Podcasts about Renaissance Society

In this episode for Podcasthon 2025, we welcome Holly Bamford, a History PhD candidate at Liverpool University who researches late medieval and early modern witchcraft and superstition. Holly examines the historical context of witch hunts through detailed case studies.We met Holly at the Magic and Witchcraft conference in York 2024, one of many academic events that help us connect with experts in the field of witch trial history and contemporary witch hunt research.The conversation covers the 1674 Hinchcliffe case, where neighbors petitioned courts defending the accused family's innocence, and the 1601 Trevisard case featuring twelve neighbors who approached a magistrate to accuse an entire family of witchcraft.This episode is part of our contribution to Podcasthon 2025, where 1,500 podcasters are using their platforms from March 15-21 to highlight causes important to them. Our featured nonprofit is End Witch Hunts, which can be found along with other charities at podcasthon.org.Renaissance Society of America -Boston 2025Witch Hunt podcastContribute to End Witch HuntsSign up for our NewsletterDonate to Witch Hunt Podcast Conference FundPodcasthon.orgBoris Gershman Witch Hunt Podcast EpisodeWitchcraft Beliefs Around the World: An Exploratory AnalysisThe International NetworkThe International Alliance to End Witch Hunts

Episode No. 689 is a holiday clips episode featuring artist B. Ingrid Olson. Olson's work is included in "Descending the Staircase" at the Museum of Contemporary Art Chicago. The exhibition considers novel artistic approaches to representing the human body. The exhibition is curated by Jadine Collingwood, Associate Curator, and Jack Schneider, Assistant Curator and is on view through July 6. This episode was recorded in 2022 on the occasion of the Carpenter Center for the Visual Arts at Harvard University's presentation of two concurrent B. Ingrid Olson exhibitions, “History Mother,” and “Little Sister.” Each exhibition was on a separate floor of CCVA's building. Olson's exhibitions feature site-specific presentations that engage with doubling and mirroring, gendered forms, the interplay between photography and sculpture, and between the body and the built environment. The exhibitions were curated by Dan Byers. The week this show originally aired, the Secession in Vienna had just closed an exhibition of Olson's work titled “Elastic X.” In addition, Olson's work has previously been featured in solo presentations at the Albright-Knox Art Gallery in Buffalo, NY and at The Renaissance Society at the University of Chicago. For images please see Episode No. 566. Instagram: B. Ingrid Olson, Tyler Green.

How to navigate utility usage during the heat wave. How the Renaissance Society of Sacramento offers seniors new learning opportunities. Finally, getting a preview of the 2024 California State Fair. Utility Services During the Heat Wave The summer heat wave means Californians will be running their air conditions and trying to keep their outdoor plants alive. However, they will also be facing higher energy and water bills as a result. Mark Toney, Executive Director of TURN (The Utility Reform Network) joins Insight to talk about the impact of the heat on high electricity bills, and Carlos Eliason with the City of Sacramento's Department of Utilities shares tips on how to save money and water during the summer months. Sacramento's Renaissance Society For over 30 years, the Renaissance Society of Sacramento has been offering older adults lifelong learning opportunities, from seminars and workshops to community excursions. Society President Deborah Seiler talks about how the program benefits both seniors and Sac State students, and highlights some of the programs that are being offered this summer. 2024 California State Fair A celebration of California's progress, advancement, and diversity is returning to Cal Expo this weekend. The 2024 California State Fair runs from July 12-28, and will feature a variety of exhibits, competitions, concerts, and more. Darla Givens, Media Manager for the California State Fair provides a preview of this year's festivities, including a new opportunity to buy and consume cannabis.

Bonus Episode 35:A conversation with Cassidy Cash, producer and host of 'That Shakespeare Life', the podcast that interviews expert historians to explore people, events, and objects that were living or happening in Shakespeare's lifetime.Cassidy Cash is a Shakespeare historian, historical map illustrator, and host of That Shakespeare Life, That Shakespeare Life is currently ranked the #2 Shakespeare history podcast in the world. In addition to podcasting, Cassidy creates independent films about 16-17th century history and illustrated history maps that diagram life in turn of the 17th century England. Her documentary shorts and animated films about Shakespeare's history have won international film awards for both history and animation. Cassidy is a member of the National Council on Public History, The American Historical Association, the Renaissance Society of America, the Shakespeare Association of America, and most recently she was elected Associate Fellow at the Royal Historical Society for her contributions to history. Her work and historical map ilustrations have been published in multiple academic journals and on major history platforms including History Magazine, HistoryHit, Tudor Places Magazine, and Shakespeare Birthplace Trust. Connect with Cassidy and hear current episodes of That Shakespeare Life at www.cassidycash.com This podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy

Crafting a life that caters to essential needs while radiating into a fulfilling lifestyle ignited the entrepreneurial spirit of today's remarkable guest. Joining Mary on the show today is Jana Kinsman, a beekeeper and an illustrator from here in Chicago. You'll learn more about Jana's companies, Bike a Bee and Doodlebooth, how she transitioned from corporate, and what got her started in beekeeping! She recounts how her involvement in the Chicago design scene has since opened numerous doors and opportunities and shares how her upbringing influenced the woman she is today. To hear Jana's thoughts on the beekeeping world and community, her unique approach to business, and much more, be sure to tune in today!Key Points From This Episode:Learn more about Jana and her two companies, Bike a Bee and Doodlebooth.Which came first, the drawing or the bees.More about Jana's career journey and where she finds herself today.How Jana got into beekeeping, monetized her hives, and how she's getting paid.The story of how Doodlebooth came into play.How the design scene in Chicago has opened numerous doors and opportunities. Insight into Jana's role at The Renaissance Society, doing art handling and construction.The prequel: who she was as a child and how it inspired her journey.Her thoughts on the world of beekeeping and the community she keeps in it.Jana's reflections on being attacked by people in a car, while on a bike.Her transition from Jana Bike a Bee to needing a car to get everything done.Catering to both basic needs and living a happy lifestyle in her business approach.Her thoughts on what hinders people from going after something.Where you can learn more about Jana and her businesses.Don't forget to smash that subscribe button so you never miss an episode, then come hang with us on Instagram & Twitter!  Links Mentioned in Today's Episode:Check out Jana's website at Jana KinsmanFollow Jana on XKeep up with Jana and Bike a Bee on Facebook You can send Jana an Email Find out more about Bike a BeeBuy Jana's honey hereOrganize your hand-drawn, in-person portraits at DoodleboothVisit the Cook Dupage Beekeepers Association websiteSign up to Support the ShowLearn more about A Mary Nisi ProductionFind your next DJ at Toast & JamLaunch your DJ business with the Toast & Jam LabSupport the Show.

We meet artist Brook Hsu. We discuss other worlds, the power of storytelling, the colour green, the drive to make paintings and making art at your own pace.BROOK HSU (b. 1987 Pullman, Washington) deploys and weaves the autobiographical and the mythopoetic into paintings using an array of materials, including ink, oil paint, industrial carpets, and off-cuts of ready-made lumber. The sources for Hsu's imagery come from her own observations, sometimes arising from art history, film and literature.Working across painting, drawing, sculpture and writing, her works aim to question how we define representation today, producing abstract and figurative works that employ a host of signs and motifs, recounting stories of love, pain and humor. Hsu says of her practice, 'I seek to understand what we value in life by asking how we value the world.' Taiwanese-American artist Brook Hsu grew up in Oklahoma, received her BFA from the Kansas City Art Institute in 2010 and her MFA from Yale University in 2016. Hsu currently lives and works in New York and Wyoming. Recent solo exhibitions include: Kiang Malingue, Hong Kong (2022); Kraupa-Tuskany Zeidler, Berlin (2021); Manual Arts, Los Angeles, USA (2021); Bortolami Gallery, New York (2019). Group exhibitions include: Reference Material, Adler Beatty, New York (2022), The Practice of Everyday Life, Derosia Gallery, New York (2022), Sweet Days of Discipline, Hannah Hoffman, Los Angeles (2022); kaufmann repetto, New York and Milan (2021), More, More, More (curated by Passing Fancy), TANK, Shanghai (2020); LIFE STILL, CLEARING, New York (2020); The End of Expressionism, Jan Kaps, Cologne (2020); Polly, Insect Gallery, Los Angeles (2019-2020); A Cloth Over a Birdcage, Château Shatto, Los Angeles (2019); Finders' Lodge, in lieu, Los Angeles (2019); and Let Me Consider It from Here, The Renaissance Society, Chicago (2018-2019).Her work is part of the collections of X Museum, Beijing; Long Museum, Shanghai.Follow @Broooooooooooooook on Instagram. Thanks to Brook's galleries @KraupaTuskanyZeidlerand @KiangMalingueVisit KT-Z: https://www.k-t-z.com/artists/94-brook-hsu/Visit Kiang Malingue: https://kiangmalingue.com/artists/brook-hsu/See also Gladstone Gallery: https://www.gladstonegallery.com/exhibition/10551/brook-hsu/infoand this article from Various Artists: https://various-artists.com/brook-hsu/ Hosted on Acast. See acast.com/privacy for more information.

Last time we spoke about the end of WW1 and China's bitter experience at the Paris Peace conference. Yes it WW1 brought a lot of drama to China. Yuan Shikai and later prominent figures like Duan Qirui took the poor habit of making secret deals with the Japanese that would very much bite them in the ass later in Paris. The Chinese delegation came to Paris hoping to secure major demands, most notably to solve the ongoing Shandong Problem. Instead they quite literally found out there were secret deals between China and Japan that completely hindered their war aims. To add insult to injury the western powers, notably Britain had also made secret double dealings with Japan. In the end Japan got her way, China did not, it was so embarrassing the Chinese delegation did not bother signing the Treaty of Versailles. Things could not possible get any worse eh?   #92 The New Culture Movement   Welcome to the Fall and Rise of China Podcast, I am your dutiful host Craig Watson. But, before we start I want to also remind you this podcast is only made possible through the efforts of Kings and Generals over at Youtube. Perhaps you want to learn more about the history of Asia? Kings and Generals have an assortment of episodes on history of asia and much more  so go give them a look over on Youtube. So please subscribe to Kings and Generals over at Youtube and to continue helping us produce this content please check out www.patreon.com/kingsandgenerals. If you are still hungry for some more history related content, over on my channel, the Pacific War Channel where I cover the history of China and Japan from the 19th century until the end of the Pacific War. To say this is a big event in Modern Chinese history is certainly an understatement. I have to acknowledge over on my personal channel the Pacific War channel I made an episode on this topic. I had no idea what I was getting myself into, but I am very glad I tackled it. It was the first time a large portion of Chinese audience members came forward and thanked me for covering the subject. I was honestly a bit baffled, the episode picked up steam, I thought, hmmm why is this getting views, its a rather boring, non battle more political episode. Well case and point, this story is really the birth of modern China. If you go searching for books on this subject you will find so many of its impact on just about every facet of China today and even on other nations. Now there is two major subjects at play here, the May fourth movement and the New Cultural movement. I am going to do my best to try and cohesively tell this, but its a rather difficult one to be honest. For the sake of cohesion and to be blunt while writing this I just don't think I will manage to fit both subjects into one episode, I first am going to tackle what exactly the “New Cultural Movement” was and I am guessing I will have to leave the May Fourth Movement for next episode.  The New Cultural Movement is intertwined with the May Fourth Movement, or you could call it the progenitor. In essence it was a progressivist movement that sprang up in the 1910's and would continue through the 1920's criticizing traditional Chinese ideology and promoting a new culture. This new culture was influenced by new age science and modern ideals. It's during this period you find many of China's big scholars start speaking out and making names for themselves. Now we have been talking in length about numerous issues that hit China during the 1910's such as WW1, Yuan Shikai's craziness, secret deals getting leaked to the public, the Shandong Problem, the Treaty of Versailles and all of these summed up were just more and more humiliation for China. The people of China were fed up. The people of China wanted change. Now its hard to encompass all that was sought out, but there are 6 large themes of this New Cultural movement that I shall list.  The first change the public wanted was because of their outdated writing system, they wanted a more vernacular one. Second the confucian based tradition patriarchal family model was very outdated and it was a hindrance against individual freedom and women's rights. Third the people wanted China to be a real nation, one amongst the other nations of the world, not stuck in its Confucian model. Fourth the people wanted China to adopt a more scientific approach to things rather than the traditional confucian belief system. Fifth, the Chinese people wanted democracy human rights, all of the enlightened values other nations had. Lastly China had always been a nation who looked at the past rather than towards the future, this had to end.  Now before we hit each of these lets summarize a bit of this time period, the environment and feeling of the day. The Qing Dynasty had fallen during the Xinhai revolution seeing the rise of Yuan Shikai. Yuan Shikai stamped down on all opposition, this included intellectuals also, many were exiled. There of course was a lot of animosity to Yuan Shikai, he was after all the guy who for a lack of better words, stole the leadership from Dr Sun Yat-Sen and he crushed the second revolution. One of these intellectual exiles found himself in Tokyo, Zhang Shizhao, there he founded a political magazine called The Tiger. The Tiger ran for about a year in 1915 and would have a significant impact on other political journals in China. The Tiger was known for probing political questions of the day, its writers often grappled with how underlying cultural values and beliefs shape politics. It inspired others to write similar magazines, notably, Chen Duxiu Now also in 1915 as we know, the Twenty-One Demands were issued, Yuan Shikai was forced to sign the Thirteen demands and all of this got leaked to the public. In 1915, Chen Duxiu founded the magazine “Jinggao qingnian” “New Youth”and he would have future intellectuals as editors of it such as Li Dazhao, Hu Shih and Lu Xun. In its first issue titled Jinggao qingnian literally translate as “letter to Youth”, it encouraged young people to “be independent and not enslaved, be progressive and not conservative, be in the forefront and not lagging behind, be internationalist and not isolationist, be practical and not rhetorical, and be scientific and not superstitious.” Chen Duxiu advocated for science and democracy, these would become rallying cries often in the form of “Mr. Democracy and Mr. Science”. This would spring forth more literature like “Xinchao” “the Renaissance” founded by the Renaissance Society in 1918 whose members included Beijing students directly inspired by Chen Duxiu, Hu Shih and Li Dazhao. The Renaissance promoted western political and social ideology, encouraging the youth of China to embrace progressive politics. The New Youth was by far the most influential magazine. In 1917 Chen Duxiu and Zhang Shizhao moved to Beijing University where they became acquaintances and alongside others built up a community that would usher in the New Culture Movement. At this time the intellectual powerhouses were Peking University and Tsinghua University in Beijing and Shanghai which had a booming publishing industry. Many scholars who would contribute to the New Culture movement would be found at Peking University such as Cai Yuanpei, who served as president of the University in 1916. Cai Yuanpei was a colleague of our old friend Li Shizeng whom both founded the Diligent Work-Frugal Study movement, sending worker-students to France. It was Cai Yuanpei who recruited those like Chen Duxiu, Li Dazhao and Hu Shih. Chen Duxiu served as the dead of the School of Arts and Letters at the university; Li Dazhao became its librarian and Hu Shih helped translate and perform numerous lectures.  These men would lead the fight for “baihua wenxue” or the Vernacular Literature Movement. Yes there's a lot of movements in this episode. Now Baihua is a form of written Chinese based on the numerous varieties of Chinese spoken in the country vs, “classical Chinese”. This probably sounds a bit confusing, but think of it this way. Going all the way back to the Shang dynasty a process of creating Chinese characters was gradually standardized by the time of the Qin dynasty, so thats 1200 BC to 206 BC. Over the following dynasties the Chinese calligraphy is created, however what also occurs is the evolution of language. The Chinese language branched off into numerous dialects, thus all over China people are speaking different but related forms of Chinese, yet the way they write is using this “classical Chinese writing”. As you might imagine, by the time of the 20th century, the classical chinese writing is so vastly different from what people are speaking, by this time its Mandarin, Cantonese, Hokkien, and many many more. Classical Chinese had become extremely outdated.  Chinese intellectuals in the early 20th century were looking to reform the literary system. Two of the big proposals that came about were to simplify Chinese characters and create a Chinese writing system using the latin alphabet. Professor at Peking University, Qian Xuantong was a leading figure on the Latinization movement. Chen Dixiu on the topic of Chinese characters had said  “backward, difficult to recognize, and inconvenient to write”. He blamed them for China being stuck in conservatism and having lacked modernization. There was a movement to switch to pinyin to spell out Chinese characters, for those who don't know Pinyin is alphabetically written Chinese, aka the only way Craig is able to read most of his sources haha. The plan to formalize this never occurred, but there was a real fight for it. Many scholars began writing in Baihua, one of the most famous works was Lu Xun's “A Madman's Diary”. In essence it was a short story criticizing early 20th century Chinese society, trying to challenge its audience into conventional thinking vs traditional understanding. The story has Lu Xun's madman seeing family and village members around him performing cannibalism which he has attributed to some confucian classics. Basically he implies China's traditional culture was mentally cannibalistic. Building somewhat on this theme, Chen Duxiu wrote in the New Youth how Mr. Confucius needed to be replaced by Mr. Science and Mr. Democracy. Meanwhile Hu Shih argued “a dead language cannot produce a living literature”. He further argued a new written format would allow the Chinese people with less education to read texts, articles, books and so forth. It was classical Chinese that was holding the less educated back. Basically he was criticizing how scholars basically held a monopoly on information. Hu Shih was highly praised for his efforts, one man named Mao Zedong would have a lot to say about how grateful China should be to him. Mao Zedong of course was a assistant at Peking University's library at the time. Now alongside the battle to change the written language of China, there was a feminist movement as well. Women suffered greatly under the traditional system. Prior to the 20th century Women in China were considered essentially different from Men as you can imagine. Confucius argued that an ordered and morally correct society would refrain from the use of force. Violence and coercion were deviant and unwelcomed. Instead a correct person would aim to become “junzi” meaning gentleman or a person of integrity. For society to remain stable, it was crucial correct hierarchies were established. Servants obey masters, subjects obey rulers, children obey parents and women obey men.The association of Women with Yin and Men with Yang, two qualities considered important by Daoism, still had women occupying a lower position than men in the hierarchical order. The I Ching stated “Great Righteousness is shown in that man and woman occupy their correct places; the relative positions of Heaven and Earth”. Women of course were supposed to be submissive and obedient to men, normally forbidden to participate in politics, military and or communal aspects. The traditional Confucian led Chinese society simply valued men over women. To get into the most hardcore aspect of this, did you know China had a near 2000 year history of female infanticide? It was written by many Christian missionaries arriving in the late 16th century to China that they witnessed newborns being thrown into rivers or in the rubbish. The primary cause of this practice was poverty, shortages of food. Confucianism influenced this practice quite a bit. Male children were to work, provide and care for their elders, while females were to be married off as quickly as possible. During the 19th century “ni nu” to drown girls was widespread, because of the mass famines. Exposure to the elements, strangulation, tossing a child into a basket and casting it off were normalized. Buddhists would build these things called “baby towers” for people to dump children at. Later on in 1930, Rou Shi a famous member of the May Fourth movement would write a short story titled “A Slave-Mother” portraying how extreme poverty in rural communities led to female infanticide. Hell turn the clock even more to the 1970's and we got the One-Child Policy where females were often aborted or abandoned. Alongside this infant girls at the age of 5 or 6 would often have the feet bound, a centuries old practice that would increase their marriageability. This hobbled them for life. When women married, their families pretty much abandoned them. Often this marriages were arranged and the new wife could expect to be at the autocratic mercy of her mother in law henceforth. If her husband died there was great social pressure for her to remain unmarried and chaste for the rest of her life. It goes without saying, suicide rates in China were the highest among young women. During the late 19th century the ideal woman was “xiangqi liangmu /a good wife and loving mother”. During the early 20th century the new ideal was becoming “modeng funu / modern woman”. Women wanted to pursue education and careers outside the home. Whether it was by choice or a financial necessity, Chinese women increasingly left the domestic sphere. They entered the workforce in all available forms, typically but not limited to factories, offices, and the entertainment industry. Yet the traditional social norms limited their opportunities in work, education and politics. Women according to the traditional system were not supposed to make speeches in the streets. But those like Liang Qichao began calling for the liberation of women, to let them be educated, allow them to participate in Chinese society.  The confucian social order held the hierarchy of husband over wife, but within the New Culture Movement that criticized Confucianism and traditions, now there was a deep want for women to be seen as human beings, as independent people who should become actors in the public sphere. When those like Chen Duxiu began writing and lecturing about tossing aside the old and looking at the new, this also included women. Thus the New Culture Movement had a large aspect of gender equality and female emancipation. There was also the aspect of dress. By the 1920's women would abandon traditional garments of embroidered hip or knee length jackets and trousers. They began wearing short jackets, skirts and the qipao, a one piece dress. Unlike the traditional women's clothing that hung loosely around the body, the Qipoa was form fitting. A women's suffrage movement began, though it would take some time. So you might be seeing the theme here, the old, traditional, confucian past, was needing a new replacement. The written language needed to be updated, women needed to be more equal to men. How about the nation of China itself? The New Culture leaders wanted to see China as a nation amongst nations, not one culturally unique. They began doing what many nations did around the turn of the century, they looked outwards. They looked at foreign doctrines, particularly those that emphasized cultural criticism and were nation building. Many of these intellectuals were the lucky few who went abroad, received foreign educations. They took western and Japanese ideas, seeing what could be used to create a new model for China and her vast population. Many were enthralled by President Woodrow Wilson's 14 points and ideals of self-determination. The Xinhai revolution had ushered in a Chinese nationalist spirit which demanded resistance to foreign impositions and the elimination of domestic autocracy. They had overthrown the Manchu, now they wanted to overthrow the global powers who had been encroaching upon their nation since the mid 19th century. So many of these intellectuals had hoped with the end of the war would come an end to their national disgrace.  The intellectuals argued China's failure to modernize was caused by both external and internal factors. Externally, foreign powers had been encroaching upon China for decades. Foreign powers had gone to war and defeated China, forcing her to sign unequal treaties. Internally China's economy, social system and cultural values were holding her back. This brought forward the need for a “new culture” to kick start the development of a new state. They argued China needed educational and social progress to remedy the states diplomatic weakness and endemic poverty. China's economy, social fabric and international standing needed to be improved, and the answer was programs of public education. Yet to do so, the less educated needed to be able to read and participate, ie: vernacular writing.  Liang Qichao was a huge influence on ideas to build China as a modern state. He created the “Xinmin Congbao / new citizen”, a biweekly journal first publishing in Yokohama Japan back in 1902. The journal covered numerous topics like politics, religion, law, economics, geography, current affairs and such. Basically Li Qichao was showing the Chinese public never before heard theories. Liang Qichao got Chinese people to think about the future of China. What did it even mean to identify as Chinese? He allowed more Chinese to look out into the world, so they could see many different paths and ideas. There were countless, Darwinism, liberalism, pragmatism, socialism all these new “isms” could be the tools to a realization of a strong and unified China. And of course there was Marxism, many Chinese laborers who went to Russia saw first hand what the Bolsheviks had accomplished. The principal of Peking University, Cai Yuanpei would resign on May 9th, 1919 causing a huge uproar. What once united all these intellectual New Culture movement types, gradually changed after the May fourth movement. Hu Shih, Cai Yuanpei and liberal minded intellectuals urged for protesting students to return to their classrooms, but those like Chen Duxiu and Li Dazhao urged for more radical political action. Marxist study groups would form and with them the first meetings of the Chinese Communist Party. This is of course a story for future podcasts, but it should be noted there would be a divide amongst these intellectuals as to how China should be “modern”. Li Dazhao for example advocated for fundamental solutions, while Hu Shih criticized such thinking “calling for the study of questions, less study of isms”. Those like Chen Dixiu and Li Dazhao would quickly find followers like Mao Zedong.  Now the overall theme here has been “toss out Confucius!” but it was not all like that. Part of the movement much like the Meiji restoration, was to usher in some new, but to incorporate the old so to not lose ones entire culture. For those of you who don't know I began my time on youtube specifically talking about the history of Tokugawa to Showa era Japan. The Meiji restoration was an incredible all encompassing hyper modernization, that for the life of me I can't find a comparison to. But an interesting aspect of it was the “fukko / restore antiquity”. It often goes unmentioned, but the Japanese made these enormous efforts to crop out the outside influences such as Confucianism, Buddhism and such, to find the ancient cultures of their people. This eventually led to an evolution of Shintoism, thus Japan not only wanted to adopt new ideas from the rest of the world, they wanted to find the important aspects of their own cultural history and retain it, make sure they did not lose what made them Japanese. The same can be said of China here.  Yigupai or the “doubting antiquity school” was a group of scholars who applied a critical historiographical approach to Chinese historical sources. They took their ancient texts and really analyzed them to see what was truly authentic, what should be kept. Hu Shih initiated the movement. He had studied abroad and was deeply influenced by western thinking and argued at Peking University that all Chinese written history prior to the Eastern Zhou, that is the second half of the Zhou dynasty needed to be carefully dissected. Many were concerned with the authenticity of pre-Qin texts and began questioning the writers of past dynasties. There was also Gu Jiegang who formed the “Gushibian / Debates on Ancient history” movement and published magazines of the same name. Later in 1922 there was the Critical Review Journal, involving numerous historians. Their work dismantled many beliefs or at minimum cast some doubt on ancient textual writings that had been around for millennia. For example there was the belief Yu the Great or Yu the Engineer who was the first to make real flood control efforts during the Xia Dynasty was an animal or deity figure. There was the notion of peaceful transition of power seen from the Yao to Shun dynasties, but the group found evidence this was all concocted by philosophers of the Zhou dynasty simply to support their political philosophy. They were basically detectives finding the bullshit in their ancient history and this had a profound effect on the current day thinking. The doubting antiquity group's proved the history of China had been created iteratively. Ancient texts had been repeatedly edited, reorganized, hell many had fabricated things to make ends meet for themselves, you could not take their word at face value. They argued all of the supernatural attributes of historical figures had to be questioned, a lot of it was not possible and thus not authentic versions of their history. But the group also were victims of their own criticisms. Many of them would criticize parts of antiquity history simply to get rid of things they didn't like or that got in the way of current day issues. There was also another element to the doubting antiquity movement. Students were pushed to look over things in ancient Chinese history, chinese folklore that Confucian schools dismissed or ignored.  Within the background of the Twenty-One Demands, the Sino-Japanese Treaty, the double promising of Britain and other secret deals made over the future of China had angered her people greatly. The common people of China did not feel represented nor heard at all. Japan was encroaching upon them in Manchuria and now Shandong. Their leadership were either making secret deals to secure their own objectives, or they were completely powerless to other nations and crumbling, such as the case at Versailles. With so many students and laborers going abroad witnessing the civilizations of other nations in the west and Japan, they yearned for the things those people had. Democratic and egalitarian values were at the very forefront of the New Culture Movement. Western science, democracy, bills of rights, racial equality, equality of opportunity, opportunity to venture into politics, the list can go on, these were things alien to China. The people began to enchant the masses with such ideas, while simultaneously criticizing traditional Chinese ethics, her customs, literature, history, philosophy, religion, social and political institutions and such. Liberalism, pragmatism, utilitarianism, anarchism, socialism, communism were thrown around like yardsticks so the people could measure China's traditional culture against them. How did such “isms” match up? Within the current crisis in China which one of these isms might benefit them the most? Overall the movement kept up the greatest theme of needing to look forward. China had always looked to the past. They had suffered so immensely, they were after all enduring the century of humiliation as it would famously become known. It was humiliation after humiliation. How could they change so the past would stop haunting them? Things like the Boxer Protocol, how could China rid itself of these humiliating indemnity payments? Britain's Opium had ushered in a poison that still plagued them, how could they finally rid China of it? The war and encroachment of nations like Britain, Russia and Japan, how could they stop them from continuing these actions? China could not stay the way she was anymore, she had to change. Thus overall within every facet of the movement's ideology, they kept emphasizing to stop looking in the past for answers for today. Today would require looking abroad and within and it would not be easy.  This episode and I do apologize it must be all over the place for you, encompasses a lot of the thoughts and feelings, but its part of a great event known as the May Fourth movement of 1919. China is basically for the first time really going to try and adopt fundamental changes, to become a real modern state. If it were not for lets say, the descent into warlordism, perhaps the Chinese Republican dream could have been started in 1919. Regardless, China will see an incredible amount of change in a short amount of time.  I would like to take this time to remind you all that this podcast is only made possible through the efforts of Kings and Generals over at Youtube. Please go subscribe to Kings and Generals over at Youtube and to continue helping us produce this content please check out www.patreon.com/kingsandgenerals. If you are still hungry after that, give my personal channel a look over at The Pacific War Channel at Youtube, it would mean a lot to me. The New Culture Movement saw numerous intellectuals rise up and challenge the prevailing social and political order of their nation. They tried to give the public new answers to old questions, and above all else hope. Hope for a better tomorrow. It was to be a arduous journey, but students would be the vanguard into a new age for China.

This episode marks the second time featuring artist and friend Raven Chacon on Broken Boxes. The first time I interviewed Raven was in 2017, when I visited with him at the Institute of American Indian Arts where he was participating in a symposium on Indigenous performance titled, Decolonial Gestures. This time around, we met up with Raven at his home in Albuquerque, NM where recurring host and artist Cannupa Hanska Luger chatted with Raven for this episode. The conversation reflects on the arc of Ravens practice over the past decade, along with the various projects they have been able to work on together, including Sweet Land (2020), an award-winning, multi-perspectival and site-specific opera staged at the State Historical Park in downtown Los Angeles, for which Raven was composer and Cannupa co-director and costume designer. Raven and Cannupa also reflect on their time together traveling up to Oceti Sakowin camp in support of the water protectors during the resistance of the Dakota Access Pipeline. Raven provides context to his composition Storm Pattern, which was a response to being onsite at Standing Rock, and the artists speak to the long term impact of an Indigenous solidarity gathering of that magnitude. Raven speaks about being named the first Native American composer to win the Pulitzer Prize or Voiceless Mass, and shares the composition's intention and performance trajectory. To end the conversation, Raven shares insight around staying grounded while navigating the pressures of success, travel and touring as a practicing artist, and reminds us to find ways to slow down and do what matters to you first, creatively, wherever possible. Raven Chacon is a Pulitzer Prize-winning composer, performer, and installation artist from Fort Defiance, Navajo Nation. As a solo artist, Chacon has exhibited, performed, or had works performed at LACMA, The Renaissance Society, San Francisco Electronic Music Festival, REDCAT, Vancouver Art Gallery, Haus der Kulturen der Welt, Borealis Festival, SITE Santa Fe, Chaco Canyon, Ende Tymes Festival, and The Kennedy Center. As a member of Postcommodity from 2009 to 2018, he co-created artworks presented at the Whitney Biennial, documenta 14, Carnegie International 57, as well as the two-mile-long land art installation Repellent Fence. A recording artist whose work has spanned twenty-two years, Chacon has appeared on more than eighty releases on various national and international labels. His 2020 Manifest Destiny opera Sweet Land, co-composed with Du Yun, received critical acclaim from the Los Angeles Times, the New York Times, and The New Yorker, and was named 2021 Opera of the Year by the Music Critics Association of North America. Since 2004, he has mentored over 300 high school Native composers in the writing of new string quartets for the Native American Composer Apprenticeship Project (NACAP). Chacon is the recipient of the United States Artists fellowship in Music, The Creative Capital award in Visual Arts, The Native Arts and Cultures Foundation artist fellowship, the American Academy's Berlin Prize for Music Composition, the Bemis Center's Ree Kaneko Award, the Foundation for Contemporary Arts Grants to Artists Award (2022) and the Pew Fellow-in-Residence (2022). His solo artworks are in the collectIons of the Whitney Museum of American Art, the Smithsonian's American Art Museum and National Museum of the American Indian, Los Angeles County Museum of Art, Getty Research Institute, the Albuquerque Museum, University of New Mexico Art Museum, and various private collections. Music Featured: Sweet Land, Scene 1: Introduction (feat. Du Yun & Raven Chacon) · Jehnean Washington · Carmina Escobar · Micaela Tobin · Du Yun · Raven Chacon · Lewis Pesacov. Released on 2021-09-24 by The Industry Productions

Poets Jason Schneiderman, Cate Marvin, R. A. Villanueva, Lynn Xu and Rachel Zucker consider the pleasures, challenges, eccentricities and value of live, in-person poetry readings. These musings are followed by excerpts of the June 6, 2023 reading in Bryant Park (hosted by Jason and featuring Cate, Ron, Lynn and Rachel) and comments from the audience. PODCAST: PLAY IN NEW WINDOW | TRANSCRIPT SUBSCRIBE:APPLE PODCASTS | GOOGLE PODCASTS | AMAZON PODCASTSSUPPORT: PATREON | VENMO: @Rachel_ZuckerLinks, Bios, & Support InfoBryant Park Reading SeriesUniversity of MarylandLibrary of CongressWilliam MeredithKim NovakBMCCKGB reading seriesDavid LehmanStar BlackPaul RomeroSonia SanchezAllen Ginsberg's “Sunflower Sutra”Phllyis Levin Matt YeagerDavid LehmanWill Harris's Brother PoemJosé Oliverez's Promises of GoldMartha Graham CrackerJustin Vivian BondPatty LuPoneBridget EverettKGB Bar ReadingRichard McCann Kinokuniya BookstoreWillam Blake's “Ah! Sun-flower” June Jordan's “Sunflower Sonnet Number 1"June Jordan's “Sunflower Sonnet Number 2"Bios, in order of appearance:Jason Schneiderman is the author of four poetry collections, most recently Hold Me Tight (Red Hen, 2020). He is Professor of English at CUNY's BMCC and teaches in the MFA Program for Writers at Warren Wilson College. His next collection, Self Portrait of Icarus as a Country on Fire, will be published by Red Hen Press in 2024. Cate Marvin's latest book of poems is Event Horizon (Copper Canyon Press, 2022). She teaches at the College of Staten Island, City University of New York and resides in Southern Maine. Her poems have recently appeared in The Kenyon Review.R. A. Villanueva is the author of Reliquaria, winner of the Prairie Schooner Book Prize. New work has been featured by the Academy of American Poets, Ploughshares, Poetry, and National Public Radio—and his writing appears widely in international publications such as Poetry London and The Poetry Review. His honors include commendations from the Forward Prizes and fellowships from the Sewanee Writers' Conference, the Constance Saltonstall Foundation for the Arts, and Kundiman. Born in New Jersey, he lives in Brooklyn.Born in Shanghai, Lynn Xu is the author of And Those Ashen Heaps That Cantilevered Vase of Moonlight (Wave, 2022) and Debts & Lessons (Omnidawn, 2013) and the chapbooks: June (Corollary Press, 2006) and Tournesol (Compline, 2021). She has performed cross-disciplinary works at the MOCA Tucson, Guggenheim Museum, The Renaissance Society, Rising Tide Projects, and 300 S. Kelly Street. She teaches at Columbia University, coedits Canarium Books, and lives with her family in New York City and West Texas. Rachel Zucker is the author of a bunch of books, including, most recently, The Poetics of Wrongness. She is the founder and host of Commonplace and directrix of the Commonplace School of Embodied Poetics. She lives in Washington Heights, NY and Scarborough, ME and is mother to three sons.Please support Commonplace by becoming a patron here!Sign up for “Reading with Rachel,” the newest course in The Commonplace School for Embodied Poetics.

An excerpt from Raven Chacon's performance Solos, followed by a conversation with Xenia Benivolski, recorded live at e-flux on April 27.  Solos, is a series of short, improvised works performed in quick succession. Using a variety of acoustic and electronic instruments, Chacon's experimental compositions range from sparse, minimalistic soundscapes to complex, multi-layered works that incorporate voices, noises, and found sounds. Raven Chacon is a Pulitzer Prize–winning composer, performer, and installation artist from Fort Defiance, Navajo Nation. Since 2004, he has mentored more than three hundred Native high school composers in writing new string quartets for the Native American Composer Apprentice Project (NACAP). As a solo artist, collaborator, and a member of Postcommodity from 2009 to 2018, Chacon has exhibited, performed, or had works performed at the Los Angeles County Museum of Ar, The Renaissance Society, San Francisco Electronic Music Festival, REDCAT, Vancouver Art Gallery, Haus der Kulturen der Welt, SITE Santa Fe, Ende Tymes Festival, New York, the Whitney Biennial, documenta 14, Carnegie International, and Carnegie Museum of Art. Chacon is the recipient of a United States Artists Fellowship, a Creative Capital Award, Native Arts and Cultures Foundation Artist Fellowship, the American Academy's Berlin Prize, the Bemis Center's Ree Kaneko Award, and the Pew Center for Arts & Heritage's Fellowship-in-Residence. Xenia Benivolski writes and lectures about visual art, sound, and music. She is the curator of the project You Can't Trust Music which is an online e-flux exhibition.  

This past week I was in San Juan, Puerto Rico for the annual meeting of the Renaissance Society of America. Click here to support the Wednesday Blog: https://www.patreon.com/sthosdkane --- Support this podcast: https://podcasters.spotify.com/pod/show/sean-thomas-kane/support

Victor Burgin (b. 1941, Sheffield, United Kingdom) first came to prominence in the late 1960s as one of the originators of Conceptual Art. His work appeared in such key exhibitions as Harald Szeemann's Live in Your Head: When Attitudes Become Form (1969) at the ICA London, and Kynaston McShine's Information (1970) at The Museum of Modern Art, New York. Since then, he has had solo exhibitions at the Museum für Gegenwartkunst Siegen, Kunsthalle Bremerhaven, MAMCO Musée d'art moderne et contemporain, Canadian Centre for Architecture, Mücsarnok Museum, University at Buffalo Art Gallery, Musée d'art moderne Villeneuve d'Ascq, The List Visual Arts Center, Renaissance Society at the University of Chicago, Musée de la Ville de Calais, The Museum of Modern Art in Oxford, and Stedelijk van Abbemuseum in Eindhoven. His work appears in the collections of The Metropolitan Museum of Art, Museum of Modern Art, New York Public Library, Walker Art Center, Tate Gallery, Victoria and Albert Museum, Los Angeles County Museum of Art, Museum of Contemporary Art in Los Angeles, Museum Ludwig, Fotomuseum Winterthur, Musée national d'art moderne, Sammlung Falckenberg, and The Arts Council Collection in London. Burgin graduated from the School of Painting at the Royal College of Art, London, in 1965, where his teachers included the philosopher and novelist Iris Murdoch, and then went on to study Philosophy and Fine Art at Yale University School of Art and Architecture, where his teachers included Robert Morris and Donald Judd. Burgin is Professor of Visual Culture at the University of Southampton, Professor Emeritus of History of Consciousness at the University of California, Santa Cruz and Emeritus Millard Chair of Fine Art at Goldsmiths College, London. In 2015 he was a Mellon Fellow and Visiting Professor in the Department of Cinema and Media Studies at the University of Chicago. He lives and works in South West France and Paris. Victor Burgin, Photopath, 1967-69. instruction card; typewritten on card stock. 5 x 8 inches. Courtesy the artist and Cristin Tierney Gallery, New York Installation view of Victor Burgin: Photopath (Cristin Tierney Gallery, New York, January 20 - March 4, 2023). Photograph by Elisabeth Bernstein. Courtesy the artist and Cristin Tierney Gallery, New York. Detail. Installation view of Victor Burgin: Photopath (Cristin Tierney Gallery, New York, January 20 - March 4, 2023). Photograph by Elisabeth Bernstein. Courtesy the artist and Cristin Tierney Gallery, New York.

Si svolge dal 9 all'11 marzo a San Juan capitale di Porto Rico, il congresso annuale mondiale della Società americana “The Renaissance Society of America”, organismo internazionale che si occupa di studi sull'età moderna e che riunisce 1500 studiosi provenienti da tutto il mondo. All'evento partecipano una serie di società storiche e di gruppi di ricerca internazionali, tra cui quello dedicato alla dissidenza religiosa nell'età moderna. È stata invitata a partecipare anche la Società di Studi Valdese: Marco Fratini relazionerà sulla raffigurazione dei valdesi nelle immagini della prima età moderna fra '500 e '600. “L'intervento che proporrò è dedicato alle modalità di rappresentazione, o autorappresentazione, dei valdesi nell'età moderna. Commenterò alcuni soggetti che mostrano come sia da parte cattolica che protestante ci sia stata, anche se in casi piuttosto rari, una necessità di rappresentare, dare una forma visibile, una riconoscibilità ai valdesi”.Una rappresentazione di tipo differente, in alcuni casi più negativa in altri invece più positiva, che passò attraverso immagini stampate, dipinte o raffigurate su, ad esempio, monete.

What inspired Henry VIII to build? From ships to palaces he was determined to leave his legacy - where with sons or architecture. Join Deb and Dr Lily Fulson as they take a deep dive into how the machinations of the Italian Renaissance involved him.  Lily Filson is a Renaissance historian with interests in transmission histories of art, technology, and thought with a focus on the global sixteenth century. She received her MA as a Florence Fellow from Syracuse University in 2011 and the Ph.D from Ca' Foscari University in 2018. She has held fellowships from the European Research Council in Venice, Italy and the Academy of Sciences in Prague, Czech Republic; she is most recently the recipient of a Renaissance Society of America Short-Term Grant, and she has authored articles in Ancient West & East, Society and Politics, Studia Rudolphina: Bulletin for the Research Center of Visual Arts & Culture in the Age of Rudolph II, and elsewhere. Her recently-published textbook, An Expanded Global History of Art, Architecture and Technology (Kendall Hunt 2022), collects original lectures that explore the intersection of the history of art and technology from art history courses Dr. Filson has taught for Tulane University, the University of Louisiana at Lafayette, and the University of Pittsburgh.  Social media links: https://louisiana.academia.edu/LilyFilson https://www.linkedin.com/in/drlilyfilson/ Agent, Past Preservers Casting, London   Produced by Rokkwood Studios, U.K. This episode was produced by Ben Williams, Rokkwood Audio, U.K. Music developed by Rokkwod. Cover art by The Happy Colour Studio, U.K. Voiceovers by Paul Hunter. Written by Deb Hunter. Please follow me at @thingsTudor on Twitter and @officialAllThingsTudor on Instagram. For more about Tudor history, join my Facebook group and follow my website.  www.AllThingsTudor.com (c) 2023 All Things Tudor

This is a rebroadcast of an episode of This Thing We Call Art, a podcast where the host Kelly Lloyd speaks to people in the arts about their livelihoods. Lloyd originally interviewed artist Gordon Hall on March 1, 2021 and the 43-minute episode featuring portions of the three-hour-long conversation was released on February 17, 2022. The podcast features a conversation about Hall and Lloyd's experiences in art education at the School of the Art Institute of Chicago, how art institutions handle interdisciplinarity, and the ethical responsibility of art school educators. Hall, currently an Assistant Professor of Sculpture at Vassar College, has included an addition to this rebroadcast to highlight how in the Spring of 2022, the contingent faculty at the School of the Art Institute of Chicago formed a union, Art Institute of Chicago Workers United, (AICWU) which is now certified with the National Labor Relations Board. The union is currently preparing to negotiate their first contract. You can follow their efforts and support them at aicwu.org and on social media at AIC_WU on Instagram, AICWUTweets on Twitter, and AIC Workers on Facebook. Kelly Lloyd is a transdisciplinary artist who focuses on issues of representation and knowledge production and prioritizes public-facing collaborative research. Lloyd has recently held solo exhibitions at the Royal Academy Schools (London), Crybaby (Berlin), Bill's Auto (Chicago), Demo Room (Aarhus), and Dirty House (London) for which she won the Art Licks Workweek Prize. Lloyd was the Starr Fellow at the Royal Academy Schools during the 2018/19 school year and is currently studying at The University of Oxford's Ruskin School of Art and Wadham College for her DPhil in Practice-Led Fine Art with support from an All Souls-AHRC Graduate Scholarship and an Open-Oxford-Cambridge Doctoral Training Programme Studentship. In 2021, Lloyd launched This Thing We Call Art, a podcast and online archive featuring excerpts from 50+ interviews with people in the arts she has conducted since 2017. Gordon Hall is an artist based in New York who makes sculptures and performances. Hall has had solo presentations at the MIT List Visual Arts Center, The Portland Institute for Contemporary Art, The Renaissance Society, EMPAC, and Temple Contemporary, and has been in group exhibitions at The Whitney Museum of American Art, The Brooklyn Museum, The Hessel Museum, Art in General, White Columns, Socrates Sculpture Park, among many other venues. Hall's writing and interviews have been published widely, including in Art Journal, Artforum, Art in America, and Bomb, as well as in Walker Art Center's Artist Op-Ed Series, What About Power? Inquiries Into Contemporary Sculpture (published by SculptureCenter), and Documents of Contemporary Art: Queer (published by Whitechapel and MIT Press.) A volume of Hall's collected essays, interviews, and performance scripts was published by Portland Institute for Contemporary Art in 2019. Hall is Assistant Professor of Sculpture at Vassar College.

Episode No. 566 of The Modern Art Notes Podcast features artist B. Ingrid Olson and curator Idurre Alonso. The Carpenter Center for the Visual Arts at Harvard University is presenting two concurrent B. Ingrid Olson exhibitions, "History Mother," and "Little Sister" through December 23. Each exhibition is on a separate floor of CCVA's building. Olson's exhibitions feature site-specific presentations that engage with doubling and mirroring, gendered forms, the interplay between photography and sculpture, and between the body and the built environment. The exhibitions were curated by Dan Byers. A catalogue will be available. This week, the Secession in Vienna closed an exhibition of Olson's work titled "Elastic X." In addition, Olson's work has previously been featured in solo presentations at the Albright-Knox Art Gallery in Buffalo, NY and at The Renaissance Society at the University of Chicago. Alonso discusses her new exhibition "Reinventing the Américas: Construct. Erase. Repeat" at the Getty Research Institute in Los Angeles. The exhibition considers the ways in which artists have helped construct ideas about the Western Hemisphere, particularly in the decades after the arrival of Europeans. It is on view through January 8, 2023. Instagram: B. Ingrid Olson, Idurre Alonso, Tyler Green.

Ep.112 features BETHANY COLLINS (b. 1984 Montgomery, AL). She lives and works in Chicago, IL. Collins is a multidisciplinary artist whose conceptually driven work is fueled by a critical exploration of how race and language interact. Collins received an MFA from Georgia State University in Atlanta GA, and a BA from the University of Alabama in Tuscaloosa, AL. Recent solo exhibitions include: Cadence (2022), PATRON, Chicago, IL; America: A Hymnal (2021), Crystal Bridges Museum of American Art, Bentonville, AK; Evensong (2021) Frist Art Museum, Nashville, TN; My destiny is in your hands (2021), Montgomery Museum of Fine Arts, Montgomery, AL; Chorus (2019), Contemporary Art Museum St. Louis, St Louis, MO; Benediction (2019) The University of Kentucky Art Museum, University of Kentucky, Lexington, KY; A Pattern or Practice (2019), University Galleries of Illinois State University, Normal, IL; The Birmingham News 1963 (2018-2019), Art Institute of Chicago, Chicago IL; The Litany, Locust Projects (2018), Miami, FL; Undersong (2018), PATRON, Chicago IL; and Occasional Verse (2018), The Center for Book Arts, New York, NY. Image courtesy of the artist and PATRON Gallery, Chicago. Photography by Evan Jenkins Additional information~ Artist https://bethanyjoycollins.com/home.html Patron Gallery https://patrongallery.com/exhibition/285/cadence https://patrongallery.com/artist/bethanycollins Montgomery Museum of Fine Art Bethany Collins - MMFA Brooklyn Rail https://brooklynrail.org/2022/02/artseen/Seize-the-Time WSJ https://www.wsj.com/articles/collectors-eye-they-built-a-world-class-collection-of-black-artists-work-who-are-they-acquiring-now-11594828483 Artspace https://www.artspace.com/artist/bethany-collins Richard Gray Gallery Bethany Collins - Artists - Richard Gray Gallery Block Museum https://www.blockmuseum.northwestern.edu/events/2022/artist-talk-laylah-ali-and-bethany-collins.html Chicago Gallery https://www.chicagogallerynews.com/events/bethany-collins-cadence Crystal Bridges https://crystalbridges.org/calendar/bethany-collins-america-a-hymnal/ Frist Art Museum https://fristartmuseum.org/exhibition/bethany-collins-evensong/ https://burnaway.org/daily/collins-frist/ The Phillips Collection https://www.phillipscollection.org/event/2021-06-25-jacob-lawrence-american-struggle Speed Art Museum https://www.promisewitnessremembrance.org/ Art in America https://www.artnews.com/art-in-america/aia-reviews/breonna-taylor-promise-witness-remembrance-speed-art-museum-1234594195/ Hyperallergic https://hyperallergic.com/641634/amy-sherald-bearing-witness-to-breonna-taylor-life-and-death/ NYTimes https://www.nytimes.com/2021/04/11/arts/design/breonna-taylor-review-museum-louisville.html PBS https://www.pbs.org/newshour/show/what-breonna-taylors-name-and-image-is-teaching-america-about-black-lives The Guardian https://www.theguardian.com/artanddesign/2021/apr/01/remembering-breonna-taylor-through-art-it-keeps-her-alive Artforum https://www.artforum.com/print/reviews/202202/the-dirty-south-contemporary-art-material-culture-and-the-sonic-impulse-87629 Smart Museum https://smartmuseum.uchicago.edu/exhibitions/take-care/ Renaissance Society https://renaissancesociety.org/exhibitions/540/nine-lives/ Hirshhorn https://hirshhorn.si.edu/explore/bethany-collins-part-1-hirshhorn-artist-diaries-2/

We had a great talk in full alignment with KNUT ARILD HANSTAD from GLOBAL RENAISSANCE SOCIETY, which goal is to gather kindred spirits and resources from all over the world in joint efforts for a green and thriving future society based on equality and fair distribution of resources. In this inspiring talk we elaborated on the importance of infra-structure, his awakening, GRS-Global Renaissance Society, new technologies e.g. block-chain & crypto, the shift, simplifying complex matters, mobilizing an ‘army' of change-makers (and a hub network to facilitate that), future citizens, the shift to a new kind of leadership, his vision on regenerative parallel societies, communities and economies, the current forming of a grassroot global movement, a new firm and grounded foundation, gathering values, his calling, family Humanity, balance in his life and sacrifices, finding courage for change, embracing our differences and uniqueness, dogma, the BIG question and possible solution what we need for a thriving world, critical mass, polarities, the synergy between masculine and feminine energies, and a call to action for true new paradigm funders to step into the huge potential unfolding (business-development), and networking an sharing (community-building). Your Host : Robert Schram Sound-production: Robert_DK Thank you for listening :-) LinkedIN-profile > https://www.linkedin.com/in/knut-arild-hanstad/ Website > http://power-of-sight.com/myblog/

This episode is an exploration of deafness away from a loss of hearing to a hearing faculty and a practice of attuning to the harmonic sounds of everyday life that travel in between shortcomings of contemporary urban soundscapes. Joining us on the show is Alison O'Daniel. Alison is an Assistant Professor of Film at California College of the Arts in San Francisco, a visual artist and a filmmaker working around sound, moving image, sculpture, installation and performance. She has screened and exhibited in countless galleries and museums both domestically and internationally. These include Hammer Museum, Los Angeles; Garage Museum of Contemporary Art, Moscow; Centre Pompidou, Paris, France; Centro Centro Madrid, Spain; Renaissance Society, Chicago; Art in General, New York; Centre d'art Contemporain Passerelle, Brest, France; Tallinn Art Hall, Estonia; Bemis Center for Contemporary Arts, Omaha; Shulamit Nazarian, Los Angeles; and Samuel Freeman Gallery, Los Angeles. The Tuba Thieves, an ongoing film project, explores how high school students listen and hear when one of the main instruments in their marching band is missing in response to a rash of tuba thefts that occurred between 2011 and 2013 from high schools across Southern California. Alison shares with us a riveting story about how the making of the Tuba Thieves led to the discovery of a barn-like concert hall in the green, hilly mountains of the Hudson Valley area where a pianist once sat in front of the piano for 4 minutes and 33 seconds without pressing any key. Watch the teaser for the Tuba Thieves and an excerpt of the 4' 33" scene. Make sure to follow Alison's instagram handle to stay up to date on her future works. Read about her past works as well such as the installation at a former chapel of a German monastery which in the form of a colorful carpet captures the feeling of hard to hear and the transcript of an interview about Tuba Thieves that Alison conducted with Anne Ellegood .

Raven Chacon is a composer, performer and installation artist from Fort Defiance, Navajo Nation. As a solo artist, Chacon has exhibited, performed, or had works performed at LACMA, The Renaissance Society, San Francisco Electronic Music Festival, REDCAT, Vancouver Art Gallery, Ende Tymes Festival, and The Kennedy Center. As a member of Postcommodity from 2009-2018, he co-created artworks presented at the Whitney Biennial, documenta 14, Carnegie International 57, as well as the 2-mile long land art installation Repellent Fence.   A recording artist over the span of 22 years, Chacon has appeared on more than eighty releases on various national and international labels. His 2020 Manifest Destiny opera Sweet Land, co-composed with Du Yun, received critical acclaim from The LA Times, The New York Times, and The New Yorker, and was named 2021 Opera of the Year by the Music Critics Association of North America.   Since 2004, he has mentored over 300 high school Native composers in the writing of new string quartets for the Native American Composer Apprenticeship Project (NACAP). Chacon is the recipient of the United States Artists fellowship in Music, The Creative Capital award in Visual Arts, The Native Arts and Cultures Foundation artist fellowship, the American Academy's Berlin Prize for Music Composition, the Bemis Center's Ree Kaneko Award, and in 2022 will serve as the Pew Fellow-in-Residence.   His solo artworks are in the collections of the Whitney Museum of American Art, the Smithsonian's American Art Museum and National Museum of the American Indian, Los Angeles County Museum of Art, Getty Research Institute, the University of New Mexico Art Museum, a various private collections. Website: www.spiderwebsinthesky.com IG: Ravenchcn Twitter:@Raven_chacon

Tomorrow is World Poetry Day and poets around Aotearoa have been busy beavering away to celebrate it. One of them is Associate Professor Sarah Ross, from Te Herenga Waka-Victoria University of Wellington who has been compiling an online index of poems penned by Renaissance women. The Early Modern Women's Complaint Poetry Index brings together poetry about love, loss and protest, written by women living from 1530 to 1680. Sarah co-led the project with Professor Rosalind Smith from Australian National University and they've just picked up an award from the Renaissance Society of America.

In this episode, Dispatch talks to an artist Diane Severin Nguyen about her latest exhibition, the meaning behind its philosophical title, and how she deals with the ambiguity and politics of images through merging history, narration, and subversion of the identity and symbols. Diane Severin Nguyen was born in California in 1990. She is an artist who uses photography and time-based media. Her photography hybridizes the organic and the synthetic into amalgam sculptures, held together by the parameters of a photographic moment, and her video work expands that moment into a layered cultural and historical context. Nguyen earned an MFA from Bard College and a BA from Virginia Commonwealth University. Recent solo and two-person exhibitions include IF REVOLUTION IS A SICKNESS, SculptureCenter, New York; Between Two Solitudes, Stereo, Warsaw; Tyrant Star, Carnegie Museum of Art, Pittsburgh; Reoccurring Afterlife, Empty Gallery, Hong Kong; Minor twin worlds, with Brandon Ndife, Bureau, New York. Her video ‘Tyrant Star' has been screened at Yebisu Festival, Tokyo; IFFR Rotterdam; and the New York Film Festival. Recent select group exhibitions include Made in L.A. 2020, Shanghai Biennale 2021; Metabolic Rift, Berlin Atonal, Berlin, Germany, Greater New York, MoMA PS1. Forthcoming, IF REVOLUTION IS A SICKNESS will be exhibited at the Renaissance Society, Chicago, in May this year.

In this episode, Dispatch talks to an artist Diane Severin Nguyen about her latest exhibition, the meaning behind its philosophical title, and how she deals with the ambiguity and politics of images through merging history, narration, and subversion of the identity and symbols. Diane Severin Nguyen was born in California in 1990. She is an artist who uses photography and time-based media. Her photography hybridizes the organic and the synthetic into amalgam sculptures, held together by the parameters of a photographic moment, and her video work expands that moment into a layered cultural and historical context. Nguyen earned an MFA from Bard College and a BA from Virginia Commonwealth University. Recent solo and two-person exhibitions include IF REVOLUTION IS A SICKNESS, SculptureCenter, New York; Between Two Solitudes, Stereo, Warsaw; Tyrant Star, Carnegie Museum of Art, Pittsburgh; Reoccurring Afterlife, Empty Gallery, Hong Kong; Minor twin worlds, with Brandon Ndife, Bureau, New York. Her video ‘Tyrant Star' has been screened at Yebisu Festival, Tokyo; IFFR Rotterdam; and the New York Film Festival. Recent select group exhibitions include Made in L.A. 2020, Shanghai Biennale 2021; Metabolic Rift, Berlin Atonal, Berlin, Germany, Greater New York, MoMA PS1. Forthcoming, IF REVOLUTION IS A SICKNESS will be exhibited at the Renaissance Society, Chicago, in May this year.

From podcast host to founder of a non-profit, Nicole Parchani joins us as this week's guest! Nicole is extremely ambitious...Why you ask? Aside from her engineering role at Microsoft, Nicole is the host of her own podcast, The Chatta Box, blogger for The Renaissance Society, and founder of EmpowerU. As an international student from the Saint Martin, Nicole quickly learned to manage her personal finances. Tune in to hear her cool approach on why and how she tracks her budget, and to learn why she began her various business ventures. Follow Nicole on social media Follow The Chatta Box podcast Subscribe & Follow Money Curious Podcast for more great money content!

“Kapwani Kiwanga”Cima CimaCentre d'art contemporain d'Ivrydu 27 avril au 11 juillet 2021Interview de Kapwani Kiwanga,par Anne-Frédérique Fer, à Vitry, le 26 avril 2021, durée 11'47,© FranceFineArt.Extrait du communiqué de presse :Directrice-curator : Claire Le Restif“Nous sommes heureux d'annoncer l'ouverture de l'exposition personnelle de Kapwani Kiwanga le 26 avril 2021, réservée uniquement, jusqu'à ce que les conditions nous le permettent, aux visites professionnelles. Prévue du 23 avril au 28 juin 2020, l'exposition fut reportée suite à l'aggravement de la crise sanitaire et donne lieu en 2021 à un projet distinct de celui précédemment pensé.”Franco-canadienne, Kapwani Kiwanga (née en 1978 à Hamilton) est artiste chercheuse. Son travail s'intéresse aux récits dessinant une asymétrie du pouvoir, et à mettre en lumière les témoins parfois inattendus de ces histoires. Son travail plastique cherche à donner une forme à des archives parfois dormantes ou peu connues.Le titre de l'exposition, Cima Cima, fait référence aux « cimarrones » ou « marrons », termes d'origine arawak passés dans la langue espagnole pour désigner les personnes en condition d'esclavage, devenues fugitives dans les Amériques. Une fois émancipés, ces femmes et ces hommes devaient mettre en place des stratégies pour préserver leur liberté. Cela passait par l'établissement de villages précaires prêts à être abandonnés pour reprendre la route, par une agriculture exceptionnelle permettant leur survivance, et par l'apprivoisement de plantes ramenées de leurs terres natives pour être adaptées à un nouvel environnement.Cima Cima pose donc la question des gestes volontairement dissimulés permettant la survie, aborde l'histoire d'une résistance silencieuse, et la pratique d'une indocilité créatrice comme mode de vie, garante de liberté.C'est particulièrement la culture des plantes et leur place en tant que témoins de l'histoire humaine qui intéresse ici l'artiste, ainsi que leur fonction parfois ambivalente : la plante qui nourrit, la plante qui soigne, mais aussi la plante qui tue soit indirectement par son exploitation, soit par son utilisation en tant que poison.Pour la grande salle du Crédac, Kapwani Kiwanga propose Matières premières (2020), une forêt de papier brut à base de fibre de canne à sucre. Allant du plafond au sol, les lés de papier empêchent l'appréhension de l'espace d'un seul regard et invitent le public à emprunter une déambulation marquée par la contrainte. Des fragments de lames de machettes retravaillées et redécoupées viennent parfois se greffer sur le papier, qui, couplés à la circulation entravée, rappellent les espaces de domination sur le corps des personnes en condition d'esclavage, caractéristiques de la culture de la canne à sucre.Dans la deuxième salle et à l'invitation de Kiwanga, Noémie Sauve, artiste et soutien du Fonds d'Art Contemporain Agricole de Clinamen (association accompagnant les pratiques paysannes par la diffusion d'oeuvres d'art), présente trois dessins de la série motif vivant (2018 – 2020 – 2020) au crayon et contenant des graines paysannes de tomates. Partiellement dissimulée, faisant face à la baie vitrée, une rizière de riz de la variété Oryza glaberrima est installée dans cet espace. Selon les récits oraux, le riz africain a fait le voyage aux Amériques camouflé dans les cheveux des femmes de l'Afrique de l'Ouest contraintes à l'émigration pour être réduites à l'état d'esclavage. Cultivé dans le nord de l'Amérique du Sud grâce aux soins et au savoir-faire de ces femmes, l'histoire du Oryza glaberrima a survécu de manière orale.Léonard Nguyen Van Thé, paysagiste et jardinier, assiste Kapwani Kiwanga tout au long de l'exposition afin de suivre la culture du riz au Crédac.Toujours salle deux, est présentée une production récente de l'artiste pour la Renaissance Society à Chicago : une tapisserie où des répliques en verre de grains de riz Oryza glaberrima sont tissés, rappelant le récit des voyages transocéaniques de cette variété.La troisième salle présente la série Lazarus, quatre sérigraphies blanches sur papier. Ces oeuvres de Kiwanga reprennent des illustrations des XIXe et XXe siècles montrant des « taxons Lazare » : des espèces animales déclarées comme éteintes qui refont leur apparition dans la nature après de nombreuses décennies. Potomitan est une oeuvre produite pour l'exposition au Crédac, également présente dans cette salle. Inspirée de l'expression créole, dont elle porte le titre, Potomitan se réfère au poteau central dans un temple vaudou, mais l'expression peut aussi désigner le soutien familial ou la mère « courage », pilier de la société antillaise. Cette nouvelle oeuvre s'inspire en outre des witch's ladder. Une « échelle de sorcière » est une pratique dans la magie populaire ou la sorcellerie européenne consistant à nouer ou à tresser des cheveux ou des cordes avec des charmes (des feuilles ou des plumes par exemple), ayant en tête une intention magique spécifique. Ici, les charmes sont des parties de plantes potentiellement dangereuses ou mortelles pour l'être humain, ayant été utilisées historiquement dans la quête pour la liberté.Enfin, dans le Crédakino est projetée la vidéo Vumbi (2012), dans laquelle l'artiste nettoie le feuillage d'un bosquet d'arbres recouvert d'une couche de poussière rouge en Tanzanie, afin de faire réapparaître le feuillage vert initial. Un tirage répétant ce geste sur un site différent est également exposé.INVITATION DE KAPWANI KIWANGANOÉMIE SAUVE, née en 1980 à Romans-sur-Isère. Vit et travaille à Paris.Le travail de Noémie Sauve va au-delà des contraintes inhérentes aux différentes disciplines artistiques et s'engage directement et étroitement avec le monde. En collaboration avec des spécialistes divers (ingénieurs en biologie, vulcanologues, taxonomistes, architectes, chercheurs, paysans…), elle travaille sur plusieurs mediums et terrains avec singularité. Sa série de dessins motif vivant incorpore des graines qui peuvent être plantées et potentiellement donner des fruits. Ce travail résonne avec les questionnements abordés dans cette exposition : comment adapter les gestes, les modes de vie, et réflexions nourries par nos connaissances passées dont nous avons hérité et qui ne cherchent pas à préserver une nature idéalisée pour s'y réfugier, mais plutôt faire face à notre nécessité de s'adapter à un monde imparfait et toxique. POURQUOI LES GRAINES ?« La graine est le ‹ potentiel vivant ›. Il y est contenu, on ne sait pas comment il va se déployer.Les semences paysannes sont des graines libres, issues du vivant qui bousculent pourtant toute une architecture sociale et économique sur laquelle nous nous basons. Société dont les règles limitent le déploiement présent et à venir de ces semences non stérilisées. Issues de plusieurs générations, fruits d'évolution et d'adaptation, cette qualité des graines paysannes est néanmoins vue comme une menace. Une « menace » incarnée pourtant d'après moi dans des visions rassurantes comme peuvent l'être la liberté, l'autonomie et le vivant.Les graines incarnent aussi un temps de négociation avec ces potentiels vivants dans nos espaces. Une cohabitation à investir, un travail de fond et une temporalité dans lesquels nos habitudes sont perdues jusque dans nos cultures agricoles exigeantes.En intégrant des graines issues de semences paysannes, je défends la liberté de circulation de ce patrimoine vivant universel, et j'encourage leur diffusion. » Noémie Sauve Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Image c/o the Renaissance Society of Haig Aivazian's "All of the Lights"   In a wide ranging discussion with Haig Aivazian we start with the exhibition at Chicago's Renaissance Society and we reach toward the history of fire, policing, data visualization, sports and art, and why artists should not be afraid of making propaganda!   https://renaissancesociety.org/exhibitions/539/haig-aivazian-all-of-the-lights/   https://haigaivazian.com/

Paul Holdengräber is joined by Wayne Koestenbaum on episode 166 of The Quarantine Tapes. They have a thoughtful conversation on daily life under quarantine. Wayne talks about his habits under quarantine, discussing music, figure drawing, and reading poetry.Wayne tells Paul about discovering new music and points to the Bob Andy song “Life” as one thing that has brought him joy in this time. Paul and Wayne have a fascinating conversation, touching on themes of slowing down, serendipity, and how to maximize delight and enthusiasm under the current conditions of quarantine. Wayne Koestenbaum—poet, critic, novelist, artist, performer—has published 21 books, including The Cheerful Scapegoat, Figure It Out, Camp Marmalade, My 1980s & Other Essays, The Anatomy of Harpo Marx, Humiliation, Hotel Theory, Circus, Andy Warhol, Jackie Under My Skin, and The Queen’s Throat (nominated for a National Book Critics Circle Award).  In 2020 he received an American Academy of Arts and Letters Award in Literature.  He has exhibited his paintings in solo shows at White Columns (New York), 356 Mission (L.A.), and the University of Kentucky Art Museum.  His first piano/vocal record, Lounge Act, was released by Ugly Duckling Presse Records in 2017;  he has given musical performances at The Kitchen, REDCAT, Centre Pompidou, The Walker Art Center, The Artist’s Institute, The Poetry Project, and the Renaissance Society. Yale’s Beinecke Rare Book and Manuscript Library acquired his literary archive in 2019. He is a Distinguished Professor of English, French, and Comparative Literature at the City University of New York Graduate Center.  https://www.waynekoestenbaum.com/bio

Phil Lawler interview  Robert Royal, the inaugural St. John Henry Newman Visiting Chair in Catholic Studies at Thomas More College.Robert Royal is the founder and President of the Faith & Reason Institute in Washington, D.C. and Editor-in-Chief of The Catholic Thing (www.thecatholicthing.org)  His books include: 1492 And All That: Political Manipulations of History, Reinventing the American People: Unity and Diversity Today, The Virgin and the Dynamo: The Use and Abuse of Religion in the Environment Debate, Dante Alighieri in the Spiritual Legacy Series, The Catholic Martyrs of the Twentieth Century: A Comprehensive Global History, The Pope's Army, and The God That Did Not Fail. His most recent book is A Deeper Vision: The Catholic Intellectual Tradition in the Twentieth Century.Dr. Royal holds a B.A. and M.A. from Brown University and a Ph.D. in Comparative Literature from the Catholic University of America. He has taught at Brown University, Rhode Island College, and The Catholic University of America. He received fellowships to study in Italy from the Renaissance Society of America (1977) and as a Fulbright scholar (1978). From 1980 to 1982, he served as editor-in-chief of Prospect magazine in Princeton, New Jersey.

From Salem to East Anglia, Bordeaux to the black forest of Germany, it seems there is no end of infamous witch trials that took place in history, spanning hundreds of years and thousands of miles. Somewhat less well known are the many hundreds of werewolf trials that took place alongside them and with such a degree of crossover, that made them ultimately, synonymous with the occult world of demons and the Devil, with witchcraft and the sabbath. Whilst witches may have been feared for the damage they could cause to the crops, or the corruption they could sew within their communities, werewolves were feared on a far more primal level. Their danger came not from their insidious scheming, but their brutal ferocity, attacking, maiming and devouring the flesh of anyone who might find themselves alone on a dusty path at the wrong time. A predator, stalking in the shadows, werewolves struck fear into the rural communities of France for over two hundred years and whilst they may be considered hard to believe now, for many, they were once as real as the blood stains they left on the ground. ---------- SOURCES Elspeth, Whitney (2007) “On the Inconstancy of Witches: Pierre de Lancre's Tableau de l'inconstance des mauvais anges et demons (1612)”. Renaissance Quarterly, Renaissance Society of America, Volume 60, Number 4, Winter 2007, pp. 1405-1406, USA De Lancre, Pierre (2012) “On the Inconstancy of Witches: Pierre de Lancre's Tableau de l'inconstance des mauvais anges et demons”, Paris, France De Blecourt, Willem (2015) “Werewolf Histories (Palgrave Historical Studies in Witchcraft & Magic)”, Palgrave Macmillan, London, UK Baring-Gould, Sabine (1865) “The Book of Were-Wolves.” Smith, Elder & Co., London, UK Danjou, F. (1839) “Archives curieuses de l'histoire de France depuis Louis XI jusqu'à Louis XVIII, ou Collection de pièces rares et intéressantes. Publiées d'après les textes conservés à la Bibliothèque Royale, et accompagnées de notices et d'éclaircissemens; ouvrage destiné à servir de complément aus collections Guizot, Buchon, Petitot et Leber., ser.1 v.8 1836.”, Paris, France Evans, Hilary & Bartholomew, Robert. (2009) “Outbreak! The Encyclopedia of Extraordinary Social Behaviour”, Anomalist Books, New York, USA Rosenstock, Harvey A. Vincent, Kenneth R. (1977) “A Case of Lycanthropy”, The American Journal of Psychiatry, 134(10), 1147–1149. USA ---------- If you'd like to send in a submission for the Christmas Campfire episode this year as I mentioned at the start of the episode, the email address to send to is: social@darkhistories.com For extended show notes, including maps, links and scripts, head over to darkhistories.com Support the show by using our link when you sign up to Audible: http://audibletrial.com/darkhistories or visit our Patreon for bonus episodes and Early Access: https://www.patreon.com/darkhistories Connect with us on Facebook: http://facebook.com/darkhistoriespodcast Or find us on Twitter: http://twitter.com/darkhistories & Instagram: https://www.instagram.com/dark_histories/ Or you can contact us directly via email at contact@darkhistories.com or via voicemail on: (415) 286-5072 or join our Discord community: https://discord.gg/cmGcBFf Music was recorded by me © Ben Cutmore 2017 Other Outro music was Paul Whiteman & his orchestra with Mildred Bailey - All of me (1931). It's out of copyright now, but if you're interested, that was that. 

August 29 – October 22, 2016Kathleen O. Ellis GalleryLecture: Friday, October 7, 6pmReception: Friday, October 7, 6-8pmFor his exhibition A Place That Looks Like Home, artist Todd Gray re-frames and re-contextualizes images from his personal archive that spans over forty years of his career as a photographer, sculptor and performance artist. Gray describes himself as an artist and activist who primarily focuses on issues of race, class, gender and colonialism.His unique process of combining and layering a variety of images and fragments of images allows him the opportunity to create his own history and “my own position in the diaspora.” Working with photographs of pop culture, documentary photographs of Ghana (where he keeps a studio), portraits of Michael Jackson, gang members from South Los Angeles and photo documentation from the Hubble telescope, Gray asserts what he refers to as his own polymorphous identity that defies definition. Inspired by the work of cultural theorist Stuart Hall, Gray invites the viewer to participate in an “ever-unfinished conversation about identity and history."lg.ht/ToddGray—Todd Gray lives and works in Los Angeles and Ghana. He received both his BFA and MFA from the California Institute of the Arts. He is Professor Emeritus, School of Art, California State University, Long Beach. Gray works in multiple mediums including photo-based work, sculpture and performance. Past solo and group exhibitions include: Hammer Museum, Los Angeles; Studio Museum, Harlem, NY; USC Fisher Museum of Art, Los Angeles; Luckman Gallery, Cal State University, Los Angeles; California African American Museum, Los Angeles; Tucson Museum of Art; Detroit Museum of Art; Renaissance Society, University of Chicago, among others. Performance works have been presented at The Roy & Edna Disney Cal/Arts Theater; (REDCAT), Los Angeles; Academy of Media Arts, Cologne, and the Japanese American National Museum, Los Angeles. His work is included in the permanent collections of the National Gallery of Canada; San Francisco Museum of Modern Art; Los Angeles County Museum of Art; Museum of Contemporary Art, Los Angeles; the University of Connecticut and the Studio Museum, Harlem, NY. Gray is a Rockefeller Foundation Bellagio Center Resident Fellow. He is represented by Meliksetian | Briggs Gallery in Los Angeles, California. Gray participated in Light Work's Artist-in-Residence program in July 2007.toddgrayart.com—Special thanks to Marcia Dupratmarciaduprat.comSpecial thanks to Daylight Blue Mediadaylightblue.comLight Worklightwork.orgMusic: CAMP by Vir NocturnaMusic: "Vela Vela" by Blue Dot Sessionssessions.blue See acast.com/privacy for privacy and opt-out information.

Jason Lazarus: Too Hard to Keep (Syracuse)April 4 – May 31, 2013Kathleen O. Ellis Gallery at Light WorkGallery Talk: Thursday, April 4, 5pmReception: Thursday, April 4, 5-7pm—In 2010 Chicago-based artist Jason Lazarus initiated a growing archive of photos deemed “too hard to keep.” T.H.T.K. (Too Hard to Keep) is a place for photographs, photo-objects, and even digital files to exist when they are too difficult to hold on to, yet too meaningful to destroy. Participants have dictated whether the photographs submitted to the archive may be shown freely with other pieces of the archive, or if they are only to be displayed face down, adding to the charged significance of each object. Out of this expanding collection site-specific installations occur. With T.H.T.K. (Syracuse) Lazarus shares a slice of the larger archive alongside anonymous local submissions in a carefully considered installation at Light Work.lg.ht/10taTHO—Jason Lazarus is a Chicago-based artist, curator, writer, and educator who received his MFA in Photography from Columbia College Chicago in 2003. Lazarus has actively exhibited around the country and abroad while teaching photography at Columbia College and the School of the Art Institute of Chicago. Selected exhibition highlights include Black Is, Black Aint at the Renaissance Society, Chicago, IL; Image Search at PPOW Gallery, New York, NY; On the Scene at the Art Institute of Chicago, Chicago, IL; and solo exhibitions at Andrew Rafacz Gallery, Chicago, IL; the Museum of Contemporary Art, Chicago, IL; Kaune, Sudendorf, Cologne, Germany; and D3 Projects, Los Angeles, CA. Notable honors include the John Gutmann Photography Fellowship, 2010; an Illinois Arts Council Fellowship award, 2009; the Richard H. Driehaus Foundation Award, Emerging Artist, 2008; and the Emerging Artist Artadia Grant, 2006. His work can be found in the collections of the Art Institute of Chicago, the Museum of Contemporary Art Chicago, the Milwaukee Museum of Art, and the Bank of America LaSalle Photography collection, among many others. Lazarus is represented by Andrew Rafacz Gallery, Chicago, IL.jasonlazarus.com—Interested in submitting to the T.H.T.K. archive?Drop off your print anonymously in the drop box located at Light Work prior to and during the length of the exhibition. If you are not local, you can submit to the artist directly by following the instructions at toohardtokeep.blogspot.com—Special thanks to Azhar Chougleyouforgotmyname.comSpecial thanks to Daylight Blue Mediadaylightblue.comLight Worklightwork.orgMusic: "Vela Vela" by Blue Dot Sessionssessions.blue See acast.com/privacy for privacy and opt-out information.

History is riddled with countless enigmatic mysteries - so much of our chronology is shrouded in a cloak of unknown and the Newport Tower is no exception. Commonly thought to be the remains of a Rhode Island windmill, is a round stone tower located in Touro Park in Newport, Rhode Island. The tower presents copious riddles regarding its origins of construction and the epoch in which it was erected. Theories include local efforts, the pre-Columbus Vikings, the Templars, extraterrestrials, and everything in between. On this week's episode of Lost Origins, Andrew and CK are schooled on all things Newport Tower by the one and only, Jim Egan. As the number one authority on the tower, Jim serves as the curator of the Newport Tower Museum and has spent decades pouring his time, energy, and passion into unraveling the mystery of the tower. Jim Egan has worked as a professional photographer Providence, RI for 30 years. Before the digital photography revolution, he lived in an upside-down world using his 4 by 5 view camera. He has invented and marketed a line of photographic tools, including the Visualizer, the Quick Stick, and the Depth-of-Field Finder. He is a member of the New England Antiquities Research Association and the Renaissance Society of America.

The Renaissance Society is a contemporary art space that has a very strong character when it comes to architectural design. Artist David Maljković describes it as a “monumental space that is one dimensional with a really particular condition of light.” The vinyl floors are so present—not concrete or plastic—they are tactile. Known for his collaborative approach to curation and attention to details, Maljković worked with Renaissance Society curator Karsten Lund for the exhibit “Also on View,” to select works that complement the space. The Weekly’s Manisha AR, sat down with both artist and curator to go behind the scenes of the exhibit and talk about the ways in which the space inspired the show. You can read the review of the show here: https://southsideweekly.com/look-dont-touch-david-maljkovic-renaissance-society/ Croatian-born David Maljković has lived in many cities in Europe. He currently lives and works in Zagreb, Croatia. He has presented solo exhibitions at Palais de Tokyo in Paris; Van Abbe museum, Eindhoven; Bergen Kunsthall, Norway; BALTIC Centre for Contemporary Art, UK; Museo Reina Sofía, Madrid; MoMA PS1, New York; and several other museums and galleries. His work has been included in prominent group exhibitions around the world such as the 56th Biennale di Venezia, 29th Sao Paulo Biennial, and two of the Istanbul Biennials, among many others. Chicago-based curator Karsten Lund has been with the Renaissance Society for the past three years and curated multiple shows in the space. Prior, he worked as a Curatorial Assistant at the Museum of Contemporary Art Chicago and as a Research Fellow and Guest Curator with the Museum of Photography. “Also on View” is open until April 7, 2019. There will be an exhibition walk-through with curator Karsten Lund, at 3pm on Saturday April 6th. For more information visit http://renaissancesociety.org. Music heard during this episode is “Ambient Documentary Build Up #02” by tyops (CC BY 3.0). For more news, visit www.southsideweekly.com.

Brook Hsu joins the Bad at Sports Crew this week to discuss her contemporaneous group exhibit at the University of Chicago’s Renaissance Society, Let me Consider it from Here. Brian and Jesse lead the listeners on an aural tour of Hsu’s paintings and the breadth of her multifaceted, autobiographical practice. It’s real and fun and real fun.

Tune into SOS Radio to hear an interview with Twyla Teitzel who teaches classes on plant based eating through the Renaissance Society. 

What does it mean to be Black in 21st century America? The expression of Blackness in art has a history of intricate connections to civil rights and social movements. In the United States and abroad, painting and drawing, filmmaking and photography, performance and protest have long represented diverse creative perspectives on the volatile subject of race and identity in this country. Today, we hear from curators and artists whose work directly engages with race and American identity. Individually and collectively, they generate “freestyle” expressions of Blackness—revealing that no matter how history influences the Black cultural space, identity remains a fluid form in the hands of contemporary artists. Sound Editor: Anamnesis Audio | Photos courtesy of featured artists and the Renaissance Society Featured Audio: Thelma Golden at Crystal Bridges Museum of American Art, Hamza Walker, Black Is, Black Ain't Symposium, Renaissance Society, Johanne Rahaman field recordings in South Florida, Theaster Gates at Katzen Arts Center, American University, Theaster Gates performs at Huguenot House in Kassel, Germany, for documenta 13, Sanford Biggers, BAM (For Michael), Fahamu Pecou, All that Glitters Ain't Goals, Amy Sherald at Monique Meloche Gallery, Chicago  Related Episodes: Modern Black Portrait of Florida, Jefferson Pinder on Symbols of Power and Struggle, Theaster Gates on Meaning, Making and Reconciliation, Sanford Biggers on Time and the Human Condition, Amy Sherald on New Racial Narratives, Fahamu Pecou on Art x Hip-Hop Related links: Thelma Golden, Studio Museum of Harlem, Freestyle, Hamza Walker, Black Is, Black Ain't, Johanne Rahaman, Jefferson Pinder, Theaster Gates, Sanford Biggers, Amy Sherald, Fahamu Pecou, Deborah Roberts

KEVIN BEASLEY Institute of Contemporary Art MAY 9 – AUG 26, 2018 http://www.artbook.com/blog-kevin-beasley.html http://www.bostonglobe.com/arts/2018/05/22/ica-kevin-beasley-alchemizes-dark-histories/B63n1MyuPohQUsc5tpYgcK/story.html https://hyperallergic.com/373119/st-peters-basilica-meets-the-black-panthers-in-a-contemporary-altarpiece/ One of the most exciting artists to emerge in recent years, New York–based Kevin Beasley (b. 1985, Lynchburg, VA) uniquely combines sound and clothing—his core artistic materials—in stunning, densely packed sculptures and immersive acoustic experiences. This exhibition, his first in Boston, will present a selection of the artist’s sculptures made over the past five years. Beasley’s early works harnessed the physical qualities of sound, deploying vibrations and echoes that penetrate the bodies of both performers and audience. He has embedded microphones and other electronic musical equipment in sculptures made of sneakers and foam, manipulating their sonic possibilities in his live performances. Found objects and clothing, often the artist’s own, are central in Beasley’s diverse sculptural work, ranging from compositions of shredded t-shirts and hoodies to fitted hats, do-rags, and basketball jerseys. More recent works are constructed from colorfully patterned housedresses stiffened with resin that stand on the floor and protrude from the walls, at times hardened over sound-baffling foam panels or concave forms that Beasley refers to as “acoustic mirrors.” Appearing like satellite dishes or clusters of ghostly figures, these works become conduits for absent bodies and histories that the artist evokes through color, pattern, and texture. Rather than contrasting the materiality of objects to the immateriality of music and performance, as is so often the case, Beasley forges strong affinities between the physical and the aural in his multidisciplinary practice. In the spirit of artists Noah Purifoy and David Hammons, Beasley improvises upon the legacy of their work to highlight the importance of personal memory and to explore how lived experience intersects with broader examinations of power and race in America. In a recent installation at The Renaissance Society in Chicago, Your Face Is/Is Not Enough, 2016, the artist transformed police-issue riot gear into a carnivalesque installation that was activated by the breath of performers. His 2017 exhibition at Los Angeles’s Hammer Museum featured a single, large-scale installation, Chair of the Ministers of Defense, 2016, that merged imagery from a Baroque altar and an iconic photograph of Black Panther Party cofounder Huey P. Newton to consider—and reformulate—expressions of power for today. Through such multifaceted and visually commanding works, Beasley has proved himself to be among the most significant young artists working today. ICA INFO 25 Harbor Shore Drive Boston MA 02210 ICA HOURS Tuesday + Wednesday: 10 AM – 5 PM Thursday + Friday*: 10 AM – 9 PM *First Friday of every month: 10 AM – 5 PM Saturday + Sunday: 10 AM – 5 PM General Admission: $15 Seniors (60+): $13 Students with ID: $10 Youth 17 and under: FREE Admission is FREE for all every Thursday from 5 to 9 PM during ICA Free Thursday Nights. The last Saturday of the month (except December), admission is FREE for up to two adults accompanied by children 12 and under during Play Dates.* The first Friday of every month, the ICA is open to First Fridays ticket-holders only from 5 to 10 PM. Admission to First Fridays is free for members/$15 for non members and includes gallery access. This event is 21+. Additional discounted rates: American Federation of Teachers: $8 EBT (Electronic Benefit Transfer): FREE for one person – please note children 17 and under are always free MTA (Massachusetts Teachers Association): $8 Discount passes also available at select area libraries

This week in the studio, we enter the virtual cave of sculptor, Daniel G. Baird. Dana and Ryan join Daniel in traversing the temporal expanse, dragging the prehistoric into the hyperreality of the Anthropocene. We muse on the museological and disambiguate our guest from his 90's roots rock alter ego. Daniel's current solo exhibition, "on the water," is on display at New York's Grimm Gallery and is additionally featured in "Unthought Environments," at the Renaissance Society.

Karsten Lund is Assistant Curator at The Renaissance Society with recent curated exhibitions including Ben Rivers em>Urth and Sadie Benning's Shared Eye. Previously, Lund was Curatorial Assistant at the Museum of Contemporary Art Chicago, contributing to major group exhibitions including The Way of the Shovel: Art as Archaeology and The Freedom Principle: Experiments in Art and Music, 1965 to Now.Additionally, he has produced curatorial projects at other venues, including the Museum of Contemporary Photography, New Capital Projects, Hyde Park Art Center, and a factory shortly before its demolition. UNTHOUGHT ENVIRONMENTS Daniel G. Baird, Marissa Lee Benedict, Nina Canell & Robin Watkins, Revital Cohen & Tuur Van Balen, Cécile B. Evans, Peter Fend, Florian Germann, Jochen Lempert, Nicholas Mangan, Miljohn Ruperto, Xaviera Simmons Start with the ancient elements—earth, water, fire, air—and then expand your view of our elemental world. Think about sunlight, weather systems, rare earth minerals, and electromagnetic forces, to name only a few other things. Phenomena like these are integral to our daily lives but they can be elusive, easily forgotten, or deliberately kept out of sight: the hidden components of our virtual worlds, factors in geopolitics, or deeper influences on human habits and cultures. What are our “unthought environments” today? Our elemental surroundings become another kind of vital infrastructure, seemingly there to be used and overlooked, but the elements have shaped us, too, and sometimes they veer into the foreground. Unthought Environments is informed by evolving discussions in various fields, including media studies, ecology, and philosophy. Against this backdrop, new and recent artworks offer a set of explorations with different focal points in the elemental sphere as it intersects with our more human-made domains. The artists’ videos, sculptures, photographs, installations, and digital images delve into the state of water in multiple countries; the mining operations that feed our computers; the effects of the sun; electromagnetic fields made visible; dust storms; and other phenomena brought to life. Curated by Karsten Lund.

In episode 6 of WGB, we vist Christina Bright at her home in Newark, NJ. We talk to Christina aka Chris Miss about what it is to be a creative in addtion to being a mom, actress, model, and influencer among the many other hats she wears. _ 
Instagram.com/ChrisMiss_ Website: www.BryonSummers.com www.
Instagram.com/WereGettingBetter — Photographer Spotlight: Dawoud Bey Bey, born in New York in 1953 holds a Master of Fine Arts degree from Yale University School of Art and is currently Professor of Art and a Distinguished College Artist at Columbia College Chicago, where he has taught since 1998. but before all of that he credited a 1969, visit to the exhibition Harlem on My Mind at the Metropolitan Museum of Art for his determination to become an artist. Ten years later, in 1979 he exhibited his first one-person show at the Studio Museum in Harlem. Bey has held numerous exhibitions worldwide, at institutions including the Art Institute of Chicago, the Barbican Centre in London, the Cleveland Museum of Art, the Los Angeles County Museum of Art, the Detroit Institute of Arts, the High Museum of Art in Atlanta, GA, the National Portrait Gallery in London, and the Whitney Museum of American Art among many others. In 2012 the Renaissance Society at the University of Chicago organized Dawoud Bey: Picturing People, a survey exhibition of his work from 1981-2012. Harlem, USA was published by Yale University Press in conjunction with the Art Institute of Chicago in May 2012, where the work was exhibited in its entirety for the first time since it was first shown at the Studio Museum in Harlem in 1979. He recently completed a project with the Birmingham Museum of Art that commemorates the bombing of the 16th Street Baptist Church, Dawoud Bey: The Birmingham Project. Bey's works are included in the permanent collections of numerous museums, both in the United States and abroad. In addition to his photographs, Bey's writings have appeared in publications throughout Europe and the United States, including High Times Hard Times: New York Painting, 1967-1975, The Van DerZee Studio, and David Hammons: Been There Done That. He has curated a wide range of exhibitions at museums and institutions. For more on Dawoud Bey check out Rena Bransten Gallery dot com — Music:
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The founder of UC Santa Cruz's Smith Renaissance Society talks with two alumni of the group about their experiences and moving on to his next project.

This week: From our residency at Expo Chicago 2013 we talk to the new (as of June 2013) Director of the Renaissance Society at the University of Chicago, Solveig Ovstebo.

If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to digicomm@uchicago.edu. The University Ceremony of the 515th Convocation of the University of Chicago was held on June 15, 2013, on the Main Quadrangle. The University of Chicago Pipe Band led distinguished faculty and graduating students in a procession, followed by opening remarks from President Robert J. Zimmer. Provost Thomas F. Rosenbaum introduced Professor Abbie J. Smith, who delivered the Convocation Address, “Corporate Governance: Is It Personal?” The William Benton Medal for Distinguished Public Service was presented to Susanne Ghez, Executive Director and Chief Curator of the Renaissance Society; and the Rosenberger Medal was awarded to Jeanne Gang, Principal and Founder of Studio Gang Architects. In the second half of the ceremony, President Zimmer bestowed honorary degrees upon distinguished scholars and conferred degrees upon candidates in the College, graduate divisions, and professional schools. The program also included performances by the University of Chicago Motet Choir and the Millar Brass Ensemble.

If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to digicomm@uchicago.edu. The University Ceremony of the 515th Convocation of the University of Chicago was held on June 15, 2013, on the Main Quadrangle. The University of Chicago Pipe Band led distinguished faculty and graduating students in a procession, followed by opening remarks from President Robert J. Zimmer. Provost Thomas F. Rosenbaum introduced Professor Abbie J. Smith, who delivered the Convocation Address, “Corporate Governance: Is It Personal?” The William Benton Medal for Distinguished Public Service was presented to Susanne Ghez, Executive Director and Chief Curator of the Renaissance Society; and the Rosenberger Medal was awarded to Jeanne Gang, Principal and Founder of Studio Gang Architects. In the second half of the ceremony, President Zimmer bestowed honorary degrees upon distinguished scholars and conferred degrees upon candidates in the College, graduate divisions, and professional schools. The program also included performances by the University of Chicago Motet Choir and the Millar Brass Ensemble.

If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to digicomm@uchicago.edu. Portions of contemporary artist Danh Vo's "We the People" are scattered across the world, including on the University of Chicago campus. Segments of "We the People"—a dismantled, full-scale replica of the Statue of Liberty—are on display through December 16, 2012, at the University of Chicago Booth School of Business, Law School, Renaissance Society, and Oriental Institute Museum. Learn more at https://oi.uchicago.edu/museum/special/people/

If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to digicomm@uchicago.edu. Portions of contemporary artist Danh Vo's "We the People" are scattered across the world, including on the University of Chicago campus. Segments of "We the People"—a dismantled, full-scale replica of the Statue of Liberty—are on display through December 16, 2012, at the University of Chicago Booth School of Business, Law School, Renaissance Society, and Oriental Institute Museum. Learn more at https://oi.uchicago.edu/museum/special/people/

This week: After a dodgy intro we talk to Catherine Sullivan. Catherine Sullivan was born in Los Angeles, California, in 1968. She earned a BFA from the California Institute of Arts, Valencia (1992), and an MFA from the Art Center College of Design, Pasadena (1997). Sullivan’s anxiety-inducing films and live performances reveal the degree to which everyday gestures and emotional states are scripted and performed, probing the border between innate and learned behavior. Under Sullivan’s direction, actors perform seemingly erratic, seizure-like jumps between gestures and emotional states—all of which follow a rehearsed, numerically derived script. Unsettling and disorienting, Sullivan’s work oscillates between the uncanny and camp, eliciting a profound critique of “acceptable” behavior in today’s media-saturated society. A maelstrom of references and influences from vaudeville to film noir to modern dance, Sullivan’s appropriation of classic filming styles, period costumes, and contemporary spaces (such as corporate offices) draws the viewer’s attention away from traditional narratives and towards an examination of performance itself. Sullivan received a CalArts Alpert Award in the Arts (2004) and a Deutscher Akademischer Austausch Dienst (DAAD) Fellowship (2004–05). She has had major exhibitions at Walker Art Center, Minneapolis (2007); Tate Modern, London (2005); Vienna Secession, Austria (2005); Kunsthalle Zurich (2005); Wadsworth Atheneum Museum of Art, Hartford (2003); UCLA Hammer Museum, Los Angeles (2002); and the Renaissance Society, University of Chicago (2002). She has participated in the Prague Biennial (2005), the Whitney Biennial (2004), and the Biennale d’Art Contemporain de Lyon (2003). Sullivan lives and works in Chicago.

This Week: An interview and guided tour with photographer and teacher Dawoud Bey.   Dawoud Bey: Harlem, USA Wednesday, May 2, 2012–Sunday, September 9, 2012 Gallery 189 In 1979 African American photographer Dawoud Bey (born 1953) held his first solo exhibition at the Studio Museum in Harlem, showing a suite of 25 photographs titled Harlem, U.S.A. Bey had been in residence at that museum for one year, and he had made the surrounding neighborhood a subject of study since 1975. Though raised in Queens, Bey and his family had roots in Harlem, and it was a youthful visit to the exhibition Harlem on My Mindat the Metropolitan Museum of Art in 1969, that had given Bey his determination to become an artist. Harlem, U.S.A., which has never been shown complete since the Studio Museum exhibition, appears fresh today partly in its manifest difference from much of Bey’s later work. The prints are not large, not in color, and do not come in multiple parts; the subjects are not all adolescents, and they do not “sit” for the artist but were found by him on the street. And yet all these photographs are sensitively composed and radiate an emphasis on the calm and dignity that would become hallmarks of Bey’s approach. Like August Sander, Bey wanted to show the “types” of Harlem’s residents: the barber, the patrician, the church ladies, the hip youth. He was searching for a way to combine the specificity of photography, which only knows how to record details, with the diversity of Harlem, a neighborhood as varied as any in the country. And he wanted to do this without courting stereotypes. Thanks to the efforts of more than 20 patrons, led by Leadership Advisory Committee members Anita Blanchard and Les Coney, the complete vintage set of Harlem, U.S.A. has been acquired by the Art Institute. A further five photographs from that time, never before printed or exhibited, will be donated by Bey to the museum this fall. Complementing this exhibition are a selection of permanent collection works in Gallery 10 curated by Bey as well as a career survey of Bey’s work presented at the Renaissance Society at the University of Chicago from May 13 through June 24.Dawoud Bey is a professor of art and was named Distinguished College Artist at Columbia College Chicago, where he has taught since 1998. Bey studied at the School of Visual Arts in New York and holds an MFA in photography from Yale University. His work has been the subject of a retrospective exhibition at the Walker Art Center (1995) and a four-year traveling exhibition, called Class Pictures, mounted by Aperture and first shown in 2007 at the Addison Gallery of American Art. Catalogue A catalogue accompanies the exhibition with images of the entire photographic series and essays by Matthew S. Witkovsky, Richard and Ellen Sandor Chair and Curator, Department of Photography, and Sharifa Rhodes-Pitts, author of the monograph Harlem Is Nowhere.  

If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to digicomm@uchicago.edu. Part of University of Illinois Chicago's Voices lecture series at Gallery 400.Arturo Herrera (Venezuelan, born 1959) received his MFA from the University of Illinois, Chicago. Selected solo exhibitions of Herrera"i? 1/2 s work include those held at Ikon Gallery, Birmingham, United Kingdom (2007), Art Gallery of Ontario (2002), Whitney Museum of American Art (2001), UCLA Hammer Museum (2001), Centre d"i? 1/2 Art Contemporain, Geneva (2000), Renaissance Society, University of Chicago (1998), and the Museum of Contemporary Art, Chicago (1995). Selected group exhibitions include Comic Abstraction (Museum of Modern Art, New York, 2007), The Moderns, Castello di Rivoli, Torino (2003), Splat Boom Pow! The Influence of Cartoons in Contemporary Art (Contemporary Art Museum, Houston, 2003), Whitney Biennial (Whitney Museum of American Art, 2002), The Americans (Barbican Art Centre, London, 2001), and Painting at the Edge of the World (Walker Art Center, Minneapolis, 2001). Selected awards include a John Simon Guggenheim Foundation (2005), DAAD Fellowship (2003), Pollock-Krasner Foundation award (1998), and an ArtPace Fellowship (1998). The artist lives in Berlin.

If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to digicomm@uchicago.edu. Part of University of Illinois Chicago's Voices lecture series at Gallery 400.Arturo Herrera (Venezuelan, born 1959) received his MFA from the University of Illinois, Chicago. Selected solo exhibitions of Herrera"i? 1/2 s work include those held at Ikon Gallery, Birmingham, United Kingdom (2007), Art Gallery of Ontario (2002), Whitney Museum of American Art (2001), UCLA Hammer Museum (2001), Centre d"i? 1/2 Art Contemporain, Geneva (2000), Renaissance Society, University of Chicago (1998), and the Museum of Contemporary Art, Chicago (1995). Selected group exhibitions include Comic Abstraction (Museum of Modern Art, New York, 2007), The Moderns, Castello di Rivoli, Torino (2003), Splat Boom Pow! The Influence of Cartoons in Contemporary Art (Contemporary Art Museum, Houston, 2003), Whitney Biennial (Whitney Museum of American Art, 2002), The Americans (Barbican Art Centre, London, 2001), and Painting at the Edge of the World (Walker Art Center, Minneapolis, 2001). Selected awards include a John Simon Guggenheim Foundation (2005), DAAD Fellowship (2003), Pollock-Krasner Foundation award (1998), and an ArtPace Fellowship (1998). The artist lives in Berlin.

This week: Duncan and Richard talk to artist, professor and musician Jim Lutes about his work, his career, and his recent show at the Renaissance Society."Chicago-based painter Jim Lutes is often considered heir to the Imagist tradition. This, however, is only part of the story. Having come to artistic maturity in the late 1970s, Lutes exemplifies a larger and more complex historical narrative that entails the emergence of figuration and regionalism under the declining influence of Abstract Expressionism. This would be born out over several bodies of work in which Lutes would vacillate beween a populist mode of figuration and a painterly abstraction, the combination of which produced a style along the lines of Picasso in the 1930s or Guston in the 1970s." 

Watch in Quicktime.Click text or picture to view iPod ready video.Click the post below to view this video in Windows Media.Running time: 6:16GREAT RIVERS BIENNIAL 2006January 20, 2006 - March 26, 2006_________________________MOSES: The Audiophile SeriesMATTHEW STRAUSS: Dead LanguageJASON WALLACE TRIEFENBACH: Hero, Compromised (Autobiographical Fiction/Narrative Medley)The Great Rivers Biennial is a collaboration between the Contemporary and the Gateway Foundation designed to strengthen the local art scene in St. Louis. As many as three artists are selected by a panel of esteemed national jurors to receive an award of $15,000 each and an exhibition at the Contemporary Art Museum St. Louis.The goal of this innovative awards program is to identify talented emerging local artists, provide them financial assistance, raise the visibility of their work in both the Midwest and national art community, and provide them with professional support from visiting critics, curators and dealers.Emerging artists in the St. Louis area were invited to submit work from any of the following categories: drawing, painting, photography, printmaking, sculpture, mixed media, and multi-media. An emerging artist is someone in the early stages of his or her career development who has not yet received wide exhibition exposure locally or nationally or significant financial awards from other organizations.During summer 2005, Great Rivers Biennial jurors reviwed all submissions and selected three emerging artists to receive the award. This year's high profile panel of jurors included Elizabeth Dunbar, Curator at the Kemper Museum of Contemporary Art, Kansas City; Gary Garellis, Senior Curator at UCLA Hammer Museum, Los Angeles; and Helen Molesworth; Chief Curator of Exhibitions at Wexner Center for the Arts, Columbus.The recipients of the inaugural Great Rivers Biennial 2004 were Jill Downen, Adam Frelin, and Kim Humphries who were selected by jurors Lisa Corrin, Director, Williams College Museum of Art; Debra Singer, Executive Director and Chief Curator, The Kitchen; and Hamza Walker, Department Director, Renaissance Society at the University of Chicago.Information courtesy Great Rivers Biennial 2006 catalogue, Contemporary Art Museum St. Louis (www.contemporarystl.org)In these three interviews, produced during the week of the opening exhibition, by Hugh Beall and illusionJunkie.com, William Griffin, Artistic Director of the St. Louis Veiled Prophet Parade, talks with Moses, Matthew Strauss and Jason Wallace Triefenbach. All three artists are represented by Bruno David Gallery (www.brunodavidgallery.com).A free subscription to www.illusionJunkie.com saves time by automatically downloading future videos to your computer. Requires only one-click from the sidebar on this page.

Michelle Grabner! We show up with bagels and coffee to interview artist, critic, gallerist, teacher, and writer Michelle Grabner in her Oak Park Studio. Michelle has written criticism for more magazines than I can comfortably count, and shown her work internationally. We talk about her career, the't find a decent solo show to review for Art Forum. The Suburban 244 West Lake Street Oak Park, IL 60302 tel: 708.763.8554 Hours Saturday: 12-5 And as if that discussion isn't enough to fuel thoughtful conversation for weeks and provide enough grist for the intellectual mill, Duncan and I review current shows. And, for the first time, we completely, utterly, and collectively dislike something! We review the Hyde Park Art Center's new show of James Faulkner's work, the Smart Museum's exhibition Beyond Green: Toward a Sustainable Art, the Illinois State Museum Chicago Gallery's show Art in the Abstract, and the Renaissance Society's exhibition All the Pretty Corpses. Links etc. to follow soon! South Park Michelle Grabner Rocket Gallery Shane Campbell Gallery 3 Walls 40000 Illinois State Project Row House Beverly Art Center Hyde Park Art Center The Ren