Podcasts about princeton university art museum

 Today, we cover a decrease in state funding for Princeton Public Schools, learn the plans for the Princeton University Art Museum, and hear about a driving debacle during an internship last summer.You can read more about the museum here: https://www.dailyprincetonian.com/section/news

Ep.225 Mario Moore, a Detroit native, received a BFA from the College for Creative Studies, Detroit, MI in 2009 and an MFA in Painting from the Yale School of Art, New Haven, CT in 2013. He is a recent Kresge Arts Fellow (2023) and a recipient of the prestigious Princeton Hodder Fellowship (2018-2019). He also has been awarded residencies at Duke University, Josef and Annie Albers Foundation, Fountainhead, and Knox College. Moore's work is in the permanent collections of but not limited to the Detroit Institute of Arts, Princeton University Art Museum and The Studio Museum in Harlem. Moore's work has been widely exhibited, including at the Smart Museum of Art, Chicago, IL; Cranbrook Art Museum, Bloomfield Hills, MI; Jeffrey Deitch Gallery, Los Angeles, CA; Arthur Roger Gallery, New Orleans, LA; The Cleveland Museum of Art, and Colby College Museum of Art. Mario Moore / Enshrined: Presence & Preservation exhibition—Moore's largest survey of work to date—opened at the Charles H. Wright Museum of African American History, Detroit in June 2021 and traveled to the California African American Museum (CAAM) in March 2022, his first solo exhibition on the West Coast]. Moore's most recent traveling museum exhibition, Revolutionary Times opened at the Flint Institute of Arts in January 2024 and closed at the Grand Rapids Art Museum in August 2024. Mario Moore currently works and lives in Detroit, MI. Headshot by Danielle Eliska Artist https://www.mariomoorestudio.com/ ABC news https://www.abc12.com/video/detroit-native-brings-revolutionary-times-to-the-flint-institute-of-arts/video_1a604728-0a2e-5a4b-969d-f0304557c2a1.html Hour Detroit https://www.hourdetroit.com/art-topics/two-new-exhibitions-at-cranbrook-art-museum-highlight-detroit-artists/ Canvas Rebel https://canvasrebel.com/meet-mario-moore/ David Klein Gallery https://www.dkgallery.com/artists/45-mario-moore/ Grand Rapids Art Museum https://www.artmuseumgr.org/press-releases/artist-mario-moore-bridges-untold-stories-of-americas-past-and-present-at-the-grand-rapids-art-museum Kresege Arts https://kresgeartsindetroit.org/artist/mario-moore/ Shondaland https://www.shondaland.com/act/a40458000/detroit-artist-mario-moore-interview/ Outlier Media https://outliermedia.org/mario-moore-artist-detroit-painter-interview/ LSU Museum of Art https://www.lsumoa.org/mario-moore-responding-to-history CAA Museum https://caamuseum.org/exhibitions/2022/enshrined-presence-preservation Duke Arts https://arts.duke.edu/projects/mario-moore/ Duke Form https://www.dukeform.co/all-content/mario-moore Sakehile & Me https://www.sakhileandme.com/artists/mario-moore.htm Cranbrook Art Museum https://cranbrookartmuseum.org/events/artist-led-tour-skilled-labor-mario-moore-sabrina-nelson-richard-lewis/ CCS Detroit https://www.ccsdetroit.edu/news/mario-moore-honored-with-ccss-2023-distinguished-alumni-award/ Detroit Metro Times https://www.metrotimes.com/arts/mario-moore-tells-detroits-underground-railroad-history-in-new-exhibit-midnight-and-canaan-31303155 Cultured Mag https://www.culturedmag.com/article/2022/11/02/mario-moore-painting-black-history Princeton University https://www.cnn.com/2020/01/01/us/princeton-university-portraits-workers-trnd/index.html The Art Newspaper https://www.theartnewspaper.com/2020/01/20/princeton-artist-fellow-mario-moore-celebrates-african-american-workers

This episode is an interview with architect and lighting designer Cecilia Ramos, AIA of Lutron Ketra.Link to Blog with images and text:https://inmawomanarchitect.blogspot.com/2024/11/link-to-lutron-ketra-video-i-met.htmlBeautiful. Bespoke. Intuitive.Lutron is the leader in luxury residential lighting, from hand crafted controls, to precision shades, to unrivaled light. This is the Lutron Luxury portfolio.Lighting can transform the mood of a home, all with the touch of a button.  Lutron blends powerful performance, innovative design, and meticulous craftsmanship that defines elegant living in the home.  Founded in 1961, the company has maintained its' top market position by focusing on exceptional quality and service. Continuous innovation has resulted in numerous patents worldwide.  Lutron has invented 15,000 products residentially and commercially, building a culture of innovation. Cecilia E. RamosSenior Director – Architectural Marketceramos@lutron.comCecilia's expertise is in lighting, interiors, and architectural design and at Lutron, Cecilia is responsible for leading the company's work in A&D. She holds degrees from MIT (B.SAD) and Princeton University (M.Arch), and has traveled the world as a lighting designer for luxury brands including Louis Vuitton and Christian Dior. She lives in New York City (when not on planes!).Before joining Lutron, she specialized in the lighting of luxury retail stores for LVMH brands (LV, Dior, Hublot, Fendi) with award winning lighting design firm L'Osservatore International. And prior, as principal of her own design consulting practice, she worked in exhibition and installation design for renown clients such as Guggenheim Museum, Princeton University Art Museum, and MacroSea .In her current role, Cecilia is responsible for leading Lutron's Architecture and Design strategy. Her work encompasses business development, creative direction, marketing, experiential design, and strategy. She also led the interior and lighting design of the award-winning Ketra Headquarters in Austin, TX., Los Angeles Design Studio, and 2022 PRISMATIC events throughout Europe.She is an accomplished and sought after speaker and has presented at conferences worldwide including's Barcelona (2024), ISE Mexico (2023), ASID National Conference (2023), CEDIA, Denver (2023), Design, Leadership Network Business Forum (2023), Design Management Institute, Madrid (2023), Dubai Design Week (2022), LED Forum Brazil (2022), and Energy, Puerto Rico (2021).She is co-author of the book “Architectural Lighting, Designing with Light and Space” (Princeton Architectural Press, 2011)Link to LUTRON KETRA video:https://youtu.be/K-Jq5YdwMQsLink to MGHarchitect: MIchele Grace Hottel, Architect website for scheduling and podcast sponsorship opportunities:https://www.mgharchitect.com/

Ep.206 Andrea Grover is the Executive Director of Guild Hall, the cornerstone cultural institution of East Hampton that combines a museum, theater, and education center. Guild Hall is completing a facility-wide renovation to restore the 1930s-era building and grounds to state-of-the-art performance and functionality. Grover has over 25 years of experience in curatorial and nonprofit leadership, focusing on art/science, moving image art, maritime themes, innovation, and participation. Most recently, she was the curator of the 2021 exhibition Alexis Rockman Shipwrecks, presented at Guild Hall, Peabody Essex Museum, Salem, MA, The Ackland Art Museum at UNC-Chapel Hill, NC, and Princeton University Art Museum, Princeton, NJ. Before joining Guild Hall in 2016, she was the Curator of Special Projects at the Parrish Art Museum, where she was awarded both a Tremaine Foundation and an AADA Curatorial Award for her exhibition, Radical Seafaring. At the Parrish, she established the extremely popular community-driven program PechaKucha Night Hamptons and the exhibition series Parrish Road Show and Platform. Grover founded the nonprofit film center Aurora Picture Show, Houston, Texas, at age 27. This groundbreaking entity focuses on experimental artist-made movies and installations and celebrates its 26th anniversary in 2024. With expertise in artists who work in scientific or technological spaces, she has served as a panelist or advisor for the Pew Foundation for Arts & Heritage, Pulitzer Arts Foundation, Rauschenberg Foundation, and Bogliasco Foundation. She has taught interdisciplinary courses at the University of Houston and Texas Southern University. She has been a guest speaker or juror at SXSW Interactive, Austin, Texas, and Ars Electronica, Linz, Austria, among many others. Grover has received fellowships from the Center for Curatorial Leadership, the Museum of Fine Arts, Houston, STUDIO for Creative Inquiry at Carnegie Mellon University, and the Warhol Foundation. She holds an MFA from the School of the Art Institute of Chicago and a BFA from Syracuse University. Photo credit: Lori Hawkins Andrea Grover https://www.andreagrover.com/ Guild Hall https://www.guildhall.org/people/andrea-grover/ Wikipedia https://en.wikipedia.org/wiki/Andrea_Grover Studio for Creative Inquiry https://studioforcreativeinquiry.org/people/andrea-grover IMAGO https://www.imago-images.com/st/0443350624 Hamptons https://hamptons.com/guild-hall-executive-director-andrea-grover-board-chairman-marty-cohen-on-entering-phase-2/ AAQ https://aaqeastend.com/bulletins/guild-hall-an-insiders-tour-of-guild-hall-w-executive-director-andrea-grover-annual-appeal/ Long Island https://events.longisland.com/executive-directors-choice-with-andrea-grover.html

In episode 304 UNP founder and curator Grant Scott is in his shed speaking with master printer Bob Tursack about all aspects of photographic printing including photo books, fine art printing, digital, analogue and lithographic. They also discuss photographer expectations, good practice and the photographer/printer relationship. Bob Tursack, is the CEO of the high-end printing company Brilliant Graphics. He is a third-generation printer who grew up in the Philadelphia suburbs who became interested in photography when he was in junior high. He had his first darkroom in sixth grade and attended the Ansel Adams workshops in Carmel, the Maine Photography Workshops, and other photography courses. Tursack's father founded Tursack Printing, commercial printers, in 1959, and Bob began training on the small press as a teenager. But his real passion was for fine art prints, and he ultimately sold the company in 1998. Tursack started Brilliant Studio in 2000, in his basement, planning to make prints for artists and photographers as a one-man band. But the business quickly grew, and he soon founded Brilliant Graphics, to produce brochures, catalogues, posters, and books. The company now has 72 employees. Tusack has worked with photographers including Sally Mann, Ralph Gibson, George Tice, Steve McCurry, Emmett Gowin, Mark Seliger and institutions including The National Gallery, Washington, DC, Metropolitan Museum of Art, NYC, The Hermitage Museum, Princeton University Art Museum, Los Angeles County Museum of Art, Massachusetts Institute of Technology, University of Pennsylvania Press, Yale University Press, and The Andy Warhol Foundation. https://brilliant-graphics.com Dr.Grant Scott After fifteen years art directing photography books and magazines such as Elle and Tatler, Scott began to work as a photographer for a number of advertising and editorial clients in 2000. Alongside his photographic career Scott has art directed numerous advertising campaigns, worked as a creative director at Sotheby's, art directed foto8magazine, founded his own photographic gallery, edited Professional Photographer magazine and launched his own title for photographers and filmmakers Hungry Eye. He founded the United Nations of Photography in 2012, and is now a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, and a BBC Radio contributor. Scott is 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), and What Does Photography Mean To You? (Bluecoat Press 2020). His photography has been published in At Home With The Makers of Style (Thames & Hudson 2006) and Crash Happy: A Night at The Bangers (Cafe Royal Books 2012). His film Do Not Bend: The Photographic Life of Bill Jay was premiered in 2018. Scott's next book Inside Vogue House: One building, seven magazines, sixty years of stories, Orphans Publishing, is now on pre-sale. © Grant Scott 2024

Today on Daybreak, we cover reactions to the resignation of Claudine Gay, additional Princeton University Art Museum artifacts connected to fraud, an uptick in tech layoffs at the start of the new year, and an attack on U.S. soldiers in Jordan. ---Read more about Claudine Gay: https://www.dailyprincetonian.com/da8886d2-5da8-422c-9bfb-b73a665a7303 

Episode No. 597 of The Modern Art Notes Podcast features artist Binh Danh and curator Jeffrey Richmond-Moll. Radius Books has just published a two-volume monograph titled, "Binh Danh: The Enigma of Belonging." The book, Danh's first monograph, brings together Danh's prints on plant matter that consider images associated with the war in Vietnam, and Danh's daguerreotypes of scenic vistas in the American West, his attempt to negotiate the land and history of a still-contested region. The book features essays by Danh, Boreth Ly, Joshua Chuang, Isabelle Thuy Pelaud, and Andrew Lam. Bookshop and Amazon offer it for about $60. Danh's work is on view in "Ansel Adams in Our Time" at the de Young Museum, San Francisco. The exhibition, which was curated by Karen Haas for the Museum of Fine Arts, Boston, is on view through July 23. Danh has had solo shows at museums such as the Cantor Arts Center, Stanford University; the North Carolina Museum of Art, Raleigh; and the Sheldon Museum of Art, University of Nebraska. He's in many major US museum collections, including at the Eastman House in Rochester, NY; the San Francisco Museum of Modern Art, the Harvard Art Museums, and the Huntington Library, San Marino, Calif. Richmond-Moll discusses "Object Lessons in American Art: Selections from the Princeton University Art Museum" at the Georgia Museum of Art. The exhibition features work from PUAM that present artworks about American history, culture, and society in ways that reveal how Princeton has taught and presented US art history. It's on view through May 14. A catalogue was published by PUAM. Bookshop and Amazon offer it for $30-40.

This is a special episode to urge listeners to donate to the ongoing relief effort in Turkey and Syria. I interview two expert guests about the situation with a particular focus on the city of Antakya (Byzantine Antioch).Andrea De Giorgi is a Professor of Classical Studies at Florida State University. He specializes in Roman urbanism and visual culture and has written many books and articles on the subject. He co-authored the fantastic book Antioch. A History which I thoroughly recommend. Dr. De Giorgi has also directed excavations and surveys in Turkey, Syria, Georgia, Jordan, and the UAE. Since 2013, he has codirected the Cosa Excavations in Italy and, since 2021, the Coastal Caesarea Archeological Project in Israel; currently, he is studying the 1930s Antioch and Daphne collections at the Princeton University Art Museum.Katherine Pangonis is a historian and author of the book ‘Queens of Jerusalem' who I interviewed back in episode 238 of the podcast. Her second book - to be published this summer - is called ‘Twilight Cities: Lost Capitals of the Mediterranean.' In it she explores famous cities from antiquity like Tyre, Carthage and Ravenna. Cities who once ruled whole Empires and were littered with magnificent buildings but have been somewhat forgotten. One of the cities she covers is Antioch. She also hosts the podcast - Women Who Dared to Write. This is an appeal for you to donate to one of the various charities who are rushing to the scene at this moment to help the survivors. You have a number of options. You may have campaigns being run in your country by reputable organisations. So here in the UK the Disaster Emergency Committee have launched an appeal that has raised millions. This is an organisation which brings a group of charities together. In this case Oxfam, Save the Children, Tearfund and Islamic Relief amongst many others.dec.org.uk/appeals/To help specific groups directly:The White Helmets are volunteers who have been operating in Syria for many years. They help evacuate people from dangerous areas and offer medical help.https://www.whitehelmets.org/en/AKUT Search and Rescue Association. They are a non-governmental organisation offering emergency and disaster relief to people caught up in natural disasters in Turkey.https://www.akut.org.tr/en/donationAHBAP an independent civilian organisation who offer disaster relief to communities in need across Turkey. This is the organisation that the kind listener who prompted me to make this appeal recommends.https://ahbap.org/disasters-turkeyInternational Red Crosshttps://www.icrc.org/en/donate/syria-emergency Hosted on Acast. See acast.com/privacy for more information.

As part of Princeton's slate of programming celebrating Toni Morrison, the Princeton University Art Museum will launch the exhibition, Cycle of Creativity: Alison Saar and the Toni Morrison Papers, which pairs select writings from Morrison with work by artist Alison Saar. Saar joins us to discuss.

In episode 32 of the Princeton Podcast our host, Mayor Mark Freda, sat down with James Steward, the Director of the Princeton University Art Museum. James Steward joined the Princeton University Art Museum as its director in April 2009 and since that time has expanded the Museum's program of exhibitions and educational activities as well as its open hours and outreach efforts on campus and throughout the Princeton community. James is currently in the midst of leading a major Princeton Art Museum expansion that will double the museum's exhibition space within a new building that will be home to the museum's collection of over 100,000 works of art and its more than 200,000 visitors each year.The Princeton Podcast is produced by the Podcast Production Team at HG Media, providing audio and video production services here in Princeton since 1999.

Ep.62 features William Villalongo. He received his B.F.A. from The Cooper Union School of Art, NYC and his M.F.A. from the Tyler School of Art at Temple University, Philadelphia. Recent exhibitions include Yesterday’s Tomorrow: Selections from the Rose Collection, 1933-2018 at the Rose Art Museum, Brandeis University, Waltham, MA; Living in America, curated by Assembly Room, at the International Print Center, NYC; Afro cosmologies: American Reflections, Wadsworth Atheneum Museum of Art, Hartford, CT; Young, Gifted, and Black: The Lumpkin-Boccuzzi Family Collection of Contemporary Art, OSilas Gallery, Concordia College, Bronxville, NY, travelling to Lehman College Art Gallery, Lehman College, Bronx, NY; New Mythologies: William Villalongo, The Harvey B. Gantt Center for African-American Arts and Culture, Charlotte, NC; Greater New York, MoMA PS1, Long Island City, NY; and the online exhibition, Life During Wartime, curated by Christian Viveros-Fauné, University of South Florida Contemporary Art Museum, Tampa, FL, among others. In 2023, Villalongo will have a solo museum exhibition originating at the Grinnell College Museum of Art, Grinnell, IA. He is the recipient of the Louis Comfort Tiffany Award and the Joan Mitchell Foundation Painters & Sculptor's Grant. His work is included in the permanent collections of the Baltimore Museum of Art; Denver Art Museum; Grinnell College Museum of Art, Grinnell, IA; Princeton University Art Museum; the Studio Museum in Harlem, NYC; the Whitney Museum of American Art, NYC; and the Yale University Art Gallery, New Haven, CT, among others. He is an Associate Professor at The Cooper Union School of Art, NYC. In January 2021, William presented his sixth solo exhibition with the Susan Inglett Gallery, titled 'Sticks & Stones', which highlighted the artist’s signature black velvet cut paper work. Artist Website https://villalongostudio.com/ Cooper-Union https://cooper.edu/art/people/william-villalongo Gallery - https://www.inglettgallery.com/ Wikipedia - https://en.wikipedia.org/wiki/William_Villalongo Creative Independent https://thecreativeindependent.com/people/william-villalongo-on-discovering-materials-that-mean-something-to-you/ Life During War Time Exhibition Time https://lifeduringwartimeexhibition.org/william-villalongo

Professor Emily C. Burns, Terra Foundation Visiting Professor in American Art, gives the fourth in the series of The Terra Lectures in American Art: Performing Innocence: US Artists in Paris, 1865-1914. Content Warning: This talk will include references to historic racist language and imagery. Viewer discretion is advised. Performing Innocence: Baby Nation Moderator: Professor Alastair Wright, Associate Professor in the History of Art, St John's College Between the end of the US Civil War and the start of World War I, thousands of American artists studied and worked in Paris. While popular thought holds that they went to imbibe culture and attain artistic maturity, in this four-part lecture series, Professor Emily Burns explores the various ways that Americans in Paris performed instead a cultural immaturity that pandered to European expectations that the United States lacked history, tradition, and culture. The lectures chart knowing constructions of innocence that US artists and writers projected abroad in both art practice and social performance, linking them to ongoing conversations about race, gender, art making, modernity, physio-psychological experience, evolutionary theory, and national identity in France and in the United States. Interwoven myths in art and social practice that framed Puritanism; an ironically long-standing penchant for anything new and original; primitivism designed by white artists' playing with ideas of Blackness and Indigeneity; childhood's incisive perception; and originary sight operated in tandem to turn a liability of lacking culture into an asset. In analyzing the mechanisms of these constructions, the lectures return to the question about the cultural work these ideas enacted when performed abroad. What is obscured and repressed by mythical innocence and feigned forgetting? Abstract: French artists often referred to US artists and art as their offspring. In the context of French declining birthrates, cultural fecundity absorbed the anxieties about a decline of French culture in the name of superiority. The final lecture analyzes how US artists in Paris took up the child as a motif and mantra that reinforced or rejected the narrative of French artistic parentage. While Edwin Blashfield and Henry Ossawa Tanner, both artists invested in the French academy system, framed dutiful tutelage, Mary Cassatt, Cecilia Beaux, and Ellen Emmet Rand instead probed burgeoning ideas in psychology about the child to frame independent and precocious children. These modern children modeled artistic independence echoed in these painters' aesthetic experimentation, mirroring the conceit framed by Henry James's depiction of his child character in What Maisie Knew as “flattening her nose upon the hard window-pane of the sweet-shop of knowledge.” Cartoons related to the War of 1898 suggest the fungible nature of this position; while playing youthful in the context of Europe, Americans adopted the aged Uncle Sam in rendering their colonized subjects as the children as they moved to outgrow their longstanding dependence on Parisian art practice. Biographies: Emily C. Burns is an Associate Professor of Art History at Auburn University where she teaches courses on eighteenth- and nineteenth-century American, Native American, and European art history. Her publications include a book, Transnational Frontiers: the American West in France (University of Oklahoma Press, 2018), which analyzes appropriations of the American West in France in performance and visual and material culture in the tripartite international relationships between the United States, France, and the Lakota nation between 1867 and 1914, as well as journal articles, exhibition catalogue essays, and book chapters related to art and circulation, US artists in France, and American impressionism. She is currently completing a co-edited volume with Alice Price on global impressionisms entitled Mapping Impressionist Painting in Transnational Contexts (forthcoming from Routledge). During her tenure as the Terra Foundation for American Art Visiting Professor in the Department of History of Art at the University of Oxford and a Visiting Fellow at Worcester College, Professor Burns will complete her second book, Performing Innocence: Cultural Belatedness and U.S. Art in fin-de-siècle Paris. Alastair Wright teaches modern art and visual culture for both the first year course (Prelims) and courses taken in subsequent years. At graduate level, his teaching focuses on French modernism and the interaction between art and mass culture. In all his teaching he encourages students to engage as closely as possible with actual works of art, regularly leading visits to collections in Oxford and beyond. Alastair Wrights's research focuses primarily on European modernisms. His first book, Matisse and the Subject of Modernism, was published by Princeton University Press in 2004, and more recently he curated an exhibition of Paul Gauguin's prints at the Princeton University Art Museum. The accompanying catalogue, Gauguin's Paradise Remembered: The Noa Noa Prints, examined the role played by reproduction in Gauguin's understanding of French colonialism in Tahiti. He has published essays in Art History, Oxford Art Journal, Art Bulletin, Burlington Magazine, Gazette des Beaux-Arts, Artforum International, Nineteenth-Century Art Worldwide and in various edited volumes.

Professor Emily C. Burns, Terra Foundation Visiting Professor in American Art, gives the fourth in the series of The Terra Lectures in American Art: Performing Innocence: US Artists in Paris, 1865-1914. Content Warning: This talk will include references to historic racist language and imagery. Viewer discretion is advised. Performing Innocence: Baby Nation Moderator: Professor Alastair Wright, Associate Professor in the History of Art, St John's College Between the end of the US Civil War and the start of World War I, thousands of American artists studied and worked in Paris. While popular thought holds that they went to imbibe culture and attain artistic maturity, in this four-part lecture series, Professor Emily Burns explores the various ways that Americans in Paris performed instead a cultural immaturity that pandered to European expectations that the United States lacked history, tradition, and culture. The lectures chart knowing constructions of innocence that US artists and writers projected abroad in both art practice and social performance, linking them to ongoing conversations about race, gender, art making, modernity, physio-psychological experience, evolutionary theory, and national identity in France and in the United States. Interwoven myths in art and social practice that framed Puritanism; an ironically long-standing penchant for anything new and original; primitivism designed by white artists’ playing with ideas of Blackness and Indigeneity; childhood’s incisive perception; and originary sight operated in tandem to turn a liability of lacking culture into an asset. In analyzing the mechanisms of these constructions, the lectures return to the question about the cultural work these ideas enacted when performed abroad. What is obscured and repressed by mythical innocence and feigned forgetting? Abstract: French artists often referred to US artists and art as their offspring. In the context of French declining birthrates, cultural fecundity absorbed the anxieties about a decline of French culture in the name of superiority. The final lecture analyzes how US artists in Paris took up the child as a motif and mantra that reinforced or rejected the narrative of French artistic parentage. While Edwin Blashfield and Henry Ossawa Tanner, both artists invested in the French academy system, framed dutiful tutelage, Mary Cassatt, Cecilia Beaux, and Ellen Emmet Rand instead probed burgeoning ideas in psychology about the child to frame independent and precocious children. These modern children modeled artistic independence echoed in these painters’ aesthetic experimentation, mirroring the conceit framed by Henry James’s depiction of his child character in What Maisie Knew as “flattening her nose upon the hard window-pane of the sweet-shop of knowledge.” Cartoons related to the War of 1898 suggest the fungible nature of this position; while playing youthful in the context of Europe, Americans adopted the aged Uncle Sam in rendering their colonized subjects as the children as they moved to outgrow their longstanding dependence on Parisian art practice. Biographies: Emily C. Burns is an Associate Professor of Art History at Auburn University where she teaches courses on eighteenth- and nineteenth-century American, Native American, and European art history. Her publications include a book, Transnational Frontiers: the American West in France (University of Oklahoma Press, 2018), which analyzes appropriations of the American West in France in performance and visual and material culture in the tripartite international relationships between the United States, France, and the Lakota nation between 1867 and 1914, as well as journal articles, exhibition catalogue essays, and book chapters related to art and circulation, US artists in France, and American impressionism. She is currently completing a co-edited volume with Alice Price on global impressionisms entitled Mapping Impressionist Painting in Transnational Contexts (forthcoming from Routledge). During her tenure as the Terra Foundation for American Art Visiting Professor in the Department of History of Art at the University of Oxford and a Visiting Fellow at Worcester College, Professor Burns will complete her second book, Performing Innocence: Cultural Belatedness and U.S. Art in fin-de-siècle Paris. Alastair Wright teaches modern art and visual culture for both the first year course (Prelims) and courses taken in subsequent years. At graduate level, his teaching focuses on French modernism and the interaction between art and mass culture. In all his teaching he encourages students to engage as closely as possible with actual works of art, regularly leading visits to collections in Oxford and beyond. Alastair Wrights's research focuses primarily on European modernisms. His first book, Matisse and the Subject of Modernism, was published by Princeton University Press in 2004, and more recently he curated an exhibition of Paul Gauguin’s prints at the Princeton University Art Museum. The accompanying catalogue, Gauguin’s Paradise Remembered: The Noa Noa Prints, examined the role played by reproduction in Gauguin’s understanding of French colonialism in Tahiti. He has published essays in Art History, Oxford Art Journal, Art Bulletin, Burlington Magazine, Gazette des Beaux-Arts, Artforum International, Nineteenth-Century Art Worldwide and in various edited volumes.

Professor Emily C. Burns, Terra Foundation Visiting Professor in American Art, gives the fourth in the series of The Terra Lectures in American Art: Performing Innocence: US Artists in Paris, 1865-1914. Content Warning: This talk will include references to historic racist language and imagery. Viewer discretion is advised. Performing Innocence: Baby Nation Moderator: Professor Alastair Wright, Associate Professor in the History of Art, St John's College Between the end of the US Civil War and the start of World War I, thousands of American artists studied and worked in Paris. While popular thought holds that they went to imbibe culture and attain artistic maturity, in this four-part lecture series, Professor Emily Burns explores the various ways that Americans in Paris performed instead a cultural immaturity that pandered to European expectations that the United States lacked history, tradition, and culture. The lectures chart knowing constructions of innocence that US artists and writers projected abroad in both art practice and social performance, linking them to ongoing conversations about race, gender, art making, modernity, physio-psychological experience, evolutionary theory, and national identity in France and in the United States. Interwoven myths in art and social practice that framed Puritanism; an ironically long-standing penchant for anything new and original; primitivism designed by white artists’ playing with ideas of Blackness and Indigeneity; childhood’s incisive perception; and originary sight operated in tandem to turn a liability of lacking culture into an asset. In analyzing the mechanisms of these constructions, the lectures return to the question about the cultural work these ideas enacted when performed abroad. What is obscured and repressed by mythical innocence and feigned forgetting? Abstract: French artists often referred to US artists and art as their offspring. In the context of French declining birthrates, cultural fecundity absorbed the anxieties about a decline of French culture in the name of superiority. The final lecture analyzes how US artists in Paris took up the child as a motif and mantra that reinforced or rejected the narrative of French artistic parentage. While Edwin Blashfield and Henry Ossawa Tanner, both artists invested in the French academy system, framed dutiful tutelage, Mary Cassatt, Cecilia Beaux, and Ellen Emmet Rand instead probed burgeoning ideas in psychology about the child to frame independent and precocious children. These modern children modeled artistic independence echoed in these painters’ aesthetic experimentation, mirroring the conceit framed by Henry James’s depiction of his child character in What Maisie Knew as “flattening her nose upon the hard window-pane of the sweet-shop of knowledge.” Cartoons related to the War of 1898 suggest the fungible nature of this position; while playing youthful in the context of Europe, Americans adopted the aged Uncle Sam in rendering their colonized subjects as the children as they moved to outgrow their longstanding dependence on Parisian art practice. Biographies: Emily C. Burns is an Associate Professor of Art History at Auburn University where she teaches courses on eighteenth- and nineteenth-century American, Native American, and European art history. Her publications include a book, Transnational Frontiers: the American West in France (University of Oklahoma Press, 2018), which analyzes appropriations of the American West in France in performance and visual and material culture in the tripartite international relationships between the United States, France, and the Lakota nation between 1867 and 1914, as well as journal articles, exhibition catalogue essays, and book chapters related to art and circulation, US artists in France, and American impressionism. She is currently completing a co-edited volume with Alice Price on global impressionisms entitled Mapping Impressionist Painting in Transnational Contexts (forthcoming from Routledge). During her tenure as the Terra Foundation for American Art Visiting Professor in the Department of History of Art at the University of Oxford and a Visiting Fellow at Worcester College, Professor Burns will complete her second book, Performing Innocence: Cultural Belatedness and U.S. Art in fin-de-siècle Paris. Alastair Wright teaches modern art and visual culture for both the first year course (Prelims) and courses taken in subsequent years. At graduate level, his teaching focuses on French modernism and the interaction between art and mass culture. In all his teaching he encourages students to engage as closely as possible with actual works of art, regularly leading visits to collections in Oxford and beyond. Alastair Wrights's research focuses primarily on European modernisms. His first book, Matisse and the Subject of Modernism, was published by Princeton University Press in 2004, and more recently he curated an exhibition of Paul Gauguin’s prints at the Princeton University Art Museum. The accompanying catalogue, Gauguin’s Paradise Remembered: The Noa Noa Prints, examined the role played by reproduction in Gauguin’s understanding of French colonialism in Tahiti. He has published essays in Art History, Oxford Art Journal, Art Bulletin, Burlington Magazine, Gazette des Beaux-Arts, Artforum International, Nineteenth-Century Art Worldwide and in various edited volumes.

"In a way the book is almost a valentine to a group of pictures and also a group of people…a community of people who have been engaged in redefining photography." Stephen Frailey and I talk about his new book, Looking at Photography published by Damiani Books, an homage to John Szarkowski's Looking at Photographs. While it uses Szarkowski's format, it is very much Stephen's own ideas about photography distilled from many years of lectures, critiques, and conversations he has had with his students. We also reminisce about our early days at the School of Visual Arts where we met, me as a student and Stephen as a newly hired Professor. https://stephenfrailey.com This episode is sponsored by the Charcoal Book Club, a monthly subscription service for photobook enthusiasts. Working with the most respected names in contemporary photography, Charcoal selects and delivers essential photobooks to a worldwide community of collectors. Each month, members receive a signed, first-edition monograph and an exclusive print to add to their collections. www.charcoalbookclub.com Stephen studied at the San Francisco Art Institute and received his BA from Bennington College. He has had solo exhibitions at 303 Gallery and the Julie Saul Gallery and group exhibitions at the Museum of Modern Art, New York; International Center for Photography, New York; and the National Museum of American Art, Washington, DC. His work has been reviewed in the New York Times, Arts Magazine, ARTnews, Artforum, the Village Voice, and the New Yorker, portfolios have appeared in Artforum and the Paris Review. His work is in the collections of the Museum of Fine Art, Houston; the International Center for Photography, New York; and the Princeton University Art Museum. He has received two MacDowell Colony Fellowships, a National Endowment for the Arts Grant and an Aaron Siskind Foundation Grant. He has been a visiting artist at the Donald Judd Foundation and twice been nominated for a Louis Comfort Tiffany Grant. His critical writing on photography have appeared in Artforum, Print, and Art on Paper. He was the Chair of the Graduate photography program at Bard College from 1998 to 2004, and has been the Chair of the Photography Department at the School of Visual Arts in New York since 1998. He is also the co-chair of the MPS Fashion Photography Program at the School of Visual Arts. In 2003, he founded the Auction for Photographic Education in Afghanistan to create a photography department at Kabul University. He is the co-founder of the Art+Commerce Festival in New York. In 2007 he founded the photography magazine Dear Dave, and is its Editor in Chief.

Bucks County Bytes presents to you, Laura Igoe, curator of American Art at Michener Museum here in Bucks County. Laura has held multiple positions at Harvard Art Museum, Princeton University Art Museum, Philadelphia Museum of Art, and the Science History Institute of Philadelphia. Laura graduated with a Ph.D. in art history from Temple University and her research has been supported by the National Endowment for the Humanities, the American Council of Learned Societies, the Henry Luce Foundation, and the Smithsonian American Art Museum among many other institutions. Welcome Laura as she speaks about Michener, the exhibits, the pandemic crisis, and who she is, and how her love of Michener here in Bucks Country drew her to concentrate here in Bucks and the American Art exhibits she so loves. Michener Museum is built on the property that once housed the old Bucks County Jail, the James. A. Michener Art Museum's history is a part of a large and lasting legacy that spans over 130 years and is deep-rooted in the Doylestown community. With its ties to the notorious jail and its metamorphosis into what is now Bucks County's premier cultural institution and America's hub for Pennsylvania Impressionism, the Michener represents the transformative power art has on individuals and communities alike.Submissions for Essential Work 2020: A Community Portrait - deadline January 15, 2021Essential Work-Bucks County Artist submissions page-Essential Work 2020: A Community PortraitMichener Museum and Laura Igoe, Ph.D. following links:Michener Art MuseumFacebookMichener ArtTwitter@MichenerArtInstagram@michenerartLinkedInMichener Art MuseumYouTubeJames A. Michener Art MuseumSupport the show (https://paypal.me/msexpresso?locale.x=en_US)

Jordan Nassar (b.1985, New York, NY) earned his BA at Middlebury College in 2007. His work has been featured in solo and group exhibitions globally at institutions including the Whitney Museum of American Art, New York, NY; BRIC, Brooklyn, NY; Museum of Arts and Design, New York, NY; Abrons Art Center, New York, NY;  Katonah Museum of Art, Katonah, NY; Anat Ebgi, Los Angeles, CA; Evelyn Yard, London, UK; Exile Gallery, Berlin, Germany, and The Third Line, Dubai, UAE. Nassar was the subject of two institutional solo presentations in 2019: Jordan Nassar: Between Sky and Earth at Art@Bainbridge at Princeton University Art Museum and The Sea Beneath Our Eyes at the Center for Contemporary Art (CCA) Tel Aviv. Nassar’s work is currently on view in the exhibition Making Knowing: Craft in Art, 1950 - 2019 at the Whitney Museum of American Art. Upcoming exhibitions include the Asia Society Triennial: We Do Not Dream Alone in New York, opening on October 27, 2020, I Cut The Sky In Two, on view from October 23 through November 21 at James Cohan's Lower East Side space, and a solo exhibition at KMAC Museum in Louisville, Kentucky opening this winter. Sound & Vision is sponsored by Golden Artist Colors.

Museums and galleries have been closed since March under lockdown rules, and there are growing fears among curators that many museums may never open again due to financial difficulties. James Steward is the Director of Princeton University Art Museum, where he leads a staff of 110 with an operating budget of $20 million and collections of over 110,000 works of art that span the globe and encompass 5,000 years of world history. In this interview, we discuss the role of art museums in helping make us better citizens and how the responsibilities of large art institutions may even expand in the wake of the coronavirus epidemic. An avid museum visitor himself, Tiger also asks Director Steward how the art viewing experience has changed and will continue to evolve in light of Covid-19: - Can the art viewing experience possibly be even better after we take away the shared physical space and give people a chance to reflect in a solitary fashion? - Art museums have always said to perform effects of anti-alienation and symbolize the unification of a social sphere rendered by fragmentation by class division and other societal issues. One often argues that in a place like an art museum, we may finally have a model of utopia as people come together across those obstacles and collectively share an experience. Is this something that art museums can actually achieve, especially after Covid?  - Museums often contain people with the same class, race, educational level… What major takeaways could the art museum industry derive from this Covid crisis and the ongoing #BlackLivesMatter movement that might motivate it to change its course, so that museums can in fact achieve such utopian vision – helping restitch our social fabric and transcend divisions?

The loss of visitors and revenue has presented museums with an existential crisis, says James Steward, the director of the Princeton University Art Museum. At the same time, the pivot to digital alternatives provides an opportunity to rethink many assumptions – including new ways to diversify content while improving access and inclusion. Transcript: https://princeton.edu/content/transcript-steward

Princeton University recently hosted and funded a very Catholic event as part of its annual Being Human Festival. It was a several-hour program dedicated to representations of St. Cecilia in poetry, painting and music, exploring how a conversation between these art forms can stir us to wonder and the contemplation of the Divine. The day's events included singing the Salve Regina and a dinner in honor of Our Lady of Guadalupe, whose feast it was. In the first part of this episode, Thomas and co-host James Majewski lead a roundtable discussion in which event organizer Joe Perez-Benzo, painter Andrew de Sa, and singer Emily de Sa look back at the event and its humanizing/evangelizing effects on participants. Joe explains how he was able to have an explicitly Catholic event funded by an Ivy League university, and offers suggestions as to how other Catholics can replicate this success wherever God has placed them. In part two, Andrew de Sa and poet James Matthew Wilson have fun reflecting on an unexpected occurrence in which one of Andrew's paintings inspired a poem by James, which in turn inspired Andrew's painting of St. Cecilia (unveiled at the Princeton event). The artists only became aware of this mutual inspiration after the fact. Part I Overview of the festival and the event's concept [4:32] The religious demographics of the event [12:33] The combination of poems and paintings holding audience attention [15:32] Singing in a secular space filled with sacred art and the dynamic of the visual elements in conjunction with song [18:15] Andrew's feelings around unveiling his new painting for the event [20:04] Joe's experience reading Latin classics at the places they describe or sites of their composition—ways of overcoming the modern isolation of works of art in a museum context [22:33] Singing the Salve Regina in “mixed company” [27:25] Getting the Princeton Humanities Council on board with the event, overcoming slight resistance [28:50] Advice for hosting similar events in public spaces or at home [36:38] The involvement of the Carl Schmitt Foundation [40:12] Emily de Sa and Ruth Swope perform 'Jesu Sweet' by Gustav Holst [46:00] Part II The providential influence between Andrew's paintings and James Matthew Wilson's poem [48:31] Holding oneself open to inspiration and associations which can make an artwork more dense with meaning [54:46] Theories of literary critics on the relevance of the artist's intention to the viewer's interpretation [57:17] Distinguishing art forms in order to unite them [1:01:40] Liturgy as the complete art from which the various art forms flow [1:05:44] Photos and video: Time lapse of Andrew de Sa painting his Flight into Egypt mural: https://www.youtube.com/watch?v=CGRiLg2dTvc That painting inspired these lines in James Matthew Wilson's “Hasten To Aid Thy Fallen People”: But every rising strain must strain indeed To lend the form to what in truth is light, And manifest peace as if it's a deed And give transcendence some arc of a flight. The purity of every saint Will be daubed on with sloppy paint, And what no thought may comprehend or say Must be taught in the staging of a play. Those lines inspired Andrew de Sa's painting of St. Cecelia, unveiled at the Princeton event: Joe Perez-Benzo helps tourgoers enter into the mystery of the Incarnation as James Majewski looks on: Emily de Sa and Ruth Swope perform Holst's Four Songs for Voice and Violin in the beautiful Princeton University Art Museum: https://www.youtube.com/watch?v=RYhryVUVlFI Final panel with Joe Perez-Benzo, Emily de Sa and Andrew de Sa:   Links Poetry which inspired Andrew de Sa's St. Cecilia painting: http://studiodesa.com/book Andrew and Emily de Sa's website: http://studiodesa.com/ Andrew de Sa on Instagram: https://www.instagram.com/ajdesa/ James Matthew Wilson's website: https://www.jamesmatthewwilson.com/ Being Human Festival: https://beinghumanfestival.org/    John Dryden, Alexander's Feast: http://jacklynch.net/Texts/alexander.html  Carl Schmitt Foundation: https://carlschmitt.org/ James Matthew Wilson, The River of the Immaculate Conception: https://www.wisebloodbooks.com/store/p96/The_River_of_the_Immaculate_Conception.html This podcast is a production of CatholicCulture.org. If you like the show, please consider supporting us! http://catholicculture.org/donate/audio

Polly Apfelbaum is an artist living and working in NYC. In 2018, Polly had solo exhibitions at the Belvedere 21 in Vienna, Austria and Ikon Gallery in Birmingham, UK, which travels to the Kemper Museum of Contemporary Art, Kansas City, MO, in 2019. She has exhibited widely since the 1980s, including one-person exhibitions at the National Museum of Women in the Arts, Washington, DC, the Otis College of Art and Design, Los Angeles, CA at Bepart in Waregem, Belgium, the Worcester Art Museum in Worcester, MA, the lumber room in Portland, OR and at the Mumbai Art Room, Mumbai, India. A major mid-career survey of her work opened in 2003 at the Institute for Contemporary Art in Philadelphia, PA, and traveled to the Kemper Museum of Contemporary Art, Kansas City, MO, and Contemporary Arts Center, Cincinnati, OH, both in 2004. Her work has been featured in numerous group exhibitions including Pattern and Decoration, Ornament as Promise, Ludwig Forum for Internationale Kunst in Aachen, Germany , An Irruption of the Rainbow at the Los Angeles County Museum of Art, Wall to Wall at MOCA Cleveland in Cleveland, OH, Pretty Raw: After and Around Helen Frankenthaler at the Rose Art Museum, , Three Graces at the Everson Museum of Art in Syracuse, NY,  Pathmakers: Women in Art, Craft and Design, Midcentury and Today at the Museum of Art and Design in New York , AMERICANA: Formalizing Craft at the Perez Art Museum in Miami, FL, Regarding Warhol: Sixty Artists, Fifty Years at the Metropolitan Museum of Art in New York, amongst many, many others. 

Polly’s work is in numerous permanent collections including the Albright-Knox Art Gallery, Buffalo, NY; Blanton Museum of Art, Austin, TX; Brooklyn Museum, New York; Carnegie Museum of Art, Pittsburgh; Dallas Museum of Art; Everson Museum of Art, Syracuse, NY; Los Angeles County Museum of Art; Museum of Contemporary Art Chicago; The Museum of Modern of Art, New York; Pennsylvania Academy of Fine Arts, Philadelphia, PA; Pérez Art Museum Miami; Philadelphia Museum of Art; Princeton University Art Museum, Princeton, NJ; Tang Teaching Museum, Saratoga Springs, NY; and Whitney Museum of American Art, New York. She was the recipient of a Pollock-Krasner Foundation Grant in 1987, a Guggenheim Fellowship in 1993, an Artist's Fellowship from the New York Foundation for the Arts in 1995, an Anonymous Was a Woman Award in 1998, a Richard Diebenkorn Fellowship in 1999, a Joan Mitchell Fellowship in 1999, an Academy Award from the American Academy of Arts and Letters in 2002, and the Rome Prize in 2012. Brian stopped by Polly’s loft in lower Manhattan where she’s lived and worked for the last 40 years for a talk about early influence, the Pennsylvania Dutch, Philadelphia funk, craft, design, endless drive and so much more.

On this show, we bring you excerpts from progressive journalist Chris Hedge’s recent visit to Princeton University. Afterwards, News & Culture’s Will Lathrop speaks with visiting Eben Kirksey, a visiting professor at the Princeton Environmental Institutite, about the Multispecies Salon. We’ll then bring you an inside-look at Princeton University Art Museum’s new exhibition on Cezanne. To end the hour, I’ll speak with WPRB’s station manager and development director about our upcoming fund-drive.

News Today examines the controversial Religious Freedom Restoration Act in Indiana. Afterwards, we bring you an interview with local political activist James Keady, who confirmed his intention to run for the New Jersey State assembly today. Afterwards, News and Culture's Will Lathrop visits "City Lost and Found", the Princeton University Art Museum’s most recent exhibit.

Laura Giles, Curator of Prints and Drawings at the Princeton University Art Museum, speaks on the draughtman's transformation of nature into art. Part of a one-day symposium presented in conjunction with Drawn to Drawings: The Goldman Collection. This podcast is brought to you by the Ancient Art Podcast. Explore more at ancientartpodcast.org.