar, Director of Exhibition Services, Collection and Conservation, and curator Intan Rafiza Abu Bakar, both from the National Art Gallery.

Art comes in many forms - sculpting, painting, drawing, architecture, etc. - each of which brings out a story to connect one another. Sharaad Kuttan speaks to Zanita Anuar, Director, Media & Art Development Division, National Art Gallery

On this episode: - We welcome GMB Akash to our podcast. GMB Akash is a Bangladeshi photographer, storyteller and photojournalist & writer, received 100 international Awards, speaker at TEDxPorto and TEDxHyderabad. He talks about how he started is photography journey, humanitarian work, photo projects and about the exhibition that was held in National Art Gallery of Maldives under the title “Soulscapes”. This exhibition was held from 4th November until 6th November 2019. “Soulscapes” present a collection of photos from 11 of his projects. A total of 55 powerful photos taken in 5 different countries ranging from Bangladesh, Nepal to Pakistan, each project focuses on an important societal issue. Thanks to Fine Art Maldives for the arrangement to record this podcast. Nishan @millzero as your host. Contact : kulapodcast@gmail.com

On this episode: - - News update of 9th SAARC Art festival running from 22-27th September 2019. Final Exhibition at National Art Gallery on 29th September 2019. - We try to bring some basic photography tutorials we called this educational segment as "Saafu Nusaafu", Mainly highlighted basic parts of SLR (Single Lens Reflex ) camera and Aperture. - Upcoming Exhibition : In My Mind, An artistic expression of our beautiful minds by Mental health center (IGMH) at National Art Gallery on 1st October 2019 - Cinema updates : Olympus cinema and Schwack Cinema & TV platforms updates. Nishan @millzero and Auraf as your host. Contact : kulapodcast@gmail.com

This episode I share my experience at the National Art Gallery in Jamaica. They have amazing pieces there and something for everyone, even ya boy got a bit emotional. Lol check it out. --- Send in a voice message: https://anchor.fm/thebigmantingpodcast/message

Hans Heysen and Nora Heysen are Australia’s most well-known father-daughter artistic duo. Professor Speck explores how this dynamic motivated her interest in the Heysen letters to each other written from the time Nora moved to London in 1934 until Hans Heysen died in 1968. During that time Nora Heysen won the Archibald Prize, was appointed an official war artist, fell in love with a married man, Robert Black, with whom she lived with and eventually married, relocated to Sydney, and travelled extensively to the Pacific. Hans Heysen was knighted, sat on the board of the National Art Gallery of South Australia and was well connected to leading figures in the Australian art world. The letters take readers into these events, life at The Cedars and Sallie Heysen’s role there, and the art itself. This free public lecture was part of the History Trust of South Australia's Talking History series. For upcoming events visit: history.sa.gov.au/whats-on/events/

We get all up in the art on this episode. Matt visited the National Art Gallery in beautiful Ottawa, ON. We get a walkthrough, you get one of our most cynical takes yet. From First Nations, Métis & Cree artwork, to the paintings of the iconic group of seven, we just can’t wrap our heads around the colonial couplings found in the gallery. Luckily, Emily Carr saved us from total despair. That is, until we try to make sense of postmodern art. It’s like finding lost money in your jacket pocket: confusing. Really confusing.   To follow along as we dissect some art, check-out the pics Matt took while on his tour: https://drive.google.com/drive/folders/1j_AY8KzuF8S5u1rruQovVQsuA-Gl1s2T?usp=sharing   We thank Evil Can Evil for kindly allowing us to play their songs: Winter Rider, Power, Love & Hate, and I’m Alive. Blues filtered through a 1970s' distortion, with a hint of 1960s' rock. A voice full of blues and smoke. Drums that smash the permafrost. A bass that moves snowdrifts. Guitars that lash stronger than a boreal wind. The strength of the North, with the soul of blues and the energy of rock. Evil Can Evil, the nordic rock's ambassadors. Evil Can Evil is a Quebec City quartet founded in 2007. The band is made up of: JF, vocalist and guitarist, Math, drummer, Manuel, bassist and Seb, rhythm guitar. Through stories of dangerous women, broken hearts, identity crises, territorial dispossession and courageous snow plows, Evil Can Evil builds a universe breathing a new life into the tired stoner rock genre. Stoner rock is dead, hail nordic rock. If Evil Can Evil doesn't make you want to dance, then you're more frozen than a mammoth prisoner of the Siberian soil. Evil Can Evil can be found on: Facebook https://www.facebook.com/evilcanevilband/ | Website www.evilcanevil.com | Bandcamp https://evilcanevil.bandcamp.com/album/evil-can-evil | iTunes https://itunes.apple.com/us/artist/evil-can-evil/781711591   If you enjoy podcasts and need a better way to find, review and share shows you love check-out Podknife at https://podknife.com. For updates on the new shows added to the Podknife database and for a featured podcast of the day, follow https://twitter.com/podknife. Podknife: Podcast reviews for everyone.   Concluding thought:  Post-modernism is modernism with the optimism taken out. - Robert Hewison   -------------------------------------------------------------------------- Follow #PodernFamily #Podmosphere and #2PodsADay on Twitter and Facebook for the best in indie podcasts. Listen More. Listen Indie. --------------------------------------------------------------------------   If you enjoyed this episode, we strongly urge you to make a donation to the Gord Downie & Chanie Wenjack Fund and/or the National Centre for Truth and Reconciliation. Please help continue Gord's charitable & activist work. He left us with memories and a lifetime of music to enjoy. Helping the causes he cared about is the best way we can thank him now. https://www.downiewenjack.ca/ https://give.umanitoba.ca/nctr http://secretpath.ca/   Follow us on Twitter: @The_SIM_Pod and on Facebook @thesimpod Email us: semiintellectual@gmail.com Subscribe to the podcast: https://thesim.podbean.com/feed/ iTunes: https://goo.gl/gkAb6V Stitcher: https://goo.gl/PfiVWJ GooglePlay: https://goo.gl/uFszFq Corrections & Additions webpage: http://thesim.podbean.com/p/corrections-additional-stuff/ Please leave us a rating and a review, it really helps the show! Intro Music: Song "Soul Challenger" appearing on "Cullahnary School" by Cullah Available at: http://www.cullah.com Under CC BY SA license http://creativecommons.org/licenses/by-sa/4.0/ Semi-Intellectual Musings does not own any of the songs played in this episode. Follow links above for proper attribution.  

In this episode of the MYD Earth Show we talk about innovation in the space of sustainability and how even in the arts you can be environmentally conscious with Dr. Paul Godard and Lisa Scriven. Paul and Lisa are in Namibia right now to launch an art exhibition at the National Art Gallery of Namibia that celebrates Namibian success in conservation and our incredible landscapes.

Life is not always easy in Startup Land.  Listen to two very different startup founders talk about the struggles and rewards of launching a new company.  Also, in studio for this episode of FastStart.talk is Buddy the the Border Collie.

Gerard Vaughan, Director, National Gallery of Australia, Canberra, presents his reflections on the particular role of a National Art Gallery for Australia. Recorded at Sherman Contemporary Art Foundation (SCAF), 24 March 2015, in partnership with the Australian Institute of Art History (AIAH).

For this episode of Yilun Audio Tours, I am going to talk to you about the various attractions, shows and events that you can look forward to this year and beyond. I'll talk about River Safari, SEA aquarium, Sesame Street ride, F1 Grand Prix, Singapore Biennale, Jersey Boys, Incanto, National Art Gallery, Iskandar Malaysia.For show notes, links, travel directions and more information please visit yiluntours.tkRemember to like on Facebook at Yilun Audio Tours. Subscribe on iTunes, and leave a review while you are there.MP3 Link iTunes link (Subscribe on iTunes) RSS feed Universal Studios Singapore Fansite

Alex helps Elfy to sneak out and head for the Capitol to track down the coven while he is stuck with a real FBI agent who takes him to breakfast in the National Art Gallery.

Lambert’s best-known bush image, Across the blac k soil plains was inspired by his memories of horse teams hauling heavily laden wool wagons across the bare, miry, flat lands of Snakes Plain from Warren to the railway station at Nevertire. He encountered this landscape while droving sheep in the 1890s and was reminded of it during a visit to Warren in 1899. Lambert suggested that Jim Smith, a known identity of the district, was the model for the teamster walking beside the wool wagon and urging the horses onwards (ML MSS A1811, p.54). It has also been claimed that the teamster was Luke Rollins from Moree, and Henry Sharkey, who carried a record load from Louth to Bourke. By portraying the rhythmic rise and fall of the horses’ heads and the tilt of the wagon, Lambert created a sense of movement in his image. The horses strain as they pull the load through the mud which sticks to their hoofs like glue, with the leader leaning into the chains to pull others into line. He dramatised the scene by placing the horses in silhouette against the sky and using the chiaroscuro of light and dark, showing the light making its way through the billowing clouds and illuminating the horses’ backs. In adopting a low viewpoint Lambert also made the team dominate the image. Apart from the blue in the sky the painting is a harmony of tonally balanced browns, beiges and white. Placing the large canvas diagonally across the garden shed or washhouse at his mother’s home in the Sydney suburb of Hornsby, Lambert began to work on it. He had made colour notes of the landscape, as well as sketches of Jim Smith’s team of horses while staying at Meryon in about 1895–6 (ML MSS A1811, p.17). He commented that: As a boy in the bush I did much work with draft [sic] horses ... [One] called Barney had such fine action and such imposing carriage ... and possibly what knowledge I displayed in connection with horses in ‘Black Soil Plains’ originated with my association with this exceptionally fine animal (ML MSS A1811, pp.54–5). He later scoured the area around his mother’s home for further models for the horses, and for each one in the team he made two or three oil studies (ML MSS A1811, pp.54–5). The painting echoes the spirit of a poem by the Scottish–Australian narrative poet and horseman, Will Ogilvie, ‘How the Fire Queen crossed the swamp’. This poem, published in Ogilivie’s first collection, Fair girls and gray horses (Sydney, 1898), included the lines: With straining muscles and tightened chains – sixteen pulling like one; With jingling harness and droning wheels and bare hoofs’ rhythmic tramp, With creaking timbers and lurching load the Fire Queen faced the swamp! Across the black soil plains inspired other poems such as ‘Across the black soil plains’ by ‘Mousquetaire’ (Gordon Tidy), which was published in the Bulletin , 30 October 1902 and was illustrated by Lambert’s painting. O nobly manned must be the land, and nobly horsed as well, Has such a sight as this to show, such story has to tell, The teamster who so sternly strides, the team so strongly strains Till stride and strength be come at length across the Black Soil Plains The picture received an enthusiastic response from contemporary critics. The Sydney Morning Herald wrote on 18 August 1899 ‘In this long narrow canvas the young artist paints with astonishing vigour and sense of movement ... in every conceivable attitude the horses tug and strain at the heavy load.’ It was purchased by the Art Gallery of New South Wales at the New South Wales Society of Artists exhibition in 1899 and was subsequently awarded the 1899 Wynne Prize for landscape painting. More critical of his own work than many others, Lambert wrotein the Australian Magazine , 18 September 1899: It is strong, ‘masculine’ if you like; the horses are well drawn and painted, the movement and action are ‘all there,’ the teamster (and his dog) are realistic, the sky is good, the colour is harmonious, the subject is popular, and the picture has been purchased for the National Art Gallery – what more can we say? This: that when G.W. Lambert has studied and worked hard for a few more years, both here and abroad (as we hope he will) – well, then he may paint the ‘picture of the year’. The painting inspired variations in other media such as Tom Woodman’s glass painting Load of wool 1940, at the Carinda Hotel, New South Wales, as well as a plaster version. About 1855 Edward Roper painted a landscape entitled Bringing down the wool from a Murray station (National Library of Australia, Canberra), which included a bullock team with a load of wool. Frank Mahony also treated the subject of a wool wagon several times. These images have none of the action or drama of Lambert’s painting, nor the spirit of place. Out of the particular and the personal Lambert created an enduring icon conveying the toil of man and horse and their relationship with the land.