Podcasts about Pulitzer Arts Foundation

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

The work of Colombian artist Delcy Morelos makes connections between political bloodshed and degradation of the natural environment, particularly in places where conflict over the land has left a legacy of blood. St. Louis Public Radio's Jeremy Goodwin reports on a rare solo exhibition of the artist's work now on view at Pulitzer Arts Foundation.

Larry Morris is the Director of Artists in Residency for the Kranzberg Arts Foundation. He is also the Vocalist/MC for St. Louis music legends, Illphonics. He stopped by to speak with Nancy about the program. ———   The Kranzberg Arts Foundation has long been a major patron of the arts in St. Louis and is committed to aligning their resources to aid in and advance the flourishing renaissance of the arts in the St. Louis area. Growth in the local arts community is now more vigorous than ever, however, the shortage of affordable artists' work and presentation spaces has been a clear obstacle in the path of our artists. In consideration of this problem and in support and recognition of St. Louis area artists, the Foundation  is redefining and expanding our short and long-term residency programs. ———    The Foundation hosts partnerships with over 150 arts organizations and presenters in the St. Louis region and provides an intersection of arts  venues and work environments that serve a full range of artistic processes.  ———   Most of their venues are located in the heart of the Grand Center Arts District in Midtown St. Louis and  are surrounded by some of  St. Louis' most distinguished cultural assets,  including the Fox Theater, St. Louis Symphony, Contemporary Arts Museum,  The Pulitzer Arts Foundation, Jazz St. Louis,  the home of Public Media and so much more. ——— •

Stephanie Weissberg, a curator at the Pulitzer Arts Foundation, stopped by to speak with Nancy about the Pulitzer and the current exhibition, Urban Archaeology: Lost Buildings of St. Louis. About Urban Archaeology: Drawn from the rich collection of the National Building Arts Center (NBAC), Urban Archaeology brings together salvaged architectural elements from landmark buildings, residential homes, and neighborhood institutions built in St. Louis between 1840 and 1950. The artifacts on display represent important histories of material innovation, labor, and the everyday lives of the people who inhabit the city. The exhibition sheds light on the city's history, revealing complicated legacies of power, wealth, and neglect that shape our experience of the built environment and daily life. By studying St. Louis's architectural past, Urban Archeology encourages us to imagine new ways of building, keeping, knowing, and inhabiting places. Located in Sauget, Illinois, the National Building Arts Center emerged in response to the rapid economic decline and widespread demolition the city experienced beginning in the 1950s. NBAC has worked over four decades to salvage and preserve significant parts of condemned buildings that would otherwise be completely lost, amassing the largest and most diversified collection of building artifacts in the United States. Urban Archaeology is the most extensive public presentation of NBAC's collection to date.      

Ep.179 features Basil Kincaid (b. 1986, St. Louis, Missouri) an American artist who honors and evolves traditional practices through quilting, collaging, photography, installation and performance. Implementing materials vested with emotional and memorial content, Kincaid allows these mediums to function as spiritual technology that forward various wisdoms born from Kincaid's greatest values: family, imagination, rest, and experience. Kincaid studied drawing and painting at Colorado College, graduating in 2010. Kincaid has exhibited works with Hauser & Wirth, Mindy Solomon, Kravets Wehby, Kavi Gupta, Carl Kostyal and others. In 2019, Kincaid debuted a first museum performance, “The Release,” at the Pulitzer Arts Foundation in St. Louis MO. In 2020 Kincaid received the Regional Arts Commission Fellowship. In 2021, Kincaid became a United States Artist Fellow and joined the Collection of the Smithsonian American Art Museum. In 2022, Kincaid exhibited new quilt works in both the Legacy Russell-curated show, “The New Bend” at Hauser & Wirth's New York and Los Angeles locations, and the Ekow Eshun-curated exhibition, “New African Portraiture” at the Kunsthalle Krems in Austria. Kincaid also produced a ceremonial installation at Laumeier Sculpture Park in St. Louis, wrapping a Manuel Neri figure in a quilt entitled “Take Me Home” just days after Neri's passing. Kincaid opened 2023 with “Dancing the Wind Walk”, a semi-permanent fabric monument during Frieze LA, with support from the Art Production Fund; before the end of the year, he will reveal a new quilt as part of “The Threads We Follow” at SECCA, North Carolina Museum of Art, and will have a solo exhibition, “Spirit in the Gift”, at the Rubell Museum, where he was the 2023 Artist in Residence. Basil Kincaid has been awarded the Great Rivers Biennial Prize and will have a solo exhibition at the Contemporary Art Museum St. Louis in Fall 2024. Photo courtesy of Basil Kincaid Artist https://basilkincaid.art/ Rubell Museum https://www.rubellmuseum.org/miami-exhibitions-2/2023-24-miami-2/2023-basil-kincaid Kavi Gupta https://kavigupta.com/artists/76-basil-kincaid/ Mindy Solomon https://mindysolomon.com/artist/basil-kincaid/ Hauser Wirth https://www.hauserwirth.com/viewing-room/basil-kincaid/ Carl Kostya https://kostyal.com/basil-kincaid-refraction-new-photography-of-africa-and-its-diaspora-surface-design-association/ Smithsonian SAAM https://americanart.si.edu/artist/basil-kincaid-32186 Artnet News https://news.artnet.com/art-world/meet-basil-kincaid-miami-beach-2402768 Artnet News https://news.artnet.com/art-world/basil-kincaids-studio-visit-2323227 Rockefeller Center https://www.rockefellercenter.com/magazine/arts-culture/artist-basil-kincaid-at-rockefeller-center/ Art Production Fund https://www.artproductionfund.org/eventsblog/basil-kincaid-art-sundae Whitewall https://whitewall.art/whitewaller/new-exhibitions-basil-kincaid-spirit-in-the-gift-and-more/ Lensculture https://www.lensculture.com/basil-kincaid UTA https://www.unitedstatesartists.org/fellow/basil-kincaid/ Cultured Magazine https://www.culturedmag.com/article/2022/09/15/2022-09-15-basil-kincaid-quilts-exhibition The Art Newspaper https://www.theartnewspaper.com/2023/02/16/quilt-covered-airplane-at-frieze-los-angeles-has-many-stories-to-tell Frieze https://www.frieze.com/event/now-playing-basil-kincaid-dancing-wind-walk

What happens when a world-renowned landscape architect from Thailand comes to the United States as Designer-in-Residence to work with an award-winning architect whose passion is what he defines as watershed architecture? It has been a year since Season 4, Episode 10 when we first asked that question of our guests, and now it's time for an update. Hosts Sarah Thorne and Jeff King, Lead of the Engineering With Nature® Program at the US Army Corps of Engineers (USACE), welcome back Kotchakorn Voraakhom (“Kotch”), an international member of the American Society of Landscape Architects and founder of Bangkok-based company LANDPROCESS, and Derek Hoeferlin, Chair of the Landscape Architecture program at Washington University in St. Louis. Derek and the Sam Fox School of Design & Visual Arts have been hosting Kotch on her year-long appointment as Designer-in-Residence, sponsored by the Pulitzer Arts Foundation.Reflecting on her expectations for her year in St. Louis, Kotch said, “It is like a journey. When you travel into some new place or experience, you're expecting one thing; but when you actually go through it, you run into different things that you were not expecting.” Kotch spent her time learning from the St. Louis community and, as she says, listening to the ecology of the Mississippi River. Kotch taught Derek's students at Washington University, held several workshops with community members, engaged with a range of people from USACE, and talked with people in small towns along the Mississippi who are dealing with perpetual flooding. Her residency has “been a pause to relearn what I have learned. As a practitioner, you want to conquer the world. You want to change the world. But in the end, you just have to let the world change you as well.” As she notes, “Nature has the final word.”Derek relates a similar kind of experience in wanting to change the world, while also being influenced by it. His journey has been a 15-plus-year project to investigate what he calls “watershed architecture” and his interest in how watersheds can reflect a tipping point in time. Derek has been influenced by large-scale climate-related disasters and thinking about what it means to design buildings in that context. “As designers, we look at these larger-scale events and watersheds and what they mean for design decisions. Specifically, how can we engage water better within our design decisions. That's where we are right now with our conversation with the Engineering With Nature Program. We're trying to think of a much more holistic way to bring communities into the next phase of this transformation.” These are some of the themes that Derek addresses in his recently published book, Way Beyond Bigness: The Need for a Watershed Architecture.Jeff notes the inspiration that Derek and Kotch's work together brings, “To be able to address these issues concerning climate change really is going to take us getting to know one another, to understand and appreciate our uniqueness as individuals, but also how do we harmonize as humans. Please keep pursuing and delivering good strategies and good solutions that will help us get past these existential threats. What you both are doing is incredibly inspiring for future landscape architects and others.”For more information and resource links, please visit the EWN Podcast page on the EWN website at https://www.engineeringwithnature.org/ • Jeff King at LinkedIn• Kotchakorn Voraakhom at LinkedIn• Derek Hoeferlin at LinkedIn

In the inaugural episode of House of Lou, St. Louis Magazine Design editor-and-chief Veronica Theodoro talks to interior designer Annie Brahler of Euro Trash. Annie is known for her longstanding commitment to historic preservation, as well as for designing spaces—from the kitchen to the living room—that are layered with vintage and antique wares. No detail is too small for the designer, and it shows in her award-winning work across the country.  Annie's Webster Groves home was recently featured in the September 2023 issue of St. Louis Magazine, and we got an inside look at her studio space, also in Webster Groves, a few years ago. Listen in as Annie and Veronica share design ideas for the home, including tips for buying vintage and antiques in St. Louis (or, in some cases, "borrowing" them from loved ones). Veronica also recommends a new exhibition at the Pulitzer Arts Foundation that will both enlighten and inspire you. There's so much to see in St. Louis, if you know where to look. Got an idea for a future House of Lou episode?  We love hearing from our audience. Send your thoughts or feedback to Veronica at vtheodoro@stlmag.com or to podcasts@stlmag.com. We can't wait to hear from you! Hungry for more? Subscribe to our Design+Home newsletter to receive our latest home, design, and style content in your inbox every Wednesday. And follow Veronica (@vtlookbook) and St. Louis Magazine on Instagram (@stlouismag). Interested in being a podcast sponsor? Contact Lauren Leppert at lleppert@stlmag.com. Mentioned in this episode: Urban Archaeology: Lost Buildings of St. Louis: See it through February 4, 2024 at the Pulitzer Arts Foundation. 3716 Washington Boulevard.  National Building Arts Center: 2300 Falling Springs Road, Sauget. Euro Trash  You may also enjoy: The best antique and vintage shops in St. LouisSee omnystudio.com/listener for privacy information.

Episode No. 624 features curator Leigh Arnold and artist Sarah Crowner. Arnold is the curator of "Groundswell: Women of Land Art," a survey of artists who have worked in the land that revises ossified male-centric histories at the Nasher Sculpture Center, Dallas. The exhibition provides a broad overview of themes, interests, and artworks that women created beginning in the 'usual' land art era, the 1960s and 1970s, and updates our understanding of land art to include not only work made in the most rural reaches of North America, but also work made and installed in and around urban and suburban centers. The exhibition is on view through January 7, 2024. An excellent catalogue was published by the Nasher and DelMonico Books. Bookshop and Amazon offer it for about $55. The Pulitzer Arts Foundation is presenting "Sarah Crowner: Around Orange," a presentation of site-specific artworks that engage with the Pulitzer's Tadao Ando building and Ellsworth Kelly, whose monumental sculpture Blue Black is on permanent view at the Pulitzer. The exhibition, which was curated by Stephanie Weissberg, is on view through February 4, 2024. Concurrently, The Hill Art Foundation, New York, is showing "The Sea, the Sky, a Window," an exhibition of site-specific works Crowner is presenting with sculptures and paintings from several private collections. The exhibition is on view through February 17, 2024. Instagram: Leigh Arnold, Sarah Crowner, Tyler Green.

A new exhibition at the Pulitzer Arts Foundation showcases the city's architectural salvage that was left in the wake of urban renewal. Pulitzer Arts Foundation curator Stephanie Weissberg and Michael Allen, director of the National Building Arts Center, discuss their collaboration on “Urban Archaeology: Lost Buildings of St. Louis.”

The Pulitzer Arts Foundation is an art museum devoted to presenting the art of today and works from the past within a global context. Located in the heart of St. Louis for more than 20 years, its home is an architectural landmark designed by celebrated architect Tadao Ando. Open and free to all, the Pulitzer is a cultural and civic asset to the St. Louis community and a popular destination for visitors from around the world. ------ At the Pulitzer, expansive light-filled galleries host world-class art exhibitions and anchor an array of free programs, ranging from talks to concerts, literary readings, dance, performances, and wellness workshops. The Pulitzer is a place where ideas are freely explored, new art exhibited, and historic work reimagined. ------ In addition to the museum, the Pulitzer campus has several outdoor spaces, including Park-Like—a garden of native plants and pathways, the Spring Church—an open air stone pavilion and beloved landmark, and the Tree Grove—a shady picnic spot with oak and redbud trees. -------

Episode No. 598 features artist Faye HeavyShield and curator Glenn Phillips. The Pulitzer Arts Foundation in Saint Louis is presenting "Faye HeavyShield: Confluences," a career-spanning presentation of HeavyShield's work that includes drawings, sculptures and installations, and two commissions that engage the landscapes and histories of the Saint Louis region. HeavyShield's spare, often minimal vocabulary and use of modest materials often addresses land, traditional Kainai stories, and HeavyShield's experiences in the residential school system. The exhibition, which was curated by Tamara Schenkenberg, will be on view through August 6. A member of the Kainai (Blood) Nation, part of the Blackfoot Confederacy, Heavyshield lives and works in the foothills of southern Alberta. Phillips discusses "Barbara T. Smith: The Way to Be," a presentation of work from the first 50 years of Smith's career (1931-81). Phillips co-curated the exhibition with Pietro Rigolo. It's on view at the Getty Research Institute in Los Angeles through July 16. Smith is a pioneering second-wave feminist artist whose work addressed the seemingly limited options available to women from Smith's class and racial background. Phillips worked with Smith to present the exhibition in her own voice, which coincides with the Getty's publication of Smith's memoir, "The Way to Be: A Memoir." Amazon and Bookshop offer it for $24-46.

Larry Morris is the Director of Artists in Residency for the Kranzberg Arts Foundation. He is also the Vocalist/MC for St. Louis music legends, Illphonics. He stopped by to speak with Nancy about the program. The Kranzberg Arts Foundation has long been a major patron of the arts in St. Louis and is committed to aligning their resources to aid in and advance the flourishing renaissance of the arts in the St. Louis area. Growth in the local arts community is now more vigorous than ever, however, the shortage of affordable artists' work and presentation spaces has been a clear obstacle in the path of our artists. In consideration of this problem and in support and recognition of St. Louis area artists, the Foundation  is redefining and expanding our short and long-term residency programs. ———  The Foundation hosts partnerships with over 150 arts organizations and presenters in the St. Louis region and provides an intersection of arts  venues and work environments that serve a full range of artistic processes.  ——— Most of their venues are located in the heart of the Grand Center Arts District in Midtown St. Louis and  are surrounded by some of  St. Louis' most distinguished cultural assets,  including the Fox Theater, St. Louis Symphony, Contemporary Arts Museum,  The Pulitzer Arts Foundation, Jazz St. Louis,  the home of Public Media and so much more. ———

In his Roaming St. Louis segment this week, KMOX weekend host Scott Jagow visits the beautiful Pulitzer Arts Foundation in the Grand Arts Center Arts District. The building itself is a work of art, crafted by Japanese Architect Tadao Ando. With an abundance of natural light, it's designed to change throughout the day.  Scott visits with executive director Cara Starke and assistant curator Heather Alexis Smith to talk about the current exhibits, one of which features a Native American artist from Canada. They also discuss other aspects of the Foundation and its place in the St. Louis arts scene.  

wHY founder and architect Kulapat Yantrasast, Board of Trustee member for the Noguchi Museum and the Pulitzer Arts Foundation, joins Gianna Volpe for a special Monday Meditation underwritten by Jennifer Benton on The WLIW-FM Heart of The East End to discuss his origin story and inspirations ahead of the inaugural Larsen Lecture this Wednesday at Christie's N.Y.C.Listen to the playlist on Apple Music

Filmmaker Daniel Lawrence Wilson thinks that St. Louis can — and should — be the industry's next premier filming location. Wilson, now living and working in Los Angeles, returned to St. Louis to film his directorial debut, “A Brush of Violence.” The film is the first to be sponsored by the nonprofit St. Louis Filmworks, and features many recognizable locations in St. Louis including Webster University, the Pulitzer Arts Foundation, Laumeier Sculpture Park, and the Magnolia Hotel. Wilson joined St. Louis on the Air to discuss how the city would benefit should it become a popular filming location.

What happens when a world-renowned landscape architect from Thailand comes to the United States as Designer-in-Residence to work with an award-winning architect whose passion is what he defines as watershed architecture? In Episode 10, hosts Sarah Thorne and Jeff King, Deputy Lead of the Engineering With Nature® Program at the US Army Corps of Engineers (USACE), are talking with Kotchakorn Voraakhom (“Kotch”), an international member of the American Society of Landscape Architects and founder of Bangkok-based landscape architecture company LANDPROCESS, and Derek Hoeferlin, Chair of the Landscape Architecture and Urban Design programs at Washington University in St. Louis. Derek and his colleagues at the Sam Fox School of Design and Visual Arts are hosting Kotch's year-long appointment sponsored by the Pulitzer Arts Foundation.   Kotch is the first landscape architect to receive the UN Global Climate Action Award for her use of nature-based solutions in urban settings. Derek works on integrated water-based design strategies for major river basins, including the Mississippi.   Kotch was born and raised in Bangkok and witnessed its transformation from “green, to gray, to super gray—from a city with natural spaces to one that has been increasingly paved over.” Today, Bangkok is a city of over 10.7 million people. “It's more crowded with less natural habitat for the people who live there, which impacts the quality of life and the quality of the existing green infrastructure, like canals and green space. Agricultural land has been abandoned.”   In 2011, flooding in Thailand displaced millions of people, including Kotch's family: “I think that's really the point where I started questioning who I am as a person living in Bangkok, who I am as a landscape architect, and how can make some changes to address this problem.” This led to her thinking about the role that nature-based solutions can play in landscape architecture, which has become the foundation of her practice. “When I started in landscape architecture in my school, I had been taught to really understand what's the climate at the site, what's the culture of the people, what are the constraints and benefit of the existing natural cycle there and then go on to design. I think my team at LANDPROCESS and I are really different from traditional architects and engineers. We work as a team with them but having us on the team really brings a different approach. We make sure nature-based solutions are part of the process.”   Derek grew up in St. Louis and after studying architecture in New Orleans and New Haven and practicing for multiple years returned in 2005 to begin teaching at Washington University in St. Louis. His experience with flooding events in Missouri, including the Times Beach Disaster in 1982 and the Great Flood of 1993, led him to realize that “water can be a very politicized thing and a very difficult thing to talk about when you're talking about rebuilding communities and protecting them or integrating nature-based solutions, especially in an urbanized setting.” While teaching at WashU, he's witnessed more frequent extreme events, floods, and droughts, and come to understand that these events are not just coastal problems. “This is not just in New Orleans. It's happening up here in the St. Louis in the Midwest, and it's even happening farther upriver, which led me to look at the whole Mississippi water system.” He came across the work of Eddie Brauer, Senior Hydraulic Engineer with the USACE St. Louis District, who has been working on Mississippi basin-scale challenges. And he met Kotch, who has been engaging with the United Nations on global-scale issues. These experiences led him to ask, “How do we come together as a collective, as designers, engineers, policymakers?” on what he calls “watershed architecture thinking”—working at the large watershed scale, back down to the scale of a city, and ultimately a building.   Jeff agrees that applying natural strategies at the watershed scale is critical and notes that this approach was key to the development of the International Guidelines on Natural and Nature-Based Features for Flood Risk Management. “We know now that if we just approach the challenge as one project in one location, then another project in another area of the watershed, we're not thinking about a systematic approach. That can have downstream consequences that negate anything that we've tried to do in the way of creating resilience for that watershed.”   Kotch's focus on using nature-based solutions in urban settings creates more resilient cities that can adapt to the increased flooding that results from climate change. And nature-based solutions are key to providing addition social benefit, especially to the most vulnerable communities. Her not-for-profit company, the Porous City Network, aims to improve the resilience of urban areas by transforming impervious surfaces into a system of productive public green spaces, which help mitigate excess water. This includes maintaining threatened landscape infrastructure such as agricultural land, canals, and ditch orchards, as well as interventions like urban farms, green roofs, rain gardens, and permeable parking that provide needed space for water absorption. “When it comes to nature-based solutions in our landscape-architecture approach, we must understand how nature works and let it work itself. It's not about us controlling everything and measuring everything for our own need.”  She adds: “We have to shift our mindset to really understand the problem.”   Kotch's work is important and inspiring to landscape architects and urban planners. Speaking of her ground-breaking work in Bangkok, Derek notes, “They're stunning and they're beautiful. Her Chulalongkorn University Centenary Park—the scale of what it does embedded in the city of Bangkok—is so inspiring because you see it's not just a pocket park, it's a big project because it needs to accommodate a lot of water and hold it, to slow the water down, then eventually release it into the system. But most of the time it's a public space for people to gather, to communicate, for students to recharge, for tourists, and as a place to have different events. It's multi-use, and it's not just solving the flood risk problem. It's creating opportunities.” He adds: “I hope to see more of those types of projects happening in places like St. Louis, that really bring the nature-based systems that we're talking about and solutions, but also make those places accessible for as many people as possible.” Derek, an acclaimed architect in his own right, has a book coming out soon entitled Way Beyond Bigness: The Need for a Watershed Architecture. He presents the importance of understanding the massive scale of watersheds, like the Mississippi River watershed, and compares it to watersheds of the Mekong and Rhine Rivers in Asia and Europe. “The scales are radically different, but it's interesting to assess things that don't seem quite similar together and try to find different ways of understanding them. The speculation section, which is what we also do as designers, is where we think forward into the future. So, in the third part of the book, we have serious conversations about the future and collaboration. How do you get on the ground and catalyze communities and different groups to get together, to take action? Thinking about the whole watershed is daunting, but if you give people the tools and the language to really think about the nuances, I believe then we can start to enact change.” Jeff, Derek, and Kotch go on to talk about the importance—and challenge—of engaging a diverse set of stakeholders in landscape-scale projects. As Derek notes, “It's not just a bottom-up or top-down approach. It's both—we need to be able to listen.” Kotch notes that a key word in stakeholder engagement is “vulnerability” both from a people and a nature perspective. “Historically, there have been so many stakeholders left behind in decision making about water. Having them as part of the process is very critical. We must reverse our approach and build solutions from the ground up.”   And, as Jeff notes, landscape architects play a critical role doing just that: “Oftentimes when talking with the public and sharing information on model outcomes you're presenting graphs and figures. The message or the concept you are trying to convey can sometimes be missed. Landscape architects have a way of communicating with very broad and diverse stakeholders. That is where it becomes incredibly important for Engineering With Nature—to be able to highlight the engineering outcomes that can be achieved through different projects, using landscape-architecture renderings to provide a better sense of the environmental and social benefits that can also be achieved. Nature-based solutions are dynamic systems—they change over time. Landscape architects can show this progression, which, in turn, informs our adaptive management process. This becomes very important as we work with resource managers and regulatory agencies and the public to maximize the function of these projects over time.”   Kotch is excited about her year at Washington University in St. Louis as the Designer in Residence. She'll be co-teaching at a landscape architecture studio with Derek while learning about urban challenges and watershed management in the US. And she'll be working with Derek and his team on the development a project with the theme of ecologies of access for vulnerable sites at St. Louis. She hopes to involve the community in St. Louis in both the process and the outcome. The EWN Project team will be involved as the project develops.   “We've learned so much today about the critical role of landscape architecture and how it plays a really important part in fostering tough conversations, a new shared future and really getting everyone involved, visualizing different futures,” Jeff notes. “I see this as a continuing opportunity to inform our thinking about how we create resilience in the future and how we get to these nature-based strategies.”   Related Links EWN Website ERDC Website Jeff King at LinkedIn Jeff King at EWN   Kotchakorn Voraakhom at LinkedIn Kotchakorn Voraakhom at Washington University in St. Louis Kotchakorn Voraakhom on Wikipedia Pulitzer Arts Foundation Designer-in-Residence UN Global Climate Action Award LANDPROCESS Porous City Network Chulalongkorn University Centenary Park - Landezine International Landscape Award How to Transform Sinking Cities into Landscapes that Fight Floods – Ted Talk   Derek Hoeferlin at Washington University in St. Louis Derek Hoeferlin at LinkedIn Derek Hoeferlin Design Way Beyond Bigness: The Need for a Watershed Architecture – Book   2011 Thailand Floods Times Beach, Missouri Disaster 1982 The Great Flood of 1993 – Wikipedia The Great Flood of 1993 – Washington University in St. Louis   EWN Podcast S4E3: EWN Practice Leads Sharing Expertise through the EWN Cadre EWN Podcast S4E2: High Energy Roundtable with the EWN Practice Leads EWN Atlas International Guidelines on Natural and Nature-Based Features for Flood Risk Management  

Ep. 56- Gretchen Wagner Gretchen L. Wagner is a curator, art historian, and writer based in St. Louis. She has completed projects featuring modern and contemporary art at institutions internationally, including the St. Louis Art Museum, Museum of Modern Art, Pulitzer Arts Foundation, WIELS Centre d’Art Contemporain, Shelley and Donald Rubin Foundation, International Print Center […]

Episode No. 558 features author Hugh Eakin and artist Jordan Weber.  Eakin is the author of "Picasso's War: How Modern Art Came to America," which tells a story of how New York City slowly, eventually, came to embrace both European modernism and the art of Pablo Picasso. Eakin's history begins with John Quinn, a white-shoe attorney with a yen for progressive literature and art, and follow's Quinn's involvement and influence across New York and Europe, through the Armory Show, Alfred Barr, and more. The book is full of original research, new angles that give life to once-ossified narratives, and bright, well-paced prose. Indiebound and Amazon offer it for about $33.  Jordan Weber discusses "All Our Liberations," an art installation and space for community learning, reflection and healing organized by the Pulitzer Arts Foundation in Saint Louis. The project, which runs from July 16-24, takes place at the Spring Church near the Pulitzer in Saint Louis's Grand Center Arts District. The project includes a three-tiered sculpture Weber made with black obsidian stones and participation from collaborators Weber met during a 2021 residency. During the week-long program Weber will host programs for both formerly incarcerated individuals and members of the public. Urban farmers, healers, and organizers from Close the Workhouse -- a Saint Louis-area campaign working to end mass incarceration -- are Weber's programming co-host. In April 2023, Weber will expand "All Our Liberation" as part of Counterpublic, a city-wide triennial.

Stephanie Weissberg, a curator at the Pulitzer Arts Foundation, stopped by to speak with Nancy about the Pulitzer and the current exhibition, Assembly Required. Assembly Required features eight artists whose work invites your active participation. You may build, shape, and use these artworks, collaboratively or on your own. The artists were selected based on a shared belief that public action is vital for transforming society. Created between the 1950s and the present, the artworks respond to distinct social and political moments, from unrest in the United States during the Vietnam War to Peru's military dictatorship. The artists offer unique perspectives on social change, addressing the need for optimism and hope in the face of global tensions. Throughout this immersive exhibition, members of the public will interact with the artworks and each other while sharing new experiences. Ultimately, Assembly Required poses questions about how art allows us to imagine new ways of being in the world. Assembly Required includes work by Francis Alÿs, Rasheed Araeen, Siah Armajani, Lygia Clark, Hélio Oiticica, Yoko Ono, Lygia Pape, and Franz Erhard Walther.

Episode No. 548 features curators Ann Temkin and Stephanie Weissberg. Along with Dorthe Aagesen, Temkin is the co-curate of "Matisse: The Red Studio," an exhibition that investigates Matisse's making of his famed 1911 The Red Studio. The exhibition, which is at the Museum of Modern Art, New York through September 10, features each of the surviving works Matisse portrayed in The Red Studio, as well as related archival photographs, correspondence and related paintings and drawings. The excellent exhibition catalogue was published by MoMA. Indiebound and Amazon offer it for $55. Weissberg discusses her exhibition "Assembly Required," which is at the Pulitzer Arts Foundation, St. Louis through July 31. The show features eight artists -- Francis Alÿs, Rasheed Araeen, Siah Armajani, Lygia Clark, Hélio Oiticica, Yoko Ono, Lygia Pape, and Franz Erhard Walther -- who believed that public action is vital to transform society. The work Weissberg has selected for the exhibition invites a viewer's physical participation.

The Pulitzer Arts Foundation's new exhibition “Assembly Required” asks visitors to engage with, construct, deconstruct and even step on art. Curatorial Associate Heather Alexis Smith gives a preview of the show ahead of its opening day on March 4.

Tamara H. Schenkenberg, Curator at the Pulitzer Arts Foundation, stopped by to talk with Nancy about an exhibition currently at the Pulitzer, namely, Hannah Wilke: Art for Life's Sake. The exhibition runs through Jan 16, 2022. Tamara H. Schenkenberg American artist Hannah Wilke (1940–93) created innovative and provocative art to affirm life. Her work embraces the vitality and vulnerability of the human body as essential to experiencing life and connecting with each other. She explored this subject in sculpture, photography, video, drawing, and performance. Wilke used her art to challenge gender inequality and empower all of us to realize a more sensuous connection to life and a more liberated society. Hannah Wilke: Art for Life's Sake is the first major presentation of Wilke's groundbreaking work in over a decade. This career-spanning exhibition encompasses the full arc of Wilke's practice from the 1960s to her untimely death in 1993. It features some of the artist's most iconic works in addition to some that have rarely been shown. This selection of nearly 120 works demonstrates Wilke's versatility and innovative approach to materials. The exhibition offers new perspectives on this influential artist, revealing her to be a trailblazer who was as invested in advancing the position of women in society as she was in developing a unique artistic practice. Some of the work in Hannah Wilke: Art for Life's Sake Podcast Curator and Editor: Jon Valley with Technical Support by Mid Coast Media    

Hey everyone! Sorry for our unintended and unannounced one month break, but the podcast is back on!!! Here is episode 9 of season 2 that we recorded back in August when Renaissance and Sunny were both in St. Louis and saw the Hannah Wilke exhibition at the Pulitzer Arts Foundation (more info here: https://pulitzerarts.org/art/hannah-wilke/) together, amidst doing many other things frolicking around Sunny's hometown. We discuss our thoughts on Wilke's multi-media art for the media analysis portion of the episode, and respond to your nice emails as our hot-take portion. We do fervently agree that Lover is a deeply underrated and under-appreciated Taylor Swift album, of course. For the recommendations part of this episode, Sunny recommends The Suicide Squad- the sequel- because it has surprisingly anti imperialist messaging, which lines up with DC's portrayal of Harley Quinn in the cartoon show as well. US military collaboration in superhero films and media a topic of discussion once again! Renaissance recommends Faye Webster's 2019 album Atlanta Millionaire' Club, her dream pop vibes giving Lorde but lighter. Thank you all so much for your lovely emails and messages and interactions on socials for the past over a month or so we haven't dropped a full episode, it's been tiding us over during our hyper-busy eras which have left you all, our dear The Lavender Menace listeners, in a content drought :( Although we did drop the unedited version of this video/episode early in September for our Patreon subscribers! BTW subscribe to us on Patreon.com/thelavendermenace for patron exclusive content, early access to episodes, merch, and other fun stuff. We deeply apologize for our absence and hope to hear from you soon in our email inbox (thelavendermenacepodcast@gmail.com) or on Twitter (@thelavenderpod)!! Missing seeing your proposed hot take submissions...!

StitchCast Studio Special Edition: Podcasts in the Park IV Stitchers Youth Council members interview artist Jordan Weber, an artist based in Iowa who works with prairies and who is also working with the Pulitzer Arts Foundation this year. Recorded in Zoom May 13, 2021.   Pick the City UP Art Interludes Prairie Therapy Saint Louis Story Stitchers, 2020   Saint Louis Story Stitchers Artists Collective presents Peace in the Prairie, an original multimedia presentation newly expanded in its 3rd iteration, exploring the concepts of peace and violence, juxtaposing urban life as experienced by African American people living in the city of St. Louis, Missouri and the state's unique endangered prairie lands.  Peace in the Prairie, is screening at Laumeier Sculpture Park June 15-29th, 2021 with three live podcast recordings created in the Park and then will move on to the National Blues Museum  in St. Louis on July 3rd for a screening with live performance elements. For more details visit storystitchers.org.   Peace in the Prairie is supported in part by an award from the National Endowment for the Arts. On the web at arts dot gov and by Missouri Arts Council, a State Agency. Additional support was provided by the Spirit of St. Louis Women's Fund, The Lewis Prize for Music, Missouri Foundation for Health, City of St. Louis Youth at Risk Crime Prevention grant, Steward Family Foundation, and Kranzberg Arts Foundation.

Episode No. 501 of The Modern Art Notes Podcast features artists Ekene Ijeoma and Chloë Bass. Ijeoma is featured in "All Together, Amongst Many: Reflections on Empathy" at the Bemis Center for Contemporary Arts in Omaha. The exhibition, which was curated by Rachel Adams, examines how artists have centered empathy within their work. It is on view through September 19. Ekene Ijeoma is the director of Poetic Justice at the MIT Media Lab. His work brings together data with aesthetics and social issues across disciplines such as performance and installation. His work has been exhibited at institutions such as Storefront for Art and Architecture, The Kennedy Center, Washington, the Contemporary Art Museum Houston, and the Contemporary Art Museum St. Louis. His A Counting, a series of multimedia linguistic portraits of the United States created by crowdsourced recording, is currently on view in Houston, St. Louis and at the Bemis. Listeners may participate by calling a toll-free number via this link. Ijeoma's website has extensive detailing of additional projects discussed on the program, including: Breathing Pavilion, 2021; Heartfelt #2, 2019-present; Wage Islands #2, 2019; Deconstructed Anthems, 2017-present; and The Refugee Project, 2014-present. The Pulitzer Arts Foundation is showing "Chloë Bass: Wayfinding" through October 31. The exhibition is an installation of sculpture informed by public wayfinding signage of the sort that directs tourists through a city. Chloë Bass created more than 30 signs which she then placed throughout the Pulitzer's outdoor spaces. "Wayfinding" is part of Bass's "Obligation to Others Holds Me In My Place" project. "Wayfinding" includes a site-specific audio work narrated by both the artist and a group of Saint Louis collaborators. Listeners may access the site-specific audio work by calling via this link or via the SoundCloud file below. See the Pulitzer's exhibition guide. Bass's often conceptual practice examines daily life and human intimacy. Her work has been exhibited at the Studio Museum in Harlem, New York's Public Art Fund, the Kunsthalle Wilhelmshaven in Germany, and plenty more.

Kristin Fleischmann Brewer, Deputy Director of Public Engagement for the Pulitzer Arts Foundation, stopped by to speak with Nancy about the exhibition Chloë Bass: Wayfinding, which is open now through October 31st at the Pulitzer Arts Foundation.    Chloë Bass (b. 1984) created Wayfinding, an installation of sculptures inspired by public wayfinding signage. Bass designed a set of more than thirty signs placed throughout the Pulitzer’s outdoor spaces. These works are organized into four sections. Each is anchored by a billboard posing a question that explores human emotions ranging from compassion and desire to anxiety and loss. Accompanying sculptures include archival images and statements written by the artist that encourage private reflection in public space, intensifying everyday moments.   Wayfinding also includes a site-specific audio artwork narrated by the artist and local collaborators.  Click here to learn more about CHLOË BASS.      

The Pulitzer Arts Foundation is presenting an exhibition of a New York-based artist's work, which is designed to be outside and encountered by people walking by. It involves signs bearing thought-provoking questions about human relationships.

Ted Mathys is an assistant professor of Creative Writing in the English Department at Saint Louis University. He is recently named president of the prestigious and venerable St. Louis Poetry Center, which was created in 1946. Mr. Mathys is also the curator for the 100 Boots Poetry Series at the Pulitzer Arts Foundation. Ted Mathys is the author of Gold Cure (Coffee House Press, 2020) as well as Null Set (2015), The Spoils (2009) and Forge (2005). He is the recipient of two fellowships from the National Endowment for the Arts, as well as fellowships from the New York Foundation for the Arts St. Louis Regional Arts Commission. Ted Mathys was selected by Alice Notley for the Poetry Society of America's Cecil Hemley Memorial Award, and his poetry and criticism have appeared in American Poetry Review, BOMB, Boston Review, Conjunctions, Denver Quarterly, jubilat, Fence, The Georgia Review, PBS NewsHour and other publications. Originally from Ohio, Mr. Mathys holds an MFA in Poetry from the Iowa Writers' Workshop, where he received the John C. Schupes Fellowship for Excellence in Poetry; and an MA in international environmental policy from Tuft's University.

Cara Starke: Executive Director of the Pulitzer Arts Foundation stops by to discuss the happenings at the PAF, and about their covid era policies.

An edited archived video of Art Brunch S1E4 with artist Moira Smith. Art Brunch streams live Sundays from 10-1ct on twitch/ Follow us on Twitch to never miss live art content ► www.twitch.tv/thetravelagency Audio Version ► https://anchor.fm/thetravelagency » See pretty pictures on ig: instagram.com/thetravelagency » Subscribe: https://www.youtube.com/channel/UCjR8... Timestamps: About The Travel Agency: The Travel Agency is a digitally native platform that hosts contemporary art making, produces art-centered entertainment, and will be providing digital residencies for emerging artists. The goal of Art Brunch is to broaden public interest and support for the arts, provide digital tools and expertise to emerging artists, and present contemporary art in a casual and accessible manner. Moira's Bio: Moira Smith is a multi media artist and exhibition preparator based in St. Louis. Moira helps with install at various local galleries and museums, including Granite City Arts and Design District, the Kemper Museum At Washu, and the Pulitzer Arts Foundation. In between art handling, Moira can *potentially be seen* searching around for objects to be evidence. Moira collects information from a variety of sources such as children’s fairytales and folklore, anonymous public surveys, appropriated textbooks or encyclopedias, city alleys, and (especially) eavesdropping on conversations in public places. Moira takes lots of notes but likes to call them field notes or data, for scientific purposes. She has a collection of rocks — though some art secretly not, but rather, chunks of asphalt. #contemporaryart #artnow #liveart

Welcome back to the Monument Lab podcast. This episode, we focus on St. Louis. For the past two years, Monument Lab has worked closely with the Pulitzer Arts Foundation, mapping monuments in St. Louis. That includes traditional landmarks and unofficial sites of memory, whether they are existing, potential, or erased. To mark the close of our project together, we wanted to speak with locally-rooted MADAD, a brilliant and thoughtful collective of artists and designers from St. Louis whose work illuminates spatial injustice and cultural memory gaps in the region.MADAD’s Damon Davis, Mallory Rukhsana Nezam, and De Nichols work to reimagine how joy, justice, and interactivity improve public spaces. The group started their collaborations during the making of Mirror Casket, a sculpture, performance, and visual call to action composed in the aftermath of the murder of Michael Brown in Ferguson in 2014. Mirror Casket is now in the collection of the Smithsonian National Museum of African American History and Culture.Their new project, Black Memory STL: Division, Displacement, and Local Diaspora, is a multi-year series of public art installations and interventions in partnership with the Brickline Greenway development and the Griot Museum of Black History. MADAD are also 2020 Monument Lab Fellows, and are featured in the exhibition and book project, Shaping the Past with the Goethe Institut and the German Federal Agency for Civic Education.

A new show opens at the Pulitzer this weekend. It’s a retrospective of artist Terry Adkins, who took inspiration from musical instruments, underappreciated historical figures — and the blues. Stephanie Weissberg joins host Sarah Fenske to discuss the Pulitzer show, “Terry Adkins: Resounding,” which opens this Friday. Weissberg is the associate curator at the Pulitzer Arts Foundation.

Stephanie Weissberg: Associate Curator of The Pulitzer Arts Foundation, stops by to speak with Nancy about the happenings at the foundation.

In the first episode of this next season, we talked (again) to our guests Kristin Fleischmann Brewer, of the Pulitzer Arts Foundation & Chris Carl, of Studio Land Arts. They discuss their newest collaboration called Park-Like, a new green space across from the Pulitzer building, and how it came to be; the organic process of development and iteration, the importance of the local community and sustainable practices, and what the future holds.Located across the street from the museum, Park-Like is a sustainably designed green space for visitors to meander along the grass pathways, investigate plants and wildlife in an urban setting, and be delighted by unexpected perspectives. The garden comprises both native and non-native plants, as well as found building materials that have been transformed into water filtration systems, retaining structures, seating, and play space. Utilizing site-responsive land and rainscaping techniques, the project was designed by Studio Land Arts to absorb stormwater runoff and reduce the impact on urban drainage and sewer systems while creating a site for wildlife and the public to enjoy. To learn more about Chris and his practice: http://studiolandarts.com/For more information and updates on Park-Like: https://pulitzerarts.org/exhibition/park-like-by-studio-land-arts/Thanks as always to our listeners, who could be doing anything else, but choose to listen to us instead!

photo by Carly Ann Faye Philip Matthews is a poet from eastern North Carolina. He is the author of Witch, forthcoming from Alice James Books in April 2020, and Wig Heavier than A Boot, a collaboration with photographer David Johnson, forthcoming from Kris Graves Projects in October 2019. Anchored by site-specific meditation and performance, his practice investigates spiritual, queer power, ecological shift, and questions of home. Philip is the recipient of fellowships and residencies from the Fine Arts Work Center in Provincetown, the Peaked Hill Trust, Hemera Foundation, and Wormfarm Institute. He has taught at Washington University in St. Louis and the Kansas City Art Institute, and from 2013-16, he organized public programs at the Pulitzer Arts Foundation, emphasizing artist-driven thinking, cross-disciplinary collaboration, and community-directed action. He holds an MFA Writing from Washington University in St. Louis and BA English from Tulane University. David Johnson, "N.C. 012," Wig Heavier than a Boot (Kris Graves Projects, 2019) Philip Matthews, "Self-portrait" (handwritten), Wig Heavier than a Boot (Kris Graves Projects, 2019)  

This episode of Monument Lab, we recorded live from the Pulitzer Arts Foundation in St. Louis, where Monument Lab has a research residency this summer. As a part of Public Iconographies, we are mapping monuments of St. Louis with a research team at the museum, in parks, and public spaces around the whole city, as a part of the Pulitzer’s Striking Power exhibition. To kickoff this project, we spoke to a trio of artists – Matt Joynt, Anthony Romero, and Josh Rios – as they prepared for their own exercise in mapping. Their project, Not Peaceable and Quiet (Piñata Sound System), includes the outfitting of a bike with a booming sound system and other purposeful flair. It is part of the Counterpublic neighborhood triennal in St. Louis on and around Cherokee Street, organized by the Luminary. The artists call it a “counter monument.” It takes up space, physically, and also is fully realized when participants pedal it around, moving the soundtrack with them. Not Peaceable and Quiet doesn’t just use any bike – they transformed a retired bicycle previously used by a bike-sharing company that had left the St. Louis market and its fleet of 750 dockless bikes behind. The artists’ goal is to call attention to the failings of “on-demand lifestyle,” and policing of black and brown communities around calls for silence and order. In turn, they want to mark resistance through sound. “Music that we chose, becomes a way to map the resiliency of these peoples who are being exploited, who are being dehumanized, but who find a way to transcend,” says Romero. We recorded this episode live at the Pulitzer Arts Foundation in late May 2019, the night before Not Peaceable and Quiet premiered at Counterpublic.

A group in residence this summer at the Pulitzer Arts Foundation is challenging traditional assumptions about monuments so they are relevant to everyday people. Researchers with Monument Lab will ask St. Louisans about concepts they would like to see reflected in monuments.

Guest Tamara Schenkenberg, Curator at the Pulitzer Arts Foundation, shares details and highlights of the latest exhibition: Mona Hatoum: Terra Infirma.

Nancy Kranzberg speaks with Cara Stark: Executive Director of the Pulitzer Arts Foundation and discusses the Pulitzer Arts Foundation's current exhibitions and place in the St. Louis arts community. 

Chicago-based artists and designers Amanda Williams and Andres Hernandez are the joint winners of the 2016 PXSTL Design-Build Competition, through the Pulitzer Arts Foundation and The Sam Fox School of Design and Visual Arts at Washington University, in St. Louis. We talked with the pair about their plan for the site and their call-to-response design concept of "unbuilding."

Introductory segment to the program showcasing the The Pulitzer Arts Foundation new look after its year long renovation.