Privately owned collection of works, usually a collection of art
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18 episodes with Private collection
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2 episodes with Private collection
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2 episodes with Private collection
2 episodes with Private collection
2 episodes with Private collection
Recorded am 2.4.2025Top ist ans Telefon gegangen. Die letzten 13 Minuten geht es nur noch um Osloer Gastrokonzepte und Neon Genesis Evangelion.Aubrey & Patinex DoorBoldy James Quality Control?!Westside Gunn - 12 (Fun Fact: Die CD Version hat einen anderen Audiomix)Daringer ProductionsStove God Cooks Label Drama Pt 2Michelle (WSG & Stove) auf GeniusPop Musikesque Releases Q1 2025Sabrina, the Teenage WeekndFka Twigs - EUSEXUABad Bunny - DeBÍ TiRAR MáS FOToSBad Barbie BeefThe Weeknd - Hurry Up TomorrowJace & Richard Milli - Das wär doch nicht nötig gewesenSarah4K SinglesRoey Marquis II. & Jonesmann - Majestic 2Haiyti - Stadium RockMobb Deep ODER ReezySeltene Nelly SongsTraya - grey menAuf Tauchgang KochrezepteEurothug & Funkvater (Frank) - REICH OHNE BANKENDigger Dance RemasterProducer in den Artist-Credits (Ikkimel, the Anti-Mach-Hommy)Die P und MP Freshly - Bring da P Vol. 1-3BigGhost - Griselda GhostrumentalsLarry June, 2 Chainz, The Alchemist - Life is BeautifulNo I.D. & Saba - From the Private Collection of Saba and No I.D.Tha God Fahim & Nicholas Craven - Hyperbolic Time Chamber 1-8Sample Snitching umgehen dank BandcampNostalgie Corner:Travis Scott - UtopiaMobb Deep - Amerikaz NightmareThe Game - The Documentary & The Documentary TourTommy Richmann Discography Raoul vergleicht Doechii mit Eminem und Maurice findet es nicht gutHoochie Coochie Pre-Release FreudeDas kulinarische Highlight:Remi, BerlinAlbatross Bakery, BerlinArtischockenBente, OsloMadonna, OsloJizonoods, OsloSOLD A BRICK OUTSIDE OF ESCOT
This episode of Subtext & Discourse Art World podcast is brought to you by AIPAD and The Photography Show. AIPAD represents fine art photography galleries around the world and is proud to present the 2025 edition of its flagship event, The Photography Show. The fair will showcase photography from the earliest processes to cutting-edge contemporary work that pushes the boundaries of the medium, from April 23 – 27 at The Park Avenue Armory in New York City. Go to www.aipad.com/show for more information and to plan your visit. The Association of International Photography Art Dealers (AIPAD) encourages public support of fine art photography through education and communication by enhancing the confidence of the public in responsible photography collecting. First organized in 1979, AIPAD and its current members span the globe with members in North and South America, Australia, Europe and Asia. AIPAD has become a unifying force in the field of photography and is dedicated to creating and maintaining high standards in the business of exhibiting, buying and selling photographs as art. - AIPAD official website https://www.aipad.com/ - Follow AIPAD on Instagram https://www.instagram.com/aipadphoto/ - Talks programme by AIPAD on YouTube https://www.youtube.com/@aipadphoto - AIPAD On Collecting Photography guide https://www.aipad.com/collecting Sophie Wright is the Executive Director at Fotografiska New York, a position held since April 2022. Prior experience includes serving as Global Cultural Director at Magnum Photos from October 2003 to October 2020, where responsibilities encompassed developing and delivering global cultural programs, business development, and managing large-scale sales initiatives. Sophie Wright also worked as a Creative Consultant at Sophie Wright Consulting from 2002 to July 2011, focusing on strategy and communication for creative projects. Earlier roles include Deputy Editor and Gallery Manager at PLUK Magazine and Witness Gallery, and Non-Executive Director/Project Manager at MMAN Ltd. Sophie Wright holds a BA in Modern History from the University of Oxford and an MA in Art History from The Courtauld Institute of Art. - Fotografiska Global official website https://www.fotografiska.com/ - Follow Sophie Wright on Instagram https://www.instagram.com/wrightsophie/ and Fotografiska Global https://www.instagram.com/fotografiska/ - Fotografiska talks and presentations on YouTube https://www.youtube.com/@fotografiska.global Andra Russek is a certified member of the Appraisers Association of America specializing in the field of fine art photography. She has been working in her field since 2000 when she became the assistant in the conservation department at the George Eastman House, Museum of Photography. She continued her work at Swann Galleries, New York as a Specialist from 2002 – 2005. In 2005 she joined the Photographs Department at Sotheby's New York as a Specialist/Senior Cataloguer. In her role at both auction houses she catalogued and valued photographs for four to six sales per year. At Sotheby's she worked on important sales including Important Photographs from The Metropolitan Museum of Art, Including Works from the Gilman Paper Company Collection and Photographs from the Private Collection of Margaret W. Weston. Andra is currently the Director of Scheinbaum & Russek Ltd., a gallery specializing in 20th century and contemporary photography. - Scheinbaum & Russek Ltd. official website https://www.photographydealers.com/ - Membership page on AIPAD https://www.aipad.com/member/scheinbaum-russek-ltd - Follow Scheinbaum & Russek Ltd. on Instagram https://www.instagram.com/scheinbaumrussek/ - Straight Talk on Collecting Photography https://www.youtube.com/@scheinbaumrussekltd8037 Michael Dooney https://beacons.ai/michaeldooney This episode of Subtext & Discourse Art World Podcast was recorded on 18. March 2025 between Perth (AU) and New York (US) with Riverside.
Have you received an IRS Notice? Will this notice begin to appear in your credit report? Find out today what to expect! Do you have tax debt? Call us at 866-8000-TAX or fill out the form at https://choicetaxrelief.com/If you want to see more…-YouTube: / @loganallec -Instagram: @ChoiceTaxRelief @LoganAllec -TikTok: @loganallec-Facebook: Choice Tax Relief // Logan Allec, CPA -Reddit: u/Logan_Allec
As spring is springing, the volume of new albums coming out is hard to keep up with. This week hosts Jim DeRogatis and Greg Kot dig out from “music mountain” by reviewing new albums from Lucy Dacus, Saba and No ID, Mekons and Perfume Genius. They also pay tribute to Clem Burke of Blondie and Dave Allen of Gang of Four.Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundops Featured Songs:Lucy Dacus, "Ankles," Forever is a Feeling, Geffen, 2025The Beatles, "With A Little Help From My Friends," Sgt. Pepper's Lonely Hearts Club Band, Parlophone, 1967Blondie, "Heart Of Glass," Parallel Lines, Chrysalis, 1979Blondie, "Atomic," Eat to the Beat, Chrysalis, 1980Blondie, "Call Me," American Gigolo, Chrysalis, 1980Gang of Four, "Ether," Entertainment!, EMI, 1979Gang of Four, "Damaged Goods," Entertainment!, EMI, 1979Lucy Dacus, "For Keeps," Forever is a Feeling, Geffen, 2025Lucy Dacus, "Most Wanted Man," Forever is a Feeling, Geffen, 2025Lucy Dacus, "Lost Time," Forever is a Feeling, Geffen, 2025Saba and No I.D., "head.rap (ft. Madison McFerrin, Ogi & Jordan Ward)," From the Private Collection of Saba and No I.D., From the Private Collection of Saba and No I.D., 2025Saba and No I.D., "Every Painting Has a Price (feat. Eryn Allen Kane & BJ Chicago Kid)," From the Private Collection of Saba and No I.D., From the Private Collection of Saba and No I.D., 2025Saba and No I.D., "Breakdown," From the Private Collection of Saba and No I.D., From the Private Collection of Saba and No I.D., 2025Saba and No I.D., "How to Impress God," From the Private Collection of Saba and No I.D., From the Private Collection of Saba and No I.D., 2025Perfume Genius, "Clean Heart," Glory, Matador, 2025Perfume Genius, "No Front Teeth (feat. Aldous Harding)," Glory, Matador, 2025Perfume Genius, "Left For Tomorrow," Glory, Matador, 2025Perfume Genius, "Full On," Glory, Matador, 2025Mekons, "Mudcrawlers," Horror, Fire, 2025Mekons, "You're Not Singing Anymore," Horror, Fire, 2025Mekons, "Private Defense Contractor," Horror, Fire, 2025Mekons, "The Western Design," Horror, Fire, 2025Mekons, "War Economy," Horror, Fire, 2025Mekons, "Sad and Sad and Sad," Horror, Fire, 2025Rosanne Cash, "Seven Year Ache," Seven Year Ache, Columbia, 1981See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
For this “Hollywood's Private Collection” (Vol. 1) episode, Sonny is sharing some of the many items and music he collects. In this episode he shares some of his collection of 45s. The Friday Quick Fix Concept: The Friday Quick Fix is your single dose of Rock n Roll in 15 minutes or less to get your weekend off to a rockin' start. Every Friday, we will deliver a different segment that focuses on albums, songs, movies, Playlist, and generally just about anything we find entertaining and want to share with you. You will still get a regular full length episode every Sunday as usual Please Consider Supporting The Artist We Feature In This and Every Episode: (You can support them by purchasing Music, Merch, or A Concert Ticket) In This Episode You Heard: Frehley's Comet, Paul Young, Skid Row, Iron Maiden Reach Out To Us: Email: growinuprock@gmail.com Follow Us@: Facebook Loud Minority Group Twitter Instagram Website: https://growinuprock.com Pantheon Podcast Network A Special THANK YOU to Restrayned for the Killer Show Intro and transition music!! Restrayned Website Please consider leaving us a five star review in one of the following places to help the podcast get discovered by others: GUR On Apple Podcast GUR On Podchaser GUR On Spotify Learn more about your ad choices. Visit megaphone.fm/adchoices
[REBROADCAST FROM Jan. 16, 2025] The rapper Saba is one of the stars of a new generation of hip hop artists from Chicago. On his new album, he teams up with a legend of a previous generation: No ID. Saba talks about his new collaborative album, From the Private Collection of Saba & No ID, which was recently released.
Nintendo is about to blow the doors off the Switch 2 with its April 2 Direct, so the boys sit down and predict the system's launch lineup, launch-year games, hardware quirks, and more. Timecodes: 00:00:00 - Intro/Housekeeping (Zelda Movie News, Nintendo's Switch 1 Direct, Ubisoft Creates Tencent-Backed Subsidiary) | 00:12:54 - Main Topic: Nintendo Switch 2 Direct Predictions | 1:02:25 - Draft Day Starring Kevin Costner (Expelled!, MLB the Show 25) 1:03:11 - Game, Watch, Listen (GAMES: Astro Bot, Donkey Kong Country: Tropical Freeze, Monster Hunter Wilds | MOVIES: Black Bag, Lawrence of Arabia | TV: Severance | MUSIC: Saba & No ID - From the Private Collection of Saba & No ID, Lady Gaga - MAYHEM) Shoutout to Mizuki Kuroiwa for the incredible podcast artwork and to Thomniverse Remix for the music. Send any questions, comments, or concerns to thesupermosherbrothersshow@gmail.com. Thanks for listening!
On Episode 605 of The Cap Podcast, Nate & Taylor review ‘From the Private Collection of Saba and No ID' by Saba and No ID!Watch This Episode on YouTubeOLDMILK LINKSShop OldMilk MerchTIMESTAMPS(0:00) Disclaimer (0:05) Intro(0:18) Welcome to Episode 605! (1:18) From The Private Collection of Saba and No ID Notes(2:04) From The Private Collection of Saba and No ID Reaction(30:21) Final Thoughts(31:50) Thanks for Listening!
We kick off with the chaps discussing the recent ICE event in Barcelona, which Jon missed some of because he couldn't get in but maintains it's not his fault. Except it really clearly obviously is. We have some of the usual flim-flam and shennanigans [0:00 - 27:05] before we are joined by a really special guest. In this conversation, rare book, map and atlas dealer Daniel Crouch discusses the incredible playing card collection he has been entrusted to sell by a private collector [27:06 – 1:03:11]. The collection includes 3,000 decks dating from 1480 to 2024. Daniel shares insights into the history and evolution of playing cards, the art of curating a collection, and the importance of preserving historical artifacts, with advice for aspiring collectors, emphasizing the need to pursue personal passions and focus on quality. The discussion highlights the changing landscape of collectibles and the fascinating stories behind various card designs. In this engaging conversation, Daniel Crouch shares his passion for cartography, both fictional and real, and discusses the evolution of collecting in the digital age. He recounts a delightful father-daughter project that blossomed into a business venture focused on fantasy maps, leading to exhibitions and collaborations. The discussion also delves into the historical significance and artistic value of real maps, including the most expensive map ever sold. Crouch reflects on the impact of the internet on the collecting landscape, emphasizing the challenges and opportunities it presents. Finally, he highlights the universal appeal of playing cards and their cultural significance, showcasing the breadth of his expertise in the world of rare books and collectibles.Daniel on LinkedIn; see the beautiful card collection catalogue here; and find Daniel's lovely website here. A big slice of love cake to sponsors Optimove for their support, which helps us to keep this podcast ticking over. They turn customer data into PURE GOLD, with tools that make businesses shine. Optimove, your support helps us make things that people listen to. I was going to write 'entertain people' but realised it was a bit of a reach. A big thank-you to Clarion Gaming for keeping the gaming industry buzzing and sponsoring our podcast! If you've been at ICE in Barcelona, you'll know they knocked it out of the park. Every day is your 18th birthday with Clarion.We're thrilled to be sponsored by the beautiful people at OddsMatrix Sports Betting Software Solutions — your go-to for sportsbook platforms and data feeds. EveryMatrix's coverage is so wonderful, if he were alive Jimmy Stewart would be wanting to appear in a film about it and call it, It's A Wonderful OddsMatrix. A big thanks to them for their support and… we love you. The Gambling Files podcast delves into the business side of the betting world. Each week, join Jon Bruford and Fintan Costello as they discuss current hot topics with world-leading gambling experts.Website:
The rapper Saba is one of the stars of a new generation of hip hop artists from Chicago. On his forthcoming album, he teams up with a legend of a previous generation: No ID. Saba stops by to preview the album, From the Private Collection of Saba & No ID.
written by SG Woodhouse
It's all fun and games at home all alone with your private collection... but what happens when COMPLETE STRANGERS start playing your arcade & pinball machines? Whether you're operating games on location in public or simply inviting "normal people" over to your house for an arcade party, we'll talk about how things change when the great unwashed masses get their hands on your stuff! Welcome to The Coin Jam Podcast, a show about repairing, restoring, and collecting classic coin-operated amusement machines. We cover everything from #arcade video games and #pinball machines, to jukeboxes, redemption games, and more. If you've ever wanted to listen to a group of guys ramble on about multimeters, Molex connectors, desoldering tools, CRT monitor chassis, bondo, and blown fuses... then this is the podcast for you! Hosted by Liam from Retrobotics, Chance from The Canadian Arcade, Charlie from Overtime Arcade, and K' from Prime Arcade Sales & Repair. https://www.youtube.com/@retrobotics https://www.youtube.com/@TheCanadianArcade https://www.youtube.com/@overtimearcade https://www.youtube.com/@primearcadetx https://www.tiktok.com/@prime_arcade https://www.facebook.com/primearcade
A sampling from TheObsidianCovenant.com. For items from the antique dealer's private collection, an interruption-free experience, and more http://www.theobsidiancovenant.com
A sampling from TheObsidianCovenant.com. For items from the antique dealer's private collection, an interruption-free experience, and moreCathy, Kristy and The Third ChildWritten by 1000andoneniteshttps://www.reddit.com/r/shortscarystories/comments/1c0m8f5/cathy_kristy_and_the_third_chil d/14http://www.theobsidiancovenant.com
**It's The Relax With Rendell Show Replay On Trax FM & Rendell Radio. Rendell Featured Soul & Boogie/Rare Groove/80's & 70's Grooves Cuts From Three Degrees, Theresa, Rita Hart, Pure Silk Feeling Feat Winsome, Norman Connors, Li Berg, Private Collection, Melba Moore, Kareen Morrisons, Janet Lee Davis, Double Exposure, Cotez, BKS Feat Chris Ballin, Al Marshall & More. #originalpirates #soulmusic #disco #reggae #raregroove #boogiefunk Catch Rendell Every Saturday From 8PM UK Time The Stations: Trax FM & Rendell Radio Listen Live Here Via The Trax FM Player: chat.traxfm.org/player/index.html Mixcloud LIVE :mixcloud.com/live/traxfm Free Trax FM Android App: play.google.com/store/apps/det...mradio.ba.a6bcb The Trax FM Facebook Page : https://www.facebook.com/profile.php?id=100092342916738 Trax FM Live On Hear This: hearthis.at/k8bdngt4/live Tunerr: tunerr.co/radio/Trax-FM Radio Garden: Trax FM Link: http://radio.garden/listen/trax-fm/IEnsCj55 OnLine Radio Box: onlineradiobox.com/uk/trax/?cs...cs=uk.traxRadio Radio Deck: radiodeck.com/radio/5a09e2de87...7e3370db06d44dc Radio.Net: traxfmlondon.radio.net Stream Radio : streema.com/radios/Trax_FM..The_Originals Live Online Radio: liveonlineradio.net/english/tr...ax-fm-103-3.htm **
This week we're talking about how taxpayers can know when a call from a private collection agency is legitimate.
JON ANDERSON AND THE BAND GEEKS RELEASE NEW ALBUM ENTITLED ‘TRUE' AND TOURING “YES EPICS, CLASSICS, AND MORE” ZOOM SPECIAL EVENT WITH ‘YES' LEGENDARY SINGER JON ANDERSON! Hello everyone and welcome to another edition of Interviewing the Legends I'm your host Ray Shasho After months of anticipation, the debut album from Jon Anderson and The Band Geeks, “TRUE”, has been released. The nine-song album, produced by Jon and Richie Castellano, is the album YES fans worldwide have been waiting for since Jon's departure from the band in 2008. The album's centerpieces are two epic tracks, the 16 and a half minute “Once Upon a Dream” and the nearly 10 minute “Counties and Countries”. To celebrate the release, a video for “Counties and Countries” recently premiered. The video was created by Jon's long-time videographer Michael Byrne. PLEASE WELCOME LEGENDARY SINGER… SONGWRITER... MUSICIAN… MOST RECOGNIZED AS THE VOICE OF ‘YES' JON ANDERSON TO INTERVIEWING THE LEGENDS … PURCHASE The new album by JON ANDERSON AND THE BAND GEEKS entitled ‘T R U E' Available at https://ffm.to/jonandersontrue and amazon.com "TRUE the new album by Jon Anderson and the Band Geeks exceeds expectations. I consider it the best album of the year. Poetic songwriting, extraordinary musicians, Classic Yes demeanor and vocalizations. Every track is a triumph, a genuine Progressive Rock masterpiece!" 5 stars …By music journalist Ray Shasho FOR MORE INFORMATION ABOUT JON ANDERSON AND THE BAND GEEKS VISIT https://jonanderson.com/ Official website https://www.facebook.com/TheJonAnderson/ Facebook https://www.instagram.com/jonandersonmusic/ Instagram Twitter - @JonYesEpic Twitter TikTok - @JonAndersonYESEpic TikTok YouTube - Jon Anderson YES Epics & Classics - https://www.youtube.com/channel/UCIvSkw_3SAs1Yy2Ro68GzLw https://richiecastellano.com/bandgeek/ Band Geek official website: JON ANDERSON & THE BAND GEEKS THE TOUR 2024 Jon and The Band Geeks commence leg 3 of their summer tour September 11 in Beverly, Mass. All remaining dates are below: 9/11/2024 - Beverly MA - Cabot Theatre 9/13/2024 - Glenside PA - Keswick Theatre 9/15/2024 - Glenside PA - Keswick Theatre 9/19/2024 - Portchester NY - Capitol Theatre 9/21/2024 - Montclair NJ - Wellmont Theatre 9/27/2024 - Staten Island NY - St George Theatre *w/Special Guests The Return of Emerson, Lake & Palmer DISCOGRAPHY JON ANDERSON SOLO Olias of Sunhillow (1976) Song of Seven (1980) Animation (1982) 3 Ships (1985) In the City of Angels (1988) Deseo (1994) Change We Must (1994) Angels Embrace (1995) Toltec (1996) Lost Tapes of Opio (1996) The Promise Ring (1997) Earth Mother Earth (1997) The More You Know (1998) Survival & Other Stories (2011) 1000 Hands: Chapter One (2019) True (forthcoming, August 2024) Pre Yes The Warriors - Singles : 1964 : "You Came Along" / "Don't Make Me Blue" (7", Single) - Album : 2003 : Bolton Club 65 - Recorded live in 1965 and published on CD in 2003 on Voiceprint Label. Yes Yes (1969) Time and a Word (1970) The Yes Album (1971) Fragile (1971) Close to the Edge (1972) Yessongs (1973) (triple live album) Tales from Topographic Oceans (1973) (double studio album) Relayer (1974) Yesterdays (1975) (studio compilation including rare cuts) Going for the One (1977) Tormato (1978) Yesshows (1980) (double live album, originally intended as triple) Classic Yes (1980) (studio compilation with two bonus unreleased live cuts) 90125 (1983) 9012Live: The Solos (1985) (live) Big Generator (1987) Union (1991) Yesyears (1991) (quadruple CD compilation box set including rare and unreleased tracks) Talk (1994) Keys to Ascension (1996) (studio & live double CD album) Keys to Ascension 2 (1997) (studio & live double CD album) Something's Coming: The BBC Recordings 1969–1970 (1997; a.k.a. Astral Traveller) Open Your Eyes (1997) Yes, Friends and Relatives (1998) (double CD album compilation including remake of Owner of a Lonely Heart) The Ladder (1999) House of Yes: Live from House of Blues (2000) (double CD live album) Magnification (2001) In a Word: Yes (1969–) (2002) (quintuple CD compilation box set including rare and unreleased tracks) The Ultimate Yes: 35th Anniversary Collection (2004) (U.S. triple CD album edition including unreleased acoustic versions) The Word Is Live (2005) (triple CD live album) Live at Montreux 2003 (2007) (double CD live album) Union Live (2011) (double CD live album) Progeny: Seven Shows from Seventy-Two (2015) (14-CD live box set) Jon and Vangelis Studio albums Short Stories (1980) The Friends of Mr Cairo (1981) Private Collection (1983) Page of Life (1991) Page of Life (1998) (Alternate version not approved by Vangelis) Compilations The Best of Jon and Vangelis (1984) Chronicles (1994) Anderson, Harley & Batt Whatever You Believe (1988) (charity single) Anderson Bruford Wakeman Howe Anderson Bruford Wakeman Howe (1989) In the Big Dream - A Video Compilation (1989) (video) An Evening of Yes Music Plus (1993) (double live album, recorded in 1989) An Evening of Yes Music Plus (1993) (video) Live at the NEC (2012) (2CD + 1DVD live album, recorded in 1989) Anderson/Wakeman The Living Tree (2010) The Living Tree in Concert Part One (2011) (CD live album) Jon Anderson & Matt Malley Family Circle (2014) (download only charity single) Anderson-Ponty Band Better Late Than Never (2015) (CD/DVD live album) Jon Anderson & Roine Stolt Invention of Knowledge (June 2016)[8][9] Yes Featuring Jon Anderson, Trevor Rabin, Rick Wakeman Live at the Apollo (2018) (2CD live album) Support us on PayPal!
This week we're covering the private collection agencies used by the IRS, and how to know if a call from one of these agencies is legitimate.
Pattie Boyd has sold her private collection of artifacts, which included the original painting from the cover of 1970's Layla and Other Assorted Love Songs, as well as various items from her marriages to George Harrison and Eric Clapton.See omnystudio.com/listener for privacy information.
Als die indigenen Nationen der Cherokee, Creek, Seminoles und zahllose mehr im 19. Jahrhundert aus ihrer Heimat in das Gebiet des heutigen Oklahoma verbannt wurden, war dies mit einem Versprechen verbunden. Jene Gebiete auf der anderen Seite des Mississippi waren Indianerterritorien – Indian Territory. Nach all den Erniedrigungen, Kriegen und Vertreibungen durch Weiße sollten Cherokee und andere Natives dort ein Zuhause finden, an dem sie für alle Zeit in Ruhe leben konnten. So das Versprechen der damaligen Regierung der USA. Heute erzähle ich die Geschichte, wie dieses Versprechen gebrochen wurde. Immer und immer wieder.Melde dich hier für den Newsletter an und erfahre hier mehr über den Déjà-vu Club.Indian Territory bezeichnete zu Beginn eine riesige Fläche Land. Die gesamten zentralen USA vom Mississippi im Osten bis zu den Rocky Mountains im Westen waren damit in den 1820er-Jahren noch gemeint. Aber natürlich würde sich die Geschichte anders entwickeln. Innerhalb weniger Jahrzehnte schrumpfte das Indian Territory immer und immer wieder zusammen, bis bald nur noch das Gebiet des heutigen Oklahoma übrig blieb. Und am Ende wurde sogar das noch in zwei geteilt, mit einem Raster durchzogen und von Weißen besiedelt, sodass nicht mal der heutige Staat Oklahoma noch als Indian Territory gelten kann. Es ist eine der großen Schanden in der Geschichte Amerikas.Déjà-vu Geschichte ist Mitglied des Netzwerks #Historytelling. Diese Episode findest du auch auf ralfgrabuschnig.com. Hinterlasse mir dort gerne einen Kommentar mit deinen Gedanken. Und wenn dir der Déjà-vu Geschichte Podcast gefällt, abonniere ihn doch bitte, wo auch immer du ihn hörst.Links zur EpisodeTeil 1 über die Geschichte der Cherokee Zu den Fotos der Reise Zum Club auf Steady Alles über den Déjà-vu Newsletter Alle Infos aus der WerbungQuellenClaudio Saunt: Unworthy Republic. The Dispossession of Native Americans and the Road to Indian TerritoryEpisodenbild: "Our Father", 2006. Roy Boney Jr. Private Collection. Gesehen in Tahlequah, Oklahoma. Zur Website des KünstlersTags: USA, Amerika, Nordamerika, Oklahoma, Indian Territory, Cherokee, Geschichte Hosted on Acast. See acast.com/privacy for more information.
Private Collection is a sculptural installation by Saif Azzuz, created for the Meridians sector of Art Basel Miami Beach 2023. ...
We're touching on all aspects of Star Wars news this week listener: kicking off with none other than C-3PO himself, Anthony Daniels, as he throws some of his personal collection up for auction; an update from Shawn Levy on his SW movie; has the title for the upcoming Rey-focused movie been "leaked"?; details on the new graphic novel we spoke about last week - Qui Gon; Starkiller from The Force Unleashed gets his own figure from Hasbro; grab yourself tickets to see the upcoming documentary A Disturbance in the Force, which dives into the making of The Star Wars Holiday Special, before launching on VOD (Lol); then to close out the release dates for upcoming games Star Wars: Outlaws and the Dark Forces Remaster.Grab the links to all this below and don't forget to let us know over on Twitter/X if you've got any cool links from random movies to Star Wars (check out our own (somewhat weird) links at 04:33).Things that we discussed today...Propstore Memorabilia Live Auction London 2023: Closer Look at Anthony Daniels Collection Inc. Star Wars OT Scripts - Jedi NewsShawn Levy Says Kathleen Kennedy Told Him To Do a "Shawn Levy Movie", Feels Empowered and Optimistic After Recent 'Deadpool' Experience - Star Wars News NetALL-NEW ALL-AGES STAR WARS ORIGINAL GRAPHIC NOVELS COMING FROM DARK HORSE COMICS! :: Blog :: Dark Horse Comics'Star Wars: Outlaws' Pushed to Later 2024 Release Date, Reports Suggest - Star Wars News NetStar Wars Holiday Special Documentary 'A Disturbance in the Force' in Select USA Cinemas in November - Jedi NewsStar Wars: The Force Unleashed's Starkiller Gets a New Hasbro Figure - IGNStar Wars: Dark Forces remaster gets February 2024 release date | Eurogamer.netHas The Title Of Sharmeen Obaid-Chinoy's Rey-Focused Movie Been Revealed?About Spark of Rebellion:This is Spark of Rebellion, A Star Wars Podcast , the weekly Star Wars podcast for casual fans and veterans alike.We are your hosts, Garry and Mark and every single Saturday we release a brand new episode bringing you Star Wars news, reviews & discussion, our famous "top threes" and of course, the random spotlight, where we highlight a character, place, ship, object or something else peculiar from a galaxy far, far away.Get merch and other goodies!For exclusive content, laptop stickers, merchandise, guest opportunities and even producer credit on the show, head to our Patreon...
Vi provar Private Collection från Gordon & Macphail, en närmast ouppnåelig serie av det allra mest exklusiva som finns. Religion ligger oss inte nära hjärtat, men den här linan är nära nog att göra oss troende! Gammal är inte äldst, men med extra tid i glaset (utöver det vi kunde göra i avsnittet) så går Daniel i god för att alla tre är 95+ poäng och vi har aldrig tidigare haft ett så långvarigt leende på läpparna efter ett avsnitt. Skål på er och ha en trevlig WhiskyVecka
Er ist ein eschder Frankfordder Bub vom Main und trotzdem hochinternational von amerikanisch-karibisch-dänisch-ungarischer Abkunft. Er hat in Darmstadt seine Ausbildung zum Produktionsverfahrenstechniker absolviert und ist dann in die Modewelt ausgerissen. Bis zu 18 Castings musste er täglich abklappern bis zum großen Durchbruch.
On this episode, Charlie Walk talks Whiskey with CEO & Founder Julie Macklowe, The Macklowe Whiskey, a premium American single malt brand that has been making waves in the spirits industry. Not only has their Private Collection bottle won the prestigious Double Gold award at the San Francisco Spirits Competition, but they've also just launched their latest offering – a new Kentucky edition that's sure to impress whiskey enthusiasts everywhere. Join us as we dive into the world of Whiskey – from its unique production process to the commitment to using only the finest ingredients to create a world class whiskey, in America! Whether you're a seasoned whiskey connoisseur or just starting to explore the world of luxury spirits, this is an episode you won't want to miss. WALK THIS WAY with Julie Macklowe one sip at a time!
News und Informationen finden Sie in unserem Shop auf https://www.whisky.de/whisky/aktuelles/nachrichten.html 00:00 Whisky.de News 00:13 NEU: Bruichladdich Octomore 13.4 01:01 Gordon & MacPhail bring fünf neue Whiskys aus Private Collection auf den Markt 01:47 NEU: Old Perth PX 02:35 Powers kreiert den ersten 100 % irischen Rye Whiskey 03:11 Kurzzeitige Knappheit von Tullamore D.E.W. 03:52 Conor McGregor erweitert Sortiment - Proper No. Twelve Irish Apple 04:32 Elizabeth McCall wird neue Master Distillerin von Woodford Reserve 05:14 NEU: Heaven Hill Heritage Collection 2023 05:51 Seltener Whisky könnte aus einem 170 Jahre alten Schiffswrack geborgen werden 06:44 Bluegrass Distillers plant einen 8 mio. Dollar Standort in Kentucky 07:33 Buffalo Trace Distillery weiht neues Brennhause ein 08:06 Suntory investiert 77 mio. Dollar in Yamazaki und Hakushu 09:22 Kurzinterview mit Stewart Walker, dem Distillery Manager von Fettercairn
Please see the full radio show for track listings or at https://www.vinylrevivalradio.comAs a gift to all listeners of the show please enjoy one free audio review copy of my childrens book The Christmas Cupboard Under The Stairs: A Christmas tale that will warm your heart, now available on Audible. Redeem the one-time use code below at https://www.audible.co.uk/acx-promo4K2W7ULSB57XYIf you would like to donate to the show or buy one of my books in support you can at Amazon https://www.amazon.com/Phil-Wilson/e/B07CVVD67Y also ebooks or you can at https://www.buymeacoffee.com/vinylreviv4 all helps with bringing the show together every week.
Please see the full radio show for track listings or at https://www.vinylrevivalradio.comAs a gift to all listeners of the show please enjoy one free audio review copy of my childrens book The Christmas Cupboard Under The Stairs: A Christmas tale that will warm your heart, now available on Audible. Redeem the one-time use code below at https://www.audible.co.uk/acx-promo4K2W7ULSB57XYIf you would like to donate to the show or buy one of my books in support you can at Amazon https://www.amazon.com/Phil-Wilson/e/B07CVVD67Y also ebooks or you can at https://www.buymeacoffee.com/vinylreviv4 all helps with bringing the show together every week.
On this weeks glittering edition of Britain's Number One Syndicated Vinyl Radio Show listen out for the Album Of The Week - Cliff Richard - Private Collection 1979 - 1988 EMI CRTV 301As a gift to all listeners of the show please enjoy one free audio review copy of my childrens book The Christmas Cupboard Under The Stairs: A Christmas tale that will warm your heart, now available on Audible. Redeem the one-time use code below at https://www.audible.co.uk/acx-promo4K2W7ULSB57XYNumber 1 of The Week comes from 1981 and spent 5 weeks at the top of the UK Official Top 40 Chart.The Oddity Of The Week, the clue is: Could one of the Forecasters in this song predict a white Christmas?Music this week from:Queen,Chris DeBurgh,Elvis Presley,The Jingle Bells,Elton John,Paul McCartney,Les Baxter,Alexander O'Neal,Mud,Johnny Mathisand many more...If you would like a shout out or a request please feel free to drop me a message here: https://www.vinylrevivalradio.com https://www.facebook.com/vinylrevivalradioshow Official website: https://www.vinylrevivalradio.com Twitter: https://www.twitter.com/phils45s #putheneedleontherecord Also on TikTok search for philwilsonsvinylrevival You can now ask Alexa on Amazon devices: "Alexa play Phil Wilson's Vinyl Revival" Add the skill at: https://www.amazon.co.uk/Phil-Wilsons-Vinyl-Revival/dp/B08HY3GG8X Please check out the books I have written at: https://www.amazon.com/author/philwilsonTell your friends and tell them to tell their friends.I hope you enjoy the show Cheers Phil 'P-P-P-Pop' Wilson (Celebrating nearly 30 years of broadcasting in 2023)
Karin Park seems to exist on an alternate plane. It's rare that an artist can feel so singular, even when it's apparent that there is a sort of hidden musical homage to those that have influenced them. Karin's new album, Private Collection, speaks to the soul in a profound way. The music is glassy, mesmerizing, morose, lovely, challenging, enchanting, and dare I say pure. It's a must own and one in which I'll be listening to and sharing with my friends for decades to come. I really can't exaggerate its importance in this brave new world. Go buy it today.This is my lovely chat with the slight provocateur, Karin Park, and you're listening to the new Rockstar Superhero.-------------Time Codes:2:00 How much does Scandinavian culture support Karin's work?5:40 Artist's deserve to get paid9:30 The types of musical artists13:00 Choosing life for selfish reasons16:40 Fighting for her artistry20:25 Conversations about accidents24:30 Lamborghinis and junkers28:20 Unsure of motherhood32:30 Life can't be bought36:15 Wanting to touch your soul40:00 Pre-internet times44:00 Joining a revolution47:40 Wasting energy to look back at life51:45 Staying true to herself55:00 Belonging in the creative muckSubscribe to both shows here: https://bit.ly/3airCvhWanna be on the show? Go here: https://calendly.com/rockstarsuperheroThe Rockstar Superhero Podcast examines the personal lives and creative careers of your favorite classic rock artists. We are obsessed with understanding the inner workings of the music business and all that it takes to remain in the public eye for as long as possible. Join us as we pursue conversations with legends and legends in the making.The Rockstar Superhero Radicals podcast was created to connect you directly to people, professional and private, who have lived lives worth discussing and offer solutions to our listeners, one heart at a time. If you are seeking truth and purpose beyond yourself, the Radicals podcast is for you.Copyright 2022 Rockstar Superhero Podcast - All Rights ReservedBecome a supporter of this podcast: https://www.spreaker.com/podcast/rockstar-superhero--4792050/support.
The Legendary MIKI HOWARD is back and shining brightly with a soulful and gusty remake of an old Abbey Lincoln tune "Throw It Away". It was already reached #1 on the UK Soul chart and is climbing the charts here in the US as well! We welcome this incredible artist back with open arms and are honored to have her on our podcast. We laughed, fussed, talked about her past and present endeavors and just had a great time. Listen in as we converse with this iconic lady of soul.Born in Chicago, Illinois, Alicia Michelle "Miki" Howard was the daughter of two well-known gospel singers. Her father, Clay Graham, sang with the Pilgrim Jubiliees and her mother, Josephine Howard, was a member of the Caravans, a group that would eventually be inducted into the Rock and Roll Hall of Fame. When Howard was in her early teens, her mother moved the family to Los Angeles. Already aiming at a career in music, the 15-year-old Howard received her first break when she participated in a teen beauty contest. Augie Johnson, leader of the group Side Effect, happened to be in the audience; impressed with Howard's singing talent, Howard also joined the lineup of Side Effect in 1978 when another singer departed. She sang with Side Effect until 1982. Howard signed a contract with Atlantic Records in the mid-1980s and recorded her first solo album, “Come Share My Love”, in 1986. The title track from the album was its first single, hitting the top ten of the R&B charts and reaching number five in late 1986. A remake of the pop standard "Imagination," which Howard had fought to include on “Come Share My Love”, was another hit from the album. Howard's second solo album, 1988's “Love Confessions”, offered another top-five R&B hit with "Baby Be Mine." "That's What Love Is," a duet with Gerald Levert, also hit the R&B charts. In the meantime, Howard's third solo album,” Miki Howard”, was released in 1989 and proved her most commercially successful to date. The single "Ain't Nuthin' in the World" became Howard's first number-one hit on the R&B charts and another song, "Love Under New Management," followed it to number two and became one of Howard's signature tunes. Howard continued with a successful solo career after switching to Giant Records in 1991. Her first single under her new contract, "Ain't Nobody like You," became Howard's second number-one R&B hit. The subsequent album, 1992's “Femme Fatale”, featured Howard's renditions of classic tracks originally performed by Dinah Washington ("This Bitter Earth") and Billie Holiday ("Good Morning Heartache"). After a casting director saw her perform some Billie Holiday tunes at a New York City concert at Radio City Music Hall, Howard was offered the chance to portray Holiday in a nightclub scene in director Spike Lee's 1992 film “Malcolm X”. The following year, Howard recorded an entire album of Holiday songs, “Miki Sings Billie”, including her favorite Holiday tune, "Don't Explain." In 1993, Howard made another movie appearance in director John Singleton's “Poetic Justice”. She released “Live Plus” in 1996 and a comeback album of original material, “Can't Count Me Out”, in 1997. After a four year hiatus, “Three Wishes”, was released in 2001 to excellent reviews. The album earned a Grammy Award nomination for Best Traditional R&B Recording. She followed that with “Pillow Talk” (2006), “Private Collection” (2008), “I Choose To Be Happy” (2015) and a live recording “Miki Howard- Live In Concert” in 2015. Howard was featured on the second season on TV One's critically acclaimed bio-series “Unsung”. Miki's episode was the highest rated of her season and in 2015 was adaListen and subscribe to the BAAS Entertainment Podcast on Spotify, Amazon Music, Apple Podcasts, Google Podcasts, Deezer, iHeartRadio, Pandora, Podchaser, Pocket Casts and TuneIn. “Hey, Alexa. Play the BAAS Entertainment Podcast.”
Most artists remember their first show. Maybe they were lucky enough to sell a few works, usually to family and friends. Daniel Boyd remembers his. It was in the year he graduated from university, 2005, but family and friends didn't stand a chance. The entire exhibition was bought by the National Gallery of Australia. Daniel describes himself in those university days in Canberra as ‘a shy young First Nations man from Far North Queensland'. That reserved nature still comes through even though I was speaking with him at the exhibition 'Treasure Island' which celebrates his career with over 80 works in one of Australia's most important art institutions, the Art Gallery of NSW. Daniel's First Nations heritage is central to his work. His ancestors were part of the Stolen Generation. Forced to let go of their culture and language, they lived in fear that if they shared it with their children they would be taken away from them. In an interview in the Gallery's Look magazine Daniel said that that forced withholding of culture meant that he always felt there was something missing and it was at university that he tried to make sense of that. One of the striking aspects of Daniel's work is the way he both reveals and obscures his subject. Using a pointillist technique, he places a multitude of translucent dots over the image creating a series of convex lenses, as he refers to them, and while you can see the image through these lenses the rest of the image is painted out. Although this creates a visually alluring effect, there's more to this technique than just the physical use of the material. There are concepts behind it which relate to ways of seeing and perception and which are interestingly explored in the book accompanying the exhibition (see link below). The show has been curated by Isobel Parker Philip, Senior Curator of Contemporary Australian Art and Erin Vink, curator of Aboriginal and Torres Strait Islander Art, both at the Art Gallery of NSW. Daniel has exhibited in over 30 solo shows, has won the Bulgari Award amongst others, and his work is held in many other public institutions including the National Gallery of Australia, National Gallery of Victoria and the Natural History Museum in London. Click play beneath the above feature photo to hear the podcast episode. Current exhibition 'Treasure Island', Art Gallery of NSW, current to 29 January 2023 Links Daniel Boyd on Instagram Daniel Boyd at Roslyn Oxley9 GalleryEdouard GlissantDaniel Boyd: 'Treasure Island', (book accompanying the exhibition) at the Art Gallery bookshop also available through many other online booksellers Untitled 2014 , oil, pastel, archival glue on canvas 315 x 224 cm Collection Art Gallery of New South Wales Winner of the Bulgari Art Award 2014 Photo: AGNSW 'Untitled (FS)' 2016, 215.0 x 343.0 cmoil, charcoal and archival glue on linenCollection: Art Gallery of NSW 'Untitled (PI3)' 2013 Oil and archival glue on linen 214 x 300 cm Private Collection 'We Call them Pirates Out Here' 2006 oil on canvas 226 H x 276 W x 3.5 D cm Museum of Contemporary Art Museum of Contemporary Art, purchased with funds provided by the Coe and Mordant families, 2006 Daniel Boyd Untitled (WWDTCG) 2020 Oil, charcoal, pastel and archival glue on canvas 87 x 87 cm Collection of Anthony Medich, Sydney Installation view of the Daniel Boyd: Treasure Island exhibition on display at the Art Gallery of New South Wales, 4 June 2022 – January 2023, photo © AGNSW, Jenni Carter.
Er modelte für Karl Lagerfeld in Paris, er organisierte die Touren von Grace Jones in New York und nun ist er Kunstsammler und Fashion-Show-Produzent in Frankfurt am Main. Für die einen ist er ein Paradiesvogel, sich selbst sieht er als "Sonnenschein-Kind": Im hr1-Talk erzählt Tyrown Vincent über sein Leben zwischen Mode und Kunst
In this week's episode, we talk wedding showers, plaster penis-casts (again), and Jerry remembers he had an edible half-way through the recording!Support the show
Existe a ideia de que as Adegas Cooperativas não produzem bom vinho, hoje vou explicar que é uma ideia errada! Vinho que acompanha o episódio: Bridão Private Collection branco – Adega do Cartaxo, Tejo
On Ferrari Friday's, William Ross from the Exotic Car Marketplace will be discussing all things Ferrari and interviewing people that live and breath the Ferrari brand. Topics range from road cars to racing; drivers to owners, as well as auctions, private sales and trends in the collector market. In this episode William discusses his trip and the private tours that he took of the Petersen Museum, Bruce Meyer's private collection, and David Sydorick's Zagato Collection. Copyright William Ross, Exotic Car Marketplace a division of Sixty5 Motorsports. This episode is part of our Motoring Podcast Network and has been republished with permission.
Historian, collector, A lifelong Marilyn Monroe fan, he assists in auction companies authenticating & verifying memorabilia of Marilyn Monroe. Owner of one of the world's largest private collections of Marilyn Monroe's personal property. It includes clothing, furs, cosmetics, financial documents, & much more. This collection is not for sale. On the show hear:How Scott got into collecting Marilyn MonroeWhy do people have a fascination with Marilyn Monroe?Why Marilyn changed her name and who was MarilynNumber of pieces in his collection, most treasured item, & can he value his collection?Her finances, favorite singers, and what she loved to drinkMarilyn the reader, her true size, and in Scott's opinion-who did she love the most?Prescription pillsPerforming for US Troops and what Korea did for herDo people still visit her final resting place?What it was like visiting her Brentwood homeNew pieces to his collection & learn about her autographMarilyn Monroe the brand vs Marilyn the real personWhat is Scott's prize piece to add to his collection?Exhibits of his collection Links:Website: https://themarilynmonroecollection.com/Follow Scott on Instagram: https://www.instagram.com/marilynmonroecollection/ Before the Lights Website: https://www.beforethelightspod.com/Follow us on Instagram: https://www.instagram.com/beforethelightspodcast/Become a BTL Member: https://www.beforethelightspod.com/member-areasMerch!: https://www.beforethelightspod.com/merch Extra 5What types of accessories does he own?How addicting is collecting Marilyn?Marilyn was into fitness but was she a smoker?Marilyn: A Hollywood Farwell Book which is rarePresenting at the 2011 Academy Motion Picture Arts & Sciences Marilyn wanting to be a mother Support the show (https://www.beforethelightspod.com/member-areas)
What you'll learn in this episode: The history of Sculpture to Wear and how Lisa maintains its legacy Why editorial and media coverage is crucial for getting art jewelry recognized as a fine art What the role of a jewelry gallery is Why Lisa always advises artists to keep good records of their work How the bold brooches of the 80s paved the way for today's art jewelry About Lisa M. Berman Lisa M. Berman is an internationally recognized “Ambassador of Wearable Art.” Based in Southern California, her expertise extends to major manufacturing and retail markets, museums and corporations in the United States, Canada, Mexico, Asia and Europe. Lisa is the owner of the iconic gallery Sculpture to Wear, which was instrumental in launching the studio jewelry movement in the United States. The gallery offers an eclectic array of art, jewelry and unique objects to discerning collectors, media producers and institutions, which have been featured in film, television and publications. Her recently launched Berman Arts Agency offers artist representation, career management, corporate acquisition, sponsorship advisement, museum placement, exhibition curation and education services on the disciplines of fine art, jewelry, design and fashion. Lisa holds degrees in Plastics Manufacturing Technology from California State University Long Beach, Product & Jewelry Design from Otis College of Art & Design and Merchandising/Marketing from Fashion Institute of Design and Merchandising (FIDM). She has served on the Board of Governors for OTIS College of Art & Design; as Public Relations Chair for the Textile and Costume Council at the Los Angeles County Museum of Art (LACMA); and on the Museum Collection Board at FIDM. She volunteers for Free Arts for Abused Children, STEAM projects and Art & Fashion Councils. Additional Resources: Sculpture To Wear Website Sculpture To Wear Instagram Sculpture To Wear Facebook Berman Arts Agency Instagram Photos: Lisa M. Berman wearing Archival 18k gold plate PEBBLES Necklace by Robert Lee Morris, her own sterling silver pendant by K. Lamberti, Issey Miyake coat and holding a signed ARTWEAR Catalog (RLM). Photo by Daniel Oropeza NUE Magazine Holiday 2020 Model Neva Cole, Photo by Daniel Oropeza ICE Collar by Greg Orloff, 2018, $15,000 Creative Director / styled by: Lisa M. Berman NUE Magazine Holiday 2020 Feature article "Powerful Woman of Dissent" from the "Feel the Frill" Exhibition honoring RBG curated by L.M. Berman. Sculpture: LUX MAXIMUS, Winner of ARTPRIZE 2017 by Daniel Oropeza $350,000. Model Neva Cole wears Emancipation Collar by 2Roses, 2020, $1,500. Photo by Daniel Oropeza Creative Director / styled by: Lisa M. Berman Cover of IONA Magazine Model wears Beaded Galaxy by 3 Tribes, from our Timeless Measures Exhibition 2006, curated by Lisa M. Berman & Pamela McNeil 1 year collaboration with women from 3 tribes in Africa - elders teaching the younger generation how to bead. Cuffs (sterling Silver & Copper) by Tana Action IONA Magazine Models wears pieces by Jan Mandel: “REVEALED” Collar $50,000 (worn to the EMMY Television Academy's Governors Ball) and “POIGNET” (French meaning Wrist) $25,000 - both with created from Stainless steel mesh, outlined with 18k gold wire, Citrine, 2001. IONA Magazine Models wears pieces by Jan Mandel: Earrings - 18k gold & aqamarine (NFS), “TRANSITION” Collar, 18k gold, Onyx, Aquamarine $20,000 and “GOLDEN” Cuff, 18k gold, $10,000, made in 2001. Niche Magazine - TOP RETAILER SPIKED, red collar (Collection of Myra Gassman) & Cuffs on left side by Michelle Ritter “POIGNET” (French meaning Wrist) $25,000 - both with created from Stainless steel mesh, outlined with 18k gold wire, Citrine. Bouquet Ring, Stainless steel & garnet by Wendy Gwen Hacker $800 Collaboration with Sculpture To Wear Designer Gina Pankowski & MOEN Facet manufacturer. Utlilitary into Wearable Art Cover of W Magazine - January Jones wears LATTICE necklace (oxidized Sterling Silver) by Gina Pankowski, $4,000 And Bridge Bracelet sterling silver by Sergey Jivetin, SOLD in Private Collection The images below are from a PHOTO shoot based in the music video Rico Mejia Photography Fashion Beauty Celebrity Lifestyle Mobile number: 323-370-0555 https://www.behance.net/ricomejia https://twitter.com/RicoMejiaFoto https://www.instagram.com/ricomejiaphoto/ Perpetual Light in Motion - editorial photography by Rico Meija for Costumes bResin and Diamond Bangle by Cara Croninger from 24K Show, 1979, $4,000 Citrus Collar of acrylic, stainless steel & magnetic closure $650, and Bracelet $300 by Adriana Del Duca of Genos Jewelry Vintage Earrings- acrylic, one of a kind by Frank & Anne Vigneri, 1984, $350 Perpetual Light in Motion - editorial photography by Rico Meija for Costumes by Swinda Reichelt Resin DROP earrings by Cara Croninger $200 REGINA Collar of acrylic, stainless steel & magnetic closure $800 by Adriana Del Duca of Genos Jewelry for "Feel the Frill" exhibition honoring RBG, curated by L.M. Berman. Bracelet by Genos, NFS in collection of Julie Laughton Perpetual Light in Motion - editorial photography by Rico Meija for Costumes by Swinda Reichelt BLUE DROP earrings Teri Brudnak $98 HEDGEHOG Collar of acrylic, stainless steel & magnetic closure $850 by Adriana Del Duca of Genos Jewelry for "Feel the Frill" exhibition honoring RBG, curated by L.M. Berman. Clear CUFF by Cara Croninger, NFS collection of L.M. Berman Cover of Vogue with Cherize Theron Transcript: Lisa Berman, owner of art jewelry gallery Sculpture to Wear, has been a figure in the art jewelry world for over 20 years, and she has a wealth of insight to share with fellow jewelry lovers. For her second appearance on the Jewelry Journey Podcast, she talked about how she's maintained relationships with hundreds of designers and collectors over the years, what advice she offers the designers she works with, and why art jewelry is coming into its own as a fine art collected by museums. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. Today, my guest is Lisa Berman. Although we share the same last name, I'm not related to Lisa; however, over the years she has become a friend and a trusted dealer. Lisa has been a guest on the show before. Today, we'll have a wide-ranging discussion with less of a focus on a particular piece, more talking about her experience in the jewelry and fashion world. Per our practice, the podcast is audio only. We will be posting photos of many of the pieces Lisa mentions today on our website, which is JewelryJourney.com. This is also a two-part podcast, so please keep your eyes open for our second episode which will air later this week. Please make sure you're a member of our jewelry community by subscribing to the Jewelry Journey Podcast. That way you can listen to both episodes hot of the presses, so to speak. With that, I'd like to welcome Lisa to the program. Sharon: When you say editorial—you talked about editorial versus advertorial—what do you mean? Lisa: Years ago, we had magazines like W and Vogue and Vanity Fair, and the word advertorial did not exist. You had true editorial, where you were a new designer, you were creating something different, you had a new statement necklace, and they wanted to feature it. By the way, the vernacular “statement jewelry” wasn't in vogue 25 years ago. We talked about it. Now you see something on the cover and people talk about. From a marketing and selling point, it's a statement piece. That's something we were using in studio jewelry decades ago. Let's see, we were talking about editorial, working with creative directors of publications. You have a timeline that's three months in advance because you didn't have digital. You had film; you had slides; you had all these timelines that were completely different. Then publications changed. They had to find a way to stay afloat, to stay in business, and like any other business they said, “Look, if you buy an ad, we'll promote you in an editorial article.” That's why you have some galleries now charging artists to physically have their work on the walls, which is something we didn't do, of course. Sharon: That's interesting. Then you have people like me who walk into a gallery—I didn't know a lot—but depending on the gallery, they might pay to have their work on the wall. Having come from public relations, I immediately look at something to see whether they paid for that article or if it was chosen. I think it's important to point out—people might say, “Well, it sounds dated to be talking about all this print stuff,” but that goes immediately online. All the print is immediately online. There may be some things that never make print that are online, but it's important because whatever you see in print is going to be online. Lisa: Well, I'll tell you why it's important and relevant. It actually goes back to catalogues and museums. I will get to museums in a second. As much as we want to save the planet and save paper and all of that, museums still demand catalogues for their major exhibitions. That's an important part of collecting. An important part of an artist's career is to have that physical catalogue, that tangible item that can be placed on a bookshelf, or talked about, or brought to a dinner party or a lecture series or whatever it may be. That's really important. An editorial and a printed editorial are the same. Obviously, there are more online publications and it's literally just flipping through the images. For example, we just filmed a music video with Linda Hikel. We used a number of pieces from Sculpture to Wear in the music video. People loved it. They will use it for promotion, but she called me and said, “We want to capitalize on the fact that you brought such extraordinary work to the video. We want to capture those for editorial.” Then she called me and said, “We actually want to take it a step further. We're thinking about a book,” so these are the conversations. Printed materials are not a thing of the past, thankfully; they're an important element of documentation. That's why I tell artists, when I'm on an artist's tour or in their studio or we're having a conversation, “Please, if you're not a good note taker or you're not good about keeping files, literally keep a box on your desk, and anything—a summary or a note or something in regard to that project—keep it in there. This is so important for telling the story for an exhibition in a museum or just a gallery or online show.” Sharon: Lisa, you mentioned that makers, jewelers, artists don't understand the role of a gallery. They think, “What am I paying you for?” in a sense. Tell us what your response to that is. Lisa: I no longer have a physical, permanent location, but I do curate exhibitions. I will collaborate with fine art galleries or other locations to host exhibitions within their space. Even if a show is online, you still get the attachment of being in an exhibition that is part of Sculpture to Wear history and legacy. You have the exposure that I bring to that particular artist, whether it be through my website, through the newsletters I send out, through Art Jewelry Forum, through Indelible, which is my new column for older jewels. That's under the umbrella of Artistar Jewels. Sharon: Artistar Jewels? Lisa: Artistar Jewels; I'll tell you about that. Also, there's the collector base. A lot of artists think they pick up the phone and it just happens. Well, it does in some instances. It happens because I've cultivated a relationship for five to eight to 10 years. Yes, I can ask for a favor. Yes, I can propose an idea and I will be taken seriously because there's a track record of credibility. That's important for artists to understand. I think a lot of them coming from major schools do understand that. That is something that's part of their curriculum. Sharon: You mentioned the importance of keeping all your sketches and notes and everything like that because it helps the gallerist tell a story. Lisa: Right. In my garage, I literally have over two decades of artists' submissions. I know it sounds crazy. I have artists' submissions that were done on slides and then zip drives. I don't even know how I will convert those images, but I was so afraid of throwing away some of the most magnificent images I've ever seen and shown. Then each one of my exhibitions is in chronological order in a binder with the title and if there's any traveling accompanying that exhibition. I think I learned that from my days in the fashion industry, because you had to document, document, document. That has served me well, because if you don't document it, it never happened. So, you've got the documentation of the visuals and the notes and the advertising, and those are really important. Of course, now artists are saving all of that online, but hopefully there's still something tactile to incorporate. Sharon: It's so important for credibility, whether it's online or not. Ideally, it's legitimizing it. I know for me, when I'm considering a piece of jewelry, if I know the artist has been in this museum or that museum or it's in the writeup, that makes a difference to me. It weighs more in favor of purchasing something, that credibility. Lisa: Yes, and that's a whole round robin of a conversation. For example, the pieces I placed in LACMA on behalf Lynn Altman—unfortunately, Lynn is deceased. She was one of my favorite and dearest people on the planet. The three pieces that LACMA acquired were actually owned by me first, so it tells me I have a good eye, and it will also tell a collector I have a good eye. I know the process; I know what museums might be interested in. Mostly whatever I thought was interesting or fascinating, that's what I would collect, but it does matter. It plays a role in credibility in the conversation, if I'm going to be working with a client for consulting, either with a one-on-one client, with an artist or with a company or museum. By the way, one of the misnomers with museums and donations is that people think, “Oh, I have these amazing pieces and I want to donate them.” That's a very long process. Sharon: From what I've heard, it's a challenge. Lisa: It's a challenge because good museums will only accept pieces they can properly store. Of course, everyone wants them to be on display 100 percent of the time, but you can't do it. That's a conversation as well. You've got museums looking to acquire pieces, but they need funding for it. There's a whole program with their donors and collectors; “How do we buy this?” Then there are pieces they want that are being donated to them, but maybe they're going under renovation. Whatever the story may be, they want to make sure they're going to acquire them and be able to sort them, so that during their downtime another museum doesn't take them. It's really testing out there. Sharon: When I've heard of collectors who have donated their collections, it sounds like it's been a long process. It's been something that took years before they even decided to do it. They were being wooed, or they would ask the museum, “What should I buy? What would you like to see in the collection?” that sort of thing. It doesn't sound like you just drive up and unload your station wagon. Lisa: Oh, no. Sharon: Do people have station wagons anymore? Lisa: I don't know. They're called SUVs. Sharon: Yes, SUVs. Lisa: At least at a reputable location, that is definitely not the case. I think it's a very exciting time because you have people creating these secondary market pieces, people auctioning them, collecting them, and then you have some of the most dynamic makers. What's interesting to me is also the variations of ages from very young, 19 to 20, and then you have some jewelers I've met that were famous. They were architects or sculptors, and they wanted to change direction. I've also talked to some of them in regards to ageism. They can't apply for certain grants because they're too old for one at 66. There are a lot of new conversations, like how we've had to learn to communicate with this new technology in Zoom. Life throws us curve balls and we go with it, and there are different trends, too. Brooches were so important probably 20 years ago and they still are, but you had it peak with the “Brooching it Diplomatically” book and Madeline Albright. For many years, large-scale collars were important. You have the Susan Lewin book that just came out and the exhibition book about rings. It's exciting. This field is constantly growing, constantly renewing itself, and I'm always inspired by it. Sharon: I think we had a conversation once where you told me that brooches helped people segue to art jewelry. People could understand those and wear an avant garde brooch before they would wear something in their hair or an earring or something like that. Lisa: Yes. People won't believe this, but fashion also played a role in that. For example, 25, 30 years ago, you had women entering the workforce—I know I'm going to get backlash on this—but they were wearing these blazers. So, they can't wear a large collar, plus they're downplaying it. They still want to make a nonverbal statement, and the easiest thing is to put a large-scale piece on a lapel. The ideal wall to place a brooch was on a blazer. For example, I'm wearing a Miyake shirt today. You can't put anything heavy through that. These blazers and large-scale shoulders, that was a perfect wall space to wear these pieces. For makers, these are the easiest way for them to literally make sculpture to wear. It was in a format that made sense to them, a smaller-scale sculpture that was on the left shoulder most often, but there are no rules now. Literally everything goes. I happen to personally enjoy large-scale collars, just because I like to be hands free and my hands are always moving when I'm talking. I don't wear a lot of rings. When I had much shorter hair, I wore giant earrings. Now I don't, but it's all about personal preference. It was also interesting with the gallery. Someone would see a necklace or a piece in a feature editorial in the Los Angeles Times or W or whatever it may be, and they would call and say, “That's the piece I want.” Then, ultimately, they would come to the gallery and try it on, and they thought, “You know what? This just doesn't sit right on me. I want to look at something else,” or we would specifically have the artist there to meet with them and talk with them. Sharon: You've talked about the fact that relationships are so important. I know what you mean. It's not just a matter of calling up Sally Smith who you've never talked to before and doesn't know you from Adam, versus calling somebody you've worked with or who knows you always bring her great pieces or something interesting. I want people to understand what you do and why they should call you, because you have your fingers in so many different areas. Lisa: You know what's interesting about your statement, Sharon, is that I do. I am that person who will call anyone. I have the zero-fear factor. Sharon: That's great. Lisa: Completely, because the fact is the worst they can say is no. I'm on a phone call and I present the idea. I think it makes sense, otherwise I wouldn't call them or present them with the idea or exhibition or whatever it may be. I literally will pick up the phone, or I have a crazy idea and I will create a way to connect the dots. Most people think, “Oh my gosh! I would have never thought about that.” Often it's thinking about who's in that particular trade industry, how can we possibly get sponsorships, what's a different avenue. Let's think out of the box. We always hear that: let's think out of the box. I like to be creative, and I like communication. I literally will pick up the phone, and I always like to have a conversation. So many people hide behind this little mouse on their computer or Facebook or Instagram or private messages. I say if we're going to work together or any of this, I have to have a conversation. Let's go on WhatsApp. If you're in a different time zone, a different county—it doesn't matter if they're speaking Latvian and they're mumbling through a translator, you just get their essence. That's really important, especially now with the lack of human interaction. I'm always an advocate for having a conversation because you never know where it's going to lead, that next step, that next unturned stone. You learn so much more when you have the conversation with the person. Sharon: I always envy you people who have zero fear factor. I don't fall in that category, so I think it's great. Why should people call you today? To curate an exhibition? Lisa: Thank you. I do a number of things. Obviously, first and foremost, I do represent certain artists' careers on an ongoing basis, whether it's curating exhibitions for their particular body of work. I can also host a show where we would sell work, because that's the fuel that makes the engine go: selling artists' work, curating exhibitions, connecting them to editorial, getting them placement for exposure. I would say 50 percent of what I do is a PR agency. That is the bulk of most of my day. It's writing articles, sending out newsletters, Instagram, Facebook posts, calling institutions or perhaps sponsors who are creating an exhibition, and creating those business alignments to further these ideas. Whenever I'm on Zoom conferences, I'm taking notes. Editorial, promotional, selling—it's like an ad agency as well. Sharon: And when you say artists, that's bench jewelers, retailers, makers and fine artists. Lisa: Yes, now I have branched out with the Berman Art Agency. That umbrella encompasses the very few select sculptors and photographers I've worked with throughout the years. For example, Bonnie Schiffman, she's a very well-known, iconic photographer in 16 museums worldwide. She came to me to make a commission piece in a gallery with Claudia Endler. That was an heirloom piece, and she wears it every day. Now we have this relationship where I'm working with her photographs. We've done shows throughout LA. I picked up the phone and created a museum exhibition for her back east. Some of these artists have had a rich career, and then they either hit a lull or they're on hiatus. How do I resurrect this? It's looking at those types of people. Like Marc Cohen— Sharon: We just had Marc Cohen on the podcast with his box jewelry, which is so unique. Lisa: I've known Marc for almost 35 years. I'm working with him on his 40 years of archives to make sense of them and understand how to present wearable art box sculptures, which are little, unique maquettes of a stage, like a Broadway stage. He incorporates iconic photography, and each of those tells a story. I'll be wearing one, and from across the room, someone will point at me and say, “That's the box man.” He's done a lot of much larger installations at the Museum of Jerusalem and some other work. So, presenting that work, how do we package that? How do we package it for a museum exhibition, for a gallery exhibition? Of course, we want to do a book. Then I was working with Teri Brudnak. She was Karen McCreary's partner for Star Trek. We met 35 years ago in a plastics technology class. She and Karen were making work for Star Trek: The Next Generation, the television show. We were the only three women in this class, and people were making fun of us until they would see their pieces on television within the two-week period. They stopped the teasing and said, “O.K., this is something.” For example, the Skirball Museum has a Star Trek exhibition. How do we incorporate the legacy of what Terry and Karen created with their jewelry? It's always about peeking around the curve and finding a placement that makes sense. It is in alignment in an authentic way with their artist's voice and what they've created; not necessarily a stretch, but completely in alignment with their work and their creativity. Sharon: Lisa, thank you so much. I learned so much today about how an artist has to sell their work. I know that's where so many get caught. Thank you so much for being here today. Lisa: I appreciate the opportunity to tell your audience about this. It's very important. Thank you, Sharon. Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.
What you'll learn in this episode: The history of Sculpture to Wear and how Lisa maintains its legacy Why editorial and media coverage is crucial for getting art jewelry recognized as a fine art What the role of a jewelry gallery is Why Lisa always advises artists to keep good records of their work How the bold brooches of the 80s paved the way for today's art jewelry About Lisa M. Berman Lisa M. Berman is an internationally recognized “Ambassador of Wearable Art.” Based in Southern California, her expertise extends to major manufacturing and retail markets, museums and corporations in the United States, Canada, Mexico, Asia and Europe. Lisa is the owner of the iconic gallery Sculpture to Wear, which was instrumental in launching the studio jewelry movement in the United States. The gallery offers an eclectic array of art, jewelry and unique objects to discerning collectors, media producers and institutions, which have been featured in film, television and publications. Her recently launched Berman Arts Agency offers artist representation, career management, corporate acquisition, sponsorship advisement, museum placement, exhibition curation and education services on the disciplines of fine art, jewelry, design and fashion. Lisa holds degrees in Plastics Manufacturing Technology from California State University Long Beach, Product & Jewelry Design from Otis College of Art & Design and Merchandising/Marketing from Fashion Institute of Design and Merchandising (FIDM). She has served on the Board of Governors for OTIS College of Art & Design; as Public Relations Chair for the Textile and Costume Council at the Los Angeles County Museum of Art (LACMA); and on the Museum Collection Board at FIDM. She volunteers for Free Arts for Abused Children, STEAM projects and Art & Fashion Councils. Additional Resources: Sculpture To Wear Website Sculpture To Wear Instagram Sculpture To Wear Facebook Lisa Berman Instagram Photos: Lisa M. Berman wearing Archival 18k gold plate PEBBLES Necklace by Robert Lee Morris, her own sterling silver pendant by K. Lamberti, Issey Miyake coat and holding a signed ARTWEAR Catalog (RLM). Photo by Daniel Oropeza NUE Magazine Holiday 2020 Model Neva Cole, Photo by Daniel Oropeza ICE Collar by Greg Orloff, 2018, $15,000 Creative Director / styled by: Lisa M. Berman NUE Magazine Holiday 2020 Feature article "Powerful Woman of Dissent" from the "Feel the Frill" Exhibition honoring RBG curated by L.M. Berman. Sculpture: LUX MAXIMUS, Winner of ARTPRIZE 2017 by Daniel Oropeza $350,000. Model Neva Cole wears Emancipation Collar by 2Roses, 2020, $1,500. Photo by Daniel Oropeza Creative Director / styled by: Lisa M. Berman Cover of IONA Magazine Model wears Beaded Galaxy by 3 Tribes, from our Timeless Measures Exhibition 2006, curated by Lisa M. Berman & Pamela McNeil 1 year collaboration with women from 3 tribes in Africa - elders teaching the younger generation how to bead. Cuffs (sterling Silver & Copper) by Tana Action IONA Magazine Models wears pieces by Jan Mandel: “REVEALED” Collar $50,000 (worn to the EMMY Television Academy's Governors Ball) and “POIGNET” (French meaning Wrist) $25,000 - both with created from Stainless steel mesh, outlined with 18k gold wire, Citrine, 2001. IONA Magazine Models wears pieces by Jan Mandel: Earrings - 18k gold & aqamarine (NFS), “TRANSITION” Collar, 18k gold, Onyx, Aquamarine $20,000 and “GOLDEN” Cuff, 18k gold, $10,000, made in 2001. Niche Magazine - TOP RETAILER SPIKED, red collar (Collection of Myra Gassman) & Cuffs on left side by Michelle Ritter “POIGNET” (French meaning Wrist) $25,000 - both with created from Stainless steel mesh, outlined with 18k gold wire, Citrine. Bouquet Ring, Stainless steel & garnet by Wendy Gwen Hacker $800 Collaboration with Sculpture To Wear Designer Gina Pankowski & MOEN Facet manufacturer. Utlilitary into Wearable Art Cover of W Magazine - January Jones wears LATTICE necklace (oxidized Sterling Silver) by Gina Pankowski, $4,000 And Bridge Bracelet sterling silver by Sergey Jivetin, SOLD in Private Collection The images below are from a PHOTO shoot based in the music video Rico Mejia Photography Fashion Beauty Celebrity Lifestyle Mobile number: 323-370-0555 https://www.behance.net/ricomejia https://twitter.com/RicoMejiaFoto https://www.instagram.com/ricomejiaphoto/ Perpetual Light in Motion - editorial photography by Rico Meija for Costumes bResin and Diamond Bangle by Cara Croninger from 24K Show, 1979, $4,000 Citrus Collar of acrylic, stainless steel & magnetic closure $650, and Bracelet $300 by Adriana Del Duca of Genos Jewelry Vintage Earrings- acrylic, one of a kind by Frank & Anne Vigneri, 1984, $350 Perpetual Light in Motion - editorial photography by Rico Meija for Costumes by Swinda Reichelt Resin DROP earrings by Cara Croninger $200 REGINA Collar of acrylic, stainless steel & magnetic closure $800 by Adriana Del Duca of Genos Jewelry for "Feel the Frill" exhibition honoring RBG, curated by L.M. Berman. Bracelet by Genos, NFS in collection of Julie Laughton Perpetual Light in Motion - editorial photography by Rico Meija for Costumes by Swinda Reichelt BLUE DROP earrings Teri Brudnak $98 HEDGEHOG Collar of acrylic, stainless steel & magnetic closure $850 by Adriana Del Duca of Genos Jewelry for "Feel the Frill" exhibition honoring RBG, curated by L.M. Berman. Clear CUFF by Cara Croninger, NFS collection of L.M. Berman Cover of Vogue with Cherize Theron Transcript: Lisa Berman, owner of art jewelry gallery Sculpture to Wear, has been a figure in the art jewelry world for over 20 years, and she has a wealth of insight to share with fellow jewelry lovers. For her second appearance on the Jewelry Journey Podcast, she talked about how she's maintained relationships with hundreds of designers and collectors over the years, what advice she offers the designers she works with, and why art jewelry is coming into its own as a fine art collected by museums. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. Today, my guest is Lisa Berman. Although we share the same last name, I'm not related to Lisa; however, over the years she has become a friend and a trusted dealer. Lisa has been a guest on the show before. Today, we'll have a wide-ranging discussion with less of a focus on a particular piece, more talking about her experience in the jewelry and fashion world. Per our practice, the podcast is audio only. We will be posting photos of many of the pieces Lisa mentions today on our website, which is JewelryJourney.com. This is also a two-part podcast, so please keep your eyes open for our second episode which will air later this week. Please make sure you're a member of our jewelry community by subscribing to the Jewelry Journey Podcast. That way you can listen to both episodes hot of the presses, so to speak. With that, I'd like to welcome Lisa to the program. Lisa: Thank you, Sharon. I'm so delighted to be back here again. Sharon: It's great to have you. For those who don't know your background, can you give us a brief overview of your background? Lisa: Of course. I grew up in the fashion industry and had a career in fashion design. I had an accessory business for many, many years, and then I acquired the name of Sculpture to Wear Gallery in 1998. Of course, that was originally launched in 1973 in New York City in the Park Plaza Hotel. I launched my first exhibition at Bergamot Station Art Center, which I'll tell you about in a second, on January 16, 1999. I'm proud to be the second owner of Sculpture to Wear Gallery. Now, location is important. Location, location, location, you've heard a million times in real estate. Bergamot Station Art Center is in Santa Monica, California, Southern California, and it was formerly the home to 25 thriving contemporary galleries and the Santa Monica Museum of Art. It was, I believe, a five-acre complex. Now the Red Line runs through it. Sharon: The Red Line being the Metro. Lisa: Yes, the metro. Anyway, that's where I started my journey. I actually met my former husband, Robert Berman, there as well. It was the heyday. It was like Soho. It was the happening place on the West Side; it was a lot of fun. Every Thursday, Friday and Saturday night for 10 years, there were gallery openings. There was constant influx of artists and jewelers and collectors and educators and writers, so it was definitely the place to be. Sharon: What was groundbreaking about—first, it was groundbreaking that Sculpture to Wear was on the West Coast, but what was groundbreaking about the original Sculpture to Wear? Lisa: The owner, Joan Sonnabend, was basically located in Boston, but she had a tiny, little, postage-stamp gallery. Robert Lee Morris told me it was only about 400 square feet. The delineation was that she only showed work by signed artists. For example, you had Alexander Calder making jewelry, and he actually made his jewelry. There were pieces by Picasso; those were in addition to the series and those were made by other craftsmen. Of course, you have people like Robert Lee Morris, whose entire career was launched at the original Sculpture to Wear. The idea was that she was selling one-of-a-kind, sculptural jewelry made by fine artists, not by jewelry artists. That was the idea. Sharon: From what I've heard, nobody else was doing that then. This was unusual. Lisa: It was extremely unusual. The only person that was doing something similar was in Philadelphia. That's our beloved Helen Drutt, who is about to turn 91. She was also very monumental and important in bringing studio jewelry and wearable art to the United States, but she worked with jewelers and makers, mostly in Europe. Sharon: How did you know the Sculpture to Wear license was available? How did you find out about that? Lisa: I was introduced to the idea through Cindy Forbes, who's now Cindy Brown. She ultimately ended up being my gallery manager. We had a conversation, one thing led to another, and that was kind of it. It was available, so I capitalized on that and the domain and the name. When I acquired the name, I felt it was very important that every decision I made was legacy-driven, because it was a very important part of history. This is not something I just launched; they had an important history and legacy on the East Coast. That's why for my business card, I purposely selected the title of “visionary proprietor,” because it kept me on point and on target. At first, I got a little flak from it, but as I explained, that kept me on point to do my best. That was it. Sharon: Flak because people said, “Oh my gosh—” Lisa: A lot of gumption that I would profess to be this visionary proprietor. Now, everyone on social media is a visionary and all the museum collectors' groups are visionaries. I don't know; I guess I was ahead of the curve. Sharon: You are a visionary. Lisa: This was 23 years ago. There you go. Sharon: So, you opened at Bergamot Station and then you moved the gallery to Montana Avenue in Santa Monica? Well, they're both in Santa Monica. Lisa: I was in Bergamot Station from 1999 until 2003. In Bergamot Station, I had two separate little locations. In 2003, I moved to a much larger location. That was on Montana Avenue at the cross street of 11th Street. I moved there knowing I was a destination, that I had built a brand with Sculpture to Wear and with the artists through a number of different ideologies and media and exposure. We'll get into that in a second, but I knew I was a destination. I was not going to rely on walk-in traffic on Montana Avenue, like so many of the other stores did. That was really important, that I had built up that mailing list, the collector base. People would be traveling, or friends would be coming in from out of town and our collectors would pick them up at the airport and say, “We have to take you to Sculpture to Wear first.” It was those kinds of relationships we had built there. Sharon: Did people stumble on your gallery in Bergamot Station? How did they find you? Lisa: Bergamot had 25 galleries, so at any given day at any given moment, you had tons of people walking around. It's completely different than it is today; of course during the pandemic, but completely different. There was no problem reaching collectors, and I was the complete anomaly. You have this sculptural jewelry, and it was an education to a new audience. A lot of these people weren't necessarily open to the idea of jewelry not having diamonds or gold. People that had an educated eye in regard to design, like architects, were some of our first clients because they understood the design. It literally was a small-scale sculpture. I think my passion for that and some of the artists were also incorporated into that conversation. I made a request of any artists that were local to the gallery that they do three things: they had to work in the gallery, they had to come and help set up an exhibition that wasn't theirs, and they had to attend an opening that wasn't theirs. I wanted them to understand the role of a gallery and what we did. At first it was, “Well, why I would give you 50 percent of the retail price?” This was a demonstration for them to learn why. There wasn't any artist who partook in those three requests that came to me and said, “No, this isn't right.” They all were shocked at what we did on a daily basis. Robert Lee Morris, I told him about that, and he was shocked. He said, “You did that?” Sharon: You mentioned Robert Lee Morris. A lot of people will know who he is, especially New Yorkers or fashionistas, but tell us who he is and why he's important. Lisa: Robert Lee Morris is an icon. He's been designing jewelry for over 50 years. He's the only designer to earn the Coty Award for his jewelry design an unprecedented three times. He was the designer who made the big, bold, gold jewelry in conjunction with Donna Karan's black cashmere new work uniform in the late 80s, early 90s. Digressing to understand why he's important in my world, our world of art jewelry, is that he was one of the most important and prolific designers at the original Sculpture to Wear in New York. He was self-taught. He was literally found at a tiny, little show in an offbeat path. He was immersed in this incredible work from Alexander Calder, Salvador Dalí, Louise Nevelson—amazing artists who already had these incredible careers, and as it turns out, people loved Robert's work. He outsold all the other artists combined at Sculpture to Wear. Then he launched his own gallery. After Sculpture to Wear closed, he launched Artwear. That launched a number of careers from a lot of famous artists, jewelers, studio jewelers, some of whom are still with us and some are not. That's his legacy; first at Sculpture to Wear, then Artwear. He has these amazing archives, and we'll talk about how editorial and prior images play a role in the secondary market. That might be a good place to talk about that. Sharon: O.K., please. Lisa: What's a phenomenon for me is that when I started and someone would ask if I sold jewelry, I knew the context. They would immediately think of CZ or— Sharon: Engagement rings. Lisa: Engagement rings. I said, “No, that's not at all what I do,” and I would always be wearing a piece. I was always wearing largescale pieces of jewelry. At that time when I first opened my gallery, I had very short hair; I think it was two inches long. People may not have remembered my name, but they would point at me from across the room and say, “Oh, that's the jewelry lady. That's the Sculpture to Wear lady,” and that was just fine. This type of work, like photography 80 or 60 years ago, was not accepted in the realm of a fine art museum. Now you see photography auctioned at over $1 million, and some of the most incredible collections in the world are simply photography. Art jewelry is now collected in some specific fine art institutions, and that is for a number of reasons. First of all, it's because of exposure from editorial and media, and also because of the stewardship of specific collectors and designers like Helen Drutt, who bequeathed her collection to the Houston Fine Art Museum. I think it was almost a decade ago, and there's an incredible book. It's on my bookshelf. I can see it from here; it's very orange and large. She wanted her collection to be viewed at a fine arts museum versus a craft museum, and that started that conversation. Lois Boardman on the West Coast donated her collection to LACMA, LA County Museum of Art, I believe five years ago. Also, for example, the Renwick Gallery at the Smithsonian has been collecting this work for a lot longer. For example, Jen Mandel and I were there for her induction into the Smithsonian. That was incredible. We were standing right next to a piece made by Alexander Calder, and that's where her vitrine was placed. It's really about this conversation, and I think it's a conversation of education. As for the secondary market, we were just attending the Bonhams preview for the Crawford Collection. That's an unprecedented phenomenon, to have a collection of that level, of that stature, being auctioned by Bonhams without diamonds, without gold. There are a few elements and pieces to that, but you're looking at Art Smith pieces, modernists, studio jewelers. This is a very exciting and fertile time to be involved in studio and art jewelry. This is what I've been doing for the last 22, 25 years. We're at a very exciting place and there are a number of forums, especially with Covid and Zoom, with Art Jewelry Forum having open conversations about this, introducing collectors to artists and, of course, your podcast. There are a lot of variations and factors for the secondary market. Sharon: Lisa, because your jewelry and art jewelry in general is still avant garde—although it's coming into its own—do you think collectors or people like you are going to say, “O.K., what's next? What's on the horizon now? That's become old hat.” It hasn't, but do you think people are going to move on? Lisa: Sharon, I hope not. Within the genre of studio jewelry and wearable art, it has progressed and become so sophisticated. There are so many different makers out there, especially with the internet connecting us. When I first started in 1999, we didn't really have the internet; we barely had email, and now that's how everyone communicates. I think that people's creativity, the way people wear pieces and where they wear them—the reality is that we're not going anyplace right now during the pandemic, and I'm looking at different generations and how to include that next generation in collecting. For example, some of my first clients were in their 60s and 70s when they started collecting, and some are no longer with us. So, how do we engage their family members? You're our most recent convert to art jewelry. My gallery was so close to your house, yet you would have had no interest in what we did. I think it's a journey. Can you say someone's going to have a different trend? No. I also think technology has played an important role not only in studio jewelry and the exposure, but also the techniques. People are using laser cutting, 3D printing. Technology has also been accepted into fine arts institutions and it has blurred the lines of the conversation of craft and fine art. Even five years ago, there was a delineation that was very distinct. There are still institutions that are not interested in immersion, but I think technology has been a friend, not a foe, to studio jewelers and the paths they can cross. Sharon: I do have to tell a story. Lisa and I were laughing because I lived close to where her gallery used to be. I lived not so far in the Valley, 10 miles away. I was never in your gallery, but I remember seeing an ad one day and thinking, “Who is going to wear this stuff?” Lisa: And now the Jewelry Journey Podcast. Sharon: It was way out. When you say that people who were older started collecting it, that's the sort of people who don't automatically say, “Wow, that's so new and so cool.” Lisa: My collectors—and I'm sure a number of the gallerists across the United States who have been around for decades would say the same—our clientele, they're not interested in trends. If they open a Vogue, they might see a dress they like, but they're not going to buy it because it's on trend or in fashion. All my clientele, they're well-traveled; they're well-heeled; they're generally educated. They're willing to be avant garde. They don't want to wear the same thing everyone else is wearing, so it's a little bit different. The whole conversation now is that there are younger generations. I just met an incredible student at USC at the Bonhams preview. She's running this entire magazine department in her off time while she's full-time at USC. That's to reach a new collector base and new makers, but that's exciting. That's what makes it viable. Sharon: Yes, it keeps on going. Lisa: Right. That was one of the things I wanted to talk about in regards to when I first started in 1999: it was not only the relationships we built with the artists and the collectors, but we also had our version of social media, which was just printed publications. We didn't have social media, so building relationships with well-known stylists, who were either Emmy award winners or high-profile people that worked with celebrities, that was really important. We got to the point where they would literally call me up with the theme, tell me what it was, and I would already pull the pieces and have a box ready for them. We had a shorthand. That was, again, a relationship that would have to be cultivated. It was very exciting, and that's part of building the legacy of why this work is important. For example, Robert Lee Morris is pulling out his archives. Part of the excitement of these presentations is showing some of the editorial, these great magazine covers and shows that these pieces were included in. I have two decades of binders of images. So, that's very exciting, to show the relevance 20 years ago to now.
Rhonda McEnroe is a self-taught Artist, she is also a Designer, an Instructor, the Owner of Enroe Studio and the 2019 Kentucky Derby Artist for the 145th Running for the Roses. That is a BIG accomplishment in the art industry! Rhonda is passionate about sharing her God designed artistic ability while teaching her students how to paint. She still has room for more students, and this would make a great Christmas gift for yourself, child/grandchild, family member or a friend. Her fees are very reasonable and she is willing to help you create and expand your artistic abilities. Rhonda is also selling her Private Collection, and wouldn’t this collection make someone extremely happy! Keep reading...
This episode is also available as a blog post: https://thecitylife.org/2021/10/01/the-brooklyn-museum-and-los-angeles-county-museum-of-art-lacma-partner-to-acquire-200-photographic-works-by-european-women-artists-from-the-private-collection-of-sir-mark-fehrs-haukohl/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/citylifeorg/message Support this podcast: https://anchor.fm/citylifeorg/support
http://www.whisky.de/p.php?id=THRSH1200 Nosing 03:34 Wir verkosten den Three Ships 12 Jahre. Der Three Ships Single Malt gehört zur Master Distiller's Private Collection aus der südafrikanischen James Sedgewick Brennerei. Andy Watts wählte dafür 12-jährige Fässer aus amerikanischer Eiche, in denen der Malt im heißen afrikanischen Klima besonders intensiv heranreift. Jetzt auch als Podcast: https://www.whisky.de/shop/newsletter/#podcast Geschmacksbeschreibungen und Informationen finden Sie in unserem Shop auf Whisky.de Abonnieren http://www.youtube.com/user/thewhiskystore?sub_confirmation=1 Instagram: https://www.instagram.com/whisky.de/
In this second episode we conclude our look into the life and art of Van Gogh, exploring the complexities of December 23, 1888 (the infamous night that Vincent supposedly cut off his own ear). Did Vincent really give his ear to a prostitute? is among the many questions we will explore. We will talk about Vincent's affinity for portraiture, as well as his final days and untimely death. We will explore a few more of his works of art, as well as one of his final paintings, Wheat Field with Crows, from July 1890. WORKS REFERRED TO IN THE EPISODE Self-Portrait with Bandaged Ear, Vincent van Gogh (1853 - 1890), 1889, oil on canvas, 60 x 49 cm (Courtauld Galleries, London) Dr Paul Gachet, Vincent van Gogh (1853-1890), 1890, Oil on canvas, H. 68; W. 57 cm. Musée d'Orsay, Paris Dr Paul Gachet, Vincent van Gogh (1853-1890), 1890, Oil on canvas, 67 cm × 56 cm (23.4 in × 22.0 in). Private Collection (unknown). Wheat Field with Crows, from July 1890. Vincent van Gogh (1853-1890), Auvers-sur-Oise: July, 1890, Oil on canvas, 50.5 x 103.0 cm, Van Gogh Museum, Amsterdam. Self Portrait, Vincent van Gogh (1853-1890, 1889, Oil on canvas, 65 cm × 54 cm (26 in × 21 in) Musée d'Orsay, Paris
Mike Parker is the creator of The Pro Wrestling Mini-Museum. The museum was established in 2019 and show cases memorabilia such as signed photos and magazines as well as ring-worn items. The site has been featured previously on NBC affiliate WFLA in Tampa. The website is www.pwmuseum.net. You have go to stop by, in my opinion, the best online personal WWE collection and take a walk through the memories of the amazing wrestlers of the world of WWE!
How does an English barrister end up running and growing a hospitality empire in Kenya? Alfrida shows us the way!
I am very proud to welcome the Multi-Talented Miki Howard. Her Journey is incredible and her wisdom is sure to inspire all of us. Born in Chicago, Illinois, Alicia Michelle "Miki" Howard was the daughter of two well-known gospel singers. Her father, Clay Graham, sang with the Pilgrim Jubiliees and her mother, Josephine Howard, was a member of the Caravans, a group that would eventually be inducted into the Rock and Roll Hall of Fame. When Howard was in her early teens, her mother moved the family to Los Angeles. Already aiming at a career in music, the 15-year-old Howard received her first break when she participated in a teen beauty contest. Augie Johnson, leader of the group Side Effect, happened to be in the audience; impressed with Howard's singing talent, Howard also joined the lineup of Side Effect in 1978 when another singer departed. She sang with Side Effect until 1982. Howard signed a contract with Atlantic Records in the mid-1980s and recorded her first solo album, “Come Share My Love”, in 1986. The title track from the album was its first single, hitting the top ten of the R&B charts and reaching number five in late 1986. A remake of the pop standard "Imagination," which Howard had fought to include on “Come Share My Love”, was another hit from the album. Howard's second solo album, 1988's “Love Confessions”, offered another top-five R&B hit with "Baby Be Mine." "That's What Love Is," a duet with Gerald Levert, also hit the R&B charts. In the meantime, Howard's third solo album,” Miki Howard”, was released in 1989 and proved her most commercially successful to date. The single "Ain't Nuthin' in the World" became Howard's first number-one hit on the R&B charts and another song, "Love Under New Management," followed it to number two and became one of Howard's signature tunes. Howard continued with a successful solo career after switching to Giant Records in 1991. Her first single under her new contract, "Ain't Nobody like You," became Howard's second number-one R&B hit. The subsequent album, 1992's “Femme Fatale”, featured Howard's renditions of classic tracks originally performed by Dinah Washington ("This Bitter Earth") and Billie Holiday ("Good Morning Heartache"). After a casting director saw her perform some Billie Holiday tunes at a New York City concert at Radio City Music Hall, Howard was offered the chance to portray Holiday in a nightclub scene in director Spike Lee's 1992 film “Malcolm X”. The following year, Howard recorded an entire album of Holiday songs, “Miki Sings Billie”, including her favorite Holiday tune, "Don't Explain." In 1993, Howard made another movie appearance in director John Singleton's “Poetic Justice”. She released “Live Plus” in 1996 and a comeback album of original material, “Can't Count Me Out”, in 1997. After a four year hiatus, “Three Wishes”, was released in 2001 to excellent reviews. The album earned a Grammy Award nomination for Best Traditional R&B Recording. She followed that with “Pillow Talk” (2006), “Private Collection” (2008), “I Choose To Be Happy” (2015) and a live recording “Miki Howard- Live In Concert” in 2015. Howard was featured on the second season on TV One's critically acclaimed bio-series “Unsung”. Miki's episode was the highest rated of her season and in 2015 was adapted into a TV movie for TV One to be released in June of 2016 with “Chi-Raq” actress Teyonah Parris in the lead role.
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In the 1960s and 70s, thousands of westerners travelled to India and Nepal by overland bus. They were searching for adventure, enlightenment and cheap hashish. Simon Watts talks to Richard Gregory, who did the Hippie Trail in 1974.PHOTO: Richard Gregory in Kabul in 1974 (Private Collection)
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