Podcasts about postmasters gallery

LoVid is a NY-based interdisciplinary artist duo working collaboratively since 2001. LoVid's practice focuses on aspects of contemporary society where technology seeps into human culture and perception. Throughout their interdisciplinary projects over two decades, LoVid has maintained their signature visual and sonic aesthetic of color, pattern, and texture density, with disruption and noise. LoVid's work captures an intermixed world layered with virtual and physical, materials and simulations, connection and isolation.LoVid's process  includes home-made analog synthesizers, hand-cranked code, and tangible materials; their videos, textile works, performances, net-art, installations, and NFTs have been exhibited worldwide for over two decades. LoVid's work has been presented internationally at venues including: Museum of Modern Art (MoMA), Standard Vision X Vellum LA, Wave Hill, Brookfield Arts, RYAN LEE Gallery, Art Blocks Curated, Postmasters Gallery, bitforms Gallery, Honor Fraser Gallery, Unit London, http://Verse.work, http://Expanded.Art, Art Dubai, New Discretions, And/Or Gallery, Klaus von Nichtssagend Gallery, Anthology Film Archives, Issue Project Room, The Science Gallery Dublin, The Jewish Museum, The Kitchen, Daejeon Museum, Smack Mellon, Netherland Media Art Institute, New Museum, and ICA London. LoVid's projects have received grants and awards from organizations including: The Robert Rauschenberg Foundation, Graham Foundation, UC Santa Barbara, Signal Culture, Cue Art Foundation, Eyebeam, Harvestworks, Wave Farm, Rhizome, Franklin Furnace, http://Turbulence.org, New York Foundation for the Arts, Lower Manhattan Cultural Center, Experimental TV Center, NY State Council of the Arts, and Greenwall Foundation.LoVid's videos are distributed by EAI and their work is in the collection of the Whitney Museum, The Museum of Moving Image, The Parrish Museum, Thoma Foundation, Watermill Center, Butler Institute of American Art, Heckscher Museum, NFT Museum of Digital Art, Museum of Nordic Digital Art, and more.

Gregg Louis received a Master's of Fine Arts degree from the School of Visual Arts in New York City in 2009. His work has been featured in exhibitions around the world, including Nohra Haime Gallery in New York; NH Galería in Cartagena; Hverfisgalleri in Reykjavik; The World Chess Hall of Fame in Saint Louis; Postmasters Gallery in New York; Galerist in Istanbul; Frieze London; Vienna Contemporary; and Art Bogotá. In 2009, Louis was an artist-in-residence at the Skowhegan School of Painting and Sculpture. The New York Times, The Wall St Journal, and Sculpture Magazine have all covered his work. Louis currently lives and works in Saint Louis, and is represented by Nohra Haime Gallery in New York City. Fires in the Sky, 2023 Summer Nights, 2023 Midnight in Wonder Valley, Deep Sky & Like a Moth Drawn to a Flame, 2023

Portrait by Gabriella Marks Paula Wilson received an MFA from Columbia and a BFA from Washington University in St. Louis, MO. Alongside her current exhibition at Denny Dimin Gallery, she is currently exhibiting within a group exhibition Plein Air at MOCA Tucson and has an upcoming solo exhibition Toward the Sky's Back Door at The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College in Saratoga Springs in 2023. She has also recently had an acquisition placed at Colby College Museum of Art. In addition, her upcoming Albuquerque Museum show: Nicola López and Paula Wilson: Becoming Land opens October 8th, 2022 and is part of a larger umbrella of shows titled: Historic and Contemporary Landscapes including work by Thomas Cole and Kiki Smith. Wilson's has held other recent solo exhibitions at Locust Projects, Miami, FL (2020-2021), 516 ARTS Contemporary Museum, Albuquerque, NM (2019), Smack Mellon, Brooklyn, NY (2018), and Denny Dimin Gallery, New York, NY (2018). She has been included in four exhibitions at the Studio Museum in Harlem, exhibitions at Tufts University Art Galleries (2021), Skidmore College (2015), Inside-Out Art Museum in Beijing (2014), Postmasters Gallery (2010), Weatherspoon Art Museum, Greensboro, NC (2010), Contemporary Arts Museum Houston (2009), Zacheta National Gallery of Art in Warsaw (2007), Sikkema Jenkins & Co. (2006), just to name a few.  Wilson's artwork is in many prestigious collections including, The Studio Museum in Harlem, the New York Public Library, Yale University, Saatchi Gallery, and The Fabric Workshop. Microhouse, 2022 Mixed Media. Courtesy of Paula Wilson and Denny Dimin Gallery Earth Angel, 2022 Acrylic and oil on muslin and canvas (relief, silkscreen, monotype, and lithography print), wooden and beaded jewelry made in collaboration with Mike Lagg. Courtesy of Paula Wilson and Denny Dimin Gallery Up My Sleeve, 2021 Acrylic on muslin and canvas (woodblock, relief, monotype, silkscreen, collagraph, and digital print) Courtesy of Paula Wilson and Denny Dimin Gallery

Contemporary art may be the last thing that comes to mind when you think of Rome, but gallerist Paulina Bebecka is out to change that.  In this episode, gallerist and director-at-large of the famed Postmasters Gallery, Bebecka joins Erica to talk contemporary art, NFTs, Rome and Italy.   For show notes and more visit https://ciaobella.co/podcast Ciao Bella INSTAGRAM: @ericafirpo TWITTER  @moscerina

John Powers was born in Chicago. He is a sculptor. After doing an apprenticeship on the West Coast with the sculptor Tom Jay, he moved to New York where he studied at Pratt and Hunter College. His artwork has been shown at MoMA PS1, the Brooklyn Museum, the Bruges Triennial, and PostMasters Gallery, among others. He was recently featured in the New York Times after injuring his hand.· www.johnpowers.us· www.creativeprocess.info

“The figure in my work is me. The figure in my work is you. It's me placing objects. It's me putting things together. It's you standing near it. It's you in proximity moving back and forth, moving around it. It's us. One of the reasons I make the things I do the way I make them is because I can't imagine them. I make things that I couldn't draw or even think about clearly. I can only look at them. I enjoy the complexity that I make because I'm striving to see it.”John Powers was born in Chicago. He is a sculptor. After doing an apprenticeship on the West Coast with the sculptor Tom Jay, he moved to New York where he studied at Pratt and Hunter College. His artwork has been shown at MoMA PS1, the Brooklyn Museum, the Bruges Triennial, and PostMasters Gallery, among others. He was recently featured in the New York Times after injuring his hand.· www.johnpowers.us· www.creativeprocess.info

John Powers was born in Chicago. He is a sculptor. After doing an apprenticeship on the West Coast with the sculptor Tom Jay, he moved to New York where he studied at Pratt and Hunter College. His artwork has been shown at MoMA PS1, the Brooklyn Museum, the Bruges Triennial, and PostMasters Gallery, among others. He was recently featured in the New York Times after injuring his hand.· www.johnpowers.us· www.creativeprocess.info

“The figure in my work is me. The figure in my work is you. It's me placing objects. It's me putting things together. It's you standing near it. It's you in proximity moving back and forth, moving around it. It's us. One of the reasons I make the things I do the way I make them is because I can't imagine them. I make things that I couldn't draw or even think about clearly. I can only look at them. I enjoy the complexity that I make because I'm striving to see it.”John Powers was born in Chicago. He is a sculptor. After doing an apprenticeship on the West Coast with the sculptor Tom Jay, he moved to New York where he studied at Pratt and Hunter College. His artwork has been shown at MoMA PS1, the Brooklyn Museum, the Bruges Triennial, and PostMasters Gallery, among others. He was recently featured in the New York Times after injuring his hand.· www.johnpowers.us· www.creativeprocess.info

“The figure in my work is me. The figure in my work is you. It's me placing objects. It's me putting things together. It's you standing near it. It's you in proximity moving back and forth, moving around it. It's us. One of the reasons I make the things I do the way I make them is because I can't imagine them. I make things that I couldn't draw or even think about clearly. I can only look at them. I enjoy the complexity that I make because I'm striving to see it.”John Powers was born in Chicago. He is a sculptor. After doing an apprenticeship on the West Coast with the sculptor Tom Jay, he moved to New York where he studied at Pratt and Hunter College. His artwork has been shown at MoMA PS1, the Brooklyn Museum, the Bruges Triennial, and PostMasters Gallery, among others. He was recently featured in the New York Times after injuring his hand.· www.johnpowers.us· www.creativeprocess.info

John Powers was born in Chicago. He is a sculptor. After doing an apprenticeship on the West Coast with the sculptor Tom Jay, he moved to New York where he studied at Pratt and Hunter College. His artwork has been shown at MoMA PS1, the Brooklyn Museum, the Bruges Triennial, and PostMasters Gallery, among others. He was recently featured in the New York Times after injuring his hand.· www.johnpowers.us· www.creativeprocess.info

“The figure in my work is me. The figure in my work is you. It's me placing objects. It's me putting things together. It's you standing near it. It's you in proximity moving back and forth, moving around it. It's us. One of the reasons I make the things I do the way I make them is because I can't imagine them. I make things that I couldn't draw or even think about clearly. I can only look at them. I enjoy the complexity that I make because I'm striving to see it.”John Powers was born in Chicago. He is a sculptor. After doing an apprenticeship on the West Coast with the sculptor Tom Jay, he moved to New York where he studied at Pratt and Hunter College. His artwork has been shown at MoMA PS1, the Brooklyn Museum, the Bruges Triennial, and PostMasters Gallery, among others. He was recently featured in the New York Times after injuring his hand.· www.johnpowers.us· www.creativeprocess.info

“The figure in my work is me. The figure in my work is you. It's me placing objects. It's me putting things together. It's you standing near it. It's you in proximity moving back and forth, moving around it. It's us. One of the reasons I make the things I do the way I make them is because I can't imagine them. I make things that I couldn't draw or even think about clearly. I can only look at them. I enjoy the complexity that I make because I'm striving to see it.”John Powers was born in Chicago. He is a sculptor. After doing an apprenticeship on the West Coast with the sculptor Tom Jay, he moved to New York where he studied at Pratt and Hunter College. His artwork has been shown at MoMA PS1, the Brooklyn Museum, the Bruges Triennial, and PostMasters Gallery, among others. He was recently featured in the New York Times after injuring his hand.· www.johnpowers.us· www.creativeprocess.info

John Powers was born in Chicago. He is a sculptor. After doing an apprenticeship on the West Coast with the sculptor Tom Jay, he moved to New York where he studied at Pratt and Hunter College. His artwork has been shown at MoMA PS1, the Brooklyn Museum, the Bruges Triennial, and PostMasters Gallery, among others. He was recently featured in the New York Times after injuring his hand.· www.johnpowers.us· www.creativeprocess.info

This week I was hugely honored to sit down with fine art powerhouses Jen Catron & Paul Outlaw. Jen and Paul are fine artists living in Brooklyn and have been featured in just a few small publications like the NY times, Playboy the Wallstreet journal not to mention exhibiting in the Brooklyn Museum, Museum of contemporary art in Detroit and Poster master gallery. Suffice to say they have credits. We met up this week to chat all things fine art, as most of all they are performance artists and it's an art form i really steer clear from creating myself. So join us as we discuss their work, artistic practices and what really makes up being an artist that "Ego" which drives us to say "Yeh people should see this"Find Jen and Paul :Instahttps://www.instagram.com/paul_outlaw/https://www.instagram.com/jencatron/?hl=enWebhttp://www.catronandoutlaw.com/https://www.artsy.net/artist/jen-catron-and-paul-outlawhttps://twitter.com/jenandoutlaws?lang=enOutside of they usual they are alsoRepresented by Postmasters Gallery, Tribeca NY @postmastersgallery @postmastersromaOwn and curate exhibitions and performances at Satellite Art Club, Brooklyn NY @satelliteartclubCurrently they have and installation and performance "Hamburger Heaven (waiting for god(ot))" on view at Wassaic Project, Wassaic NY through the summer @wassaicproject Ituneshttps://podcasts.apple.com/us/podcast/yelling-at-concrete/id1238765054Spotifyhttps://open.spotify.com/show/3T2OhYE07edgaBDXrm86saAcasthttps://shows.acast.com/yellingatconcreteFor more of Graham visitwww.facebook.com/yellingatconcretewww.instagram.com/yellingatconcretehttps://yellingatconcrete.bigcartel.com/ See acast.com/privacy for privacy and opt-out information.

In 2007, Postmasters Gallery in New York presented an exhibition with new works by Los Angeles-based artist Eddo Stern. On ...

Noah talks to Magda Sawon - a contemporary art gallerist and art world figure who founded and owns New York's Postmasters Gallery (with her husband Tamas Banovich), a gallery for young and established contemporary artists, especially those working in new media, in the Tribeca neighborhood of New York City. The gallery is considered to be one of the "leading experimental galleries" in New York City. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/noah-becker4/support

Serkan Özkaya's Proletarier Aller Länder (Workers of the World) 1999, Image via Postmaster's Gallery. In this episode of Explain Me, hosts Paddy Johnson and William Powhida talk to Magda Sawon of Postmasters Gallery in New York, and Jonathan Schwartz, the CEO and founder of Atelier4, an arts logistics company based out of New York. The discussion includes stories and conversations you won’t find anywhere else.  Schwartz reports that at least one logistics company is currently breaking the law to ship art, and that Fedex trucks are in short supply because they’re being used to transport the dead.  Magda describes the challenges for galleries which range from financial burdens to the need to better consider the online art environment.  William and Paddy discuss the financial precarity of artists, writers, and educators.  As a group we talk about what needs to be done to respond to the crisis and what is being done. We also make the mini announcement that we will be launching a Patreon for Explain Me in the next week or two. More details on that soon! We’re looking at a radical shift in opportunity, so this conversation includes a fair amount of debate. We’re also doing it over zoom, with William on the phone due to an internet connectivity issue. This isn’t the best recording quality we’ve ever produced, but it might be the most important episode. Please tune in.   COMING UP: Resources for freelancers and art organizations. What relief is available and how long it will take to get to the people who need it.

Destin was the winner of our raffle at our fundraising event at Postmasters Gallery in October, 2019. It was a contest to raffle off a philosopher, and I, Dena Shottenkirk, ended up being the philosopher who was raffled and Destin won the slot of being the talkPOPc participant. He gives a definition of art as something that makes people feel something. He also argues that prestige items are such because they make us feel something. They move us. Something is expensive because it makes us feel something. Cars, jewelry, etc. I give this back to him and ask him if this is what he is saying: things are valued because they move us, and art is just a subcategory of that. It is the being dazzled that makes something valuable. He concurs.Support the show (https://www.patreon.com/talkpopc)

Rafaël Rozendaal is a dutch-brazilian visual artist based out of new york city who uses the internet as his canvas. He also creates installations, tapestries, lenticulars, haiku and lectures. Exhibitions: Times square, Centre Pompidou, Venice Biennial, Valencia Biennial, Postmasters Gallery, the Hole gallery. TSCA Gallery Tokyo, Seoul Art Square, NIMk Amsterdam, Stedelijk Museum. Press: Time Magazine, Wall street Journal, Flash Art, Dazed & Confused, Interview, Wired, Purple, McSweeney’s, O Globo, Vice, Creators Project, Artreview, Vogue. Lectures: Yale (New Haven), DLD (Munich), AIT (Tokyo), Ecole des Beaux Arts (Paris), NYU (New York), Here (London), Vivid (Sydney). Collections: Whitney Museum, Stedelijk Museum Sound and Vision is supported by Golden Artist Colors. Golden is an employee owned company based in upstate New York committed to making the highest quality artist materials.

As an artist, academic, and a cofounder to an art technology company called Monograph, Kevin McCoy brings a unique perspective to the idea of authorship & ownership in its application to the digital and internet art scene. Established in 2014, Monegraph aimed to solve issues of provenance and legitimacy artists and collectors face when selling and buying digital art works. In this episode, we speak with Kevin about how Monegraph was received in its initial years, why provenance matters in the art world, and what some of the hurdles are facing digital and new media artists today.-About Kevin McCoy-His artworks take many diverse forms including video sculpture and installation, photography, long-form film, curatorial practice and performance, kinetic sculpture and software-driven on-line projects. Thematically, his work explores changing conditions around social roles, categories, genres and forms of value. His primary research questions ask 'What counts as new,’ 'How is meaning established,' and 'How are cultural memories formed'. He has worked collaboratively with Jennifer McCoy for many years to try to answer what it means to speak together, often finding that experience outstrips available modes of presentation and discourse. To these ends their work has adopted many methodological approaches: exhaustive categorization, recreation and reenactment, automation, miniaturization, and most recently remote viewing and speculative modeling.In New York City, his work has been exhibited at The Metropolitan Museum of Art, P.S.1, Postmasters Gallery, The Museum of Modern Art, The New Museum, and Smack Mellon. International exhibitions include projects at the Pompidou Center, the British Film Institute, ZKM, the Hanover Kunstverien, the Bonn Kunstverein, and F.A.C.T. (Liverpool, UK). Grants include a 2002 Creative Capital Grant for Emerging Fields, a 2005 Wired Rave Award, and a 2011 Guggenheim Fellowship. Articles about his work have appeared in Art in America, Artforum, Flash Art, Art News, The New York Times, The Washington Post and Newsweek. Residencies include work at the Headlands Center for the Arts, and the Lower Manhattan Cultural Council.His artwork is represented by in New York by Postmasters Gallery and in Geneva by Gallerie Guy Bartschi and can be seen in the collections of the Museum of Modern Art, The Metropolitan Museum of Art, the Milwaukee Art Museum, and MUDAM in Luxembourg.In 2014 he co-founded monegraph.com a platform that uses the technology underlying Bitcoin to provide a mechanism for validating, owning and trading digital media assets. The project was presented at The New Museum as part of Rhizome's seven on seven conference and at Tech Crunch Disrupt in New York.His teaching engages both undergraduate and graduate students in studio art and related arts professions and addresses practical and theoretical uses of digital media technology together with surveys of related theoretical and philosophical texts. The current semester's coursework can be found at mccoyspace.com/nyu.Learn more at:auxillaryprojects.commonegraph.comcorespace.com

      On this Mini-episode of By The Way: A Contemporary Art News Podcast Eric talks about Postmasters Gallery NYC and their recent Patreon campaign strategy. He has his doubts, but what do you think?  By The Way, also wants to give a shout out to The Conversation Art Podcast, as Jenny Danielsson, our co-host from episode #11 Los Angeles and Shrinkage In The Art Market was interviewed. They are making a great podcast and you all should go take a listen. If you enjoy our podcast please consider becoming a patron and support us on our Patreon page. For more, By The Way, follow us on Twitter@ByTheWay_ArtPod, Facebook@By The Way: A Contemporary Art News Podcast, and Instagram@Bythewaypodcast. Or on our website www.Culturalbandwidth.com. By The Way: A Contemporary Art News Podcast is created by Eric Wall and Ando. Links: Patreon https://bit.ly/2Hn59O5 https://bit.ly/2HVgC7C https://artnt.cm/2JwY3ah Music credits: Big Birds Date Night Full Version by Twin Musicom (twinmusicom.org)

Curator Kerry Doran has been researching and writing about internet-based art practices for years. She is currently the Director at Postmasters Gallery in New York. On episode 50 of the podcast, she stopped by to discuss the paradoxical techno-utopianism in early internet art, her recent article “Re: Contextualizing the Cyborg” for Open Space, whether or not digital tools can be emancipatory, running in Ridgewood, accidental audiences, the overspecialization of coding, skepticism versus cynicism, her transition to selling art and why it’s important for the artists she works with, writing about contemporary art history, and more. We’re sponsored this week by the ability to eat cheese in physical gallery spaces. The outro music is “Dark Steering” by Squarepusher. Read Kerry's latest piece for Open Space here: https://openspace.sfmoma.org/2018/02/re-contextualizing-the-cyborg/

One of Miami’s finest daughters, artist and filmmaker Jillian Mayer, currently has a solo exhibition called “Post Posture” up at Postmasters Gallery here in New York through March 31st. In the middle of her chaotic schedule in town this week, we managed to schedule some time to sit down and catch up. I’ve know Jillian for five years now and think the world of her as both an artist and a friend. We discussed her “Slumpies” sculptures currently on view, the Singularity, taking psychedelics at amusement parks, doomsday prepping and  whether the rich will survive the end times, her involvement with the nonprofit Borscht Corp film collective, speaking tangentially, making tech-based art that’s actually emotional, and a whole lot more. We’re sponsored this week by angry college art history professors who take to YouTube to whine that people don’t carve shit out of marble any longer, how your attitude influences the way your life might go if you’re a cowboy or a filmmaker, Kentucky Fried Chicken’s Dunked Wings, sex as an innovation, and how gracefully the Futurist Manifesto has aged. The outro song is "Mega Mega Upload," a total fucking banger from Jillian's #Postmodem film.