Podcasts about Norton Museum

Talked with Lauren Perry, Associate Vice President of Marketing & Cultural Tourism, Cultural Council for Palm Beach County.  Every May, the Cultural Council puts together, MOSAIC. MOSAIC stands for Month of Shows, Art, Ideas and Culture.  There's a month-long celebration for residents to enjoy. As part of that, the Cultural Council gathered over 30 limited time offers throughout Palm Beach County.  Some of them are: BOGO admission to the Boca Raton Museum of Art and the Norton Museum of Art in West Palm Beach, discounts on shows from the Kravis Center including Cimafunk on May 23 and "Ain't Too Proud" coming in June, plus discounts at Palm Beach Zoo, COX Science Center, Yesteryear Village Living History Park at the South Florida Fairgrounds, Scavenger hunt at Resource Depot, and discounts at Morikami Museum and Japanese Gardens. Listeners can interact with artists and check out their work during Open Studio on May 17/18. For locations and more info, listeners can go to MOSAICPBC.com.  For info on the Cultural Council, listeners can visit www.palmbeachculture.com

Welcome back to ARTMATTERS: The Podcast for Artists.This week on ARTMATTERS, we get back to our conversation with Brooklyn-based artists Krista Louise Smith and Elliot Purse. Like last time, this conversation explores their differing personalities, creative processes and the dynamics at play in the lives of a working artist couple. Today we discuss balancing introversion and extroversion, setting boundaries, maintaining focus, the emotional role of color, the importance of decisiveness and the imperative of mutual support.  Krista Louise Smith has exhibited her work internationally in New York, Rome, Bucharest, and Seoul, with shows at CARVALHO PARK, Nicodim Gallery, and Half Gallery. Holding a BFA from OCAD University and an MFA from the New York Academy of Art, she has been awarded a New York Foundation for the Arts (NYFA) grant, the Ruth Katzman Prize, and is a three-time recipient of the Elizabeth Greenshields Foundation for the Arts Grant. In August 2023, her practice was highlighted in Artnet News' “Up Next” by arts writer Katie White.Elliot Purse's art explores masculinity, cultural symbolism, and the body through charcoal and paint. Influenced by sports and pro-wrestling, he reinterprets male power, blending classical techniques with modern critique. With an MFA from The New York Academy of Art and a BFA from the University of Illinois, his work has appeared at the Norton Museum, the Flag Art Foundation, and the Spring Break Art Show.Enjoy my conversation with Elliot Purse and Krista Louise Smith!You can now support this podcast by clicking HERE where you can donate using PATREON or PayPal!If you're enjoying the podcast so far, please rate, review, subscribe and SHARE ON INSTAGRAM!If you have an any questions you want answered, write in to artmatterspodcast@gmail.comhost: Isaac Mannwww.isaacmann.cominsta: @isaac.mannguest 1: Krista Louise Smithwww.kristalouisesmith.com insta: @kristalouisesmithguest 2: Elliot Pursewww.elliotpurse.com insta: @elliotpurseThank you as always to ARRN, the Detroit-based artist and instrumentalist, for the music. 

Welcome back to ARTMATTERS: The Podcast for Artists.This week on ARTMATTERS, I'm sending some belated Valentine's love to all my listeners! In the spirit of the season, I spent my February 14th hanging out at the shared studio of artists Elliot Purse and Krista Louise Smith. It was the perfect way to mark the holiday, exploring the unique dynamics of working side by side with your spouse in the studio.In this week's conversation, we discuss studio schedules, collaboration, writing applications; dealing with creative blocks, impatience, studio meltdowns; personal boundaries, critique and feedback; and balancing art and personal life. I had a great time speaking with Elliot and Krista, And don't worry—I wrapped up the conversation before I could ruin their dinner plans.Elliot Purse's art explores masculinity, cultural symbolism, and the body through charcoal and paint. Influenced by sports and pro-wrestling, he reinterprets male power, blending classical techniques with modern critique. With an MFA from The New York Academy of Art and a BFA from the University of Illinois, his work has appeared at the Norton Museum, the Flag Art Foundation, and the Spring Break Art Show.Krista Louise Smith has exhibited her work internationally in New York, Rome, Bucharest, and Seoul, with shows at CARVALHO PARK, Nicodim Gallery, and Half Gallery. Holding a BFA from OCAD University and an MFA from the New York Academy of Art, she has been awarded a New York Foundation for the Arts (NYFA) grant, the Ruth Katzman Prize, and is a three-time recipient of the Elizabeth Greenshields Foundation for the Arts Grant. In August 2023, her practice was highlighted in Artnet News' “Up Next” by arts writer Katie White.Enjoy my conversation with Krista Louise Smith and Elliot Purse!You can now support this podcast by clicking HERE where you can donate using PATREON or PayPal!If you're enjoying the podcast so far, please rate, review, subscribe and SHARE ON INSTAGRAM!If you have an any questions you want answered, write in to artmatterspodcast@gmail.comhost: Isaac Mannwww.isaacmann.cominsta: @isaac.mannguest 1: Krista Louise Smithwww.kristalouisesmith.com insta: @kristalouisesmithguest 2: Elliot Pursewww.elliotpurse.com insta: @elliotpurseThank you as always to ARRN, the Detroit-based artist and instrumentalist, for the music. 

Talked with Scott Simmons and Quincy Brukerhoff from the Norton Museum of Art.  They have a great line up events for season.  There are two big exibhitiions running: Strike Fast Dance Lightly Artists on Boxing now-March 9th and Sorolla and The Sea, now-April 13th.  They have a great line up of Art After Dark seriers that happens every Friday night.  Coming up they are kicking off their Lunar New Year Celebration with Art After Dark on Feburary 7th and then continuing the festivities on their Free Conmuunity Day,Saturday February 8th. The Norton has a Chinese collection, spanning 5,000 years. Visitors can take docent led tours, enjoy story telling, puppet shows, dragon dance, crafts,food and more.  Then on February 14th, they'll have Jazz perfomances (normally the 1st Art After Dark) for Valentine's day.  Listeners can find out more info by going to www.norton.org.

Talked with Naomi Wallen, from the Armory Art Center. "The Armory Art Center's historic campus, located in Howard Park, within walking distance to City Place in downtown West Palm Beach, Antique Row, and the Norton Museum of Art on Dixie Highway. The Armory Art Center is a registered historic building undergoing historic restoration and preservation to maintain and upgrade its facilities.The venue sits squarely in the heart of the historic Grandview Heights, Flamingo Park, and Sunshine Park Neighborhoods. It is a short distance from the I-95 corridor, Palm Beach International Airport, Amtrak, Tri-Rail, and Brightline train and accessible from the downtown Circuit Transportation. Artists gather at the Creative Market to showcase their work and provide demonstrations, performances, and more." They are hosting their 8th Annual Art, Craft, design festival this weekend.  Listeners can enjoy this free event from 9a-5pm.  There will be art demos throughout the day starting with Collage demo and Plein Air Painting, Wheel thrown pottery, campus and studio tours, Raku Fired pottery and eco printing.  There will be live music from BAJI, Adam Douglas, Thomas & Rachel, and NOSLEEPKG.  Listeners can enjoy ongoing studio tours, view the exhibits and kids can create art int eh kids zone.  It will be a fun start to holiday shopping,  Listeners can sign up for classes, newsletter, volunteer, make donations are www.armoryart.org

Talked with David Lawrence, President and CEO, Cultural Council for Palm Beach County.  David explained that the Cultural Council started back in 1978 and is like a chamber of commerce for the arts.  They support and uplift professional artists and organizations in Palm Beach County.  The council is located in Lake Worth Beach.  They feature rotating exhibitions, a store and meeting spaces for the community. They do an Arts & Tourism Summit every couple years with co-hosts Discover the Palm Beaches.  Coming up on August 22, Jessika Davidson, 2023 Summit speaker, will present a workshop on "Brandscaping" and the Norton Museum of Art. It's a free event but listeners need to rsvp due to limited space.  Listeners can go to the website, www.palmbeachculture.com and find info about upcoming events, sign up for the email, becoming a volunteer, making a donation or search the Artist database or call 561-471-2901.

Talked with Jodi Sypher and Quincy Bruckerhoff from the Norton Museum of Art.  Starting this weekend, Palm Beach County residents get free admission every Saturday until the end of the Summer.  They have a great line up of programs including: Tai Chi on the Lawn, Drum Circles, Mindfulness moment practice with a piece of art and adult sketch classes.  Listeners can come out every Friday for Art After Dark.  While there, they can take a docent led tour at 5:30 or 7pm, artist tour at 8pm, participate in the open studio art workshop from 6-9pm, and enjoy life performances.  Coming up on Friday May 31st it's Art After Dark/Hatian Heritage Night, June 7th is Art After Dark with Jazz Neil Bacher Quartet (1st Art After Dark each month is Jazz), then on June 14th it's The Lee Boys, playing their unique form of gospel music.  For more information about Art After Dark, becoming a volunteer, current and upcoming exhibitions, classes, etc., listeners can go to www.norton.org

Linda Troeller joins me to talk about her book, SEX. DEATH. TRANSCENDENCE., published by TBW. Linda has a storied life in photography from her early self-portraiture, to her book, The Erotic Lives of Women, and now to Sex. Death. Transcendence., Linda has been exploring the female gaze since the early 1970's. We talk about her ideas on self-portraiture, healing waters, and her amazing time at the Chelsea Hotel, all of which have led to their own publications. https://sites.google.com/view/lindatroeller/sex-death-transcendence?authuser=0 https://tbwbooks.com/collections/single-titles/products/sex-death-transcendence This podcast is sponsored by the Charcoal Book Club Begin Building your dream photobook library today at https://charcoalbookclub.com Linda Troeller's art projects focus on self-portraits, women's and social issues. She made the Chelsea Hotel her base for 20 years, curating an exhibition for the 125thAnniversary, “Chelsea Hotel Through the Eyes of Photographers,” and publishing a monograph, “Chelsea Hotel Atmosphere – An Artist's Memoir,” 2007 and a new book, “Living in the Chelsea Hotel, Schiffer Publishing, 2015 that won the International Photo Award, 2016. She had a major exhibition at Leica Gallery, Los Angeles, Ilon Art Gallery, Harlem, 2018 and Laurence Miller Gallery, NYC and Museum of.Sex, NYC. Aperture published her Pictures of the Year award winning images in “Healing Waters,” exhibited at their Burden Gallery, NYC and powerhouse Books published her next book, ‘Spa Journeys,” 2004. Her book, “Erotic Lives of Women,” Scalo, Zurich, 1998 was reviewed as one of the “most gutsy and imaginative books of the decade,” NYTimes. The exhibition opened at Fotohof Gallery, Salzburg traveling to Berlin and Weimar, Germany. Her second book on women, Orgasm, Daylight, 2014 was introduced at the Filter Photography Festival and is in major libraries from Kinsey to Harvard to National Museum of Women in the Arts.' She received a New Jersey Arts Grant and the Woman of Achievement Award from Douglass College, in 1991 for her TB-AIDS DIARY, a series of photo-collages in Color Polaroid that helped prevent discriminative stamping of HIV in passports. It was exhibited at Fotofest, Houston and over fifty galleries and covered in the Asbury Park Press and Trenton Times to European Photography Magazine. The set of 19 prints was recently acquired by the Norton Museum of Art permanent collection, West Palm Beach, Florida. She photographed three Fashion Catalogues for the Apolda Museum, Germany and exhibited “Apolda Fashion, 2005” at Centro Colombo Gallery, Medellin in 2006. She returned to Colombia to teach self-portraiture to women in poverty in 2010 for the University of Antioquia. She has an ongoing series of self-portraits, “Self-Reflection.” She has lectured at School of Visual Arts, NYU, Parsons, Yale, Salzburg Summer Art Academy, New Orleans Photo Alliance, Ryerson University, Toronto and was a professor of photography at Stockton College of New Jersey, Indiana University, and Bournemouth College, England. She has a MFA, School of Art, and MS, Newhouse School, Syracuse University and BS from Reed School of Journalism, West Virginia University. She was an assistant at the 1974 Ansel Adams Workshops for Ralph Gibson and in 1987 for Annie Leibovitz and David Hockney. Her photographs are in corporate and private collections such as the Museum of Fine Arts, Houston, American Express, Johnson & Johnson, Library of Congress and is in archives such as Special Collections Bird Library, Syracuse University. She graduated from Toms River High School which named her to their Hall of Fame, and resides in New York City and New Jersey.  Support Real Photo Show with Michael Chovan-Dalton by contributing to their tip jar: https://tips.pinecast.com/jar/real-photo-show

Talked with Scott Simmons, Public Relations Manager, Norton Museum of Art. The Norton has a wonderful variety of programs/exhibitions running now. Artists in Motion (Impressionist and Modern Masterpieces) is running now through February 18th. And Presence (the photography collection of Judy Glickman Lauder) is on view through March 10th. Coming up on Saturday Feb 10th the Norton will offer Free Admission for Lunar New Year Community Day! They'll be celebrating the Year of the Dragon. Guests can see a shadow puppet show and watch both Dragon and Lion dancers. Storytelling sessions throughout the day and fireworks to wrap things up. The Norton has Art After Dark each Friday from 5p-10pm Cost: $10, $5 for students. First Friday is jazz, third are artist tours.For more info listeners can go to www.norton.org

Nora Maité Nieves is currently an artist in residence at The Norton Museum of Art in West Palm Beach. In her exhibit “Clouds in the Expanded Field,” connects her Caribbean roots to the skies above whatever city she might find herself in.

Wesley Stringer (b. 1985) was born in Oklahoma City and has worked as a photographer for the past 13 years. Stringer began photographing while a BFA student at the University of Oklahoma. His practice is concerned with the natural environment, both in its untouched state, as well as how it relates to the spaces people occupy. The printed image is as important to Stringer's work as the physical and textural presence: his photographs frequently take the shape of handmade books or boxes. In addition, the artist prints many of his photographs on translucent gampi paper and mounts them by hand to heavier weight papers, giving each artwork evidence of its making. Stringer's photographs and handmade books have been exhibited in museums and galleries in the United States and in France. In 2013, Stringer's photographs were exhibited at the Museum of Art and Design in New York. In 2016, Stringer was a finalist for the Rudin Prize for Emerging Photographers, which resulted in a group exhibition at the Norton Museum of Art, Palm Beach. Working in collaboration with artist Daniel Brush, Stringer's photographs were exhibited at L'École School in Paris (2017) and L'École School in New York (2018). In 2019, his photographs were exhibited at Nailya Alexander Gallery, New York (2019), and in 2020, Stringer's work was acquired by the library of The Museum of Modern Art, New York (2020). Stringer's work is represented by Michael Hulett at The Hulett Collection in Tulsa, Oklahoma.   

Ep 175~ The paintings of Calida Rawles (b. 1976, Wilmington, DE; lives and works in Los Angeles, CA) merge hyper-realism with poetic abstraction. Situating her subjects in dynamic spaces, her recent work employs water as a vital, organic, multifaceted material, and historically charged space. Ranging from buoyant and ebullient to submerged and mysterious, Black bodies float in exquisitely rendered submarine landscapes of bubbles, ripples, refracted light and expanses of blue. For Rawles, water signifies both physical and spiritual healing as well as historical trauma and racial exclusion. She uses this complicated duality as a means to envision a new space for Black healing, and to reimagine her subjects beyond racialized tropes. Enhancing the seductive nature of water, the work tempers heavier subjects with aquatic serenity and geographic and temporal ambiguities, inviting multiple readings. Embedded in her titles and topographical notations in the compositions, Rawles' canvases represent an expansive vision of strength and tranquility during today's turbulent times, while insisting on the triumph of humanity. Rawles received a B.A. from Spelman College, Atlanta, GA (1998) and an M.A. from New York University, New York, NY (2000). Solo exhibitions of her work have been organized at Lehmann Maupin, New York, NY (2021); Various Small Fires, Los Angeles, CA (2020); and Standard Vision, Los Angeles, CA (2020). Her work has been featured in numerous group exhibitions including Generation*. Jugend trotz(t) Krise, Kunsthalle Bremen, Bremen, Germany (2023); Rose in the Concrete, San Francisco Museum of Modern Art, San Francisco, CA (2023); 12th Berlin Biennale for Contemporary Art, Berlin, Germany (2022); Black American Portraits, Los Angeles County Museum of Art (LACMA), Los Angeles, CA (2021), Spelman College Museum of Fine Art, Atlanta, GA (2023); A Shared Body, FSU Museum of Fine Arts, Tallahassee, FL (2021); View From Here, Los Angeles County Museum of Art (LACMA), Los Angeles, CA (2020); Art Finds a Way, Norton Museum of Art, West Palm Beach, FL (2020); Visions in Light, Windows on the Wallis, Beverly Hills, CA (2020); Presence, Fullerton College Art Gallery, Fullerton, CA (2019); With Liberty and Justice for Some, Walter Maciel Gallery, Los Angeles, CA (2017); Sanctuary City: With Liberty and Justice for Some, San Francisco Arts Commission, San Francisco, CA (2017); LACMA Inglewood + Film Lab, Inglewood, CA (2014); and Living off Experience, Rush Arts Gallery, New York, NY (2002). Rawles created the cover art for Ta-Nehisi Coates's debut novel, “The Water Dancer,” and her work is in numerous public and private collections, including Dallas Museum of Art, Dallas, TX; Los Angeles County Museum of Art (LACMA), Los Angeles, CA; Pérez Art Museum Miami, Miami, FL; Spelman College Museum of Fine Art, Atlanta, GA; and Studio Museum in Harlem, New York, NY. Photo credit: Marten Elder Artist https://www.lehmannmaupin.com/artists/calida-rawles/featured-works Lehmann Maupin https://www.lehmannmaupin.com/exhibitions/calida-rawles2 Various Small Fires https://www.vsf.la/exhibitions/35-calida-rawles-a-dream-for-my-lilith/overview/ Cultured Magazine https://www.culturedmag.com/article/2023/02/08/calida-rawles-painter-spelman-college-black-portraiture-exhibition Gagosian https://gagosian.com/quarterly/contributors/calida-rawles/ NYTimes https://www.nytimes.com/2021/04/09/t-magazine/calida-rawles-portrait.html The Cut https://www.thecut.com/2020/03/the-artist-whose-paintings-have-captivated-ta-nehisi-coates.html The Art Newspaper https://www.theartnewspaper.com/2022/02/19/calida-rawless-mural-makes-waves-at-new-inglewood-stadium This is Colossal https://www.thisiscolossal.com/2023/11/calida-rawles-a-certain-oblivion/ ARTnews https://www.artnews.com/art-news/artists/calida-rawles-water-paintings-lehmann-maupin-1234584059/

PODCAST BIOS   WEBSITE: https://jamesgurney.com   INSTAGRAM: https://www.instagram.com/jamesgurneyart/   YOUTUBE: https://www.youtube.com/@JamesGurney     Born in California in 1958, the son of a mechanical engineer, he taught himself to draw by reading books about the illustrators Norman Rockwell and Howard Pyle. He studied archaeology at the University of California at Berkeley, receiving a degree in anthropology with Phi Beta Kappa honors. Prompted by a cross-country adventure on freight trains, he coauthored The Artist's Guide to Sketching in 1982. During the same period, he worked as a background painter for the animated film Fire and Ice, co-produced by Ralph Bakshi and Frank Frazetta. His freelance illustration career began with paperback book covers, where he developed his characteristic realistic renderings of fantastic scenes, often using posed models and handmade maquettes for reference. His has worked on more than a dozen assignments for National Geographic magazine, painting reconstructions of Moche, Kushite, and Etruscan civilizations. The inspiration that came from researching these scenes of ancient life led to a series of lost world paintings, including ”Dinosaur Parade” and ”Waterfall City.” With the encouragement of retired publishers Ian and Betty Ballantine, he committed two years' time to writing and illustrating Dinotopia: A Land Apart from Time, which was published in 1992. Solo exhibitions of his artwork have been presented at The Smithsonian Institution, The Norman Rockwell Museum, The Norton Museum of Art, The Delaware Art Museum, and other venues. He is a popular lecturer at art schools, movie studios and game companies, and he teaches occasional workshops. His  book, Color and Light: A Guide for the Realist Painter (2010) was Amazon's #1 bestselling book on painting for over 52 weeks and is based on his daily blog gurneyjourney.blogspot.com.   _________________________________________________________________________   THANKS TO OUR SPONSORS:   ROSEMARY BRUSHES  https://www.rosemaryandco.com     HEIN ATELIER  https://heinatelier.com/   _________________________________________________________________________   PLEASE CONSIDER HELPING TO KEEP THIS PODCAST GOING BY BECOMING A MONTHLY PATRON. JUST CLICK THE LINK BELOW.   https://patron.podbean.com/theundrapedartist  _________________________________________________________________________   FOLLOW THE PODCAST ON INSTAGRAM, FACEBOOK AND YOUTUBE:   https://www.instagram.com/THEUNDRAPEDARTIST/   https://www.facebook.com/people/The-Undraped-Artist-Podcast/100083157287362/   https://www.youtube.com/@theundrapedartist __________________________________________________________________________   FOLLOW THE HOST, JEFF HEIN:   Jeffhein.com    https://www.facebook.com/jeffrey.hein.16/   https://www.instagram.com/jeff_hein_art/   https://www.instagram.com/jeff_hein_studio/ 

PODCAST BIOS   WEBSITE: https://jamesgurney.com   INSTAGRAM: https://www.instagram.com/jamesgurneyart/   YOUTUBE: https://www.youtube.com/@JamesGurney     Born in California in 1958, the son of a mechanical engineer, he taught himself to draw by reading books about the illustrators Norman Rockwell and Howard Pyle. He studied archaeology at the University of California at Berkeley, receiving a degree in anthropology with Phi Beta Kappa honors. Prompted by a cross-country adventure on freight trains, he coauthored The Artist's Guide to Sketching in 1982. During the same period, he worked as a background painter for the animated film Fire and Ice, co-produced by Ralph Bakshi and Frank Frazetta. His freelance illustration career began with paperback book covers, where he developed his characteristic realistic renderings of fantastic scenes, often using posed models and handmade maquettes for reference. His has worked on more than a dozen assignments for National Geographic magazine, painting reconstructions of Moche, Kushite, and Etruscan civilizations. The inspiration that came from researching these scenes of ancient life led to a series of lost world paintings, including ”Dinosaur Parade” and ”Waterfall City.” With the encouragement of retired publishers Ian and Betty Ballantine, he committed two years' time to writing and illustrating Dinotopia: A Land Apart from Time, which was published in 1992. Solo exhibitions of his artwork have been presented at The Smithsonian Institution, The Norman Rockwell Museum, The Norton Museum of Art, The Delaware Art Museum, and other venues. He is a popular lecturer at art schools, movie studios and game companies, and he teaches occasional workshops. His  book, Color and Light: A Guide for the Realist Painter (2010) was Amazon's #1 bestselling book on painting for over 52 weeks and is based on his daily blog gurneyjourney.blogspot.com.   _________________________________________________________________________   THANKS TO OUR SPONSORS:   ROSEMARY BRUSHES  https://www.rosemaryandco.com     HEIN ATELIER  https://heinatelier.com/   _________________________________________________________________________   PLEASE CONSIDER HELPING TO KEEP THIS PODCAST GOING BY BECOMING A MONTHLY PATRON. JUST CLICK THE LINK BELOW.   https://patron.podbean.com/theundrapedartist  _________________________________________________________________________   FOLLOW THE PODCAST ON INSTAGRAM, FACEBOOK AND YOUTUBE:   https://www.instagram.com/THEUNDRAPEDARTIST/   https://www.facebook.com/people/The-Undraped-Artist-Podcast/100083157287362/   https://www.youtube.com/@theundrapedartist __________________________________________________________________________   FOLLOW THE HOST, JEFF HEIN:   Jeffhein.com    https://www.facebook.com/jeffrey.hein.16/   https://www.instagram.com/jeff_hein_art/   https://www.instagram.com/jeff_hein_studio/ 

What you'll learn in this episode:   What jewelry can tell us about the aesthetics and values of a particular era. Why sustainability in the jewelry industry is essential, and why the definition of “sustainable” is much broader than we might think. Why maintaining purpose is the key to making our world and our creative work better. Why the term “ethical jewelry” is less about materials and more about our choices as consumers and makers. How Lisa decides which topics deserve attention at Initiatives in Art and Culture's conferences.   About Lisa Koenigsberg   Lisa Koenigsberg is President and Founder, Initiatives in Art and Culture (IAC) and an internationally recognized thought-leader in visual culture. Koenigsberg's work is characterized by commitment to authenticity, artisanry, materials, sustainability, and responsible practice. Over 20 years ago, she established IAC's multi-disciplinary conference series on visual culture and has since been responsible for launching its web-based webinars and other offerings. She has held leadership positions at NYU where she also served on the faculty, at several major museums, and at the New York City Landmarks Preservation Commission.   Koenigsberg's writings have appeared in such books as The Art of Collecting (ed. D. Jensen), Auspicious Vision: Edward Wales Root and American Modernism, Architecture: A Place for Women (eds. E. P. Berkeley and M. McQuaid), The Gilded Edge: The Art of the Frame (ed. E. Wilner), in journals such as Gems and Jewellery (the publication of the Gemmological Association of Great Britain), American Art Journal, Proceedings of the American Antiquarian Society, and Journal of the Society of Architectural Historians, as well as in magazines and in Trendvision's Trendbook.   A frequent speaker, she has also organized symposia and special sessions at universities, museums, and professional organizations throughout the US and abroad, including at the State Art Collections of Dresden, NYU, City University Graduate Center, the Smithsonian Institution, the Norton Museum of Art, and the United Nations, and has organized and chaired sessions at the American Association of Museums, the Goldsmiths Company (London), the Society of Architectural Historians, Yale University Art Gallery, the Aspen Institute, and the Jewelry Industry Summit and at JCK.   She holds graduate degrees from The Johns Hopkins University and from Yale University from which she received her PhD. She is president of the Board of the Morris–Jumel Museum, a trustee of Glessner House in Chicago, and is a member of the Advisory Board of Ethical Metalsmiths and of the board of the NY Silver Society.   Additional Resources: Initiatives in Art and Culture Instagram Initiatives in Art and Culture Facebook Initiatives in Art and Culture Linkedin Initiatives in Art and Culture Linktr.ee Lisa Koenigsberg Linkedin   Photos are available on TheJewelryJourney.com     Transcript: What is sustainable jewelry? According to Lisa Koenigsberg, it's about much more than the materials used. As founder of Initiatives in Art and Culture (IAC), Lisa has organized dozens of conferences to encourage people to explore sustainability, stores of value, visual culture and more, all through the lens of jewelry. She joined the Jewelry Journey Podcast to talk about what visual culture is and why it's significant; what it means for makers and jewelry professionals to maintain purpose; and what we can expect from IAC's upcoming conferences. Read the episode transcript here. Sharon: Hello everyone. Welcome to the Jewelry Journey Podcast. This is the first part of a two-part episode. Please make sure you subscribe so you can hear part two as soon as it's released later this week. Today, my guest is Lisa Koenigsberg speaking to us from New York and environs back east. She is the founder of Initiatives in Art and Culture, which is focused on a number of issues such as women in western art. There's also a conference, which I just noticed, on arts and crafts in the art world. She is an internationally recognized authority on material culture. This July, she is chairing an important conference called “Maintaining Purpose” with a focus on how to make something we all love, jewelry. We'll learn more about her jewelry journey today and hear more about the conference. I didn't go into all the details of the conference and her background because it would take too long. Lisa, welcome to the program. Lisa: Thank you. It's so nice to be here. Sharon: Tell us about your jewelry journey. Were you a jeweler? Were you educated as a jeweler? Lisa: No, I am not a jeweler. I am the child of two people who are very object-driven and, of course, a mother with extraordinary taste. But in terms of how you might say I studied jewelry, jewelry was part of what we looked at when thinking about—a term I find not felicitous, but I'll use it for the moment—decorative arts, so fitting into the range of the useful and the beautiful. Silver, for example. Jewelry certainly had a space there, and that was the earliest point for me that was non-life-driven. One of the great blessings that happened to me was that I did my graduate work at Yale. That was when the arts and crafts movement wasn't codified in the same way it is now. We sat around and talked about it in the back room of the American Arts office. There were objects there, and we had the opportunity to hold, see, explore. At the time, I also used to wash silver and jewelry for an extraordinary dealer who wrote a wonderful book, Rosalie Roberian. One of the things that did was give me a sense of weight, dimension, proportion, of engaging closely with materiality. Although the arts and crafts is one dimension, I think that illustrates well one of the things that has been so important for me, which is looking for the opportunity to hold, the opportunity to talk with makers. For example, every year, The Goldsmiths' Company in the U.K. does something called the Goldsmiths' Fair. At the Goldsmiths' Fair, there is one week with 67 or so makers. During that time, you can go and speak with any of the makers, explore the work in your hand, look closely at it. I think the journey of looking is probably one of the most important things. I've been interested in jewelry as a manifestation of the aesthetic of any era for a very long time as well. My background and training are cross-disciplinary. I'm an American studies person. For me, one of the things I always look for is what we are seeing as characteristic of an age, for example. I see jewelry as very much a part of the tangible expressions of an era. For example, if you're talking about a brooch, you can be working on a sculpture for the body, similarly with neckwear. It's one of the most intriguing forms of expression there is. Making jewelry, the impulse to craft out of whatever the culture sees as precious material, is one of the innate impulses we have, along with the urge to adorn. If you step back and think about it, jewelry is intertwined with so many events of state, events of faith, events of heart. The Pope, for example, wears the Fisherman's Ring, and at the passing of each Pope, that ring is shattered; a new ring is made. We're all currently fixated on the crown jewels as Charles' coronation comes up. All of that is actually jewelry. It's jewelry indicative of state, of lineage, obviously of aesthetics. The band that many of us wear on one left or right ring finger, as simple or as elaborate as it may be, that is jewelry. It's a signifier. It's also invested with tremendous emotion. Jewelry plays an enormously powerful role in culture. It's another kind of historical document. So, if we look at jewelry, we can learn things. For example, you can explore the kinds of ornament it was thought only men wore, but by actually going back and looking, as it was done in the exhibition “Golden Kingdoms,” you can see that women also wore certain kinds of major ceremonial ornament. You can learn from the inscriptions. You can learn about stylistic transmission from the aesthetics. One of the things we don't think about so much is what we leave behind. When we go and look at how we have explored previous cultures, past cultures, one of the things we see is that the documents are often what have been termed luxury arts. They are art that are made of objects that are deemed precious within a culture. They demonstrate a certain egis over resources and talent, but they also serve as documents of that culture. They tell us things about religion, about aesthetics, about faith, about ritual. We need to be thinking about that with regard to jewelry in our own age as well. What are we leaving behind? Sharon: You cover so many things in Initiatives in Art and Culture. You talk about gems and sustainability and art. It's so many things. How did you start this, and what is the conference about? Lisa: I founded Initiatives in Art and Culture in 2004. One of the reasons it was started is because I had developed a series of conferences that had, at their core, a concern for visual culture. What does visual culture tell you? Because there is much to be learned about materiality. What's it made of? How do we get those materials? And that opens the door to discussing sustainability. Then, what's done with those materials? What are the forms? What are the means of expression, whether it's three-dimensional, such as a ring, or two-dimensional, except that it really has a third dimension, however subtle it may be. So, within the category of good, better or best, what differentiates an object from another? Then taking it a step further, what does that object mean in terms of the way we use it, in terms of its place in society, in terms of what it says? Beyond that, how is it linked to the time, or does it presage the future in some way? I'm sure I've left out some foci related to political and social concerns, but it's that wholeness that is inherent in visual culture. That is the focus of what IAC does. We have deep commitment to artistry and materials as well as a commitment to responsible practice. Sharon: Several questions. Were you always interested in all of this, or is it something your professors taught you and you learned as you read? It's not the way I would look at something. I think it's really interesting. How did you start looking at this? Lisa: I was born into a family that was and remains very visually engaged and involved with art, very involved with looking. Well before I had what one might think of as a professor, I had my parents, who in effect included me in their world of looking from moment one. My experience of art, of objects, has been part of my life since the very beginning. For us, a shared experience was very often looking, whether it was going to an exhibition or a trip planned specifically to see certain things. This was very much part of my world, or the world I was lucky enough to be born into. That included the people that were friends of my parents, and that included curators and collectors and people who were very engaged in the world of looking. My mother herself is a very well-recognized either fiber artist or artist who does sculpture using wire to explore grid and void. I say that to avoid the nomenclature wars. I was very lucky to have some extraordinary teachers, but one of the best teachers I had was in high school. We reenacted the Ruskin Whistler trial. I was the attorney for Ruskin, so I had to know all about each one of the witnesses, each one of the people who appeared and testified in the trial, and that made art come alive in a way that was exceptional. Another thing was that during those years, there was something called the myth and image school. It's the idea that an era has emblems that are representative, that are invested with particular meaning. There may be a flip side to that emblem or a parallel that represents its opposite, but this idea, one which is very cross-disciplinary and often ranges through literature and art, was incredibly formative for me. This is the stuff my teachers exposed me to when I was 13, 14. I was reading these books because they had read them in school, in college, and they shared them with us. For me, going to university—I went to Johns Hopkins and did a BA/MA in history—it was, on the one hand, a new chapter and transformative, but on the other hand, it was in some ways a continuation of what I had been doing all the way along. Sharon: Correct me if I'm wrong, but it seems like—I've watched your conferences for a long time, and it seems that you focus on art and gems and other things. This idea of maintaining purpose and an emphasis on sustainability seems to be in the last few years. Am I incorrect? Do you just put on a conference when you think it's a really important subject and it's coming to the fore? Lisa: Sustainability is a dicey word when it comes to what exactly that means. At root, it is to survive, but in our thinking, sustainability is linked to responsible practice, which can involve how you source materials, how you make an object, what the circumstances and conditions of that making are. We actually have been interested in that since the first project. It was called “Green,” and it was in 2008. The reason that happened was there was an increasing concern with what was then called sustainability, which was often associated with the color green. We had something I definitely want to revive, which is a conference of 20 years of looking at fashion jewels, the zeitgeist of culture, photography, literature, etc. This term sustainability was being used, green was being used, and one of the things I didn't want to do was a superficial one-off. So, we decided that for the 10th year—I think it was the 10th year—of that conference, we would do something called “Green: Sustainability, Significance, and Style.” In that conference we looked at color, of course; we even looked at green diamonds, but we also looked at coral and organic material that's made into jewelry. The issues pertaining to coral were at peak interest at that point, and we did quite a lot in that conference with gold. That was the first time I worked with Toby Pomeroy, with whom I've been fortunate enough to be both friends and colleagues since then. At that point, Toby had done something that was then radical, which was to approach the refiner Hoover & Strong to see if it could be demonstrated that the materials, the scrap, that he came in with was the only material that was in the batch that was refined and that it remained segregated from everything else. That was what you might call an exploration in chain of custody, in the sense that he had a sense of origin of these materials and he wanted to ensure that he could attest to their integrity. Hoover & Strong met the challenge. At that point, Toby was making quite a lot of jewelry, and there was a term that was being used called Eco Loops. Toby has since gone on to do remarkable work with regard to mercury elimination, and he will be involved in the conference, “Maintaining Purpose,” that we are doing. With “Maintaining Purpose”—and actually with the “Green” conference, we had Mike Kowalski, who was then the chair of Tiffany, involved in the conference. There was a great deal of focus on things like land reclamation and after-mining and that sort of thing. Having said that, one thing I'd like to stress is that one of our speakers, who at that point was the head of Bono's RED, got up and said, “I know you're all wondering, ‘What's a red person doing at a green conference?'” I felt as if I had been hit over the head with pipe, because I had never thought about environmental sustainability or integrity as being isolated from social condition and well-being. Now, when you look at the 17 SDG, you'll see so many different issues broken out, but one of the things I thought was, “Gosh, we've got to do red now,” because this is a split I wasn't thinking about or perceiving. Green and red basically led to the creation of a conference. Our initial thinking was to do a conference that would look at precious substances. We did a coral conference; we did a diamond conference, which we were very privileged to do. We had wonderful support from Sally Morrison for that project. Then I woke up and realized we had never done gold, so effectively what happened is that the conference on precious substances became the Gold Conference. The Gold Conference is now entering its 13th year. We broadened gold to include gold and diamonds because we wanted to draw people's attention to stores of value, which these materials are, and also comparative approaches to things like mining, whether it's formalized or otherwise. And also because, of course, metal and stone go together. That's not to say we do not explore and include focus on other stones. We're very proud that Cruzeiro Mines, which is a tourmaline and rubellite mine from Brazil that has exemplary practices and absolutely beautiful stones, is participating in this year's conference. But the way the Gold and Diamond Conference evolved was it came to use jewelry as a lens for a 360-degree approach to the life and the issues associated with the material in question. On the one hand, you have great artistry, like Giovanni Corvaja. We were privileged to have Daniel Brush speak, whose loss I feel keenly. Every year we welcome wonderful jewelers. At the same time, we think about the issues related to extracting material or recycling material and what those words mean. What is recycling? We have repurposed since the dawn of time, so what gives something that halo of recycling? Do we have to think about what we're using? And, of course, jewelry is a created object. What are the environmental ramifications of extracting, creating the jewelry business writ large? Often in our heads, we think about jewelry and we see a craftsperson, a maker. That aspect of things is very dear to our hearts, and we're keenly interested in artisanry. At the same time, you have other aspects to this jewelry industry, large corporations that produce for particular market segments. You have the luxe maison. In some ways, they're all compatriots in a world, in other ways competitors in a world, and yet bound together by a common concern for ensuring that this world we have continues. Without this world, without this air, without this earth, we are nothing. We can't make anything. We have effaced ourselves. I think there is a point of critical mass that's been reached where there is a deep and general concern. One of the things I fear and that I hope I can help with is building community to encourage people to keep going forward despite the fears that we may have about doing something a different way. Last year our conference was “Boldly Building the Future.” How do you boldly build the future? We have many declarations that have been stated about gold, for example. There was a declaration drafted and shepherded through for the gold industry by LBMA and the World Gold Council. They have principles. Principles are not blueprints. How do you get from that vision, the abstract vision, to its implementation? How do you transform? We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out.

What you'll learn in this episode:   What jewelry can tell us about the aesthetics and values of a particular era. Why sustainability in the jewelry industry is essential, and why the definition of “sustainable” is much broader than we might think. Why maintaining purpose is the key to making our world and our creative work better. Why the term “ethical jewelry” is less about materials and more about our choices as consumers and makers. How Lisa decides which topics deserve attention at Initiatives in Art and Culture's conferences.   About Lisa Koenigsberg   Lisa Koenigsberg is President and Founder, Initiatives in Art and Culture (IAC) and an internationally recognized thought-leader in visual culture. Koenigsberg's work is characterized by commitment to authenticity, artisanry, materials, sustainability, and responsible practice. Over 20 years ago, she established IAC's multi-disciplinary conference series on visual culture and has since been responsible for launching its web-based webinars and other offerings. She has held leadership positions at NYU where she also served on the faculty, at several major museums, and at the New York City Landmarks Preservation Commission.   Koenigsberg's writings have appeared in such books as The Art of Collecting (ed. D. Jensen), Auspicious Vision: Edward Wales Root and American Modernism, Architecture: A Place for Women (eds. E. P. Berkeley and M. McQuaid), The Gilded Edge: The Art of the Frame (ed. E. Wilner), in journals such as Gems and Jewellery (the publication of the Gemmological Association of Great Britain), American Art Journal, Proceedings of the American Antiquarian Society, and Journal of the Society of Architectural Historians, as well as in magazines and in Trendvision's Trendbook.   A frequent speaker, she has also organized symposia and special sessions at universities, museums, and professional organizations throughout the US and abroad, including at the State Art Collections of Dresden, NYU, City University Graduate Center, the Smithsonian Institution, the Norton Museum of Art, and the United Nations, and has organized and chaired sessions at the American Association of Museums, the Goldsmiths Company (London), the Society of Architectural Historians, Yale University Art Gallery, the Aspen Institute, and the Jewelry Industry Summit and at JCK.   She holds graduate degrees from The Johns Hopkins University and from Yale University from which she received her PhD. She is president of the Board of the Morris–Jumel Museum, a trustee of Glessner House in Chicago, and is a member of the Advisory Board of Ethical Metalsmiths and of the board of the NY Silver Society.   Additional Resources: Initiatives in Art and Culture Instagram Initiatives in Art and Culture Facebook Initiatives in Art and Culture Linkedin Initiatives in Art and Culture Linktr.ee Lisa Koenigsberg Linkedin   Photos are available on TheJewelryJourney.com   Transcript:   What is sustainable jewelry? According to Lisa Koenigsberg, it's about much more than the materials used. As founder of Initiatives in Art and Culture (IAC), Lisa has organized dozens of conferences to encourage people to explore sustainability, stores of value, visual culture and more, all through the lens of jewelry. She joined the Jewelry Journey Podcast to talk about what visual culture is and why it's significant; what it means for makers and jewelry professionals to maintain purpose; and what we can expect from IAC's upcoming conferences. Read the episode transcript here.    Sharon: Hello everyone. Welcome to the Jewelry Journey Podcast. This is the first part of a two-part episode. Please make sure you subscribe so you can hear part two as soon as it's released later this week.    Today, my guest is Lisa Koenigsberg speaking to us from New York and environs back east. She is the founder of Initiatives in Art and Culture, which is focused on a number of issues such as women in western art. There's also a conference, which I just noticed, on arts and crafts in the art world. She is an internationally recognized authority on material culture. This July, she is chairing an important conference called “Maintaining Purpose” with a focus on how to make something we all love, jewelry. We'll learn more about her jewelry journey today and hear more about the conference. I didn't go into all the details of the conference and her background because it would take too long. Lisa, welcome to the program.   Lisa: Thank you. It's so nice to be here.   Sharon: Tell us about your jewelry journey. Were you a jeweler? Were you educated as a jeweler?   Lisa: No, I am not a jeweler. I am the child of two people who are very object-driven and, of course, a mother with extraordinary taste. But in terms of how you might say I studied jewelry, jewelry was part of what we looked at when thinking about—a term I find not felicitous, but I'll use it for the moment—decorative arts, so fitting into the range of the useful and the beautiful. Silver, for example. Jewelry certainly had a space there, and that was the earliest point for me that was non-life-driven.    One of the great blessings that happened to me was that I did my graduate work at Yale. That was when the arts and crafts movement wasn't codified in the same way it is now. We sat around and talked about it in the back room of the American Arts office. There were objects there, and we had the opportunity to hold, see, explore. At the time, I also used to wash silver and jewelry for an extraordinary dealer who wrote a wonderful book, Rosalie Roberian. One of the things that did was give me a sense of weight, dimension, proportion, of engaging closely with materiality. Although the arts and crafts is one dimension, I think that illustrates well one of the things that has been so important for me, which is looking for the opportunity to hold, the opportunity to talk with makers. For example, every year, The Goldsmiths' Company in the U.K. does something called the Goldsmiths' Fair. At the Goldsmiths' Fair, there is one week with 67 or so makers. During that time, you can go and speak with any of the makers, explore the work in your hand, look closely at it. I think the journey of looking is probably one of the most important things.    I've been interested in jewelry as a manifestation of the aesthetic of any era for a very long time as well. My background and training are cross-disciplinary. I'm an American studies person. For me, one of the things I always look for is what we are seeing as characteristic of an age, for example. I see jewelry as very much a part of the tangible expressions of an era. For example, if you're talking about a brooch, you can be working on a sculpture for the body, similarly with neckwear. It's one of the most intriguing forms of expression there is. Making jewelry, the impulse to craft out of whatever the culture sees as precious material, is one of the innate impulses we have, along with the urge to adorn.    If you step back and think about it, jewelry is intertwined with so many events of state, events of faith, events of heart. The Pope, for example, wears the Fisherman's Ring, and at the passing of each Pope, that ring is shattered; a new ring is made. We're all currently fixated on the crown jewels as Charles' coronation comes up. All of that is actually jewelry. It's jewelry indicative of state, of lineage, obviously of aesthetics. The band that many of us wear on one left or right ring finger, as simple or as elaborate as it may be, that is jewelry. It's a signifier. It's also invested with tremendous emotion.    Jewelry plays an enormously powerful role in culture. It's another kind of historical document. So, if we look at jewelry, we can learn things. For example, you can explore the kinds of ornament it was thought only men wore, but by actually going back and looking, as it was done in the exhibition “Golden Kingdoms,” you can see that women also wore certain kinds of major ceremonial ornament. You can learn from the inscriptions. You can learn about stylistic transmission from the aesthetics.    One of the things we don't think about so much is what we leave behind. When we go and look at how we have explored previous cultures, past cultures, one of the things we see is that the documents are often what have been termed luxury arts. They are art that are made of objects that are deemed precious within a culture. They demonstrate a certain egis over resources and talent, but they also serve as documents of that culture. They tell us things about religion, about aesthetics, about faith, about ritual. We need to be thinking about that with regard to jewelry in our own age as well. What are we leaving behind?   Sharon: You cover so many things in Initiatives in Art and Culture. You talk about gems and sustainability and art. It's so many things. How did you start this, and what is the conference about?   Lisa: I founded Initiatives in Art and Culture in 2004. One of the reasons it was started is because I had developed a series of conferences that had, at their core, a concern for visual culture. What does visual culture tell you? Because there is much to be learned about materiality. What's it made of? How do we get those materials? And that opens the door to discussing sustainability. Then, what's done with those materials? What are the forms? What are the means of expression, whether it's three-dimensional, such as a ring, or two-dimensional, except that it really has a third dimension, however subtle it may be. So, within the category of good, better or best, what differentiates an object from another? Then taking it a step further, what does that object mean in terms of the way we use it, in terms of its place in society, in terms of what it says? Beyond that, how is it linked to the time, or does it presage the future in some way? I'm sure I've left out some foci related to political and social concerns, but it's that wholeness that is inherent in visual culture. That is the focus of what IAC does. We have deep commitment to artistry and materials as well as a commitment to responsible practice.   Sharon: Several questions. Were you always interested in all of this, or is it something your professors taught you and you learned as you read? It's not the way I would look at something. I think it's really interesting. How did you start looking at this?   Lisa: I was born into a family that was and remains very visually engaged and involved with art, very involved with looking. Well before I had what one might think of as a professor, I had my parents, who in effect included me in their world of looking from moment one. My experience of art, of objects, has been part of my life since the very beginning. For us, a shared experience was very often looking, whether it was going to an exhibition or a trip planned specifically to see certain things. This was very much part of my world, or the world I was lucky enough to be born into. That included the people that were friends of my parents, and that included curators and collectors and people who were very engaged in the world of looking. My mother herself is a very well-recognized either fiber artist or artist who does sculpture using wire to explore grid and void. I say that to avoid the nomenclature wars.    I was very lucky to have some extraordinary teachers, but one of the best teachers I had was in high school. We reenacted the Ruskin Whistler trial. I was the attorney for Ruskin, so I had to know all about each one of the witnesses, each one of the people who appeared and testified in the trial, and that made art come alive in a way that was exceptional. Another thing was that during those years, there was something called the myth and image school. It's the idea that an era has emblems that are representative, that are invested with particular meaning. There may be a flip side to that emblem or a parallel that represents its opposite, but this idea, one which is very cross-disciplinary and often ranges through literature and art, was incredibly formative for me. This is the stuff my teachers exposed me to when I was 13, 14. I was reading these books because they had read them in school, in college, and they shared them with us. For me, going to university—I went to Johns Hopkins and did a BA/MA in history—it was, on the one hand, a new chapter and transformative, but on the other hand, it was in some ways a continuation of what I had been doing all the way along.    Sharon: Correct me if I'm wrong, but it seems like—I've watched your conferences for a long time, and it seems that you focus on art and gems and other things. This idea of maintaining purpose and an emphasis on sustainability seems to be in the last few years. Am I incorrect? Do you just put on a conference when you think it's a really important subject and it's coming to the fore?   Lisa: Sustainability is a dicey word when it comes to what exactly that means. At root, it is to survive, but in our thinking, sustainability is linked to responsible practice, which can involve how you source materials, how you make an object, what the circumstances and conditions of that making are. We actually have been interested in that since the first project. It was called “Green,” and it was in 2008. The reason that happened was there was an increasing concern with what was then called sustainability, which was often associated with the color green. We had something I definitely want to revive, which is a conference of 20 years of looking at fashion jewels, the zeitgeist of culture, photography, literature, etc. This term sustainability was being used, green was being used, and one of the things I didn't want to do was a superficial one-off.    So, we decided that for the 10th year—I think it was the 10th year—of that conference, we would do something called “Green: Sustainability, Significance, and Style.” In that conference we looked at color, of course; we even looked at green diamonds, but we also looked at coral and organic material that's made into jewelry. The issues pertaining to coral were at peak interest at that point, and we did quite a lot in that conference with gold.    That was the first time I worked with Toby Pomeroy, with whom I've been fortunate enough to be both friends and colleagues since then. At that point, Toby had done something that was then radical, which was to approach the refiner Hoover & Strong to see if it could be demonstrated that the materials, the scrap, that he came in with was the only material that was in the batch that was refined and that it remained segregated from everything else. That was what you might call an exploration in chain of custody, in the sense that he had a sense of origin of these materials and he wanted to ensure that he could attest to their integrity. Hoover & Strong met the challenge. At that point, Toby was making quite a lot of jewelry, and there was a term that was being used called Eco Loops. Toby has since gone on to do remarkable work with regard to mercury elimination, and he will be involved in the conference, “Maintaining Purpose,” that we are doing.    With “Maintaining Purpose”—and actually with the “Green” conference, we had Mike Kowalski, who was then the chair of Tiffany, involved in the conference. There was a great deal of focus on things like land reclamation and after-mining and that sort of thing. Having said that, one thing I'd like to stress is that one of our speakers, who at that point was the head of Bono's RED, got up and said, “I know you're all wondering, ‘What's a red person doing at a green conference?'” I felt as if I had been hit over the head with pipe, because I had never thought about environmental sustainability or integrity as being isolated from social condition and well-being. Now, when you look at the 17 SDG, you'll see so many different issues broken out, but one of the things I thought was, “Gosh, we've got to do red now,” because this is a split I wasn't thinking about or perceiving. Green and red basically led to the creation of a conference.    Our initial thinking was to do a conference that would look at precious substances. We did a coral conference; we did a diamond conference, which we were very privileged to do. We had wonderful support from Sally Morrison for that project. Then I woke up and realized we had never done gold, so effectively what happened is that the conference on precious substances became the Gold Conference. The Gold Conference is now entering its 13th year. We broadened gold to include gold and diamonds because we wanted to draw people's attention to stores of value, which these materials are, and also comparative approaches to things like mining, whether it's formalized or otherwise. And also because, of course, metal and stone go together. That's not to say we do not explore and include focus on other stones. We're very proud that Cruzeiro Mines, which is a tourmaline and rubellite mine from Brazil that has exemplary practices and absolutely beautiful stones, is participating in this year's conference.    But the way the Gold and Diamond Conference evolved was it came to use jewelry as a lens for a 360-degree approach to the life and the issues associated with the material in question. On the one hand, you have great artistry, like Giovanni Corvaja. We were privileged to have Daniel Brush speak, whose loss I feel keenly. Every year we welcome wonderful jewelers. At the same time, we think about the issues related to extracting material or recycling material and what those words mean. What is recycling? We have repurposed since the dawn of time, so what gives something that halo of recycling? Do we have to think about what we're using? And, of course, jewelry is a created object. What are the environmental ramifications of extracting, creating the jewelry business writ large? Often in our heads, we think about jewelry and we see a craftsperson, a maker. That aspect of things is very dear to our hearts, and we're keenly interested in artisanry. At the same time, you have other aspects to this jewelry industry, large corporations that produce for particular market segments. You have the luxe maison.    In some ways, they're all compatriots in a world, in other ways competitors in a world, and yet bound together by a common concern for ensuring that this world we have continues. Without this world, without this air, without this earth, we are nothing. We can't make anything. We have effaced ourselves. I think there is a point of critical mass that's been reached where there is a deep and general concern. One of the things I fear and that I hope I can help with is building community to encourage people to keep going forward despite the fears that we may have about doing something a different way. Last year our conference was “Boldly Building the Future.” How do you boldly build the future? We have many declarations that have been stated about gold, for example. There was a declaration drafted and shepherded through for the gold industry by LBMA and the World Gold Council. They have principles. Principles are not blueprints. How do you get from that vision, the abstract vision, to its implementation? How do you transform?   We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out. 

Our beloved guest host and artist, Elisabeth Condon, and her series "Elisabeth Condon Describes a Painting!" are back for a new installment! This time Elisabeth chose to describe Joseph Stella's oil on canvas painting "Tree of My Life" from 1919 that she saw at The Norton Museum in "Joseph Stella: Visionary Nature." The show is traveling next to the High Museum and to the Brandywine Museum. It was an honor to have Elisabeth's wild and wonderful way of looking at painting again on the pod. See "Joseph Stella: Visionary Nature" in person/online: Norton Museum (since closed): https://tinyurl.com/yhv3paaw High Museum (Feb-May 2023): https://tinyurl.com/szewk7f8 Brandywine Museum of Art (June-Sept 2023): https://tinyurl.com/yry6cry4 Barbara Rose's 1997 Essay "Flora" on Joseph Stella: https://www.tfaoi.org/aa/7aa/7aa792.htm Joseph Stella works mentioned: "Tree of My Life," "The Voice of the City of New York Interpreted," "Brooklyn Bridge," "Battle of Lights, Coney Island" More About Elisabeth Condon: Web: https://www.elisabethcondon.com/ | IG: @elisabethcondon Solo at Emerson Dorsch Gallery late 2023: https://emersondorsch.com/artist/elisabeth-condon/ Florida Art in State Buildings/Univ of South Fla, May 2023: https://tinyurl.com/5n8ycr8m Painting at Freight & Volume Gallery: http://www.freightandvolume.com/ Artists Mentioned: Philip Guston, 4 Gentlemen of the Orchid, Bamboo, Chrysanthemum & Plum, Chinese Scroll Painting, Charles Burchfield, Odilon Redon, Paul Gauguin's "Vision and the Sermon," Hieronymus Bosch, Dziga Vertov's "Man with a Movie Camera," Marcel Duchamp's "Fountain," Agnes Pelton, Henri Rousseau's Paris paintings, Umberto Boccioni & the Italian Futurists, Precisionists: Sheeler, Demuth & Schamberg, Patrick Henry Bruce, Diego Velázquez, Rembrandt, William Merritt Chase, Robert Henri, Alfred Stieglitz, Georgia O'Keeffe, Marsden Hartley Writers mentioned: Barbara Rose, Immanuel Kant, Gaston Bachelard's "Poetics of Space," Henri-Louis Bergson, Lewis Mumford, Walter Conrad Arensberg, Gertrude Stein, Maurice Tuchman Eps mentioned: #38 (Elisabeth Condon Describes a Painting #1) and #15 (Review of "Spiritual in Art: Abstract Painting 1890-1985") ---------------------------- Pep Talks on IG: @peptalksforartists Pep Talks on Art Spiel as written essays: https://tinyurl.com/7k82vd8s Amy's Interview on Two Coats of Paint: https://tinyurl.com/2v2ywnb3 Amy's website: https://www.amytalluto.com/ Amy on IG: @talluts Buy Me a Coffee Donations appreciated! --- Send in a voice message: https://anchor.fm/peptalksforartistspod/message Support this podcast: https://anchor.fm/peptalksforartistspod/support

Happy Monday, Alchemists! This conversation highlights why representation matters, the power of touch, dismantling the stigmas around counseling and acknowledging when we need help! I'm always amazed and thankful to hear stories of what led people into this work. Not only is it inspiring, but also reminds us that we're not the only ones seeking a return to grace, love and understanding. Our stories also amplify the generosity and compassion of spirit that seeks to support others. Today's guest shares a gorgeous story, blending art and Reiki as lineages of healing. Kianga Jinaki is a fiber-artist who creates quilts, dolls and mixed-media works that honor Black life and culture. Her works have been been exhibited both nationally and internationally since 1991. Ms Jinaki is a 2022 recipient of the Artist Innovation Fellowship presented by the Cultural Council of Palm Beach county Florida. A teaching artist, Kianga has worked with The Norton Museum, Spady Museum, the African American Resource Library & Cultural Center, Palm Beach & Broward county library systems providing artistic/cultural programs for the communities they serve. One of her greatest joys as an artist is working with community members to tap into their own creative rhythm. I had the pleasure of meeting Kianga during last year's annual Melanated Reiki Healers Conference. To learn more about her work, be sure to visit http://kiangaart.com and follow her on IG @kiangaart_gallery Be sure to subscribe to this podcast and learn more about Yolanda, The Energetic Alchemist, at http://theenergeticalchemist.com - and get your limited edition Energetic Alchemist Oracle Deck! Follow on IG @reikiradio

Happy Monday, Alchemists! I'm always amazed and thankful to hear stories of what led people into this work. Not only is it inspiring, but also reminds us that we're not the only ones seeking a return to grace, love and understanding. Our stories also amplify the generosity and compassion of spirit that seeks to support others. Today's guest shares a gorgeous story, blending art and Reiki as lineages of healing. Kianga Jinaki is a fiber-artist who creates quilts, dolls and mixed-media works that honor Black life and culture. Her works have been been exhibited both nationally and internationally since 1991. Ms Jinaki is a 2022 recipient of the Artist Innovation Fellowship presented by the Cultural Council of Palm Beach county Florida. A teaching artist, Kianga has worked with The Norton Museum, Spady Museum, the African American Resource Library & Cultural Center, Palm Beach & Broward county library systems providing artistic/cultural programs for the communities they serve. One of her greatest joys as an artist is working with community members to tap into their own creative rhythm. I had the pleasure of meeting Kianga during last year's annual Melanated Reiki Healers Conference. To learn more about her work, be sure to visit http://kiangaart.com and follow her on IG @kiangaart_gallery Be sure to subscribe to this podcast and learn more about Yolanda, The Energetic Alchemist, at http://theenergeticalchemist.com - and get your limited edition Energetic Alchemist Oracle Deck! Follow on IG @reikiradio

Talked with Meredith Gregory, Director of School and Teacher programs at the Norton Museum of Art. They offer a wide variety of programs for students/teachers. (free admission for teachers) K-12 grades can explore art at the Norton that connects with Florida State Standards. There are guided tours, virtual tours, home school tours, self-guided school tours. Some of the themes tours are, "learning to look", stories in art, steam tour along with two new exhibitions, A Personal View on High Fashion & Street Style: Photographs from the Nicola Erni Collection, 1930s to Now and Joseph Stella: Visionary Nature. To get info teachers can email schools@norton.org. The Norton also has tours of the sculpture garden, Art After Dark, Drum Circle, Yappy Saturday (guest can bring their dog outside) as well as lots of exhibitions in addition to the main Norton collection. They are also doing a promo with Brightline (you can use your ticket stub for free admission - limited time offer). For more info on programs, membership, donations, volunteering, hours, etc. listeners can to go www.norton.org

In episode 219 UNP founder and curator Grant Scott is in his shed reflecting on embracing experiences and life, empathy and context in photographic documentation, and protecting your legacy through your own actions. Plus this week, photographer Arne Svenson takes on the challenge of supplying Grant with an audio file no longer than 5 minutes in length in which he answer's the question ‘What Does Photography Mean to You?' Arne Svenson is a self-taught photographer with an educational and vocational background in special education, whose photographic practice aims to seek out the inner life, the essence, of his subjects, whether they be human, inanimate, or something in between. He says that he uses his camera as a reporter uses text, to create a narrative that facilitates the understanding of that which may lie hidden or obscured. In the years 2012-1016, Svenson was artist-in-residence at Wesley Spectrum High School, a program in Pittsburgh for children on the autism spectrum. In partnership with The Andy Warhol Museum and the Cognitive Psychology Department at the University of Victoria, BC, he was involved in a long-term project exploring the science of facial recognition skills with subjects on the spectrum. The resultant work was shown in its entirety at The Andy Warhol Museum. He is the author/photographer of numerous books, including Unspeaking Likeness, The Neighbors, Prisoners and Sock Monkeys and in 2016 he received the Nannen Prize in photojournalism for his project The Neighbors. Svenson's photographs have been shown extensively in the United States, Europe and Asia and are included in numerous public and private collections, including SFMOMA, Carnegie Museum of Art, Modern Art Museum of Fort Worth, Museum of Fine Arts Boston and the Norton Museum of Art. His work has been profiled in the New York Times, Artforum, Art in America and The New Yorker, among other publications. Recent solo exhibitions of his images have been held at the Museum of Contemporary Art Denver, Western Washington University, and as a two-person show with the work of Andre Kertesz at Galerie Miranda, Paris. Over the past few years Svenson has given numerous lectures in universities and museums, mostly on the issue of free speech in the arts and how this topic relates to his series The Neighbors, the subject of a protracted legal battle. He was the defendant in a lawsuit involving privacy issues and therefore uniquely qualified to speak about the ramifications of censorship and the protections guaranteed by the First Amendment. https://arnesvenson.com Dr. Grant Scott is the founder/curator of United Nations of Photography, a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, a working photographer, documentary filmmaker, BBC Radio contributor and the author of Professional Photography: The New Global Landscape Explained (Routledge 2014), The Essential Student Guide to Professional Photography (Routledge 2015), New Ways of Seeing: The Democratic Language of Photography (Routledge 2019). His film Do Not Bend: The Photographic Life of Bill Jay was first screened in 2018 www.donotbendfilm.com. He is the presenter of the A Photographic Life and In Search of Bill Jay podcasts. © Grant Scott 2022

The next generation of culinary artisans are changing up the industry. These artisans have a whole new approach to reaching and satisfying the next generation consumer. In this podcast we will explore chefs and artisans from around the world diving into their story and passion. In this episode of Chef AF, I chat with Executive Chef Jair Solis Mendoza from The Restaurant at the Norton Museum of Art about his twenty years of experience, influences on his menu and mentoring the next generation of young cooks. Chef Mendoza born in Lima, Peru, was introduced to food early on by his family's pickling business and in the kitchen. As a young boy, Chef spent time over summer break making meals for the staff and began learning the restaurant business. Over his career, Mendoza has held positions at Troquet on South in Boston, NIOS at the Muse Hotel in New York City, Area 31 in Miami and The Breakers in West Palm Beach. Chef infuses a global approach to his culinary point of view. Chef talks about the importance of mentorship and about mentoring young cooks today. He says, “to me cooking is what keeps people together and you can learn from each other and you get to experiment.” Adding, “I try to pass that along to the new newbies too and for them to understand that if you don't make mistakes you will not learn. There's no such thing as a perfect recipe. You know you need to be able to judge less, try more.” Mendoza says focus is important in the kitchen, he says, “I guess it all depends on the individual, I treat every single one of my cooks as individuals and you know everyone deserves the opportunity to get better,” I asked Mendoza about industry challenges he has faced in day-to-day business, he says, “I guess the most obvious one is just staffing, to be able to find people that are willing to work and willing to do the type of work that we do. I mean after a pandemic, we've gotten a lot of people that just never been in the industry before.” To hear about special events at The Restaurant at the Norton Museum, how an exhibition can influence the menu and get the Norton's Quiche recipe, check out this episode of Chef AF “It's All Food” or you can listen at Spotify!

William Wegman in his studio William Wegman was born in Holyoke, Massachusetts, in 1943 and received a BFA from the Massachusetts College of Art, Boston and an MFA from the University of Illinois, Urbana-Champaign. His work has been exhibited extensively in both the United States and abroad, including solo exhibitions at the Walker Art Center, Minneapolis (1982); San Francisco Museum of Modern Art (1988); Whitney Museum of American Art (1992); Museum of Fine Arts, Boston (2001); and The Art Gallery of Ontario, Toronto (2002). The retrospective “William Wegman: Funney/Strange” was held at the Brooklyn Museum, and traveled to the Smithsonian American Art Museum, Washington, D.C.; the Norton Museum of Art, Palm Beach; the Addison Gallery of American Art, Andover; and Wexner Center for the Arts, Columbus (2006-07). Since his first exhibition at Sperone Westwater in 1990, Wegman has exhibited regularly at the gallery (1992, 2003, 2006, 2012, 2016, 2017 and 2022).  The book William Wegman: Writing by Artist was edited by Andrew Lampert and published in April 2022 by Primary Information. The first collection to focus on Wegman's lengthy and deeply funny relationship to language, the book is filled with over 300 previously unknown and wildly entertaining texts, drawings, and early photographs spanning the early 1970s to the present.  William Wegman, OMG, 2021, acrylic and charcoal on wood panel, 40 x 60 inches William Wegman, Untitled ("Moths cost us millions..."), 1970-71, typewritten text on paper, 11 x 8 1/2 inches

Episode 104 features painter Lavar Munroe (b. 1982, Nassau, Bahamas). He earned his BFA from Savannah College of Art and Design in 2007 and his MFA from Washington University in 2013. In 2014, Munroe was awarded a postdoctoral research fellowship at the University of North Carolina at Chapel Hill. He was included in Prospect.4: The Lotus in Spite of The Swamp, the New Orleans triennial curated by Trevor Schoonmaker, and the 12th Dakar Biennale, curated by Simon Njami, in Senegal. In 2015, Munroe's work was featured in All the World's Futures, curated by Okwui Enwezor as part of the 56th Venice Biennale. His work has been included in museums such as the Nasher Museum of Art in Durham; Perez Art Museum, Miami; National Gallery of Bahamas, Nassau; MAXXI Museum of Art, Rome; Museum of the African Diaspora, San Francisco; Virginia Museum of Modern Art, Virginia Beach; Ichihara Lakeside Museum Ichihara, Japan; and The Drawing Center, New York. Munroe was awarded residencies at the Skowhegan School of Painting and Sculpture, MacDowell Colony, the Headlands Center for the Arts, Joan Mitchell Center, Thread: Artist Residency & Cultural Center (a project of the Josef and Anni Albers Foundation), a recipient of the Joan Mitchell Foundation Painters and Sculptors Grant. and was an inaugural Artists in Residence at the Norton Museum of Art. He is included in upcoming exhibitions at The Centre Pompidou-Metz (France) , The Zeitz Museum of Contemporary Art Africa (South Africa) and a solo exhibition in London, among others things. Lavar Munroe lives and works between Baltimore, Maryland and Nassau, Bahamas. Headshot photo credit: Thomas Towles Artist https://lavar-munroe.com/home.html Joan Mitchell foundation https://www.joanmitchellfoundation.org/lavar-munroe M+B https://www.mbart.com/exhibitions/216/overview/ Jack Bell Gallery https://www.jackbellgallery.com/artists/64-lavar-munroe/works/7963-lavar-munroe-today-the-last-boy-2020/ ArtForum https://www.artforum.com/picks/lavar-munroe-84697 Artnet http://www.artnet.com/artists/lavar-munroe/ Wikipedia https://en.wikipedia.org/wiki/Lavar_Munroe Baltimore Art News https://bmoreart.com/2021/06/lavar-munroe-2021-sondheim-finalist.html Kampala Art Biennale 2020 https://kampalabiennale.org/artists-3/masters2020/ Culture VOLT https://www.culturevolt.co/thebusinessofart/2020/9/15/lavar-munroe

Terry Haggerty was born in London, England and studied at the Cheltenham School of Art, Gloucestershire. His work has been exhibited widely in galleries and museums around the world, including solo presentations at the Norton Museum of Art, West palm Beach, FL; Modern Art Museum of Fort Worth; and Hammer Museum, Los Angeles. He is the recipient of several awards including the FOR-SITE Foundation Award (2009), John Anson Kittredge Award (2003), and the NatWest Art Prize (1999). Commissions include wall drawings for AT&T Stadium in Dallas, Munich Re in London, and private collections around the world. Terry Haggerty Two Minds, 2009 Acrylic on wall The Art Collection Cowboys Stadium, Arlington, TX Photo: Richie Humphreys/Dallas Cowboys © Terry Haggery, courtesy of Sikkema Jenkins & Co., New York. Terry Haggerty Step by step, 2016 Acrylic on wood panel 72 x 58.625 inches (183 x 149 cm) © Terry Haggery, courtesy of Sikkema Jenkins & Co., New York.

Offers a triple play of places to visit in Palm Beach County. We begin our journey with Kate Arrizza, President & CEO of the Science Center and Aquarium located adjacent to the Palm Beach County Zoo in West Palm Beach. Kate's excitement for this great family destination is infectious. Lots to see, touch and enjoy and there's more to come with a planned expansion in the near future. We then take a peek at the Norton Museum of Art. Also located in West Palm Beach, the museum's permanent collection now consists of more than 8,200 works in five curatorial departments: European, American, Chinese, Contemporary and Photography. Definitely a place to go to enjoy these fine works of art. Finally, it's time for an African safari but don't go booking your air travel just yet. Right in our backyard we have Lion Country Safari. Haley Passeser offers a glimpse into the attractions at this wonderful outdoor game preserve. And, her favorite attraction (at least favorite among favorites) is the newest resident, Azziza the baby rhino (born on World Rhino Day). Palm Beach County is a destination for the family to enjoy!

Film Florida Podcast Episode 78- The Slamdance Film Festival is a showcase for raw and innovative filmmaking that lives and bleeds by its mantra: By Filmmakers, For Filmmakers. Taylor Miller and Ronald Baez from Slamdance Miami talk about the festival, which will celebrate emerging filmmakers from Central and South America, Mexico, the Caribbean, and Florida in an open-air festival experience at the North Beach Band Shell in Miami, October 28-30, 2021. The festival will then continue with a virtual component from October 31-November 7. Taylor O. Miller is an award winning documentary photographer and filmmaker. She studied for her PhD in Communications at the European Graduate School in Sadas Fee Switzerland and is a co-founder and manager of Slamdance Unstoppable and Slamdance Miami. Miller spent 2.5 years as the Director of Photography with Harbor Heights Entertainment filming a docu-series on the city of Detroit. Her work on the series led to an invitation to speak at Google about THIS IS DETROIT which will be released in 2022. Her recent appearances include a panel on Authenticity and Accessibility in Film and Entertainment for NBC Universal as well as being a panelist alongside New York Times Bestseller Francesca Cavallo and Vanity Fair journalist and advocate Marina Coehllo for the Inclusivity in Film Panel at the Not Film Festival in Italy.  Ronald Baez is an Afro-Latinx filmmaker and immersive media artist from Miami, FL. His short films have screened at film festivals and art museums worldwide including HBO's New York Latino Film Festival, the Florida Film Festival, Inside Out Toronto LGBT Film Festival, and the Norton Museum of Art. Several of Baez's projects would go on to be broadcast for television by PBS Stations and distributed online by PBS VOD and Seed & Spark SVOD. Baez's award-winning immersive media projects have opened in exhibition at MIT (Massachusetts Institute of Technology), the Florida Museum of Natural History, and the National Association of Broadcasters Conference in Las Vegas (NAB Show). Baez was awarded the NAB Futures Innovator's Award in 2019 for his innovative XR work with South Florida immersive media collective Yellow Wood Immersive. Baez and his partners continue to work with local and national organizations and institutions like National Geographic, the New World Symphony, the University of Oregon, the Ford Foundation, and the Knight Foundation on a variety of ongoing immersive media and film projects. In addition to his work as a filmmaker and immersive media artist, Baez is a founding member of the White Elephant Group, a Miami-based filmmaking collective, and also serves as the Artistic Director of the After School Film Institute, a nonprofit organization mentoring at risk, inner-city students in South Florida.

Buenos días desde La Habana, soy Yoani Sánchez y en la ‘Ventana 14’ del lunes 28 de 2021 comentaré estos temas: - Fractura en la cúpula cubana ¿Es posible? - El arresto del artista Hamlet Lavastida causa indignación – Este verano volverán los largos apagones – Sorolla llega a Florida con sus luces y su mar Gracias por compartir este “cafecito informativo” y te espero temprano para el programa de mañana No te preocupes si pasan algunos minutos entre que recibes este mensaje y que llega el audio, recuerda que las conexiones desde Cuba son lentas. Puedes conocer más detalles de estas noticias en el diario https://www.14ymedio.com Enlaces recomendados: - Detenido en Villa Marista y "bajo investigación" Hamlet Lavastida https://www.14ymedio.com/cuba/Detenido-Villa_Marista-Hamlet_Lavastida-Cuba-Arte_0_3120287944.html - Los vecinos difunden un video sobre la situación espantosa del "biplanta de la gomera" https://www.14ymedio.com/cuba/escasez-cemento-vecinos-edificio-cuba-deterioro_0_3120287941.html - Con casi 2.700 nuevos casos positivos, Cuba vuelve a batir récord de contagios https://www.14ymedio.com/cuba/positivos-Cuba-vuelve-record-contagios-covid_0_3120287945.html - Exhibición de obras de Joaquín Sorolla en el Norton Museum of Art https://www.14ymedio.com/eventos_culturales/arte/Exhibicion-Joaquin-Sorolla-Norton-Museum_13_3119218048.html

Hi everyone. Hope you are doing well. Things are okay so far on my end. School is ending soon and the temperature is getting hot and humid very quickly. My Chinese is steadily getting better and I have a few shows planned for the coming months, so I have to get back to my video editing as the deadline approaches. I also am doing a remote residency via Rogers Art Loft in Las Vegas in the coming summer, as well as a residency in Shanghai. I'll keep you updated about any upcoming events as they happen.For today, I have a really wonderful chat with Addoley Dzegede, a Ghanian-American interdisciplinary artist who grew up in South Florida and is now based in Pittsburgh. Her work has been exhibited throughout the US, Europe, and Africa, and she has been at residencies such as at the Norton Museum of Art in West Palm Beach, Florida, Osei Duro in Accra, Ghana, Thread: a project of the Josef and Anni Albers Foundation in Senegal, and many more. Addoley employs different materials, textile traditions, and notions of “authenticity” to investigates notions of belonging, migration and location, and hybrid identities.  Her work is a contemplation of the forces of history, experience, and location, as well as how they work together to tell a story, essentially, of longing as a state of being. I was able to ask Addoley more about these topics, along with the different histories of the textiles she uses, the idea of getting ready for grad school, and figuring out how to work at residencies. As a side note, I was introduced to Addoley and her partner, Lyndon, through her brother, Zechariah, who I know through my undergrad. I still am amazed at how small and interconnected the world can be, not just in the arts, but on our tiny little Earth. It is my hope we all can realize this sooner than later before it is too late. Anyway, take care, stay safe, and I hope you enjoy this.Links Mentioned:Addoley’s websiteAddoley’s InstagramHomegoing Novel by Yaa GyasiBatikKente ClothTrade BeadsAsk Addoley and Anna's PodcastMy interview with LyndonFollow Seeing Color:Seeing Color WebsiteSubscribe on Apple PodcastsFacebookTwitterInstagram

Beth Rudin DeWoody is an art collector and curator who resides between Los Angeles, New York City, and West Palm Beach. She is President of The Rudin Family Foundations and Executive Vice President of Rudin Management. Her Board affiliations include the Whitney Museum of American Art, Hammer Museum, The New School, The Glass House, Empowers Africa, New Yorkers for Children, and The New York City Police Foundation. She is an Honorary Trustee at the Brooklyn Academy of Music and Photography Steering Committee at the Norton Museum of Art in West Palm Beach. DeWoody has curated numerous exhibitions, and her collection has been the subject of exhibitions featured at the Norton Museum of Art, West Palm Beach; Parrish Museum, Southampton; and the Taubman Museum of Art, Roanoke, among other institutions. In 2017, DeWoody opened The Bunker in West Palm Beach to feature rotating shows from the collection and to showcases a wide range of contemporary art by both well-known and emerging artists, displayed alongside iconic pieces of furniture and other curiosities. 

West Palm Beach has a world class art museum : The Norton Museum of Art was founded in 1941 by Ralph Hubbard Norton (1875-1953) and his wife Elizabeth Calhoun Norton (1881-1947). Norton was an industrialist who headed the Acme Steel Company in Chicago. He and his wife began collecting to decorate their home, but then he became interested in art for its own sake and formed a sizable collection of paintings and sculpture. In 1935, Mr. Norton semi-retired, and the couple began to spend more time in the Palm Beaches. They contemplated what to do with their art collection and eventually decided to found their own museum in West Palm Beach, to give South Florida its first such institution. In 1940, construction began on the Norton Gallery and School of Art located between South Olive Avenue and South Dixie Highway in West Palm Beach. Mr. Norton commissioned Marion Sims Wyeth of the distinguished firm of Wyeth, King & Johnson to design the Museum. The Art Deco building opened to the public on February 8, 1941. Norton continued to add to his collection until his death in 1953, and the works that he and his wife gave the Museum form the core of the institution’s collection today.The Museum’s permanent collection now consists of more than 8,200 works in five curatorial departments: European, American, Chinese, Contemporary and Photography. Since 1954, many distinguished additions have been made thanks to the endowment Mr. Norton created for the purchase of works of art. They include masterpieces such as Stuart Davis's New York Mural (acquired in 1964), and Jackson Pollock's Night Mist (acquired in 1971).To visit the museum( now open Friday, Saturday, and Sunday) go to: www.norton.orgSupport the show (https://www.patreon.com/bePatron?u=33101553" data-patreon-widget-type="become-patron-button">Become a Patron!)

Welcome to this ninth episode of the Dior Talks podcast series ‘Feminist Art’. This podcast series will explore the connections between Creative Director of Women’s collections Maria Grazia Chiuri and contemporary women artists and curators.  In this episode, series host Katy Hessel, a London-based curator, writer and art-historian, speaks with Mickalene Thomas, the New York-based painter and multimedia artist, about her career as an observer and documenter of African American womanhood in all its variety, and her lifelong fascination with the black female experience, from her own family members to the world at large. Mickalene Thomas was born in Camden, New Jersey, in 1971 and was raised by a remarkable mother who introduced her to visual art as a young child and raised her as a Buddhist. Thomas studied pre-law and theater in Portland, Oregon, before completing her BA and MA in Fine Art at the Pratt Institute and Yale School of Art, respectively. Based in Brooklyn, she has exhibited her paintings, collages, photographs, films and videos around the world, including in major exhibitions at the Brooklyn Museum, ICA Boston, Aspen Art Museum and Baltimore Museum of Art. She has also completed many commissions, amongst others at MoMA PS1 in New York, the Norton Museum of Art, and a mosaic mural for the wall of the U.S. Embassy in Dakar, Senegal. Thomas’s work and research processes involve multiple reference points, including the history of art, the representation of black femininity and black power and the seminal 1970s ‘Blaxploitation’ genre. She has painted many iconic African American women, including Eartha Kitt, Whitney Houston, Oprah Winfrey and Michelle Obama, and is renowned for her deft use of classical traditions of fine art in her penetrative portrayals of the black experience. For the Dior Cruise 2020 collection, Maria Grazia Chiuri commissioned Thomas to reinterpret Christian Dior’s iconic ‘Bar’ jacket, a timely collaboration and an opportunity for the two creatives to combine their passions for the historical and the contemporary, along with their mutual dedication to feminism and female creativity. In 2018, Thomas was invited to create a new and striking take on the ‘Lady Dior’ handbag, as part of the limited-edition ‘Dior Lady Art’ series.

James Gurney is an artist and author best known for his painting guide, Color and Light, and his illustrated series, Dinotopia. James is also a popular lecturer at art schools, movie studios, and game companies, where he teaches his unique painting and illustration techniques. His artwork has been exhibited at renowned venues including The Smithsonian Institution, The Norman Rockwell Museum, and The Norton Museum of Art. In this episode… Art is a process of self-realization, and with emerging techniques and technology, this process is always changing. According to author and artist James Gurney, in order for artists to continue to evolve with the industry, they must have the space to experiment, ask questions, and form their own ideas.  Throughout his long and successful career as an artist, James has created many of his own experiments in order to pioneer new ideas and techniques. This has allowed him to break barriers and leap past the constraints of the traditional art world. By asking questions and seeking results using new technology, James has made influential discoveries about how everything from color palettes to subject matter affect a work of art.  In this episode of the Pencil Kings podcast, host Mitch Bowler interviews James Gurney, author and illustrator of Color and Light and Dinotopia, about his journey as an artist and the discoveries he has made along the way. Tune in as James discusses the importance of questioning traditional art concepts, the unique differences between digital and traditional art, and how emerging technology will change the art world as we know it.

João Onofre nasceu em Lisboa, 1976, onde vive e trabalha. Estudou na Faculdade de Belas Artes de Lisboa, tendo concluído o Master of Fine Arts no Goldsmiths, University of London no Reino Unido em 1999 e o Doutoramento em Arte Contemporânea no Colégio das Artes da Universidade de Coimbra em 2018.Entre as suas exposições individuais destacam-se: I-20, Nova Iorque (2001); P.S.1. / MoMA Contemporary Art Center, Nova Iorque (2002); Nothing Will Go Wrong, MNAC, Lisboa, e CGAC, Santiago de Compostela, Espanha (2003); Project Space Kunsthalle Wien-Karlsplatz. Viena (2003). João Onofre, Magazin 4, Bregenz, (2004); Galeria Toni Tàpies, Barcelona (2005); Cristina Guerra Contemporary Art, Lisboa (2007); Fundació Joan Miró, Barcelona e Palais de Tokyo, Paris ambas em 2011; Marlborough Contemporary, Londres (2014); Kunstpavillion, Munique, Alemanha (2015); Appleton Square, Lisboa (2016); MAAT, Lisboa , (2017); Once in a Lifetime [Repeat], Culturgest, Lisboa (2019).O seu trabalho está incluído em diversas colecções públicas e privadas, entre as quais: MCA- Museum of Contemporary Art, Chicago; Albright-Knox Art Gallery, Buffalo; Centre Georges Pompidou – MNAM/CCI, Paris; The Weltkunst Foundation, Zurique; La Caixa, Barcelona; MACS – Museu de Serralves, Porto; – Fundação Calouste Gulbenkian, Lisboa; GAM – Galeria D'Arte Moderna e Contenporanea, Turim; Fundación/Coleccion Jumex, Cidade do México ; Norton Museum of Art, Palm Beach, Florida; Mildred Lane Kemper Art Museum, St. Louis, Missouri; Fondazione Sandretto Re Rebaudengo, Turim; Centre National des Arts Plastiques- Ministère Culture, Paris.É representado pela galeria Cristina Guerra Contemporary Art em Lisboa.Episódio gravado dia 18 de junho 2020.Linkshttp://www.joaoonofre.com/https://expresso.pt/cultura/2019-02-24-Joao-Onofre-Os-artistas-sempre-se-utilizaram-uns-aos-outroshttps://www.youtube.com/watch?v=aeyC2O6n6cIhttps://www.publico.pt/2019/02/15/culturaipsilon/noticia/joao-onofre-artista-cria-imagens-onde-accao-acontece-1861622https://gulbenkian.pt/museu/works_cam/instrumental-version-145240/http://www.appleton.pt/Mecenas Appleton: HCI / Colecção Maria e Armando CabralCom o apoio da Câmara Municipal de Lisboa - Fundo de Emergência Nacional - Cultura

info@podcastone.com5eb3ec2e-cd3e-4365-919d-b308c3d44bd2Thu, 30 Jan 2020 22:00:00 PST

Talked with Scott Benarde, Dir of Communications, Gladys Ramizrez, Public Programs Mgr and Kate Faulkner, Assoc Curator of Education for Public Programs from the Norton Museum of Art. They have a lot of great programs and exhibitions running. Today is the last day to see the Georgia O'Keefe exhibition. Coming up they have: Robert Rauschenberg: Five Decades from the Whitney’s Collection, American Art Posters from the Leonard A. Lauder Collection, Divine Beings, and Rudin Prize for Emerging Photographers. Gladys is putting together some great Art After Dark programs including the popular First Friday Jazz. They also have Community days, one is for the Chinese New Year and the other for Celebrating Black Florida. Listeners can sign up to be volunteers, docents, become members, make donations and find out more about the programs at Norton.org. They can also follow them on FB, Instagram and Twitter.

It is with great pleasure that we present this exciting conversation between two extraordinary pioneering women in contemporary art:Beth DeWoody:Through DeWoody’s passion, vision, and continuing support of emerging artists and galleries, she has redefined the boundaries of collecting. By championing emerging, and at times, overlooked artists, especially in the early stages of their careers, she has amassed a truly unique collection. The Collection is grateful for the opportunity to share these treasures and push beyond “the greatest hits” to show a more complete view of contemporary art today. Beth Rudin DeWoody, art collector and curator, resides between Los Angeles, New York City, and West Palm Beach. She is President of The Rudin Family Foundations and Executive Vice President of Rudin Management. Her Board affiliations include the Whitney Museum of American Art, Hammer Museum, The New School, The Glass House, Empowers Africa, New Yorkers for Children, and The New York City Police Foundation. She is an Honorary Trustee at the Brooklyn Academy of Music and on the Photography Steering Committee at the Norton Museum of Art in West Palm Beach. DeWoody has curated numerous exhibitions, and the Collection has been the subject of exhibitions featured at the Norton Museum of Art, West Palm Beach; Parrish Museum, Southampton; and the Taubman Museum of Art, Roanoke, among other institutions. Sarah Gavlak:Since opening her gallery in Palm Beach 14 years ago, Sarah Gavlak has presented pioneering exhibitions including early solo presentations by Wade Guyton, Marilyn Minter, Betty Tompkins, Rob Wynne, Simone Leigh, Sheila Hicks, and others. In 2014 she expanded her gallery to Los Angeles. In 2018 she founded New Wave Art Wknd, a non-commercial art weekend featuring extraordinary private collection visits, dinners, lectures, and robust public programming around the theme of immigration and migration through a cultural lens. NWAW is designed to showcase the contemporary art scene flourishing in Palm Beach. The weekend will follow the Vernissage of Art Basel Miami Beach, one of the most significant art fairs in the world.

info@podcastone.com9dcbb86d-2c07-4983-a4cd-6d6130b26f99Mon, 11 Nov 2019 22:00:00 PST00:15:26The South Florida Sunday Podcast

Talked with Rachel Gustafson, Asst. Curator, Galdys Ramirez, Public Programs Manager and Scott Benarde, Dir Of Communications for the Norton Museum of Art. Art After Dark on Friday October 4th features the opening exhibition: The Body Says, I Am a Fiesta: The Figure in Latin American Art. Then they are having their first LatinX Community Day on Saturday, October 5th. It's a free event from Noon - 5p and will be featuring music by Kuyayky, Pepe Montes y Su Conjunto plus tours, mini book + art, short films and dance troupe Esencia de Broiken with percussion ensemble Pedro Vilanova and Tamboricua. For more details, listeners can go to www.norton.org

Welcome back to ByrdmansPalmBeach.com, our line-up just gets better and better, here is a taste, The Super Duo FLORIDA-GEORGIA LINE play West Palm Beach, The Norton Museum of ART is featuring Classic Film Posters, BICE Ristorante in Palm Beach features local favorite Dawn Marie, Peter Frampton is on his farewell tour that happens in West Palm Beach, The Stage Presentation of "Man of La Mancha" happens in West Palm Beach, Ft. Lauderdale rocks things up with the B-52's, British Rock n Roll Supergroup THE WHO roll into Sunrise, Pompano Beach gets a very special tribute to Donna Summer & Whitney Houston in September, Jupiter's Guanabanas host the CD release of "Roots Shakedown, that is a taste of what is happening, of course all the details are on ByrdmansPalmBeach.com.Thank you for listening to and reading our weekly entertainment + cultural podcast. We appreciate all the great response we have received as well, please help us spread the word! "Short of me buying the tickets and handing them to you, this podcast is the best thing going from Palm Beach to South Beach" that was the quote from Bernadette a 36 year woman in Boca Raton.Tim Byrd "The Byrdman" Publisher See acast.com/privacy for privacy and opt-out information.

Welcome back to ByrdmansPalmBeach.com, our line-up just gets better and better, here is a taste, The Super Duo FLORIDA-GEORGIA LINE play West Palm Beach, The Norton Museum of ART is featuring Classic Film Posters, BICE Ristorante in Palm Beach features local favorite Dawn Marie, Peter Frampton is on his farewell tour that happens in West Palm Beach, The Stage Presentation of "Man of La Mancha" happens in West Palm Beach, Ft. Lauderdale rocks things up with the B-52's, British Rock n Roll Supergroup THE WHO roll into Sunrise, Pompano Beach gets a very special tribute to Donna Summer & Whitney Houston in September, Jupiter's Guanabanas host the CD release of "Roots Shakedown, that is a taste of what is happening, of course all the details are on ByrdmansPalmBeach.com. Thank you for listening to and reading our weekly entertainment + cultural podcast. We appreciate all the great response we have received as well, please help us spread the word! "Short of me buying the tickets and handing them to you, this podcast is the best thing going from Palm Beach to South Beach" that was the quote from Bernadette a 36 year woman in Boca Raton. Tim Byrd "The Byrdman" Publisher --- Send in a voice message: https://anchor.fm/byrdmans-palm-beach/message

Talked with Glenn and Rachel from the Norton Museum of Art. They have a bunch of summer exhibitions starting and are getting ready for their annual Bastille Day event on the 13th. Exhibitions are: See and be Seen, Small Worlds 5 Centuries of European Prints and Drawings from the collection. They've moved Art After Dark from Thursday to Friday night from 5pm-10pm and the restaurant will be open late for fun "Date Nights". Listeners can check out movies in the garden and The Women's Walk located on Cranesnest Way on the South edge of the campus. Listeners can text 56512 to hear a guided tour. The museum will be open on Mondays now but closed on Wednesday. All hours, events, programs, volunteer opportunities are posted at Norton.org

info@podcastone.com8b23a42d-904b-4e71-b443-d91c8084c01dTue, 02 Jul 2019 21:00:00 PDT00:29:56The South Florida Sunday Podcast

GERTRUDE VANDERBILT WHITNEY: SCULPTURE: a two-part podcast hosted by noted Canadian broadcaster Arlene Bynon with John LeBoutillier, a great grandson of Gertrude, serving as a tour guide through the exhibition. Currently running at the Newport Art Museum in Newport, Rhode Island. Curated by the Norton Museum of Art in West Palm Beach, Florida, this is the first exhibition of Gertrude Whitney's work since her 1942 death. An avant-garde pioneer as a woman artist, Gertrude lived a remarkable life which is reflected through her sculptures.

GERTRUDE VANDERBILT WHITNEY: SCULPTURE: a two-part podcast hosted by noted Canadian broadcaster Arlene Bynon with John LeBoutillier, a great grandson of Gertrude, serving as a tour guide through the exhibition. Currently running at the Newport Art Museum in Newport, Rhode Island. Curated by the Norton Museum of Art in West Palm Beach, Florida, this is the first exhibition of Gertrude Whitney's work since her 1942 death. An avant-garde pioneer as a woman artist, Gertrude lived a remarkable life which is reflected through her sculptures.

Donna Schneier, owner of Donna Schneier Fine Arts, is a private dealer exhibiting at several major art fairs, including Sculpture Objects Functional Art and Design (SOFA) and Art Palm Beach. She has donated more than 130 works to The Metropolitan Museum of Art in New York. A selection of those pieces was presented in The Met’s book, Unique by Design: Contemporary Jewelry in the Donna Schneier Collection, to accompany a six-month exhibition. Other pieces have been featured in The Met’s “Jewelry: The Body Transformed” and “Masterpieces” exhibitions. Donna has continually donated work to the Museum of Arts and Design (MAD), NYC, and other museums in the United States and Europe to spread the story of contemporary art jewelry. Her collections include works of art jewelry from the late 1960s to the present. She is also one of the founders and creators of “LOOT: Mad About Jewelry,” an annual benefit exhibition and sale for Museum of Arts and Design, featuring designs from more than 50 emerging and acclaimed international jewelry artists, and “BIJOUX!,” a daring art-jewelry sale that raises money for Norton Museum of Art in West Palm Beach, Florida. In 2000, Donna was recruited by Neue Pinakothek, Munich—the only museum to devote an entire floor to contemporary art jewelry—to locate American masters of contemporary jewelry. She was able to identify and purchase for the museum masterpieces by Alexander Calder, Margaret De Patta, and Robert Ebendorf, among others. Donna is a frequent lecturer, has appeared on shows such as Antiques Roadshow and the TODAY show, and has been featured in Forbes, New York Times, Antiques and Auction Magazine and more. What you’ll learn in this episode: Why you should educate yourself about jewelry and art pieces first, before making a purchase. Why it is more difficult to build a collection of masterpieces today than it was in the 1980s. How she decides what artists to bring into her gallery. Why the art jewelry movement will continue to move forward and grow in the future. How to contact Donna Schneier: Website: www.donnaschneier.com Additional Resources: The Met Exhibition: http://lescarats.com/2019/01/10/jewelry-the-body-transformed-at-the-met/ The Met Publication: Unique by Design: Contemporary Jewelry in the Donna Schneier Collection by Suzanne Ramljak: https://www.metmuseum.org/art/metpublications/uniquebydesigncontemporaryjewelryinthedonnaschneiercollection

Joel Malkin speaks with Scott Benarde, Mariela Acuna and Glenn Tomlinson with the Norton Museum of Art about the reopening of the West Palm Beach landmark.

Talked with Scott Benarde, Mariela Acuna and Glenn Tomlinson from the Norton Museum of Art. They've just reopened after finishing their expansion and have a lot of great programs coming. One of the new things is they've moved Art After Dark from Thursday to Friday night from 5pm-10pm and the restaurant will be open late for fun "Date Nights". The first one will be Friday February 15th and feature guest speaker, Pulitzer Prize winner, Hilton Als. And then on Feburary 22nd's Art After Dark, the band, InHouse, will be doing at 20th Anniversary Reunion Concert. Another new Feature is The Women's Walk located on Cranesnest Way on the South edge of the campus. Listeners can text 56512 to hear a guided tour. The museum will be open on Mondays now but closed on Wednesday. All hours, events, programs are posted at Norton.org

Dr. Ken discusses Art with The Norton Museum’s Tim Wride Listen to MAXIMUM HEALTH, “Quality Living” Radio with Dr. Ken Grey AP, DOM Holistic Physician   88.9 fm WQCS – NPR every Friday @7 pm National Public Radio

A Historical Expose on Social Healing and Women’s Liberation through Art Art and WWl by Empire Heiress Realist Sculptor Gertrude Vanderbilt Whitney. A Historical Expose on Social Healing and Women’s Liberation through Art wit Minneapolis Institute of Art’ Curator Robert Cozzolino and The Norton Museum of Arts’ Curator Ellen Roberts. The Norton Museum of Art … Continue reading Art and WWl by Empire Heiress Realist Sculptor Gertrude Vanderbilt Whitney →

Svenja Deininger is an artist who currently lives and works in Vienna and Milan. She was born in Vienna and was educated at the Kunsteakademie Dusseldorf and the Kunstakademie Munster. Svenja has had solo exhibitions at the Secession in Vienna, the Norton Museum of Art in West Palm Beach, Florida and the Joslyn Art Museum in Omaha, Nebraska. She has also had solo exhibitions internationally, including Federica Schiavo Gallery in Rome and Galerie Martin Janda in Vienna among others. She’s participated in group exhibitions at Bob van Orsouw Gallery in Zurich, Josh Lilley Gallery in London, Patricia Law Contemporary in Gstaad, the Wiels Center for Contemporary Art in Brussels and the University of Michigan Museum of Art in Ann Arbor, to name a few. Brian met up with Svenja at her current show titled ‘Crescendo’ at Marianne Boesky Gallery and they spoke about her well travelled life, painting between cities, music, texture, composition and more. Here’s our conversation… Sound & Vision is proudly sponsored by Golden Artist Colors. Golden acrylics, Williamsburg Oils and QoR Watercolors are all made in upstate New York. Golden is committed to the highest quality paints and also committed to serving a role of stewardship in the community as an employee owned company. Find out more at goldenpaints.com.

On this edition of ByrdmansPalmBeach.com there are lots of shows, events and culture. In West Palm beach an Antiques Festival is coming, Palm Beach Opera is out and about with a musical sampling live, details on our podcast, in Boca Raton Lynn Philharmonia's season debut is coming up, the Norton Museum presents Family Art Pop-Up, details inside, Phil Collins plays Sunrise, just 15 weeks until SupercarWeek.com's 9 days of Supercar events, go to Supercarweek.com for more, in Delray the Morikami presents Japanese art plus other events go inside and liste for details and be sure to listen, like, subscribe, share and we will be back next week with more! --- Send in a voice message: https://anchor.fm/byrdmans-palm-beach/message

Julie Heffernan is a painter who lives and works in Brooklyn. Julie earned her BFA from UC Santa Cruz and her MFA from Yale. She has had museum shows at the Virginia Museum of Contemporary Art, The Palmer Museum, Mennello Museum, the LSU Museum of Art, the Witherspoon, the Mint and others. She’s has solo shows at PPOW, Mark Moore, the Brooklyn Academy of Music, Megumo Ogita, just to name a few. She’s been in countless group shows from Forum Gallery, to Wave Hill, to the National Arts Club, to about hundreds more. She has received an NEA Grant, a NYFA grant, a McDowell Fellow and a Yaddo Fellow and her work is in the collections of the Brooklyn Museum, the Norton Museum, The Palmer Museum, the Nation Academy Museum and many others. Her work has been written about in any art publication you can think of. She also co-runs Painters on Paintings a blog that weekly features artists writing about a painting that informs or inspires them. She is also a Professor at Montclair University. Brian stopped by Julie’s studio as she prepares for her September show at PPOW and they spoke about emotional painting, Al Held, her son’s music, Corbet being braggy and so much more. Sound and Vision is supported by Golden Artist Colors, manufacturing in Upstate NY, GOLDEN Acrylics, Williamsburg Oils, and most recently, QoR Watercolors. An employee owned company committed to producing the highest quality materials, while maintaining a culture of stewardship and community involvement. For information about Golden Artist Colors, call 1-800-959-6543 or visit www.goldenpaints.com. Sound & Vision is supported by Topo Designs. Based in Denver Colorado. Check out their products at topodesigns.com Sound & Vision is also brought to you by Charter Coffeehouse. Charter is on Graham Avenue in East Williamsburg, just one block from the Graham L Stop. Find out more at www.chartercoffee.com, follow them on Instagram at @charter_bk

Talked with Glenn and Mary from the Norton Museum of Art. They are getting to close for several months while the expansion build out is completed and all the art exhibitions are reinstalled. The Norton will reopen in February 2019. This week they have lots of fun things planned with Art After Dark on Thursday and their annual Bastille Day celebration on Saturday July 14th. Then on Sunday at 5pm they close for the renovations. Even though the museum will be closed the Norton will still be providing art enrichment to the community. They are doing family style programming at Grand view Public Market as well as other venues. Listeners who are interested in volunteering and /or becoming docents should sign up now as they are training folks for their 2/2019 opening. Listeners can get more info on Facebook or the website www.norton.org

Talked with Hilary Greene and Yimarie Rivera from the Norton Museum of Art. Admission is free during their remodeling, which they hope to have completed by February of 2019. They have a new exhibition opening called Miss Lucy's 3 Day Dollhouse Party and coming up for the school break they have some fun programs for kids/families to enjoy based on the mini theme. From 12:30p-4:30p on 12/26-12/29 the schedule looks like: 12:15pm Mini book + art, 12:30p DIY- mini works of art on canvas, 12:30 & 2:30 tours: Miss Lucy's 3 Day Dollhouse Party, 1pm Performances- Magicians, singers, Ballet Florida, etc (check norton.org for dates), 2-4p mini film screenings and All Day cellphone based scavenger hunt. For more information, to become a member/volunteer, listeners can reach out to: www.norton.org This years school break is sponsored by Publix Super Markets Charities.

Talked with Rachel Gustafson and John Backman from the Norton Museum of Art. They are offering free admission during their renovations. Coming up on Tuesday is the "topping out" ceremony - part of the building process. Then on June 29 they are opening the summer exhibition of French Connections: Photography. For more info, listeners can go to www.norton.org

Featuring John Campbell (host and sound engineer), Arlene Wood-French, Chris Jankow, and Josh Stone.The podcast guests talk about library programs for the month of April: including Patrick Ball, One of the premier Celtic harp players in the world, will perform and share stories at various branches beginning on April 18; a special Georgia O’Keeffe event at Norton Museum; Palm Beach Shakespeare Festival special events at multiple locations; the Library now offers audiobooks in mp3 format which reduces a normal 15-CD audiobook down to 1 or 2 CDs because mp3 files use less storage space on the disc; Earth Day celebration events; and MORE! Please check each event for age appropriateness or limits. CLICK HERE to listen or right-click to save the podcast. Length: 14:23. PLAY If you cannot see the audio controls, your browser does not support the audio element www.pbclibrary.org "Connect Communities, Inspire Thought, and Enrich Lives"

Spoke with Scott Bernarde, Dir of Communications and Glenn Tomlinson, Dir Education Department for the Norton Museum of Art. They are open during their remodeling/expansion and are offering Free admission for the next two years. This year they have added a lot of programs to run during the winter school break. Tuesday 12/27 Phillida Barlow will present The Gift of Sculpture, Wednesday 12/28 William Merritt Chase The Gift of Light, Thursday 12/29 Teresita Fernanadez The Gift of Memory and Friday 12/30Jose Bedia The Gift of Identity. They are also showing A Charlie Brown Christmas and The Grinch Who Stole Christmas. Plus they have lots of drop in style programs. The Family Program on Saturday does require reservations and cost is $1/child. For more info listeners can go to www.norton.org

This Sunday, we meet Charles Stainback. He is Norton Museum of Art curator of photography and provides a "backstage" account of the pleasures and challenges of the curatorial profession - and eloquently presents his particular style of practice "That's the great thing about museum work, and that's the great thing about this museum. They really do allow the curators to make their statement, to sort of say here's what I think is significant; here's what I think we should be thinking about." In Stainback's view there's a prevalent misconception about the role and power of the art Establishment.  "People think that curators and museums define the art world and define the art, and it really is the artists.  Artists show us and tell us what is significant, and our job is just to respond honestly to what the artists are doing."

This Sunday, we meet Charles Stainback. He is Norton Museum of Art curator of photography and provides a "backstage" account of the pleasures and challenges of the curatorial profession - and eloquently presents his particular style of practice "That's the great thing about museum work, and that's the great thing about this museum. They really do allow the curators to make their statement, to sort of say here's what I think is significant; here's what I think we should be thinking about." In Stainback's view there's a prevalent misconception about the role and power of the art Establishment.  "People think that curators and museums define the art world and define the art, and it really is the artists.  Artists show us and tell us what is significant, and our job is just to respond honestly to what the artists are doing."