Podcasts about New York Museum

In this dialogue, Prof Christo Doherty, the Chair of Research in the Wits School of Arts, speaks to Dr Ralph Borland, an independent artist-researcher and curator based in Cape Town. Ralph has a degree in Fine Art from the University of Cape Town, a Masters in Interactive Telecommunications from New York University and a PhD in Electrical Engineering from Trinity College, Dublin, Ireland. His PhD was a critique of first world design interventions in the developing world. His subsequent post-doctoral work at UCT focused on the African city and North-South knowledge inequalities. He has continued to purse his interest in democratisation and the creative use of emerging technologies with projects such as African Robots, his collaboration with Southern African street artists where he helped them introduce electronics and mechanics to their practice. His art-design piece, Suited for Subversion, a protective and performance suit for street protest in the New York Museum of Modern Art's permanent collection. He co-curated the exhibition Design and Violence at the Science Gallery in Dublin in 2016 and Future Present: Design in a Time of Urgency at the Science Gallery in Detroit. He has just completed a fellowship in the Institute for Humanities in Africa at UCT which he concluded with the exhibition Aesthetic Interventions in Artificial Intelligence in Africa which featured the remarkable collaborative work BoneFlute which we discuss in some detail in this podcast. In this podcast, we discuss how Ralph came to art practice and his first degree, majoring in sculpture, in Fine Art at Michaelis. We examine his lateral move into electrical engineering with his PhD at Trinity and the curatorial work he did at the Dublin Science Gallery. We then unpack in detail his most recent collaborative, and ongoing artistic research project, with the orthopaedic surgeon Dr Rudolph Venter, the flutist, Alessandro Gigli, and the film-maker Dara Kell. Finally we consider the relationship between artistic practice, research, and activism. Ralph Borland's artist's home page · information around Ralph's exhibition AIAIA – Aesthetic Interventions in Artificial Intelligence in Africa, which showed art-research work from my fellowship on the Future Hospitals project at HUMA, the Institute for Humanities in Africa at the University of Cape Town · Bone Flute - Brief - 2024.pdf — PDF (5.4 MB)

With vocal impressions of famous Black historical leaders and the fusion of history, spoken word and hip-hop, author, scholar and orator Maurice Miles Martinez (MC Brotha Miles) discusses the display of African, Native American and other remains in an American museum. He concludes this podcast with a powerful poem. --- Support this podcast: https://podcasters.spotify.com/pod/show/maurice-miles-martinez/support

Welcome back to The T.Swift Sisters Podcast! Please follow our show and give us a rating! This Week's Swift Scoop:  @disneyplus  Taylor Swift The Eras Tour (Taylor's Version) (0:36)  Recap of the  @TaylorSwift : Storyteller Exhibit at the New York Museum of Arts and Design (26:00) The UK Economy & Taylor Swift Vinyl Sales(31:05) Head to our Instagram page for more information on how to enter the sweepstakes! Don't forget to follow us on social! ⁠Instagram⁠⁠: @tswiftsisterspod TikTok⁠⁠: @tswiftsisterspod Twitter⁠ (X): @tsswiftsisters Season 2 Episode Art: Mia Herrera --- Support this podcast: https://podcasters.spotify.com/pod/show/tswiftsisterspod/support

Learn more at TheCityLife.org --- Send in a voice message: https://podcasters.spotify.com/pod/show/citylifeorg/message Support this podcast: https://podcasters.spotify.com/pod/show/citylifeorg/support

In this episode I am reminded of my days of grade school visiting the New York Museum of Natural History...and then returning to the museum with my own children. To see the wonder and awe through the eyes of a child helps us, as adults, recapture what we loose in the pursuit of success, money, and "more." This movie captivates our imagination and helps us smile at the wonders that abound around us. --- Support this podcast: https://podcasters.spotify.com/pod/show/jeffrey-skopak/support

This episode we are hugely excited to be joined by the artist Tiona Nekkia McClodden! Tiona is a visual artist, filmmaker, and curator whose work explores and critiques issues at the intersections of race, gender, sexuality, and social commentary.  Born in Blytheville, Arkansas and raised in Greenville, South Carolina, Tiona weaves narratives through archives, memories and objects, integral to her past and present, that shape her broader practice.  In 2022, Tiona's exhibitions at The Shed and 52 Walker alongside her year-long installation at MoMA in New York, garnered significant acclaim, prompting The New York Times to identify Teeona as “one of the most singular artists of our aesthetically rich, free-range time.” Her work have been shown at Kunsthalle Basel, the Institute of Contemporary Art-Philadelphia, the Philadelphia Museum of Art; the Museum of Modern Art (New York); the Whitney Museum of American Art (New York) ; the New Museum (New York); Haus der Kulturen der Welt (HKW) – Berlin, among many others. And, just in September, Tiona opened up the installation Tiona Nekkia McClodden: Play Me Home at the Baltimore Museum. Some artists and institutions discussed in this episode: Chryssa Jacob Lawrence Brad Johnson (American, 1952–2011) Barbara Hammer Steve McQueen Palais de Tokyo, Paris Walker Art Center, Minneapolis Conceptual Fade, Philadelphia Whitney Museum, New York Museum of Modern Art, New York 52 Walker, New York Tiona is represented globally by White Cube gallery. https://www.whitecube.com/artists/tiona-nekkia-mcclodden For images, artworks, and more behind the scenes goodness, follow @artfromtheoutsidepodcast on Instagram. Enjoy! https://www.instagram.com/artfromtheoutsidepodcast/

Bonjour à tous et à toutes, aujourd'hui on parle de la naissance du Design avec notamment l'école du Bauhaus et de la Wassily Chair ou chaise B3 de Marcel BreuerCet épisode a été co-écrit avec Elisa Cardon et Eva VernierMes réseaux : Aphrodisart_Vocabulaire : Marcel Breuer (1902-1981)Wassily chair - Chaise B3Bauhaus Walter GropiusWassily Kandinsky (1866–1944)Paul Klee (1879–1940)Adolf Meyer (1881–1929)Johannes Itten (1888–1967)Oskar Schlemmer (1888–1943)Richard DöckerWilhelm MichelLouis Herman De Koninck avec sa chaise tubulaire pour la villa Canneel en 1931, mais encore Alberto Meda avec HighFrame n°417, Alias, 1991« Red and Blue Chair » de Gerrit Rietveld BIBLIOGRAPHIE❖ARNT Cobbers, Brever, TASCHEN, Berlin, 2007❖Beaux-Arts edition, Marcel Breuer (1902-1981) Design et architecture, Beaux-arts edition, Paris, février 2013❖BYARS Mel. Design encyclopedia : 1880 to the present, 1994, Munich. 612 pages❖BROHAN Torsten, BERG Thomas, Design Classics 1880 – 1930, TASCHEN, 2001, pages 81 à 100❖FIELL Peter et Charlotte, MODERN CHAIRS, TASCHEN, PARIS, 1994,❖HODGESusie.Pourquoiest-ceunchef d'œuvre?80objetsdesignexpliqués,Eyrolles,2014.pages128-129❖JACQUET Hugues, Savoir et faire le Métal, Collection Nature, Paris, 2018, pages 355 à 362❖KIELLBERG Pierre, Le mobilier du XXe siècle, dictionnaire des créateurs, les Editions de l'Amateur, Paris, 2000, pages 19 à 26 – 71 – 98 à 101❖McCARTER Robert. Breuer, Vienne : Phaidon, 2016. pages 63-73❖MILLER Judith, Le grand livre du design et des arts décoratifs, Paris, Eyrolles, 2010❖VON VEGESACK Alexander, Remmele Mathias. Marcel Breuer Design and architecture, 2003, Weil am Rhein : Vitra Design Museum. pages 56-65.❖WILK Christopher. Marcel Breuer : Furniture and Interiors, 1981, New York : Museum of Modern Art. pages 37-40 Webographie ❖Article in. Revue de l'enseignement des langues vivantes, 1 janvier 1931, page 40, Retronews (en ligne), consulté le 27 mars 2022. Lien Internet : https://www.retronews.fr/journal/revue-de-l-enseignement-des-langues- vivantes/1-janvier- 1931/2385/4881574/40?from=%2Fsearch%23allTerms%3D%2522marcel%2520breuer%2522%26sort%3Ds core%26publishedBounds%3Dfrom%26indexedBounds%3Dfrom%26page%3D1%26searchIn%3Dall%26total %3D43&index=1❖CHASLIN François, Marcel Breuer ( 1902-1981), Universalis, en ligne https://www.universalis.fr/encyclopedie/marcel-breuer/❖France culture, La chaise Wassily, histoire d'une icône du design, consulté le 14/03/2022, https://youtu.be/mdOva1wB0do❖LALLEMENT Michel, « FONCTIONNALISME », Encyclopædia Universalis [en ligne], consulté le 26 mars 2022. URL : http://www.universalis-edu.com.accesdistant.sorbonne- universite.fr/encyclopedie/fonctionnalisme/❖LEMOINE Serge, « BAUHAUS », Encyclopædia Universalis [en ligne], consulté le 20 mars 2022. URL : http://www.universalis-edu.com.accesdistant.sorbonne-universite.fr/encyclopedie/bauhaus/❖Magazine en ligne « Du Grand Art », 2022, consulté le 14/03/2022, https://www.du-grand-art.fr/arts- decoratifs/moderne/bauhaus/artistes/marcel-breuer/❖Site officiel du centre Pompidou, consulté le 14/03/2022, https://www.centrepompidou.fr/fr/ressources/oeuvre/cdzKkgA mardi prochain - Aphrodisart  Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Loretta H. Yang and Chang Yi, founders and artists of LIULI Crystal Art, devoted their life to the art of LIULI for three decades. In the process, they revived the ancient Chinese technique of pâte de verre lost wax casting and instigated the contemporary glass art movement in Asia. Richly imbued with traditional Chinese artistic vocabulary and philosophical thinking, Yang's works have been acquired by more than 22 museums for their permanent collections including Victoria and Albert Museum in London, the Palace Museum in Beijing, New York Museum of Arts and Design, The Corning Museum of Glass, and Musée des Arts Décoratifs in Paris. She has created work for the Oscars, Grammys and 32 world leaders. “Beauty transformed” is how Japanese critics have described Yang's multiple talents. Named Best Leading Actress in the 21st and 22nd Golden Horse Film Awards ceremony, she was the first actress who won this award two years in a row. In 1987, Yang left the film industry along with her late husband, film director Chang Yi, and several other people from the film industry to establish the glass workshop and studio LIULI Crystal Art near Taipei, Taiwan. The industrious group invested their resources in rehabilitating a dilapidated factory and learned the techniques and process of glass casting in the French manner, similar to the luxury glass made by Lalique and Daum. Yang single-handedly rediscovered the techniques of pâte de verre glass casting and uses this technique to create works with a traditional Chinese artistic flare.  When asked, “What has it been like being a woman in the glass arts industry all these years,” Yang responded: “Honestly, I haven't given this topic much thought. Don't exceptional women exist in all industries? Chang Yi believed that women were the stronger gender and possess a resilience men don't. He would use the saying ‘will of steel, gentle heart' to describe women, because he observed that we lead with a gentleness of heart and an unwavering will. Maybe I've been lucky to work with Chang Yi all this time because despite what other people said, we took it with a grain of salt and continued to live according to our own set of rules. We complemented each other. He was responsible for the development, planning and operational aspects of the company. And because of this, he was able to steer our team in the right direction and instill an equitable value system.”  She continues: “I, on the other hand, have more patience and lean more toward innovation. I enjoy researching techniques – LIULI Crystal Art's 12-step technique is a product of my work. Yes, the process was challenging, but what would we be without it? LIULI Crystal Art faced a lot of challenges in our 36 years. The sheer will to complete a project was our greatest encouragement and got us through them. Chang Yi used to good-naturedly admonish that I was the type of person who doesn't know when to quit. But really, I'm the type of person who immerses themselves in something and will continue searching for an answer until I find it. Value and strength are creations of our own design. I refuse to put myself in a box or limit myself in any way. Women can be just as bold as men, men can be just as resilient as women.”  Today, LIULI Crystal Art owns factories on Taiwan (Tamshui) and in Shanghai, and numerous galleries on Taiwan and in China, Hong Kong, Singapore and United States. The group decided to use the Chinese word LIULI as opposed to more common names for glass in the Chinese language. It is commonly believed that the word LIULI first appeared during the Western Zhou Dynasty (about 1045-771 BCE), which referred to the glass being produced at the time. For Yang especially, using the term LIULI greatly references her own body of work, which draws upon traditional Chinese motifs and such Buddhist teachings as enlightenment and transparency, evoking an almost meditative practice and devotional purpose. Each piece undergoes a comprehensive 12-step process and requires six to eight months to complete. Known for her floral sculptures, in 2006 Yang removed all traces of color from her work. This pure, transparent series debuted at Leo Kaplan Modern in New York in 2007 with Proof of Awareness, an oversized and colorless blooming peony, garnering widespread acclaim. To Yang, the oversized flowers of Proof of Awareness represented her life reflections and the next stage of her creative journey. Says Yang: “LIULI petals, when looked at individually, hold little significance. But when clustered together, these petals manifest a symbiotic relationship to create a single large and flawless flower. A harmonious and mutually beneficial relationship does not focus on the self but on the greater good of everyone involved.”  Combining pâte de verre with hot casting, Yang uses multiple castings to create the abstract form of Buddha. Because life is impermanent, LIULI is the perfect material to capture its wavering illusory and tangible qualities. Yang explored the Buddhist philosophy of enlightenment and non-attachment in her exhibition Diamond Sutra held at the Grand Palais in 2015. The Ateliers d'Art de France commented: “The collection exudes a meditative philosophy that captures the Parisian way of life yet is an uncommon component in contemporary French art.” In 1996, when Yang and Chan Yi visited the Buddhist grottoes near the desert oasis of Dunhuang in western China, the moment they saw the Thousand-armed, Thousand-eyed Guanyin fresco in Cave 3 at Mogao, painted during the Yuan Dynasty (1271–1368) and slowly disappearing under the relentless weathering of the desert sandstorms, Yang vowed to recreate the image in glass as a way of handing down to future generations the wisdom and compassion it has accumulated over the centuries. On the reverse side is engraved the Great Compassion Dharani, a popular incantation in Chinese Buddhism. The unique transparent nimbus represents the wisdom and compassion of Guanyin illuminating the world. The image exudes an air of boundless compassion, quelling the anxiety of a troubled heart. Though Yang has completed a 200cm version, her deepest wish is to complete a LIULI-made Thousand-armed, Thousand-eyed Guanyin that measures14.7 feet tall!  In order to “continuously create art for the good of the heart,” Chang wrote a dedicated poem for each artwork. It took great determination and faith to accumulate such a compelling body of work. He viewed LIULI as a communicator of life and death, and as the state between illusion and reality, light and shadow. Even though life was illusory, a dream and ephemeral like bubbles, there was always an unwavering touch of red in the heart urging all to never give up life and never give up hope.  Says Yang: “Although it's been more than three decades, we know there's a lot more to achieve. And the only way to do so is to continuously practice what we believe in. The mission of LIULI has always been more than LIULI. It is the society, the culture, and the human beings.  

Katy Perry may leave American Idol.  A Taylor Swift song is now the American Heart Association’s CPR theme.  And Taylor has a new exhibit at the New York Museum of Art & Design.See omnystudio.com/listener for privacy information.

Bill Bennett is an award winning filmmaker and author. In his home country of Australia he's won the equivalent of the Oscar (Australian Film Institute Award) for Best Film and Best Director, and been nominated a further 12 times. His documentary work has been awarded two Logies, Australian television's highest award. Bill has had two feature films in Official Selection at the Cannes Film Festival (Un Certain Regard) and four feature films in Official Selection at Toronto. He's won Best Picture at Karlovy Vary, Palm Springs and Hawaii film festivals. His work has screened at the New York Museum of Modern Art, and he's had three major film retrospectives, in Germany, the US and India. As well, Penguin Random House recently completed publishing his trilogy of Young Adult novels Palace of Fires, one of its largest selling Australian YA titles in years. Join Robert Manni, author of The Guys' Guy's Guide To Love as we discuss life, love and the pursuit of happiness. Subscribe to Guy's Guy Radio on YouTube, iTunes and wherever you get your podcasts! Buy The Guys' Guy's Guide to Love now!

Bill Bennett is an award winning filmmaker and author. In his home country of Australia he's won the equivalent of the Oscar (Australian Film Institute Award) for Best Film and Best Director, and been nominated a further 12 times. His documentary work has been awarded two Logies, Australian television's highest award. Bill has had two feature films in Official Selection at the Cannes Film Festival (Un Certain Regard) and four feature films in Official Selection at Toronto. He's won Best Picture at Karlovy Vary, Palm Springs and Hawaii film festivals. His work has screened at the New York Museum of Modern Art, and he's had three major film retrospectives, in Germany, the US and India. As well, Penguin Random House recently completed publishing his trilogy of Young Adult novels Palace of Fires, one of its largest selling Australian YA titles in years. Join Robert Manni, author of The Guys' Guy's Guide To Love as we discuss life, love and the pursuit of happiness. Subscribe to Guy's Guy Radio on YouTube, iTunes and wherever you get your podcasts! Buy The Guys' Guy's Guide to Love now!

“The Artist is Present” is a special series which is being hosted under the Catalyst: A Creative Industries Podcast of the Center for Creative and Cultural Industries at Chapman University.  “The Artis is Present” was developed under the direction of the Phyllis and Ross Escalette Permanent Collection of Art's Director, Fiona Shen, and Registrar, Jessica Bocinski, so that a wider audience would have the opportunity to hear directly from the artists in the Escalette Collection at the University. This second episode of this series features Michael Hafftka an American figurative expressionist painter living in New York City. His work is represented in the permanent collections of a number of museums, including: The Metropolitan Museum of Art, New York Museum of Modern Art, Brooklyn Museum of Art, San Francisco Museum of Modern Art, Carnegie Museum of Art, and the New York Public Library. The works by Hafftka included in the Escalette Collection of Art are informed by his experience as the son of Holocaust survivors. Hafftka describes this series as a way to express his interest in the human condition while paying homage to Jewish tradition.

What you'll learn in this episode: Why the best modernist pieces are fetching record prices at auction today How “Messengers of Modernism” helped legitimize modernist jewelry as an art form The difference between modern jewelry and modernist jewelry Who the most influential modernist jewelers were and where they drew their inspiration from Why modernist jewelry was a source of empowerment for women About Toni Greenbaum Toni Greenbaum is a New York-based art historian specializing in twentieth and twenty-first century jewelry and metalwork. She wrote Messengers of Modernism: American Studio Jewelry 1940-1960 (Montréal: Musée des Arts Décoratifs and Flammarion, 1996), Sam Kramer: Jeweler on the Edge (Stuttgart: Arnoldsche Art Publishers, 2019) and “Jewelers in Wonderland,” an essay on Sam Kramer and Karl Fritsch for Jewelry Stories: Highlights from the Collection 1947-2019 (New York: Museum of Arts and Design and Arnoldsche, 2021), along with numerous book chapters, exhibition catalogues, and essays for arts publications. Greenbaum has lectured internationally at institutions such as the Pinakothek der Moderne, Munich; Academy of Arts, Architecture and Design in Prague; Yale University Art Gallery, New Haven; Cooper Hewitt Smithsonian Design Museum and Museum of Arts and Design, New York; Museum of Fine Arts, Boston; and Savannah College of Art and Design Museum of Art, Savannah. She has worked on exhibitions for several museums, including the Victoria and Albert in London, Musée des beaux-arts de Montréal, and Bard Graduate Center Gallery, New York. Additional Resources: Link to Purchase Books Toni's Instagram The Jewelry Library  Photos Available on TheJewelryJourney.com Transcript: Once misunderstood as an illegitimate art form, modernist jewelry has come into its own, now fetching five and six-figure prices at auction. Modernist jewelry likely wouldn't have come this far without the work of Toni Greenbaum, an art historian, professor and author of “Messengers of Modernism: American Studio Jewelry, 1940 to 1960.” She joined the Jewelry Journey Podcast to talk about the history of modernist jewelry; why it sets the women who wear it apart; and where collectors should start if they want to add modernist pieces to their collections. Read the episode transcript here.     Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please go to TheJewelryJourney.com. Today my guest is art historian, professor and author Toni Greenbaum. She is the author of the iconic tome, “Messengers of Modernism: American Studio Jewelry, 1940 to 1960,” which analyzes the output of America's modernist jewelers. Welcome back.    Do you think that if you had looked up and seen Sam Kramer's shop, would you have been attracted?   Toni: Oh, my god, I would have been up in a shot. Are you kidding? I would have tumbled up those stairs had I known it was there. I never even knew what it was, but I was always seeking out that aesthetic, that kind of thing. Like I said, my mother would buy handmade jewelry, silver jewelry, and I loved what she bought. I would go to galleries with her. When I say gallery, they were more like shops; they were like shop-galleries, multimedia boutiques, not specifically jewelry, that would carry handmade jewelry. I loved it. Had I seen Sam Kramer's shop, I would have been up like a shot. The same thing with Art Smith. I would have been down those steps like a shot, but I didn't know they were there, and I was too busy running after boys and going to the coffee shops in Greenwich Village to look carefully.   Sharon: Out here, I don't know if you would have had those influences.   Toni: You had a few shops. You're in the Los Angeles area?   Sharon: Yeah.   Toni: There were a few shops in L.A., not so much in Northern California. There was Nanny's in San Francisco, which was a craft gallery that carried a lot of jewelers. In Southern California there were a few studio shops, but I don't know how prominent they were. I don't know how obvious they were. I don't think that they were as much on people's radar as the ones in New York.   Sharon: When you say studio jewelers, was everything one-off, handmade?   Toni: Yes—well, not necessarily one-off. Generally, what these jewelers would do—this is the best generalization—for the larger, more expensive, more involved pieces, they would make one. When they sold it, they'd make another one, and when they sold that, they'd make another one. If the style was popular, they would also have what they would think of as production lines—earrings, cuff links, tie bars that they would replicate, but they were not cast usually. At that time, very little of it was cast. It was hand-wrought, so there were minor differences in each of the examples. But unless we get into the business records of these jewelers, we don't really know exactly how many they made of each design.   Sharon: Why is it, do you think, that modernist jewelry has been so popular today?   Toni: Oh, that's a good question. That's a very good question. I think a lot has to do with Fifty/50 Gallery's promotion. Fifty/50 was on Broadway at 12th Street, and it was a multimedia gallery that specialized in mid-20th century material. There were three very smart, very savvy, very charismatic owners who truly loved the material like I love it, and when you love something so much, when you have a passion, it's very easy to make other people love it also. I think a lot of the answer to that question is Fifty/50's promotion. They were also a very educative gallery. They were smart, and they knew how to give people the information they needed to know they were buying something special. I think it appeals to a certain kind of person.    Blanche Brown was an art historian in the midcentury who was married to Arthur Danto, who was a philosopher who taught art history at Columbia. His wife, Blanche Brown, was also an art historian. She did a lot of writing, and she would talk about the modernist jewelry, which she loved. It was a badge that she and her cohort would wear with pride because it showed them to be aesthetically aware, politically progressive. It made them stand apart from women who were wearing diamonds and precious jewelry just to show how wealthy their husbands were, which was in the 1940s and 1950s, the women who would wear this jewelry. So, for women like Blanche Brown and women through the 1960s, 70s, 80s and even now—well, now it's different because we have all the contemporary jewelers—but I think it set these women apart. It made them special in a way. It set them apart from the women who were wearing the Cartier and the Van Cleef and Arpels.    You dress for your peers. You dress to make your peers admire you, if not be envious. Within the Bohemian subculture of the 1950s, within the Beat Generation of the 1950s and through the 1960s and the hippies in the 1970s, it set apart that kind of woman. Remember, also, feminism was starting to become a very important aspect of lifestyle. I think when “The Feminine Mystique” came out around 1963—I would have to check it—women were starting to feel empowered. They wanted to show themselves to be intelligent and secure and powerful, and I think modernist jewelry imparted that message when one wore it. It's not that different than people who wear the contemporary jewelry we love so much now. Art Jewelry Forum says it's jewelry that makes you think, and that is what I think a lot of us relate to in that jewelry. It's jewelry with a real concept behind it.   Sharon: That leads me to the next question. I know the biographies repeat themselves. When I was looking up information about you, they said you're an expert in modernist and contemporary jewelry. Contemporary can mean anything. Would you agree with the contemporary aspect?   Toni: I don't view myself as an expert in contemporary. I think I know more than a lot of people about it only because I study it. It's very hard to keep up because there are so many new jewelers popping up all the time. The name of my course that I teach at Pratt is Theory and Criticism of Contemporary Jewelry. Because of that, I do have to keep up to the day because it's a required course for the juniors majoring in jewelry studies, and I feel a responsibility to make them aware of what's happening right at that point I'm teaching it. Things are changing so much in our field, but I don't view myself as an expert. I just think I know a lot about it. It's not my field of expertise, and there's so much. You've got German jewelers, and you've got Chinese jewelers, and you've got Australian and New Zealand jewelers, and you've got Swedish jewelers. All over the world. You've got Estonia, a little, small country, as these major jewelers. They are each individual disciplines in and of themselves.   Sharon: How is it that you wrote the catalogue that became “Messengers of Modernism”? Were you asked to write the catalogue?    Toni: Yeah, I was hired by David Hanks and Associates, which was and still is the curatorial firm. They're American, but they work for the Montreal Museum of Fine Arts. At that time, there was a separate Montreal Museum of Decorative Arts, and that's really where Messengers of Modernism—it came under the Montreal Museum of Decorative Arts. Now, it has been absorbed into the Montreal Museum of Fine Arts. It's just one building. It was a separate building. Basically I was hired by the museum to write the catalogue.   Sharon: And how did it become a book?    Toni: It is a book.    Sharon: Yes, but how did it become—it was a catalogue.   Toni: It's a book, but it functions as the catalogue in the next edition.   Sharon: Right, but I was saying that you wrote the catalogue, and then you said it was published by Flammarion in Paris. Did they say, “Oh, let's take it and make it a book?” How did it transform?   Toni: It was always a book, but it functioned as the catalogue for a particular collection, which is their collection of modernist jewelry. Many exhibitions, even painting exhibitions, when you go to a museum and view a painting exhibition and you buy the accompanying text, it's the catalogue of the exhibition.   Sharon: Yes, but a lot of those don't become books per se. That's why I was wondering, did somebody at the publishers see your catalogue and say, “This would make a great book?” I have never seen the exhibition, but I have the book.   Toni: I think this is a semantic conversation more than anything else. It has become, as I said, the standard text, mostly because nothing else really exists, except I believe Marbeth Schon wrote a book on the modernist jewelers which is more encyclopedic. This book, “Messengers of Modernism,” first of all, it puts the collection in the context of studio craft from the turn of the century up until then, which was then the present. The book was published in 1996. I think what you're saying is it's more important than what we think of as a museum catalogue and it's become a standard text.   Sharon: Yeah.   Toni: It was always conceived as a book about modernist jewelry; it was just focusing on this one collection. What I'm saying is people would say, “Well, why isn't this one in the book? Why did you leave this one out?” and I said, “Well, I didn't leave this one out. This is a book about a finite collection that's in the Montreal Museum of Fine Arts.” If I were writing a book about modernist jewelry, of course I would have included Claire Falkenstein, but she wasn't in their collection, so it's not in that book. That was basically what I meant.   Sharon: Is there a volume two that's going to be coming out with the ones that weren't in the collection that you think should be in the book?   Toni: That book was published in 1996. We're already in 2022. People are always asking me, but one never knows.    Sharon: I guess you don't need an exhibition to write a catalogue.    Toni: No, to write a book, of course you don't.   Sharon: To write a book. What's on your radar? What do you think you have next? Is it in the realm of modernism that you would be writing about?   Toni: That's really what I write about. I lecture about contemporary jewelry to my students and occasionally to the public, but my area of expertise is modernism. There are cardiologists that have a part of their practice in general medicine, but if somebody has a gastrointestinal problem, they're going to send them to a gastroenterologist. I can deal with the broad strokes, which I do, but unless it's one specific jeweler that I would write about, I would not attempt a book about contemporary jewelry. I would stick with modernism, what I feel very confident and comfortable with.   Sharon: If somebody who's passionate about jewelry but not wealthy said they want to start building a modernist collection, where would they start?   Toni: That is another good question. First of all, they would really have to comb the auctions. If they were very serious about collecting important works, I would send them to Mark McDonald, who's the premier dealer in this material. He was one of the partners of Fifty/50.   Sharon: Right, does he still work in that area? Didn't they close the store? Yeah, they closed the store.   Toni: Yeah, two of the partners tragically died. Mark had Gansevoort Gallery after. That was on Gansevoort Street in the Meatpacking District here in New York, which was a wonderful gallery also specializing in modernist material, multimedia. Then he had a shop up in Hudson, New York, for many years, right opposite Ornamentum Gallery. That closed, but he still deals privately. He is the most knowledgeable dealer in the period that I know of. If anybody was really serious about starting to collect modernist jewelry, he would be the person I recommend they go to.   Sharon: It sounds like somebody to collaborate with if you're writing your next book.   Toni: We always collaborate. We're good friends and we always collaborate.   Sharon: Where do you see the market for modernist jewelry? Do you see it continuing to grow? Is it flat? Is it growing?   Toni: Yes, the best of it will continue to grow. There was an auction right before the pandemic hit. I think it was February of 2020, right before we got slammed. It was an auction that was organized by David Rago Auction in New Hope, Pennsylvania, and Wright, which is also an auction gallery specializing in modern and modernism from Chicago. Mark McDonald curated the collection, and the idea behind that exhibition was it was going to go from modernist jewelry from the mid-20th century up to the present and show the lineage and the inheritance from the modernist jewelers. It also included Europeans, and there was some wonderful modernist jewelry in that exhibition that sold very well—the move star pieces, the big pieces.    Then there was—I guess a year ago, no more than that—there was an auction at Bonhams auction house which was one couple's collection of modernist jewelry, artist jewelry—and by artists, I mean Picasso and Max Ernst, modernist artists. They collected a lot of Mexican jewelry and two of Art Smith's most major bracelets, his modern cuff and his lava cuff. I always forget which sold for what, but these were copper and brass cuffs. One sold for $18,000 and one sold for $13,000. I think the modern cuff was $18,000 and the lava cuff was $13,000. If anybody comes to my lecture tomorrow for GemEx, I talk about both of them in detail. This is big money. Five figures is very big money for these items, but these are the best of the best, the majors of the major by Art Smith. Art Smith is currently very, very coveted.   Sharon: Who's your favorite of the modernist jewelers? Who would you say?   Toni: Well, I have two favorites. There are three that are the most important, so let's say three favorites. One is Art Smith, and the reason is because the designs are just brilliant. They really take the body into consideration, negative space into consideration, and they're just spectacularly designed and beautiful to wear. Sam Kramer, the best of his work, the really weird, crazy, surrealist pieces like the one that's on the cover and the back of the Sam Kramer book. Margaret de Patta, who was from the San Francisco Bay area, and she was diametrically opposite to these two because her work was based upon constructivism. She had studied under Moholy-Nagy, the Hungarian constructivist painter, sculptor, photographer. Her work is architectural based upon these eccentrically cut stones. She would be inspired by the rutilations, which are the inclusions within quartz, and she would design her structures around them. I would say those are my three favorites.   Sharon: That's interesting. I wouldn't have thought of Margaret de Patta. I guess I think of her in a different category. I don't know why.   Toni: She's one of the most important modernist jewelers. She founded that whole San Francisco Bay Area MAG, the Metal Arts Guild. She was their guru.    Sharon: When I think of San Francisco at that time, I think of all the jewelry I bought when I was 16 and then I said, “What did I want this for?” Now I see it in the flea markets for 14 times the price I paid for it.   Toni: Right.   Sharon: But who knew. Anyway, Toni, thank you so much. It's been so great to have you. We really learned a lot. It's a real treat. Thank you.   Toni: I had a great time also. Thank you for inviting me. Thank you.   Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.

What you'll learn in this episode: Why the best modernist pieces are fetching record prices at auction today How “Messengers of Modernism” helped legitimize modernist jewelry as an art form The difference between modern jewelry and modernist jewelry Who the most influential modernist jewelers were and where they drew their inspiration from Why modernist jewelry was a source of empowerment for women About Toni Greenbaum Toni Greenbaum is a New York-based art historian specializing in twentieth and twenty-first century jewelry and metalwork. She wrote Messengers of Modernism: American Studio Jewelry 1940-1960 (Montréal: Musée des Arts Décoratifs and Flammarion, 1996), Sam Kramer: Jeweler on the Edge (Stuttgart: Arnoldsche Art Publishers, 2019) and “Jewelers in Wonderland,” an essay on Sam Kramer and Karl Fritsch for Jewelry Stories: Highlights from the Collection 1947-2019 (New York: Museum of Arts and Design and Arnoldsche, 2021), along with numerous book chapters, exhibition catalogues, and essays for arts publications. Greenbaum has lectured internationally at institutions such as the Pinakothek der Moderne, Munich; Academy of Arts, Architecture and Design in Prague; Yale University Art Gallery, New Haven; Cooper Hewitt Smithsonian Design Museum and Museum of Arts and Design, New York; Museum of Fine Arts, Boston; and Savannah College of Art and Design Museum of Art, Savannah. She has worked on exhibitions for several museums, including the Victoria and Albert in London, Musée des beaux-arts de Montréal, and Bard Graduate Center Gallery, New York. Additional Resources: Link to Purchase Books Toni's Instagram The Jewelry Library  Photos Available on TheJewelryJourney.com Transcript: Once misunderstood as an illegitimate art form, modernist jewelry has come into its own, now fetching five and six-figure prices at auction. Modernist jewelry likely wouldn't have come this far without the work of Toni Greenbaum, an art historian, professor and author of “Messengers of Modernism: American Studio Jewelry, 1940 to 1960.” She joined the Jewelry Journey Podcast to talk about the history of modernist jewelry; why it sets the women who wear it apart; and where collectors should start if they want to add modernist pieces to their collections. Read the episode transcript here.   Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. 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 art historian, professor and author Toni Greenbaum. She is the author of the iconic tome, “Messengers of Modernism: American Studio Jewelry, 1940 to 1960,” which analyzes the output of America's modernist jewelers. Most recently, she authored “Sam Kramer: Jeweler on the Edge,” a biography of the jeweler Sam Kramer. Every time I say jeweler I think I'm using the world a little loosely, but we're so glad to have you here today. Thank you so much.   Toni: I am so glad to be here, Sharon. Thank you so much for inviting me. It's been many years coming.   Sharon: I'm glad we connected. Tell me about your jewelry journey. It sounds very interesting.   Toni: Well, there's a lot you don't know about my jewelry journey. My jewelry journey began when I was a preteen. I just became fascinated with Native American, particularly Navajo, jewelry that I would see in museum gift shops. I started to buy it when I was a teenager, what I could afford. In those days, I have to say museum gift shops were fabulous, particularly the Museum of Natural History gift shop, the Brooklyn Museum gift shop. They had a lot of ethnographic material of very high quality. So, I continued to buy Native American jewelry. My mother used to love handcrafted jewelry, and she would buy it in whatever craft shops or galleries she could find.    Then eventually in my 20s and 30s, I got outpriced. Native American jewelry was becoming very, very fashionable, particularly in the late 60s, 1970s. I started to see something that looked, to me, very much like Native American jewelry, but it was signed. It had names on it, and some of them sounded kind of Mexican—in fact, they were Mexican. So, I started to buy Mexican jewelry because I could afford it. Then that became very popular when names like William Spratling and Los Castillo and Hector Aguilar became known. I saw something that looked like Mexican jewelry and Navajo jewelry, but it wasn't; it was made by Americans. In fact, it would come to be known as modernist jewelry. Then I got outpriced with that, but that's the start of my jewelry journey.   Sharon: So, you liked jewelry from when you were a youth.    Toni: Oh, from when I was a child. I was one of these little three, four-year-olds that was all decked out. My mother loved jewelry. I was an only child, and I was, at that time, the only grandchild. My grandparents spoiled me, and my parents spoiled me, and I loved jewelry, so I got a lot of jewelry. That and Frankie Avalon records.   Sharon: Do you still collect modernist? You said you were getting outpriced. You write about it. Do you still collect it?   Toni: Not really. The best of the modernist jewelry is extraordinarily expensive, and unfortunately, I want the best. If I see something when my husband and I are antiquing or at a flea market or at a show that has style and that's affordable, occasionally I'll buy it, but I would not say that I can buy the kind of jewelry I want in the modernist category any longer. I did buy several pieces in the early 1980s from Fifty/50 Gallery, when they were first putting modernist jewelry on the map in the commercial aspect. I was writing about it; they were selling it. They were always and still are. Mark McDonald still is so generous with me as far as getting images and aiding my research immeasurably. Back then, the modernist jewelry was affordable, and luckily I did buy some major pieces for a tenth of what they would get today.   Sharon: Wow! When you say the best of modernist jewelry today, Calder was just astronomical. We'll put that aside.   Toni: Even more astronomical: there's a Harry Bertoia necklace that somebody called my attention to that is coming up at an auction at Christie's. If they don't put that in their jewelry auctions, they'll put it in their design auctions. I think it's coming up at the end of June; I forget the exact day. The estimate on the Harry Bertoia necklace is $200,000 to $300,000—and this is a Harry Bertoia necklace. I'm just chomping at the bit to find out what it, in fact, is going to bring, but that's the estimate they put, at $200,000 to $300,000.   Sharon: That's a lot of money. What holds your interest in modernist jewelry?   Toni: The incredible but very subtle design aspect of it. Actually, tomorrow I'm going to be giving a talk on Art Smith for GemEx. Because my background is art history, one of the things I always do when I talk about these objects is to show how they were inspired by the modern art movements. This is, I think, what sets modernist jewelry apart from other categories of modern and contemporary jewelry. There are many inspirations, but it is that they are very much inspired by Cubism, Surrealism, Abstract Expressionism, Biomorphism, etc., depending on the artist. Some are influenced by all of the above, and I think I saw that. I saw it implicitly before I began to analyze it in the jewelry.    This jewelry is extraordinarily well-conceived. A lot of the craftsmanship is not pristine, but I have never been one for pristine craftsmanship. I love rough surfaces, and I love the process to show in the jewelry. Much of the modernist jewelry is irreverent—I use the word irreverent instead of sloppy—as far as the process is concerned. It was that hands-on, very direct approach, in addition to this wonderful design sense, which, again, came from the modern art movements. Most of the jewelers—not all of them, but most of them—lived either in New York or in Northern or Southern California and had access to museums, and these people were aesthetes. They would go to museums. They would see Miro's work; they would see Picasso's work, and they would definitely infuse their designs with that sensibility.   Sharon: Do you think that jumped out at you, the fact that they were inspired by different art movements, because you studied art history? You teach it, or you did teach it at one time?    Toni: No, just history of jewelry. I majored in art history, but I've never taught art history. I've taught history of jewelry. We can argue about whether jewelry is art or not, but history of jewelry is what I've taught.   Sharon: I've taken basic art history, but I couldn't tell you some of the movements you're talking about. I can't identify the different movements. Do you think it jumped out at you because you're knowledgeable?   Toni: Yes, definitely, because I would look at Art Smith and I would say, “That's Biomorphism.” I would see it. It was obvious. I would look at Sam Kramer and I would say, “This is Surrealism.” He was called a surrealist jeweler back in his day, when he was practicing and when he had his shop on 8th Street. I would look at Rebajes and I would see Cubism. Of course, it was because I was well-versed in those movements, because what I was always most interested in when I was studying art history were the more modern movements.   Sharon: Did you think you would segue to jewelry in general? Was that something on your radar?   Toni: That's a very interesting question because when I was in college, I had a nucleus of professors who happened to have come from Cranbrook.   Sharon: I'm sorry, from where?   Toni: Cranbrook School of Art.   Sharon: O.K., Cranbrook.   Toni: I actually took a metalsmithing class as an elective, just to see what it was because I was so interested in jewelry, although I was studying what I call legitimate art history. I was so interested in jewelry that I wanted to see what the process was. I probably was the worst jeweler that ever tried to make jewelry, but I learned what it is to make. I will tell you something else, Sharon, it is what has given me such respect for the jewelers, because when you try to do it yourself and you see how challenging it is, you really respect the people who do it miraculously even more.    So, I took this class just to see what it was, and the teacher—I still remember his name. His name was Cunningham; I don't remember his first name. He was from Cranbrook, and he sent the class to a retail store in New York on 53rd Street, right opposite MOMA, called America House.   Sharon: Called American House?   Toni: America House. America House was the retail enterprise of the American Craft Council. They had the museum, which was then called the Museum of Contemporary Crafts; now it's called MAD, Museum of Arts and Design. They had the museum, and they had a magazine, Craft Horizons, which then became American Craft, and then they had this retail store. I went into America House—and this was the late 1960s—and I knew I had found my calling. I looked at this jewelry, which was really fine studio jewelry. It was done by Ronald Pearson; it was done by Jack Kripp. These were the people that America House carried. I couldn't afford to buy it. I did buy some of the jewelry when they went out of business and had a big sale in the early 1970s. At that time I couldn't, but I looked at the jewelry and the holloware, and I had never seen anything like it. Yes, I had seen Native American that I loved, and I had seen Mexican that I loved. I hadn't yet seen modernist; that wasn't going to come until the early 1980s. But here I saw this second generation of studio jewelers, and I said, “I don't know what I'm going to do with this professionally, but I know I've got to do something with it because this is who I am. This is what I love.”    Back in the late 1960s, it was called applied arts. Anything that was not painting and sculpture was applied art. Ceramics was applied art; furniture was applied art; textiles, jewelry, any kind of metalwork was applied art. Nobody took it seriously as an academic discipline in America, here in this country. Then I went on to graduate school, still in art history. I was specializing in what was then contemporary art, particularly color field painting, but I just loved what was called the crafts, particularly the metalwork. I started to go to the library and research books on jewelry. I found books on jewelry, but they were all published in Europe, mostly England. There were things in other languages other than French, which I could read with a dictionary. There were books on jewelry history, but they were not written in America; everything was in Europe. So, I started to read voraciously about the history of jewelry, mostly the books that came out of the Victoria & Albert Museum. I read all about ancient jewelry and medieval jewelry and Renaissance jewelry. Graham Hughes, who was then the director of the V&A, had written a book, “Modern Jewelry,” and it had jewelry by artists, designed by Picasso and Max Ernst and Brach, including things that were handmade in England and all over Europe. I think even some of the early jewelers in our discipline were in that book. If I remember correctly, I think Friedrich Becker, for example, might have been in Graham Hughes' “Modern Jewelry,” because that was published, I believe, in the late 1960s.    So, I saw there was a literature in studio jewelry; it just wasn't in America. Then I found a book on William Spratling, this Mexican jeweler whose work I had collected. It was not a book about his jewelry; it was an autobiography about himself that obviously he had written, but it was so rich in talking about the metalsmithing community in Taxco, Mexico, which is where he, as an American, went to study the colonial architecture. He wound up staying and renovating the silver mines that had been dormant since the 18th century. It was such a great story, and I said, “There's something here,” but no graduate advisor at that time, in the early 70s, was going to support you in wanting to do a thesis on applied art, no matter what the medium. But in the back of my mind, I always said, “I'm going to do something with this at some point.”    Honestly, Sharon, I never thought I would live to see the day that this discipline is as rich as it is, with so much literature, with our publishers publishing all of these fantastic jewelry books, and other publishers, like Flammarion in Paris, which published “Messengers of Modernism.” Then there's the interest in Montreal at the Museum of Fine Arts, which is the museum that has the “Messengers of Modernism” collection. It has filtered into the Houston Museum of Fine Arts, Dallas, obviously MAD. So many museums are welcoming. I never thought I would live to see the day. It really is so heartening. I don't have words to express how important this is, but I just started to do it. In the early 1970s or mid-1970s—I don't think my daughter was born yet. My son was a toddler. I would sit in my free moments and write an article about William Spratling, because he was American. He went to Mexico, but he was American. He was the only American I knew of that I could write about. Not that that article was published at that time, but I was doing the research and I was writing it.   Sharon: That's interesting. If there had been a discipline of jewelry history or something in the applied arts, if an advisor had said, “Yes, I'll support you,” or “Why don't you go ahead and get your doctorate or your master's,” that's something you would have done?   Toni: Totally, without even a thought, yes. Because when I was studying art history, I would look at Hans Holbein's paintings of Henry VIII and Sir Thomas More, and all I would do was look at the jewelry they were wearing, the chains and the badges on their berets. I said, “Oh my god, that is so spectacular.” Then I learned that Holbein actually designed the jewelry, which a lot of people don't know. I said, “There is something to this.” I would look at 18th century paintings with women, with their pearls and rings and bracelets, and all I would do was look at the jewelry. I would have in a heartbeat. If I could have had a graduate advisor, I would have definitely pursued that.   Sharon: When you say you never thought you'd live to see the day when modernist jewelry is so popular—not that it's so surprising, but you are one of the leaders of the movement. When I mentioned to somebody, “Oh, I like modernist jewelry,” the first thing they said was, “Well, have you read ‘Messengers of Modernism?'” As soon as I came home—I was on a trip—I got it. So, you are one of the leaders.   Toni: Well, it is interesting. It is sort of the standard text, but people will say, “Well, why isn't Claire Falkenstein in the book? She's so important,” and I say, “It's looked upon as a standard text, but the fact is it's a catalogue to an exhibition. That was the collection.” Fifty/50 Gallery had a private collection. As I said before, they were at the forefront of promoting and selling modernist jewelry, but they did have a private collection. That collection went to Montreal in the 1990s because at that time, there wasn't an American museum that was interested in taking that collection. That book is the catalogue of that finite collection. So, there are people who are major modernist jewelers—Claire Falkenstein is one that comes to mind—that are not in that collection, so they're not in the book. There's a lot more to be said and written about that movement.   Sharon: I'm sure you've been asked this a million times: What's the difference between modern and modernist jewelry?   Toni: Modern is something that's up to date at a point in time, but modernist jewelry is—this is a word we adopted. The word existed, but we adopted it to define the mid-20th century studio jewelry, the post-war jewelry. It really goes from 1940 to the 1960s. That's it; that's the time limit of modernist jewelry. Again, it's a word we appropriated. We took that word and said, “We're going to call this category modernist jewelry because we have to call it something, so that's the term.” Modern means up to date. That's just a general word.   Sharon: When you go to a show and see things that are in the modernist style, it's not truly modernist if it was done today, it wasn't done before 1960.   Toni: Right, no. Modernist jewelry is work that's done in that particular timeframe and that also subscribes to what I was saying, this appropriation of motifs from the modern art movement. There was plenty of costume jewelry and fine jewelry being done post-war, and that is jewelry that is mid-20th century. You can call it mid-20th century modern, which confuses the issue even more, but it's not modernist jewelry. Modernist jewelry is jewelry that was done in the studio by a silversmith and was inspired by the great movements in modern art and some other inspirations. Art Smith was extremely motivated by African motifs, but also by Calder and by Biomorphism. It's not religious. There are certainly gray areas, but in general, that's modernist jewelry.    Sharon: I feel envious when you talk about everything that was going in on New York. I have a passion, but there's no place on the West Coast that I would go to look at some of this stuff.   Toni: I'll tell you one of the ironies, Sharon. Post-war, definitely through the 1950s and early 1960s, there must have been 13 to 15 studio shops by modernist jewelers. You had Sam Kramer on 8th Street and Art Smith on 4th Street and Polo Bell, who was on 4th Street and then he was on 8th Street, and Bill Tendler, and you had Jules Brenner, and Henry Steig was Uptown. Ed Wiener was all over the place. There were so many jewelers in New York, and I never knew about them. I never went to any of their shops. I used to hang out in the Village when I was a young teenager, walked on 4th Street; never saw Art Smith's shop. He was there from 1949 until 1977. I used to walk on 8th Street, and Sam Kramer was on the second floor. I never looked up, and I didn't know this kind of jewelry existed. In those days, like I said, I was still collecting Navajo.

Facts & spin for May 11 2022 top stories: Taiwan abandons its 'zero covid' policy, Sri Lanka's Prime Minister resigns, Biden promises more money for Ukraine, a German airline is criticized for banning Jews from flight over mask dispute, Bitcoin crashes as the stock market continues south, 40% of US baby formula supplies are out of stock, Biden promises cheaper internet for low-income Americans, a New York Museum cancels Governor de Santis, and Queen Elizabeth II misses her opening of the British Parliament.   Sources: https://www.improvethenews.org/

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Mark Lawrence and Joe McGranaghan started talking about the removal of a Teddy Roosevelt statue at the New York Museum of Natural History, the Russian/Ukrainian crisis, President Biden's response, and the current state of 'Russian collusion' opinion. One caller outlined the dire financial straits of the Danville chapter of the ASPCA.

Our guest today is a Prophetic Artist from the Gold coast, Queensland, Australia.  Lynne Hudson shares her story of God healing her from breast cancer and leading her into painting prophetically. Her art has been recognized in the New York Museum of Art and around the globe and God continues to use her paintings to minister to hearts and lives as she paints and speaks throughout the world. (This episode originally aired 9/21/2020

Transdisciplinary artist Maria Hupfield activates her creations in live performances. She is interested in the production of shared moments that open spaces for possibility and new narratives. In her work, these moments of connection are recalled and grounded by coded and re-coded hand-sewn industrial felt creations and other material mash-ups worn on the body. An Urban off-reservation member of the Anishinaabek People she belongs to Wasauksing First Nation in Ontario, Hupfield is deeply invested in embodied practice, Native Feminisms, collaborative processes, craft and textiles. Sound shared in this episode Maria Hupfield and Tusia Dabrowska Electric Prop and Hum Freestyle documentation from 3 performances by Maria Hupfield and Tusia Dabrowska, including: 11.30.2017 MAD Museum 12.06.2017 The Gibney Dance Theater 07.03.2018 The Bric Media House Maria Hupfield Performance Piece at Bronx Museum of the Arts June 15th 2015 with Laura Ortman “The one who keeps on giving” performance by Maria Hupfield 2017-01-29 documented at The Power Plant Contemporary Art Gallery Toronto Biography: Maria Hupfield is a 2020-2022 inaugural Borderlands Fellow for her project Breaking Protocol at The Vera List Center for Art and Politics at the New School and the Center for the Imagination in the Borderlands at Arizona State University, and was awarded the Hnatyshyn Mid-career Award for Outstanding Achievement in Canada 2018. Previous projects at Galerie Hugues Charbonneau included her 2014 Performance Lab and 2017 transdisciplinary installation Stay Golden. She has exhibited and performed her work through her touring solo exhibition The One Who Keeps On Giving (organized by The Power Plant) 2017-2018, and solo Nine Years Towards the Sun, at the Heard Museum, Phoenix, 2019-2020. Amongst other places, she has also presented her work at the Montreal Museum of Contemporary Art, the NOMAM in Zurich, the Montreal Museum of Fine Arts, Galerie de L'UQAM, the New York Smithsonian Museum of the American Indian, the New York Museum of Art and Design, BRIC House Gallery, the Bronx Museum, Boston Museum of Fine Arts, Site Santa Fe, and the National Gallery of Canada. She is co-owner of Native Art Department International with her husband artist Jason Lujan, and a founding member of the Indigenous Kinship Collective NYC. Website: https://mariahupfield.wordpress.com This episode first aired June 14, 2021 for Broken Boxes on Radio Coyote, a project initiated by Raven Chacon and CCA Wattis Institute, on the occasion of Chacon's 2020-21 Capp Street Artist-in-Residency. Radio Coyote is currently produced by Atomic Culture and will transition to new programming Summer, 2021. www.radiocoyote.org

Transdisciplinary artist Maria Hupfield activates her creations in live performances. She is interested in the production of shared moments that open spaces for possibility and new narratives. In her work, these moments of connection are recalled and grounded by coded and re-coded hand-sewn industrial felt creations and other material mash-ups worn on the body. An Urban off-reservation member of the Anishinaabek People she belongs to Wasauksing First Nation in Ontario, Hupfield is deeply invested in embodied practice, Native Feminisms, collaborative processes, craft and textiles. Sound shared in this episode Maria Hupfield and Tusia Dabrowska Electric Prop and Hum Freestyle documentation from 3 performances by Maria Hupfield and Tusia Dabrowska, including: 11.30.2017 MAD Museum 12.06.2017 The Gibney Dance Theater 07.03.2018 The Bric Media House Maria Hupfield Performance Piece at Bronx Museum of the Arts June 15th 2015 with Laura Ortman “The one who keeps on giving” performance by Maria Hupfield 2017-01-29 documented at The Power Plant Contemporary Art Gallery Toronto Biography: Maria Hupfield is a 2020-2022 inaugural Borderlands Fellow for her project Breaking Protocol at The Vera List Center for Art and Politics at the New School and the Center for the Imagination in the Borderlands at Arizona State University, and was awarded the Hnatyshyn Mid-career Award for Outstanding Achievement in Canada 2018. Previous projects at Galerie Hugues Charbonneau included her 2014 Performance Lab and 2017 transdisciplinary installation Stay Golden. She has exhibited and performed her work through her touring solo exhibition The One Who Keeps On Giving (organized by The Power Plant) 2017-2018, and solo Nine Years Towards the Sun, at the Heard Museum, Phoenix, 2019-2020. Amongst other places, she has also presented her work at the Montreal Museum of Contemporary Art, the NOMAM in Zurich, the Montreal Museum of Fine Arts, Galerie de L'UQAM, the New York Smithsonian Museum of the American Indian, the New York Museum of Art and Design, BRIC House Gallery, the Bronx Museum, Boston Museum of Fine Arts, Site Santa Fe, and the National Gallery of Canada. She is co-owner of Native Art Department International with her husband artist Jason Lujan, and a founding member of the Indigenous Kinship Collective NYC. Website: https://mariahupfield.wordpress.com This episode first aired June 14, 2021 for Broken Boxes on Radio Coyote, a project initiated by Raven Chacon and CCA Wattis Institute, on the occasion of Chacon's 2020-21 Capp Street Artist-in-Residency. Radio Coyote is currently produced by Atomic Culture and will transition to new programming Summer, 2021. www.radiocoyote.org

Nao Bustamante is a legendary artist, residing in Los Angeles, California. Bustamante's precarious work encompasses performance art, video installation, filmmaking, sculpture and writing. The New York Times says, "She has a knack for using her body." Bustamante has presented in Galleries, Museums, Universities and underground sites all around the world. She has exhibited, among other locales, at the Institute of Contemporary Arts in London, the New York Museum of Modern Art, The San Francisco Museum of Modern Art, Sundance International Film Festival/New Frontier, Outfest International Film Festival, El Museo del BarrioMuseum of Contemporary Art, First International Performance Biennial, Deformes in Santiago, Chile and the Kiasma Museum of Helsinki. She was also an unlikely contestant on TV network, Bravo's "Work of Art: The Next Great Artist." In 2020 Bustamante’s forthcoming VR film, “The Wooden People” received an award from the Mike Kelley Foundation and will be presented at REDCAT in 2021. Bustamante is alum of the San Francisco Art Institute, and in 2020 she was awarded an honorary doctorate degree from her alma mater, SFAI. She also attended Skowhegan School of Painting and Sculpture. Currently she holds the position of Professor of Art at the USC Roski School of Art and Design. There, she also serves as the Director of the MFA in Art. Artists-In-Presidents: Fireside Chats for 2020 will be released weekly via podcast, virtual gallery, and social media. To visit the virtual gallery: www.artistsinpresidents.com and follow us @artistsinpresidents Sound design by Phoebe Unter & Nicole Kelly featuring Mara Lazer on saxophone. Music by DASK.

Our guest today is a Prophetic Artist from the Gold coast, Queensland Australia. Lynne Hudson shares her story of God healing her from breast cancer and leading her into painting prophetically. Her art has been recognized in the New York Museum of Art and around the globe and God continues to use her paintings to minister to hearts and lives as she paints and speaks throughout the world.

You know how things are terrible? Well this should give you comfort--things have always been terrible. Settle in, dear dash hounds, as Beth and Kelly share the tale of Minik Wallace. Minik was brought to America's shores in 1897 as a boy along with five other Greenlanders to be put on display like a museum piece. And when you think of people as objects, it turns out as bad as you expect. Theme music: Big White Lie by A Cast of Thousands Cite your sources: “Caught in the Middle: The Tragic Life of Minik Wallace.” Bowdoin News Archive, 29 Oct. 2018, community.bowdoin.edu/news/2018/10/caught-in-the-middle-the-tragic-life-of-minik-wallace/. Claiborne, William. “THE SKELETON IN THE MUSEUM'S CLOSET.” The Washington Post, WP Company, 5 Apr. 1992, www.washingtonpost.com/archive/lifestyle/1992/04/05/the-skeleton-in-the-museums-closet/d1ef741a-84cc-45c2-94ca-779c3e085962/. Fagan, Kevin. “Ishi's Kin To Give Him Proper Burial / Indians to Bury Brain in Secret Location in State.” SFGate, San Francisco Chronicle, 6 Aug. 2012, www.sfgate.com/bayarea/article/Ishi-s-Kin-To-Give-Him-Proper-Burial-Indians-to-2744424.php. Harper, Kenn. Minik: the New York Eskimo. Steerforth Press, 2017. Henderson, Bruce. “Who Discovered the North Pole?” Smithsonian.com, Smithsonian Institution, 1 Apr. 2009, www.smithsonianmag.com/history/who-discovered-the-north-pole-116633746/. James, David A. “The True Story of an Inuit Boy Who Ended up in a New York Museum.” Anchorage Daily News, Anchorage Daily News, 3 Feb. 2018, www.adn.com/arts/books/2018/02/03/the-true-story-of-an-inuit-boy-who-ended-up-in-a-new-york-museum/. Jiménez, Jessíca. “UC Berkeley Looks Back on Dark History, Abuse of Ishi 106 Years Later.” The Daily Californian, 2 Sept. 2017, www.dailycal.org/2017/09/01/uc-berkeley-looks-back-on-dark-history-abuse-of-yahi-man-106-years-later/. McGreevy, Nora. “The Racist Statue of Theodore Roosevelt Will No Longer Loom Over the American Museum of Natural History.” Smithsonian.com, Smithsonian Institution, 23 June 2020, www.smithsonianmag.com/smart-news/statue-theodore-roosevelt-removed-reexamination-racist-acts-180975154/. Meier, Allison C. “Minik and the Meteor.” Narratively, 18 June 2019, narratively.com/minik-and-the-meteor/. “Minik.” PBS, Public Broadcasting Service, 31 Mar. 2008, www.pbs.org/wgbh/americanexperience/films/minik/. Pogrebin, Robin. “Roosevelt Statue to Be Removed From Museum of Natural History.” The New York Times, The New York Times, 21 June 2020, www.nytimes.com/2020/06/21/arts/design/roosevelt-statue-to-be-removed-from-museum-of-natural-history.html. Smith, Dinitia. “An Eskimo Boy And Injustice In Old New York; A Campaigning Writer Indicts An Explorer and a Museum.” The New York Times, The New York Times, 15 Mar. 2000, www.nytimes.com/2000/03/15/books/eskimo-boy-injustice-old-new-york-campaigning-writer-indicts-explorer-museum.html.

Professor Jennifer Maytorena Taylor's work is regularly seen around the world through broadcast, film festivals, and theatrical screenings at venues like the Sundance, Los Angeles, San Francisco and Locarno Film Festivals, International Documentary Festival Amsterdam, New York Museum of Modern Art, PBS, Sundance Channel, Al Jazeera, and NHK-Japan. She talks with guest host Lyle Troxell about the fast-paced and unpredictable turns her filmmaking has taken her, from FBI raids to witnessing the effects of incarceration on disenfranchised populations.Professor Taylor's new verité feature For the Love of Rutland explores three years in the life of a small blue-collar town grappling with deep change in an era of refugee crises, the opioid epidemic, and extreme ideological and cultural polarization. Supported by the Sundance Institute Documentary Film Program and the Sundance Film Music Program, For the Love of Rutland was recently named one of the “10 Most Exciting Films” at Hot Docs 2020 by Indiewire.

Patrocinador: Los dos principales de los Platinum Contact Center Awards 2020 se los han llevado Lanalden, como Mejor Contact Center del 2020, y Sabio, como Mejor Empresa Tecnológica. — Los beneficios de este año serán destinados al CSIC para colaborar con la vacuna del COVID-19. Los nuevos y últimos iMac ya están aquí, y tienen muchos argumentos para gustar. Comparamos los nuevos Pixel 4a y OnePlus Nord con el iPhone SE, y además nos acordamos del Power Mac G4 Cube en su 20º aniversario. Volvemos a hablar de cables, con la polémica de un nuevo cable Thunderbolt de Apple de 150 euros y los cables de carga de los próximos iPhone, que esperemos que se parezcan un poco al Quick Charge 4, 4+ o 5 de Qualcomm, que mola mucho. Enlaces Pixel 4a vs iPhone SE: así es la comparativa entre los modelos más asequibles de Google y Apple OnePlus Nord vs. iPhone SE (2020): ¿cuál gama media es mejor? | Digital Trends Español El Apple Mac Cube, 20 años de diseño al límite del fracaso en Cupertino @mrapplecollector en Instagram: “20 years. July 19 2000 Apple introduced PowerMac G4 Cube Designed by Jonathan Ive and The New York Museum of Modern Art holds a G4 Cube…” Qualcomm Quick Charge 5: la carga rápida de 100W que promete completar el 50% de la batería del móvil en 5 minutos Qualcomm’s Quick Charge 5: Your phone gets 50% charge in 5 minutes, full battery in 15 | ZDNet Apple TV+ makes Primetime Emmy debut with historic nominations across six original programs – Apple TV+ Press Apple anuncia un nuevo iMac, la muerte de Fusion Drive y su primera webcam 1080p Casi todos los iPod de la historia, el Mac G4 Cube y merchandising histórico: la increíble colección de Apple en un hogar coruñés Apple está vendiendo un cable de 2 metros por casi 150 euros Puedes ponerte en contacto con nosotros por correo en: alex@barredo.es Suscríbete al boletín de información diario en http://newsletter.mixx.io Escucha el podcast diario de información tecnológica en http://podcast.mixx.io Nuestro grupo de Telegram: https://t.me/mixxiocomunidad

Tonight, historian Jamaal Brown will be discussing Cleopatra's Needle, a monument that once stood in front of a powerful Egyptian temple, which now stands in New York's Central Park. Discover, What is it, Where it Came From, Who Created It, and how it got into the hands of the NY Metropolitan Museum. How do the Monuments of Antiquity, and the monuments dedicated to the confederacy relate to the Biblical Tower of Babel?   Exodus 16:32 32 Moses said, “This is what the Lord has commanded: ‘Take an omer of manna and keep it for the generations to come, so they can see the bread I gave you to eat in the wilderness when I brought you out of Egypt.'”      

Episode 147: Emmy-award winning commercial director and entrepreneur, Erich Joiner talks about advertising, race car driving, and starting an artisan coffee shop. Guest Biography Erich brings an artful, cinematic eye to the documentary and comedic material he specializes in and continues his over two-decade long reputation as a renowned commercial director, documentary filmmaker, and founder of the creative production partner Tool. He began his career as an art director at Goodby, Silverstein & Partners, where he collaborated on the famous “Got Milk?” campaign before leaving to found his own company. Among the more recent projects he’s directed is a VR/360 piece for Ford, as well as an award-winning branded documentary for them. Erich has won a wide range of the most prestigious industry awards, including Cannes Gold Lions, a directorial DGA nomination, and an Emmy win, in addition to three other Emmy nominations. He has directed several commercials that have been selected as part of the permanent collection of the New York Museum of Modern Art, and Shots Magazine ranked him as one of the top ten commercial directors in the world. He continues pushing creative boundaries for brands such as Microsoft, Enterprise, and Capital One, as well as feeding his entrepreneurial spirit by founding the post-production house Shed and the coffee shop goodboybob, which has expanded to even more locations across LA. In this episode, you'll learn: Insights from a successful creative entrepreneur We learn what makes a great ad campaign, including developing the messaging and stories for a successful one like Got Milk? We get a case study about how Erich went about opening a specialty coffee shop, a passion project that has turned today's guest into quite a coffee expert. Show notes: http://www.inspiredmoney.fm/147 Find more from our guest: www.toolofna.com www.goodboybob.com Twitter LinkedIn Runnymede Money Tip of the Week Peter Lynch Book: One Up On Wall Street: How To Use What You Already Know To Make Money In The Market by Peter Lynch Thanks for Listening! To share your thoughts: Leave a note in the comment section below. Share this show on Twitter or Facebook. Join us at the Inspired Money Makers groups at facebook and LinkedIn To help out the show: Leave an honest review on Apple Podcasts, Podchaser.com, or wherever you listen. Your ratings and reviews really help, and I read each one. Email me your address, and I'll mail you an autographed copy of Kimo West and Ken Emerson's CD, Slackers in Paradise. Subscribe on Apple Podcasts. Special thanks to Jim Kimo West for the music.

SONIC ACTS ACADEMY 2020 DESIGN EARTH: Rania Ghosn – Geostories 23 February 2020 – De Brakke Grond, Amsterdam, The Netherlands Architects Rania Ghosn and El Hadi Jazairy co-founded DESIGN EARTH to engage with geography in addressing humanity’s relationship to the Earth through architecture. From Monaco to Mexico City, their research develops projects around concepts such as hypothetical volcanos, the ​‘Pacific Cemetery’ where satellites go to die and a methane aviary as waste disposal unit rendering gas pipes a forest for birds. Rania Ghosn (DESIGN EARTH) begins her lecture Geostories with the question: How might the geographic imagination convert into an image and narrative of the climate crisis? That is, not only as a calamity of the physical environment, but also as a predicament of the cultural one – of the systems of representation through which society relates to complex and unknown environmental futures. In Geostories, geographic fiction becomes a medium to synthesise different forms and scales of knowledge on technological externalities, such as oil extraction, deep-sea mining, space debris and a host of other social-ecological issues, and to speculate on ways of living with such legacy technologies on the planet. The collaborative practice DESIGN EARTH based in Ann Arbor, Michigan and Cambridge, Massachusetts and is led by architects Rania Ghosn and El Hadi Jazairy. DESIGN EARTH literally means ​‘earth-writing’, deploying geographic aesthetics as a form of environmental speculation in the age of climate change. The practice received a Young Architects prize from the Architectural League of New York and DESIGN EARTH have been commissioned by the Venice Architecture Biennale, Seoul Biennale of Architecture and Urbanism and Oslo Architecture Triennale. Projects have been exhibited in international art spaces such as SFMOMA and Times Museum, Guangzhou and acquired by the New York Museum of Modern Art. Ghosn is an Assistant Professor at Massachusetts Institute of Technology School of Architecture + Planning and Jazairy is an Assistant Professor of Architecture at University of Michigan. They co-authored Geostories: Another Architecture for the Environment (2018), ​‘a manifesto for the environmental imagination’, and Geographies of Trash (2015).

Mark Steinmetz is an American photographer who makes black and white photographs "of ordinary people in the ordinary landscapes they inhabit” and "in the midst of activity”. His work is held in the collections of the Art Institute of Chicago, the Hunter Museum of American Art, the Metropolitan Museum of Art, and the New York Museum of Contemporary Photography, to name but a few. He is the recipient of numerous awards including a Guggenheim Fellowship and his work has been exhibited in too many major museums and art galleries to list. He has produced 15 photobooks, such as South Central (2007), The Players (2015), Fifteen Miles to K-Ville (2015) and the Angel City West trilogy. Mark was born in New York City and raised in the Boston-area suburbs until he was 12 at which point he moved to the midwest. At age 21 he moved to New England to study photography at Yale School of Art in New Haven, Connecticut. He left that MFA program after one semester and in mid 1983, aged 22, moved to Los Angeles in search of the photographer Garry Winogrand, whom he befriended. In 1999 he moved to Athens, Georgia where he still lives, with his wife, photographer Irina Rozovsky, and their young daughter. On episode 112, Mark discusses, among other things: Delving into the archive Angel City West First darkroom in Iowa Going to L.A. and meeting Winogrand Earning a living MOMA show Bring drawn to The South and shooting there Why he works in B&W His aesthetic and why he still prints his own work Meditation and avoiding distractions Referenced: Henry Wessel Garry Winogrand Robert Frank Walker Evans David M. Spear - The Neugents Robert Adams Lee Friedlander Todd Pagageorge André Kertesz Website “There’s this beautiful thing and it’s the main thing and it’s the important thing and sometimes perfectionism can just cripple that. You know, why is one picture alive and another dead? And often it’s just, who wants something perfect, you know? It doesn’t ring true really. So I do like some sloppiness but I try to be smart about it.”

[EPISODE] SOHO and The Beginnings of An Amazing New York Museum On this show we will journey to SOHO, on our second special episode in honor of the 50th anniversary of the Stonewall Rebellion. My guests will be Joyce Gold of Joyce Gold History Tours, and Charles Leslie, longtime SOHO resident (really pioneer) and founder of the Leslie Lohman Museum, the country’s and indeed the world’s pre-eminent museum of LGBTQ art. Segment 1 Jeff kicks off the show by introducing his first guest, Joyce Gold, of Joyce Gold History Tours. Both Jeff and Joyce discuss the shorthand name of South Houston, or SoHo. Joyce talks about how the neighborhood dates back to the mid 1600s, and how it went from a hilly neighborhood to a very leveled place. Joyce continues about how SoHo became one of the most residential places in 1820s, and turned to shopping, industries, and today we know it for art. Joyce continues about the history of shopping in the neighborhood, and mentions the history of the African Grove Theater. Jeff and Joyce go back and forth with other industries that got their start in SoHo. Segment 2 Joyce talks about the tours that she has coming up, including one of the Bowery, a Gilded Age tour, and tour of Greenwich Village. Jeff brings up the architectural structures in SoHo, and Joyce continues about the popular cast iron architecture in the 1850's, and the process it took to create these structures. Joyce brings up the Haughwout building in SoHo, and the excitement around the first elevator. She continues by talking about the evolution of structures in SoHo, and mentions the Puck Building and all it’s been used for. Joyce talks about city planner, Robert Moses, and how artists began to come to the neighborhood. Segment 3 Jeff returns with mentioning sponsors, followed by a plug of Good Morning New York with Vince Rocco. Introduction of second guest, Charles Leslie. Jeff gives a brief overview of Charles’ different contributions to the queer arts communities, and an introduction of Charles himself. Jeff discusses Charles’ inspiration for leaving home and early life to his experience in Europe. Jeff focuses briefly on Charles’ time in Marrakech after the revolution. Charles moved to SoHo after discovering a passion for film editing, as real estate was plentiful and accessible. Charles discusses his impact on zoning of SoHo. Jeff and Charles discuss his interest, collection, and exhibition of gay art, drawing inspiration to greco-roman nudes. The two transition to Charles’ experience with and diffusing of the Stonewall riot. Jeff returns to Charles’ exhibition shows of gay art and the increase in frequency following the events of Stonewall. Culminating in the formation of a commercial art museum (Leslie-Lohman Museum). Segment 4 Returns with the current exhibits at the Leslie-Lohman Museum - record of what happened after stonewall. Jeff transitions to the AIDS crisis and the subsequent temporary closing of the museum. Leslie and Fritz has worked quite successfully to the preservation of endangered gay art. Charles speaks of the popularization of larger canvas work, for commercial purposes, and thus the search for larger spaces to work. Artists would often buy large spaces for not very much money. Jeff and Charles speaks of the current “vibe” of SoHo and the change that brought this new vibe. Charles remarks of how SoHo has become more of a comfortable and clean neighborhood, though there is no clear future of the neighborhood. Jeff and Charles closes with any tips for landlords in the SoHo area - “think twice about retail space”.

Silas Hite is an award winning composer. His awards include an Emmy, a Grand Clio, a Cannes Grand Prix, a Grand Effie, and Adweek's Campaign of The Decade. He has contributed memorable music to some of the top selling video games of the past ten years and created scores for many blockbuster and independent films. His score and original songs routinely play in television shows around the world. His music has played in such venerable institutions as the San Francisco Museum of Modern Art, the Los Angeles Museum of Contemporary Art, the New York Museum of Modern Art, and in the spring of 2014, The Whitney Biennial.Silas's links:Web: http://www.silashite.comFacebook: https://www.facebook.com/Silas-Hite-Composer-and-Visual-Artist-143443615698996/Twitter: https://twitter.com/satincowboyInstagram: https://www.instagram.com/silas_hite/?hl=enSoundcloud: https://soundcloud.com/satincowboy And don’t forget to support the podcast by subscribing for free, reviewing, and sharing.  Web: https://unstructuredpod.com/ Twitter: https://twitter.com/unstructuredp Facebook: https://facebook.com/unstructuredp Instagram: https://instagram.com/unstructuredp  Join the Facebook group: fb.com/groups/unstructured 

Joel Meyerowitz was born in the Bronx in 1938 into a neighborhood that offered daily lessons in the divine comedy and tragedies of human behavior. He believes it was that basic “street” education that nurtured his delight in human observation, a perception that is at the heart of his photography. After studying art, art history, and medical illustration at Ohio State University, he worked as an art director in advertising in the early 60’s. In 1962, Robert Frank made photographs for a booklet Meyerowitz designed, and it was while watching Frank work that he discovered that photographs could be made while both the photographer and the subject were in motion! The power of this observation made Meyerowitz quit his job immediately, borrow a camera, and go out onto the streets of New York. He has been on the streets ever since. Meyerowitz began by using color film, not knowing any better, nor aware that photographers of that era believed that black and white was the ‘art’ of photography. During his first days on the street, he met a young graphic designer, Tony Ray-Jones, who, like Meyerowitz, began using color as the most natural means of making photographs. Later that year Meyerowitz met, and became friends with, Garry Winogrand, and together they walked and worked Fifth Avenue daily for nearly five years. The work of Meyerowitz, who is a Guggenheim fellow and a recipient of both the NEA and NEH awards, has appeared in over 350 exhibitions in museums and galleries around the world. He was the only photographer to gain unrestricted access to Ground Zero after 9/11, which produced a body of work that led Meyerowitz to represent the United States at the Venice Biennale for Architecture in 2002. His work is in the collection of the New York Museum of Modern Art, the Boston Museum of Fine Arts, The Art Institute of Chicago, and many others worldwide. Meyerowitz lives and works in New York and in Italy.   Resources: Download the free Candid Frame app for your favorite smart device. Click here to download for . Click here to download Support the work we do at The Candid Frame with contributing to our Patreon effort.  You can do this by visiting or visiting the website and clicking on the Patreon button. https://www.patreon.com/thecandidframe You can also provide a one-time donation via . https://www.paypal.com/donate/?token=13Tg_YGwf58eSyhevNPHAJMlgVqhI4xqQff9jBJeGNGR7G3-GkcKVX6OuU-5ZXfLbUkRa0&country.x=US&locale.x=US You can follow Ibarionex on and . You can download the latest episode by clicking here. To stream the current episode on your computer, click on the player below.  

2017 Stella Prize winner Heather Rose crafted her best-selling The Museum of Modern Love from the real-life  durational performance of Marina Abramović at the New York Museum of Modern Art. Inspired by Marina's devotion to her art and trance-like transformations, Heather has also drawn from own experiences of endurance and creative expression to tell a complex fictional account of love in modern society.

Clifton Roozeboom is the inventor of PocketLab, a technology platform for hands-on science learning. PocketLab is used by tens of thousands of students and educators in 44 different countries and has received recognition from Stanford University, Yale University, ProtoLabs, the New York Museum of Modern Art, and the National Science Foundation. Clifton received his PhD from Stanford University in mechanical engineering. His PhD research was on micro-scale sensors for wireless sensor network applications. PocketLab is the perfect device for classrooms. Our school is now using PocketLab in our STEM room.  These tiny sensors can be attached to just about anything to measure and record scientific data. In this interview Clifton gives us the background on how PocketLab came to be and the many, many incredible ways they are being used in classrooms from primary all the way through post secondary learning.  There are many takeaways in this podcast.  You will certainly leave dreaming up ways you and your school can benefit from this affordable, portable sensor. Mentioned in this podcast:  Earn badges to become an Apple Teacher. My challenge to you! The Cheery Education Centre in Narobi, Kenya. Support their new school. We did! www.thepocketlab.com PocketLab Sensor for less than $90.  Clifton's favorite book: Thinking Fast and Slow Clfton's Favorite apps: Google Science Journal and Motion Shot by Sony (Both Free.) Also, check out Wired Educator Podcasts: 14 with another inventor, Roger Wagner, and episode 38 with Jarius Makimba of Cheery Education Centre in Narobi, Kenya. [smart_podcast_player url="http://wirededucator.libsyn.com/rss" color="yellow" shownotes="black" image="http://wirededucator.com/wp-content/uploads/2015/03/300x300-WiredEducatorPodcast.jpg" color="yellow"] [smart_track_player url="http://traffic.libsyn.com/wirededucator/WEP_0060.mp3" color="yellow"]      

In this Episode @SoulPapo goes over some WTFnews ranging from a man trying to take a shit finding a 49,000 old piece of history to the New York Museum showcasing the original emojis! Entertainment update including the comebacks of some has beens/currently are's and Political Update day before the Election. And a bunch of shit like this you should already be use to. become a producer of the show @ https://www.patreon.com/soulpapo or reach me @SoulPapo on most social media like https://soulpapo.tumblr.com or email me directly @ soulpapo@gmail.com thanks for listening!

Season 2, Episode 5: Betsy McGuyver: Nazi Puncher! A Well-Manicured Two-Fisted Adventure Tale written and directed by Keith Suta! 1941 was a time of strife, of war and battles, of great deeds and great sacrifices. But not for Betsy McGuyver -- consigned to cleaning pottery shards in the basement of the New York Museum of Antiquities, she loses herself in daydreams of fighting the Axis villains. But it's all just in her head -- until the day adventure arrives in the form of an ancient Egyptian scroll! Soon her life is filled with Nazis, mummies, and a penguin with a cold! Featured cast: Wren Goodman as Betsy McGuyver; Sadie Cassavaugh as Helga, Lucille, Selma, and Eleanor Roosevelt; Christian McDaniel as Mr. Piltdown, Beakman, Hermann Goering, the son, and The Mummy; and Keith Suta as Mr. Announcer, Hitler, the father, and Billy! Sound effects by Marya Cline and Pol Llovet! Music by Rob Robinson! Recorded live at Bozeman, Montana's Equinox Theatre (now known as the Verge Theater) on June 30, 2012! What you hear is what the audience heard that night with no overdubs and minimal post-production to try to make it comfortable to your ears! In this second season, we began to make our move to entirely live sound effects and this episode contains entirely analog sounds!

Author and historian Paula Giddings talks about the life and work of Ida B. Wells. Wells, a feminist and journalist, started the nation's largest anti-lynching campaign in 1893. Filmmaker Dyanna Taylor discusses her new film about her grandmother, photographer Dorothea Lange. Grab a Hunk of Lightning documents Lange's preparation for a one-woman show at the New York Museum of Modern Art. Lange, who helped the nation see poverty, is one of the best-known photographers of her generation. The post Women's Magazine – August 18, 2014 appeared first on KPFA.

Done sometime in the mid-2000s for the Museum of African Art in New York City. The Name Fela Will Always Stand For Freedom – The Jettsons & Jessica Lauren Water Get No Enemy – Fela Kuti War Is A Crime – Antibalas Go Slow – Fela Kuti N.E.S.T.A. (Never Ever Submit To Authority) - Antibalas Do Your Best (Inst) - Femi Kuti Feat Mos Def Dirt & Blood – Antibalas Grazing In The Grass - Hugh Masekela Busy Body – Not Sure Tlang Sekolong – Don Loka Hi-Life – Wally Badarou Part 2 of 2 is here: http://djqoolmarvsounds.podomatic.com/entry/2010-03-16T20_40_39-07_00

This week: Duncan talks to Amy Franceschini. Amy Franceschini is an artist and educator whose work has at its core cross-disciplinary research with a focus on how humans impact the world we inhabit. Her work encourages new formats of exchange and production, many times in collaboration with other practitioners. These works often provide a playful entry point and tools for an audience to gain insight into a deeper field of inquiry – not only to imagine, but to participate in and initiate change in the places we live.  Amy founded the artists’ collective and design studio, Futurefarmers, in 1995 and Free Soil in 2004. Her solo and collaborative work have been in international exhibitions at ZKM, Whitney Museum, the New York Museum of Modern Art and Yerba Buena Center for the Arts, San Francisco. She received her BFA from San Francisco State University, MFA from Stanford University, and is currently an Assistant Professor of Art + Architecture at University of San Francisco and visiting artist at California College of the Arts. She is the recipient of the Artadia, Cultural Innovation, Eureka Fellowship, Creative Capital and SFMOMA SECA Awards.

Done sometime in the mid-2000s for the Museum of African Art in New York City. http://www.africanart.org/exhibitions/ Joe Claussell, Manu Dibango, Fela Kuti, Masters at Work, Olutunji, & more. I don't have the event art work but there's an image for you. My press credential from a 1993 trip to Libreville, Gabon in Africa where I went to report on a summit that was organized by Philadelphia's Rev Leon Sullivan and was well attended by many African-American civil rights luminaries including Coretta Scott King, Jesse Jackson, Cicely Tyson, & Dick Gregory. Thanks to Philadelphia radio station WDAS and their then head of the news department, E. Steven Collins, for that experience. I had a simple quiet and unforgettable moment in an elevator there with Coretta Scott King...kinda divine Loosely related but I hope a good story for you. http://en.wikipedia.org/wiki/Leon_Sullivan#Leon_H._Sullivan_Summit

Larissa Shmailo's new collection of poetry is In Paran (BlazeVOX [books] 2009). Larissa is the winner of the 2009 New Century Music Awards for spoken word with jazz, electronica, and rock; her poetry CDs are Exorcism (SongCrew 2008) and The No-Net World (SongCrew 2006). Larissa's translation of the Russian transrational opera Victory over the Sun is part of the collections of the New York Museum of Modern Art (MOMA), the Hirsshorn Museum of the Smithsonian Institute, and the Los Angeles County Museum of Modern Art. She has been published in numerous journals and anthologies, including Barrow Street, Rattapallax, and Fulcrum.

The holiday season is officially here, and it is the perfect time to Lead With Your Brand by reaching out to people in your network that you haven't spoken to in a while, and use the opportunity to reconnect with them.  Great networking is all about leveraging organic situations to naturally connect with people so that you can stay top of mind, but don't just reach out with the same holiday wishes as everyone else. Rather, take a moment to thank those around you for the impact that they have had on your career and share the inspiration that they have brought to you. This week, Jayzen welcomes David Rose to the show. As a five-time entrepreneur, David draws on design culture, psychology, and technology to envision future products and businesses enabled by the metaverse. He is known for translating complex technologies into delightfully intuitive new products and consulting with businesses on how to thrive during digital disruption. David's work has been featured at the New York Museum of Modern Art, covered in The New York Times, WIRED, and The Economist, and parodied on The Colbert Report. Guest BioDavid RoseMIT Lecturer, Author & Metaverse EntrepreneurDavid Rose, MIT lecturer, inventor, and five-time entrepreneur, draws on design culture, psychology, and technology to envision future products and businesses enabled by the metaverse. In his first book, Enchanted Objects, David focused on the Internet of Things. Since then he founded and sold a healthcare company, a computer vision company, and was VP of Vision Technology at Warby Parker. He is known for translating complex technologies into delightfully intuitive new products and consulting with businesses on how to thrive during digital disruption.  David's work has been featured at the New York Museum of Modern Art, covered in The New York Times, WIRED, and The Economist, and parodied on The Colbert Report. His home was featured in a New York Times video “The Internet of Things” about inventions that incorporate magic into everyday objects: a Google Earth coffee table that responds to gestures, Skype cabinetry in the living room, and a doorbell reminiscent of Mrs. Weasley's clock that rings when a family member is on their way home. He even got John Stewart to belly laugh when he was a guest on The Daily Show!  Links To learn more about Lead With Your Brand and the Career Breakthrough Mentoring program , please visit : LeadWithYourBrand.com To book Jayzen for a speaking engagement or workshop at your company, visit Jayzenpatria.com Please connect on Linkedin and all platforms @jayzenpatria