Podcasts about newark museum

James Little (b. 1952, Memphis, TN) holds a BFA from the Memphis Academy of Art and an MFA from Syracuse University. He is a 2009 recipient of the Joan Mitchell Foundation Award for Painting. In addition to being featured prominently in the 2022 Whitney Biennial at the Whitney Museum of American Art in New York, his work has been exhibited extensively in solo and group exhibitions around the world, including at MoMA P.S.1, New York; Crystal Bridges Museum of American Art, Bentonville; Studio Museum in Harlem, New York; St. Louis Art Museum, St. Louis; Virginia Museum of Fine Arts, Richmond; and the Smithsonian Institute, Washington, D.C. In 2022, Little participated in a historic collaboration for Duke Ellington's conceptual Sacred Concerts series at the Lincoln Center, New York, with the New York Choral Society at the New School for Social Research and the Schomburg Center in New York. Recent solo exhibitions include: Petzel, New York (2024); Kavi Gupta, Chicago (2022); Dixon Gallery and Gardens, Memphis (2022); Louis Stern Fine Arts, West Hollywood (2020); and June Kelly Gallery, New York (2018). His paintings are represented in the collections of numerous public and private collections, including the Whitney Museum of American Art, New York; Virginia Museum of Fine Art, Richmond; The Studio Museum, Harlem, New York; The Menil Collection, Houston; Library of Congress, Washington, D.C.; Memphis Brooks Museum of Art, Memphis; Maatschappij Arti Et Amicitiae, Amsterdam; Saint Louis Art Museum, Saint Louis; Everson Museum of Art, Syracuse; New Jersey State Museum, Trenton; Tennessee State Museum, Nashville; and the Newark Museum, Newark. James Little Trophy Wives, 2024 Photo: Thomas Barratt Courtesy the artist and Petzel, New York James Little The Problem with Segregation, 2024 Photo: Thomas Barratt Courtesy the artist and Petzel, New York James Little Mahalia's Wings, 2024 Photo: Thomas Barratt Courtesy the artist and Petzel, New York

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

This week on The Art Career Emily sits down in the empty galleries of, Giants: Art from the Dean Collection, with Kimberli Gant, Curator of Modern & Contemporary Art at the Brooklyn Museum.  Kimberly Gant  has curated numerous exhibitions and gallery reinstallations including the Giants: Art from the Dean Collection of Swizz Beatz & Alicia Keys, Spike Lee: Creative Sources (20023-2024), A Movement in Every Direction: Legacies of the Great Migration (2003), and Black Orpheus: Jacob Lawrence & the Mbari Club (2022). Gant received her PhD in Art History from the University of Texas Austin (2017), and holds both a MA and BA in Art History from Columbia University (2009) and Pitzer College (2002). Gant has published scholarly work  in academic books, such as Anywhere But Here: Black Intellectuals in the Atlantic World and Beyond (2015), art publications such as NKA: Journal of Contemporary African Art, Art Lies and African Arts, and exhibition catalogues for The Brooklyn Museum, the Chrysler Museum, The Newark Museum, The Contemporary Austin, the Studio Museum of Harlem, MoCADA, Paris Photo, and the Centre for Contemporary Art Lagos. A huge thanks to Swiss Beats and Alicia Keys for understanding the importance of artists supporting artists. @drkimgant⁠ @brooklynmuseum

To learn more about valuable resources for entrepreneurs and business owners, please visit https://www.sbprou.com/. Leverage Alliances: Boost Revenue Through Strategic Partnerships is covered in this podio, along with the following subjects: - Tapping into new markets - Accessing additional resources - Benefitting from shared expertise ************************************************************************************** Strategic partnerships and alliances are more than just collaborations; they are powerful tools that can help businesses boost revenue and expand their reach. By forming alliances with other businesses or organizations, you can tap into new markets, access additional resources, and benefit from shared expertise. I'll be talking with Victor M. Nichols about Leverage Alliances to Boost Revenue Through Strategic Partnerships. Victor M. Nichols is CEO/Publisher of NewarkBound Magazine and the Pleos Agency. He is an energetic, driven professional with over 30 years of proven success in strategic planning, marketing analysis, new business development, alliance partnership programs, relationship management, negotiation, consulting, and more. Vic a true visionary with a history of creating and executing innovative programs to meet new market challenges and yield high returns. Among Vic's many achievements include the successful launches of both NewarkBound magazine and PTSD Journal; an appointment to the New Jersey Governor's Advisory Council on Tourism; orchestrating the Wine for Books collaborative program between Rutgers University and 57 Main Street Wine Company; the product launch of Imoya Brandy into the U.S. commercial market; and the design and sale of the Calicrostics custom gift line on the cable outlet Home Shopping Network. Throughout his career, he has fostered exceptional relationships with leading companies and notable organizations across a wide spectrum of industries. Representative clients included ABC Sports; Time Warner; HBO; DOL, U.S. Army, Levi Strauss; American Express, NY Jets; AT&T; New Jersey Commerce & Economic Growth Commission/Office of Travel & Tourism; Rutgers University; Duke University; Barnabas Health; and The Newark Museum. - https://www.linkedin.com/in/victor-m-nichols/ - http://www.dmcpublishingllc.com/ Every Tuesday evening on Leadership LIVE @ 8:05! - Talking Small Business, your host Andrew Frazier is joined by experienced entrepreneurs and business owners who share their secrets to success via Livestream. You will learn about developing your business leadership skills from our roster of high-performing guest experts. Leadership LIVE is one of the many valuable resources provided through the Small Business Pro University empowering business owners to learn, profit, and grow. ************************************************************************************** Explore our other video content here on YouTube along with relevant website and social media links where you'll find more insights into how to Make 2024 Your Best Year Ever! • YouTube: https://www.youtube.com/@SmallBusinessProUniversity • Website: https://www.sbprou.com/ • LinkedIn: https://www.linkedin.com/in/andrewfrazier/ • Facebook: https://www.facebook.com/andrew.frazier.jr

Ep.202 Adebunmi Gbadebo (b. 1992 in Livingston, NJ) is a multidisciplinary artist working with paper, ceramics, sound, and film, exploring Gbadebo explores the archival record of her family's ancestry. Through her research, material selection, and technical process, the artist emphasizes the prejudice of the historical record, activating her practice to restore Black subjectivity. She received a BFA from the School of Visual Art, New York. In 2023, she was the recipient of the Maxwell and Hanrahan Craft Fellowship and the Keynote speaker for the American Ceramic Circle annual conference. In 2022, she was a Pew Fellow at the Pew Center for Arts & Heritage. Gbadebo is currently an Artist in Residence at The Clay Studio and has exhibited across the US and internationally in Africa, Europe, Asia and Australia. Her work is now on view in major exhibitions such as the 24th Sydney Biennale: Ten Thousand Suns; Minneapolis Museum of Art: Collage/Assemblage Part II: 1990-Now; and Hear Me Now: The Black Potters of Old Edgefield, South Carolina, which opened at the Metropolitan Museum of Art, New York, in 2022, and has traveled to the Museum of Fine Arts Boston, University of Michigan Museum of Art, and is now at the High Museum of Art in Atlanta. Gbadebo's work is in the public collections of the Smithsonian National Museum of African Art, Washington, D.C.; Smithsonian National Museum of African American History and Culture, Washington D.C.; Boston Museum of Fine Arts, Boston, MA; Minnesota Museum of American Art, St. Paul, MN; Minneapolis Institute of Art, Minneapolis MN; Weisman Museum of Art, Minneapolis, MN; Newark Museum of Art, Newark, NJ; and South Carolina State Museum, Columbia, SC. Her public commissions include an ongoing sculpture project in collaboration with students and faculty from Clemson University, SC, and the Harriet Tubman Monument (2021), Newark, NJ. Photo Credit:Tobias Truvillion Articles ● Past Present Projects Magazine: Past Present No. 4 ● The Pew Center For Arts and Heritage: Fellow to Fellow: Adebunmi Gbadebo and Odili Donald Odita on Meaning in Materiality ● WHYY: Philly artist wins $100K craft prize for her work remembering Black ancestors ● PBS: Treasures of New Jersey ● Penn Today: Ritual and Remembrance ● The Boston Globe At the MFA, enslaved Black potters' work brings lives into the light in ‘Hear Me Now' ● The Post and Courier At the Met, in Harlem and beyond, acclaimed artist honors enslaved SC ancestors ● Forbes, Haunting Generational Trauma In “Remains” By Adebunmi Gbadebo At Claire Oliver Gallery In Harlem ● Brooklyn Rail, Abstraction in the Black Diaspora ● New York Times, Critic's Pick: The Magnificent Poem Jars of David Drake, Center Stage at the Met ● New York Times, New Shows That Widen the Beaten Path

When he was a child, artist Bony Ramirez moved from his native Dominican Republic to New Jersey. The first museum he ever visited in his new home was The Newark Museum of Art. After working for years in construction while also painting in his mother's kitchen, Ramirez is now a full-time self-taught artist. Over the last year, Ramirez immersed himself within the museum's collections, and the result is a new installation, Cattleya, featuring work he made inspired by what he found. Bony Ramirez speaks about his experience alongside Elena Munoz-Rodriguez, Newark Museum assistant curator of Latinx and Latin American Art.

Katie talks to Medea Benjamin who was roughed up protesting the White House Correspondents' Dinner and Bryce Greene, who was arrested at Indiana University where snipers have been brought in. But first, she's joined by filmmakers Rami Younis and Sarah Ema Friedland who talk about their documentary/ science fiction hybrid film Lyd, about the Palestinian city of Lyd, which is now known as the Israeli city Lod. The film shows what the city is like today and imagined what it could have been like without the Nakba. Bryce Greene is a student, writer, organizer and media critic based in Indianapolis. He is a contributor to Fairness and Accuracy In Reporting. He was arrested and banned from Indiana University's campus for participating in the Gaza solidarity encampment at Indiana University. Aidan Khamis is an organizer for Palestine Solidarity Committee IU and IU divestment coalition. Media Benjamin Medea Benjamin is the co-founder of the women-led peace group CODEPINK. She is also co-founder of the human rights group Global Exchange, the Peace in Ukraine Coalition, Unfreeze Afghanistan, ACERE: The Alliance for Cuba Engagement and Respect, and the Nobel Peace Prize for Cuban Doctors Campaign. Medea has been an advocate for social justice for 50 years. She was one of 1,000 women from 140 countries nominated to receive the Nobel Peace Prize on behalf of the millions of women who do the essential work of peace worldwide. She is the author of ten books, including Drone Warfare: Killing by Remote Control, Kingdom of the Unjust: Behind the U.S.-Saudi Connection, and Inside Iran: The Real History and Politics of the Islamic Republic of Iran. Her most recent book, coauthored with Nicolas J.S. Davies, is War in Ukraine: Making Sense of a Senseless Conflict. Sarah Ema Friedland Director/Cinematographer) is an NYC-based media artist and educator. Her work has screened at institutions including Cannes Film Festival, Lincoln Center, Anthology Film Archives, PBS, the Tang Teaching Museum, The Chelsea Museum, The Queens Museum, The 14th Street Y, and the MIT List Center. Her works have been supported by grants and fellowships, including the Jerome Foundation, NYSCA, the Palestine American Research Center, the LABA House of Study, and the MacDowell Colony. She is a recipient of the Paul Robeson Award from the Newark Museum, and was nominated for a New York Emmy. Friedland is a member of the Meerkat Media Collective and the Director of the MDOCS Storyteller's Institute at Skidmore College where she is also a Teaching Professor in the MDOCS Program. Rami Younis is a Palestinian filmmaker, writer, journalist and activist from Lyd. He was a 2019-20 Fellow at the Harvard Divinity School. As a journalist, he mainly wrote for the online magazine +972 and served as both writer and editor of its Hebrew sister site, “local call”, a journalistic project he co-founded, designed to challenge Israeli mainstream journalism outlets. Rami served as a parliamentary consultant and media spokesperson for Palestinian member of Knesset Haneen Zoabi. Rami is also co-founder and manager of the first-ever Palestine Music Expo, an event that connects the local Palestinian music scene to the worldwide industry. Younis is the host of the Arabic-language daily news show, “On the Other Hand.” ***Please support The Katie Halper Show *** For bonus content, exclusive interviews, to support independent media & to help make this program possible, please join us on Patreon - https://www.patreon.com/thekatiehalpershow Get your Katie Halper Show Merch here! https://katiehalper.myspreadshop.com/all Follow Katie on Twitter: @kthalps

Episode No. 611 features artist Wendy Red Star. The Columbus Museum of Art is presenting the career-length survey "Wendy Red Star: A Scratch on the Earth." It's on view through September 3. The exhibition was curated by Tricia Laughlin Bloom and Nadiah Rivera Fellah, and is accompanied by a publication from the Newark Museum of Art, which originated the exhibition. An enrolled member of the Apsáalooke (Crow) Tribe, Red Star's work explores both Native American ideologies and colonialist structures in ways that point to both the past and the present. Her work has been the subject of solo exhibitions at The Anderson Collection at Stanford University, the Joslyn Art Museum, MASS MoCA, the Missoula (Mont.) Art Museum, and more.

What is this thing we call a traveling exhibition?  Do they make money? Are traveling exhibitions the same as temporary ones? How can anyone plan a project for a space they'll never see? Carol Bossert (Smithsonian Institution Traveling Exhibition Service / Smithsonian Affiliations) joins host Jonathan Alger (C&G Partners) to reveal the “8 Principles of Traveling Exhibitions”. Along the way: thinking in whole truckloads, how to get to square two, and what happens when you have a 16-foot narwhal.Talking Points:1. Traveling exhibitions aren't temporary exhibitions.2. Match the exhibition to the realities of the host sites.3. Traveling exhibitions aren't all the same.4. Traveling exhibitions are stage sets.5. Size constraints matter.6. Weight constraints matter.7. Traveling exhibitions cannot rely on linear storytelling.8. Traveling exhibitions must consider staffing at host sites.9. [BONUS] Do traveling exhibitions make money? Guest Bio:Carol Bossert is an interpretive planner, writer and exhibition developer. She began her museum career at the Newark Museum and spent twenty years as an independent museum professional, having been involved in over 80 projects in five countries. Her 2014-2017 podcast Museum Life attracted over 2,000 monthly listeners. In 2017, she accepted a position with the Smithsonian Institution Traveling Exhibition Service (SITES) and is currently serving as the program manager for science. Carol holds a Ph.D. in biology from the University of Texas at Dallas and a B.A. in zoology from DePauw University. She is a graduate of the J. Paul Getty Museum Management Institute. About:Making the Museum is hosted (podcast) and written (newsletter) by Jonathan Alger. A project of C&G Partners | Design for Culture. Learn about the firm's creative work at: https://www.cgpartnersllc.comShow Links: SITES exhibition offerings: https://www.sites.si.edu/s/   The Museum on Mainstreet: https://museumonmainstreet.org/Smithsonian Affiliations: https://affiliations.si.edu/Reach Carol Bossert at: bossertc@si.edu or 202-633-2601 Show Contact: https://www.makingthemuseum.com/contacthttps://www.linkedin.com/in/jonathanalgeralger@cgpartnersllc.comhttps://www.cgpartnersllc.com Newsletter:Like the episode? Subscribe to the newsletter! Making the Museum is also a very short daily newsletter on exhibition planning for museum leaders, exhibition teams and visitor experience professionals. Subscribe at:  https://www.makingthemuseum.com

Chrystofer Davis, is a documentary film street photographer in Newark New Jersey. His work has been shared in the Metropolitan Museum, the Schomburg, and the Newark Museum. Hes able to connect with his subjects quickly have them relax and then take a portrait of them. In this interview Chrystofer shares how he got started in photography at a young age. Through a memorable experience with his parents on a trip to Nassau, Chrystofer was given a Fujifilm disposable camera and taken a picture of a stairway that was perfectly composed with the sun shining through the windows. This visually striking moment motivated him to pursue photography professionally. The Big Ideas:Capture meaningful memories on film.Film photography pushed career forward.Film for archival purposes.Print your photos for longevity.Impact one person at a time.Honor your cities culture and people.Connect with people through photography.Learn from rejection and move on.Build rapport with subjects.Find the camera that fits you.Care for people and your city.Timestamps:00:09:01 Shoot with intention and passion.00:16:04 Film photography for archival purposes.00:22:45 Print photos for lasting memories.00:25:53 Impact one person at a time.00:30:07 Honor the past to build the future.00:38:59 Connect with kindness and enthusiasm.00:44:43 Be respectful and apologetic.00:46:10 Build rapport before photographing.00:56:57 Find a camera that fits you.00:58:13 Document people's stories.Resources:Chrystofer Davis's websiteFollow Chrys on InstagramJoin The Beginner Photography Podcast Facebook CommunitySign up for your free CloudSpot account to deliver beautiful images galleries todayFree Lightroom Presets!Get your photography questions answered in our monthly Q&A episode of the podcast! https://beginnerphotopod.com/qa Grab your Free CloudSpot Account at DeliverPhotos.com

Kay WalkingStick is a citizen of the Cherokee Nation. She is a Cherokee/Anglo landscape painter has had over 30 solo shows in the US and Europe.  Her work is in the permanent collections of the Metropolitan Museum in NYC, the Museum of Canada in Ottawa, the Israel Museum in Jerusalem, The Newark Museum in Newark, NJ, the Whitney Museum of American Art, The National Museum of the American Indian, DC, The Smithsonian American Art Museum, DC, The Baltimore Museum of Art, Baltimore MD, and many other museums across the country.  Hales Gallery represents her work in NYC and Europe.   WalkingStick was a full professor at Cornell University for 17 years where she taught painting and drawing. She is now an Emerita Professor. She was given an honorary doctorate by both Pratt Institute and by Arcadia University. She is a fellow of the National Academy of Design and the American Academy of Arts & Science.   In 2015 her retrospective of 75 paintings and drawings covering the years from 1970 to 2015 opened at the Smithsonian, National Museum of the American Indian in Washington, D.C.  After closing the exhibition traveled to five venues across the country. The show was listed by Hyperallergic on-line Magazine as one of the best 15 exhibitions to open nationwide in 2016.  The NY Times gave the exhibit a full-page review written by Holland Cotter when it was shown at the Montclair Museum.   WalkingStick and her husband, artist Dirk Bach, live and paint in a townhouse in Easton, Pa.  WalkingStick had an exhibition of her recent landscape paintings at Hales Gallery in February and March 2022. Website: http://www.kaywalkingstick.com/ Hales Gallery https://halesgallery.com/artists/138-kay-walkingstick/overview/

Comprised of hundreds of objects fabricated using multiple glass processes, Between Seeing and Knowing is a large-scale, site-specific installation by artists Anna Boothe and Nancy Cohen. The installation is on view now through February 5, 2023 at Bergstrom-Mahler Museum of Glass, Neenah, Wisconsin. Created as part of a collaborative residency that took place at the Studio of the Corning Museum of Glass (CMoG) in 2012, the artwork has been previously exhibited at Accola Griefen Gallery, New York, the Philadelphia Art Alliance, and Philadelphia's International Airport. At its core, Between Seeing and Knowing is the result of both artists' long-standing interest in and in-depth study of Tibetan Buddhist thangka paintings and the integration of their otherwise very separate studio practices. Thangkas are ordered cosmological paintings, often scrolls, created for the purpose of meditation and composed of numerous visual elements. This installation reinterprets the symbolism in the paintings to create new work that reflects the organizational structure and palette of the paintings, as well as the sense of expansiveness and lack of hard resolution characteristic of Buddhist ideology.  Boothe and Cohen state: “Overall, through this collaboration, its subject matter, and our chosen methodology, we seek to understand, both visually and viscerally, another cultural perspective or expression unlike our own, through our dissection and re-assemblage of elements unique to that culture. Just as collaboration brings forth the opportunity for a deep exchange of ideas and the development of sympathetic approaches to doing what one does, pragmatically and metaphorically, this is our attempt at bridging gaps between cultural approaches to explain the unexplainable.” With degrees in sculpture from Rhode Island School of Design and glass from Tyler School of Art/Temple University, Boothe has worked with glass since 1980. Included in the permanent collections of CMoG, Racine Art Museum and Tacoma Museum of Art, her cast glass work has been exhibited widely, including recently at the Albuquerque Art Museum, Fuller Craft Museum, Kemerer Museum of Decorative Arts and the Hotel Nani Mocenigo Palace in Venice, as well as at several villas in Italy's Veneto Region. Boothe taught in Tyler's glass program for 16 years, helped develop and chaired Salem Community College's glass art program and has exhibited and/or lectured internationally in Australia, Belgium, Israel, Italy, Japan, Switzerland, Taiwan and Turkey, as well as at numerous US universities and glass-focused schools. She served on the Board and as President of the Glass Art Society from 1998-2006 and is a former Director of Glass at Philadelphia's National Liberty Museum.     With an MFA in Sculpture from Columbia University and a BFA in Ceramics from Rochester Institute of Technology, Cohen has been working with glass (among other materials) since 1990. Her work examines resiliency in relation to the environment and the human body. Cohen's work has been widely exhibited throughout the United States and is represented in collections such as The Montclair Museum, The Weatherspoon Art Gallery, and The Zimmerli Museum. She has completed large-scale, site-specific projects for The Staten Island Botanical Garden, The Noyes Museum of Art, The Katonah Museum, Howard University, and others. Recent solo exhibitions include Walking a Line at Kathryn Markel Fine Arts in Chelsea, New York, and Nancy Cohen: Atlas of Impermanence at the Visual Arts Center in Summit, New Jersey. Group exhibitions include All We Can Save: Climate Conversations at the Nurture Nature Center in Easton, Pennsylvania, and ReVision and Respond at The Newark Museum. Cohen is a 2022 recipient of a Mid-Atlantic Fellowship from the New Jersey State Council on the Arts. She currently teaches drawing and sculpture at Queens College. In a review of Boothe and Cohen's collaborative project, Elizabeth Crawford of N.Y Arts Magazine, wrote: : “Intuitively proximate to Buddhist philosophy, the piece is about the inter-relatedness of things. Each glass part appears sentient and in direct communication with the others. In a Thangka painting, none of the forms are meant to be isolated but work together to invite the viewer to take the painting in at once, as a whole. Similarly, all of the pieces in Boothe and Cohen's installation contribute to a sense of continuous breath or movement which is enhanced by light reflecting through the glass.” For this innovative work the artists used an astounding range of glass processes including kiln-casting, slumping, fusing, blowing, hot-sculpting and sand-casting.  

Ep.134 features Kimberli Gant, the Curator of Modern & Contemporary Art at the Brooklyn Museum of Art. She was previously the McKinnon Curator of Modern & Contemporary Art at the Chrysler Museum in Norfolk, VA, and has also worked as the Mellon Doctoral Fellow at the Newark Museum, and Director of Exhibitions at the Museum of Contemporary African Diasporan Art (MoCADA). She has curated numerous exhibitions and gallery reinstallations including Black Orpheus: Jacob Lawrence & the Mbari Club (2022), Journey's Across the Border: U.S. & Mexico (2021-22), Tuan Andrew Nguyen: The Boat People (2021), Brendan Fernandes: Bodily Forms (2020), and John Akomfrah: Tropikos (2019). Gant received her PhD in Art History from the University of Texas Austin (2017) and holds both a MA and BA in Art History from Columbia University (2009) and Pitzer College (2002). Gant has published scholarly work in academic books, such as Anywhere But Here: Black Intellectuals in the Atlantic World and Beyond (2015), art publications such as NKA: Journal of Contemporary African Art, Art Lies and African Arts, and exhibition catalogues for The Newark Museum, The Contemporary Austin, the Studio Museum of Harlem, MoCADA, Paris Photo, and the Centre for Contemporary Art Lagos. Photo credit: Andar Sawyer Black Orpheus: Jacob Lawrence & the Mbari Club (2022) https://yalebooks.co.uk/page/detail/black-orpheus/?k=9780300263176 Chrysler Museum https://chrysler.org/exhibition/jacob-lawrence/ Brooklyn Museum https://www.artnews.com/art-news/news/brooklyn-museum-hires-stephanie-sparling-williams-kimberli-gant-1234610507/ NY Times https://www.nytimes.com/2022/10/20/arts/design/black-artists-african-art.html University of Texas https://art.utexas.edu/news/dr-kimberli-gant-selected-2022-curatorial-fellow ICI https://curatorsintl.org/about/collaborators/7950-kimberli-gant Artnews https://www.artnews.com/art-news/news/brooklyn-museum-hires-stephanie-sparling-williams-kimberli-gant-1234610507/ Brooklyn Eagle https://brooklyneagle.com/articles/2022/12/07/brooklyn-museums-23-exhibition-schedule-leaps-across-artistic-categories/ C& https://contemporaryand.com/magazines/brooklyn-museum-appoints-stephanie-sparling-williams-and-kimberli-gant-as-curators/ Artadia https://artadia.org/news/join-us-for-art-and-dialogue-new-york-with-kimberli-gant/ Culture Type https://www.culturetype.com/2021/11/18/latest-news-in-black-art-curator-essence-harden-joins-caam-new-curatorial-hires-at-brooklyn-museum-arthur-jafa-guest-edited-i-d-magazine-michael-c-thorpe-and-jammie-holmes-gain-new-gallery-repres/ Africa Center https://www.theafricacenter.org/events/becoming-in-america-a-conversation-with-fitsum-shebeshe-and-kimberli-gant/ The Herald News https://www.heraldnews.com/story/entertainment/2022/01/29/newport-art-museum-biennial-2022-featured-artist-exhibition-view-now/6595612001/ Live Auctioneers https://www.liveauctioneers.com/news/people/brooklyn-museum-appoints-two-new-art-curators/

This summer at the Newark Museum of Art, two exhibitions have highlighted intimate photographs of jazz musicians of the 20th century. The first, Billie Holiday at Sugar Hill: Photographs by Jerry Dantzic, displays the photographs Dantzic took of Holiday during her week-long residency at the Sugar Hill nightclub in Newark in 1957. The second exhibition is titled, Jazz Greats: Classic Photographs from the Bank of America Collection, which highlights photographs of jazz greats like Dizzy Gillespie, Ella Fitzgerald and others sitting in on jam sessions, recording in the studio, and living in their private life. Millicent Matthews, manager of travelling exhibitions, and Catherine Evans, deputy director of collections and curatorial strategies at the Newark Museum of Art, join to discuss the importance of these photographs and what else you can expect to see. Both exhibitions are on display until August 21.

Today we’re here with Ulysses Dietz, Chief Curator Emeritus and Curator of Decorative Arts at The Newark Museum in Newark, New Jersey. Ulysses graduated from Yale University with a degree in French, and went on to the Winterthur Program at the University of Delaware to obtain his masters in Early American Culture. After graduating, Ulysses joined the Newark Museum, and stayed there until his retirement in 2017. He is now a one-year visiting curator at the Preservation Society of Newport County in Newport, Rhode Island. After speaking with an artist, we are especially excited to hear about the next stage in the process of showcasing and presenting art!

According to the Newark Museum of Art, The Newark Black Film Festival is the oldest Black film festival in the country, since it was first organized in 1974. The festival allows young Black filmmakers, like a young Spike Lee once upon a time, to screen their work and speak with viewers about their creative process in panel discussions. The 2022 Newark Black Film Festival runs from July 12 to July 17 at the Newark Museum of Art, and will screen eight films. Darryl Walker, the director of community engagement for the Museum, joins us to preview the festival and speak about the filmmakers being featured this year.

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

Have you ever wondered what an independent curator does? Recently I spoke with Trisha Lagaso-Goldberg, a self proclaimed "accidental arts administrator and curator" about her impressive career.Listen to find out how she went from volunteering at Southern Exposure Gallery in San Francisco after art school at the San Francisco Art Institute and San Francisco State to working on the Carlos Villa exhibition "Worlds in Collision" traveling from the Newark Museum to the Asian Art Museum in San Francisco as well as the incredible show "Land's End" with the For-Site Foundation at the historic Cliff House in San Francisco in 2022. See acast.com/privacy for privacy and opt-out information.

Summary:In this episode, our host Adrian Ellis speaks with Linda C. Harrison, Director & CEO, about her bold leadership agenda to transform the Newark Museum of Art into a relational organisation that not merely sits in, but belongs to its community. They discuss the evolution in the Museum's organisational culture instigated by Linda, both internally and externally – from a significant name change, to an ambitious real estate development plan that aims to diversify income as well as to support downtown Newark's emergence as a vibrant creative hub.  After, Adrian is joined by fellow host Stephanie Fortunato to discuss key takeaways. They reflect on the benefits of hiring cultural leaders from outside the sector, and the need to build an organisational culture that actively embraces cultural change.External references: The Museum of the African Diaspora is a contemporary art museum in San Francisco that celebrates Black cultures, showcases the rich stories and cultures of Africans who have migrated throughout the world. The City of Newark is New Jersey's largest city and its industrial centre. The Newark Museum of Art is New Jersey's largest museum that holds fine collections of American art, decorative arts, contemporary art, and arts of Asia, Africa, the Americas, and the ancient world. John Cotton Dana is the founding director of the Newark Museum of Art. Together with a group of public officials, prominent businessmen and local collectors, he established the Museum in 1909 at the Newark Public Library. Museum Parc is Newark Museum of Art's real estate development strategy. It consists of two apartment buildings – a six story structure with 90 units and an art gallery on the first floor, and a 12-story high-rise with 2,400 square-feet of retail space on the ground. 50 of the residential units will be set aside as affordable housing. Peter Drucker is an influential Austrian-American author, mentor and consultant, and is also known as the founder of modern management. New Jersey Performing Arts Center (NJPAC) is one of the anchor cultural institutions for the city of Newark and the state of New Jersey Talent Justice Initiative is an initiative by Fund the People, that helps funders and nonprofits invest to advance intersectional racial equity in the nonprofit workforce   Guest bio:Linda C. Harrison is the Director & CEO of the Newark Museum of Art – a large, complex, urban museum campus. Strengthened by her experience outside the cultural sector, Linda plays a strategic and unifying role for the organisation and the city of Newark. Linda's corporate experience includes consulting, strategic planning, and technology applications for large corporations (IBM, Apple), Universities (Columbia, Stanford), and entrepreneurial companies (Wired magazine, Business for Social Responsibility). She lectures at seminars and workshops across the country to organisations developing new strategies to advance their business. She was previously Director and CEO of the Museum of the African Diaspora in San Francisco. 

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

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

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

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

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

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

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

In this episode, our guest will be author, speaker and former Chief Curator of the Newark Museum in Newark, New Jersey, Ulysses Grant Dietz. Mr. Dietz, who retired from the Newark Museum at the end of 2017 after thirty seven years of service, is also the great-great grandson of Civil War General and 18th President of the United States, Ulysses S. Grant. Mr. Dietz will share stories from his family tree and will tell us about his personal journey to learn about the life and heart of his famous ancestor and namesake. Photo(s): courtesy of Ulysses Grant Dietz Music: "With Loved Ones" Jay Man

One of only 6 African American museum directors in the country, Linda Harrison became Director of Newark Museum of Art in 2019. Before her move to Newark, Linda was the Director of the Museum of the African Diaspora in San Francisco. Linda chats with Fran about what the pandemic has taught us, including how to make art live online,,, and how it heals, as well as how it can connect families.

This episode is also available as a blog post: http://danielpbquinn.com/2021/03/08/secrets-of-the-newark-museum-and-my-history-of-newark-for-2021/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/daniel-p-quinn/message Support this podcast: https://anchor.fm/daniel-p-quinn/support

Artist Bisa Butler at the Art Institute of Chicago. phot: John J. Kim. Bisa Butler was born in Orange, NJ, the daughter of a college president and a French teacher. She was raised in South Orange and the youngest of four siblings.  Butler's artistic talent was first recognized at the age of four, when she won a blue ribbon in an art competition. Formally trained , Butler graduated Cum Laude from Howard University with a Bachelor's in Fine Art degree.  It was during her education at Howard that Butler was able to refine her natural talents under the tutelage of lecturers such as Lois Mailou Jones, Elizabeth Catlett, Jeff Donaldson and Ernie Barnes. She began to experiment with fabric as a medium and became interested in collage techniques. Butler then went on to earn a Masters in Art from Montclair State University in 2005. While in the process of obtaining her Masters degree Butler took a Fiber Arts class where she had an artistic epiphany and she finally realized how to express her art.   "As a child, I was always watching my mother and grandmother sew, and they taught me. After that class, I made a portrait quilt for my grandmother on her deathbed, and I have been making art quilts  ever since." Bisa Butler was a high school art teacher for 10 years in the Newark Public Schools and 3 years at Columbia High School in Maplewood, New Jersey. In February 2021 Bisa was awarded a United States Artist fellowship.Butler's work is currently the focus of a solo exhibition at the Art Institute of Chicago, the second stop of a traveling exhibit which began at the Katonah Museum of Art. She is represented by the Claire Oliver Gallery of New York. Butlers work has been acquired by many private and public collections including The Smithsonian's National Museum of African American History and Culture,The Los Angeles County Museum of Art, The Art Institute of Chicago, The Museum of Fine Arts Boston, The Nelson-Adkins Museum , 21cMuseum Hotels, The Kemper Museum of Art, The Orlando Museum of Art, The Newark Museum, The Toledo Museum of Art and the Minneapolis Institute of Art. *Don't Tread On Me , God Damn, Let's Go! ; The Harlem Hellfighters, 2021 Cotton, silk, wool and velvet * a work in progress, Photo by Bisa Butler I Go To Prepare A Place For You, Harriet Tubman's last words ,2021 Cotton, silk ,wool and velvet 120” x 120” Quilted and appliquéd Photo by John Butler

Mar 24 Written By jamaal barberMokuhanga and More w/ printmaker Jennifer Mack WatkinsStudio Noize PodcastPrintmaker Jennifer Mack Watkins joins Studio Noize for some good conversation about her journey into mokuhanga, a Japanese relief printing technique. We talk about her trip to Japan where she learned from some real masters, her start right here in Atlanta at Morris Brown, and how motherhood factors into her artist life. There are not a lot of Black printmakers doing this kind of work so it's great to hear more about the technique. We're excited to bring you another great Black woman printmaker. Jennifer Mack-Watkins holds an undergraduate degree in Studio Arts from Morris Brown College, a Master's degree in art education from Tufts University, and an MFA in Printmaking from Pratt Institute. She has exhibited in several galleries and museums including the Newark Museum in New Jersey, the International Print Center in New York, Rush Art Galleries, the Brooklyn Museum, and Mason Murer Gallery in Georgia. She was a recipient of "The Elizabeth Catlett Printmaking Award" given by Hampton University Museum. Agnes Scott College, The Newark Public Library, and Clark Atlanta University have acquired her work, adding to their permanent collections. Jennifer was selected to participate in the Mokuhanga Innovation Laboratory artist-in-residence program in Yamanashi, Japan in the summer of 2015. Mack-Watkins was selected by Dr. Sarah Lewis, participated in the Rush Arts Gallery 20th Anniversary Exhibition and Print Portfolio that was exhibited in Brooklyn, New York and at Miami SCOPE. The Joan Mitchell Foundation nominated her as a 2015 Emerging Artist..The spring of 2021 Jennifer is expecting her first solo museum exhibition at The Brattleboro Museum located in Brattleboro, Vermont. See more: www.mackjennifer.com + @mack_jenniferprints The Studio Noize question of the week is:What art books to do you have in your studio?Let us know your answers on IG @studionoziepodcast or by email at studionoizepodcast@gmail.comFollow us:StudioNoizePodcast.comIG: @studionoizepodcastJamaal Barber: @JBarberStudioSupport the podcast https://www.patreon.com/studionoizepodcast

Fran Shalom has exhibited widely throughout the United States, including   the Fogg Art Museum in Cambridge Mass, and the Newark Museum. Her work is included in the collections of the Metropolitan Museum of Art, the Brooklyn Museum, the Rose Art Museum and the Biblioteque Nationale in Paris. She has been the recipient of a Pollack Krasner Arist Grant, a MacDowell Colony Fellowship and an Art Omi Residency. She is represented by the Kathryn Markel Gallery in New York City. The book mentioned in the interview is A Shoe Story by Lesley Chamberlain. Untitled, 2021, 24x24” oil on panel Rendevous,2020, 24x24” oil on panel

Printmaker Jennifer Mack Watkins joins Studio Noize for some good conversation about her journey into mokuhanga, a Japanese relief printing technique. We talk about her trip to Japan where she learned from some real masters, her start right here in Atlanta at Morris Brown and how motherhood factors into her artist life. There are not a lot of Black printmakers doing this kind of work so its great to hear more about the technique. We’re excited to bring you another great Black woman printmaker.Jennifer Mack-Watkins holds an undergraduate degree in Studio Arts from Morris Brown College, a Master's degree in art education from Tufts University, and an MFA in Printmaking from Pratt Institute. She has exhibited in several galleries and museums including the Newark Museum in New Jersey, the International Print Center in New York, Rush Art Galleries, the Brooklyn Museum, and Mason Murer Gallery in Georgia. She was a recipient of "The Elizabeth Catlett Printmaking Award" given by Hampton University Museum. Agnes Scott College, The Newark Public Library, and Clark Atlanta University have acquired her work, adding to their permanent collections. Jennifer was selected to participate in the Mokuhanga Innovation Laboratory artist-in-residence program in Yamanashi, Japan in the summer of 2015. Mack-Watkins was selected by Dr. Sarah Lewis, participated in the Rush Arts Gallery 20th Anniversary Exhibition and Print Portfolio that was exhibited in Brooklyn, New York and at Miami SCOPE. The Joan Mitchell Foundation nominated her as a 2015 Emerging Artist..The spring of 2021 Jennifer is expecting her first solo museum exhibition at The Brattleboro Museum located in Brattleboro, Vermont.See more: www.mackjennifer.com + @mack_jenniferprintsRead the Studio Noize Artist FeatureEpisode TranscriptThe Studio Noize question of the week is:What art books to do you have in your studio?Let us know your answers on IG @studionoziepodcast or by email at studionoizepodcast@gmail.comFollow us:StudioNoizePodcast.comJamaal Barber: @JBarberStudioJasmine Nicole: @Negress.SupremeCheck out our sponsor National Black Arts at nbaf.org/

Emma and Gil welcome game designer, educator, and birder Chidi Paige to discuss how games and play benefit education, how she designed her bird-themed game Birdwiser, and how competitive birdwatching has affected her as a person. SHOW NOTES 0m22s: From educationcloset.com: "STEAM Education is an approach to learning that uses Science, Technology, Engineering, the Arts, and Mathematics as access points for guiding student inquiry, dialogue, and critical thinking." It is an evolution of the older STEM (Science, Technology, Engineering, Mathematics) approach in that it adds the arts. 1m29s: The Newark Museum in Newark, NJ. Fun fact: back when Chidi was working at the museum, Gil was a block away working at audible.com. Small world! 1m36s: Columbia University in New York, NY. 2m45s: Wonderstar Foundation has no web presence yet. Hopefully soon! 7m11s: ClassCraft 7m36s: Labster 8m01s: Chidi is referring to polymerase chain reaction (PCR) for DNA replication, and to CRISPR for genome editing. 13m43s: Explorer's Program at the Newark Museum 23m06s: Our episode with Dr. Mary Flanagan was Ludology 226 - Buffalo Buffalo Buffalo Buffalo Buffalo Buffalo Buffalo Buffalo 23m43s: You can hear more from Elizabeth Hargrave on Ludology 203 - Winging It. 25m31s: The Big Year on IMDB. 27m29s: Sadly, we could not find the video that Emma mentioned! 30m40s: Chidi's web site for Birdwiser. 32m00s: Whot and Uno are variations on the public domain game Crazy Eights. 33m18s: Birdwiser’s illustrations are by Emily Willoughby, with graphics by Kristine Mathieson of Tropikality Designs 36m26s: Sibley and Peterson are two of the best-known bird guides out there. 38m43s: We discussed Emma's Infinite Potato Problem in Ludology 225 - A Study in Emma-rald. 41m09s: The site Chidi is referring to is Upwork, originally called oDesk. 42m29s: Gil is talking about his word game Wordsy. 42m45s: "Complexity Budget," an idea Richard Garfield popularized. 47m09s: More info about certifying your garden for wildlife. 50m01s: More info about the World Series of Birding. 1h00m05s: The scientists Chidi mentions are Eric Kandel and Richard Axel.

CavalierCast - The Civil War in WordsThis podcast looks at anything and everything to do with the War of the three Kingdoms. For episode 5, I speak to Kevin Winter, Deputy curator of the National Civil War Centre, Newark Museum and Chair of the Battlefields Trust East Midlands Region.Discover more about their growing civil war library, details of upcoming 2021 and 2022 exhibitions, as well as which item is most appealing to younger visitors, and the artefact that has a very personal connection to King Charles I.To find out more about the civil war, you can read various articles relating to it on my blog: http://www.allegianceofblood.comPlease do subscribe to CavalierCast on Apple Podcasts or Spotify to keep in touch!Thanks for your support!

Amelia Winger-Bearskin is an artist/technologist who helps communities leverage emerging technologies to effect positive change in the world. She is a Developer Evangelist at Contentful in the SF Bay Area. She founded IDEA New Rochelle, which partnered with the NR Mayor’s office to develop citizen-focused VR/AR tools and was awarded the 2018 Bloomberg Mayors Challenge $1 million dollar grant to prototype their AR Citizen toolkit. She is a Google VR JUMP Start creator, and co-directed with Wendy Red Star a 360 video story about Native American Monsters which was selected for a McArthur Grant through the Sundance Institute Native New Frontiers Story Lab 2018. It was on display at Newark Museum beginning February 2019. Check out her website at http://studioamelia.com/ and her podcast Wampum.Codes

The Last Thanks, 2006 Pigment print Artist Wendy Red Star works across disciplines to explore the intersections of Native American ideologies and colonialist structures, both historically and in contemporary society. Raised on the Apsáalooke (Crow) reservation in Montana, Red Star’s work is informed both by her cultural heritage and her engagement with many forms of creative expression, including photography, sculpture, video, fiber arts, and performance. An avid researcher of archives and historical narratives, Red Star seeks to incorporate and recast her research, offering new and unexpected perspectives in work that is at once inquisitive, witty and unsettling. Intergenerational collaborative work is integral to her practice, along with creating a forum for the expression of Native women’s voices in contemporary art. Red Star has exhibited in the United States and abroad at venues including the Metropolitan Museum of Art, Fondation Cartier pour l’ Art Contemporain, Domaine de Kerguéhennec, Portland Art Museum, Hood Art Museum, St. Louis Art Museum, and the Minneapolis Institute of Art, among others. She served a visiting lecturer at institutions including Yale University, the Figge Art Museum, the Banff Centre, National Gallery of Victoria in Melbourne, Dartmouth College, CalArts, Flagler College, and I.D.E.A. Space in Colorado Springs. In 2017, Red Star was awarded the Louis Comfort Tiffany Award and in 2018 she received a Smithsonian Artist Research Fellowship. In 2019 Red Star will have her first career survey exhibition at the Newark Museum in Newark New Jersey. Red Star holds a BFA from Montana State University, Bozeman, and an MFA in sculpture from University of California, Los Angeles. She lives and works in Portland, OR. Peelatchiwaaxpáash / Medicine Crow (Raven) Artist-manipulated digitally reproduced photograph by C.M. (Charles Milton) Bell, National Anthropological Archives, Smithsonian Institution

We recently spoke with artist and designer Molly Hatch, whose signature style is currently on display in a large-scale ceramics installation at the Newark Museum called Repertoire.

On this episode of Newark Is, Host Tamisha Hallman hangs out with Linda Harrison, CEO of the Newark Museum. The two discuss what makes the museum unique, Newark’s potential as a cultural city, and Harrison’s views of Newark as someone who recently moved here.

Jonathan Santlofer is an author and artist. His memoir The Widower’s Notebook will be published by Penguin Books on July 10, 2018. He is the author of the international bestselling novel, The Death Artist, as well as Color Blind, The Killing Art, The Murder Notebook, and Anatomy of Fear, which won the Nero Award for best crime novel of 2009. He recently created and edited The New York Times “Notable Book,” It Occurs To Me that I Am America, a collection of original work by more than 50 of today’s best known authors and artists. He is editor/contributor of The New York Times best selling serial novel Inherit the Dead, editor and contributor of LA NOIRE: The Collected Stories, Akashic Books’ The Marijuana Chronicles, and co-editor, contributor and illustrator of the short story anthology, The Dark End of the Street. His stories appear in numerous collections, including The Rich & the Dead, edited by Nelson De Mille, New Jersey Noir, edited by Joyce Carol Oates, Lawrence Block’s two bestselling anthologies, In Sunlight and In Shadow and Alive In Form and Color. His stories have also appeared in such publications as Ellery Queen Magazine and the Strand Magazine. Jonathan is the recipient of two National Endowment for the Arts grants, has been a Visiting Artist at the American Academy In Rome, the Vermont Studio Center, and serves on the board of Yaddo, one of the oldest arts communities in the U.S. He was the creator and director of the Center For Fiction’s CRIME FICTION ACADEMY, the only program devoted exclusively to crime writing. He has taught Crime Fiction Writing, the graphic novel and Drawing in Pratt Institute’s Creative Writing program, Columbia University and The New School. He has given numerous workshops at writing conferences and festivals and has been a sought after lecturer at colleges, universities and museums across the country, among them the Whitney Museum of American Art, MOMA, Solomon R. Guggenheim Museum and LA MOCA. Also a well-known artist, Jonathan’s work has been exhibited in more than 200 exhibitions worldwide and is included in numerous private, corporate and public collections, among them the Metropolitan Museum of Art, NY, Art Institute of Chicago, IL, the Newark Museum, NJ, and Tokyo’s Institute of Contemporary Art, Japan. Jonathan’s work has been written about and reviewed extensively. He has been profiled in such publications as The New York Times, Publishers Weekly, Newsday, USA Today, Entertainment Weekly, has been the subject of a Sunday NY Times Magazine “Questions For” column. He lives in New York City where he writes and paints and is currently at work on a new novel.

Ulysses Grant Dietz is Chief Curator Emeritus at the Newark Museum. He previously served as the museum’s curator of Decorative Arts since 1980 and the Chief Curator since 2012. He has been instrumental in expanding and showcasing the museum’s jewelry collection. He has been the curator of more than 100 exhibitions covering all aspects of the decorative arts from colonial to contemporary.  Mr. Dietz has also published numerous articles on decorative arts, drawn from the Newark Museum’s nationally-known collections of art pottery, studio ceramics, silver, jewelry and nineteenth-century furniture. His most recent publication is Jewelry: From Pearls to Platinum to Plastic, published in January 2017 by the Newark Museum through the University Press of Florida. Previous publications include Masterpieces of Art Pottery, 1880-1930, from the Newark Museum in 2009, and Dream House: The White House as an American Home, released in September 2009 by Acanthus Press in New York. What you’ll learn in this episode: How the Great Depression caused the American jewelry industry to come crashing down and ended Newark, New Jersey’s industry dominance. Why Newark’s legacy as a hub for jewelry making has faded from public awareness. The process for creating an exhibit and the challenges of displaying small, hard-to-view pieces of jewelry. How the show “Jewelry: From Pearls to Platinum to Plastic” helped re-launch the Newark Museum’s Lore Ross Jewelry Gallery. The greatest marketing challenges facing museums today. Ways to contact Ulysses:   Instagram: @ulysses_grant_dietz Newark Museum: newarkmuseum.org Jewelry Camp: www.jewelrycamp.org Jewelry: From Pearls to Platinum to Plastic book: https://www.amazon.com/Jewelry-Platinum-Ulysses-Grant-Dietz/dp/0932828450

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

Image Courtesy of Ka-Man Tse for @TSqArts Saya Woolfalk has exhibited at PS1/MoMA; Deitch Projects; Contemporary Art Museum, Houston; Contemporary Arts Center, Cincinnati; the Brooklyn Museum; Asian Art Museum, CA, Museum of Contemporary Art, Chicago; the Studio Museum in Harlem; the Frist Center for the Visual Arts; The Yerba Buena Center; The Newark Museum; Third Streaming; MCA San Diego; MoCA Taipei; and Performa 09; has been written about in the New Yorker, Sculpture Magazine, Artforum, Artforum.com, ARTNews, The New York Times, Huffington Post and on Art21’s blog; and has also worked with Facebook and WeTransfer.   Her first solo museum show The Empathics was on view at the Montclair Art Museum in the Fall of 2012.  Her second solo museum exhibition ChimaTEK Life Products was on view at the Chrysler Museum of Art in the fall 2014.  She recently completed a video installation commission for the Seattle Art Museum, and is a recipient of a NYFA grant in Digital/Electronic Arts.  She is currently working on a solo museum exhibition commission for the Nelson Atkins Museum in Kansas City, MO and is represented by  Leslie Tonkonow Artworks + Projects, NYC and teaches in the BFA and MFA programs at Parsons: The New School for Design. 

Today on the Tales of a Red Clay Rambler Podcast I have the second of two interviews with John Gill. In this episode we continue with a conversation about the lineage of teachers at Alfred and discuss how John’s dyslexia has influenced his creative problem solving. John is one of the truly unique thinkers and educators in American ceramics. Gill started teaching at the New York State College of Ceramics at Alfred in the mid 1980’s and has helped shape a generation of ceramic artists pushing the boundaries of the field. He is a member of the International Academy of Ceramics and in 2014 became a Fellow of the American Crafts Council. His work is represented in the collections of the Brooklyn Museum, New York; the Victoria and Albert Museum, London; Newark Museum, New Jersey and the Los Angeles County Museum of Art, California. To see examples of his work, visit www.harveymeadows.com.     Hey Red Clay Rambler fans, I need your help to keep this show on the air. We need 10 new patrons to reach our monthly fundraising goal. Visit www.patreon.com/redclayrambler to pledge your support and become a sustaining member. We have a batch of rewards to offer including the new Vintage Radio shirt, handmade pots, posters and much more. Visit www.patreon.com/redclayrambler to sign up today.

Today on the Tales of a Red Clay Rambler Podcast I have the first of two interviews with John Gill. John is one of the truly unique thinkers and educators in American ceramics. Gill started teaching at the New York State College of Ceramics at Alfred in the mid 1980’s and has helped shape a generation of ceramic artists pushing the boundaries of the field. He is a member of the International Academy of Ceramics and in 2014 became a Fellow of the American Crafts Council. His work is represented in the collections of the Brooklyn Museum, New York; the Victoria and Albert Museum, London; Newark Museum, New Jersey and the Los Angeles County Museum of Art, California. In our interview we talk about his teaching philosophy, developing a personal sense of touch and becoming a “visual journalist”. To see examples of his work, visit www.harveymeadows.com.     Hey Red Clay Rambler fans, I need your help to keep this show on the air. We need 10 new patrons to reach our monthly fundraising goal. Visit www.patreon.com/redclayrambler to pledge your support and become a sustaining member. We have a batch of rewards to offer including the new Vintage Radio shirt, handmade pots, posters and much more. Visit www.patreon.com/redclayrambler to sign up today.

This week’s episode features an in-depth conversation with writer and artist Jonathan Santlofer. We discuss his incredible new book THE WIDOWER’S NOTEBOOK, how he deals with the grief of losing his wife so suddenly and unexpectedly, the ways in which grief manifests things like addiction, anxiety, and pain, and we also discuss how to keep on living after such a tragic loss. Jonathan Santlofer is a writer and artist. His debut novel, The Death Artist, was an international bestseller translated into 17 languages, and is currently in development for screen adaptation. His fourth novel, Anatomy of Fear, won the Nero Award for best novel of 2009. His short stories have appeared in numerous anthologies. He is the author of the recently published It Occurs to Me That I Am America. His paintings and drawings are included in collections at Metropolitan Museum of Art, Newark Museum, Art Institute of Chicago, and more. He is the recipient of two National Endowment for the Arts grants, and serves on the board of Yaddo, the oldest arts community in the US. His latest book is a memoir entitled The Widower’s Notebook, and is now available wherever books are sold. To grab the audiobook for free (and a 30-day free trial of the Audible service), head over to www.anxietydiariespodcast.com/audible. You can find Jonathan at www.jonathansantlofer.com and follow him on Twitter @jsantlofer and Instagram @jonathansantlofer. You can also find him on Facebook right here. Full show notes can be found at: www.anxietydiariespodcast.com/19 Thanks for listening! If you enjoyed the podcast, please make sure you subscribe and take a moment to rate and review it on Apple Podcasts! You can find the podcast at www.anxietydiariespodcast.com or at imsoanxious.com, on Facebook and Instagram @anxietydiariespodcast and on Twitter @anxietydiarypod.

In this second episode, "Getting Into the Ring," our duo meets another duo (in the form of the mysterious Eliot brothers) and begins peeling back the layers of the onion. How long before they start crying? And a big congratulations to Darker Hues Studios for landing Harlem Unbound in the collections of the Metropolitan Museum of Art, the Smithsonian Institution Anacostia Community Museum and The Newark Museum. These acquisitions are an acknowledgement of book's "artistic, scholarly and educational value"! Wowza! More details may be found here. Support our Patreon! Follow us on social media! Facebook Twitter Google Plus Featuring: Jen Renae

Frank Stefanko is a fine art photographer whose work graces the album covers of Bruce Springsteen’s Darkness on the Edge of Town and The River, Southside Johnny’s Hearts of Stonealbum cover, and Patti Smith’s The Arista Years1975 / 2000 box set cover. Frank’s photographs also appear in Bruce Springsteen’s Live 75/85, Greatest Hits, Tracks, and the Essential Bruce Springsteen. Mr.Stefanko is the author of the book Days of Hope and Dreams / an Intimate Portrait of Bruce Springsteen which has recently been released in the second edition. He is also the author of Patti Smith / American Artist which features beautiful images of a young emerging artist; Ms. Smith from 1970 to 1980. Frank’s work has toured in two museum shows: Bruce Springsteen, Troubadour of the Highway, which, at the time, broke attendance records at the Frederick Weisman Museum in Minneapolis, The Cranbrook Museum near Detroit, The Experience Music Project in Seattle, and The Newark Museum in New Jersey. In 2012, the Sound and Vision: Monumental Rock Photography show will tour The Columbus Museum, in Georgia, The Hunter Museum of American Art, in Tennessee, The Gibbes Museum of Art, in South Carolina, The Huntsville Museum of Art, in Alabama, and The Lauren Rogers Museum of Art, in Mississippi. Mr. Stefanko is represented by The Morrison Hotel Gallery, in Soho, New York; the Govinda Gallery, in Washington, DC; the Fahey / Klein Gallery, in Los Angeles; and Snap Galleries Ltd. In London.Beyond Frank’s Rock photography, he has been assembling a portfolio of landscape photographs that feature places where the footprint of man has not yet touched.

Minnie Roh reports on Officer Peter Liang’s trial. Paul Lin visits a sustainable rice farm in Manhattan. Dr. Katherine Anne Paul walks us through the Islamic art exhibition at the Newark Museum. Host Ernabel Demillo profiles ballerina Stella Abrera.

In honor of Museum Life's two-year anniversary, host Carol Bossert will reflect on key themes that have emerged and share plans for the coming year. Carol Bossert is a museum professional with twenty-five years of experience working in and for educational and cultural organizations. Since forming Carol Bossert Services in 1988, she has worked with more than 40 organizations to plan and develop exhibitions, create science education programs and consult on best museum practices. Ms. Bossert holds a Ph.D. in molecular biology from the University of Texas-Dallas and began her museum career at The Newark Museum as department head and curator of the natural history collection. She is a speaker at museum conferences and writes about museum issues www.carolbossertservices.com. She is the host of a weekly radio program, The Museum Life, about trends and issues in the museum community.

1-54 Forum New York 15 - 16 May 2015 Cultural Specific Curating in Institutions Representing MoMA, Newark Museum and LACMA respectively are discussants Thomas J. Lax (Associate Curator in the Department of Media and Performance Art at The Museum of Modern Art (MoMA), New York); Christa Clarke (Senior Curator, Arts of Global Africa at Newark Museum); and Franklin Sirmans (Terri and Michael Smooke Curator and Depart­ment Head, Contemporary Art at the Los Angeles County Museum of Art (LACMA)). Moderated by Steven Nelson (Professor of African and African American Art History at University of California, Los Angeles (UCLA)). www.1-54.com

(Uploaded on Oct 25, 2011) The Newark Museum's PATCHWORK Exhibit featured 30 quilts with a variety of design topics. (September 2011)

(Published on Apr 25, 2013) It's refreshing to hear a civic leader clarify the essential responsibilities of citizens. Former Governor Christine Todd Whitman made these pointed remarks at a Citizens' Forum on Environmental Literacy at the Newark Museum, April 25, 2011. "There is a cumulative impact of individual behavior. We've got to get citizens to recognize that individual actions add up to a lot over time. We have to remind them that protecting [our resources] is part of their responsibility." Christine Todd Whitman, 50th Governor of New Jersey.

(Published on Nov 11, 2014) Restaurant owners on Halsey Street in Newark are witnessing change and development in the downtown cultural district. Surrounded by three colleges and universities (Rutgers-Newark, NJIT, and Essex County College), and within walking distance of the Newark Museum, NJPAC, and the newly-restored 6-acre Military Park, the Halsey Street district is attracting students and business professionals. “I’ve never seen development happen as quickly as it’s happening now,” says Newark writer Felicia Walker Benson. “I like to walk the long way to Penn station, just to be energized by the environment.” Cathy Scalera, Assistant Manager of 27 Mix, explains how the area’s restaurants form a supportive community. “We have wonderful neighbors. If one of us runs out of something and we can help each other out, we sure do.”

Peter H. Wood, Duke UniversityNewark MuseumJuly 12, 2012Peter Wood, emeritus professor of history at Duke University, discusses the career of Winslow Homer and his portrayals of African Americans during the Civil War. While many of Homer’s drawings and paintings appear nonpolitical, Wood argues that his training at Harper’s Weekly as a news illustrator prepared him for presenting current political debates in subtle ways. This fifty-minute talk took place on July 12, 2012 at the Newark Museum as part of The Visual Culture of the American Civil War, a 2012 NEH Summer Institute for College and University Teachers.

Speaker 1)“America at Home: Crafts and Craftsmanship in the 1939-1940 New York World’s Fair Shelter Exhibits” Elizabeth McGoey, Ph.D. Candidate, Department of the History of Art, Indiana University. Speaker 2) “Institutionalized: Craft in the Museum” Julie Muñiz, Associate Curator of Decorative Arts & Design, Oakland Museum of California, and Jennifer Scanlan, Associate Curator, Museum of Arts and Design, New York. Speaker 3)“Taste, Money, Museums and the Subversion of American Craft” Ulysses Grant Dietz, Senior Curator and Curator of Decorative Arts, The Newark Museum.

Session 3: The Artist/Traveler. Speaker 1: Mary Kate O'Hare, associate curator of American art, Newark Museum."Unity in Art: Alejandro Otero and Ellsworth Kelly in Dialogue". Speaker 2: Laura Roulet, independent curator."Ana Mendieta as Cultural Connector with Cuba". Speaker 3: Sarah Montross, Ph.D. candidate, Institute of Fine Arts, New York University. "Atlas and Archive: Juan Downey's Video Trans Americas". Speaker 4: Karen Mary Davalos, chair & associate professor of Chicana/o studies, Loyola Marymount University. "Border Crossings: Chicana and Chicano Artists in Mexico".