Podcasts about Pace Gallery

“If we look at the entire history of the human experience, if you saw some text or you heard some spoken language, you could 100 percent reliably infer that there was a human who created that. Our experience of having that text or that image generated for us is very akin to the experience of a magic trick, and we sort of pre-subconsciously want to attribute some kind of intelligence to what's going on on the other side.At the core of the work is that sense of curiosity, that sense of joy, that sense of beauty, and that sense of learning. I've been fortunate to have all kinds of strange and interesting experiences, whether that's seeing weird things in the sky over secret military bases in the middle of the Nevada desert, going scuba diving and finding internet cables on the bottom of the ocean, or tracking spy satellites in the sky and being able to predict when they'll appear in a flash against the backdrop of stars. The world around us is extraordinary and embodied, right? It is not on screens, and I'm very privileged to have that be so much a part of my process.”Trevor Paglen is an artist whose work makes the invisible visible, whether he's photographing secret government sites from miles away or revealing the hidden infrastructures of mass surveillance. He's a geographer by training, and he combines investigative journalism with his art practice to explore the hidden power structures of our time, including military technology and artificial intelligence. His work has been exhibited in major museums around the world, and he's also an award-winning author. His exhibitions, like 'The Black Sites' and 'Limit Tele-photography,' have earned him critical acclaim, including a MacArthur Fellowship. He's recently opened a new exhibition at Pace Gallery in New York called Cardinals (Jun 26–Aug 15) which delves into the intriguing connections between UFO sightings, AI, and the spread of disinformation.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“If we look at the entire history of the human experience, if you saw some text or you heard some spoken language, you could 100 percent reliably infer that there was a human who created that. Our experience of having that text or that image generated for us is very akin to the experience of a magic trick, and we sort of pre-subconsciously want to attribute some kind of intelligence to what's going on on the other side.At the core of the work is that sense of curiosity, that sense of joy, that sense of beauty, and that sense of learning. I've been fortunate to have all kinds of strange and interesting experiences, whether that's seeing weird things in the sky over secret military bases in the middle of the Nevada desert, going scuba diving and finding internet cables on the bottom of the ocean, or tracking spy satellites in the sky and being able to predict when they'll appear in a flash against the backdrop of stars. The world around us is extraordinary and embodied, right? It is not on screens, and I'm very privileged to have that be so much a part of my process.”Trevor Paglen is an artist whose work makes the invisible visible, whether he's photographing secret government sites from miles away or revealing the hidden infrastructures of mass surveillance. He's a geographer by training, and he combines investigative journalism with his art practice to explore the hidden power structures of our time, including military technology and artificial intelligence. His work has been exhibited in major museums around the world, and he's also an award-winning author. His exhibitions, like 'The Black Sites' and 'Limit Tele-photography,' have earned him critical acclaim, including a MacArthur Fellowship. He's recently opened a new exhibition at Pace Gallery in New York called Cardinals (Jun 26–Aug 15) which delves into the intriguing connections between UFO sightings, AI, and the spread of disinformation.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“If we look at the entire history of the human experience, if you saw some text or you heard some spoken language, you could 100 percent reliably infer that there was a human who created that. Our experience of having that text or that image generated for us is very akin to the experience of a magic trick, and we sort of pre-subconsciously want to attribute some kind of intelligence to what's going on on the other side.At the core of the work is that sense of curiosity, that sense of joy, that sense of beauty, and that sense of learning. I've been fortunate to have all kinds of strange and interesting experiences, whether that's seeing weird things in the sky over secret military bases in the middle of the Nevada desert, going scuba diving and finding internet cables on the bottom of the ocean, or tracking spy satellites in the sky and being able to predict when they'll appear in a flash against the backdrop of stars. The world around us is extraordinary and embodied, right? It is not on screens, and I'm very privileged to have that be so much a part of my process.”Trevor Paglen is an artist whose work makes the invisible visible, whether he's photographing secret government sites from miles away or revealing the hidden infrastructures of mass surveillance. He's a geographer by training, and he combines investigative journalism with his art practice to explore the hidden power structures of our time, including military technology and artificial intelligence. His work has been exhibited in major museums around the world, and he's also an award-winning author. His exhibitions, like 'The Black Sites' and 'Limit Tele-photography,' have earned him critical acclaim, including a MacArthur Fellowship. He's recently opened a new exhibition at Pace Gallery in New York called Cardinals (Jun 26–Aug 15) which delves into the intriguing connections between UFO sightings, AI, and the spread of disinformation.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“If we look at the entire history of the human experience, if you saw some text or you heard some spoken language, you could 100 percent reliably infer that there was a human who created that. Our experience of having that text or that image generated for us is very akin to the experience of a magic trick, and we sort of pre-subconsciously want to attribute some kind of intelligence to what's going on on the other side.At the core of the work is that sense of curiosity, that sense of joy, that sense of beauty, and that sense of learning. I've been fortunate to have all kinds of strange and interesting experiences, whether that's seeing weird things in the sky over secret military bases in the middle of the Nevada desert, going scuba diving and finding internet cables on the bottom of the ocean, or tracking spy satellites in the sky and being able to predict when they'll appear in a flash against the backdrop of stars. The world around us is extraordinary and embodied, right? It is not on screens, and I'm very privileged to have that be so much a part of my process.”Trevor Paglen is an artist whose work makes the invisible visible, whether he's photographing secret government sites from miles away or revealing the hidden infrastructures of mass surveillance. He's a geographer by training, and he combines investigative journalism with his art practice to explore the hidden power structures of our time, including military technology and artificial intelligence. His work has been exhibited in major museums around the world, and he's also an award-winning author. His exhibitions, like 'The Black Sites' and 'Limit Tele-photography,' have earned him critical acclaim, including a MacArthur Fellowship. He's recently opened a new exhibition at Pace Gallery in New York called Cardinals (Jun 26–Aug 15) which delves into the intriguing connections between UFO sightings, AI, and the spread of disinformation.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“If we look at the entire history of the human experience, if you saw some text or you heard some spoken language, you could 100 percent reliably infer that there was a human who created that. Our experience of having that text or that image generated for us is very akin to the experience of a magic trick, and we sort of pre-subconsciously want to attribute some kind of intelligence to what's going on on the other side.At the core of the work is that sense of curiosity, that sense of joy, that sense of beauty, and that sense of learning. I've been fortunate to have all kinds of strange and interesting experiences, whether that's seeing weird things in the sky over secret military bases in the middle of the Nevada desert, going scuba diving and finding internet cables on the bottom of the ocean, or tracking spy satellites in the sky and being able to predict when they'll appear in a flash against the backdrop of stars. The world around us is extraordinary and embodied, right? It is not on screens, and I'm very privileged to have that be so much a part of my process.”Trevor Paglen is an artist whose work makes the invisible visible, whether he's photographing secret government sites from miles away or revealing the hidden infrastructures of mass surveillance. He's a geographer by training, and he combines investigative journalism with his art practice to explore the hidden power structures of our time, including military technology and artificial intelligence. His work has been exhibited in major museums around the world, and he's also an award-winning author. His exhibitions, like 'The Black Sites' and 'Limit Tele-photography,' have earned him critical acclaim, including a MacArthur Fellowship. He's recently opened a new exhibition at Pace Gallery in New York called Cardinals (Jun 26–Aug 15) which delves into the intriguing connections between UFO sightings, AI, and the spread of disinformation.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“If we look at the entire history of the human experience, if you saw some text or you heard some spoken language, you could 100 percent reliably infer that there was a human who created that. Our experience of having that text or that image generated for us is very akin to the experience of a magic trick, and we sort of pre-subconsciously want to attribute some kind of intelligence to what's going on on the other side.At the core of the work is that sense of curiosity, that sense of joy, that sense of beauty, and that sense of learning. I've been fortunate to have all kinds of strange and interesting experiences, whether that's seeing weird things in the sky over secret military bases in the middle of the Nevada desert, going scuba diving and finding internet cables on the bottom of the ocean, or tracking spy satellites in the sky and being able to predict when they'll appear in a flash against the backdrop of stars. The world around us is extraordinary and embodied, right? It is not on screens, and I'm very privileged to have that be so much a part of my process.”Trevor Paglen is an artist whose work makes the invisible visible, whether he's photographing secret government sites from miles away or revealing the hidden infrastructures of mass surveillance. He's a geographer by training, and he combines investigative journalism with his art practice to explore the hidden power structures of our time, including military technology and artificial intelligence. His work has been exhibited in major museums around the world, and he's also an award-winning author. His exhibitions, like 'The Black Sites' and 'Limit Tele-photography,' have earned him critical acclaim, including a MacArthur Fellowship. He's recently opened a new exhibition at Pace Gallery in New York called Cardinals (Jun 26–Aug 15) which delves into the intriguing connections between UFO sightings, AI, and the spread of disinformation.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“There's a word for this brain rot, right? I think that's very real. There are studies coming out now that are showing that the more and more of our cognitive labor we offload to AI systems, the less creative we become, the less critical we become, and the less of our human faculties for reason we use. There's something sad about that, but there's also something dangerous about it because that leaves us very open to being manipulated. The surveillance capitalism kind of economy of extracting data from every possible moment of everyday life in order to extract value. The sensor systems that we're surrounded with are not simply passive devices that are recording us; they are increasingly becoming active sculptors of our experience of reality. Playing dirty.If we look at the entire history of the human experience, if you saw some text or you heard some spoken language, you could 100 percent reliably infer that there was a human who created that. Our experience of having that text or that image generated for us is very akin to the experience of a magic trick, and we sort of pre-subconsciously want to attribute some kind of intelligence to what's going on on the other side.I'm trying to think about these other media strategies, whether that's UFO photography, psychological operations, magic, or neuroscience, and take them seriously as contributing factors to the changing visual culture. With the collection at Pace Gallery, (New York, Jun 26–Aug 15) it was really just to put those images together and show them. They're all photographed on film. A lot of them are photographed on instant film. They're not images that are made with AI; they're not images that are photoshopped. What I really wanted to get at was thinking about the ways in which what we see in an image is very often what we're predisposed to see. I am playing with these mechanics of perception and proposing that as a way of thinking about images now.At the core of the work is that sense of curiosity, that sense of joy, that sense of beauty, and that sense of learning. I've been fortunate to have all kinds of strange and interesting experiences, whether that's seeing weird things in the sky over secret military bases in the middle of the Nevada desert, going scuba diving and finding internet cables on the bottom of the ocean, or tracking spy satellites in the sky and being able to predict when they'll appear in a flash against the backdrop of stars. The world around us is extraordinary and embodied, right? It is not on screens, and I'm very privileged to have that be so much a part of my process.”Trevor Paglen is an artist whose work makes the invisible visible, whether he's photographing secret government sites from miles away or revealing the hidden infrastructures of mass surveillance. He's a geographer by training, and he combines investigative journalism with his art practice to explore the hidden power structures of our time, including military technology and artificial intelligence. His work has been exhibited in major museums around the world, and he's also an award-winning author. His exhibitions, like 'The Black Sites' and 'Limit Tele-photography,' have earned him critical acclaim, including a MacArthur Fellowship. He's recently opened a new exhibition at Pace Gallery in New York called Cardinals, which delves into the intriguing connections between UFO sightings, AI, and the spread of disinformation.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“There's a word for this brain rot, right? I think that's very real. There are studies coming out now that are showing that the more and more of our cognitive labor we offload to AI systems, the less creative we become, the less critical we become, and the less of our human faculties for reason we use. There's something sad about that, but there's also something dangerous about it because that leaves us very open to being manipulated. The surveillance capitalism kind of economy of extracting data from every possible moment of everyday life in order to extract value. The sensor systems that we're surrounded with are not simply passive devices that are recording us; they are increasingly becoming active sculptors of our experience of reality. Playing dirty.If we look at the entire history of the human experience, if you saw some text or you heard some spoken language, you could 100 percent reliably infer that there was a human who created that. Our experience of having that text or that image generated for us is very akin to the experience of a magic trick, and we sort of pre-subconsciously want to attribute some kind of intelligence to what's going on on the other side.I'm trying to think about these other media strategies, whether that's UFO photography, psychological operations, magic, or neuroscience, and take them seriously as contributing factors to the changing visual culture. With the collection at Pace Gallery, (New York, Jun 26–Aug 15) it was really just to put those images together and show them. They're all photographed on film. A lot of them are photographed on instant film. They're not images that are made with AI; they're not images that are photoshopped. What I really wanted to get at was thinking about the ways in which what we see in an image is very often what we're predisposed to see. I am playing with these mechanics of perception and proposing that as a way of thinking about images now.At the core of the work is that sense of curiosity, that sense of joy, that sense of beauty, and that sense of learning. I've been fortunate to have all kinds of strange and interesting experiences, whether that's seeing weird things in the sky over secret military bases in the middle of the Nevada desert, going scuba diving and finding internet cables on the bottom of the ocean, or tracking spy satellites in the sky and being able to predict when they'll appear in a flash against the backdrop of stars. The world around us is extraordinary and embodied, right? It is not on screens, and I'm very privileged to have that be so much a part of my process.”Trevor Paglen is an artist whose work makes the invisible visible, whether he's photographing secret government sites from miles away or revealing the hidden infrastructures of mass surveillance. He's a geographer by training, and he combines investigative journalism with his art practice to explore the hidden power structures of our time, including military technology and artificial intelligence. His work has been exhibited in major museums around the world, and he's also an award-winning author. His exhibitions, like 'The Black Sites' and 'Limit Tele-photography,' have earned him critical acclaim, including a MacArthur Fellowship. He's recently opened a new exhibition at Pace Gallery in New York called Cardinals, which delves into the intriguing connections between UFO sightings, AI, and the spread of disinformation.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“There's a word for this brain rot, right? I think that's very real. There are studies coming out now that are showing that the more and more of our cognitive labor we offload to AI systems, the less creative we become, the less critical we become, and the less of our human faculties for reason we use. There's something sad about that, but there's also something dangerous about it because that leaves us very open to being manipulated. The surveillance capitalism kind of economy of extracting data from every possible moment of everyday life in order to extract value. The sensor systems that we're surrounded with are not simply passive devices that are recording us; they are increasingly becoming active sculptors of our experience of reality. Playing dirty.If we look at the entire history of the human experience, if you saw some text or you heard some spoken language, you could 100 percent reliably infer that there was a human who created that. Our experience of having that text or that image generated for us is very akin to the experience of a magic trick, and we sort of pre-subconsciously want to attribute some kind of intelligence to what's going on on the other side.I'm trying to think about these other media strategies, whether that's UFO photography, psychological operations, magic, or neuroscience, and take them seriously as contributing factors to the changing visual culture. With the collection at Pace Gallery, (New York, Jun 26–Aug 15) it was really just to put those images together and show them. They're all photographed on film. A lot of them are photographed on instant film. They're not images that are made with AI; they're not images that are photoshopped. What I really wanted to get at was thinking about the ways in which what we see in an image is very often what we're predisposed to see. I am playing with these mechanics of perception and proposing that as a way of thinking about images now.At the core of the work is that sense of curiosity, that sense of joy, that sense of beauty, and that sense of learning. I've been fortunate to have all kinds of strange and interesting experiences, whether that's seeing weird things in the sky over secret military bases in the middle of the Nevada desert, going scuba diving and finding internet cables on the bottom of the ocean, or tracking spy satellites in the sky and being able to predict when they'll appear in a flash against the backdrop of stars. The world around us is extraordinary and embodied, right? It is not on screens, and I'm very privileged to have that be so much a part of my process.”Trevor Paglen is an artist whose work makes the invisible visible, whether he's photographing secret government sites from miles away or revealing the hidden infrastructures of mass surveillance. He's a geographer by training, and he combines investigative journalism with his art practice to explore the hidden power structures of our time, including military technology and artificial intelligence. His work has been exhibited in major museums around the world, and he's also an award-winning author. His exhibitions, like 'The Black Sites' and 'Limit Tele-photography,' have earned him critical acclaim, including a MacArthur Fellowship. He's recently opened a new exhibition at Pace Gallery in New York called Cardinals, which delves into the intriguing connections between UFO sightings, AI, and the spread of disinformation.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“There's a word for this brain rot, right? I think that's very real. There are studies coming out now that are showing that the more and more of our cognitive labor we offload to AI systems, the less creative we become, the less critical we become, and the less of our human faculties for reason we use. There's something sad about that, but there's also something dangerous about it because that leaves us very open to being manipulated. The surveillance capitalism kind of economy of extracting data from every possible moment of everyday life in order to extract value. The sensor systems that we're surrounded with are not simply passive devices that are recording us; they are increasingly becoming active sculptors of our experience of reality. Playing dirty.If we look at the entire history of the human experience, if you saw some text or you heard some spoken language, you could 100 percent reliably infer that there was a human who created that. Our experience of having that text or that image generated for us is very akin to the experience of a magic trick, and we sort of pre-subconsciously want to attribute some kind of intelligence to what's going on on the other side.I'm trying to think about these other media strategies, whether that's UFO photography, psychological operations, magic, or neuroscience, and take them seriously as contributing factors to the changing visual culture. With the collection at Pace Gallery, (New York, Jun 26–Aug 15) it was really just to put those images together and show them. They're all photographed on film. A lot of them are photographed on instant film. They're not images that are made with AI; they're not images that are photoshopped. What I really wanted to get at was thinking about the ways in which what we see in an image is very often what we're predisposed to see. I am playing with these mechanics of perception and proposing that as a way of thinking about images now.At the core of the work is that sense of curiosity, that sense of joy, that sense of beauty, and that sense of learning. I've been fortunate to have all kinds of strange and interesting experiences, whether that's seeing weird things in the sky over secret military bases in the middle of the Nevada desert, going scuba diving and finding internet cables on the bottom of the ocean, or tracking spy satellites in the sky and being able to predict when they'll appear in a flash against the backdrop of stars. The world around us is extraordinary and embodied, right? It is not on screens, and I'm very privileged to have that be so much a part of my process.”Trevor Paglen is an artist whose work makes the invisible visible, whether he's photographing secret government sites from miles away or revealing the hidden infrastructures of mass surveillance. He's a geographer by training, and he combines investigative journalism with his art practice to explore the hidden power structures of our time, including military technology and artificial intelligence. His work has been exhibited in major museums around the world, and he's also an award-winning author. His exhibitions, like 'The Black Sites' and 'Limit Tele-photography,' have earned him critical acclaim, including a MacArthur Fellowship. He's recently opened a new exhibition at Pace Gallery in New York called Cardinals, which delves into the intriguing connections between UFO sightings, AI, and the spread of disinformation.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“There's a word for this brain rot, right? I think that's very real. There are studies coming out now that are showing that the more and more of our cognitive labor we offload to AI systems, the less creative we become, the less critical we become, and the less of our human faculties for reason we use. There's something sad about that, but there's also something dangerous about it because that leaves us very open to being manipulated. The surveillance capitalism kind of economy of extracting data from every possible moment of everyday life in order to extract value. The sensor systems that we're surrounded with are not simply passive devices that are recording us; they are increasingly becoming active sculptors of our experience of reality. Playing dirty.If we look at the entire history of the human experience, if you saw some text or you heard some spoken language, you could 100 percent reliably infer that there was a human who created that. Our experience of having that text or that image generated for us is very akin to the experience of a magic trick, and we sort of pre-subconsciously want to attribute some kind of intelligence to what's going on on the other side.I'm trying to think about these other media strategies, whether that's UFO photography, psychological operations, magic, or neuroscience, and take them seriously as contributing factors to the changing visual culture. With the collection at Pace Gallery, (New York, Jun 26–Aug 15) it was really just to put those images together and show them. They're all photographed on film. A lot of them are photographed on instant film. They're not images that are made with AI; they're not images that are photoshopped. What I really wanted to get at was thinking about the ways in which what we see in an image is very often what we're predisposed to see. I am playing with these mechanics of perception and proposing that as a way of thinking about images now.At the core of the work is that sense of curiosity, that sense of joy, that sense of beauty, and that sense of learning. I've been fortunate to have all kinds of strange and interesting experiences, whether that's seeing weird things in the sky over secret military bases in the middle of the Nevada desert, going scuba diving and finding internet cables on the bottom of the ocean, or tracking spy satellites in the sky and being able to predict when they'll appear in a flash against the backdrop of stars. The world around us is extraordinary and embodied, right? It is not on screens, and I'm very privileged to have that be so much a part of my process.”Trevor Paglen is an artist whose work makes the invisible visible, whether he's photographing secret government sites from miles away or revealing the hidden infrastructures of mass surveillance. He's a geographer by training, and he combines investigative journalism with his art practice to explore the hidden power structures of our time, including military technology and artificial intelligence. His work has been exhibited in major museums around the world, and he's also an award-winning author. His exhibitions, like 'The Black Sites' and 'Limit Tele-photography,' have earned him critical acclaim, including a MacArthur Fellowship. He's recently opened a new exhibition at Pace Gallery in New York called Cardinals, which delves into the intriguing connections between UFO sightings, AI, and the spread of disinformation.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

In this week's episode of the ArtTactic Podcast, host Adam Green speaks with Emeline Salama-Caro, director of the Robert Indiana Legacy Initiative. Founded in 2022 by her family following the artist's passing, the Initiative is dedicated to expanding awareness of Robert Indiana's work beyond his iconic LOVE sculpture. Emeline discusses the unique structure of the Initiative, how it differs from a traditional artist estate, and the motivations behind its creation. She also reflects on the legal complexities surrounding Indiana's final years, the challenges of stewarding an artist's legacy posthumously, and how the Initiative is reintroducing his broader practice to today's collectors and institutions. The episode also highlights Indiana's current exhibition in New York at Pace Gallery (who represents worldwide the Robert Indiana Legacy Initiative).

Positivity is at the heart of any kind of success. A desire to succeed, paired with a positive mindset, good friends, and hard work, can create momentum and growth in any direction you choose. On this episode of The Unfinished Print, a Mokuhanga Podcast, I speak with Michael Verne, a gallerist specializing in Japanese prints and paintings. Michael shares his approach to success, the power of positivity in business, and how he navigates the ups and downs of running a small, focused gallery. Through rich stories, both his own and those of the artists he represents, Michael offers insight into how storytelling shapes his business, sustains its growth, and supports educating people about mokuhanga and Japanese art. Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me theunfinishedprint@gmail.com Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note if available. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Print publishers are given if known. Michael Verne and The Verne Collection - website The Metropolitan Museum of Art - is the largest art museum in North and South America. It began to be assembled by John Jay (1817-1894) in the late 19th century. Incorporated in 1870, the museum has collected many essential pieces, such as the works of Henri Matisse (1869-1954) and Pierre-Auguste Renoir (1841-1919). For more information about the MET, you can find it here. Daniel Kelly - is a visual artist and printmaker based in Kyoto, Japan. Daniel Kelly has shown all over the world, and is many museum collections as well. More information can be found, here.   Morning Calm (1983) 14.5" x 20.5" Tomikichirō Tokuriki (1902-2000) - was a Kyoto based mokuhanga printmaker and teacher. His work touched on many themes and styles. From “creative prints” or sōsaku hanga in Japanese, and his publisher/printer prints, or shin hanga prints of traditional Japanese landscapes.  Dance of Shimazu (1950's)  Sanford Smith and Works On Paper Exhibit - Sanford Smith (1939-2024) was one of the more important New York City art promoters of his time. Founding Sanford L. Smith + Associates, Sanford Smith created many art fairs such as the Works On Paper show, now known as Art On Paper which focused on works on paper such as prints, watercolours and photographs. More information can be found, here.   Willy Loman - is a fictional character in the novel Death of as Salesman by Arthur Miller, first published in 1949. Sadao Watanabe (1913-1996) - was a stencil and dyeing printmaker (katazome 型染め) from Japan. His works were specifically Biblical in nature. His work was also in stained glass which can be found in Nagoya, Aichi, Japan.  Eve (1965)  John Carroll University - is a private Jesuit University located in the suburbs of Cleveland, Ohio, USA and founded in 1886.  New Heights Podcast - is a podcast hosted by American football players Jason and Travis Kelce. It is produced by Michael Verne's son Brian Verne who is the CEO of Wave Sports and Entertainment. The Armoury Show - is an annual international art fair held in New York City, primarily focusing on contemporary art by living artists, but also featuring works by 20th-century masters. Pace Gallery -  is a gallery located in New York City and founded in 1960. Today the gallery is a leader in exhibiting some of the top artists in their media. There are galleries in London, Los Angeles, Hong Kong, Seoul, Geneva and East Hampton. More information can be found, here. Joel Stewart - is an American visual artist based in Kyoto, Japan.  Joel works in ceramics, installation, printmaking and mixed media. More information about Joel can be found, here.  Karatsu (2016) watercolour on paper 30" x 22" Quiet Elegance - is a book published by the Charles E. Tuttle Company in 1997 written by Betsy Franco and Michael Verne. The Charles E. Tuttle Company is now called simply Tuttle.  Dan Rather - is an American journalist who was the head anchor of the CBC Evening News from 1981 - 2005.  Joshua Rome -  is an American mokuhanga printmaker based Vermont after spending many years in Japan. His themes are of landscapes and the human condition. More information can be found, here.  Mixing Hours (1998) shibui (渋い) - is a Japanese concept that refers to a subtle, simple, and refined beauty. Yuko Kimura - is a contemporary printmaker based in California who used etching, aquatint, monotype, indigo dye, and cyanotype on pleated, stitched or twisted paper for her works. Yuko creates process videos on her website so you can see her process of her complex works. More information can be found, here.   Fusion no. 22 2010 etching and enamel on copper in abaca handmade paper 8" x 6"  wabi sabi - is a traditional Japanese aesthetic concept that embraces the beauty of imperfection, impermanence, and simplicity. Rooted in Zen Buddhism, it values natural materials, asymmetry. Takauchi Seihō (1864 - 1942)-  was a painter of Nihonga. His paintings were famous because of his travels to the West and the influences gathered from that. More information can be found, here.  Spring and Autumn (left screen) c 1889 Allen Memorial Art Museum - is an art museum located in Oberlin, Ohio and was founded in 1917.  Katustori Hamanishi -  is a mezzotint artist known for his diptychs , triptychs and quadtychs. More information can be found, here.  Cosmos Field (2022) 23.75" x 17.75" mezzotint Shigeki Kuroda - is a visual artist who works in aquatint, mezzotint, drypoint, and etching. For more information about his work can be found, here.  Mild Breeze (1953) 25.1" x 18.1" etching and aquatint Clifton Karhu (1927-2007) -  was a mokuhanga printmaker based in Japan. Karhu lived in Japan for most of his life after studying with Tetsuo Yamada and Stanton Macdonald-Wright. HIs themes were of his home city of Kyoto, Japan. More information can be found, here.  Katsura Moonlight (1982) 15.75" x 11./81" Tollman Collection  - is a well known Japanese art gallery located in Daimon, Tokyo, Japan. More information can be found, here.  Toko Shinoda (1913-2021) - was a Japanese visual artist who was made famous for her works in Sumi ink paintings and prints. More information can be found, here.  Winter Green (1990) ink on paper Hideo Takeda -  is a Tokyo based graphic illustrator, mokuhanga printmaker, and all around artist who challenges what it means to be an artist in this modern world. More information can be found, here.   Green (2009) Painting 13" x 9.5" Sarah Brayer - is a visual artist who is based in Kyoto, Japan. Her works are predominantly poured Japanese paper (washi). Sarah was the first Western artist to work at the Taki paper mill in Echizen. This is where she currently make her paperworks. Sarah have worked continuously in Echizen since 1986 as the only Western artist to do so. Sarah Brayer has also produced mokuhanga in her career. More information can be found, here.  ' Sea Meets Sky (Japan Blue Series) woodblock monotype, chine colle, 16" x 14" Cameron Bailey - is a mokuhanga printmaker based in Queens, New York. His mokuhanga technique is in reduction where Cameron creates beautiful and powerful landscapes. More information can be found, here.  Tempest (2025) 16" x 24"  Shirō Kasamatsu (1898–1991) was a mokuhanga print designer during the shin-hanga movement of the early 20th century, and later focused on his own mokuhanga printmaking during the sōsaku-hanga period of the 1950's. More information can be found, here.  Co Corridor (1960's/1970's) oban 10"x 15" Yoshida Hiroshi (1876-1950) - a watercolorist, oil painter, and woodblock printmaker. Is associated with the resurgence of the woodblock print in Japan, and in the West. It was his early relationship with Watanabe Shōzaburō, having his first seven prints printed by the Shōzaburō atelier. This experience made Hiroshi believe that he could hire his own carvers and printers and produce woodblock prints, which he did in 1925.  The Acropolis At Night (1925) 10.13" x 16.5" Kawase Hasui (1883-1957), a designer of more than six hundred woodblock prints, is one of the most famous artists of the shin-hanga movement of the early twentieth century. Hasui began his career under the guidance of Kaburaki Kiyokata (1878-1971), joining several artistic societies early on. However, it wasn't until he joined the Watanabe atelier in 1918 that he began to gain significant recognition. Watanabe Shōzaburō (1885-1962) commissioned Hasui to design landscapes of the Japanese countryside, small towns, and scenes of everyday life. Hasui also worked closely with the carvers and printers to achieve the precise quality he envisioned for his prints. Mishima River, Mutsu (1919) 14" 9"  Shibata Zeshin (1807 - 1891) - was a laquer ware painter and print designer during the 19th Century.  Album of Lacquer Pictures by the Venerable Zeshin (1887) 6.5" x 7"  Kiyoshi Saitō (1907-1997) - was a Japanese woodblock printmaker and artist who worked in the sōsaku hanga style of mokuhanga. HIs fame outside of Japan was fairly comprehensive with his peak fame being in the 1950's and 1960's. For a comprehensive book on his life and times, Saitō Kiyoshi: Graphic Awakening published by The John & Mable Ringling Museum is an excellent source. Can be found, here. Lecture by Dr. Paget about Saitō can be found, here. My interview with Professor Paget can be found, here.  Otaru, Hokkaido (1948) 18" x 24" Munakata Shikō (1903-1975) - arguably one of the most famous modern printmakers; Shikō is renowned for his prints of women, animals, the supernatural and Buddhist deities. He made his prints with an esoteric fervour where his philosophies about mokuhanga were just as interesting as his print work.  Princess Showing Upper Arm (1958) 9" x 7.5" Sekino Jun'ichirō (1914-1988) - was a mokuhanga printmaker who helped establish the sōsaku hanga, creative print movement in Japan. His themes were of landscapes, animals and the abstract. Sekino exhibited and became a member with Nihon Hanga Kyōkai and studied with Ōnchi Kōshirō (1891-1955) and Maekawa Senpan (1888-1960).  Cats and There Kittens (1960) 18" x 13" Katsuyuki Nishijima - is a contemporary mokuhanga printmaker based in Japan who carves and prints his own work. His prints are colourful and focused on the Japanese landscape. More information can be found, here.  Moon Over Lake 10.25" x 14.75" Mayumi Oda - is a Buddhist teacher and artist based in Hawai'i. Her artwork has gained international recognition, having traveled worldwide. In addition to her artistic pursuits, Mayumi is an environmental activist and resides and works at Ginger Hill Farm, an eco-retreat on the Big Island of Hawai'i. Explore more about Mayumi Oda's work, here. Bell Telephone (1976)  21" x 15" colour screen print  Nicholas Cladis - is an artist and paper historian who teaches and lives in Iowa. He lived in Echizen from 2014-2020 where he studied how to make washi, taught at the Fukui Prefectural University, as well as being the International liaison for the paper making union. More info can be found on his website, here. You can find Nicholas' episode with The Unfinished Print, here.  Craig Anczelowtiz - is a mixed media collage artist who splits his time between New York and Japan. Craig's works focus on Japenese themes and nostalgia. More information can be found, here.  Meiji Beauty #8 (2025) vintage Japanese papers, gouache, plexi, gold leaf, and ink on thick washi 20" x 28"  © Popular Wheat Productions Opening and closing musical credit -Next Journey by Robomoque (2023) on Gunn-R-Rotation Records  logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :)  Слава Українi If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***    

Few artists aim to make sense of the subjectivity and complexity of time and space quite like the Polish-born, Berlin-based artist Alicja Kwade. In each of her works, ranging from sculptures and large-scale public installations to films, photographs, and works on paper, Kwade displays an astute sense of temporality and the ticking hands of the clock. Her practice, in a literal and figurative sense, is a quest to understand time as a ruler and shaper of our lives and of our world. For her latest exhibition, “Telos Tales,” on view at Pace Gallery in New York's Chelsea neighborhood through August 15, Kwade has created three monumental steel-frame sculptures with treelike limbs alongside new mixed-media works in an effort to engage the intangible nature of time. As with all her work, “Telos Tales” is philosophical, illusionistic, and inspires wonder: Long after a viewer has seen it, it will leave them questioning.On the episode, Kwade considers the unfathomability of all things, finds humor in being human, and explains what a relief it is to know that some questions have no clear answers—and never will. Special thanks to our Season 11 presenting sponsor, Van Cleef & Arpels.Show notes:Alicja Kwade[13:19] “Alicja Kwade: Telos Tales” at Pace Gallery[16:56] “Hiroshi Sugimoto on Photography as a Form of Timekeeping”[18:41] “Alicja Kwade: Pretopia” (2025)[24:42] On Kawara's Date Paintings[25:04] “Alicja Kwade & Agnes Martin: Rhythm, Equilibrium, and Time” (2024)[25:04] “Gegen den Lauf” (2012-2014)[29:48] “Stellar Day” (2013)[31:44] “Against the Run” (2015)[31:44] “Against the Run” (2019)[31:44] Pinacoteca Agnelli Art Center[35:04] “88 Seconds”  (2017)[35:04] Eadweard Muybridge[39:24] Hiroshi Sugimoto[49:00] Salvador Dalí[49:00] Harry Houdini[49:00] Kazimir Malevich[59:27] “iPhone” (2017)[59:27] “Computer (PowerMac)” (2017)[01:04:47] “LinienLand” (2018)[01:04:47] “Alicja Kwade: Parapivot” (2019)[01:04:47] “Alicja Kwade: Viva Arte Viva” (2017)[01:08:30] “L'ordre des Mondes (Totem)” (2024)[01:13:50] Jason Farago[01:13:50] “Celestial Visions on the Met Roof”

Don Diablo Socials:https://www.instagram.com/dondiablohttps://www.facebook.com/OfficialDonDiablohttps://open.spotify.com/artist/1l2ekx5skC4gJH8djERwh1Podcast Overview: In this conversation, Will Clarke and Don Diablo explore the complexities of creativity, mental health, and the music industry. They discuss the balance between artistry and commercial success, the evolution of music, and the impact of technology on music creation. Don shares his journey of self-discovery through music, the challenges of genre identity, and the importance of legacy. The conversation highlights the need for artists to innovate while navigating fan expectations and the changing landscape of the music industry. In this conversation, Don Diablo shares his journey as a music producer, discussing the struggles he faced in the industry, the importance of collaboration, and the joy of working with a creative team. He reflects on the challenges of maintaining authenticity while navigating success and public perception, emphasizing the need for passion over profit.Who Is Don Diablo: Don Diablo, is a pioneering Dutch artist and musician, celebrated for his visionary approach across various disciplines, including music, art, fashion, and technology. He has collaborated with esteemed institutions and brands, including Disney, Sotheby's, Netflix, StarWars, The United Nations, and Pace Gallery.Join for updates: https://laylo.com/willclarke⏲ Follow Will Clarke ⏱https://djwillclarke.com/https://open.spotify.com/artist/1OmOdgwIzub8DYPxQYbbbi?si=hEx8GCJAR3mhhhWd_iSuewhttps://www.instagram.com/djwillclarkehttps://www.facebook.com/willclarkedjhttps://twitter.com/djwillclarkehttps://www.tiktok.com/@djwillclarke Hosted on Acast. See acast.com/privacy for more information.

A conversation with painter Kylie Manning about her latest exhibit, There is something that stays, on view at Pace Gallery's West 25th Street locations in New York through April 19. Known for her sweeping, atmospheric canvases that merge representation with abstraction, Manning's work evokes a sense of movement, memory, and emotional resonance. In the conversation, we discuss the inspiration behind the new body of work and her evolving relationship with color and form.https://www.pacegallery.com/exhibitions/kylie-manning-there-is-something-that-stays/http://www.kyliemanning.com/https://www.pacegallery.com/artists/kylie-manning/

Kevin Cummins has an international reputation as one of the world's leading photographers and is famed for his iconic portraits of musicians including Ian Curtis, Bowie, The Smiths, Iggy Pop, Bjork, Debbie Harry, Bob Marley, Public Enemy, Patti Smith and Oasis. These photographs have appeared on magazine covers and in galleries and museums worldwide, including Brooklyn Museum, Sydney Opera House, and the Pace Gallery, His work is included in the permanent collections of the National Portrait Gallery, V&A Museum and Manchester City Art Gallery. Kevin had a 20-year association with the NME, where he created many of the best-known images in modern music history. From the acting world he's photographed Helen Mirren, Ralph Fiennes, Vanessa Redgrave, Stephen Graham, Gary Oldman, and Richard E. Grant. His work has appeared on over 500 magazine covers and he's published many books documenting much of his own work with his latest, Oasis The Masterplan, being his sixteenth. It's out in April but you can pre-order it now. It documents twelve months of seismic change at the start of their career through the photographs he took that cemented the identity of Oasis and helped to define the band. You can buy the book, here - https://www.waterstones.com/book/oasis-the-masterplan/kevin-cummins/9781788405683Kevin Cummins is our guest in episode 478 of My Time Capsule and chats to Michael Fenton Stevens about the five things he'd like to put in a time capsule; four he'd like to preserve and one he'd like to bury and never have to think about again .Buy Oasis The Masterplan by Kevin Cummins, here - https://www.waterstones.com/book/oasis-the-masterplan/kevin-cummins/9781788405683For everything Kevin Cummins, visit - http://www.kevincummins.co.ukFollow Kevin Cummins on Instagram & Twitter/X: @dkcmanc .Follow My Time Capsule on Instagram: @mytimecapsulepodcast & Twitter/X & Facebook: @MyTCpod .Follow Michael Fenton Stevens on Twitter/X: @fentonstevens & Instagram @mikefentonstevens .Produced and edited by John Fenton-Stevens for Cast Off Productions .Music by Pass The Peas Music .Artwork by matthewboxall.com .This podcast is proud to be associated with the charity Viva! Providing theatrical opportunities for hundreds of young people . Get bonus episodes and ad-free listening by becoming a team member with Acast+! Your support will help us to keep making My Time Capsule. Join our team now! https://plus.acast.com/s/mytimecapsule. Hosted on Acast. See acast.com/privacy for more information.

We are back this week with our monthly edition of the Art Angle Roundup, where co-hosts Kate Brown and Ben Davis are joined by a guest to discuss some of the biggest headlines of the month. This week, Caroline Goldstein, acting managing editor of Artnet News, joins the show. It's been quite the January. Though it is typically a slow month, some major stories have transpired. We'll be talking about censorship in the museum world in the U.S., looking in particular at the case of two Sally Mann photographs that were seized from a museum in Dallas, Texas. We will also talk about the passing of the filmmaker David Lynch on January 15. Lynch is famous for his films, but he was also a respected artist with his fair share of institutional exhibitions under his belt. He has always been a painter, but do we like his paintings? We discuss. Lynch has been represented by Pace Gallery since 2022. We take a look at his artistic legacy and his enigmatic ways. Last but not least, New York's prestigious Metropolitan Museum has ventured into the blockchain world of all places with a free-to-play video game that you can access on Web3. The game was launched this month together with TR Lab, a platform that aims to connect artists and technologists and creates and sells fine art collectibles. The Met's new game, called Art Links, does weekly drops. If you win you can collect badges in your OpenSea wallet and win IRL prizes. Sound fun? Maybe not? We each played it and gave it our honest review. —Kate Brown

We are back this week with our monthly edition of the Art Angle Roundup, where co-hosts Kate Brown and Ben Davis are joined by a guest to discuss some of the biggest headlines of the month. This week, Caroline Goldstein, acting managing editor of Artnet News, joins the show. It's been quite the January. Though it is typically a slow month, some major stories have transpired. We'll be talking about censorship in the museum world in the U.S., looking in particular at the case of two Sally Mann photographs that were seized from a museum in Dallas, Texas. We will also talk about the passing of the filmmaker David Lynch on January 15. Lynch is famous for his films, but he was also a respected artist with his fair share of institutional exhibitions under his belt. He has always been a painter, but do we like his paintings? We discuss. Lynch has been represented by Pace Gallery since 2022. We take a look at his artistic legacy and his enigmatic ways. Last but not least, New York's prestigious Metropolitan Museum has ventured into the blockchain world of all places with a free-to-play video game that you can access on Web3. The game was launched this month together with TR Lab, a platform that aims to connect artists and technologists and creates and sells fine art collectibles. The Met's new game, called Art Links, does weekly drops. If you win you can collect badges in your OpenSea wallet and win IRL prizes. Sound fun? Maybe not? We each played it and gave it our honest review.

Curatorial director at PACE Gallery in New York, writer, and fulltime Leo, Kimberly Drew is a curator of beauty and pleasure. Kimberly has published two books – Black Futures and This Is What I Know About Art. She is also known for her work in arts institutions ranging from the Met to New York Fashion Week. Kimberly's careful curation of everything in her life, especially her style, screams fire sign, but her earth and water placements reveal a more private side. She and Isa Nakazawa discuss how she has learned to unguard with those closest to her.

Ep.224 Anthony Olubunmi Akinbola (b. 1991, Missouri) has had solo exhibitions at Sean Kelly, New York; Night Gallery, Los Angeles; Galerie Krinzinger, Vienna; Carbon 12, Dubai; John Kohler Art Center, Sheboygan; the Queens Museum, New York, and other galleries and institutions. His work has been featured in group shows at the Guggenheim, New York, NY; Hauser & Wirth, New York and Los Angeles; Pace Gallery, New York; and the Bernard A. Zuckerman Museum of Art, Kennesaw, among others. Akinbola's work is included in the permanent collections of the Detroit Institute of Arts, Detroit, MI; The Beth Rudin DeWoody Collection; The Everson Museum of Art, Syracuse, NY; Solomon R. Guggenheim Museum, New York, NY; Ogunquit Museum of American Art, Ogunquit, ME; Pizzuti Collection, Columbus, OH; and Zabludowicz Collection, London, United Kingdom. Akinbola lives and works in New York. Photo Courtesy of SCAD Sean Kelly https://www.skny.com/news-events/anthony-akinbola-good-hair Hauser Wirth https://www.hauserwirth.com/viewing-room/anthony-olubunmi-akinbola/ Galerie Krinzinger https://galerie-krinzinger.at/artists/anthony-olubunmi-akinbola-0494f551/ Night Gallery https://www.nightgallery.ca/exhibitions/anthony-akinbola/about zidoun-Bossuyt https://zidoun-bossuyt.com/worksavailable/anthony-olubunmi-akinbola/ SCAD https://www.scad.edu/event/2024-08-23-anthony-olubunmi-akinbola-exhibition-good-hair Contemporary Art Review https://contemporaryartreview.la/anthony-olubunmi-akinbola-at-night-gallery/ L'Officiel https://www.lofficielusa.com/art/artists-to-watch-2024 Hypebeast https://hypebeast.com/2024/10/anthony-olubunmi-akinbola-western-beef-exhibition-galerie-frinzinger-vienna Cultural DC https://www.culturaldc.org/anthony-akinbola Whitewall https://whitewall.art/art/anthony-akinbola-explores-fetish-camouflage-and-loaded-objects-at-sean-kelly-gallery-in-new-york/ Vogue https://www.vogue.com/article/this-nigerian-american-artist-uses-durags-as-his-medium Contemporary Art Review https://contemporaryartreview.la/anthony-olubunmi-akinbola-at-night-gallery/ 1201 https://www.1202magazine.com/art/anthony-olubunmi-akinbola-scad-good-hair Visionary Artistry Magazine https://visionaryartistrymag.com/2024/06/anthony-akinbola-bridging-identity-through-art/ Rivalry Projects https://www.rivalryprojects.com/anthony-olubunmi-akinbola John Michael Kohler Arts Center https://www.jmkac.org/exhibition/magic-city/ Silver Arts Project https://www.silverart.org/artists/27-anthony-akinbola/overview/ Cultured Magazine https://www.culturedmag.com/article/2022/05/17/anthony-bunmi-akinbola-uses-art-as-social-commentary C& https://contemporaryand.com/exhibition/anthony%E2%80%AFolubunmi%E2%80%AFakinbola-magic-city/ NYTimes https://www.nytimes.com/2021/09/30/arts/design/art-gallery-shows-to-see-right-now.html Artnews https://www.artnews.com/art-news/artists/anthony-akinbola-durag-paintings-interview-1234649721/

La Pace Gallery Genève présente une exposition captivante et inédite : Widows of the Wind, conçue par l'artiste Paulina Olowska, en dialogue avec les photographies emblématiques de Deborah Turbeville. Visible jusqu'au 22 février 2025, cette exposition marquante explore les croisements entre peinture, photographie, mode et commerce, tout en plongeant dans les récits complexes de la condition féminine. C'est la première fois que Paulina Olowska présente une exposition solo à Genève. Elle s'appuie sur le regard introspectif et les images mélancoliques de Deborah Turbeville pour créer un dialogue visuel fascinant. Ensemble, leurs œuvres explorent des thèmes comme l'isolement, la mémoire, et la tension entre la fonction commerciale de l'art et sa profondeur émotionnelle. Une exposition enracinée dans l'environnement genevois Installée sur les rives du Lac Léman, l'exposition intègre des éléments directement inspirés de l'hiver genevois. Une installation au sol, évoquant des paysages enneigés, invite les visiteurs à plonger dans une réflexion sur la temporalité et les récits liés aux expériences féminines. Widows of the Wind est une mise en scène riche et évocatrice, où chaque détail souligne la capacité de l'art à transcender les genres et les époques, tout en interrogeant les rôles assignés aux femmes dans l'histoire et la société contemporaine. Dans notre reportage, nous échangeons avec Valentina Wolchkova, vice-présidente de Pace Gallery Genève, pour découvrir les coulisses de ce projet ambitieux.     

Hank Willis Thomas is a US artist who works across media to explore themes including identity, popular culture and mass media. We meet him at his exhibition of collages, ‘Kinship of the Soul', at London's Pace Gallery. See omnystudio.com/listener for privacy information.

Nathalie Du Pasquier: Così fan tutte, 2015-2023. Apalazzogallery, Pace Gallery at Art Basel 2024 Unlimited. Official description: ‘Così fan tutte ...

L'exposition "Façonner l'invisible", organisée à HiFlow du 11 septembre au 6 octobre 2024, explore la transformation du geste dans un monde où l'automatisation et les technologies numériques sont de plus en plus prédominantes. Curatée par Amir El May, cette exposition rassemble plus de 32 œuvres d'artistes contemporains suisses et internationaux tels que Leo Villareal, Olga Titus et Manon Pretto, avec des prêts prestigieux de la Pace Gallery et Gowen Contemporary Gallery. Le thème principal de l'exposition interroge le passage du geste manuel au geste technologique, une évolution marquante non seulement pour l'art mais également pour la société. Les œuvres présentées oscillent entre réel et virtuel, soulignant l'impact des nouvelles technologies sur la créativité humaine et invitant à une réflexion sur notre futur technologique. Parmi les œuvres phares, on retrouve les installations lumineuses interactives de Leo Villareal, les récits visuels numériques d'Olga Titus, ainsi que les créations corporelles augmentées de Manon Pretto, inspirées par la science-fiction. L'exposition démontre également comment l'art peut jouer un rôle central dans la compréhension et l'anticipation des changements sociétaux induits par la technologie, tout en mettant en avant la complémentarité entre art, science et industrie. Découvrez notre reportage avec Amir El May, commissaire de l'exposition.  

In unserer 46. Folge der KUNSTPAUSE sprechen Felix von Boehm und Charlotte Paulus mit Laura Attanasio von Pace Gallery über die „Goldelse“ von Alicja Kwade, die seit diesem Sommer 2024 im Skulpturengarten der Neuen Nationalgalerie zu sehen ist. Die Arbeit ist eine Schenkung der Künstlerin und Pace Gallery an die Freunde der Nationalgalerie. Es handelt sich bei der Goldelse um eine vergoldete Bronzeskulptur. Sie ist angelehnt an die von Friedrich Drake geschaffene Siegesgöttin Viktoria auf der Siegessäule im Berliner Tiergarten, die von den Berliner*innen auch „Goldelse“ genannt wird. Alicja Kwade hat bei ihrer Version der Siegesgöttin alle militärischen Attribute entfernt, sodass die Goldelse wieder eine echte Berlinerin geworden ist. In ihren Werken setzt sich Kwade oft mit Themen wie Zeit, Raum, Materie und Wahrnehmung auseinander. Sie verwendet Alltagsgegenstände, die sie verfremdet oder in neue Kontexte stellt, um physikalische und philosophische Fragen zu stellen.

Torkwase Dyson: Errantry, 2024 / Gray, Pace Gallery at Art Basel 2024 Unlimited. Basel (Switzerland), June 13, 2024. Official description: ...

For the Venice Biennale Edition of CHANEL's flagship arts and culture podcast, Andrew Durbin, author and Editor-in-Chief of Frieze magazine, connects with Kimberly Drew, author, critic and Curatorial Director at Pace Gallery. Kimberly has developed a huge online following for the way she uses emerging platforms to communicate about art. And, as the editor of Frieze, Andrew is one of the most influential writers on art in the world. Together, they discuss the evolution of art in the digital age and explore how the Venice Biennale came to be the centrepiece of the global art community.

Full ep released to subscribers: 10 Aug 2023 | To join New Models, find us via patreon.com/newmodels & newmodels.substack.com _ Artist Trevor Paglen speaks with New Models about systems of “influence” past and present – pointing to a transition from a world of surveillance capitalism that is potentially becoming one of PSYOPS capitalism. This conversation follows Paglen's parallel 2023 exhibitions “Hide the Real, Show the False” at n.b.k. Berlin and “You've Just Been F*cked by PSYPOS” at Pace Gallery in New York. For more: Tw/X: @trevorpaglen https://paglen.studio/ Jak Ritger, https://www.punctr.art/unlimited-hangout-the-ufo-story

We tend to associate the recovery of history's ‘lost' women with the advent of feminism, but, Sophie Smith writes, women's contributions to Western philosophy have been regularly rediscovered since at least the 14th century. She joins Tom to discuss this cycle of forgetting and what we can learn from the women who held their own alongside Plato, Descartes and Hume.Find Sophie's piece and further reading on the episode page: https://lrb.me/sophiesmithpodFind out more about Pace Gallery's upcoming exhibitions here: https://www.pacegallery.com/exhibitions/Find out more about Coram Boy at Chichister Festival Theatre here: https://www.cft.org.uk/events/coram-boy Hosted on Acast. See acast.com/privacy for more information.

Most widely recognized for his paintings that rigorously combine spray paint, stenciled geometric forms, and brushstrokes, the Brooklyn-based artist Adam Pendleton is also known for his “Black Dada” framework, an ever-evolving philosophy that investigates various relationships between Blackness, abstraction, and the avant-garde. Many will recognize Pendleton's work from “Who Is Queen?,” his 2021 solo exhibition at New York's Museum of Modern Art, which he has said was his way of “trying to overwhelm the museum.” This is a natural position for him: His works in and of themselves are often overwhelming. At once political and spiritual, they provoke deep introspection and consideration, practically demanding viewers to look, and then look again.On this episode, he discusses the elusive, multifarious nature of “Black Dada”; “An Abstraction,” his upcoming exhibition at Pace Gallery in New York (on view from May 3–August 16); painting as a kind of technology; and why, for him, jazz is indefinable.Special thanks to our Season 9 presenting sponsor, L'École, School of Jewelry Arts.Show notes:Adam Pendleton[05:00] Joan Retallack[05:00] Pasts, Futures, and Aftermaths[05:22] “Becoming Imperceptible”[07:41] Ishmael Houston-Jones[07:41] Joan Jonas[07:41] Lorraine O'Grady[07:41] Yvonne Rainer[07:41] Jack Halberstam[14:26] Fred Moten[05:22] “Who Is Queen?”[23:50] Hugo Ball's Dada Manifesto[23:50] Amiri Baraka's “Black Dada Nihilismus”[31:14] Isabella Stewart Gardner Museum[31:14] “System of Display”[31:14] “Reading Dante”[34:40] “Adam Pendleton” at Pace Gallery[34:40] “An Abstraction” at Pace Gallery[34:40] Arlene Shechet[34:40] “Adam Pendleton x Arlene Shechet”[40:30] “Blackness, White, and Light” at MUMOK[45:07] “Twenty-One Love Poems” by Audrienne Rich[50:40] “Occupy Time” by Jason Adams[56:04] “What It Is I Think I'm Doing Anyhow” by Toni Cade Bambara[57:13] “Some Thoughts on a Constellation of Things Seen and Felt” by Adrienne Edwards

Ep.186 Loie Hollowell was born in 1983 and raised in Woodland, California. She currently lives and works in New York City. She received a BFA at University of California Santa Barbara in 2005 and an MFA inpainting from Virginia Commonwealth University in 2012. Her work has been exhibited at museums and galleries worldwide including Jan Shrem and Maria Manetti Shrem Museum of Art, University of California, Davis; Pace Gallery; Long Museum West Bund, Shanghai; Feuer/Mesler, New York; White Cube Gallery, Paris; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Los Angeles County Museum of Art, Los Angeles; The Flag Art Foundation, New York; Crystal Bridges Museum of American Art, Bentonville, Arkansas; Victoria Miro, London; and Ballroom Marfa, Texas. Her work is in public collections including the Albertina Museum, Vienna; Centre Pompidou, Paris; Crystal Bridges Museum of American Art, Bentonville; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; ICA, Miami; Long Museum, Shanghai; Los Angeles County Museum of Art, Los Angeles; M+Museum, Hong Kong; Stedjelijk Museum, Amsterdam; and Zentrum Paul Klee, Switzerland.  Her work has been exhibited at museums and galleries worldwide including Pace Gallery, The Aldrich Contemporary Art Museum, Ridgefield, CT; Jessica Silverman, San Francisco, CA.  Photo by Melissa Goodwin Artist https://www.loiehollowell.com/ Pace Gallery https://www.pacegallery.com/online-exhibitions/loie-hollowell/ The Aldrich Contemporary Art Museum  https://thealdrich.org/exhibitions/loie-hollowell-a-survey Jessica Silverman https://jessicasilvermangallery.com/online-shows/loie-hollowell-in-transition/- Urist, Jac. Loie Hollowell Abstracts the Female Body, W Magazine / January 18, 2024- Dafoe, Taylor. Loie Hollowell's New Move From Abstraction to Realism Is Not a One-Way Journey, Artnet / January 19, 2024 Thornton, Sarah. Loie Hollowell on Frottage, Fantasy and Feminist Erotica, Interview Magazine / January 23, 2024 Greenberger, Alex. 33 Must-See Exhibitions to Visit This Winter, ARTnews / December 3, 2023 Knupp, Kristen. Loie Hollowell: The Third Stage, Art Vista / September 4, 2023 Woodcock, Victoria. The Cosmic Heirs of Hilma af Klint, Financial Times / May 26, 2023 Lesser, Casey. Loie Hollowell on Abstraction, Making the Grotesque Beautiful, and Her Latest Work, Artsy / March 14, 2023 Gómez-Upegui, Salomé. The New Generation of Transcendental Painters, Artsy / February 28, 2023 Belcove, Julie. How a New Generation of Women Painters Is Creating Dreamy Kaleidoscopic Works, Robb Report / February 26, 2023 Compton, Nick. Generative art: the creatives powering the AI art boom  Wallpaper* / December 12, 2022 Binlot, Ann. At the Aldrich, Revisiting a Groundbreaking Show forFeminist Art, New YorkMagazine's The Cut / June 7, 2022 Yerebakan, Osman Can. Loie Hollowell on Painting, Pain, and her Second Birth,  Artforum / May 26, 2021 Wilco, Hutch. Loie Hollowell's Shanghai Recalibration, Ocula / May 26, 2021 New York Up Close. Loie Hollowell's Transcendent Bodies, Video by Art21 / April 14, 2021 Giles, Oliver. Artist Loie Hollowell On How Motherhood Inspired Her Paintings, Tatler Asia /April 11, 2021 Donoghue, Katy. Art Mamas: Loie Hollowell on ‘Going Soft', Whitewall / July 17, 2020 The A-List: The Best Culture To Catch From Home This Week, Vanity Fair / July 5, 2020 Urist, Jacoba. Artists Share the Most Inspiring Books They're Reading Right Now, Galerie Magazine/ March 30, 2020

Oidie Kuijpers (b. 1993) is a painter based in Brooklyn, New York. Kuijpers makes work which explores representation and investigates painting as a form of critical inquiry. His paintings have been included in exhibitions at Oberlin College, Pace Gallery, New York, Pratt Institute, and D. D. D. D. in New York. untitled (2023.31), 2023, acrylic on panel 10 x 10 inches untitled (2023.10.A), 2023, acrylic on panel, 10 x 10 inches untitled (2023.05.A), 2023, acrylic on panel, 10 x 10 inches  

A conversation with artist William Monk about his artistic journey and his latest work. The conversation touches on the significance of scale, his use of repetition, how one defines a landscape, and his most recent exhibition “West of Nowhere” which just wrapped up at Pace Gallery in Los Angeles.https://www.williammonk.com/https://www.pacegallery.com/exhibitions/william-monk-west-of-nowhere/

Joyce Pomeroy Schwartz is a curator, lecturer and public art consultant with a unique concentration in public art policy, modern and contemporary art for architecture and the landscape in the broader context of cultural, urban and environmental revitalization.  In 1968-1971 she founded “The Photographer's Gallery,” the first gallery in New York City exhibiting photography as fine art. She was Director of Commissions at Pace Gallery in New York from 1972-1982, implementing public sculpture projects with Pace artists. In 1982 Joyce founded “Works of Art for Public Spaces, Ltd.”, dedicated to working with American and International artists creating major works of Art for Architecture. She is also one of the founding board members of ARTTABLE. She recently established the Harold and Joyce Pomeroy Schwartz “Archives of Public Art” at the Fales Special Collections/NYU Bobst Library, of artists' monographs, photographs and papers available for public art historical research. It now includes the archives of the Public Art fund and Creative Time. In July 2023, Joyce released her book: “The Private Eye in Public Art”, published by Oro Editions. On this episode of The One Way Ticket Show, Joyce shares her one way ticket to 25 years into the future to know what her two great-granddaughters are doing then. During the course of our conversation, Joyce also reflects on: ·     Her lifelong love of art – particularly Native American and African Art - stemming from her visits as a young girl in the late 1930s to the Brooklyn Museum, the Met and MOMA (which she used to ride to solo via the subway) ·     Visiting the 1939 World's Fair and the futuristic GM pavilion ·     The general role art plays in questioning and opening ones mind ·     The role of public art and how it moved beyond sticks & stones to the art of ideas and place-making ·     How public art shapes a space rather than fills it and how it provides a common cultural cue ·     How from the very start, Chicago got public art projects right ·     Collaborating with groundbreaking artists including: Louise Nevelson, Tony Smith, David von Schlegell and Isamu Noguchi ·     Creating the Irish Hunger Memorial in New York City ·     Arshile Gorky's lost (then found!) murals at Newark Airport ·     Why artists are the only narcissists she'll ever forgive.

PACE Gallery's Arne Glimcher on painter Agnes Martin --- Support this podcast: https://podcasters.spotify.com/pod/show/noah-becker4/support

A lifelong lover of museums, Kimberly Drew's entry into the working world of art started with creating a Tumblr page dedicated to Black art and culture called Black Contemporary Art. The page immediately took off and helped her land a social media manager gig at the Metropolitan Museum of Art. Entering the space through her digital experience helped Kimberly fulfill her goal of bringing art to a wider audience, reinvigorating and diversifying the MET's digital presence. After leaving her post at the MET, she decided to focus on the intersection of art and commerce eventually releasing her own book, This is What I Know About Art and co-authoring Black Futures. Today, Kimberly continues her work as an author while also being the curator at world reknown Pace Gallery.Co-Founder of Claima and Former Nike Marketer, Bimma Williams interviews leading and emerging creatives and entrepreneurs of color about how they were able to build their own tables by turning their hobbies, side hustles, and ideas into thriving small businesses. From these stories, listeners will learn how to claim their dream careers by stepping into the world of entrepreneurship. Featuring Melody Ehsani, Dapper Dan, Jeff Staple, Karleen Roy and more. Follow Claima Stories and Bimma Williams on Instagram: @claimastories and @bimmawilliamsAnd watch us Youtube powered by Vista. Vista is proud to be your go-to design and marketing partner for small business owners across the world. Use code CLAIMASTORIES at check-out on www.vistaprint.com to receive 20% off your next order of $75 or more plus free standard shipping.

A conversation with generative artist Tyler Hobbs. Hobbs has combined his computer programming and art backgrounds to become one of the biggest names at the nexus of digital and physical art. On the heels of his amazingly popular Fidenza series of generative artworks, he has released the ambitious QQL series which redefines the role of the art collector as that of collaborator. Pace Gallery is currently featuring a series of physical works that Hobbs created by hand based on his own use of the QQL algorithm. The conversation touches on a number of topics, including Hobbs' unique journey, his place in the history of digital art, his love of music and the artists that have inspired him.https://tylerxhobbs.com/https://twitter.com/tylerxhobbs?s=20https://qql.art/https://www.pacegallery.com/exhibitions/tyler-hobbs-qql-analogs/https://www.pacegallery.com/online-exhibitions/qql-parametric-expression/https://www.artblocks.io/

On this episode I'm joined by Gideon Appah.  Born in Accra, Ghana in 1987, Gideon received his Bachelor of Fine Arts at The Kwame Nkrumah University of Science and Technology in Kumasi, Ghana in 2012.  Appah lives and works in Ghana. With a diverse practice that ranges from the expressionistic to the surreal, Appah draws from his personal experiences to depict life in his native Accra. Appah's work investigates his childhood as well as local mythologies, ethereal landscapes, rivers, domestic interiors, and recurring figures both imagined and known, such as his grandmother and brother. He has also created traditional portraiture and painted dreamlike scenes of jewel-toned figures in imaginative, symbol-laden landscapes. It's a Sunday afternoon in Gideon's studio in Kasoa, about an hour's drive from Accra, where he's working on a painting for his latest show on view now at Pace Gallery in London when we begin talking about his work and studio practice. 

Innovation is so important to Kenneth Noland's practice, says Pace Gallery's Alex Brown in this podcast. This month, Pace brings a show of Noland's Stripes, Plaids and Shapes to Chelsea after a successful run in their London gallery. To get a better understanding of Noland's career, we spoke with Bill Noland, the artist's son; then Alex Brown and the Noland estate's long-term advisor, Douglas Baxter, help us understand the market for the artist.

Two teachers — from an elementary school and a high school — explain why they're striking in solidarity with LAUSD workers such as custodians and bus drivers. Plus, how to get resources for surviving the strike, and what's driving this conflict? Louise Nevelson was one of the most iconic sculptors of the 20th century. LA's Pace Gallery is showing her larger, monochromatic wooden sculptures as well as colorful collages.

For this latest roundup of OLD NEWS stories, we're joined by a very special guest, to talk about: The MASS MoCA union; the new monument to the Central Park 5; the debate about bringing attention to the climate crisis by throwing food and attaching body parts to famous artworks in museum, as analyzed by Jerry Saltz in his piece ‘MASHED POTATOES MEET MONET,' as well as through our own lenses on the phenomenon; how a stolen painting was turned into a popular throw pillow (which you can purchase online for $18.40 plus shipping); the struggles of Pace Gallery's Superblue, and the history of Pace through the Glimcher family, including a botched diversity hiring of Marc Glimcher's daughter; Guy Richards Smit's cartoon, “WHAT DO YOU SAY TO SOMEONE AFTER A VERY BAD STUDIO VISIT?”;  a consideration of big tech's plundering of art and illustration for its generative AI projects, as poetically analyzed through Molly Crabapple's LA Times Op-Ed, “BEWARE A WORLD WHERE ARTISTS ARE REPLACED BY ROBOTS;” why the director of Florence's Uffizi Gallery is demanding employees follow strict guidelines for email etiquette; and what our respective OLD NEWS favorites for the week were.

"My job is about preparing new problems, and trying to paint back out of them towards something true." The artist, who has a major new show in London, talks to Danielle Radojcin about relishing the challenge of the blank canvas and how he strives to represent what it is to be human.

As the Media Arts Director at Pace Gallery, Raina Mehler is devoted to exhibiting artists and interdisciplinary groups pioneering in the emerging field of immersive, experiential art and the Web3 space. She joins this week to talk about the metaverse: what it is, what it isn't, and how it can be the next step in the evolution of technology, design, and communication.

Ben Luke talks to Adam Pendleton about his influences—from the worlds of literature, music and, of course, art—and the cultural experiences that have shaped his life and work. Pendleton, born in 1984 in Richmond, Virginia, makes paintings, drawings, performances, films and other works exploring the relationship between Blackness, abstraction and histories of the avant-garde. He is perhaps best known for an ongoing body of work he calls Black Dada. He discusses the influences behind Black Dada, from the poetry of Amiri Baraka to the sculpture of Sol LeWitt, reflects on the drawings of Jean Dubuffet and the drafts and revisions of Joan Jonas's work, and enthuses about the power of Nina Simone's voice and Julius Eastman's compositions. Plus, he gives insight into his studio life and answers the ultimate question: what is art for?Adam Pendleton: In Abstraction, Pace Gallery, Geneva, 7 September-5 October; Adam Pendleton: Toy Soldier, Galerie Eva Presenhuber, Zurich, 10 September-26 November. Whitney Biennial: Quiet as It's Kept, Whitney Museum of American Art, until 5 September. Adam Pendleton, Mumok, Vienna, 31 March-10 September 2023. Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

In this episode of PhotoWork with Sasha Wolf, Sasha and photographer, Paul Graham discuss his self-taught beginnings in photography and what it's like to see your work become historical with the passage of time. Paul and Sasha talk about Paul's more recent, and more personal, work and Paul shares his thoughts on the ethics of photographing outside of one's own community. They discuss these topics and many more in this season ending episode of the podcast. https://www.paulgrahamarchive.com https://www.mackbooks.us/search?q=Graham%2C+Paul&type=product Paul Graham has played an essential role in dissolving the barriers between the worlds of documentary and fine art photography. Starting in the early 1980s, Graham's use of color in the role traditionally occupied by black-and-white documentary was a radical challenge to the unwritten rules of engaged photography. Troubled Land (on the Northern Ireland conflict) and Beyond Caring (addressing unemployment in the time of Margaret Thatcher) shifted the debate on how such issues could be visually articulated. With an extraordinarily long and active career of four decades, Graham has published eighteen monographs and three survey books. He moved to New York in 2002, and has worked in the United States since then. Most notably, a shimmer of possibility was published as a set of twelve books and presented as a solo exhibition at MoMA, New York. He is represented by Pace Gallery in the United States, and galleries in London and Berlin. Find out more at https://photowork.pinecast.co

On this weeks episode we are hosting our first ever live podcast. The conversation between Kirsty and Leo was based at The Whiteley in association with Six Senses. Leo Cosendai Is a Swiss sound artist known for sensory experiences that question human perspective. He has worked with Fondation Beyeler, Royal Academy of Arts, London Design Festival, and Pace Gallery. He currently resides in London. In this episode we learn about the power of sound meditation and why altering perspectives and shifting reality is what we all really need. This episode ends with the most wonderful sound bath from Leo.  We can't wait to see what you think of this episode, if you liked it please do share - it means so much to us. [This is a Monday Network production] Follow Kirsty on Instagram: http://www.instagram.com/kirstyraynor Follow Leo in Instagram: http://www.instagram.com/leocosendai Follow The Mindset and Me Podcast on Instagram: http://www.instagram.com/mindsetandmepodcast Follow Monday Network on Instagram: http://www.instagram.com/monday_network Sign up for Kirstys daily emails here: https://view.flodesk.com/pages/62095e92e0eda1a0d870a994

Episode 99 features NICOLA VASSELL. She is the founder of Nicola Vassell Gallery, a contemporary art gallery committed to discourse that widens the lens of the history and future of art. Its focus is on developing an inter-generational, cross-disciplinary program of international artists and thinkers. Prior to the gallery, Nicola was Principal at Concept NV, an art consultancy, established in 2013, specialized in exhibitions and debate on cultural phenomena. Vassell has organized numerous exhibitions and developed a number of important collections. She is an editor of books, whose past publications include, Jean-Michel Basquiat 1981: The Studio of the Street; Francesco Clemente: Works 1971-1979 and Kehinde Wiley: Black Light. Vassell was a Director at Deitch Projects and Pace Gallery, NY. She is a member of New Museum's Artemis Council. Image courtesy Nicola Vassell. Photo Luigi Cazzaniga Artist https://nicolavassell.com/ Conceptnv https://conceptnv.com/ Gagosian https://gagosian.com/quarterly/contributors/nicola-vassell/ Surface https://www.surfacemag.com/articles/moses-sumney-blackalachia-screening-nyc/ Jamaica Gleaner https://jamaica-gleaner.com/article/social/20210530/her-way-art-former-jamaican-model-nicola-vassell-opens-gallery-new-york Cultured https://www.culturedmag.com/article/2021/01/26/art-whisperer-nicola-vassell-to-open-a-space-of-her-own The Art Newspaper https://www.theartnewspaper.com/2021/05/19/unity-is-survival-former-pace-director-nicola-vassell-to-open-a-gallery-in-new-york New York Times https://www.nytimes.com/2021/05/18/arts/design/nicola-vassell-gallery-chelsea.html Barrons https://www.barrons.com/articles/20-minutes-with-art-dealer-and-curator-nicola-vassell-01635793577 ARTNews https://www.artnews.com/art-news/news/nicola-vassell-donna-de-salvo-conversation-1234609764/ Artnet https://news.artnet.com/art-world/nicola-vassell-gallery-1969733 Grazia https://graziamagazine.com/us/articles/nicola-vassell-gallery-nyc/ Sothebys https://www.sothebysinstitute.com/why-sothebys/our-faculty-and-guest-speakers/nicola-vassell Vogue https://www.vogue.com/slideshow/basel-vassell-dinner-2021

You'll need a pen and paper, and zero distractions, for this episode, which is nothing less than a masterclass in evolution. Delivered in front of a live audience, at the Pace Gallery in New York City in 2021, Thom explains what an ‘agent of progressive change' is, and why it's incumbent on us to step up to the plate and take on that role for ourselves.More than just a call to arms, it's a practical ‘workshop' covering the five fundamental elements of being an agent of progressive change.  If you truly want to accelerate your personal evolution, next to a twice-daily practice of Vedic Meditation, you'd be hard pressed to find a quicker route than this.Episode Highlights: [00:45] Survival is a Result of Thriving[02:20] We Live Inside of a Consciousness State that We've Created[03:35] Five Elements of Progressive Change[05:00] Stability[06:29] Ananda - A Supremely-Contented State[08:29] Not Enslaved by Outside Phenomena[09:18] Adaptation Energy[10:32] Circumstantial Happiness[11:41] "In Order to Have Disappointment, You Need to Have an Appointment"[12:55] Premature Cognitive Commitments[14:09] 100,000 Stress Triggers[15:15] Meditation Resets Our Expectations[16:20] Integration[17:48] Evolve[18:50] The Cognitive Revolution[20:20] The Capacity to Witness Oneself Thinking[21:05] The Storage of Accumulated Stress is Eating Up 98% of Our Brain's Computing Power[22:21] Purification[23:51] Letting Go of Things With Ease[25:39] Challenging Assumptions[26:59] Non-Symbiotic Parasites[28:12] 5 - Willingness to Grow[29:40] We Are Doing Dated Things Already[30:41] Every Part of Your Body is Constantly Being Replaced[32:09] Consciousness Becomes Body Chemistry[33:27] Capacity for Progressive Change[34:29] Question[34:37] Every Particle in the Universe Comes Out From a Non-Changing Field[36:01] The Self Moving Inside the Self[36:48] The Colorless Sap[38:21] Q- Are There Practical Ways Other Than Meditation to Let Go Of Useless Habits?[39:38] Maharishi's Mud on Your Hands Analogy[40:49] Why Therapy Works So Well[41:58] The Advantageous Position of Knowing[42:38] Q- How Can Destructive Forces Like Genocide Be Evolutionary?[43:17] All Bodies End Up Dying[44:56] We All Move in the Direction of Recognition of Unity[46:44] Unity Points[48:00] You're Loving You[49:26] The Need for Less-Sophisticated States[50:32] The Average Age of Cambodia in the 1980s was 17 Years[51:20] The Need for Longevity[52:41] Self-Referential AwarenessUseful Linksinfo@thomknoles.com https://thomknoles.com/https://www.instagram.com/thethomknoles/https://www.facebook.com/thethomknoleshttps://www.youtube.com/c/thomknoles https://thomknoles.com/ask-thom-anything/

This week’s Nose believes that everything happens for a reason. Call it luck. Call it fate. Call it karma. On the Billboard Hot 100 chart dated February 5, “We Don’t Talk About Bruno,” from Lin-Manuel Miranda’s song score for Encanto, becomes the No. 1 song in the country. It’s the second song ever from a Disney animated movie to get to No. 1, after “A Whole New World” from Aladdin, 30 years ago. The Encanto Original Motion Picture Soundtrack is also No. 1 on the Billboard 200. It’s the first Disney animated movie ever to top both charts at once. On a slightly different note: The Build-a-Bear Workshop, this week, launched a new ‘After Dark’ line of, uh, adult-themed bears. I don’t know what to say about that. I just report the news here, folks. And finally: Ghostbusters: Afterlife is the first Ghostbusters sequel in more than 30 years and the fourth movie in the franchise. It’s directed by Jason Reitman, whose father, Ivan Reitman, directed the original movies in the 1980s. It stars Carrie Coon, Finn Wolfhard, Mckenna Grace, and Paul Rudd, with appearances by many of the old favorites from the Ghostbusters universe. Some other stuff that happened this week, give or take: The Washington Commanders name is perfectly designed to be instantly forgotten SFGATE columnist Drew Magary on the NFL franchise that’s clumsily begging for anonymity The New York Times Buys Wordle The word game, released in October, has millions of daily users. ABC suspends Whoopi Goldberg over Holocaust race remarks Aziz Ansari’s Nostalgic New Comedy Special In “Nightclub Comedian,” Ansari fixates on how the Internet shapes our lives and longs for the pre-digital past. Why Do I Always Tweet and Delete? Psychologists and tweet-deleters help explain my favorite pastime (that weirdly makes me feel a little guilty). The Name of This Interviewee Is David Byrne In advance of a show of his drawings at New York’s Pace Gallery, the polymathic performer answered T’s Artist’s Questionnaire. The 2022 Rock & Roll Hall of Fame nominees include Dolly Parton and A Tribe Called Quest Our Solar System in True Color Is Really Something Else Venus is white. So is the sun. They’re beautiful anyway. GUESTS: Jim Chapdelaine - An Emmy-winning musician and a patient advocate for people with rare cancers Carolyn Paine - An actress, comedian, and dancer; she is founder, director, and choreographer of CONNetic Dance Tracy Wu Fastenberg - Development officer at Connecticut Children’s Join the conversation on Facebook and Twitter. Colin McEnroe and Cat Pastor contributed to this show.Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.