Podcasts about rietveld akademie

An artist and educator, C. Matthew Szösz has established a practice that revolves around experimentation and investigation of techniques and material, with a focus on understanding the ways in which physical objects and events transform into intellectual and emotional experiences. He operates and is interested in the space that exists between design, craft and fine art. Wrote William Warmus in Glass, the UrbanGlass Art Quarterly: "So each Szösz project represents a unique inquiry into outcomes driven by curiosity, inspiration, and technical opportunity. Attempting to wrestle these diverse series into unified categories is to limit the creative variation and diversity of each, to try to name the style. Perhaps it is best to list some of his most important investigations, summarize the findings, and enjoy the artifacts of Szösz's subversive and yet disciplined and meticulous process."  Since receiving his MFA(Glass) from Rhode Island School of Design, Szösz has been recognized internationally with awards such as the Irvine Borowsky Prize, the Jutta-Cuny Franz Prize, and a Tiffany Foundation Grant, and has completed numerous residencies in the US, Europe, Asia and Australia. He enjoys working as an educator, and has taught at ASP Wrøcław, Rietveld Akademie, Virginia Commonwealth University, University of Washington, University of Hawai'i, Pilchuck Glass School, Penland School of Crafts, and Bildwerk Frauenau and others, and has lectured and given numerous workshops around the world. He is the founding member of the curatorial group Hyperopia Projects and was Executive Director of Public Glass, a non-profit public access studio in San Francisco.  Szösz's work has been exhibited nationally and internationally and is represented in private collections and public institutions in the United States, Australia, Europe and Japan, including at the Corning Museum of Glass, Corning, NY, the Renwick Gallery/Smithsonian American Art Museum, Washington, DC, the Toyama City Museum of Glass, Toyama, Japan, and Het Glazenhuis, Lommel, Belgium. His career has allowed him to meet and work with friends, colleagues and collaborators across four continents and dozens of institutions. He currently lives in Seattle with his wife, Anna Mlasowsky. Recently, Szösz completed an IASPIS residency in Sweden, administered by the International Arts Grants Committee there. Later in the year, he will work at a residency in Lisbon organized by Maria Morales Lam, through her studio Lo Invisible. In the next two years, he will be visiting a pair of universities in China and teaching at Pilchuck Glass School in the summer of 2027. In between, Szösz is finishing up a commission for SeaTac airport that has been the main focus of his practice for the past three years. The project, titled Jonah, converts a part of SeaTac's north main terminal, an escalator well and a surrounding mezzanine, into a highly abstracted version of Jonah's whale. The installation has been broken into two parts -  a larger, more architectural part that creates two articulated glass walls that form the body of the whale, which was installed in December, and a more sculptural part that is scheduled for installation in September - a suspended, lighted piece that roughly corresponds to a whale's mouth holding a Pearl.  Says Szösz: "There are a number of metaphors and associations between the Jonah story and air travel, and I particularly liked the idea of the whale being a meta-space, something that has a long tradition in stained glass. I was also attracted to the apocalyptic overtones of the Jonah story in view of the current American political and environmental situation." In contrast, the personal objects and videos Szösz creates are the result of performance-based experiments documenting a deep knowledge and unbridled desire to allow the material to lead him. The artist describes his practice as "an attempt to maximize serendipity, and to allow a project to be guided by material and consequence, arriving, in the end, in an unfamiliar and unpredicted landscape. A successful project should not only be surprising but should also achieve an identity independent of the artist, and to at least some degree, escape his control and mastery." 

Barcelona-based artist and painter Eva Armisén discusses her inspirations, the impact of motherhood on a creative career, and new artistic collaborations. Summary: Today the Raw and Radical podcast welcomes Eva Armisén. Eva is an artist and painter who lives and works in Barcelona, lending her talents to a variety of endeavors, including painting, illustration work, public art installations, advertising, television, film production, and editorial projects. Eva derives her inspiration from everyday life and mundane situations, trying to capture those small moments of joy and convey those stories and emotions though her work. As a result, her art has a playful, energetic quality that conveys happiness and optimism. “Most of the things that move me happen in daily life or with the people I have around. So that‘s maybe the reason that.. a lot of my paintings are representing, like... that area of life,” she says. “Sometimes family, sometimes the countryside I have around my studio. But they all talk about emotions.” Eva also works to convey a lot of positivity through her work, a deliberate choice to counter the negative messaging she feels is very prevalent in today’s media and communications. Through her paintings, she says, she can write her own story and offer a different point of view—changing people’s focuses and making the world a more pleasant place to live. Another aspect of Eva’s art practice is the balance she maintains between preserving her independence and working with and depending on others, both as a woman and as an artist. “For me that is really really basic, I would say the most important for me, to keep my independence,” she says. “I think my mom delivered that message really clear to me, that no matter what you do you can do it alone or in a team but try always to be independent, just in case ... In an extreme case I know that I have my own work and it’s my territory, and I can decide what to do and don’t do, you know?” She and Mauren discuss how this sense of independence has extended to the balance she keeps between being a mother and an artist, as well. Eva says that, although she still sometimes has guilty moments, she never felt like she had to or should have given up her career, and is proud of how her children have turned out. Eva have been involved in numerous collaborations, most recently working on a film and book about the “Haenyeo,” the diving women in the Korean province of Jeju. She also shares her advice for other creatives and women artists, saying, “I guess if you are a creative person or an artist and if you listen to yourself… that power, it’s inside you. And you have to keep just listening to it, because it will lead you toward—there are a lot of failures that are coming but there are also nice things—and you know that you don’t need anything to create but yourself.” About our guest: Eva Armisén focuses on capturing daily life and everydayness as something extraordinary, offering an exuberant, optimistic look at the world through her work. She earned her Fine Arts degree from the University of Barcelona, before entering the Rietveld Akademie in Amsterdam for further training and study. Although primarily a painter and engraver, she collaborates on a wide variety of projects, most recently the book “Mom is a Haenyeo,” about the diving women of Jeju. Website: https://evaarmisen.com Facebook: https://www.facebook.com/evaarmisen Instagram: https://www.instagram.com/evaarmisen Resources mentioned: available on the website's story

Beeldend kunstenaar, theatermaker en liedjesschrijver Steef de Jong werd in 1983 geboren, en volgde aan de Rietveld Akademie in Amsterdam een opleiding als beeldend kunstenaar, maar studeerde daar af op een muziektheatervoorstelling. Die ingeslagen weg beviel goed: De Jong vervolgde zijn opleiding bij de Amsterdamse Hogeschool voor de Kunsten, waar hij drie jaar later afstudeerde met het muziekdrama 'Engelberg Express. Een Alpenoperette'. Samen met Ina Veen richtte Steef de Jong in 2014 de Stichting Groots en Meeslepend op, om eigen voorstellingen te maken. Zijn liefde voor de 19e eeuw, Koning Ludwig II van Beieren en keizerin Sisi kregen zo een plek in de eenmans-operette-trilogie die zij samen ontwikkelden. De voorstelling Ludwig, deel 2 uit die trilogie, won De Mus voor beste Parade-voorstelling in 2014, werd genomineerd voor de BNG Theatermakersprijs, en won bovendien de Theatre Award van het Fringe Festival in het Australische Perth in 2015. Vorig jaar nog won Steef de Jong de tweejaarlijkse Mary Dresselhuysprijs. Dezer dagen is Steef de Jong te zien op de Parade, in Utrecht en Amsterdam, met zijn nieuwe voorstelling Sisi Boy, over, jawel, keizerin Sisi.

Beeldend kunstenaar, theatermaker en liedjesschrijver Steef de Jong werd in 1983 geboren, en volgde aan de Rietveld Akademie in Amsterdam een opleiding als beeldend kunstenaar, maar studeerde daar af op een muziektheatervoorstelling. Die ingeslagen weg beviel goed: De Jong vervolgde zijn opleiding bij de Amsterdamse Hogeschool voor de Kunsten, waar hij drie jaar later afstudeerde met het muziekdrama 'Engelberg Express. Een Alpenoperette'. Samen met Ina Veen richtte Steef de Jong in 2014 de Stichting Groots en Meeslepend op, om eigen voorstellingen te maken. Zijn liefde voor de 19e eeuw, Koning Ludwig II van Beieren en keizerin Sisi kregen zo een plek in de eenmans-operette-trilogie die zij samen ontwikkelden. De voorstelling Ludwig, deel 2 uit die trilogie, won De Mus voor beste Parade-voorstelling in 2014, werd genomineerd voor de BNG Theatermakersprijs, en won bovendien de Theatre Award van het Fringe Festival in het Australische Perth in 2015. Vorig jaar nog won Steef de Jong de tweejaarlijkse Mary Dresselhuysprijs. Dezer dagen is Steef de Jong te zien op de Parade, in Utrecht en Amsterdam, met zijn nieuwe voorstelling Sisi Boy, over, jawel, keizerin Sisi.

Gerda Muller a suivi des cours à la Rietveld Akademie (École des arts décoratifs d'Amsterdam), puis à l'École Estienne à Paris. Elle a publié plus de cent titres pour enfants. Gerda Muller, qui signe parfois de son simple prénom, a commencé avec les Albums du Père Castor, de 1951 à 1972 (La bonne journée en 1951 ; Marlaguette en 1952), puis a collaboré à Bayard Presse de 1968 à 1975. Elle a publié des ouvrages chez Gautier-Languereau, Gallimard, Nathan, Belin, L'École des loisirs… et à l'étranger : en Allemagne, chez Ravensburger (chez qui elle a publié en 1985 son premier livre en temps qu'auteure-illustratrice : Mon arbre) et au Pays-Bas, chez Christofoor.