Podcast appearances and mentions of Richard Prince

Artist Pam Glick is the quintessential gritty New York artist. Born in Albany and raised partly on an aristocrat's estate in England, she spent her rebellious teen years smoking pot and hitchhiking in search of Woody Guthrie while her glamorous laissez-faire parents imbued her with the confidence and optimism that has seen her through the many chapters in her extraordinary life, including living and working in New York - where she would hang out in cafes chatting to the likes of Quentin Crisp, and where she had a basement studio next to Richard Prince - to raising kids, divorce and surviving cancer. Through it all, she has never stopped creating. Known for her instinctive use of colour and emotionally resonant abstraction, Glick studied Painting at the Rhode Island School of Design, where she received the Florence Leif Award, and later earned her MFA from the University of Buffalo. Her work was widely shown throughout the 1980s and 1990s, with solo exhibitions in New York and Los Angeles. Her paintings have also featured in group exhibitions at Pat Hearn Gallery, the Drawing Center, and the Buffalo AKG Art Museum. More recently, she has held solo exhibitions at White Columns (2016) and The Journal Gallery, New York (2021). For this conversation, Danielle Radojcin met Pam at the Maruani Mercier gallery in Brussels, which is holding an exhibition of her work.   

Richard Prince is one of the most influential, important, and controversial fine artists on the planet. Renowned for pioneering appropriation art, his “Untitled (Cowboy)” series of rephotographed Marlboro ads includes a piece that sold for $3.7 million, ranking among the most expensive photographs ever auctioned. In 2021, his “Runaway Nurse” painting sold at auction for an astonishing $12.1 million. In 2007, the Guggenheim Museum hosted “Richard Prince: Spiritual America,” a comprehensive retrospective of his work. Richard's methods challenge traditional notions of authorship and originality. ------ Thank you to the sponsors that fuel our podcast and our team: Squarespace https://squarespace.com/tetra Use code 'TETRA' ------ Vivo Barefoot http://vivobarefoot.com/tetra Use code 'TETRA25' ------ LMNT Electrolytes https://drinklmnt.com/tetra Use code 'TETRA' ------ Athletic Nicotine https://www.athleticnicotine.com/tetra Use code 'TETRA' ------ Sign up to receive Tetragrammaton Transmissions https://www.tetragrammaton.com/join-newsletter

Tonight, we have an opportunity to bring a piece of Le Mans to you, sharing in the Legend of Le Mans with guests from different eras of over 100 years of racing.  The Camoradi USA Racing's 1960 Corvette was built for international competition under the auspices of Chevrolet General Manager Ed Cole and Corvette Chief Engineer Zora Duntov and went on to race successfully in Havana, Daytona, Sebring, Nürburgring, Sweden, and Le Mans. The only thing more amazing than this car's creation and race record is its survival. On the way to Britain's famed Goodwood circuit in August 1960 it was crashed hard and left for dead but miraculously, the shattered remains were preserved and discovered some thirty years later by Loren Lundberg, an unbelievably tenacious Corvette enthusiast from Glendale, Arizona.  Our panel of guests tonight include: Richard Prince, author and official photographer for the GM Corvette Race Team; Dominic Testa, owner of the car; Chuck Schroedel, who was a member of the Camoradi team at Le Mans in 1960 ===== (Oo---x---oO) ===== Featuring the voices of Allonte Barakat (The Motor Chain) and Revel Arroway (CARnection Advisors); We appreciate these talented podcasters lending their support to the MPN.  00:00 Introduction to Evening with a Legend 00:53 Introducing the 1960 Camaradi Corvette 02:20 The Story of Lloyd 'Lucky' Kastner 03:30 The Camaradi Corvettes at Sebring 07:35 Technical Details of the Camaradi Corvette 13:48 Chuck Schroedel's Journey to Le Mans 25:06 The Camaradi Maserati Team 30:17 The Mulsanne Crash and Speed Records 30:47 Owning a Piece of Le Mans History 31:37 The Camaradi Team and Notable Figures 32:05 Fred Gamble and Carroll Shelby 32:26 The 1960 Le Mans Race 33:11 American Reception at Le Mans 34:12 Loren Lundberg's Quest for the Camaradi Corvette 34:59 Bob Wallace's Journey 37:27 Finding the Camaradi Corvette 40:11 The Car's Restoration and Legacy 49:46 Modern Corvette Racing and the C8 56:28 Closing Thoughts and Acknowledgements ==================== The Motoring Podcast Network : Years of racing, wrenching and Motorsports experience brings together a top notch collection of knowledge, stories and information. #everyonehasastory #gtmbreakfix - motoringpodcast.net More Information: https://www.motoringpodcast.net/ Become a VIP at: https://www.patreon.com/ Online Magazine: https://www.gtmotorsports.org/ To learn more about or to become a member of the ACO USA, look no further than www.lemans.org, Click on English in the upper right corner and then click on the ACO members tab for Club Offers. Once you become a Member you can follow all the action on the Facebook group ACOUSAMembersClub; and become part of the Legend with future Evening With A Legend meet ups.  

You ever think about how soooo many people on Instagram/any social media platform are stealing other peoples “content” and posting it on their page to reap all the likes, engagement, and ad money? It sucks don't it? Well what if we told you that that is not unique to basement dwelling bit coin thuds and is actually a practice used by one of the most critically acclaimed artists of the modern era, Richard Prince! You wouldnt want to miss this story! Also there's plenty of news for This Week In Fancy, along with some talk about Jerry Springer! Merch at StayFancyMerch.com Go to BlueChew.com and use promo code POA to try bluechew free! Go to ThePerfectJean.com and put in promo code POA15   Go to FactorMeals.com/POA50Off to get 50% off your first box plus free shipping. That's code poa50off at FACTOR MEALS dot com slash poa50off to get 50% off plus free shipping on your first box. Learn more about your ad choices. Visit megaphone.fm/adchoices

You ever think about how soooo many people on Instagram/any social media platform are stealing other peoples “content” and posting it on their page to reap all the likes, engagement, and ad money? It sucks don't it? Well what if we told you that that is not unique to basement dwelling bit coin thuds and is actually a practice used by one of the most critically acclaimed artists of the modern era, Richard Prince! You wouldnt want to miss this story! Also there's plenty of news for This Week In Fancy, along with some talk about Jerry Springer! Merch at StayFancyMerch.com Go to BlueChew.com and use promo code POA to try bluechew free! Go to ThePerfectJean.com and put in promo code POA15   Go to FactorMeals.com/POA50Off to get 50% off your first box plus free shipping. That's code poa50off at FACTOR MEALS dot com slash poa50off to get 50% off plus free shipping on your first box. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Involved in the car hobby since his childhood, our guest founded a vintage restoration business after completing his graduate degree in 1988, and by 1991 his career had evolved into being an automotive photographer, journalist, and author.  Richard Prince has photographed for brands like Aston Martin, Audi, Bentley, Cadillac, Ferrari, Jaguar, Mercedes-Benz, and many others, at some of the most interesting locations and race tracks around the world. He's published numerous books as well as  authoring and illustrating thousands of magazine articles. There's no doubt you've seen his photography in dozens of books and over 400 publications in more than 80 countries worldwide, and he's here to tell us all about his exciting journey filled with twists and turns that he never thought his career would take him on.  ===== (Oo---x---oO) ===== 00:00:00 Introduction to Break/Fix Podcast 00:00:28 Meet Richard Prince: From Restoration to Photography 00:01:36 Early Influences and Passion for Cars 00:03:11 The Journey into Photography 00:04:11 Starting a Restoration Business: "Real Cars" 00:06:42 Transition to Professional Photography 00:13:38 Discovering a Legendary Corvette 00:21:38 The Birth of Corvette Racing 00:24:49 The Iconic Jake Logo 00:29:52 Life After "Real Cars" 00:32:22 Travels and Favorite Racetracks 00:34:21 The Thrill of Returning to Familiar Tracks 00:35:33 A Life-Changing Crash at VIR 00:36:43 The Immediate Aftermath and Medical Response 00:45:44 The Hospital Experience and Realizations 00:56:36 Reflections on Safety and Career Wisdom 00:59:44 What's Next for Richard Prince? 01:00:51 Final Thoughts and Gratitude ==================== The Motoring Podcast Network : Years of racing, wrenching and Motorsports experience brings together a top notch collection of knowledge, stories and information. #everyonehasastory #gtmbreakfix - motoringpodcast.net More Information: https://www.motoringpodcast.net/ Become a VIP at: https://www.patreon.com/ Online Magazine: https://www.gtmotorsports.org/

The following episode focuses on the amazing history of the Camoradi #4 Corvette that finished 10th in the 1960 24 Hours of Le Mans. The panel consisted of Richard Prince, author and official photographer for the GM Corvette Race Team; Dominic Testa, owner of the car; Chuck Schroedel, who was a member of the Camoradi team at Le Mans in 1960; and a special guest appearance by Laura Klauser, the GM Sports Car Racing Program Manager. Each member of the panel gave their insight into the history of the car, while Chuck's commentary from actually “being there” in '60 was especially memorable. Ms. Klauser ended the presentation by taking us from Corvette racing in 1960 to the 2024 Corvette Racing programs competing not only in the United States, but in race series around the world. This episode is part of our HISTORY OF MOTORSPORTS SERIES and is sponsored in part by: The International Motor Racing Research Center (IMRRC), The Society of Automotive Historians (SAH), The Watkins Glen Area Chamber of Commerce, and the Argetsinger Family - and was recorded in front of a live studio audience. ===== (Oo---x---oO) ===== The Motoring Podcast Network : Years of racing, wrenching and Motorsports experience brings together a top notch collection of knowledge, stories and information. #everyonehasastory #gtmbreakfix - motoringpodcast.net More Information: https://www.motoringpodcast.net/ Become a VIP at: https://www.patreon.com/ Online Magazine: https://www.gtmotorsports.org/

When Corvette enthusiasts talk about Le Mans in 1960, they mostly talk about the 3 Corvettes that Briggs Cunningham raced there.There was a 4th Corvette that raced at Le Mans in 1960 - it was owned and raced by Camoradi Racing.Corvette photographer, Richard Prince, come back to CORVETTE TODAY with your host, Steve Garrett, to tell the story of this 4th Le Mans Corvette!Richard tells the story of the owner, the race team, how it did at Le Mans in 1960 and what happened to the car after the race.It's a truly amazing story - one that many Corvette enthusiasts don't know. Get the full story of the Camoradi Corvette and where it is today on this episode of CORVETTE TODAY.

This is one of those podcasts that I can't really begin to comprehend, understand, other than to allow that the over four decades I knew Robert Towne, it was like I was put in his path so I could do this interview. Robert was a prolific writer, some consider to be the greatest screenwriter who put pen to paper (or pages in a Selectric.)  Robert asked me to do this interview before he passed, made me promise.  I have sent the unedited version to his friends and family (without some pauses and spaces) and this version is slightly shorter - but not by much. Where to begin? I spent three years walking his dog Hira - and when I told him I wanted to direct, he said "I think that would be a good idea, but you'll make mild comedies."  He was right. I've written and or directed 8 of them that most haven't seen or are aware of. But while working for him, I got to know many of his closest pals - some who are offstage, some who are onstage - and in this interview I asked for his opinion about some of them. I introduced him to Jennifer about five years ago - he was a skeptic until we did a session and he was able to learn new information from people offstage.  He learned new information from his dog Hira. He learned new information from people I didn't know, never met - nor could Jennifer. I use first names in this interview, because that's all Jennifer needs. She doesn't recall the contents of our sessions - and she did a couple with Robert, but has done sessions with me weekly for 8 years.  She does sessions with law enforcement daily - and like an "Etch a Sketch" wipes her awareness clear each time. But for whatever reason, we can bypass the filters, talk to people offstage together. We do this podcast to demonstrated that anyone can.  I recommend watching this on the HACKING THE AFTERLIFE podcast because in the video version I put up subtitles as to who was being referenced.  Not hard to figure out - but Fred Roos, Warren Beatty, Goldie Hawn are mentioned. John Shaner. These folks were friends of his.  In some cases I didn't mention their names - and referred to them in Italian, because I know that Robert knows who I'm referring to, even if Jennifer does not. In the case of Eddie Taylor, we put to bed the idea he was the person who wrote Chinatown. It's a live demonstration of how people can speak to their loved ones offstage. Learn new information.  You don't need Jennifer (but it helps.)  We've been doing this weekly for 8 years. Jennifer did a number of sessions with Robert, and I filmed at least two.  Love is all there is. We come to the planet to have an experience with our loved ones, friends, animals. "It's over in the blink of an eye."  If one takes away anything from this session it's to realize that it's possible they still exist, that it's possible that we can communicate with them, it's possible that our pets, animals, loved ones still exist, are able to help us, reach out to us - keep an eye on us. Two things: the reference to the "monkey scene" in the film "Five Easy Pieces" (written by Robert's friend Carol Eastman (listed as Adrien Joyce) and directed by his pal Bob Rafelson.  It's possible he's referring to favorite dialogue, instead of "favorite lines he wrote" - because I have no awareness of his writing scenes for this movie (even though he did it for so many others, sometimes without credit like Bonnie and Clyde, Godfather and others).  But here's the dialog that he's referencing: Excerpt from “Five Easy Pieces” : Helena Kallianiotes is an over talkative hitchhiker:  Jack Nicholson is driving. (Just after the infamous table clearing scene)  Helena: (Palm) “Fantastic! .. I would have just punched her out... People... oof  (shakes her head) Animals are not like that... always cleaning themselves.  Pigeons! Always picking bugs out of their hair. Monkeys too. Except  monkeys do things out in the open that I don't go for.”  Bobby's eyes glazed over as he stares out through the windshield.  Helena: “I was in this place once, store with snakes, monkeys, everything  you could imagine. I walked in, had to run out. It stunk! They didn't  even have incense.. Filth you wouldn't believe! I don't even want to talk about it!”  (From “Five Easy Pieces” written by Robert's pal, Luana's roommate,  Carole Eastman, directed by Robert's pal Bob Rafelson, starring their pal Jack Nicholson. 1970) (Interesting to note; this dialog is in the script, but doesn't appear in the filmed version, some of the lines do, but the monkey part does not.  Robert like to say writing was "monkeys at a typewriter" until they get it right. When he left his deal at Warner Bros over the editing of "Personal Best" we took everything out of his bungalow except a giant stuffed toy ape that Warners had given him, and set him behind a studio typewriter with the page quoting Robert about monkeys at a typewriter. (Not his idea, mine and Richard Prince's) With his daughter's permission, here is the poem that Robert references in the podcast that Kate wrote about him: "I met the love of my life the day I was born. My father put stars in my eyes and words in my heart. When reading a poem to me when I was 10, the word god appeared. I asked him if he believed in god and pointing to the words he said,” I believe in this.” When I was about 6 it was my dad's 50th birthday. I looked up at him and with a shiver in my heart I said, “you're half of a hundred.” It drove me to distraction the rest of my life knowing the inevitability. I have endlessly bargained with this grief, chased and run from shadows and dreaded this painful thing until it shaped every part of me. He knew I could be morose and in his later years could gently point that out and boy, did it feel like home to be known by him. I don't know how to say I love you I love you I love you I will never let you go I will always be dreaming of you and I will always look for you in poems and magic hour and cats. Thank you for the apologies and the tenderness and the time. It wasn't perfect. It was better. “The wages of dying is love.”- GK In the podcast Robert refers to the last line being funny - "It was better." I gasped when I read it, because it was a surprise to see.  Maybe me weep with the memory of my pal. I did this interview at his request, and am sharing it as per his request.  Not only for his loved ones and friends, but for those on the planet who are suffering because their loved ones have "left the stage." Know that they are not gone. They just aren't here.  And we can access them if we need to or want to.

It's hard to tell what killed photography… whether it was the advent of the camera phone, the “pocket gallery” that is social media, or the thousands of men taking softcore images of hot women in lingerie and calling it art. These horsemen of the photography apocalypse were all put to trial when Emily Ratajkowski went up against acclaimed artist and professional troll, Richard Prince, after he featured one of her Instagram photos in an art exhibition in New York. An image she went on to purchase for $80,000. While Prince's “Instagram Paintings” series seems at best lazy and at worst sleazy, it raises fascinating questions about the state of photography as an art form. Photography has always had problems with authorship, but social media has thrown that into crisis. Once a photograph reaches the internet, is it yours any longer? Is it even a photograph at all? Hannah and Maia are joined by photographer and friend Stefan Johnson to discuss all this and more in this episode, embarking on tangents such as: what comprises a “Brat summer”, and Maia being too optimistic about Love Island UK. Support us on Patreon and get juicy bonus content: ⁠https://www.patreon.com/rehashpodcast⁠ Intro and outro song by our talented friend Ian Mills: ⁠https://linktr.ee/ianmillsmusic SOURCES: Walter Benjamin, “'The Work of Art in the Age of Its Technological Reproducibility” (1935). Liz Linden, “Reframing Pictures: Reading the Art of Appropriation” Art Journal, vol. 75, No. 4 (2016). W. J. T. Mitchell, “The Pictorial Turn” Artforum (1992). Sabine Niederer, “Networked Images: Visual methodologies for the digital age”, Amsterdam University of Applied Sciences (2018). Lizzie Plaugic, “The story of Richard Prince and his $100,000 Instagram art” The Verge (2015). Emily Ratajkowski, “Buying Myself Back: When does a model own her own image?” Vulture (2020). David Robbins, “Richard Prince: An Interview by David Robbins” Aperture , FALL 1985, No. 100, The Edge of Illusion (FALL 1985). Peter Schjeldahl, “Richard Prince's Instagrams” The New Yorker (2014). Giulia Turbiglio, “A Brief History of Richard Prince's Instagram” Artuner.

In this episode of Turning Points, Patricia Killeen welcomed Jeff Rian, writer, musician, and associate editor of Purple fashion magazine – to play a few new songs from his most recent albums ‘Sketches' and ‘Such is Life'– Jeff has lived in Paris for almost three decades; he talks about how his music, art and writing all found harmony in the City of Light.   Jeff has written numerous essays and exhibition catalogues on art and was a long-time contributor to Art in America, Flash Art, Frieze, and Artforum magazines. He is the author of Buckshot Lexicon, Purple Years, and monographs on contemporary artists (among them, Vito Acconci, Robert Smithson, Robert Rauschenberg, Bruce Nauman, Lewis Baltz, Richard Prince, Philip Lorca di Corcia, to name a few).    As a guitarist/composer, his albums include Everglade, with Jean-Jacques Palix; Battle Songs and Méteo, with Bob Coke; four albums on major labels with French singer Alexandra Roos; and, in 2024, Such Is Life, a selection of songs, released by Coriolis Sounds, and Sketches, a selection of guitar tracks with one song, curated by photographer Giasco Bertoli for his magazine Roses Tatouées.    SHOW NOTES:  Songs played in episode: Oh God – Such is Life(2024)  These Are the Times – Such is Life(2024)  Sleep – Sketches (2024)

Richard Prince es uno de los artistas contemporáneos que mejor encarnan en su obra los debates típicos de la posmodernidad. Ironía, publicidad, provocación y sobre todo, la cuestión de la autoría y el dónde y cuándo hay arte que se preguntaba Arthur Danto en el siglo pasado. Se trata de un artista polémico e inclasificable que ha logrado mantenerse vigente a través de sus obras relacionadas con las redes sociales de una forma sorprendente.

We speak with professional photographer and author Richard Prince about how he turned his love for cars into a career. His new book - Corvette 70 Years: The One and Only - covers all 8 generations of America's first sports car and he talks to us about how his passion for Corvettes started, his favorite cars and what's in his garage (not all of them are Corvettes!). We also find out what car is too valuable to race, who Richard's clients are, and what kind of outlaw Richard is (or is not). Misty wants to go to Spa, and we're not talking about hot-tubs. Mickey has serious camera-envy. Richard has done a lot of fun things and has been to a lot of cool places and we wish we had all day to talk about it! If you're interested in Corvettes, you need his book. We welcome your support via Patreon and your questions and feedback via our website. This podcast is powered by Pinecast.

Episode 428 of the Lens Shark Photography Podcast In This Episode If you subscribe to the Lens Shark Photography Podcast, please take a moment to rate and review us to help make it easier for others to discover the show. Sponsors: - Build Your Legacy with Fujifilm - Shop with the legends at RobertsCamera.com, and unload your gear with UsedPhotoPro.com - Get 20% OFF with code SHARKY20 at BenroUSA.com - 25% OFF select color targets at Calibrite.com - More mostly 20% OFF codes at LensShark.com/deals. Stories: Nikon denies this. (#) OM System's flagship OM-1 Mark II. (#) Canon claims the top spot…again. (#) Think Tank Photo's Movers line gets refreshed. (#) Nikon's Z8 gets its first major firmware update. (#) Capture One layoffs. (#) Two new lenses from OM System. (#) Richard Prince has to pay up. (#)   Connect With Us Thank you for listening to the Lens Shark Photography Podcast! Connect with me, Sharky James on Twitter, Instagram Vero, and Facebook (all @LensShark).

Katie and Steve discuss three recent litigation updates. They discuss the outcome of the trial in the case brought by Dmitry Rybolovlev against Sotheby's for aiding in the alleged fraud of Yves Bouvier, the most recent Richard Prince fair use copyright infringement cases brought by two photographers, and the Ninth Circuit decision applying Spanish law to deny return of a Pissarro painting to the family of Lily Cassirer, whose property was looted by the Nazis and is currently located in a Spanish museum.   Notes for this episode: http://artlawpodcast.com/2024/02/05/art-law-litigation-updates-fraud-fair-use-and-nazi-looting/   Follow the Art Law Podcast Instagram: https://www.instagram.com/artlawpodcast/ TikTok: https://www.tiktok.com/@artlawpodcast

Joseph Linaschke joins the conversation to talk about the new Lumix 100mm macro lens, copyright complexities, new medium format news, the destructive path of AI and the fireworks created by a dying chameleon. All this and more – thanks for listening! BONUS: Don’s Feb 3 – 24 Macro Photography Workshop (online / virtual!) is nearly full, but go here if you’d like to secure one of the remaining spots! Preamble: Check out PhotoJoseph’s video on the new Lumix 100mm F/2.8 macro lens. Story 1: Richard Prince to Pay Photographers Over $650,000 In Copyright Lawsuits (via PetaPixel) Related: Kat Von D Beats Photographer in Copyright Lawsuit Over Miles Davis Tattoo (via PetaPixel) Story 2: Hasselblad CFV 100C delivers modern medium format with classic style (via DPReview) Story 3: Taylor Swift is the New Rallying Cry in the Fight Against Deepfakes (via PetaPixel) Story 4: Watch a Chameleon Erupt in Stunning Color Moments Before She Dies (via PetaPixel) Picks of the Week: Don: Platypod Grip Joseph: Stance+ 10-in-1 Smartphone Super Gadget Compatible with MagSafe®+ Universal Connect with Our Hosts & Guests Don Komarechka: Website, Twitter, Facebook, Flickr, Instagram, Pinterest Joseph Linaschke: Youtube, Website, Facebook, Twitter

Copyright law is complicated, especially when it comes to visual art. So there was a lot of fanfare around the Supreme Court's May ruling involving a celebrity portrait photographer, the pop artist Andy Warhol, and an orange silk screen of the late musician Prince. Would the decision give us some clarity around what's ‘infringing' in the world of appropriation art? Lauryn Guttenplan, former deputy general counsel for the Smithsonian, walks us through some high-profile copyright cases from the past, as well as the Supreme Court's decision. See the artwork we discussed: Obama “Hope” Portrait by Shepard Fairey, original photo by Mannie Garcia “Canal Zone” Collage by Richard Prince, original photo by Patrick Cariou “Orange Prince” by Andy Warhol Prince Portrait by Lynn Goldsmith

➜ TheBoldWay Newsletter : https://www.theboldway.fr/newsletter On the 20th of June 2023, as Pharrell made his debut at Louis Vuitton, I had the chance to interview a very inspiring guest at Drouant, a famous restaurant in the second arrondissement of Paris. Meet Nick Vogelson, a multifaceted individual who serves as both the editor-in-chief and creative director of Document Journal. Established in New York in 2012, Document Journal is an independent magazine that delves into culture, arts, and fashion. Published biannually and distributed worldwide, it provides a platform for remarkable voices in art, literature, and fashion, with a keen focus on American and global culture. The magazine boasts an impressive array of contributors, including renowned figures such as Inez & Vinoodh, Mert and Marcus, Juergen Teller, Bruce Weber, Mario Sorrenti, Grace Coddington, Hedi Slimane, Richard Prince, Collier Schorr, Craig McDean, Larry Clark, and Rei Kawakubo. Beyond Document Journal, Nick is also the visionary Founder and Creative Director of Idea Culture, an innovative advertising agency. I embarked on this interview with Nick to gain insights into the genesis and vision of Document Journal. I was curious about how he managed to conceive such grand aspirations at the tender age of 26, when he launched the magazine. Furthermore, I sought to understand his collaboration with some of the foremost talents in the art and fashion industries. Once again, we witness the fusion of creativity and innovation with the realm of business. What you'll learn during the episode : His Background, childhood and education The genesis of Document Journal How he convinced top Industry Figures to Collaborate His creative Process and radical ideas How he built Partnerships with Brands The genesis of Idea Culture and focusing on consulting His approach to working with photographers and models How to overcome challenges and staying positive about the future His ingredients for success His vision of happiness and the concept of living in the present moment How to balance the desire for more with contentment References Document journal website and Instagram Pharrells show for Louis Vuitton Where he studied : Cooper Union Book publisher : Damiani Magazines : V Magazine Interview Magazine Harper Bazaar BlackBook Surface mag Artists and photographers : Erwin Blumenfeld Pasolini Inez & Vinoodh Mert and Marcus Juergen Teller Bruce Weber Mario Sorrenti Grace Coddington Hedi Slimane Richard Prince Collier Schorr Craig McDean Larry Clark Rei Kawakubo Nb: TheBoldWay ou The Bold Way, anciennement connu sous le nom de Entreprendre dans la mode ou EDLM , est un podcast produit et réalisé par Adrien Garcia.

➜ La Newsletter de TheBoldWay : https://www.theboldway.fr/newsletter Le 20 juin 2023, alors que Pharrell faisait ses débuts chez Louis Vuitton, j'ai eu la chance d'interviewer un invité très inspirant au Drouant, un célèbre restaurant du deuxième arrondissement de Paris. Rencontrez Nick Vogelson, un individu aux multiples facettes qui assume à la fois les rôles de rédacteur en chef et de directeur créatif de Document Journal. Fondé à New York en 2012, Document Journal est un magazine indépendant qui explore la culture, les arts et la mode. Publié deux fois par an et distribué dans le monde entier, il offre une plateforme à des voix remarquables dans le domaine de l'art, de la littérature et de la mode, avec une forte orientation vers la culture américaine et mondiale. Le magazine compte un impressionnant éventail de contributeurs, parmi lesquels des personnalités renommées telles qu'Inez & Vinoodh, Mert and Marcus, Juergen Teller, Bruce Weber, Mario Sorrenti, Grace Coddington, Hedi Slimane, Richard Prince, Collier Schorr, Craig McDean, Larry Clark et Rei Kawakubo. Au-delà de Document Journal, Nick est également le fondateur visionnaire et directeur créatif d'Idea Culture, une agence de publicité innovante. J'ai entrepris cette interview avec Nick pour découvrir les origines et la vision de Document Journal. J'étais curieux de savoir comment il avait réussi à concevoir de si grandes aspirations à l'âge tendre de 26 ans, lorsqu'il a lancé le magazine. De plus, j'ai cherché à comprendre sa collaboration avec certains des talents les plus éminents des secteurs de l'art et de la mode. Une fois encore, nous assistons à la fusion de la créativité et de l'innovation avec le domaine des affaires. Ce que vous apprendrez lors de l'épisode : Son parcours, son enfance et son éducation La genèse de Document Journal Comment il a convaincu les figures les plus influentes de l'industrie de collaborer Son processus créatif et ses idées radicales Comment il a établi des partenariats avec des marques La genèse d'Idea Culture et l'accent mis sur le conseil Son approche de la collaboration avec les photographes et les mannequins Comment surmonter les défis et rester optimiste quant à l'avenir Les ingrédients de son succès Sa vision du bonheur et le concept de vivre dans le moment présent Comment équilibrer le désir d'avoir plus avec la satisfaction ➜ Retrouvez toutes les références et les photos prises lors de l'enregistrement sur www.theboldway.fr Références : Document journal site web et Instagram Défilé de Pharrell pour Louis Vuitton Son école : Cooper Union Magazines : V Magazine Interview Magazine Harper Bazaar BlackBook Surface mag Artistes and photographes : Erwin Blumenfeld Pasolini Inez & Vinoodh Mert and Marcus Juergen Teller Bruce Weber Mario Sorrenti Grace Coddington Hedi Slimane Richard Prince Collier Schorr Craig McDean Larry Clark Rei Kawakubo TheBoldWay ou The Bold Way, anciennement connu sous le nom de Entreprendre dans la mode ou EDLM , est un podcast produit et réalisé par Adrien Garcia.

Remington and Jeana get into the Devil's Tritone, the lyrical breakdown of ”The Girl from Ipanema” & “Sympathy for the Devil”, the mythology of selling your soul, Pluto in Leo, Capricorn / Cancer dynamics, music notes of parenting, and a deep dive into the Chariot and Devil cards of the Tarot.PLUS: Young Remington's run in with a High Satanic Priestess named Bianca Jagger, Olivia Wilde's sexy salad dressing, West Side Story, Richard Prince's Instagram art and more.Gathering of the Sacred Star (July 27—30th) | BOOK NOWUSE THE CODE: SACREDSTAR23 & save $200

Shortlisted for the Independent Podcast Awards 2023. This episode considers recent legal rulings in 'fair use' laws in the USA which have implications for artistic expression and culture more widely. The renowned conceptual artist Richard Prince, whose work heavily appropriates images, is one of the creative practitioners at the coal-face of these decisions. I discuss the meanings and value of his artistic output, along with other contemporary artists including Maurizio Cattelan and Gavin Turk.The Gallery Companion is hosted by writer and historian Dr Victoria Powell. It's a thought-provoking dive into the interesting questions and messy stuff about our lives that art explores and represents.To see the images and watch the videos discussed in the podcast visit www.thegallerycompanion.com. This is where you can subscribe to The Gallery Companion email list, which goes out every fortnight to accompany each new podcast episode, and is packed full of links to more info. That's where you can share your thoughts and join the conversation too. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.thegallerycompanion.com/subscribe

This week: the Frieze art fair and spring auctions in New York. As the Frieze Art Fair returns to The Shed in Manhattan, coinciding with the season's big auctions, The Art Newspaper's live editor, Aimee Dawson, and our contributing editor Anny Shaw take the temperature of the market in New York. Just as we completed the episode, the US Supreme Court ruled that Andy Warhol infringed on the photographer Lynn Goldstein's copyright when he created a series of silkscreens based on her photograph of the late rock singer Prince. Coincidentally, we had already recorded an interview with our New York correspondent Laura Gilbert about the fact that a Manhattan judge last week refused to throw out two photographers' long-running copyright lawsuits against the artist Richard Prince, for his New Portraits series, which appropriated their original images. The case is bound to be affected by the Supreme Court's decision, as Laura tells us. And this episode's Work of the Week is Metronome by Sarah Sze, a new site-specific work made for a former first class waiting room at Peckham Rye station in south London, which until recently had been almost derelict. We speak to Sarah about her new installation.Frieze New York continues until Sunday, 21 May.Listen to an interview with Virginia Rutledge, the art historian and lawyer, about the Andy Warhol/Lynn Goldsmith case in The Week in Art episode from 24 June 2022.Sarah Sze: The Waiting Room, Artangel at Peckham Rye Station, London, until 17 September. Sarah Sze: Timelapse, Solomon R. Guggenheim Museum, New York, until 10 September. Listen to the podcast A brush with… Sarah Sze, from 29 September 2021. Hosted on Acast. See acast.com/privacy for more information.

Episode 3 interviews Ana Finel Honigman on leaving NYC, MLM scams, hot girl art, Richard Prince, Emily Ratajkowski, and much more. Ana FInel Honigman has been writing about art, with a focus on sexuality, sex work, mental health, and gender, for twenty years. She's been published in Artforum, ArtReview, Frieze, Art in America, the New York Times, the Guardian, and Vogue. She received her doctorate in 2013 from Oxford on a topic that's much discussed now; how female celebrities' vulnerabilities were exploited and abused in popular media but treated with empathy by their contemporaries in the art-world. Her recent books have been about cult artists and fashion designer, Akexander McQueen. Several years ago, she moved from her home in Berlin to Baltimore to complete a Masters in Mental Health counseling at Johns Hopkins and now works part-time as a therapist in DC, alongside art reviewing and related work. Find the transcript here: https://womenasinart.com/ana-finel-honigman-transcript/

I dagens program har billedkunstneren Joachim Koester taget os med på Louisiana. Her er der nemlig lige nu en kæmpe retrospektiv udstilling med Richard Prince. Joachim har altid været inspireret af Prince og hans evne til at få vores billedverden til at fremstå i et nyt lys. Men måske handler fascinationen også om alt det der ligger uden for rammen, eller om alt det, der virker til at trække i trådene bag det hele. Vært og tilrettelægger: Caspar Eric. Gæst: Joachim Koester. Speak: Marianne Germer. Optagelse: Nina Vadsholt. Redaktør: Hanne Budtz-Jørgensen. Redaktion: Anne Jeppesen. Produceret for DR af Munck Studios København.

Richard Prince is an automotive photographer, journalist, and author who has been shooting since 1991. He has published four books and authored and illustrated approximately 2,000 magazine articles. Today he is here to share his newest book titled Corvette 70 Years: The One And Only published by Motorbooks.

According to former lorry driver turned Pulitzer Prize-winning art critic, Jerry Saltz, art represents "the greatest operating system our species has ever devised to explore consciousness." That is, of course, until they invented the podcast. On this episode, Ryan and Lydia Porter had the distinct pleasure of talking all things visual with America's most famous, and in some corners of the internet, infamous, art critic. In his new book, "Art Is Life", Saltz draws on two decades of work to offer a real-time survey of contemporary art as a barometer of our times. Chronicling a period punctuated by dramatic turning points - from the cultural reset of 9/11 to the rolling social crises of today - Saltz traces how visionary artists have both documented and challenged the culture.Art Is Life offers Saltz's eye-opening appraisals of trailblazers like Kara Walker, Hilma af Klint and Jasper Johns; provocateurs like Jeff Koons, Richard Prince and Marina Abramovic; and visionaries like Jackson Pollock and Willem de Kooning. With his signature blend of candour and conviction, Jerry Saltz argues in Art Is Life for the importance of the fearless artist. The result is an openhearted and irresistibly readable appraisal by one of our most important cultural observers.Jerry spoke to us about everything from Tracey Emin to Dolly Parton, to the bankrupt FTX billionaire currently making headlines. We debated the merits of the art market, to whether or not we British are capable of transcending our literary roots to paint what he calls, "the bullsh*t American sublime." While rarely succinct, he is never boring, and full of tremendous curiosity, intelligence, and an enthusiasm for art and artists that cannot be ignored.

You can listen to the oral arguments yourself here: https://www.supremecourt.gov/oral_arguments/audio/2022/21-869 Pia M. Hunter is a Teaching Associate Professor at the University of Illinois College of Law and the Associate Director for Research and Instruction at the college's Albert E. Jenner Jr. Law Library. She holds a J.D. from the University of Illinois College of Law and a Master of Science from the School of Information Science at the University of Illinois. Prior to joining the law library faculty, she served as Visiting Assistant Professor and Copyright and Reserve Services Librarian at the University of Illinois at Chicago (UIC) where she researched and developed best practices for copyright and fair use for instruction for the UIC campus. In 2013, she led the initiative to create Fair Use Week, an annual celebration that highlights the fair use doctrine and its significance to artists, students, faculty, librarians, journalists, and all users of copyrighted content. Sara:                    Welcome to a live recorded episode of Copyright Chat today. I am so excited to bring you the wonderful Pia Hunter. Welcome, Pia. Pia:                      Thank you, Sara. It's a pleasure to be here. Sara:                    So if you didn't know, Pia is a law librarian at the University of Illinois College of Law and a founder of Fair Use Week. Tell us about that Pia. Pia:                      Oh, gosh. Fair Use Week is, first of all, it's so wonderful that it's, we're coming up on a 10 year anniversary in February, 2023. I'm truly excited about that, but it is the result of a, a meeting of librarians back in 20 12, 20 13, and we were talking about the significance of fair use and not only how important it is to academics and scholars, but to everyone, to, to artists, to people every day who create content, everyone. And so we were discussing how wonderful it would be to set some time aside each year to acknowledge fair use, why it's significant in our everyday lives, and promote it to everyone so that we can take up the banner and protect this, right? Because I know that it's an affirmative defense in terms of the Copyright Act, but there are things we can do under fair use, and we, we use fair use every day. And so Fair Use Week is designed to promote and, uh, inform people about that. Sara:                    That is really exciting. I keep forgetting, we're coming up on the 10th anniversary, and this is a really interesting time p to be talking about fair use because as we know, the Supreme Court is addressing transformative fair use right now. Pia:                      I am, I'm not afraid to admit that I am a bit nervous about this case. I Sara:                    Think I, I think I said that in a nervous tone, , Pia:                      I think you said, I think your tone certainly reflects my, my feelings on the subject. And I'm looking forward to our discussion because a lot's been happening lately. Sara:                    Yes, a lot has been happening. So if you haven't been paying attention, let's get you up to speed. There is a very exciting case involving the Andy Warhol Foundation and a photographer and the late great singer Prince. So this is a really fun case that is up at the Supreme Court. Of course, it started below and in the lower court, um, the Warhol Foundation had one on its fair use claims where Andy Warhol borrowed, I say borrowed in a nice way. Um, the photograph of this famous photographer who took a photo of Prince, and he originally had, had permission through licensing to use the photo for an inspiration in a magazine article. But later on they, they, he had another reproduction and he did not have permission, and he claimed fair use. And in, in the Second Circuit Court of appeals, they reversed and said, Nope, it was not a fair use. And the issue at the Supreme Court was all about purpose and character of the use and whether it was transformative, which is, oh, scary to me because the last time Supreme Court addressed this was 1994. Pia, tell us some more about kind of what the arguments are on both sides. Pia:                      Okay. The arguments from the Goldsmith side, that's the original photographer, the artist, is that basically the Warhol Foundation has not produced this content in any way that is transformative. And when we went into oral arguments, there was a great deal of discussion about factor one, what is the purpose and character of the use? And the justices were really clued into fi trying to determine how the photograph was diff different in what ways from the Warhol piece, which is an artistic rendering and has been produced many, many times in several prints and sold over and over again. There's also, and on the Warhol side, they're claiming that it's a transformative use, that even though the commercial purpose of is the same and similar, that Warhol by taking the photograph and creating a painting from it. And from that painting came several other prints that were licensed and sold and so forth and so on, that this is a completely new work. Pia:                      And the justices seem early on to be pushing back against that because if you look at the photograph and you look at the paintings and the prints and the reproductions, you can s it's obvious that those come directly from the photograph. And this is what's troubling to me because I think for so many years there's been a lot of talk about transformative use in terms of a fair use argument. And quite frankly, I think transformative use has dominated to the fact that it has overshadowed some of the other factors that are just as important. So this case may bring some balance back to looking at all four factors, because if you consider all four factors, then this could very well be a fair use. But if you're basing it solely on whether the, the level of transformative, then we run into, into some difficulties. Sara:                    That's an interesting perspective. I think, um, I agree with you that on one side they're arguing that, um, it was just the same use, right? So I think that the, the thing that troubled the court here was that on the one hand, this photographer was in the business of licensing her works to, um, vanity Fair and other magazines. And that was the purpose that Andy Warhol also used his work for in this instance. Now, to me though, Andy Warhol in general has very different uses for his works, right? His works hang in many mag in many, um, museums, people come to see his works. They're not only used in magazines. Now, I'm certain that this photographer also could have her work in a fine art museum, but I do think that there are broader uses for a Warhol work. Um, and a lot was brought up about the other Andy Warhol case, the famous soup can case, right? Sara:                    Where the judges said, oh, well, this is not as hard a case in that instance because the soup cans were used for a different purpose, right? And normally the logo on Campbell's soup cans was used to market the brand. And of course, um, the use by Warhol was to show mass consumerism. Um, one point that the, the, uh, uh, photographers, lawyers made was that he had to have some necessity to use that particular photo. I wonder what you make of that argument, Pial, because the justices seem to be kind of buying into that a little bit. Pia:                      They did seem to buy into that a little bit. And the necessity argument is one that I find fascinating because it was ne it was necessary to use the Campbell soup can in its entirety, it's, it's it's logo, it's symbol. You look at that automatically and you recognize that it is Campbell's soup. So the necessity argument and Warhol's subsequent series of that discussion sparked a discussion of consumerism. When you, when I look at the Prince photo, I'm a little . It's funny, I am such a huge Prince fan that when I look at the Prince photo, I think that it's Prince. So it has to be necessary . And I know that's not a legal argument. It's more than mentality, I think for me than anything else. But looking at this, it's, it's, it seems that the justices are buying into that, that philosophy. I'm not sure how sustainable that really is in the long term. Pia:                      He could have picked any number of photos or images to do that exact same thing. It didn't not necessarily have to be prints, but because it was print, I think that lends itself to the argument about the fourth factor and commercial use and market for the work, because he's doing what is considered a reproduction. And I know that the, uh, Martinez, Mr. Martinez, who's the Warhol's attorney, used the term follow up work. And in my mind, that is the same as a derivative work, which falls to the bundle of rights that is reserved for the owners. So as this goes on, it'll be interesting to note how they, they, they parse out each factor and really examine what's happening in terms of the original content. Is it truly a derivative work? What's the difference between a follow up work and a derivative work? I mean, I think it's, it's a subtle nuance there, if there is a difference at all. And they're gonna have to examine each of these factors closely. So this, this may be something that, that justices appear to embrace now in the early stages, but I think that, that, that may change as time goes on. 1:                         Yeah, I think that's interesting. And I, I agree with you that one of the cruxes of the, the issue here was what is the line, or where is the line between a derivative work and a transformative work? Although to me, that's always been the question, right? That's always been the million dollar question in these types of cases. It just was made even more salient here because one of the things that they were pointing out is if you have a film, for instance, a movie that is an adaptation of a book, you would never say, oh, sure, that's a fair use. You would always think they need to get a license because the natural progression of a best seller is, oh, yes, let's make a movie. And of course, you want the person to be encouraged to make the book in the first instance. And so they need a piece of that economic pie, right, to incentivize creation. Sara:                    But, um, in this instance, was the photographer ever going to make a print, a painting print of her photo? I don't think so. So I really discouraging her in any way. Um, but of course she would be happy to take that license, right? I mean, she would be happy to take a license, especially for her work in a magazine, which I think is where they got caught up a lot during this case. And I wish they had not stuck to only that part, because I know Warhol's attorney pointed out this was a series, right? Yes. Warhol did not make just one print. He made a series of prints and the copyright was claimed in the entire series. And so only one of those photos, I think it was called Orange Prints, was used in the actual magazine article. And so maybe they could even find, okay, well, that one wasn't all right, but the other ones were is that, can you split the baby that way? Pia:                      I'm not sure that you can. And that's, that's an excellent point that you make. And that's a part that's been troubling me for so long. Also, the original license, Goldsmith did this painting, took the photograph, licensed the photograph to the magazine for an artist. It did not say Warhol for an artist to make a a, a rendering from the photograph. So he was licensed to do the work. However, in the process, he actually created additional pieces. The Silk Screen Painting series is what it's called. There were two screen prints on paper and two drawing, and all of these are referred to as the print series. Some of the originals were sold, some reproductions were printed and sold and licensed and sold to other people. So it we're looking at, it's, it's fascinating because I'm still always coming back to the, or the terms of the original license. Pia:                      How much leeway did he have in the original license that the magazine purchased from Goldsmith to make a derivative work? Because that's really what it is. They license access, a use of the photo for someone else to build something upon that. That's the first thing. And then the second thing, the Goldsmith attorneys are arguing that this case is significant because it's really fighting about the individual rights of the creator versus someone who has the power and the, the name recognition of Andy Warhol. So because, uh, someone who's famous decides to take and, and use a work and create something out of it in their own fashion, then that would give those people who are in a financial position or famous artists, uh, more power and authority to use people's works than say, someone like me who would come along and make a stick figure derivative or something like that. So that's another issue that I'm, I'm curious to, to see how that's gonna go. Sara:                    Yeah, I think that the argument goes, you know, Warhol makes it, and it's a piece of art. I make it, and it's what just not great, right? Pia:                      , it's just a photo. So the question becomes how does, how, how are artists able to protect their derivative uses while still leaving fair use on the table for other creators to come and use as well? Because otherwise, what we're doing is we're going to squash creativity and people's desire to create new content. Sara:                    Yeah. And that also leads me to think about appropriation art, right? Pia:                      Oh, yes. A favorite topic of mine Sara:                    Is a whole other variety of art. And is, would this, I mean, if they rule that it has to be some necessary purpose, like with, um, the, the attorneys who are protecting the photographer, does that just quash any kind of appropriation art? Pia:                      The potential for that is so great that that is really another part that, that I find troubling. I am not a fan, as you well know of the Richard Prince series, uh, he's an appropriation artist, started many years ago with the Marlborough ads. He's done some things with, uh, catcher and the Rye, taking a, a copy of Catcher and The Rye, leaving the print on the cover, the exact same except in place of the author. He's put his own name. There's the Instagram v prince that's going on right now, Cariou v Prince, back from the early two thousands. So this is an artist who specifically takes people's work and either displays his name on it or does something really, really different. Not different in terms of maybe size, but an exact replica. So a case like this would have a direct effect on the current case that's working its way through the courts now, gram v prints and, and other sorts of things. And it would, I'm thinking about memes and other derivatives that we take for granted and things that pop up across the internet that people find funny and creative. What happens with those? Sara:                    Yeah, what does happen with those? I mean, I think, I think with memes you can make a stronger argument that you're not usually trying to make any money off of them. Exactly. You might, you might win more on a factor four analysis. And that was one of the things that they pointed to quite a lot, uh, at least, um, the Warhol Foundation attorneys, when they were asked about, well, what about, you know, some really creative new film that is based on a book, but it's so different, right? Why isn't that a fair use? And the response was, well, you know, look at factor four. It's still highly commercial, so that even if it is different, it might still be a derivative. So I wonder if the part of the challenge here was that they were really trying to narrow in on the first factor, but, but we always try to weigh them together, right? Always in my mind, they go together. And so trying to parse them out makes it really hard. Pia:                      That's absolutely correct. And I, in this instance, parsing them out seems necessary because the first cat factor we know is, uh, what's under discussion now. But then you move on to the, the second factor. This is highly creative, uh, purpose in nature of the work, and, and you're moving through the factor. You get to factor three, you're looking at the amount, well, it was used in its entirety. So the, the, the second and third factors are almost sort of, uh, settled. And that brings us back to one in four. How is it being used? How is it the Campbell soup, uh, series that Andy Warhol created? It was an obvious commentary to many. I'm not sure the commentary in this respect is so obvious. Goldsmith claims that the photograph was showing Prince in a, in a sensitive way, a way that he's not frequently depicted in album covers and other sorts of, uh, photo shoots and different things. Pia:                      So she was capturing a certain vision of the artist in vulnerability. And the Warhol claim, I believe, if I remember correctly, is that they were not, they were exploiting that in different ways and, and making, uh, a different rendering of that original work. But I had a discussion with someone who is not into copyright law at all, and showed them the pictures because they'd been hearing so much about the case, and they made a very interesting point. Uh, when you look at the Wizard of Oz in black and white, and my mother in particular is a fan of, uh, old film Warren movies and so forth and so on. And she says, I don't like the color. I don't like it when they add color to it, it's, it's different to me. And that argument swings both ways because when I showed the, the port the photograph to someone and they looked at the color, uh, that that Warhol added, and the creativity that he placed upon the photograph, that person said, I don't see much of a difference. They just added color. It's the same thing. But someone else would look at that same rendering and say, it's completely different. It's, it's different. To me, there's an aesthetic. So when you're looking at art in this way, do we have to become art critics to make this type of assessment? And I think that's why this case is so troubling to me because there, it, some of this really is subjective. Sara:                    Well, I think that the Supreme Court justices also were troubled by that. And, and we're asking, you know, how do we decide this? Right? And, um, do we need expert testimony? Are we supposed to be asking what the artist intended? Right? Some of the early fair use cases kind of looked at the artist's intent. And then of course, in this case, Andy Warhol's deceased, so no one can look at his exact intent. Um, so it, it does get pretty troubling because do we want the Supreme Court justices to start guessing and becoming art critics? And the other thing that they were mentioning was, which level of generality are we looking at in terms of the comment? Are we looking at that this was used as magazine cover, and so was this one okay, done, right. That's the level of generality. But if that were the case, I think that that many of the cases, including the Supreme Court cases, would've come out differently, right? Sara:                    Because we had the two live crew song. If you look at the Campbell case, um, Campbell versus Acuff Rose from 1994, we had a two live crew song, and we had a pretty woman song. They're both songs. Okay, we're done. I mean, that level of generality doesn't work. But in that case, they said it was a parody of the song and that was why it was fair use. Um, and so what is, what is the, the conclusion here, right? Is it that it's, uh, different in the way that it is portraying prints? Because it is fine art. I mean, the, the second circuit below seemed to say they were transforming fine art into fine art, therefore we're done here. Pia:                      That, that, that seems to be, that's how I took it as well. And the other part about the Campbell case is that not only was it recognized as an obvious parody, the commercial use was the same, but the audience was significantly different. So your Roy Orbeson fans are not going to be listening to Luke Skywalker and two live cruise rendition of a song with the same title. So the, the impact on the, the effect upon the market is limited because we're looking at different audiences. Whereas here, it's the same sort of thing. It's going to a magazine and the types of, and the same type of magazine, if not the exact same magazine that was used for the Sara:                    Original, I think it was, I think it was, I think it was just the the parent company Pia:                      Conde Nast, Sara:                    Yes. Yeah, it was the same one because it was Vanity Fair and then Conde Nast. But here's the thing, uh, it sounds like then you're, you're almost getting into the fourth factor and the commercial, um, impact. However, if you read factor one carefully, it says purpose and character of the use, including whether it was a non-profit or commercial use. And so the commercial use can impact factor one as well. So technically the, the court could say, well, maybe it does comment somehow, but it's the same commercial impact or the same commercial use for the same exact audience. Um, I still wish they would address the other works in the series though, because I don't think they were aimed at, you know, magazines. I think they were just aimed at the fine art community. And I do think that's a different audience than people who are interested in that particular photographer's work. There are a lot more people who are interested in Warhol's work and his comments on commercialism and society, unfortunately than this artist. I mean, I think that's just the truth of, you know, what Warhol's work sell for. And one of the things they briefed was, yes, her work doesn't sell for as much as his work does, which to me it means they have different audiences, don't they? I mean, maybe not for this particular magazine, but in general they do Pia:                      In general that I agree in general, they have very different audiences. But here there's not going to be an opportunity for Goldsmith to recover for renderings of this paint of her photograph that Warhol created that are hanging in museums now, that are in people's private homes now because there is a series of silk screens and then there are the various reproductions, it's the orange prince reproduction in published in the magazine that people purchase at a newsstand or got, or however way they get their content. That's what sparked this controversy. And because she, I don't believe that she would've, she wasn't even aware that this had happened. And so you're right, the audiences are completely different. Uh, people who paid to have Andy Warhol's Warhol's version hanging in their living rooms or museums that are, are, are holding this work now, would not have paid for that photograph. And that's, that's, that's, that's a great case for the audiences being different, but it's this one single use in a magazine that could upend the way we are able to look at fair use in terms of these types of works. Sara:                    Will it? Because here's the other thing, couldn't they just, I mean, to me, bad facts make bad law. Okay? And these are bad facts. Pia:                      These are bad facts. These are terrible facts. They're Sara:                    Terrible facts. So couldn't the Supreme Court just say, okay, we agree that, that, you know, Warhol did comment in a different way, but you know, we still agree ultimately that it was a derivative because of this, this, and this based on these particular facts, right? And so could they, shouldn't they limit it to this case? Cause the facts are so bad, Pia:                      You are making my argument . I want them to limit it to this case. The facts here are terrible. Any, any move to make this case new precedent would be devastating for artists everywhere, uh, for creators, for for, for, for people who have existing works, think of how many things would unravel based on this, uh, a radical decision of that nature. And I can see, I'm optimistic because when you hear the oral arguments, you, you listen, I, I, I actually, I listened the first time with my eyes closed, and then I'd used your method, which was very good. Thank you very much. And I read the transcript while I listened a second time, and you can see them wrestling with all of these pieces and really trying to come to an accord and a deep understanding of, uh, the artist's rights, the rights of the Warhol Foundation. And I can see that they're casting an eye to a fu to the future to understand how this is going to ultimately affect creators and, and, and people who are trying to make content. Because this case has the potential to, uh, stifle so much creativity and so many new works that, uh, the public will be deprived of having. So I'm hoping that that, is that what you suggest? I'm, I'm gonna call that the most reasonable compromise. I'm hoping that that's the end result. Sara:                    Well, I am too. And I think, um, you know, given the last Supreme Court case, the Google versus Oracle case, you know, I do have hope. I understand that the Supreme Court has overturned lots of precedent, very long standing precedent, even very recently in the abortion case. So I mean, they are, they can do it. I don't think they're going to, in this case, I, I'm hopeful that they're gonna limit it. And if they do, um, decide that, you know, maybe this wasn't a fair use, that it won't be as sweeping and terrible, um, as it could be. That's my hope. But I, I, and I did see them wrestling with the creativity and the free kind of speech issues in the oral argument. And I saw some of the even conservative justices, you know, asking questions along those lines, which made me a little bit hopeful. Pia:                      That's exactly right. And they're, they're, they're looking at all of these different factors necessary or least useful. I, I know that the Goldsmith side is, is presenting almost a new sort of test. That's the part that I wanted to say mm-hmm. . And that test, if adopted would be devastating. So I'm really hoping that your, your, your recommended compromise is something that the justices can, can, can use to find some sort of middle ground. Sara:                    I don't think there's any basis, I'm sorry, all due respect to the Goldsmith's, um, lawyers here, but I don't think there's any basis for coming up with some new test based on these terrible facts. It's, it's just a bad, it's a bad way to go. And, and we have lots of precedent out there building on the Campbell case and the Campbell case in, in no respects, as anything has to be necessary, it does say you have to avoid the drudgery if you're only creating the new thing to avoid the drudgery of coming up with something new. It does say that, but that doesn't say it has to be necessary. Pia:                      It doesn't. And, but, but facts this bad required some creative and quite frankly, brilliant individual to come up with a new test. That's the first thing. Otherwise, there's no argument to make. And the second thing that I wanted to mention is that the government requested leave to argue, and they were granted leave to argue. So now you have the, uh, solicitor general sitting at the table with Goldsmiths. So the government has a vested interest in this. And I wonder how that looks to people who are examining this case from the outside, the fact that the government has taken up the argument on the Goldsmith side. What does that do for, uh, copyright law moving forward? Yeah, what does that say? Sara:                    That's curious, right? Yes. Because, um, it's, it's a little bit strange. And what is their interest necessarily? I mean, I, I'm assuming they're saying our interest is to correct is to protect authors, but you know, we also have the interest of the other side, which is, you know, the limitation on the rights of the authors, which is guaranteed by fair use. And as pointed out, even in the definition of derivative works, it still says as limited by fair use. So where's the government's involvement here? Why are they involved in the first place? Pia:                      That's the question I'd like answered. , back to the constitution. We go for the creativity and make sure ensuring that people are able to consume this content. That's where we need to start. Yeah, back to basics. Sara:                    We really do need to get back to basics. And I I will expect this, um, decision to come out soon. They haven't been taking a whole lot of time deciding cases. It's already been a little while since the oral argument. So, uh, we will definitely keep you posted and maybe we'll have a, a, a debrief after the opinion. We Pia:                      Can have another conversation. I think we have to, don't Sara:                    We? I think we do. So I, um, I hope this, you found this useful and interesting, and I will link to the oral arguments from this, um, podcast episode so you can follow along and listen yourself and come up with your own decisions about where you think this might be headed. I think the Supreme Court sounded pretty rigorous on both sides, so it wasn't obvious to me who they were favoring. Um, but I'm, I'm, I just hope they don't do anything drastic. , Pia:                      I concur. . Sara:                    Well, Pia thank you so much for joining and, um, we'll, we'll speak again soon. Pia:                      Yes, thank you for having me. And, uh, fingers crossed. Sara:                    Fingers crossed.

Richard Prince, CEO of Aviapartner, joins me today to talk about attitudes and objectives in the industry. Richard re-iterates his key thoughts on his company's people culture, highlighting the care and progression that is the norm within Aviapartner, and how he is modernising his employee's experience. If you want a breath of fresh air, listen to this episode for some logic and common sense! Music used: Distant Lands - Hanu Dixit.mp3

The NBA is back, photo thief Richard Prince, Kanye's Nazis, Wine and Pumpkins.

In this program we review the very capable Mazda 3 hatchback, givewawy Richard Prince's Corvette book to a Corvette owner and chat with Ashley Medeiros of the Innovation Studio about an exciting new partnership with AAA Northeast.  

In this program we review the very capable Mazda 3 hatchback, givewawy Richard Prince's Corvette book to a Corvette owner and chat with Ashley Medeiros of the Innovation Studio about an exciting new partnership with AAA Northeast.

Famed Corvette photographer, Richard Prince has just written a new book called "Corvette 70 Years, The One And Only".Your CORVETTE TODAY host, Steve Garrett, brings Richard back on the show to talk about this new 70th anniversary book!Plus, you have a chance to win one of two copies of the book from this episode of CORVETTE TODAY.It's a fantastic book - it's one that every Corvette enthusiast should own. And now you can, courtesy of the CORVETTE TODAY show!

In this episode we talk with author Richard Prince who produced one of the nicest Corvette books I have seen. This book tells a great story of America's sports car-The Corvette. Also we talk with our listener family, review the Nissan Rogue and apologize 

In this episode we talk with author Richard Prince who produced one of the nicest Corvette books I have seen. This book tells a great story of America's sports car-The Corvette. Also we talk with our listener family, review the Nissan Rogue and apologize

In this episode we talk with author Richard Prince who produced one of the nicest Corvette books I have seen. This book tells a great story of America's sports car-The Corvette. Also we talk with our listener family, review the Nissan Rogue and apologize

"C'est un artiste qui coute très cher, il doit donc être très bon..." Quels sont les liens entre valeur esthétique et valeur économique ? Vaste question. Depuis longtemps on cherche à débusquer une corrélation ou une contradiction entre ces deux notions. Je vous résume l'affaire ! Mais surtout, faisons un détour par les artistes contemporains les plus chers, et, plutôt que de regarder le prix, regardons leurs œuvres. Parce qu'elle méritent souvent le détour... Tout en cherchant à déconstruire ce qui fait la valeur économique des 10 artistes les plus côtés de l'art contemporain, tâchons de mieux comprendre ce qui caractérise leur art. Peut-être qu'en chemin ils dévoileront quelques tendances qui caractérisent la création d'aujourd'hui... Featuring. Jeff Koons, Damien Hirst, Richard Prince et Christopher Wool (les rois du néo-kitsch post-moderne), Zeng Fanzhi, Zhang Xiaogang (emblématiques de l'art contemporain chinois), David Hockney, Yoshito Nara et Jean Michel Basquiat. *** Retrouvez Art Talks Coffret! Dans des coffrets assemblés à la main, numérotés et signés, retrouvez un livre d'art, le podcast, et dix œuvres satyriques, en lien avec les séries d'Art Talks. Ils sont tirés en 100 exemplaires seulement, et c'est un magnifique objet d'art à offrir, ou simplement pour compléter la découverte du podcast. Rendez-vous sur : https://www.art-talks.fr Retrouvez les œuvres du podcast et suivez Art Talks sur Instagram @art.talks.podcast

I have the feeling that Sam Abell has more stories than almost any photographer you know. Thirty-four years as a staff and contract photographer at National Geographic tends to have that effect. Sam is an Ohio based teacher, artist, and photographer. I would argue that his magic is that those three skills merge to create, in Sam, the perfect storyteller. His story started like many of my guests, learning photography from his father. It was after graduating from the University of Kentucky that Sam went to work for Nat Geo. That in and of itself is an accomplishment. Lots of up-and-coming photographers dream of being a Nat Geo photographer, but the odds of having that dream come true aren't ones I would bet on. For Sam however, it was a career that fit perfectly with his work. Having read, and listened to a few interviews with Sam, it's amazing to hear about his process. When he describes some photos taking minutes, and other 1.5 years to make, you start to understand... Sam makes photos in his head, often long before the photo is actually made. Sam has taken so many iconic images, including one for the Marlboro Man campaign that was famously appropriated by Richard Prince - and Sam's thoughts about being on his side of that situation have been widely covered. I won't be going into that in this show. As a Canon Explorer of Light, Sam is one of the elite photographers working today, and if you are going to attend a workshop I'd guess you could learn a ton from Mr. Abell. Links to all of his upcoming workshops are at his website here. Sam has authored a number of books too, but at the time of this show they are all sold out. Watch his site for any updates on that. Join Canon Explorer of Light, and National Geographic legend, Sam Abell and me as we discuss how the parts of an image work together to build the power of the final photograph, on this Behind the Shot. Connect with Sam Website: samabell.com Instagram: @samabellteacher Sam's Workshops Nobechi Creative: nobechicreative.com Santa Fe Workshops : santafeworkshops.com Pacific Northwest Art School: pacificnorthwestartschool.org Maine Media Workshops: mainemedia.edu Los Angelas Center of Photography: lacphoto.org Sam's Photographer Pick Alex Webb: magnumphotos.com Sam's Keynote Slides Used in the Show

In the sixth episode of Comedians on Art hosts Graeme Collard and Emily Kennedy-Barnes speak to comedy's legendary couple William and Kate Stone about Richard Princes images from Instagram.

In the sixth episode of Comedians on Art hosts Graeme Collard and Emily Kennedy-Barnes speak to comedy's legendary couple William and Kate Stone about Richard Princes images from Instagram.

Many people know the multi-talented Martin Mull as a celebrated TV and film actor and comedian, as well as a musician and writer.  But what some people don't know is that, first and foremost, he is an artist -- a respected accomplished American painter, whose work is embraced and lauded by the artworld,  and resides in museums and private collections worldwide including, The Whitney, The MET and LACMA.  Renowned artists from  Richard Prince to Eric Fischl to  David Salle, consider Martin Mull a contemporary  American master.  Since the 1970's, Martin Mull has been a ubiquitous presence on the big and small screens - from Norman Lear's groundbreaking series “Mary Hartman, Mary Hartman” and “Fernwood Tonight” to "Arrested Development", “Roseanne”, “Two and a Half Men”, and “Veep”, as well as films like “Mrs. Doubtfire”,  Robert Altman's “O.C. and Stiggs”, “Mr. Mom”, and “Clue.”  With a Smithsonian American Museum show and a major monograph on the horizon for 2023, we join Martin Mull LIVE at his studio in Los Angeles.

Lisa Spellman first arrived in New York to study art at SVA, moving into a loft that seemed pre-destined to be a gallery. Kim Gordon was reading about the art happening in New York while she was in LA, but when she got to the East Coast, ended up playing music. A few years later, Spellman founded 303 Gallery and Gordon was writing and playing with iconic band Sonic Youth. The two talk to Marc Spiegler about New York City in the 1980s and 1980s, the art scene and the music scene, the places they all went, and how it all intersected. It's an image of an old New York that still reverberates in the city today. For further reading:-Andy Warhol's Factory:https://www.artlife.com/inside-the-factory-the-studio-where-andy-warhol-worked/ https://www.nytimes.com/2018/11/12/style/andy-warhol-factory-history.html -Cady Noland:https://www.guggenheim.org/artwork/artist/cady-noland-Christian Marclay:https://whitecube.com/artists/artist/christian_marclay -Dan Graham:https://www.crash.fr/a-meeting-with-dan-graham/ -Jim Jarmusch:https://www.sensesofcinema.com/2003/great-directors/jarmusch/-Johnny Thunders (New York Dolls, Heartbreakers)https://www.loudersound.com/features/so-alone-the-johnny-thunders-story (long in-depth profile on Johnny Thunders' life featured in Louder Sound, a UK rock magazine published by Future)-Judson Dance Church:http://judsonclassic.org/Dance -Kim Gordon's Design Office:https://www.303gallery.com/public-exhibitions/design-office-with-kim-gordon-since-1980/press-release-Richard Prince:https://gagosian.com/artists/richard-prince/ -Rodney Graham:https://www.lissongallery.com/artists/rodney-graham -White Columns:https://www.nytimes.com/2021/06/10/arts/design/anniversary-white-columns-gallery-.html

Meet Richard Prince, the NY artist who used appropriation of other artists' works to create his own art, most famously by reusing images of the Marlboro Man advertising campaign, and covers from pulp fiction paperbacks about nurses. The original Wikipedia pages lives at: https://en.wikipedia.org/wiki/Richard_Prince

Harper Levine is one of the most special people in the art world. Beginning as a rare book dealer in Minneapolis Minnesota in 1997 he has recently become known for his ability to truffle hunt for emerging and overlooked talent in the visual arts and has given several artists that are now market darlings their first gallery shows. He now has three spaces, his East Hampton flagship as well as "Harper's Apartment" on the Upper East Side and a space in Chelsea with plans to open in Los Angeles later this year and a second Chelsea space in 2022. In this wide-ranging interview we talk about his beginnings in the book trade, his move to the Hamptons, his turn towards visual art, how is friend Richard Prince is the most important book collector ever (!), his rapid expansion and much much more. Harper has a generous and wide-ranging intellect and an infectious love of life and you won't want to miss his story. --- Support this podcast: https://anchor.fm/benjamin-godsill/support

Nel 1977, il critico Douglas Crimp organizza a New York “Pictures”, una mostra che darà voce ad artisti post-ideologici come Jack Goldstein, Sherrie Levine e Robert Longo. In breve tempo, nella scena dell'arte contemporanea americana, emergono altri artisti con ispirazioni simili: Louise Lawler, Sarah Charlesworth, Richard Prince e Cindy Sherman. Ad accomunarli c'è il loro interesse per l'immagine fotografica e pubblicitaria: tutti troppo giovani per aver vissuto l'attivismo degli anni '60, troppo disillusi per cadere nella seducente trappola del consumismo. Nel 2009, saranno consacrati al Metropolitan Museum di New York nella mostra “The Pictures generation”.In questa puntata si parla di Douglas Crimp, Troy Brauntuch, Jack Goldstein, Sherrie Levine, Robert Longo, Philip Smith, Barbara Krueger, Elizabeth Taylor, Montgomery Clift, Sherrie Levine, Walker Evans, Marcel Duchamp, Lilli Gruber, Elaine Sturtevant, Louise Lawler, Hans Haacke, Benjamin Buchloh, On Kawara, Cindy Sherman, David Robbins, Julian Schnabel, William Gibson, Justin Trudeau, Diana Ross, Angela Merkel, Emmet Miller, Nick Tosches, Bob Dylan, Van Halen, Pete Molinari, Maria Goretti, Giordano Bruno Guerri, Jack Goldstein, Sarah Charlesworth, John Baldessari, David Salle, Francis Picabia, Peter Arno, Mickey Rourke, Mary Boone, Leo Castelli, Richard Prince, Clint Eastwood, Brooke Shields, Garry Gross, Alfred Stieglitz, Stefan Edlis, Gloria Guida, Lilli Carati e Greta Thunberg.

Noah introduces some vintage audio of artist Richard Prince. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/noah-becker4/support

Adele Bertei was born in Cleveland, Ohio, daughter of an Italian immigrant and a ballroom dance instructor.  She became a ward of the state in 1967, with the rest of her childhood years spent in foster homes and reformatories in the greater Cleveland area. Emancipated at 17, she worked a series of jobs including OT assistant at a Veteran’s Hospital, and as one of the first women to work on the assembly line at the Ford Motors plant in Lorain, Ohio in 1973. Her career in music began as singer/guitarist in a rock band called Peter and the Wolves, performing at longshoremen and biker bars in Cleveland. The premature death of bandmate, the legendary Peter Laughner of Pere Ubu resulted in Bertei's move to New York in 1977, where she quickly became a pivotal figure in a counter-cultural movement of art, film, music, and literature. She was an original member of the critically lauded Contortions, produced by Brian Eno on the seminal No New York record. Reading prose and poetry, she opened for writers such as William Burroughs, Allen Ginsberg, and Kathy Acker among many others. Bertei acted in several underground films, including a lead role in Born In Flames by Lizzie Borden, films by Scott & Beth B., and films by Irish filmmaker Vivienne Dick. She’s been the subject of artists and photographers Kiki Smith, Richard Prince, Nan Goldin, Zoe Leonard, and David La Chappelle. Bertei has toured the world as a musician with her band, the Bloods – one of America’s first all-girl bands – and as backing singer with Tears for Fears. She has performed and recorded as a backing vocalist for artists such as Thomas Dolby, Culture Club, Whitney Houston, Sandra Bernhard, and Matthew Sweet among others. She released records as a solo artist with both the Geffen and Chrysalis labels and has had international dance and pop hits with Thomas Dolby (“Hyperactive!”) and Jellybean (“Just a Mirage”). Bertei has written songs for artists as diverse as Peter Laughner, Thomas Dolby, Scritti Politti, Sheena Easton, Arthur Baker, Jamaaladeen Tacuma, Matthew Sweet, Lydia Lunch, the Pointer Sisters,  Jellybean Benitez, and the Anubian Lights.     Adele Bertei's info    https://www.adelebertei.com/ https://www.facebook.com/adelebertei1 https://www.instagram.com/adelebertei/

On this episode of The Adaptables, Abbe and Emma chat about episode six of the Hulu adaptation of Celeste Ng's bestselling novel, LITTLE FIRES EVERYWHERE. They're joined by Arianna Davis, Digital Director of O, The Oprah Magazine. Abbe, Emma, and Arianna discuss birth control, ambition, Meredith Brooks, the one-hit wonder, likeability, natural hair, Princess Di's Royal Wedding, and more. Discussion breakdown: Emma's Fire Count (2:50–3:50) Emma recaps the episode (3:57–7:15) Elena's breakdown, whiny Jamie, and her pathological inability to apologize for anything. (7:15–8:00) What happens to Elena's dreams deferred? (8:00–8:36) New Mom Elena gets to go back to work (8:36–9:55) Elena trying to get birth control, Bill vs. Jamie (9:55–11:47) Insight into Izzy and Elena's tempestuous relationship and Elena's relationship with her own mother (11:48–12:46) The differences between Elena and Izzy's relationship in the show vs. the book (12:47–14:26) Elena and her mother and the push-pull over Elena's career and the “what-ifs?” (14:26–15:50) We stan a flashback episode (15:50–16:40) Celeste Ng on how novels move back and forth in time. “TV has to find different ways to get the same information across.” (16:40–17:05) Elena in a breaking point moment, her escape to Jamie and her WTF moment in the mirror. (17:06–18:26) Dinner with young Mark and Linda and their infertility struggles (18:30–19:15) AD Stories with Sapphire (19:15–20:39) Mia heading off to art school from Pittsburgh (20:40–21:20) Arianna on the decision to make Mia and Pearl black in the show and the mirrored treatment of the main characters on the show (21:20–23:07) Mia's close relationship with Warren (23:07–23:42) Mia meets her professor Pauline (23:42–25:05) Pauline's lesson on “the uncanny.” (25:05–26:50) Mia meets trenchcoat-clad Jesse Williams on the subway and hears his offer (26:50–28:05) The complex Pauline/Mia relationship. What's cool and not cool? What's in the book and what's new for TV? (28:25–32:04) Richard Prince and appropriated art (20:52–33:14) Surrogacy, taking things that don't belong to you and the turkey baster shot. (33:14–34:46) Mia's immaculate conception and sex life (34:46–36:04) Warren's visit to NYC and honoring her brother by deciding to keep the baby (36:04–38:38) Mia and Pauline have the DTR chat and bring their relationship to the next level (38:38–39:04) Mia calls Anita and learns Pauline has died and the Ryans are looking for her (39:04–40:06) The driving montage to bring them to present day and porcelain horses nod (40:05–40:48) We love the soundtrack! (40:51–41:44) Spider self-portrait (41:44–42:41) Favorite ‘80s moments: HoJo to-go cup, Mia's natural hair and Pauline's braids, Elena's work blouses, the clothes at the art opening, the Royal Wedding (42:27–44:20) The likeability of the main characters and the importance of backstory (44:20–45:33) Celeste Ng on mothers and daughters being brought together by her fiction. “I hope that mothers and daughters will watch this show together.” (45:33–46:30) What is Arianna reading? (46:30–47:30) Arianna's fave book-to-screen adaptations (47:30–48:36) TV show recap: A flashback episode to the early 80s, when Mia and Elena are giving birth and raising their children. Elena and Bill are living in the duplex and raising three kids. Elena learns she's pregnant with Izzy merely six weeks after giving birth to Moody, which stunts her career. Elena finds out that four children is not like having three. She has a nervous breakdown and takes off in the middle of the night. Elena rekindles things with her college boyfriend, Jamie…sort of. Mia goes to art school in New York City and meets her mentor and professor Pauline. Mia takes an offer to be a surrogate for wealthy couple in New York who can't have a child after her scholarship falls through. Mia really comes into her own as an artist. Mia's brother Warren passes away tragically and she's not allowed to come to the funeral. Mia decides to keep the baby she's carrying and drives to San Francisco. Pauline sadly dies and Mia and Pearl face the world alone. LITTLE FIRES COUNT: 1

Artist Walter Robinson immortalizes appetites and desires in his work, painting beer, blue jeans and burgers, magazine models and pulpy paperback romances. Known as the founding editor of Artnet magazine, where he worked from 1996 until 2012, Robinson has been a habitual chronicler of the New York art world. He first flirted with success as an artist in the 1980s, making nurse paintings before Richard Prince and spin paintings before Damien Hirst. But, then, he stopped making art. Over the past few years he has returned to painting and, today, we talk to him about his many lives. For a transcript of the show, click here: http://www.artagencypartners.com/episode-20-transcript-walter-robinson/ "In Other Words" is a presentation of AAP and Sotheby's, produced by Audiation.fm.

Danny and Hollis talk about Hollis' work schedule, teaching a class at the Lyme Art Association, posing models, the stacks of paintings that fill Hollis' home and what he plans to do with them, Hollis' desire to show in a modern gallery next to modern paintings and have his paintings considered modern, a nutty show Richard Prince had, and SO MUCH MORE !!!

This week, a brief follow up on the Atlantic article about creative entrepreneurs. Also, how a single photograph (in this case, a magazine cover) can still be a cultural watershed moment. Plus, a clever response to the recent Richard Prince fiasco. Masataka Nakano is our Photographer of the Week.