Podcast appearances and mentions of peggy guggenheim collection

Wenecja położona jest na 118 wyspach połączonych ze sobą mostami i kanałami. Najbardziej znane jest historyczne centrum, ale pozostałe wyspy oferują również mnóstwo atrakcji. Poznaliśmy Murano, wyspę znaną ze szklanych wyrobów słynnych od wieków na całym świecie. Byliśmy w Burano, która jest najbardziej kolorową wyspą w Europie. Zatrzymaliśmy się w kościele na wyspie San Giorgio Maggiore, będącym najpiękniejszą budowlą Andrei Palladio w Wenecji. Odwiedziliśmy San Michele, wyspę cmentarną, a także wyspy Mazzorbo i Torcello, małą perłę laguny. Wstąpiliśmy też do Gallerie dell'Accademia, Peggy Guggenheim Collection, Muzeum Correr i Scuola Grande dei Carmini. To obowiązkowe przystanki, gdzie można podziwiać dzieła wielkich mistrzów. Na naszej trasie znalazł się również Arsenał, z wieloma pawilonami słynnego Biennale. Gościem Jerzego Jopa była Danuta Rasała.

In the first episode of 2024 we look ahead to the next 12 months. The Art Newspaper's acting art market editor Tim Schneider peers into his crystal ball to tell us what we might expect from the coming 12 months in the art market. Then, Jane Morris, editor-at-large, Gareth Harris, chief contributing editor, and host Ben Luke select the biennials and exhibitions they are most looking forward to in 2024.Events discussed:60th Venice Biennale: Foreigners Everywhere, 20 April-24 November; Pierre Huyghe, Punta Della Dogana, Venice, 17 March-24 November; Julie Mehretu, Palazzo Grassi, Venice, 17 March-6 January; Willem de Kooning, Gallerie dell'Accademia, Venice, 16 April–15 September; Jean Cocteau, Peggy Guggenheim Collection, Venice, 13 April-16 September; Whitney Biennial: Whitney Museum of American Art, opens 20 March; PST Art: Art & Science Collide, 14 September-16 February; Istanbul Biennial, 14 September-17 November; Diriyah Contemporary Art Biennale 2024, Saudi Arabia, 20 February-24 May; Desert X 2024 AlUla, Saudi Arabia, 9 February-30 April; Frick Collection, New York, reopening late 2024; Grand Egyptian Museum, Giza, Egypt, dates tbc; IMAGINE!: 100 Years of International Surrealism, The Royal Museums of Fine Arts of Belgium, 21 February-21 July; Centre Pompidou, Paris, 4 September-6 January (travels to Hamburger Kunsthalle, Germany, Fundación Mapfré, Madrid, Philadelphia Museum of Art, US); Paris 1874: Inventing impressionism, Musée d'Orsay, 26 March-14 July; National Gallery of Art, Washington DC, 8 September-19 January; Van Gogh, National Gallery, London, 14 September-19 January; Matthew Wong, Vincent van Gogh, Van Gogh Museum, Amsterdam, 1 March-1 September; Caspar David Friedrich, Kunsthalle, Hamburg, Germany, until 1 April; Caspar David Friedrich, Alte Nationalgalerie, Berlin, 19 April-4 August; Caspar David Friedrich, Albertinum and Kupferstich-Kabinett, Dresden, Germany, 24 August-5 January; Arte Povera, Bourse de Commerce, Paris, 9 October-24 March; Brancusi, Centre Pompidou, Paris, 27 March-1 July; Comics, Centre Pompidou, Paris, 29 May-4 November; Yoko Ono, Tate Modern, London, 15 February-1 September 2024; Angelica Kauffman, Royal Academy, London, 1 March-30 June; Women Artists in Britain, Tate Britain, London, 16 May-13 October; Judy Chicago, Serpentine North, London, 22 May-1 September; Vanessa Bell, Courtauld Gallery, London, 25 May-6 October; Woven Histories: Textiles and Modern Abstraction, Los Angeles County Museum of Art, US, until 21 January; National Gallery of Art, Washington DC, 17 March-28 July; National Gallery of Canada, Ottawa, 25 October-2 March; The Museum of Modern Art, New York, dates tbc; Unravel: The Power and Politics of Textiles in Art, Barbican, London, 13 February-26 May 2024, Stedelijk Museum, Amsterdam, 14 September-5 January; The Harlem Renaissance, Metropolitan Museum of Art, New York, 25 February-28 July; Siena: the Rise of Painting, 1300-50, Metropolitan Museum, 13 October-26 January; Museum of Modern Art, New York, shows: Joan Jonas, 17 March-6 July, LaToya Ruby Frazier, 12 May-7 September, Käthe Kollwitz, 31 March-20 July; Kollwitz, Städel Museum, Frankfurt, Germany, 20 March-9 June; Käthe Kollwitz, SMK-National Gallery of Denmark, Copenhagen, 7 November-25 February; The Anxious Eye: German Expressionism and Its Legacy, National Gallery of Art, Washington DC, 11 February-27 May; Expressionists, Tate Modern, London, 25 April-20 October; Gabriele Münter: the Great Expressionist Woman Painter, Thyssen Bornemisza, Madrid, 12 November-9 February Hosted on Acast. See acast.com/privacy for more information.

For the 20th episode of "Reading the Art World," host Megan Fox Kelly speaks with Susan Davidson, author of “Robert Motherwell: Pure Painting,” published in August by Hatje Cantz.Susan's work is an in-depth study of the renowned Abstract Expressionist known as a deeply intellectual painter, brilliant theorist and articulate spokesman for the movement alongside Willem de Kooning, Mark Rothko and Jackson Pollock. The book accompanies the exhibition Susan curated of Motherwell's painting at the Modern Art Museum of Fort Worth this summer. From October 12th through January 14th, 2024, you can see the show in Vienna at the Bank Austria Kunstforum Wien. Contributing writers to “Robert Motherwell: Pure Painting” are Jennifer Cohen, Simon Kelly, Monica McTighe and Sarah Rich.As an art historian and curator, Susan Davidson is an authority in the fields of surrealism, abstract expressionism and pop art. In her previous role as senior curator at the Solomon R. Guggenheim Museum in New York, Susan oversaw the stewardship of the institution's collection, in addition to organizing notable exhibitions that include Jackson Pollock, Robert Motherwell, John Chamberlain, Jackson Pollock's Paintings on Paper and Peggy and Kiesler: The Collector and the Visionary.Previously, Susan was collections curator at The Menil Collection in Houston. She served as the curatorial advisor to Robert Rauschenberg and a board member to the Rauschenberg Foundation, and her numerous exhibitions and publications on Rauschenberg include exhibitions at the Peggy Guggenheim Collection in Venice, the 2016 retrospective at the Tate Modern in London and MoMA in New York, and with Walter Hopps, the definitive Robert Rauschenberg retrospective for the Guggenheim.Susan holds advanced degrees in art history from the Courtauld Institute London and George Washington University in Washington, DC."Reading the Art World" is a live interview and podcast series with leading art world authors hosted by art advisor Megan Fox Kelly. The conversations explore timely subjects in the world of art, design, architecture, artists and the art market, and are an opportunity to engage further with the minds behind these insightful new publications. Megan Fox Kelly is an art advisor and past President of the Association of Professional Art Advisors who works with collectors, estates and foundations. For more information, visit meganfoxkelly.com and subscribe to our new posts. Follow us on Instagram: @meganfoxkellyPurchase "Robert Motherwell: Pure Painting" at the Modern Art Museum of Fort Worth  and at Hatje CantzMusic composed by Bob Golden.

Here Are This Week's Good Vibes:The Trans Handy Ma'amInclusive Tours at the Peggy Guggenheim CollectionHiring Refugees Is Good for People, Good for Business, Says Stickley CEOCompanies Offering To Pay For Abortion Travel See Uptick In RecruitmentPopcorn Stand at Lincoln Financial Field to Be Staffed by People With AutismLearn more about Jennifer at jenniferbrownconsulting.comRead the full blog for Least Interesting at theequalityinstitute.com/equality-insights-blog Join thousands of readers by subscribing to the 5 Things newsletter. Enjoy some good vibes in DEI every Saturday morning. https://5thingsdei.com/

What you'll learn in this episode:   How Thereza helps art collectors enter the world of contemporary jewelry. Why contemporary jewelry shouldn't be a niche, but a part of the larger art and design scene. How Thereza defines contemporary jewelry, and how she became interested in it. How she selects artists for her art and jewelry gallery, Thereza Pedrosa Gallery. Why even delicate art shouldn't be hidden away. Why quality matters just as much as aesthetics in a piece of jewelry.   About Thereza Pedrosa   Thereza Pedrosa (Rio de Janeiro, 1985) is an art historian, independent curator and gallery owner. She graduated in Conservation of Cultural Heritage at Ca' Foscari University in Venice with a thesis on art works on paper belonging to the Peggy Guggenheim Collection. She continued her studies and obtained a MA in Management and Conservation of Cultural Heritage at Ca' Foscari University in Venice with a thesis on the use of niello in contemporary European jewelry. In 2009 she collaborated as assistant registrar at the Peggy Guggenheim Collection, cataloging all the museum's works on paper. Her work led to the exhibition Revealing Papers: The Hidden Treasures of the Peggy Guggenheim Collection, for which Thereza was the scientific coordinator (Lucca Center of Contemporary Art). Since 2011 she has been working as an curator, creating exhibitions, catalogues and projects for artists and galleries in Italy, Switzerland, Germany, France and the Netherlands. In 2012 she founded the blog Beautiful People Live Art, dedicated to art, design, architecture, photography and art jewelly. In 2019 she established with her business partner Elinor Garnero a contemporary art gallery with a focus on art jewelry, the “Thereza Pedrosa Gallery”. In 2021 she joined as an expert the examining committee of the Alchimia Contemporary Jewellery School in Florence. She brings a genuinely international perspective to her curatorial activity also thanks to her residencies in Switzerland, Germany and, since 2015, the Netherlands. Additional Resources: Thereza Pedrosa Gallery  Instagram Facebook LinkedIN Photos Available on TheJewelryJourney.com Transcript: For Thereza Pedrosa, no form of art is more important than another. At her gallery, contemporary jewelry, sculpture, paintings and other fine art are all given equal standing, and she's helped numerous art collectors discover jewelry for the first time. She joined the Jewelry Journey Podcast to talk about why contemporary jewelry is still unknown to most art collectors and why that should change; how she balances raising children with owning a gallery; and what she discovered at this year's jewelry fairs. Read the episode transcript here.  Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please head to TheJewelryJourney.com.    Today, my guest is Thereza Pedrosa of Thereza Pedrosa Gallery. Thereza is speaking to us from Asolo, which is right near Florence. It's supposed to be a very lovely medieval village. She and her partner and friend, Elinor Garnero, founded the gallery in 2019. Welcome back.    I was wondering about this. If you have people who come in and say, “I like this painting,” or “I want a painting,” and then they look at the jewelry, do they walk out with the jewelry, or do they walk out with both? How does that work?   Thereza: Yes, it's happened a couple of times that someone came inside because they saw the paintings. When you are walking in the street, it's easier to see the paintings from outside than the jewelry. So, they come to see the paintings and discover we have contemporary jewelry, but they don't know about it. It happened a couple of times, where they may buy a painting and also a piece of jewelry. It happens more often that they open their minds to the field of contemporary jewelry, and they come back later to buy jewelry. Normally, if they come inside the first time just thinking about paintings, they are not ready yet to move to contemporary jewelry, but they come back. They fall in love with it. They come back to discover more, and then they can start buying contemporary jewelry.   Sharon: Would you call yourself a collector, somebody who collects?   Thereza: Yes. I don't know how many pieces I have in my own collection, but I sure love to collect myself. I cannot resist. I'm an art lover, and I love to collect paintings, sculptures, books and contemporary jewelry, absolutely.   Sharon: Are they different from each other, the art people who come in and just want a painting versus a jewelry person who comes in and looks at the art? Are they different kinds of personalities or people?   Thereza: I don't think they are different kinds of personalities. Normally, they are people that, like me, love art and design in all forms, especially people who love paintings and discover contemporary jewelry. What happens more often is that they just didn't know the field before. They didn't know contemporary existed. What happens often with these collectors is that they come inside, and they are like, “Oh, I love art. I love sculptures. I collect them. I never knew about contemporary jewelry. I never thought art you can wear existed.” They are excited to discover it.   This is how I was. I always loved art and paintings and sculptures, and I grew up in an artist family. I grew up with my walls surrounded by art all my life. For me, when I got involved in contemporary jewelry, I was like, “Wow!” I love art. I love to have art pieces in my house, but contemporary jewelry is a piece of art I can wear when I go out of the house. It's amazing.   Sharon: Do you consider it that? Do you consider contemporary jewelry art you can wear?   Thereza: I do.   Sharon: You do?   Thereza: Yeah, I do. For me, yes. I also consider them art pieces. There are many jewelry artists, but they make sculptures. If you see this object, you can imagine it big and it would still be amazing. They just decided to make them small and wearable, but they are still art pieces. For example, in my house, I like to keep some pieces of contemporary jewelry around the living room on shelves we have around the house, just off the coffee table because I have two small kids, but in places at least a little higher. I keep one piece here and one piece there because they look like small sculptures. They are interesting to see even when you are not wearing them.   Sharon: That's interesting. People have suggested to me that I frame some jewelry when I'm not wearing it, but I've never thought about it. The first time somebody said it to me, I thought, “Well, that's really stupid.” I didn't understand what they were talking about.    Thereza: Sometimes people come to my house and say, “Oh, my god, you keep this piece here. You should close it in a safe or something,” and I'm like, “This is an artwork. It was made to be seen and to be enjoyed. It was not made to be hidden away. If I need to have something in a safe, if I never look at it or see it or enjoy it, then I cannot own it. What is the purpose for it?” The jewelry in my collection is the same thing. I like to enjoy the pieces, even when I'm not wearing them. I cannot wear 20 pieces at the same time, so I like to see them around me. They make me happy.   Sharon: You've been in a lot of different countries. You've been in the Netherlands. Where else? I know you've been in a lot of countries, selling and creating.   Thereza: I was born in Brazil, in Rio de Janeiro. I grew up in Italy. I lived for a couple of years in Switzerland and a couple of years in Germany. Actually now, I live in the Netherlands. It's been almost eight years that I've lived in the Netherlands. My art gallery is in Italy, but I actually live in the Netherlands.   Sharon: Oh, wow! Do you find that the different cultures and places you've lived or studied influences what you do?   Thereza: I think yes, for sure, even if I don't think about it on purpose. For sure I think of it in a more international way. I don't really feel myself as Italian or Brazilian, and I have big difficulties when someone asks me, “Where are you from?” I'm like, “What are you asking me? Are you asking me where I was born? Are you asking me where I grew up? Are you asking me where I was living before I moved to this country?” It's always hard for me, but I like to take the positive sides of everywhere I was living and growing up.    What I like most is to see my kids growing up internationally. My kids are six and four, and they speak four languages and have friends from all around the world. They have friends from Tokai, from China, from Germany, from France, from the U.K., the U.S., Canada, anywhere. We go out on Sunday to have lunch together with some friends. They come to our place or we go to their place, and my kids can try food from India or Tokai, or different festivities, a different region, a different tradition. I think that's the best way for them to learn that we need to respect everyone and hope they will respect us. There is no color of skin or religion or culture that is more important than the other ones. We are all different and we are all the same, but sometimes it is difficult to teach that. If they can live it, I think it's the best way to grow up with this concept.   Sharon: Do you expose them to a lot of art, more than usual? Do you take them to art galleries? I don't know what there is in Italy. How do they learn about art?   Thereza: Some of my friends think we are little bit crazy. When we were expecting my first son, they told us, “Oh, you should put away everything that can break.” Now I'm sitting in my kitchen in Iceland, and I can see here I have a glass sculpture that is full of small, fragile pieces. When friends come over, they are like, “How can you keep that thing there with two small kids around?” I think if you teach them to respect the artworks, they can grow up with them around. I grew up with them around. My parents always had paintings and sculptures around the house. They never put them away because we were children, and I tried to do the same with my kids.   I would like them to enjoy that we have these pieces at home. With a marble sculpture or a bronze sculpture, they can touch it and feel the difference between the materials. I love it when they talk about these pieces and they go around the house and say, “This is my favorite painting,” or “This is my favorite sculpture,” or “I like this one because it's cold,” or “I like this one because I like the shape of it.” I love abstract art, so the paintings we have at home are all abstract, but my kids go around and say, “Oh, I see an ice cream in this painting. I never saw that ice cream before.” Then I start seeing things they see. Obviously, we like to go with them to museums. I go to art fairs sometimes and they can come with me. It's a pleasure to bring them around to contemporary jewelry fairs as well.    Sharon: You went to Schmuck this year. Do you go to Schumck every year?   Thereza: This year was the first year we were participating as a gallery because the gallery's only three years old. We opened it in 2019. Then Corona came, and Schmuck was not there for a couple of years. Before that, I went to visit three times, I think. I visited the last couple of years before Corona came because I was busy with my babies. They were really small, but I went. In 2014, 2015 and 2016, I went. I took a break with my babies for a couple of years, then I opened up my gallery, and this was the first year of participating as a gallery.    Sharon: Did you find new artists there or new work by artists you have? What did you find? What was interesting to you?   Thereza: Everything was different for me because that was the first year I was not free to go around so much as the other three years. I needed to be in our exhibition during the day all the time, so I didn't have much time to go visit other exhibitions. But it was wonderful to meet many artists of the art gallery that we don't get to meet often. If we organize a solo exhibition at the gallery, normally the artist comes for the solo exhibition, but otherwise we don't get to see the artists from other countries so often. I didn't have time to count how many artists of the gallery we met last week, but I think almost 20 of them were there. It was very nice to meet everyone in person.    I met artists of the gallery I had already met other times before and we are friends, but I also met some artists of the gallery that we represent that I'd never met in person before. Finally, we got the opportunity to meet in person. That was also really nice. We got new pieces to bring to the gallery from some of them. It's always a good excuse to meet in person to receive some pieces for the gallery. I also met some artists that I invited to be artists of the gallery. I'm really happy to have had all these exchanges.   Sharon: The people that you asked to be artists, they're people that you don't have now, but you saw they had work you were interested in.   Therbeza: Yes. I invited some artists I already knew I wanted for the gallery, but I just didn't have time to invite them yet. Then I met them in person. In person is always better to talk and invite them to work with the gallery. It's a pleasure. It's better than just writing an email.   Sharon: Was that a chance to see work you usually don't see, besides meeting artists? Was it work you don't see?   Thereza: Yeah, every time you visit Schmuck, you have the opportunity to discover an artist you didn't know before. You study and you try to keep in touch with everything, but there are always some artists you don't know or have yet to discover. It's always wonderful to go there because in one week, you see so many different things, displays, artists' pieces. It's really, really interesting.   Sharon: I've been wanting to ask you about this. There was a long and very interesting interview with you that Art Jewelry Forum did, and you used the word “authorial jewelry.”   Thereza: Well, with authorial jewelry, I don't know if it's a mistake in the translation from Italian. It really means alto jewelry. I think it's also used in English sometimes, but in Italian we use it to divide art jewelry from design jewelry. Alto jewelry is more about artists that also made jewelry, instead of contemporary jewelry artists that work only in the field of jewelry.   Sharon: What holds your attention about art jewelry as opposed to art? What keeps you going with art jewelry? What do you like, and why do you stay attracted to it?   Thereza: There are a lot of things I like. One of them is how many different media contemporary jewelry artists can use to make jewelry. You often find some artist who uses materials you never thought before could be used to make jewelry, and sometimes you see something that looks like one material, and then you go to see what it is and it's a different one. It always surprises me in a good way when I'm surprised with the aesthetics of a piece, the quality of the piece, but also the materials that are unexpected and different from what I was thinking or expecting   Sharon: Is that what you look at? Besides the fact that it has surprised you, do you look at the quality and the craftsmanship and the way it's done?   Thereza: Absolutely. That's really important. It's important to look. The aesthetic is important in a piece because that's what you see, but then there's the quality of it, the durability of it. You don't want it to be broken in one week. It needs to be well-made, it needs to be wearable and it needs to be of good quality. Especially for a young artist, sometimes they don't finish a piece, or they just want to have many pieces done and they don't finish them properly. No, it's really important to finish them properly for the quality of the piece, but also the wearability. It's important that you try the piece on until it works, it doesn't hurt and it doesn't break. That's important because it's an art piece, but it's also jewelry. It needs to be wearable; otherwise, it's a sculpture. Jewelry needs to be wearable for me.   Sharon: No, that's really important. You're right; a lot of young makers don't understand that it has to be something you can wear. Thereza, thank you so much for being here today and telling us about Schmuck and your gallery. Asolo is—what did you say? A couple of hours, less than a couple of hours from Florence?   Thereza: It could be more. It's actually one hour from Venice. It's in the northeast of Italy, 50 minutes from Pauda and one hour from Venice.   Sharon: You're right in the middle of things, then. Thank you so much for being with us today. We really appreciate it.   Thereza: It was a pleasure. Thank you, Sharon.   Sharon: We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out.   Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.

What you'll learn in this episode:   How Thereza helps art collectors enter the world of contemporary jewelry. Why contemporary jewelry shouldn't be a niche, but a part of the larger art and design scene. How Thereza defines contemporary jewelry, and how she became interested in it. How she selects artists for her art and jewelry gallery, Thereza Pedrosa Gallery. Why even delicate art shouldn't be hidden away. Why quality matters just as much as aesthetics in a piece of jewelry.   About Thereza Pedrosa   Thereza Pedrosa (Rio de Janeiro, 1985) is an art historian, independent curator and gallery owner. She graduated in Conservation of Cultural Heritage at Ca' Foscari University in Venice with a thesis on art works on paper belonging to the Peggy Guggenheim Collection. She continued her studies and obtained a MA in Management and Conservation of Cultural Heritage at Ca' Foscari University in Venice with a thesis on the use of niello in contemporary European jewelry. In 2009 she collaborated as assistant registrar at the Peggy Guggenheim Collection, cataloging all the museum's works on paper. Her work led to the exhibition Revealing Papers: The Hidden Treasures of the Peggy Guggenheim Collection, for which Thereza was the scientific coordinator (Lucca Center of Contemporary Art). Since 2011 she has been working as an curator, creating exhibitions, catalogues and projects for artists and galleries in Italy, Switzerland, Germany, France and the Netherlands. In 2012 she founded the blog Beautiful People Live Art, dedicated to art, design, architecture, photography and art jewelly. In 2019 she established with her business partner Elinor Garnero a contemporary art gallery with a focus on art jewelry, the “Thereza Pedrosa Gallery”. In 2021 she joined as an expert the examining committee of the Alchimia Contemporary Jewellery School in Florence. She brings a genuinely international perspective to her curatorial activity also thanks to her residencies in Switzerland, Germany and, since 2015, the Netherlands. Additional Resources: Thereza Pedrosa Gallery  Instagram Facebook LinkedIN Photos Available on TheJewelryJourney.com Transcript: For Thereza Pedrosa, no form of art is more important than another. At her gallery, contemporary jewelry, sculpture, paintings and other fine art are all given equal standing, and she's helped numerous art collectors discover jewelry for the first time. She joined the Jewelry Journey Podcast to talk about why contemporary jewelry is still unknown to most art collectors and why that should change; how she balances raising children with owning a gallery; and what she discovered at this year's jewelry fairs. 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 Thereza Pedrosa of Thereza Pedrosa Gallery. Thereza is speaking to us from Asolo, Italy—I don't know if I said that right—which is near Florence. It's supposed to be a very lovely medieval village. She and her partner and friend, Elinor Garnero, founded the gallery in 2019, and it features art and art jewelry. Thereza has been in many countries studying, curating and exhibiting. She just took part in Schmuck, which, if you don't know, is one of the world's biggest art jewelry exhibits. Everybody in the world is there. We'll hear all about her jewelry journey today. Thereza, welcome to the program.   Thereza: Thank you for having me, Sharon.   Sharon: So glad to have you. Tell us about your jewelry journey. Were you considered artistic? Are people surprised when you tell them what you do?   Thereza: I think someone who knows me from when I was a child would not be surprised that I work with art and jewelry right now. I grew up in the family as an artist. My father is an artist, and I always went with him to exhibitions and art fairs. I loved to go with him when he was making Murano glasses and blown sculptures. I would go to the studio with him and take photos of him working. So, I think those who saw me growing up will not be really surprised that I love art and work with art.   Sharon: It doesn't sound surprising at all. I didn't know you were really exposed to art. Tell us about your jewelry education, then. How did you learn about jewelry?   Thereza: I started out with my father because he's a plastic artist, mainly a painter and sculptor. Sometimes during the 55 years of his career, he made Murano glasses, sculptures, mosaics, paper, iron, brass; any kind of media. Around 2000, when I was around 15 years old, he made a collection of jewelry. To make this collection of jewelry, he bought a machine for soldering. He did this beautiful collection, and then he moved back to painting and other kinds of sculptures. I asked him, “Well, you have the machine. You know how to do it. Why don't you teach me how to solder so I can make some jewelry for myself?” He taught me the basics and I made some jewelry for myself. Then some design shops sold my pieces and they wanted to start selling them. This is how I started to get involved with contemporary jewelry.    I grew up less than one hour from Padua, where there is a really important jewelry school, the Selvatico, where Babetto and Pavan and many others are from. Growing up, I saw some exhibitions of Giampaolo Babetto and Annamaria Zanella. I saw their works and I got to love their work. That's how everything started.   Sharon: So, you didn't learn classically, right? You didn't go to school and learn. That's not the way you learned.   Thereza: No, when I needed to decide what to study in university, I said, “O.K., I want to stay in the field of art,” but I didn't see myself as an artist. I didn't think I had it in me to make things except for designing my jewelry. I said, “O.K., what can I study? If I study history of art, then I can go into teaching; otherwise, what do I do with history of art?”    In Paris, in the university environment, there is this interesting course called conservation of cultural heritage. In conservation of cultural heritage, we had exams about the laws of art when you work in a museum or salon. Nationally and internationally for an exhibition, there are a lot of laws involving how long the piece can stay away from the museum and these kinds of things. I studied chemistry of conservation for paintings, drawings, and sculptures, and museography, which is what kind of temperature you need in the rooms and the lighting. So, everything you need for the economics, how to find funding for the exhibition. Everything you needed to be a curator or a registrar in a museum, that was what I studied.    I thought I would love to work in a museum as a registrar because I'm shy. I didn't see myself as a curator that needed to be the first in line. I said, “A registrar, he's more in contact with the art pieces, but a little bit in the background.” That was my dream at the beginning, but then I started moving around so much that it was difficult to find a permanent position in a museum. I started organizing exhibitions as a freelance curator for galleries in collaboration with some museums.    Sharon: You did that on your own with a museum? Did you come up with the idea, or did they come up with the idea for the exhibitions you did?   Thereza: The exhibition I did was a coordination with the drawings of the Peggy Guggenheim Collection, a collection in Venice, and I did the coordination with the Lucca Center for Contemporary Art in Tuscany. The idea for the exhibition was mine, and it was based on my bachelor's thesis. When I was writing my bachelor's thesis, I decided I wanted to write about the Guggenheim Museum in Venice, but I wanted to write about something new. I told them I wanted to write about the drawings, and I asked if could study the archives. They said, “Yes, I'm sure it would be lovely, but we never made a catalog of the drawings of the museum.”    So, my thesis became the cataloging of all the drawings in the museum. It covered how they arrived in the museum, how they received them as a gift from the artist. She bought them from the artist or from some galleries, so that's how they arrived in the collection. I also cataloged which exhibitions they participated in, which books they were published in, the state of conservation, everything you needed to know about the drawings of the collection. Then we made the Peggy Guggenheim Collection, which was at the Lucca Center of Contemporary Art and was only about the drawings of the museum.   Sharon: That sounds like a huge thing, the Peggy Guggenheim drawings. How many were there?   Thereza: I think there were around 80. More than 70, around 80. Drawings are sometimes considered less important artworks, but I've always loved paper media. Actually, in the collection, there are many works that are not just a preparation for a big painting. They are actually works in themselves. Klee, Kandinsky, many important artists from the collections also have works on paper. It really was a beautiful collection.   Sharon: How did you come to own an art gallery, you and your friend Elinor? How did you start an art jewelry gallery, I should say. What happened?   Thereza: I was organizing exhibitions for other galleries. I opened some exhibition galleries in Germany, in the Netherlands, in France. At the same time, I was still making my own jewelry. Then I got pregnant with my first son, and I decided to take a break from my jewelry to organize exhibitions. When my second child, my daughter, was around six months old, Elinor and I were talking and I was saying, “I would love to open my own gallery one day, but I cannot do it now because my kids are two and six months old.” They were too young, and I wanted to be there for them. I said, “I can do it in the future, but right now, I want to be flexible to stay with my kids. If I open a gallery, I need to be there.”    She told me, “Well, I don't feel like I can open a gallery alone,” because her background is architectural. She was in architecture and then art management, but she didn't study history of art as a main course. She was thinking, “O.K., I could be at the gallery, but I don't feel like I can organize the exhibitions myself and do everything by myself.” So, we complement each other very well because she's the one to actually stay at the gallery all the time, and I am the one that organizes the exhibitions and makes the selection of the artists for the gallery and the online shop, the online website. She's the one who stays at the gallery and deals with the collectors.   Sharon: How did you come to art jewelry? It doesn't sound like that was your initial interest. Did your father do art jewelry when he showed you jewelry? Would you call it art jewelry?   Thereza: Yes, he was an artist that made jewelry during some periods of his life, like many other artists like Picasso and Talbert. It was not their main thing, but between other things, they also made some jewelry. Also, in 2012, I opened a blog. The name was Beautiful People Love Art.   Sharon: Beautiful People Love Art.   Thereza: Yes, Beautiful People Love Art. I went on with this blog for seven, eight years. The main thing of the blog was to show how all forms of art are important and interconnected. All sides are the same thing. I don't see drawings as less important than paintings, or sculptures as more important than jewelry. I think they are all important, just different media. When I opened my own gallery, I decided we would be an art gallery. We'll have paintings and sculptures, but I was already showing a lot of contemporary jewelry with my blog.    I fell in love with contemporary jewelry while I was visiting Schmuck and Joya Barcelona and getting to know the artists. Actually, when I was finishing my master's degree, I wrote a thesis about contemporary jewelry and the use of niello in contemporary jewelry. I got in contact with many artists, Giampaolo Babetto, Annamaria Zanella, Phillipe Cizetta. I got to know the field better and I really fell in love with it.    When I decided to open my open my own gallery, I wanted contemporary jewelry to be part of it. I truly believe the contemporary jewelry field should be more open. Not a niche, but more open to art lovers in general. I think to be an art gallery, it helps to make contemporary jewelry be known to people that love art. Really often, they don't even know that contemporary jewelry exists. So, with the gallery we try to get the field of contemporary jewelry to be known outside of the field and the collectors of the field, to get it known to art collectors, design collectors, people that love art in general.   Sharon: Do you find a lot of resistance where people say, “I like the art, but the jewelry is just jewelry”? What do you find?   Thereza: We find everything. My experience at Schmuck was really interesting in this way, because we organized a contemporary jewelry exhibition with 15 artists we represent at the gallery. We were guests of Petenbone Auction House. They were having an auction week with design and glass, so a lot of people that were coming during the week weren't there for the contemporary jewelry exhibition. They would just come inside the auction house and look at the jewelry and go out. There were people coming to see the purview of the auction house and the design and glass. They were just there to see the pieces of the auction and go out without looking at the jewelry.    But there were also a lot of people that came inside to see the jewelry, and they looked at me and were like, “Oh my God, these Murano glass pieces are amazing,” or “Look at this piece from the 70s or this lamp from the 60s. There are so many beautiful pieces here.” There were some people that came to see the purview of the design auction and discovered our exhibition, and they were like, “Oh wow, we've never seen contemporary jewelry before. We didn't know it existed,” but they asked a lot of questions and were interested in understanding the different artists. There are some people that collect one kind of thing, and they want only that. Then there are people that love art in general and get excited about everything. It was very nice last week to see people going around and discovering contemporary jewelry or glass and design. It was a good mix.   Sharon: How do you choose your artists? When you have an exhibit, how do you decide which ones to have?   Thereza: For example, last week, we had an exhibition for Schmuck. We represent around 45 artists at the gallery, but we had limited space to show pieces. I wanted to show them as well as I could. I also wanted some space so you could enjoy each piece and show a little bit more of each artist, so even if you didn't know that piece, you could have an idea of his work. I decided to invite 15 artists and not bring all the artists we have at the gallery to permit people to enjoy the ones with small pieces and finalize the decision about, “O.K., I want to show a little bit of what we have at the gallery.”    It was the first time for us at Schmuck, so I invited some artists that are really well-established, who showed that we have masters of the field. I also wanted to show that we have young artists with careers and artists that work with traditional materials, and others that work with different materials like paper or food or plastic, resin and anything else. I really liked the mix. I don't like to show all pieces from the same artist here and five pieces of the other artist there. I like to mix them, and I like to have a dialogue between the pieces. I wanted the artists of the exhibition to have harmony when you saw it together. That was the important thing I wanted to get across with the exhibition, and I hope people enjoy it.   Sharon: It sounds like they would enjoy it and be exposed to things they wouldn't see a lot. Tell us a little more about who buys from your gallery.   Thereza: All kinds of people. We have contemporary jewelry collectors that love contemporary jewelry, and they come back all the time nationally and internationally. We work in an area where there were many important contemporary jewelry galleries in the past. In the last 10 years, they all closed. They closed more than 10 years ago, because the gallerists retired one after the other. For example, in Padua, there aren't any galleries specializing in contemporary jewelry anymore. We have a lot of collectors that live there who don't have a gallery close by anymore to find contemporary jewelry, so now they come to us.   We also have art collectors that love paintings and sculptures. They come inside to see the paintings, but then they discover contemporary jewelry. They get involved with contemporary jewelry and start buying contemporary jewelry also. That's very nice. We like it when that happens.   Sharon: When you say people are collectors of contemporary jewelry and art, are they people who might say to you, “I want a Babetto piece. Call me any time you get one,” or do they just come in and look around?   Thereza: Both. Sometimes there is someone who is really looking for a Babetto piece, and they come to us because they are looking for a specific piece or a specific artist. We also have collectors that just come inside because they want to have a look, or they come every two or three months to see what is new at the gallery.    With the internet, now we are working a lot online also. It happens often that whoever comes to the gallery was already checking our website, especially our Instagram page. So, when they come to the gallery—because we publish almost every day—often they come to the gallery and already know what they want to see in real life. They come and say, “Oh, I saw this artist and that artist on your Instagram page or on your website. I want to see this and that piece in real life and decide between them.”    There are people that come inside without knowing what they are looking for. There are people that come to have a look at specific pieces, and there are people that really collect. They decide before, “I want a piece of this artist,” and they come to see what we have of this specific artist.    Sharon: We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out.

"In writing about Peggy, it's important to listen to one's own instincts. Don't listen to critics.  What do they know? What one should say about Peggy is, simply, that she did it. That no matter what her motivations were, she did it"  - Lee KrasnerWelcome to Part 2 of my epic share on the 20th Century Art Collector and Art Patron Peggy Guggenheim...Here is the story of Peggy's life in Venice..... and what happened next!EnjoyFind all Show Notes and details mentioned at: michellejohnston.lifeYou can now Support the Podcast and send your encouragement.© 2023  A Writer In Italy - travel, books, art and lifeMusic Composed by Richard Johnston © 2023* Note: The Picasso art mentioned in the podcast in the gallery detail (18.30min)  is - On the Beach, 1937....Support the show

“I have never been in a city that gave me the same sense of freedom” - Peggy Guggenheim, Out of this Century: Confessions of an Art AddictWelcome to Episode #69:Are you dreaming of visiting Venice and one of the iconic galleries  on the Grand Canal - The Peggy Guggenheim Collection?If you would like to know more about Peggy Guggenheim (1898-1979) listen to the story of her life and how she found herself searching for a palazzo and a place to share her art collection with the world. Here is the kaleidoscope of Peggy's life and how she became a 20th Century icon in the art world. Find all Show Notes and details mentioned at: michellejohnston.lifeYou can now Support the Podcast and send your encouragement.© 2023  A Writer In Italy - travel, books, art and lifeMusic Composed by Richard Johnston © 2023Support the show

Martina Mazzotta"Max Ernst"Mostra al Palazzo Reale di Milanohttps://palazzorealemilano.itLa mostra, promossa e prodotta da Comune di Milano-Cultura e da Palazzo Reale con Electa, in collaborazione con Madeinart, è curata da Martina Mazzotta e Jürgen Pech.Oltre 400 sono le opere tra dipinti, sculture, disegni, collages, fotografie, gioielli e libri illustrati provenienti da musei, fondazioni e collezioni private, in Italia e all'estero.Tra questi: la GAM di Torino, la Peggy Guggenheim Collection e il Museo di Ca' Pesaro di Venezia, la Tate Gallery di Londra, il Centre Pompidou di Parigi, il Museo Cantini di Marsiglia, i Musei Statali e la Fondazione Arp di Berlino, la Fondazione Beyeler di Basilea, il Museo Nazionale Thyssen-Bornemisza di Madrid.Il lungo lavoro di studio e d'indagine compiuto dai curatori ha permesso di includere tra i prestiti, che vantano la presenza di un'ottantina di dipinti, anche opere e documenti che non venivano esposti al pubblico da parecchi decenni.L'immensa vastità di temi e sperimentazioni dell'opera di Ernst si spalma su settant'anni di storia del XX secolo, tra Europa e Stati Uniti, sfuggendo costantemente a una qualsivoglia definizione. Pictor doctus, profondo conoscitore e visionario interprete della storia dell'arte, della filosofia, della scienza e dell'alchimia, Max Ernst viene presentato in questo contesto quale umanista in senso neorinascimentale.Se André Chastel affermava di rinvenire in Ernst una sorta di “reincarnazione di quegli autori renani di diavolerie tipo Bosch”, Marcel Duchamp vi aveva rintracciato “un inventario completo delle diverse epoche del Surrealismo”."Max Ernst"a cura di Martina Mazzotta e Jurgen PechElectahttps://electa.itIl volume, edito in occasione della mostra a Palazzo Reale di Milano, intende estendere e rinnovare le ricerche intorno al genio di Max Ernst, pittore, scultore, incisore, poeta e teorico dell'arte tedesco, poi naturalizzato americano e francese.La pubblicazione è un'opportunità inedita per immergersi in un diario illustrato che documenta e scandisce l'avventura straordinaria che fu la sua vita. I saggi critici dei curatori, Martina Mazzotta e Jürgen Pech, insieme con quelli di studiosi internazionali (Yuval Etgar, Ludger Derenthal, Matteo Pavesi, Paola Stroppiana, Ursula Lindau), ne esplorano la produzione artistica in rapporto con la storia dell'arte, la memoria e le avanguardie (Dadaismo e Surrealismo in primis), con le crittografie e i temi cosmologici, con le tecniche sperimentate, con la scultura e gioielli, con il libro e la letteratura, con il cinema, con le amicizie e gli amori illustri. Tali letture sono accompagnate da schede critiche di approfondimento dedicate ad alcuni dei capolavori esposti – in un corpus di più di 400 opere -, da una selezione di scritti originali dell'artista, alcuni dei quali inediti in Italia, e da una serie di saggi storici a firma di grandi protagonisti della letteratura critica intorno a Max Ernst e al Surrealismo, quali André Breton, Georges Bataille, Paul. Éluard, Rosalind Krauss, Claude Lévi-Strauss.IL POSTO DELLE PAROLEAscoltare fa Pensarehttps://ilpostodelleparole.itQuesto show fa parte del network Spreaker Prime. Se sei interessato a fare pubblicità in questo podcast, contattaci su https://www.spreaker.com/show/1487855/advertisement

EPISODE 36 of 'All About Art': Curating 'Surrealism and Magic: Enchanted Modernity' at the Peggy Guggenheim Collection, with Gražina Subelytė In this episode, I speak to Gražina Subelytė, Associate Curator at the Peggy Guggenheim Collection in Venice, Italy. Gražina curated the exhibition showing during the 59th Venice Biennale which is titled 'Surrealism and Magic: Enchanted Modernity'. In this episode, we talk about her background and how she came to curate at such a renowned organization. We delve into the intricacies and processes of curating an extensive exhibition, and we also touch on the challenges of putting together a show like this one. Listen in to hear me ask Gražina about how it feels to contribute to the arts landscape during the Venice Biennale, and what advice she would give someone wanting to follow in her footsteps. 'Surrealism and Magic' gave such a rich overview of the Surrealist movement, and I loved that there was a particular focus on female artists, as well. I grew up loving Salvador Dalí, but now I think I love Leonor Fini a little bit more! Many thanks to the Peggy Guggenheim Collection for the collaboration, and, of course, to Gražina for coming on the podcast. You can find more information on the exhibition and the Peggy Guggenheim Collection here: www.guggenheim-venice.it/en/whats-on/exhibitions/surrealism-and-magic-enchanted-modernity/ And you can read about the Venice Biennale here: https://www.labiennale.org/en/art/2022 You can support All About Art on Patreon here: https://www.patreon.com/allaboutart ABOUT THE HOST: I am an Austrian-American art historian, curator, and writer. I obtained my BA in History of Art at University College London and my MA in Arts Administration and Cultural Policy at Goldsmiths, University of London. My specializations include contemporary art, specifically feminism and artificial intelligence in artistic practice, as well as museum policies and arts engagement. Here are links to my social media, feel free to reach out: Instagram @alexandrasteinacker Twitter @alex_steinacker and LinkedIn at Alexandra Steinacker-Clark COVER ART: Lisa Schrofner a.k.a Liser www.liser-art.com

SEASON 8 PREMIERE! Therapist and body-image coach Brianna Campos joins us to discuss how to improve body image and fight internalized weight stigma, her concept of “body grief,” how body image is connected to what's going on in the world around you, and so much more. Plus, Ask Food Psych co-host Savala Trepczynski answers a listener question about how to handle scarcity mentality with special-occasion foods that are typically served at holidays or parties. (This episode was originally published on September 7, 2020.) Brianna Campos is a fat-positive, Health At Every Size provider. She is a Licensed Mental Health Counselor in the state of NJ and also does virtual body image coaching sessions, groups, and workshops. Find her online at BodyImageWithBri.com. Savala Trepczynski is a writer, teacher, and social justice attorney. She is the Executive Director of the Thelton E. Henderson Center for Social Justice at UC Berkeley School of Law, convening scholars, activists, lawyers, and community members at the best public law school in the country to tackle social justice problems. Savala and her writing about race, gender, bodies and culture have been featured in/on Time, NPR, Forbes, Bust, The Nation, Detroit Free Press, San Francisco Chronicle, and more. She is a regular keynote speaker and panelist on social justice issues, including body-based bias, implicit bias, structural racism, and understanding Whiteness. She has practiced law in San Francisco and Detroit, MI, and was a law clerk in the Obama Administration's Office of White House Counsel, where she focused on constitutional law. Before becoming a lawyer, Trepczynski worked at the Studio Museum in Harlem and the Peggy Guggenheim Collection in Venice, Italy. She lives in the San Francisco Bay Area. Find her online at SavalaNolan.com and on Instagram @notquitebeyonce. Subscribe to our newsletter, Food Psych Weekly, to keep getting new weekly Q&As and other new content while the podcast is on hiatus! If you're ready to break free from diet culture once and for all, come check out Christy's Intuitive Eating Fundamentals online course. You'll get all your questions answered in an exclusive monthly podcast, plus ongoing support in our private community forum and dozens of hours of other great content. Christy's first book, Anti-Diet, is available wherever you get your books. Order online at christyharrison.com/book, or at local bookstores across North America, the UK, Australia, and New Zealand. Grab Christy's free guide, 7 simple strategies for finding peace and freedom with food, for help getting started on the anti-diet path. For full show notes and a transcript of this episode, go to christyharrison.com/foodpsych. Ask your own question about intuitive eating, Health at Every Size, or eating disorder recovery at christyharrison.com/questions.

As more of us consider travelling this year for some much needed holidays in a warmer climate. You might want to experience some art and culture whilst you are away. So today, we're going to take a look at 'Double Meaning', a tactile tour program available at the Peggy Guggenheim Collection in Venice. RNIB Connect Radio's Paulina Kuchorew spoke with Valeria Bottalico, who curated the project since its inception in 2015, to find out more about the tour and the adjoining workshops lead by a visually impaired artist. Find out more here: Museum in Venice with path for visually impaired people | Peggy Guggenheim Collection (guggenheim-venice.it) 'Double Meaning' was created in collaboration with the Ciechi Institute of Milan, the Italian Union of the Blind and Visually Impaired, and with the patronage of ICOM Italia (International Council of Museums). The Solomon R. Guggenheim Foundation's programs for visitors who are blind or have low vision are supported by Ornellaia. Image shows a little girl tracing her hands over a 3D relief at the museum. 

In questo podcast scoprirai il lato nascosto di Venezia, attraverso la voce di chi ci vive come Alberto Toso Fei, scrittore e saggista appassionato di storia ed esperto di leggende o Pierangelo Federici autore del libro Venezia, una storia commestibile e Renzo De Antonia, presidente dell'associazione La laguna nel bicchiere.Scoprirai i tesori nascosti della città attraverso la voce della storica dell'arte Maria Aurora Marzi e avrai l'opportunità di visitare uno dei musei più importanti della città con Gražina Subelytė, curatrice associata della Peggy Guggenheim Collection

Mark Peiser: The Moving Target of Perfection Since 1967 when Mark Peiser became involved with the Studio Glass Movement, he has been recognized for his uniquely individualized approaches and accomplishments in glass. Continual investigation of the expressive implications of glass properties and processes has led to his distinctive bodies of work. Recently Peiser published the book, Thirty-Eight Pieces of Glass – with Related Thoughts, pairing his glass with brief writings of resonance.  To quote from the preface: “Since I began with glass 50 years ago, I've received countless questions asking, basically, what's it about? In that discussion I've tried to answer honestly and completely but I've always felt to have fallen short – short of the words and short of the voice that would say them. When I started to assemble this book, I began feeling much more truthful and satisfying answers to that question. I hope you will, too. That these selections sorted out into something of an abridged life story was a bit of a surprise to me. It shouldn't have been. All along I've said my work has been about my feelings and experiences and, over many years, what else is a life?”  Peiser, an internationally known glass artist, was born in Chicago in 1938. After studying electrical engineering at Purdue University (Lafayette, Indiana, 1955-1957), he received a Bachelor of Science in Design from Illinois Institute of Technology (Chicago, Illinois, 1961). Peiser studied piano and composition at DePaul University School of Music (Chicago, Illinois, 1965-1967) before attending Penland School of Crafts (Penland, North Carolina) in 1967. After five weeks of glass classes, he became the first resident craftsman in glass at the school. Peiser is a founder of the Glass Art Society, of which he is now an honorary member, and a leading presence in the Studio Glass Movement. Inducted into the College of Fellows of the American Craft Council in 1988, Peiser received the Lifetime Achievement Award from the Art Alliance for Contemporary Glass in 2004, the North Carolina Governor's Award in 2009, the Lifetime Achievement Award from the Glass Art Society in 2010 and the North Carolina Living Treasure Award in 2011, among others. He has exhibited worldwide and is in many public and private collections including the Asheville Art Museum, the Chrysler Museum of Art, The Corning Museum of Glass, the Glassmuseum Ebeltoft, the Lucerne Museum of Art, the Milwaukee Art Museum, The Museum of Art and Design, the Peggy Guggenheim Collection, the Toledo Museum of Art, the Smithsonian American Art Museum and the Tokyo Museum of Modern Art, among others. By challenging established formulas and techniques throughout his career, Peiser has created and combined new and unusual colors in his glass sculptures. This approach to glass is radical as he has literally invented new glasses in order to pursue an idea through to creation. In 2009, a special glass formulation was created by melting opal glasses for his Palomar series of sculptures that pay homage to Corning Glass Works' famous 200-inch Disk, the telescope mirror cast in 1934 for the Mt. Palomar Observatory in California. Currently, Peiser is working on the Marko Blanko Project to develop a specialty glass for filigrana. Peiser's work highlights include: EARLY WORKS  1967 – 1977 Develops blowing skills, designs and builds various furnaces and equipment, develops formulations for crystal, various opal and luster glasses. Produces iridescent miniatures, gather pots, flower forms, spaghetti bowls, copper core vessels, opaque geometric and image vessels. PAPERWEIGHT VASES (PWV) 1975 – 1981 Introduces and develops torch working techniques for furnace blown work allowing more detailed imagery and perspective. Produces Paperweight Vases portraying natural subjects and landscapes, urban views and abstract imagery related to the vessel form. INNERSPACE (IS) 1983 – 1994 Develops graphite molding process and casting glasses. Makes compound cast glass pieces that compose the internal volume of solid transparent forms. Produces Innerspace series including Ascensions, Hands, Light Beams, Moons, Mountain Skyscapes, Muses, Planets and Polychrome Progressions. FORMS OF CONSCIOUSNESS (FOC) 1994 – 2004 Develops bottom pour casting furnace, casting and mold techniques, and glass formulae allowing larger scale work representing psychological conditions. CONTRITION SECOND STUDY (CSS) 2000 – 2004 Produces a limited edition of 50 as a learning experience to formulate and develop casting process for controlled translucency in sculptural glass. COLDSTREAM CASTING (CSC) 2001 – 2007 A creative use of my bottom pour furnace. My most fun in a glass shop since 1969. View videos of the Coldstream Casting process on You Tube by searching Mark Peiser. PALOMAR  2008 – 2012 Develops vermiculite molding process. Produces Palomar series as a tribute to the accomplishment of the Palomar Mirror in 1934. For more about the Palomar series and the transition to the Passage and Etudes Tableau, search You Tube for Mark Peiser's Corning Museum of Glass talk.  PASSAGES AND ETUDES TABLEAU  2012 – PRESENT Refines formulation and heat treatment of light scattering glasses. Produces work whose subject is light. Now, more than a half century later, Peiser's name is synonymous with invention and precision. He conveyed to ToYG podcast: “Most of my earliest memories are of making things. I seem to have a knack for seeing how things work, how things go together, and how to make it. If I have a gift, that's it. “When I was in design school, I became concerned with the essence of quality. Read some books and papers, sat through some lectures, and developed a somewhat subconscious but deep commitment for my life's efforts. Later working in industry, design and advertising it was difficult to impossible to implement quality. At my level it was irrelevant and deeply unsatisfying. When I happened into Penland and the beginning of the Studio Glass Movement, the control offered by the notion of a one-man glass studio seemed an avenue that could lead to quality. I've done my best to hold to that path throughout my career. All in all, I've been successfully self- employed for 57 years. As we all hope, with the rest of life, I did the best I could at the time. But unlike the rest of life, I could disappear a bad piece like it never happened.  “Being an artist is not just another job. It's a commitment.”  

Margarita Villanueva is the Assistant to the Director and the Manager of Conservation at the Lopez Museum and Library in the Philippines, helping oversee the management and operations of the museum and its Conservation Center, respectively. She also served as elected Chair of the Arts & Culture Committee at the League of Corporate Foundations in the Philippines. Prior to this, she worked in Venice at the Peggy Guggenheim Collection, one of the most visited art galleries in Italy. She also worked for several years in conservation in Canada at various private laboratories and the Vancouver Art Gallery. Marga holds Bachelors Degrees in Materials Chemistry and Art History from the University of British Columbia. She later went to Cardiff University as a Chevening scholar to obtain her Master of Science in Professional Conservation, graduating with distinction. At Cardiff, she furthered her study in the scientific approach to conservation practice and collections care. On this episode, she shares with us her optimism for the Philippine art scene (she sees many more opportunities than limitations), the most memorable objects people have brought in for restoration, and how contemporary art gave her a whole new perspective on materials. She also shares anecdotes about why conservators should be consulted early in the architectural design process (i.e., why your airconditioning or windows may be ruining your artwork). This episode is dedicated to those keeping our arts, heritage, and culture alive. --- Follow Marga on LinkedIn - Ask her about her grad school dissertation, for which she developed a standardized methodology for evaluating non-aqueous deacidification spray treatments, and evaluated the neutralization and penetration characteristics of MgO (magnesium oxide) on watercolor paper - Marga was recently awarded a technical grant to participate in a professional program in Managing Collection Environments with the Getty Conservation Institute. Her final project involved developing an environmental management policy for the Lopez Museum and Library, and integrating the policy into the architectural design of its new building - Marga was also a panelist at the International Council of Museums (ICOM) Triennial Conference in Conservation, entitled, "Transcending Boundaries" More on the Lopez Museum and Library: https://www.lopezmuseum.org.ph/ -- Other references: Pacita Abad's show at the Museum of Contemporary Art and Design (MCAD Manila) Pinto Art Museum Neri Oxman (MIT profile) Hedy Lamarr to be played by Gal Gadot Kintsugi --- Music: “Neon Laser Horizon” by Kevin MacLeod (imcompetech.com) licensed under Creative Commons: By Attribution 4.0 License Sound Editing by franticsong Like what you heard? Do rate, review, share, and subscribe so others can find the episodes too. Follow instagram.com/occupationalhazards.podcast for more updates! xoxo Jo --- Send in a voice message: https://anchor.fm/occupationalhazards/message

Writer and social-justice lawyer Savala Trepczynski joins us to discuss how she stopped a lifetime of dieting and started decolonizing her relationship with food, why pathologizing emotional eating is problematic, how fatphobia shows up even in social-justice-oriented communities, why there's so little legal protection for discrimination based on body size, and so much more! Plus, Christy answers a listener question about food planning for long hiking trips and how calorie counting can contribute to bingeing. (This episode was originally published on April 1, 2019.) Savala Trepczynski is a writer, teacher, and social justice attorney. She is the Executive Director of the Thelton E. Henderson Center for Social Justice at UC Berkeley School of Law, convening scholars, activists, lawyers, and community members at the best public law school in the country to tackle social justice problems. Savala and her writing about race, gender, bodies and culture have been featured in/on NPR, Forbes, Bust, The Nation, Detroit Free Press, San Francisco Chronicle, and more. She is a regular keynote speaker and panelist on social justice issues, including body-based bias, implicit bias, structural racism, and understanding Whiteness. She has practiced law in San Francisco and Detroit, MI, and was a law clerk in the Obama Administration's Office of White House Counsel, where she focused on constitutional law. Before becoming a lawyer, Trepczynski worked at the Studio Museum in Harlem and the Peggy Guggenheim Collection in Venice, Italy. She lives in the San Francisco Bay Area with her partner and child. Find her online at SavalaT.com. Subscribe to our newsletter, Food Psych Weekly, to keep getting new weekly Q&As and other new content while the podcast is on hiatus! If you're ready to break free from diet culture once and for all, come check out Christy's Intuitive Eating Fundamentals online course. You'll get all your questions answered in an exclusive monthly podcast, plus ongoing support in our private community forum and dozens of hours of other great content. Christy's first book, Anti-Diet, is available wherever you get your books. Order online at christyharrison.com/book, or at local bookstores across North America, the UK, Australia, and New Zealand. Grab Christy's free guide, 7 simple strategies for finding peace and freedom with food, for help getting started on the anti-diet path. For full show notes and a transcript of this episode, go to christyharrison.com/foodpsych. Ask your own question about intuitive eating, Health at Every Size, or eating disorder recovery at christyharrison.com/questions.

Karole P.B.Vail, Director of the Peggy Guggenheim Collection has a personal relationship with Venice. Join us as we take in the Grand Canal with Karole from the gardens of the PGC to talk modern and contemporary art, Peggy and Venice, of course! Guest: Karole Vail, Peggy Guggenheim Collection Ciao Bella podcasts Instagram: @ericafirpo Twitter:  @moscerina

En este episodio haremos un recorrido por la vida de la coleccionista Peggy Guggenheim y veremos cómo fue el proceso por el cual fue armando su gran colección de arte que se encuentra actualmente en el palazzo venier dei leoni en la ciudad de Venecia.

SEASON 8 PREMIERE! Therapist and body-image coach Brianna Campos joins us to discuss how to improve body image and fight internalized weight stigma, her concept of “body grief,” how body image is connected to what’s going on in the world around you, and so much more. Plus, Ask Food Psych co-host Savala Trepczynski answers a listener question about how to handle scarcity mentality with special-occasion foods that are typically served at holidays or parties. Brianna Campos is a fat-positive, Health At Every Size provider. She is a Licensed Mental Health Counselor in the state of NJ and also does virtual body image coaching sessions, groups, and workshops. Find her online at BodyImageWithBri.com. Savala Trepczynski is a writer, teacher, and social justice attorney. She is the Executive Director of the Thelton E. Henderson Center for Social Justice at UC Berkeley School of Law, convening scholars, activists, lawyers, and community members at the best public law school in the country to tackle social justice problems. Savala and her writing about race, gender, bodies and culture have been featured in/on Time, NPR, Forbes, Bust, The Nation, Detroit Free Press, San Francisco Chronicle, and more. She is a regular keynote speaker and panelist on social justice issues, including body-based bias, implicit bias, structural racism, and understanding Whiteness. She has practiced law in San Francisco and Detroit, MI, and was a law clerk in the Obama Administration’s Office of White House Counsel, where she focused on constitutional law. Before becoming a lawyer, Trepczynski worked at the Studio Museum in Harlem and the Peggy Guggenheim Collection in Venice, Italy. She lives in the San Francisco Bay Area. Find her online at SavalaT.com and on Instagram @notquitebeyonce. For full show notes and a transcript of this episode, go to christyharrison.com/foodpsych. Ask your own question about intuitive eating, Health at Every Size, or eating disorder recovery at christyharrison.com/questions. Christy's book, Anti-Diet, is available wherever you get your books. Order online at christyharrison.com/book, or at local bookstores across North America, the UK, Australia, and New Zealand. Grab Christy's free guide, 7 simple strategies for finding peace and freedom with food, for some ideas of how to get started on the anti-diet path. If you're ready to break free from diet culture once and for all, come check out Christy's Intuitive Eating Fundamentals online course.

After months of closed doors, American cultural institutions are gradually reopening. Italy, which started opening museums in late May, can provide a glimpse of the future. We talked to Karole Vail, director of the Peggy Guggenheim Collection in Venice, who gave us the good news about what to expect. Learn more about your ad-choices at https://www.iheartpodcastnetwork.com

Sarah Hadley was born in Boston and studied both art history and photography at Georgetown University and the Corcoran College of Art in Washington, DC. She spent time in her 20's studying and working at the Peggy Guggenheim Collection and the Biennale in Venice, Italy, where she first started photographing seriously. She worked at the National Gallery of Art and the Library of Congress and as a photojournalist for a newspaper in Virginia before moving to Chicago in 1996, where she founded the Filter Photo Festival.  In addition to her own studio practice, Hadley has curated exhibitions in the US, France, and China. Hadley is the Marketing Director at the Los Angeles Center of Photography and produces Exposure, its Annual Portfolio Reviews. She mentors individual artists on career and marketing strategies and works with photography centers, fairs and institutions on strategic planning, fundraising, marketing and social media. Feel free to contact her if you have any questions, would like to purchase her prints or would like to work with her in some capacity. Hadley currently lives in the mountains of LA but treasures the ability to dip her toes in the Pacific Ocean on a regular basis.  Photographer Links:    Education Resources:   Candid Frame Resources   Download the free Candid Frame app for your favorite smart device. Click here to download for . Click here to download   Support the work we do at The Candid Frame with contributing to our Patreon effort.  You can do this by visiting or visiting the website and clicking on the Patreon button. You can also provide a one-time donation via . You can follow Ibarionex on and .

Explore utopian ideas of pure abstraction in the paintings by Russian avant-garde painter Kazimer Malevich.Work discussed, "Untitled," oil on canvas work, 1916 is part of the collection at the Peggy Guggenheim Collection in Venice. Learn more at https://www.guggenheim.org.

Explore utopian ideas of pure abstraction in the paintings by Russian avant-garde painter Kazimer Malevich.Work discussed, "Untitled," oil on canvas work, 1916 is part of the collection at the Peggy Guggenheim Collection in Venice. Learn more at https://www.guggenheim.org.

Writer and social-justice lawyer Savala Trepczynski joins us to discuss how she stopped a lifetime of dieting and started decolonizing her relationship with food, why pathologizing emotional eating is problematic, how fatphobia shows up even in social-justice-oriented communities, why there’s so little legal protection for discrimination based on body size, and so much more! Plus, Christy answers a listener question about food planning for long hiking trips and how calorie counting can contribute to bingeing. Savala Trepczynski is a writer, teacher, and social justice attorney. She is the Executive Director of the Thelton E. Henderson Center for Social Justice at UC Berkeley School of Law, convening scholars, activists, lawyers, and community members at the best public law school in the country to tackle social justice problems. Savala and her writing about race, gender, bodies and culture have been featured in/on NPR, Forbes, Bust, The Nation, Detroit Free Press, San Francisco Chronicle, and more. She is a regular keynote speaker and panelist on social justice issues, including body-based bias, implicit bias, structural racism, and understanding Whiteness. She has practiced law in San Francisco and Detroit, MI, and was a law clerk in the Obama Administration’s Office of White House Counsel, where she focused on constitutional law. Before becoming a lawyer, Trepczynski worked at the Studio Museum in Harlem and the Peggy Guggenheim Collection in Venice, Italy. She lives in the San Francisco Bay Area with her partner and child. Find her online at SavalaT.com. Grab Christy's free guide, 7 simple strategies for finding peace and freedom with food, to get started on the anti-diet path. If you're ready to break free from diet culture once and for all, join Christy's Intuitive Eating Fundamentals online course! Ask your own question about intuitive eating, Health at Every Size, or eating disorder recovery at christyharrison.com/questions. To learn more about Food Psych and get full show notes and a transcript of this episode, go to christyharrison.com/foodpsych.

Catherine Craft is Curator at the Nasher Sculpture Center, Dallas and a scholar of Dada, Surrealism, Abstract Expressionism, and Neo-Dada. She is curator of the recent exhibition The Nature of Arp, the first North American museum survey of the artist Jean (Hans) Arp in three decades; she will also oversee that exhibition’s installation at the Peggy Guggenheim Collection in Venice, where it will open April 2019. Dr. Craft curated the Nasher’s 2015 touring retrospective Melvin Edwards: Five Decadesand, as with The Nature of Arp, was principal author of the accompanying publication. She was also a contributing author for Nasher exhibition catalogues on the artists Ann Veronica Janssens and Katharina Grosse; on Isamu Noguchi for Return to Earth: Ceramic Sculpture of Fontana, Melotti, Miró, Noguchi, and Picasso, 1943-1963; and Lara Almarcegui, Rachel Harrison, and Liz Larner for Nasher XChange: 10 Years. 10 Artists. 10 Sites. In 2017 she curated the group exhibition Paper into Sculpture, which examined contemporary artists who use paper as a sculptural material, and she has also worked on research and presentation of works from the Nasher’s permanent collection. Dr. Craft holds a B.A. in art history from Texas Christian University and an M.A. from the University of Virginia. She worked in the Department of Modern and Contemporary Art at the National Gallery of Art in Washington, D.C., where she worked on Robert Rauschenberg and Ellsworth Kelly exhibitions, before receiving her doctoral degree in art history from the University of Texas at Austin. She is the author of An Audience of Artists: Dada, Neo-Dada, and the Emergence of Abstract Expressionism(University of Chicago, 2012) and Robert Rauschenberg(Phaidon, 2013), as well numerous articles and reviews. She has presented talks at the Solomon R. Guggenheim Museum, the Metropolitan Museum of Art, the Museum of Modern Art, New York; the National Portrait Gallery, Washington, D.C.; and Yale University Art Gallery, New Haven. As a senior research fellow at the Metropolitan Museum of Art, she conceived and co-curated the 2011 exhibition Paper Trails: Selected Works from the Permanent Collection 1934-2001. She joined the Nasher Sculpture Center in 2011.

Catherine Craft is Curator at the Nasher Sculpture Center, Dallas and a scholar of Dada, Surrealism, Abstract Expressionism, and Neo-Dada. She is curator of the recent exhibition The Nature of Arp, the first North American museum survey of the artist Jean (Hans) Arp in three decades; she will also oversee that exhibition’s installation at the Peggy Guggenheim Collection in Venice, where it will open April 2019. Dr. Craft curated the Nasher’s 2015 touring retrospective Melvin Edwards: Five Decadesand, as with The Nature of Arp, was principal author of the accompanying publication. She was also a contributing author for Nasher exhibition catalogues on the artists Ann Veronica Janssens and Katharina Grosse; on Isamu Noguchi for Return to Earth: Ceramic Sculpture of Fontana, Melotti, Miró, Noguchi, and Picasso, 1943-1963; and Lara Almarcegui, Rachel Harrison, and Liz Larner for Nasher XChange: 10 Years. 10 Artists. 10 Sites. In 2017 she curated the group exhibition Paper into Sculpture, which examined contemporary artists who use paper as a sculptural material, and she has also worked on research and presentation of works from the Nasher’s permanent collection. Dr. Craft holds a B.A. in art history from Texas Christian University and an M.A. from the University of Virginia. She worked in the Department of Modern and Contemporary Art at the National Gallery of Art in Washington, D.C., where she worked on Robert Rauschenberg and Ellsworth Kelly exhibitions, before receiving her doctoral degree in art history from the University of Texas at Austin. She is the author of An Audience of Artists: Dada, Neo-Dada, and the Emergence of Abstract Expressionism(University of Chicago, 2012) and Robert Rauschenberg(Phaidon, 2013), as well numerous articles and reviews. She has presented talks at the Solomon R. Guggenheim Museum, the Metropolitan Museum of Art, the Museum of Modern Art, New York; the National Portrait Gallery, Washington, D.C.; and Yale University Art Gallery, New Haven. As a senior research fellow at the Metropolitan Museum of Art, she conceived and co-curated the 2011 exhibition Paper Trails: Selected Works from the Permanent Collection 1934-2001. She joined the Nasher Sculpture Center in 2011.

Lo scorso 28 maggio abbiamo preso parte al secondo dei tre appuntamenti del ciclo "StraOrdinari - Storie non convenzionali all'ora dell'aperitivo". Protagonista dell'evento è stata Lara Gilmore.Lara Gilmore è presidente di “Food for Soul”, organizzazione no-profit fondata con il marito Massimo Bottura, uno dei più celebri chef contemporanei, per combattere lo spreco alimentare e l’isolamento sociale. “Food for Soul” nasce dall’esperienza di successo del Refettorio Ambrosiano, istituito nel 2015 insieme a Caritas Ambrosiana, in occasione di Expo Milano. Per questa occasione, un vecchio teatro abbandonato nel quartiere Greco è stato trasformato in una mensa comunitaria in cui chef di tutto il mondo hanno trasformato le eccedenze alimentari dell’Expo in pasti nutrienti per i bisognosi.

Lo scorso 28 maggio abbiamo preso parte al secondo dei tre appuntamenti del ciclo "StraOrdinari - Storie non convenzionali all'ora dell'aperitivo". Protagonista dell'evento è stata Lara Gilmore.Lara Gilmore è presidente di “Food for Soul”, organizzazione no-profit fondata con il marito Massimo Bottura, uno dei più celebri chef contemporanei, per combattere lo spreco alimentare e l’isolamento sociale. “Food for Soul” nasce dall’esperienza di successo del Refettorio Ambrosiano, istituito nel 2015 insieme a Caritas Ambrosiana, in occasione di Expo Milano. Per questa occasione, un vecchio teatro abbandonato nel quartiere Greco è stato trasformato in una mensa comunitaria in cui chef di tutto il mondo hanno trasformato le eccedenze alimentari dell’Expo in pasti nutrienti per i bisognosi.

Nel 2009, grazie al supporto di Aperol Spritz, la Collezione Peggy Guggenheim lanciava un evento innovativo, che nel corso di un decennio ha portato migliaia di giovani a casa di Peggy Guggenheim, avvicinandoli ai capolavori collezionati dalla mecenate americana e oggi patrimonio dell’Italia intera.Per celebrare questo decimo compleanno il museo intraprende una nuova avventura: gli StraOrdinari. Il primo dei tre appuntamenti ha visto la partecipazione di Caparezza. Noi di Radio Ca' Foscari eravamo presenti e siamo riusciti a scambiare due chiacchiere con lui. Trovate in questo podcast l'intervista realizzata da Giacomo e Mattia.

In an era of fake news and alternative facts, what is the role of literature that blurs the line between fiction and non-fiction? Novelist Lynne Tillman has figured out one possible role. She's been writing art criticism for more than three decades, including criticism starring a fictional character named Madame Realism—a name that is itself a retort to the way women artists were marginalized and made invisible within the Surrealist movement. Tillman's Madam Realism stories encompass not only art itself but also the reactions that art inspires in the viewers around her character, as well as how the museum itself curates a viewing experience. In this episode, Tillman and writer Adam Colman visit the MoMA to discuss, in Tillman's associative way, an exhibit on French avant-garde artist Francis Picabia. Their conversation takes them from the birth of the avant-garde to the squareness of Paris to institutional critique until they are finally kicked out of the museum by security. In this episode you'll also hear Organist fan fiction from Moira Cassidy (as read by Garrett Stewart). Feature photo: Francis Picabia.  Optophone [I]. 1922. Ink, watercolor, and pencil on board, 28 3/8 × 23 5/8″ (72 × 60 cm). Kravis Collection. © 2016 Artist Rights Society (ARS), New York/ADAGP, Paris. Photo: The Museum of Modern Art, John Wronn. Francis Picabia (French, 1879–1953). Très rare tableau sur la terre (Very Rare Picture on the Earth). 1915. Oil, metallic paint, pencil, and ink on board, with gold and silver leaf on wood, in a wood frame possibly constructed by the artist, 49 5/8 x 38 9/16 x 2 3/16″ (126 x 98 x 5.5 cm), with frame. The Solomon R. Guggenheim Foundation. Peggy Guggenheim Collection, Venice, 1976. © 2016 Artists Rights Society (ARS), New York/ADAGP, Paris Francis Picabia. Tableau Rastadada (Rastadada Painting). 1920. Cut‑and‑pasted printed paper on paper with ink, 7 1/2 × 6 3/4″ (19 × 17.1 cm). The Museum of Modern Art, New York. Gift of Abby Aldrich Rockefeller by exchange. © 2016 Artist Rights Society (ARS), New York/ADAGP, Paris. Photo: The Museum of Modern Art, Peter Butler Francis Picabia (French, 1879–1953). La Nuit espagnole (The Spanish Night). 1922. Enamel paint on canvas, 63 x 51 3/16″ (160 x 130 cm). Museum Ludwig, Cologne. Ludwig Collection. © 2016 Artists Rights Society (ARS), New York/ADAGP, Paris. Photo: © Rheinisches Bildarchiv Köln Francis Picabia. Espagnole (Espagnole à la cigarette) (Spanish Woman [Spanish Woman with Cigarette]). 1922. Watercolor, gouache, and pencil on paper, 28 3/8 × 20 1/16″ (72 × 51 cm). Private collection. © 2016 Artist Rights Society (ARS), New York/ADAGP, Paris. Photo courtesy Mercatorfonds Francis Picabia (French, 1879–1953). Les Amoureux (Après la pluie) (The Lovers [After the Rain]). 1925. Enamel paint and oil on canvas, 45 11/16 x 45 1/4″ (116 x 115 cm). Musée d'Art moderne de la Ville de Paris. © 2016 Artists Rights Society (ARS), New York/ADAGP, Paris. Photo: © Musée d'Art Moderne/Roger-Viollet Francis Picabia: Our Heads Are Round so Our Thoughts Can Change Direction Francis Picabia. Untitled (Espagnole et agneau de l'apocalypse [Spanish Woman and Lamb of the Apocalypse]). 1927/1928. Watercolor, gouache, ink, and pencil on paper, 25 9/16 × 19 11/16″ (65 × 50 cm). Private collection. © 2016 Artist Rights Society (ARS), New York/ADAGP, Paris. Photo: Stephan Wyckoff Francis Picabia. Le Clown Fratellini (Fratellini Clown). 1937–38. Oil on canvas, 36 1/4 × 28 3/4″ (92 × 73 cm). Private collection. © 2016 Artist Rights Society (ARS), New York/ADAGP, Paris Francis Picabia. Aello. 1930. Oil on canvas, 66 9/16 × 66 9/16″ (169 × 169 cm). Private collection. © 2016 Artist Rights Society (ARS), New York/ADAGP, Paris Francis Picabia. L'Adoration du veau (The Adoration of the Calf). 1941–42. Oil on board, 41 3/4 × 30″ (106 × 76.2 cm). Centre Pompidou, Musée national d'art moderne – Centre de création industrielle, Paris. Purchase with assistance from the Fonds du Patromonie, the Clarence Westbury Foundation, and the Societé des Amis du Musée national d'art moderne, 2007. © 2016 Artist Rights Society (ARS), New York/ADAGP, Paris. Photo: © Centre Pompidou, MNAM-CCI/Philippe Migeat/Dist. RMN–Grand Palais/Art Resource, New York. Francis Picabia. La Révolution espagnole (The Spanish Revolution). 1937. Oil on canvas, 63 3/4 × 51 3/16″ (162 × 130 cm). Private collection. Courtesy Dominique Lévy Gallery and Michael Werner Gallery. © 2016 Artist Rights Society (ARS), New York/ADAGP, Paris. Photo courtesy Archives Comité Picabia

Come ogni martedì torna "Guggenheim on air", il programma di arte interamente dedicato alla Peggy Guggenheim Collection di Venezia. In questa puntata il direttore della collezione, il prof. Philip Rylands, approfondisce uno dei maggiori esponenti dell'action painting americana, Jackson Pollock.

Come ogni martedì torna "Guggenheim on air", il programma di arte interamente dedicato alla Peggy Guggenheim Collection di Venezia. In questa puntata il direttore della collezione, il prof. Philip Rylands, approfondisce uno dei maggiori esponenti dell'action painting americana, Jackson Pollock.

Un nuovo appuntamento con "Guggenheim on air", il programma di arte contemporanea dedicato alla Peggy Guggenheim Collection. In questa puntata una delle opere più enigmatiche di Salvador Dalì, La nascita dei desideri liquidi. Ne parla il direttore Philip Rylands.

Un nuovo appuntamento con "Guggenheim on air", il programma di arte contemporanea dedicato alla Peggy Guggenheim Collection. In questa puntata una delle opere più enigmatiche di Salvador Dalì, La nascita dei desideri liquidi. Ne parla il direttore Philip Rylands.

"Peggy Guggenheim was an extraordinary character; I would recommend Mary Dearborn's biography Mistress of Modernism; that's a play on words" Philip Rylands Director of the Peggy Guggenheim Collection, Venice subtly reveals how personal her involvement in art collection was. Mr. Rylands was in Brussels for the opening of Guggenheim: Full Abstraction, at the ING Art Center. The show presents an impressive set of works from the Peggy Guggenheim Collection, Venice and the Solomon Guggenheim Collection in New York with pieces by Marcel Duchamp, Max Ernst (Peggy's second husband), Jean DuBuffet, Lucio Fontana, Jackson Pollack, Mark Rothko, Alexander Calder, Willem de Kooning, Sam Francis, Robert Motherell, Cy Twombly and others. As well as the works of art, the show presents a rich timeline documented with archive pictures, documents, film fragments and more, to enable the visitor to fully understand the impact that these two main collectors of XXth Century art had in both the US and Europe. Through February 12 2017 www.ing.be/art

The logic – or perversion – of the notion of origin has been linked to different imaginaries and economic regimes of nation-states; to such an extent, that it is no longer clear who constructs whom, if it ever was. In this lecture- performance, geocultural understandings of origin will be tasted through food as method to understand whether a territory is defined by its original produce; or whether origin itself might have eventually superseded the geography that was supposed to define it. The analysis of quality and standards in relationship to a created original serves as a basis to explore how food empires construct perceptions of space and time as other forms of power. Cooking Sections (Daniel Fernández Pascual & Alon Schwabe) is a duo of spatial practitioners that emerged out of the Centre for Research Architecture, Goldsmiths. It was born to explore the systems that organize the WORLD through FOOD. Using installation, performance, mapping and video, their research-based practice explores the overlapping boundaries between visual arts, architecture and geopolitics. Their work has been exhibited at the Neue Nationalgalerie Berlin; Storefront for Art & Architecture New York dOCUMENTA(13); Peggy Guggenheim Collection; CA2M; TEDx Talks, Madrid; Fiorucci Art Trust; ACC, Weimar; 2014 Biennale INTERIEUR, Kortrijk; OFFICEUS, the exhibition for the U.S. Pavilion, 2014 Venice Architecture Biennale; and have been residents in The Politics of Food at Delfina Foundation, London. They have recently been awarded a Jumex Fundación de Arte Contemporáneo grant to research Islands of Food and Desire in the Caribbean.

This week: Artist and videographer Jillian Mayer! Born in 1984 in Miami, the artist and filmmaker Jillian Mayer lives in South Florida. Her work has been shown at the Utah Museum of Fine Arts, Salt Lake City (2014); Orlando Museum of Art, Orlando, FL (2014); Locust Projects, Miami (2013); Museum of Modern Art, New York (2013); Bass Museum of Art, Miami (2012); and World Class Boxing, Miami (2012). Her video Scenic Jogging was one of the 25 selections for the Guggenheim’s YouTube Play: A Biennial of Creative Video and was exhibited at the Solomon R. Guggenheim Museum, New York; Peggy Guggenheim Collection, Venice, Italy; Guggenheim Museum, Bilbao, Spain; and Deutsche Guggenheim, Berlin (2010). Her videos have also been shown at the Rotterdam Film Festival (2014); Sundance Film Festival (2012, 2013); SXSW, Austin, TX (2012, 2013); and New York Film Festival (2013). A recipient of the Sundance Institute New Frontier Story Lab Fellowship (2013); the Zentrum Paul Klee Fellowship, Berne, Switzerland (2013); the Cintas Foundation Fellowship, New York (2012); and the NEA Southern Constellation Fellowship at Elsewhere Museum, Greensboro, NC, Mayer was included in the “25 New Faces of Independent Film” by Filmmaker Magazine (2012). She was recently featured on the cover of ART PAPERS. Mayer is represented by David Castillo Gallery, Miami.