Podcasts about rauschenberg

"Könnt ihr noch? - Kunst und Demokratie" im Schloss Herrenchiemsee, bis 12. Oktober / "Fünf Freunde: Cage, Cunningham, Johns, Rauschenberg, Twombly" im Museum Brandhorst, bis zum 17. August

A cura di Tiziana Ricci: - ALL YOU NEED IS POP 2025 6, 7, 8 giugno: anche alla festa di Radio Popolare parliamo di arti visive....vi diciamo con quali ospiti e in quali appuntamenti - UNA COLLEZIONE INATTESA: la nuova arte degli anni sessanta e un omaggio a Rauschenberg a GALLERIE D'ITALIA - "LA MARCIA DELL'UOMO" al Museo Pecci: Yervant Gianikian e Angela Ricci Lucchi mostrano la storia dell'uomo e la macchia del colonialismo di Prato - "ROBERTO LONGHI DA CIMABUE A MORANDI": la famosa antologia del '73 viene riproposta in edizione rinnovata ne parliamo con Maria Cristina Bandera che l'ha curata con Cristina Acidini, presidente della Fondazione Longhi

Mahogany L. Browne is a Kennedy Center Next 50 fellow, writer, play-wright, organizer, and educator. Browne received fellowships from ALL ARTS, Arts for Justice, AIR Serenbe, Baldwin for the Arts, Cave Canem, Poets House, Mellon Research, Rauschenberg, and Wesleyan University. Browne's books include A Bird in the Air Means We Can Still Breathe, Vinyl Moon, Chlorine Sky (optioned for Steppenwolf Theatre), Black Girl Magic, and banned books Woke: A Young Poet's Call to Justice and Woke Baby. Founder of the diverse lit initiative Woke Baby Book Fair, Browne is the 2024 Paterson Poetry Prize winner. She is the inaugural poet in residence at the Lincoln Center and lives in Brooklyn, New York. Yolanda Sealey-Ruiz, Ph.D. (she/her), is a Professor of English Education at Teachers College, Columbia University. Her poetry collections, Love from the Vortex & Other Poems (2020) and The Peace Chronicles (2021), explore themes of love, healing, and growth toward liberation. She is co-author of the multiple award-winning Advancing Racial Literacies in Teacher Education: Activism for Equity in Digital Spaces (2021). In 2024, Yolanda was recognized for her scholarship with the Dorothy Height Distinguished Alumni Award from NYU. She has been named to EdWeek's EduScholar Influencers list four years in a row, placing her among the top 1% of educational scholars in the U.S. At Teachers College, Yolanda founded the Racial Literacy Project @TC, fostering dialogue on race and diversity for over 17 years.

Mahogany L. Browne is a Kennedy Center Next 50 fellow, writer, play-wright, organizer, and educator. Browne received fellowships from ALL ARTS, Arts for Justice, AIR Serenbe, Baldwin for the Arts, Cave Canem, Poets House, Mellon Research, Rauschenberg, and Wesleyan University. Browne's books include A Bird in the Air Means We Can Still Breathe, Vinyl Moon, Chlorine Sky (optioned for Steppenwolf Theatre), Black Girl Magic, and banned books Woke: A Young Poet's Call to Justice and Woke Baby. Founder of the diverse lit initiative Woke Baby Book Fair, Browne is the 2024 Paterson Poetry Prize winner. She is the inaugural poet in residence at the Lincoln Center and lives in Brooklyn, New York.Yolanda Sealey-Ruiz, Ph.D. (she/her), is a Professor of English Education at Teachers College, Columbia University. Her poetry collections, Love from the Vortex & Other Poems (2020) and The Peace Chronicles (2021), explore themes of love, healing, and growth toward liberation. She is co-author of the multiple award-winning Advancing Racial Literacies in Teacher Education: Activism for Equity in Digital Spaces (2021). In 2024, Yolanda was recognized for her scholarship with the Dorothy Height Distinguished Alumni Award from NYU. She has been named to EdWeek's EduScholar Influencers list four years in a row, placing her among the top 1% of educational scholars in the U.S. At Teachers College, Yolanda founded the Racial Literacy Project @TC, fostering dialogue on race and diversity for over 17 years.About The Write TimeThe Write Time is a special series of NWP Radio, a podcast of the National Writing Project (NWP), where writing teachers from across the NWP Network interview young-adult and children's authors about their books, their composing processes, and writers' craft. You can view the archive at https://teach.nwp.org/series/the-write-time/

Ignatowitsch, Julian www.deutschlandfunk.de, Kultur heute

Metzdorf, Julie www.deutschlandfunkkultur.de, Fazit

This episode is a replay from Dec 28th 2023. Just Make Art will be back with a brand new episode on March 20th.What happens when an artist truly understands their medium? For Robert Rauschenberg, that's precisely when it was time to stop and move on. His philosophy—"I usually work in a direction until I know how to do it. Then I stop. At the time I am bored, or understand, and I use those words interchangeably"—serves as the launching point for a deep dive into artistic evolution and the creative mindset.Ty Nathan Clark and Nathan Terborg unpack Rauschenberg's approach to creativity, exploring how his constant medium-shifting—from painting to sculpture, printmaking to performance—wasn't merely restlessness but a deliberate artistic strategy. They examine his famous "combines" that incorporated everyday objects and trash, born initially from economic necessity but evolving into a revolutionary artistic approach that bridged the gap between art and life.The conversation takes fascinating turns through the concept of the "beginner's mind," the documentation of creative processes, and the tension between commercial success and artistic growth. Particularly compelling is their discussion about creating opportunities in today's art landscape—from organizing house shows to leveraging digital platforms—that echoes Rauschenberg's resourceful spirit.Whether you're a working artist feeling stagnant in your current practice, or someone curious about the artistic mindset, this episode offers both philosophical insights and practical takeaways about embracing boredom as a creative signal, following your curiosity, and maintaining that crucial sense of wonder throughout your creative journey. Ready to transform your approach to making art? Listen now and discover why sometimes understanding something completely is your cue to move on to the next exciting possibility.Send us a message - we would love to hear from you!Make sure to follow us on Instagram here:@justmakeartpodcast @tynathanclark @nathanterborg

In this illuminating episode of The Weekly Transit, Scott Tejerian welcomes Krista Rauschenberg, an Akashic Records reader, breathwork facilitator, and podcast host whose journey weaves through international travel, diverse careers, and spiritual awakening.From her early years marked by neglect and abuse to finding her calling through postpartum doula work, Krista shares how her path eventually led her to the Akashic Records – an energetic realm she describes as "higher than the psychic realm, and highly pristine." Now dedicated to helping others access their soul's wisdom, Krista explains how she combines record readings with breathwork to create transformative healing experiences.Scott and Krista explore her wanderlust years in Japan, her diverse career path through the entertainment industry, and how physical symptoms ultimately guided her toward healing work. Krista also discusses her podcast, Beginner's Guide to the Third Eye, which aims to "demystify the mystical" by introducing listeners to various spiritual modalities.This episode offers a heartfelt look at how personal trauma can transform into spiritual service and the importance of finding freedom, establishing boundaries, and feeling one's feelings as a path to enlightenment.(00:02:04) Explaining the Akashic RecordsThe nature of the Akashic Records and how they've become more accessible over time.(00:11:06) Early Life ChallengesKrista's upbringing marked by neglect, abuse, and the need for independence at a young age.(00:17:19) Japanese AdventureMoving to Japan at age 18 and living there for two years as an English teacher.(00:24:17) Life as a GaijinThe challenges of standing out as a foreigner in Japan and constantly being "on show."(00:27:43) Career EvolutionKrista's journey through waitressing, wardrobe styling, photo editing, and various other roles.(00:32:48) Physical Symptoms as MessengersHow chronic cystitis became a touchstone for recognizing when she was out of alignment.(00:34:18) First Trust FallLeaving secure employment to become a freelance doula and discovering the value of freedom.(00:36:06) The Nurturing RoleKrista explains her work as a postpartum doula and the healing she received while helping others.(00:38:10) Burnout and RedirectionThe physical toll of doula work and returning to production before finding her true calling.(00:41:38) Introduction to Akashic RecordsHow a friend's recommendation led to her first Akashic reading and an invitation to do the work herself.(00:44:40) Evolution of Her PracticeHow Krista's work expanded beyond information-sharing to include actionable guidance and somatic healing.(00:47:22) Breathwork as a "Magic Bullet"The power of breathwork as a release mechanism for energetic trauma stored in the body.(00:54:02) Learning BoundariesThe difficult journey from codependency to establishing healthy boundaries and self-worth.(00:57:35) Finding True BelongingMoving from seeking external validation to recognizing that belonging starts within.(00:59:10) The Beginner's Guide PodcastKrista shares her inspiration for starting a podcast that connects people with different healing modalities.(01:02:50) Behind-the-Scenes ChallengesThe learning curve of podcast production and overcoming the vulnerability of putting herself out there.(01:12:02) Final Words of WisdomKrista's parting advice: "Feel your feelings... It's the path to freedom."https://akashicglow.com/Beginner's Guide to the Third Eyehttps://www.theweeklytransit.com/

21-Jähriger nach Bränden in Lollar festgenommen, bizarrer Vorfall mit Pferd in Rauschenberg und hessische Polizei startet Videoüberwachung mit künstlicher Intelligenz. Das und mehr heute im Podcast. Alle Hintergründe zu den Nachrichten des Tages finden Sie hier: https://www.mittelhessen.de/lokales/kreis-marburg-biedenkopf/landkreis-marburg-biedenkopf/mann-kuesst-nachts-in-hof-in-bracht-pferd-auf-die-nuestern-4321130 https://www.mittelhessen.de/lokales/lahn-dill-kreis/lahnau/streicht-lahnau-die-zusaetzlichen-busse-auf-der-linie-24-4316817 https://www.mittelhessen.de/lokales/kreis-giessen/lollar/nach-braenden-auf-hof-in-lollar-21-jaehriger-festgenommen-4330561 https://www.mittelhessen.de/sport/fussball/fussball-bundesliga/dfl-kuendigt-var-revolution-in-der-bundesliga-an-4329948 https://www.mittelhessen.de/politik/politik-deutschland/hessen-startet-videoueberwachung-mit-kuenstlicher-intelligenz-4303173 Ein Angebot der VRM.

Rauschenberg & Johns were pioneers of queer art in New York City in the 1950s.  Significant Others is an exhibition of their works on now at the Geelong Gallery until 9 February.  Curator David Greenhalgh from the National Gallery of Australia joins us.  Rauschenberg & Johns—Significant Others | Geelong Gallery

An EPIC conversation with Ellie Barrett. We delve into the philosophical and artistic histories of materials. We talk about Ellie's art practice working with various materials and in collaboration with both her mum and daughter.. Ellie is a sculptor, practice-based researcher, writer, academic and artist-mother, who is invested in exploring sculpture as a collaborative discipline. Using material engagement as a means of activating different circumstances and experiences as sites for making. She is an advocate for artist-m*thers. The PhD: https://eprints.lancs.ac.uk/id/eprint/152305/1/2020BarrettPhD.pdfE.Barrett's website: https://elliebarrett.com/Put It To Work: https://putittowork.wordpress.com/E.Barrett's Instagram: https://www.instagram.com/elliecbarrett/?hl=en-gbLinks to sited texts and works (in order of mention)Aristotle's Hylomorphism: https://metaphysicsjournal.com/articles/10.5334/met.2New Materialism: https://www.oxfordbibliographies.com/display/document/obo-9780190221911/obo-9780190221911-0016.xmlMaterial Literacy, A.S.Lehmann: https://www.academia.edu/35213411/A_Lehmann_Material_Literacy_Bauhaus_Zeitschrift_Nr_9_2017_20_27Glitter with R.Coleman and N.Seymour, The Mater Podcast: https://podcasts.apple.com/gb/podcast/the-mater-podcast/id1749226924?i=1000670752060O. Bax: https://www.oliviabax.co.uk/R.Molloy: https://www.artthou.co.uk/editorial/12/rebecca-molloyJ. Shannon The Disappearance of Objects: https://www.abebooks.co.uk/9780300137064/Disappearance-Objects-New-York-Art-0300137060/plpThe Goat, R.Rauschenberg: https://www.royalacademy.org.uk/article/rauschenberg-goatDominique White: https://blackdominique.com/E.Barrett Salt Dough Exhibition: https://elliebarrett.com/explain-things-to-me/J.Bennett Vibrant Matter: https://www.dukeupress.edu/vibrant-matterC.Oldenburg, London Knees: https://www.moma.org/collection/works/77314Object Oriented Feminism: https://www.jstor.org/stable/10.5749/j.ctt1g2knjgObject Oriented Onology: https://www.artspace.com/magazine/interviews_features/the_big_idea/a-guide-to-object-oriented-ontology-art-53690Lion Salt Works: https://lionsaltworks.westcheshiremuseums.co.uk/about-us/Art & Agency by A.Gell: https://monoskop.org/images/archive/4/4d/20150328075023%21Gell_Alfred_Art_and_Agency_An_Anthropological_Theory.pdfSPACE podcast: https://spacestudios.org.uk/events/out-of-space-episode-4-looking-after-the-art/Bad Vibes Club - Ten Texts on Sculpture, Maintenance: https://podcasts.apple.com/gb/podcast/ten-texts-on-sculpture-10-maintenance/id1220925467?i=1000659524759E.Thomas: https://www.herts.ac.uk/uhbow/students/meet-the-artist-elly-thomasE.Thomas, Play and the Artist's Creative Process: https://www.worldofbooks.com/en-gb/products/play-and-the-artists-creative-process-book-elly-thomas-9781032178370E.Barrett's, Processes and Forms for Artist-Motherhood, In Situ residency text: https://www.in-situ.org.uk/post/in-residence-ellie-barrett-and-nora-2-yrsK.Barad, Meeting the Universe Halfway: https://www.jstor.org/stable/j.ctv12101zqE.Barrett, The Sculpture Kit: https://elliebarrett.com/the-sculpture-kit/R.Morris: https://www.artnews.com/art-in-america/features/robert-morris-62842/B.Le Va: https://www.artnews.com/art-news/news/barry-le-va-dead-post-minimalist-sculptor-1234582161/H.Judah, How not to exclude artist mothers and other parents: https://www.hettiejudah.co.uk/how-not-to-exclude-artist-mothers-and-other-parentsE.Barrett's w/ mum and daughter: https://putittowork.wordpress.com/2023/08/26/how-to-work-as-a-mum/Hand-made Soft Play: https://elliebarrett.com/handmade-soft-play/E.Barrett, Vibrancy and Natural Dyeing: https://putittowork.wordpress.com/2023/09/20/agency-and-natural-dyeing/ Hosted on Acast. See acast.com/privacy for more information.

Bald schliesst Jelmoli seine Pforten. Denn an vielen Orten sterben heute diese Paläste des Konsums. Dabei war das Warenhaus doch einmal ein Sehnsuchtsort. War mit seinen glitzernden Auslagen Projektionsfläche für Träumereien vom glänzenden Leben. Haben die Warenhäuser ihre beste Zeit hinter sich? Epa, Manor oder Jelmoli – immer mehr Warenhäuser schliessen oder müssen zumindest ihre Konzepte überdenken. Hohe Mieten und der prosperierende Online-Handel sind schuld daran, dass viele Warenhäuser inzwischen schliessen müssen. Für viele ist das ein schmerzlicher Verlust, denn die Warenhäuser sind Orte der Erinnerungen, aber auch Orte, an denen wir besondere Momente erlebten. Als Kinder haben wir uns zu Weihnachten die Nase an der Schaufensterscheibe plattgedrückt oder die prachtvollen Dekorationen bewundert. Warenhäuser sind auch Projektionsflächen für ein Leben, das vielleicht ein wenig schillernder hätte sein können, für die «etwas glücklichere Familie» oder für Möglichkeiten, die uns das Leben noch zu bieten scheint. Fast jeder kann sich an Momente mit der Mutter, der Grossmutter oder der Gotte im Warenhaus erinnern. Mit dem Verschwinden dieser Orte verlieren wir ein Stück unserer Geschichte, unserer Kultur, aber auch unseres Stadtbilds. Aufstieg und Fall eines Warenhauses Als vor knapp zwei Jahren das Ende des Zürcher Kaufhauses Jelmoli bekannt gegeben wurde, hat sich Historikerin und Filmemacherin Sabine Gisiger sofort an die Recherche gemacht, die Geschichte dieses Konsumpalasts aufzuarbeiten. Es ist ein gesellschaftliches Sittenbild geworden, denn Warenhäuser demokratisierten das Einkaufen schöner Waren im 19. Jahrhundert. Sie boten Frauen eine der wenigen Möglichkeiten, zu arbeiten und ihr eigenes Geld zu verdienen und sich in einer streng patriarchalen Gesellschaft, die wenig anderes für sie bot, dem Hobby des Shoppens zu widmen. Der Film «Jelmoli – Biografie eines Warenhauses» erzählt davon. Schaufenster als Kunstraum Ein wichtiger Teil der grossen Luxuskonsumtempel waren immer wieder die prächtigen, verrückten oder auffallenden Schaufenster. Viele, die später Künstler wurden, konnten sich hier austoben und noch dazu Geld verdienen. Einer von ihnen war der Schweizer Künstler Jean Tinguely. Angeregt dadurch eröffnet das Museum Tinguely Anfang Dezember die Ausstellung «Fresh Window», die sich nicht nur ehemaligen Schaufenster-Gestaltern wie Warhol, Rauschenberg oder Jasper Johns widmet, sondern auch junge Künstlerinnen und Künstler dazu einlädt, das Schaufenster als Kunstraum zu nutzen. Und anlässlich der Schliessung des Jelmoli führt Eva Wannenmacher ein Gespräch mit der Jelmoli-Unternehmenstransformerin Monica Monsch über die Schliessung des Traditionshauses.

On this encore episode of The Lebenthal Report, Michael & Dominick welcome award-winning graphic novelist, painter, and frequent cover artist for The New Yorker, Eric Drooker. Together they dive into the unique struggles successful artists face, from the pressures of fame and wealth to the pursuit of true fulfillment. Using examples like Rauschenberg, Rosenquist, and Kerouac, they discuss how legacy often lies not in material success but in giving back through art, mentorship, and philanthropy. Plus, Eric shares insights on his iconic New Yorker covers and the economic realities shaping modern artistry. Don't miss this thought-provoking discussion of art, success, and purpose. Learn more about Eric or shop his graphic novels and prints at Drooker.com.

On this episode of The Lebenthal Report, Michael & Dominick welcome award-winning graphic novelist, painter, and frequent cover artist for The New Yorker, Eric Drooker. Together they dive into the unique struggles successful artists face, from the pressures of fame and wealth to the pursuit of true fulfillment. Using examples like Rauschenberg, Rosenquist, and Kerouac, they discuss how legacy often lies not in material success but in giving back through art, mentorship, and philanthropy. Plus, Eric shares insights on his iconic New Yorker covers and the economic realities shaping modern artistry. Don't miss this thought-provoking discussion of art, success, and purpose. Learn more about Eric or shop his graphic novels and prints at Drooker.com.

Taking Venice (2023, EE.UU.), dirigido por Amei Wallach y producido por Vanessa Bergonzoli, Tal Mandil y Andrea Miller. V.O. en inglés con subtítulos en inglés En plena Guerra Fría, Estados Unidos puso en marcha su diplomacia cultural para conseguir que el artista norteamericano Robert Rauschenberg recibiera el Gran Premio de la Bienal de Venecia de 1964. Este documental desvela la historia detrás de este hito que se considera la consagración del cambio de escenario entre los artistas de la Escuela de Nueva York y el éxito del pop. Alice Denney, mujer del mundo del arte vinculada a Washington y amiga de los Kennedy, recomendó que fuera Alan Solomon, comisario que apoyaba el arte más contemporáneo, quien organizara la participación de Estados Unidos en la Bienal. Solomon tramó un plan audaz junto a Leo Castelli, galerista neoyorquino y marchante de Rauschenberg. Las maniobras realizadas para conseguir el premio dejaron a la prensa internacional boquiabierta y al artista cuestionando la política nacionalista que lo había llevado hasta allí. La Fundación Juan March inauguró en 1985 la primera exposición de Rauschenberg en España. En octubre de 2025, con el apoyo de la Robert Rauschenberg Foundation, presentará una segunda muestra centrada en la utilización de las imágenes que el artista hizo a lo largo de su trayectoria, práctica clave en su producción. La presentación de este documental, sesenta años después de la Bienal, y la mencionada exposición, Robert Rauschenberg: el uso de las imágenes, contribuirán a remarcar la relevancia de un artista cuyo centenario tendrá lugar en 2025.Más información de este acto

National Gallery of Australia Curator David Greenhalgh, joins Macca and Janet on-air, as they discuss the RAUSCHENBERG & JOHNS Exhibition In the early 1950s, at the height of the Abstract... LEARN MORE The post Saturday, 9th November, 2024: National Gallery of Australia Curator David Greenhalgh: RAUSCHENBERG & JOHNS Exhibition appeared first on Saturday Magazine.

In today's episode, Jeffrey, Sebastian, and Ariana tackle the multifaceted implications of Rauschenberg's "Erased de Kooning Drawing". They discuss the meaning, future, and continuities of the modern art world from their own unique perspectives, as well as how pioneers like Rauschenberg shifted the way people see art.

In this thought-provoking episode of Exploring Art Podcast, host Emily and panelists Bianca and Anthony delve into the complexities of collaboration and the nature of art through Robert Rauschenberg's iconic work, Erased de Kooning Drawing. They explore the cultural context of the late 1950s New York art scene, highlighting the tension between Abstract Expressionism and Rauschenberg's Neo-Dada approach. The discussion covers Rauschenberg's bold decision to erase a drawing by established artist Willem de Kooning, raising philosophical questions about authorship, value, and creation. 

In episode 904 of the “Exploring Art Podcast” we will delve into Robert Rauschenberg's groundbreaking work, Erased de Kooning Drawing, and its profound implications for the art world. Join us as we explore the intricate materials and techniques that define both de Kooning's original piece and Rauschenberg's act of erasure.

When embarking on your mokuhanga journey, whether through making or collecting, one name stands out above the rest: (pause) Yoshida. The Yoshida family of artists have helped create some of the most important and exciting mokuhanga prints of the last 100 years. Their designs, techniques, and marketing transformed the perception of prints in Japan and around the world.   I speak with Dr. Monika Hinkel, Lecturer in the Arts of East Asia at SOAS (the School of Oriental and African Studies) at the University of London and an Academic Member of the Japan Research Centre. Dr. Hinkel is also the curator of the current exhibtion (at the time of recording)  about the Yoshida family of artists, titled Yoshida: Three Generations of Printmaking, being held at the Dulwich Picture Gallery in London, England.   Dr. Hinkel joins me to discuss the Yoshida family, from Hiroshi to Ayomi, the exhibition at the Dulwich Picture Gallery—the first of its kind in the United Kingdom—the Yoshida family's history, and their impact on the global art community.   Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me at theunfinishedprint@gmail.com  Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note if available. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Print publishers are given if known. Dulwich Picture Gallery - located in London, England the Dulwich Picture Gallery is the worlds first public "purpose-built" public art gallery founded in 1811.  Robert Rauschenberg (1925–2008) - was an American artist known for his innovative and boundary-defying work that blurred the lines between painting, sculpture, and everyday life. Emerging in the 1950s, Rauschenberg challenged the conventions of traditional art with his "Combines," a series of works that incorporated found objects, photographs, and non-traditional materials into paintings, creating dynamic, multi-dimensional pieces. Characterized by a spirit of experimentation and a desire to break down the distinctions between art and the real world, Rauschenberg played a crucial role in the transition from Abstract Expressionism to Pop Art. Charlene (1954) mixed media Pop Art - was an art movement from the 1950s and 1960s that incorporated imagery from popular culture, such as advertising, comic books, and consumer goods. It challenged traditional art by blurring the lines between high art and everyday life. Key figures like Andy Warhol and Roy Lichtenstein used bold colors and familiar icons to both celebrate and critique consumer culture, making Pop Art one of the most influential movements in modern art. Yoshida: Three Generations of Japanese Printmakers - is the current exhibition at the Dulwich Picture Gallery from June 19, 2024 -  November 3, 2024.  Yoshida Hiroshi (1876-1950) - a watercolorist, oil painter, and woodblock printmaker. Is associated with the resurgence of the woodblock print in Japan, and in the West. It was his early relationship with Watanabe Shōzaburō, having his first seven prints printed by the Shōzaburō atelier. This experience made Hiroshi believe that he could hire his own carvers and printers and produce woodblock prints, which he did in 1925.  Kumoi Cherry Tree 23" x 29 1/8 " (1926) Yoshida Fujio (1887-1997) - the wife of Hiroshi Yoshida and the mother of Tōshi Yoshida (1911-1995) and Hodaka Yoshida. Fujio was so much more than a mother and wife. She had a long and storied career as a painter and printmaker. Fujio's work used her travels and personal experiences to make her work. Subjects such as Japan during The Pacific War, abstraction, portraits, landscapes, still life, and nature were some of her themes. Her painting mediums were watercolour and oil. Her print work was designed by her and carved by Fujio.  Flower - B (1954) 15 3/4" x 10 5/8" Yoshida Tōshi (1911-1995) - was the second child of Hiroshi Yoshida and Fujio Yoshida, although the first to survive childhood. Beginning with oil paintings and then apprenticing under his father with woodblock cutting. By 1940 Tōshi started to make his mokuhanga. After his father's death in 1950, Tōshi began to experiment with abstract works and travel to the United States. Later travels to Africa evolved his prints, inspiring Tōshi with the world he experienced as his work focused on animals and nature.  American Girl A (1954) 15 7/8" x 11 1/8" Yoshida Chizuko (1924-2017) - was the wife of painter and printmaker Hodaka Yoshida. Beginning as an abstract painter, Chizuko, after a meeting with sōsaku hanga printmaker Onchi Kōshirō (1891-1955), Chizuko became interested in printmaking. Chizuko enjoyed the abstraction of art, and this was her central theme of expression. Like all Yoshida artists, travel greatly inspired Chizuko's work. She incorporated the colours and flavours of the world into her prints. Jazz (1953) 15 3/4" x 11" Yoshida Hodaka (1926-1995) - was the second son of woodblock printmaker and designer Hiroshi Yoshida (1876-1950). Hodaka Yoshida's work was abstract, beginning with painting and evolving into printmaking. His inspirations varied as his career continued throughout his life, but Hodaka Yoshida's work generally focused on nature, "primitive" art, Buddhism, the elements, and landscapes. Hodaka Yoshida's print work used woodcut, photo etching, collage, and lithography, collaborating with many of these mediums and making original and fantastic works. Outside of prints Hodaka Yoshida also painted and created sculptures. Abstract (1958) 11" x 15 7/8" Yoshida Ayomi - is the daughter of Chizuko and Hodaka Yoshida. She is a visual artist who works in mokuhanga, installations and commercial design. Ayomi's subject matter is colour, lines, water, and shape. Ayomi's lecture referred to by Jeannie at PAM can be found here. She teaches printmaking and art. You can find more info here.  Spring Rain (2018) woodblock installation  Kawase Hasui (1883-1957), a designer of more than six hundred woodblock prints, is one of the most famous artists of the shin-hanga movement of the early twentieth century. Hasui began his career under the guidance of Kaburaki Kiyokata (1878-1971), joining several artistic societies early on. However, it wasn't until he joined the Watanabe atelier in 1918 that he began to gain significant recognition. Watanabe Shōzaburō (1885-1962) commissioned Hasui to design landscapes of the Japanese countryside, small towns, and scenes of everyday life. Hasui also worked closely with the carvers and printers to achieve the precise quality he envisioned for his prints. Spring Rain at Sakurada Gate (1952) 10 3/8" x 15 3/8" Shōzaburō Watanabe (1885-1962) - was one of the most important print publishers in Japan in the early 20th Century. His business acumen and desire to preserve the ukiyo-e tradition were incredibly influential for the artists and collectors in Japan and those around the world. Watanabe influenced other publishers, but his work in the genre is unparalleled. The shin-hanga (new print) movement is Watanabe's, collecting some of the best printers, carvers and designers to work for him. A great article by The Japan Times in 2022 discusses a touring exhibition of Watanabe's work called Shin Hanga: New Prints of Japan, which can be found here.    Impressionism - was an art movement that emerged in France in the late 19th century, characterized by a focus on capturing the fleeting effects of light and color in everyday scenes. Instead of detailed realism, Impressionist artists like Claude Monet, Pierre-Auguste Renoir, and Edgar Degas used loose brushwork and vibrant colors to convey the atmosphere and momentary impressions of their subjects. This movement broke from traditional art by often painting en plein air (outdoors) and prioritizing personal perception over exact representation, leading to a revolutionary shift in modern art. Wassily Kandinsky (1866–1944) - was a key figure in the development of abstract art, known for using color and form to express emotions and ideas without representational content. His influential writings and innovative approach helped shape modern art, making him a central figure in movements like Expressionism and the Bauhaus. Stars (1938) 13 7/8" x 10 1/4" colour lithograph  Charles Freer (1854–1919) - was an American industrialist and art collector, best known for his significant contributions to the field of art through the establishment of the Freer Gallery of Art. Freer was a wealthy entrepreneur who made his fortune in the railroad industry. In his later years, he became an avid collector of art, particularly Asian art, including Chinese and Japanese ceramics, paintings, and sculptures. Nakagawa Hachiro (1877-1922) - was a close friend of Yoshida Hiroshi and traveled to the United States together for the first time in 1899. He was a yōga painter and showed primarily in Japan. Landcape in The Inland Sea 13.94" x 20.87" colour on watercolour  The Great Kanto Earthquake - struck Japan on September 1, 1923, with a magnitude of approximately 7.9. It devastated the Kanto region, including Tokyo and Yokohama, causing widespread destruction and fires that led to the deaths of over 100,000 people. The earthquake also resulted in significant infrastructure damage, homelessness, and economic disruption. In the aftermath, the disaster prompted major rebuilding efforts and urban planning changes. Additionally, the earthquake led to social and political unrest, including widespread anti-Korean sentiment, as rumors falsely blamed Korean immigrants for the disaster. Utagawa Hiroshige (1797-1858) - born in Edo, Hiroshige is famous for his landscape series of that burgeoning city. The most famous series being, One Hundred Famous Views of Edo (1856-1859), and the landcape series, Fifty-Three Stations of the Tōkaidō (1833-1834). His work highlights bokashi, and bright colours. More info about his work can be found, here.  Thirty Six Views of Mount Fuji No. 21 Lake at Hakone 14" x 9 1/4" Kawase Hasui (1883-1957) - a designer of more than six hundred woodblock prints, Kawase Hasui is one of the most famous designers of the shin-hanga movement of the early twentieth century. Hasui began his career with the artist and woodblock designer Kaburaki Kiyokata (1878-1971), joining several artistic societies along the way early in his career. It wasn't until he joined the Watanabe atelier in 1918 that he really began to gain recognition. Watanabe Shōzaburō (1885-1962) had Hasui design landscapes of the Japanese country-side, small towns, and everyday life. Hasui also worked closely with the carvers and printers of his prints to reach the level Hasui wanted his prints to be.  Selection of Views of the Tokaido (1934) Bishu Seto Kilns 15 3/4"  x 10 3/8" Itō Shinsui (1898-1972) - Nihon-ga, and woodblock print artist and designer who worked for print publisher Watanabe Shōzaburō (1885-1962). Shinsui designed some of our most famous shin hanga, or “new” prints of the early 20th century. One of my favorites is “Fragrance of a Bath” 1930. Kasumi Teshigawara Arranging Chrysanthemums (1966) 21 7/8" x 16 1/2" Katsushika Hokusai (1760-1849) - is one of the most famous Japanese artists to have ever lived. Hokusai was an illustrator, painter and woodblock print designer. His work can be found on paper, wood, silk, and screen. His woodblock print design for Under The Wave off Kanagawa (ca. 1830-32) is beyond famous. His work, his manga, his woodblocks, his paintings, influence artists from all over the world.  Tama River in Musashi Province from 36 Views of Mount Fuji (1830-32) 9 7/8" x 14 7/8"  Boston Museum of Fine Arts - a museum with a rich history with Japanese artwork, especially woodblock prints. It holds the largest collection of Japanese art outside of Japan. Many of their woodblock prints are held online, here. A video on YouTube found, here, describing the MFA's history, and its collections.  Onchi Kōshirō (1891-1955) - originally designing poetry and books Onchi became on of the most important sōsaku hanga artists and promotor of the medium. His works are highly sought after today. More info, here. Nijubashi Bridge to the Imperial Palace from Scenes of Lost Tokyo (1945) 7.8" x 11.1" published by Uemura Masuro Tarō Okamoto (1911–1996) was a prominent Japanese artist known for his avant-garde works and dynamic use of color and form. His art, which includes painting, sculpture, and public installations like the "Tower of the Sun," often explores themes of chaos and modernity. Okamoto was influential in Japanese contemporary art and also made significant contributions as a writer and cultural commentator. More info, here.  Seashore (1976) lithograph 5.55" × 22.05" Oliver Statler (1915-2002) -  was an American author and scholar and collector of mokuhanga. He had been a soldier in World War 2, having been stationed in Japan. After his time in the war Statler moved back to Japan where he wrote about Japanese prints. His interests were of many facets of Japanese culture such as accommodation, and the 88 Temple Pilgrimage of Shikoku. Oliver Statler, in my opinion, wrote one of the most important books on the sōsaku-hanga movement, “Modern Japanese Prints: An Art Reborn.” St. Olaf College - is a private liberal arts college located in Northfield, Minnesota. Founded in 1874 by Norwegian-American settlers, it has a strong emphasis on a comprehensive liberal arts education, integrating rigorous academics with a commitment to fostering critical thinking, leadership, and global citizenship. The college is known for its vibrant community, strong programs in the humanities, social sciences, and natural sciences, and its affiliation with the Evangelical Lutheran Church in America (ELCA). St. Olaf is also recognized for its strong music program, including its acclaimed choir and music ensembles. More info, here. The Detroit Institute of Arts (DIA) -  is an art museum in Detroit, Michigan, founded in 1885. It is known for its extensive collection of artworks from various cultures and periods, including significant American, European, and African art. The DIA is particularly famous for Diego Rivera's Detroit Industry Murals and serves as a major cultural center with diverse exhibitions and educational programs. More info, here.   baren - is a Japanese word to describe a flat, round-shaped disc, predominantly used in creating Japanese woodblock prints. It is traditionally made of a cord of various types and a bamboo sheath, although baren have many variations.    Jeannie Kenmotsu, PhD - is the Arlene and Harold Schnitzer Curator of Asian Art at the Portland Art Museum in Portland, Oregon. She specializes in early modern Japanese art, with a focus on painting, illustrated books, and prints. Her interview with The Unfinished Print about her work about the Joryū Hanga Kyōkai can be found, here.    © Popular Wheat Productions opening and closing credit - by Gordon Lightfoot - Affair on 8th Avenue from the album Back Here On Earth (1968) on United Artists. logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Українi If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***                        

A conversation with Michael Findlay about his new book "Portrait of the Art Dealer as a Young Man: New York in the Sixties." In this generously illustrated memoir, Findlay traces his journey from his childhood in Scotland to his influential career in New York, where he directed one of the first art galleries in SoHo. We discuss his experiences launching solo exhibitions for artists like John Baldessari and Hannah Wilke, his relationships with iconic figures such as Andy Warhol and Ray Johnston, and his vivid recollections of the vibrant New York art scene of the sixties and seventies.https://www.penguinrandomhouse.com/books/746815/portrait-of-the-art-dealer-as-a-young-man-by-michael-findlay/https://www.amazon.com/gp/product/3791377264?tag=randohouseinc7986-20https://www.michaelfindlay.com/

At the height of the Cold War, the U.S. government is determined to fight Communism with culture. The Venice Biennale, the world's most influential art exhibition, becomes a proving ground in 1964. Alice Denney, Washington insider and friend of the Kennedys, recommends Alan Solomon, an ambitious curator making waves with trailblazing art, to organize the U.S. entry. Together with Leo Castelli, a powerful New York art dealer, they embark on a daring plan to make Robert Rauschenberg the winner of the Grand Prize. The artist is yet to be taken seriously with his combinations of junk off the street and images from pop culture, but he has the potential to dazzle. Deftly pulling off maneuvers that could have come from a Hollywood thriller, the American team leaves the international press crying foul and Rauschenberg questioning the politics of nationalism that sent him there. Director Amei Wallach (Ilya and Emilia Kabakov: Enter Here) stops by for an in-depth conversation on a time and place where the long reach of the Cold War, the internal machination's of the Olympic's of the art world and the ascendency of modern art's bête noire and how they all crossed paths in this John le Carré-ish tale. For more go to: zeitgeistfilms.com/taking-venice

A conversation with Jordan Schnitzer, the world's foremost collector of prints and multiples. In the conversation, we discuss Jordan's undeniable passion for art, his thoughts on collecting, and his unwavering support for arts programming. In particular, we delve into his support of a current exhibition at The Getty titled "First Came a Friendship: Sidney B. Felsen and the Artists at Gemini G.E.L."For over five decades, Gemini G.E.L Co-Founder Sidney B. Felsen has documented the vibrant life and creative processes at Gemini through his love of photography. This has resulted in an unmatched historical record of some of the most influential artists of the last sixty years, including Robert Rauschenberg, Claes Oldenburg, Ellsworth Kelly, Jasper Johns, Roy Lichtenstein, Frank Gehry and Julie Mehretu. Felsen's intimate photographs which capture the collaborations and friendships that have shaped Gemini's legacy, are on view at The Getty through July 7.https://www.getty.edu/research/exhibitions_events/exhibitions/sidney_b_felsen/index.htmlhttps://www.jordanschnitzer.org/https://schnitzercare.org/https://www.geminigel.com/

Flavio Caroli"Storia sentimentale dell'arte"Un'educazione alla bellezzaSolferino Libriwww.solferinolibri.itll primo incontro con la magia dell'arte avviene a sei anni, complice il regalo di una scatola di pastelli e l'ingenuo tentativo di un ragazzo di imitare La gazza di Monet circondata dalla neve. Flavio Caroli ripercorre la storia dell'arte attraverso la sua personale biografia, le tappe di studioso e di uomo. A ogni fase della vita corrisponde un dipinto, un artista e una stagione creativa che l'autore ricostruisce e racconta in queste pagine con fascino, erudizione e acutezza.A diciassette anni la visita a Recanati sulle orme di Leopardi lo conduce alla «rivelazione» dell'Annunciazione di Lorenzo Lotto e del suo genio ineffabile; il momento più importante nel primo anno di università coincide con l'inaugurazione della Biennale di Venezia: la pop art sbarca in Europa, è il 1964 e Rauschenberg diventa un nuovo punto di riferimento. Nel 1972 nello studio di un antiquario di Ravenna, assistiamo alla scoperta casuale di una Madonna con bambino firmato da Lucia Anguissola (sorella della più nota Sofonisba) cui seguiranno anni di approfondimenti mentre l'opera scompare misteriosamente. Il percorso è ampio e ricco di capolavori e riflessioni, dalla Lezione di anatomia di Rembrandt alle tele di Pollock, da Rubens a Savoldo, da Grechetto aCézanne, da Caravaggio a Hockney. E l'esito finale prefigura un'ideale, affascinante, educazione sentimentale dello sguardo.Flavio Caroli, storico dell'arte moderna e contemporanea, ha dedicato i suoi studi alla linea introspettiva dell'arte occidentale, con molte pubblicazioni, fra cui: Leonardo. Studi di fisiognomica (1991, 2015), Lorenzo Lotto e la nascita della psicologia moderna (1975, 1980), Sofonisba Anguissola e le sue sorelle (1987), Fede Galizia (1989), Giuseppe Bazzani. L'opera completa (1988), L'anima e il volto (1998), Arte d'Oriente Arte d'Occidente (2006), Il volto di Gesù (2008), Il volto e l'anima della natura (2009), Il volto dell'amore (2011), Il volto dell'Occidente (2012), Anime e volti. L'arte dalla psicologia alla psicoanalisi (2014), Con gli occhi dei maestri (2015), Il museo dei capricci. 200 quadri da rubare (2016), Storia di artisti e di bastardi (2017), L'arte italiana in quindici weekend e mezzo (2018), Elogio della modernità (2019), La grande corsa dell'arte europea (2020) e I sette pilastri dell'arte di oggi (2021).IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

durée : 01:28:07 - Les Nuits de France Culture - par : Albane Penaranda - Par Jean Daive - Avec Dieter Ruckhaberle (peintre, directeur de musée), Pontus Hulten (historien d'art, commissaire d'exposition, directeur du centre Georges-Pompidou), Claude Gintz (critique d'art, organisateur d'expositions, éditeur, traducteur), Jens Jensen (peintre) et Brigitta Restorff (éditrice et journaliste) - Réalisation Pamela Doussaud

durée : 01:27:48 - Les Nuits de France Culture - par : Albane Penaranda - Par Jean Daive - Avec Dieter Ruckhaberle (peintre, directeur de musée), Jens Jensen (peintre), Kristin Gerber (artiste), Brigitta Restorff (éditrice et journaliste), Joseph Beuys (artiste), Werner Hamacher (traducteur, philosophe) et Martin Edelman (enseignant des beaux-arts) - Réalisation Pamela Doussaud

durée : 01:28:02 - Les Nuits de France Culture - par : Albane Penaranda - Par Jean Daive - Avec Dieter Ruckhaberle (peintre, directeur de musée), Jens Jensen (peintre), Brigitta Restorff (éditrice et journaliste) et Kristin Gerber (artiste) - Réalisation Pamela Doussaud

durée : 01:30:09 - Les Nuits de France Culture - par : Albane Penaranda - Par Jean Daive - Avec Robert Rauschenberg (artiste plasticien), Pontus Hulten (historien d'art, commissaire d'exposition, directeur du centre Georges-Pompidou), Jens Jensen (peintre), Dieter Ruckhaberle (peintre, directeur de musée), Brigitta Restorff (éditrice et journaliste), Adrian Darmon (journaliste, critique d'art, fondateur du site Artcult), Kristin Gerber (artiste) et "Bärble Goldbeck" - Réalisation Pamela Doussaud

durée : 01:25:02 - Les Nuits de France Culture - par : Albane Penaranda - Par Jean Daive - Avec Robert Rauschenberg (artiste plasticien), le directeur de la Kunsthalle de Berlin (commissaire de l'exposition consacrée à Robert Rauschenberg), Jens Jensen (peintre), Brigitta Restorff (éditrice et journaliste), Dieter Ruckhaberle (peintre, directeur de musée), Michael Stone (photographe), Kristin Gerber (artiste) et "Bärble Goldbeck" - Réalisation Pamela Doussaud

Embark with us on a journey through the innovative mind of Robert Rauschenberg, a beacon of artistic evolution. Our conversation weaves through the narrative of an artist who always moved towards new creative territories. We share personal reflections on how Rauschenberg's philosophy resonates with our artistic endeavors, embracing the beginner's mind and the allure of fresh experiences over the pursuit of mastery. Through his story and our own, we uncover the joy of constant change and the impact of collaborations, such as those Rauschenberg had with Jasper Johns, in shaping an artist's path.As artists, the canvas is merely a starting point; the true art lies in expanding beyond it. This episode delves into the shifting landscapes of art mediums, from sculpture to painting and beyond. We discuss the discipline required to flourish in artistic practice, the openness to new ideas, and the enriching power of diverse interests. Tapping into insights from David Epstein's "Range," we celebrate the generalist's advantage in today's art scene—a world where a wide-ranging palette of experiences can lead to groundbreaking work.Wrapping up, we reflect on how the pressures of the art market intersect with the creative process, comparing the strengths that Attention Deficit Disorder (ADD) can bring to an artist's work. We share the importance of continual growth and the exploration of new artistic territories to maintain the spark of joy in our creations. By documenting our artistic processes, we underscore the profound impact of revisiting past works, allowing for a narrative of growth and the embrace of irresistible possibilities that guide us to meaningful evolution in our work. Join us for this homage to the indomitable spirit of artists who, like Rauschenberg, never cease to evolve.Send us a message - we would love to hear from you!Make sure to follow us on Instagram here:@justmakeartpodcast @tynathanclark @nathanterborg

“Taking that gratitude and just use it as fuel then to be on a mission for how you're going to be the spirit for those who come beyond us.  I just think that's such a beautiful way to talk about the culture, honoring your ancestors, being aware and reverent toward the spirit of those ancestors.” Michelle Angela Ortiz is a visual artist/ skilled muralist/ community arts educator/ filmmaker who uses her art as a vehicle to represent people and communities whose histories are often lost or co-opted. Through community arts practices, painting, documentaries, and public art installations, she creates a safe space for dialogue around some of the most profound issues communities and individuals may face. Her work tells stories using richly crafted and emotive imagery to claim and transform spaces into a visual affirmation that reveals the strength and spirit of the community. For 20 years, Ortiz has designed and created over 50 large-scale public works nationally and internationally. Since 2008, Ortiz has led art for social change public art projects in Costa Rica & Ecuador and as a cultural envoy through the United States embassy in Fiji, Mexico, Argentina, Spain, Venezuela, Honduras, and Cuba. Ortiz is a 2020 art for justice fund grantee, a pew fellow, a Rauschenberg foundation artist as activist fellow, and a Kennedy center citizen artist national fellow. In 2016, she received the Americans for the Arts Public Art Year in Review award which honors outstanding public art projects in the nation. R.O.G. Takeaway Tips: Collective power can actually make significant change. Find a way to bridge your message into action. Do not be overwhelmed and find ways to take action. Amplify the voices of others. Ask yourself: Does the community want what I want to offer? Resources: www.michelleangela.com  www.familiasseparadas.com  www.lasmadresdeberks.com  www.ourmarketproject.com  https://www.michelleangela.com/bio/cv https://www.michelleangela.com/curriculumvitae https://www.penncapital-star.com/commentary/berks-countys-immigrant-detention-center-is-finally-closed-the-work-isnt-over-opinion/ Michelle Angela Ortiz on LinkedIn (in/michelle-angela-ortiz-370853284) Michelle Angela Ortiz on Facebook (@MichelleAngelaOrtiz) Michelle Angela Ortiz on Instagram (@michelleangelaortiz) Michelle Angela Ortiz on Twitter/X (@michelleaortiz1) Amplifying the Voices of Families in Detention | Michelle Angela Ortiz | TEDxPhiladelphia  Manos En La Obra - Michelle Angela Ortiz  "Familias Separadas" by Michelle Angela Ortiz for Open Source Where to find R.O.G. Podcast: R.O.G on YouTube R.O.G on Apple Podcasts R.O.G on Spotify How diverse is your network?  N.D.I. Network Diversity Index What is your Generosity Style?  Generosity Quiz Credits: Michelle Angela Ortiz, Sheep Jam Productions, Host Shannon Cassidy, Bridge Between, Inc. Coming Next: Please join us next week, Episode 149, with David Olivencia.

This week's Mean Green Coach's show podcast features Eric Morris, Noah Rauschenberg and Ethan Wesloski.

For the 20th episode of "Reading the Art World," host Megan Fox Kelly speaks with Susan Davidson, author of “Robert Motherwell: Pure Painting,” published in August by Hatje Cantz.Susan's work is an in-depth study of the renowned Abstract Expressionist known as a deeply intellectual painter, brilliant theorist and articulate spokesman for the movement alongside Willem de Kooning, Mark Rothko and Jackson Pollock. The book accompanies the exhibition Susan curated of Motherwell's painting at the Modern Art Museum of Fort Worth this summer. From October 12th through January 14th, 2024, you can see the show in Vienna at the Bank Austria Kunstforum Wien. Contributing writers to “Robert Motherwell: Pure Painting” are Jennifer Cohen, Simon Kelly, Monica McTighe and Sarah Rich.As an art historian and curator, Susan Davidson is an authority in the fields of surrealism, abstract expressionism and pop art. In her previous role as senior curator at the Solomon R. Guggenheim Museum in New York, Susan oversaw the stewardship of the institution's collection, in addition to organizing notable exhibitions that include Jackson Pollock, Robert Motherwell, John Chamberlain, Jackson Pollock's Paintings on Paper and Peggy and Kiesler: The Collector and the Visionary.Previously, Susan was collections curator at The Menil Collection in Houston. She served as the curatorial advisor to Robert Rauschenberg and a board member to the Rauschenberg Foundation, and her numerous exhibitions and publications on Rauschenberg include exhibitions at the Peggy Guggenheim Collection in Venice, the 2016 retrospective at the Tate Modern in London and MoMA in New York, and with Walter Hopps, the definitive Robert Rauschenberg retrospective for the Guggenheim.Susan holds advanced degrees in art history from the Courtauld Institute London and George Washington University in Washington, DC."Reading the Art World" is a live interview and podcast series with leading art world authors hosted by art advisor Megan Fox Kelly. The conversations explore timely subjects in the world of art, design, architecture, artists and the art market, and are an opportunity to engage further with the minds behind these insightful new publications. Megan Fox Kelly is an art advisor and past President of the Association of Professional Art Advisors who works with collectors, estates and foundations. For more information, visit meganfoxkelly.com and subscribe to our new posts. Follow us on Instagram: @meganfoxkellyPurchase "Robert Motherwell: Pure Painting" at the Modern Art Museum of Fort Worth  and at Hatje CantzMusic composed by Bob Golden.

Back in 1958, Robert Rauschenberg erased a De Kooning. Sometime since 1964, an Angry Girlfriend vandalized an Amazing Spider-Man #14. In 2023, we're assaulting your ears... On this episode, we discuss the First Artwork to Increase in Value After Being Vandalized. Was it "Erased de Kooning Drawing"? Was it the Angry Girlfriend Variant? What is vandalism? What is art? Oh... we get into it! Plus, we play I See What You Did There!Learn about some vandalized art: https://www.artnews.com/list/art-news/news/art-vandalism-mona-lisa-van-gogh-famous-artworks-1234647552/Have a First for us? Or maybe a cloaca? Just wanna try to convince Kelly to play a video game? Email us at debutbuddies@gmail.comListen to Kelly and Chelsea's awesome horror movie podcast, Never Show the Monster.Get some sci-fi from Spaceboy Books.Get down with Michael J. O'Connor's music!Next time: First Book of the Bible... Genesis.

I veckans podd så avhandlar vi såklart den fina premiärvinsten i Trelleborg! Vi är väldigt nöjda över den matchavgörande laguttagningen, hur vi hanterade Trelleborg, vårt anfallsspel i första halvlek, duellen mot Offia och hur Rauschenberg hanterade Boman. Vi spekulerar också i den interna skytteligan och att den kan bli jämnare än vi kan trott på förhand. Vi är också glada över hur våra motståndare hatar att möta oss. Avslutningsvis så delar vi ut matchens tre stjärnor. Vi dammar också av en ny Veckans Pär Asp där vi pratar Sive Pekezela från Sydafrika och slutligen så snackar vi upp hemmapremiären mot Helsingborg. Fortsätta med samma elva eller agera mer offensivt? God lyssning!

Episode 164 of A History of Rock Music in Five Hundred Songs looks at "White Light/White Heat" and the career of the Velvet Underground. This is a long one, lasting three hours and twenty minutes. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-three minute bonus episode available, on "Why Don't You Smile Now?" by the Downliners Sect. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Errata I say the Velvet Underground didn't play New York for the rest of the sixties after 1966. They played at least one gig there in 1967, but did generally avoid the city. Also, I refer to Cale and Conrad as the other surviving members of the Theater of Eternal Music. Sadly Conrad died in 2016. Resources No Mixcloud this week, as there are too many songs by the Velvet Underground, and some of the avant-garde pieces excerpted run to six hours or more. I used a lot of resources for this one. Up-Tight: The Velvet Underground Story by Victor Bockris and Gerard Malanga is the best book on the group as a group. I also used Joe Harvard's 33 1/3 book on The Velvet Underground and Nico. Bockris also wrote one of the two biographies of Reed I referred to, Transformer. The other was Lou Reed by Anthony DeCurtis. Information on Cale mostly came from Sedition and Alchemy by Tim Mitchell. Information on Nico came from Nico: The Life and Lies of an Icon by Richard Witts. I used Draw a Straight Line and Follow it by Jeremy Grimshaw as my main source for La Monte Young, The Roaring Silence by David Revill for John Cage, and Warhol: A Life as Art by Blake Gopnik for Warhol. I also referred to the Criterion Collection Blu-Ray of the 2021 documentary The Velvet Underground.  The definitive collection of the Velvet Underground's music is the sadly out-of-print box set Peel Slowly and See, which contains the four albums the group made with Reed in full, plus demos, outtakes, and live recordings. Note that the digital version of the album as sold by Amazon for some reason doesn't include the last disc -- if you want the full box set you have to buy a physical copy. All four studio albums have also been released and rereleased many times over in different configurations with different numbers of CDs at different price points -- I have used the "45th Anniversary Super-Deluxe" versions for this episode, but for most people the standard CD versions will be fine. Sadly there are no good shorter compilation overviews of the group -- they tend to emphasise either the group's "pop" mode or its "avant-garde" mode to the exclusion of the other. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I begin this episode, there are a few things to say. This introductory section is going to be longer than normal because, as you will hear, this episode is also going to be longer than normal. Firstly, I try to warn people about potentially upsetting material in these episodes. But this is the first episode for 1968, and as you will see there is a *profound* increase in the amount of upsetting and disturbing material covered as we go through 1968 and 1969. The story is going to be in a much darker place for the next twenty or thirty episodes. And this episode is no exception. As always, I try to deal with everything as sensitively as possible, but you should be aware that the list of warnings for this one is so long I am very likely to have missed some. Among the topics touched on in this episode are mental illness, drug addiction, gun violence, racism, societal and medical homophobia, medical mistreatment of mental illness, domestic abuse, rape, and more. If you find discussion of any of those subjects upsetting, you might want to read the transcript. Also, I use the term "queer" freely in this episode. In the past I have received some pushback for this, because of a belief among some that "queer" is a slur. The following explanation will seem redundant to many of my listeners, but as with many of the things I discuss in the podcast I am dealing with multiple different audiences with different levels of awareness and understanding of issues, so I'd like to beg those people's indulgence a moment. The term "queer" has certainly been used as a slur in the past, but so have terms like "lesbian", "gay", "homosexual" and others. In all those cases, the term has gone from a term used as a self-identifier, to a slur, to a reclaimed slur, and back again many times. The reason for using that word, specifically, here is because the vast majority of people in this story have sexualities or genders that don't match the societal norms of their times, but used labels for themselves that have shifted in meaning over the years. There are at least two men in the story, for example, who are now dead and referred to themselves as "homosexual", but were in multiple long-term sexually-active relationships with women. Would those men now refer to themselves as "bisexual" or "pansexual" -- terms not in widespread use at the time -- or would they, in the relatively more tolerant society we live in now, only have been in same-gender relationships? We can't know. But in our current context using the word "homosexual" for those men would lead to incorrect assumptions about their behaviour. The labels people use change over time, and the definitions of them blur and shift. I have discussed this issue with many, many, friends who fall under the queer umbrella, and while not all of them are comfortable with "queer" as a personal label because of how it's been used against them in the past, there is near-unanimity from them that it's the correct word to use in this situation. Anyway, now that that rather lengthy set of disclaimers is over, let's get into the story proper, as we look at "White Light, White Heat" by the Velvet Underground: [Excerpt: The Velvet Underground, "White Light, White Heat"] And that look will start with... a disclaimer about length. This episode is going to be a long one. Not as long as episode one hundred and fifty, but almost certainly the longest episode I'll do this year, by some way. And there's a reason for that. One of the questions I've been asked repeatedly over the years about the podcast is why almost all the acts I've covered have been extremely commercially successful ones. "Where are the underground bands? The alternative bands? The little niche acts?" The answer to that is simple. Until the mid-sixties, the idea of an underground or alternative band made no sense at all in rock, pop, rock and roll, R&B, or soul. The idea would have been completely counterintuitive to the vast majority of the people we've discussed in the podcast. Those musics were commercial musics, made by people who wanted to make money and to  get the largest audiences possible. That doesn't mean that they had no artistic merit, or that there was no artistic intent behind them, but the artists making that music were *commercial* artists. They knew if they wanted to make another record, they had to sell enough copies of the last record for the record company to make another, and that if they wanted to keep eating, they had to draw enough of an audience to their gigs for promoters to keep booking them. There was no space in this worldview for what we might think of as cult success. If your record only sold a thousand copies, then you had failed in your goal, even if the thousand people who bought your record really loved it. Even less commercially successful artists we've covered to this point, like the Mothers of Invention or Love, were *trying* for commercial success, even if they made the decision not to compromise as much as others do. This started to change a tiny bit in the mid-sixties as the influence of jazz and folk in the US, and the British blues scene, started to be felt in rock music. But this influence, at first, was a one-way thing -- people who had been in the folk and jazz worlds deciding to modify their music to be more commercial. And that was followed by already massively commercial musicians, like the Beatles, taking on some of those influences and bringing their audience with them. But that started to change around the time that "rock" started to differentiate itself from "rock and roll" and "pop", in mid 1967. So in this episode and the next, we're going to look at two bands who in different ways provided a model for how to be an alternative band. Both of them still *wanted* commercial success, but neither achieved it, at least not at first and not in the conventional way. And both, when they started out, went by the name The Warlocks. But we have to take a rather circuitous route to get to this week's band, because we're now properly introducing a strand of music that has been there in the background for a while -- avant-garde art music. So before we go any further, let's have a listen to a thirty-second clip of the most famous piece of avant-garde music ever, and I'll be performing it myself: [Excerpt, Andrew Hickey "4'33 (Cage)"] Obviously that won't give the full effect, you have to listen to the whole piece to get that. That is of course a section of "4'33" by John Cage, a piece of music that is often incorrectly described as being four minutes and thirty three seconds of silence. As I've mentioned before, though, in the episode on "Papa's Got a Brand New Bag", it isn't that at all. The whole point of the piece is that there is no such thing as silence, and it's intended to make the listener appreciate all the normal ambient sounds as music, every bit as much as any piece by Bach or Beethoven. John Cage, the composer of "4'33", is possibly the single most influential avant-garde artist of the mid twentieth century, so as we're properly introducing the ideas of avant-garde music into the story here, we need to talk about him a little. Cage was, from an early age, torn between three great vocations, all of which in some fashion would shape his work for decades to come. One of these was architecture, and for a time he intended to become an architect. Another was the religious ministry, and he very seriously considered becoming a minister as a young man, and religion -- though not the religious faith of his youth -- was to be a massive factor in his work as he grew older. He started studying music from an early age, though he never had any facility as a performer -- though he did, when he discovered the work of Grieg, think that might change. He later said “For a while I played nothing else. I even imagined devoting my life to the performance of his works alone, for they did not seem to me to be too difficult, and I loved them.” [Excerpt: Grieg piano concerto in A minor] But he soon realised that he didn't have some of the basic skills that would be required to be a performer -- he never actually thought of himself as very musical -- and so he decided to move into composition, and he later talked about putting his musical limits to good use in being more inventive. From his very first pieces, Cage was trying to expand the definition of what a performance of a piece of music actually was. One of his friends, Harry Hay, who took part in the first documented performance of a piece by Cage, described how Cage's father, an inventor, had "devised a fluorescent light source over which Sample" -- Don Sample, Cage's boyfriend at the time -- "laid a piece of vellum painted with designs in oils. The blankets I was wearing were white, and a sort of lampshade shone coloured patterns onto me. It looked very good. The thing got so hot the designs began to run, but that only made it better.” Apparently the audience for this light show -- one that predated the light shows used by rock bands by a good thirty years -- were not impressed, though that may be more because the Santa Monica Women's Club in the early 1930s was not the vanguard of the avant-garde. Or maybe it was. Certainly the housewives of Santa Monica seemed more willing than one might expect to sign up for another of Cage's ideas. In 1933 he went door to door asking women if they would be interested in signing up to a lecture course from him on modern art and music. He told them that if they signed up for $2.50, he would give them ten lectures, and somewhere between twenty and forty of them signed up, even though, as he said later, “I explained to the housewives that I didn't know anything about either subject but that I was enthusiastic about both of them. I promised to learn faithfully enough about each subject so as to be able to give a talk an hour long each week.” And he did just that, going to the library every day and spending all week preparing an hour-long talk for them. History does not relate whether he ended these lectures by telling the housewives to tell just one friend about them. He said later “I came out of these lectures, with a devotion to the painting of Mondrian, on the one hand, and the music of Schoenberg on the other.” [Excerpt: Schoenberg, "Ode to Napoleon Buonaparte"] Schoenberg was one of the two most widely-respected composers in the world at that point, the other being Stravinsky, but the two had very different attitudes to composition. Schoenberg's great innovation was the creation and popularisation of the twelve-tone technique, and I should probably explain that a little before I go any further. Most Western music is based on an eight-note scale -- do, re, mi, fa, so, la, ti, do -- with the eighth note being an octave up from the first. So in the key of C major that would be C, D, E, F, G, A, B, C: [demonstrates] And when you hear notes from that scale, if your ears are accustomed to basically any Western music written before about 1920, or any Western popular music written since then, you expect the melody to lead back to C, and you know to expect that because it only uses those notes -- there are differing intervals between them, some having a tone between them and some having a semitone, and you recognise the pattern. But of course there are other notes between the notes of that scale. There are actually an infinite number of these, but in conventional Western music we only look at a few more -- C# (or D flat), D# (or E flat), F# (or G flat), G# (or A flat) and A# (or B flat). If you add in all those notes you get this: [demonstrates] There's no clear beginning or end, no do for it to come back to. And Schoenberg's great innovation, which he was only starting to promote widely around this time, was to insist that all twelve notes should be equal -- his melodies would use all twelve of the notes the exact same number of times, and so if he used say a B flat, he would have to use all eleven other notes before he used B flat again in the piece. This was a radical new idea, but Schoenberg had only started advancing it after first winning great acclaim for earlier pieces, like his "Three Pieces for Piano", a work which wasn't properly twelve-tone, but did try to do without the idea of having any one note be more important than any other: [Excerpt: Schoenberg, "Three Pieces for Piano"] At this point, that work had only been performed in the US by one performer, Richard Buhlig, and hadn't been released as a recording yet. Cage was so eager to hear it that he'd found Buhlig's phone number and called him, asking him to play the piece, but Buhlig put the phone down on him. Now he was doing these lectures, though, he had to do one on Schoenberg, and he wasn't a competent enough pianist to play Schoenberg's pieces himself, and there were still no recordings of them. Cage hitch-hiked from Santa Monica to LA, where Buhlig lived, to try to get him to come and visit his class and play some of Schoenberg's pieces for them. Buhlig wasn't in, and Cage hung around in his garden hoping for him to come back -- he pulled the leaves off a bough from one of Buhlig's trees, going "He'll come back, he won't come back, he'll come back..." and the leaves said he'd be back. Buhlig arrived back at midnight, and quite understandably told the strange twenty-one-year-old who'd spent twelve hours in his garden pulling the leaves off his trees that no, he would not come to Santa Monica and give a free performance. But he did agree that if Cage brought some of his own compositions he'd give them a look over. Buhlig started giving Cage some proper lessons in composition, although he stressed that he was a performer, not a composer. Around this time Cage wrote his Sonata for Clarinet: [Excerpt: John Cage, "Sonata For Clarinet"] Buhlig suggested that Cage send that to Henry Cowell, the composer we heard about in the episode on "Good Vibrations" who was friends with Lev Termen and who created music by playing the strings inside a piano: [Excerpt: Henry Cowell, "Aeolian Harp and Sinister Resonance"] Cowell offered to take Cage on as an assistant, in return for which Cowell would teach him for a semester, as would Adolph Weiss, a pupil of Schoenberg's. But the goal, which Cowell suggested, was always to have Cage study with Schoenberg himself. Schoenberg at first refused, saying that Cage couldn't afford his price, but eventually took Cage on as a student having been assured that he would devote his entire life to music -- a promise Cage kept. Cage started writing pieces for percussion, something that had been very rare up to that point -- only a handful of composers, most notably Edgard Varese, had written pieces for percussion alone, but Cage was: [Excerpt: John Cage, "Trio"] This is often portrayed as a break from the ideals of his teacher Schoenberg, but in fact there's a clear continuity there, once you see what Cage was taking from Schoenberg. Schoenberg's work is, in some senses, about equality, about all notes being equal. Or to put it another way, it's about fairness. About erasing arbitrary distinctions. What Cage was doing was erasing the arbitrary distinction between the more and less prominent instruments. Why should there be pieces for solo violin or string quartet, but not for multiple percussion players? That said, Schoenberg was not exactly the most encouraging of teachers. When Cage invited Schoenberg to go to a concert of Cage's percussion work, Schoenberg told him he was busy that night. When Cage offered to arrange another concert for a date Schoenberg wasn't busy, the reply came "No, I will not be free at any time". Despite this, Cage later said “Schoenberg was a magnificent teacher, who always gave the impression that he was putting us in touch with musical principles,” and said "I literally worshipped him" -- a strong statement from someone who took religious matters as seriously as Cage. Cage was so devoted to Schoenberg's music that when a concert of music by Stravinsky was promoted as "music of the world's greatest living composer", Cage stormed into the promoter's office angrily, confronting the promoter and making it very clear that such things should not be said in the city where Schoenberg lived. Schoenberg clearly didn't think much of Cage's attempts at composition, thinking -- correctly -- that Cage had no ear for harmony. And his reportedly aggressive and confrontational teaching style didn't sit well with Cage -- though it seems very similar to a lot of the teaching techniques of the Zen masters he would later go on to respect. The two eventually parted ways, although Cage always spoke highly of Schoenberg. Schoenberg later gave Cage a compliment of sorts, when asked if any of his students had gone on to do anything interesting. At first he replied that none had, but then he mentioned Cage and said “Of course he's not a composer, but an inventor—of genius.” Cage was at this point very worried if there was any point to being a composer at all. He said later “I'd read Cowell's New Musical Resources and . . . The Theory of Rhythm. I had also read Chavez's Towards a New Music. Both works gave me the feeling that everything that was possible in music had already happened. So I thought I could never compose socially important music. Only if I could invent something new, then would I be useful to society. But that seemed unlikely then.” [Excerpt: John Cage, "Totem Ancestor"] Part of the solution came when he was asked to compose music for an abstract animation by the filmmaker Oskar Fischinger, and also to work as Fischinger's assistant when making the film. He was fascinated by the stop-motion process, and by the results of the film, which he described as "a beautiful film in which these squares, triangles and circles and other things moved and changed colour.” But more than that he was overwhelmed by a comment by Fischinger, who told him “Everything in the world has its own spirit, and this spirit becomes audible by setting it into vibration.” Cage later said “That set me on fire. He started me on a path of exploration of the world around me which has never stopped—of hitting and stretching and scraping and rubbing everything.” Cage now took his ideas further. His compositions for percussion had been about, if you like, giving the underdog a chance -- percussion was always in the background, why should it not be in the spotlight? Now he realised that there were other things getting excluded in conventional music -- the sounds that we characterise as noise. Why should composers work to exclude those sounds, but work to *include* other sounds? Surely that was... well, a little unfair? Eventually this would lead to pieces like his 1952 piece "Water Music", later expanded and retitled "Water Walk", which can be heard here in his 1959 appearance on the TV show "I've Got a Secret".  It's a piece for, amongst other things, a flowerpot full of flowers, a bathtub, a watering can, a pipe, a duck call, a blender full of ice cubes, and five unplugged radios: [Excerpt: John Cage "Water Walk"] As he was now avoiding pitch and harmony as organising principles for his music, he turned to time. But note -- not to rhythm. He said “There's none of this boom, boom, boom, business in my music . . . a measure is taken as a strict measure of time—not a one two three four—which I fill with various sounds.” He came up with a system he referred to as “micro-macrocosmic rhythmic structure,” what we would now call fractals, though that word hadn't yet been invented, where the structure of the whole piece was reflected in the smallest part of it. For a time he started moving away from the term music, preferring to refer to the "art of noise" or to "organised sound" -- though he later received a telegram from Edgard Varese, one of his musical heroes and one of the few other people writing works purely for percussion, asking him not to use that phrase, which Varese used for his own work. After meeting with Varese and his wife, he later became convinced that it was Varese's wife who had initiated the telegram, as she explained to Cage's wife "we didn't want your husband's work confused with my husband's work, any more than you'd want some . . . any artist's work confused with that of a cartoonist.” While there is a humour to Cage's work, I don't really hear much qualitative difference between a Cage piece like the one we just heard and a Varese piece like Ionisation: [Excerpt: Edgard Varese, "Ionisation"] But it was in 1952, the year of "Water Music" that John Cage made his two biggest impacts on the cultural world, though the full force of those impacts wasn't felt for some years. To understand Cage's 1952 work, you first have to understand that he had become heavily influenced by Zen, which at that time was very little known in the Western world. Indeed he had studied with Daisetsu Suzuki, who is credited with introducing Zen to the West, and said later “I didn't study music with just anybody; I studied with Schoenberg, I didn't study Zen with just anybody; I studied with Suzuki. I've always gone, insofar as I could, to the president of the company.” Cage's whole worldview was profoundly affected by Zen, but he was also naturally sympathetic to it, and his work after learning about Zen is mostly a continuation of trends we can already see. In particular, he became convinced that the point of music isn't to communicate anything between two people, rather its point is merely to be experienced. I'm far from an expert on Buddhism, but one way of thinking about its central lessons is that one should experience things as they are, experiencing the thing itself rather than one's thoughts or preconceptions about it. And so at Black Mountain college came Theatre Piece Number 1: [Excerpt: Edith Piaf, "La Vie En Rose" ] In this piece, Cage had set the audience on all sides, so they'd be facing each other. He stood on a stepladder, as colleagues danced in and around the audience, another colleague played the piano, two more took turns to stand on another stepladder to recite poetry, different films and slides were projected, seemingly at random, onto the walls, and the painter Robert Rauschenberg played scratchy Edith Piaf records on a wind-up gramophone. The audience were included in the performance, and it was meant to be experienced as a gestalt, as a whole, to be what we would now call an immersive experience. One of Cage's students around this time was the artist Allan Kaprow, and he would be inspired by Theatre Piece Number 1 to put on several similar events in the late fifties. Those events he called "happenings", because the point of them was that you were meant to experience an event as it was happening rather than bring preconceptions of form and structure to them. Those happenings were the inspiration for events like The 14 Hour Technicolor Dream, and the term "happening" became such an integral part of the counterculture that by 1967 there were comedy films being released about them, including one just called The Happening with a title track by the Supremes that made number one: [Excerpt: The Supremes, "The Happening"] Theatre Piece Number 1 was retrospectively considered the first happening, and as such its influence is incalculable. But one part I didn't mention about Theatre Piece Number 1 is that as well as Rauschenberg playing Edith Piaf's records, he also displayed some of his paintings. These paintings were totally white -- at a glance, they looked like blank canvases, but as one inspected them more clearly, it became apparent that Rauschenberg had painted them with white paint, with visible brushstrokes. These paintings, along with a visit to an anechoic chamber in which Cage discovered that even in total silence one can still hear one's own blood and nervous system, so will never experience total silence, were the final key to something Cage had been working towards -- if music had minimised percussion, and excluded noise, how much more had it excluded silence? As Cage said in 1958 “Curiously enough, the twelve-tone system has no zero in it.” And so came 4'33, the piece that we heard an excerpt of near the start of this episode. That piece was the something new he'd been looking for that could be useful to society. It took the sounds the audience could already hear, and without changing them even slightly gave them a new context and made the audience hear them as they were. Simply by saying "this is music", it caused the ambient noise to be perceived as music. This idea, of recontextualising existing material, was one that had already been done in the art world -- Marcel Duchamp, in 1917, had exhibited a urinal as a sculpture titled "Fountain" -- but even Duchamp had talked about his work as "everyday objects raised to the dignity of a work of art by the artist's act of choice". The artist was *raising* the object to art. What Cage was saying was "the object is already art". This was all massively influential to a young painter who had seen Cage give lectures many times, and while at art school had with friends prepared a piano in the same way Cage did for his own experimental compositions, dampening the strings with different objects. [Excerpt: Dana Gillespie, "Andy Warhol (live)"] Duchamp and Rauschenberg were both big influences on Andy Warhol, but he would say in the early sixties "John Cage is really so responsible for so much that's going on," and would for the rest of his life cite Cage as one of the two or three prime influences of his career. Warhol is a difficult figure to discuss, because his work is very intellectual but he was not very articulate -- which is one reason I've led up to him by discussing Cage in such detail, because Cage was always eager to talk at great length about the theoretical basis of his work, while Warhol would say very few words about anything at all. Probably the person who knew him best was his business partner and collaborator Paul Morrissey, and Morrissey's descriptions of Warhol have shaped my own view of his life, but it's very worth noting that Morrissey is an extremely right-wing moralist who wishes to see a Catholic theocracy imposed to do away with the scourges of sexual immorality, drug use, hedonism, and liberalism, so his view of Warhol, a queer drug using progressive whose worldview seems to have been totally opposed to Morrissey's in every way, might be a little distorted. Warhol came from an impoverished background, and so, as many people who grew up poor do, he was, throughout his life, very eager to make money. He studied art at university, and got decent but not exceptional grades -- he was a competent draughtsman, but not a great one, and most importantly as far as success in the art world goes he didn't have what is known as his own "line" -- with most successful artists, you can look at a handful of lines they've drawn and see something of their own personality in it. You couldn't with Warhol. His drawings looked like mediocre imitations of other people's work. Perfectly competent, but nothing that stood out. So Warhol came up with a technique to make his drawings stand out -- blotting. He would do a normal drawing, then go over it with a lot of wet ink. He'd lower a piece of paper on to the wet drawing, and the new paper would soak up the ink, and that second piece of paper would become the finished work. The lines would be fractured and smeared, broken in places where the ink didn't get picked up, and thick in others where it had pooled. With this mechanical process, Warhol had managed to create an individual style, and he became an extremely successful commercial artist. In the early 1950s photography was still seen as a somewhat low-class way of advertising things. If you wanted to sell to a rich audience, you needed to use drawings or paintings. By 1955 Warhol was making about twelve thousand dollars a year -- somewhere close to a hundred and thirty thousand a year in today's money -- drawing shoes for advertisements. He also had a sideline in doing record covers for people like Count Basie: [Excerpt: Count Basie, "Seventh Avenue Express"] For most of the 1950s he also tried to put on shows of his more serious artistic work -- often with homoerotic themes -- but to little success. The dominant art style of the time was the abstract expressionism of people like Jackson Pollock, whose art was visceral, emotional, and macho. The term "action paintings" which was coined for the work of people like Pollock, sums it up. This was manly art for manly men having manly emotions and expressing them loudly. It was very male and very straight, and even the gay artists who were prominent at the time tended to be very conformist and look down on anything they considered flamboyant or effeminate. Warhol was a rather effeminate, very reserved man, who strongly disliked showing his emotions, and whose tastes ran firmly to the camp. Camp as an aesthetic of finding joy in the flamboyant or trashy, as opposed to merely a descriptive term for men who behaved in a way considered effeminate, was only just starting to be codified at this time -- it wouldn't really become a fully-formed recognisable thing until Susan Sontag's essay "Notes on Camp" in 1964 -- but of course just because something hasn't been recognised doesn't mean it doesn't exist, and Warhol's aesthetic was always very camp, and in the 1950s in the US that was frowned upon even in gay culture, where the mainstream opinion was that the best way to acceptance was through assimilation. Abstract expressionism was all about expressing the self, and that was something Warhol never wanted to do -- in fact he made some pronouncements at times which suggested he didn't think of himself as *having* a self in the conventional sense. The combination of not wanting to express himself and of wanting to work more efficiently as a commercial artist led to some interesting results. For example, he was commissioned in 1957 to do a cover for an album by Moondog, the blind street musician whose name Alan Freed had once stolen: [Excerpt: Moondog, "Gloving It"] For that cover, Warhol got his mother, Julia Warhola, to just write out the liner notes for the album in her rather ornamental cursive script, and that became the front cover, leading to an award for graphic design going that year to "Andy Warhol's mother". (Incidentally, my copy of the current CD issue of that album, complete with Julia Warhola's cover, is put out by Pickwick Records...) But towards the end of the fifties, the work for commercial artists started to dry up. If you wanted to advertise shoes, now, you just took a photo of the shoes rather than get Andy Warhol to draw a picture of them. The money started to disappear, and Warhol started to panic. If there was no room for him in graphic design any more, he had to make his living in the fine arts, which he'd been totally unsuccessful in. But luckily for Warhol, there was a new movement that was starting to form -- Pop Art. Pop Art started in England, and had originally been intended, at least in part, as a critique of American consumerist capitalism. Pieces like "Just what is it that makes today's homes so different, so appealing?" by Richard Hamilton (who went on to design the Beatles' White Album cover) are collages of found images, almost all from American sources, recontextualised and juxtaposed in interesting ways, so a bodybuilder poses in a room that's taken from an advert in Ladies' Home Journal, while on the wall, instead of a painting, hangs a blown-up cover of a Jack Kirby romance comic. Pop Art changed slightly when it got taken up in America, and there it became something rather different, something closer to Duchamp, taking those found images and displaying them as art with no juxtaposition. Where Richard Hamilton created collage art which *showed* a comic cover by Jack Kirby as a painting in the background, Roy Lichtenstein would take a panel of comic art by Kirby, or Russ Heath or Irv Novick or a dozen other comic artists, and redraw it at the size of a normal painting. So Warhol took Cage's idea that the object is already art, and brought that into painting, starting by doing paintings of Campbell's soup cans, in which he tried as far as possible to make the cans look exactly like actual soup cans. The paintings were controversial, inciting fury in some and laughter in others and causing almost everyone to question whether they were art. Warhol would embrace an aesthetic in which things considered unimportant or trash or pop culture detritus were the greatest art of all. For example pretty much every profile of him written in the mid sixties talks about him obsessively playing "Sally Go Round the Roses", a girl-group single by the one-hit wonders the Jaynettes: [Excerpt: The Jaynettes, "Sally Go Round the Roses"] After his paintings of Campbell's soup cans, and some rather controversial but less commercially successful paintings of photographs of horrors and catastrophes taken from newspapers, Warhol abandoned painting in the conventional sense altogether, instead creating brightly coloured screen prints -- a form of stencilling -- based on photographs of celebrities like Elvis Presley, Elizabeth Taylor and, most famously, Marilyn Monroe. That way he could produce images which could be mass-produced, without his active involvement, and which supposedly had none of his personality in them, though of course his personality pervades the work anyway. He put on exhibitions of wooden boxes, silk-screen printed to look exactly like shipping cartons of Brillo pads. Images we see everywhere -- in newspapers, in supermarkets -- were art. And Warhol even briefly formed a band. The Druds were a garage band formed to play at a show at the Washington Gallery of Modern Art, the opening night of an exhibition that featured a silkscreen by Warhol of 210 identical bottles of Coca-Cola, as well as paintings by Rauschenberg and others. That opening night featured a happening by Claes Oldenburg, and a performance by Cage -- Cage gave a live lecture while three recordings of his own voice also played. The Druds were also meant to perform, but they fell apart after only a few rehearsals. Some recordings apparently exist, but they don't seem to circulate, but they'd be fascinating to hear as almost the entire band were non-musician artists like Warhol, Jasper Johns, and the sculptor Walter de Maria. Warhol said of the group “It didn't go too well, but if we had just stayed on it it would have been great.” On the other hand, the one actual musician in the group said “It was kind of ridiculous, so I quit after the second rehearsal". That musician was La Monte Young: [Excerpt: La Monte Young, "The Well-Tuned Piano"] That's an excerpt from what is generally considered Young's masterwork, "The Well-Tuned Piano". It's six and a half hours long. If Warhol is a difficult figure to write about, Young is almost impossible. He's a musician with a career stretching sixty years, who is arguably the most influential musician from the classical tradition in that time period. He's generally considered the father of minimalism, and he's also been called by Brian Eno "the daddy of us all" -- without Young you simply *do not* get art rock at all. Without Young there is no Velvet Underground, no David Bowie, no Eno, no New York punk scene, no Yoko Ono. Anywhere that the fine arts or conceptual art have intersected with popular music in the last fifty or more years has been influenced in one way or another by Young's work. BUT... he only rarely publishes his scores. He very, very rarely allows recordings of his work to be released -- there are four recordings on his bandcamp, plus a handful of recordings of his older, published, pieces, and very little else. He doesn't allow his music to be performed live without his supervision. There *are* bootleg recordings of his music, but even those are not easily obtainable -- Young is vigorous in enforcing his copyrights and issues takedown notices against anywhere that hosts them. So other than that handful of legitimately available recordings -- plus a recording by Young's Theater of Eternal Music, the legality of which is still disputed, and an off-air recording of a 1971 radio programme I've managed to track down, the only way to experience Young's music unless you're willing to travel to one of his rare live performances or installations is second-hand, by reading about it. Except that the one book that deals solely with Young and his music is not only a dense and difficult book to read, it's also one that Young vehemently disagreed with and considered extremely inaccurate, to the point he refused to allow permissions to quote his work in the book. Young did apparently prepare a list of corrections for the book, but he wouldn't tell the author what they were without payment. So please assume that anything I say about Young is wrong, but also accept that the short section of this episode about Young has required more work to *try* to get it right than pretty much anything else this year. Young's musical career actually started out in a relatively straightforward manner. He didn't grow up in the most loving of homes -- he's talked about his father beating him as a child because he had been told that young La Monte was clever -- but his father did buy him a saxophone and teach him the rudiments of the instrument, and as a child he was most influenced by the music of the big band saxophone player Jimmy Dorsey: [Excerpt: Jimmy Dorsey, “It's the Dreamer in Me”] The family, who were Mormon farmers, relocated several times in Young's childhood, from Idaho first to California and then to Utah, but everywhere they went La Monte seemed to find musical inspiration, whether from an uncle who had been part of the Kansas City jazz scene, a classmate who was a musical prodigy who had played with Perez Prado in his early teens, or a teacher who took the class to see a performance of Bartok's Concerto for Orchestra: [Excerpt: Bartok, "Concerto for Orchestra"] After leaving high school, Young went to Los Angeles City College to study music under Leonard Stein, who had been Schoenberg's assistant when Schoenberg had taught at UCLA, and there he became part of the thriving jazz scene based around Central Avenue, studying and performing with musicians like Ornette Coleman, Don Cherry, and Eric Dolphy -- Young once beat Dolphy in an audition for a place in the City College dance band, and the two would apparently substitute for each other on their regular gigs when one couldn't make it. During this time, Young's musical tastes became much more adventurous. He was a particular fan of the work of John Coltrane, and also got inspired by City of Glass, an album by Stan Kenton that attempted to combine jazz and modern classical music: [Excerpt: Stan Kenton's Innovations Orchestra, "City of Glass: The Structures"] His other major musical discovery in the mid-fifties was one we've talked about on several previous occasions -- the album Music of India, Morning and Evening Ragas by Ali Akhbar Khan: [Excerpt: Ali Akhbar Khan, "Rag Sindhi Bhairavi"] Young's music at this point was becoming increasingly modal, and equally influenced by the blues and Indian music. But he was also becoming interested in serialism. Serialism is an extension and generalisation of twelve-tone music, inspired by mathematical set theory. In serialism, you choose a set of musical elements -- in twelve-tone music that's the twelve notes in the twelve-tone scale, but it can also be a set of tonal relations, a chord, or any other set of elements. You then define all the possible ways you can permute those elements, a defined set of operations you can perform on them -- so you could play a scale forwards, play it backwards, play all the notes in the scale simultaneously, and so on. You then go through all the possible permutations, exactly once, and that's your piece of music. Young was particularly influenced by the works of Anton Webern, one of the earliest serialists: [Excerpt: Anton Webern, "Cantata number 1 for Soprano, Mixed Chorus, and Orchestra"] That piece we just heard, Webern's "Cantata number 1", was the subject of some of the earliest theoretical discussion of serialism, and in particular led to some discussion of the next step on from serialism. If serialism was all about going through every single permutation of a set, what if you *didn't* permute every element? There was a lot of discussion in the late fifties in music-theoretical circles about the idea of invariance. Normally in music, the interesting thing is what gets changed. To use a very simple example, you might change a melody from a major key to a minor one to make it sound sadder. What theorists at this point were starting to discuss is what happens if you leave something the same, but change the surrounding context, so the thing you *don't* vary sounds different because of the changed context. And going further, what if you don't change the context at all, and merely *imply* a changed context? These ideas were some of those which inspired Young's first major work, his Trio For Strings from 1958, a complex, palindromic, serial piece which is now credited as the first work of minimalism, because the notes in it change so infrequently: [Excerpt: La Monte Young, "Trio for Strings"] Though I should point out that Young never considers his works truly finished, and constantly rewrites them, and what we just heard is an excerpt from the only recording of the trio ever officially released, which is of the 2015 version. So I can't state for certain how close what we just heard is to the piece he wrote in 1958, except that it sounds very like the written descriptions of it I've read. After writing the Trio For Strings, Young moved to Germany to study with the modernist composer Karlheinz Stockhausen. While studying with Stockhausen, he became interested in the work of John Cage, and started up a correspondence with Cage. On his return to New York he studied with Cage and started writing pieces inspired by Cage, of which the most musical is probably Composition 1960 #7: [Excerpt: La Monte Young, "Composition 1960 #7"] The score for that piece is a stave on which is drawn a treble clef, the notes B and F#, and the words "To be held for a long Time". Other of his compositions from 1960 -- which are among the few of his compositions which have been published -- include composition 1960 #10 ("To Bob Morris"), the score for which is just the instruction "Draw a straight line and follow it.", and Piano Piece for David  Tudor #1, the score for which reads "Bring a bale of hay and a bucket of water onto the stage for the piano to eat and drink. The performer may then feed the piano or leave it to eat by itself. If the former, the piece is over after the piano has been fed. If the latter, it is over after the piano eats or decides not to". Most of these compositions were performed as part of a loose New York art collective called Fluxus, all of whom were influenced by Cage and the Dadaists. This collective, led by George Maciunas, sometimes involved Cage himself, but also involved people like Henry Flynt, the inventor of conceptual art, who later became a campaigner against art itself, and who also much to Young's bemusement abandoned abstract music in the mid-sixties to form a garage band with Walter de Maria (who had played drums with the Druds): [Excerpt: Henry Flynt and the Insurrections, "I Don't Wanna"] Much of Young's work was performed at Fluxus concerts given in a New York loft belonging to another member of the collective, Yoko Ono, who co-curated the concerts with Young. One of Ono's mid-sixties pieces, her "Four Pieces for Orchestra" is dedicated to Young, and consists of such instructions as "Count all the stars of that night by heart. The piece ends when all the orchestra members finish counting the stars, or when it dawns. This can be done with windows instead of stars." But while these conceptual ideas remained a huge part of Young's thinking, he soon became interested in two other ideas. The first was the idea of just intonation -- tuning instruments and voices to perfect harmonics, rather than using the subtly-off tuning that is used in Western music. I'm sure I've explained that before in a previous episode, but to put it simply when you're tuning an instrument with fixed pitches like a piano, you have a choice -- you can either tune it so that the notes in one key are perfectly in tune with each other, but then when you change key things go very out of tune, or you can choose to make *everything* a tiny bit, almost unnoticeably, out of tune, but equally so. For the last several hundred years, musicians as a community have chosen the latter course, which was among other things promoted by Bach's Well-Tempered Clavier, a collection of compositions which shows how the different keys work together: [Excerpt: Bach (Glenn Gould), "The Well-Tempered Clavier, Book II: Fugue in F-sharp minor, BWV 883"] Young, by contrast, has his own esoteric tuning system, which he uses in his own work The Well-Tuned Piano: [Excerpt: La Monte Young, "The Well-Tuned Piano"] The other idea that Young took on was from Indian music, the idea of the drone. One of the four recordings of Young's music that is available from his Bandcamp, a 1982 recording titled The Tamburas of Pandit Pran Nath, consists of one hour, thirteen minutes, and fifty-eight seconds of this: [Excerpt: La Monte Young, "The Tamburas of Pandit Pran Nath"] Yes, I have listened to the whole piece. No, nothing else happens. The minimalist composer Terry Riley describes the recording as "a singularly rare contribution that far outshines any other attempts to capture this instrument in recorded media". In 1962, Young started writing pieces based on what he called the "dream chord", a chord consisting of a root, fourth, sharpened fourth, and fifth: [dream chord] That chord had already appeared in his Trio for Strings, but now it would become the focus of much of his work, in pieces like his 1962 piece The Second Dream of the High-Tension Line Stepdown Transformer, heard here in a 1982 revision: [Excerpt: La Monte Young, "The Second Dream of the High-Tension Line Stepdown Transformer"] That was part of a series of works titled The Four Dreams of China, and Young began to plan an installation work titled Dream House, which would eventually be created, and which currently exists in Tribeca, New York, where it's been in continuous "performance" for thirty years -- and which consists of thirty-two different pure sine wave tones all played continuously, plus purple lighting by Young's wife Marian Zazeela. But as an initial step towards creating this, Young formed a collective called Theatre of Eternal Music, which some of the members -- though never Young himself -- always claim also went by the alternative name The Dream Syndicate. According to John Cale, a member of the group, that name came about because the group tuned their instruments to the 60hz hum of the fridge in Young's apartment, which Cale called "the key of Western civilisation". According to Cale, that meant the fundamental of the chords they played was 10hz, the frequency of alpha waves when dreaming -- hence the name. The group initially consisted of Young, Zazeela, the photographer Billy Name, and percussionist Angus MacLise, but by this recording in 1964 the lineup was Young, Zazeela, MacLise, Tony Conrad and John Cale: [Excerpt: "Cale, Conrad, Maclise, Young, Zazeela - The Dream Syndicate 2 IV 64-4"] That recording, like any others that have leaked by the 1960s version of the Theatre of Eternal Music or Dream Syndicate, is of disputed legality, because Young and Zazeela claim to this day that what the group performed were La Monte Young's compositions, while the other two surviving members, Cale and Conrad, claim that their performances were improvisational collaborations and should be equally credited to all the members, and so there have been lawsuits and countersuits any time anyone has released the recordings. John Cale, the youngest member of the group, was also the only one who wasn't American. He'd been born in Wales in 1942, and had had the kind of childhood that, in retrospect, seems guaranteed to lead to eccentricity. He was the product of a mixed-language marriage -- his father, William, was an English speaker while his mother, Margaret, spoke Welsh, but the couple had moved in on their marriage with Margaret's mother, who insisted that only Welsh could be spoken in her house. William didn't speak Welsh, and while he eventually picked up the basics from spending all his life surrounded by Welsh-speakers, he refused on principle to capitulate to his mother-in-law, and so remained silent in the house. John, meanwhile, grew up a monolingual Welsh speaker, and didn't start to learn English until he went to school when he was seven, and so couldn't speak to his father until then even though they lived together. Young John was extremely unwell for most of his childhood, both physically -- he had bronchial problems for which he had to take a cough mixture that was largely opium to help him sleep at night -- and mentally. He was hospitalised when he was sixteen with what was at first thought to be meningitis, but turned out to be a psychosomatic condition, the result of what he has described as a nervous breakdown. That breakdown is probably connected to the fact that during his teenage years he was sexually assaulted by two adults in positions of authority -- a vicar and a music teacher -- and felt unable to talk to anyone about this. He was, though, a child prodigy and was playing viola with the National Youth Orchestra of Wales from the age of thirteen, and listening to music by Schoenberg, Webern, and Stravinsky. He was so talented a multi-instrumentalist that at school he was the only person other than one of the music teachers and the headmaster who was allowed to use the piano -- which led to a prank on his very last day at school. The headmaster would, on the last day, hit a low G on the piano to cue the assembly to stand up, and Cale had placed a comb on the string, muting it and stopping the note from sounding -- in much the same way that his near-namesake John Cage was "preparing" pianos for his own compositions in the USA. Cale went on to Goldsmith's College to study music and composition, under Humphrey Searle, one of Britain's greatest proponents of serialism who had himself studied under Webern. Cale's main instrument was the viola, but he insisted on also playing pieces written for the violin, because they required more technical skill. For his final exam he chose to play Hindemith's notoriously difficult Viola Sonata: [Excerpt: Hindemith Viola Sonata] While at Goldsmith's, Cale became friendly with Cornelius Cardew, a composer and cellist who had studied with Stockhausen and at the time was a great admirer of and advocate for the works of Cage and Young (though by the mid-seventies Cardew rejected their work as counter-revolutionary bourgeois imperialism). Through Cardew, Cale started to correspond with Cage, and with George Maciunas and other members of Fluxus. In July 1963, just after he'd finished his studies at Goldsmith's, Cale presented a festival there consisting of an afternoon and an evening show. These shows included the first British performances of several works including Cardew's Autumn '60 for Orchestra -- a piece in which the musicians were given blank staves on which to write whatever part they wanted to play, but a separate set of instructions in *how* to play the parts they'd written. Another piece Cale presented in its British premiere at that show was Cage's "Concerto for Piano and Orchestra": [Excerpt: John Cage, "Concerto for Piano and Orchestra"] In the evening show, they performed Two Pieces For String Quartet by George Brecht (in which the musicians polish their instruments with dusters, making scraping sounds as they clean them),  and two new pieces by Cale, one of which involved a plant being put on the stage, and then the performer, Robin Page, screaming from the balcony at the plant that it would die, then running down, through the audience, and onto the stage, screaming abuse and threats at the plant. The final piece in the show was a performance by Cale (the first one in Britain) of La Monte Young's "X For Henry Flynt". For this piece, Cale put his hands together and then smashed both his arms onto the keyboard as hard as he could, over and over. After five minutes some of the audience stormed the stage and tried to drag the piano away from him. Cale followed the piano on his knees, continuing to bang the keys, and eventually the audience gave up in defeat and Cale the performer won. After this Cale moved to the USA, to further study composition, this time with Iannis Xenakis, the modernist composer who had also taught Mickey Baker orchestration after Baker left Mickey and Sylvia, and who composed such works as "Orient Occident": [Excerpt: Iannis Xenakis, "Orient Occident"] Cale had been recommended to Xenakis as a student by Aaron Copland, who thought the young man was probably a genius. But Cale's musical ambitions were rather too great for Tanglewood, Massachusetts -- he discovered that the institute had eighty-eight pianos, the same number as there are keys on a piano keyboard, and thought it would be great if for a piece he could take all eighty-eight pianos, put them all on different boats, sail the boats out onto a lake, and have eighty-eight different musicians each play one note on each piano, while the boats sank with the pianos on board. For some reason, Cale wasn't allowed to perform this composition, and instead had to make do with one where he pulled an axe out of a single piano and slammed it down on a table. Hardly the same, I'm sure you'll agree. From Tanglewood, Cale moved on to New York, where he soon became part of the artistic circles surrounding John Cage and La Monte Young. It was at this time that he joined Young's Theatre of Eternal Music, and also took part in a performance with Cage that would get Cale his first television exposure: [Excerpt: John Cale playing Erik Satie's "Vexations" on "I've Got a Secret"] That's Cale playing through "Vexations", a piece by Erik Satie that wasn't published until after Satie's death, and that remained in obscurity until Cage popularised -- if that's the word -- the piece. The piece, which Cage had found while studying Satie's notes, seems to be written as an exercise and has the inscription (in French) "In order to play the motif 840 times in succession, it would be advisable to prepare oneself beforehand, and in the deepest silence, by serious immobilities." Cage interpreted that, possibly correctly, as an instruction that the piece should be played eight hundred and forty times straight through, and so he put together a performance of the piece, the first one ever, by a group he called the Pocket Theatre Piano Relay Team, which included Cage himself, Cale, Joshua Rifkin, and several other notable musical figures, who took it in turns playing the piece. For that performance, which ended up lasting eighteen hours, there was an entry fee of five dollars, and there was a time-clock in the lobby. Audience members punched in and punched out, and got a refund of five cents for every twenty minutes they'd spent listening to the music. Supposedly, at the end, one audience member yelled "Encore!" A week later, Cale appeared on "I've Got a Secret", a popular game-show in which celebrities tried to guess people's secrets (and which is where that performance of Cage's "Water Walk" we heard earlier comes from): [Excerpt: John Cale on I've Got a Secret] For a while, Cale lived with a friend of La Monte Young's, Terry Jennings, before moving in to a flat with Tony Conrad, one of the other members of the Theatre of Eternal Music. Angus MacLise lived in another flat in the same building. As there was not much money to be made in avant-garde music, Cale also worked in a bookshop -- a job Cage had found him -- and had a sideline in dealing drugs. But rents were so cheap at this time that Cale and Conrad only had to work part-time, and could spend much of their time working on the music they were making with Young. Both were string players -- Conrad violin, Cale viola -- and they soon modified their instruments. Conrad merely attached pickups to his so it could be amplified, but Cale went much further. He filed down the viola's bridge so he could play three strings at once, and he replaced the normal viola strings with thicker, heavier, guitar and mandolin strings. This created a sound so loud that it sounded like a distorted electric guitar -- though in late 1963 and early 1964 there were very few people who even knew what a distorted guitar sounded like. Cale and Conrad were also starting to become interested in rock and roll music, to which neither of them had previously paid much attention, because John Cage's music had taught them to listen for music in sounds they previously dismissed. In particular, Cale became fascinated with the harmonies of the Everly Brothers, hearing in them the same just intonation that Young advocated for: [Excerpt: The Everly Brothers, "All I Have to Do is Dream"] And it was with this newfound interest in rock and roll that Cale and Conrad suddenly found themselves members of a manufactured pop band. The two men had been invited to a party on the Lower East Side, and there they'd been introduced to Terry Phillips of Pickwick Records. Phillips had seen their long hair and asked if they were musicians, so they'd answered "yes". He asked if they were in a band, and they said yes. He asked if that band had a drummer, and again they said yes. By this point they realised that he had assumed they were rock guitarists, rather than experimental avant-garde string players, but they decided to play along and see where this was going. Phillips told them that if they brought along their drummer to Pickwick's studios the next day, he had a job for them. The two of them went along with Walter de Maria, who did play the drums a little in between his conceptual art work, and there they were played a record: [Excerpt: The Primitives, "The Ostrich"] It was explained to them that Pickwick made knock-off records -- soundalikes of big hits, and their own records in the style of those hits, all played by a bunch of session musicians and put out under different band names. This one, by "the Primitives", they thought had a shot at being an actual hit, even though it was a dance-craze song about a dance where one partner lays on the floor and the other stamps on their head. But if it was going to be a hit, they needed an actual band to go out and perform it, backing the singer. How would Cale, Conrad, and de Maria like to be three quarters of the Primitives? It sounded fun, but of course they weren't actually guitarists. But as it turned out, that wasn't going to be a problem. They were told that the guitars on the track had all been tuned to one note -- not even to an open chord, like we talked about Steve Cropper doing last episode, but all the strings to one note. Cale and Conrad were astonished -- that was exactly the kind of thing they'd been doing in their drone experiments with La Monte Young. Who was this person who was independently inventing the most advanced ideas in experimental music but applying them to pop songs? And that was how they met Lou Reed: [Excerpt: The Primitives, "The Ostrich"] Where Cale and Conrad were avant-gardeists who had only just started paying attention to rock and roll music, rock and roll was in Lou Reed's blood, but there were a few striking similarities between him and Cale, even though at a glance their backgrounds could not have seemed more different. Reed had been brought up in a comfortably middle-class home in Long Island, but despised the suburban conformity that surrounded him from a very early age, and by his teens was starting to rebel against it very strongly. According to one classmate “Lou was always more advanced than the rest of us. The drinking age was eighteen back then, so we all started drinking at around sixteen. We were drinking quarts of beer, but Lou was smoking joints. He didn't do that in front of many people, but I knew he was doing it. While we were looking at girls in Playboy, Lou was reading Story of O. He was reading the Marquis de Sade, stuff that I wouldn't even have thought about or known how to find.” But one way in which Reed was a typical teenager of the period was his love for rock and roll, especially doo-wop. He'd got himself a guitar, but only had one lesson -- according to the story he would tell on numerous occasions, he turned up with a copy of "Blue Suede Shoes" and told the teacher he only wanted to know how to play the chords for that, and he'd work out the rest himself. Reed and two schoolfriends, Alan Walters and Phil Harris, put together a doo-wop trio they called The Shades, because they wore sunglasses, and a neighbour introduced them to Bob Shad, who had been an A&R man for Mercury Records and was starting his own new label. He renamed them the Jades and took them into the studio with some of the best New York session players, and at fourteen years old Lou Reed was writing songs and singing them backed by Mickey Baker and King Curtis: [Excerpt: The Jades, "Leave Her For Me"] Sadly the Jades' single was a flop -- the closest it came to success was being played on Murray the K's radio show, but on a day when Murray the K was off ill and someone else was filling in for him, much to Reed's disappointment. Phil Harris, the lead singer of the group, got to record some solo sessions after that, but the Jades split up and it would be several years before Reed made any more records. Partly this was because of Reed's mental health, and here's where things get disputed and rather messy. What we know is that in his late teens, just after he'd gone off to New

We meet emerging artist Nash Glynn, from her studio in New York's Seaport! Nash Glynn (b.1992) is a transdisciplinary American artist currently working in NYC. Working across painting, photography, and video, Glynn is best known for her groundbreaking nude self-portraits of her experience and life as a transgender woman, an underrepresented figure in the Western art canon until recently. Glynn was born and raised in Miami, Florida and learned to paint while working at her father's set design shop. Speaking about their work, the artist says, ‘I use paint as I use my body, and as such the possibilities for spontaneity of form and change become inexhaustible. By crafting affective figures I seek to create empathy. The work serves as an affirmation, a reminder that representation has no outside, meaning we choose the reference, add and remove as we please, manipulate each stroke with unique gesture and tone. A process of painting, also known as self-determination.'Nash Glynn (b.1992) received her BFA in 2014 from the School of the Museum of Fine Arts, and in 2017 her MFA from Columbia University. She has had solo shows at Participant Inc. in 2019, OCD Chinatown in 2020, and an upcoming exhibition at Vielmetter Los Angeles in Fall 2021. Her work has been in publications such as Artforum, Candy Transversal Magazine, and New American Paintings. Glynn was the recipient of the Leslie-Lohman Museum Artist Fellowship in 2017."Interiors, with its plural title, belies the singularity of Glynn's point of view. Lately, she sticks to painting what she sees from the swivel stool she's positioned between window and easel, things like: apples in a bowl, closed door, knife. Herself in a mirror, or her mind's eye. Mostly windows. Yet this self-imposed agreement comes with a proviso to also see with her eyes closed, so as to produce landscapes that look mental. Glynn's intuitive aversion to the rules of the physical world finds its clearest expression in her palette, which has the firmness of a signature. Alice Neel's cobalt, Paul Gauguin's vermillion, Lucian Freud's mauve are all her colours now. Mixing: as little as possible. Earth tones: no. When she concedes the need for green in a landscape, the shade she uses is not actually grass but jade, à la Ferdinand Hodler; the resulting swath of field looks undulant and cold enough to pass for ocean. Then of course there is white. Rauschenberg's white, or Ryman's. The white of a well-rested eye, of the sand under the sun, of nothing said. Glynn has, over the past several years, developed a style of both still life and portraiture in which objects and/or subjects are exquisitely rendered and then set out on a ground that is white except for traces of shadow, so that the knife or flower or girl appears surfaced from memory." Excerpt from Catalogue Essay by Sarah Nicole Prickett from show Interiors.Follow Nash on Instagram: @NashGlynnVisit Nash's official website: http://www.nashglynn.com/View images at Vielmetter, LA: https://vielmetter.com/exhibitions/nash-glynn and @Vielmetter Hosted on Acast. See acast.com/privacy for more information.

Welcome back! Today we're joined by returning guest, Krista Rauschenberg, Akashic reader and breath work practitioner. A few months ago, Krista guided Mia and Carleigh through a workshop about accessing your Akashic records. Today, we discuss what happened in the session, and learn more about Krista's background, how to connect to your own intuition, and why we have such a difficult time trusting our gut. We dive right into today's conversation, so if you aren't familiar with what the Akashic records are or haven't heard our first episode with Krista, head back and listen to Episode 24 with Krista or Episode 65 with Nikki Novo to learn more of the basics. what we talk about: How accessing the Akashic records can help you identify blocks in your life How breath work can help you work through that trauma What it means to trust your intuition Why human beings have such a difficult time getting out of their own heads How to access your own Akashic records What it feels like when Krista takes on other peoples' energy Krista's favorite ways to practice self care & more To learn more about how to sign up for Krista's next workshop or how to get a reading with her, head to her Instagram @akashicglow or visit her website www.akashicglow.com. In today's intro, we share what we're loving lately: Carleigh: Quip water flosser on sale 20% off! Mia: Seven Sundays cereal + we answer a listener question about what you should know about someone by date 3. As always, find us on Instagram @mostlybalancedpodcast and on our website. Thanks for joining us and please leave a rating or review if you enjoyed the episode! --- Support this podcast: https://anchor.fm/mostlybalanced/support

We explore the art of Robert Rauschenberg, the influence of John Cage, and two of Rauschenberg's paintings, Factum 1 and Factum 2, currently on view at the National Gallery of Art in their current exhibition, Then Double: Identity and Difference in Art since 1900. We find a lot of terrific information in a new book […]

Last week, I took the train into DC to visit the National Gallery of Art, which is by far one of my favorite places in the city. Regardless of the show or exhibition, I always come home energized and inspired. Sometimes, I'll even go down just to sit in the “Rothko Room” for an hour — and I know the official name is Tower 1 of the East Building, but I think Rothko Room sounds much more poetic. On this particular trip, I was there to see The Double, a show that a friend who works at the gallery called “life changing” — which is saying something considering she's one of the top paper conservators in the world and has seen some pretty incredible work over the course of her career. The show really is fantastic and features work by some of my favorite artists, including Frank Stella and Robert Rauschenberg; and it begins with a pair of American flags by Jasper Johns displayed opposite Double America by Glenn Ligon.LINKSNational Gallery of ArtRothko RoomThe DoubleDouble AmericaRothko: The Color Field PaintingsEpisode 59 of Deep NatterCONNECT WITH MEWebsite: https://jefferysaddoris.com  Twitter: @jefferysaddoris  Instagram: @jefferysaddorisSUBSCRIBESubscribe to Jeffery Saddoris: Everything in your favorite podcast app to get every show I release in one feed.SUPPORTLeave a review or a rating wherever you listen, or you can DONATE to support the shows more directly.MUSICMusic For Workplaces by Jeffery SaddorisSupport the show

Last week, I took the train into DC to visit the National Gallery of Art, which is by far one of my favorite places in the city. Regardless of the show or exhibition, I always come home energized and inspired. Sometimes, I'll even go down just to sit in the “Rothko Room” for an hour — and I know the official name is Tower 1 of the East Building, but I think Rothko Room sounds much more poetic. On this particular trip, I was there to see The Double, a show that a friend who works at the gallery called “life changing” — which is saying something considering she's one of the top paper conservators in the world and has seen some pretty incredible work over the course of her career. The show really is fantastic and features work by some of my favorite artists, including Frank Stella and Robert Rauschenberg; and it begins with a pair of American flags by Jasper Johns displayed opposite Double America by Glenn Ligon.LINKSNational Gallery of ArtRothko RoomThe DoubleDouble AmericaRothko: The Color Field PaintingsEpisode 59 of Deep NatterCONNECT WITH MEWebsite: https://jefferysaddoris.com  Twitter: @jefferysaddoris  Instagram: @jefferysaddorisSUBSCRIBESubscribe to Jeffery Saddoris: Everything in your favorite podcast app to get every show I release in one feed.SUPPORTLeave a review or a rating wherever you listen, or you can DONATE to support the shows more directly.MUSICMusic For Workplaces by Jeffery SaddorisSupport the show

Last week, I took the train into DC to visit the National Gallery of Art, which is by far one of my favorite places in the city. Regardless of the show or exhibition, I always come home energized and inspired. Sometimes, I'll even go down just to sit in the “Rothko Room” for an hour — and I know the official name is Tower 1 of the East Building, but I think Rothko Room sounds much more poetic. On this particular trip, I was there to see The Double, a show that a friend who works at the gallery called “life changing” — which is saying something considering she's one of the top paper conservators in the world and has seen some pretty incredible work over the course of her career. The show really is fantastic and features work by some of my favorite artists, including Frank Stella and Robert Rauschenberg; and it begins with a pair of American flags by Jasper Johns displayed opposite Double America by Glenn Ligon.LINKSNational Gallery of ArtRothko RoomThe DoubleDouble AmericaRothko: The Color Field PaintingsEpisode 59 of Deep NatterCONNECT WITH MEWebsite: https://jefferysaddoris.com  Twitter: @jefferysaddoris  Instagram: @jefferysaddorisSUBSCRIBESubscribe to Jeffery Saddoris: Everything in your favorite podcast app to get every show I release in one feed.SUPPORTLeave a review or a rating wherever you listen, or you can DONATE to support the shows more directly.MUSICMusic For Workplaces by Jeffery SaddorisSupport the show

What a treat! In this episode, author and recovering bluebottle Cory McCarthy joined us to talk about research holes from his latest novel Man O'War, a coming-of-age YA about a trans swimmer growing up near Sea Planet, a marine life theme park in small-town Ohio. I fully expected us to mostly talk about sea creatures, and then we had a heart-to-heart about the nuances of writing queer YA, parallels between growing up trans and animals in captivity, and who coming out is really for (*cough dinosaurs cough*). But don't worry—there are still sea creature facts! Cory gave us tidbits about the inherent plurality of Portuguese man o' war, upsetting shark sex, and joyful penguin interactions, and more. Bonus game: count the times Cory and I laugh semi-maniacally about queer kidlit writer stuff, or the amount of times I say “that's so real.” Remember, kids: it's not that it gets better; it's that straight people get less important. SHOW NOTES: The New York Times article “Boys Don't Cry' 20 Years Later: For Trans Men, a Divisive Legacy” gives an overview of the many complex responses to this movie. I personally like the piece “Fighting to Thrive: Reflecting on Boys Don't Cry 20 Years Later” by William Horn on Bitch Media, which reminds us that the project of the movie is educating straight, cis people, and was not necessarily made for queer and trans people. Here's a quote from Horn: “Boys Don't Cry is powerful, but it's traumatizing. The movie is intentionally designed that way: It pulls you into Brandon's story so that you feel his fear and his pain. Good movies do that, and Boys Don't Cry remains important viewing for a cis audience. For people like me, it's a fear and pain that we already innately know.” The other trans YA novels I mentioned (published before 2011) were Parrotfish by Ellen Wittlinger and Luna by Julie Anne Peters. The two documentaries Cory mentioned are Blackfish and My Octopus Teacher. I asked Cory where he got his sea creature facts. He said many of them were from the science tomes of his youth, but he is also a lifelong fan of National Geographic for inspiring random research holes to go topple down into. [pic of preorder perk] From “Jean-Michel Basquiat's Enduring Fame: Why the '80s Art Star Remains Relevant Now” by Tessa Soloman in ARTNews: Jean-Michel Basquiat was a Neo-Expressionist artist who was famous in the 1980s, before dying of a heroin overdose in 1988 at 27 years old. He started as a graffiti artist, spray-painting walls around SoHo and the East Village with his friend Al Diaz, under the pseudonym SAMO, short for “same old shit.” He blew up after displaying work at a “New York/New Wave” show at P.S. 1, when viewers called him the new Rauschenberg.” His iconic works include Dustheads (1982), a seven-foot-tall canvas featuring two vibrantly colored, chaotic figures against a black background, and the sculptural painting Ten Punching Bags, a collaboration with Andy Warhol. The article Leah sent me was also from ARTNews, titled “The FBI Seized 25 Contested Basquiat Paintings from the Orlando Museum of Art.” I can't really summarize it because it seems to deal with issues of authentication and theft specific to the high art world. But I'm glad it lead me to learn a bit about Basquiat! Visit the episode page on our website for the pics I promised: www.researchholepodcast.com/episodes/man-owar-and-sea-creature-facts-with-cory-mccarthy-episode-24 You can learn more about Cory McCarthy by following them on instagram at @cory__mccarthy or visiting their website https://onceandfuturestories.com/. Follow me on instagram @val.howlett or support me on Patreon at https://www.patreon.com/valhowlett for bonus clips, extras, and more.

Join Chris Margolin of The Poetry Question in conversation with Mahogany L. Brown, author of Woke Baby, Chlorine Sky, and Vinyl Moon (Penguin Random House), about passions, process, pitfalls, and Poetry! Mahogany L. Browne is the executive director of JustMedia, a media-literacy initiative designed to support the ground-work of criminal justice leaders and community members. This position is informed by her career as a writer, organizer, and educator. Mahogany has received fellowships from Agnes Gund, AIR Serenbe, Cave Canem, Poets House, Mellon Research, and Rauschenberg, and she founded the diverse literary campaign the Woke Baby Book Fair. She is also the author of Chlorine Sky, Woke: A Young Poet's Call to Justice, Woke Baby, Black Girl Magic, the poetry collection I Remember Death by Its Proximity to What I Love, and Vinyl Moon. Mahogany is based in Brooklyn, New York, and is the first-ever poet in residence at Lincoln Center. You can find Mahogany online at mobrowne.com and @mobrowne. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Die hochkarätige Privatsammlung der Milliardärin Heidi Goëss-Horten wird nun im Wiener Stadtzentrum in einem eigens dafür gebauten Museum ausgestellt. Im Blickpunkt: Werke von Basquiat, Warhol und Rauschenberg - und die Geschichte des Horten-Vermögens.Peter Hoeres im Gespräch mit Marietta Schwarzwww.deutschlandfunkkultur.de, FazitDirekter Link zur Audiodatei

Heading south from Honolulu today to Australia---like most places, a land still reckoning with its history. In 1972, four aboriginal Australian men set up umbrellas outside the old Parliament House in Canberra. They called it the Aboriginal Tent Embassy because they felt treated like aliens in their own homeland and were demanding land rights. That protest mushroomed, footage was viewed in 86 countries, it is the longest running continuous protest for indigenous land rights in the world. 50 years this year. In 2013, artist Richard E. Bell created a traveling "Aboriginal Embassy." Every time it goes up around the world, discussions about land rights and sovereignty are held inside. Material from previous iterations is incorporated at each new location. Bell is also a painter. His muscle-y paintings jump off the walls. Arresting colors in a patchwork, often with text, kind of Barbara Kruger meets Rauschenberg. With words like: "Pardon me for being born into a land of racists." And "You can go now." Also, "We know how to wait." Richard was due in Honolulu soon, so I caught him on a Zoom recently. I think youʻll enjoy him, I know I learned enough to need to know more. Richard Bellʻs "Embassy" is coming to Honolulu May 6 and 7. It's part of the Hawaiʻi Triennial 2022, "Pacific Century: E Hoʻomau no Moananuiakea" through May 8, 2022 at seven venues in Honolulu. This "Embassy" has gathered steam already in Moscow, New York, Jakarta, Jerusalem and Sydney. We will gather to add our manaʻo from Hawaiʻi on Friday, May 6, 5-6pm and Saturday May 7, 2-3 pm at the Hawaiʻi State Art Museum. Issues of land and sovereignty could not be more pressing, as we bleed with the resistance in Mariupol. We send these Brolga Bird Clan Songs to the resistance. By Dabulu and Magern, hear Australian aboriginal sounds on Smithsonian Folkways. We offer this chant from the Pacific in solidarity with Ukrainian resistance. Next up on fresh pacific, the fabulous girls from toqa.

During  the 1960s, just after the Apollo 11 mission had taken Neil Armstrong and Buzz Aldrin to the surface of the moon, a rogue group of artists, including Robert Rauschenberg and Andy Warhol, were hatching a plan. If they were successful, they'd smuggle an entire museum of contemporary art onto the moon. In this episode, Jade Dellinger,  Director of the Bob Rauschenberg Gallery at  Florida SouthWestern State College talks about how the idea for the Moon Museum started at Max's Kansas City, and how, with the help of an organization called Experiments in Art and Technology (E.A.T.), it turned into a master plan that ultimately worked. Dellinger also tells his own story, and how Rauschenberg and the Moon Museum changed the course of his life. 

And we are back! We are talking art and it feels good! We talk about the famous collaboration between Robert Rauschenberg & Willem De Kooning Thanks for listening !!!!!!! #handsinalottasoups Let us know what you think! gooderguysradio@gmail.com https://www.instagram.com/gooderguysradio/ https://www.facebook.com/GooderGuys https://twitter.com/GooderGuysRadio --- Send in a voice message: https://anchor.fm/the-gooder-guys/message

As much as I love artists like Rauschenberg, deKooning and even Boucher, the first artist I knew by name was Frank Frazetta. He painted worlds I had never seen before, filled with warriors being pulled by a team of polar bears, red eyed demons on horseback and beautiful scantily clad maidens. I poured over his books, meticulously copying my favorite characters. While it was great drawing practice, I wasn't doing anything original. I had sketchbooks filled with Frazetta drawings, but not one that was a Saddoris.Subscribe: Apple Podcasts | Pocket Casts | Overcast | RSSI'm loving the work of Canadian illustrator Terry Edward Elkins. He has a terrific style that reminds me of vintage national parks posters and some of my favorite children's book illustrators.Questlove is a monster. He's the founder and drummer for the Roots, a DJ, a producer, a professor, and an author. As you'll hear in this NPR conversation, he also has some really inspiring thoughts around creativity.Israeli photographer Natan Dvir was the winner of the 2017 Lens Culture Emerging Talent award. His project Platforms takes viewers below the streets of New York to “investigate the interactions (or lack thereof) between the city's commuters.”Music in this episode: The Wrong Way (Jahzzar) / CC BY-SA 4.0