Podcasts about The Phillips Collection

Ep. 248 Adrienne L. Childs is an independent scholar, art historian, and curator. She is Senior Consulting Curator at The Phillips Collection. Her current book is an exploration of Black figures in European decorative arts entitled Ornamental Blackness: The Black Figure in European Decorative Arts, published by Yale University Press. She is currently co-curator of Vivian Browne: My Kind of Protest for The Phillips Collection. She recently co-curated The Colour of Anxiety: Race, Sexuality and Disorder in Victorian Sculpture at The Henry Moore Institute in Leeds, England. She was the guest curator of Riffs and Relations: African American Artists and the European Modernist Tradition at The Phillips Collection in Washington DC, 2020. In April 2022 The High Museum of Art awarded Childs the 2022 Driskell Prize in recognition of her contribution to African American art and art history. Childs co-curated The Black Figure in the European Imaginary at The Cornell Fine Arts Museum at Rollins College in 2017. She is co-editor of the volume essays Blacks and Blackness in European Art of the Long Nineteenth Century, Routledge. She also contributed an essay on art and activism to Volume V, part II of The Image of the Black in Western Art edited by Henry Louis Gates, Jr. and David Bindman. As former curator at the David C. Driskell Center at the University of Maryland she curated many exhibitions including Her Story: Lithographs by Margo Humphrey; Arabesque: The Art of Stephanie Pogue; Creative Spirit: The Art of David C. Driskell and Tradition Redefined: The Larry and Brenda Thompson Collection of African American Art. Childs holds a BA from Georgetown University, an MBA from Howard University and a PhD in the History of Art from the University of Maryland. Photocredit: Rodrigo Salido Moulinié  Website https://www.adriennelchilds.com/ Phillips Collection  Vivian Browne: My Kind of Protest |The Phillips Collection https://www.phillipscollection.org/sites/default/files/2025-04/phillips-collection-presents-vivian-browne-my-kind-of-protest-press-release.pdf  https://www.phillipscollection.org/press/phillips-collection-presents-multiplicity-blackness-contemporary-american-collage https://www.phillipscollection.org/event/2020-02-28-riffs-and-relations-african-american-artists-and-european-modernist-tradition Ornamental Blackness https://www.ornamentalblackness.com/ The Driskell Center https://driskellcenter.umd.edu/news/former-driskell-center-curator-adrienne-childs-phd-wins-2022-driskell-prize High Museum https://high.org/driskell-prize/adrienne-l-childs/ The Clark https://www.clarkart.edu/fellow/detail/adrienne-childs-(1) Courtauld https://courtauld.ac.uk/whats-on/reconsidering-riffs-and-relations/ Columbia University https://abolitionism.universityseminars.columbia.edu/people/adrienne-l-childs The Wadsworth https://www.thewadsworth.org/event/public-lecture-pearl-drops-and-blackamoors-the-black-body-and-pearlescent-adornment-in-european-art-with-adrienne-l-childs/ ARTnews https://www.artnews.com/art-news/news/adrienne-l-childs-david-c-driskell-prize-high-museum-1234620561/ Culture Type https://www.culturetype.com/tag/adrienne-l-childs/Enfilade  https://enfilade18thc.com/2024/09/20/lecture-adrienne-childs-on-pearl-drops-and-blackamoors/ MontclairArt Museum https://www.montclairartmuseum.org/press/press-room/montclair-art-museum-presents-landmark-exhibition-century-100-years-black-art-mam Portland Museum https://www.portlandmuseum.org/eventscalendar/2021-bernard-osher-lecture Journal Panorama https://journalpanorama.org/article/riffs-and-relations/ AHNCA https://ahnca.org/event/the-colour-of-anxiety-race-sexuality-and-disorder-in-victorian-sculpture/

Dr. Jonathan P. Binstock, Vradenburg Director and CEO Jonathan joined The Phillips Collection in March 2023. Dr. Binstock comes to the Phillips following eight years as the Mary W. and Donald R. Clark Director of the Memorial Art Gallery (MAG) of the University of Rochester in New York. During his tenure in Rochester, Jonathan led an expansion and diversification of the museum's permanent collection, special exhibition program, public engagement and outreach efforts, and audience, as well as a significant increase in the museum's annual budget. Jonathan has also held positions at the Art Advisory & Finance group of Citi Private Bank, Corcoran Gallery of Art in DC, and Pennsylvania Academy of the Fine Arts in Philadelphia.

Ep.242 Shaunté Gates (b. 1979) lives and works in Washington, D.C. He studied at Duke Ellington School of the Arts and Bowie State University. Early in his career, Gates trained in oil painting and portraiture. His past experience as a tattoo artist and television motion graphics editor caused a profound shift in his artistic practice. His recent work employs a multidisciplinary approach, layering photography, painting, and found text to create dreamlike landscapes that explore labyrinthine social constructs and the physical sites that house and perpetuate them. Echoing the aesthetics of paper theater, his compositions unfold like intricate stage sets, where layered imagery and shifting perspectives evoke a sense of constructed reality and theatrical illusion. Gates was a participating artist in the Smithsonian Institution's “Men of Change” four-year traveling exhibition spanning ten museums, including the International African American Museum in Charleston, SC, California African American Museum, Cincinnati Underground Railroad Museum and Washington State History Museum (2019-23). He has been awarded the Louis Comfort Tiffany Biennial Grant (2022) and residencies with The Nicholson Project (2023), The Kennedy Center (2019) and Washington Project for the Arts (2018; 2017). Gates has work in esteemed private collections and institutions such as the Studio Museum in Harlem and Munson, Utica, NY. He has completed many public art commissions including Transcending, a painting commemorating the 140th anniversary of Howard University School of Law.  Photo credit: Biko Gates Artist https://www.shauntegates.com/ Virginia Tech https://artscenter.vt.edu/exhibitions/shaunte-gates.html Sperone Westwater  https://www.speronewestwater.com/artists/shaunte-gates#tab:slideshow Marc Straus https://marcstraus.com/artists/98-shaunte-gates/ FAD Magazine https://fadmagazine.com/2025/03/03/marc-straus-gallery-now-represent-shaunte-gates/ Zidoun-Bossuyt https://zidoun-bossuyt.com/artists/shaunte-gates/ | https://zidoun-bossuyt.com/exhibitions/shaunte-gates-poppies-parachutes-iii-we-should-be-flying-by-now/ Smithsonian https://menofchange.si.edu/exhibit/artist-pairings/shaunte-gates/ The Roanoker  https://theroanoker.com/events/shaunt%C3%A9-gates-2025/ Phillips Collection https://www.phillipscollection.org/event/2024-08-25-collaging-shaunte-gates Brooklyn Rail https://brooklynrail.org/2023/10/artseen/Shaunt-Gates-In-Light-of-the-Hunt/ Culture Type https://www.culturetype.com/tag/shaunte-gates/ Washington Informer Bridge https://wibridgedc.com/the-transformative-power-of-found-objects-with-shaunte-gates/ RUSH Philanthropic https://rushphilanthropic.org/artist/shaunte-gates/

Diane Burko's work in painting, photography, and time-based media considers the marks that human conversations make on the landscape. A Professor Emerita of the Community College of Philadelphia with additional teaching experience at Princeton University, Burko has received multiple grants from the NEA, the Pennsylvania Arts Council, the Leeway Foundation and the Independence Foundation. She has received a Lifetime Achievement Award from the Women's Caucus for Art. After focusing for several decades on monumental geological formations and waterways through landscape painting, Burko has shifted in the past 20 years to analyze the impact of industrial and colonial activity on those same landscapes. Burko's practice seeks to visually emulsify interconnected subjects– extraction, deforestation, extinction, environmental justice, indigenous genocide, ecological degradation, climate collapse– so viewers might feel their connection viscerally through the beauty of her work. While her work deals with impending climate catastrophe, rather than lingering in dystopia, it celebrates the sublimity of the landscape by honoring the intricate geological and political webs that shape the identity of a place. Burko has exhibited extensively nationally and internationally, including shows at London's Royal Academy of Art, Minneapolis Art Institute, National Academy of Sciences, Phillips Collection, RISD Museum Tang Museum, Wesleyan University Center for the Arts, and the Círculo de Bellas Artes in Madrid. She has been awarded residencies in Giverny, Bellagio, the Arctic Circle, and the Amazon Rainforest. In 2021, her solo exhibition Seeing Climate Change at the American University Museum was cited in the New York Times as one of the best shows of 2021. Her most recent solo show, Diane Burko: Bearing Witness, open January 31 to March 8, 2025 at Cristin Tierney Gallery was her first solo exhibition in New York in over 40 years. Throughout her practice, Burko especially cherishes her collaborations with researchers in the sciences. She learns the most from “bearing witness” to the land. Diane Burko Summer Heat 1 & 2 2020 Mixed Media on Canvas, 84 x 162 in. overall. Courtesy of the artist and Cristin Tierney Gallery. Photo by Adam Reich. Diane Burko Amazon 34 2024 Mixed Media on Canvas, 20 x 20 in. Courtesy of the artist and Cristin Tierney Gallery. Photo by Adam Reich. Diane Burko Unprecedented Study 1 2021 Mixed Media on Canvas, 20 x 20 in. Courtesy of the artist and Cristin Tierney Gallery. Photo by Adam Reich.

So much better than Instagram! Pierre-Auguste Renoir invited 14 friends to lunch one summer--several lunches actually--and ended up creating this spectacular work of art.  In today's episode we find out about this happy group and that beautiful riverside restaurant they're clearly enjoying. And I'll tell you a pretty funny story about how Duncan Phillips was able to get this stunner for his new modern art museum, the Phillips Collection in Washington DC.  SHOW NOTES  “A Long Look” themes are "Easy" by Ron Gelinas https://youtu.be/2QGe6skVzSs and “At the Cafe with You” by Onion All Stars https://pixabay.com/users/onion_all_stars-33331904/ Episode music “Parisian” by Kevin MacLeod https://incompetech.com/music/royalty-free/music.html Licensed under Creative Commons: By Attribution 4.0 License https://creativecommons.org/licenses/by/4.0 From Blue Dot Sessions: “Via Verre” https://app.sessions.blue/browse/track/306837 “Symphony 40 In G Minor” https://app.sessions.blue/browse/track/306840 “Etude 9 Stefan” https://app.sessions.blue/browse/track/306841 Artwork information  https://www.phillipscollection.org/collection/luncheon-boating-party https://www.phillipscollection.org/event/2017-10-06-renoir-and-friends-luncheon-boating-party “The Eye of Duncan Phillips: A collection in the making” by Duncan Philips and David W. Scott. 1999. Edited by Erika D. Passantino. Washington, DC: Phillips Collection in association with Yale University New Haven. Sitters identified https://en.wikipedia.org/wiki/Luncheon_of_the_Boating_Party Holston papers William H. Holston papers, 1915-1964. Archives of American Art, Smithsonian Institution. Reel D-169 #1029-31 “Luncheon of the Boating Party” by Susan Vreeland https://bookshop.org/p/books/luncheon-of-the-boating-party-susan-vreeland/11716075?ean=9780143113522&next=t Maison Fournaise https://www.maisonfournaise.com  https://en.wikipedia.org/wiki/Maison_Fournaise Caillebotte episode https://alonglookpodcast.com/08-skiffs-caillebotte Transcript available at https://alonglookpodcast.com/boatingparty/  

Ep.221 Shinique Smith. Known for her monumental fabric sculptures and abstract paintings of calligraphy and collage, Smith's personal histories and belongings intertwine with thoughts of the vast nature of ‘things' that we consume, cherish, gift, and discard and how these objects resonate on intimate and social scales. Over the last twenty years, Smith has gleaned visual poetry from textiles and explored concepts of ritual using breath, bunding and mark-making as tools toward abstraction. Her layered works range from palm-sized bundled microcosms to monolithic bales to massive chaotic paintings that contain vibrant and carefully collected mementos from her life. Smith's practice operates at the convergence of consumption and spiritual sanctuary, balancing forces and revealing connections across space and time, race, gender, and place to suggest the possibility of new worlds. Born in Baltimore, MD, currently residing in Los Angeles, California, Smith has received awards and prizes from Joan Mitchell, the Tiffany Foundation, Anonymous Was a Woman and the American Academy of Arts and Letters among others. Her work has gained attention through her participation in celebrated biennials and group exhibitions including the 13th Bienal de Cuenca and 8th Busan Biennale; Frequency at the Studio Museum in Harlem, 30 Americans organized by the Rubell Family Collection, UnMonumental at the New Museum and Hauser + Wirth LA's Revolution in the Making. Smith's work has also been exhibited and collected by other prestigious institutions such as the Baltimore Museum of Art; Brooklyn Museum of Art; California African American Museum, Denver Art Museum, the Frist, Indianapolis Museum of Art at Newfields, Los Angeles County Museum of Art, Minneapolis Art Institute, MOMA PS1, Museum of Fine Arts, Boston, Musée d'art contemporain de Montréal, Nerman Museum of Contemporary Art, SCAD, the Ringling Museum of Art, the Whitney and the Guggenheim. Photo credit: Courtesy of the artist Artist https://www.shiniquesmith.com/ moniquemeloche https://www.moniquemeloche.com/artists/207-shinique-smith/biography/ https://www.moniquemeloche.com/exhibitions/218-collage-culture/press_release_text/ The Phillips Collection https://www.phillipscollection.org/event/2024-07-06-multiplicity The Ringling Museum https://www.ringling.org/event/shinique-smith-parade/ SRQ https://www.srqmagazine.com/srq-daily/2023-12-01/23073_The-Ringling-Presents-Shinique-Smith-Parade Hyperallergic https://hyperallergic.com/552240/meet-las-art-community-sharing-inspiration-with-people-of-color-has-always-been-a-priority-for-shinique-smith/ Centure for Maine Contemporary Art https://cmcanow.org/event/shinique-smith-continuous-poem/ Newfields https://discovernewfields.org/Shinique-Smith-Torque Guggenheim https://www.guggenheim.org/exhibition/by-way-of-material-and-motion-in-the-guggenheim-collection Kemper Museum of Contemporary Art https://www.kemperart.org/program/artist-talk-shinique-smith Products | For Freedoms https://checkout.forfreedoms.com/products/by-the-light-2024 ICASF https://www.icasf.org/exhibitions/16-the-poetics-of-dimensions See Great Art https://www.seegreatart.art/shinique-smith-artworks-displayed-with-european-masterpieces-at-ringling-museum/ Visit Indy https://www.visitindy.com/event/shinique-smith-torque/158358/ Guild Hall https://www.guildhall.org/events/ring-the-alarm-a-conversation-with-shinique-smith-renee-cox/ AWARE https://awarewomenartists.com/en/artiste/shinique-smith/ Flora Animalia https://floraanimalia.com/blogs/news/shinique-smith?srsltid=AfmBOorqjJTBqroKRSW96gcOjCXK374pQUKNseNnhQ1A0rZNtRrOdoaj

Send us a textWelcome back to ARTMATTERS: The Podcast for Artists. My guest back again today is Helen Frederick, an artist whose career has spanned decades of innovation in printmaking, paper-making, and interdisciplinary collaboration. Helen earned both her BFA and MFA from the Rhode Island School of Design, and went on to found Pyramid Atlantic, a hub for contemporary printmaking, hand paper-making, and book arts. Her work is held in over 45 international collections and has been exhibited in prestigious institutions like the Phillips Collection, MoMA Kyoto, the Whitney Museum, and many more. She has also served on numerous arts boards and panels and is a Professor Emeritus at George Mason University.In today's episode, Helen and I discuss working from leftovers, strengthening your position for creation, will power, perfection and survival. Helen also explains how she finds answers in chaos, why she believes artists are warriors and together we explore a collaborative series of works she is currently in the middle of.This conversation is continued from last week's episode. Enjoy!You can now support this podcast by clicking HERE where you can donate using PATREON or PayPal!If you're enjoying the podcast so far, please rate, review, subscribe and SHARE ON INSTAGRAM!  If you have an any questions you want answered, write in to artmatterspodcast@gmail.comhost: Isaac Mannwww.isaacmann.cominsta: @isaac.mannguest: Helen Frederickreadingroadstudio.comhelenfrederick.cominsta: @helenfrederickThank you as always to ARRN, the Detroit-based artist and instrumentalist, for the music. 

Send us a textWelcome back to ARTMATTERS: The Podcast for Artists. My guest today is Helen Frederick, an artist whose career has spanned decades of innovation in printmaking, paper-making, and interdisciplinary collaboration. Helen earned both her BFA and MFA from the Rhode Island School of Design, and went on to found Pyramid Atlantic, a hub for contemporary printmaking, hand paper-making, and book arts. Her work is held in over 45 international collections and has been exhibited in prestigious institutions like the Phillips Collection, MoMA Kyoto, the Whitney Museum, and many more. She has also served on numerous arts boards and panels and is a Professor Emeritus at George Mason University.In today's episode, We dive into Helen's experience learning papermaking in India, and how the physicality of paper and pulp play a huge role in her art to this day. We also discuss controlling production, manifesting your own materials,  collaboration, overcoming limitations and daily check-ins with friends. Plus, she takes us through her pulp painting process! I had a blast talking with Helen. Her passion and perspective make this episode one you dont want to miss. This conversation will be continued on next week's episode, Let's jump into it!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: Helen Frederick readingroadstudio.com helenfrederick.com insta: @helenfrederickThank you as always to ARRN, the Detroit-based artist and instrumentalist, for the music. 

Episode No. 670 features artist Arlene Shechet.  Storm King Art Center in New Windsor, NY is showing "Arlene Shechet: Girl Group" through November 10. The exhibition joins Shechet's recent work exhibited in a typical gallery setting to six new monumental sculptures Shechet  created for installation at Storm King. The exhibition was co-curated by Nora Lawrence and Eric Booker, with Adela Goldsmith.  On September 27 and 28, a group of six women will gather to dance at dusk in the midst of Shechet's outdoor sculptures. The performances are choreographed by Annie-B Parson in collaboration with the dancers: Cecily Campbell, Elizabeth DeMent, Natalie Green, Kashia Kancey, Brooke Ashley Rucker, and Jin Ju Song-Begin. Costumes for the performances were designed by Shechet. Tickets are available through Storm King's events page.  Shechet's work is also on view at many art museums around the United States, including at deCordova Sculpture Park and Museum, Lincoln, Mass., in "Disrupt the View: Arlene Shechet at the Harvard Art Museums," and more. Shechet is one of the nation's greatest living sculptors. Among the institutions that have presented solo exhibitions of her work are The Phillips Collection, Washington, DC; The Frick Collection, New York; and the Joslyn Art Museum, Omaha. In 2015 the Institute of Contemporary Art, Boston presented a mid-career survey. (On the occasion of that exhibition, Shechet was a guest on Episode No. 194 of The MAN Podcast.)  Instagram: Arlene Shechet, Tyler Green.

Bennie F. Johnson is the Chief Executive Officer of the American Marketing Association (AMA). AMA is the largest community-based marketing association in the world. Their community of local chapters spans more than 70 cities and 320 college campuses throughout North America. AMA is home to award-winning content, PCM® professional certification, five premiere academic journals, and industry-leading live and virtual training events. Bennie also serves on the Board of Overseers for Columbia University's School of Professional Studies, as a Trustee of the Smithsonian Archives of American Art, and he was recently named to the Board of the Phillips Collection in Washington, DC. Bennie's own podcast – “Marketing / And”: https://www.ama.org/marketing-and-podcast-with-bennie-f-johnson/ Don't forget to follow or subscribe to The Heart of Giving Podcast and leave a comment on iTunes. Follow us on Instagram @bbbwisegive and on X @wisegiving.

Episode No. 662 features artists Sarah Sze and Zoë Charlton. The Nasher Sculpture Center in Dallas is showing "Sarah Sze," a presentation of new works that explore how memory marks time and space, and how art negotiates image and object. The exxhibition is on view through August 18. Sze represented the United States at the 2013 Venice Biennale. Other -ennials at which her work has been featured include the Whitney (2000), Carnegie (1999), Berlin (1998), Guangzhou (2015), Liverpool (2008), and Lyon (2009). She has made public artworks for sites such as LaGuardia Airport in New York, and Storm King Art Center. Charlton is included in "A Movement in Every Direction: Legacies of the Great Migration" at the Berkeley Art Museum and Pacific Film Archive, University of California, Berkeley. The exhibition presents impressions of the Great Migration as considered by a dozen contemporary artists. The exhibition, which was co-curated by Ryan N. Dennis and Jessica Bell Brown, was organized for Berkeley by Anthony Graham with Matthew Villar Miranda. It's on view through September 22. Charlton's work often addresses culturally loaded landscapes and histories. It has been included in exhibitions at museums such as the Studio Museum in Harlem and Crystal Bridges Museum of American Art, Bentonville, Ark. Her work is in the collection of museums such as The Phillips Collection, Washington, DC, the Birmingham (Ala.) Museum of Art, and the Baltimore Museum of Art. Instagram: Zoe Charlton, Tyler Green.

The last painting made by Gustav Klimt, left on his easel when he died in 1918 of illnesses relating to the Spanish flu epidemic of that year, has sold at auction in Vienna for €35m including fees. But much remains unclear about the picture, including its sitter, its commissioner and what happened to it in the Second World War. Ben Luke talks to Catherine Hickley, The Art Newspaper's museums editor, about whether this murky provenance contributed to its relatively low price for a Klimt in the saleroom. A retrospective of the pioneering German artist Rebecca Horn opens this week at the Haus der Kunst in Munich, and we talk to Jana Baumann, its co-curator, about the show. And this episode's Work of the Week is Mont Sainte Victoire, one of dozens of paintings made by Paul Cézanne of the towering limestone peak near Aix-en-Provence in France. Painted in 1886-87, it is in the collection of the Phillips Collection in Washington, D.C. Elizabeth Steele, the Phillips's Head of Conservation, describes how she revealed the painting from a century of discoloured varnish and dust as it goes on view in the exhibition Up Close with Paul Cezanne, which is at the Phillips until 14 July.Rebecca Horn, Haus der Kunst, Munich, Germany, 26 April-13 OctoberUp Close with Paul Cezanne, Phillips Collection, Washington D.C., until 14 July.Subscription offer: subscribe to The Art Newspaper for as little as 50p per week for digital and £1 per week for print and digital, or the equivalent in your currency. Visit theartnewspaper.com to find out more. Hosted on Acast. See acast.com/privacy for more information.

At the end of the show a question from Andrew Anderson Recommendations Stuart: ‘Poor Things' From filmmaker Yorgos Lanthimos and producer Emma Stone comes the incredible tale and fantastical evolution of Bella Baxter (Stone), a young woman brought back to life by the brilliant and unorthodox scientist Dr. Godwin Baxter (Willem Dafoe). Under Baxter's protection, Bella is eager to learn. Hungry for the worldliness she is lacking, Bella runs off with Duncan Wedderburn (Mark Ruffalo), a slick and debauched lawyer, on a whirlwind adventure across the continents. Free from the prejudices of her times, Bella grows steadfast in her purpose to stand for equality and liberation. https://www.searchlightpictures.com/poor-things/ Eamonn: Napoleon (Film) Napoleon is a spectacle-filled action epic that details the checkered rise and fall of the iconic French Emperor Napoleon Bonaparte, played by Oscar®-winner Joaquin Phoenix. Against a stunning backdrop of large-scale filmmaking orchestrated by legendary director Ridley Scott, the film captures Bonaparte's relentless journey to power through the prism of his addictive, volatile relationship with his one true love, Josephine, showcasing his visionary military and political tactics against some of the most dynamic practical battle sequences ever filmed. https://www.napoleon.movie/home/ My Rembrandt (Doc) Aristocrats cherish, experts rule, art dealers hunt, collectors crave and museums battle for Rembrandt. 350 years after the grand master of intimacy's death, entire nations are more than ever obsessed with his paintings. My Rembrandt is an epic art thriller into the super exclusive world of the Old Masters collectors. https://tv.apple.com/gb/movie/my-rembrandt/umc.cmc.6fjqvjy45ins0rtvlbas04yst David: The Legacy Of Mark Rothko (Paperback) At the time of Mark Rothko's apparent suicide in 1970, the deeply troubled, pioneering artist of Abstract Expressionism was at the height of fame and financial success yet within months of the funeral, his three trusted friends, acting as executors, relinquished his entire legacy of 800 paintings to the powerful, international Marlborough Galleries (run by Frank Lloyd) for a fraction of their real worth on terms suspiciously unfavourable to the estate. The suit that Rothko's daughter brought against the executors and Marlborough rocked the art world with its shocking revelations of corruption in the international art trade: from the deceptions practiced on Rothko when he was alive to the scandals after his death involving conspiracies and cover-ups, double dealings and betrayals, missing paintings and manipulated markets, phony sales and laundered profits, forgery and fraud. https://www.waterstones.com/book/the-legacy-of-mark-rothko/lee-seldes/9780306807251 MARK ROTHKO Exhibition - Fondation Louis Vuitton The Fondation Louis Vuitton presents the first retrospective in France dedicated to Mark Rothko (1903-1970) since the exhibition held at the Musée d'Art moderne de la Ville de Paris in 1999. The retrospective brings together some 115 works from the largest international institutional collections, including the National Gallery of Art in Washington D.C., the Tate in London and the Phillips Collection in Washington D.C., and from international private collections, including the artist's family collection. https://www.fondationlouisvuitton.fr/en/events/mark-rothko

The Colorado Supreme Court made international headlines this week when it ruled that former president Donald Trump will not be allowed on our state's 2024 primary ballots. With an appeal to SCOTUS imminent, we're talking about why this happened here in Denver, the fragile state of our democracy, and all the ripple effects across Colorado. Producer Paul Karolyi and host Bree Davies are joined by our politics and green chile correspondent, Justine Sandoval, to break down the local GOP and Democrat responses to the Trump ruling and round up the rest of the week's news, including a pressing question posed by a new report from our friends at Westword: Does “Blucifer” belong to the estate of the artist or the taxpayers? Finally, our predictions for Denver in 2024.  Bree mentioned another piece by Luis Jiménez Jr., “End of the Trail (with Electric Sunset),” which was part of the DAM's Desert Rider show earlier this year, and the original by James Earl Fraser. What do you think about Blucifer's ubiquitous likeness? Has the demon horse transcended his creator's vision? Or should the Jiménez estate control his likeness? Text or leave us a voicemail with your name and neighborhood, and you might hear it on the show: 720-500-5418‬ For even more news from around the city, subscribe to our morning newsletter Hey Denver at denver.citycast.fm. Follow us on Instagram: @citycastdenver Chat with other listeners on reddit: r/CityCastDenver Support City Cast Denver by becoming a member: membership.citycast.fm/Denver Learn more about the sponsors of this episode: “All Stars: American Artists from The Phillips Collection” at the Denver Art Museum Looking to advertise on City Cast Denver? Check out our options for podcast and newsletter ads at citycast.fm/advertise Learn more about your ad choices. Visit megaphone.fm/adchoices

Twenty-one years after Northsider Jose Ramirez ventured into Centennial to open the first Los Dos Potrillos in 2002, his sons Luis and Daniel have expanded the business across the ‘burbs, with a dream of becoming the “Shake Shack of Mexican food.” Host Bree Davies sat down with the Ramirez brothers earlier this year before they opened their new fast-casual spot in Northglenn to talk about the state of Den-Mex in 2023.  This episode originally aired on January 25, 2023. For even more news from around the city, subscribe to our morning newsletter Hey Denver at denver.citycast.fm. Follow us on Instagram: @citycastdenver Chat with other listeners on reddit: r/CityCastDenver What do you think? Text or leave us a voicemail with your name and neighborhood, and you might hear it on the show: 720-500-5418‬ Learn more about the sponsors of this episode: “All Stars: American Artists from The Phillips Collection” at the Denver Art Museum Savio House Looking to advertise on City Cast Denver? Check out our options for podcast and newsletter ads at citycast.fm/advertise Learn more about your ad choices. Visit megaphone.fm/adchoices

After Rep. Lauren Boebert's “Beetlejuice” moment back in September, Liberals across the country gleefully jeered and cheered as she tried to spin the media narrative back in her favor. But now that the dust has settled, Boebert is back on the offensive. So what are her electoral chances in the Congressional District 3 Republican primary in June? And if she wins, could she beat the likely Democratic candidate, Adam Frisch, in November? Join host Bree Davies, producer Paul Karolyi and returning guests Ian Silverii and Jason Bane — co-hosts of the liberal Colorado politics podcast Get More Smarter — to look back on Boebert's big year, including some very fresh dirt from the UK tabloids, and predict her electoral future.  Bree quoted two editorials from the Denver Gazette; one about Boebert and one about Trump. She also mentioned yesterday's news about the Colorado Supreme Court barring former President Donald Trump from the CO primary next year over his role on January 6. For even more news from around the city, subscribe to our morning newsletter Hey Denver at denver.citycast.fm. Follow us on Instagram: @citycastdenver Chat with other listeners on reddit: r/CityCastDenver What do you think? Text or leave us a voicemail with your name and neighborhood, and you might hear it on the show: 720-500-5418‬ Learn more about the sponsors of this episode: “All Stars: American Artists from The Phillips Collection” at the Denver Art Museum Looking to advertise on City Cast Denver? Check out our options for podcast and newsletter ads at citycast.fm/advertise Learn more about your ad choices. Visit megaphone.fm/adchoices

Mayor Mike Johnston has less than two weeks left to bring almost 500 people off the street into housing if he wants to hit his self-imposed target. At least, that's what his housing dashboard says now. Westword editor Patty Calhoun joins host Bree Davies and producer Paul Karolyi to talk about “deception” and “gaslighting” allegations from Kyle Clark of 9News and the growing criticism facing the mayor. Plus, why is Denver DA taking a look at the burgeoning gray market for psilocybin now?  Did you love Jarrod Walker's “Christmas in Colorado” and want to hear more locally made holiday tunes? Here's the list that Patty mentioned. Patty also talked about Westword's reporting on psilocybin entrepreneur Darren Lyman. For even more news from around the city, subscribe to our morning newsletter Hey Denver at denver.citycast.fm. Follow us on Instagram: @citycastdenver Chat with other listeners on reddit: r/CityCastDenver What do you think about Mayor Johnston and House1000? We want to hear your concerns, questions, celebrations, or whatever else you have to share! Text or leave us a voicemail with your name and neighborhood, and you might hear it on the show: 720-500-5418‬ Learn more about the sponsors of this episode: “All Stars: American Artists from The Phillips Collection” at the Denver Art Museum Looking to advertise on City Cast Denver? Check out our options for podcast and newsletter ads at citycast.fm/advertise Learn more about your ad choices. Visit megaphone.fm/adchoices

Denver is on track to see more people evicted from their homes this year than any time since 2008. But with the Mile High minimum wage steadily rising and a fairly stable economy, what's going on? Host Bree Davies sits down with Melissa Mejia, policy director for the Colorado Economic Defense Project, to talk about the eviction crisis, how more than $60 million in new funding from the city and state is going to help, and why stopping evictions is about more than just keeping people off the streets.  Bree mentioned the Denver Post's coverage of evictions in the city this year.  For even more news from around the city, subscribe to our morning newsletter Hey Denver at denver.citycast.fm. Follow us on Instagram: @citycastdenver Chat with other listeners on reddit: r/CityCastDenver What do you think? Text or leave us a voicemail with your name and neighborhood, and you might hear it on the show: 720-500-5418‬ Learn more about the sponsors of this episode: “All Stars: American Artists from The Phillips Collection” at the Denver Art Museum Looking to advertise on City Cast Denver? Check out our options for podcast and newsletter ads at citycast.fm/advertise Learn more about your ad choices. Visit megaphone.fm/adchoices

Luigi CavadiniLa scomparsa di Léonard Gianaddawww.gianadda.chLa morte di Léonard Gianadda domenica 3 dicembre lascia un grande vuoto nel mondo dell'arte in Svizzera ma anche il Italia, da dove la sua Fondation Pierre Gianadda ha richiamato negli anni a Martigny, nel Canton Vallese, migliaia di appassionati d'arte per ammirare grandi e qualificate rassegne dedicate ai maestri dell'arte del ‘900.Léonard Gianadda, nato a Martigny nel 1935, non ha mai dimenticato le sue origini italiane e ricordava spesso il nonno Battista, giunto in Svizzera a piedi dal Piemonte all'età di tredici anni per trovare lavoro come muratore. Dopo una formazione classica al Collège de l'Abbaye de Saint-Maurice, Léonard studia ingegneria all'Ecole Polytechnique dell'Università di Losanna.Per vari anni (1952-1960) opera come fotoreporter viaggiando negli Stati Uniti, in Egitto, Tunisia, Marocco, Russia, Grecia e Italia, interessato in particolare all'arte e all'archeologia. Dopo aver conseguito la laurea in ingegneria nel 1960, Léonard apre uno studio di ingegneria a Martigny con il suo compagno di corso Umberto Guglielmetti. Nello stesso anno, insieme al fratello Pierre, compie un viaggio di quattro mesi intorno al Mediterraneo a bordo di un Maggiolino VW. Nel 1976 viene scoperto a Martigny un tempio gallo-romano nel luogo in cui si intendeva costruire un edificio e il fratello Pierre muore in un incidente aereo.Questa combinazione di circostanze spinge Léonard Gianadda a creare una fondazione culturale per perpetuare la memoria del fratello e a costruire intorno ai resti del tempio un edificio da destinare a fini espositivi d'arte e a proposte musicali. Sviluppa nel tempo stretti contatti con musei e collezionisti di tutto il mondo, oltre che con musicisti di fama. Questi scambi privilegiati gli aprirono le porte e gli permisero di organizzare mostre e concerti eccezionali presso la Fondation Pierre Gianadda.Nel corso degli anni, egli amplia notevolmente l'offerta culturale della Fondazione prima con il Museo gallo- romano, poi con il Museo dell'automobile e con il Parco delle sculture nei giardini.La sua attenzione alla città trova evidenza nella installazione di sculture di artisti svizzeri nelle numerose rotatorie, nella commissione di diciassette vetrate di Hans Erni per la chiesa protestante e nel sostegno a Barryland, Museo dedicato ai cani del Gran San Bernardo.Molti sono i riconoscimenti pubblici che Léonard Gianadda ha ottenuto per le sue attività culturali e il mecenatismo che ne ha caratterizzato l'attività: fra quelli da lui più apprezzati è da porre la nomina a membro straniero dell'Académie française des Beaux Arts nel 2003, secondo svizzero ad esservi ammesso, ad occupare il posto che era stato di Federico Zeri.Fu, fra l'altro impegnato nel Comitato delle acquisizioni del Musée d'Orsay dal 2004 al 2010, nell'amministrazione della Phillips Collection di Washington dal 2005 al 2014, nel Comitato delle acquisizioni del Musée Rodin dal 2006 al 2012, e ottenne nel 2007 a Parigi la nomina a Commandeur de l'Ordre des arts et des lettres. Infine, sono da ricordare in ambito sociale la costituzione nel 2009, con la moglie Annette, della Fondation Annette et Léonard Gianadda e nel 2019 della Fondation Léonard Gianadda - Mécénat, con l'obiettivo di continuare le attività filantropiche intraprese nel corso della sua vita.IL POSTO DELLE PAROLEascoltare fa pensarewww.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

Black Friday and the holiday shopping season are right around the corner, but while the big chain stores are rolling out the deals, we know Denver's got a lot more to offer. So where do you start? There are hundreds of unique shops and shopping destinations that are also gearing up for a Mile High holiday season. So today, host Bree Davies, newsletter editor Peyton Garcia, and producer Paul Karolyi get together to share their fave places around the metro area to get the perfect gift for anyone (including for yourself!). Here are the shops we shouted out: Denver Christkindlmarket Goddess Isis Books & Gifts REI Flagship 303 Boards Sacred Thistle Casa Bonita (West Colfax or online) The Shop at the Gardens The Art District on Santa Fe Brass Armadillo What do you think are the best places to shop in Denver? Let us know! Text or leave us a voicemail with your name and neighborhood, and you might hear it on the show: 720-500-5418‬ Paul mentioned this campaign to end witch hunts and exonerate women accused of witchcraft in history.  For even more news from around the city, subscribe to our morning newsletter Hey Denver at denver.citycast.fm. Follow us on Instagram: @citycastdenver Chat with other listeners on reddit: r/CityCastDenver Learn more about the sponsors of this episode: “Blossoms of Light” at Denver Botanic Gardens “All Stars: American Artists from The Phillips Collection” at Denver Art Museum Looking to advertise on City Cast Denver? Check out our options for podcast and newsletter ads at citycast.fm/advertise Learn more about your ad choices. Visit megaphone.fm/adchoices

Many cities have a museum solely dedicated to telling their own story, and many of those museums are a source of civic pride and profit. So why not Denver? Westword editor Patty Calhoun has been reporting on the very real new effort to answer that question. So today, host Bree Davies and producer Paul Karolyi sit down with Patty to debate what would absolutely have to be in that museum, where it could be, and most important of all, what are we serving in that food court? What do you think should be in a Museum of Denver? We want to hear your ideas! Text or leave us a voicemail with your name and neighborhood, and you might hear it on the show: 720-500-5418‬ Paul mentioned the video the Denver Chamber of Commerce produced back in the 70s to support Denver's bid to host the 1976 Olympics.  For even more news from around the city, subscribe to our morning newsletter Hey Denver at denver.citycast.fm. Follow us on Instagram: @citycastdenver Chat with other listeners on reddit: r/CityCastDenver Support our work by becoming a member: membership.citycast.fm/Denver Learn more about the sponsors of this episode: “Blossoms of Light” at Denver Botanic Gardens “All Stars: American Artists from The Phillips Collection” at Denver Art Museum Looking to advertise on City Cast Denver? Check out our options for podcast and newsletter ads at citycast.fm/advertise Learn more about your ad choices. Visit megaphone.fm/adchoices

Gas prices are trending down nationwide, but they are perhaps nowhere lower than the exit off I-25 into Greenwood Village. 9News reporter Steve Staeger lives nearby and has been doggedly following the price wars between the various gas stations. So today he joins producer Paul Karolyi and one of our favorite regular guests, stand-up comic Joshua Emerson, to report from the front lines. Then, Colorado's population growth rate has hit an all-time low, according to a recent report from the Denver Post, so we're debating the age-old Colorado question: Is growth good? Finally, we share our Rocky Mountain Highs and Lows of the week. Paul mentioned our recent conversation with Mayor Mike Johnston, as well as our conversation around the “Denver Native” label. He also discussed CBS4's coverage of the annual Daddy Bruce Feed a Family event, which you can sign up to volunteer at or donate to here. Steve shared memories of Denver7's Anne Trujilo and the Broncos' kicking troubles. Joshua discussed the DIA people mover and Nikola Jokic's comedy talents. What about Denver are you grateful for this year? We want to share the love this Thanksgiving, and we need your help! So let us know about the city program or neighborly gesture that made you feel grateful to live here. Just text or leave us a voicemail with your name and neighborhood, and you might hear it on the show: 720-500-5418‬ For even more news from around the city, subscribe to our morning newsletter Hey Denver at denver.citycast.fm. Follow us on Instagram: @citycastdenver Chat with other listeners on reddit: r/CityCastDenver Learn more about the sponsors of this episode: “Blossoms of Light” at Denver Botanic Gardens “All Stars: American Artists from The Phillips Collection” at Denver Art Museum Looking to advertise on City Cast Denver? Check out our options for podcast and newsletter ads at citycast.fm/advertise Learn more about your ad choices. Visit megaphone.fm/adchoices

Hungry for lunch but don't want to go out? One local restaurant owner hopes you don't reach for that meal-delivery app just yet. Olive & Finch's Mary Nguyen recently told BusinessDen that these apps are profiting off of the “blood, sweat and tears” of small businesses like hers. So today, newsletter editor Peyton Garcia joins producers Paul Karolyi and Olivia Jewell Love to sort out the delivery app conundrum. Plus, we respond to listener comments on Half-Baked Harvest and discuss a big new idea for anyone hoping to eat less meat, but not make Thanksgiving dinner so dang awkward. And finally, our recommendations for your weekend.  What do you think? Are you a “reducetarian”? Or have thoughts on delivery apps? We'd love to hear them! Text or leave us a voicemail with your name and neighborhood, and you might hear it on the show: 720-500-5418‬ Here are links to all our picks: Watch the tree lighting at the Christkindlmarket's opening night (Downtown) Go skating at the Downtown Lakewood Holiday Bazaar (Lakewood) See the new 10th Mountain Division exhibit at History Colorado (Golden Triangle) For even more news from around the city, subscribe to our morning newsletter Hey Denver at denver.citycast.fm. Follow us on Instagram: @citycastdenver Chat with other listeners on reddit: r/CityCastDenver Learn more about the sponsors of this episode: “Blossoms of Light” at Denver Botanic Gardens “All Stars: American Artists from The Phillips Collection” at Denver Art Museum Looking to advertise on City Cast Denver? Check out our options for podcast and newsletter ads at citycast.fm/advertise Learn more about your ad choices. Visit megaphone.fm/adchoices

After a water main break, the rise of streaming, and a global pandemic put the Esquire Theatre on the brink, it looks like the 96-year-old arthouse won't make it to 100. BusinessDen reported this week that after failing to find a buyer, the owners now intend to redevelop the property at 590 Downing St. into a mix of restaurant, retail, and office space. So producer Paul Karolyi is chatting with fellow film lover Adrian González, formerly of Denver Film and now a newsletter editor with City Cast, to talk about the Esquire closing and share their picks for the best movie theaters in town — from the best popcorn and drinks to the best arthouse and cineplex. What's your favorite movie theater in town? And which one's the worst? Are you loving the new AMC at 9+CO? Or maybe you've seen behind the screen at The Mayan? We want to know what you think about Denver's movie theaters. Leave us a voicemail or send us a text, and you might hear it on the show: 720-500-5418 For even more news from around the city, subscribe to our morning newsletter Hey Denver at denver.citycast.fm. Follow us on Instagram: @citycastdenver Chat with other listeners on reddit: r/CityCastDenver Learn more about the sponsors of this episode: “Blossoms of Light” at Denver Botanic Gardens “All Stars: American Artists from The Phillips Collection” at Denver Art Museum Looking to advertise on City Cast Denver? Check out our options for podcast and newsletter ads at citycast.fm/advertise Learn more about your ad choices. Visit megaphone.fm/adchoices

It's Tuesday, and we're talking about all the local stories that matter this week. First, local officials are officially hyped about BRT, aka “bus rapid transit” aka the hottest thing in public transportation! Local, state, and federal officials gathered recently to talk about all the exciting new bus rapid transit projects coming to the Denver metro, but something was missing. Producer Paul Karolyi is looking into the story behind the press conference with our green chile and politics correspondent Justine Sandoval. Plus, they piece together the truth behind all those weird Denargo Market questions that fewer than a hundred Denverites voted on last week. And finally, we address a listener comment on our episode about the crackdown on unauthorized weed parties and ask, are “white weed bros” really the problem? For more on the old Denargo Market, Paul wrote this short history, including a cameo from Jack Kerouac, for our newsletter Hey Denver recently. We also learned more about how metropolitan districts work and how prevalent they are in Denver in this article from the Denver Post.  What do you think about BRT? Or the future of RiNo? We would love to hear from you. Text or leave us a voicemail with your name and neighborhood, and you might hear it on the show: 720-500-5418‬ For even more news from around the city, subscribe to our morning newsletter Hey Denver at denver.citycast.fm. Follow us on Instagram: @citycastdenver Chat with other listeners on reddit: r/CityCastDenver Learn more about the sponsors of this episode: “Blossoms of Light” at Denver Botanic Gardens “All Stars: American Artists from The Phillips Collection” at Denver Art Museum Looking to advertise on City Cast Denver? Check out our options for podcast and newsletter ads at citycast.fm/advertise Learn more about your ad choices. Visit megaphone.fm/adchoices

The State of Colorado has a lot of big, lofty goals to help stave off climate change. But according to a new analysis, we are collectively pretty far off track — nearly 12 million tons of carbon dioxide per year, to be precise. The State Energy Office is in charge of hitting the numbers, and last week they proposed a batch of fresh ideas. So today, producer Paul Karolyi talks to Colorado Sun climate reporter Michael Booth about why we're failing, how some of these big ideas on transportation, housing, and natural gas could work — and most of all, how they will affect all of us.  What do you think Colorado should do to hit our climate goals? We want to hear the boring ideas that'll make incremental progress, but also the moonshots! Text or leave us a voicemail with your name and neighborhood, and you might hear it on the show: 720-500-5418‬ For even more news from around the city, subscribe to our morning newsletter Hey Denver at denver.citycast.fm. Follow us on Instagram: @citycastdenver Chat with other listeners on reddit: r/CityCastDenver Learn more about the sponsors of this episode: “Blossoms of Light” at Denver Botanic Gardens “All Stars: American Artists from The Phillips Collection” at Denver Art Museum Looking to advertise on City Cast Denver? Check out our options for podcast and newsletter ads at citycast.fm/advertise Learn more about your ad choices. Visit megaphone.fm/adchoices

Platemark hosts Ann Shafer and Tru Ludwig offer up a bonus HoP episode featuring a conversation about a single work of art. Occasionally we will drop a BONUS EP ONE PRINT, which will take a single work and pull it apart with an eye toward exploring subject matter, technique, style, and composition. The first of these episodes features the etching Battlefield, 1907, by Käthe Kollwitz.   We hope this new kind of conversation resonates, and we'd love to hear your feedback and suggestions for other great prints worthy of a 90-minute episode.   Fun fact: Käthe is pronounced KAY-tuh, not Cathy; in Kollwitz, the W sounds like a V.   Episode image: Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne.   Pierre-August Renoir. (French, 1841–1919). Luncheon of the Boating Party, 1881. Oil on canvas, The Phillips Collection, Washington, D.C. John Constable (English, 1776–1837). The Hay Wain, 1821. Oil on canvas. 130.2 × 185.4 cm. National Gallery, London. Wassily Kandinsky (Russian, 1866–1944). Composition IV, 1911. Oil on canvas. 62.8 × 98.6 in. (159.5 × 250.5 cm.). Kunstsammlung Nordrhein-Westfallen, Düsseldorf. Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne. Jackson Pollock (American, 1912–1956). Number 1, 1950 (Lavender Mist), 1050. Oil, enamel, and aluminum on canvas. 221 x 299.7 cm (87 x 118 in.). National Gallery of Art, Washington, DC. Marcel Duchamp (American, born France, 1887–1968). The Bride Stripped Bare by Her Bachelors, Even (Large Glass), 1915–23. Oil, varnish, lead foil, lead wire, and dust on two glass panels. 9 ‘ 1 ¼” × 70” x 3 3/8” (277.5 × 177.8 × 8.6 cm). Philadelphia Museum of Art, Philadelphia. Rembrandt (Dutch, 1606–1669). Militia Company of District II under the Command of Captain Frans Banninck Cocq, also known as The Shooting Company of Frans Banning Cocq and Willem van Ruytenburch (commonly known as The Night Watch), 1642. Oil on canvas. 437 x 363 cm. City of Amsterdam. Henri Matisse (French, 1869–1954). The Blue Nude (Memory of Biskra), 1907. Oil on canvas. 36 1/4 x 55 1/4 in. (92.1 x 140.3 cm.). Baltimore Museum of Art, Baltimore. Mark Rothko (American, 1903–1970). No. 17, 1957. Oil on canvas. 232.5 x 176.5 cm. (91.5 x 69.5 in.). Christies. [DETAIL] Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne. [DETAIL] Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne. [DETAIL] Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne. [DETAIL] Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne. [DETAIL] Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne. [DETAIL] Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne. [DETAILS] Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne. Käthe Kollwitz (German, 1867–1945). The Ploughmen, no. 1 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 31.5 x 45.7 cm (12 3/8 x 18 in.). Käthe Kollwitz Museum, Cologne. Käthe Kollwitz (German, 1867–1945). Raped, no. 2 from the series Peasants War, 1907–08. Etching, drypoint, sandpaper and softground etching. Plate: 308 x 529 mm. (12 1/8 x 20 13/16 in.). Käthe Kollwitz Museum, Cologne. Käthe Kollwitz (German, 1867–1945). Sharpening the Scythe, no. 3 from the series Peasants War, 1908. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 11 3/4 × 11 11/16 inches (29.8 × 29.7 cm). Käthe Kollwitz Museum, Cologne. Käthe Kollwitz (German, 1867–1945). Arming the Vault, no. 4 from the series Peasants War, 1906. Etching, drypoint, aquatint, and softground etching. Plate: 19 1/2 x 12 7/8 in. Käthe Kollwitz Museum, Cologne. Käthe Kollwitz (German, 1867–1945). Charge, no. 5 from the series Peasants War, 1902–03. Etching, drypoint, and softground etching. Plate: (49.2 x 57.5 cm.). Käthe Kollwitz Museum, Cologne. [DETAIL] Käthe Kollwitz (German, 1867–1945). Charge, no. 5 from the series Peasants War, 1902–03. Etching, drypoint, and softground etching. Plate: (49.2 x 57.5 cm.). Käthe Kollwitz Museum, Cologne. [DETAIL] Käthe Kollwitz (German, 1867–1945). Charge, no. 5 from the series Peasants War, 1902–03. Etching, drypoint, and softground etching. Plate: (49.2 x 57.5 cm.). Käthe Kollwitz Museum, Cologne. Käthe Kollwitz (German, 1867–1945). The Prisoners, no. 7 from the series Peasants War, 1908. Etching, drypoint, sandpaper and softground etching. Plate: 328 x 426 mm. (12 15/16 x 16 3/4 in.). Käthe Kollwitz Museum, Cologne. [DETAIL] Käthe Kollwitz (German, 1867–1945). The Prisoners, no. 7 from the series Peasants War, 1908. Etching, drypoint, sandpaper and softground etching. Plate: 328 x 426 mm. (12 15/16 x 16 3/4 in.). Käthe Kollwitz Museum, Cologne. [DETAIL] Käthe Kollwitz (German, 1867–1945). The Prisoners, no. 7 from the series Peasants War, 1908. Etching, drypoint, sandpaper and softground etching. Plate: 328 x 426 mm. (12 15/16 x 16 3/4 in.). Käthe Kollwitz Museum, Cologne. Jean-François Millet (French, 1814–1875) The Gleaners, 1957. Oil on canvas. 83.8 × 111.8 cm. (33 × 44 in.). Musée d'Orsay, Paris. Jean-François Millet (French, 1814–1875). The Gleaners, 1955. Etching. 192 x 253 mm. Rijksmuseum, Amsterdam. Käthe Kollwitz (German, 1867–1945). Self-Portrait, 1926–36. Bronze. Käthe Kollwitz Museum, Cologne. Georges Seurat (French, 1859–1891). Landscape, 1876–86. Black Conté crayon. 24.9 × 31.6 cm (9 13/16 × 12 1/2 in.). Art Institute of Chicago, Chicago. Ernst Barlach (German, 1870–1938). The Avenger, 1914. Bronze. 22.9 x 44.5 x 61 cm. Harvard Art Museums, Cambridge. Jacques Muron (French, born 1950). Egret, 1996. Engraving on chine collé. Plate: 14 ½ x 3 ¾ in. [DETAIL] Jacques Muron (French, born 1950). Egret, 1996. Engraving on chine collé. Plate: 14 ½ x 3 ¾ in. [DETAIL] Jacques Muron (French, born 1950). Egret, 1996. Engraving on chine collé. Plate: 14 ½ x 3 ¾ in. Mary Cassatt (American, 1844–1926). The Banjo Lesson, c. 1893. Color drypoint and aquatint with monoprint inking. Plate: 29.85 × 23.81 cm (11 3/4 × 9 3/8 in.); sheet: 41.9 x 29.2 cm (16 1/2 x 11 1/2 in.). National Gallery of Art, Washington, DC. Andrea Mantegna (Italian, c. 1431–1506). Lamentation over the Dead Christ, c. 1483. Tempera on canvas. 680 x 810 mm. Pinacoteca di Brera, Italy. Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Baltimore Museum of Art, Baltimore. Rembrandt (Dutch, 1606–1669). The Hundred Guilder Print: Christ with the Sick around Him, c. 1648. Etching, drypoint, and engraving on Japanese paper. 280 x 394 mm. Rijksmuseum, Amsterdam.

We meet legendary artist Sylvia Snowden from her home in Chicago where she has been painting for the past 60+ years!Known for her use of abundantly thick, layered paint, Snowden has developed a visual language in which gems of colour and texture emerge from densely-worked under layers. From dark and earthy tones to the vibrant and artificial, Snowden's command of chromatic range is the fuel of her expressionistic style. Over the course of her more than five-decade-long career, in which she has always painted in series, Snowden developed an adroitness with her medium. She initially employed oil paint and pastels then moved toward acrylic–a less toxic and faster-drying alternative–after having children. Snowden paints sculpturally, her compositions range from larger-than-life to portrait-sized. Her process allows visible evidence of constructed layers and employs impasto that interacts with her bold figures caught in motion with physical weight.Snowden's voluminous bodies, often contrapposto, are surrounded by peaks of shifting chroma in a physical manifestation of feeling; she depicts the tension and intensity of life, and the troubled, optimistic, and dramatic elements of our sublime existence. Snowden encapsulates the psychological essence of her subjects–some of whom were unhoused and transient, displaced by gentrification, others with whom she had intimate or long-term relationships–their triumphs, paranoia, agony, and anger are all visible; these works convey an emotionally turbulent environment. Snowden's expressive paintings reference the immediate lives of these individuals, and act as interpretations of each subject's psyche. As a serial painter, Snowden alternates between representation and abstraction, exhausting her emotional self between each mode as she articulates the struggles and successes of humanity.Snowden received a scholarship to Skowhegan School of Painting and Sculpture in Skowhegan, ME and has a certificate from La Grande Chaumier in Paris, France. She holds both a Bachelor of Arts and a Master of Fine Arts degree from Howard University. At Howard University she studied under David C. Driskell.[1] She has taught at Howard University, Cornell and Yale, has served as an artist-in-residence, a panelist, visiting artist, lecturer/instructor and curator in universities, galleries and art schools both in the United States and internationally. She has exhibited at the National Gallery of Art, the Corcoran Gallery of Art, Women's Museum, Montclair Art Museum, Baltimore Museum of Art, Herbert F. Johnson Museum of Art at Cornell University, The Phillips Collection, Heckscher Museum of Art, and the Mary McLeod Bethune Memorial Museum and National Archives for Black Women's History [1]. Her works have been shown in Chile, the Netherlands, Ethiopia, Australia, the Bahamas, France, Mexico, Italy and Japan.Visit Sylvia's new exhibition 'M Street on White' until 28th October 2023 in London at Edel Assanti: https://edelassanti.com/exhibitions/118-sylvia-snowden-m-street-on-white/Follow Sylvia's galleries @EdelAssanti and @ParraschHeijnen Hosted on Acast. See acast.com/privacy for more information.

In Platemark s3e30, host Ann Shafer speaks with Ruth Fine, retired curator from the National Gallery of Art. Ruth was curator of modern prints and drawings there from 1980–2002, followed by an additional period working on special projects in modern art. Since her retirement in 2010, Ruth has been working on exhibition and writing projects, as well as sitting on the boards of the Roy Lichtenstein Foundation, the Helen Frankenthaler Foundation, and others. As we are releasing this episode, Ruth has an exhibition up at the Phillips Collection featuring the photographic output of Frank Stewart. The show is up June 10–September 3, 2023. Ruth is not only a consummate scholar, but also is an artist herself, bringing to her scholarship a deep understanding of making. She knew well many of the artists who were the subjects of her projects and she has wonderful stories to tell. Join our new FB group to talk about prints, printmaking, and Platemark: https://www.facebook.com/groups/234857906002771 Episode image © Frank Stewart Lessing Rosenwald's residence Alverthorpe in Jenkintown, PA, now houses the Abington Art Center. The catalogue raisonné of the print workshop Gemini G.E.L. at the National Gallery of Art, Washington, D.C. Mary Lee Corlett and Ruth Fine. The Prints of Roy Lichtenstein: A Catalogue Raisonné 1948–1993. Washington D.C.: National Gallery of Art, 1994. Ruth Fine and Robert Looney. The Prints of Benton Murdoch Spruance: A Catalogue Raisonné. Philadelphia: University of Pennsylvania Press, 1986. David Bindman et al. Body Language: The Art of Larry Day. Exh cat. Woodmere Art Museum. Philadelphia: University of Pennsylvania Press, 2021. Ruth Fine et al. Frank Stewart's Nexus: An American Photographer's Journey, 1960s to the Present. Exh cat. The Phillips Collection. New York: Rizzoli, 2023. Helen Frankenthaler (American, 1928–2011). Untitled, 1967. Four-color screenprint. 25 3/4 x 17 7/8 in. (65.4 x 45.4 cm.). © 2023 Helen Frankenthaler Foundation, Inc. / Artists Rights Society (ARS), NY / Chiron Press, NY. Helen Frankenthaler (American, 1928–2011). Grove, 1991. Ten-color woodcut. 38 ½ x 25 ½ in. (97.8 x 64.8 cm.). © 2023 Helen Frankenthaler Foundation, Inc. / Artists Rights Society (ARS), NY / Garner Tullis, NY. Roy Lichtenstein (American, 1923–1997). Storming the Castle, 1950. Etching, aquatint, and engraving. Sheet: 16 ¼ x 22 ¾ in. (41.3 x 57.8 cm.); plate: 11 7/8 x 15 15/16 in. (30.2 x 40.5 cm.). © Estate of Roy Lichtenstein. Roy Lichtenstein (American, 1923–1997). Published by Gemini G.E.L. The Student, from the series Expressionist Woodcut, 1980. Color woodcut with debossing. Sheet: 97.5 x 86 cm. (38 1/4 x 34 in.); image: 80.6 x 69.2 cm. (31 3/4 x 27 1/4 in.). © Estate of Roy Lichtenstein. Frank Stewart (American, born 1949). Alma W. Thomas, 1976. Gelatin silver print. Bowdoin College Museum of Art, Brunswick, Maine, Museum Purchase, Gridley W. Tarbell II Fund. © Frank Stewart. Frank Stewart (American, born 1949). The Bow, Modena, Italy, 1996. Inkjet print. Andre Kimo Stone Guess and Cheryl Peterson Guess Family Collection, Louisville, KY. © Frank Stewart. Frank Stewart (American, born 1949). Tailor Shop, Abidjan, Cote d'Ivoire, 1974. Gelatin silver print. Sing Lathan and Bining Taylor. © Frank Stewart. Frank Stewart (American, born 1949). Three Young Camels, Mali, 2006. George Nelson Preston, Museum of Art and Origins, New York. © Frank Stewart. Frank Stewart (American, born 1949). Radio Players Series, 1978. Gelatin silver print. Sing Lathan and Bining Taylor. © Frank Stewart.   USEFUL LINKS: Link to Frank Stewart exhibition at the Phillips Collection: https://www.phillipscollection.org/event/2023-06-10-frank-stewarts-nexus YouTube video with Ruth Fine and TK Smith in the exhibition The Art of Larry Day: https://youtu.be/Ao6Rgn6jhok YouTube video of Ruth Fine's talk on Larry Day at the Woodmere Art Museum: https://youtu.be/MamE6rbOuMg  

An artist, cartoonist, and the author of the book Skip to the Fun Parts: Cartoons and Complaints About Creativity.  Dana has been a contributor to the New Yorker Daily Shouts since 2018. Her online cartoon series The Worried Well was syndicated by Andrews McMeel Universal in 2016 and can be seen online on GoComics.com.  She has illustrated for The Phillips Collection, the DC Public Library, Politics and Prose, and Museum Hack, and her artwork and murals can be seen at various restaurants in the DC area. In 2019 she invented the highly popular (and unauthorized) Ladies Drawing Night Against Humanity workshop series.  She lives with her husband and their two cats in Washington, DC.

In this episode I have an incredibly rich dialogue with visual artist Tayo Heuser. We learned about her very unique upbringing, having grown up living multiple countries and continents. We talked about how these experiences shaped her relationship to her art and her spirituality. We talked about her interactions with Shamans at young age and how her explorations of Mosques and ancient sites influenced her curiosity with geometry and organic forms found in nature. We discuss her work and the importance of her studio being a sacred space. We also talk about the art world institutions and contemplated why some may be more inclined to feel the spiritual energy in art while others have a more difficult time. All in all it was a really engaging discussion and Tayo is such an important voice for the emerging institutional acceptance of the Spiritual in art. -------------------------------------------------------- Tayo Heuser was born in Washington D.C. but raised in North, East and West Africa. She returned to the United States to attend college at the Rhode Island School of Design. In Tunisia Heuser wandered the ruins of Carthage admiring the vast expanses of the former Roman market place and baths, along with the Roman mosaics still embedded in the ground. The Great Mosque of Kairouan with its horseshoe arches and Islamic tiles were mesmerizing.  Thus began her interest in the geometry used to create patterns. The visual experiences would continue to inform her artwork for years to come. Libya and the Sudan would also influence her work not only for the Roman ruins but her voyages through the Sahara. The night sky and infinite horizon of the desert would be imprinted on her mind. The other end of the spectrum from the stillness of the desert would be in the Ivory Coast. Heuser would revel in the vibrant color of the textiles worn by the Ivorian people along with the varied and abundant vegetation.  Often a friend would drive her into the bushland to meet with shamans.  Heuser is a world citizen. Her identity transcends her geography and political borders. Her art work is a confluence of her cultural experiences both visual and spiritual. Her paintings are like portals in that they represent a world of infinite possibilities. There is time for reflectivity and timeless tranquility. They create a heightened perception of the world we live in. They are passageways between her interior and exterior worlds like a spiritual excavation. Her work addresses the central theme of cosmic balance between light and darkness, spirit and matter.  Heuser has had a yearlong exhibition at the Phillips Collection in Washington D.C. as well as participating in group shows there and at the Weatherspoon Museum, the Rhode Island School of Design Museum, the University Art Museum at Long Beach California and the Chazan Museum of Art. Her work has been exhibited internationally. Most recently at Space 776 in NYC presently her work is featured at the Phillips Collection Entrance Lobby (2023) and at the Chateau de Fernelmont in Belgium. Heuser participated in an exhibition with the Jamestown Arts Center in 2021 and in 2020 with Jason Jacques gallery in San Francisco (Fog Design +Art 2020), Odetta gallery in NYC amongst others.  Her most recent solo exhibitions (2018 ) were at The UMass Dartmouth Gallery, MA and The Jamestown Art Center in RI (2016 ) Heuser's work is in the permanent collection of The RISD Museum, Providence RI, The Weatherspoon Museum, Greensboro, NC, The Hammer Museum Los Angeles, CA, and The Phillips Collection, Washington D.C.. Other collections, amongst others, include the American Embassy in Jeddah, Saudi Arabia, the Leeds Foundation Philadelphia, PA, and the Werner Kramarsky Collection NYC. Heuser's work has been featured in publications including, The Los Angeles Times, The Boston Globe, Art New England, Artscope, The Boston Herald, La Libre Magazine, Le Soir and the Washington Post. http://www.tayoheuser.com --- Support this podcast: https://podcasters.spotify.com/pod/show/martin-l-benson/support

Charles Yu is the author of four books, including Interior Chinatown (the winner of the 2020 National Book Award for fiction), and the novel How to Live Safely in a Science Fictional Universe (a New York Times Notable Book and a Time magazine best book of the year). He received the National Book Foundation's 5 Under 35 Award and was nominated for two Writers Guild of America Awards for his work on the HBO series, Westworld. He has also written for shows on FX, AMC, and HBO. His fiction and nonfiction have appeared in The New Yorker, The New York Times, The Wall Street Journal, and Wired, among other publications. Together with TaiwaneseAmerican.org, he established the Betty L. Yu and Jin C. Yu Writing Prizes, in honor of his parents. Terence Washington is the Manager of Civic Engagement and Programs for the Free Library of Philadelphia. After leaving the Air Force, he got a master's in art history at Williams College before working as an arts administrator, curator, and educator. He has done full-time and freelance work with the National Gallery of Art, the Museum of Fine Arts, Boston, the NXTHVN residency, the Readying the Museum initiative, DC Arts Center, The Phillips Collection, Mass MoCA, and elsewhere. He thinks everyone should read Thick by Tressie McMillan Cottom. (recorded 4/20/2023)

D.C. lost an icon this year. Born in 1937, artist Lou Stovall studied printmaking at Howard and his posters and prints are a reminder of the spirit and struggles of the Civil Rights Movement, and D.C.'s fight for Home Rule. He died at the age of 86 in March. Before his death, we joined Lou and his son Will at his collection at the Phillips Collection to find out more about his arts legacy and what it says about D.C.'s past and present.  Want some more DC news? Then make sure to sign up for our morning newsletter. We're also on Twitter! Follow us at @citycast_dc And we'd love to feature you on the show! Share your DC-related thoughts, hopes, and frustrations with us in a voicemail by calling 2026422654. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week hear about some soon-to-close art shows around town. Today: Kim Conaty, curator of drawings and prints at the Whitney Museum, talks about the Hopper show at the Whitney, closing March 5, featuring some of the artist's iconic pieces and how he shaped our view of the city through his work.  →Edward Hopper's New York is on view through Sunday, March 5, at the Whitney Museum of American Art, 99 Gansevoort Street, in the meat-packing district of Manhattan.   Edward Hopper, Approaching a City, 1946. Oil on canvas, 27 1/18 x 36 in. (68.9 x 91.4 cm). The Phillips Collection, Washington, D.C.; acquired 1947. (© 2022 Heirs of Josephine N. Hopper/Licensed by Artists Rights Society (ARS), New York/Whitney Museum of American Art)   Edward Hopper, Manhattan Bridge, 1925–26. Watercolor and graphite pencil on paper. Whitney Museum of American Art, New York. (Heirs of Josephine N. Hopper/Licensed by Artists Rights Society (ARS), New York) Edward Hopper, Room in New York, 1932. Oil on canvas, 29 × 36 in. (73.7 × 91.4 cm). (Sheldon Museum of Art, University of Nebraska—Lincoln; Anna R. and Frank M. Hall Charitable Trust. © 2022 Heirs of Josephine N. Hopper/Licensed by Artists Rights Society (ARS), New York)  

This week on Get Out There, we sat down with the Chief Diversity Officer at The Phillips Collection, Dr. Yuma Tomes.

Episode No. 587 features curators Jed Morse and Perrin Lathrop. Morse is the curator of "Mark di Suvero: Steel Like Paper" at the Nasher Sculpture Center in Dallas. The exhibition surveys di Suvero's career with a special focus on di Suvero's in-studio practice, such as his drawings and his little-considered modestly scaled sculptures (which make up the vast majority of his oeuvre). It is the most extensive survey of di Suvero's work in over 30 years, and the largest museum exhibition of such since 1975. "di Suvero" is on view through August 27. The excellent catalogue was published by the museum. Along with Nikoo Paydar and Jamaal Sheats, Lathrop is a co-curator of "African Modernism in America, 1947-67" at the Fisk University Galleries in Nashville. The exhibition investigates the connections between African artists and American patrons, artists, and cultural organizations such as the Harmon Foundation, the Museum of Modern Art, and HBCUs during the early Cold War. It also features The Politics of Selection, a commission from Lagos-based sculptor Ndidi Dike that interrogates the collecting histories presented in the exhibition. "African Modernism" is on view through February 12, after which it will travel to the Kemper Art Museum at Washington University, Saint Louis; the Phillips Collection in Washington; and the Taft Museum of Art in Cincinnati. The outstanding catalogue was published by the American Federation of Arts. Amazon and Indiebound offer it for about $45.

Christina Osheim's life is dedicated to art and community. While a student at St. Olaf College she had a freak accident working grounds crew in 2003. This accident resulted in severe traumatic brain injury, changing her life, but not her focus on art. She has learned to adapt to the lifelong changes TBI has brought. She did a 5th year at the Rhode Island School of Design, was an Associate Artist at the Clay Studio in Philadelphia. Osheim received her MFA from Cranbrook Academy of Art in 2012 and spent the year after as a resident artist at Red Dirt Studio and as a ceramics teacher for VCU. In 2016 she started her own ceramic studio in 2016. In 2021 she moved it to Brentwood, Maryland and relaunched. She also became an active member of BIAMD's weekly check in chats. Her work is currently sold at the Barnes Foundation Gift Shop in Philadelphia and is working on an order for The Phillips Collection in DC and a custom order for Four Seasons Hotel Philadelphia. There will be an open studio December 10th from 12-5pm at her studio in Artisan 4100 in Brentwood Md. Christina Osheim's website Neuromaps Chritina Osheim on Instagram Arts, Beats, and Eats For more information you can visit www.biamd.org or call the free helpline at 1-800-221-6443. Disclaimer: This podcast is provided for informational purposes only and does not constitute endorsement of treatments, individuals, or programs which appear herein. Any external links on the website are provided for the visitor's convenience; once you click on any of these links you are leaving the BIAMD website. BIAMD has no control over and is not responsible for the nature, content, and availability of those sites.   

Susan Behrends Frank, Curator, The Phillips Collection, speaks on the recent exhibit of paintings from Pablo Picasso's Blue Period.

85-year-old artist Lou Stovall has made an indelible mark on the D.C. art scene — from his protest artwork in the 1960s, to his founding of the Dupont Center as a gathering place for artists. Bridget chats with him and his son Will at the Phillips Collection's Lou Stovall exhibit to talk through what his work means for the city. You can plan your visit to the Phillips to see Lou's work here Want some more DC news? Then make sure to sign up for our morning newsletter We're also on Twitter! Follow us at @citycast_dc And we'd love to feature you on the show! Share your DC-related thoughts, hopes, and frustrations with us in a voicemail by calling 2026422654 Learn more about your ad choices. Visit megaphone.fm/adchoices

On January 6, 2021, hearing that Trump supporters were descending on the U.S. Capitol, freelance photographer Shedrick Pelt grabbed goggles, a respirator and his Canon 5D Mark 4 and ran to the scene to document the event. The arresting images he captured on that terrifying day constitute “Attack on Democracy: Through the Lens of a Black Photojournalist,” a traveling exhibit that opened at Gallery O in Washington, DC one year after the attack on the Capitol. Shedrick's instinct to run towards the danger of that day was based in a bone-deep commitment to community and local storytelling. Moving to D.C. in late 2017, he quickly embedded himself in that city's artistic community, working with such arts organizations as Exposed DC and Dupont Underground, where he serves as cultural ambassador. He currently sits on the board of Focus on the Story, an internationally recognized non-profit dedicated to promoting the work of leading photographers and providing education and resources for visual artists. His work has been featured in Washingtonian magazine and in exhibits at such institutions as the International Center of Photography in New York and at the Phillips Collection in D.C. He also curates the Look Hear Gallery, which is a revolving gallery that features the Black experience in DC through the lens of Black photographers. And as of 2022, he is a contributing photographer for Getty Images.In this interview with Pier Carlo Talenti, Shedrick describes the artistic journey that led him to the Capitol on that fateful day and makes a case for supporting hyper-local artists and storytellers.https://www.sdotpdotmedia.com/home

Patti Carpenter will talk color trends as she travels the world to places that inspire her. Actually, it is not the places that inspire her, it's the indigenous and how they work color in their artisan products from which we all can learn so much. Patti talks about what really keeps her going, her work in artisan development in countries around the world and her desire to bring more diversity to the world of design. From high Fashion to doing what truly matters to her, helping and supporting other creatives globally and bringing back the value of true artisan development. That is Patti. Patti is Principal of carpenter + company and an award- winning Designer in globally sourced home décor, accessories, fragrance and gifts, with experience in product design and development, merchandising and color + trend forecasting. As a Micro-Enterprise specialist with U.S. presidential recognition for domestic and international expertise in artisan development, small producer and entrepreneurial training and economic development  she has designed and sourced Private Label collections for Bloomingdales, Neiman Marcus, Crate & Barrel, The Phillips Collection, ABC Carpet and Home, Donna Karan Urban Zen and Ralph Lauren. She has worked in 57 countries. Patti is an expert in Color + Trend research and forecasting and consults with Pantone. She is the Global Trend Ambassador for Maison & Objet, Paris. She is an active board member of SERRV International-one of the founding organizations of the World Fair Trade Organization (WFTO), BADG (Black Artists and Designer Guild), The High School of Fashion Industries and The Bienenstock Furniture Library, as well as the co-founder of the Kaleidoscope Project. Patti is also the recipient of the  Gift For Life Industry Achievement Award for 2021 and the Withit Industry Leadership Award for 2021 for the Kaleidoscope Project.

About the guestMojdeh Rezaeipour is an Iranian-born interdisciplinary artist who works primarily in mixed media, installation, and film. Her recent research and creative projects are excavations of material memory at the intersection of her own story and a collective diasporic story. She is a graduate of University of California Berkeley, where she studied architecture, and of Alt*Div, an alternative divinity school centering healing justice and art as spiritual practice. Her practice is process-led and adaptive at its core, bridging over a decade of Mojdeh's work in the world as an architect, storyteller, and community organizer. In the past few years, her exhibitions and stories have appeared in publications and broadcasts such as The Washington Post, Washingtonian, BmoreArt, DIRT, Image Journal, WPFW, and The Moth Radio Hour. Mojdeh has worked at award-winning architecture firms in San Francisco, New York and Tokyo, and has exhibited nationally and internationally in a wide range of venues from DIY project spaces in Berlin to museums such as The Phillips Collection. She is the recipient of numerous awards and fellowships, including The Studio Visit Fellowship at Takt Berlin (2018), Second Place at The Trawick Prize (2019), Virginia Museum of Fine Arts Fellowship (2020), The Nicholson Project Artist in Residence (2020), VisArts Studio Fellowship (2021), a Wherewithal Research Grant (2021) and 2022 Sondheim Semifinalist. Mojdeh is currently based in Washington, DC, where she is a Studio Fellow with Henry Luce III Center for Art and Religion at Wesley Theological Seminary. (Photo by Senna Ahmad)The Truth In This ArtThe Truth In This Art is a podcast interview series supporting vibrancy and development of Baltimore & beyond's arts and culture.The Station North Arts & Entertainment Interview Series is supported by the Station North Art's District & Central Baltimore Partnership.Mentioned in this episodeMojdeh's websiteTo find more amazing stories from the artist and entrepreneurial scenes in & around Baltimore, check out my episode directory.Stay in TouchNewsletter sign-upSupport my podcastShareable link to episode★ Support this podcast ★

Ep.112 features BETHANY COLLINS (b. 1984 Montgomery, AL). She lives and works in Chicago, IL. Collins is a multidisciplinary artist whose conceptually driven work is fueled by a critical exploration of how race and language interact. Collins received an MFA from Georgia State University in Atlanta GA, and a BA from the University of Alabama in Tuscaloosa, AL. Recent solo exhibitions include: Cadence (2022), PATRON, Chicago, IL; America: A Hymnal (2021), Crystal Bridges Museum of American Art, Bentonville, AK; Evensong (2021) Frist Art Museum, Nashville, TN; My destiny is in your hands (2021), Montgomery Museum of Fine Arts, Montgomery, AL; Chorus (2019), Contemporary Art Museum St. Louis, St Louis, MO; Benediction (2019) The University of Kentucky Art Museum, University of Kentucky, Lexington, KY; A Pattern or Practice (2019), University Galleries of Illinois State University, Normal, IL; The Birmingham News 1963 (2018-2019), Art Institute of Chicago, Chicago IL; The Litany, Locust Projects (2018), Miami, FL; Undersong (2018), PATRON, Chicago IL; and Occasional Verse (2018), The Center for Book Arts, New York, NY. Image courtesy of the artist and PATRON Gallery, Chicago. Photography by Evan Jenkins Additional information~ Artist https://bethanyjoycollins.com/home.html Patron Gallery https://patrongallery.com/exhibition/285/cadence https://patrongallery.com/artist/bethanycollins Montgomery Museum of Fine Art Bethany Collins - MMFA Brooklyn Rail https://brooklynrail.org/2022/02/artseen/Seize-the-Time WSJ https://www.wsj.com/articles/collectors-eye-they-built-a-world-class-collection-of-black-artists-work-who-are-they-acquiring-now-11594828483 Artspace https://www.artspace.com/artist/bethany-collins Richard Gray Gallery Bethany Collins - Artists - Richard Gray Gallery Block Museum https://www.blockmuseum.northwestern.edu/events/2022/artist-talk-laylah-ali-and-bethany-collins.html Chicago Gallery https://www.chicagogallerynews.com/events/bethany-collins-cadence Crystal Bridges https://crystalbridges.org/calendar/bethany-collins-america-a-hymnal/ Frist Art Museum https://fristartmuseum.org/exhibition/bethany-collins-evensong/ https://burnaway.org/daily/collins-frist/ The Phillips Collection https://www.phillipscollection.org/event/2021-06-25-jacob-lawrence-american-struggle Speed Art Museum https://www.promisewitnessremembrance.org/ Art in America https://www.artnews.com/art-in-america/aia-reviews/breonna-taylor-promise-witness-remembrance-speed-art-museum-1234594195/ Hyperallergic https://hyperallergic.com/641634/amy-sherald-bearing-witness-to-breonna-taylor-life-and-death/ NYTimes https://www.nytimes.com/2021/04/11/arts/design/breonna-taylor-review-museum-louisville.html PBS https://www.pbs.org/newshour/show/what-breonna-taylors-name-and-image-is-teaching-america-about-black-lives The Guardian https://www.theguardian.com/artanddesign/2021/apr/01/remembering-breonna-taylor-through-art-it-keeps-her-alive Artforum https://www.artforum.com/print/reviews/202202/the-dirty-south-contemporary-art-material-culture-and-the-sonic-impulse-87629 Smart Museum https://smartmuseum.uchicago.edu/exhibitions/take-care/ Renaissance Society https://renaissancesociety.org/exhibitions/540/nine-lives/ Hirshhorn https://hirshhorn.si.edu/explore/bethany-collins-part-1-hirshhorn-artist-diaries-2/

About the guestAnnalisa Dias is a Goan-American transdisciplinary artist, community organizer, and award-winning theatre maker working at the intersection of racial justice and care for the earth. She is Director of Artistic Partnerships & Innovation at Baltimore Center Stage. Annalisa is also a Co-Founder of Groundwater Arts. Prior to joining BCS, Annalisa was a Producing Playwright and Acting Creative Producer with The Welders, a DC playwright's collective; and a Co-Founder of the DC Coalition for Theatre & Social Justice. Artistic credits include: WRITING: 4380 Nights, the earth that is sufficient, One Word More, The Last Allegiance, A Legacy of Chains, Crooked Figure, Consider the Dust, Matanuska, Coal, and Servant of the Wind. DEVISING: Wit's End Puppets: Malevolent Creatures; banished? productions: Tyger; Theater Alliance: I Love DC. DIRECTING: Source Festival: Dust to dust to dust and Dressing Bobby Strong; The Salima Project (film). Annalisa's work has been produced or developed by The Welders, Theater Alliance, Signature Theatre (DC), Arena Stage, the Phillips Collection, The Gulfshore Playhouse, the Mead Theatre Lab, The Hub Theatre, Spooky Action Theater, Tron Theatre (Glasgow), and OverHere Theatre (London). Annalisa frequently teaches theatre of the oppressed and decolonization workshops nationally and internationally and speaks about race, identity, and performance. She is a TCG Rising Leader of Color. Recent work includes THE EARTH, THAT IS SUFFICIENT, a performance project about hope for the future in the face of the climate catastrophe, produced by The Welders throughout 2019 in Washington DC and globally.The Truth In This ArtThe Truth In This Art is a podcast interview series supporting vibrancy and development of Baltimore & beyond's arts and culture.Mentioned in this episodeBaltimore Center StageTo find more amazing stories from the artist and entrepreneurial scenes in & around Baltimore, check out my episode directory.Stay in TouchNewsletter sign-upSupport my podcastShareable link to episode★ Support this podcast ★

Domenic Salerni of the Attacca Quartet joins us to chat about what it means to "live in the present…without rejecting the virtues of the past" and how the ensemble approaches breathes new life into traditional projects. We discuss the ins and outs of artist management, and how the ensemble approaches commissions. And, Domenic shares how the quartet searches for a recording label and how up-and-coming artists can develop the skills needed for the recording process. Grammy award-winning Attacca Quartet, as described by The Nation, “lives in the present aesthetically, without rejecting the virtues of the musical past”, and it is this dexterity to glide between the music of the 18th through to 21st century living composer's repertoire that has placed them as one of the most versatile and outstanding ensembles of the moment – a quartet for modern times. Touring extensively in the United States, recent and upcoming highlights include Carnegie Hall Neighborhood Concerts, New York Philharmonic's Nightcap series, Lincoln Center White Lights Festival and Miller Theatre, both with Caroline Shaw, Phillips Collection, Wolf Trap, Carolina Performing Arts, Chamber Music Detroit, Red Bank Chamber Music Society, Chamber Music Austin and a residency at the National Sawdust, Brooklyn. They recently performed at the Isabella Stewart Gardner Museum, Boston, where they will return in 2020 and have performed a series of Beethoven String Quartet cycles both at the historic University at Buffalo's Slee Beethoven Quartet Cycle series and at the New York and Trinity Lutheran Church, Manhattan, where they have a longstanding partnership. The upcoming season will see them debuting at the Trinity Church at Wall Street as part as their 12 Night Festival where they will perform the complete cycle of the Beethoven String Quartets. Attacca Quartet has also served as Juilliard's Graduate Resident String Quartet, the Quartet in Residence at the Metropolitan Museum of Art, and the Ensemble-in-Residence at the School of Music at Texas State University. The transcript for this episode can be found here. For more information about eighth blackbird, please visit their website, Facebook, Twitter, and YouTube.

For Video Edition, Please Click and Subscribe Here: https://youtu.be/yrCh8lWOSzI Originally from Indianapolis, Parker arrived in the Washington DC area in 2017 (by way of Seattle, San Francisco, Atlanta, Montreal, Nashville, Saint Louis, and Dallas). He is a classically-trained singer and for the last 30 years has performed with orchestras and chorales in concert halls across North America - notably Carnegie Hall (Mozart Requiem) and Davies Symphony Hall (Britten';s War Requiem). Parker started solo jazz performances in 2010 and has been performing to steady acclaim on the cabaret and jazz scene since his debut at the Something COOL Cabaret Festival in San Francisco.  Not Exactly Paris” is a moving (and sometimes hilarious) story of love and loss as a gay man of a “certain age”. Featuring the music of Elvis, Blondie, Peter Cincotti, Francesca Blumenthal, and others, Parker takes his audience on a journey to discover our shared experiences with honest storytelling and compelling vocal interpretations. With special guest vocalist Barbara Papendorp. Actor-Singer Barbara Papendorp She has performed locally at the Phillips Collection, The Society of the Cincinnati, The Harman Center of the Arts and The Arts Club of Washington as well as local jazz venues: The Black Fox Lounge, Twins Jazz, and the historic Mr. Henry's. Barbara is a resident singing artist at Bistrot Lepic in Georgetown and Le Kavacha Please subscribe for upcoming performances at www.BarbaraPapendorp.com. Instagram: @ChanteuseDC

Into America was nominated for a 2022 NAACP Image Award! We're finalists in the Outstanding News and Information Podcast category, and we need your vote. Go to vote.naacpimageawards.net to cast your ballot today.In February 2021, Into America launched Harlem on My Mind, a series that followed four figures from the Harlem Renaissance who defined Blackness for themselves and what it means to be Black in America today.The story began in December 2020, when host Trymaine Lee acquired something he coveted for years: a numbered print titled Schomburg Library by American icon Jacob Lawrence. The print came with a handwritten dedication to a man named Abram Hill. Who was Abram Hill? How did he know Jacob Lawrence? Did their paths cross at the famed Schomburg Library?What followed was a journey of discovery, through conversations with friends, historians and experts, to understand the interconnected lives of Black creators in and around the Harlem Renaissance. And it started with Jacob Lawrence, a child of the Great Migration who was nurtured by the great artists and ideas of the period. Two women who knew Lawrence well, art historian Dr. Leslie King-Hammond and artist Barbara Earl Thomas, reflected on his life, death and contributions to Black culture.As Into America gears up for our 2022 Black History series, Reconstructed – a look at the legacy of the Reconstruction era –we wanted to revisit Harlem on My Mind and share it with you again. Special thanks to the Phillips Collection in Washington, DC and the Los Angeles County Museum of Art. (Original release date: February 4, 2021)Further Listening:Harlem on My Mind: Jacob LawrenceHarlem on My Mind: Arturo SchomburgHarlem on My Mind: Jessie Redmon FausetHarlem on My Mind: Abram Hill

Born in Boston, Massachusetts, in 1905, artist Loïs Mailou Jones's career spanned much of the 20th Century as both a painter and a teacher of generations of Black artists at Howard University. Jones faced racial discrimination in the US throughout much of her long life, and found refuge and inspiration in the Harlem Renaissance Movement and in the expatriate community of Black artists in Paris. Her 1953 marriage to Haitian artist Louis Vergniaud Pierre-Noel, and later research trips to Africa further influenced her work. Her many important paintings include The Ascent of Ethiopia (1932); Les Fétiches (1938); Self-Portrait (1940); Mob Victim (Meditation) (1944); Jardin du Luxembourg (1948); Jeune Fille Française (1951); Ode to Kinshasa (1972); Ubi Girl from Tai Region (1972); Suriname (1982); and Glyphs (1985). Joining me to help us learn more about Loïs Mailou Jones is writer Jennifer Higgie, author of the new book, The Mirror and the Palette: Rebellion, Revolution, and Resilience: Five Hundred Years of Women's Self Portraits. Our theme song is Frogs Legs Rag, composed by James Scott and performed by Kevin MacLeod, licensed under Creative Commons. The episode image is Loïs Mailou Jones, 1937, from the Loïs Mailou Jones Pierre-Noël Trust. Other Selected Sources: “Lois Mailou Jones, 92, Painter and Teacher” by Holland Cotter, New York Times, June 13, 1998. “Lois Mailou Jones: An Indefatigable Black Woman Artist,” by Betty Perry, The Washington Post, February 23, 1983. “An Interview with Lois Mailou Jones,” by Charles H. Rowell, Callaloo, Vol. 12 No. 2, p. 357-378. “Loïs Mailou Jones: Creating A New African-American Image,” by Greg Cook, WBUR, February 27, 2013. “Interview with Lois Mailou Jones [video],” Good Morning America, February 1, 1996. “Loïs Mailou Jones and David C. Driskell: Intersecting Legacies [video],” The Phillips Collection, October 28, 2020. “Remembering The Masters: Lois Mailou Jones [video],” Sankofa Studios, March 16, 2020. Learn more about your ad choices. Visit megaphone.fm/adchoices

Angela herself is an award-winning designer and a recognized innovator in the builder and developer community. Under her leadership, TRIO has received more than 50 Awards in the past five years, including both Detached Community of the Year and Master Planned community of the Year at NAHB's The Nationals in 2019.In 2019 Angela launched her own lifestyle brand, which includes an innovative furniture line with Phillips Collection and a successful tile line with TileBar, which can now be found at Home Depot and Wayfair.Listen in as Angela looks back on her 20-year career and how she was able to marry her passion for creativity and entrepreneurship to become what is now TRIO Design.She describes why wellness is such a huge component of TRIO's company culture, as well as how her team of 95 has become so effective at managing complex projects, from two office locations to boot.Brought to you by Pella Windows & DoorsTopics Discussed: [01:42] All about TRIO's Wellness Week and how it has impacted the company culture[08:36] Managing Wellness Week while working in a very demanding industry[12:32] How leadership works at TRIO with its team of 95[17:51] How TRIO handles logistics when working on a project[21:40] Navigating the challenges that come with an acquisition[28:43] Coming up with the values that set TRIO apart[31:45] Where Angela got her intense drive to succeed[34:42] Maintaining the company's vision while continuing to innovate and optimize[40:06] Where Angela developed her passion for design and confidence as a designer[44:56] The elements of great design and the best way to work with clients[47:19] Other ways TRIO promotes wellness and all about the DO GOOD initiative[53:21] How Angela manages the dynamic of two officesConnect with Guest:WebsiteInstagramFacebookLinkedInConnect with Brad Leavitt: WebsiteInstagramFacebookHouzzPinterestYouTubeKey Quotes from Episode:A failure for one is a failure for all and a success for one is a success for all. Especially now, with all the challenges that we're seeing in our industry, [...] my philosophy or strategy as CEO of TRIO is, “Hey, we're going to take care of our people first so that our people take care of our clients and industry partners.”I love to say, “We are a creative firm.” And that doesn't mean just from a design perspective: Our business people are just as creative as our creative staff and it takes everybody to have that open mind to constantly problem-solve and just be creative in every aspect of the organization.I've never been fond of the slogan, “It takes a village.” It takes so much more than just a village. It takes a group of stakeholders coming around the table that share the same vision and have the same values, coming together time and time again to solve for the challenges and to celebrate the wins.We didn't just want to be a creative partner. We wanted to be a business partner.I think what makes great design is being able to understand our consumer, where the consumer is going, and the demands of the consumer—and then marrying that with unlimited creativity and being able to tell that story.We do so much more than design: We create communities.

This Black History Month, Into America launches Harlem on My Mind, a series that follows four figures from Harlem who defined Blackness for themselves and what it means to be Black in America today.The story begins in December, when host Trymaine Lee acquires something he coveted for years: a numbered print titled Schomburg Library by American icon Jacob Lawrence. The print came with a handwritten dedication to a man named Abram Hill. Who was Abram Hill? How did he know Jacob Lawrence? Did their paths cross at the famed Schomburg Library?What follows is a journey of discovery, through conversations with friends, historians and experts, to understand the interconnected lives of Black creators in and around the Harlem Renaissance. And it starts with Jacob Lawrence, a child of the Great Migration who was nurtured by the great artists and ideas of the period. Two women who knew Lawrence well, art historian Dr. Leslie King-Hammond and artist Barbara Earl Thomas, reflect on his life, death and contributions to Black culture.Special thanks to the Phillips Collection in Washington, DC and the Los Angeles County Museum of Art. Thoughts? Feedback? Story ideas? Write to us at intoamerica@nbcuni.com Further Reading and Listening:“The World of Jacob Lawrence:” Keynote Address by Dr. Leslie King-HammondA Seattle artist cuts through the chaos of the pandemicAn Interview with Jacob Lawrence