Podcasts about pollock krasner foundation

Margaret Cogswell- In Mother's yukata, giving presentation on my work in Japanese at the opening for my mixed media installation- Karasu to Issyoni Kaerimasyo: A River of Memories in Ichinomiya, Japan- 8/24/2024. Margaret Cogswell is a mixed-media installation artist residing in West Shokan, New York. Cogswell is the recipient of numerous awards, including the John Simon Guggenheim Memorial Foundation Fellowship (2009),  Pollock-Krasner Foundation (2017-18, 1991 & 1987) and the New York Foundation for the Arts (2007, 1993). Cogswell's most recent project (2024), “ Karasu to Issyoni Kaerimasyo:  A River of Memories”, was made possible by a generous grant from The Tree of Life Foundation. Cogswell was born in Memphis, Tennessee, and raised in Japan where she lived until she was 13 years old. Since 2003, the main focus of Cogswell's work has been an ongoing series of RIVER FUGUES projects exploring the interdependency of people, industry and rivers. RIVER FUGUES began in Cleveland, Ohio with Cuyahoga Fugues, a mixed-media installation inspired by and incorporating generations of stories reflecting the life and dreams embodied by the Cuyahoga River.  Expanding on this idea, Moving the Waters: Ashokan Fugues was created for a solo exhibition at the Cue Art Foundation in NYC in 2014, and re-created in 2016 for a solo exhibition at the Kleinart /James Center for the Arts, Woodstock, NY. RIVER FUGUES have been commissioned by museums and art centers for exhibitions nationally and internationally including  Moving the Water(s):  Croton Fugues, at Mid-Manhattan Library of New York Public Library, in New York, NY ( solo 2017); Water Soundings, for the Zendai Zhujiajiao Art Museum, China (solo 2014);  Wyoming River Fugues at the Art Museum, University of Wyoming, Laramie (solo 2012);  Hudson River Fugues at Tang Museum, Skidmore College, Saratoga Springs, NY, (group 2009-2010); River Fugues for a traveling group exhibition at the BOZAR Centre for Fine Arts, Brussels, Belgium (2007), the Monaco Ministry of Culture (2008) and Chicago Field Museum (2009); Mississippi River Fugues, Art Museum, University of Memphis, Tennessee (solo 2008); Buffalo River Fugues at Hallwalls Contemporary Arts Center, Buffalo, NY (solo 2006); Hudson Weather Fugues at Wave Hill, NYC (group 2005), and Cuyahoga Fugues at SPACES Gallery, Cleveland, Ohio (solo 2003). All RIVER FUGUES mixed-media installation projects include a parallel body of works on paper. Recent exhibitions of such works include In the Elements at Kentler International Drawing Space in Brooklyn, NY (2022);  Fragile Rainbow at Williamsburg Art and Historical Center, Williamsburg, NYC, NY (2022).  Upcoming in March, 2023, Cogswell's work will be included in an exhibition titled This Earth at the Concord Center for the Visual Arts (Concord, Massachusetts) for artists who were awarded residencies at the Montello Foundation in the Great Basin of Nevada in 2022. Margaret Cogswell, Karasu to Issyoni Kaerimasyo: A River of Memories (2024)Mixed-media installation: sunset “painted” with tulle; river= fishing nets over wire fencing mesh; LED candles on river; fishing nets on floor; black shadow on veneer board; fishing pole with bamboo & wire; photo in white fishing net; grey acrylic ground cloth on walls & bamboo structure; crows painted with sumi on washi paper stitched onto tulle and stretched over bamboo circle frame. Margaret Cogswell, Karasu to Issyoni Kaerimasyo: A River of Memories (2024) Detail of photo of artist at 4 years old with playmate in swing in hometown of Marugame, Japan. Margaret Cogswell, Departing - Fearlessly Buoyant (2024) Collaged watercolor, sumi ink, acrylic ink & color pencil on paper. 26” x 47” (unframed dimensions)

Raquel Rabinovich is a New York-based, Argentinian-American artist known for her monochromatic paintings and drawings as well as for her large-scale glass sculpture environments and her site-specific stone sculpture installations along the shores of the Hudson River. Born in Buenos Aires in 1929, she has lived and worked in the United States since 1967, currently residing in Rhinebeck, NY. Rabinovich has been the recipient of numerous grants and fellowships, including the 2011-2012 Lee Krasner Award for Lifetime Achievement from The Pollock-Krasner Foundation. She is included in the Oral History Program of the Smithsonian Institution Archives of American Art. Raquel Rabinovich, Avatars 1, 2022 Ink wash, pastel, and colored pencil on Essindia paper 14 x 20 in. Raquel Rabinovich, Avatars 2, 2023, Oil, wax, and colored pencil on canvas, 30 x 48 in. Raquel Rabinovich, Avatars 3, 2023, Oil, wax, and colored pencil on canvas, 30 x 48 in.

On Season 4, Episode 9 of The Art Career, Emily sits down with Jane South in her Brooklyn loft overlooking the Brooklyn Bridge. Born in Manchester, UK, Jane South worked in experimental theater before moving to the United States in 1989. Solo exhibitions include Halfway Off (2023) and Switch Back (2020) at Spencer Brownstone Gallery, Floor/Ceiling (2013) at the Aldrich Contemporary Art Museum, CT; Box (2011), Knoxville Museum of Art, TN. Recent group exhibitions include Come A Little Closer (2023), DC Moore Gallery, New York; Augurhythms (2022) Hesse Flatow, New York; Maquette (2022); No Show Space, London, UK; Dance with Me (2019); Zürcher Gallery, New York, Invitational Exhibition of Visual Arts (2019) at the American Academy of Arts & Letters, New York. Southʼs work has been reviewed in the Brooklyn Rail, The New York Times, The LA Times, Artforum, Art in America, Sculpture Magazine, New York Magazine, Frieze, ArtNews, and The New Yorker. She is represented by Spencer Brownstone Gallery, New York. Awards include the Guggenheim Fellowship (2021), Brown/RISD Mellon Foundation Fellowship (2015), Joan Mitchell Foundation Painters and Sculptors Grant (2009), Pollock-Krasner Foundation (2001 & 2008), and a New York Foundation for the Arts Fellowship (2007). Residencies include Camargo Foundation, Cassis, France (2010); Dora Maar House, Ménerbes, France (2022 & 2010); Rockefeller Foundation Bellagio Center, Italy (2008); MacDowell Colony, NH (2002 & 2004); Yaddo, NY (2001 & 2002). In 2018, South was elected to the National Academy of Design. She is currently Chair of Fine Arts at Pratt Institute, New York. theartcareer.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Jane South: ⁠@janesouth Pratt Institute: @prattfineart Follow us: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@theartcareer⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Podcast host: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@emilymcelwreath_art⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Editing: ⁠⁠⁠⁠⁠⁠⁠⁠@benjamin.galloway⁠   https://spencerbrownstonegallery.com/artists/south-jane

Bridget Riley is a British artist who was born in 1931 and lives in London, UK. The National Gallery has 15 works of art by Riley in its collection, including the new acquisition Dancing to the music of time 2022. In this episode of Artists' Artists, host Jennifer Higgie visits Riley in her London home to talk about four works of art from the national collection that mark seminal moments in the artist's career. To find out more visit www.nga.gov.auArtworks Discussed: Howard Taylor, No horizon 1994, National Gallery of Australia, Kamberri/Canberra, purchased 1997 © Howard H. Taylor EstateBridget Riley, Gamelan 1970, National Gallery of Australia, Kamberri/Canberra, purchased 1971 © Bridget Riley 2022. All rights reservedGeorges Seurat, Study for Le Bec du Hoc, Grandcamp 1885, National Gallery of Australia, Kamberri/Canberra, purchased from proceeds of The Great Impressionists exhibition 1984Jackson Pollock, Blue poles 1952, purchased 1973 © Pollock-Krasner Foundation. ARS/Copyright Agency Hosted on Acast. See acast.com/privacy for more information.

EPISODE 1824: In this KEEN ON show, Andrew talks to Nora Krug, author of DIARIES OF WAR, about the contrasting realities of a Ukrainian journalist and a Russian artist in the first year of the Russian invasionNora Krug is a German-American author and illustrator whose drawings and visual narratives have appeared in newspapers, magazines and anthologies internationally. Her illustrations have been recognized with gold and silver medals by the Society of Illustrators and the NY Art Directors Club. Krug is a recipient of fellowships from Fulbright, the John Simon Guggenheim Memorial Foundation, the Pollock-Krasner Foundation, the Maurice Sendak Foundation, and others. Her books are included in the Library of Congress and the Rare Book and Manuscript Library at Columbia University. Krug was named Moira Gemmill Illustrator of the Year and 2019 Book Illustration Prize Winner by the Victoria and Albert Museum. Her visual memoir Belonging: A German Reckons with History and Home (Scribner, 2018, foreign edition title Heimat), about WWII and her own German family history, was chosen as a best book of the year by the New York Times, The Guardian, NPR, Kirkus Review, the San Francisco Chronicle, and the Boston Globe. It was the winner of the 2018 National Book Critics Circle Award, the Lynd Ward Graphic Novel Prize, the Art Directors Club gold cube and discipline winner cube, the Society of Illustrators silver medal, and the British Book Design and Production Award, among others. Her collaboration with historian Timothy Snyder, a graphic edition of On Tyranny: Twenty Lessons from the Twentieth Century (Ten Speed Press, 2021), was named a Best Graphic Novel of 2021 by the New York Times, a New York Times Editor's Choice, one of Germany's Most Beautiful Books of 2022 and won a gold medal from the Society of Illustrators. Diaries of War, her Pulitzer Prize-nominated book of graphic journalism that chronicles the contrasting experiences of a Ukrainian journalist and a Russian artist, both grappling with the realities of Russia's renewed invasion of Ukraine in 2022, won the Oversea's Press Club's Best Cartoon Award runner-up citation. Her visual biography, Kamikaze, about a surviving Japanese WWII pilot, was included in Houghton Mifflin's Best American Comics and Best Non-Required Reading, and her animations were shown at the Sundance Film Festival. Krug is Associate Professor of Illustration at the Parsons School of Design in New York City. Prior to her professorship at Parsons, Krug served as a Professor of Illustration at Muthesius University of Fine Arts and Design in Kiel, Germany. She holds a B.A. Honours degree in Performance Design from the Liverpool Institute for Performing Arts, a Diplom in Visual Communications from the University of Arts Berlin, and an M.F.A. in Illustration as a Visual Essay from the School of Visual Arts in New York.Named as one of the "100 most connected men" by GQ magazine, Andrew Keen is amongst the world's best known broadcasters and commentators. In addition to presenting KEEN ON, he is the host of the long-running How To Fix Democracy show. He is also the author of four prescient books about digital technology: CULT OF THE AMATEUR, DIGITAL VERTIGO, THE INTERNET IS NOT THE ANSWER and HOW TO FIX THE FUTURE. Andrew lives in San Francisco, is married to Cassandra Knight, Google's VP of Litigation & Discovery, and has two grown children.

Extremely thrilled to have the inimitable and infinitely wise #real_one, artist Judy Glantzman, on the podcast this week. We cover her artistic beginnings in the East Village scene of the 80's (buckle up for some great stories), the vibrant multidisciplinary work coming out of her Upstate NY studio today, and everything in between. Also, don't miss her incredible philosophies about making art sprinkled throughout, and her essential tips for beating Artist's block. Judy is a painter, collage artist and sculptor and has been awarded grants from the Guggenhein Foundation, NYFA-NYSCA, Pollock Krasner Foundation and Anonymous Was a Woman. She is also an educator (RISD, Pratt, NYSS, etc.) and is open to artists who need some online feedback-just dm her at the IG below. Judy Glantzman is represented by Betty Cuningham Gallery in NYC. Also, find her on IG @judyglantzman Works Mentioned: The Pier (Abandoned Pier 34 in NYC) 1983-84 "The Missing Children Show" group mural installation with 5 other artists, incl David Wojnarowicz, in an abandoned factory building in Louisville, KY 1985 "Judy Glantzman Cuts Up Her Friends" 1985 exhibition of cut-out portraits at Steven Adams Gallery "A Valentine for Lila" 2006 "She Juggles" 2006 "After Donatello" 2015 "Dark Prayer" 2016 "Reach" 2017 "Dawn Clements" 2019 More reading/links: Essay "Judy Glantzman on Obituaries and Shadows | Art in Isolation" Painters on Painting blog 2020 Judy Glantzman interviewed on Beer with a Painter w/ Jennifer Samet for Hyperallergic blog Hyperallergic article by Allison Meier with photos of The Pier David Finn's photos of The Pier Press kit from The Missing Children Show 1985 Louisville Andreas Sterzing's photos of The Pier 1983-84 Artists mentioned: David Wojnarowicz, Mike Bidlo, John Fekner, Gordon Matta Clark, David Finn ("Masked Figures"), Kiki Smith, Huck Snyder, Peter Hujar Andreas Sterzing (photographer who documented the Pier), Charles Garabedian ("September Song," 2001 - 2003), Jacques Louis David, Francisco de Goya, Pablo Picasso ("Guernica"), Winslow Homer ("Dressing for the Carnival" 1877), Donatello, Charles Burchfield, Edgar Degas ("Little Dancer Aged 14" 1881), plus East Village galleries Civilian Warfare and Gracie Mansion Judy's Artist's Block Blockers (as summarized by Amy and her irrepressible need to be pithy): 1. Seed Theory (every part of a piece is a seed!) 2. Make a Doodle Painting *or* Make a Garbage Painting 3. Bravery Lives in the Living Room (and often in a basket!) 4. Nosy Nextdoor Neighbors 5. Be a Bad Art Student 6. Silly Geese Wear Paper Crowns 7. Your Work is Not Your Own 8. If You Think It, You Have to Make It 9. The Road to Freedom is Paved With Repetition (hot off the presses! in this ep!) Thank you, Judy! Thank you, Listeners! See you next time. ---------------------------- Pep Talks on IG: ⁠⁠@peptalksforartists⁠⁠ Pep Talks on Art Spiel as written essays: ⁠⁠https://tinyurl.com/7k82vd8s⁠⁠ Amy's Interview on Two Coats of Paint: ⁠⁠https://tinyurl.com/2v2ywnb3⁠⁠ Amy's website: ⁠⁠https://www.amytalluto.com/⁠⁠ Amy on IG: ⁠⁠@talluts⁠⁠ ⁠⁠BuyMeACoffee⁠⁠ Donations appreciated! --- Send in a voice message: https://podcasters.spotify.com/pod/show/peptalksforartistspod/message Support this podcast: https://podcasters.spotify.com/pod/show/peptalksforartistspod/support

Laura Splan is a transdisciplinary artist working at the intersections of science, technology, and culture. She creates conceptually layered and carefully crafted artworks that explore the sublime complexity of the biological world while unraveling entanglements of natural and built systems. Her research-driven projects connect hidden artifacts of biotechnology to everyday lives through embodied interactions and sensory experiences. Recent exhibitions have included immersive installations, networked devices, and tactile sculptures. Splan often engages audiences with themes in her work through companion programming, including participatory workshops covering laboratory techniques, specialized software, and textiles methods that she uses in her own studio practice. Her artworks exploring biomedical imaginaries have been commissioned by the Centers for Disease Control Foundation and the Bruges Triennial. Her work has been exhibited at the Museum of Arts & Design, Pioneer Works, and New York Hall of Science and is represented in the collections of the Thoma Art Foundation, the Chan Zuckerberg Initiative, NYU's Langone Art Collection, and the Berkeley Art Museum. Reviews and articles including her work have appeared in The New York Times, Wired, Discover, designboom, American Craft, and Frieze. Splan's research and residencies have been supported by the Jerome Foundation, Institute for Electronic Arts, Harvestworks, the Knight Foundation, and the Pollock-Krasner Foundation. In this episode, Laura and I discuss where art and science meet, Sticky settings in software and DNA, the relationship between learning and teaching, the presence of sound, early memories of where her art practice began and where it stands now. --- Support this podcast: https://podcasters.spotify.com/pod/show/ongoingness/support

Kyle Dunn lives and works in Brooklyn, NY and received his BFA in Interdisciplinary Sculpture from the Maryland Institute College of Art, Baltimore, MD. His work has been included in exhibitions at P·P·O·W, New York, NY; Marlborough Gallery, London, UK; GRIMM, Amsterdam, the Netherlands; and Maria Bernheim, Zurich, Switzerland; among others. He is the recipient of grants from The Elizabeth Greenshields Foundation and The Pollock-Krasner Foundation, and his work is in the collections of the Fondazione Sandretto Re Rebaudengo, Turin, IT; Museum of Contemporary Art, Miami, FL; the Sunpride Foundation, Kowloon, Hong Kong; Pond Society, Shanghai; and X Museum, Beijing, China.

In this episode with artist Daniel Zeller, we talked about the inherent unity between the macro and micro cosmic scales of reality. We talked about natural systems and how we can visualize the interdependent nature of life. We touched on psychedelics and the importance those compounds might hold in our evolution.  We also dove into Daniel's creative process, meditation, and how visual art can function in ways that language seems to fall short. ----------------------  Daniel Zeller earned his MFA in Sculpture from the University of Massachusetts in Amherst and a BFA in sculpture from the University of Connecticut in Storrs, though he is now known for his abstract, labor intensive drawings. He has had solo exhibitions at Pierogi in NYC, Daniel Weinberg in Los Angeles, G-Module in Paris, and Michel Soskine Inc., in Madrid. His work has been included in group exhibitions both in the states and internationally, and is included in the collections of MoMA, the Morgan Library, and the Whitney in NYC, LACMA and the Museum of Contemporary Art in Los Angeles, NASA and the National Gallery in DC, the Albright-Knox Gallery in Buffalo, The Arkansas Arts Center in Little Rock, the Portland Art Museum in Oregon, among others. He has been awarded a Pollock Krasner Foundation grant and a Civitella Ranieri fellowship, and has an MTA permanent installation at the Bay 50th stop on the D line. He currently lives and works in NYC. http://www.danielzeller.net https://hyperallergic.com/448218/daniel-zeller-recent-drawings-pierogi-2018/ https://fac.umass.edu/Online/default.aspBOparam::WScontent::loadArticle::permalink=HGZeller&BOparam::WScontent::loadArticle::context_id= https://www.pierogi2000.com/artists/daniel-zeller/ https://www.soskine.com/artists/daniel-zeller https://whitehotmagazine.com/articles/2008-daniel-zeller-pierogi-brooklyn/1466 See More from Martin Benson *To stay up on releases and content surrounding the show check out ⁠⁠my instagram⁠⁠ *To contribute to the creation of this show, along with access to other exclusive content, consider joining ⁠⁠my Patreon⁠⁠! Credits: Big Thanks to Matthew Blankenship of ⁠⁠The Sometimes Island ⁠⁠ for the podcast theme music! --- Support this podcast: https://podcasters.spotify.com/pod/show/martin-l-benson/support

Born in Manchester, England, Jane South worked in experimental theater before moving to the United States in 1989. She has a BFA in Theater from Central St. Martins, London, UK, and an MFA in Painting & Sculpture from UNC Greensboro. Solo exhibitions include Shifting Structures: Survey (2019), Mills Gallery, Central College, Pella, IA; Raked (2014), Spencer Brownstone Gallery, NY; Floor/Ceiling (2013), Aldrich Contemporary Art Museum, CT; Box (2011), Knoxville Museum of Art, TN and Shifting Structures: Stacks (2010), the New York Public Library, NY. Selected group exhibitions include the Invitational Exhibition of Visual Arts at the American Academy of Arts & Letters, NY, SLASH: Paper Under the Knife, Museum of Arts & Design (MAD), NY; Burgeoning Geometries: Constructed Abstractions, Whitney Museum of American Art, Altria; The Drawing Center, NY; Williams College Museum of Art, Williamstown, MA; Albright-Knox Art Gallery, Buffalo, NY, Pennsylvania Academy of Fine Arts, Philadelphia, PA and the Baltimore Museum of Art, MD. Southʼs work has been reviewed in The New York Times, the LA Times, Artforum, Art in America, Sculpture Magazine, New York Magazine, Frieze, ArtNews, NY Arts Magazine, and The New Yorker. She is a contributor to the book “The Artist as Cultural Producer: Living and Sustaining a Creative Life” (editor: Sharon Louden). Grants and residencies include the Guggenheim Fellowship (2021); Brown/RISD Mellon Foundation Fellowship (2015); Joan Mitchell Foundation Painters and Sculptors Grant (2009); Dora Maar House, Menérbes, France (2010); Camargo Foundation, Cassis, France (2010); Pollock-Krasner Foundation (2001 & 2008); New York Foundation for the Arts (2007); Rockefeller Foundation Bellagio Center, Italy (2008); MacDowell Colony, NH (2002 & 2004); Yaddo, NY (2001 & 2002). In 2018 South was elected to the National Academy of Design. Jane South is currently Chair of Fine Arts at Pratt Institute.

Jennifer Paige Cohen lives and works in Brooklyn, NY. She has been the subject of solo and two-person exhibitions at The Pit, Los Angeles; The Saint-Gaudens Memorial, New Hampshire; Rachel Uffner Gallery, New York; Salon 94, New York; and White Columns, New York. Group exhibitions include Petzel Gallery, Regina Rex, PPOW, Creative Time, The Elizabeth Foundation, Casey Kaplan and Public Art Fund, all New York, NY; Aldrich Contemporary Art Museum, Ridgefield, CT; September Gallery, Hudson, NY; Kate MacGarry, London, UK; and Thaddeus Ropac, Salzburg, Austria, among numerous others. Jennifer holds an MFA in Sculpture from the Yale University School of Art. She has received grants and fellowships from Café Royal Cultural Foundation, Saint-Gaudens Memorial, Pollock-Krasner Foundation, MacDowell, The Corporation of Yaddo, The Marie Walsh Sharpe/Walentas Space Program, Civitella Ranieri and the Chinati Foundation.  Untitled (self-portrait), clothing scraps, plaster, plaster gauze, fabric collage, zipper, watercolor, 23”H x 14”W x 16”D, 2022 Untitled, clothing scraps, plaster, plaster gauze, fabric collage, watercolor, 37 ½” x 14 ½” x 9”, 2022 Untitled, clothing scraps, plaster, plaster gauze, fabric collage, watercolor, 24 ½”H x 24”W x 23”D , 2022

Noah Jemisin, 2022 Noah Jemisin was born in Birmingham, AL and obtained an MFA degree from University of Iowa, in 1974. His extensive travels in Africa, Europe and  Asia over the years have helped him to develop an approach to life and art that enables him to synthesize into a distinct and dynamic whole the various components of his identity and create work that strives tomake meaning of his personal history as well as the ambiguities and contradictions of contemporary culture. There is a great deal of critical experience, of knowledge and admiration of art historical precedents in his work as well as an ever sensitive deftly balanced interaction between modernism's formal concern's with a belief in the emotive potential of painting. Solo exhibitions include Just Above Midtown Gallery (JAM), Bernice Steinbaum Gallery,  22 Wooster Gallery, Myungsook Lee Gallery, Minor Injury Gallery, Broadway Windows, all in New York City, Lattuada Studio,Milan, Italy, the Hillwood Art Museum, the College of Charleston (a retrospective) and the Oswego New York Museum. He is included in the exhibition Just Above Midtown: Changing Spaces, Museum of Modern Art, (MoMA), New York, October 9 , 2022 – February 18, 2023. JAM was an art gallery that welcomed artists and visitors of many generations and races in New York City from 1974 until 1986. A hub for Conceptual, abstraction, performance, and video, JAM expanded the idea of Black art and encouraged both critiques of and thinking beyond the commercialization of art. Upcoming solo exhibitions include Noah Jemisin: Paintings-1970s-1980s, Skoto Gallery, New York, October 13-November 26, 2022; and “Back to B'ham”, a survey exhibition at the Birmingham Museum of Art, Birmingham, AL.; Spring 2024. He is represented in numerous public and private collections including the Metropolitan Museum, New York, the Library of Congress, Washington DC, the Museum of Art at the University of Iowa, Montclair Museum of Art, Museum of Santa Fe, New Mexico and the Miami-Dade Public Library, Florida. Awards include New York Foundation for the Arts, the Pollock-Krasner Foundation, a travel grant from Arts International, Artist in Residence at The Studio Museum in Harlem and The Bronx River Art Gallery, Bronx, New York. The Immortality Of The Human Soul, Nyame Nwu Mawu I, 2021, acrylic, gouache on canvas Maiden Bathers, 1985, Encaustic on canvas, 54x36 inches  

Ann McCoy is a New York-based sculptor, painter, and art critic, and Editor at Large for the Brooklyn Rail. She was awarded a John Simon Guggenheim Foundation Fellowship in 2019. She taught art history, the in the graduate design section of the Yale School of Drama until May 2020, and the Art History Department at Barnard College from 1980 through 2000. Ann McCoy' work is included in the following collections: the Metropolitan Museum of Art, the Los Angeles County Museum of Art, the Hirshhorn Museum and Sculpture Garden, the Museum of Modern Art, the National Gallery of Australia, the Roy L. Neuberger Museum, the San Francisco Museum of Modern Art, and the Whitney Museum of American Art, among others. Ann McCoy has received the following awards: the John Simon Guggenheim Fellowship, the Asian Cultural Council, the Pollock Krasner Foundation, the Adolph and Esther Gottlieb Foundation Award, the Award in the Visual Arts, the Prix de Rome, the National Endowment for the Art, the Berliner Kunstler Program D.A.A.D.. Ann McCoy worked with Prof. C.A. Meier, Jung's heir apparent for twenty-five years in Zurich She has studied alchemy since the early seventies in Zurich, and Rome at the Vatican Library. The Death of My Father, 2012, pencil on paper on canvas, 9 by 14 ft. photo credit : Peter Dressler The Wolf Tongue Mill, 2022, 9 by 14 ft. pencil on paper on canvas

This week on The Mohua Show, we have Saba Hasan.Saba Hasan is an award-winning artist with a body of work ranging from paintings, book sculptures, photographs to videos and sound. She is the recipient of the 2022 individual art grant from the prestigious Pollock-Krasner Foundation, New York.In today's episode, Saba delves deep into the notions of art and how she blends different mediums of art forms to explore the philosophical, conceptual and political ramifications of the ideas of truth.Art, as she says, is a way of liberating oneself from the confines of societal constructs and creating one's own space that leads to deeper truths.The Mohua Show:Instagram: @themohuashowFacebook: @themohuashowYoutube: @themohuashowTwitter: @themohuashowLinkedin: @themohuashowDisclaimer: The views expressed by our guests are their own. We do not endorse and are not responsible for any views expressed by our guests on our podcast and its associated platforms.

Artist Judith Braun didn't know the process she used as a child to overcompensate for feeling left out would become her framework for how to accomplish anything, especially how to thrive as a professional artist. In this week‘s episode, she shares how she has used freedom through discipline to create both stunning work, a successful art career in NYC and a fulfilling life.  Hear how you can apply her strategy to creating anything: artwork, your to do list or your legacy. She believes to cultivate more presence in your life and participate in the world around you more fully it's best to choose a few constraints to work within. Find out how an annual Tarot spread in 2003 changed the course of Judith's life and why deciding what you want (even in the broadest sense) and setting goals can give you the clarity you need to move forward…at least the first step. We discuss permission; why giving it to yourself is a daily requirement and how it sparked the evolution of her impressive thumbprint wall installations.  Learn what it means to be a professional artist, leave a creative legacy, to declare one's place in the history books and to contribute to this era of humanity.  Judith is wisdom filled, inspiring and no nonsense about living a creative life with no regret. You'll love her kind and honest approach to making your mark.  What we further explore in this conversation: Why competitiveness might be just what you need. How much courage and playfulness do you need to be an artist?Why artists may change what aging looks like as the 60's generation gets olderand more … Enjoy!  Connect with Judith Braun here: Website:: judithbraun.comInstagram:: https://www.instagram.com/judithannbraun/ Quick note, I just want to say thank you for listening to this episode. I know it means a lot to myself and my guests.  If you enjoyed this episode, you will also like: Episode #02: Gay Hendricks: Living from your Zone of Genius Episode #20: Alisa Barry: Curating a Beautiful Life Episode #31: Candita Clayton:The Prosperous Artist Paradigm Here, you'll discover even more deep wisdom and practical tools to be more present to your life and create what's next. Learn more about me, Robyn Ivy: https://www.robynivy.com/https://www.instagram.com/robynivy/https://www.facebook.com/robynivy/ What can you do to support this channel? Subscribe, every new listener counts to us!Engage, we are a community who supports each otherLeave a review, let us know what you thinkShare, know others who may get some value - then share out channel MORE ABOUT JUDITH BRAUN: Judith Braun was born in 1947, in Albany, NY. She did her undergrad at Fashion Institute of Technology, in NYC, and then received her MA and MFA from the University at Albany in 1983. Her goal was to show her art work in NYC within 5 years, and according to her plan she did that in 1988, with the popular collaborative, Group Material. After she moved to New York City more shows followed, including the notorious Bad Girls show at the New Museum of Contemporary Art. Then in 1995 Braun took a hiatus from the artworld to handle personal and financial matters. In 2003 she decided to try returning to her art career, with a 3 year plan this time, and she succeeded. Since 2004 her work has been widely exhibited throughout the US and abroad. Her current solo show, My Pleasure, at Opalka Gallery, in Albany, NY, is on view through April 23, and has been reviewed in the Brooklyn Rail and Schenectady Gazette, along with several radio interviews. In May, she will participate in 11 Women of Spirit, at Zürcher Gallery, in NYC. Braun is a recipient of artists' grants from the Pollock Krasner Foundation and the Adolph and Esther Gottlieb Foundation among others.

Untitled Collage 2 John J. O'Connor was born in Westfield, MA and received an MFA in painting and an MS in Art History and Criticism from Pratt Institute in 2000. He attended The MacDowell Colony, the Skowhegan School of Painting and Sculpture, was a recipient of New York Foundation for the Arts Grants in Painting and Drawing, the Pollock-Krasner Foundation grant, and the Marie Walsh Sharpe Foundation Studio residency. John has been in numerous exhibitions abroad, including The Lab (Ireland), Martin Asbaek Gallery (Denmark), Neue Berliner Raume (Germany), Rodolphe Janssen Gallery (Brussels), the Louhu District Art Museum (Shenzhen, China), TW Fine Art (Australia); and in the US at Andrea Rosen Gallery, Pierogi Gallery, Arkansas Arts Center, Weatherspoon Museum, Ronald Feldman Gallery, Marlborough Gallery, White Columns, the Museum of Contemporary Art in Baltimore, the Queens Museum, and the Tang Museum. His exhibitions have been reviewed in Bomb Magazine, The New York Times, Artforum, the Village Voice, Art Papers, the Brooklyn Rail, and Art in America. John presented his work in discussion with Fred Tomaselli at The New Museum, and his work is included in the collections of the Museum of Modern Art, Whitney Museum of American Art, Weatherspoon Museum, Hood Museum, Southern Methodist University, and the New Museum of Contemporary Art. A catalogue spanning 10 years of John's work was published by Pierogi Gallery with essays by Robert Storr, John Yau, and Rick Moody. He teaches at Sarah Lawrence College. The upcoming shows mentioned in the interview will be at False Flag Gallery and Pierogi Gallery. O'Connor also has a 2-person show upcoming at Pazo Fine Art. The books referenced in the interview were Daniil Kharms, "Today I Wrote Nothing" and Antonio Damasio, "Feeling and Knowing." "I Shot," 82.25 x 70.25 inches, colored pencil and graphite on paper, 2020 "Charlie (Butterfly, day 3)," 86 X 70 inches, colored pencil and graphite on paper, 2018

Anna Conway was born in 1973 in Durango, Colorado. She received her BFA from the Cooper Union for the Advancement of Science and Art and later received her MFA from Columbia University School of the Arts. Conway is the recipient of two awards from the Pollock-Krasner Foundation (2005 and 2011), the William Metcalf Award from the American Academy of Arts and Letters (2008), and the John Simon Guggenheim Fellowship (2014). Recent solo exhibitions include Anna Conway, Fergus McCaffrey, New York; Anna Conway: Purpose, Collezione Maramotti, Reggio Emilia, Italy; Anna Conway, American Contemporary, New York; and Anna Conway, Guild & Greyshkul, New York. Recent group exhibitions include In My Room, Fralin Museum of Art, Virginia; The Last Brucennial, Bruce High Quality Foundation, New York; Uncharted, University Art Museum, State University of New York, Albany; Invitational Exhibition of Visual Arts, American Academy of Arts and Letters, New York; and Greater New York, P.S. 1 Contemporary Art Center, Long Island City. She lives and works in New York.

A painter and arts writer, Sharon Butler is widely known as the founder of Two Coats of Paint, a project which includes an influential art blogazine about painting, an artists' residency, online conversations, a small press, and other initiatives. Her geometric abstractions, which explore the tension between digital and handmade, and are based on drawings that she makes in a phone app. Solo painting exhibitions in 2016, 2018, and 2021 at Theodore Gallery were written about in Hyperallergic, artcritical, The New Criterion, The James Kalm Report, Time Out New York, and New York Magazine. In a review of her 2021 solo, artist-critic Laurie Fendrich called her work “beautiful and grittily compelling” and suggested that “the future of abstraction will be owned by those who accept a post-compositional approach to their paintings. Right now, Sharon Butler has the best of both worlds.”  She has received awards and residencies from Creative Capital and the Warhol Foundation, Connecticut Comission on the Arts, Connecticut State University, Pollock Krasner Foundation, Yaddo, Blue Mountain Center, Pocket Utopia, and Counterproof Press. Sharon has served as a lecturer and/or Visiting Artist/Critic at many notable art programs and organizations, including Brown University, Cornell University, Vermont Studio Center, Penn State, Pennsylvania Academy of the Fine Arts, the Art Institute of Chicago, the Hoffberger School of Painting(MICA), School of Visual Arts, and Parsons School of Desgin. She currently teaches in the MFA programs at the New York Academy of Art and the University of Connecticut. Sharon Butler, Baselitz (2021) oil on canvas, 52x45 inches Sharon Butler, Quarto, May 10, 2019 (2021) oil on canvas, 52 x 45 inches Sharon Butler, Trade Painting-- November 19, 2019 (2020) oil on canvas, 12 x12 inches

Hi. I'm Bianca Vinther. This is an art talk that I had with William Eckhardt Kohler live on Wednesday, the 12th of January 2022. William is a full-time painter and, occasionally, an art writer based in Chicago. He's also a winner of the prominent Pollock-Krasner Foundation Grant (PKF Grant). We mainly spoke about his parcours as an artist, his multi-faceted work, his approach to artistic creativity, art inspiration and artist block, the creative process in his studio and beyond, and the concept of inner transformation (personal, emotional, spiritual), which is central to his personal development and the art he makes. We ended the interview with a short discussion about the Pollock-Krasner Foundation Grant he was awarded in 2020. I kindly asked William to give you some tips on how to apply for funding with the Pollock-Krasner Foundation to create new artworks, purchase needed materials, or pay for your studio rent. Via The Pointless Artist's ART TALKS & The Pointless Artist Blog, I support the creative energy of life and the artists who contribute to transforming this world into a freer, kinder, more inclusive, caring, transparent, and compassionate place to live. I firmly believe in the passion for art, the importance of sharing knowledge and experiences, and the power of personal stories to bring us together. I hope that my interview with William will open a channel for you and transform you even if just for a moment ... www.thepointlessartist.com

Kurt Kauper was born in Indianapolis, Indiana in 1966, and raised in a suburb of Boston, Massachusetts. He received his BFA from Boston University in 1988, and his MFA from UCLA in 1995. He has lived in New York City for the past 20 years. His figure paintings of historical and imagined people tend to leave expectations unfulfilled, and elude simple categorization. In contradistinction to his clear and precise articulations of form, Kauper's content is characterized by indeterminacy, unintentionality, ambiguity, fluidity, destabilization, strangeness, amorality, uselessness, and neutrality. He's had solo shows at ACME Gallery in Los Angeles, Deitch Projects in New York City, and Almine Rech Gallery, New York. He has been included in numerous group exhibitions both in the United States and Europe, including venues such as the Whitney Museum of American Art in New York, The Pompidou Center in Paris, the Kunsthalle Vienna, and the Stedelijk Museum in Gent. He has received numerous awards, including grants from the Elizabeth Greenshields Foundation, the Louis Comfort Tiffany Foundation, and the Pollock Krasner Foundation. His work is included in the collections of The Museum of Modern Art, New York, The Whitney Museum of American Art, The Hammer Museum, The Oakland Museum of Art, the Weatherspoon Museum, and the Yale University Art Gallery. He has taught at The School of the Museum of Fine Arts, Boston, Yale University, Princeton University, and the New York Academy of Art. He is currently a Professor of Art at Queens College in New York City.

I had the amazing opportunity to chat with New York-based artist Clarity Haynes, known for her work with the Breast Portrait Project, a social practice project started in LGBTQ and feminist communities which feature a series of torso paintings.    Clarity Haynes is a queer feminist New York-based artist and writer whose painting practice centers on the body, queer feminist resistance, and the archive. Her work has been widely exhibited, including at Denny Dimin Gallery in New York, presented by New Discretions; the National Portrait Gallery in Washington, DC; The Pennsylvania Academy of the Fine Arts; Kniznick Gallery at Brandeis University; and Mana Contemporary in Jersey City, NJ.    Clarity has received awards from the Pollock-Krasner Foundation, the New York Foundation for the Arts, the MacDowell Colony, and the Corporation of Yaddo. Her work has been reviewed in ArtForum, the New York Times, Hyperallergic, and the New Yorker. She has also written about art for BOMB, The Brooklyn Rail, Hyperallergic and ArtNews.     LINKS:  https://clarityhaynes.com/home.html https://www.instagram.com/alesbiangaze/ https://twitter.com/clarityhaynes     Artists Mentioned:  https://www.suzanneschireson.com/ http://www.kccrowmaddux.com/ https://lizcollins.com/ https://calebyono.com/home.html     I Like Your Work Links: 2022 Grow Summit: https://www.tjwalshcoaching.com/growsummit Exhibitions Studio Visit Artists I Like Your Work Podcast Instagram Submit Work Observations on Applying to Juried Shows Studio Planner

WELCOME TO SEASON 2 OF ART FROM THE OUTSIDE!! We are so excited to kick off season two with the innovative artist Nari Ward! Originally from Jamaica; Ward works across a variety of media including: sculpture, installation, performance, photography and video. He is best known for his use of found-objects, such as baby strollers, cash registers and shoelaces, to compose sculptural installations that provoke complex thoughts regarding racism, poverty, and consumer culture. Ward earned a Bachelor of Fine Arts from City University of New York, Hunter College and a Master of Fine Arts from Brooklyn College. His work is included in the permanent collections of the Museum of Modern Art in New York; the Institute of Contemporary Art in Boston; the Museum of Contemporary Art in Los Angeles; and Crystal Bridges Museum of American Art in Bentonville, Arkansas - just to name a few. In addition, Ward is the recipient of numerous honors including the Fellowship Award from United States Artists; the Rome Prize from American Academy of Rome; and awards from the Pollock-Krasner Foundation and the National Endowment for the Arts - among many others. Some artists discussed in this episode: Piero Manzoni Mark Rothko Jacob Lawrence Romare Bearden David Hammons Howardena Pindell Lee Bontecou Melvin Edwards Betye Saar For images, artworks, and more behind the scenes goodness, follow @artfromtheoutsidepodcast on Instagram. Enjoy!

Anna Conway, New York, 2019 Anna Conway (b. 1973) first came to prominence in the 2005 group exhibition, Greater New York, at MoMA PS1, where her meticulously rendered paintings announced the arrival of a singular talent. Her stylistic development has emerged from spectacular and unpredicted encounters with natural forces beyond normal human experience, to a more anthropological and psychological exploration of the human condition. Conway's paintings are a testament to the continued relevance and fascination of the centuries-old tradition of realist painting—an archaic practice, which seems to grow only stronger with every passing year. She has exhibited extensively in the United States and Europe, and is the recipient of numerous accolades, including: the John Simon Guggenheim Fellowship (2014); the Pollock-Krasner Foundation (2011 and 2005); and the William Metcalf Award from the American Academy of Arts and Letters (2008). Anna Conway, Fishing for Minnows on the Back of a Whale, 2021. Oil on panel 45 x 68 x 2 inches (114.3 x 172.7 x 5.1 cm) © Anna Conway; courtesy of the Artist and Fergus McCaffrey Anna Conway, Ark, 2021. Oil on panel 45 x 68 x 2 inches (114.3 x 172.7 x 5.1 cm) ©Anna Conway; courtesy of the Artist and Fergus McCaffrey

Al papel llega suavemente el agua. Cada segundo la pintura abre un cauce mayor. No ocurre de golpe ni al mismo tiempo: es como un disparo de espuma que estalla lejos, se acerca, pasa, y va dejando huellas en la superficie blanca, el sonar de las garras de un lobo, la risa de Perséfone, un lago de sangre. En esta ocasión platicamos con la artista visual Alejandra Alarcón sobre lo dionisíaco en su obra, las reinterpretaciones de mitos y cuentos infantiles, las exploraciones en torno a la identidad femenina y la serie fotográfica “Muriendo en lugares importantes”. Mínimo Necesario te invita a conversar. Entrevistador: Alfonso Gómez Arciniega, director de Conversaciones Necesarias, maestro en Ciencia Política y candidato a doctor en Filosofía política por la Ruprecht-Karls-Universität Heidelberg, licenciado en Relaciones Internacionales por el ITAM y estudiante temporal de Lengua y Literatura Alemanas en la UNAM. Invitada especial: Alejandra Alarcón, artista visual, traficante de ideas, domadora de animales muertos, deja pasar la luz (con agua), finge que busca el par, aunque sabe muy bien dónde lo enterró, hace tumbas de gente viva en su diario y, últimamente, se dedica a morir en lugares importantes (a veces, también, en eventos importantes). Estudió Sociología en la Universidad Mayor de San Simón en Cochabamba y Artes Plásticas en la Escuela Nacional de Pintura, Escultura y Grabado “La Esmeralda” en la Ciudad de México. Ha participado en más de 80 exposiciones colectivas en México, China, Italia, Francia, España, Inglaterra, Polonia, Canadá, Estados Unidos de Norteamérica, Brasil, Perú, Chile, Colombia, Argentina y Bolivia. Entre sus exposiciones individuales sobresalen: “El libro de la sangre y de la leche” en el Museo Nacional de Arte (La Paz, Bolivia, 2018); “Alicia Reina de Corazones”, en la Galería Sicart (Barcelona, España, 2016) o “Sería lo mejor del mundo”, en la Galería Distrito 14 (Monterrey, México, 2013). Forma parte del Sistema Nacional de Creadores de Arte del FONCA, dentro la especialidad de Artes Visuales y es beneficiaria de la beca Pollock-Krasner Foundation. --- Support this podcast: https://anchor.fm/minimonecesario/support

Susan Mastrangelo was born and raised in New York City and Washington D.C. She studied at the Kansas City Art Institute and the New York Studio School, and received her MFA from Boston University under the tutelage of Philip Guston. Based in New York since graduate school, she has shown nationally and internationally, and is a recipient of a Mercedes Matter Award, a Rockwell Grant and two grants from the Pollock Krasner Foundation. She has been a visiting artist at the American Academy in Rome, a guest at Civitella Raneri, and a resident at Yaddo, The Virginia Center for the Creative Arts, The Ragdale Foundation, The Triangle Workshop (as a student of Anthony Caro), and the Tyrone Guthrie Center. For 27 years she taught and chaired the Art Department at the Buckley School in New York City, and now works as a full time multidisciplinary artist at the Can Factory in Gowanus, Brooklyn. High expectations, 2020, Knitting, cord filler, fabric, acrylic paint on wood panel, 60 x 48 inches. Not A Ghost Town, 2020, Knitting, cord filler, fabric, acrylic paint on wood panel, 60 x 48 inches.

Have you ever considered looking into your ancestry wondering if you would stumble upon something interesting? This episode is about discovering family secrets, one that pushes you to re-examine your existence and experiences. I'm honored that this week's guest on "Happiness through Hardship" - The Podcast, Jane Fine, bravely shares hers and to a degree mine, because we're related.  My bright and bigger than life, (though shorter than most,) Aunt Jane is a highly acclaimed, award-winning painter and teacher. A wildly smart and passionate conversationalist, her abstract art focuses on social and political themes, which has been exhibited nationally and internationally for over 20-years. Today's episode showcases her backstory, one she didn't know and only discovered recently by taking a genealogy test. Jane re-tells the story, which led her down a path of reexamination of past experiences, relationships with family, as well as her own identity. During this episode, Jane not only shares the background, she also talks about how she has continually navigated. While her art and creative avenue has been a tremendous help with coping, we barely touched upon her elaborate career. Recognized globally, Jane is famous in the art world, having been reviewed frequently in The New York Times, The New Yorker, New York Magazine and Art in America among other periodicals. She's also the recipient of several prestigious grants including the Pollock-Krasner Foundation, The New York Foundation for the Arts and The National Endowment for the Arts. In addition, she has been awarded world-renown fellowships and has been resident at The MacDowell Colony, Yaddo, The Fine Arts Work Center in Provincetown, The Millay Colony, The Cité Internationale des Artes in Paris, The Golden Foundation and The Hermitage Artists Retreat. She is currently represented by Pierogi Gallery in New York City and collaborates with her husband, my uncle, artist James Esber, under the pseudonym "J. Fiber." SHOW NOTES 5:03 - Jane backstory before the backstory 6:03 - Jane's sister, Paula, has doubts about who her father is 9:07 - Jane's son, Abe, is interested in taking a DNA test 10:49 - Jane's moment of realization about her biological father 11:33 - Jane's initial denial 14:05 - The realization 15:19 - The phone call that felt like a movie 17:14 - Jane's son gives her helpful advice 19:11 - Jane now asks herself “Who am I?” and “Who is my biological father?” 19:42 - Jane's range of emotions after accepting the discovery 20:46 - How Jane researches who her father could be 28:39 - Jane's self-reflection 31:55 - Jane makes new family connections and finds new similarities 35:28 - How Jane finds peace and how others can, too 40:21 - The peace her son gives her 44:32 - Caryn and Jane play The Grateful Game CONNECT with Jane: Jane Fine website: https://www.janefine.net/about Jane Fine Instagram: https://www.instagram.com/janemfine/ and https://www.instagram.com/grand.flag/ Jane Fine - represented by Pierogi: https://www.pierogi2000.com/artists/jane-fine/ Collaborative work with husband, Artist James Esber: https://www.pierogi2000.com/artists/j-fiber/ James Esber: https://www.jamesesber.com/ CONNECT with us: www.PrettyWellness.com/podcast - for more information on the podcast episodes 
www.PrettyWellness.com/cancer-resources - easily accessible cancer information
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 www.Instagram.com/prettywellness www.Facebook.com/PrettyWellness www.Twitter.com/PrettyWellness To Buy the Book:
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Techspressionist Salon #24 - Malavika Mandal Andrew (Mumbai, India) - August 17, 2021 Moderator: Davonte Bradley Malavika Mandal Andrew Mumbai, India Malavika Mandal Andrew is an artist from Mumbai, India whose practice includes mixed media, digital collage and digital art, tapestry and other fibre art. She received her Bachelors of Fine Art in Textile Designing in 1993 and her Masters of Fine Art in Textile and Tapestry in 1995 from Kala Bhavana, Visva-Bharati University, Santiniketan . During her time at Kala Bhavana she was awarded the National Scholarship by the Govt. of India, Ministry of Human Resource Development and did her training under Riten Mozumdar. In 2012 the artist was awarded “The Pollock Krasner Foundation” grant under which she worked with Warli artists from Talasari, Maharashtra to create mix media paintings. In 2021, Malavika became the first Indian artist to be listed in the Techspressionist Visual Artist Index. She has participated in numerous solo & group, national & international shows. She also conducts offline & online workshops. Her work & details of her workshops can be found on her Instagram. Website: https://www.malavikamandalandrew.com/ Instagram: https://www.instagram.com/malavikaman Artbit-"The future tense of art" Feature your art, contact at giovanna.art.bit@gmail.com Follow Instagram: @artbit_club Disclaimer: Not financial, legal, or accounting advice. For educational purposes only. Join Artbit DAO, meet and connect collectors. https://opensea.io/collection/artbit-dao-club Questions and inquiries: Contact: dubwoman@gmail.com Instagram and Twitter @giovannasun ClubHouse @dubwoman Website: https://linktr.ee/dubwoman

In this online event, Ana Paula Cordeiro, the creator of Body of Evidence, speaks from the workshop in New York City where she produced it. She will be joined in conversation by Merve Emre, Associate Professor of American Literature. Body of Evidence (2020) is an artist's book that examines the role of documentary evidence in defining national and individual identity. The red, white, and blue of the printing and binding echo a national story, viewed from the perspective of an immigrant, with quotations from Rebecca Solnit, Emily Dickinson, William James, Agnes Martin, and Fernando Pessoa. We open the conversation by examining the book's unique structure, moving on to consider the questions posed by the book's theme. What qualifies as a document? When does a document become evidence? And what does this evidence prove about an individual or a nation? How can an individual's narrative assert their integrity in face of dehumanization? The conversation will be launched after a live presentation of the copy of this book now in the Bodleian. Originally from Brazil, Cordeiro is based in New York and composes her book works at The Center for Book Arts in New York City, from where she will speak. In 2020 she was awarded a grant from the Pollock-Krasner Foundation. Her artist books are collected privately and institutionally. Book Arts programme from the Bodleian Libraries Centre for the Study of the Book. Supported by a generous donation to the Bodleian Bibliographical Press.

In this online event, Ana Paula Cordeiro, the creator of Body of Evidence, speaks from the workshop in New York City where she produced it. She will be joined in conversation by Merve Emre, Associate Professor of American Literature. Body of Evidence (2020) is an artist's book that examines the role of documentary evidence in defining national and individual identity. The red, white, and blue of the printing and binding echo a national story, viewed from the perspective of an immigrant, with quotations from Rebecca Solnit, Emily Dickinson, William James, Agnes Martin, and Fernando Pessoa. We open the conversation by examining the book's unique structure, moving on to consider the questions posed by the book's theme. What qualifies as a document? When does a document become evidence? And what does this evidence prove about an individual or a nation? How can an individual's narrative assert their integrity in face of dehumanization? The conversation will be launched after a live presentation of the copy of this book now in the Bodleian. Originally from Brazil, Cordeiro is based in New York and composes her book works at The Center for Book Arts in New York City, from where she will speak. In 2020 she was awarded a grant from the Pollock-Krasner Foundation. Her artist books are collected privately and institutionally. Book Arts programme from the Bodleian Libraries Centre for the Study of the Book. Supported by a generous donation to the Bodleian Bibliographical Press.

In her performances, sculptures, photographic works and video installations Margret Wibmer explores relations between bodies, objects and spaces. Using ambiguity and the principle of chance as a methodology to deconstruct internalized processes, norms and values deeply embedded within our societies, she creates transient ‘realities' that explore new strategies for connecting us with the world and with others. This becomes particularly apparent in her participatory performances such as Relay where she uses choreographic elements, sound and textile props to engage the public as co-generators in her work. She frequently collaborates with dancers, composers and writers. Margret Wibmer was born in Lienz, Austria. After her studies at the University of Applied Arts in Vienna, she spent a large part of the 1980s in New York where she worked as assistant for Sol Lewitt together with Kazuko Miyamoto. Since her first exhibition at Fashion Moda in the South Bronx, she has exhibited and performed internationally in venues such as Palais de Tokyo in Paris (2016, 2017), RMIT Design Hub in Melbourne (2015), Oude Kerk Amsterdam (2014, 2019), Ishikawa Nishida Kitaro Museum of Philosophy in Japan (2013); KAI 10 – Arthena Foundation in Düsseldorf (2012), Kunstpavillon Innsbruck (2006). Her works have been featured in publications such Sony Style Magazine and Vestoy, monographies have been published by Kerber Verlag (2010) and VfmK – Verlag für Moderne Kunst (2020). She has received grants from the Pollock-Krasner Foundation, Mondriaan Fonds, Prins Bernhard Cultuurfonds / Tijlfonds, Land Tirol, Austrian Federal Ministry for Arts and Culture among others. Her work is included in private and public collections in Europe and beyond. She lives in Amsterdam, The Netherlands and is currently teaching online at Nanyang Academy of Fine Arts in Singapore. The upcoming exhibition mentioned: Hella Berend, Margret Wibmer, ‘Intrinsic Oddity' at LABOR Ebertplatz in Cologne, curated by Marion Scharmann. Opening during DC Open 3 – 5 September, 2021. The book mentioned in the interview: Don't cross the bridge before you get to the river Francis Alÿs, exhibition catalog with essays by Kazuhiko Yoshizaki and Yukie Kamiya Margret Wibmer The walze 2017 Fine art print on Hahnemühle paper 80 x 64 cm (31 x 25 inches) Ed.5 + 1 AP Margret Wibmer Exchange in Orbit 2012 Archival pigment print on Baryta paper mounted on dibond. In boxframe with museumglas or diasec. 100 x 110 cm (39 x 43 inches) Ed. 5 + 1 AP left: Margret Wibmer A day in July 2005 Fabric, metal, wood 139 x 20 x 18 cm (55 x 8 x 7 inches) Unique right: Margret Wibmer Breathe – dreams may follow 2020/2021 Fabric, aluminum Installations view: 300 x 170

Ward Shelley works as an artist in New York and Connecticut. He is interested in constructed worlds and intersecting narratives; how they create, mediate and inform each other. He wants to know how things really work. Shelley specializes in large projects that freely mix architecture and performance. For more than a decade, he has been collaborating with Alex Schweder, using experimental architecture to explore the dance between the designed environment and its consequences. Since 2007, the duo have designed, built, and lived in (or on) seven structures, all of them in locations where the public are invited not only to witness, but also to actively engage with the artists in direct dialogue about their practice—an activity that has coalesced into what they call “performance architecture.” Shelley also works on diagramatic paintings: information-based timelines on culture-related subjects and historical postmortems. He frequently works with Douglas Paulson on installations and environments that attempt to turn mind, text, and meaning inside out (for a better look). They created the “The Last Library” project for Spaces in 2015. Shelley's work has been exhibited in more than 10 countries and is in a number of museum collections including the Museum of Modern Art, The Whitney Museum, the Brooklyn Art Museum, and The Elizabeth A. Sackler Center for Feminist Art. Shelley received a Painting and Sculpture award from the Joan Mitchell foundation, and has been a fellow of the American Academy in Rome since 2006. He has received NYFA and NEA fellowships in sculpture and new media categories, a Bessie Award for installation art, and grants from the Jerome Foundation and the Pollock-Krasner Foundation. He is represented by Pierogi Gallery in New York. A new septuagenarian, this year Ward claims to be taking a year off to re-evaluate the direction of his life and his work. He has re-booted and found time for few extra-curricular activities, particularly around music and reading, and has begun rescuing plants (otherwise known as gardening). Being outside has become a priority. The book mentioned in the interview was: A Brief History of Thought: A Philosophical Guide to Living by Luc Ferry.

Artbit feat. Techspressionist: Colin Goldberg interviewed by Roz Dimon Colin Goldberg's artwork explores the intersection of technology and Expressionism. The artist coined the term Techspressionism as the title of a 2011 solo exhibition in Southampton. Techspressionism was first described as a movement in WIRED in 2014, and it has since grown into an international community of artists working with technology from over 30 nations around the world. More information on Techspressionism is available online at https://techspressionism.com/ Goldberg lives and works on the North Shore of Long Island and is a recipient of grants from the Pollock-Krasner Foundation and the New York State Council on the Arts. His paintings reside in the permanent collections of the Islip Art Museum, Stony Brook Medicine, and the Pollock-Krasner House and Study Center. You can view the artist's work online at https://www.goldberg.art/ In this video, Goldberg is interviewed by Roz Dimon where he speaks about his art, its influences and the way Techspressionism relates to the history and the future of art. My name is Giovanna Sun, in this Artbit eposide, Techspressionist Colin Goldberg interviewed by Roz Dimon shares his story of his artist journey. I'm in the Techspressionism's movement and would like to coordinate all the artists around the world. Techspressionism An artistic approach in which technology is utilized as a means to express emotional experience. A 21st century artistic and social movement. Artbit-"The future tense of art" Feature your art, contact giovanna.art.bit@gmail.com Follow Instagram: @artbit_club All episodes are for education purposes only, not financial, legal advice. Coinbase referral link with Bitcoin reward (the US only) : https://www.coinbase.com/join/sun_o2w Coinbase NFT Marketplace Waitlist for early access Referral link: https://coinbase.com/nft/announce/1RRBXP Disclaimer: Not financial, legal, or accounting advice. For educational purposes only. Join Artbit DAO, meet and connect collectors. https://opensea.io/collection/artbit-dao-club Questions and inquiries: Contact: dubwoman@gmail.com Instagram and Twitter @giovannasun ClubHouse @dubwoman Website: https://linktr.ee/dubwoman

In the first half-hour, Host Tiokasin Ghosthorse talks with Myron Smart and Will Falk. They offer listeners an update on the latest activities at Thacker Pass in Nevada. Myron Smart is a descendant of the Fort McDermitt Paiute-Shoshone Tribe. He was raised in his traditional ways of life in our Native culture. Some of the things Myron loves include everything outdoors, animals and taking care of his horses. Will Falk is a biophilic writer, lawyer and the author of “How Dams Fall: Stories the Colorado River Told Me,” published by Homebound Publications. More about Will at willfalk.org. More about Thacker Pass: protectthackerpass.org. “LIKE” Protect Thacker Pass on Facebook.In the second segment, Tiokasin welcomes artist Hiroyuki Hamada. Hiroyuki, who was born in Tokyo, has exhibited throughout the United States and in Europe, and is represented by Bookstein Projects. He has been awarded various residencies, including those at the Provincetown Fine Arts Work Center, the Edward F. Albee Foundation /William Flanagan Memorial Creative Person’s Center, the Skowhegan School of Painting and Sculpture, and the MacDowell Colony. Hiroyuki’s work has been featured in various publications, including Stokstad and Cothren’s widely used art history text book “Art: A Brief History” (Pearseon). In 1998 he was the recipient of a Pollock-Krasner Foundation grant; he was a two time recipient of New York Foundation for the Arts Fellowships (2009 and 2017), and was awarded a Guggenheim Fellowship in 2018. Hiroyuki lives and works in East Hampton, New York. Tiokasin will discuss Hiroyuki’s recent essay, “The Mechanism of Invisible Hand, Invisible Cage, and Invisible Empire Over Humanity and Nature” (Dissident Voice, Feb. 9, 2021: https://bit.ly/399Ed3f). Find out more about Hiroyuki and his art at http://hiroyukihamada.com/Production Credits:Tiokasin Ghosthorse (Lakota), Host and Executive ProducerLiz Hill (Red Lake Ojibwe), ProducerTiokasin Ghosthorse, Studio Engineer and Audio Editor, WIOX 91.3 FM, Roxbury, NYMusic Selections:1. Song Title: Tahi Roots Mix (First Voices Radio Theme Song)Artist: Moana and the Moa HuntersCD: Tahi (1993)Label: Southside Records (Australia and New Zealand)(00:00:44)2. Song Title: Sundancer 21Artist: Eagle & HawkCD: Liberty (2019)Label: Rising Sun Productions / Producer: Vince FontaineMusic Video: https://youtu.be/xOGMCch5GAg(00:35:25)3. Song Title: Rule the WorldArtist: Michael KiwanukaCD: Love and Hate (2016)Label: Polydor Records(00:56:12)

An interview with visual artist Susan Klein. Susan is an Associate Professor of Art at the College of Charleston. She has exhibited her work both nationally and internationally. In the Fall of 2020, Susan was one of 100 individual artist grant recipients handpicked by the esteemed Pollock-Krasner Foundation. The Pollock-Krasner Foundation is a leader in providing financial resources to both emerging and established international visual artists, allowing them to focus on creating new work.

Judith Page was born in Lexington, Kentucky, and studied art at the University of Kentucky and Transylvania University. Early influences were her father, an amateur historian, photographer, and raconteur, who instilled in her a love and respect for history and the creative process, and writers such as Flannery O’Connor and Carson McCullers who provided her with many potent visual images. Other early influences include the Roman historian Tacitus and the politician Cassius Clay. Page says that her "art emerges from a Gothic sensibility, a place where horror and beauty exist in close proximity, where innocence encounters depravity, where the spirit is consumed and revived from moment to moment.” Page lived and worked in Florida until relocating to New York City in 1992, and currently lives in the Williamsburg section of Brooklyn. She received individual artist grants from the Gottlieb Foundation, the Pollock-Krasner Foundation and the State of FL. Exhibitions include Pop Surrealism and The Photograph as Canvas, The Aldrich Contemporary Art Museum and Disarming Beauty: The Venus de Milo in 20th Century Art, Dali Museum, and solo exhibitions at Luise Ross Gallery, New York, NY; Wake Forest University, Winston-Salem, NC; Massry Center for the Arts, Albany, NY; Lesley Heller Gallery, New York, NY and Stetson University, DeLand, FL. Known for her inventive use of materials and stimulating social commentary, Page’s numerous exhibitions and installation projects were written about in Art Papers, Sculpture, The New York Times, Art on Paper, and Art in America. Page’s art is represented in numerous public collections including Vanderbilt University; FSU Museum of Fine Arts, Tallahassee; University of KY Art Museum; Mint Museum of Art; University of TN; University of Iowa Museum of Art; and Orlando Museum of Art, FL. She was on the General Fine Arts faculty of MICA from 2004-2011 and on the faculty of the MFA Fine Arts program at SVA from 2010-2016. Her website is www.judithpage.com. Fruits of War (Brooklyn), 2021, archival pigment print on rag paper Spider’s Kiss (Manhattan), 2021, archival pigment print on rag paper

In episode 145 UNP founder and curator Grant Scott is in his shed considering the death of editorial integrity, academic photography book publishing and the need to create a photographic print. Plus this week photographer Mark Klett takes on the challenge of supplying Grant with an audio file no longer than 5 minutes in length in which he answer's the question ‘What Does Photography Mean to You?' Arizona based Mark Klett studied Geology at St. Lawrence University, Canton, NY before completing his M.F.A. in Photography at the State University of New York at Buffalo. Klett states that he is interested in making works that respond to historic images; creating projects that explore relationships between time, change and perception; and exploring the language of photographic media through technology. He has received fellowships from the Guggenheim Foundation, the National Endowment for the Arts, The Pollock-Krasner Foundation, and the Japan/US Friendship Commission. Klett's work has been exhibited and published in the United States and internationally for over thirty-five years, and is held in over eighty museum collections worldwide. He is the author/co-author of fifteen books and he lives in Tempe, Arizona where he is Regents' Professor of Art at Arizona State University. www.markklettphotography.com Grant Scott is the founder/curator of United Nations of Photography, a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, a working photographer, and the author of Professional Photography: The New Global Landscape Explained (Routledge 2014), The Essential Student Guide to Professional Photography (Routledge 2015), New Ways of Seeing: The Democratic Language of Photography (Routledge 2019). His book What Does Photography Mean to You? including 89 photographers who have contributed to the A Photographic Life podcast is on sale now £9.99 https://bluecoatpress.co.uk/product/what-does-photography-mean-to-you/ © Grant Scott 2021

Ward Shelley works as an artist in New York and Connecticut. He is interested in constructed worlds and intersecting narratives; how they create, mediate and inform each other. He wants to know how things really work. Shelley specializes in large projects that freely mix architecture and performance. For more than a decade, he has been collaborating with Alex Schweder, using experimental architecture to explore the dance between the designed environment and its consequences. Since 2007, the duo have designed, built, and lived in (or on) seven structures, all of them in locations where the public are invited not only to witness, but also to actively engage with the artists in direct dialogue about their practice—an activity that has coalesced into what they call “performance architecture.” Shelley also works on diagramatic paintings: information-based timelines on culture-related subjects and historical postmortems. He frequently works with Douglas Paulson on installations and environments that attempt to turn mind, text, and meaning inside out (for a better look). They created the “The Last Library” project for Spaces in 2015. Shelley’s work has been exhibited in more than 10 countries and is in a number of museum collections including the Museum of Modern Art, The Whitney Museum, the Brooklyn Art Museum, and The Elizabeth A. Sackler Center for Feminist Art. Shelley received a Painting and Sculpture award from the Joan Mitchell foundation, and has been a fellow of the American Academy in Rome since 2006. He has received NYFA and NEA fellowships in sculpture and new media categories, a Bessie Award for installation art, and grants from the Jerome Foundation and the Pollock-Krasner Foundation. He is represented by Pierogi Gallery in New York. Information on the book mentioned in the interview - The Righteous Mind: Why Good People are Divided by Politics and Religion is a 2012 social psychology book by Jonathan Haidt, in which the author describes human morality as it relates to politics and religion.Haidt presents moral foundations theory, and applies it to the political beliefs of liberals, conservatives, and libertarians in the US. In Orbit; 2014 - A collaboration of Alex Schweder and Ward Shelley in Brooklyn. As a performance, the artists lived on the wheel for 9 days and nights. Walking together turns the wheel and brings them their beds, bathroom, kitchen and desks. photo credit Double Cyclops Work, Spend, Forget; 2013 - In this diagram, Shelley traces the parallel histories of consumerism, manufacturing, and marketing using the form of a dissected frog to suggest their effect on society. photo courtesy of Pierogi Gallery. The Room Where It Happened; 2020 - A diorama that imagines a series of rooms in which plans are made to alter and direct public opinion for political and economic purposes. An immersive yet diminishing environment, the rooms contain charts, files, books, and notes, all which have a certain historical resonance. Ward Shelley and Douglas Paulson. photo credit: Carlton Bright  

Ann McCoy is a New York-based sculptor, painter, and art critic, and Editor at Large for the Brooklyn Rail. She was awarded a 2019 John Simon Guggenheim Foundation Fellowship. She lectured on art history, the history of projection, and mythology in the graduate design section of the Yale School of Drama until May 2020, and taught in the Art History Department at Barnard College from 1980 through 2000. She has written about artists working with projection including William Kentridge, Tony Oursler, Nalini Malini, and Krzysztof Wodiczko.  Ann McCoy and Kentridge did a conversation at the American Academy in Rome for his Tiber project, “Triumphs and Laments”, which was published in the Brooklyn Rail. Ann McCoy’ work is included in the following collections: the Metropolitan Museum of Art, the Los Angeles County Museum of Art, the Hirshhorn Museum and Sculpture Garden, the Museum of Modern Art, the National Gallery of Australia, the Roy L. Neuberger Museum, the New Orleans Museum of Art, the San Francisco Museum of Modern Art, and the Whitney Museum of American Art, among others. Ann McCoy has received the following awards: the John Simon Guggenheim Fellowship, the Asian Cultural Council, the Pollock Krasner Foundation, the Adolph and Esther Gottlieb Foundation Award, the Award in the Visual Arts, the Prix de Rome, the National Endowment for the Art, the Berliner Kunstler Program D.A.A.D., and the New Talent Award of Los Angeles County Museum of Art. Ann McCoy has exhibited in the Venice Biennale and the Whitney Annual, and has had one-person exhibitions in New York, Los Angeles, New Delhi, Poland, and Berlin. She is known primarily known for her large format drawings, work with projection, installation, and bronze sculpture. Ann McCoy worked with Prof. C.A. Meier, Jung’s heir apparent for twenty-five years in Zurich. She has a background in Jungian psychology and philosophy. She has studied alchemy since the early seventies in Zurich, and Rome at the Vatican Library.  Most of her work is based on her dreams, and their relationship to alchemical texts, and Christian alchemy in particular.  For McCoy, alchemy is a symbolic language of processes dealing with spiritual transformation.  Incarnation of spirit into matter is the key concept of the alchemical practice.  The imagination is the gateway to the gods. Dream of the invisible College  (Size: 9 x 14 ft. ) pencil on appear on canvas (2018) photo credit: Peter Dressel Processional with Resplendor (Size: 19" by 7 ft. 2" by 9 inches) cast bronze with silver crown (installation 2018) photo credit: Peter Dressler

Z Behl, b. 1985, is a New York based filmmaker and visual artist. Z’s work in sculpture, performance, and installation has received awards from NYFA, the Pollock-Krasner Foundation, and the Joan Mitchell Foundation. She has exhibited at ArteBA, the Hudson Valley Center for Contemporary Art, and CAC New Orleans. Z has been artist-in-residence at Mana Contemporary, Pioneer Works, and MOCA Tucson. Her last solo show at Kai Matsumiya Gallery was covered by the Wall Street Journal, Artnet, and INTERVIEW Magazine. Her debut film, Geppetto, which she wrote, directed and starred in, has received support from Kodak, IFP and the Venice Biennale. A graduate of Wesleyan University (2007), Z is a founding member of the filmmaking collective Court 13. She worked as an artist on Benh Zeitlin’s “Beasts of the Southern Wild” and “Egg.” Z has acted in films by Ray Tintori (Jettison Your Loved Ones), Kentucker Audley (Open Five 2) and Cary Fukunaga’s "Go Forth America." She has Production Designed Music Videos for MGMT and Chairlift (Time to Pretend, Electric Feel, Evident Utensil). www.zbehl.com @zbehl Tip N' Tell tipntellpodcast@gmail.com Host & Cover Art: Cydney Williams @cydneywilliamsstudio Sound & Music: Ian Eckstein @ian_eckstein Listen on Breaker, Google Podcasts, Pocket Casts, Radiopublic, Spotify, Copy RSS, Anchor, Apple Podcasts, Youtube, & IGTV Recorded at Mana Contemporary, 888 Newark Ave, Jersey City, NJ 07306 (pre covid-19 pandemic, 2019) Tip N' Tell™ Cydney Williams Studio LLC

In capturing the transcendent moments between silence, introspection and self-discovery, Sibylle Peretti seeks to find and depict places of mystery and wonder as launching spots in a journey towards the infinite. Ethereal imagery and haunting subtexts flow freely from porcelain sculpture and mixed media panels, which incorporate multiple layers of paper, oil paint, and watercolor on either side of Plexiglas. Through these techniques the artist creates a darkly romantic mix of fairytale and tension. Her skillful combination of engraving, photography, painting, and glass casting exposes exquisitely subtle environments we wish to enter in spite of some uneasiness.  Heller Gallery, New York City, has recently extended Peretti’s current online solo exhibition, Backwater, through June 13, 2020. The show features nine major new works – five wall pieces and four cast sculptures, as well as an installation of Glass Notes, an ongoing collaboration between Peretti and her husband, artist Stephen Paul Day.  Peretti says: “One aspect of my work reflects on our disrupted relation to nature and our yearning to achieve a unity with the natural world. Backwater describes places that are isolated and constantly changing. Living in New Orleans just footsteps away from the Mississippi river, I explore almost daily the ever-changing alluvial land with its magical backwaters.” Anchoring Backwater is Tchefuncte, Peretti’s large 48-panel wall piece (60 x 80 inches), which combines photography and drawing with surface interventions such as engraving, mirroring and glass slumping. It is based on a photograph she took along the riverbanks of the Tchefuncte river north of New Orleans, an area that was populated by the Tchefuncte culture as early as 500 BCE, and which derives its name from the Choctaw word for a dwarf chestnut, a plant used as medicine by the first people who inhabited this area. Peretti calls it a “temporal place that is likely to soon vanish due to flooding and human expansion,” but the composition suggests a portal, “a waterway that is open to the viewer’s imagination. When you look at the landscape, you also see your own reflection in the mirrored parts of the glass, and you become a part of the journey.”  Peretti received her MFA in Sculpture and Painting from the Academy of Fine Arts in Cologne, Germany, after first studying glassmaking and design at the State School of Glass in Zwiesel, Germany. In the past year her work was added to the collections of the Toledo Museum of Art, Toledo, OH; the newly established Barry Art Museum in Norfolk, VA; and most recently to the Huntsville Museum of Art in Huntsville, AL. Her work can be found in the permanent collections of the New Orleans Museum of Art, New Orleans, LA; the Corning Museum of Glass, Corning, NY; the Carnegie Museum of Art, Pittsburgh, PA; the Montreal Museum of Fine Arts, Canada; the Museum of Applied Arts, Frankfurt, Germany; the Hunter Museum, Chattanooga TN; and the Speed Museum and 21c Museum, both in Louisville, KY.  Awards and endorsements include grants from the Pollock-Krasner Foundation and the Joan Mitchell Foundation, as well as the 2013 United States Artist Fellowship. In 2018 Peretti’s work was featured in a solo exhibition Promise and Perception: The Enchanted Landscapes of Sibylle Peretti, at the Chrysler Museum of Art in Norfolk, VA.  Exploring the relationship between time, loss, emotion, memory and solitude, Peretti’s multimedia collages and sculptures provide a place into which her protagonists- the people and animals that inhabit her work – retreat. Impactful and unforgettable, the work balances the nostalgia of impending loss with the profound fortitude of understanding ourselves… and the world. In October 2020, during her residency at the Corning Museum of Glass, Peretti will work on a new project inspired by the Werner Herzog movie Heart of Glass. She will explore ideas of the historic importance of making Gold Ruby, and how it can be seen as a metaphor for a collapsing world.  

Laura Splan is a Brooklyn-based artist whose work mines the materiality of science to reveal poetic subjectivities. Her mixed media projects destabilize notions of the presence and absence of bodies evoking the mutability of categories that delineate their status. Splan’s work compels an intimate engagement with detail calling into question how things are made and what they are made of. She reconsiders perceptions and representations of the corporeal with a range of traditional and new media techniques. She often combines the quotidian with the unfamiliar to interrogate cultural constructions of order and disorder, function and dysfunction. Her frequent combinations of textiles with technology challenge values of "the hand" in creative production and question notions of agency and chance in aesthetics. Her recent Embodied Objects series uses biosensors (electromyography, electroencephalography) to create data-driven forms and patterns for digitally fabricated sculptures, weavings and works on paper as well as for movement in performances with sensor-actuated apparatus. Her current solo exhibition, Conformations, combines biotech imagery, networked devices, and artifacts with sculptures made from the hand-spun fiber of laboratory animals. Splan's work has been exhibited at the Museum of Arts & Design and Beall Center for Art + Technology. International audiences for her work have included Iceland, South Korea, England, Germany, Sweden, Austria, and Canada. Her work is included in the collections of the Thoma Art Foundation, the NYU Langone Art Collection, and the Science Center. Her biomedical themed artworks have been commissioned by the Centers for Disease Control Foundation, the Gen Art New Media Art Exhibition and Davidson College. She has received research funding from The Jerome Foundation and her residencies have been supported by the Knight Foundation, the Institute for Electronic Arts, Harvestworks, and the Pollock-Krasner Foundation. She has been a visiting lecturer at Stanford University teaching interdisciplinary courses including “Embodied Interfaces”, “Data as Material” and “Art & Biology”. She is currently a Creative Experiments track member at NEW INC, the New Museum’s cultural incubator. Sound & Vision is sponsored by Golden Paints.

Caroline Cox creates process oriented installations and drawings. The installations evolve through an improvisational process that explores how materials interact with light, gravity and space. Through experimenting with materials that are optically interactive, pliable, and light weight she develops shapeshifting overlays and optical mutations. These coalesce into ambiguous environments that can range from the microscopic to outer space. Cox’s interactive installations contemplate the intricacies and poetic mutability of perception.   Cox has shown at the Yale University School of Art, Wake Forest University, Old Dominion University, Pierogi, Lesley Heller, Smack Melon, Sculpture Center, White Columns, Kathryn Markel Fine Arts, Outpost, Governor’s Island, The Kitchen and had solo shows at Studio10, Long Island University Bklyn, FiveMyles, Another Year in LA, Sarah Bowen, Big & Small Casual, Het Apollohuis. She has completed residencies at Edward Albee’s, The Barn, The Clocktower and Het Apollohuis, Eindhoven, the Netherlands. Cox has received grants from the Pollock Krasner Foundation, The Tree of Life Foundation, and Artist Space. Her work has been reviewed online at Hyperallergic, Art in America, Art Critical, Artweek, and in print in Sculpture Magazine, the New York Times, Time Out, The Village Voice and published in Alternative Histories, New York Art Spaces,1960-2010, MIT Press, Found Object,  a quarterly journal published by the Center for the Study of Culture, Technology and Work at the Graduate School of the CUNY Cox is from California and while living in San Francisco she was part of the women’s artist cooperative, Amargi, a live/work space for artists. After moving to NYC she played in the noise band, The Chairs, that performed at Roulette. While living in Brooklyn Caroline co-founded and ran Flipside, an alternative exhibition space, with Tim Spelios. Caroline has also curated shows at The Outpost, Sarah Bowen Gallery, Schroeder Romero Gallery, Century29, The Police Building (through OIA) the show traveled to William Patterson College. Yellow, Blue, Green, 2018, installation at Studio10 from Cox’s solo show, horsehair fabric and monofilament, dimensions variable Caroline Cox’s studio, the drawings are untitled, 2019, ink on paper, (R) 36” X  54”,  (L) 58” x  48”. The 3D works are in progress and made from monofilament, horsehair tubing and wire. optical effects of glass balls & lenses from Caroline Cox on Vimeo.

I received my B.A., magna cum laude from Harvard University in 1980 in Visual and Environmental Studies and an M.A. from Tufts University and the School of the Museum of Fine Arts in 1983.  I am a recipient of grants from the Pollock-Krasner Foundation, The New York Foundation for the Arts and The National Endowment for the Arts, Individual Artist’s Fellowship program. I have been a resident at The MacDowell Colony, Yaddo, The Fine Arts Work Center in Provincetown, The Millay Colony , The Cité Internationale des Artes in Paris, The Golden Foundation and The Hermitage Artists Retreat in Florida. My paintings and drawings have been exhibited nationally and internationally for over twenty years, including solo shows in in Houston, Boston, Milan, Leipzig and San Francisco. In 2014 a five-year survey of my work was on exhibit at Colgate University. My most recent one-person show, Love, American Style, was in 2018 at Pierogi Gallery in the Lower East Side of New York. In addition to individual work I also make collaborative drawings with my husband, James Esber. This work, exhibited under the fairly transparent pseudonym “J. Fiber” has been included in numerous group shows in the United States. I have lived and worked in Williamsburg, Brooklyn since 1986. The books mentioned in the interview is by Dani Shapiro, Inheritance: A Memoir of Genealogy, Paternity, and Love. Rise Up, 2018, 78” x 64”, acrylic on canvas Make Love Not War, 2018, acrylic on wood, 8” x 10" Collaboration, by J. Fiber (aka Jane Fine & James Esber), Front and Back, 2019, acrylic and ink on paper, 30” x 22”

Rachel Frank grew up near Big Bone Lick, Kentucky, the birthplace of American paleontology, where large mammoth and other megafauna fossils were found, altering Western views on extinction and evolution. Her work uses sculpture, video, and performance to explore the tensions between the natural world and the manmade, the animal and the political, and the past and the present. Rachel Frank received her BFA from The Kansas City Art Institute and her MFA from The University of Pennsylvania. Frank is the recipient of grants from The Pollock-Krasner Foundation, The Elizabeth Greenshields Foundation, The Puffin Foundation, and The Franklin Furnace Archive. She has attended residencies at Yaddo, The Marie Walsh Sharpe Foundation, The Museum of Arts and Design, Sculpture Space, The Skowhegan School of Painting and Sculpture and most recently at the MOCA in Tucson, AZ. Recent solo exhibitions include the SPRING/BREAK Art Show, Thomas Hunter Projects at Hunter College and at Standard Space in Sharon, CT. Most recently, her work was shown in “The Sentinels,” a two-person exhibition with Heidi Lau at Geary Contemporary. Her performance pieces have been shown at HERE, Socrates Sculpture Park, The Select Fair, and The Bushwick Starr in New York City, The Marran Theater at Lesley University, and most recently at The Watermill Center in collaboration with Robert Wilson. Her work will be included in an upcoming exhibition at the Museum of Contemporary Art in Tucson, AZ and in a Triennial at the KMAC Museum in Louisville, KY, both in 2019. She currently lives and works in Brooklyn, NY. All images courtesy of the artist 00:00 - Introduction 00:38 - Rachel Frank 02:36 - Kentucky - Hippo Campus 06:39 - Research on Rewilding 17:15 - Research into Art 24:19 - Exhibition at the Museum of Contemporary Art in Tuscon 36:38 - For You - Joanna Sternberg 38:42 - Outro 39:05 - Finish

Self Portrait Grisaille, 80 X 68", O/L, 1999. Grant Drumheller has been the recipient of a Fulbright-Hays Grant in Painting to Italy. He has also been the recipient of a Blanche Colman Award, a National Endowment for the Arts Artist’s Fellowship, a New England Foundation for the Arts Grant and a grant from the Pollock- Krasner Foundation. Most recently he was a Visiting Artist at the American Academy in Rome in 2009. Drumheller has been a professor at the University of New Hampshire since 1986. Other teaching and speaking engagements have been at Boston University, Dartmouth College, Amherst College, the Art Institute of Boston at Lesley College, Maine College of Art, Monserrat College of Art, and Gordon College. He has taught for several summers at the UNH in Italy Program in Ascoli Piceno, Le Marche and at Art New England Workshops at Bennigton College.

Kukuli Velarde is a Peruvian artist based in the United States since 1987. She has received awards and grants such as the Guggenheim Fellowship, the Pollock Krasner Foundation grant, the United States Artists-Knight fellowship, the Pew fellowship in Visual Arts, the Anonymous is a Woman award, the Joan Mitchell Foundation grant, among others. In 2013 her project CORPUS got the Grand Prize at the Gyeonggi Ceramics Biennial in South Korea. Her exhibition credits include: KUKULI VELARDE: THE COMPLICIT EYE at Taller; KUKULI VELARDE at AMOCA; PLUNDER ME, BABY at the Yenggi Museum of Ceramics’ Biennial of Taipei; CORPUS at the Gyeonggi International Ceramic Biennial ; also KUKULI VELARDE: PLUNDER ME, BABY at the Nerman Museum of Contemporary Art in, PATRIMONIO at Barry Friedman Gallery and PLUNDER ME, BABY at Garth Clark Gallery. She is married to Doug Herren, sculptor and they have a small daughter named Vida. They live in Philadelphia, PA. USA.

I am excited to talk to the NYC based artist Melissa Meyer. In this episode, we talk about painting in the 1960's, her work with Miriam Schapiro on the essay that coined the term "femmage" and her current studio work. Melissa received undergraduate and graduate degrees from New York University. Her development has been surveyed in traveling exhibitions originating at the New York Studio School and Swarthmore College. She has completed public commissions in New York, Tokyo, Shanghai, and Bishkek, Kyrgyzstan. Her work is in the collections of the Metropolitan Museum of Art, the Museum of Modern Art, the Brooklyn Museum, the Solomon R. Guggenheim Museum, the Jewish Museum, and the McNay Art Museum. Meyer received the Rome Prize from the American Academy in Rome, and grants from the National Endowment for the Arts and the Pollock-Krasner Foundation.   Thank you to Producer Vinson Valega for sponsoring this episode: https://www.vinsonvalega.com/   Artists and Links from the Show: The Esopus Magazine 22 https://www.esopus.org/issues/view/22 Menu Collection at NYU https://library.nyu.edu/locations/fales-library-special-collections/ Nina Yankowitz https://en.wikipedia.org/wiki/Nina_Yankowitz Joyce Kozloff http://www.joycekozloff.net/forming Heresies https://archive.org/details/heresies_magazine MIRIAM SCHAPIRO AND MELISSA MEYER Waste Not Want Not: An Inquiry into What Women Saved and Assembled--FEMMAGE (1977-78) https://users.wfu.edu/~laugh/painting2/femmage.pdf MAD Museum of Meriem Shapiro http://dujour.com/culture/miriam-schapiro-at-mad-museum-nyc/ Andrew Mockler Jungle Press https://www.junglepress.com/ Rome Prize https://www.aarome.org/apply/rome-prize/application Yaddo https://www.yaddo.org/ Helen Frankenthaler https://www.moma.org/artists/1974 Dana Frankfort http://danafrankfort.com/ Jean Dubufet https://paintersonpaintings.com/melissa-meyer-remembers-jean-dubuffet-at-the-jeu-de-paume-1991/ Robert Blackburn https://www.rbpmw-efanyc.org/  

Matthew F Fisher was born in 1976 in Boston, MA and received his BFA from Columbus College of Art and Design (1998), followed by his MFA from Virginia Commonwealth University (2000). He has been the recipient of residencies and awards from the Pollock Krasner Foundation (2016), Yaddo, Saratoga Springs, New York (2015, 2007) and the New York Foundation for the Arts (2010), among others. Recent solo exhibitions include Into the Blue, Johansson Projects, Oakland, CA (2018) and Group shows include Pro Forma: Context and Meaning in Abstraction, curated by Dr Vittorio Colaizzi, Work Release, Norfolk, VA (2017).  Matthew stopped in while in from LA for his two person show at Shrine Gallery on the Lower East Side with Casey Cook and he spoke about coming up with titles for work, sports radio, NY vs LA and much more.

MARSHA COTTRELL (b. 1964) lives and works in Brooklyn, NY. Cottrell was educated at The University of North Carolina at Chapel Hill (MFA) and Tyler School of Art (BFA). Cottrell is a recipient of the 2013 Louis Comfort Tiffany Foundation, Biennial Award; the 2007 Pollock-Krasner Foundation, Fellowship Grant in Drawing; the 2004 Harvestworks Digital Media Arts Center, Educational Grant; the 2003 New York Foundation for the Arts, Fellowship Grant in Drawing; the 2001 John Simon Guggenheim Memorial Foundation, Fellowship; the 1999 New York Foundation for the Arts, Fellowship Grant in Digital Arts; and the 1999 Marie Walsh Sharpe Art Foundation, Space Program. Cottrell has had solo exhibitions at Anthony Meier Fine Arts, San Francisco (2016); Eleven Rivington (2015), New York, NY; g-module, Paris, France (2003); Henry Urbach Architecture, New York, NY (2003); Gaga, New York, NY (2000), among others. Group exhibitions include Gray Matters, organized by Michael Goodson, Wexner Center for the Arts, Columbus, OH; Worlding: Lucas Blalock, Marsha Cottrell, Ben Hagari, Ajay Kurian, and Hayal Pozanti, organized by Mia Curran, University of Western Michigan, 2017; One Third White, Kunst im Tunnel (KIT), Dusseldorf, Germany, 2013; and Field Conditions, San Francisco Museum of Modern Art, San Francisco, CA, 2012. Selected public collections include The Museum of Modern Art, New York, NY; The Morgan Library and Museum, New York, NY; The National Gallery of Art, Washington, D.C.; Philadelphia Museum of Art, Philadelphia, PA; Pollock Gallery, Southern Methodist University, Dallas, TX; and San Francisco Museum of Modern Art, CA. Brian met up with Marsha at her solo show to talk about quiet and light and more.

This podcast explores various issues artists may consider when pondering and operating within administrative roles, including how administrative assignments can both borrow from and complement one’s studio activity. Thomas Berding is associate professor of studio art at Michigan State University in East Lansing, where he is currently in his eighth year as chair of the Department of Art, Art History, and Design. A practicing artist, Berding has exhibited his paintings widely and been recognized with awards from the National Endowment for the Arts and the Pollock-Krasner Foundation.

"I’ve always dedicated my life to the work, and what ever the work needed that’s what I did." It has been an incredible year for Austin based artist Deborah Roberts. But after decades of hard work and scholarship it’s not really a surprise. She was already an established artist long before deciding to go back to school to get her MFA in 2014, to study and find the language and direction for her new work. Her imagery started out in a very romantic Americana style but after a time that didn’t completely match the reality of what she was feeling and seeing in the world. The work needed to change. After finishing school she gave herself two years to succeed in art before having to give up once and for all. Then she received a grant from the Pollock-Krasner Foundation in 2016. For the first time she could spend a whole year completely focused on her art full time and create without fear. What has followed is sold out shows all over the country and lots of press praising the work and giving her credit which was overdue. With a focus in collage, painting, mixed media/installation, and text, Roberts is best known for creating portraits of young black girls, aged 8-10, that ask the viewer to consider how their beauty has been imagined: by art history, pop culture, American history, and black culture. And when and why do these young vulnerable girls have to put on their gloves and start fighting battles? It's important work and it resonates with a lot of people. Deborah is a delight to be around and the interview was a lot of fun. We go all the way back to her beginnings in art and work our way to the present. She then dissects the meaning and language of the work and talks about the future and her new found fame and power. Some of the subjects we discuss: Drawing as a kid Forced busing Magnet School/Gifted and Talented First sold out show Black Americana romantic painting style Norman Rockwell Work becoming more abstract/complicated The never-ending summer break Feeling the need for more scholarship Going back to school/graduate degree Finding the language for you work Starting small Art Palace show Getting a job/struggling Avoiding the trap/quitting Two year agreement Pollock-Krasner grant year Creating work without fear Volta NY/selling out everything Where have you been? An incredible year/new notoriety Listening to the work Slowing down and scaling up Incorporating more painting The structure of a piece Four freedoms project New found power Banner image components by Deborah Roberts (left to right) Betwixt, Untitled, It's All Good, Power Has No Use For Truth, Red Stripes.

Ridley Howard was born in 1973 in Atlanta, Georgia. He received his BA and BFA from the University of Georgia, Athens, and his MFA from the School of the Museum of Fine Arts in Boston and also went to the Skowhegan School of Painting and Sculpture. He currently shows with Marinaro Gallery, NY; Andréhn-Schiptjenko Gallery, Stockholm, Sweden; and Frederic Snitzer Gallery, Miami. His paintings were most recently on view in his current solo exhibition at Marinaro Gallery NY, as well as the Atlanta Biennial at the Contemporary and Intimisms at James Cohan Gallery, NY. He is also co-founder of gallery 106 Green in Brooklyn, NY. He has received awards from the Pollock-Krasner Foundation, the Joan Mitchell Foundation as well as the New York Foundation for the Arts. Ridley came over to Brian’s apartment while visiting from Atlanta and they spoke about differences between making art in school and years later as a practicing artist, working and living in New York versus other cities, our shared love of soccer, starting a gallery, the impact of a good teacher and much more.

For the seventh episode of "In Other Words", we welcome a lion of the artist–endowed foundation world—Charles C. Bergman, the chairman and CEO of the Pollock–Krasner Foundation. In conversation with Christy MacLear, the former director of the Robert Rauschenberg Foundation and now vice chairman of AAP, together with our host Charlotte Burns, senior editor at AAP, they discuss the nature of philanthropy and how the artist–endowed foundation industry has changed. "In Other Words" is a presentation of AAP and Sotheby's, produced by Audiation.fm. For a full transcript, click here: http://www.artagencypartners.com/episode-7/

For the seventh episode of "In Other Words", we welcome a lion of the artist–endowed foundation world—Charles C. Bergman, the chairman and CEO of the Pollock–Krasner Foundation. In conversation with Christy MacLear, the former director of the Robert Rauschenberg Foundation and now vice chairman of AAP, together with our host Charlotte Burns, senior editor at AAP, they discuss the nature of philanthropy and how the artist–endowed foundation industry has changed. "In Other Words" is a presentation of AAP and Sotheby's, produced by Audiation.fm. For a full transcript, click here: http://www.artagencypartners.com/episode-7/

This week: Living legend, innovator, visionary, Carolee Schneemann. Working across a range of disciplines, including performance, video, installation, photography, text, and painting, the artist Carolee Schneemann has transformed contemporary discourse on the body, sexuality, and gender. During her recent visit to San Francisco, Schneemann participated in the November 30, 2011 panel discussion, “Looking at Men, Then and Now” [LINK: http://www.somarts.org/manasobject-closes/] at the Somarts SOMArts Culture Cultural Center, in San Francisco, in conjunction with the exhibition, Man as Object: Reversing the Gaze, in which she was also a featured artist. On December 2, 2011 Eli Ridgway Gallery hosted an evening in celebration of the recently published Millennium Film Journal #54: "Focus on Carolee Schneemann." Art Practical’s Liz Glass and Kara Q. Smith had the opportunity to sit down with Schneemann in between the two events to speak with her about her work. Carolee Schneemann [LINK: http://www.caroleeschneemann.com/index.html] has shown at the Los Angeles Museum of Contemporary Art; the Whitney Museum of American Art; the Museum of Modern Art, New York; Centre Georges Pompidou, Paris; and the New Museum of Contemporary Art; among many other institutions. Her writing is published widely, including in Correspondence Course: An Epistolary History of Carolee Schneemann and Her Circle (ed. Kristine Stiles, Duke University Press, 2010) and Imaging Her Erotics: Essays, Interviews, Projects (MIT Press, 2002). She has taught at New York University, California Institute of the Arts, Bard College, the School of the Art Institute of Chicago. Schneemann is the recipient of a 1999 Art Pace International Artist Residency, San Antonio, Texas; two Pollock-Krasner Foundation grants (1997, 1998); a 1993 Guggenheim Fellowship and a NationalEndowment for the Arts Fellowship. The retrospective of her work, Carolee Schneemann: Within and Beyond the Premises, is on view at the Henry Art Gallery, in Seattle, through December 30, 2011. [LINK: http://www.henryart.org/exhibitions] An abridged transcript of this interview appears in Art Practical's "Year in Conversation" issue, which you can see here:  http://www.artpractical.com

If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to digicomm@uchicago.edu. Part of University of Illinois Chicago's Voices lecture series at Gallery 400.Arturo Herrera (Venezuelan, born 1959) received his MFA from the University of Illinois, Chicago. Selected solo exhibitions of Herrera"i? 1/2 s work include those held at Ikon Gallery, Birmingham, United Kingdom (2007), Art Gallery of Ontario (2002), Whitney Museum of American Art (2001), UCLA Hammer Museum (2001), Centre d"i? 1/2 Art Contemporain, Geneva (2000), Renaissance Society, University of Chicago (1998), and the Museum of Contemporary Art, Chicago (1995). Selected group exhibitions include Comic Abstraction (Museum of Modern Art, New York, 2007), The Moderns, Castello di Rivoli, Torino (2003), Splat Boom Pow! The Influence of Cartoons in Contemporary Art (Contemporary Art Museum, Houston, 2003), Whitney Biennial (Whitney Museum of American Art, 2002), The Americans (Barbican Art Centre, London, 2001), and Painting at the Edge of the World (Walker Art Center, Minneapolis, 2001). Selected awards include a John Simon Guggenheim Foundation (2005), DAAD Fellowship (2003), Pollock-Krasner Foundation award (1998), and an ArtPace Fellowship (1998). The artist lives in Berlin.

If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to digicomm@uchicago.edu. Part of University of Illinois Chicago's Voices lecture series at Gallery 400.Arturo Herrera (Venezuelan, born 1959) received his MFA from the University of Illinois, Chicago. Selected solo exhibitions of Herrera"i? 1/2 s work include those held at Ikon Gallery, Birmingham, United Kingdom (2007), Art Gallery of Ontario (2002), Whitney Museum of American Art (2001), UCLA Hammer Museum (2001), Centre d"i? 1/2 Art Contemporain, Geneva (2000), Renaissance Society, University of Chicago (1998), and the Museum of Contemporary Art, Chicago (1995). Selected group exhibitions include Comic Abstraction (Museum of Modern Art, New York, 2007), The Moderns, Castello di Rivoli, Torino (2003), Splat Boom Pow! The Influence of Cartoons in Contemporary Art (Contemporary Art Museum, Houston, 2003), Whitney Biennial (Whitney Museum of American Art, 2002), The Americans (Barbican Art Centre, London, 2001), and Painting at the Edge of the World (Walker Art Center, Minneapolis, 2001). Selected awards include a John Simon Guggenheim Foundation (2005), DAAD Fellowship (2003), Pollock-Krasner Foundation award (1998), and an ArtPace Fellowship (1998). The artist lives in Berlin.