Podcasts about nelson atkins museum

From the Minneapolis Institute of Art to the Nelson-Atkins Museum in Kansas City, Crystal Bridges Museum of American Art in Arkansas (pictured), and even the Guggenheim Museum in Bilbao, Spain—this episode of Big Blend Radio's WORLD OF ART podcast with artist and art historian Victoria Chick concludes her three-part series on the History of Art Museums, highlighting the evolution and innovation of 21st-century art museums in America. This art-focused podcast explores how modern museums are redefining the way we experience and interact with art, from cutting-edge architecture and community engagement to the transformation of museum collections and their exhibits. Victoria Chick is the visionary behind the Southwest Regional Museum of Art & Art Center in Silver City, New Mexico. She's also a contemporary figurative artist and a collector of early 19th and 20th-century American prints. Learn more about her work and the museum initiative, and explore her three-part article series on the history of art museums: PART ONE: The Origins of Art Museums: https://www.southwest-art-museum.org/articles/art-museums-a-history-part-one   PART TWO: Growth of Art Museums in the 19th and 20th Centuries: https://www.southwest-art-museum.org/articles/art-museums-a-history-part-two     PART THREE: 21st-Century Art Museums in America: https://www.southwest-art-museum.org/articles/art-museums-pt-3 

The Nelson-Atkins Museum of Art recently selected six finalists to design new expansion plans, down from 180 submissions from around the world. Nelson President and CEO Julian Zugazagoitia and Board Chair Evelyn Belger discuss what they hope to see in a makeover of the Kansas City institution.

“Strange and Familiar Places,” on view at the Nelson-Atkins Museum of Art in Kansas City through July 20, showcases 26 large-scale photographs by 10 contemporary artists, several with ties to Kansas and Missouri.

"Mapping the Heavens: Art, Astronomy and Exchange Between the Islamic Lands and Europe" features paintings from the collection of the Nelson-Atkins Museum of Art, rare books from the Linda Hall Library and other sources to tell the story of how scientists across time, place and religion expanded early knowledge of astronomy.

In this episode of PhotoWork with Sasha Wolf, Sasha engages in an honest and deeply personal conversation with photographer Christian Patterson. They delve into the creation of "Redheaded Peckerwood" (MACK) and his latest book, "Gong Co." (TBW Books & Éditions Images Vevey). Christian offers a thorough description of his intricate process and motivations for these long-term projects, providing nearly step-by-step insights. He also reflects on his years working with William Eggleston and the nuanced ways in which that experience did, and did not,  influence his artistic direction. http://www.christianpatterson.com  |||   https://www.instagram.com/christian.patterson/ CHRISTIAN PATTERSON was born in Fond du Lac, Wisconsin and lives in New York, New York. His visually layered work has been described as novelistic, subjective documentary of the historical past, and often deals with themes of the archive, authorship, memory, place and time. Photographs are the heart of his multidisciplinary work, which includes drawings, paintings, objects, video and sound. Patterson is the author of four books, including Sound Affects (2008), Redheaded Peckerwood (2011, Recontres d'Arles Author Book Award), Bottom of the Lake (2015,Shortlist, Aperture-Paris Photo Book of the Year), and the forthcoming Gong Co. (2024). He is a Guggenheim Fellow (2013), winner of the Grand Prix Images Vevey (2015), a New York Public Library Picture Collection Artist Fellow (2022) and James Castle House Resident (2023). His work is in the collections of the National Gallery of Art, Los Angeles County Museum of Art (LACMA), J. Paul Getty Museum, Milwaukee Art Museum, Nelson-Atkins Museum of Art and Ogden Museum of Southern Art, and his books are in many institutional artist book collections. He has lectured, mentored and taught widely. He is represented by Rose Gallery, Santa Monica, USA and Robert Morat Galerie, Berlin, Germany. This podcast is sponsored by picturehouse + thesmalldarkroom. https://phtsdr.com

The Nelson-Atkins Museum of Art aims to respond to growing community needs and increasingly diverse visitors with its next major expansion. It has launched an international competition to find a designer for the project.

Tips for Attending the ASCA Conference & Exciting Updates!Join Brandy Thompson as she takes over the Counselor Chat podcast for this episode! Brandy shares valuable tips for making the most of your ASCA conference experience. Get ready for essential packing advice, networking strategies, and must-see sessions. **Key Points:**ASCA Conference Tips: - Wear comfortable shoes and pack light. - Bring a sweater for cold conference rooms. - Download the conference app for updates and schedules. - Don't miss the exhibit hall for networking and discovering new resources. - Participate in social events and mixers to meet fellow counselors. - Utilize social media and follow the hashtag #ASCA24 for real-time updates.Exploring Kansas City: - Visit the Nelson-Atkins Museum of Art, National WWI Museum, Kansas City Zoo, and more. - Enjoy local BBQ at Joe's Kansas City Bar-B-Que or Arthur Bryant's.Booth 506: Visit Carol and Brandi at the exhibit hall for the Perks Counseling Content Club. Get exclusive swag and learn about their comprehensive counseling resources.Links and Resources:- 2024 Summer Counselor Conference Registration Follow Brandy at:The Counseling Teacher The Counseling Teacher Brandy on TpTPerks Content ClubSubscribe & Review:- Follow us on your favorite podcast platform and leave a review to help others find the show!Thanks for tuning in! Until next time, enjoy your ASCA conference and happy conferencing!---Feel free to make adjustments to fit your style and specific needs!Resources Mentioned:Summer Counselor ConferenceMentioned in this episode:Perks Membership

The annual Shakespeare in the Park is returning to the lawns of the Nelson Atkins Museum of Art! June 11th-30th For more information please visit: Homepage The post Arts Magazine Show: Shakespeare In The Park appeared first on KKFI.

Join us as we take you through our visit to the Nelson Atkins Museum in Kansas City to see their miniature portraits collection (and some bonus exhibits). This episode is a prime example of what happens when we try to record while being super sleep deprived, having a cat that high on catnip, and having obnoxious upstairs neighbors. Enjoy!

In this episode, the team discusses the importance of narrative, operational art, and the role of museums in military professional development with Lieutenant Colonel (retired) Nikki Dean. Ms. Dean is a military history interpreter at the World War I Museum located in Kansas City, MO. Reading Suggestions Wayne Sandholtz: Prohibiting Plunder https://www.goodreads.com/book/show/2901356-prohibiting-plunder Frankline D. Vagone and Deborah E Ryan: The Anarchist's Guide to Historic House Museums https://www.goodreads.com/en/book/show/25759565 Liddell Hart: The Real War 1914-1918 https://www.goodreads.com/en/book/show/148842 George T. Raach: A Withering Fire https://www.goodreads.com/book/show/34323467-a-withering-fire?ref=nav_sb_ss_1_14 Podcasts: Meet Me at the Museum from Art Fund https://podcasts.apple.com/us/podcast/meet-me-at-the-museum/id1439186876 Conflict of Interest from Imperial War Museums https://podcasts.apple.com/us/podcast/conflict-of-interest/id1566841158 Side Door from Smithsonian Institution https://podcasts.apple.com/us/podcast/sidedoor/id1168154281 A Frame of Mind from The Nelson-Atkins Museum of Art https://podcasts.apple.com/fr/podcast/a-frame-of-mind/id1600732900

This past weekend, the Nelson-Atkins Museum of Art debuted a new retrospective exhibit on the life and work of Franco-American artist Niki de Saint Phalle. One of her great initiatives was to express rebellious joy in her art, especially later in her career. --- Click here to support the Wednesday Blog: https://www.patreon.com/sthosdkane --- Support this podcast: https://podcasters.spotify.com/pod/show/sean-thomas-kane/support

Send us a Text Message.Tuesday, April 16, 2024It's our very 1st episode of ON STAGE KC! Thanks for joining us. In this episode we speak with:Shelly Verden, Composer and Lyricist for "H.O.T. the Musical" having it's World Premiere at Unicorn Theatre. More info at unicorntheatre.org. H.O.T. the Musical, MAY 8 - JUN 2 2024, Presented by Unicorn Theatre at Unicorn Theatre. More info at unicorntheatre.org.Hilari Holt, Improviser, Comedian, and Founder of 1st Black Comedy Festival Kansas City.Black Comedy Festival Kansas City, APR 25,26,&27 2024, Presented by Black Comedy Festival Kansas City at Multiple Venues. More info at bcfkansascity.comOur MUST SEE KC picks are:Passport to India Festival, APR 21 2024, Presented by The Nelson-Atkins Museum of Art at The Nelson-Atkins Museum of Art. More Info at https://cart.nelson-atkins.org/43150/44185Simply the Best: The Music of Tina Turner, APR 25 2024, Presented by Kansas City Symphony at Kauffman Center for the Performing Arts. More info at https://tickets.kcsymphony.org/tinaturner.Arts in Prison presents the East Hill Singers, Songs of Transformation, APR 28 2024, Presented by Arts in Prison at Grace Covenant Presbyterian Church. More info at https://www.artskcgo.com/event/arts-in-prison-presents-the-east-hill-singers-songs-of-transformation/Spinning Tree Theatre presents Rubik by Vanessa Severo, APR 26 - MAY 05 2024, Presented by Spinning Tree Theatre at Johnson County Arts & Heritage Center. More info at https://spinningtreetheatre.com/%22rubik%22.This show is hosted and produced by Tess Koppelman and Jamie Campbell. Our Executive Producer is Nathan Gwartney. Our Audio Engineer is Paul Vedros. Episodes are mixed and edited by Thomas Newby who also composed our theme music.If you have something you would like featured on our show reach out to us through our social media.Follow Us On:InstagramFacebookYouTubeWebsite

  This time, our guests are Neal Long, Director of Learning at the Lyric Opera of Kansas City, and Anne Manning, Deputy Director for Learning and Engagement at the Nelson Atkins Museum of Art. In this captivating conversation, we explore the role of art in healing and resilience, ways to be more innovative in providing support for groups of people, the importance of practicing humility when you know that you don't know, striking a balance between beauty, comfort, and truth-telling, and curating experiences that foster choice, develop empathy, and provide care. You don't have to be an artist to get something good out of this episode! 

This episode of Big Blend Radio's 1st Friday "Toast to The Arts & Parks" Show with the National Parks Arts Foundation features Carissa "Lucky" Garcia, the Spring 2024 NPAF artist-in-residence in Chaco Culture National Historical Park. Carissa “Lucky” Garcia is an Indigenous/Chicana writer, performing artist, community organizer, anti-oppression educator and Indigenous Justice advocate. She is a founding member of the La Resistencia publishing press and poetry collective amplifying LGBTQ+ voices of color. Carissa's storytelling communicates ideas that focus on her experience as an Iraq War veteran, Native American culture, love, politics, and her appreciation for comic books and science fiction. Her work has been featured at the University of Missouri Latinx Graduate Program, Rhode Island School of Design, UMKC Women of Color Leadership Conference, Nelson-Atkins Museum of Art, Flatland KC, Prescott College, Redline Contemporary Arts Center, Dairy Arts Center, Denver Art Museum, and on the streets all across America. Learn more about the National Parks Arts Foundation's unique artist residency programs in parks across the country at https://www.nationalparksartsfoundation.org/ Learn more about Chaco Culture National Historical Park at https://www.nps.gov/chcu/index.htm Hosted on Acast. See acast.com/privacy for more information.

This episode of Big Blend Radio's 1st Friday "Toast to The Arts & Parks" Show with the National Parks Arts Foundation features Carissa "Lucky" Garcia, the Spring 2024 NPAF artist-in-residence in Chaco Culture National Historical Park. Carissa “Lucky” Garcia is an Indigenous/Chicana writer, performing artist, community organizer, anti-oppression educator and Indigenous Justice advocate. She is a founding member of the La Resistencia publishing press and poetry collective amplifying LGBTQ+ voices of color. Carissa's storytelling communicates ideas that focus on her experience as an Iraq War veteran, Native American culture, love, politics, and her appreciation for comic books and science fiction. Her work has been featured at the University of Missouri Latinx Graduate Program, Rhode Island School of Design, UMKC Women of Color Leadership Conference, Nelson-Atkins Museum of Art, Flatland KC, Prescott College, Redline Contemporary Arts Center, Dairy Arts Center, Denver Art Museum, and on the streets all across America. Learn more about the National Parks Arts Foundation's unique artist residency programs in parks across the country at https://www.nationalparksartsfoundation.org/ Learn more about Chaco Culture National Historical Park at https://www.nps.gov/chcu/index.htm Hosted on Acast. See acast.com/privacy for more information.

This episode of Big Blend Radio's 1st Friday "Toast to The Arts & Parks" Show with the National Parks Arts Foundation features Carissa "Lucky" Garcia, the Spring 2024 NPAF artist-in-residence in Chaco Culture National Historical Park.  Carissa “Lucky” Garcia is an Indigenous/Chicana writer, performing artist, community organizer, anti-oppression educator and Indigenous Justice advocate. She is a founding member of the La Resistencia publishing press and poetry collective amplifying LGBTQ+ voices of color. Carissa's storytelling communicates ideas that focus on her experience as an Iraq War veteran, Native American culture, love, politics, and her appreciation for comic books and science fiction. Her work has been featured at the University of Missouri Latinx Graduate Program, Rhode Island School of Design, UMKC Women of Color Leadership Conference, Nelson-Atkins Museum of Art, Flatland KC, Prescott College, Redline Contemporary Arts Center, Dairy Arts Center, Denver Art Museum, and on the streets all across America.  Learn more about the National Parks Arts Foundation's unique artist residency programs in parks across the country at https://www.nationalparksartsfoundation.org/  Learn more about Chaco Culture National Historical Park at https://www.nps.gov/chcu/index.htm 

In this episode of PhotoWork with Sasha Wolf, Sasha and photographer, Jim Goldberg discuss his new book, Coming and Going, published by MACK, which is a very personal story but also a book about storytelling itself. Jim talks about his lifelong interest in social justice and Sasha and Jim connect Jim's work to both Jazz and Punk music. Sasha also announces the first ever participants in the PhotoWork Foundation Fellowship. https://jimgoldberg.com/ https://www.mackbooks.us/collections/frontpage/products/coming-and-going-br-jim-goldberg Jim Goldberg's innovative and multidisciplinary approach to documentary makes him a landmark photographer and social practitioner of our times. His work often examines the lives of neglected, ignored, or otherwise outside-the-mainstream populations through long-term, in depth collaborations which investigate the nature of American myths about class, power, and happiness. A prolific and influential bookmaker, Goldberg's recent books include Ruby Every Fall, Nazraeli Press (2014); The Last Son, Super Labo (2016); Raised By Wolves Bootleg (2016), Candy, Yale University Press (2017), Darrell & Patricia, Pier 24 Photography (2018) and Gene (2018). Goldberg has exhibited widely, including shows at the Museum of Modern Art, New York; SFMOMA; the Museum of Fine Arts, Boston; the Corcoran Gallery of Art; the Los Angeles County Museum of Art; and the Yale University Art Gallery. His work is also regularly featured in group exhibitions around the world. Public collections including MoMA, SFMOMA, the Whitney Museum of American Art, the Getty, the National Gallery, LACMA, MFA Boston, The High Museum, Nelson-Atkins Museum of Art, Library of Congress, MFA Houston, National Museum of American Art, and the Art Institute of Chicago. Goldberg has received three National Endowment of the Arts Fellowships in Photography, a Guggenheim Fellowship, the Henri Cartier-Bresson Award, and the Deutsche Börse Photography Prize, among many other honors and grants. Goldberg is Professor Emeritus at the California College of the Arts. He is represented by Casemore Kirkeby Gallery in San Francisco. Goldberg joined Magnum Photos in 2002. This podcast is sponsored by picturehouse + thesmalldarkroom. https://phtsdr.com

Cara Romero, born 1977 (Chemehuevi/ American) In a fine art photographic practice that blends documentary and commercial aesthetics, Cara Romero (Chemehuevi Indian Tribe) creates stories that draw from intertribal knowledge to expose the fissures and fusions of Indigenous and non-Indigenous cultural memory, collective history, and futurity. Romero has held solo exhibitions in the US, UK, and Germany. Her recent group exhibitions include Our Selves: Photographs by Women Photographers at the Museum of Modern Art and Water Memories at the Metropolitan Museum of Art (2022). Her public art projects include #TONGVALAND presented in Los Angeles by NDN Collective (2021); Restoration: Now or Never with Save Art Space in London (2020), and Desert X in the Coachella Valley (2019).  Widely collected, Romero's photographs are in private and public collections including those at the Denver Art Museum, the Peabody Essex Museum, The Hood Museum, the Minneapolis Institute of Art, the MoMA, the Nelson-Atkins Museum of Art, Los Angeles County Museum of Art, and the MET. Romero was raised between the rural Chemehuevi reservation in California's Mojave Desert and the urban sprawl of Houston. She is based in Santa Fe.

American Public Square at Jewell is thrilled to be hosting its annual premier event, Evening at the Square, on December 4th at the Nelson Atkins Museum of Art. This year's event will feature a conversation between two renowned political experts, David Axelrod and Michael Steele. David Axelrod is a political strategist, commentator, and former chief strategist and senior advisor to President Barack Obama; he was the founding director of the University of Chicago's non-partisan Institute of Politics and now serves as a senior fellow to that organization.  Michael Steele is the former Chairman of the Republican National Committee, the former Lt. Governor of the State of Maryland, a political analyst for MSNBC, and host of The Michael Steele Podcast.  This conversation is moderated by American Public Square at Jewell Executive Director, Claire Bishop and American Public Square at Jewell Intern, Ian Wooldridge.  This episode serves a special preview of what's to come at the live event on December 4th, 2023. To buy tickets to attend the event in person or participate via Livestream, please visit: www.eveningatthequare.org 

In this episode of PhotoWork with Sasha Wolf, Sasha and Michael travelled to the High Museum of Art in Atlanta, GA to speak with Keough Family Curator of Photography​, Gregory Harris and photographer, Rahim Fortune about the amazing show, A Long Arc: Photography and the American South since 1845, up through January 14, 2024. Greg talks about how he and Sarah Kennel --curator of Photography at Virginia Museum of Art-- collaborated on the curation of the exhibition, some of the history behind the work, and the practical and curatorial decisions needed in order to narrow down the breadth of work made in the south from 1845 to today. Rahim shares his process of writing the afterword to the exhibition catalog, with Dr. Shakira Smith, published by Aperture, and shares his response to the work in the show along with its historical significance to the history of Black photographers in the American South. https://high.org/exhibition/a-long-arc/ https://aperture.org/books/a-long-arc-photography-and-the-american-south/ https://high.org/person/gregory-harris/ https://www.rahimfortune.com Rahim Fortune uses photography to ask fundamental questions about American identity. Focusing on the narratives of individual families and communities, he explores shifting geographies of migration and resettlement, and the way that these histories are written on the landscapes of Texas and the American South. Rahim has published two books of his photographs. His work has been featured in exhibitions worldwide and is included in many permanent collections, including those of the High Museum in Atlanta GA, The LUMA Arles, Nelson Atkins Museum and The Boston Museum of Fine Art. “Fortune's calm and striking photographs provide a compelling glimpse into the daily rhythms of the community, revealing its deep humanity and dignity, at a time when his own personal pain resonated with the experience of the nation. But his images also capture the pain, tensions and relentless everyday reality that have influenced the lives of these people. His portraits are so grippingly engaging because he finds the necessary balance between thoughtful compassion and hard truth.” - Collector Daily Gregory J. Harris is the High Museum of Art's Donald and Marilyn Keough Family Curator of Photography. He is a specialist in contemporary photography with a particular interest in documentary practice. Since joining the Museum in 2016, Harris has curated over a dozen exhibitions including Mark Steinmetz: Terminus (2018), Paul Graham: The Whiteness of the Whale (2017), and Amy Elkins: Black is the Day, Black is the Night (2017). For the Museum's 2018 collection reinstallation, he surveyed a broad sweep of the history of photography through prints from the High's holdings in Look Again: 45 Years of Collecting Photography. His collaborative projects have included Way Out There: The Art of Southern Backroads (2019), a joint exhibition with the High's folk and self-taught art department. Harris was previously the Assistant Curator at the DePaul Art Museum in Chicago, where he curated exhibitions including Sonja Thomsen: Glowing Wavelengths in Between (2015), The Sochi Project: An Atlas of War and Tourism in the Caucasus (2014), and Studio Malick: Portraits from Mali (2012). He also organized and authored catalogues for the exhibitions We Shall: Photographs by Paul D'Amato (2013), Matt Siber: Idol Structures (2015), and Liminal Infrastructure (2015). Harris also held curatorial positions at the Art Institute of Chicago, where he organized the exhibitions In the Vernacular (2010) and Of National Interest (2008). His essay “Photographs Still and Unfolding” was published in Telling Tales: Contemporary Narrative Photography (McNay Art Museum, San Antonio, 2016). Harris has contributed essays to monographs by Amy Elkins, Matthew Brandt, Jill Frank, and Mark Steinmetz. He earned a BFA in photography from Columbia College Chicago and an MA in art history from the School of the Art Institute of Chicago. This podcast is sponsored by picturehouse + thesmalldarkroom. https://phtsdr.com

Do you continue to dream? Sometimes, we can get so busy in our everyday lives, that we forget to water the things that give us life. What is something that you dream of doing someday? Today's podcast guest Kim Alexis Newton will encourage you to set aside time to dream and to be intentional. Not only that but to take it a step further, and surround yourself with the right kind of people who can encourage you, and inspire you to get where you want to be, despite any naysayers.    In this episode, you'll discover…  What is the key trait to winning at work and at home? (2:10) Why people give up, and FOREST. (7:40) Use your FOREST to get closer to God (12:58) How a Book Report assignment from her dad changed Kim's life. (13:42) Start asking what can we do for others, not what can they do for us. (27:22) How to dream again, and do something (28:55)   Kim's Bio: Kim Alexis Newton is an executive turned independent board director, author, entrepreneur, and fine artist. Kim is passionate about leadership and innovation and has a unique right-brain-left-brain approach to helping people and companies meet their full potential. Kim's credentials make her uniquely positioned to build creative and emotive brands at scale. During her two decades at Hallmark Cards, she ran a $1B business and led global corporate strategy and transformation across a $4B diversified portfolio of top brands across consumer packaged goods, retail and entertainment. She has been recognized multiple times as a top African American in Corporate America.   As a board director and advisor, Kim specializes in improving business performance through revenue growth prioritization, customer focus, digital capability development, and brand experience. She has more than 20 years of nonprofit board experience. Kim advises several female-led tech startups and is currently active on the board of Big Lots (NYSE: BIG) Inc. where she serves on the Audit and Nominating and Governance committees. Kim was named one of the Most Influential Black Corporate Directors in 2021.  Kim is an exceptional developer of people and teams and has passionately mentored hundreds of leaders–including a stint as a contract moderator for Netflix Leadership Programs.  Kim believes creative agility is an important skill to keep transformation leaders sharp. That is why for the last 20 years she has left space for creation of her own art, a modern approach to quilting. In 2019, after leaving corporate America, Kim sold her first piece that now hangs on the wall of Oprah Winfrey. Kim has sold over a dozen pieces since that time and has exhibited at the Nelson-Atkins Museum of Art in Kansas City, Missouri.  As the founder of Alexis Enterprises, LLC, Kim brings to life all of her passions.  The art studio focuses on her one-of-a-kind fine art quilts. The Intentional PauseTM Project is a platform that helps women embrace pausing as a powerful way to strategize and enable a transformative personal plan. Her five-step approach comes to life in her first book, The Intentional Pause Dream Workbook. And Alexis Gift Quilts, her produced line of handcrafted quilts positioned as extraordinary gifts for self or others, which achieved over $1MM in sales in its first 9 months.  Kim lives in Leawood, Kansas, with her husband, Nikki, and their daughter Piper.   What's Next?  Are you struggling to win at both home and work? Maybe you're crushing it at work, but home life is tough. Or maybe home life is great, but work is challenging.    I want to give you 10 tips that I share with clients. Go to my website at www.corymcarlson.com/subscribe and download your free copy of “10 Ways To Win At Home and at Work.”   Have you read ‘Rise and Go'?   All leaders get knocked down from time to time, so this is a resource to help you get back up quicker.    Check it out on Amazon. Also, if you have not checked out my first book, please do! It is called Win At Home First and you can purchase it on Amazon Here. Forbes Magazine rated it one of 7 books everyone on your team should read.

Glenn North, Educator, Poet, and Director Speaks with Claire de Mézerville López PublishedJun 08, 2023 Claire de Mézerville López welcomes Glenn North, educator, Poet, and Director of Inclusive Learning and Creative Impact at the Kansas City Museum to the Restorative Works! Podcast.   Glenn explains how the Kansas City Museum is a space where truth and storytelling are paramount. A place where often untold stories and fractured histories are put on display as whole and true experiences and reflections of their community and its past. The Kansas City Museum has adopted restorative practices as the center of their methodology where they are able to confront harm, conflict, and disinformation. Glenn describes how the museum addresses historical harms by having authentic conversations with community members, creating space for healing in the present.   Glenn received an MFA in Creative Writing from UMKC and is the author of City of Song, a collection of poems inspired by Kansas City's rich jazz tradition and the triumphs and tragedies of the African American experience. His ekphrastic and visual poems have appeared in art exhibitions at the Nelson-Atkins Museum of Art, the American Jazz Museum, and the Nerman Museum of Contemporary Art. Glenn is also an adjunct English professor at Rockhurst University and is currently filling his appointment as the Poet Laureate of the 18th & Vine Historic Jazz District.   Tune in to learn more about Glenn and the Kansas City Museum and visit https://kansascitymuseum.org/ to check out their programing, events, and restorative initiatives!

Today, I'm joined by Rachel Nicholson (Director, Visitor Engagement & Research at the Nelson-Atkins Museum of Art) and Christine Murray (Head of Content at Art Processors) to discuss an art experience that revolutionises the way visitors interact with Impressionist art. The Nelson-Atkins Museum of Art has collaborated with Art Processors to bring to life "A Beautiful Disruption: Experiencing the Bloch Galleries," a sensorial digital journey that forges personal connections with Impressionist masterpieces and their creators. This innovative encounter leverages existing gallery technology to lead visitors through a hands-free, 'eyes-up' experience, guided by dynamic lighting and immersive audio cues. It blends technology, storytelling, and sensory elements, creating deeper engagement with Impressionist art and, at the same time, disrupting the conventional museum experience.This immersive experience encourages visitors to actively explore and engage with the art, allowing them to choose their own path and connect with paintings that resonate with them personally. This innovative approach creates a communal and social experience, transforming the way visitors interact with and appreciate art within the gallery setting.LinksNelson-Atkins website pageRachel Nicholson LinkedInArt Processors Christine Murray Linked InRediscovering joy and human connection with the ImpressionistsChristine's recent documentary “Feelings Are Facts”

Photographer and educator, Lara Shipley talks about her book, Desire Lines, published by Overlapse. Desire Lines combines imagery and text, both contemporary and historical, as a vehicle to have a thoughtful and contemplative discussion about immigration. It looks at  our current humanitarian crisis at the southern border and views it through the larger context of human migration and shifting borders. Lara and I also talk about her current collaboration with Antone Dolezal called The Naked Truth, a story about a Victorian Spa founded by a snake oil saleseman and which eerily resembles the disinformation media world that was particularly effective during Covid. https://www.larashipley.com https://www.overlapse.com/catalog/desire-lines/ This podcast is sponsored by the Charcoal Book Club Begin Building your dream photobook library today at https://charcoalbookclub.com. Lara Shipley is an American photographer. She exhibits in galleries across the United States, and her work has appeared in notable exhibitions at the National Museum of Women in the Arts in Washington, DC, GuatePhoto international photography festival in Guatemala, the Benaki Museum in Greece and a recent solo exhibition at the international photography festival Cortona on the Move, in Italy. Her work is in collection institutions such as the Museum of Modern Art (NYC), Whitney Museum of American Art (NYC), Smithsonian American Art Museum (Washington D.C.), Museum of Contemporary Photography (Chicago), and the Nelson Atkins Museum for Art (Kansas City). Lara's photographs have appeared in publications such as Harper's Magazine, Smithsonian Magazine, British Journal of Photography, Atlantic Monthly, Vice, and NPR. She received a MFA in photography from Arizona State University and a Bachelors of Photojournalism from the University of Missouri. She is an Assistant Professor of Photography at Michigan State University. Support Real Photo Show with Michael Chovan-Dalton by contributing to their tip jar: https://tips.pinecast.com/jar/real-photo-show

Claire de Mézerville López welcomes Glenn North, educator, Poet, and Director of Inclusive Learning and Creative Impact at the Kansas City Museum to the Restorative Works! Podcast.   Glenn explains how the Kansas City Museum is a space where truth and storytelling are paramount. A place where often untold stories and fractured histories are put on display as whole and true experiences and reflections of their community and its past. The Kansas City Museum has adopted restorative practices as the center of their methodology where they are able to confront harm, conflict, and disinformation. Glenn describes how the museum addresses historical harms by having authentic conversations with community members, creating space for healing in the present.   Glenn received an MFA in Creative Writing from UMKC and is the author of City of Song, a collection of poems inspired by Kansas City's rich jazz tradition and the triumphs and tragedies of the African American experience. His ekphrastic and visual poems have appeared in art exhibitions at the Nelson-Atkins Museum of Art, the American Jazz Museum, and the Nerman Museum of Contemporary Art. Glenn is also an adjunct English professor at Rockhurst University and is currently filling his appointment as the Poet Laureate of the 18th & Vine Historic Jazz District.   Tune in to learn more about Glenn and the Kansas City Museum and visit https://kansascitymuseum.org/ to check out their programing, events, and restorative initiatives!

Episode 4: How To Be With Every Part of Yourself | Karen Faith    “We should always be our own safest person; it would be really alarming if we were not. But creating that safety takes some work. I know so many people do not have safety with themselves. If I had a mission that would be it, to just help people be safer with themselves.'” -Karen Faith    Join us for the fourth episode of The Lesson is Love as I speak with Karen Faith, an ethnographer, strategist, empathy trainer and founder of Others Unlimited. In this episode we explore how to build a relationship with all the different parts of ourselves, the importance of practices like intentional listening and unconditional welcome, and what becomes possible when we feel safe with ourselves and each other.    Karen's open and grounded presence and beautiful words made this such a wonderful episode to create. I hope that this conversation resonates with you and inspires you to make space for all the different parts of yourself.    About the Host, Grisha Stewart:  Grisha Stewart is an author, international speaker, dog trainer, and online dog school facilitator based in Oregon, USA, who specializes in dog reactivity and canine empowerment. She's been  training dogs since 2003. Her two most recent books are Behavior Adjustment Training 2.0: New Practical Techniques for Fear, Frustration, and Aggression in Dogs and The Official Ahimsa Dog Training Manual: A Practical, Force-Free Guide to Problem Solving and Manners. In 2022, she revealed the update to BAT 3.0 (BAT 2.0 is still the best book on the subject). She presents dog training and behavior seminars around the world and lessons online.  There are over 100 different courses in her innovative online dog training school, with more coming every few weeks from a variety of instructors, including Grisha. In addition to her professional pursuits and projects, Grisha is an avid conversationalist and enjoys exploring topics of connection, love, communication, and interspecies community.     About the Guest, Karen Faith:  Karen Faith is the founder and CEO of Others Unlimited, a company that trains groups and individuals in the skills of observation and empathy. Karen Faith is an ethnographer, strategist, and creator of the Others' curriculum. With two decades of experience in ethnographic discovery to inform marketing, branding, and product design, her work utilizes tools from multiple disciplines to empower teams to define, understand, and solve problems from the granular to the grandiose. Karen's findings, talks and workshops have guided brands as diverse as Google, Amazon, Applebee's, The NBA, The ACLU, Blue Cross Blue Shield, The Federal Reserve Bank, and the Nelson-Atkins Museum of Art. ​ ​ Links: Grisha Stewart's website The Grisha Stewart Academy The Lesson is Love Podcast Webpage  Others Unlimited website Karen's Ted Talk   Social Media: Others Unlimited Instagram Grisha's Instagram Grisha's Facebook URLs (if the links don't show up for you): Grisha Stewart's website: grishastewart.com The Grisha Stewart Academy: school.grishastewart.com/ The Lesson is Love Podcast Webpage:  school.grishastewart.com/courses/podcast Others Unlimited website: othersunlimited.com/ Karen's Ted Talk: youtube.com/watch?v=gUV5DJb6KGs   Social Media: Others Unlimited Instagram: instagram.com/othersunlimited/ Grisha's Instagram: instagram.com/grishastewart Grisha's Facebook: facebook.com/grisha.stewart

Tom Huck - Evil Prints http://www.evilprints.com/EVIL PRINTS @SPIDERHOLE STUDIO, PO BOX 666, PARK HILLS, MO 63601, UNITED STATES EVILHEADCREW@GMAIL.COMTom Hück (born 1971) is an American printmaker best known for his large-scale satirical woodcuts. He lives and works in Park Hills, Missouri, 60miles south of St. Louis, where he runs his own press Evil Prints @ Spiderhole Studio. His work is influenced by Albrecht Dürer, José Guadalupe Posada, R. Crumb, and Honoré Daumier.  Huck's woodcut prints are included in numerous public and private collections, including the Whitney Museum of American Art, Library of Congress, Spencer Museum of Art, Nelson Atkins Museum of Art, Saint Louis Art Museum, Milwaukee Art Museum, Minneapolis Institute of Art, Houston Museum of Fine Arts, Baltimore Museum of Art, The Art Institute of Chicago, Fogg Art Museum, Michael C. Carlos Museum, and The New York Public Library. Huck has been represented by David Krut Art Projects in New York, Sherry Leedy Contemporary Art in Kansas City, Missouri, and Duane Reed Gallery in St. Louis, Missouri.  Beginning in October 2017 Huck's gallery representation is C. G. Boerner in New York.Huck's illustrations have appeared in publications such as The Village Voice, The Riverfront Times, and the Minneapolis City Pages.  Hück has also worked with many music acts over the years most notably The Roots “Phrenology” album cover art, as well as t shirt and poster designs for Motörhead, A Perfect Circle, TILTS, and many others.As of Spring 2021 The Saint Louis Art Museum has become the complete official archive of all of Tom Hück's work dating from 1995 to the present. This episode is sponsored by www.betterhelp.com/TheBarn and presented to you by The Barn Media Group.

Art has long been a lever for working class solidarity and social justice. It's also a collaborative form of labor that props up some workers and devalues others. This week, we're taking a long, hard look at two works of art: Rodrigo Valenzuela: New Works for a Post Worker's World, an exhibition on view at BRIC House through December 23rd, and 7 MINUTES, a play produced by Waterwell that premiered at HERE Arts Center last spring. • Brooklyn, USA is produced by Emily Boghossian, Shirin Barghi, Charlie Hoxie, Khyriel Palmer, and Mayumi Sato. If you have something to say and want us to share it on the show, here's how you can send us a message: https://bit.ly/2Z3pfaW• Thank you to Justin Bryant, Elizabeth Ferrer, Marc Enette, Waterwell, Lee Sunday Evans, Arian Moayed, Andrew Tilson, and Matthew Munroe aka Superlative Sain. • LINKSBorn in 1982, Santiago, Chile; based in Los Angeles, CA Rodrigo Valenzuela has presented solo exhibitions at the New Museum and Asya Geisberg Gallery, both NY; Light Work, Syracuse, NY; University of South Florida, Tampa, FL; Santa Cruz Museum of Art and History, CA; Orange County Museum of Art, Santa Ana, CA; Museum of Art and History, Lancaster, CA; Luis de Jesus, Los Angeles, CA; Jordan Schnitzer Museum of Art, Eugene, OR; and the Portland Art Museum and UPFOR, both Portland, OR. He has participated in group exhibitions at The Kitchen, The Drawing Center, Wave Hill, and CUE Art Foundation, all NY; Museum of Contemporary Art North Miami, FL; Bemis Center for Contemporary Arts, Omaha, NE; Frye Art Museum, Seattle, WA; and The Museum of Fine Arts, Houston, TX, among others. He has also exhibited his work in solo shows internationally at Arróniz Arte Contemporáneo, Mexico City; Peana Projects, Monterrey, NL, Mexico; Galería Patricia Ready and Museo de Arte Contemporàneo, Universidad de Chile, Santiago, Chile; and Galerie Lisa Kandlhofer, Vienna, Austria. Valenzuela has participated in residencies at Dora Maar, Fountainhead, Light Work, MacDowell, Glassell School of Art, Bemis Center for Contemporary Arts, Kala Art Institute, Vermont Studio Center, Center for Photography at Woodstock, and the Skowhegan School of Painting and Sculpture. He is the recipient of the 2021 John Simon Guggenheim Memorial Foundation Fellowship in Photography, the Smithsonian Artist Research Fellowship, and the Joan Mitchell Fellowship. His work is included in numerous public and private collections, including those of the Whitney Museum of American Art, J. Paul Getty Museum, Los Angeles County Museum of Art, The Museum of Fine Arts, Houston, The Nelson-Atkins Museum of Art, Frye Art Museum, Tacoma Art Museum, and The Center for Photography at Woodstock. He is an Associate Professor and Head of the Photography Department at UCLA. Valenzuela received his BFA in Art History and Photography from the University of Chile, his BA in Philosophy from Evergreen State College, and his MFA in Photo/Media from the University of Washington.Ebony Marshall-Oliver is an actress, singer, and storyteller. She began singing in church as a little girl. After being cast in her first musical- Bubbling Brown Sugar- in her mid twenties, she decided that acting would be her career. She enrolled in the Integrated Program at AMDA NY. Her first professional job after graduating was Seussical the Musical with TheatreWorksUSA. With this role, she became a member of Actors Equity Association. Broadway credits include Ain't No Mo' and Chicken and Biscuits. Off Broadway theaters she's worked at are Waterwell, Clubbed Thumb, The Public Theater, to name a few. She can be seen on season 2 of The Ms. Pat Show (BET+) and season 3 of Evil (Paramount+).Mei Ann Teo (they/she) is a queer immigrant from Singapore making theatre & film at the intersection of artistic/civic/contemplative practice. Their critically-acclaimed work has been seen at The Bushwick Starr, Waterwell, The Shed, Shakespeare's Globe, Woolly Mammoth, Theaterworks Hartford, Belgium's Festival de Liege, the Edinburgh Fringe, Beijing Int'l Festival, among others. Awards include LPTW Josephine Abady award and the inaugural Lily Fan Director Lilly Awards. They are an Associate Artistic Director and Director of New Work at Oregon Shakespeare Festival.Sarah Hughes has played many roles in her short time in the labor movement, including steward, officer, organizer, and workshop facilitator. She has worked for the National Education Association (NEA), the Professional Staff Congress at the City University of New York (AFT), and university labor studies programs, including CUNY's NY Union Semester. She has also taught a variety of workshops to city workers, electricians, women workers, and others. She holds a masters in labor studies from UMass Amherst. Prior to joining the Labor Notes staff in 2021, Sarah had been a long time fan, subscriber, volunteer trainer and donor. She attended her first Labor Notes conference in 2008, and is excited for many more. She lives in Flatbush with her labor lawyer husband and their toddler, who also loves picket lines. Waterwell is a group of artists, educators and producers dedicated to telling engrossing stories in unexpected ways that deliberately wrestle with complex civic questions. Founded by Andrew Tilson, the Workers Unite Film Festival, now in its 11th season, is a celebration of Global Labor Solidarity.  The Festival aims to showcase student and professional films from the United States and around the world which publicize and highlight the struggles, successes and daily lives of all workers in their efforts to unite and organize for better living conditions and social justice.Superlative, meaning the best of, and Sain meaning to bless, is a multi-talented creative, born in the UK (United Kingdom, England) and raised in Hollis Queens, New York. Born Matthew Munroe, Sain always connected with music by singing with his mother, a vocalist in a church choir who grew up singing. As a child, art was always a passion of Sain's life. Art was always a staple in his life, from drawing full-length comic books to designing logos. Picking up the art of rapping in his early college years, Sain continued with his love of the arts and always wanted to bring his friends with Him wherever he went. Co-creating the creative collective group OGWN with long-time friend Diverze Koncept, he began expanding his ever-growing catalog simply because he loved making music. While pursuing music, he also manages his visual company MMunroeMedia, directing, filming, and editing music videos for other artists, capturing the moment and enhancing the vision with graphics and photography. Superlative Sain takes the term "Artist" to an entirely new level by designing his merch/clothing line, "Be|SUPERLATIVE," Check out this talented artist and be a part of his Rise.• MUSIC and CLIPSThis episode featured clips from “Why Work?” (1996) by Bill Moyers.• TRANSCRIPT: ~coming soon~• Follow us on Twitter and Instagram @BRICTV Visit us online at bricartsmedia.org/Brooklyn-USA

Adventure through the American Art Deco: Designing for the People 1918-1939 exhibit at the Nelson-Atkins Museum of ArtSupport this podcast at — https://redcircle.com/homegrownkc/exclusive-content

Artspeak Radio, Wednesday, September 21, 2022, noon – 1pm CST, 90.1fm KKFI Kansas City Community Radio, streaming live audio www.kkfi.org Producer/host Maria Vasquez Boyd celebrates the 10th anniversary of Artspeak […] The post Artspeak Radio 10th Anniversary with ArtsKC, Nelson Atkins Museum, & Mattie Rhodes appeared first on KKFI.

"Mirror Pavilion," a new sculpture by Jan Hendrix, has been unveiled on the lawn of The Nelson-Atkins Museum.

On a recent visit to the Nelson Atkins Museum in Kansas City to view an Art Deco installation, Rev Kelly was inspired by what was conspicuously absent from the exhibit. It reminded her that we have still not accepted Rev Dr Martin Luther King Jr's invitations in his "Letter from Birmingham Jail."

Roy H Nydorf is an award-winning carver, printmaker, painter and draftsman. He has exhibited nationally and internationally, and is represented in numerous public collections, including the Smithsonian American Art Museum, the Hirshhorn Museum and Sculpture Garden, and the Nelson-Atkins Museum of Art.

Over 60 black and white images, many previously unpublished, constitute this erudite book, Signs, a current exhibition and a recent acquisition to the Nelson Atkins Museum of Art. With candor and respect, Dow provides a living history of human spirit and ingenuity. Senior Curator April M. Watson's essay, A Sense of Things in Time, places Dow's 45-year contribution as photographer and professor within the lexicon of photography. In this conversation, Jim Dow and April M. Watson discuss, among other things: Art school as boot campHow environment shapes usEdgy idealismThe point of speculationRecontextualizing one's workThe importance of collaborationConcern for your book audience Consistently learning something new A need for public intellectuals with a functional delivery system Referenced in the episodeAmerican Studies Jim Dow Marking the Land Jim Down in North DakotaDiscovering the Vernacular Landscape John Brinckerhoff JacksonBeing Black in America is Exhausting Jonathan CapehartAmerican Photographs Walker EvansThe Danger of a Single Story Chimamanda Ngozi AdichieSusan Sontag and Norman Mailer The Elements of Value Eric Almquist On Photography Susan SontagSontag: Her Life and Work Benjamin MoserThe Burden of Representation; Essays on Photographies and Histories John TaggA Parallel Road Amani Willett. 2020.Website | InstagramIf you like this show, remember to leave us a rating or review. It really helps.Engage with J. Sybylla Smith https://www.jsybyllasmith.com Instagram @jsybylla and Facebook @j.sybylla.smith*Got Punctum? Podcast Listed on the 70 Best Photography Podcasts https://blog.feedspot.com/photography_podcasts/2jAxlFDoKJ3wrVkDdULA

On this episode of Banking on KC, Tristan Duncan, chair of the Art and Museum Law Group at Shook, Hardy & Bacon, joins host Kelly Scanlon to discuss the role of art in fostering diplomacy among nations. Tune in to discover: How art is used as a “soft power” in diplomatic relations.  Examples of how art has been used for global relationship-building at pivotal times throughout history. The role of the Nelson-Atkins Museum of Art in opening diplomatic channels and building international relationships.  How the Nelson's art diplomacy efforts have benefited Kansas City Country Club Bank – Member FDIC

What you'll learn in this episode:   Why people get so concerned with categorizing art, and why some of the most interesting art is created by crossing those boundaries  How Joy balances running a business while handmaking all of her pieces What noble metals are, and how they allow Joy to play with different colors How Joy's residences in Japan influenced her work How Joy has found a way to rethink classical art and confront its dark history     About Joy BC   Joy BC (Joy Bonfield – Colombara) is an Artist and Goldsmith working predominantly in Noble Metals and bronze. Her works are often challenging pre-existing notions of precious materials and ingrained societal ideals of western female bodies in sculpture. Joy BC plays with mythologies and re-examines the fascination with the ‘Classical'. Joy, a native of London, was profoundly influenced from an early age by the artistry of her parents - her mother, a painter and lithographer, her father, a sculptor. Joy's art education focused intensively on painting, drawing and carving, enhanced by a profound appreciation of art within historical and social contexts. Joy BC received her undergraduate degree from the Glasgow School of Art and her M.A. from the Royal College of Art in London. She has also held two residencies in Japan. The first in Tokyo, working under the tutelage of master craftsmen Sensei (teacher) Ando and Sensei Kagaeyama, experts in Damascus steel and metal casting.  She subsequently was awarded a research fellowship to Japan's oldest school of art, in Kyoto, where she was taught the ancient art of urushi by the renowned craftsmen: Sensei Kuramoto and Sensei Sasai. Whilst at the RCA she was awarded the TF overall excellence prize and the MARZEE International graduate prize. Shortly after her graduation in 2019 her work was exhibited in Japan and at Somerset house in London. In 2021 her work was exhibited in Hong Kong and at ‘Force of Nature' curated by Melanie Grant in partnership with Elisabetta Cipriani Gallery. Joy Bonfield - Colombara is currently working on a piece for the Nelson Atkins Museum in the USA and recently a piece was added to the Alice and Louis Koch Collection in the Swiss National Museum, Zurich.Additional Resources:  Joy's Website Joy's Instagram Photos: Photos available on TheJewelryJourney.com Transcript:   While others are quick to classify artists by genre or medium, Joy BC avoids confining her work to one category. Making wearable pieces that draw inspiration from classical sculpture, she straddles the line between jeweler and fine artist. She joined the Jewelry Journey Podcast to talk about why she works with noble metals; the exhibition that kickstarted her business; and how she confronts the often-dark history of classical art though her work. Read the episode transcript here.   Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. Today, my guest is the award-winning artist and goldsmith Joy Bonfield-Colombara, or as she is known as an artist and jeweler, Joy BC. Joy is attracted to classical art, which she interprets from her own contemporary viewpoint. Welcome back.    You're alone, and it's always a challenge to me, whether you're a writer or jeweler, to find ways to get out of the isolation. You can only spend so much time alone. How do you figure out a way to do that?   Joy: I love it. I love it because I'm an only child. Often people don't think I'm an only child, but I think that's because we had so many people coming and going from our house when I was a kid. My mom would invite lots of people, and they would stay and go. They all added very much to who I am as well, all those people that came through our house. The thing with imagination, I used to spend so much time on my own. My mom and my dad were always working. They were fantastic parents, but they were oftentimes—I think also when you're a child, time is a completely different realm. You experience it in a completely different way.    I have memories of playing in the garden and looking at flowers, taking them apart, and putting together arrangements of stones or turning a copper box into a spaceship, all sorts of different objects transforming into other things. I still hold on to that aspect of being a child. I think it's important not to lose the ability to play and imagine. I spend hours doing that. I'm now in my studio, and I often really like the early mornings or rare late nights when no one is around. There's a quietness that I find quite meditative. When I'm carving, things can be going on around me, and I'm so focused that everything else disappears. So, I don't mind the isolation because I really enjoy making.   Sharon: I like when it's quiet, but I can only take so much. At some point it starts to affect me. It sounds like you handle it better. In the materials I read about you, it says that you work in noble metals and in bronze, but a lot of people don't know what a noble metal is. What is a noble metal?   Joy: It makes them great. Just the word noble I think is lovely.   Sharon: It is. What is it?   Joy: A noble metal, apart from the metal family in the periodic table, is a reluctant oxidizer combined with oxygen. I have the exact definition for you. Let me find it. “A noble metallic chemical element is generally reluctant to combine with oxygen and usually found in nature in a raw form, for example gold. Noble metals have outstanding resistance to oxidization, even at high temperatures. The group is not strictly defined, but usually is considered to include palladium, silver, osmium, iridium, platinum and the second and third transition series of the periodic table. Mercury and copper are sometimes included as noble metals. Silver and gold with copper are often called the coinage metal, and platinum, iridium and palladium comprise the so-called precious metals which are used in jewelry.”   This also goes back to the fact that I had bad eczema when I was a kid. I remember putting on a pair of costume earrings that had nickel in them and they made my whole head swell up. I don't like the smell of brass. There are certain materials I find an attraction or a repulsion to. Noble metals, because of the way they don't oxidize, can sit next to your skin, and I love the feeling of them.   Sharon: That's interesting, because I've only heard the term noble metals in a couple of places. One was at a jeweler's studio, making jewelry, but it was explained to me, “It's gold, it's silver, but it's not copper.” You said it's copper. I never realized it had anything to do with whether it oxidizes or not.    Joy: Interestingly, copper also is really precious in Japan. Some of the most expensive teapots are copper ones.   Sharon: Oh, really?   Joy: It's a type of copper where you've created a patination, which is beautiful, deep red color. This technique is quite hard to explain and is really highly prized.   Sharon: What's the name of the technique?   Joy: Shibuichi. I'm not good at the pronunciation, but I can write it down afterwards. I love metal patination and metal colors. In fact, that's why I love bronze. Bronze is mostly composed of copper as an alloy. It doesn't smell in the way that brass does, and also I love the reactions you get. Verdigris is one of the techniques I like to use a lot in my work, which is used with copper nitrates. You get these incredible colors of greens. When you think of classical bronze sculptures or bronzes that are found under the sea, they often have these incredible green colors to them. I think about it like painting or a composition, the colors you find in metal colorations. People often question what the color of metal is, but actually the different alloys or treatments you can give to metal can give you an incredible array of different colors.   Sharon: I'm curious. I agree, but I see the world through a different perspective. I might look at the statue you've taken from the under the sea and say, “Somebody clean that thing.” I don't clean things that have a patina, but that would be my first reaction, while you appreciate that right away. Why did you go to Japan?   Joy: The first time I went to Japan was through The Glasgow School of Art. There was an exchange program you could apply for, and if you were awarded, there was also a bursary that you could apply for. The first time I went, I was awarded this bursary. One of my friends while I was studying at The Glasgow School of Art was Japanese, and she said to me, “Go and stay with my grandmother. She will absolutely love you.” I went to stay in her grandmother's apartment in Japan, and I studied at the Hiko Mizuno College of Jewelry, which is in Harajuku. I don't know if you've heard about it before.   Sharon: No.   Joy: This school is really interesting. Actually, when I was there, they hired Lucy Saneo, who recently passed away. They did an exhibition of hers at Gallerie Marseille. She was there as a visiting artist, and she was lovely. We had some interesting discussions about different perceptions of materials and jewelry between Europe and Japan. I was there on a three-month exchange, and I met Lucy as well as the teachers that I was allocated.    One of them, which I mentioned before, was Sensei Ando. He taught to me how to make Damascus steel. I made a knife when I was there, but the whole process had a real philosophical theory around it, with how difficult Damascus is to make. Often in modern knife making, you have pneumatic hammers. The hammering is done by a machine, whereas we have to do everything by hand in 40 degrees Celsius with 90% humidity outside with a furnace. We had to wrap towels around our heads to stop the sweat from dripping into our eyes. It was really difficult, but the end result was amazing. He said, “Life can be hard, but if you push through it, you can find its beauties.” It stayed with me, the way he had the philosophy, that process, and what that means to put yourself into the piece.    I also did metal casting and netsuke carving with Sensei Kagaeyama. It was in Tokyo that I first saw netsuke carvings in the National Museum in Tokyo. They really fascinated me, these tiny carvings. Do you know what a netsuke is?   Sharon: Yes, a netsuke, the little things.   Joy: They're tiny carvings. If anyone doesn't know, in traditional menswear in Japan, you would have a sash that goes around your kimono to hold your inro, which is your pouch which would hold tobacco or money or medicine. You would have a sash buckle to stop it moving, which was sometimes simply carved. Other times they were incredibly elaborate and inlaid. It could be this tiny bird so that the underside of the bird, even the claws, are carved. It was only the wearer that would necessarily see those details. In the same way that really good pieces of jewelry have that quality, the back is as important as the front.   Sharon: Oh, absolutely. My mom sewed, and it was always, “Look at the back of the dress, the inside of the dress. How's the zipper done?” that sort of thing. The netsuke, they were only worn by men?   Joy: They were only worn by men. It was combs that were worn by women, which were a social hierarchical show of your wealth or your stature. They were also given as tokens of love and were the equivalent of an engagement ring. They were given in this way. A comb is something I've always found interesting. I didn't know the scope of the importance of the comb in Japan, specifically in the Edo and Meiji periods.   Sharon: Are you considering adding combs to your repertoire? Maybe the comb part is plastic with a metal on top.   Joy: Combs are one of the things I explored within my degree show. I did a modern iteration of Medusa as a body of work, 17 different bronze sculptures that were a collection of combs with all different bronze patinas, but those were sculptures. They were not actually wearable. There was a whole wall of these pieces. My whole degree show was about metamorphosis and the ability to change. It was a combination of sculpture and jewelry.    For “Force of Nature,” the exhibition Melanie invited me to do, I did one wearable comb. It was called Medusa. The bristles were moving, and they had fine, little diamonds set between all the bristles so they would catch the light in certain movement. It also had a pin at the back so you could have it as a sculpture or you could wear it.   Sharon: It sounds gorgeous. You mentioned classical art, and I know classical art is a big catalyst or an influence on your jewelry today. Can you tell us about that and where it came from?   Joy: Growing up in London, London has some of the most amazing collections of ancient art. Also modern collections, but if you think about the V&A or the British Museum, there are artifacts from all over the world which are incredible. As a child, they were something my parents would take me to and tell me stories or show me things. There was also a moment when my mom took me to Paris when I was about 13 years old, and I saw the Victory of Samothrace, which is this huge Hellenistic statue which is decapitated. She doesn't have a head and she doesn't have arms, but she has these enormous wings and retains this incredible sense of power and movement, and that stayed with me. I've always found particularly the Hellenistic—not the Roman copies, but the older pieces—incredibly beautiful. I don't why, but I've always felt this attraction to them.   When I studied at The Glasgow School of Art, there was also a collection of plasters of Michelangelo's Enslaved and the Venus de Milo. They were used since the 1800s as examples of proportions, and you would use them in your drawing classes. I used to sit with them and have my lunch and draw them and look at them. I started to look at the histories or the stories behind some of them, and I didn't particularly like how they were often silencing women. Some of the stories were quite violent towards women, so I started to deconstruct and cut apart these classical figures.    I also looked to Albrecht Durer's book on proportion, because they had a real copy of it at The Glasgow School of Art that you could request to look at. I also believe that to understand something, you can deconstruct it and take it apart. Like a clock, if you start to take it apart, you understand how it works. So, I started to take apart the proportions, literally cutting them apart, and that's how the deconstructed portrait series started. It was not just the form; it was actually what classicism stood for. Many of the collections at the V&A and the British Museum were stolen or taken in really negative ways. They're a result of colonialism and the UK's colonial past. There are often darker sides to those collections.    That was something I had to confront about this attraction I had towards these classical pieces. Why was I attracted to them? How could I reinvent it or look at that in a new way? I still love these classical pieces. My favorite painter is Caravaggio, and my favorite sculptures are the bronze and stone pieces from the Hellenistic Greek period. It didn't stop me from loving them, but it made me rethink and redefine what classical meant for me.   Sharon: Is the deconstruction series your way of coming to terms with the past? Besides the fact that they're beautiful, ancient statues, is it your way of reinventing the past in a way?   Joy: Absolutely. The past, you can't erase it. It's been done, and the fact that these pieces have survived all of this time is testament to their beauty. Something survives if it's beautiful or evocative or has a power about it. I think it's interesting that Cellini, who was a sculptor and a goldsmith, is known more famously for his bronze statue of Medusa in Florence. He made lots of work out of precious metals, but they didn't survive. It was the bronzes that survived.    Translating these works into precious metals also makes you reflect or think about them in different ways, and it makes the cuts or the breakage something positive or beautiful. The way I placed diamonds into the breakages or the cracks is also to celebrate our failures or celebrate our breakages. That moment I had the accident and everything in my life fell apart, it was also through that process that I discovered the most. We need creation and destruction, but it's a cyclical thing.   Sharon: Interesting. My last question has to do more with the dividing lines. Do you consider yourself an artist who works in jewelry, or do you consider yourself a jeweler who happens to make art through your jewelry? There are a lot of jewelers who don't consider themselves artists; they just make jewelry and that's it. How do the two rub together for you?   Joy: I see myself as an artist. I think within the arts, that encompasses so many different disciplines. A beautiful piece of literature written by Alice Walker, I think, is as moving as an artwork or a painting. The same with a composition of music. I see jewelry as another art form and expression. I don't divide them. However, I don't like all jewelry, in the same way I don't like all paintings or sculpture. The way in which we look at or define art is so subjective, depending on your norms, the way you were brought up, which part of the world you grew up in, how you have been subjected to certain things. When people ask me what I do, I say I'm an artist and goldsmith because I particularly work in noble metals and bronze. There's still a jewelry aspect of my work. It is very much jewelry. You can wear it, but it is also sculpture. It is one and the other; it's both.   Sharon: Have you ever made a piece of jewelry in gold where you said, “This is nice, but it's not a work of art. It doesn't express me as an artist; it's just like a nice ring”?   Joy: Definitely, and definitely through the period of time when I did my apprenticeship. I learned a lot. I made pieces where people would bring me albums or pieces they wanted to reinvent and find modern ways of wearing. I thought that was pretty interesting and I enjoyed that work, but I don't necessarily see it as an artwork that moves the soul or has the same effect as one of my deconstruction portraits or the Medusa series. I still think it has its place and it means a lot to that individual, and I enjoy the process of making it, but it's different.   Sharon: I know I said I asked my last question before, but I'm curious. Did your friends or colleagues or people in the street see something you had on and say, “Oh, I want that”?   Joy: Yes, definitely. I think if you like something and wear something because you like it enough that you wear it, usually someone else will like it, too. That's definitely part of it; I started making things and people still wanted them. I think my mom and dad were also sometimes the first port of call I would test things on to see whether they liked it. My dad is much more challenging because he doesn't wear a lot of jewelry. I made him a piece recently and he does wear it occasionally. He's quite a discerning artist. He won't sell his work to certain people. He's very particular about how he works and who he works with. But yes, that did start happening, and it's grown. I'm not sure how else to answer that question.   Sharon: I'm sure it's validating to have people say, “Oh, that's fabulous. Can you do one for me?” or “Can I buy it from you?”   Joy: I think that sense of desire, of wanting to put your body next to something or wear it, is one of the highest compliments. I went yesterday to a talk at the British Museum about an exhibition they're about to open called “Feminine Power: The Divine to the Demonic.” I went with a friend of mine who's a human rights lawyer. I made a piece for her recently which is very personal and is about various important things to her. Seeing her wear it made me feel really honored because she's an incredible person, and I could make her something that's part of her journey and that she loves so much that she wears it. Knowing it gives her power when she wears it is an incredible feeling. Also knowing that she may pass it down; that's another aspect with jewelry.    My mom has this one ring that was passed down in her family. My parents were struggling artists in London, and she sold most of her elegant pieces. I also find that aspect of jewelry really incredible, that it could transform by being sold so she could continue to do projects and things she wanted to do. I think jewelry's amazing in that way, that the intrinsic value can transform and be handed down and changed. I think that's interesting, but there was one ring she didn't sell because it's a miniature sculpture, and we all agree that it's incredibly beautiful. The rest of the pieces weren't things my mom or I or anyone really engaged with, but this one ring, to me, looks like a futurist sculpture in a seashell. It's a curved form. I think it's the Fibonacci proportions, and it's incredibly beautiful. Going back to your very first question, I think that may have had a strong influence in my appreciation and realization that I liked jewelry.   Sharon: It sounds like you're several years into a business that's going to be around for a long time. I hope we get to talk with you again down the road. Thank you so much for talking with us today, Joy.   Joy: Thanks for having me.   Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.  

This talk was originally recorded at a meditation gathering on the lawn of the Nelson Atkins Museum in September of 2019. --- Support this podcast: https://anchor.fm/daniel-scharpenburg/support

What you'll learn in this episode:   Why people get so concerned with categorizing art, and why some of the most interesting art is created by crossing those boundaries  How Joy balances running a business while handmaking all of her pieces What noble metals are, and how they allow Joy to play with different colors How Joy's residences in Japan influenced her work How Joy has found a way to rethink classical art and confront its dark history     About Joy BC   Joy BC (Joy Bonfield – Colombara) is an Artist and Goldsmith working predominantly in Noble Metals and bronze. Her works are often challenging pre-existing notions of precious materials and ingrained societal ideals of western female bodies in sculpture. Joy BC plays with mythologies and re-examines the fascination with the ‘Classical'. Joy, a native of London, was profoundly influenced from an early age by the artistry of her parents - her mother, a painter and lithographer, her father, a sculptor. Joy's art education focused intensively on painting, drawing and carving, enhanced by a profound appreciation of art within historical and social contexts. Joy BC received her undergraduate degree from the Glasgow School of Art and her M.A. from the Royal College of Art in London. She has also held two residencies in Japan. The first in Tokyo, working under the tutelage of master craftsmen Sensei (teacher) Ando and Sensei Kagaeyama, experts in Damascus steel and metal casting.  She subsequently was awarded a research fellowship to Japan's oldest school of art, in Kyoto, where she was taught the ancient art of urushi by the renowned craftsmen: Sensei Kuramoto and Sensei Sasai. Whilst at the RCA she was awarded the TF overall excellence prize and the MARZEE International graduate prize. Shortly after her graduation in 2019 her work was exhibited in Japan and at Somerset house in London. In 2021 her work was exhibited in Hong Kong and at ‘Force of Nature' curated by Melanie Grant in partnership with Elisabetta Cipriani Gallery. Joy Bonfield - Colombara is currently working on a piece for the Nelson Atkins Museum in the USA and recently a piece was added to the Alice and Louis Koch Collection in the Swiss National Museum, Zurich.Additional Resources:  Joy's Website Joy's Instagram Photos: Photos available on TheJewelryJourney.com Transcript:   While others are quick to classify artists by genre or medium, Joy BC avoids confining her work to one category. Making wearable pieces that draw inspiration from classical sculpture, she straddles the line between jeweler and fine artist. She joined the Jewelry Journey Podcast to talk about why she works with noble metals; the exhibition that kickstarted her business; and how she confronts the often-dark history of classical art though her work. Read the episode transcript here.   Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. Here at the Jewelry Journey, we're about all things jewelry. With that in mind, I wanted to let you know about an upcoming jewelry conference, which is “Beyond Boundaries: Jewelry of the Americas.” It's sponsored by the Association for the Study of Jewelry and Related Arts, or, as it's otherwise known, ASJRA. The conference takes place virtually on Saturday and Sunday May 21 and May 22, which is around the corner. For details on the program and the speakers, go to www.jewelryconference.com. Non-members are welcome. I have to say that I attended this conference in person for several years, and it's one of my favorite conferences. It's a real treat to be able to sit in your pajamas or in comfies in your living room and listen to some extraordinary speakers. So, check it out. Register at www.jewelryconference.com. See you there.   This is a two-part Jewelry Journey Podcast. Please make sure you subscribe so you can hear part two as soon as it comes out later this week. Today, my guest is the award-winning artist and goldsmith Joy Bonfield-Colombara, or as she is known as an artist and jeweler, Joy BC. She is attracted to classical art. She interprets it from her contemporary viewpoint, and her work has been described both as wearable art and as miniature sculptures. We'll learn all about her jewelry journey today. Joy, welcome to the program.   Joy: Thank you for having me, Sharon.   Sharon: So glad to have you all the way from London. Tell us about your jewelry journey. You came from an artistic family.   Joy: Both my parents are artists. My mother is a painter and lithographer, and my father is a sculptor. So, from a really young age, I was drawing and sculpting, and I thought this was quite normal. It was later that I realized my upbringing was perhaps a bit different from some of my friends or my peers.   Sharon: Yes, it's unusual that I hear that. They weren't bankers. Was it always assumed that you were going to be an artist or jeweler?    Joy: Not at all. The fact that my parents were artists, I saw a lot of their struggle to try and place themselves within our society. They both were part of the 1968 revolution. My mom is actually from Italy. She left a tiny, little—not a village, but a small town called Novara which is near Verona and Turin, when she was 16 years old. She came to London and fell in love with London. She went to Goldsmiths School of Art, where she met my father. My father is English, and his ancestors were stonemasons from the Isle of Purbeck. So, they both met at art school, and it was much later that they had me.   As I grew up, they were incredibly talented individuals. They also struggled with how to live and survive from their artwork. As I grew older, however, as much as I loved the creative world I'd grown up in, I was also trying to figure out which pathway was right or was going to be part of my life. I didn't necessarily want to be an artist. For a long time, I wanted to be a marine biologist because I was really good at science, in particular chemistry and biology, and I really loved the ocean. I still love the sea. Swimming is the one sport I'm good at, and I find it fascinating. I still find the sea as a source of inspiration.    So no, it wasn't an absolute given; however, as I got older and went through my education, it became evident to me that was the way I understood the world and the spaces I felt most natural in. I'm also dyslexic. I used to be in special class because I couldn't write very well, but my dyslexia teacher said, “You're smart. You just have a different way of seeing the world.” I was always imaginative. If I couldn't write something, I would draw it or make it, and I liked the feeling that would create when someone else lauded me for it. Immediately, I had this connection with the fact that I could make things that people thought were interesting.    So, I studied science and art and theater, and then I went off to travel to Cuba when I was about 18, before I moved to Glasgow. When I was in Glasgow in Scotland, I saw The Glasgow School of Art degree show, and I was taken aback by the jewelry and metalwork show in particular. I don't know if you know the Rennie Mackintosh School of Art.   Sharon: No.   Joy: It's a British Art Nouveau building. In Scotland, it was part of the Arts and Crafts movement. It was a school that was designed by Rennie Mackintosh. He's a world-famous architect.   Sharon: Is that the one that burned down?   Joy: Yes, that year. I was actually there the year the school burnt down. I went to The Glasgow School of Art and I loved it. I did three amazing years there, and in my second year, I was awarded a residency to go to Japan. We had our degree show and we were preparing for it. The night before the fire, I took all of my works home. I don't know why. I was taking everything home to look at before we had to set up for the exhibition, and the school burnt down. At the same time, I had three major tragedies in my life. My best friend passed away; the school burnt down; and my boyfriend at the time had left me. I went through this total mental breakdown at the point when I was meant to start my career as an artist. I was offered the artist residency in the jewelry and metalworking department.    When Fred died, I was really unwell. A friend of mine had offered that I go to New York. I ended up having a bike accident, which meant that I was in intensive care. I couldn't work for three years. It was actually two friends of my family who were goldsmiths who gave me a space to work when I was really fragile. It was through making again and being with them that I slowly built back my confidence. That was my journey from childhood up right until the formals of education. These three events really broke me, but I also learned that, for me, the space I feel most happy in is a creative one, when I'm carving.   Sharon: Were you in the bike accident in New York or in Glasgow or in London?   Joy: In New York. My friend Jenny, who's a really good friend of mine, was going to New York and said, “I want you to come to New York because you've had the worst set of events happen. I think it would be good for you to have some time away.” I said, “Yeah, I agree,” and I came to New York. I was in Central Park cycling. It wasn't a motorbike. I blacked out. Nobody knows what happened. I woke up the next day in intensive care at Mount Sinai Hospital. I woke up in the hospital, and they told me I had fallen off my bike and I had front lateral brain damage, perforated lungs, perforated liver.   Sharon: Oh my gosh!   Joy: I feel really grateful that I'm here.   Sharon: Yes. To back up a minute, what was the switch from marine biology? I understand you were dyslexic, but what made you decide you were going to be a jeweler or an artist? What was the catalyst there?   Joy: I don't think there was ever a specific switch. I feel like art has always been a part of my life. It was always going to be that. I was always going to draw and make. I was also encouraged to do sculpture. I remember trying set design, because I thought that married my love of film and storytelling and theater with my ability to draw and sculpt. I thought, “Theater, that's a realm that perhaps would work well.” Then I went and did a set design course. The fact that they destroyed all my tiny, little things, because they have to take them apart to take the measurements for how big certain props or things have to be, drove me mad. I couldn't deal that I'd spend hours on these things to be taken apart.    I think it was probably the exhibition I went to see at The Glasgow School of Art. When I saw the show, I was really taken aback that all the pieces had been handmade. They were, to me, miniature sculpture. I hadn't considered that jewelry could be this other type of art. Seeing these works, I thought, “Wow! This is really interesting, and I think there's much more scope to explore within this medium.” I think that was the moment of change that made it for me.   Sharon: What is it about sculpture, whether it's large or jewelry-size, that attracts you? Why that? Is it the feeling of working with your hands?   Joy: I think it's a combination of things, partly because my father's a sculptor. I remember watching him sculpt, and his ancestors were stonemasons. They were quarriers from the Isle of Purbeck dating back to the 12th century. I remember going to the quarries with my dad and thinking how amazing it was that this material was excavated from the earth. Then my father introduced me to sculpture. A lot of West African sculpture, Benin Bronzes, modern sculpture by Alexander Calder. Michelangelo and classical sculpture was all around me in Italy when we'd go and visit my grandparents.    I think sculpture has always been something I found interesting and also felt natural or felt like something I had a calling towards. My mom has always said I have this ability with three-dimensional objects. Even as a child, when I would draw, I would often draw in 3D. I do still draw a lot, but I often collage or sculpt to work out something. You often draw with jewelry designs, actual drawings in the traditional sense, but I go between all different mediums to find that perfect form I'm looking for.   Sharon: When you were attracted to this jewelry in Glasgow, did it jump out at you as miniature sculpture?   Joy: Yeah, definitely. Looking at it, I saw it as miniature versions of sculpture. I also find artists such as Rebecca Horn interesting in the way that they're often about performance or extensions of the body. Even Leigh Bowery, who worked with Michael Clark, was creating physical artworks with ballet. These interactions with the body I think are really interesting: living sculpture, how those things pass over. I don't really like categorizing different art forms. I think they can cross over in so many different ways. We have this obsession about categorizing different ways or disciplines. I understand why we do that, but I think it's interesting where things start to cross over into different boundaries.   Sharon: That's interesting. That's what humans do: we categorize. We can spend days arguing over what's art, what's fine art, what's art jewelry. Yes, there's gray. There are no boundaries; there's gray in between.    Tell us about your business. Is that something your folks talked to you about, like “Go be an artist, but make sure you can make a living at it”? Tell us about your business and how you make a living.   Joy: I felt my parents were going to support me in whatever decisions I made. My mom ran away from Italy when she was 17, and she always told me that she said when she was leaving, “You have to live your life, because no one else will live it for you.” She's always had the attitude with me. Whatever direction I wanted to go in, I felt supported. I've always thought that if you work really hard at something or you put in the hours and you're passionate about it, then things will grow from that. Every experience I've had has influenced the next thing. I never see something as a linear plan of exactly how I'm going to reach or achieve certain things. I'm still very much learning and at the beginning of it. I only graduated in 2019 from the Royal College of Art doing my master's.    As I mentioned before, these two goldsmiths had given me an informal apprenticeship, basically. They were two working goldsmiths that had a studio, and they had been practicing for around 40 years. They had given me a space to work on this skill. Even though I studied a B.A. at The Glasgow School of Art, which is a mixture of practical and theoretical, I felt that after going to Japan and working with a samurai sword specialist making Damascus steel—it took him 25 years to get to the point where he was considered a master craftsman, this master in his craft. I felt like I had just started, even though my education in making had started from birth because my parents were artists and exposed me to all these things and encouraged me to make.    Within metalworking and jewelry work, there are so many techniques and so many things you need to take years to refine. Really, it's been like 11 years of education: doing a B.A., then doing an informal apprenticeship, then doing my master's. Only now do I feel like I've really found this confidence in my own voice within my work. Now I see the reaction from people, and I can help facilitate people on their journeys. I really enjoy that aspect of what I'm doing.    I'm still trying to figure out certain ways of running a business because it's only me. My uncle runs a successful business in Italy in paper distribution, and he said to me, “Why don't you expand or mass produce your work or have different ways of doing things?” This is where I find he doesn't necessarily understand me as an artist. For me, it's about process and handmaking everything. Perhaps that might not be the way I make the most money, but it's the way in which I want to live my life and how I enjoy existing. My business at the moment is just me handmaking everything from start to finish. What's really helped me recently is having support from the journalist Melanie Grant, who invited me to be part of an exhibition with Elisabetta Cipriani. It was with artists such as Frank Stella, Penone, who's one of my favorites from the Arte Povera movement who also came northern Italy, from an area where my family is from.    Sharon: I'm sorry; I missed who that was. Who's one of your favorites?    Joy: Penone. He's the youngest of the Arte Povera movement in Italy that came out of Turin. He often looks at nature and man's relationship to nature, the influence of it or connection. The piece of his that was on display was a necklace which was part of a tree that wraps around the décolletage. Then it has a section which is sort of like an elongated triangle, but it was the pattern of the skin from his palm. It's very beautiful. His sculpture, his large pieces, are often trees forming into hands or sections of wood that have been carved to look like trees, but they're carved. There's also Wallace Chan, who is obviously in fine jewelry. Art jewelry is considered—I don't know what to say—   Sharon: That's somebody who has a different budget, a different wallet. Not that your stuff isn't nice, but the gems in his things, wow.    Joy: There was Grima, Penone, Frank Stella. It was a combination of people who are considered more famously visual artists than fine jewelers. Then there was me, who was this completely new person in the art jewelry scene. I felt really honored that Melanie had asked me to put my work forward. I've always known what my work is to me. I see is as wearable artwork. But there was the aspect of, “What do other people see in it? How are they going to engage in this?” The feedback was absolutely incredible.    Since then, the work and the business have been doing so well. I have a bookkeeper now. The one person I employ is an amazing woman called Claire. She has been really helping me understand how my business is working and the numbers. However talented you are, if you don't understand how your business is working, then you're set up to fail. It's really difficult to continue to stay true to my principles and how I want to make, and to try to understand how I'm going to be able to do that, what it's going to take. I'm right at the beginning of it. I'm only in my first two years of my business. At the moment, from speaking to Claire, she was saying I'm doing well. I feel really supported by my gallery also, and that's the big part of it. I think that's going to make the difference.   Sharon: Wow! You do have a lot of support. No matter how talented you are, you do have to know how much things cost, whether you're making by hand or mass-producing them. I've always wanted to stick my head in the sand with that, but yes, you do need to know that.    I didn't realize there were so many artists at the exhibit. I knew you had this exhibit at Elisabetta Cipriani's gallery, but I didn't realize there were so many artists there. That must have been so exciting for you.   Joy: It was super exciting, and it was really interesting. Melanie has just written this book, “Coveted,” which is looking at whether fine jewelry can ever be considered as an art form. That's a conversation I'm sure you've had many a time in these podcasts, about classification. It's what we were talking about before, about how everything becomes departmentalized. Where is that crossover? How does it work? If people say to you, “I'm a jeweler” or “I'm an artist,” you'll have a different idea immediately of what that means.    It was hard to present an exhibition which was a combination of different work with the interesting theme of “force of nature,” just as we were coming out of lockdown. These are artists who've all been working away, and we got to do a real, in-person exhibition that people could attend and see and touch. One of the most magnificent things with jewelry is the intimate relationship you have with it, being able to touch it, feel it, that sensory aspect. I think in this day and age, we have a huge emphasis on the visual. We're bombarded with visual language, when the tactile and touching is the first thing we learn with. To be able to touch something is really to understand it.   Sharon: I'm not sure I 100% agree with that philosophy. I have jewelry buddies who say they have to hold the piece and feel it. I guess with everything available online, I don't know.   Joy: Diversity depends on what your own way of experiencing things is. Also, the way you look at something will be informed by the way you touched it. Yes, we are all looking at things big picture. We know it's made of wood or metal or ceramic. We can imagine what that sensation is. Of course, imagination also influences the ability to understand something, so they work together. I think it just adds different dimensions. It's the same with music. Sound is another sensory way in which we experience things. Music often moves me and helps me relax in ways that other art forms don't do.   Sharon: Right.  

Brad Kahlhamer's (b. 1956 Tucson, AZ) art lives at the crossroads of real and imaginary worlds. Born to Native parents and adopted by a German-American family, he was raised in Arizona and Wisconsin and spent his early adulthood as a musician living on the road before settling in New York City. Shaped by this nomadic history, Kahlhamer's work explores the particularities of the American landscape: the desert ecology of the Southwest, the parks and waterways of the upper Midwest, and the gritty streets of the urban Northeast—often fusing references to multiple regions within a single work of art. Similarly, Kahlhamer draws from a broad array of artistic sources, from Native American aesthetics and Abstract Expressionism, to graffiti and popular culture. Even his references to Native culture cut across tribal traditions, as Kahlhamer views himself and his art as “tribally ambiguous.” Kahlhamer's art explores notions of cultural hybridity and the experience of navigating multiple communities, as well as the representation and appropriation of Native culture. Kahlhamer lives and works in New York City and Mesa, Arizona. His work has been included in national and international group exhibitions, at institutions including the Madison Museum of Contemporary Art, the Aspen Art Museum, the Nelson-Atkins Museum of Art (Kansas City), and the Metropolitan Museum of Art (New York). His work has recently been shown in solo exhibitions at the Joslyn Museum, Omaha; Zidoun-Bossuyt Gallery, Luxembourg; Jack Shainman Gallery, New York; Aldrich Contemporary Art Museum, Ridgefield, Connecticut; and Andréhn-Schiptjenko Gallery, Stockholm, Sweden. Swap Meet at Scottsdale Contemporary Art Museum https://smoca.org/exhibition/brad-kahlhamer-swap-meet/ Brad Kahlhamer: 11:59 to Tuscon at the Tuscan Museum of Art https://www.tucsonmuseumofart.org/exhibition/brad-kahlhamer-1159-to-tucson/ Brad Kahlhamer: Fort Gotham USA at Garth Greenan Gallery https://www.garthgreenan.com/artists/brad-kahlhamer Brad Kahlhamer: A Nation of One at Plains Art Museum (2019) https://plainsart.org/exhibitions/brad-kahlhamer/

Ep. 101 features Stephen Towns. Based in Baltimore, MD, he is a painter and fiber artist whose work explores how American history influences contemporary society. Originally from South Carolina, Towns received a Bachelor of Fine Art in painting from the University of South Carolina. His work has been exhibited in several venues including the National Museum of African American History, Baltimore Museum of Art, Westmoreland Museum of American Art, Art+ Practice, York College of PA and is in the private collection of The Smithsonian National Museum of African American History and Culture, Baltimore Museum of Art, The Nelson-Atkins Museum of Art, Westmoreland Museum of American Art, Flint Institute of Arts, Petrucci Family Foundation, Art + Practice and private collections nationally and abroad. His work has been featured in publications such as the New York Times, Artforum, Cultured Magazine, American Craft Council Magazine, and The Baltimore Sun. Photo credit: Jermaine T. Bell Artist https://www.stephentowns.com/ The Westmoreland Museum https://thewestmoreland.org/exhibitions/declaration-and-resistance/ North American Reciprocal Museum Association https://narmassociation.org/stephen-towns-declaration-resistance/ De Buck Gallery https://www.debuckgallery.com/artist/stephen-towns/ Forbes https://www.forbes.com/sites/chaddscott/2022/02/06/stephen-towns-spotlights-workers-at-bottom-of-americas-economic-ladder/?sh=73fe085f726e 1-54 https://www.1-54.com/london/artists/towns-stephen/ See Great Art https://www.seegreatart.art/stephen-towns-explores-the-american-dream-through-black-americans/ Pittsburgh City Paper https://www.pghcitypaper.com/pittsburgh/stephen-towns-exhibit-at-the-westmoreland-spotlights-black-workers-throughout-history/Content?oid=21164878 C& https://contemporaryand.com/exhibition/stephen-towns-declaration-resistance/

Conclusion to Topic 3 of Series 4, and the conclusion of series 4: Treasures of Kansas City.This episode explores the history of the Nelson-Atkins Museum of Art from the mid-90s to 2022.Support this podcast at — https://redcircle.com/homegrownkc/exclusive-content

This episode examines the history of the Nelson-Atkins Museum of Art in the '80s and '90s.Support this podcast at — https://redcircle.com/homegrownkc/exclusive-content

For over twenty years, Peter Kahn has been fortunate to employ the power of poetry to help give voice to those previously unheard. He has been a high school teacher at Oak Park/River Forest High School in Chicago since 1994 and has recently also taught at Roosevelt University. Peter was commended in the National Poetry Competition 2009 and 2017. He is a founding member of Malika's Kitchen and co-founder of the London Teenage Poetry Slam. Peter holds an MA in English Education from The Ohio State University and an MFA in Creative Writing from Fairfield University. His 2020 book, Little Kings, is a book with interconnected poems and recurring characters that feels more like a book of poetic short stories that speak to one another. His new book, Respect The Mic, is an expansive, moving poetry anthology representing 20 years of poetry from students and alumni of Chicago's Oak Park River Forest High School Spoken Word Club.Natalie Rose Richardson was born in New York City to a long line of border-crossers and proud people of blended heritage. Natalie is a graduate of the University of Chicago (BA), and the Litowitz Creative Writing Program (in poetry) at Northwestern University. She is a current non-fiction MFA candidate at NYU. Her poetry and prose has appeared, or is forthcoming in: Poetry Magazine, Narrative, Orion Magazine, North American Review, The Adroit Journal, Brevity, The Cincinnati Review, Arts & Letters, Emergence Magazine, Chicago Magazine, and others, along with numerous anthologies, including The Golden Shovel Anthology. She has received awards, residencies or fellowships from the Poetry Society of America, The Poetry Foundation, Tin House, The Newberry Library, The Luminarts Foundation, Crab Orchard Review, Davis Projects for Peace, Scholastic Art & Writing Awards, and the National Student Poets Program. Natalie's work has featured at BBC Radio London, Tedx, WBEZ Chicago, The British Royal Library, The Art Institute of Chicago, and the Poetry Foundation. She is a 2020 Pushcart Prize and Best New Poets nominee.Rich Robbins is a rapper, songwriter, producer, and educator. But more than anything, the Oak Park-born, Chicago-based artist is a world-builder. Rich's early years as a college student in Madison, Wisconsin's First Wave hip-hop scholarship program jumpstarted his artistry. He recorded wide-reaching tracks like “Dreams” feat. Mick Jenkins, along with records with Saba, Mother Nature, and more. He has performed at historic venues like the Apollo Theater in New York, and has done everything from music festivals, to working at Hot 97 as an intern, to teaching classrooms of high school students how to read and write poetry/songs. His work is an inward look at society's ills and creates spaces for listeners to explore. In short, Rich's work critiques the old while envisioning and manifesting the new. His latest releases are available on all streaming platforms.Poet t.l. sanders is a modern-day renaissance man who lives to build minds and loves to body build. He speaks French. He plays bass. He is a cage-fighting martial artist. He educates. Give him a stage, he articulates. Lend him an ear, he motivates. As a performance professional based in Kansas City, MO, Poet has performed at the Kauffman Center for the Performing Arts (in the 2019 Lyric Opera of Kansas City production of Bizet's Pearl Fishers), at the Nelson Atkins Museum of Art, and—serendipitously—he has performed at several venues located in Kansas City's Historic Jazz District, 18th and Vine: the American Jazz Museum, at the Gem Theater, and in the Blue Room (which is the setting of his book, kNew: The POETICscreenPLAY). As Paper Birch Landing Art Gallery's 2019 Poet in Residence Recipient, the Winner of the Kauffman Center for the Performing Arts' 2021 Artful Poetry contest, a 2021 Missouri Arts Council Featured Artist, Prairie Lands Writing Project Teacher-Consultant, a Missouri Writing Project Network Teacher-Consultant, a current curriculum director, and former elementary, middle, and high school English teacher turned filmmaker, Poet embraces the value of our shared stories. In 2021, Poet delivered The kNew-Born, an art house film that explores the human side of drug addiction.

An exploration of the Museum's history during the 1960s and 1970s.Support this podcast at — https://redcircle.com/homegrownkc/exclusive-content

The history of the Museum during the 1940s and 50s and the men and women involved.Support this podcast at — https://redcircle.com/homegrownkc/exclusive-content

Biographical narration of the lives of Laurence Sickman, Paul Gardner, and Langdon Warner who helped shape the Museum's policies and collections in the 1930s, and their work as Monuments Men during WWII.Support this podcast at — https://redcircle.com/homegrownkc/exclusive-content

A description and analysis of the architecture of the Nelson-Atkins Museum building and introduction to some of its earlies history. Support this podcast at — https://redcircle.com/homegrownkc/exclusive-content

Interview with Art Museum historian Kristie Wolferman.Support this podcast at — https://redcircle.com/homegrownkc/exclusive-content

How the Nelson family estates and the Atkins estate came together to create a single art museum, and the initial planning and design of the museum.Support this podcast at — https://redcircle.com/homegrownkc/exclusive-content

jack and josh get super drunk on the lawn of the Nelson Atkins Museum of Art and talk about daddy SHAKESPEARE, the National Theatre's production of ROMEO AND JULIET, english classes ruining shakespeare plays, love at first sight, and gay MARRIAGE.