Podcasts about Philip Guston

Last week, I got a text message from my friend Michelle, who works at the National Gallery of Art. “Lunch tomorrow or Thursday?” followed by “Come see the movie in Little Beasts. It starts at the top of every hour. I would love to discuss it with you.” Not only was Michelle one of the first people I met when I first visited DC in 2014, since then, she's become a close friend and the National Gallery has come to be my happy place in DC. In fact, some of the best art and photography shows I've ever seen, including Sally Mann: A Thousand Crossings (Catalog), Gordon Parks: The New Tide, 1940-1950 (Catalog), Outliers and American Vanguard Art (Catalog), The 70s Lens, and Mark Rothko: Paintings on Paper (Catalog), to name just a few, have all been at the National Gallery. I've also learned about artists I'd never heard of before, like Rachel Whiteread, Philip Guston, James Castle, and Elizabeth Catlett, among others. And in nearly every case, when I've had the chance to walk through a show with Michelle, through her knowledge and experience of art and materials, I've come away with a deeper understanding and a greater appreciation of the nuances of both art and artists.CONNECT WITH MEWebsite: https://jefferysaddoris.com  Instagram: @jefferysaddorisEmail: talkback@jefferysaddoris.comSUBSCRIBESubscribe to Almost Everything with Jeffery Saddoris in your favorite podcast app. You can also subscribe to my newsletter on Substack.

“Art is a form of prayer … a way to enter into relationship.”Artist and theologian Bruce Herman reflects on the sacred vocation of making, resisting consumerism, and the divine invitation to become co-creators. From Mark Rothko to Rainer Maria Rilke, to Andres Serrano's “Piss Christ” and T.S. Eliot's Four Quartets, he comments on the holy risk of artmaking and the sacred fire of creative origination.Together with Evan Rosa, Bruce Herman explores the divine vocation of art making as resistance to consumer culture and passive living. In this deeply poetic and wide-ranging conversation—and drawing from his book *Makers by Nature—*he invites us into a vision of art not as individual genius or commodity, but as service, dialogue, and co-creation rooted in love, not fear. They touch on ancient questions of human identity and desire, the creative implications of being made in the image of God, Buber's I and Thou, the scandal of the cross, Eliot's divine fire, Rothko's melancholy ecstasy, and how even making a loaf of bread can be a form of holy protest. A profound reflection on what it means to be human, and how we might change our lives—through beauty, vulnerability, and relational making.Episode Highlights“We are made by a Maker to be makers.”“ I think hope is being stolen from us Surreptitiously moment by moment hour by hour day by day.”“There is no them. There is only us.”“The work itself has a life of its own.”“Art that serves a community.”“You must change your life.” —Rilke, recited by Bruce Herman in reflection on the transformative power of art.“When we're not making something, we're not whole. We're not healthy.”“Making art is a form of prayer. It's a form of entering into relationship.”“Art is not for the artist—any more than it's for anyone else. The work stands apart. It has its own voice.”“We're not merely consumers—we're made by a Maker to be makers.”“The ultimate act of art is hospitality.”Topics and ThemesHuman beings are born to create and make meaningArt as theological dialogue and spiritual resistanceCreative practice as a form of love and worshipChristian art and culture in dialogue with contemporary issuesPassive consumption vs. active creationHow to engage with provocative art faithfullyThe role of beauty, mystery, and risk in the creative processArt that changes you spiritually, emotionally, and intellectuallyThe sacred vocation of the artist in a consumerist worldHow poetry and painting open up divine encounter, particularly in Rainer Maria Rilke's “Archaic Torso of Apollo”Four Quartets and spiritual longing in modern poetryHospitality, submission, and service as aesthetic posturesModern culture's sickness and art as medicineEncountering the cross through contemporary artistic imagination“Archaic Torso of Apollo”Rainer Maria Rilke 1875 –1926We cannot know his legendary head with eyes like ripening fruit. And yet his torso is still suffused with brilliance from inside, like a lamp, in which his gaze, now turned to low, gleams in all its power. Otherwise the curved breast could not dazzle you so, nor could a smile run through the placid hips and thighs to that dark center where procreation flared. Otherwise this stone would seem defaced beneath the translucent cascade of the shoulders and would not glisten like a wild beast's fur: would not, from all the borders of itself, burst like a star: for here there is no place that does not see you. You must change your life.About Bruce HermanBruce Herman is a painter, writer, educator, and speaker. His art has been shown in more than 150 exhibitions—nationally in many US cities, including New York, Boston, Washington, Chicago, Los Angeles, and Houston—and internationally in England, Japan, Hong Kong, Italy, Canada, and Israel. His artwork is featured in many public and private art collections including the Vatican Museum of Modern Religious Art in Rome; The Cincinnati Museum of Fine Arts print collection; The Grunewald Print Collection of the Hammer Museum, Los Angeles; DeCordova Museum in Boston; the Cape Ann Museum; and in many colleges and universities throughout the United States and Canada.Herman taught at Gordon College for nearly four decades, and is the founding chair of the Art Department there. He held the Lothlórien Distinguished Chair in Fine Arts for more than fifteen years, and continues to curate exhibitions and manage the College art collection there. Herman completed both BFA and MFA degrees at Boston University College of Fine Arts under American artists Philip Guston, James Weeks, David Aronson, Reed Kay, and Arthur Polonsky. He was named Boston University College of Fine Arts Distinguished Alumnus of the Year 2006.Herman's art may be found in dozens of journals, popular magazines, newspapers, and online art features. He and co-author Walter Hansen wrote the book Through Your Eyes, 2013, Grand Rapids, Wm. B. Eerdmans Publishing, a thirty-year retrospective of Herman's art as seen through the eyes of his most dedicated collector.To learn more, explore A Video Portrait of the Artist and My Process – An Essay by Bruce Herman.Books by Bruce Herman*Makers by Nature: Letters from a Master Painter on Faith, Hope, and Art* (2025) *Ordinary Saints (*2018) *Through Your Eyes: The Art of Bruce Herman (2013) *QU4RTETS with Makoto Fujimura, Bruce Herman, Christopher Theofanidis, Jeremy Begbie (2012) A Broken Beauty (2006)Show NotesBruce Herman on Human Identity as MakersWe are created in the image of God—the ultimate “I Am”—and thus made to create.“We are made by a Maker to be makers.”To deny our creative impulse is to risk a deep form of spiritual unhealth.Making is not just for the “artist”—everyone is born with the capacity to make.Theological Themes and Philosophical FrameworksInfluences include Martin Buber's “I and Thou,” René Girard's scapegoating theory, and the image of God in Genesis.“We don't really exist for ourselves. We exist in the space between us.”The divine invitation is relational, not autonomous.Desire, imitation, and submission form the core of our relational anthropology.Art as Resistance to Consumerism“We begin to enter into illness when we become mere consumers.”Art Versus PropagandaCulture is sickened by passive consumption, entertainment addiction, and aesthetic commodification.Making a loaf of bread, carving wood, or crafting a cocktail are acts of cultural resistance.Desire“Anything is resistance… Anything is a protest against passive consumption.”Art as Dialogue and Submission“Making art is a form of prayer. It's a form of entering into relationship.”Submission—though culturally maligned—is a necessary posture in love and art.Engaging with art requires openness to transformation.“If you want to really receive what a poem is communicating, you have to submit to it.”The Transformative Power of Encountering ArtQuoting Rilke's Archaic Torso of Apollo: “You must change your life.”True art sees the viewer and invites them to become something more.Herman's own transformative moment came unexpectedly in front of a Rothko painting.“The best part of my work is outside of my control.”Scandal, Offense, and the Cross in ArtAnalyzing Andres Serrano's Piss Christ as a sincere meditation on the commercialization of the cross.“Does the crucifixion still carry sacred weight—or has it been reduced to jewelry?”Art should provoke—but out of love, not self-aggrandizement or malice.“The cross is an offense. Paul says so. But it's the power of God for those being saved.”Beauty, Suffering, and Holy RiskEncounter with art can arise from personal or collective suffering.Bruce references Christian Wiman and Walker Percy as artists opened by pain.“Sometimes it takes catastrophe to open us up again.”Great art offers not escape, but transformation through vulnerability.The Fire and the Rose: T. S. Eliot's InfluenceFour Quartets shaped Herman's artistic and theological imagination.Eliot's poetry is contemplative, musical, liturgical, and steeped in paradox.“To be redeemed from fire by fire… when the fire and the rose are one.”The collaborative Quartets project with Makoto Fujimura and Chris Theofanidis honors Eliot's poetic vision.Living and Creating from Love, Not Fear“Make from love, not fear.”Fear-driven art (or politics) leads to manipulation and despair.Acts of love include cooking, serving, sharing, and creating for others.“The ultimate act of art is hospitality.”Media & Intellectual ReferencesMakers by Nature by Bruce HermanFour Quartets by T. S. EliotThe Archaic Torso of Apollo by Rainer Maria RilkeWassily Kandinsky, “On the Spiritual in Art”Amusing Ourselves to Death by Neil PostmanThings Hidden Since the Foundation of the World by René GirardThe Art of the Commonplace by Wendell BerryAndres Serrano's Piss ChristMakoto Fujimura's Art and Collaboration

The second episode in our Enchantment season features artist Grant Foster whose solo show, Home to My Teenage Bedroom has just opened at the Phoenix Art Space in Brighton (and runs until 13 April 2025).  Grant's cultural artefact is a 'strange fossil' which he found on a beach while on holiday in the Quantocks in the west of England. We talk about animals, time, Philip Guston, Mike Kelley, Mike Nelson, Caravaggio and much more.

Rothenstein's enigmatic paintings are frequently characterised by a dreamlike quality. Mysterious figures often populate her flattened landscapes and interiors.The artist draws inspiration from found imagery, personal experience and memory, working instinctively to communicate atmosphere and psychological tension. Rothenstein's scenes are rendered with sinuous lines and a distinctive palette built up of thin washes of oil. Often painting directly on wood panel, the artist allows grain to blend with figure and landscape.Speaking of her artistic process, Rothenstein says, “My reasons, or intentions, when making a particular painting are quite mysterious to me. The spark is always lit from an existing image, a photograph or another painting, and I often don't discover why that image leaped out at me or what it is I'm exploring until the work is finished. Sometimes I never find out. It is almost entirely intuitive. Finding a rhythm, searching for balance, alert to missteps, to what is happening, to changes of direction. I am telling myself a story much of the time and asking questions. Who is this, where is this place, what is going on? This is what I think of as the noise of a painting. And of course, what I am trying to reach is the silence … There is a wonderful Philip Guston quote: “if you're really painting YOU walk out.” That is what I mean by reaching the silence.” Rothenstein is self-taught and lives and works in London. Born in 1949, the daughter of the late Michael Rothenstein and Duffy Ayres, she grew up in a lively and distinguished community of artists in the Essex village of Great Bardfield. Following a foundation course at Camberwell School of Art in the mid-1960s, Rothenstein worked as an actress for over a decade before gradually returning to painting. Rothenstein's recent solo exhibitions include Charleston, Sussex (2024) and Stephen Friedman Gallery, New York (2024). Other solo shows include Stephen Friedman Gallery, London (2022) and Beaux Arts Gallery, London (2021). A two-person exhibition by Rothenstein and Irina Zatulovskaya took place at Pushkin House, London in 2018. Hosted on Acast. See acast.com/privacy for more information.

Visit our Substack for bonus content and more: https://designbetterpodcast.com/p/trenton-doyle-hancock Aarron's friend Trenton Doyle Hancock did something remarkable when they were both in the graduate Painting and Drawing program at the Tyler School of Art in Philadelphia—he had work in the Whitney Biennial. It was a bit like winning an Oscar while in acting school, just not something that ever happens. Most people are thrown by early success, but not Trenton. He pressed forward in his studio where he crafted epic stories in large scale paintings that later expanded into installations, sculptures, and performance art. His creative process is unique. Piles of collected objects, receipts, food wrappers, etc find their way into his work where their color, texture and attitude unfold as the fabric of Trenton's universe of heroes, villains, and ancient mysteries. We spoke with Trenton about his neurodivergent approach to the world, how collecting influences his visual sensibilities, and how chaos becomes precise order in his work. At the time of our recording, Trenton had a large show at the Jewish Museum in New York exploring intersecting themes in his work and that of Philip Guston. Bio For nearly two decades, Trenton Doyle Hancock has created a vivid, fantastical universe where autobiographical elements blend seamlessly with references to art history, comics, superheroes, and popular culture. Through paintings, drawings, and expansive installations, Hancock crafts complex narratives exploring themes of good versus evil, infused with personal symbolism and mythology. His work draws stylistically from artists like Hieronymus Bosch, Max Ernst, Henry Darger, Philip Guston, and R. Crumb, integrating text as both narrative driver and visual element. His distinctive storytelling has extended beyond gallery walls into performances, ballet collaborations such as Cult of Color: Call to Color with Ballet Austin, and murals at prominent public spaces including Dallas Cowboys Stadium and Seattle Art Museum's Olympic Sculpture Park. *** Premium Episodes on Design Better This is a premium episode on Design Better. We release two premium episodes per month, along with two free episodes for everyone. Premium subscribers also get access to the documentary Design Disruptors and our growing library of books, as well as our monthly AMAs with former guests, ad-free episodes, discounts and early access to workshops, and our monthly newsletter The Brief that compiles salient insights, quotes, readings, and creative processes uncovered in the show. Upgrade to paid ***

This is Part 2 of Mandolyn Wilson Rosen and my review of "Lifeline: Clyfford Still" 2019 directed by Dennis Scholl. It's a juicy art bio tell-all with a crusty curmudgeon as its talented but embittered subject. Don't forget to listen to Part 1 too! Find the film on Amazon ($2.99 SD) or for free on ⁠Kanopy⁠ Find Mandolyn online at: ⁠https://mandolynwilsonrosen.com⁠ and on IG at ⁠@mandolyn_rosen⁠ Artists mentioned: Philip Guston, Barnett Newman, Jackson Pollock, Willem DeKooning, Frank Stella, Donald Judd, Paul Cezanne, Ad Reinhardt, Mark Rothko, Thomas Hart Benton, Art Problems Podcast Thank you, Mandy! Thank you, Listeners! Visit RuthAnn, a new artist-run gallery in Catskill, NY at @ruthanngallery and ruthanngallery.com All music by Soundstripe ---------------------------- Pep Talks on IG: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@peptalksforartists⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Pep Talks website: ⁠⁠⁠⁠⁠⁠⁠peptalksforartists.com⁠⁠⁠⁠⁠⁠⁠ Amy, your beloved host, on IG: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@talluts⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Amy's website: ⁠⁠⁠⁠⁠⁠⁠amytalluto.com⁠⁠⁠⁠⁠⁠⁠ Pep Talks on Art Spiel as written essays: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://tinyurl.com/7k82vd8s⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠BuyMeACoffee⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Donations always appreciated!

Today we're spotlighting art you can see in museums around our area. We continue with an exhibition at The Jewish Museum that places the work of contemporary artist Trenton Doyle Hancock in conversation with the late artist Philip Guston, famous for his satirical drawings of KKK members. Doyle discusses his involvement in the show alongside Jewish Museum curator Rebecca Shaykin. Draw Them In, Paint Them Out: Trenton Doyle Hancock Confronts Philip Guston is on view through March 30.

Sokuzan leads us through "Opening The Eye Mind" Awareness practice, using as the artwork, "Cornered" by Philip Guston (born Phillip Goldstein, June 27, 1913 – June 7, 1980) . Guston was a Canadian American painter, printmaker, muralist and draftsman. In a career of constant struggle and evolution, Philip Guston emerged first in the 1930s as a social realist painter of murals in the 1930s. Much later he also evolved a unique and highly influential style of cartoon realism. But he made his name as an Abstract Expressionist. He avoided the muscular gestures of painters such as Pollock and Kline, and opted for a lighter touch, painting shimmering abstractions in which forms seem to hover like mists in the foreground. More about Philip Guston here: https://www.nga.gov/exhibitions/2023/philip-guston-now.html https://youtu.be/8Tk1dvNVkTI

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«Порисовал для Нью-Йоркера, можно уходить на пенсию» - иллюстратор Надя Железнова искрометно и искренне рассказывает о своей работе и колебаниях её стоимости в зависимости от географии и достижений. В этот раз мы сосредоточились и подробнее обсудили из чего складываются наши гонорары с учетом материалов, техники и коэффициента неприятности задачи. А еще мы проследили Надин путь от фотографии до режиссуры в попытке понять как не бояться менять медиум и как искать для себя среду, даже если на первый взгляд её не существует.Ссылки на тех, кого мы упоминаем в этом эпизоде:Рассылка Нины ЗахаровойВиктор МеламедМаша ШишоваPhilip GustonТаня ИванковаЖеня БариноваТаня ВиноПочта подкаста: darkplayground.podcast@gmail.comЗвуковое оформление: frailtynine This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit darkplayground.substack.com

Welcome back to ARTMATTERS: The Podcast for Artists. Today I speak with the Washington DC-based artist Tom Bunnell. Tom received his BA and BFA in Art and Art History from the University of Oregon in 1995 and his MFA in Painting from American University in 1998. Tom has exhibited nationally and internationally and he currently teaches art at St Stephen's & St Agnes School and American University. In today's episode, Tom and I discuss his origins as an abstract painter, his drawings, painting from observation, motifs, Tom's confidence in materials and mistrust of process, how these days he efficiently utilizes shorter amounts of studio time, the need to protect the ideas within the studio, and we also discuss some of Tom's recent paintings in depth.  We also trash Philip Guston a little bit.Enjoy the show.You can now support this podcast by clicking HERE where you can donate using PATREON or PayPal!If you're enjoying the podcast so far, please rate, review, subscribe and SHARE ON INSTAGRAM!  If you have an any questions you want answered, write in to artmatterspodcast@gmail.com host: Isaac Mann www.isaacmann.cominsta: @isaac.mann guest: Tom Bunnell insta: @electriczitherInterview with The Studio VisitInterview with The Semi-Finalist 

Guston es uno de los pintores más influyentes dentro de las nuevas generaciones norteamericanas. Un artista que atravesó todas las corrientes del siglo XX hasta encontrar un camino de disidencia que lo llevaría a ese espectro atemporal reservado a los grandes maestros de la historia del arte.

Brooke is joined by the amazing Jason, a disabled artist, who shares his journey of acquiring a disability and how it transformed his life. Jason discusses his experiences growing up in a working-class family, becoming disabled at a young age, and the challenges he faced in the care system. Despite the difficulties, Jason's resilience and sense of humour shine through as he navigates the art world and advocates for disability rights. The conversation delves into the importance of kindness, humour, and activism in the face of adversity. KEY TAKEAWAYS Jason uses art as a form of activism, creating pieces that convey powerful messages about disability rights and societal issues. You cannot overemphasise the importance of humour and kindness in navigating difficult situations and advocating for change. Jason highlights ongoing challenges with accessibility, including inaccessible venues and the need for reasonable adjustments. Jason draws inspiration from artists like Philip Guston and Frida Kahlo, using art as a medium to express personal experiences and societal commentary. BEST MOMENTS "I became disabled as well in 1980, which was apparent. I was told as well that it was the best year to become disabled because it was the international year of disability." "There's so much to be said from creating art, particularly from pain points in our life. And I think that it's really laudable for you to almost put that on display, because even though it might not look exactly how it was, you know, it's not like it's realism." "I always say, when I became disabled, it was a transformative experience. So very working class background, like I said, not much money, but I was introduced to education in a big way."  VALUABLE RESOURCES https://podcasts.apple.com/gb/podcast/disabled-and-proud/id1621152878 HOST BIO Disabled and Proud is the show that brings listeners a different perspective on disability. Each week this podcast highlights an awesome disabled guest speaking about their own disability; why they are proud to be disabled and why they are proud to be themselves.  The conversations in this show will look at what challenges these amazing people face socially, mentally, physically and life in general. This show is raw, open, honest, funny, welcoming and educational.  Disabled & Proud does exactly what it says on the tin! And whilst we are creating this space for disabled people to be unashamedly themselves, without the need to conform to society, this is also not about toxic positivity. This show will be shining a big, bright light on disability without it being “Paralympic or pity”.  As you will hear disability is WHOLE, COMPLETE & PERFECT and whilst the topic of disability can be quite heavy - and we definitely don't shy away from the bad days - this podcast is also about having fun too! Our aim is to play a part in reclaiming the word disability - turning it from inadequacy to perfection!INSTAGRAM! https://www.instagram.com/disabledandproudpodcast/?hl=en: https://www.instagram.com/disabledandproudpodcast/?hl=en

Marc Mitchell holds a M.F.A from Boston University. His work has been included in exhibitions at the Schneider Museum of Art, Southern Oregon University; University of Wisconsin, Madison; University of Alabama, Tuscaloosa; Florida Atlantic University Galleries, Boca Raton; TOPS Gallery, Memphis, TN; GRIN Gallery, Providence, RI; Laconia Gallery, Boston, MA; and others. Mitchell has been featured in publications such as the Boston Globe, Burnaway, and Number Inc; and was selected for New American Paintings in 2014, 2017, 2018, and 2020. Mitchell has been an Artist-in-Residence at the Banff Center for Arts & Creativity, Ucross Foundation, Vermont Studio Center, Hambidge Center for the Arts, Jentel Foundation, and Tides Institute/StudioWorks. In 2021, Mitchell was a Fellow at The American Academy in Rome. In addition to his studio practice, Mitchell has curated exhibitions that feature artists such as Tauba Auerbach (Diagonal Press), Mel Bochner, Matt Bollinger, Mark Bradford, Tara Donovan, Chie Fueki, Daniel Gordon, Sara Greenberger-Rafferty, Philip Guston, Josephine Halvorson, Trenton Doyle Hancock, Jenny Holzer, Rashid Johnson, Mary Reid Kelley, Ellsworth Kelly, Arnold Kemp, Allan McCollum, Kay Rosen, Erin Shirreff, Lorna Simpson, Jered Sprecher, Jessica Stockholder, Jason Stopa, Hank Willis Thomas, Carrie Mae Weems, Lawrence Weiner, Wendy White, Molly Zuckerman-Hartung, and many others. "I am influenced by many things—1980's guitars, VHS tapes, World War I battleships, sunrise/sunset gradients, moiré patterns, and more. Over the past 3 years, ‘notions of cycle' have played an increased role in the development of my paintings; and I'm curious how the avant-garde succeeds and fails within popular culture. Currently, I'm interested in how the landscape has been depicted throughout American culture. Whether it's Thomas Cole and Albert Bierstadt of the Hudson River School, Georgia O'Keeffe's monumental work at the Art Institute of Chicago, or an Instagram post of a sunset—each conveys a romanticized view of our world. The most recent paintings are an amalgamation of experiences that I've had within the American landscape; with each painting flowing freely between representation and abstraction." LINKS:  www.mmitchellpainting.net   www.instagram.com/methan18     Artist Shout Out:    UARK Drawing --- https://www.uarkdrawing.com/ and @uarkdrawing UARK Painting --- https://www.uarkpainting.com/ and @uarkpaintning   I Like Your Work Links: Check out our sponsor for this episode: The Sunlight Podcast: Hannah Cole, the artist/tax pro who sponsors I Like Your Work, has opened her program Money Bootcamp with a special discount for I Like Your Work listeners. Use the code LIKE  to receive $100 off your Money Bootcamp purchase by Sunlight Tax. Join Money Bootcamp now by clicking this link: https://www.sunlighttax.com/moneybootcampsales and use the code LIKE. Chautauqua Visual Arts: https://art.chq.org/school/about-the-program/two-week-artist-residency/ 2-week residency https://art.chq.org/school/about-the-program/ 6-week residency   Apply for Summer Open Call: Deadline May 15 Join the Works Membership ! https://theworksmembership.com/ Watch our Youtube channel: https://www.youtube.com/@ilikeyourworkpodcast Submit Your Work Check out our Catalogs! Exhibitions Studio Visit Artist Interviews I Like Your Work Podcast Say “hi” on Instagram

Fisher Stevens and I were recently brought close together by one of the greatest artists of the 20th century, Philip Guston, and one of the greatest footballers, David Beckham. Last September he was in The River Cafe with the producers of Beckham, the series he directed for Netflix. We agreed to have breakfast at my house and the next morning he arrived.Walking up the stairs, Fischer stopped at the large pink Guston. It was hard to tear him away as he spoke about the painting and what it meant to him. A half hour turned into more than an hour as we talked about art we looked at, architecture we lived in and food we cooked. We agreed we would continue the conversation on Ruthie's Table 4 when I came to New York.So here we are, this time in Fischer's house, connected through a love of Beckham, food, film, Guston and each other. Life is good.Listen to Ruthie's Table 4: Fisher Stevens in partnership with Moncler – out now.See omnystudio.com/listener for privacy information.

In this episode, we explore the work and life of Philip Guston, after having visited his exhibition at Tate Modern. Talk about plot twists! Guston's life and exhibitions, even this last travelling one, caused tremendous controversy. But above all, it's his ability to question himself and follow his own ideas that really impressed us.Music: Sarturn

Stanley Whitney talks to Ben Luke about his influences—from writers to musicians and, of course, other artists—and the cultural experiences that have shaped his life and work. Whitney, ​​born in Philadelphia in 1946, makes abstract paintings that feature interlocking rectangles, squares and bands of paint whose intense colours hum with musical resonance and rhythm. Rigorously structured yet full of improvisation and unexpected incident, his paintings are both arresting and slow-burning: they grab you with their bold hues and hold you with their complex harmonies and dissonances, their sense of constant movement. He is particularly known for his square-format paintings of the past two decades but his career has been a lifelong search for a distinctive form of painting—one that, as he has said, is defiantly abstract yet contains “the complexity of the world”. He reflects on his encounters with an early mentor, Philip Guston; being painted by Barkley Hendricks, a fellow student at Yale; and his close friendship with David Hammons. He discusses his love of Paul Cezanne, Vincent van Gogh, Paolo Veronese and Henri Matisse, as well as the work of Gees Bend quilters. And explains how he connects this deep love of painting to musical greats including Miles Davis, Charlie Parker and Charlie Mingus. Plus he discusses in detail his life in the studio and answers our usual questions, including “what is art for?”Stanley Whitney: How High the Moon, Buffalo AKG Art Museum, Buffalo, US, 9 February-27 May; Walker Art Center, Minneapolis, US, 14 November-16 March 2025; Institute of Contemporary Art /Boston, US, 17 April 2025–1 September 2025; Stanley Whitney: Dear Paris, Gagosian, Paris, until 28 February. Hosted on Acast. See acast.com/privacy for more information.

In a remarkable moment after WWII New York became the centre of the art world, simultaneously seeing the development of new ways of hearing music, and new ways of seeing art. It was here that the American experimental composer Morton Feldman said, “What was great about the fifties is that for one brief moment - maybe, say, six weeks - nobody understood art. That's why it all happened”. The composer Samuel Andreyev shows how composers and artists in New York in this period went about the difficult business of wrestling with a new abstract language, often at great cost to themselves, to produce some of the masterpieces of post war American art. Samuel focuses on the powerfully productive relationships that Feldman had with the abstract expressionists, Philip Guston, and Mark Rothko, who showed him by example how to set his sounds free, in the same way their paintings set colours free. Feldman even called his own compositions, ‘Time Canvasses', where he said, he more or less primed the canvas with an overall hue of music. This is a clue to the unorthodox way Feldman's music - which can be both very long, and almost always very quiet - remarkably blurs what we imagine to be the boundary between music and painting. A Soundscape Production, produced by Andrew Carter.

This week's text is a love letter to a painting: Philip Guston's Painting, Smoking, Eating. It's also a love letter to limbo, chewing gum, dead time and unalienated labour read it here: thewhitepube.co.uk/philip-guston & thank you as always to our friends on Patreon! If you'd like to support our work/writing, pls go to our support page for more info about how you can do that :)

For episode five of our first season we talk to artist Luke Burton. Our discussion is centred on Luke's chosen cultural artefact, the 2004 Philip Guston retrospective at the Royal Academy, an exhibition he saw as a student at Chelsea College of Art, which alongside the 2023-24 Guston show at Tate Modern, bookends Luke's career as an artist. Guston is of course a hugely influential painter and the stylistic switches in his career – from figurative to abstract to figurative – are just one of the subjects we discuss. Also on the table are painting's connections to other artforms, the language of painting, Guston's controversial subject matter, and how we as artists are influenced by the work we see. Please be aware that we do deal with some sensitive material around Guston's paintings of KKK figures which some listeners may prefer to avoid.  We end the episode with a podcast extra made up of Luke's vox pops about Guston gathered from other artists.  You can see Luke Burton's work in his solo exhibition ‘Westminster Coastal' at Bosse and Baum, London, at the beginning of February 2024. He is also showing at The Gerald Moore Gallery at Eltham College in April 2024.   

It's the final episode of 2023 and so, as always, it's our review of the year. Host Ben Luke is joined by Louisa Buck, The Art Newspaper's contemporary art correspondent, based in London, and Ben Sutton, editor, Americas, based in New York, to discuss the big art and heritage news stories of the year, from rows over the Israel-Hamas war to thefts at the British Museum and the battle for art-fair supremacy between Art Basel and Frieze. Plus, we discuss the shows and works that made the biggest impact in 2023, from Jaune Quick-to-See Smith at the Whitney Museum of American Art to Philip Guston in Washington and London and Vermeer in Amsterdam to Faith Ringgold in Paris. Hosted on Acast. See acast.com/privacy for more information.

Today, it's a brand new installment of the "Interview the Interviewer" series and I'm excited to reveal that this episode's Interviewee is ... me! Thank you so much to artist, Catherine Haggarty, for generously suggesting this collaboration and for asking such wonderful questions about my work. More info about Amy (your beloved host's) work online: amytalluto.com and @talluts Works mentioned (AT unless noted): "The Princesse de Broglie" (Ingres), "Bending Figure & Ingres Eye" 2023, "Rain Cloud" 2022, "Cloud (After Ingres) 1-3" 2023 Catherine Haggarty online: catherinehaggarty.com and @catherine_haggarty Artists mentioned: Jennifer Coates, Phyllis Plattner, Louise Mouton Johnson, Frank Gross & Jean Pichotta Gross of NOCCA, Rita MacDonald, Ever Baldwin, Geoffrey Young, Dee Shapiro, Elisabeth Condon, Dona Nelson, Philip Guston, Judy Glantzman, Jean-Auguste-Dominique Ingres, Agnes Martin, Vija Celmins, Julia Gleich, Shari Mendelson, Courtney Puckett, Matisse, Betty Woodman, Charles Burchfield, Edvard Munch, Robert Rauschenberg, Kathe Bradford Amy's fave podcast: Las Culturistas Amy's fiery crucible of self help: Pep Talks for Writers, Wired to Create, Steal Like an Artist, On Art and Mindfulness, The War of Art, Art & Fear, The Artist's Journey: Bold Strokes to Spark Creativity, Make Art Not Content (Podcast), Big Magic Thank you, Catherine! Thank you, Listeners! And thank you so much, Patreon supporters! ---------------------------- Pep Talks on IG: ⁠⁠⁠@peptalksforartists⁠⁠⁠ Peps has a Patreon! If you are a Peps fan and would love more pep talks in your life, please consider supporting the podcast financially on Patreon at ⁠⁠⁠https://www.patreon.com/PepTalksforArtists⁠⁠⁠! For $5 a month, patrons receive exclusive mini Pep-isodes monthly or bimonthly, delivered directly to their email inbox with a clickable link. No tech savviness required! Also, patrons receive early access to not-yet-released full episodes, fresh out the oven. Join the Peps fam on Patreon and become a part of the Pep Talks Peerage today. Find out more here: ⁠⁠⁠⁠https://www.patreon.com/PepTalksforArtists⁠⁠ Pep Talks on Art Spiel as written essays: ⁠⁠⁠https://tinyurl.com/7k82vd8s⁠⁠⁠ ⁠⁠⁠BuyMeACoffee⁠⁠⁠ Donations appreciated! All music and effects are by Soundstripe --- Send in a voice message: https://podcasters.spotify.com/pod/show/peptalksforartistspod/message Support this podcast: https://podcasters.spotify.com/pod/show/peptalksforartistspod/support

Talk Art NYC special episode! We meet American art critic ROBERTA SMITH from her apartment in Greenwich Village. We explore her career over the past 50 years - Smith first began publishing art criticism in 1972. This epic feature-length conversation gets deep as we discuss visual literacy within education and the 'meaning' of art! In 2011, Smith became the first woman to hold the title of Co-Chief Art Critic of The New York Times.Roberta Smith regularly reviews museum exhibitions, art fairs and gallery shows in New York, North America and abroad. Smith began regularly writing for the Times in 1985, and has been on staff there since 1991. She has written on Western and non-Western art from the prehistoric to the contemporary eras. She sees her main responsibility as “getting people out of the house,” making them curious enough to go see the art she covers, but she also enjoys posting artworks on Instagram and Twitter. Special areas of interest include ceramics textiles, folk and outsider art, design and video art. Before the NYT, she was a critic for the Village Voice from 1980 to 1984. She has written critic's notebooks on the need for museums to be free to the public; Brandeis University's decision to close its museum and sell its art collection (later rescinded), and the unveiling of the Google Art Project, which allowed online HD views of paintings in the collections of scores of leading museums worldwide. Born in New York City, Smith was raised in Lawrence, Kansas, and earned her BA from Grinnell College in Iowa. She was introduced to the art world in the late 1960s, first as an intern at the Corcoran Gallery of Art, in Washington, DC, and later as a participant in the Whitney's Independent Study Program. During her time at the Whitney, she became familiar with the New York art world, and she met the artist Donald Judd, who would figure large in her early career. Smith wrote about Judd's development from two to three dimensions, between 1954 and 1964, and began collecting and archiving his writings. Smith began working at the Paula Cooper Gallery in 1972, at which time she also began writing for Artforum, the New York Times, Art in America, and the Village Voice, where she has written important considerations of Philip Guston's late paintings, the sculptures of Richard Artschwager, and Scott Burton's performances. Smith has written many essays for catalogues and monographs on contemporary artists, as well as on the decorative arts, popular and outsider art, design, and architecture. In 2003, the College Art Association awarded her with the Frank Jewett Mather Award for Art Criticism.Furthermore in 2019 Smith was presented a $50,000 lifetime achievement award from the Dorothea and Leo Rabkin Foundation. Due to NYT's editorial guidelines, Smith was unable to accept the cash prize and donated the entirety to the Art for Justice Fund, an organization launched by philanthropist Agnes Gund, whose goals include “safely cutting the prison population in states with the highest rates of incarceration, and strengthening education and employment options for people leaving prison.”: "Roberta Smith has been responsible for building an audience for the art of the self-taught, for ceramic art, video art, digital art, systems of re-presentation and much more. Across many traditional boundaries, she has offered a frank, lovingly detailed assessment of new art and artists to her expansive readership. Hers is a voice listened to by millions of readers."Follow @RobertaSmithNYT on Instagram and Twitter.Read www.nytimes.com/by/roberta-smith Hosted on Acast. See acast.com/privacy for more information.

Philip Guston (1913-1980) is thought of as one of the most remarkable artists of the twentieth century. This Tate Modern exhibition is the first major UK retrospective of Philip Guston's work in 20 years, spanning more than 100 paintings and drawings from across Guston's momentous 50-year career. Offering new insights into his formative early years and activism, his celebrated period of abstraction, and his thought-provoking late works. With an outlook strongly shaped by his experiences of personal tragedy and by social injustice in the US, the exhibition charts the restlessness of an artist who defied categorisation, and never stopped pushing the boundaries of painting. RNIB Connect Radio's Toby Davey was joined at Tate Modern by Michael Raymond one of the joint Curator's  of the exhibition to find out more about the work and life of Philip guston. Toby began by asking Michael why now was a good time to present Philip Guston's work again to the public through this new retrospective exhibition.   Toby and Michael then talked about how much Guston's early life experiences had shaped his work and his outlook on life. Then to a discussion looking at the style of Guston's work over his life and whether he would be using his work today if he was still around to focus on the war in Ukraine, the climate crisis and everything that has been happening in America over the last few years and events around the world too.  Toby ended by asking Michael maybe a slightly difficult question, as to whether there were maybe one or two examples of Philip Guston's work from the exhibition that sum up Guston's work to him. The Philip Guston exhibition continues at Tate Modern until 25 February 2024 and audio described guided tours lead by one of Tate's Visitor Engagement Assistants can be booked by either emailing hello@Tate.org.uk or calling 020 7887 8888  More details about the Philip Guston exhibition ‘at Tate Modern  can be found by visiting the following pages of the Tate website - https://www.tate.org.uk/whats-on/tate-modern/philip-guston Image Shows Philip Guston, The Line, 1978 © The Estate of Philip Guston, courtesy Hauser & Wirth. A painting which depicts a raw, red hand with the index and middle finger extended, descending from a cloud against a light blue sky at the top of the painting to scrape a line across the deep red ground with a pencil or piece of charcoal held between the two fingers.

Journalist and author Mary Gabriel joins Eric and Medaya to talk about her latest book, Madonna: A Rebel Life. The massive, richly researched biography follows every detail of the superstar's life: her Michigan roots, her debut amid New York's heady underground scene, her film career, her London era, finally catching up with Madge in 2020. The book is also a history of the culture that shaped her, and which she shaped in her wake. Mary discusses writing the book, as well as Madonna's breakthrough performances, the AIDS crisis and its legacy, sweeping changes in the music industry, and a re-examination of the “feminist” as a pop icon. Also, Ross Gay, author of The Book of (More) Delights, returns to recommend a trio of books: Guston in Time by Ross Feld; Come Back in September by Darryl Pinckney; and Stealing History by Gerald Stern.

The winner of the 2023 Nobel Prize for Literature is Norwegian writer Jon Fosse, who is best known for his innovative plays. Playwright Simon Stephens, who has translated his work, talks about the impact of his plays which are widely performed across Europe but little known in the UK. Front Row reviews Golda, which stars Helen Mirren as Israeli prime minster Golda Meir, and an exhibition of work by the artist Philip Guston at the Tate Modern in London. Poet Aviva Dautch and art critic Ben Lukes give their verdict. Musician Tim Ridout discusses recording Elgar's famous cello concerto on the viola, a performance for which he won the concerto category at this year's Gramophone Award. The theme of this year's National Poetry Day is refuge and to mark it Front Row hears a poem on the theme, A Portable Paradise by Roger Robinson. Presenter: Tom Sutcliffe Producer: Harry Parker

The new definition of painterly success just might be having Elisabeth Condon describe your painting. It's truly that satisfying. Elisabeth is back on the pod to describe a painting, and it's a fascinating one: "Untitled" 1968-69 from the Edge Painting series by Sam Francis. Come along as Elisabeth takes us not only through the painting itself, but also through Sam Francis' life and influences: namely that of his beloved Japan. The concept of "ma" or the potential of emptiness, Asian ink painting, and Francis' unique anti-New York gentle lyricism all factor in to make this talk a riveting deep dive into this Californian-born, second-generation Abstract Expressionist artist. See an image of the painting here: https://tinyurl.com/2c487tpr (photo by Christopher Knight/LA Times) and https://tinyurl.com/ms8uxyj2 (photo by Elisabeth Condon) See Sam Francis at LACMA: ⁠"Sam Francis and Japan: Emptiness Overflowing"⁠ is up at LACMA in Los Angeles thru July 16, 2023 More about Sam Francis: https://samfrancisfoundation.org/ Find Elisabeth Condon online: https://www.elisabethcondon.com/ and on IG: @elisabethcondon Check out her work in person at The Golden Foundation in New Berlin, NY in "Made in Paint" (thru Aug 2023) and her mural-sized work at the Judy Genshaft Honors College Building at the University of South Florida (permanent). She is also now preparing for a solo show in December 2023 at Emerson Dorsch Gallery in Miami. Other writers and artists mentioned: Paul Jenkins, Joan Mitchell, Helen Frankenthaler, Morris Lewis, David Hinton (Chinese Art Scholar), Frida Kahlo, Arshile Gorky, Jackson Pollock, Marc Rothko, Pablo Picasso, Jean Miro, Paul Klee, David Park. Fernand Leger, Shirley Jaffe, Jean-Paul Riopelle, Georges DuThuit, Joan Mitchell, Ed Clark, Tachisme Abstraction Lyrique Movement, Jean Dubuffet, Wols, Norman Bluhm, Sherman Lee (Chinese Art Scholar), Sesshū (Sumi-e Master), Moby Dick by Herman Melville, Lee Ufan, Brice Marden, Monoha Group of Hawaii, Kiki Kokolvic, William Wilson (LA Times writer), Cecily Brown, Jackson Pollock, Steve DiBenedetto, Philip Guston, Nihonga Painting, Lisa Beck, Andrea Belag, Matthew Richie, Richard E. Speer (Art writer), Yoshiaki Tono Materials mentioned: Magna Paint, Hoechst Dispersions, Flashe, Guerra Paint Amy's show during Upstate Art Weekend: "Appearances" at the Strange Untried Project Space July 22-23, 11-6pm, More info: https://www.strangeuntried.com/ and on IG: @strange_untried And the Cut Me Up Magazine collage exhibition at the Albany International Airport through Dec 2023. ---------------------------- Pep Talks on IG: ⁠⁠⁠@peptalksforartists⁠⁠⁠ Pep Talks on Art Spiel as written essays: ⁠⁠⁠https://tinyurl.com/7k82vd8s⁠⁠⁠⁠⁠⁠⁠ Amy's website: ⁠⁠⁠https://www.amytalluto.com/⁠⁠⁠ Amy on IG: ⁠⁠⁠@talluts⁠⁠⁠ ⁠⁠⁠BuyMeACoffee⁠⁠⁠ Donations appreciated! --- Send in a voice message: https://podcasters.spotify.com/pod/show/peptalksforartistspod/message Support this podcast: https://podcasters.spotify.com/pod/show/peptalksforartistspod/support

In the last Iteration, I talked about how seeing the Philip Guston show at the National Gallery left me feeling a little envious of such a strong personal story, something that my own work just didn't have. I talked to Sean about it over the weekend and shared some of what I had been feeling and he was quick to disagree saying that he thought my work was very personal. He said that in his opinion, my work is a reflection of how I see and experience the world. To him, all of my anxieties, my fears, even some of my childhood traumas are all right there on the canvas. “I know you don't see it,” he said, “but what could be more personal than that?”CONNECT WITH MEWebsite: https://jefferysaddoris.com  Twitter: @jefferysaddoris  Instagram: @jefferysaddorisSUBSCRIBESubscribe to Jeffery Saddoris: Almost Everything in your favorite podcast app to get more conversations like this. You can also find a written version of Iterations on Substack.MUSICMusic For Workplaces by Jeffery Saddoris

In the last Iteration, I talked about how seeing the Philip Guston show at the National Gallery left me feeling a little envious of such a strong personal story, something that my own work just didn't have. I talked to Sean about it over the weekend and shared some of what I had been feeling and he was quick to disagree saying that he thought my work was very personal. He said that in his opinion, my work is a reflection of how I see and experience the world. To him, all of my anxieties, my fears, even some of my childhood traumas are all right there on the canvas. “I know you don't see it,” he said, “but what could be more personal than that?”CONNECT WITH MEWebsite: https://jefferysaddoris.com  Twitter: @jefferysaddoris  Instagram: @jefferysaddorisSUBSCRIBESubscribe to Jeffery Saddoris: Almost Everything in your favorite podcast app to get more conversations like this. You can also find a written version of Iterations on Substack.MUSICMusic For Workplaces by Jeffery Saddoris

In the last Iteration, I talked about how seeing the Philip Guston show at the National Gallery left me feeling a little envious of such a strong personal story, something that my own work just didn't have. I talked to Sean about it over the weekend and shared some of what I had been feeling and he was quick to disagree saying that he thought my work was very personal. He said that in his opinion, my work is a reflection of how I see and experience the world. To him, all of my anxieties, my fears, even some of my childhood traumas are all right there on the canvas. “I know you don't see it,” he said, “but what could be more personal than that?”CONNECT WITH MEWebsite: https://jefferysaddoris.com  Twitter: @jefferysaddoris  Instagram: @jefferysaddorisSUBSCRIBESubscribe to Jeffery Saddoris: Almost Everything in your favorite podcast app to get more conversations like this. You can also find a written version of Iterations on Substack.MUSICMusic For Workplaces by Jeffery Saddoris

On Friday I went down to the National Gallery of Art and man I came home in a funk. Usually, I come back super charged up and wildly inspired and just ready to get back into the studio, but Friday was not one of those days. I went down to have lunch with my friend Michelle and after lunch we walked through the Philip Guston show that just opened. I had never heard of Guston before and seeing his work was a very dramatic experience. So much so that after Michelle had leave to get back to work, I ended up going through the show again and taking a little more time on some of the pieces that really resonated with me the first time through. Before you enter the actual show, there's a short video playing on a loop that gives a little background on Guston's life—specifically his childhood as a Jewish immigrant in California, where the persecution of Jews and Blacks by the KKK caused massive trauma that would stay with him for the rest of his life and feature heavily in his art. On top of that, three days after his tenth birthday, his father hanged himself in the shed outside their house and Guston was the one who discovered the body. As a means of processing his childhood trauma, he taught himself to draw and at 14, he started to paint. LINKSNational Gallery of ArtPhilip Guston NowPhilip Guston - WikipediaThe Guston FoundationStedelijk MuseumCONNECT WITH MEWebsite: https://jefferysaddoris.com  Twitter: @jefferysaddoris  Instagram: @jefferysaddorisSUBSCRIBESubscribe to Jeffery Saddoris: Almost Everything in your favorite podcast app to get more conversations like this. You can also find a written version of Iterations on Substack.MUSICMusic For Workplaces by Jeffery Saddoris

On Friday I went down to the National Gallery of Art and man I came home in a funk. Usually, I come back super charged up and wildly inspired and just ready to get back into the studio, but Friday was not one of those days. I went down to have lunch with my friend Michelle and after lunch we walked through the Philip Guston show that just opened. I had never heard of Guston before and seeing his work was a very dramatic experience. So much so that after Michelle had leave to get back to work, I ended up going through the show again and taking a little more time on some of the pieces that really resonated with me the first time through. Before you enter the actual show, there's a short video playing on a loop that gives a little background on Guston's life—specifically his childhood as a Jewish immigrant in California, where the persecution of Jews and Blacks by the KKK caused massive trauma that would stay with him for the rest of his life and feature heavily in his art. On top of that, three days after his tenth birthday, his father hanged himself in the shed outside their house and Guston was the one who discovered the body. As a means of processing his childhood trauma, he taught himself to draw and at 14, he started to paint. LINKSNational Gallery of ArtPhilip Guston NowPhilip Guston - WikipediaThe Guston FoundationStedelijk MuseumCONNECT WITH MEWebsite: https://jefferysaddoris.com  Twitter: @jefferysaddoris  Instagram: @jefferysaddorisSUBSCRIBESubscribe to Jeffery Saddoris: Almost Everything in your favorite podcast app to get more conversations like this. You can also find a written version of Iterations on Substack.MUSICMusic For Workplaces by Jeffery Saddoris

On Friday I went down to the National Gallery of Art and man I came home in a funk. Usually, I come back super charged up and wildly inspired and just ready to get back into the studio, but Friday was not one of those days. I went down to have lunch with my friend Michelle and after lunch we walked through the Philip Guston show that just opened. I had never heard of Guston before and seeing his work was a very dramatic experience. So much so that after Michelle had leave to get back to work, I ended up going through the show again and taking a little more time on some of the pieces that really resonated with me the first time through. Before you enter the actual show, there's a short video playing on a loop that gives a little background on Guston's life—specifically his childhood as a Jewish immigrant in California, where the persecution of Jews and Blacks by the KKK caused massive trauma that would stay with him for the rest of his life and feature heavily in his art. On top of that, three days after his tenth birthday, his father hanged himself in the shed outside their house and Guston was the one who discovered the body. As a means of processing his childhood trauma, he taught himself to draw and at 14, he started to paint. LINKSNational Gallery of ArtPhilip Guston NowPhilip Guston - WikipediaThe Guston FoundationStedelijk MuseumCONNECT WITH MEWebsite: https://jefferysaddoris.com  Twitter: @jefferysaddoris  Instagram: @jefferysaddorisSUBSCRIBESubscribe to Jeffery Saddoris: Almost Everything in your favorite podcast app to get more conversations like this. You can also find a written version of Iterations on Substack.MUSICMusic For Workplaces by Jeffery Saddoris

Philip Guston Now is the biggest international retrospective of the artist's work in a generation. It's debut at the National Gallery of Art in Washington, DC this month comes shortly after the announcement of a major gift of the artist's work to the Metropolitan Museum in New York. Both the retrospective and the donation contain a considerable number of works from the artist's daughter, Musa Mayer. In this podcast, we speak to the National Gallery's Harry Cooper, a curator of the show, about Guston's long and varied career. Cooper also talks about the confusion around Guston's symbolism and difficulty in knowing the meaning or intent of his paintings. After that, we speak to collector Claude Reich about Guston's market and why the artist attracts so many elite collectors yet still remains significantly undervalued compared to his peers.

Over the years in The River Cafe, I've witnessed the spell-binding effect an athlete can have. None of us are able to do what they do, and we all know it. There are many, many images of John McEnroe on the tennis court, but the one I recall is not athletic, but artistic. It's a photograph of John, in fact, almost cradling a painting by Philip Guston, who was a close friend of my father and mother. It was moving to see a strong, powerful athlete I admire carrying something so fragile. Today in New York City, John has walked across Central Park from his home and, in the fading autumn light, we will talk about the food we eat, the art we love, and the friendship the we, the tennis player and a cook, have begun. For more than 30 years The River Cafe in London, has been the home-from-home of artists, architects, designers, actors, collectors, writers, activists, and politicians. Michael Caine, JJ Abrams, Steve McQueen, Victoria and David Beckham, and Lily Allen, are just some of the people who love to call The River Cafe home. On Ruthie's Table 4, Rogers sits down with her customers—who have become friends—to talk about food memories. Table 4 explores how food impacts every aspect of our lives. “Foods is politics, food is cultural, food is how you express love, food is about your heritage, it defines who you and who you want to be,” says Rogers. Each week, Rogers invites her guest to reminisce about family suppers and first dates, what they cook, how they eat when performing, the restaurants they choose, and what food they seek when they need comfort. And to punctuate each episode of Table 4, guests such as Ralph Fiennes, Emily Blunt and Alfonso Cuarón, read their favourite recipe from one of the best-selling River Cafe cookbooks.  Table 4 itself, is situated near The River Cafe's open kitchen, close to the bright pink wood-fired oven and next to the glossy yellow pass, where Ruthie oversees the restaurant. You are invited to take a seat at this intimate table and join the conversation. For more information, recipes, and ingredients, go to https://shoptherivercafe.co.uk/ Web: https://rivercafe.co.uk/Instagram: www.instagram.com/ruthiestable4Facebook: https://en-gb.facebook.com/therivercafelondon/ For more podcasts from iHeartRadio, visit the iheartradio app, apple podcasts, or wherever you listen to your favourite shows.See omnystudio.com/listener for privacy information.

This episode is also available as a blog post: https://thecitylife.org/2022/12/16/the-met-announces-transformative-gift-of-220-works-by-philip-guston-from-the-collection-of-musa-mayer-the-largest-single-collection-of-works-by-the-important-american-artist/ --- Send in a voice message: https://anchor.fm/citylifeorg/message Support this podcast: https://anchor.fm/citylifeorg/support

Gabe Langholtz was born in 1971 and is an American painter, living and working in Austin Texas. His work, although primarily representational, is indebted to American Color Field painting, focusing on color relations, pattern making, form and line, with a heavy emphasis on the two-dimensional surface of the canvas. In the tradition of folk art, Langholtz routinely employs the use of mundane cultural objects and / or activities to establish a contemporary narrative, oftentimes drawing on humor, parody, and pastiche as tools for social commentary.   His work has been featured in New American Paintings and Create! Magazine, and exhibited nationally at Hashimoto Contemporary, Los Angeles, CA, San Francisco, CA, and New York, NY, BravinLee Programs, New York, NY, The Painting Center, New York, NY, and Bowery Gallery, New York, NY. Langholtz is influenced by the work of Mary Fedden, Philip Guston, Agnes Martin and Gary Bunt, while folk art and collage heavily inform his distinctive style.   LINKS:  www.gabelangholtz.com   Instagram:@gabelangholtzart     Sponsors: https://www.itransport4u.com/ https://www.sunlighttax.com/ilyw     I Like Your Work Links: I Like Your Work Black Friday Sale: Use Code BlackFriday30 for 30% off through November 27th! Join The Works Membership waitlist! https://theworksmembership.com/ Submit Your Work Check out our Catalogs! Exhibitions Studio Visit Artist Interviews I Like Your Work Podcast Say “hi” on Instagram

Join us as we consider a pack of poems by Pier Wright, and the complexities of pacing, prosody, and narrative poems with strange and powerful images: memory, tenderness, a “magnificent young moose,” & the magic of being caught in the act. Kathleen “Gratitude” Volk Miller, champion explicator and advocate for gratitude and neuroplasticity, analyzes the “small pointy hats of hope” as lovers entwine. Jason “Gorgeous Vectors” Schneiderman loves sticky collisions. Gabby and Alex and the crew ponder happy endings and surprises that feel like “Objective correlatives,” slushies. Spoiler: Marion “Sunshine” Wrenn makes an appearance from future past, or future perfect, or…something like that. It all makes a great story.  Slushies, what is your “embarrassing at the moment but will be funny later” story?    This episode is brought to you by one of our sponsors, Wilbur Records, who kindly introduced us to the artist  A.M.Mills, whose song “Spaghetti with Loretta” now opens our show.  Pier Wright attended Kalamazoo College where he was influenced by the poetry of Con Hilberry and later by that of Diane Seuss. The first poetry reading he ever attended, and has never forgotten, was Robert Bly reading from Silence In The Snowy Fields. He received a Post-Baccalaureate & Masters degree from The Art Institute of Chicago. As a student he discovered Fairfield Porter, Monet's large Water Lilly paintings at at Musée de l'Orangerie, Terry Winters, Mary Heilmann, Philip Guston's late paintings, Giotto, Noguchi, etc.. Influences include Prayer Wheels, Marie Howe, Chris Martin, Peter Matthiessen, Stephen Dunn, John Cage, Ornette Coleman, Joni Mitchell, Phyllida Barlow, the ceramic work of Toshiko Takaezu, and, most recently, the writings of C.D. Wright. While living as a hermit for several years at the end of a peninsula in N Michigan he began working with Michael Delp. He has been the director of Wright Gallery since 2002 and is recently married. Socials:  Instagram is pierdwright, Facebook is Pier Wright, and website is pierwright.net (paintings)     Driveway Poem   we arrived early at the house by the subshop after the bar closed it was cold and being new at love the only way we thought to keep warm was by undressing completely, with great urgency in the front seat of the Ford then my foot got stuck in the horn just as our friends began arriving we couldn't have left even if we'd wanted to with all the cars having parked behind us so we went to the party anyway me with my shoes untied you unfolding yourself from the car like a magnificent young moose the night sky on one side of you and the stars over there the way you had of entering a room back then as though by just walking the muddy path to the stoop a lotus popped out   Gratitude   what was once impotent in me remains in this fiery house on a small lot, crap lawn every roughed grief the small pointy hats of hope red hibiscus bushes wilting in a row the heat slicked fur of a sleeping hound a house made not of things but the relationship between things such as the desire two bodies have when flying blindly toward each other at incredible speed so, when I ask if I can make you breakfast what I mean is, I am thankful you are finally here   The Hibiscus, Key West   we shared thin, raw, slices of tuna, conch salad, cracked stone crab claws, drank dark rum, tripped over the noisy chickens on our way to your room. drank more rum from plastic cups, then a table broke, the matching chair in pieces, waltzing together across worn linoleum like aging Tantric porn stars. waking to Cuban coffee, I remember eggs, while waiting for a bus to Miami you wrote your number on a napkin. I tried calling several times, a memory persistent as the fly banging on this kitchen door screen.   Mother's Day   what a day in the garden pulling out the knotweed the clover and spurge forgiving you for leaving so soon the way they cut your head open I recall a dream I find you in a dumpster it's hot your bones are missing and you can't get out just now before dark beside the thistle and burdock your cheeks wet I ask if you are hungry I chop potatoes eggs olives how tender the early dandelion greens are tossed with sea salt bitter with lemon drizzled with the good oil I keep for company

Stationary Figure represents Philip Guston's most macabre self portrait. He painted himself plenty, and many of his works explored dark topics. In fact, Guston portrayed the KKK in many of his works. This painting enjoins that morbidity level with self portraiture in a sublime synergy. We see these elements thanks to the specific details Guston includes. But viewers can also learn from what the painter chose to eliminate. Read LadyKflo's collected works. Learn about this painting and many more masterpieces with a click through to LadyKflo's site. https://www.ladykflo.com/category/masterpieces/ Checkout her socials too: https://www.instagram.com/ladykflo/ https://twitter.com/ladykflo

Author and translator Jhumpa Lahiri grew up in what she has called “a linguistic exile.” Born in London to Bengali immigrants who moved to the United States when she was 3, Lahiri experienced a profound sense of alienation as a child and a longing for somewhere that felt like home. Then, during a 1994 trip to Florence, Italy, she fell in love with the Italian language, which she came to see as a gateway to exploring her life and identity further—or to, in other words, get beyond any imposed self. For the last decade, she has written almost exclusively in Italian, and has translated most of her Italian writing into English herself. A visceral energy rises up from her translated sentences, reflective of the strong emotional tenor she feels when engaging with the Italian language. Some warned Lahiri against her decision to embrace Italian, practically considering it career suicide. But she remained unmoved. Despite her many triumphs until that point—including winning the 2000 Pulitzer Prize in fiction for her debut short story collection, Interpreter of Maladies (1999), and having her popular novel The Namesake (2003) turned into a Hollywood film—the pivot brought about a new flood of creativity. Since 2015, Lahiri has produced more books than there have been years, including her most recent, Translating Myself and Others (Princeton University Press), which was published in May. Her first book of Italian short stories, Racconti Italiani, or Roman Stories, will debut in the fall.On this episode, Lahiri speaks with Spencer about translation as a political act, the vocabulary of architecture, and language as a portal to understanding one's place in the world.Special thanks to our Season 5 sponsor, L'ÉCOLE, School of Jewelry Arts.Show notes:Full transcript[12:35] The Lowland[16:33] Translating Myself and Others[22:32] The Clothing of Books[22:32] The Penguin Book of Italian Short Stories[23:11] Whereabouts[25:00] Confidenza[25:12] Ovid's Metamorphoses[33:41] In Other Words[36:14] Racconti Italiani[39:35] The Namesake[43:38] Interpreter of Maladies[47:53] Unaccustomed Earth[59:44] Jhumpa Lahiri on Charlie Rose[01:07:38] Philip Guston

For the tenth episode of "Reading the Art World," host Megan Fox Kelly speaks with Marguerite Steed Hoffman and Gavin Delahunty about the new book, “Amor Mundi: The Collection of Marguerite Steed Hoffman” (Ridinghouse, 2022). The book tells a unique story of carefully considered and inspired collecting, and the motivations behind the collection's creation and its ongoing evolution. “Amor Mundi” presents a selection of over 400 works of modern and contemporary art from the Marguerite Steed Hoffman Collection in Dallas, Texas. The two-volume set features the pieces brought together by Marguerite and her late husband, Robert Hoffman, including works by Robert Rauschenberg, Philip Guston, Jasper Johns, Cy Twombly, Agnes Martin, along with more contemporary artists like Rita Ackermann and Maria Lassnig. Around 30 authors contributed essays for the book, not only art historians but artists writing about other artists and creating unique works for this book."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 President of the Association of Professional Art Advisors who works with collectors, estates and foundations. For more information, visit meganfoxkelly.com.“Amor Mundi: The Collection of Marguerite Steed Hoffman” can be purchased at artbook.com.  Read more about the book through its publisher, Ridinghouse.Music composed by Bob Golden.

Two years ago, four museums were set to present a retrospective of painter Philip Guston. But then, in one of the biggest controversies to hit the art world in the last few years, it all imploded. Now, the show has finally launched at the Museum of Fine Arts, Boston. Special correspondent Jared Bowen of GBH Boston has the story for our arts and culture series, "CANVAS." PBS NewsHour is supported by - https://www.pbs.org/newshour/about/funders

Two years ago, four museums were set to present a retrospective of painter Philip Guston. But then, in one of the biggest controversies to hit the art world in the last few years, it all imploded. Now, the show has finally launched at the Museum of Fine Arts, Boston. Special correspondent Jared Bowen of GBH Boston has the story for our arts and culture series, "CANVAS." PBS NewsHour is supported by - https://www.pbs.org/newshour/about/funders

This week, Philip Guston Now is unveiled at the Museum of Fine Arts in Boston after its controversial postponement in 2020; Ben Luke talks to Kate Nesin and Megan Bernard, two of the four curators on the team assembled by the museum to revise the exhibition, which was postponed by four museums in the wake of George Floyd's murder. We discuss how the show and its interpretation have changed in the last two years. As Queer Britain, the UK's first national LGBTQ+ museum opens its doors, Gareth Harris, chief contributing editor at The Art Newspaper, speaks to Matthew Storey, the curator of the museum's inaugural exhibition, Welcome to Queer Britain. And in this episode's Work of the Week, our acting digital editor, Aimee Dawson, talks to Candida Lodovica de Angelis Corvi, global director at the Colnaghi gallery, about a rediscovered work by the 17th-century artist Caterina Angela Pierozzi, on display at Colnaghi in London.Philip Guston Now, Museum of Fine Arts, Boston, until 11 September; Museum of Fine Arts, Houston, 23 October-15 January 2023; the National Gallery of Art, Washington, DC, 26 February-27 August 2023; and Tate Modern, London, 3 October 2023-25 February 2024. To hear an in-depth discussion about Philip Guston with the curator Robert Storr, author of the book Philip Guston: A Life Spent Painting, listen to the episode of this podcast from 18 September 2020.Queer Britain is open now and Queercircle opens on 9 June.Forbidden Fruit: Female Still Life, Colnaghi, London, until 24 Jun. See acast.com/privacy for privacy and opt-out information.

Iwan Wirth - Swiss gallerist and co-founder of Hauser and Wirth - and Ruthie Rogers met through a mutual admiration and love for the artist Philip Guston. On episode 29 of River Cafe Table 4, he and Ruthie discuss what it's like to have 15 galleries four restaurants, two farms, three hotels, and large family to cook for. For more than 30 years The River Cafe in London, has been the home-from-home of artists, architects, designers, actors, collectors, writers, activists, and politicians. Michael Caine, Glenn Close, JJ Abrams, Steve McQueen, Victoria and David Beckham, and Lily Allen, are just some of the people who love to call The River Cafe home.   On River Cafe Table 4, Rogers sits down with her customers—who have become friends—to talk about food memories. Table 4 explores how food impacts every aspect of our lives. “Foods is politics, food is cultural, food is how you express love, food is about your heritage, it defines who you and who you want to be,” says Rogers. Each week, Rogers invites her guest to reminisce about family suppers and first dates, what they cook, how they eat when performing, the restaurants they choose, and what food they seek when they need comfort. And to punctuate each episode of Table 4, guests such as Ralph Fiennes, Emily Blunt and Alfonso Cuarón, read their favourite recipe from one of the best-selling River Cafe cookbooks.  Table 4 itself, is situated near The River Cafe's open kitchen, close to the bright pink wood-fired oven and next to the glossy yellow pass, where Ruthie oversees the restaurant. You are invited to take a seat at this intimate table and join the conversation.   For more information, recipes, and ingredients, go to https://shoptherivercafe.co.uk/   Web: https://rivercafe.co.uk/ Instagram: www.instagram.com/therivercafelondon/ Facebook: https://en-gb.facebook.com/therivercafelondon/   Learn more about your ad-choices at https://www.iheartpodcastnetwork.com

How do we as practitioners, work with our own self-doubt? After three rounds of the Self-Belief Coaching Academy, what I know is that coaches, therapists, counsellors and mentors experience a lot of Very Understandable self-doubt. We are always learning the craft of coaching while building a business - these are bot complex tasks and most of us feel like we are constantly on our 'growth edge'.And it doesn't matter how experienced you are - self-doubt will show up when we are taking any kind of psychological risk. If there is a chance of disappointment, judgement and failure - self-doubt will try to hold us back to protect us.The best coaches I know  - those who have built a successful-on-their-terms practice, who are in demand, who love their work years and years into it - all share a commitment to their own growth and development.Brave Coaches Week is a framework I've developed - especially for coaches - to get you unstuck from self-doubt.  If self-doubt is holding you back, over one week we will go through a process to help you take meaningful action in your practice.So what's this episode really about? What Brave Coach Week is and how you can join us. Why it matters so much for building a sustainable practice, that we work with our own self-doubt. How healing our self-doubt as practitioners, is deeply connected to our ability to hold a safe and brave space for our clients.Why you should listenWherever your self-doubt shows up in your business or in your client work, it's worthy of your attention. It doesn't mean anything has gone wrong: this is where you get to do the work of your work. This means we can show up to our business, our clients with loving detachment - it's how we are able to have the most effective and positive impact. This is brave and important work. To explore your self-doubt more, join me for Brave Coaches Week!Links: Brave Coaches Week starts Monday 21st March.  We've just opened enrollment for Self-Belief Coaching Academy Spring 2022 class!You can quote me on that!“When you start working, everybody is in your studio…the past, your friends, enemies…and above all, your own ideas all are there. But as you continue…they start leaving, one by one, and you are left completely alone. Then, if you're lucky, even you leave.” -Philip Guston"Our unconscious expectations - our entanglements - with our clients, are invitations to experience being on our growth edge .” - Sas Petherick"One of the most important questions you can ask yourself: is this a protective belief or is this a business problem? Because your answer will ensure that you solve the right problem" - Sas PetherickLike what you hear?Why not help me reach more ears (and give my self-belief a boost) with a 5-star rating?

Returning to our ongoing conversations with Christian artists, Bruce Herman and Bobby Gross discuss the insights of modern art on the nature of God and the human condition. Much of the conversation centers on the work of Philip Guston. Many of Guston's works, including those mentioned by Bruce and Bobby, can be viewed here. Bruce Herman is a painter, speaker, and curator whose art has been shown nationally and internationally in Italy, England, Japan, and Hong Kong. His work is in many public collections, including the Vatican Museums in Rome, Cincinnati Museum of Fine Arts, and the Hammer Museum in L.A. His art and writings have been published in print and online journals. He holds the Lothlórien Distinguished Chair in Fine Arts at Gordon College. Bobby Gross is Vice President for Graduate and Faculty ministries at InterVarsity Christian Fellowship. Bobby is also the author of Living in the Christian Year: Time to Inhabit the Story of God (IVP, 2009). Bruce was part of the book launch events at Upper House for God in the Modern Wing: Viewing Art with Eyes of Faith, Cameron J. Anderson and G. Walter Hansen, eds. (Downers Grove, IL: IVP Academic, 2021). For video of Bruce's presentation at Upper House, see "Welcoming the Mysterious Stranger." As always we invite you to leave us a rating on your favorite podcast app or send us a comment at podcast@slbrownfoundation.org. Credits: music by Micah Behr, audio engineering by Andy Johnson, graphic design by Madeline Ramsey.

Justin Bateman has made all kinds of different artworks over the years - sculpture, drawing, painting, and most recently, land art that's made of pebbles. You may have seen photos of his spectacular version of the Mona Lisa - his version is called Stona Lisa - or one of his other incredible creations. Last year, just prior to the pandemic beginning, he went to Thailand to pass the impending lockdown there. Time has passed, it's 18 months later, and he's still finding inspiration in Chiang Mai. During this time he's found new ways to express his creativity by making versions of famous paintings as well as original portraits using only pebbles and natural materials that he finds outdoors.He not only creates his own artwork, but he's also shared his creative passion as a Fine Arts professor at the University of Portsmouth and teacher of Art and Design at Fareham College in the UK. On this episode, host Angela de Burger chats with Justin about his motivation to create, what drew him to making impermanent land art, the importance of getting into a creative flow, whether he tries to convey specific messages with his artwork, and if he feels an extra connection to his works due to the personal, hands-on way they're made. Say hi to Justin:  Instagram  Facebook  Twitter  WebsitePeople who inspire Justin:René Magritte, Alberto Giacometti, Philip Guston, Robert Smithson, Andy Goldsworthy----Creative Pulse Podcast socials:  Instagram:  creativepulsepodcast  Twitter  @CreativePulseTWMusic credit: https://www.purple-planet.com

Hello SOTAns! Welcome back for another exciting week of critical art discussion. We're talking about the postponed Philip Guston exhibition–what the situation is and its various reactions. We explain the positives and negatives, both the pro- and anti-postponement perspectives. Join us and let us know what you think of this topical subject! Reference: National Gallery of Art Director Discusses the Decision to Delay the Philip Guston Exhibition - Hyperallergic --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/sota/message Support this podcast: https://anchor.fm/sota/support

We keep on the “art” promise of this podcast and discuss the recent announcement that the massive Philip Guston retrospective has been pushed to 2024 citing the current political climate and fears the audience just won’t understand the context of the work. The press release is asinine and ahistorical, isn’t art suppose to hep us … Continue reading "Episode 95 – Resurgent Cultural Conservatism?"