Podcasts about Renwick Gallery

Shows opening in Washington and Dublin this month explore quiltmaking by African American women. Ben Luke talks to Raina Lampkins-Fielder, chief curator for the Souls Grown Deep Foundation, and the organiser of the exhibition Kith & Kin: The Quilts of Gee's Bend at the Irish Museum of Modern Art (IMMA), about the history of quiltmaking in this small part of Alabama, and the growing recognition of its artistic importance. The Musée Picasso in Paris this week unveiled its exhibition “Degenerate” art: Modern art on trial under the Nazis, which looks back not just at the infamous 1937 exhibition in Munich but also the years-long campaign to attack modern art and artists in Germany in the 1930s and 1940s. We speak to the exhibition's co-curator, Johan Popelard. And this episode's Work of the Week marks the death last week of Mel Bochner, a leading figure in the development of conceptual art. We speak to his gallerist, Peter Freeman, who knew and worked with Bochner for more than 50 years. We look in particular detail at the 1969 work, 48" Standards (#1).Last chance: The Art Newspaper's book The Year Ahead 2025, an authoritative guide to the year's unmissable art exhibitions, museum openings and significant art events, is available to buy at theartnewspaper.com for £14.99 or the equivalent in your currency, until Sunday, 23 February. Buy it here. https://account.theartnewspaper.com/subscribe?sourcecode=year_ahead&utm_source=podcast&utm_campaign=theyearaheadKith & Kin: The Quilts of Gee's Bend, IMMA, the Irish Museum of Modern Art, Dublin, from 28 February-27 October; We Gather at the Edge: Black Women and Contemporary Quilts, Renwick Gallery, Smithsonian American Art Museum, Washington, DC, 21 February-22 June; Fabric of a Nation: American Quilt Stories, Frist Art Museum, Nashville, US, 27 June-12 October“Degenerate” art: Modern art on trial under the Nazis, Musée Picasso, Paris, until 25 May. Hosted on Acast. See acast.com/privacy for more information.

In the 78th episode of Perceived Value, host Sarah Rachel Brown takes listeners to the Penland School of Craft, where she's participating in their Winter Residency. Leading up to the residency, Sarah had heard from a few fellow artists attending, but overall, she had no idea who she would cross paths with. To her delight, the residency allowed her to meet many artists she's admired from afar. Among them is the guest for this episode, Lauren Kalman, who has been on Sarah's interview wishlist for some time. After sharing a few meals, Sarah asked for an interview.The two women sat down to discuss how Lauren unexpectedly got her first teaching position, the art of negotiation and why it's a crucial skill, how to sell work when your work is challenging to sell, and how an artist's work is not always representative of their personality.OUR GUESTLauren Kalman is a visual artist based in Detroit whose practice is rooted in craft, sculpture, video, photography, and performance. She completed her PhD in Practice-led Research from the School of Art and Design at the Australian National University. She earned an MFA in Art and Technology from Ohio State University and a BFA with a focus in Metals from Massachusetts College of Art.Her work has been featured in exhibitions at the Renwick Gallery at the Smithsonian Museum of American Art, Museum of Arts and Design, Museum of Contemporary Craft, Cranbrook Art Museum, Contemporary Art Museum Houston, Museum of Fine Arts Boston, Mint Museum, World Art Museum in Beijing, and the Musée d'Art Moderne de la Ville de Paris among others. Her work is in the permanent collection of the Françoise van den Bosch Foundation at the Stedelijk Museum Amsterdam, Museum of Fine Arts Boston, Smithsonian Museum of American Art, Detroit Institute of Art, Museum of Arts and Design, and the Korean Ceramics Foundation. In 2020 she received the Françoise van den Bosch Award for her career's impact on the jewelry field; in 2022, she received the Raphael Founders Prize in Glass from Contemporary for Craft; and in 2023 she was named a Kresge Arts in Detroit Fellow.She is a dedicated educator and is currently a Professor and the Chair of the Department of Art, Art History, and Design at Wayne State University in Detroit.www.laurenkalman.comInstagram: @laurenkalmanFacebook: @LaurenKalmanArtDon't forget to Rate AND Review us on iTunes!SUPPORT PERCEIVED VALUE!www.patreon.com/perceivedvalueMORE WAYS TO SUPPORTInstagram + Facebook: @perceivedvalueInstagram: @sarahrachelbrownThe music you hear on Perceived Value is by the Seattle group Song Sparrow Research.All You Need to Know off of their album Sympathetic Buzz.Find them on Spotify!

Kristina Logan makes unique and complex beads in intricate patterns whose sometimes knobby forms recall the remarkable eye beads made in ancient China. Yet Logan's style is purely contemporary, reflected in work that stands out for its originality, sophistication, and innovation. She is not only interested in beads as body adornment but also as decorative elements for boxes, candlesticks, goblets and teapots. Logan states: “Beads are part of my lifelong fascination with art and ornamentation. Glass beads form a historical thread, connecting people and cultures throughout our history.” In 2002, Logan was one of only four artists selected for exhibition in the Smithsonian American Art Museum's Renwick Gallery Invitational Four Discoveries in Craft. “Logan's beads exist in their own right as art… ,” writes Kenneth Trapp, Curator-in-Charge at the Renwick Gallery.  Articles about Logan's work have appeared in numerous publications including ORNAMENT magazine, GLASS magazine, Beadwork magazine, Bead & Button magazine, Lapidary Journal, and La Revue de la Céramique et du Verre. Her work has been collected by the Smithsonian Museum of American Art, Renwick Gallery, The Peabody Essex Museum in Salem, Massachusetts, the Corning Museum of Glass, the Museum of Fine Arts, Boston, and the Musée du Verre de Sars-Poteries, France. The artist served as president of the International Society of Glass Beadmakers from 1996 to 1998. Logan's work and desire to educate has been an inspiration for many glass beadmakers throughout the world. She travels extensively throughout the United States and Europe teaching workshops and lecturing on contemporary glass beads and jewelry at places such as The Studio at the Corning Museum of Glass, UrbanGlass, Haystack Mountain School of Crafts, Penland School of Craft, Carlisle School of Glass Art, Millville, New Jersey, Musée-Atelier du Verre à Sars-Poteries in France, and Centro Studio Vetro and Abate Zanetti in Venice, Italy. The Corning Museum of Glass produced a DVD video in 2009 of Logan's flamework beadmaking as part of their Master Class Series. An excerpt and full version of the video is available on YouTube and on Logan's website. https://www.kristinalogan.com/videos Having taught at The Studio of the Corning Museum of Glass earlier this year, Logan is now focusing on several projects that have been incubating over the years, including casting small vessels and encrusting them with beads and metal – some that stand alone individually and also as a group of 12 vessels that represent a personal calendar or living reliquary. She also continues working on a new collection of beads centric necklaces. And most importantly, Logan is documenting more of her work on YouTube. She says: “I would like to document with videos more of what I do. I am not ready to teach online or offer specific tutorials, but I would like to use YouTube as a way to share footage from my studio. I am thinking about this as an extension of my creative process–I love being behind a camera. I love being a maker, and I have been so fortunate to learn from others over the years. I want to be part of what I see as a cycle of learning and giving back. As I age, I also think about how I would like to document what I do for my kids and future artists.   “I have been fortunate enough to have made a living at what I do, and I would like to be honest about how I have done that.”  

Episode No. 663 features artist Jeremy Frey and curator Sarah Humphreville. The Portland Museum of Art is presenting "Jeremy Frey: Woven," a twenty-year survey of Frey's basketry and printmaking. The exhibition features more than fifty baskets made from natural materials such as black ash and sweetgrass, as well as prints and video. The exhibition is in Maine through September 15, when it will travel to the Art Institute of Chicago. It was curated by Ramey Mize and Jaime DeSimone. The excellent catalogue was published by Rizzoli Electa in association with the PMA. Amazon and Bookshop offer it for $35-46. In 2011, Frey became the first basket-maker to win Best of Show at the Santa Fe Indian Market, in 2011, a feat he repeated in 2014. His work has been included in exhibitions at institutions such as The Renwick Gallery of the Smithsonian American Art Museum, Washington, and the deCordova Sculpture Park and Museum, Lincoln, Mass. Frey, a seventh-generation Passamaquoddy basket-maker, makes his baskets from ash trees, which are threatened by an invasive species called the emerald ash borer. The exhibition also presents this threat to Wabanaki cultural traditions and northeastern forests. Humphreville is the curator of "Eastman Johnson and Maine," at the Colby Museum of Art at Colby College. The show celebrates the bicentennial of Johnson's birth with a presentation of works Johnson made in Maine, his home state. It is accompanied by a gallery of works made by Johnson's peers. "Johnson and Maine" is on view through December 8. Instagram: Jeremy Frey, Sarah Humphreville, Tyler Green.

On this week's program, your host, Justin Mog, gathers around the hearth with Kaitlyn Tisdale, Director of Interpretation at Historic Locust Grove, 561 Blankenbaker Ln (http://locustgrove.org), and their upcoming Artist-in-Residence, Jerome Bias, a North Carolina-based furniture maker and cultural heritage practitioner specializing in reproducing 18th- and 19th-century Southern Furniture using period techniques. He has been making furniture since 2000 and was the joiner for Old Salem Museums & Gardens from 2011-2016. He has presented for the Renwick Gallery of the Smithsonian American Art Museum, Winterthur Museum, and the Museum of Early Southern Decorative Arts (MESDA). Currently, Jerome Bias reproduces historic furniture pieces from places throughout the country where his family was enslaved. Through his work, he hopes to explore the question: “How did his ancestors handle the trauma of enslavement and yet maintain the ability to have hope and love?” Historic Locust Grove is a nonprofit organization dedicated to preserving and promoting the history of Locust Grove, a national historic landmark and historic house museum in Louisville, Kentucky. The estate was once the home of George Rogers Clark, a key figure in American history, and his family. Historic Locust Grove, Inc. manages the site, offering guided tours, educational programs, and events to engage visitors with the estate's rich history and heritage. This summer, Locust Grove is hosting an Artist-in-Residence program (https://locustgrove.org/artist-in-residence/) in which Jerome Bias will be with us June 3rd-8th for a week of workshops, lectures, tours, and more. Join us for an unforgettable week-long exploration-themed “A Celebration of Food, Family, and Furniture.” Delve into the rich tapestry of Southern material culture and foodways as we honor traditions and creativity that have shaped America. Follow Jerome on a journey celebrating the intricate connections between food, family, and furnishings. From hands-on workshops and artisan demonstrations to enlightening talks and culinary experiences, there's something for everyone to enjoy. Discover the artistry behind traditional Southern furniture-making techniques, learn about the historical significance of heirloom recipes, and gain insight into the cultural influences that have shaped our culinary landscape. Whether you're a history enthusiast, a food connoisseur, or simply curious about the stories woven into the fabric of our past, this program offers a unique opportunity to connect with the heritage of the American South. Learn more and get your tickets at https://locust-grove-museum-store.myshopify.com/collections/tours As always, our feature is followed by your community action calendar for the week, so get your calendars out and get ready to take action for sustainability NOW! Sustainability Now! is hosted by Dr. Justin Mog and airs on Forward Radio, 106.5fm, WFMP-LP Louisville, every Monday at 6pm and repeats Tuesdays at 12am and 10am. Find us at http://forwardradio.org The music in this podcast is courtesy of the local band Appalatin and is used by permission. Explore their delightful music at http://appalatin.com

Enjoy this stained glass panel discussion with top industry professionals and educators Judith Schaechter, Stephen Hartley, Megan McElfresh, and Amy Valuck. Topics addressed include: what is needed in stained glass education; how the massive number of Instagrammers making suncatchers and trinkets affect stained glass; how to promote stained glass in a gallery setting; and how to stay relevant as stained glass artists. The panelists: By single-handedly revolutionizing the craft of stained glass through her unique aesthetic and inventive approach to materials, Judith Schaechter championed her medium into the world of fine art. The content of her work – some of which gives voice to those who experience pain, grief, despair, and hopelessness – resonates with viewers, leaving a profound and lasting impression. Schaechter has lived and worked in Philadelphia since graduating in 1983 with a BFA from the Rhode Island School of Design Glass Program. She has exhibited her glass art widely, including in New York, Los Angeles and Philadelphia, The Hague and Vaxjo, Sweden. She is the recipient of many grants, including the Guggenheim Fellowship, two National Endowment for the Arts Fellowships in Crafts, The Louis Comfort Tiffany Award, The Joan Mitchell Award, two Pennsylvania Council on the Arts awards, The Pew Fellowship in the Arts and a Leeway Foundation grant. Her work is in the collection of the Metropolitan Museum in New York, the Victoria and Albert Museum in London, the Hermitage in Russia, the Philadelphia Museum of Art, The Corning Museum of Glass, The Renwick Gallery of the Smithsonian Institution and numerous other public and private collections. Schaechter's work was included in the 2002 Whitney Biennial, a collateral exhibition of the Venice Biennale in 2012, and she is a 2008 USA Artists Rockefeller Fellow. In 2013 the artist was inducted to the American Craft Council College of Fellows. The Glass Art Society presented Schaechter with a Lifetime Achievement award in 2023, and this year she will receive the Smithsonian Visionary Award. Schaechter has taught workshops at numerous venues, including the Pilchuck Glass School in Seattle, the Penland School of Crafts, Toyama Institute of Glass (Toyama, Japan), Australia National University in Canberra, Australia. She has taught courses at Rhode Island School of Design, the Pennsylvania Academy, and the New York Academy of Art. She is ranked as an Adjunct Professor at The University of the Arts and Tyler School of Art Glass Program, both in Philly . Born in Philadelphia, Stephen Hartley began his craft career working on a variety of historic buildings and monuments throughout the region. In 1999, he moved to South Carolina to attend Coastal Carolina University, where he earned his undergraduate degree in History. He then relocated to Savannah, Georgia, and continued to work in the traditional crafts and conservation fields while attending graduate school. After completing his MFA in Historic Preservation at the Savannah College of Art and Design, Hartley was employed as an instructor at various colleges within the Savannah area. He earned his PhD from the University of York in 2018 where his dissertation thesis studied the historical and modern frameworks of trades training in the US and the UK.  Hartley eventually returned to the Philadelphia area and accepted the position of Head of Building Arts at Bryn Athyn College, where he formulated the first Bachelor's of Fine Arts (BFA) in traditional building within the United States. Hartley, currently an associate professor in Notre Dame's School of Architecture, wants his students to have a deeper appreciation for the work craftspeople do to fulfill an architect's vision—by learning the vocabulary of the trades, understanding their history, and, when possible, trying out the tools. Executive Director of the Stained Glass Association of America (SGAA), Megan McElfresh has dedicated her professional life to community service and the art and science of stained glass. With a background in fine arts and operations management, she joined the Association as a professional member in 2015 and became the Executive Director in the fall of 2017. Growing up in small stained glass studios, McElfresh continued to build on her technical skills in the medium by seeking mentorship opportunities throughout college. Some of the highlights of her glass studies were traveling to Pilchuck Glass School and time spent at the nationally recognized kiln forming resource center, Vitrum Studio.  Prior to working with the SGAA, McElfresh worked in a variety of roles from operations management at a life sciences firm in Washington, D.C. to IT and web support for small non-profit art organizations. In 2011, McElfresh moved from Northern Virginia to Buffalo, New York, and founded her studio, McElf GlassWorks. With a passion for her professional career as well as her new community, she never turned down an opportunity to collaborate with neighborhood teens and local programs to provide enthusiastic and creative educational enrichment. In her personal work, McElfresh uses her artwork in the advocacy of issues she became passionate about during her time working at a forensics laboratory concerning subjects like domestic violence and rape, and DNA backlogs. Her studio work has been featured in the Stained Glass Quarterly, Design NY, The Buffalo News, and Buffalo Rising. Find out more about the SGAA's 2024 conference here: Conference 2024: Sand to Sash | The Stained Glass Association of America Amy Valuck is a stained glass artist and conservator based in Southeastern Pennsylvania, and the current president of the American Glass Guild. She began her apprenticeship in 1998 at The Art of Glass in Media, PA, and in 2014 went on to establish her own studio, Amy Valuck Glass Art, now located in West Chester, PA. Her studio's primary work is the restoration and conservation of historical windows from churches, universities, and private residences. As a conservator she specializes in complex lead work, plated windows, and replication painting. Valuck also maintains a personal art practice, producing autonomous stained glass panels for private commissions and public exhibition, including the AGG's American Glass Now annual exhibit. Her personal work is heavily influenced by the fabrication and painting techniques of historical windows but frequently includes experimental fused glass elements.  Valuck is a graduate of the Rhode Island School of Design, who earned her BFA degree in jewelry and light metals. Her work in jewelry earned awards including the first annual Cartier Prize, and the MJSA (Manufacturing Jewelers and Silversmiths' Association) Award. She has served on the board of directors of the American Glass Guild since 2017 and has participated as a lecturer and instructor at several of the AGG's annual conferences. Registration is now open for the 2024 Grand Rapids conference, July 9 – 14. Find out more about the AGG's 2024 conference here: https://www.americanglassguild.org/events/agg-2024-conference-grand-rapids-mi For further exploration of panel discussion topics: The Campaign for Historic Trades Releases First-of-its-Kind Labor Study on the Status of Historic Trades in America – The Campaign for Historic Trades   

I had a great chat with Matt last year, and I really saw the heart of the father in him! Matt's heart of love, along with his understanding of the kingdom, means that this podcast is gonna be epic!! Matt is an artist, internationally-known Christian speaker, and the best-selling author of 8 books who is passionate about helping artists thrive spiritually, artistically and in business. He is a mentor to artists around the world through his Created to Thrive Artist Mentoring Program and also hosts The Thriving Christian Artist Podcast. In 2009, God called Matt to "raise up an army of artists to reveal His glory all over the earth." As an artist, Matt's basketry work has been featured in many magazines, shows and exhibitions and is mostly commissioned by private clients for luxury mountain and coastal homes around the country. In 2011, Matt was recognized by the Smithsonian American Art Museum's Renwick Gallery as an American Artist Under 40 and in 2018 was recognized as one of the Best Artist Mentors in the country by Professional Artist Magazine. He continues to teach basket weaving classes both online and in person. http://matttommeymentoring.com/     Join our Group Mentorship Program: ► Royal Hybrids Understand The Truth About Your Purpose: ► Watch My FREE Purpose= IAM Training   Book A Free Discovery Call with Me ► iamjosephwilson.com ✅ Subscribe to FUSE LIFE on YouTube Follow us on social media ✅  Facebook   +   Instagram ►Purchase my Bestselling book "The NO B.S. GUIDE TO THE ABUNDANT LIFE" on Amazon NOW!  

Apollo 8, which launched on December 21, 1968, was the first mission to take humans to the moon and back. While the crew did not land on the moon's surface, the flight was an important prelude to a lunar landing, testing the flight trajectory and operations getting there and back. Capt. James A Lovell, Apollo 8 astronaut, shared his memories of that historic mission: “Then, looking up I saw it, the Earth, a blue and white ball, just above the lunar horizon, 240,000 miles away…I put my thumb up to the window and completely hid the Earth. Just think, over five billion people, everything I ever knew was behind my thumb…I began to question my own existence. How do I fit in to what I see?” Inspired by this wonderment and interest in perspective, glass artist Josh Simpson embarked on his own exploration of the cosmos. Born on August 17, 1949 and educated at Hamilton College, in Clinton, New York (1972), much of Simpson's career in glass has been dedicated to communicating his fascination with the earth and its role as our planet, first through entertaining demonstrations for middle schoolers, then with art lovers worldwide. He has enthusiastically shared his glass art in much the same way the astronauts shared their experiences – with any man, woman or child whose heart fills with excitement just thinking of the possibilities. Since the 1980s, Simpson has been hiding his glass Planets all over our Earth. In 2000 he launched the Infinity Project, which invites people around the world to hide Planets in exotic, mysterious, and sometimes even seemingly mundane – but personally meaningful – locations. Simpson's space-inspired glass art includes Planets, vases, platters, and sculpture. The artist has dedicated more than 50 years to inventing new glass formulas and making unique objects that embody his fascination with color, form, light, pattern, complexity, and the working of the universe. His iconic Planets evoke imaginary worlds that might exist in distant undiscovered galaxies. His New Mexico Glass suggests star-filled night skies and swirling blue seas, while Corona Glass evokes deep-space images captured by the Hubble Telescope.  Simpson's work has been exhibited in the White House and numerous international museums. Select pieces are currently on permanent display at the Corning Museum of Glass, the Renwick Gallery of the Smithsonian Museum, Yale University Art Museum, Boston Museum of Fine Arts, and many more. Says Simpson: “I am moved by the beauty of the night sky and other astronomical phenomena. Physics and cosmology fascinate me, as does high temperature chemistry, powered flight, and all things mechanical. I am mesmerized by color, form, contrast, iridescence, tessellating patterns, and complexity.” Located in the rural hills of Western Massachusetts, Simpson's studio can be found in a converted dairy barn beside his home. Every night, the last thing he does is walk from the house to his studio to check the furnaces. Seeing an aurora borealis, watching a storm develop down the valley, or looking at the sky on a perfect summer night, compels him to translate some of the wonder of the universe into his glass. This process doesn't happen in any planned way, but gradually and unpredictably. He never tries to replicate what he sees around him, and in fact often doesn't recognize the source of inspiration until someone points it out later.  Simpson states: “Molten glass consists of sand and metallic oxides combined with extraordinary, blinding heat. The result is a material that flows like honey. When it's hot, glass is alive! It moves gracefully and inexorably in response to gravity and centripetal force. It possesses an inner light and transcendent radiant heat that make it simultaneously one of the most rewarding and one of the most frustrating materials for an artist to work with. Most of my work reflects a compromise between the molten material and me; each finished piece is a solidified moment when we both agree.” In his most recent book, Josh Simpson 50 Years of Visionary Glass, 500 beautiful photos and informative (and humorous) narration by the artist, reveals the evolution of Simpson's evocative glass art over the past 50 years. In-depth looks at his several signature series and experimental works illustrate how the artist has continually explored new ways to express—in glass—his fascination with outer space, the natural world, and the workings of the universe. Text and photo spreads narrate the story of Simpson's glass, details of his life and process, and his contributions within the craft world. Text by experts in the glass world, including William Warmus, Tina Oldknow, Nezka Pfeifer, and others, supplies additional views. In addition, strategically placed comments from numerous museum curators, along with insights from astrophysicists and space flight professionals, present a unique perspective on the meanings and broad appeal of his unique glass. From playing the spoons, to winning story slams and flying high performance planes to the wrong number that resulted in him marrying astronaut Cady Coleman – enjoy this fascinating conversation with Josh Simpson.    

In her swan song as a host for The Three Bells, Criena Gehrke (Executive Director, Queensland Theatre) speaks with two leading figures in Calgary's arts and culture scene, Alex Sarian (President & CEO, Arts Commons) and Nicholas R. Bell (President & CEO, Glenbow Museum). The dynamic conversation covers plenty of ground: from the magic and warmth of Calgary's cultural scene to the personal and institutional responsibilities carried on the road to reconciliation with indigenous communities. The Three Bells podcast is produced by AEA Consulting for the Global Cultural Districts Network (GCDN). Sound mixing and theme music by Artwave Studio. ReferencesGlenbow: https://www.glenbow.org/Arts Commons: https://www.artscommons.ca/Studio Bell, home of the National Music Centre: https://www.studiobell.ca/Central Library: https://calgarylibrary.ca/Contemporary Calgary: https://www.contemporarycalgary.com/Arts Commons Transformation Project: https://www.contemporarycalgary.com/Wanda Dalla Costa: https://www.avenuecalgary.com/city-life/how-indigenous-architecture-is-shaping-the-future-of-arts-commons/LinkedInsAlex Sarian: https://www.linkedin.com/in/alexsarian/Nicholas Bell: https://www.linkedin.com/in/nicholas-r-bell-6157b673/Wanda Dalla Costa, AIA, FRAIC, LEED AP:https://www.linkedin.com/in/tawarc/Criena Gehrke: https://www.linkedin.com/in/criena-gehrke-783303106/***Alex Sarian BioFrom Madrid to Shanghai to New York City, Alex has worked with artists and arts organizations in fifteen countries spanning five continents. A Toronto native and fully bilingual, Alex was raised in Buenos Aires and moved to New York City in 2002, where he held senior executive roles at several arts institutions, including seven years at Lincoln Center for the Performing Arts. In January 2020, at the age of 36, Alex was appointed President & CEO of Arts Commons, becoming the youngest executive to oversee a major performing arts center in North America. In this role, he is responsible for the third largest arts center in Canada, home to six resident arts organizations, and over 200 community groups and commercial presenters. Occupying over 560,000 square feet in the downtown core of Canada's third most diverse city, the Arts Commons complex normally welcomes more than 600,000 visitors to its 2,000 events every year, and features rehearsal studios, production workshops, education spaces, art/media/sound galleries, restaurants, public community areas, and six performance venues—including the Jack Singer Concert Hall, noted by The New York Times as one of the best acoustic venues in North America.  Since beginning his tenure, Alex has led Arts Commons' successful response to the COVID-19 pandemic, including the development of free outdoor and digital programming, the creation of an Indigenous reconciliation strategy, an unprecedented investment in digital and accessibility infrastructure, and launched the single largest cultural infrastructure project in Canadian history—scheduled to break ground in 2024. Passionate about civic engagement, Alex volunteers on a number of international boards in the areas of education, philanthropy, economic development, advocacy and policy, and innovation.  Alex received undergraduate and graduate degrees from New York University, is a graduate of the Community Shift program at Western University's Ivey School of Business, and was an inaugural graduate of the Impact Program for Arts Leaders at the Stanford University Graduate School of Business.Nicholas Bell BioOriginally from Vancouver, Nicholas joined Glenbow in 2019 from his position as Senior Vice President for Curatorial Affairs at Mystic Seaport Museum in Mystic, Connecticut. Nicholas launched a formidable exhibitions program during his three years at the preeminent American maritime museum. He previously served as The Fleur and Charles Bresler Curator-in-Charge of the Smithsonian American Art Museum's Renwick Gallery in Washington, DC, where he led the Renwick's relaunch, increasing attendance from 150,000 annually to one million. In 2023, Nicholas was awarded the Queen Elizabeth II Platinum Jubilee Medal in recognition of his service to community. Nicholas is an author and editor of over ten books on art, museums, and contemporary culture and offers a proven background in spearheading change and successfully implementing strategic initiatives.

Some might say that Daniel Clayman is more a sculptor using glass as his primary material than a glass artist. That is to say his sculptures would be successful from a formal point of view no matter what material they were created in. With one major exception: the play of light in Clayman's glass art enhances the objects dramatically in comparison with how they might appear in a solid, non-translucent medium. Born in 1957 in Lynn, Massachusetts, Clayman planned a career as a theater lighting designer, studying in the theater and dance departments at Connecticut College, eventually dropping out of college to work in the professional theater, dance and opera world. A chance class in 1980 introduced the artist to using glass as a sculptural material. In 1986, he received his BFA from Rhode Island School of Design and has maintained a studio in East Providence, Rhode Island since then. ​Clayman's interests in engineering, the behavior of light, and the memory of experience, act as an impetus for much of his work. Having turned his attention to large-scale installations, he employs technology from the simplest hand tool to the latest three-dimensional modeling and production tools. Recent public projects include Rainfield, Massachusetts College of Art and Design and Media Center Atrium, exhibition dates: January 23, 2017 – January 23, 2018; and Radiant Landscape, Grounds for Sculpture, Hamilton Township, New Jersey, exhibition dates: May 7, 2017 – February 28, 2018. Clayman is the recipient of several grants and awards and has had numerous one-person shows throughout the country to include the Tacoma Museum of Glass in Tacoma, Washington, the Mint Museum in Charlotte, North Carolina, and the Fuller Craft Museum in Brockton, Massachusetts. Works in glass sculpture by the artist can be found in the permanent collections of the Museum of Fine Art in San Francisco, The Museum of Art and Design in New York, the Corning Museum of Glass, the Hunter Museum of American Art in Chattanooga, the Cleveland Museum of Art, the Milwaukee Art Museum, the Museum of Fine Art in Boston and the Renwick Gallery of the National Museum of American Art of the Smithsonian Institution in Washington, D.C.  An artist/educator, Clayman has taught in Japan, Israel and Australia in addition to a robust teaching schedule here in the U.S. He has been a Visiting Critic at the Rhode Island School of Design and Artist in Residence at Tyler School of Art and Massachusetts College of Art and Design. He lectures frequently and teaches workshops at Penland School of Crafts, Pilchuck and The Studio at the Corning Museum of Glass, among others. In 2018, Clayman became the first endowed chair of glass at University of the Arts, Philadelphia.  Clayman states: “While I moved away from a professional career pursuit in lighting design, I have never turned away from my observations of light. Using glass as my primary sculptural material, I have spent the last 20 years developing a vocabulary of forms which describe volumes of light. Over the past four years, my studio work has centered around the creation of large-scale glass castings that thematically reference the capturing of light. One of the many mysteries of light is that it refuses to reveal any of its essence until it happens to reflect on something other than itself. For instance, the headlight of a car projects (reflects) light onto objects as the viewer approaches, but not until there is a foggy mist in the air does one see the shape and arc of the beam.”  

Justin and Nicole with special guest Rosebud Sioux tribe member Marietta discuss Killers of the Flower Moon and American Indian stories that aren't getting told. We disagree on our enjoyment of a three and a half hour movie but praise the performances. We wish the story focused more on the Osage.  We have a wide ranging discussion on American Indian culture and history. We learn about Maria Tallchief, prima ballerina from the Osage tribe. Marietta also recommends checking out the Gathering of Nations in the spring in New Mexico. We discuss the issue of missing and murdered indigenous women, an issue that touched Marietta personally with the murder of her great niece's best friend Kyla Red Bear. We also cover the residential schools and the repatriation of american indian remains. Marietta recommends Reservation Dogs and Dark Winds. Justin recommends Prey and The Nightmare Before Christmas. Nicole recommends going to the Renwick Gallery for the Sharing Honors and Burdens exhibit. Website Store YouTube Facebook Group Page  

Sponsored by Accuquilt! Sign up for the Black Women Stitch quarterly newsletter!   Check out our merch here Leave a BACKSTITCH message and tell us about your favorite episode. Join the Black Women Stitch PatreonAmazon StoreLisa WoolforkLisa Woolfork is an associate professor of English specializing in African American literature and culture. Her teaching and research explore Black women writers, Black identity, trauma theory, and American slavery. She is the founder of Black Women Stitch, the sewing group where Black lives matter. She is also the host/producer of Stitch Please, a weekly audio podcast that centers on Black women, girls, and femmes in sewing. In the summer of 2017, she actively resisted the white supremacist marches in her community, Charlottesville, Virginia. The city became a symbol of lethal resurging white supremacist violence. She remains active in a variety of university and community initiatives, including the Community Engaged Scholars program. She believes in the power of creative liberation. Bisa ButlerBisa Butler is an award winning African American textile artist known for her vibrantly stunning larger than life sized quilted portraits that captivate viewers around the world. Formally trained, Butler graduated Cum Laude from Howard University with a Bachelor's in Fine Art degree and it was during this time that she began to experiment with fabric as a medium and became interested in collage techniques. She then went on to earn a Master's in Art from Montclair State University in 2005. While in the process of obtaining her Master's degree, Butler took a Fiber Arts class where she had an artistic epiphany and she finally realized how to express her art.  “As a child, I was always watching my mother and grandmother sew, and they taught me. After that class, I made a portrait quilt for my grandmother on her deathbed, and I have been making art quilts ever since.”After working as a high school art teacher for thirteen years, Butler was awarded a Gordon Parks Foundation Fellowship in 2002 and exhibited in Switzerland during Art Basel with the Jeffrey Deitch Gallery. Many institutions and museums have acquired Butler's work including the Art Institute of Chicago for a solo exhibition, The Smithsonian National Museum of African American History and Culture, and The Renwick Gallery of the Smithsonian American Art Museum. Insights from this episode:Why it's important to uplift and encourage each other, starting with the children in our livesHow Bisa uses her art to affirm the dignity of historical figuresThe process of researching historical figures and time periods to accurately portray them through artHow different colors play into the meaning expressed in her artHow Bisa infuses her quilts with the music she's listening to as she createsWhat happens when you stop starting with ‘white' as a defaultInsights into the difference between studying art education (teaching people how to make art) vs. learning how to make art yourselfQuotes from the show:“I'm always seeking for truth and to find those essential truth elements about Black people.” – Bisa Butler, Stitch Please, Episode #200“I have had people ask me, people who don't necessarily look like us so they don't have a full understanding, ‘I notice that you make all of your subjects look regal. Why, or what's the process of that?' I would say I'm just looking at them and this is the way they appear to me. I'm not trying to make them look regal; if anything maybe it's just that you're looking at them more carefully. The dignity or that inner regality, I can't give it to them; they have it already.” – Bisa Butler, Stitch Please, Episode #200“My interest in colorism is why the features look very African American. I don't want to dilute that in any way. I'm loving our full lips, broad noses, or whatever the case may be.” – Bisa Butler, Stitch Please, Episode #200“I love that word ‘talisman' because it acknowledges that spiritual resonance and also having a mantra. We've always been very spiritual people and we've always been people who have to think hopefully and we have to think about the world beyond us or even after us. A lot of times we have to pray for our living relatives who we may not be able to protect in the way that we want to.” – Bisa Butler, Stitch Please, Episode #200“Music is such a strong form of communication; it's such a strong form of art because you don't need words, you just need to hear the sound to understand somebody's emotional output. The composer, musician, they can make you feel sad, they can make you feel happy, they can make your heartbeat go faster, they can make you go to sleep. That's a control of power that can be passed down through the ages. The music, as long as it's in a form that you can hear, you can hear how somebody felt hundreds of years before you.” – Bisa Butler, Stitch Please, Episode #200“The music to me is more than an aid; it's the explanation.” – Bisa Butler, Stitch Please, Episode #200“For Black Women Stitch and the Stitch Please podcast we center Black women, girls, and femmes in sewing to make a deliberate choice to center Blackness. Also one of the things I'm studying a lot in my own work is the question of what happens when you stop starting with white… Stop acting like color is something that is new when white supremacy operates in this country deliberately through our laws and customs.” – Lisa Woolfork, Stitch Please, Episode #200“We are the sum of all the people who came before us.” – Lisa Woolfork, Stitch Please, Episode #200“Be kind to yourself. Be patient with yourself. Treat yourself like you treat other people; it will help you get your stitch together. Enjoy your life. Look at beautiful things. Take classes and learn, and be patient if things don't look or seem the way you want because we are all growing in this life together and you will get there.” – Bisa Butler, Stitch Please, Episode #200Resources Mentioned:Francis and Violette, 2001The Holsinger Collection, Bill Hurley's portrait, and Bisa's interpretation: A Man's Worth, 2019This Here Flesh: Spirituality, Liberation, and the Stories That Make Us by Cole Arthur Riley (“You don't give dignity, you affirm it.”)Bisa Butler: Portraits at the Art Institute of Chicago and accompanying playlistI Owe You Nothing by Seinabo Sey (song) Stay Connected:YouTube: Black Women StitchInstagram: Black Women StitchFacebook: Stitch Please PodcastLisa WoolforkInstagram: Lisa WoolforkTwitter: Lisa WoolforkBisa ButlerWebsite: Bisa ButlerInstagram: Bisa ButlerTwitter: Bisa ButlerLinkedIn: Bisa ButlerLinkTree: Bisa ButlerEmail: bisabutlerart@gmail.comSubscribe to our podcast + download each episode on Apple Podcasts and Spotify.This episode was produced and managed by  Podcast Laundry.

How would you overcome shyness at BRC?How would you break people's brains at SantaCon?How would you acculturate museum docents to Burner culture?Brody Scotland shares how she did it, and how she went from hating Black Rock City to working year round in the Burning Man Art department.Brody and Stuart delve into the uncommon common sense of self-care and “feelings” in the emo roller coaster of BRC. They explore a style of pranking where no one is the butt of the joke. And they celebrate “Shit Dave X Says.”From hand-crafting iconic costumes, to logistics-crafting “weird little odd art,” this is a string of lively stories about Brody's bespoke approach to increasing happiness.Brody Scotland (Burning Man Journal)Brody Scotland (Burning Man Staff) No Spectators: The Art of Burning Man (Smithsonian Institution)Dave X (Burning Man Journal) & Shit Dave X Says 

Matt Tommey-Giving Up a 'Fruitful' Business to Follow God's Lead“Your identity is established, your design is uncovered, and then your assignment gets revealed.” ~Matt TommeyWhat happens when God calls you to walk away from something that is profitable and flourishing? Our guest today, Matt Tommey, will share how God led him to shut down his company during a season of abundance and what he learned along that journey.Matt's Bio:Matt is woven sculpture artist from Asheville, North Carolina and an internationally known Christian speaker and author of multiple books. He is also an art mentor for artists around the world through his "Created to Thrive" art mentoring program and The Thriving Christian Artist podcast. In 2009, God called Matt to "raise up an army of artists to reveal His glory all over the earth."  Since then, Matt has given his life to helping artists thrive spiritually, creatively and financially through creating live events, resources and online opportunities that equip artists to live the life they were divinely designed to live in the Kingdom.  As an artist, Matt's work has been featured in many magazines, shows and exhibitions and is mostly commissioned by private clients for luxury mountain and coastal homes around the country.  In 2011, Matt was recognized by the Smithsonian American Art Museum's Renwick Gallery as an American Artist Under 40 and in 2018 was recognized as one of the Best Artist Mentors in the country by Professional Artist Magazine. Stay Connected:Matt TommeyMatt's New Book: God's Plan for Living | https://www.amazon.com/dp/B0BZ34CNFYPersonal Website | https://www.matttommeymentoring.com/Instagram | https://instagram.com/matttommey and https://www.instagram.com/thethrivingchristianartist/reels/Facebook | https://facebook.com/vinebasketsbymatttommeyMatt's powerful first time on the podcast Season 1 Episode 9 | https://taking-the-leap-with-rachel-g-scott.simplecast.com/episodes/matt-tommeyRachel ScottWebsite| https://rachelgscott.com/Website| http://the5leaps.com/Instagram| https://www.instagram.com/iamrachelgscott/Facebook: https://www.facebook.com/iamrachelgscottSponsored Resources Mentioned:The Leap Coaching and Collective: Join NowRGS Group: Learn More HereThe 5 Leaps Quick Guide: Grab it Here

Today on the Tales of a Red Clay Rambler Podcast I have an interview with curator Mary Savig. As the Lloyd Herman Curator of Craft at the Smithsonian's Renwick Gallery she is one of the co-curators of the 50th anniversary exhibition This Present Moment: Crafting a Better World. The bulk of the exhibition features 135 recently acquired works from women and artists of color who are expanding the canon of craft. In our interview we talk about the curatorial themes of the exhibition, how museum acquisition campaigns work, and the profiles of a handful of artists featured in the exhibition. The show will be on display at the Renwick Gallery until April 2023.   Today's episode is brought to you by the following sponsors:   For the past 100 years, AMACO Brent has been creating ceramic supplies for our community ranging from underglazes to electric kilns, and they have no plans of slowing down. www.amaco.com   As the end of the year approaches, we are asking you to donate to the Brickyard Network. You can help this show and our network of ceramic podcasts by supporting the Archie Bray Foundation with your tax-deductible donation. To donate visit www.brickyardnetwork.org and scroll down until you see the donate now button. Thanks so much and happy holidays!

Interdisciplinary artist Alicia Eggert and Long Now's Executive Director Alexander Rose will be in conversation for this special evening discussion of time, art and long-term thinking. Eggert's sign work uses sculpture to bring time to the foreground, embodying its passage through carefully chosen quotes. These words, rendered in neon and steel, cycle rhythmically through subtle text changes designed to encourage a heightened awareness of time and place in the viewer. In the sculpture “This Present Moment,” she uses an epigram of Stewart Brand's from his book The Clock of The Long Now, which she first encountered while doing research in 02008. For more in-depth reading, see Long Now Managing Editor Ahmed Kabil's 02021 interview with Alicia Eggert and Long Now Fellow Jonathon Keats' article on Eggert's work in Forbes. Alicia Eggert's work gives material form to language and time, powerful but invisible forces that shape our perception of reality. Her creative practice is motivated by an existential pursuit to understand the linear and finite nature of human life within a seemingly infinite universe. Her inspiration is drawn from physics and philosophy, and her sculptures often co-opt the styles and structures of commercial signage to communicate messages that inspire reflection and wonder. Eggert's artworks have been installed on building rooftops in Russia, on bridges in Amsterdam, and on uninhabited islands in Maine, beckoning us to ponder our place in the world and the role we play in it. Eggert is an Associate Professor of Studio Art and the Sculpture Program Coordinator at the University of North Texas; her work has been exhibited internationally, and is in the collection of the Renwick Gallery of the Smithsonian American Art Museum.

What you'll learn in this episode: Why sacred geometry is the underlying link between Eva's work in jewelry, architecture and design How growing up in an isolated Soviet Bloc country influenced Eva's creative expression Why jewelry is one of the most communicative art forms How Eva evaluates jewelry as a frequent jewelry show judge Why good design should help people discover new ideas and apply them in other places  About Eva Eisler A star of the Prague art world, Eva Eisler is an internationally recognized sculptor, furniture/product designer, and jeweler. Rooted in constructivist theory, her structurally-based objects project a unique spirituality by nature of their investment with “sacred geometry.” The current series of necklaces and brooches, fabricated from stainless steel, are exemplars of this aesthetic. In 2003, she developed a line of sleek, stainless steel tabletop objects for mono cimetric design in Germany.  Eisler is also a respected curator and educator. She is chairman of the Metal and Jewelry Department at the Academy of Arts, Architecture and Design in Prague, where she heads the award-winning K.O.V. (concept-object-meaning) studio. Her work is in the collections of the Metropolitan Museum of Art, Brooklyn Museum and Cooper-Hewitt, Smithsonian Design Museum in New York; Museum of Fine Arts, Boston; Museum of Fine Arts, Houston; Renwick Gallery, Smithsonian American Art Museum, Washington, D.C.; Montreal Museum of Fine Arts in Canada; Pinakothek der Moderne, Munich; and Museum of Decorative Arts, Prague, among others.  Additional Resources: Eva's Instagram Photos available on TheJeweleryJourney.com Transcript: Eva Eisler is the rare designer who works on projects as small as a ring and as large as a building. What connects her impressive portfolio of work? An interest in sacred geometry and a desire to discover new ideas that can be applied in multiple ways. She joined the Jewelry Journey Podcast to talk about how she communicates a message through jewelry; why jewelry students should avoid learning traditional techniques too early; and her thoughts on good design. Read the episode transcript here.  Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please head to TheJewelryJourney.com. My guest today is Eva Eisler, Head of the Jewelry Department of the Academy of Arts in Prague. She's probably one of the most well-known artists in the Czech Republic. Welcome back.    How long were you in New York? A long time?   Eva: 25 years.    Sharon: Wow! I didn't realize that. And did you teach the whole time?   Eva: I taught for a few years at Parsons School of Design, and then New York University pulled me in. It was Judith Schwartz, who was the Director of the Department of Art Education, who wanted to expose the students to metalworking. So, she asked me to come and teach there.   Sharon: Did you do jewelry and other things because you wanted to have not so much grayness in the world, to have color, to have joy?   Eva: Are you asking?   Sharon: Yeah, I'm asking. Did you break out, in a sense, because of the world around you?   Eva: I think that one challenge after the other gave me strength and conviction. This is something I can work with, the medium of jewelry, because it's so communicative. I had so many incredible encounters through wearing a piece of jewelry. For example, I went to a party at Princeton University. I'm talking to this professor of physics. He's telling me how they are developing an artificial sun, and he's looking at my piece. When he finished talking about his project, he said, “Is this what I think it is?” I said, “Clearly, yes.” It was a piece of metal bent into an S, one line and one dot. It's basically telling you that it depends on a point of view and how you perceive things. I used to like to come up with a concept that I would play with in different theories.    Sharon: Did you expect to be in the States for 25 years? That's a long time.   Eva: No. We were allowed by Czechoslovakia to go for one year. After one year, we politely applied for an extension. It was denied to us. So, we were actually abroad illegally and we could not return because we did not obey the rules.    Sharon: When you came back, did you teach? We saw some of your students' work. What do you tell them about your work? What do you teach them?    Eva: It's a different system. In New York, you teach one class at a time if you're not a full-time professor at the university. In New York, it's very rare. The intensity and the high quality of professionals in all different fields allows schools to pull them in, so they can take a little bit of their time and share with students what they do. It's not that you devote your full time to teaching.    In the Czech Republic, it's different. At the academy where I have taught for 16 years, you're the professor, and you have a student for six years with a special degree in the master's program. For six years, you're developing the minds of these young people. I don't teach them techniques. We have a workshop and there is a workshop master. I talk to them about their ideas. We consult twice a week for six years. It's a long time. I would be happy if somebody talked about my work for half an hour once a year. I would have to ask somebody because I need it as well. It's a different system, the European system of schools.   Sharon: You're head of the K.O.V. Studio. How would you translate that?   Eva: The academy is divided into departments, and each department is a different media: Department of Architecture, Department of Industrial Design and so on. We are part of the Department of Applied Arts, which is divided between ceramics, glass, textile, fashion. My studio is about metal, and for metal in Czech, you write “kov.” When I took over the studio, I put dots in between the letters, which stands for “concept, object, meaning.” In Czech, meaning isn't even a word. That way, I could escape the strict specialization for metal, because when you're 20 and you go study somewhere, do you know you want to work for the rest of your life in metal? No. Today, we are also exploring different materials, discovering new materials. I am giving them assignments and tasks. Each of them has to choose the right material, so the person comes up with using concrete or cork or wood or paper or different things, glass or metal.   Sharon: How do you balance everything? You have so much going on. How do you balance it?    Eva: I have to do three jobs because teaching does not make a living, even though I'm a full-time professor. It's an underpaid profession, maybe everywhere.   Sharon: I was going to say that, everywhere.   Eva: Then I do my own art, and I do large projects like designing exhibitions, curating exhibitions, designing a design shop. Things like that to make money to support those other two. It's a lot, yes. I have grandchildren.   Sharon: A family. Yes, it's a lot. You've done jewelry shows and you've evaluated shows. What's important to you? What stands out? What jumps out at you?   Eva: I sit on juries. In 2015, I was invited to be a curator of Schmuck, the jewelry exhibition in Munich. It's a big challenge, selecting out of 600 applicants for a show that at the end has only 60 people from all over the world. When I looked at the work, we flipped through pictures one after the other. It's so incredible what jewelry has evolved into, this completely open, free thing, many different styles, many different trends and materials. There's organic and geometric and plastic. I noticed these different groups and that I could divide all these people into different groups, different styles, different materials. Then I was selecting the best representation of these groups. It made it quite clear and fast when I came up with this approach.   Sharon: Does something jump out at you, though, when you're looking through all these—let's say you've divided all the glass, all the metal—   Eva: Very rarely, because we go to Munich every year. I go and see exhibitions all over, so it's very random. You can see something completely different and new. I worked on a very interesting exhibition that year at the Prague Castle. Cartier does not have a building for their collection, a museum. They have the collection traveling around in palaces and castles and exhibition galleries around the world, and each place has a different curator. I was invited to curate it in Prague. It was the largest Cartier exhibition ever displayed. It was around 60 pieces for this show, and it was in Bridging Hall of the Prague Castle, an enormous space.    That was very interesting because at the moment I accepted this challenging job, I had never walked into a Cartier anywhere in the world, in New York, Paris, London, because I was never curious. It was real jewelry, but when I started working with the collection, which is based in Geneva, and I was going to Paris to these workshops and archives, I discovered the completely different world of making jewelry, how they, in the middle of the 19th century, approached this medium and based it on perfection and mechanisms and the material. So, the best of the best craftsmen were put together in one place. It was very challenging.   Another exhibit I worked on was for a craft museum. It was called The Radiant Geometries. Russell Newman was the curator, and I was doing the display faces. My work was part of the show as well. That was a super experience.    An interesting show I had was at Columbia University at the School of Architecture. The dean was Bernard Tschumi, the deconstructivist architect. He invited me to do an exhibition of jewelry and drawings for their students of architecture. Can you imagine? The students looked at the work, and they thought they were small architecture models. I developed a new system for how to hold them together. For that exhibition, I built cabinets that I later developed into a system with vitrines. After the exhibition with vitrines, I started making chairs and tables and benches, and later on I used it again for an exhibition when I was in Brussels. One thing leads me to another. One thing inspires the other. I go from flats, from drawings and paintings, into three-dimensional objects. I need a lance, so I design it and then some company makes it.   Sharon: Wow! What do you think has kept your attention? We'll have pictures of the jewelry on the website so people can see it. I love the necklace you have on. It's avant garde. Everything in the exhibit and everything your students did was avant garde. So, what holds your attention about it? How would you describe it?   Eva: I think making something like many people did before you doesn't make any sense. We are surrounded by so much stuff. It only makes it worth spending your talent and time when it's something new. You're discovering something new that somebody else can learn from and apply somewhere else. For example, this necklace is just held by the tension of the spring wire. Next time, maybe I can use it for some lighting. Who knows?   Sharon: I'd like to see that if you do it. What makes a good exhibit? You've been in charge of so many exhibits. What makes a good jewelry exhibit?   Eva: It should be based on a common theme or concept, and all the objects should together tell a story. Also, the exhibition design or architectural design of the show is very important. A lot of exhibition architects are creating something so powerful that you can't see the work that is showing. My rule is that the installation basically should disappear. The work is the most important thing, right?   Sharon: Yes, that's true. You mentioned a story, like each area or part should tell a story. Would you agree with that?   Eva: If it's large exhibition of jewelry in different styles, let's say, it should be grouped into similar topics so it empowers them. If you have one piece of this kind, another piece of a different kind next to each other, then—I don't know; it can be anything. It depends on the curator or the architect. Look at the Danner Rotunda in Munich. Their collection is strung together. Maybe the curator or the artist who did the installation wanted to create a dialogue of completely different characters, like when you have guests for dinner and you're thinking who sits next to whom. You want to create an exciting dialogue.   Sharon: When you came to New York, do you think you stood out? In Czechoslovakia did you stand out? Could you hold your own within these different parties?   Eva: I'm not the one who can judge it, but yes. I heard from different people what caught their attention, and why, for example, Judy Schwartz said, “I was waiting patiently all these years,” whenever she finds the time to teach at NYU. I was always amazed by her education. Toni Greenbaum wrote a beautiful piece when we first met. She was intrigued by what I wore and how I looked, but mostly by a piece of jewelry I wore. I sewed the dress a day before because I thought, “What am I going to wear?” I designed it myself. If somebody asks me what I collect—mostly everybody collects something—I usually say I collect people. People together create society, create culture. One cannot stand alone. Through the work I do, it brings me to people. I try, and the results bring me to better people. That's what I value most.   Sharon: That's interesting. That was going to be my next question, but you answered it. Everybody does collect something, and people have different definitions of collections. Collecting people is a collection, yes, and you collect people all over the world. Thank you so much for being with us today, Eva. I really appreciate it.   Eva: Thank you so much for inviting me and talking to me. I'm saying hello to everyone who is listening.   Sharon: Well will have photos posted on the website. Please head to TheJewelryJourney.com to check them out.   Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.  

What you'll learn in this episode: Why sacred geometry is the underlying link between Eva's work in jewelry, architecture and design How growing up in an isolated Soviet Bloc country influenced Eva's creative expression Why jewelry is one of the most communicative art forms How Eva evaluates jewelry as a frequent jewelry show judge Why good design should help people discover new ideas and apply them in other places  About Eva Eisler A star of the Prague art world, Eva Eisler is an internationally recognized sculptor, furniture/product designer, and jeweler. Rooted in constructivist theory, her structurally-based objects project a unique spirituality by nature of their investment with “sacred geometry.” The current series of necklaces and brooches, fabricated from stainless steel, are exemplars of this aesthetic. In 2003, she developed a line of sleek, stainless steel tabletop objects for mono cimetric design in Germany.  Eisler is also a respected curator and educator. She is chairman of the Metal and Jewelry Department at the Academy of Arts, Architecture and Design in Prague, where she heads the award-winning K.O.V. (concept-object-meaning) studio. Her work is in the collections of the Metropolitan Museum of Art, Brooklyn Museum and Cooper-Hewitt, Smithsonian Design Museum in New York; Museum of Fine Arts, Boston; Museum of Fine Arts, Houston; Renwick Gallery, Smithsonian American Art Museum, Washington, D.C.; Montreal Museum of Fine Arts in Canada; Pinakothek der Moderne, Munich; and Museum of Decorative Arts, Prague, among others.  Additional Resources: Eva's Instagram Photos available on TheJeweleryJourney.com Transcript: Eva Eisler is the rare designer who works on projects as small as a ring and as large as a building. What connects her impressive portfolio of work? An interest in sacred geometry and a desire to discover new ideas that can be applied in multiple ways. She joined the Jewelry Journey Podcast to talk about how she communicates a message through jewelry; why jewelry students should avoid learning traditional techniques too early; and her thoughts on good design. Read the episode transcript here.    Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the first part of a two-part episode. Please make sure you subscribe so you can hear part two as soon as it's released later this week.    My guest today is Eva Eisler, s. She's probably one of the most well-known artists in the Czech Republic. Her work is minimal and refined. She also designs clothing, furniture, sculpture and so many other things I can't tell you about. She has taught and studied at Parsons School of Design, and she'll fill us in on everything she's learned. I'm sure I'm leaving something out, but she'll fill us in today. Eva, welcome to the program.   Eva: Thank you for having me.   Sharon: Great to have you. Tell us about your jewelry journey. Did you study it? Were you artistic as a youth?   Eva: I only thought about this yesterday. You're the first person I'm going to tell this story to. During the war, my grandfather, because he was very practical and forward-thinking, was buying jewelry from people who needed money to have safety deposits for later, whatever happened after the war. When I was born in 1952, there was still a little bit left of the treasure he collected and enclosed in a beautiful wooden treasure box. When I was a good girl, I could play with real jewelry in gold and stones.    When I grew older, I never thought of jewelry as something I would design. It was something I could play with as a girl, but when I got older, living in a communist country—Czechoslovakia turned into a Soviet Bloc country after the war—everything was so gray and constrained and monotonous. People were afraid to say whatever they thought, and I was feeling that I had to start something provocative, to start some kind of dialogue about different things. So, I started making jewelry, but because I didn't know any techniques, I did it in the form of ready-mades, looking for different metal parts out of machines, kitchen utensils, a stainless-steel shower hose, a clock spring, sunglasses, all different things. I didn't know people like that existed somewhere else, like Anni Albers, who in the 40s created a beautiful necklace out of paperclips. I learned that much, much later.   I was not only making jewelry. I was also making lamps and small sculptures, because creating things always made me happy. My mother was an art teacher. My father was a scientist. He was one of the founders of robotics in the 50s, and he ended up teaching at the most famous universities around the world later on. That's how I started making jewelry, but I wanted to proceed with a profession in architecture. That was always my main interest. After school, I worked for a few years as an architect. Later on, I got married and had children, and I wanted to be free from a steady job and do what I loved most, create.   Sharon: When you were an architect, were you designing buildings?   Eva: I was part of a team for experience. I was given smaller tasks that I had to do, mostly parts of the interior.   Sharon: Did you do sculpture and jewelry on the side? Your sculpture is such a big part.   Eva: Yeah, we're talking about when I was 25, 26. In 1983, my husband and I and our two children moved to New York, because John was invited by Richard Maier to come and work for him. That was a big challenge that one should not refuse. So, we did the journey, even though it was not easy with two little children.   Sharon: Did you speak English at all, or did you have to learn when you came?   Eva: I did because my father, in the 60s, when it was possible, was on a contract with Manchester University in England teaching. Me and my brothers went there for summer vacations for two years. One year, I was sent to one of his colleagues to spend the summer, and then I married John, who is half-British. His British mother didn't speak Czech, so I had to learn somehow. But it was in Europe when I got really active, because I needed to express my ideas.   Sharon: Does your jewelry reflect Czechoslovakia, the Czech Republic? It's different than jewelry here, I think.   Eva: There were quite a few people who were working in the field of contemporary avant garde jewelry. I can name a few: Anton Setka, Wasoof Siegler. Those were brilliant artists whose work is part of major museums around the world, but I was not focused on this type of work when I still lived in the Czech Republic, Czechoslovakia at that time. It was when I arrived in New York. I thought, “What am I going to do? I have two little children. Should I go and look for a job in some architecture office?” It would be almost impossible if you don't have the means to hire babysitters and all the services. So, I thought, “I have experience with jewelry. I love it, and I always made it as a means of self-expression and a tool for communication. O.K., I am going to try to make jewelry, but from scratch, not as a ready-made piece out of components that I would find somewhere.”    I didn't know any techniques. Somebody gave me old tools after her late husband died. I started trying something, and I thought, “Maybe I can take a class.” I opened the Yellow Pages looking at schools, and I closed my eyes and pointed my finger at one of the schools and called there. This woman answered the phone, and she said, “Why don't you come and see me and show me what you did?” When I showed it to her, she said, “Are you kidding? You should be teaching here.” It was one of my ready-made pieces. Actually, a few years before I came to New York, I went to London and showed it to Barbara Cartlidge, who had the first gallery for contemporary jewelry anywhere in the world in London. She loved it. She loved my work, and she bought five pieces. She took my work seriously, because basically I was playing and wearing it myself and giving it to a few friends who would get it as a present. So, I was shocked and very pleased.    This is what I showed this woman at the Parsons School of Design. This woman was the chair that took care of the department. I said, “I cannot teach here. I don't know anything,” and she said, “Well, clearly you do, but you're right. You should take a class and get to know how the school works, and maybe we can talk about you teaching here a year later.” I took a foundation course in jewelry making. It was Deborah Quado(?) who taught it. One day she said to my classmates, “This woman is dangerous.” I forgot to say that before I started this class, the chair invited me to a party at her house to introduce me to her colleagues. It was funny, because I was fresh out of the Czech Republic, this isolated, closed country, and I was in New York going to a party. I needed those people that became my friends for life.    That was a super important beginning of my journey in New York into the world of jewelry. A few years later, when I made my first collection, someone suggested I show it to Helen Drutt. I had no idea who Helen Drutt was. She was somewhere in Philadelphia. I went there by train, and Helen is looking at the work and says, “Would you mind if I represent your work in the gallery?” I said, “Well, sure, that's great,” but I had no idea that this was the beginning of something, like a water drain that pulls me in. The jewelry world pulled me in, and I was hooked.    From then on, I continued working and evolving my work. When I started teaching at Parsons, students would ask me whether they could learn how to solder and I said, “I advise you not to learn any traditional techniques because when you do, you will start making the same work as everybody else. You should give it your own way of putting things together.” At the end, I did teach them how to solder, and I was right.    I tried to continue with the same techniques I started when I was making these ready-made pieces, but with elements I created myself. Then I tried to put it together held by tension and different springs and flexible circles. I got inspired by bridges, by scaffolding on buildings, by electric power towers. I was transforming it into jewelry, and it got immediate attention from the press and from different galleries and collectors. I was onto something that kept me in the field, but eventually, when my kids grew older, this medium was too small for me. I wanted to get larger. Eventually, I did get back into designing interiors, but it was not under my own name.   Sharon: When you look at your résumé, it's hard to distill it down. You did everything, sculpture, architecture, interior design and jewelry. It's very hard to distill down. Interior design, does it reflect the avant garde aspect?   Eva: Yes, I am trying to do it my way. I love to use plywood and exposed edges to make it look very rough, but precise in terms of the forms. If you think of Donald Judd, for example, and his sculptures and nice furniture, it's a similar direction, but I'm trying to go further than that. I'm putting together pieces of furniture and vitrines for exhibitions and exhibition designs. While I am taking advantage of the—   Sharon: Opportunity?   Eva: Opportunity, yes. Sorry. I don't have that many opportunities lately to speak English, so my English is—   Sharon: It's very good.    Eva: On the other hand, yes, I'm interested in doing all these things, especially things that I never did before. I always learn something, but it's confusing to the outside world. “So, what is she? What is she trying to say?” For example, this famous architectural historian and critic, Kenneth Frampton from Columbia University, once said, “If one day somebody will look at your architectural works all together, they will understand that it's tight with a link, an underlying link.”    Sharon: Do you think you have an underlying link? Is it the avant garde aspect? What's your underlying link?   Eva: It's the systems. It's the materials. It's the way it's constructed. I'm a humble worshipper of sacred geometry. I like numbers that have played an important role in the past.   Sharon: Do you think the jewelry you saw when you came to the States was different than what you had seen before? Was it run-of-the-mill?   Eva: When I came to New York a few years later, I formed a group because I needed to have a connection. I organized a traveling show for this group throughout Europe and the group was—   Sharon: In case people don't know the names, they are very well-known avant garde people.    Eva: All these people were from New York, and we exhibited together at Forum Gallery and Robert Lee Morris on West Broadway. That brought us together a few times in one show, and through the tours I organized in New York, Ghent, Frankfurt, Berlin, Vienna and Prague.   Sharon: Wow! We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out.

Sebastian Martorana is an artist living and working in Baltimore, Maryland. For over fifteen years, Sebastian has focused on the art of carving. Much of the material used for his sculptures was salvaged from Baltimore's historic, though often discarded, architecture. He received his BFA in illustration from Syracuse University, after which he became a full-time apprentice in a stone shop outside Washington, DC. He earned his MFA at the Maryland Institute College of Art's Rinehart School of Sculpture.Sebastian works on private commissions and commercial projects from his studio in the Hilgartner Natural Stone Company. His body work includes projects for the United States Senate, St. Patrick's Cathedral in New York City, the National Basilica in Baltimore, the Eisenhower Memorial in Washington, DC and the United States Federal Reserve. He is an adjunct faculty member at the Maryland Institute College of Art and a repeat presenter for the American Craft Council. Sebastian's work is included in the permanent collections of museums including the Smithsonian American Art museum's Renwick Gallery, which acquired his sculpture featured in their 40 under 40: Craft Futures exhibition.The Truth In This ArtThe Truth In This Art is a podcast interview series supporting vibrancy and development of Baltimore & beyond's arts and culture.Mentioned in this episode:Sebastian MartoranaTo find more amazing stories from the artist and entrepreneurial scenes in & around Baltimore, check out my episode directory.Stay in TouchNewsletter sign-upSupport my podcastShareable link to episode ★ Support this podcast ★

Interview with Jeff Garner Romantic visual artist, pioneer, and unconventional designer Jeff Garner and his sustainable label Prophetik are on a path of transformation, leading the evolution of fashion and changing our perception of luxury. Mr. Garner was named one of the top 40 artists in the US and his works were placed permanently in the Smithsonian's Renwick Gallery for the 40 under 40 Exhibition.  The uniqueness of Prophetik begins with the artist himself. Garner's vivacity and his commitment to creating distinctive, sustainable, eco-friendly fashion is a reflection of his environment. His ultimate vision is to bring awareness to the toxins found in commercial synthetic fashion and the health implications to the human body to allow everyone choice. Prophetik is established in the United States and is fast becoming the label synonymous with fashion-led ethical design in the United Kingdom with widespread praise from mainstream fashion media. A press favorite and a prominent voice in the ethical fashion arena, Jeff dresses many artists such as Sheryl Crow, Miley Cyrus, Taylor Swift, Kings of Leon, Activist Livia Firth, & Suzy Cameron etc..  He won an Emmy in 2019 for his documentary on Sustainable Fashion called ‘Remastered' found onhttps://www.amazon.com/Remastered/dp/B07R6Y8J9F ( Amazon.) We talked with Jeff about his journey, Prophetik, and the importance of sustainable fashion. http://www.prophetik.com/new-cover-page-2 (http://www.prophetik.com/new-cover-page-2) News from TheTease.com https://www.thetease.com/thanks-to-barbiecore-pink-hair-is-majorly-trending-for-the-summer/ (https://www.thetease.com/thanks-to-barbiecore-pink-hair-is-majorly-trending-for-the-summer/) https://www.thetease.com/3-hair-trends-to-look-out-for-this-summer-according-to-colorist-carly-zanoni/ (https://www.thetease.com/3-hair-trends-to-look-out-for-this-summer-according-to-colorist-carly-zanoni/) https://www.thetease.com/fenty-hair-is-coming-heres-what-we-know/ (https://www.thetease.com/fenty-hair-is-coming-heres-what-we-know/) More from TheTease: Instagram: @https://www.instagram.com/readthetease/ (readthetease) Instagram: @https://www.instagram.com/kellyehlers/ (KellyEhlers) Instagram: @https://www.instagram.com/eljeffreycraig/ (eljeffreycraig) Web: http://www.thetease.com/ (TheTease.com) Email: VolumeUp@TheTease.com Credits: Volume Up is a Tease Media production. This episode was produced by Monica Hickey and Madeline Hickey. Brian Daly is our editor and audio engineer. Thank you to our creative team for putting together the graphics for this episode.

There are silversmiths, and then there are the Patanias. As third-generation Sam Patania likes to say, beginning with his Sicilian-born grandfather, the artists in his family use jewelry as their canvas. Sam speaks with Russell and Alan about his family's exceptional silversmithing and design talents and how Patania creations became part of the Smithsonian's permanent collection.

“To have even a brief conversation with artist Michael E. Taylor is to dive headfirst into a deep pool of scientific and intellectual inquiry. Taylor has always been an extremely analytical artist, responding with equal fervor to his intellectual encounters with scientific ideas, art history, philosophy, or current events. Whether inspired by formal quality of geometry, the Higgs boson particle, or the moral implications of artificial intelligence, Taylor's work is ultimately about investigation.” – Museum of Glass, Tacoma, solo show, Traversing Parallels, 2017/2018. Widely-renowned for his cut and laminated glass works, geometric constructions, and fractal abstractions inspired by everything from subatomic particles to music, Michael E. Taylor first used glass while attending a workshop at Penland School of Crafts in North Carolina. He was struck by the material's heat and spontaneity, a dynamic opposite from the deliberate and extended processes for firing and shaping ceramics. Dedicated to art and education for over 49 years, the artist was born in Lewisberg, Tennessee, in 1944, where he initially studied ceramics while working towards a Bachelor of Science in Art Education from Tennessee State University. Studying ceramics honed his intuitive sense of form, color, and design; skills which would later be important to his glass career.  One of the first generation of artists to learn from the founders of the Studio Glass movement, Taylor experienced the early days of glass through interactions with Harvey Littleton, Fritz Dreisbach, and Marvin Lipofsky. As a young student, a Fulbright Hayes Grant to Scandinavia introduced him to the factories of Kosta-Boda Glasbruke and Johansfors Glasbruke, as well as artists of the region, including Anna Warff.  Taylor's artistic career has been intertwined with decades as a university professor, including a more than 20-year tenure as a professor in the School for American Crafts at Rochester Institute of Technology, invited Professor at the Universidade Nova de Lisboa, Faculdade de Ciencias e Tecnologia, Campus da Caprica, Portugal, 2005 – 2013, and instructor at schools in the US such as Pilchuck, Penland, and the Corning Museum of Glass. His career in academia made it possible to experiment and explore new ideas through his sculpture instead of feeling pressure to repeat popular works for monetary sales. The academic setting also allowed Taylor to continue to explore scientific, philosophical, and artistic ideas. While at the College of Idaho and teaching the history of modern art, Taylor's directive led to political and visual expressions of the Russian revolution and artists of constructivism. The hard lines and acute angles of constructivism of the 1920s continued to scientific theory and theoretical physics. Using glass with scientific exactness and austerity resulted in further architectural form and shapes of accuracy. Readings of future science and cultural futurism led to issues of DNA and binary systems as they related to laminations in his work.  Taylor states: “Art reflects thought and ideals of the period in which it is made. It can relate to predictions for the future. My work speaks of the importance of science and technology and its eventual dominance through Artificial Intelligence.” Taylor's honors and awards are many and include the Calouste Gulbenkian Foundation Grant, 2009, 2011; Luso – American Foundation Grant, Portugal, 2002 -2007; Outstanding Visual Artist Award, Arts and Cultural Council of Greater Rochester, New York, 2001; College of Imaging Arts and Sciences, Research and Development Grant, RIT, 2000; Grand Prize, The International Exhibition of Glass, Kanazawa, Japan, 1988; National Endowment for the Arts, Visual Artists Forums Grant, 1985-86 and Visual Artist Fellowship, National Endowment for the Arts, 1984-85. Other educational awards and opportunities include a Lewis Comfort Tiffany Grant, Penland School Scholarship, and The American – Scandinavian Foundation Grant. His work can be found in the permanent collections of the Chrysler Museum of Art, Norfolk, Virginia; the National Collection of American Art, Renwick Gallery, Smithsonian Institute, Washington, D.C.; The Museum of Glass, Tacoma, Washington; Asheville Museum of Art, North Carolina; Racine Museum of Art, Racine, Wisconsin; Royal Ontario Museum, Toronto, Ontario, Canada; Glas Museum Ebeltoft, Ebeltoft, Denmark; Kanazawa City Museum, Kanazawa, Japan; and Tokyo Glass Art Institute, Kawasaki-Shi, Japan, to name only a few. Inviting viewers to utilize scientific-like observations to analyze the implications of a rapidly changing world, Taylor's sculpture is both triumphant and cautionary, simultaneously celebrating technological breakthroughs and worrying about their implications. By using glass to make these theoretical connections, the artist inspires contemplation of social and scientific issues and continues to take the material of glass into new expressive terrain. States Taylor: “The race is on in all technological advanced countries for the discovery of human consciousness for AI. I predict it will be the last frontier of human intellect. I have constructed a laminated slab of color blocks which represent the codes for the human consciousness. I see it as a kind of Rosetta Stone of translation from one language to another – binary to English. The RS interpretation of Egyptian hieroglyphics to Greek language allowed us to make the intellectual and cultural jump. “I see Codes as containing the information for making the final leap from human consciousness to that of machines. This will be a discovery of epic proportions. This would be the beginning of a new world of solutions to puzzles such as eternal life, interplanetary travel, and the discovery of philosophic truth for each individual human.”   

During a 2011 lecture by John Moran, Krista Israel had an epiphany. The artist realized that through her art it was possible to offer an opinion on social issues. Thoughts and feelings that are difficult to put into words become one's voice through the creation of art. To this end, she employs the techniques of casting, flameworking, and pâte de verre, using the natural characteristics of the different glass techniques to express her thoughts, sometimes in combination with other materials such as cloth, computer parts, plastic toys, even a chair. Israel states: “Glass art doesn't necessarily have to be shiny and pretty. This material, which is known for those properties, can also be used in a completely different way. For me that was an aha moment, which certainly influenced the series of critical works on social media and rapid technical developments that I made in the following years. In life we go through stages and changes; that also happens in the works you make.” During the pandemic lockdown, Israel's artistic goals began to shift, and her desire to make work with ironic humor came into focus. Starting out in her education as pastry chef and later silversmith, neither of those materials made Israel's heart sing like melting glass rods in a flame. After the initial introduction to flameworking, she studied different techniques at a variety of workshops over a period of five years, while working for the largest bead store in the Netherlands, designing jewelery and giving workshops. In 2005, the artist became aware of the glass art department of the Institute for Art and Crafts (IKA) in Belgium. For almost two years she considered attending, until a visit to the institute convinced her to make the leap. Graduating with honors from the IKA, Israel received her BFA in glass art in 2013 and MFA in 2016. In addition to the 2022 Saxe Emerging Artist Award from the Glass Art Society, the artist was selected for the Coburger Glas Preis 2022 and 2014, Kunstsammlungen der Veste Coburg, Germany; nominated for the Dutch glass prize – the Bernadine de Neeve Prize 2021, Association Friends of Modern Glas; received Stipendium 2018, Association Friends of Modern Glass, The Netherlands; received the Originality & Ingenuity exhibition and residency, Liling Ceramic Valley Museum, China, 2017; and received the 10-10-10 Stipendium, academic grant for glass artists, Glass Gallery Aventurine, 2014. Israel designed and produced the 2015 collectors object of the Dutch Association Friends of Modern Glass. The combination of her unique perspective on the modern world and flameworking techniques that produce a mind-blowing “glass fur,” has put Israel on the map. She has participated in national and international exhibitions in Belgium, Germany, Ireland, China, Poland, the United States and the Netherlands, including: New Glass Now On Tour, Smithsonian American Art Museum, Renwick Gallery, USA; New Glass Now, Corning Museum of Glass, USA, 2019; Glass 4 Ever, Gorcums Museum, Netherlands, 2018; Glass Art Society, GAS Members Juried Exhibition, USA, 2017; European Glass Festival, main exhibition Play with Glass: Dr. Jekyll & Mrs. Hyde, Poland, 2016; Tianyuan International Glass Art Festival, Collision & Fission Contemporary Glass Art Invitational Exhibition, China, 2016; Exhibition Coburger Glas Preis, Europaïsch Museum für Modern Glass, Germany, 2014. Her work is represented in public collections, including: Corning Museum of Glass, USA; Liling Ceramic Valley Museum, China; Ernsting Stiftung Glass Museum Alter Hof Herding, Germany; and Kunstsammlungen der Veste Coburg – Europaisch Museum für Modern Glas, Germany. Her work is represented in the US by Habatat Galleries Detroit, coming soon at Habatat Galleries Florida and Oooit Art in the Netherlands. Israel is co-founder of the non-profit organization UNexpected Glass. During the International Year of Glass, UNexpected Glass will launch its first exhibition in October 2022, which will be a crossover between glass art, multi-media art with glass and glass innovation from the architectural world and construction industry. Artist and innovation talks and glass demonstrations will also be offered. Check in at www.unexpectedglass.nl which is currently under construction. Wrote Helene Besancon, curator National Glass Museum: “Krista Israel is a multi-media artist with a main focus on glass. Looking at her work it is like entering a story. The artworks are pleasing to the eye, but there is a layer of bittersweetness in all of them. Her works are in a realistic style, but it is not about the obvious reality. She is an artist who uses a broad variety of techniques, using the natural characteristics of glass to express her thoughts and reflections of the world and people, thus addressing the needs of our well-being. The combination of different techniques and her thoughts make her work complex and intriguing.”  

Cristina Cordova received a Bachelor of Arts from the University of Puerto Rico and continued to earn a Master of Fine Arts in Ceramics from the New York State College of Ceramics at Alfred University. In 2002 she entered a three-year artists residency program at Penland School of Crafts where she later served on the board of trustees from 2006 to 2010. Recognitions included a USA Artist Fellowship, and American Crafts Council Emerging Artist Grant, a North Carolina Arts Council Fellowship, a Virginia Groot Foundation Recognition Grant and several International Association of Art Critics Awards. Her work is part of the permanent collections of the Renwick Gallery of the Smithsonian American Art Museum, the Fuller Craft Museum, the Mint Museum of Craft and Design, the Museum of Contemporary Art of Puerto Rico, the Everson Museum and the Mobile Museum, among others. She currently lives and works at Penland. You can follow along with her work on Instagram. Find and follow your hosts Katie Freeman and Katie Thompson on Instagram.

One would be hard-pressed to think of any other artist working with glass whose work reflects as many varied and compelling styles as Dan Dailey's. From vessel forms to his Individuals to lamps, sconces and chandeliers, these beautiful, sometimes humorous pieces dazzle through a combination of colored glass and intricate metal work. No matter the format, Dailey's work expresses humanity, historical reference, and reverence for the natural world.  Dailey credits his successful career to his education in the arts. Born in Philadelphia in 1947, he attended Philadelphia College of Art, where he encountered glass through ceramic teacher, Roland Jahn, and discovered a mentor in William P. Daley, who taught basic design and color to his freshman class. Dailey, who completed graduate studies at Rhode Island School of Design (RISD) as Dale Chihuly's first graduate student, says: “Under Chihuly's influence, I focused totally on glass. That was a breakthrough for me. It was a lucky time for me to be there.'' Following graduate school, with the support of a Fulbright fellowship, Dailey moved to Italy and worked in Murano's famed Venini Factory during 1972 and 1973 as an independent artist/designer. He later worked with other established glass companies such as Critsallerie Daum in Nancy, France, and Steuben Glass Works, in Corning, New York. In 1973, Dailey returned to the US and established the glass program at the Massachusetts College of Art and Design in Boston, which he headed until 1985. Now Professor Emeritus, he transitioned into a new relationship with MassArt, creating a lecture series titled Materialism, in collaboration with Joe Rapone, a professor of design at the University of the Arts in Philadelphia. Dailey continues his role as independent designer at both Venini and Daum, and serves on the National Advisory Board for The University of the Arts.  Among his many awards, Dailey received a Fulbright Hayes Fellowship, Venice, Italy, 1972-1973 and a Fellowship at the MIT Center for Advanced Visual Studies, Cambridge, Massachusetts, 1975-1983. He was elected a Fellow of the American Craft Council in 1998, honored in 2000 with the Libensky Award, and in 2001 with the Masters of the Medium Award by the James Renwick Alliance. Shown in over 300 exhibitions, including a retrospective at the Renwick Gallery, his work is included in more than 50 museum and public collections internationally, and currently represented by Schantz Galleries, Stockbridge, Massachusetts; Hawk Galleries, Columbus, Ohio; Habatat Galleries, Royal Oak, Michigan; and Sandra Ainsley Gallery, Toronto, Canada.  Dailey's process for transforming glass into compelling and unexpected forms is almost as interesting on paper as it is in three dimensions. Drawings and watercolors are used to refine ideas, but also to direct his team, which can include glassblowers in Seattle; acid polishing in West Virginia; waterjet cutters in local machine shops; and cutting, grinding, metal working, and assembling assistants at his New Hampshire studio. Working from his titles forward, the artist keeps a list of thoughts and key phrases, illustrating words with the objects he makes.  He states: “I emphasized drawing as a teacher for many years, because it would help me to help somebody realize their own ideas. It doesn't have to be a beautiful drawing. It just needs to include information. However, in my own work, I make accurate drawings that really represent the piece.” Focusing part of his time on producing sculptural lighting and large installations for residences and public buildings, Dailey says being diversified has kept him continuously busy, though he notes, not everyone makes a connection between all of his work. “Someone interviewed me at an exhibition in Chicago and did not realize that I made all of the work on exhibit. She thought it was three different artists. It was the first time I considered that perhaps my work wasn't clearly all mine, even though to me it all looked like it belonged. If you look through my sketchbooks and see the black-and-white ink on paper drawings, you can see that as different as the finished work can be, it is all connected by my stylistic approach.” Emerging from the Studio Glass movement initiated by Harvey Littleton, Dailey's work goes beyond its historical glass roots to combine with metal in a variety of formats, all of which communicate a subjective, narrative message. A vast array of forms has always been required to express the multitudes of ideas generated by Dailey's mind, and style is the common thread that binds them.  

Guest Bio:Today on the podcast Rachel will be chatting with Matt Tommey. Matt is a woven sculpture artist from Asheville, North Carolina and an internationally known Christian speaker and author of multiple books. He is also an art mentor for artists around the world through his "Created to Thrive" art mentoring program and The Thriving Christian Artist podcast. In 2009, God called Matt to "raise up an army of artists to reveal His glory all over the earth."  Since then, Matt has given his life to helping artists thrive spiritually, creatively and financially through creating live events, resources and online opportunities that equip artists to live the life they were divinely designed to live in the Kingdom.  As an artist, Matt's work has been featured in many magazines, shows and exhibitions and is mostly commissioned by private clients for luxury mountain and coastal homes around the country.  In 2011, Matt was recognized by the Smithsonian American Art Museum's Renwick Gallery as an American Artist Under 40 and in 2018 was recognized as one of the Best Artist Mentors in the country by Professional Artist Magazine.In this Episode we talk about about:How through healing past childhood abuse & adult additions he was able to hear God's calling for his lifeHow what you're going through now will give you the authority & expertise to help others coming along behind youWhen finding your identity in Christ, this gives you the confidence to step out and be the best artist, entrepreneur, worker, or family member you were meant to beHow God did not design artists to starve, but rather to thrive for His glory. Resources and Links:Website | http://www.MattTommeyMentoring.comFind Matt on Social | @thethrivingchristianartist & @matttommey Connect with Rachel at:https://rachelgscott.com/http://the5leaps.com/https://www.instagram.com/iamrachelgscott/https://www.facebook.com/iamrachelgscottText 'Podcast' to 216-279-7174 or  https://my.community.com/rachelscott

Studio Glass pioneer Sidney Hutter creates three-dimensional sculptural objects in which the intersection of form, glass, color and light unite to create works of art with an amazing and ever-changing spectrum of color, reflection, and refraction. Transformed from industrial plate glass into beautiful objects, Hutter's iconic non-functional vessel sculptures read more like “three-dimensional paintings.”  Hutter states: “As a glass sculptor, my interest is in the effects of light reflecting and refracting off and through glass. By laminating layers of glass, I am able to emphasize and manipulate the effects of light using color, shape and surface treatments.” After a fire temporarily closed the glassblowing studio during his second year in the graduate glass program at the Massachusetts College of Art, Hutter developed his layered and coldworked vessels. In the late 1970s, he was in the unique position of creating art uninhibited by financial pressures. The artist immersed himself in the idea of making large-scale glass sculptures based on historical glass research and influenced by his interest in architecture and work by his hero, David Smith. He focused on the creation of his Plate Glass Vase series, with which he entered the gallery world.  Hutter says: “Now, 40 years later, it is inspiring to look back at the complex and unique pieces created during that time of freedom and ultimate creativity.” Post-graduation, Hutter became an instructor at Massachusetts College of Art, Boston University and in Boston Public Schools. In 1980, he founded Sidney Hutter Glass & Light in Boston and later moved his studio to its current location in Newton, Massachusetts. There, he continues to create sculptures which combine fine art and glass craft with commercial processes used in architectural glass, adhesive and pigment industries.  During the heyday of Studio Glass, Hutter's art and process became increasingly more technical. In response, he co-designed and fabricated machines to help make his work more efficient.  His interests in glass, ultraviolet light and adhesive technology, and pigment applications have taken him around the country – attending conferences and researching the latest advancements in those fields. Through conversations with industry leaders, he has been able to adapt commercial processes to his studio practice and create landscapes of color between layers of glass.   Hutter's work is represented by the country's finest galleries and included in numerous private and public collections as well as major museums in the US, including the Boston Museum of Fine Arts, the Metropolitan Museum of Art in New York, the Museum of Art and Design in New York and the Renwick Gallery in Washington, DC.  In 1993, White House Vase #1 became part of the White House Craft Collection. The artist has created commercial projects for the Grand Hyatt Hotel in Hong Kong, the Hyatt on Collins in Melbourne, Australia, as well as for the Pittsburgh Gateway Hilton and the Righa Royal Hotel in Osaka, Japan, to name just a few.   With a career spanning more than four decades, Hutter has been an eyewitness to the changes in Studio Glass. In this conversation, he contemplates a shift in focus to include more lighting projects in his studio practice and reflects on advancing technology, economic highs and lows, and the ever-shifting interests of collectors and galleries.  Throughout the years, Hutter has developed a unique design style – influenced and cultivated from his passion for art and architecture and melded with his interest in the commercial glass and adhesive technology industries.  He adapted information, materials, and equipment into a unique studio practice, which contributed greatly to the glass art movement. His work will be on view in a spectacular collaborative show, Masters of Modern Glass, at Shaw Gallery, in Naples, Florida, with Richard Royal, Toland Sand, Rick Eggert, Tom Marosz, and Alex Bernstein. It opens March 3, 2022.  

Podcast 041| Pricing Your Work with Matt Tommey “What you would buy it for has nothing to do with what the market price of your art is” 2:48“I just found that artists really were trying to do pricing in a bubble as opposed to thinking about the whole macro things in regards to pricing, not only your expense every month, but also other things like how you're perceived in the marketplace, and the client niche you develop.” 3:05“I think confidence, as you're learning to price your art, it lets you say, ‘Yeah I'm a professional. This is what I do, and I'm worth it and when I charge market prices people take me seriously. They treat me like a real artist and I have the time and space and creativity to be able to do the things I want to do as an artist.'” 4:57“Just be prepared. Have a price ready for something." 5:26 “Sometimes that's all it is when you're starting is not being prepared to give people an answer.” 6:10“With my wall hangings, I came up with a linear foot price.” 6:33“Consider all of your expenses as you're running your studio.” 7:14“I've never found that I had to discount my work to sell it.” 9:29“Don't discount your work because it starts to train the people that are following you to wait for discounts as opposed to paying market prices and really valuing your work more than just 10% or 20% off.” 9:43“The market will always give you clues.” 12:51“A big part of that is just valuing what you do. I think that's a big part for us as artists is learning that, although you may take what you do for granted, this is a special gift that people don't see the world like we see it.” 15:10“I think people don't realize when they're starting out that your friends and family are not usually your customers." 16:17“I think that's why it's so important to have something like your mentorship program or be in a mastermind or do one-on-one consulting because you need a voice of someone with experience outside of your bubble.” 16:57“You have to listen to the people that are actually purchasing your work” 17:25“I think part of being a business owner is realizing, ‘You know what? I need to have stable pricing, not only for myself but for my clients so that whether somebody sees my work at a gallery or they come to me at a show or they're coming to me for a commission, we're going to be in the same range of pricing.'” 18:44“Having a stable pricing methodology allows you to make sure, across the board, in every venue, that you're in the same price range no matter where people are seeing and buying your work.” 19:24“You've got to have pricing integrity across the board.” 21:12“Why am I going to put all this other time and energy into what everybody says I should do when this is what's working for me?” 24:27  Matt is a woven sculpture artist from Asheville, North Carolina, successful entrepreneur and internationally known Christian speaker, author of 5 books. He is also a mentor to artists around the world through his “Created to Thrive” mentoring program and The Thriving Christian Artist podcast.In 2009, God called Matt to “raise up an army of artists to reveal His glory all over the earth.” Since then, Matt has given his life to helping artists thrive spiritually, creatively and financially through creating live events, resources and online opportunities that equip artists to live the life they were divinely designed to live in the Kingdom.As an artist, Matt's work has been featured in many magazines, shows and exhibitions and is mostly commissioned by private clients for luxury mountain and coastal homes around the country. In 2011, Matt was recognized by the Smithsonian American Art Museum's Renwick Gallery as an American Artist Under 40 and in 2018 was recognized as one of the Best Artist Mentors in the country by Professional Artist Magazine.Find out more about Matt's work with artists at www.MattTommeyMentoring.com  https://www.matttommeymentoring.com/how-to-price-your-art.html  https://www.amazon.com/dp/B097XBP733Free Download:  https://thrive.matttommeymentoring.com/5-biggest-mistakes-when-pricing-art  Creatively Made Business with Jeanne OliverIs your business aligned with how you want your life to look and feel? Many creative business owners feel trapped and overwhelmed by the business that was supposed to add more freedom to their lives. You didn't take the risk of starting a business just to end up in the same place, or worse – moving in the opposite direction of the life you want.An online workshop to build, launch, and nurture a business that aligns with how you want your life to look and feel. Instant access to six modules with over 7 hours of training. Your business should be a bridge to the life you dream of, not a barrier. To learn more click HERE.  Ten Tips To Take Back The PeaceA free ebook if you are looking for some rest in your day-to-day like I was.Get your free resource Ten Tips HERE. Become the artist you dream to be. Creativity is Calling at jeanneoliver.com. You can connect with Jeanne on Instagram and Facebook. 

What you'll learn in this episode: The history of Sculpture to Wear and how Lisa maintains its legacy Why editorial and media coverage is crucial for getting art jewelry recognized as a fine art What the role of a jewelry gallery is Why Lisa always advises artists to keep good records of their work How the bold brooches of the 80s paved the way for today's art jewelry About Lisa M. Berman Lisa M. Berman is an internationally recognized “Ambassador of Wearable Art.” Based in Southern California, her expertise extends to major manufacturing and retail markets, museums and corporations in the United States, Canada, Mexico, Asia and Europe. Lisa is the owner of the iconic gallery Sculpture to Wear, which was instrumental in launching the studio jewelry movement in the United States. The gallery offers an eclectic array of art, jewelry and unique objects to discerning collectors, media producers and institutions, which have been featured in film, television and publications. Her recently launched Berman Arts Agency offers artist representation, career management, corporate acquisition, sponsorship advisement, museum placement, exhibition curation and education services on the disciplines of fine art, jewelry, design and fashion. Lisa holds degrees in Plastics Manufacturing Technology from California State University Long Beach, Product & Jewelry Design from Otis College of Art & Design and Merchandising/Marketing from Fashion Institute of Design and Merchandising (FIDM). She has served on the Board of Governors for OTIS College of Art & Design; as Public Relations Chair for the Textile and Costume Council at the Los Angeles County Museum of Art (LACMA); and on the Museum Collection Board at FIDM. She volunteers for Free Arts for Abused Children, STEAM projects and Art & Fashion Councils. Additional Resources: Sculpture To Wear Website Sculpture To Wear Instagram Sculpture To Wear Facebook Lisa Berman Instagram Photos: Lisa M. Berman wearing Archival 18k gold plate PEBBLES Necklace by Robert Lee Morris, her own sterling silver pendant by K. Lamberti, Issey Miyake coat and holding a signed ARTWEAR Catalog (RLM). Photo by Daniel Oropeza NUE Magazine Holiday 2020  Model Neva Cole, Photo by Daniel Oropeza  ICE Collar by Greg Orloff, 2018, $15,000 Creative Director / styled by: Lisa M. Berman  NUE Magazine Holiday 2020  Feature article "Powerful Woman of Dissent" from the "Feel the Frill" Exhibition honoring RBG curated by L.M. Berman.  Sculpture: LUX MAXIMUS, Winner of ARTPRIZE 2017 by Daniel Oropeza $350,000.  Model Neva Cole wears Emancipation Collar by 2Roses, 2020, $1,500.  Photo by Daniel Oropeza  Creative Director / styled by: Lisa M. Berman  Cover of IONA Magazine  Model wears Beaded Galaxy by 3 Tribes, from our Timeless Measures Exhibition 2006, curated by Lisa M. Berman & Pamela McNeil  1 year collaboration with women from 3 tribes in Africa - elders teaching the younger generation how to bead.  Cuffs (sterling Silver & Copper) by Tana Action  IONA Magazine  Models wears pieces by Jan Mandel: “REVEALED” Collar $50,000 (worn to the EMMY Television Academy's Governors Ball) and “POIGNET” (French meaning Wrist) $25,000 - both with created from Stainless steel mesh, outlined with 18k gold wire, Citrine, 2001. IONA Magazine  Models wears pieces by Jan Mandel: Earrings - 18k gold & aqamarine (NFS), “TRANSITION” Collar, 18k gold, Onyx, Aquamarine $20,000  and “GOLDEN” Cuff, 18k gold, $10,000, made in 2001. Niche Magazine - TOP RETAILER SPIKED, red collar (Collection of Myra Gassman) & Cuffs on left side by Michelle Ritter  “POIGNET” (French meaning Wrist) $25,000 -  both with created from Stainless steel mesh, outlined with 18k gold wire, Citrine. Bouquet Ring, Stainless steel & garnet by Wendy Gwen Hacker $800 Collaboration with Sculpture To  Wear Designer Gina Pankowski & MOEN Facet manufacturer. Utlilitary into Wearable Art Cover of W Magazine  - January Jones wears LATTICE necklace (oxidized Sterling Silver) by Gina Pankowski, $4,000 And Bridge Bracelet sterling silver by Sergey Jivetin, SOLD in Private Collection    The images below are from a PHOTO shoot based in the music video Rico Mejia Photography Fashion Beauty Celebrity Lifestyle Mobile number: 323-370-0555 https://www.behance.net/ricomejia https://twitter.com/RicoMejiaFoto https://www.instagram.com/ricomejiaphoto/ Perpetual Light in Motion - editorial photography by Rico Meija for Costumes bResin and Diamond Bangle by Cara Croninger from 24K Show, 1979, $4,000 Citrus Collar of acrylic, stainless steel & magnetic closure $650, and Bracelet $300 by Adriana Del Duca of Genos Jewelry  Vintage Earrings- acrylic, one of a kind by Frank & Anne Vigneri, 1984, $350 Perpetual Light in Motion - editorial photography by Rico Meija for Costumes by Swinda Reichelt  Resin DROP earrings by Cara Croninger $200 REGINA Collar of acrylic, stainless steel & magnetic closure $800 by Adriana Del Duca of Genos Jewelry for "Feel the Frill" exhibition honoring RBG, curated by L.M. Berman. Bracelet by Genos, NFS in collection of Julie Laughton Perpetual Light in Motion - editorial photography by Rico Meija for Costumes by Swinda Reichelt  BLUE DROP earrings Teri Brudnak $98 HEDGEHOG Collar of acrylic, stainless steel & magnetic closure $850 by Adriana Del Duca of Genos Jewelry for "Feel the Frill" exhibition honoring RBG, curated by L.M. Berman. Clear CUFF by Cara Croninger, NFS collection of L.M. Berman        Cover of Vogue with Cherize Theron     Transcript: Lisa Berman, owner of art jewelry gallery Sculpture to Wear, has been a figure in the art jewelry world for over 20 years, and she has a wealth of insight to share with fellow jewelry lovers. For her second appearance on the Jewelry Journey Podcast, she talked about how she's maintained relationships with hundreds of designers and collectors over the years, what advice she offers the designers she works with, and why art jewelry is coming into its own as a fine art collected by museums. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. Today, my guest is Lisa Berman. Although we share the same last name, I'm not related to Lisa; however, over the years she has become a friend and a trusted dealer. Lisa has been a guest on the show before. Today, we'll have a wide-ranging discussion with less of a focus on a particular piece, more talking about her experience in the jewelry and fashion world. Per our practice, the podcast is audio only. We will be posting photos of many of the pieces Lisa mentions today on our website, which is JewelryJourney.com. This is also a two-part podcast, so please keep your eyes open for our second episode which will air later this week. Please make sure you're a member of our jewelry community by subscribing to the Jewelry Journey Podcast. That way you can listen to both episodes hot of the presses, so to speak. With that, I'd like to welcome Lisa to the program. Lisa: Thank you, Sharon. I'm so delighted to be back here again. Sharon: It's great to have you. For those who don't know your background, can you give us a brief overview of your background? Lisa: Of course. I grew up in the fashion industry and had a career in fashion design. I had an accessory business for many, many years, and then I acquired the name of Sculpture to Wear Gallery in 1998. Of course, that was originally launched in 1973 in New York City in the Park Plaza Hotel. I launched my first exhibition at Bergamot Station Art Center, which I'll tell you about in a second, on January 16, 1999. I'm proud to be the second owner of Sculpture to Wear Gallery. Now, location is important. Location, location, location, you've heard a million times in real estate. Bergamot Station Art Center is in Santa Monica, California, Southern California, and it was formerly the home to 25 thriving contemporary galleries and the Santa Monica Museum of Art. It was, I believe, a five-acre complex. Now the Red Line runs through it. Sharon: The Red Line being the Metro. Lisa: Yes, the metro. Anyway, that's where I started my journey. I actually met my former husband, Robert Berman, there as well. It was the heyday. It was like Soho. It was the happening place on the West Side; it was a lot of fun. Every Thursday, Friday and Saturday night for 10 years, there were gallery openings. There was constant influx of artists and jewelers and collectors and educators and writers, so it was definitely the place to be. Sharon: What was groundbreaking about—first, it was groundbreaking that Sculpture to Wear was on the West Coast, but what was groundbreaking about the original Sculpture to Wear? Lisa: The owner, Joan Sonnabend, was basically located in Boston, but she had a tiny, little, postage-stamp gallery. Robert Lee Morris told me it was only about 400 square feet. The delineation was that she only showed work by signed artists. For example, you had Alexander Calder making jewelry, and he actually made his jewelry. There were pieces by Picasso; those were in addition to the series and those were made by other craftsmen. Of course, you have people like Robert Lee Morris, whose entire career was launched at the original Sculpture to Wear. The idea was that she was selling one-of-a-kind, sculptural jewelry made by fine artists, not by jewelry artists. That was the idea. Sharon: From what I've heard, nobody else was doing that then. This was unusual. Lisa: It was extremely unusual. The only person that was doing something similar was in Philadelphia. That's our beloved Helen Drutt, who is about to turn 91. She was also very monumental and important in bringing studio jewelry and wearable art to the United States, but she worked with jewelers and makers, mostly in Europe. Sharon: How did you know the Sculpture to Wear license was available? How did you find out about that? Lisa: I was introduced to the idea through Cindy Forbes, who's now Cindy Brown. She ultimately ended up being my gallery manager. We had a conversation, one thing led to another, and that was kind of it. It was available, so I capitalized on that and the domain and the name. When I acquired the name, I felt it was very important that every decision I made was legacy-driven, because it was a very important part of history. This is not something I just launched; they had an important history and legacy on the East Coast. That's why for my business card, I purposely selected the title of “visionary proprietor,” because it kept me on point and on target. At first, I got a little flak from it, but as I explained, that kept me on point to do my best. That was it. Sharon: Flak because people said, “Oh my gosh—”  Lisa: A lot of gumption that I would profess to be this visionary proprietor. Now, everyone on social media is a visionary and all the museum collectors' groups are visionaries. I don't know; I guess I was ahead of the curve. Sharon: You are a visionary. Lisa: This was 23 years ago. There you go.  Sharon: So, you opened at Bergamot Station and then you moved the gallery to Montana Avenue in Santa Monica? Well, they're both in Santa Monica. Lisa: I was in Bergamot Station from 1999 until 2003. In Bergamot Station, I had two separate little locations. In 2003, I moved to a much larger location. That was on Montana Avenue at the cross street of 11th Street. I moved there knowing I was a destination, that I had built a brand with Sculpture to Wear and with the artists through a number of different ideologies and media and exposure. We'll get into that in a second, but I knew I was a destination. I was not going to rely on walk-in traffic on Montana Avenue, like so many of the other stores did. That was really important, that I had built up that mailing list, the collector base. People would be traveling, or friends would be coming in from out of town and our collectors would pick them up at the airport and say, “We have to take you to Sculpture to Wear first.” It was those kinds of relationships we had built there. Sharon: Did people stumble on your gallery in Bergamot Station? How did they find you? Lisa: Bergamot had 25 galleries, so at any given day at any given moment, you had tons of people walking around. It's completely different than it is today; of course during the pandemic, but completely different. There was no problem reaching collectors, and I was the complete anomaly. You have this sculptural jewelry, and it was an education to a new audience. A lot of these people weren't necessarily open to the idea of jewelry not having diamonds or gold. People that had an educated eye in regard to design, like architects, were some of our first clients because they understood the design. It literally was a small-scale sculpture.  I think my passion for that and some of the artists were also incorporated into that conversation. I made a request of any artists that were local to the gallery that they do three things: they had to work in the gallery, they had to come and help set up an exhibition that wasn't theirs, and they had to attend an opening that wasn't theirs. I wanted them to understand the role of a gallery and what we did. At first it was, “Well, why I would give you 50 percent of the retail price?” This was a demonstration for them to learn why. There wasn't any artist who partook in those three requests that came to me and said, “No, this isn't right.” They all were shocked at what we did on a daily basis. Robert Lee Morris, I told him about that, and he was shocked. He said, “You did that?”  Sharon: You mentioned Robert Lee Morris. A lot of people will know who he is, especially New Yorkers or fashionistas, but tell us who he is and why he's important. Lisa: Robert Lee Morris is an icon. He's been designing jewelry for over 50 years. He's the only designer to earn the Coty Award for his jewelry design an unprecedented three times. He was the designer who made the big, bold, gold jewelry in conjunction with Donna Karan's black cashmere new work uniform in the late 80s, early 90s. Digressing to understand why he's important in my world, our world of art jewelry, is that he was one of the most important and prolific designers at the original Sculpture to Wear in New York.  He was self-taught. He was literally found at a tiny, little show in an offbeat path. He was immersed in this incredible work from Alexander Calder, Salvador Dalí, Louise Nevelson—amazing artists who already had these incredible careers, and as it turns out, people loved Robert's work. He outsold all the other artists combined at Sculpture to Wear. Then he launched his own gallery. After Sculpture to Wear closed, he launched Artwear. That launched a number of careers from a lot of famous artists, jewelers, studio jewelers, some of whom are still with us and some are not. That's his legacy; first at Sculpture to Wear, then Artwear. He has these amazing archives, and we'll talk about how editorial and prior images play a role in the secondary market. That might be a good place to talk about that. Sharon: O.K., please. Lisa: What's a phenomenon for me is that when I started and someone would ask if I sold jewelry, I knew the context. They would immediately think of CZ or— Sharon: Engagement rings. Lisa: Engagement rings. I said, “No, that's not at all what I do,” and I would always be wearing a piece. I was always wearing largescale pieces of jewelry. At that time when I first opened my gallery, I had very short hair; I think it was two inches long. People may not have remembered my name, but they would point at me from across the room and say, “Oh, that's the jewelry lady. That's the Sculpture to Wear lady,” and that was just fine.  This type of work, like photography 80 or 60 years ago, was not accepted in the realm of a fine art museum. Now you see photography auctioned at over $1 million, and some of the most incredible collections in the world are simply photography. Art jewelry is now collected in some specific fine art institutions, and that is for a number of reasons. First of all, it's because of exposure from editorial and media, and also because of the stewardship of specific collectors and designers like Helen Drutt, who bequeathed her collection to the Houston Fine Art Museum. I think it was almost a decade ago, and there's an incredible book. It's on my bookshelf. I can see it from here; it's very orange and large. She wanted her collection to be viewed at a fine arts museum versus a craft museum, and that started that conversation.  Lois Boardman on the West Coast donated her collection to LACMA, LA County Museum of Art, I believe five years ago. Also, for example, the Renwick Gallery at the Smithsonian has been collecting this work for a lot longer. For example, Jen Mandel and I were there for her induction into the Smithsonian. That was incredible. We were standing right next to a piece made by Alexander Calder, and that's where her vitrine was placed. It's really about this conversation, and I think it's a conversation of education.  As for the secondary market, we were just attending the Bonhams preview for the Crawford Collection. That's an unprecedented phenomenon, to have a collection of that level, of that stature, being auctioned by Bonhams without diamonds, without gold. There are a few elements and pieces to that, but you're looking at Art Smith pieces, modernists, studio jewelers. This is a very exciting and fertile time to be involved in studio and art jewelry. This is what I've been doing for the last 22, 25 years. We're at a very exciting place and there are a number of forums, especially with Covid and Zoom, with Art Jewelry Forum having open conversations about this, introducing collectors to artists and, of course, your podcast. There are a lot of variations and factors for the secondary market. Sharon: Lisa, because your jewelry and art jewelry in general is still avant garde—although it's coming into its own—do you think collectors or people like you are going to say, “O.K., what's next? What's on the horizon now? That's become old hat.” It hasn't, but do you think people are going to move on? Lisa: Sharon, I hope not. Within the genre of studio jewelry and wearable art, it has progressed and become so sophisticated. There are so many different makers out there, especially with the internet connecting us. When I first started in 1999, we didn't really have the internet; we barely had email, and now that's how everyone communicates. I think that people's creativity, the way people wear pieces and where they wear them—the reality is that we're not going anyplace right now during the pandemic, and I'm looking at different generations and how to include that next generation in collecting. For example, some of my first clients were in their 60s and 70s when they started collecting, and some are no longer with us. So, how do we engage their family members? You're our most recent convert to art jewelry. My gallery was so close to your house, yet you would have had no interest in what we did. I think it's a journey. Can you say someone's going to have a different trend? No.  I also think technology has played an important role not only in studio jewelry and the exposure, but also the techniques. People are using laser cutting, 3D printing. Technology has also been accepted into fine arts institutions and it has blurred the lines of the conversation of craft and fine art. Even five years ago, there was a delineation that was very distinct. There are still institutions that are not interested in immersion, but I think technology has been a friend, not a foe, to studio jewelers and the paths they can cross. Sharon: I do have to tell a story. Lisa and I were laughing because I lived close to where her gallery used to be. I lived not so far in the Valley, 10 miles away. I was never in your gallery, but I remember seeing an ad one day and thinking, “Who is going to wear this stuff?”  Lisa: And now the Jewelry Journey Podcast. Sharon: It was way out. When you say that people who were older started collecting it, that's the sort of people who don't automatically say, “Wow, that's so new and so cool.” Lisa: My collectors—and I'm sure a number of the gallerists across the United States who have been around for decades would say the same—our clientele, they're not interested in trends. If they open a Vogue, they might see a dress they like, but they're not going to buy it because it's on trend or in fashion. All my clientele, they're well-traveled; they're well-heeled; they're generally educated. They're willing to be avant garde. They don't want to wear the same thing everyone else is wearing, so it's a little bit different. The whole conversation now is that there are younger generations. I just met an incredible student at USC at the Bonhams preview. She's running this entire magazine department in her off time while she's full-time at USC. That's to reach a new collector base and new makers, but that's exciting. That's what makes it viable. Sharon: Yes, it keeps on going. Lisa: Right. That was one of the things I wanted to talk about in regards to when I first started in 1999: it was not only the relationships we built with the artists and the collectors, but we also had our version of social media, which was just printed publications. We didn't have social media, so building relationships with well-known stylists, who were either Emmy award winners or high-profile people that worked with celebrities, that was really important. We got to the point where they would literally call me up with the theme, tell me what it was, and I would already pull the pieces and have a box ready for them. We had a shorthand. That was, again, a relationship that would have to be cultivated. It was very exciting, and that's part of building the legacy of why this work is important. For example, Robert Lee Morris is pulling out his archives. Part of the excitement of these presentations is showing some of the editorial, these great magazine covers and shows that these pieces were included in. I have two decades of binders of images. So, that's very exciting, to show the relevance 20 years ago to now.

George working on "Tia Catrina" George Rodriguez addresses sensitive sociopolitical issues through his highly ornamented figurative ceramic sculptures. There is a tongue-in cheek-ease that is evident in the sense of warmth his works convey. Themes of culture and identity recur throughout his sculpture, celebrating the unique attributes of diverse cultures as well as the similarities that unite us all. Rodriguez's ceramic sculptures eloquently communicate the emotions they embody, through figures spanning a wide range of forms and personalities. Aspects of certain forms echo elements of African, Italian, and South American ceramic traditions, yet the resulting pieces are dynamically modern. George received a BFA in ceramics from the University of Texas El Paso then went on to receive an MFA from the University of Washington.  His world curiosity grew as a recipient of a Bonderman Travel Fellowship where he traveled the world through most of 2010. His work can be found in the permanent collection of the National Mexican Museum of Art in Chicago, Hallie Ford Museum in Salem, Oregon and the Smithsonian's Renwick Gallery amongst others.  George is represented by Foster/White Gallery in Seattle, WA and is the Artist in Residence at the Tyler School of Art and Architecture in Philadelphia. The book he was reading that was mentioned in the interview was Natalie Diaz Book of Poems. Mexican/American Gothic. 2018. ceramic with glaze. 84 X 39 X 30 in. An Altar. 2018. ceramic with glaze. 100 X 60 X 60 in.

What you'll learn in this episode: Why every introverted artist should have a partner or patron to help them promote their work How Kent developed a line of reproduced pieces while maintaining his artistic passion and integrity Why young jewelers must have experience doing handwork and not just designing with CAD Why it's important that jewelers make time to play, even if it won't generate income How Kent has maintained his enthusiasm for the craft for decades About Kent Raible  Master goldsmith and jewelry designer Kent Raible first started working metal in 1973 in a high school jewelry class, and has since become one of the leading studio goldsmiths in the country. Largely self-taught, Kent sought out talented teachers over the years to learn different aspects of jewelry making, and also went abroad in the 1980s for two years of study in Germany. He always worked in his own studio, never apprenticed under a master, and over time developed a unique style of fabrication using eighteen karat gold, fabulous colored gemstones, and the ancient technique of granulation. His work has won many national and international awards, and has been featured in two important national exhibitions. The major neckpiece named Floating City is part of the permanent collection of the Renwick Gallery of the Smithsonian's American Art Museum, and his object called Pregnant Chalice was included in The Art of Gold, a survey of the work of eighty contemporary American studio goldsmiths that toured the country throughout 2005. Since the 1980s, Kent has also been teaching his craft through workshops at various institutions such as the Penland school of Arts and Crafts in South Carolina and the Revere Academy in San Francisco, California. Kent currently resides in Washington state with his wife and partner, Lynn. Additional Links: Website 1stDibs Instagram Facebook Photos: Captured Universe AJDC Theme project Tension Cosmic Clam Ring 2004 AJDC Theme project Hidden Treasure Floating City 1991 Permanent Collection American Art Museum, Smithsonian Floating City Closeup Crystal Sky City 2020 AJDC Theme project Secret Garden Floating City 2002 From the Deep Side view showing clasp From the Deep 2015 Saul Bell Award 1st place winner Transcript: Kent Raible is living proof of the adage that it takes 10,000 hours to master a skill. He's spent nearly all his life honing his talents as an award-winning goldsmith, favoring ancient techniques and creating jewelry that inspires him rather than jewelry that's trendy. He joined the Jewelry Journey Podcast to talk about how he learned his skills, why his wife and business partner Lynn was crucial for the development of his business, and why he encourages young jewelers to keep practicing their craft even when pieces don't turn out as expected. Read the episode transcript below. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. Today, my guest is award-winning goldsmith Kent Raible. Kent has been a goldsmith for 50 years. In addition to compiling a roster of awards, he occupies several unique niches. He's a master in the ancient art of granulation and is known throughout the industry for the classes he holds both in person and online. We'll hear more about his jewelry journey today. Kent, welcome to the program. Kent: Well, thank you, Sharon. I am very happy to be here. Sharon: So glad to have you. Tell us about your jewelry journey. Were you creative as a child? Is this something that everybody expected of you, what you're doing today? Kent: Well, it was all kind of serendipitous events that brought me through this journey, but I was raised in a family of artists. Both my parents were painters. My father made his living from teaching art at the junior college level in Marin County, California, which is where I grew up. My mother was also a painter. They met in art school at the California College of Arts and Crafts, at the time, in Oakland, California. They were both Bohemian types, and they were very open-minded and were always supportive of anything creative that I might want do as I was growing up, and the same with my one sister. She went on to become a very successful doctor. Both the kids went on separate paths, but they were very supportive in whatever we chose to do. From an early age, I was very aware that I had abilities that other people didn't have, musically and artistically, and my parents were always open to me becoming a musician or an artist. There was never any question that that was a possibility, because I grew up in a situation where there were successful artists all around me. My dad taught for many years, and some of his students went on to become very successful artists. I got to meet them and see their workshops. Some of them were painters; some of them were sculptors. My dad had a very broad base of experience in crafts and in art. He actually dabbled in jewelry and gave me his first set of jewelry tools, which was a ring mandrel and a soft frame, which I still use today, and some of the basic tools he got while he was doing his class at the College of Arts and Crafts in the 50s or maybe even in the 40s. I took my first jewelry class in high school at the behest of my girlfriend. She said, “Kent, take a class with me.” I said, “Oh, I don't know. Jewelry wearing, you know.” My first jewelry teacher was a former student of my father. He was teaching the high school jewelry class and we hit it off. I was a sophomore; I was 15 when I took my first class. By my senior year, I was taking two periods of jewelry a day as my electives, one before lunch and one after lunch, and I worked through lunch. I was getting three hours a day. I was a lab assistant, so I was in the back room there, and I could do pretty much whatever I wanted. I was having a blast.  Then I went on to the college at Marin, which is where my dad was an art professor. He had just hired a young guy named Glenn Miller. He just passed recently. This was 50 years ago, so this is all ancient history, but Glenn Miller—he wasn't a jeweler himself; he was more of a sculptor. But he was very much involved in getting things right, craftsmanship, design and integration of clasps and things that went into design rather than just as an add-on. These were concepts he was hammering into me early on, and that's how I started. I had many interests as a young person. I wanted to be a rock star. I've been playing guitar longer than I've been making jewelry. I'm pretty good at that, but I didn't devote my life to that as much as I have to making jewelry. At some point in my early twenties, I made the big decision to make that my livelihood. I was maybe 19 or 20 and I decided to go for it, so I started doing craft shows. It was hard to put my work out there; that was really the hardest thing. Making it and designing and having fun making things was easy, but when it came to stepping out into the world, because I was very shy, that was the hard part for me. I struggled with that for a number of years. I won my first national award at the age of 22 with the National Sterling Silversmith's Guild of America Annual Competition for College-Level Silver Design. I made a sculptural piece; I actually have it here, but since this isn't usual, I'm not going to pull it out. Sharon: We'll post a picture if you'd like.  Kent: You can post pictures. It was a silver waterpipe. I was taking hollow ware and bringing it into the 20th century, basically making a silver bong. That won me a national award. At that point, at 21, 22, I thought, “Well, I could actually do this.” I was getting a lot of support from my family and from my teachers. Then I got my first teaching job at the College of Marin, teaching in adult ed. I didn't have a college degree, but I could teach in adult education. I started teaching at the age of about 23, 24, teaching casting and basic jewelry techniques. I hadn't really gotten into granulation at that point, but I was very adept at fabrication, soldering and casting, so that's what I taught my students. That gave me a foothold into the realm of teaching, which I have done my whole career. Not in a big way; I'm teaching more now than I probably ever have, but that's how I got started in the teaching realm. There are a couple of major things that happened in my life that made the biggest differences to my career. The first was in 1982; I went to Germany. My girlfriend broke up with me and I was devastated, so I sold all my possessions to raise money. I took my bicycle and started riding from Frankfurt, Germany. The first place I went, of course, was Idar-Oberstein, which is a good, long, one-day ride from Frankfurt. I went there and looked at all the gem museums; I visited stonecutters and things like that. From there, I rode through the Black Forest down to Pforzheim and went to the Schmuckmuseum, the jewelry museum in Pforzheim. I puttered around for about four or five months, but serendipitously, right before I left from America with my bike, I met a couple of goldsmiths who were visiting from Germany. They said, “Why, don't you come see us when you're here if you're in our area?” When it started to rain and I'd ridden through seven or eight countries, I was in France and the weather just turned bad; it was October. So, I called them and they picked me up. They had a little Volkswagen Bug, and I stuck my bike on the top and they drove me to their place in Stuttgart. They were very kind to me. They let me stay with them for six weeks. In the process of that period, they invited me to come check out the school where they had studied, which is in a little town called Schwäbisch Gmünd of about 60,000 people. Sharon: Would you repeat that? Kent: Yeah, Schwäbisch Gmünd. It's about 50 kilometers east of Stuttgart, a beautiful location in the hills. The hochschule there, which is basically a state-run trade school, had been teaching jewelry there for 250 years or something. They were in the process of phasing out the jewelry program, but they introduced me to the head instructor who could speak English because I had very little German. He introduced me to the goldsmithing teacher who didn't speak any English, and he invited me to stay as a guest. So, it was a free year of education. I had only to buy health insurance. That was it, $30 or month or something. That was my only cost. I didn't have a lot of money at the time, and that is where I learned my granulation technique.  I buckled down. I had six weeks before the semester started, so I learned as much German as I could. I bought a big, thick dictionary and learned every word pertaining to jewelry; I learned how to put sentences together as best as I could, so I could communicate with the goldsmithing teacher. They showed me a list of things I could study, and on the list was granulation. He basically took me through a series of exercises in silver and then we moved into gold. I had some gold that he taught me how to alloy. I started using a rolling mill. I'd do all these basic things that I had never done before in fabrication. The wizard was handing me the key; I just took off from there. I loved the technique he taught me so much that I pretty much designed my whole career around this one technique. It involves—well, I'll go into more detail about that.  I want to go over the one thing that made the most important difference for me in my career, and that is when I met my wife, Lynn. She was a jewelry buyer—this was in 1985, 86. It was a couple of years after I had returned from Germany. I was making beautiful jewelry. I had reached a level of mastery after 20 years. This was about at the 20-year mark. I was in my early to mid-thirties, and I had reached a level of mastery by then and I had my own look; I had a feeling. I was very excited about the complexity of the things I could make. I'd really gotten good at stone setting and other skills, not just granulation. I was still having trouble getting myself out there and presenting my work, but one day, I walked into this store in Big Sur, California, and there was a new jewelry buyer there. I'd gone there before, but the old jewelry buyer did not bite. But Lynn was there, and she bought my work, and not only did she buy it, she was selling it like there was no tomorrow. That's not why I became attracted to her—I mean, it might have had something to do with it—but over the year, we became friends. Then we were both in a situation where we weren't in relationships and I asked her out. That was 32 years ago, and we decided to create a partnership. We both came into the relationship with similar levels of assets and liabilities and those types of stuff, so we came in and said, “Let's share everything and do this as a team, 100%.” And dang, it worked out! We've been doing this for 30 years. Lynn had a natural sense of marketing. She used to run clothing stores; she was into fashion. As a jewelry buyer at the Phoenix Shop in Big Sur, she knew how to deal with galleries, what they were looking for and how we could present ourselves to them in a way that made them more likely to buy. That was hugely important for me as a shy person. I had my heart and soul invested in my work, and I needed somebody who could be removed a little bit from that and help me do what I needed to do to make it work, as far as being able to make a good living from it.  We started doing tradeshows, which I would have never considered doing. I saw my work as art rather than a manufactured item. We did Las Vegas; we did a lot of the biggest shows. The Design Center in Las Vegas was just happening in the 90s, and that's when we started doing shows like this. That enabled us to get our work out to a much wider audience. We were showing in galleries all over the country, and it helped us develop a clientele, some of whom are still buying to this day. That was the other major thing that made the difference for me: having a partner I could totally trust. That's probably the main thing that's helped me actually have a successful career. That aside, of course I have always loved making jewelry. Now I can let you ask me questions. Sharon: So, you and Lynn established Golden Sphere Studios?  Kent: That was more the teaching arm of the online classes. Golden Sphere Studios is the evolution of Kent Raible Jewelry. We sell our work online. We also sell our work through 1stDibs and of course privately.  We don't show a lot in galleries anymore, but we're thinking of doing that again, although I am semiretired now. I'm not producing like I used to. Right now, I'm making pretty much just what I want to make. I'm not designing so much for the marketplace as much as I am for myself.  What Lynn got me to consider more was doing repeated items so I could make things without the labor and time involved. With a one-of-a-kind piece, the time involved is largely in the building of the piece, not even in the granulation. But the time involved in creating a one-of-a-kind piece can be cut down dramatically if you mold a piece, cast duplicates of it and then granulate them, and that's what we did. We came up with a line we could sell at a much lower price point and then presented that to the galleries. Also along with that, we had one or two really nice, one-of-a-kind pieces they could sell to their higher-end clientele. Sharon: Are your one-of-a-kind pieces mostly custom for people who know you already? Do they come to you and say— Kent: I do commissions once in a while, but mostly I prefer to make what my heart's telling me to make. I'll get ideas and go, “Oh, got to make that one.” They all come out of the blue. I never know what's coming next, and now I've got such a wide repertoire of techniques and ideas. Things combine in different ways now that I would have never guessed 10 or 20 years ago. Now I've gotten into stonecutting, which is a whole other ball of wax. Cutting my own stones; that's a lot of fun. Sharon: Is that something where you said, “O.K., I've mastered this aspect, so I'm going to move onto stonecutting”? Kent: That's part of it. This is a field where you can spend three or four lifetimes and there's still more to learn. I like working the old-fashioned way; I'm not really into the new technologies that are coming out. I'm not into CAD. I'm not into laser welding and all that stuff. I'm still the old-fashioned, dinosaur jeweler that does things the very old-fashioned way. What I do is 3,000 years old. You don't get much more old-fashioned than that. I'm doing things that have been done for thousands of years, but I'm trying to do them in a new way. The fun part of cutting stones is working consecutively—I shouldn't say consecutively, but working simultaneously in both metal and stone. I can alter things as I'm working. I wasn't able to do that with gems before or with shapes or forms of stones. I'm only doing very simple cab forms at this point, but I can fine tune a form I probably couldn't buy, or if I need to change it as I'm working, I can do that.  Right now, for our 30th anniversary and her 60th birthday, I'm making her a pair of earrings. I cut some rose quartz bullet tongue shapes, but they're so precise and they're very well matched. On top of them, I'm putting this incredible apricot precious topaz. The combination of the light, translucent pink background with the topaz over the top, it makes the topaz pop out. Then, the translucent background—it's very feminine and lovely. It's her colors, so I can't wait to see them on her. They're about halfway done now, but the cutting of the stone required that I carve out a notch in the back so the culet of the topaz could fit into the stone so that it's compact. It brings it in together. There are things like that I can do now with stonecutting that I would have had to order from a lapidarist, which I have done in the past, but this way I can cut as I'm going. You don't know exactly how deep you need to cut or what the exact shape is going to be. Now, I can do that to a limited degree with stones as I'm working in gold or platinum, whatever I'm working in. That's a big design. It opens up a whole new possibility for me. That's pretty exciting, that I can get that excited about something 50 years into my career. Sharon: I can understand that, because we're in a time where you can't stop learning or you can be left behind, whether it's learning how to use a computer or whatever. But how do you feel that passion for decades? How do you keep it going? Kent: That is a very good question, and I really don't know. There's a part of me that just has to do this. Not so much now; like I said, I'm semiretired. I have other things I'm doing. I'm got a huge vegetable garden, and that takes up a lot of time. I love growing plants. I like doing things that take time. But I also have the most beautiful workshop in the world right now. I love going out there and hanging out, and I have this whole lapidary setup in the back. I have it set up so it's a beautiful space, so that keeps me interested. The other that keeps me going is my students. I like sharing what I know. Watching other people progress is also inspiring to me. When I see what I can make and I go, “Wow, I made that,” that's part of what keeps me going. Sometimes I have a vision in my head that's like, “Wow, I could probably make that.” I'm always trying to challenge myself a little bit as I go, not a lot. It's an evolutionary process, making jewelry. Every time you make a piece you learn something, and then you take what you learn and then you make something else and you add something, like, “This is what I learned. This is what I don't want to do next time. This is what I want to try next time.” Slowly, over the decades, you become adept at a lot of different things. The excitement comes when I'm able to combine things I've never done before or put things together in a way that's unique or new. I recently did a major piece for the American Jewelry Design Counsel. Are you familiar with the AJDC? Sharon: Oh, yes. Kent: Every year we do a theme project. We did one last year that is to be displayed in conjunction with the opening of the new Gem and Mineral Museum in Tucson. It isn't open to the public yet, but it will be opening in—I'm not sure if they have an opening date, but by the next Tucson show I'm pretty sure it will be open. Anyway, I did a floating city. The first floating city I did was in 1991 or 1992, which is now in the Smithsonian at the Renwick Gallery. I've done different versions of this theme over the years. This time, I put it together in a whole different way than I've ever put it together before. I'm not 100% satisfied with how it came out, but I am very excited with the possibilities of what I've learned from putting things together in that way. It's a very complex fabrication, so it was a learning process. I also cut a lot of the stones that are in the piece. It's successful in some ways, and in other ways, I go, “Well, I'm going to do it different next time.” That's how I work. I try different things. Sometimes they're successful; sometimes they're not as successful as what I see in my head, but that's part of the creative process. You have to be willing to try things and have it not be—I'm rarely 100% satisfied with anything I make. Sharon: Would those be some words of wisdom to younger jewelers? Kent: Oh, definitely. You have to give yourself room to play. You have to be willing to fail, and you have to be willing to have a meltdown every once in a while. But the main thing you need to do is always make time. I know money is always an issue if you're trying to make a living from it, but even so, you have to have time to do things that may not make you any money. You have to make things for the sheer joy of doing them and for the exploration involved. That's my number one piece of advice to anybody doing anything creative; you have to have time to play and enjoy the process. Jewelry making is a thousand different processes that you can combine in infinite ways. R&D time is really important for the artistic expression. If you want to do something that's unique, it's imperative. Sharon: You joined forces with Lynn, so did you assign her the external part?  Kent: No, we collaborated. She is the one that got me to move away from one-of-a-kind to move into the marketplace. We had a child together, so we needed to support a family. It was a monetary decision. There was a little bit of a push and pull between my artistic side the wanting to make money side. There was a realty involved. I didn't want to compromise my artistic sensibilities and I did my best to do that. What I came up with, what we call line pieces, the reproduced or the limited-edition series pieces, they're all really beautiful. I'm still adding to that collection every once in a while, but it was a decision on my part that we needed to make money, so let's move into this different type of production. In this way, I could actually hire help, too. I could have eight pieces cast and have people work on the castings rather than fabricate from scratch, which is very difficult to train. Sharon: Yeah, especially if you're trying to— Kent: Although I have trained people that have done very well for me. Sharon: I know so many artistic people face challenges showing their work and selling their work. How would you advise getting past that? Kent: Well, if it's something that's not innate for you, you need to find help. That's what I did. I really had to push myself because, as a very shy person, it was very uncomfortable for me to go out into the public eye. What I did after I got back from Germany and found myself in tears because I wasn't able to get out and sell my work, I started taking personal growth workshops. I took all kinds of different stuff where I had to get into my discomfort zone and put myself out there and be uncomfortable. If I hadn't done that, I probably wouldn't have been able to see what I needed in a partner. It's really hard to make it as an artist on your own. You have to have somebody supporting you, whether it's a gallery owner or a patron, whatever. You need people that believe in you, and you need to believe in yourself first. Your work has to be good, but you need to have help getting you to the marketplace, I think. That is very important if it's not something innate. For some artists it is innate, marketing, and I think it's more the exception rather than the rule. Sharon: From what I've heard you say, yes. I give you a lot of credit. You have a lot of personal work.   Kent: Oh yeah, when you have a dream and it's a big one—the work in itself is very small things, but if you look at my work up close, they're huge. Visually, in scope, they're really big. It's like I try to cram as much hugeness into the smallest space possible. My vision is a lot larger than the actual pieces. That's kind of an interesting part of what I do. Sharon: Yes, your work is so complex and intricate that it takes a big scope, even though it's so small. Kent: As I'm making them, I'm working very close up, but in my mind these things are huge. That's how I can get into so much detail, because I see it as a much bigger thing than it actually is. Sharon: What would your advice be? You've won so many awards, like the American Jewelry Design Counsel. I presume they come to you and say, “We're here. Can you do something for us?” What is your advice? Do you think that's something emerging jewelers should consider, entering contests? Kent: Oh, of course. I started doing that in my early twenties; I started entering or doing shows and I started winning awards. It gave me a lot of self-confidence. If you don't win, it's O.K. You need to see what's winning and ask yourself why. You have to be honest with yourself: “Is my work up to this level, and what do I need to do to get there?” It's mostly about putting in the hours. I put in my first 10,000 hours probably by the time I was in my early twenties because I was so into it. I never had a job—well, that's not true; I worked at a recycling center on weekends and at minimum wage for a number of years, but in those days, you could work minimum wage and pay your rent and buy food. Then my father allowed me to have a workshop in his garage. That's how I started. I didn't own a car. I rode my bike everywhere. I would ride to work and I would just make, make, make, make, make. I would take classes.  I went to the College at Marin for three or four years so I could use their shop, but I also took evening classes with an artist in the East Bay whose work I saw at the Palace of the Legion of Honor. His name was William Clark. He's a sculptor and a jeweler, but what he was able to do with metal so inspired me. I heard he was giving an evening class once for a week for six months. I hopped on that, and I learned things there I never would have learned anywhere else. I don't know. I kind of got off my train of thought there. Time for another question. Sharon: You have a very inspiring story. I'm sure you've inspired, besides teaching, legions of people in the field. What other pieces of advice would you have for people who are on the cusp of saying, “How do I become you?” Kent: Well, you know what I did: I just started learning different techniques. I'd focus on one at a time until I achieved a certain level of mastery. The first thing I learned was casting because you can do so much with casting. Nowadays of course you have CAD, but I highly recommend for people getting into jewelry now not to devote themselves too much to CAD. You need to have actual experience doing handwork, because that's the basis of solid jewelry knowledge and design knowledge. You can't just design on CAD. You can do some beautiful things, but you're not going to have the overarching experience of having handwork behind your belt. I see a lot of CAD stuff being done, but unfortunately it all looks the same. You need to have a broad variety of techniques under your belt.  What I did was study casting. I went into forging, raising, tube forming. I started doing repoussé, learning how the plasticity of metal can be used to create interesting forms, relatively quickly if you're good at it. There's something about working spontaneously in metal that is so different than anything you can do on the computer. It's great to have that broad understanding of what the metals can do, not just with casting, but with forging, forming, learning how to make your own stock; I mean, making your own sheet in wire, tubing. I do a whole class that's just based on tubing online. It's very successful. People love it. If you want to learn how to fabricate or do things that have moving parts or even for stone setting, being able to make a tube is a huge thing. It has unlimited applications in design. I would say there are so many incredible techniques out there. I've only touched the surface myself, but pick the ones that make your heart sing and focus on them. Bring your own flavor, your own heart into it so it's unique.  That's how I did it. I started doing granulation when my father showed me a picture of John Paul Miller's work. If you're not familiar with John Paul Miller, he was one of the first American granulators in the 20th century. He started doing beautiful granulated enamel pieces in the 50s and 60s. It was his work, among others, but mostly his work, that inspired me to learn granulation. His technique is very different than mine, but I made the technique my own just by doing it, playing with it and learning how to fabricate without solder so I could granulate really intricate, fabricated forms. Sharon: It's a very inspiring story. I really appreciate your being here today, Kent. Thank you so much. Kent: Oh yeah, my pleasure. We will have images posted on the website. You can find us wherever you download your podcasts, and please rate us. Please join us next time, when our guest will be another jewelry industry professional who will share their experience and expertise. Thank you so much for listening. Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.  

Lauren Fensterstock is a sculptor and installation artist whose sparkling, intricate creations look like secret treasures stolen from a gothic witches' cathedral or like the charred remains of a fairy swamp. Made from materials including glass, vintage crystal, quartz, obsidian, onyx, hematite, shells, sand, plexiglass, paper, charcoal, and wood, her most recent installations—like the one on display at the Smithsonian American Art Museum's Renwick Gallery in D.C. earlier this year—are enormous, completely black, and suck all the surrounding light into the curves and edges of thousands of individual objects assembled in patterns that both imitate nature and take nature to dramatic new heights with architectural precision. Other pieces—like some of the seven crystal encrusted suns that were featured in Fensterstock's show Impermanent Conditions, at the Claire Oliver Gallery in New York this summer—play similar visual tricks with all-white palettes of light-reflecting glass and quartz. Both her imagination and the objects she produces are precious and rare and on her excellent episode of BUST's Poptarts podcast, we discuss the occult, the apocalypse, and the enduring magic of female friendship.

Betty Scarpino's contemporary wood sculptures combine fluid motion with intricate detail. Her creative energy draws people to her, and numerous awards have come her way. Scarpino was born in 1949 in Wenatchee, Washington. Her career began in the seventies, when she began making furniture and producing purely functional pieces.She has a degree in industrial arts from the University of Missouri where she also studied woodcarving and wood sculpture. While these early years did not develop artistic innovation, Scarpino mastered the techniques that now allow her to create wood sculpture, decorative art woodturnings, and woodcut prints.Her abstract wood sculptures and decorative art woodturnings are in the permanent collection of many major museums, including the Renwick Gallery of the National Museum of American Art, Smithsonian Institution.Support the show (https://www.patreon.com/WoodturnersWorldwide)

These poems came out of a  few days in DC the nations capital finding the RENWICK Gallery of Folk Art  inspiring and discovering the outside artwork and murals on the Metropolitan bike trail and buildings around Washington DC and also  experiencing the National Zoo.  The last poem was written in 2011 about WARLI art created in India.  You will see the connection!Support the show (http://www.prasad.org)

Norwood Viviano: Understanding Our Place in Time Using tools of mapping and materials of industry Norwood Viviano makes installations and sculptures that consider various social and environmental factors leading to population changes in American cities. His most recent series, Re-Cast Cities, continues his exploration of the cross-sections of geography, cartography and history, merging urban landscapes with the symbols of industry that have fueled their booms, busts and builds.  Heller Gallery's March 2021 Re-Cast Cities exhibition documented the first eight pieces made in this series focusing on Detroit, Houston, New York, Philadelphia, Pittsburgh, Portland, (OR), Toledo and White Mills, (PA). Curator and writer Sarah Darro called the project “a radical reconsideration of cartography that inflects Viviano's ongoing analysis of the rise and fall of American manufacturing with an experimental energy geared towards the future.”   Viviano received a BFA from Alfred University and an MFA in Sculpture from the Cranbrook Academy of Art. His work is represented in the collections of major museums in the US, Europe and Asia. His work has been shown at the Venice Architectural Biennale (2014), Houston Center for Contemporary Craft, Houston, TX (2013); Museum of Fine Arts, Boston (2015), Frederik Meijer Gardens and Sculpture Park (2016), Bellevue Art Museum (2016), Renwick Gallery of the Smithsonian American Art Museum (2016), MOCA Jacksonville (2017), Boise Art Museum (2018) as well as at Stanze de Vetro in Venice, Italy (2020). Recent solo exhibitions include Grand Rapids Art Museum in Grand Rapids, MI (2015); Heller Gallery, New York, NY (2011, 2014, 2018 and 2021); Chrysler Museum of Art, Norfolk VA (2016) and Corning Museum of Glass (CMOG), Corning, NY (2017-18). Viviano is an associate professor and sculpture program coordinator at Grand Valley State University in Michigan. Awards and residencies include the 2019 Corning Museum of Glass, David Whitehouse Research Residency for Artists; visiting artist residencies in 2017 and 2010 at Museum of Glass, Tacoma, WA; inclusion in CMOG's New Glass Review #16, #22, #33, #36, and #38; a 2016 fellowship at Wheaton Arts and Cultural Center – Creative Glass Center of America, Millville, NJ; the 2014 Pilchuck Glass School John H. Hauberg Fellowship; the Venice Biennale, Best Exhibition Award, from Global Art Affairs Foundation; and the Center for Scholarly and Creative Excellence, GVSU, Catalyst Grant for Research and Creativity. The result of Viviano's 2017 Visiting Artist Residency at the Museum of Glass, Cities Underwater focused attention from population and cartographic shifts of the past to the future. The artist conceived the project to visualize the dramatic loss of land predicted to occur in the next 500 years in areas that some 127 million Americans call home. The adaptation needed to mitigate the impending changes that will affect our lives, history and culture is massive. The Cities Underwater work is aimed at keeping this conversation alive and not forgoing it for short-term convenience or gain. The installation was comprised of 16 sets of nesting glass cylinders, which represent 16 coastal cities in the United States. Using existing LiDAR data and scientific projections, Viviano showed the projected loss of land mass due to sea level rise in Boston, Galveston, Miami Beach, Miami, Mobile, New Orleans, Newark, New York, Norfolk, Philadelphia, Sacramento, San Francisco, Savannah, Seattle, St. Petersburg and Tacoma. Each set was accompanied by vinyl cut drawings and animation, which provided additional data. For Mining Industries, Viviano utilized digital 3D computer modeling and printing technology in tandem with glass blowing and casting processes to create work depicting population shifts tied to the dynamic between industry and community. By showing how landscapes and populations move and are modified as a result of industry, his work creates a 3D lens to view that which is invisible or forgotten. His use of blown glass forms and vinyl cut drawings are micro-models of macro changes at the regional, national, and international level.  Viviano says: “I find myself looking at the world as a surveyor – telling stories through objects. Stepping back and researching how pieces fit together gives me the opportunity to consider the impact of the component parts. Conversations with specialists in a range of disciplines — historians, urban planners, demographers, climate scientists and statisticians — deepen my engagement with the subject matter and the complexity of my work. My artistic intention is to better understand our place in time by focusing on land use through pictorial imagery and on industrial growth and decline through population studies that also ask questions about the present and future of communities. My installations and objects encourage individuals to make connections and ask questions about the interconnectivity between their and other communities.  He continues: “My material choice of glass is meant to demonstrate the fragility of populations. I hope my work asks people to examine their own histories of migration, from personal and communal standpoints, just as it continues to help me navigate and explore my own.”   Viviano will teach a one-week 3D printing and mold making workshop at Anderson Ranch Arts Center, Snowmass, CO, July 19-23, 2021. For more information andersonranch.org  

I'm John Jordan and I've been a woodturner for more than thirty years. I have done demonstrations for, or given hands-on lessons to, thousands of woodturners in most states in the US, as well as ten other countries. The turned and carved vessels I make are featured in numerous private and corporate collections, as well as the  ​Public Collections of more than thirty museums. This includes seven pieces in the Renwick Gallery of the Smithsonian Institution, and the recent acquisition of two pieces by the prestigious Victoria & Albert Museum in London. If you have interest in the work that I make, please visit the gallery section.The tools that I use to produce this work are available here. These are the same tools I have used for over 35 years, and are made here in TN by me. The hollow turning tools are simple, easy to use tools that work for the novice turner, as well as the experienced turner. They are the best hollow turning tools you can get. If you are not happy with them, or any of my tools, I will gladly refund your money. Beware of tools made by companies or people that have little or no real experience producing work. My proven tools have produced thousands of successful pieces, not only by me, but also by many satisfied users. I sell only tools that I use!In addition to the hollowing tools, we also have some of the nicest handles around, the unique double-ended shear scraper, Thompson gouges, a sharpening jig and more. I'm very proud of my most recent video, “The Aesthetics and Properties of Wood”, which is one of the most important, but often misunderstood, aspects of woodturning. I will also try to keep some technical and artistic pages coming, and there is a calendar of demos and classes, so check back from time to time.If you need anything, please let me or my wife, Vicki, know. We appreciate your interest and are always glad to help.Support the show (https://www.patreon.com/WoodturnersWorldwide)

“The power of the art has a proven impact on our wellness.” Peter Maye, Co-Director, Arts in Foggy Bottom, and Kayleigh Bryant - Greenwell, Curator of 2021 Exhibition & Head of Public Programs with the Smithsonian American Art Museum and Renwick Gallery, join us for a discussion about how you can use arts to help you in building your mental fitness. Peter and Kayleigh also highlight how working in the field of art helped him or guided him through life endeavors. If you live in the DC area, flex your artistic muscle and check out Arts in Foggy Bottom this summer: http://artsinfoggybottom.com/. Join in on the conversation on how employers can help bridge the generational gap in the workforce through facilitating dialogue around mental fitness – because #WeAreEveryone

Podcast 036 | Created to Thrive with Matt Tommey 1:56     “When I first started making baskets, it was really to me never about making baskets, it was always about the connection of being in the woods, going hiking, and making something that other people thought was beautiful.” 2:41     “I began to see early on in my work the whole recycled part or the redemptive part of what I do, of taking things that everyone says are no good or ‘throw-away' and bringing that into my art process really resonated with people.” 4:38    “If we allow what we do to create, develop, and define our identity, then that is always a dangerous place, because creativity is not who I am, it is an expression of who I am.” 9:15     “Most of the folks that are identifying with us in our mentoring program, the podcast, or whatever it is, they are loving the fact that somebody is talking about the God factor in the middle of their art and their business.” 12:01   “For me I'm happy as long as I'm creating.” 12:44  “When you go to the studio, it's not just spontaneity in a vacuum, your are drawing on all the things you put in your heart and mind.” 15:31   “You are never going to be successful with something that you have not been fruitful with in your life first.” 18:20   “The biggest lie that I see people believing about their gifts and passions, when you boil it all down, it's ‘I'm not enough.'” 19:44  “If your general belief is that ‘I'm not enough and I can't do this,' it's like pouring water through a sieve, it just won't stay.” 24:26  “The challenge of working in a family business is when do you turn it off, how do you turn it off, you have to be so intentional about that.” 27:42   “The more I grow in who I am and what God has called me to do, I've coined this phrase: we are called to see and agree—we see something in our imagination, and we grab hold of it with our ‘yes'…” 29:42  “You can live and intentionally craft your life in the way that is a blessing to your family and fulfills your dreams.” 32:22   “The people I work with are just crazy enough to believe there's still a spark inside of them that says ‘I know, from the time I was a kid that I'm supposed to be an artist.'” 33:09  “That thing that you have is divine, the thing you have is unique and important, and the more you say yes to that, the more that everything else in your life and art are going to come into alignment.” Matt is woven sculpture artist from Asheville, North Carolina, successful entrepreneur and internationally known Christian speaker, author of 5 books. He is also a mentor to artists around the world through his “Created to Thrive” mentoring program and The Thriving Christian Artist podcast.In 2009, God called Matt to “raise up an army of artists to reveal His glory all over the earth.” Since then, Matt has given his life to helping artists thrive spiritually, creatively and financially through creating live events, resources and online opportunities that equip artists to live the life they were divinely designed to live in the Kingdom.As an artist, Matt's work has been featured in many magazines, shows and exhibitions and is mostly commissioned by private clients for luxury mountain and coastal homes around the country. In 2011, Matt was recognized by the Smithsonian American Art Museum's Renwick Gallery as an American Artist Under 40 and in 2018 was recognized as one of the Best Artist Mentors in the country by Professional Artist Magazine.Find out more about Matt's work with artists at www.MattTommeyMentoring.com Jeanne OliverCreatively Made BusinessRegistration is open! Ten Tips To Take Back The PeaceA free ebook if you are looking for some rest in your day-to-day like I was.Get your free resource Ten Tips HERE. Become the artist you dream to be. Creativity is Calling at jeanneoliver.com. You can connect with Jeanne on Instagram and Facebook.

When I stumbled across my next guest in a list of potential guests it was a no-brainer that we definitely needed to talk as our missions aligned. The more I learned about this exceptional human, the more curious and in awe I became. Jeff Garner describes himself as a romantic visual artist, pioneer and unconventional designer of his sustainable label Prophetik. Apart from unapologetically being a mad scientist of fashion in a way that is kind to humans and the planet, his list of achievements are as breathtaking as his work. He has been named one of the top 40 artists in the US and his works were placed permanently in the Smithsonian's Renwick Gallery for the 40 under 40 exhibition. He is also an Emmy award winner for his documentary on sustainable fashion called Remastered. As a prominent ethical voice in the fashion industry, Jeff dresses many artists such as Sheryl Crow, Taylor Swift, Miley Cyrus and Kings of Leon just to name a few. Born and raised in the Civil War town of Franklin, Tennessee on a horse farm, Jeff has a deep connectedness with nature. After spending time with Jeff direct from his cabin in Malibu, it became clear to me that his is a voice that needs to be heard and his pioneer spirit needs to be shared. I hope you enjoy getting to know Jeff as much as I did. This podcast is brought to you by http://www.ethicalchangeagency.com (Ethical Change Agency).

Stephanie Stebich is the director of the Smithsonian American Art Museum - that means she is responsible for the nation's premier collection of American art and major exhibition, research, publication, education and digital-media programs at the museum and its Renwick Gallery.  Before moving to Washington DC, was the executive director of the Tacoma Art Museum for 13 years. She was the assistant director of the Minneapolis Institute of Arts from 2001 to 2004, and assistant director at the Cleveland Museum of Art from 1995 to 2001. Stephanie studied art history at Columbia University and got her master's degree with a concentration in modern art from the Institute of Fine Arts at New York University. Stephanie is the daughter of an art historian, and her wife is also an art historian - she is at home in the museum and with art. In this episode Rose talks to Stephanie about reckoning and reconciliation - what should happen to confederate statues? How do we welcome in the new artists and exhibits during a global pandemic? What does the art we choose to showcase say about our values and ourselves? How do you handle death threats after you choose to showcase art about today's most pressing issues? The Woman is a production of Rose Reid. We will be publishing every two weeks on Thursday. On our next episode, February 25th, Rose speaks to Jessica Nabongo - the first black woman to travel to every country in the world! #TheWomen #RoseReid #StephanieStebich #Interviews #Podcast #Smithsonian #Museum #WashingtonDC #Tacoma #Art #ArtHistory Learn more about your ad choices. Visit megaphone.fm/adchoices

What is the responsibility of museums in the wake of the Capitol Insurrection? Kayleigh Bryant-Greenwell, a DC-based cultural equity strategist, joins us to talk about how critical museums are in the struggle to dismantle white supremacy. We originally spoke with Kayleigh about her practice in late 2020 and planned to release that conversation on January 6, 2021. Instead, she graciously joined us for a new recording to process the violent images of that day, the care museum workers deserve from their institutions, and reflect on the power of collective action in this moment.  Kayleigh Bryant-Greenwell is a cultural equity and audience engagement strategist with over 10 years of museum and nonprofit experience at the intersections of social justice and racial equity. As Head of Public Programs with the Smithsonian American Art Museum and the Renwick Gallery she is responsible for leading new outreach and inclusion initiatives towards developing new audiences and cultivating public engagement. In the wake of Covid-19 she leads an internal task force towards reopening planning and strategies. She received her Bachelor of Art in Art History from the University of Maryland, College Park and Master of Art in Museum Studies from George Washington University. She is an alum of the Claremont University Museum Leadership Institute, formerly the Getty. Follow Kayleigh on Twitter and Instagram @KayleighBinDC. Learn more about Kayleigh’s work at curatorally.com. Show Notes Museum Workers Speak https://www.instagram.com/museumworkersspeak/?hl=en Museums and Race https://museumsandrace.org/2021/01/08/questions-in-the-face-of-sedition/ Museums as Sites for Social Action (MASS Action) https://www.museumaction.org/

This week's guest is Jenny Hart, an amazing artist and founder/CEO of Sublime Stitching, a contemporary studio for hand embroidery, delivering designs and patterns that are far edgier than anything your grandmother every worked on. Jenny has authored many books on the subject, has been feature in numerous publications, she's exhibited her work in prestigious galleries and shows, and has rejuvenated a medium in danger of loosing relevance and slipping in obscurity. She was an original founder of the Craft Mafia in Austin Texas, only to be replicated in many other cities, and Jenny was in a select group of artists called 40 under 40 who were recognized by the Smithsonian on the 40th anniversary of the Smithsonian’s Renwick Gallery, where some of her art remains on display. She has sold work to some of Hollywood's elite, including Laura Dern, Tracy Ulman and two really big names that she will share a really funny story about in our episode. Unlike many of the artists we have interviewed, Jenny does not perfer a box and the influence of structure, especially when she is grabbing her string and flying her kite in it’s purest form. Check out Jenny's Website - http://www.jennyhart.net/and Sublime Stitching - https://sublimestitching.com/and as referenced in the episodeTomoko Uemura in Her Bath, by W. Eugene Smith https://en.wikipedia.org/wiki/Tomoko_Uemura_in_Her_Bath

Written from Neil Shister’s perspective as a journalist, student of American culture, and six-time participant in Burning Man, Radical Ritual: How Burning Man Changed the World (Counterpoint, 2019) presents the event as vitally, historically important. Shister contends that Burning Man is a significant player in the avant-garde, forging new social paradigms as liberal democracy unravels. Burning Man’s contribution to this new order is postmodern, a fusion of sixties humanism with state-of-the-art Silicon Valley wizardry. Shister is not alone in his opinion. In 2018, the Smithsonian dedicated its entire Renwick Gallery, located next door to the White House, to an exhibition of Burning Man art and culture. The festival intertwines conservative and progressive ideas. On one hand it is a celebration of self-reliance, personal accountability, and individual freedom; on the other hand it is based on strong values of inclusion, consensual decision making, and centered, collaborative endeavor. In a wonderful mix of narrative storytelling and reportage, Radical Ritual discusses how Burning Man has impacted the art world, disaster relief, urban renewal, the utilization of renewable energy, and even the corporate governance of Google. The story concludes with the sudden death in April 2018 of Larry Harvey, now renowned as the philosophical epicenter of the movement. Neil Shister has been a correspondent with Time Magazine, television critic for The Miami Herald, and editor of Atlanta Magazine. He’s taught at Hampshire College, Boston University, and George Washington University. Emily Ruth Allen (@emmyru91) is a PhD candidate in Musicology at Florida State University. She is currently working on a dissertation about parade musics in Mobile, Alabama’s Carnival celebrations. Learn more about your ad choices. Visit megaphone.fm/adchoices

Written from Neil Shister’s perspective as a journalist, student of American culture, and six-time participant in Burning Man, Radical Ritual: How Burning Man Changed the World (Counterpoint, 2019) presents the event as vitally, historically important. Shister contends that Burning Man is a significant player in the avant-garde, forging new social paradigms as liberal democracy unravels. Burning Man’s contribution to this new order is postmodern, a fusion of sixties humanism with state-of-the-art Silicon Valley wizardry. Shister is not alone in his opinion. In 2018, the Smithsonian dedicated its entire Renwick Gallery, located next door to the White House, to an exhibition of Burning Man art and culture. The festival intertwines conservative and progressive ideas. On one hand it is a celebration of self-reliance, personal accountability, and individual freedom; on the other hand it is based on strong values of inclusion, consensual decision making, and centered, collaborative endeavor. In a wonderful mix of narrative storytelling and reportage, Radical Ritual discusses how Burning Man has impacted the art world, disaster relief, urban renewal, the utilization of renewable energy, and even the corporate governance of Google. The story concludes with the sudden death in April 2018 of Larry Harvey, now renowned as the philosophical epicenter of the movement. Neil Shister has been a correspondent with Time Magazine, television critic for The Miami Herald, and editor of Atlanta Magazine. He’s taught at Hampshire College, Boston University, and George Washington University. Emily Ruth Allen (@emmyru91) is a PhD candidate in Musicology at Florida State University. She is currently working on a dissertation about parade musics in Mobile, Alabama’s Carnival celebrations. Learn more about your ad choices. Visit megaphone.fm/adchoices

Written from Neil Shister’s perspective as a journalist, student of American culture, and six-time participant in Burning Man, Radical Ritual: How Burning Man Changed the World (Counterpoint, 2019) presents the event as vitally, historically important. Shister contends that Burning Man is a significant player in the avant-garde, forging new social paradigms as liberal democracy unravels. Burning Man’s contribution to this new order is postmodern, a fusion of sixties humanism with state-of-the-art Silicon Valley wizardry. Shister is not alone in his opinion. In 2018, the Smithsonian dedicated its entire Renwick Gallery, located next door to the White House, to an exhibition of Burning Man art and culture. The festival intertwines conservative and progressive ideas. On one hand it is a celebration of self-reliance, personal accountability, and individual freedom; on the other hand it is based on strong values of inclusion, consensual decision making, and centered, collaborative endeavor. In a wonderful mix of narrative storytelling and reportage, Radical Ritual discusses how Burning Man has impacted the art world, disaster relief, urban renewal, the utilization of renewable energy, and even the corporate governance of Google. The story concludes with the sudden death in April 2018 of Larry Harvey, now renowned as the philosophical epicenter of the movement. Neil Shister has been a correspondent with Time Magazine, television critic for The Miami Herald, and editor of Atlanta Magazine. He’s taught at Hampshire College, Boston University, and George Washington University. Emily Ruth Allen (@emmyru91) is a PhD candidate in Musicology at Florida State University. She is currently working on a dissertation about parade musics in Mobile, Alabama’s Carnival celebrations. Learn more about your ad choices. Visit megaphone.fm/adchoices

Written from Neil Shister’s perspective as a journalist, student of American culture, and six-time participant in Burning Man, Radical Ritual: How Burning Man Changed the World (Counterpoint, 2019) presents the event as vitally, historically important. Shister contends that Burning Man is a significant player in the avant-garde, forging new social paradigms as liberal democracy unravels. Burning Man’s contribution to this new order is postmodern, a fusion of sixties humanism with state-of-the-art Silicon Valley wizardry. Shister is not alone in his opinion. In 2018, the Smithsonian dedicated its entire Renwick Gallery, located next door to the White House, to an exhibition of Burning Man art and culture. The festival intertwines conservative and progressive ideas. On one hand it is a celebration of self-reliance, personal accountability, and individual freedom; on the other hand it is based on strong values of inclusion, consensual decision making, and centered, collaborative endeavor. In a wonderful mix of narrative storytelling and reportage, Radical Ritual discusses how Burning Man has impacted the art world, disaster relief, urban renewal, the utilization of renewable energy, and even the corporate governance of Google. The story concludes with the sudden death in April 2018 of Larry Harvey, now renowned as the philosophical epicenter of the movement. Neil Shister has been a correspondent with Time Magazine, television critic for The Miami Herald, and editor of Atlanta Magazine. He’s taught at Hampshire College, Boston University, and George Washington University. Emily Ruth Allen (@emmyru91) is a PhD candidate in Musicology at Florida State University. She is currently working on a dissertation about parade musics in Mobile, Alabama’s Carnival celebrations. Learn more about your ad choices. Visit megaphone.fm/adchoices

Written from Neil Shister’s perspective as a journalist, student of American culture, and six-time participant in Burning Man, Radical Ritual: How Burning Man Changed the World (Counterpoint, 2019) presents the event as vitally, historically important. Shister contends that Burning Man is a significant player in the avant-garde, forging new social paradigms as liberal democracy unravels. Burning Man’s contribution to this new order is postmodern, a fusion of sixties humanism with state-of-the-art Silicon Valley wizardry. Shister is not alone in his opinion. In 2018, the Smithsonian dedicated its entire Renwick Gallery, located next door to the White House, to an exhibition of Burning Man art and culture. The festival intertwines conservative and progressive ideas. On one hand it is a celebration of self-reliance, personal accountability, and individual freedom; on the other hand it is based on strong values of inclusion, consensual decision making, and centered, collaborative endeavor. In a wonderful mix of narrative storytelling and reportage, Radical Ritual discusses how Burning Man has impacted the art world, disaster relief, urban renewal, the utilization of renewable energy, and even the corporate governance of Google. The story concludes with the sudden death in April 2018 of Larry Harvey, now renowned as the philosophical epicenter of the movement. Neil Shister has been a correspondent with Time Magazine, television critic for The Miami Herald, and editor of Atlanta Magazine. He’s taught at Hampshire College, Boston University, and George Washington University. Emily Ruth Allen (@emmyru91) is a PhD candidate in Musicology at Florida State University. She is currently working on a dissertation about parade musics in Mobile, Alabama’s Carnival celebrations. Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome back to another episode of Being Americanized Japanese. This is Reona and this is Abe! A podcast where Reona talks in 日本語 and Abe talks in English. [English] In this episode, we will be sharing places we recommend you visit if you come to Washington D.C. We hope you enjoy (: [日本語] 今回のエピソードでは、ワシントンDCで私たちがオススメする観光地を紹介いていきます！　 The National Mall, White House, Renwick Gallery, Air and Space Museum, Smithsonian Natural History Museum, Hirshhorn, Spy Museum, American History Museum, Newseum, Artechouse, Washington Monument, Lincoln Memorial, Thomas Jefferson Memorial, Tidal Basin, Franklin Delano Roosevelt Memorial, Ben's Chili Bowl 質問や感想はbeingamericanizedjapanese@gmail.comにお願いします。 [Connect with Us] Email: beingamericanizedjapanese@gmail.com Instagram: amejapa_official clubhouse: reona_nmr お待ちしてます!

Throughout an artist's career, we're posed with the question of whether or not we should collaborate with other creatives. Join Shane as he talks collaboration with two filmmakers. They delve deeply into the process of collaboration, and the how-to's and what-not-to-do's of creatively collaborating on projects. Allen & Bree also discuss their art car project, which is touring in museums (like the Smithsonian) throughout the country, and currently at the Oakland Museum of California.The theme song "Shane’s Car Got Fixed" was written and recorded by Shane Izykowski and mastered by Kyle Mahaney.Show Notes:Obsolete PicturesKim Holm’s PatreonThe PicnicFive Ton CraneThe Steampunk TreehouseKinetic Steam WorksSnaggletoothLee Harvey RoswellArtemis Biddle’s Beyond BeliefLon LopezRay HarryhausenEng Bunker“The Capitol Theater” at the Renwick Gallery of the Smithsonian Museum

Today on the Tales of a Red Clay Rambler Podcast I have an interview with Wayne Higby. He came to Alfred University as an associate professor of ceramics in 1973. He continues to teach there to this day, along with maintaining an active studio practice and a recent appointment as the director of the Alfred Ceramic Art Museum. In our interview we talk about the importance of what Higby calls “witnessing” in his teaching, the five lenses of critique, and the founding of the Alfred Ceramic Art Museum. For more information visit www.americanart.si.edu/exhibitions/higby where you can see images of Wayne’s work from his 2013 Renwick Gallery retrospective Infinite Place: The Ceramic Art of Wayne Higby.   Hey Red Clay Rambler fans, the leaves are falling here in the U.S. so it’s time for you to show your love for this podcast during our Fall fund drive. Our goal for the month of November is to raise $12,000 to support our production costs. Throughout the year I receive emails from fans who talk about how this podcast helps them connect with other artists around the world. One recent listener said, “I appreciate all the voices you give a platform to, especially amazing women like Naomi Clement.” Giving voice to the many generations of ceramics artists that are working today is my mission and I need your help to accomplish it. You can get involved by making a monthly donation at www.patreon.com/redclayrambler, or you can make a one-time donation at www.talesofaredclayrambler.com/donate. After you make your donation ask a friend to match your pledge with their own. Word of mouth is the best call to action, so I ask that you help me, by encouraging your friends and studio mates to support the show. With your help I can keep producing the interviews that you have come to love.    For today’s AMACO Community Corkboard we have the 43rd annual Philadelphia Museum of Art Craft Show taking place November 8th - 10th, 2019 at the Pennsylvania Convention Center. With over a dozen categories of fine craft including ceramics, jewelry, furniture, fiber, and more, attendees will have ample opportunity to interact with the artists during the show, including “meet & greet” tours with artists, opening night gala and award ceremony, on-site artist demonstrations, and a fashion show. To learn more about the Craft Show and ticket information, please visit www.pmacraftshow.org. I’d like to thank Amaco/Brent for sponsoring the community corkboard. Brent Equipment is celebrating their 50th Anniversary this year and have created a Limited Edition Black CXC wheel. For more information visit www.amaco.com.

Bill Harper began his career as an abstract painter, but in the early 1960s switched to enameling to achieve more intense colors. Fascinated by the supernatural aura of ritual objects, such as amulets, charms and tribal power figures, he began to produce brightly enameled necklaces and brooches in gold, silver and gemstones, as well as nonprecious and found objects that evoke a similar and mysterious power. Many of his recent pieces are mythical and ironic self-portraits that suggest intense introspection. A dedicated educator, Bill taught at Florida State University from 1973 to 1992, and published “Step-by-Step Enameling: a Complete Introduction to the Craft of Enameling” in 1973. Bill’s work has been widely exhibited, including a one-person exhibition in 1977 at the Renwick Gallery of Smithsonian American Art Museum in Washington, D.C., and an internationally traveling retrospective in 1989. His work has been featured in collections of The Metropolitan Museum of Art, Philadelphia Museum of Art and Museum of Fine Arts, Boston, among many others in the United States and Europe. Bill’s most recent solo exhibit, “The Beautiful & The Grotesque,” closed in June 2019 at the Cleveland Institute of Arts’s Reinberger Gallery. Bill was awarded a National Endowment for the Arts (NEA) fellowship in 1978 and NEA grants in 1979 and 1980. In 1980 and 1985 he received fellowships from the Florida Council on Arts and Culture. What you’ll learn in this episode: How Bill became a self-taught artist. Why Bill doesn’t identify as a jeweler. Bill’s creative process for creating art jewelry. How dichotomy influences Bill’s work and creates stimulation of the senses. What design concepts Bill has in the works. Additional resources: Website The Beautiful & The Grotesque Catalog

Well of the Sea Presented by Margaret Carney, PhD Margaret Carney, director and curator of the International Museum of Dinnerware Design will present Well of the Sea, all about the acclaimed seafood restaurant located in Chicago’s Hotel Sherman between 1948-1972. Why was dining there so memorable? Culinary historians may be captivated by the menu — bouillabaisse, rijstafel of seafood, cafe disable, and flaming rum punch.; Mid-Century Modern art connoisseurs have fixated on the abstract undersea murals designed by Richard Koppe; while dinnerware collectors cannot own too many place settings of the sturdy Shenango China restaurant quality dishes with abstract fish motifs. Cuisine, recipes, restaurant reviews, menus, distinct dinnerware, architecture and interior design will all be presented. Why did Bogey and Bacall attend the funeral of the hotelier and restaurateur who made his idea of the Well of the Sea a reality? Were the ultraviolet lights, which enhanced the sensation of dining under water, really beneficial to one’s health? It’s your best opportunity to get the true flavor of the Well of the Sea and then wish you could go back in time and dine there. Margaret Carney is a ceramic historian with Ph.D. and Master’s Degree in Asian art history, and a B.A. in anthropology/archaeology. Dr. Carney is a Fellow of the American Ceramic Society and an elected member of the International Academy of Ceramics in Switzerland. Grants received include Senior Fellow at the Smithsonian Institution’s National Museum of American Art and the Renwick Gallery, as well as from the Tile Heritage Foundation and the Cumming Ceramic Research Foundation. She served as the founding director of the Museum of Ceramic Art at Alfred, in Alfred, New York. She has curated 50 exhibitions, presented over 100 public lectures, and authored 80 books, catalogues, and journal articles. She has taught ceramic world history, as well as other courses, at the New York State College of Ceramics at Alfred University, the Ohio State University, and elsewhere. She was director and curator of the Blair Museum of Lithophanes in Toledo, Ohio, for nine years, writing the first book on the topic in 180 years. She currently serves as founding director and curator of the International Museum of Dinnerware Design (IMoDD), Ann Arbor, Michicago, which was established in 2012. Recorded on June 9, 2019 at Bethany Retirement Community. www.GreaterMidwestFoodways.com

Reviews of The Tiny House Podcast, Tiny House Lifestyle, Roll With Me, Tiny House Talk, Billy and Morg's Tiny House Hunt, Tiny House Tiny Heart and Giant Head / Small Kitchen. In this episode...  Andy seeks help from Siri to send a robot army to stop Trump. Andy explains to Sierra that we are all skeletons covered in meat. Hedge procures lollipops from Hector's Herbals for a night at the Renwick Gallery. Andy attempts an Australian Sonnet about the Lemon, embracing the citric insults that beset English Americans and the overpowering aroma of his body wash.

Chicago's Glessner House is a National Historic Landmark that was designed by noted American architect Henry Hobson Richardson and completed in 1887 for John Glessner and Frances Glessner. The structure served as an inspiration to architects such as Louis Sullivan, Mies van Der Rohe, and the young Frank Lloyd Wright and helped redefine domestic architecture. On this week’s PreserveCast, we’re talking to Glessner House’s Executive Director and Curator Bill Tyre about the unique design and residents of this house including, Frances Glessner Lee, daughter of John and Frances Glessner. Lee was the first female police captain in the United States, likely the inspiration for Jessica Fletcher in Murder, She Wrote, and is known as “the mother of forensic science.” Her series of extremely detailed dioramas, “Nutshell Studies of Unexplained Death,” influenced investigative training for many years. The dioramas were recently featured in an exhibition at the Smithsonian’s Renwick Gallery in 2018. The Glessner House will host a Birthday Gala in honor of Lee later this month at which her meticulously detailed miniature model of the Chicago Symphony Orchestra will be on display for the first time in six years. Bill Tyre is the Executive Director and Curator at Glessner House Museum. He’s one of just three full-time staff members who manage and maintain one of Chicago’s most famous homes. Glessner House was saved thanks to preservation efforts that resulted in the formation of both the house museum and Chicago Architecture Center in 1966.

At what point will the standoff in Washington DC start doing serious harm to the US economy?Vishala Sri-Pathma speaks to two victims of the shutdown. As a prison officer, Eric Young is currently not getting paid by the government, even though he is still legally required to turn up for work. He is also a national union representative, and is calling on the government to start planning for a lockdown of jails as staffing numbers dwindle. Meanwhile Bob Pease, head of the Brewers Association, says that small craft beer makers could be facing real a crisis if the government doesn't start issuing licences again soon.So how much longer can this all go on for? We ask Megan Greene, chief economist at US asset managers Manulife, and the BBC's North America reporter Anthony Zurcher.Producer: Laurence Knight(Picture: A signs says the Renwick Gallery museum is closed because of the US federal government shutdown; Credit: Eric Baradat/AFP/Getty Images)

In this episode of the https://www.teachercast.net/episodes/teachercast-podcast/ (TeacherCast Podcast), we welcome Raysana Hurtado from Intel and California Educator, Kennan Scott, onto the program to discuss how Intel is transforming education by demonstrating what might be possible in not just the “classroom of the future”, but the “classroom of the present”. This year, Intel traveled across the country working with teachers and students to showcase their Intel's Tech Learning Lab, a custom-built, mobile truck that is filled with the most amazing virtual reality and augmented reality workstations to provide hands-on activities to teach students about coding and robotics. I'd like to thank Intel for joining me for this podcast. In this episode, we discuss: The future classroom is one that incorporates powerful technology and encourages creative approaches to learning, supporting education goals today and for tomorrow. Until now, classroom technology has been used as an add-on to existing instructional methods rather than as tools to improve or revolutionize instruction. Cutting-edge technology-based educational programs can emphasize deeper collaboration and engagement, versus student instruction on software that likely will be obsolete by the time they enter the workforce. Intel's Tech Learning Lab is an example of how innovative teaching methods, like hands-on, dynamic learning, can help educators build the leaders of tomorrow by developing fundamental career skills like communication, collaboration, self-awareness, problem-solving, critical thinking and more. Some of the demo sessions on the tour include coding a drone to fly, hands-on lessons through virtual reality, introduction to artificial intelligence, design thinking skills, and more. Some of the truck's VR experiences allowed participants to: Take a virtual field trip to the Renwick Gallery at the Smithsonian American Art Museum in Washington, D.C. Develop virtual robots in the Robotics lab using RoboEngineers by Filament Games. Pilot a spaceship and travel the universe to explore the Milky Way galaxy via virtual reality by VictoryVR. Participate in virtual frog dissections, providing a safer, cost-effective, and more humane life science/anatomy lessons by VictoryVR. Program highlights to-date include:2,150+ students, educators and general public have participated in immersive educational experiences through the Tech Learning Lab 1,020+ virtual tours of the Smithsonian American Art Museum's “No Spectators: The Art of Burning Man” exhibit 700+ frogs virtually dissected through hands-on science lessons  Technologies in the campaign included Intel AI, PCs by Intel, Lenovo, Alienware, HP, virtual reality by Oculus and HTC Vive and more. Follow our PodcastThe TeacherCast Educational Broadcasting Network | http://www.twitter.com/teachercast (@TeacherCast) Follow our HostJeff Bradbury | http://www.twitter.com/jeffbradbury (@JeffBradbury) About IntelIntel, a leader in the semiconductor industry, is shaping the data-centric future with computing and communications technology that is the foundation of the world's innovations. The company's engineering expertise is helping address the world's greatest challenges as well as helping secure, power and connect billions of devices and the infrastructure of the smart, connected world – from the cloud to the network to the edge and everything in between. Intel's 360⁰ approach to education technology keeps the focus on a student-centered learning experience. It gives educators access to digital tools, content and data that takes personalized learning to the next level. And it enables students to hone 21st-century skills to better prepare for careers in the modern workforce. Find more information about Intel at https://newsroom.intel.com/ (newsroom.intel.com) and https://www.intel.com/content/www/us/en/education/transforming-education/overview...

First Keith talks about being in Ithaca again to help his mother, and Andy talks about the recent passing of his father. Then Andy talks about his plans for Burning Man, which leads to a discussion of robots. Andy reports on his progress with the design of ChronoTrek, and Keith talks about Action Pups! They discuss some media, including Humans, Making It, and Nailed It. Andy talks about Jenny Nicholson's ideas for naming horses, the Renwick Gallery's Burning Man exhibit, and gives more thoughtful answers to the favorite and least favorite aliens. SPOILER WARNING: CONTAINS SPOILERS

Does a discussion about dinnerware just include the work of either skilled potters or gifted designers? When beauty and function intersect with a certain type of (possibly twisted) visionary genius, anomalies and curiosities of dinnerware are created. Illustrative of the short list of 20th and 21st century artists who took standard plates, cups and saucers, place settings, and teapots, and elevated each to the level of an anomaly and curiosity and perhaps a masterpiece never to be forgotten, includes (but is not limited to), surrealist Meret Openheim, Pop artist Roy Lichtenstein, modernist Constantin Brancusi, feminist artist Judy Chicago, conceptual artist Howard Kottler, photographer Cindy Sherman, noted artist and epicure Kitaoji Rosanjin, and contemporary artists such as Katie Parker, Guy Michael Davis, and Dirk Staschke. This wild and creative genius can also be seen when examining the works of well-known companies that produced basic dishes and then went one step further to produce memorable, even unforgettable tureens, teapots and sauce boats, such as Meissen, Minton, and Wedgwood. Through the imagery and stories shared in this presentation, the audience will witness inspirational makers, mentors and milestones. Margaret Carney is a ceramic historian with Ph.D. and Master’s degrees in Asian art history, and a B.A. in anthropology/archaeology. Dr. Carney is a Fellow of the American Ceramic Society and an elected member of the International Academy of Ceramics in Switzerland. Grants received include Senior Fellow at the Smithsonian Institution’s National Museum of American Art and the Renwick Gallery, as well as from the Tile Heritage Foundation and the Cumming Ceramic Research Foundation. She served as the founding director of the Museum of Ceramic Art at Alfred, in Alfred, New York. She has curated 50 exhibitions, presented over 100 public lectures, and authored 80 books, catalogues, and journal articles. She has taught ceramic world history, as well as other courses, at the New York State College of Ceramics at Alfred University, the Ohio State University, and elsewhere. She was director and curator of the Blair Museum of Lithophanes in Toledo, Ohio, for nine years, writing the first book on the topic in 180 years. She currently serves as founding director and curator of the International Museum of Dinnerware Design (IMoDD), Ann Arbor, Michicago, which was established in 2012. Recorded at Kendall College on November 1, 2017 http://culinaryhistorians.org/anomalies-curiosities-dinnerware/

Curator Nora Atkinson has brought a sense of that annual hotbed of artistic ingenuity in Nevada's Black Rock desert with the daring and successful “No Spectators: The Art of Burning Man.” It's the hottest exhibit in DC appealing to all ages. The exhibit at Renwick Gallery often has lines around the block—and for good reason. It is dazzling; focusing on massive installations that fill rooms with sight and sound. But please don't just look. Participate and play with the interactive installations; leave a remembrance behind at the temple, lie down on pillows and watch the ceiling shift and pulsate with light. The exhibit fills the museum and spills out into the streets of Washington DC. In this week's podcast, Nora Atkinson talks about the practical and visionary aspects of bringing this very particular desert art to Washington DC.

Curator Nora Atkinson has brought a sense of that annual hotbed of artistic ingenuity in Nevada’s Black Rock desert with the daring and successful “No Spectators: The Art of Burning Man.” It’s the hottest exhibit in DC appealing to all ages. The exhibit at Renwick Gallery often has lines around the block—and for good reason. It is dazzling; focusing on massive installations that fill rooms with sight and sound. But please don’t just look. Participate and play with the interactive installations; leave a remembrance behind at the temple, lie down on pillows and watch the ceiling shift and pulsate with light. The exhibit fills the museum and spills out into the streets of Washington DC. In this week’s podcast, Nora Atkinson talks about the practical and visionary aspects of bringing this very particular desert art to Washington DC.

Curator Nora Atkinson has brought a sense of that annual hotbed of artistic ingenuity in Nevada’s Black Rock desert with the daring and successful “No Spectators: The Art of Burning Man.” It’s the hottest exhibit in DC appealing to all ages. The exhibit at Renwick Gallery often has lines around the block—and for good reason. It is dazzling; focusing on massive installations that fill rooms with sight and sound. But please don’t just look. Participate and play with the interactive installations; leave a remembrance behind at the temple, lie down on pillows and watch the ceiling shift and pulsate with light. The exhibit fills the museum and spills out into the streets of Washington DC. In this week’s podcast, Nora Atkinson talks about the practical and visionary aspects of bringing this very particular desert art to Washington DC.

TS Episode Page: Trekking to the RenwickSome days you’ve got to just get out of the studio and see the world. We experiment with a few new forms of audio in this episode: recording on the go and public soundscapes. DC’s Renwick Gallery featured No Spectators: The Art of Burning Man, in 2018, in which patrons can intimately participate in a variety of art featured at the latest Burning Man festival in Nevada. Although this conversation isn’t specifically centered on Burning Man, the team hopes to dive deeper into the visual and audio spectacle that is Burning Man in a later episode.Support The Table Sessions today at: www.patreon.com/tablesessionsEpisode Links:The Renwick - WebsiteBurning Exhibit - No Spectators: The Art of Burning Man Burning Man Festival - Website

Gabriel Dawe is a Mexican-born artist living in Dallas who utilizes miles of vibrantly-colored sewing thread to create soaring installations that evoke a sense of viewing rays of light. The breadth of his work revolves around the use of sewing and embroidery materials to explore issues of pain, equality and gender roles, but it’s his highly popular Plexus series of installations that has garnered him acclaim worldwide. Gabriel obtained a bachelor’s degree from the Universidad de las Americas in Puebla, Mexico before moving to Montreal to pursue a career in graphic design. In 2008, he relocated to Dallas where he obtained his MFA from the University of Texas – Dallas and was part of the highly-touted Centraltrak residency program. Over the last eight years, Gabriel has installed temporary or permanent works in over 35 private and public institutions worldwide, including the Smithsonian Museum’s Renwick Gallery, Crystal Bridges Museum of American Art and the Amon Carter Museum of American Art where his Plexus 34 is on display in the Philip Johnson designed space until September 2, 2018I recently sat down with Gabriel at his Dallas studio where we discussed his childhood in Mexico, his grandmother’s influence, his life as a graphic designer in Canada, the importance of Centraltrak, experimenting with glass, and his discomfort with heights.

Gabriel Dawe is a Mexican-born artist living in Dallas who utilizes miles of vibrantly-colored sewing thread to create soaring installations that evoke a sense of viewing rays of light. The breadth of his work revolves around the use of sewing and embroidery materials to explore issues of pain, equality and gender roles, but it’s his highly popular Plexus series of installations that has garnered him acclaim worldwide. Gabriel obtained a bachelor’s degree from the Universidad de las Americas in Puebla, Mexico before moving to Montreal to pursue a career in graphic design. In 2008, he relocated to Dallas where he obtained his MFA from the University of Texas – Dallas and was part of the highly-touted Centraltrak residency program. Over the last eight years, Gabriel has installed temporary or permanent works in over 35 private and public institutions worldwide, including the Smithsonian Museum’s Renwick Gallery, Crystal Bridges Museum of American Art and the Amon Carter Museum of American Art where his Plexus 34 is on display in the Philip Johnson designed space until September 2, 2018I recently sat down with Gabriel at his Dallas studio where we discussed his childhood in Mexico, his grandmother’s influence, his life as a graphic designer in Canada, the importance of Centraltrak, experimenting with glass, and his discomfort with heights.

Over the past few weeks, we’ve been hard at work on a batch of stories you’re going to love. So this week, we're sharing one of our favorite eps from the fall. Heiress, divorcée … mother of forensic science? Frances Glessner Lee was not your average 19th century woman. Using the skills that high-society ladies were expected to have -- like sewing, crafting, and knitting -- Frances revolutionized the male-dominated world of crime scene investigation. Her most celebrated contribution: 19 intricate dioramas depicting violent murder scenes. In this episode of Sidedoor, we'll explore Frances's morbid obsession, and discover why the Smithsonian's Renwick Gallery chose to put them on display.

Today's guest is Kathryn Clark. Living in San Francisco and Sonoma, California, Kathryn is a textile artist, maker, wife and mother. During our conversation, we talk about her Foreclosure Quilt series, as seen in the Renwick Gallery of the Smithsonian American Art Museum, how she connects her voice to her work, craft as a fine art medium and more. I hope you enjoy the episode.    For more information about this episode (including show notes), please check out my website craftyplanner.com.

On the November 27, 2017 episode of /Film Daily, Peter Sciretta is joined by /Film writers Hoai-Tran Bui and Chris Evangelista to discuss the latest news, including Lady Bird's record-breaking reviews, the future of Avatar sequels is in doubt, the first Jumanji reviews, a Zack Snyder cut of Justice League probably doesn't exist, why Quentin Tarantino doesn't like Netflix, Avengers 4 and 20 years of Marvel movies planned, and Rian Johnson's new Star Wars trilogy.   You can subscribe to /Film Daily on iTunes, Google Play, Overcast and all the popular podcast apps (here is the RSS URL if you need it).   At the Water Cooler: Peter saw Molly's Game, Lady Bird, The Florida Project and the season finale of Nathan for You HT went to the “Murder is Her Hobby” dollhouse true crime diorama exhibit at the Renwick Gallery, also saw Coco with family Chris watched the new seasons of The Crown and Black Mirror   In the News: ‘Lady Bird' Just Became the Best-Reviewed Movie on Rotten Tomatoes James Cameron Admits ‘Avatar 4' and ‘5' Aren't Guaranteed, Kate Winslet's Character Revealed ‘Jumanji: Welcome to the Jungle ‘ Early Buzz: Surprisingly, A Totally Fun and Funny Romp ‘Justice League' Zack Snyder Cut Doesn't Exist, Batman's Opening Scene Was Different, and More Why Quentin Tarantino Doesn't Like Netflix ‘Avengers 4' Will Be a “Finale” For the Current Era of the Marvel Cinematic Universe Why Rian Johnson Is Excited About His New ‘Star Wars' Trilogy You can find more about all the stories we mentioned on today's show at slashfilm.com. /Film Daily is published every weekday, bringing you the most exciting news from the world of movies and television as well as deeper dives into the great features from slashfilm.com. You can subscribe to /Film Daily on iTunes, Google Play, Overcast and all the popular podcast apps (RSS). We're still very much experimenting with this podcast, please feel free to send your feedback to us at peter@slashfilm.com. Please rate and review the podcast on iTunes and spread the word! Thanks to Sam Hume for our logo.  

Heiress, divorcée … mother of forensic science? Frances Glessner Lee was not your average 19th century woman. Using the skills that high-society ladies were expected to have -- like sewing, crafting, and knitting -- Frances revolutionized the male-dominated world of crime scene investigation. Her most celebrated contribution: 19 intricate dioramas depicting violent murder scenes. In this episode of Sidedoor, we'll explore Frances's morbid obsession, and discover why the Smithsonian's Renwick Gallery has chosen to put them on display.

Brad Miller is an artist currently working out of his studio in Venice, CA. Brad received his MFA from the University of Oregon in 1977. From 1980 thru 1992 Brad worked at the Anderson Ranch Arts Center in Snowmass Village, Colorado. He served as Executive Director at the Ranch from 1984 thru 1992. Since 1992 Brad has focused on his studio practice. Brad's work is in numerous museums collections including the Los Angeles County Museum of Art, The Denver Art Museum, The Brooklyn Museum and The Renwick Gallery.

Robert Mickelsen’s second act in glass not only pays homage to his early career in flameworking, but couldn’t have happened without it. The artist gracefully transitioned from sculptural to functional glass, promoting his artwork to an entirely new fan base and resulting in the most successful years of his career. Born in 1951 in Fort Belvoir, Virginia, and raised in Honolulu, Hawaii, Mickelsen apprenticed with a professional lampworker for two years in the mid ‘70s, then sold his own designs at outdoor craft fairs for 10 years. In 1987 he took a class from Paul Stankard that opened his eyes to the possibilities of his medium.  Mickelsen stopped doing craft shows in 1989 and began marketing his work through fine galleries and exhibitions in high profile shows nationwide. His work can be found in many prominent collections including the Renwick Gallery of American Crafts at the Smithsonian Institution, Washington D.C.; the Corning Museum of Glass, Corning New York; and The Toledo Museum of Art, Toledo Ohio.  Beginning in the mid 1990s, Mickelsen taught flameworking at major glass schools including the Pilchuck Glass School, Stanwood Washington; Penland School of Crafts, Bakersville, North Carolina; and The Studio at the Corning Museum of Glass, Corning, New York. He has published numerous technical and historical articles on flameworked glass and served for six years on the board of directors of the Glass Art Society as treasurer and vice-president. June 19 - 23, 2017, Mickelsen will co teach with Jared Betty the first flameworking workshop at Pratt Fine Arts in Seattle, Washington, to include pipe making as part of the curriculum. From July 17 – 21, 2017 Mickelsen returns for his ninth year in a row to Pittsburgh Glass Center, Pittsburgh, Pennsylvania, to teach the creation of organic forms made from bubbles of borosilicate glass. He also teaches private workshops at his home studio in Ocala, Florida. 

Today on the Tales of a Red Clay Rambler Podcast I have an interview with Andrea Gill. Her large-scale hand-built forms reference historical European vessels, patterns and the figure. Her most recent body of work springs from an ongoing fascination with the patterns of Chinese export ceramics. She has received awards from the National Endowment for the Arts, the Tiffany Foundation, and the American Craft Council. Her work can be found in the collections of the Victoria and Albert Museum, London, the Los Angeles Museum of Contemporary Art and the Smithsonian’s Renwick Gallery.   In the interview we talk about gender dynamics within the ceramic world in the 1960’s, knowing how to get a student to dig deeper in the studio, and her time teaching at the NY State College of Ceramics at Alfred, where she has been on the faculty since 1984. For more information on her work please visit www.alfredceramics.com/andrea-gill.html.   This week’s Tales of a Red Clay Rambler episode is sponsored by Big Ceramic Store.com. We’ve partnered together to offer you 15% off their entire website when you visit bigceramicstore.com/ben. Since 1999, BigCeramicStore has supported artists with an exceptional product line, outstanding customer service & insightful tips and techniques. So go to Bigceramicstore.com/ben to save 15% on glazes, tools, clays & much more!   This episode of the podcast is also sponsored by Adam Field Pottery. Adam has just updated his website with new workshops on Korean coil and paddled Onggi jars, as well as the intricately carved porcelain pots for which he is known. The extensive list of workshop locations includes Brooklyn Clay March 4 & 5th, two-weeks at La Meridiana in Tuscany April 9-22, as well as workshops in Boulder, CO, Gatlinburg, TN, and Deer Isle, ME to name a few. For more details on these wonderful learning opportunities, including a full list of locations and enrollment information, please visit AdamFieldPottery.com.

By single-handedly revolutionizing the craft of stained glass through her unique aesthetic and inventive approach to materials, Judith Schaechter championed her medium into the world of fine art. The content of her work - which gives voice to those who experience pain, grief, despair, and hopelessness - resonates with viewers, leaving a profound and lasting impression. In 1983, Schaechter graduated with a BFA from the Rhode Island School of Design Glass Program and moved to Philadelphia, Pennsylvania, where she is now an adjunct professor at The University of the Arts. Her current work was on view in October 2016 at Claire Oliver galley in New York City, in an exhibition titled The Life Ecstatic. Schaechter’s exhibition history includes the 2002 Whitney Biennial and a collateral exhibition of the Venice Biennale in 2012. Her work can be found in the collections of the Metropolitan Museum in New York; the Victoria and Albert Museum in London; the Hermitage in Russia; the Philadelphia Museum of Art, Philadelphia, Pennsylvania; The Corning Museum of Glass, Corning, New York; and The Renwick Gallery of the Smithsonian Institution, Washington DC. Schaechter found success early and has sustained it throughout her career. In 2008 she was named a USA Artists Rockefeller Fellow and in 2013 was inducted to the American Craft Council College of Fellows. She is the recipient of many grants including the Guggenheim Fellowship, two National Endowment for the Arts Fellowships, and The Louis Comfort Tiffany Award, to name but a few.  

Nicole Beddia spoke with Amy Fox, Social Media and Content Manager, Smithsonian American Art Museum and Renwick Gallery

Steven Young Lee has been the resident artist director of the Archie Bray Foundation for the Ceramic Arts in Helena, Montana since 2006. His work has been collected by the Renwick Gallery of the Smithsonian Museum, the Daum Museum of Contemporary Art, the Four Seasons Hotel in Seoul, Korea, as well as many private collections.Steve received his BFA and MFA in Ceramics from Alfred University. Originally from Chicago, he lives in Helena with his wife, Lisa and their son and daughter Gavin and Florence.

Blacksmith Marc Maiorana discusses entering new territory with his work, which was on view in "40 under 40: Craft Futures" at the Renwick Gallery of the Smithsonian American Art Museum. Concerned with aesthetics, design, and sustainability, Maiorana's hand-forged iron pieces challenge previous assumptions about the possibilities of this medium.

Video interview with the glass artist Matthew Szosz, who was featured in the exhibition "40 Under 40: Craft Futures" at the Renwick Gallery.

Welcome: Nicholas R. Bell, the Fleur and Charles Bresler Curator of American Craft and Decorative Art, Renwick Gallery of the Smithsonian American Art Museum Keynote Address: “Goodbye Craft” Glenn Adamson, Deputy Head of Research and Head of Graduate Studies, Victoria and Albert Museum

Woodturner Matt Moulthrop's work has been displayed in galleries and museums around the country, including the Smithsonian Institution, Renwick Gallery of the National Museum of American Art in Washington, D.C.; The Carnegie Museum of Art in Pittsburgh, PA; and The Carter Center in Atlanta, GA.

Ravinheart Renditions - A Woodworking Podcast - BR005 - Studio Furniture of the Renwick Gallery

Listen to American Art's podcast on "The Renwick Gallery".