Podcast appearances and mentions of Roberta Smith

We meet artist Joe Bradley, on the eve of his new solo show of new paintings in London. Animal Family is Bradley's second exhibition with David Zwirner since the announcement of his representation in May 2023. His celebrated debut at David Zwirner New York, Vom Abend, was presented in spring 2024. In November 2025, a major survey of Bradley's works from the past ten years will open at Kunsthalle Krems, Austria.In these new paintings, figurative elements—which Bradley had begun to develop in previous works—emerge as central compositional structures. ‘I have never really felt comfortable calling myself an abstract painter,' says Bradley. ‘There have always been flashes of figuration in my work. For whatever reason, at this moment, I feel ready to let it all come to the surface.' 1A group of horizontal paintings feature black contour lines that serve as scaffoldings for swaths of colour, floral blots of brushy paint, and scraped and stippled textural patches, which coalesce into hulking, animal-like forms that fill the surface of the support. Bradley builds up these forms until they achieve a loose balance between assembled wholes and disparate parts, establishing a dynamic tension in the work between cohesion and dissolution.In one painting, pinkish triangles read like teeth extending along a pronounced blue-and-white snout. Lines, shapes, and blots of colour momentarily read like a tail or paw but just as quickly come to stand as distinct visual components. This figural mass rests against a black ground dotted with white, suggesting a dark, star-filled sky. While related to those paintings, several vertical canvases represent a notable evolution in Bradley's work in which the human form becomes a broad organising principle. Shades of mid-century deconstructed figuration and other art-historical references and associations come through in these large, frontally oriented figures.Like his constant working and reworking of the formal and compositional elements in his paintings, such associations are part of Bradley's open and deliberative method of painterly accumulation and adaptation, whereby he constantly reacts and responds to the process of creation itself. In some of these paintings, the figure is quite discernible. In others, the formal elements share only a general relationship to the human form with eyelike ovals or leglike protrusions suggesting bodily architectures. Like the animal associations in the horizontal canvases, these roughly human-scale paintings reinforce such bodily associations, reflecting Bradley's sensitivity to the formal, compositional, and material qualities of his medium.Joe Bradley (b. 1975) is widely recognised for his expansive visual practice that encompasses painting as well as sculpture and drawing. Over the past twenty years, Bradley has constantly reinvented his approach to his art, creating a distinctive body of work that has ranged from modular, minimalist-style paintings and sculptures to rough-hewn, heavily worked surfaces featuring pictographic and abstract elements to refined and layered compositions that, as critic Roberta Smith notes, “balance gracefully between representation and abstraction.”Bradley was born in Kittery, Maine, and received his BFA from the Rhode Island School of Design in 1999. He presently lives and works in New York. Hosted on Acast. See acast.com/privacy for more information.

I am so excited to say that my guest on the GWA Podcast is the esteemed American painter, Lois Dodd. At 98-years-old, Dodd is famed for her paintings of her immediate surroundings, from landscapes to house roofs, windows and stairs. She paints the Night, day; outside, inside; doors that are painted, chipped; new, worn; and loved. While there is a seemingly absence of people, Dodd's paintings capture whole worlds and narratives – whether it be hose fires, or laundry hanging from a washing line. It's as though the colour, weather, light, frames, stairs, or cracks retain years worth of stories and memories, or are even characters in themselves. Steeped in American art and cultural history, referencing the likes of Hopper or Hitchcock, Dodd's works emphasise a voyeuristic, but also familiar nature. Born in 1927, Dodd was born and raised in New Jersey, mostly by her three older sisters after her parents' untimely death when she was young. It was then to Cooper Union in the 1940s, where she was amongst the burgeoning New York art scene, opening the artist-run space, the Tanager Gallery in 1952, at a similar time to iconic exhibitions such as the Ninth Street Show. Venturing to Maine, living by her artist friends Alex Katz and Jean Cohen, she took to painting views of the landscape, and by the end of the 1960s, this was now framed through a window: a perspective and device she has constantly reworked and reinvented, whether it be pressed up against her window on the Bowery, looking out onto her New York view, or of the cracked windows set in the lush, verdant countryside. Dodd allows her viewer to see something we thought we knew so well. She is an observer of nature – her works are about seeing the things that pass others by. As the critic Roberta Smith wrote in 2013: “Ms. Dodd loves the observed world. [...] She always searches out the underlying geometry but also the underlying life, and the sheer strangeness of it all.” I would also add that she is acute at highlighting the things that others iss - take her window portraits of New York City, a favorite being one fro November 2016, of her view that although is taken p by windows, places emphasis on a golden tree or blue sky, as if to latch on to the nature that grows even in the city, and the hope and beauty that exists even in the most unexpected places… Today we are recording in Dodd's home/studio in New Jersey… ahead of her major exhibition at Kunstmuseum Den Haag that opens this August in The Netherlands… Being here, I feel set in a Lois Dodd painting, brought to life by the motifs that surround me – and I can't wait to find out more. https://www.kunstmuseum.nl/en/exhibitions/lois-dodd https://www.alexandregallery.com/artists-work/lois-dodd#tab:slideshow;tab-1:thumbnails -- THIS EPISODE IS GENEROUSLY SUPPORTED BY THE LEVETT COLLECTION: https://www.famm.com/en/ https://www.instagram.com/famm_mougins // https://www.merrellpublishers.com/9781858947037 Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Mikaela Carmichael Technical support: Viva Ruggi Music by Ben Wetherfield

A conversation with the legendary art critic, Roberta Smith. For nearly five decades, Roberta has been a guiding force in the art world, shaping conversations and perceptions with her incisive critiques and unparalleled insights. From her early days working alongside Donald Judd to her illustrious tenure at The New York Times, Roberta's journey through the ever-evolving landscape of contemporary art offers a unique perspective on the intersection of creativity, criticism, and culture. In the conversation, we delve into Roberta's remarkable career, exploring the challenges and triumphs of navigating the art world's intricacies, as well as gathering insights into how she crafts her acclaimed reviews and essays. In addition, we'll explore the dynamic interplay between art and life, as Roberta shares her experiences as a partner to fellow art critic Jerry Saltz. Together, they form a powerhouse couple whose passion for art reverberates through their personal and professional lives.https://www.instagram.com/robertasmithnyc/https://www.nytimes.com/by/roberta-smith

The National Gallery opened its doors on 10th May 1824. The public could view 38 paintings, free. Now there are more than 2,300, including many masterpieces of European art by geniuses such as Rembrandt, Turner and Van Gogh. It is still free. The gallery's director, Gabriele Finaldi, guides Samira Ahmed through the collection. Artists Barbara Walker, Bob and Roberta Smith and Celine Condorelli, last year's artist-in-residence , choose paintings from the collection that are important to them, as does the critic Louisa Buck. The Sainsbury Wing is closed for building work, giving an opportunity to attend to the paintings there, and Samira visits the conservation studio and the framing workshop. She hears, too, from curator Mari Elin Jones in Aberystwyth about how during the Second World War the entire National Gallery collection was evacuated to a slate quarry in north Wales. The gallery's historians, Susanna Avery-Quash and Alan Crookham, show Samira photos of this period, and documents from the very beginning of the gallery. As part of the bicentennial celebrations 12 masterpieces are going to cities around the UK, to form the centre of exhibitions. Appropriately, Canaletto's 'The Stone Mason's Yard' will be going to Aberystwyth. From BBC Archive recordings we hear how Kenneth Clark and pianist Myra Hess organised lunchtime concerts held in the empty gallery, keeping cultural life going during the Blitz.Samira, Gabriele and Bob and Roberta first came to the National Gallery as children; Louisa Buck brought her children, who hunted for dragons in the paintings. The National Gallery is a welcoming, free, safe space for everyone, as a visitor, her baby asleep in his sling, happily explains.Presenter: Samira Ahmed Producer: Julian May

We meet American artist Tabboo! (Stephen Tashjian, b. 1959, Leicester, Massachusetts) at his apartment in the East Village.We discuss his love of painting, his collection of glitter, early friendships via Boston including Nan Goldin and Jack Pierson. We explore his 1980s move to NY inspired by Klaus Nomi and New Wave, which led to his own regular performances at the legendary Pyramid Club appearing next to other drag legends like Rupaul and Lady Bunny. Notably, Tabboo! also contributed graphic design for album covers such as Deee-Lite's World Clique. The curly lettering on the album cover became an iconic image for the band and the rave culture of the early 1990s.Tabboo! is a multidisciplinary artist and painter based in New York City. He renders his subjects in a direct, intuitive style, suspending figurative elements against dreamlike colorfields. Tabboo! often draws subjects from his surroundings, depicting expressive cityscapes, portraits of friends, or imaginative still lifes inspired by the plants in his apartment. He also paints large, panoramic works and site-specific murals. These immersive settings recall the painted backdrops he made for performances in the 1980s and 1990s.While performing regularly himself, Tabboo! also designed numerous event fliers, posters, and album covers featuring his signature curvilinear text, which still appears in his work. Roberta Smith described Tabboo!'s paintings as “delicious, fresh and transparent, revealing every touch of color, every pour and drip.” His work is held in the collections of the Hammer Museum, Los Angeles; Institute of Contemporary Art, Miami: Museum of Fine Arts, Houston, Texas; and the Whitney Museum of American Art, New York.Tabboo!'s work is on view in the exhibition The Myth of Normal: A Celebration of Authentic Expression at the MassArt Art Museum, Boston, though May 19, 2024.Follow @TabbooNYC and https://karmakarma.org/artists/tabboo/and https://www.gordonrobichaux.com/artists/tabboo Hosted on Acast. See acast.com/privacy for more information.

Talk Art NYC special episode! We meet American art critic ROBERTA SMITH from her apartment in Greenwich Village. We explore her career over the past 50 years - Smith first began publishing art criticism in 1972. This epic feature-length conversation gets deep as we discuss visual literacy within education and the 'meaning' of art! In 2011, Smith became the first woman to hold the title of Co-Chief Art Critic of The New York Times.Roberta Smith regularly reviews museum exhibitions, art fairs and gallery shows in New York, North America and abroad. Smith began regularly writing for the Times in 1985, and has been on staff there since 1991. She has written on Western and non-Western art from the prehistoric to the contemporary eras. She sees her main responsibility as “getting people out of the house,” making them curious enough to go see the art she covers, but she also enjoys posting artworks on Instagram and Twitter. Special areas of interest include ceramics textiles, folk and outsider art, design and video art. Before the NYT, she was a critic for the Village Voice from 1980 to 1984. She has written critic's notebooks on the need for museums to be free to the public; Brandeis University's decision to close its museum and sell its art collection (later rescinded), and the unveiling of the Google Art Project, which allowed online HD views of paintings in the collections of scores of leading museums worldwide. Born in New York City, Smith was raised in Lawrence, Kansas, and earned her BA from Grinnell College in Iowa. She was introduced to the art world in the late 1960s, first as an intern at the Corcoran Gallery of Art, in Washington, DC, and later as a participant in the Whitney's Independent Study Program. During her time at the Whitney, she became familiar with the New York art world, and she met the artist Donald Judd, who would figure large in her early career. Smith wrote about Judd's development from two to three dimensions, between 1954 and 1964, and began collecting and archiving his writings. Smith began working at the Paula Cooper Gallery in 1972, at which time she also began writing for Artforum, the New York Times, Art in America, and the Village Voice, where she has written important considerations of Philip Guston's late paintings, the sculptures of Richard Artschwager, and Scott Burton's performances. Smith has written many essays for catalogues and monographs on contemporary artists, as well as on the decorative arts, popular and outsider art, design, and architecture. In 2003, the College Art Association awarded her with the Frank Jewett Mather Award for Art Criticism.Furthermore in 2019 Smith was presented a $50,000 lifetime achievement award from the Dorothea and Leo Rabkin Foundation. Due to NYT's editorial guidelines, Smith was unable to accept the cash prize and donated the entirety to the Art for Justice Fund, an organization launched by philanthropist Agnes Gund, whose goals include “safely cutting the prison population in states with the highest rates of incarceration, and strengthening education and employment options for people leaving prison.”: "Roberta Smith has been responsible for building an audience for the art of the self-taught, for ceramic art, video art, digital art, systems of re-presentation and much more. Across many traditional boundaries, she has offered a frank, lovingly detailed assessment of new art and artists to her expansive readership. Hers is a voice listened to by millions of readers."Follow @RobertaSmithNYT on Instagram and Twitter.Read www.nytimes.com/by/roberta-smith Hosted on Acast. See acast.com/privacy for more information.

On Season 4, Episode 3, Emily McElwreath sits down with Roberta Smith in her Greenwich Village home. It was a memorable fall afternoon and an episode you won't want to miss.  Roberta Smith is co-chief art critic for the New York Times. She was born in New York City, raised in Lawrence, Kansas, and earned a B.A. from Grinnell College in 1969. An alumna of the Whitney Museum Independent Study Program, she worked at the Museum of Modern Art and the Paula Cooper Gallery before becoming a professional art critic in the 1970s, contributing to Artforum and serving as a senior editor for Art in America. In 1981 she became art critic for the Village Voice, before moving to the New York Times in 1986.  theartcareer.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Roberta Smith: @robertasmithnyt Follow us: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@theartcareer⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Podcast host: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@emilymcelwreath_art⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Editing: ⁠⁠⁠⁠⁠⁠⁠⁠@benjamin.galloway⁠ The Art Career is supported by The New York Studio School

THIS WEEK on the GWA Podcast, we interview author, artist, writer, and academic, Pamela L Bannos on the very private yet supremely inquisitive street photographer who spent her days working as a nanny, VIVIAN MAIER!! Maier (1926–2009) was street photographer who has been compared to the likes of Helen Levitt or Diane Arbus. But here's the thing: despite taking pictures incessantly and amassing more than 100,000 negatives, she never published or exhibited her work in her lifetime. This is one of the most fascinating stories in art history. Maier's photographs reveal a woman who had empathy for her subjects – from children to the elderly – and who were often unaware of her presence. She famously worked with a Rolliflex camera which she would use for several decades, allowing for her signature square format, but which didn't need to be brought up to one's eye – enhancing even further how she could catch her subjects off guard. When asked about her occupation by a man she once knew, she'd say “I'm sort of a spy… I'm the mystery woman.” Tracing the people, politics, and landscape of mid to late 20th century North America, Maier's extensive oeuvre recorded life as it passed her by. And here's the thing, because she never exhibited or published her work during her lifetime, she was predominantly known for her primary role as a nanny to children in the Chicago area. So much remains to be missing, which is why I can't wait to speak to Pamela, who has looked at tens of thousands of these images; traced Maier's footsteps from the US to France, and delved into the archive in search of everything we might know about the photographer. Pamela Bannos is a professor at Northwestern University, and the author of Vivian Maier: A Photographer's Life and Afterlife, 2017: http://vivianmaierproject.com/. Here is the TV interview of her discussing the book 10 min: https://news.wttw.com/2017/10/19/new-book-focuses-life-work-mysterious-photographer-vivian-maier FURTHER LINKS! Finding Vivian Maier: https://vimeo.com/452963941 Her official website by Maloof - including portfolio of pictures: https://www.vivianmaier.com/about-vivian-maier/ NYT review of the book by Pamela Bannos: https://www.nytimes.com/2017/10/31/books/review-vivian-maier-biography-pamela-bannos.html Roberta Smith on Vivian Maier: https://www.nytimes.com/2012/01/20/arts/design/vivian-maier.html?_r=0 The New Yorker on Maloof film: https://www.newyorker.com/culture/culture-desk/vivian-maier-and-the-problem-of-difficult-women WSJ: https://www.wsj.com/articles/SB10001424052970204879004577110884090494826 Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Research assistant: Viva Ruggi Sound editing by Mikaela Carmichael Artwork by @thisisaliceskinner Music by Ben Wetherfield https://www.thegreatwomenartists.com/ THIS EPISODE IS GENEROUSLY SUPPORTED BY OCULA: https://ocula.com/

Recorded live, Monday, February, 20, 2023 / A multi generational conversation between Catherine Howe and Zachary Sitrin, with host, Sharon Butler, and guests Elizabeth Riggle, Peter Dudek, Elisabeth Condon, and Janice Caswell. We discuss what it means to spend a lifetime engaged in the solitary studio practice of painting. Episode notes: Brooklyn Rail Conversation with Rob Storr; Rob Storr's show at Kingfish Gallery in Buffalo; the story of the erased DeKooning; Roberta Smith's review of the Derrick Adams exhibition at the Flag Art Foundation. Read Two Coats of Paint here.

Film director Marie Kreutzer on her new period drama film, Corsage, about the rebellious Elisabeth, 19th-century empress of Austria and queen of Hungary. Matthew Sweet joins Front Row to mark the work of Mike Hodges, the celebrated director of the classic films Get Carter and Flash Gordon, whose death has just been announced. When does an 'art-speak' buzzword, such as 'immersive' or 'liminal,' add to our aesthetic landscape and when does it get in the way? Times critic James Marriott and the artist Bob and Roberta Smith discuss how words shape our experience of art. And, ahead of the announcement of the T.S. Eliot Prize for Poetry in January, we hear a poem from nominee Fiona Benson's shortlisted collection Ephemeron. Presenter: Tom Sutcliffe Producer: Jerome Weatherald Image: Vicky Krieps as Empress Elisabeth of Austria in the film Corsage Photographer credit: Felix Vratny

Pulitzer Prize-winning art critic Jerry Saltz joins the show to celebrate his new collection, ART IS LIFE: Icons and Iconoclasts, Visionaries and Vigilantes, and Flashes of Hope in the Night (Riverhead Books). We get into the ways his book chronicles tumultuous transformations in the art world in the 21st century, his late start (almost 40) as an art critic and how his lack of art history training affects his writing, the works of art that inspired his writing, and the transcendent joy of Jeff Koons' 43-foot-tall topiary puppy. We also talk about how a critic can try to avoid the sclerosis they're all liable to suffer, why he's the least reliable critic of Matthew Barney, why he thinks some critics are holding back on negative reviews, what it's like to attend 25-30 gallery shows a week (with his wife, the great NYT art critic Roberta Smith) and what it meant when pandemic lockdown hit. And we discuss his 35-year friendship with the late Peter Schjeldahl, his attempt at getting up to speed on classic books, his disdain for cynics and 'knowers', the artists he missed the boat on, and how art saved his life. Follow Jerry on Twitter and Instagram • More info at our site • Support The Virtual Memories Show via Patreon or Paypal

You've seen it on Instagram. It made you smile, it made you cry: the moment the other girls show up to help Aimee Gibbs from SEX EDUCATION (2019-present) get on the bus where she was assaulted. But the reason Maria, along with guests Kelly Gilbert and Nicki Morris, analyze this stunning plotline, is because Aimee's healing journey doesn't stop there, and instead continues into season 3. From the moment when Aimee's assaulted while on the bus to school until her most recent therapy session with Dr. Jean Milburn, Maria and her guests follow Aimee on her gorgeously depicted, nonlinear healing journey (so far). We also touch on the title IX activism we all took part in as college students, and the larger movement against campus sexual assault. CW: sexual assault For this episode, we recommend you first watch or have familiarity with SEX EDUCATION, but especially seasons 2-3, streaming on Netflix. FOLLOW US ON SOCIAL | instagram, tumblr, tiktok: @leftistteendrama | twitter: @leftyteendrama | website: leftistteendrama.com _ ABOUT US: MARIA DIPASQUALE (she/her; host/editor) is a Brooklyn-based union communicator and writer who watches too much TV. Follow Maria on Twitter @Maria_DiP26, IG @mdzip, and tiktok @marialovesunions. In addition to Leftist Teen Drama, Maria hosts Bodysuits For Bughead: A Riverdale Podcast | tumblr: @bodysuitsforbughead twitter: @B4B_Podcast instagram: @bodysuits4bughead KELLY GILBERT (she/her; recurring guest) is a medical worker and union/teen drama stan living in Brooklyn. Follow her @baeblade5 on insta and @yungworker69 for sporadic, unhinged tweets! NICKI MORRIS (she/her; recurring guest) is a labor communications strategist at a unionized shop! She loves cats, corn, and comrades. Her favorite teen show is Degrassi because she knows we can "make it through" with solidarity! Enjoys watching all good crime shows: The Wire, Claws, Good Girls, Killing Eve, Arrested Development. Follow her on Twitter @NickiMorris321. CHARLES O'LEARY (they/them; art) is, of course, a Brooklyn-based designer, artist, and dilettante. A survivor of the 2012-2016 Tumblr wars, media criticism is all they know. You can find their work at charles-oleary.com, and their silly little life on Instagram at @c.s.0.l. JEFF MCHALE (he/him; producer) is an extremely online guy who plays games, streams sometimes, and loves talking old TV. Maria and Jeff's good union cats CLARENCE and VINNY may make an appearance and/or be mentioned.  intro song: Stomping the Room by Delicate Beats All opinions shared on this show are that of individuals and do not represent the views of any organization we may be affiliated with. _ SOURCES DISCUSSED IN THE EPISODE:  Chanel Miller, Know My Name: A Memoir September 21, 2014, The New York Times, In a Mattress, a Lever for Art and Political Protest by Roberta Smith

Bob's book is called You Are An Artist  Tim's new platform is - Lovejoy.co.uk Contact Tim  LovejoyHour@gmail.com Twitter - @TimLovejoy Insta - @timlovejoy_official

Paolo Sorrentino's film The Great Beauty won an Oscar. Now he has returned to his home city of Naples to make a film based on his own autobiography, The Hand of God, which shows how his passion for the footballer Maradona saved his life. At the National Gallery a new exhibition, Dürer's Journey: Travels of a Renaissance Artist, looks at how the Nuremberg artist had links with the artistic flowering happening all over Europe, and how that shaped his own work and identity. The artist Bob and Roberta Smith and the literary editor Thea Lenarduzzi review the film and exhibition and give their thoughts on the week's cultural happenings. Aaron Sorkin, who has won Oscars as screenwriter for The Social Network and Molly's Game, is also a director. In his latest film, Becoming the Ricardos, Nicole Kidman plays Lucille Ball, one of the most famous and powerful television stars ever, with an audience of 60 million. Off screen she is also Lucille Ricardo, a woman in a troubled marriage, longing for a home. Presenter: Tom Sutcliffe Producer: Sarah Johnson Photo: A scene from The Hand of God, directed by Paolo Sorrentino Photo credit: Gianni Fiorito

Also I think that many people in prison, 70% of them have mental health problems, have some disorders of one sort or another. If they didn't before they went to prison, they very likely might get some mental health issue in prison.The work actually alleviates that mental distress. I think having something to do and having a sense of purpose. You're talking about getting something finished. Imagine if you have suicidal thoughts and suicide rates in prison are quite high, much, much higher than the national average and the norm. You want to finish that before you want to kill yourself. There's something, there's a purpose, right? I became a volunteer business mentor for Fine Cell Work's Open the Gate Programme a couple of years ago and so wanted to share their story with you and what they and their volunteers do to support offenders and ex-offenders. Since 1997, this charity has worked with over 7,500 prisoners training them to do high quality skills and creative stitching in their cells enabling them to earn money, skills, and self-belief. Our guide today is a woman who joined their founder in the very early days and transformed a gem of an idea into the award winner it is today.She was also awarded the OBE in 2016 for her service to the rehabilitation of offenders and collaborations include working with Ai Weiwei, Kit Kemp who's founder of the Firmdale Hotel group, Cath Kidston, Bob and Roberta Smith, and bespoke commissions includes Selfridges, Stella McCartney, Gavin Turk, the V&A, and the author. Tracy Chevalier.Hear how the charity began, the major driver for the late Lady Anne Tree (a prisoner visitor and prison rights activist) to fight for prisoners to be paid, why Katy became involved, how the charity works, where they have managed to fill the gap over the pandemic, the importance of wellbeing for offenders (75% of offenders have mental health problems), their Open the Gate Programme and much more.My book recommendation: From Bean to Bar: A Chocolate Lovers Guide to Britain ~ Andrew BakerChocolate: Booja Booja Salted Caramel TrufflesQuote: Life is like a box of chocolates, you never know what you're going to get ~ Forest Gump from the movie Forest GumpFine Cell Work Insta: @finecellworkThis is our last episode in this Series. I hope you have enjoyed the line up and questions. It would be fab to hear who you would like on the show, what you would like to hear more of, less of and none of. Just DM me via socials or ping me an email via the website. Keep an eye out for a new podcast I will be creating which launches in the Autumn. Exact date tbc.SUBSCRIBE TO OUR NEWSLETTER WITH A CHANCE TO WIN OUR H&P CHOCOLATE BAR.Don't forgot to hit follow to catch the latest episode and if you are feeling super generous I would treasure a rate and review (Apple). Do share away with any mates, neighbours, colleagues, family if you think they may gain a nugget or two of inspiration or insight.To keep up to speed with me and life with Hope & Patience join us on Insta/twitter @amelia_rope, Facebook @hopeandpatience Clubhouse: @ameliapodWorry less. Smile more. Until the next time … keep your sparkle. See acast.com/privacy for privacy and opt-out information.

In this episode, we sit down with Cher Bork and Roberta Smith of the Alagille Syndrome Alliance. We discuss how to support people with this rare condition and preview some upcoming events. To learn more about the Alagille Syndrome Alliance and its efforts visit www.alagille.org.

Do you wonder what it would take to build up a public health department in the middle of a pandemic? This week we highlight the journey of former guest Roberta Smith. Since her last appearance in April 2020, she has become the Director of Public Health in the middle of a pandemic. She was the first to speak to the audience about COVID-19 and, in a full-circle moment, was the person to administer the shot to our co-host Kyle Krueger.

Judith Scott was born on May 1st 1943 and passed away, in the arms of her twin sister Joyce, in March 2005 aged 62 years old. Not unlike Adolf Wolfli and Martin Ramirez, Scott lived a life that was broken into distinct parts, but unlike Wolfli and Ramirez it was her freedom from institutionalisation that led to her embarking on her artistic career.Judith Scott on Artsy - https://www.artsy.net/artist/judith-scottCover Image - Judith Scott. Untitled. 2004Reading ListJudith Scott – Bound and Unbound. Edited by Catherine Morris & Matthew Higgs. ISBN – 978-3-7913-5384-5Metamorphosis: The Fiber Art of Judith Scott. John M. MacGregor. ISBN - 978-0967316000Entwined: Sisters and Secrets in the Silent World of Artist Judith Scott. Joyce Wallace Scott. ISBN – 978-0807051405Judith Scott 'Cocoon'. Roberta Smith. New York Times - Art in Review - May 3rd 2002The work of (creating) art. Benjamin Fraser. Cultural Studies 24:4 - 16th March 2010Documentaries Que tienes debajo del sombrero - http://www.debajodelsombrero.org/video.php?id=1096&lang=enOutsider: The life & art of Judith Scott - https://reelabilities.org/film/outsider-the-life-art-of-judith-scott/Judith Scott's Magic Cocoons - https://www.artbrut.ch/en_GB/articles/movies/judith-scott-s-magic-cocoonsAFAM Discussion Virtual Insights: Judith Scott. American Folk Art Museum - https://www.youtube.com/watch?v=8szSesCET88Support this show http://supporter.acast.com/outsider-art-podcast. See acast.com/privacy for privacy and opt-out information.

Born and raised in New York City, Guy Richards Smit is known for his paintings, video installations, musicals and performances exploring the themes of narcissism, desire, power and failure. Using pop cultural forms such as Stand Up comedy, Pop Music, Comic Books, New York Times’ front pages and even television Sitcoms he has conveyed a sharply observant cultural and political message with philosophical observations and humor. Writing in the New York Times in 2013, Roberta Smith called his work a “ …tour de force that showcases his considerable talents for satire, stand up, endurance art and painting…” His work has been seen at Hallwalls, Buffalo NY (2018), SPRING/BREAK Art Show, NY (2016, 2017), Charlie James Gallery, Los Angeles CA (2016) The Pompidou Center, Paris (2015) and in biennials in Havana, Valencia and at ARCOMadrid in 2008 and Dublin Contemporary in 2011. Solo exhibitions include Pierogi Gallery (2014), Schroeder Romero & Shredder, New York, USA 2011; Fred [London] Ltd., London, UK 2009; Nausea 2, Premier Series, Museum of Modern Art, New York, 2004; QED, Los Angeles, CA in 2006. He has received awards including the Penny McCall Foundation Award in 2004 and the Foundation for Contemporary Art Grant in 2016 In 2016 he completed a 5 episode three camera sitcom called The Grossmalerman! Show with legendary director Joshua White (Max Headroom, Seinfeld etc) and began a suite of paintings on paper called A Mountain of Skulls and Not One I Recognize. A monograph of the project was published this month by Trela and can be purchased at www.amountainofskulls.com or at many bookstores and museums around the city. buy the book at www.amountainofskulls.com

In episode 057, Paul Holdengräber is joined by art critic Jerry Saltz. What could it look like to construct a new narrative within the art world? One that was more inclusive and reflective of humanity?Jerry and Paul discuss the inherent racism and sexism within the current art historical canon and how, across centuries, 51% of the art world hasn’t been accounted for. They also touch on the functionality of art in addressing humanity’s existential questions and the ways in which the pandemic has further revealed broken systems in our society.Jerry Saltz is the senior art critic at New York Magazine and its entertainment site Vulture.com, a leading voice in the art world at large, and an innovative user of social media. He joined the magazine’s staff in 2007, and his writing ranges from cover stories to reviews to quick online commentaries. He won a National Magazine Award for Columns & Commentary in 2015, and was a finalist for the same award in 2011.“Sometimes I see something so moving I know I'm not supposed to linger. See it and leave. If you stay too long, you wear out the wordless shock. Love it and trust it and leave.”― Don DeLillo, Underworld

Bob and Roberta Smith (pseudonym of Patrick Brill) an artist, writer, musician advocate and keynote speaker chats about funds for the arts in prison and the 5 artworks that shaped his identity.To listen to more of A Private View with Maeve Doyle listen live every Tuesday and Friday, 10 to 11am on Soho Radio's Culture channel at www.sohoradiolondon.com/player/culture. Hosted on Acast. See acast.com/privacy for more information.

Jerry Saltz is the senior art critic for New York Magazine. He speaks about how he and his wife, NYT art critic Roberta Smith, are dealing with health concerns, heading out of the city, the importance of creating and creativity in these times and much more.

Russell and Robert meet legendary art critic and writer Jerry Saltz for a feature-length special QuarARTine episode, as critical times call for critical thinking!!!!We discuss the future of art and the art world after coronavirus, what he remembers from the early 90s crash and his respect for how British artists responded and thrived. We find out why he wrote his new book 'How To Be An Artist', the decision to give up being an artist himself to drive trucks and limousines for over a decade, how he found his voice as an art critic for New York magazine and why his wife Roberta Smith is the greatest art critic of all! We explore his admiration for the work of artists like Kara Walker and Matthew Barney, a memorable trip to visit ancient cave paintings and why in Jerry's eyes art is for ANYONE!!!!Follow @JerrySaltz Instagram and @JerrySaltz on Twitter and for images of all artworks discussed in this episode visit @TalkArt. We've just joined Twitter too @TalkArtPodcast. If you've enjoyed this episode PLEASE leave us your feedback and maybe 5 stars if we're worthy in the Apple Podcast store, we love to hear your feedback!!!! Jerry's new book 'How To Be An Artist' is OUT NOW published by Octopus Books/Ilex and available to buy online at your favourite book store. Please support your LOCAL BOOK STORE!!!! Thank you for listening to Talk Art, we will be back very soon. See acast.com/privacy for privacy and opt-out information.

In the age of Rotten Tomatoes, likes, and shares, we are all critics. But a rarified few have transcended the trends and held onto a corner of the zeitgeist. No American critic has been more successful at this than New York Magazine’s Pulitzer Prize-winning art critic, Jerry Saltz. In his new book HOW TO BE AN ARTIST, he distills his life into a mission statement of sorts. On this episode we chat with Jerry from his quarantine hideout where he’s holed up with his wife, New York Times art critic, Roberta Smith.

A veritable Juddaganza: we focus on an artist who, before the coronavirus (Covid-19) forced museums and galleries to close, was set to be the subject of three exhibitions in New York this spring, Donald Judd. We talk to Ann Temkin, curator of the big survey at the Museum of Modern Art in New York, the online version of which opens at moma.org on 23 April. We meet Flavin Judd, the artist’s son, to discuss the exhibition of his dad’s work at David Zwirner, which Flavin curated, and Judd’s artistic legacy. And in a special contribution, Roberta Smith, co-chief art critic at the New York Times reads the eulogy she gave at Judd’s memorial service in 1994 for the first time since that day. Meanwhile, in the latest of our series exploring lonely works in museums that have closed due to the coronavirus, Donna De Salvo senior adjunct curator of special projects at the Dia Foundation, chooses Marcel Duchamp’s Étant Donnés, in the Philadelphia Museum of Art. See acast.com/privacy for privacy and opt-out information.

“What it Means to Write About Art features conversations with writers who average three decades of experience turning phrases that go to press with a bold, uninhibited passion for art.” Matt Hanson reviews Jarrett Earnest’s recent book, a collection of interviews with prominent art writers such as Jerry Saltz, Roberta Smith, Lucy Lippard, Rosalind Krauss, and Yve Alain Bois. Reading: Matt Hanson

The Nest is the new Sunday night drama on BBC1 that raises questions around the ethics of surrogacy as a wealthy couple invite a young woman whose past is not known to them into their lives. The Truth is a French/Japanese production directed by Hirokazu Kore-eda who won the Palme d'Or at Cannes in 2018 for his film Shoplifters. It stars Catherine Deneuve and Juliette Binoche in the story of an ageing actress who publishes her memoirs and is confronted by her daughter. Evie Wyld was named as one of Granta's Best of Young British Novelists in 2013. Her new novel, The Bass Rock, tells the story of three generations of women whose fates are linked. Two exhibitions at Compton Verney that have sadly had to close because of coronavirus are kept alive by our critics: Cranach: Artist and Innovator and Fabric: Touch and Identity. And we suggest some culture that might already be on your shelves or on a screen near you to enjoy if you're stuck indoors. Tom Sutcliffe's guests this week are Charlotte Mullins, Bob and Roberta Smith and Laurence Scott. Podcast Extra recommendations Bob: Paul Klee, On Modern Art Certain Blacks, album by The Art Ensemble of Chicago The Letters of Van Gogh Charlotte: The Gallery of Lost Art - as she explains, what's left of it can be found at galleryoflostart.com and via Tate website The West Wing Laurence: Star Trek: the Next Generation, all 7 seasons Tom: Contagion and, as always, Call My Agent Presenter: Tom Sutcliffe Producer: Sarah Johnson Image: Emily (SOPHIE RUNDLE) in The Nest Credit: Mark Mainz / Studio Lambert / BBC

2019 was a year of protests and profound change. We look back on what happened, what our guests talked about and what our listeners most responded to. Tune in to hear Ian Alteveer (the Aaron I. Fleischman curator of Modern and contemporary art at the Metropolitan Museum), Julia Halperin (the executive editor of artnet News) and host Charlotte Burns review the year—and to hear snippets from our 2019 shows featuring museum directors Nicholas Serota (formerly Tate and now the head of Arts Council England), and Max Hollein (the Metropolitan Museum of Art); The New York Times co-chief art critic Roberta Smith; artists Catherine Opie, Mickalene Thomas, Derrick Adams and Nari Ward; architect David Adjaye; Ford Foundation president Darren Walker, and more. Transcript: https://www.artagencypartners.com/transcript-74-looking-back-at-2019/ "In Other Words” is a presentation of AAP and Sotheby's, produced by Audiation.fm.

2019 was a year of protests and profound change. We look back on what happened, what our guests talked about and what our listeners most responded to. Tune in to hear Ian Alteveer (the Aaron I. Fleischman curator of Modern and contemporary art at the Metropolitan Museum), Julia Halperin (the executive editor of artnet News) and host Charlotte Burns review the year—and to hear snippets from our 2019 shows featuring museum directors Nicholas Serota (formerly Tate and now the head of Arts Council England), and Max Hollein (the Metropolitan Museum of Art); The New York Times co-chief art critic Roberta Smith; artists Catherine Opie, Mickalene Thomas, Derrick Adams and Nari Ward; architect David Adjaye; Ford Foundation president Darren Walker, and more. Transcript: https://www.artagencypartners.com/transcript-74-looking-back-at-2019/ "In Other Words” is a presentation of AAP and Sotheby’s, produced by Audiation.fm.

On the show today I’m talking with writer, curator and critic Jarrett Earnest, whose 2018 book What it Means to Write About Art assembles his conversations with thirty of the most influential American art writers. Jarrett’s interviews with figures ranging from Rosalind Krauss to Dave Hickey, Roberta Smith to Kellie Jones, and Jerry Saltz to Hal Foster trace a path through art criticism from the 1960’s up to the present moment. His subjects remind us of the diversity of thought that has defined modern art criticism. It’s truly a rare thing to find a book that offers such a plethora of ideas about how we think about and relate to art.You can find more of Jarrett’s work at www.jarrettearnest.com and on Instagram @jarrettearnest

Chris Morris's film The Day Shall Come, is a very dark comedy about a genuine FBI operation to deal with potential domestic terrorists in the USA. Man In The White Suit was one of the highly-successful Ealing Comedy films. Released in 1951, it told the story of a man who invents a revolutionary fabric. Now adapted for the stage starring Stephen Mangan in the role originally played by Alec Guinness. Zadie Smith has published a collection of short stories called Grand Union. Hogarth exhibition - Place and Progress. All of the paintings and engravings in Hogarth's series are united for the first time at the Sir John Soanes Museum in London Tom Sutcliffe's guests are Bob and Roberta Smith, Naima Khan and Stephanie Merritt. The producer is Oliver Jones. Podcast Extra recommendations: Bob and Roberta Smith - Kara Walker at Tate Modern Stephanie: Rachel Cusk - Coventry, Zadie Smith - In Defence Of Fiction, Rebecca Solnit - Whose story is this , Sinead Gleeson -Constellation, Emilie Pine - Notes to Self. Also Brooklyn 99 Naima: The Guilty on Netflix Tom: The Politician on Netflix and Jonathan Coe - Sinking Giggling Into The Sea in the LRB Main image: Marchánt Davis, The Day Shall Come Courtesy eOne / IFC Films

As art schools start their new term in the UK, this week’s episode is an education special. We talk to the artist Patrick Brill, or Bob and Roberta Smith, about his campaign for art’s place at the centre of the curriculum, often expressed directly in his art. We look at the National Art and Design Saturday Club, an initiative offering a free Saturday learning programme, founded by the designers Frances and John Sorrell. We talk to two professors at Goldsmiths College about the pressures and realities of art schools today. In the US, we talk to the co-author of a study on the benefits of art education in schools. See acast.com/privacy for privacy and opt-out information.

In this episode, Austin and Alyssa speak with Roberta Smith, the President of the Alagille Syndrome Alliance, and Dr. Kamesh Surendran of Sanford Research. Alagille Syndrome is a devastating rare genetic disorder that affects multiple organ systems. Roberta is both a parent of a child affected by Alagille Syndrome, and a tireless advocate who brings a refreshing perspective on advocacy for rare disorders. Dr. Surendran leads a team of researchers at Sanford who study developmental biology. One of the main projects of his laboratory is investigating the genetics behind Alagille Syndrome, and they seek to learn more about the kidney phenotype of the disorder. There is a ton of information in this installment of CoRDS Cast - enjoy!

The culinary arts may seem to be only nominally related to the arts, but there are more similarities between the food world and the art world than you might think. Having already examined this connection with Jerry Saltz and Roberta Smith, Dave speaks with contemporary artist Rirkrit Tiravanija, whose work literally turns cooking into art.

The culinary arts may seem to be only nominally related to the arts, but there are more similarities between the food world and the art world than you might think. Having examined this connection with Jerry Saltz earlier this year, Dave delves even deeper into these parallels with New York Times chief art critic (and Jerry’s wife!) Roberta Smith.

Youtube star/standup comedian Bo Burnham has now turned his hand to film directing and his debut work is a coming-of-age tale: Eighth Grade. It's about a 15 year old girl dealing with the trials and tribulations of high school life, discovering how the world works and why. Arthur Miller's All My Sons was his breakthrough work when it debuted on Broadway in 1947. A new production at London's Old Vic theatre stars Sally Field and Bill Pullman Lux is the latest historical novel by Elizabeth Cook, it continues her fascination with exploring classical themes; this time the story of David and Bathsheba interwoven with the life of 16th century poet Thomas Wyatt There's a new exhibition celebrating the work of film director Stanley Kubrick which has just opened at The Design Museum in London. On display are items from his personal archive directly related to his long career on groundbreaking films including 2001 A Space Odyssey, Full Metal Jacket and Spartacus Curry House Kid on Channel 4 is a documentary about Akram Khan's upbringing above a curry house and his desire to dance. it includes a new work about the world of the migrant Tom Sutcliffe's guests are Amber Butchart, Bob and Roberta Smith and Kerry Shale. The producer is Oliver Jones Podcast Extra recommendations: Bob: Sister Corita Kent at The House of Illustration Amber:Canterbury Archaeological trust the margate Caves Kerry: David Hepworth - a Fabulous Creation and Space Odyssey... by Michael Benson and After Life on Netflix Tom: documentary "Room 237"

In an article by Laura van Straaten in Vulture in November 2018 titled ‘Ten Galleries Whose founders Quit the Big City To Become Cultural Trailblazers in the Heartland’, gallery owners from a range of cities in the Midwest and South talk about operating a gallery outside metropolitan art capitals, nevertheless, traveling to art fairs in major cities to sell work. We get into the purpose of art fairs, platforms for selling art, and marketing methods, including a vivid description of the art market as a shapeshifter from a horror movie and the DIY tactic of "a thousand true fans." We wonder how the two aspects of online presence and real life interactions work together. People don’t go to galleries as much, and there has been a decline in being physically present in the same space with your peers and the public, while at the same time we have seen the rise of the art “experience” and blockbuster shows made for visitors to Instagram. "Radical Localism” from Chris Kraus’s book Social Practices has us reflecting on making political art vs making art that is inherently political by virtue of being embedded in a small, local community. The artist as worker, much like the postman, the grocer, or the hairdresser, integrated into the life of the town. (A correction to this part of the episode: Pueblo Nuevo is a neighborhood in the town of Mexicali, not the name of the town itself.) Thinking about context, and the meaning of artwork lead us to cat paintings - again - and the difference human connection makes to the experience of an artwork. It is often discouraged in contemporary art discourse as there is an understanding that the work has to be able to speak for itself and be self-contained, but identity politics is making a difference to this attitude, questioning that stance. The response to Dana Schutz’s painting “Open Casket” at the Whitney Biennial in 2017 is an example of this shift. There is a trap of the artist becoming the artwork and losing the freedom of art to go beyond what already exists, but there are layers of meaning and multiple levels of analysis possible within a single artwork. Living in a small arts community there is no choice but to be supportive of each other’s work, and that persistence instead of dismissal, can open up entirely new ways of seeing art. So, how do we act as critical support for each other? There are different modes of engagement like asking questions, encouraging the things that are successful about someone’s work, and different responses that are appropriate depending on context, be it show openings or studio visits. Links: ‘Ten Galleries Whose founders Quit the Big City To Become Cultural Trailblazers in the Heartland’ "Social Practice" by Chris Kraus "A Thousand True Fans” by Kevin Kelly. Dan Carlin’s "Hardcore History” Kelli Thompson’s cat painting “Anna and Cat” 2012. Dana Schutz’s painting “Open Casket” at the Whitney Biennial Further reading on Dana Schutz's painting: "Should Art That Infuriates Be Removed?" by Roberta Smith "The Problem With the Whitney Biennial’s Emmett Till Painting Isn’t That the Artist Is White" by Lisa Larson-Walker

Roberta “B” Smith steps back into the BEAT! studios to talk about her ‘Brunch Becomes Her’ event Sunday, March 3rd, while going back to the High School comedy, 10 Things I Hate About You!

Roberta “B” Smith steps back into the BEAT! studios to talk about her ‘Brunch Becomes Her' event Sunday, March 3rd, while going back to the High School comedy, 10 Things I Hate About You!

Roberta “B” Smith steps back into the BEAT! studios to talk about her ‘Brunch Becomes Her’ event Sunday, March 3rd, while going back to the High School comedy, 10 Things I Hate About You!

Roberta “B” Smith steps back into the BEAT! studios to talk about her ‘Brunch Becomes Her’ event Sunday, March 3rd, while going back to the High School comedy, 10 Things I Hate About You!

What were the hot topics of 2018? Host Charlotte Burns looks back on the year in this special episode, breaking down key moments in conversation with Julia Halperin (executive editor of artnet News). The broadening of the canon across markets and museums—from African American artists to outliers, from women artists to conspiracists—was a major topic for In Other Words guests last year. Another key area of focus was the future of the museum, with topics from deaccessioning to digital swarming discussed by institutional leaders in their appearances on the show, including Glenn Lowry (director, MoMA), Richard Armstrong (director, Solomon R. Guggenheim Museum and Foundation), Jessica Morgan (director, Dia Art Foundation), Michael Govan (CEO and Wallis Annenberg director, LACMA), Doryun Chong (deputy director and chief curator, M+ ), Budi Tek (founder, Yuz Museum and Foundation) and Lisa Phillips (director, New Museum of Contemporary Art). And the most popular topic of 2018? Art criticism. Roberta Smith (co-chief art critic of the New York Times) and Jerry Saltz (New York magazine's senior art critic) talked about their writing and audiences, as well as the best art being made today. Tune in to toast the year. Transcript: http://www.artagencypartners.com/podcast/podcast-highlights-from-2018/ “In Other Words” is a presentation of AAP and Sotheby's, produced by Audiation.fm.

What were the hot topics of 2018? Host Charlotte Burns looks back on the year in this special episode, breaking down key moments in conversation with Julia Halperin (executive editor of artnet News). The broadening of the canon across markets and museums—from African American artists to outliers, from women artists to conspiracists—was a major topic for In Other Words guests last year. Another key area of focus was the future of the museum, with topics from deaccessioning to digital swarming discussed by institutional leaders in their appearances on the show, including Glenn Lowry (director, MoMA), Richard Armstrong (director, Solomon R. Guggenheim Museum and Foundation), Jessica Morgan (director, Dia Art Foundation), Michael Govan (CEO and Wallis Annenberg director, LACMA), Doryun Chong (deputy director and chief curator, M+ ), Budi Tek (founder, Yuz Museum and Foundation) and Lisa Phillips (director, New Museum of Contemporary Art). And the most popular topic of 2018? Art criticism. Roberta Smith (co-chief art critic of the New York Times) and Jerry Saltz (New York magazine’s senior art critic) talked about their writing and audiences, as well as the best art being made today. Tune in to toast the year. Transcript: http://www.artagencypartners.com/podcast/podcast-highlights-from-2018/ “In Other Words” is a presentation of AAP and Sotheby’s, produced by Audiation.fm.

Ben Elton, creator of the iconic Elizabethan sitcom Blackadder II, talks about his fascination with Shakespeare, as Upstart Crow returns to BBC Two for a Shakespeare/Dickens mashup, A Crow Christmas Carol. He's also written the screenplay for All is True, a Shakespeare biopic starring Kenneth Branagh. Vanessa Kisuule reads her poem Describing Snow in the Aftermath, part of Radio 4's poetry day marking the winter solstice. As artist Olafur Eliasson installs melting ice blocks outside Tate Modern in order to highlight the dangers of climate change, Stig asks whether political art is becoming more of a call to action. With critics Jacky Klein, Jonathan Jones and artist Bob and Roberta Smith. And why has misery won out over cheer on Christmas TV in recent years? David Butcher investigates. Presenter: Stig Abell Producer: Timothy Prosser

Arts education has become the focus of a great deal of passion and concern recently, since the core, knowledge-based subjects took precedence over the creative subjects when the EBacc was introduced in England by the then Education Minister Michael Gove, announced in 2010.With the arts not being a requirement in the GCSE syllabus for the English Baccalaureate (the EBacc), leaders in the arts and the lucrative creative industries have been very vocal in their criticism of government policy.Stig Abell chairs a discussion on the subject from a state secondary school - Soar Valley College in Leicester - with leading figures in arts and education.On the panel are:Bob and Roberta Smith, contemporary artist and education advocate Deborah Annetts, Chief Executive of the Incorporated Society of Musicians (the ISM)Trina Haldar, graduate in chemistry and engineering, and director and founder of Leicester-based Mashi Theatre Branwen Jeffreys, BBC's Education EditorMark Lehain, founder (and former headteacher) of one of the first secondary Free Schools. He also leads the Parents and Teachers for Excellence campaignJulie Robinson, headteacher of Soar Valley College in LeicesterCarl Ward, Chief Exec of the City Learning Trust, a partnership of schools teaching a combined total of 6000 pupils in Stoke-on-TrentPresenter: Stig Abell Producers: Edwina Pitman and Jerome Weatherald

“By now, I'm kind of an opinion machine,” says Roberta Smith, co-chief art critic for The New York Times in this special podcast recording with our host Charlotte Burns. “I would say all art that's middling-to-great is a strike for freedom; is an expression of liberty,” Smith says. “It's somebody asserting themselves in a new way. And that kind of newness, you can hear it in jazz, you can see it in painting. Most of us have the potential for newness.” Smith, who says she once “really thought about becoming a dealer”, talks about art today and her writing. She discusses the ways in which criticism and the media have changed—though her role (“I want to help people see art and have a new appreciation of what they're seeing”) has remained essentially the same. Since she began writing in 1972, the readers have been, she says, “the engine in my work”. “Whatever gripes you have with the art world—and we all have them—it's the most open it's ever been,” she says. “I can't imagine writing in any other time than this, when there's this kind of explosion.” For this and much more, tune in today. Transcript: http://www.artagencypartners.com/transcript-roberta-smith/ “In Other Words” is a presentation of AAP and Sotheby's, produced by Audiation.fm.

“By now, I’m kind of an opinion machine,” says Roberta Smith, co-chief art critic for The New York Times in this special podcast recording with our host Charlotte Burns. “I would say all art that’s middling-to-great is a strike for freedom; is an expression of liberty,” Smith says. “It’s somebody asserting themselves in a new way. And that kind of newness, you can hear it in jazz, you can see it in painting. Most of us have the potential for newness.” Smith, who says she once “really thought about becoming a dealer”, talks about art today and her writing. She discusses the ways in which criticism and the media have changed—though her role (“I want to help people see art and have a new appreciation of what they’re seeing”) has remained essentially the same. Since she began writing in 1972, the readers have been, she says, “the engine in my work”. “Whatever gripes you have with the art world—and we all have them—it’s the most open it’s ever been,” she says. “I can't imagine writing in any other time than this, when there's this kind of explosion.” For this and much more, tune in today. Transcript: http://www.artagencypartners.com/transcript-roberta-smith/ “In Other Words” is a presentation of AAP and Sotheby’s, produced by Audiation.fm.

Clive Anderson and Arthur Smith are joined by John Lloyd, Tom Fletcher, Bob and Roberta Smith and Tiff Stevenson for an eclectic mix of conversation, music and comedy. With music from JD McPherson and Kadialy Kouyate. Producer: Tim Bano.

Back in January, William Powhida and I recorded an episode of Explain Me on the Metropolitan Museum of Art's new admission policy. Earlier that month, the museum known for housing some of the world's greatest treasures announced its admission price would no longer remain "pay-as-you-wish". As of March 1st, their suggested admission, $25 will become mandatory for anyone living outside of New York State. Children under 12 get in for free. Given that there's less than two weeks until this policy change goes into affect, we thought it might be a good time to release our discussion and revisit the debate. Because what came out of the debate, was not a picture of an institution starving for more funds, but wealthy museum with a board and President ideologically opposed to the free admission policy. Learning this changed my position, which was one initially in support of a change the museum described as an absolute necessity, to boycotting the museum for the month of March. While the admission increase doesn't affect my cost of admission, it affects that of my family and friends from out of town. It is also entirely out of step with generosity of creative spirit that brought me to this city in the first place. Over the course of the podcast, William and I discuss a large number of articles and the conclusions drawn by the authors. We go through the points rather quickly, so for those who want them at your finger tips, I've included them below. Data People These are thoughts by people we describe as "data driven". Grey Matter's Tim Schneider. Cites studies that claim cost is a secondary factor to why people visit museums. People cite lack of time and lack of transportation as major factors. Adds the caveat that structural discrimination may account for some of these factors. Colleen Dilen Schneider. The original blogger who sourced studies that claim cost is a secondary factor to why people visit museums. Expect a treasure trove of studies, over use of bolding and zero caveating. Read at your own risk. Blogs Hrag Vartanian interviews Met president Daniel Weiss for Hyperallergic. There's a lot in here, but we discuss the following points: Vartanian notes the museum's well-known $40 million deficit in the intro. Weiss says asking David Koch to pay for the Met's admissions would be inappropriate morally because the wealthy already support 75% of their budget and their current admissions is "failing". Claims a dramatic increase in visitors. Says there has been 71 percent decline in what visitors pay. Says the museum has close to a billion in endowments reserved for operations. Felix Salmon at Cause and Effect. Looks at the Met's annual reports and finds that Weiss overstates the Met's visitor numbers (which increased by 11.5 % thanks to the Met Breuer opening), and misleads the public about admissions revenue, which has actually increased by 13 %. Concludes that admissions isn't the reason the museum has the deficit. Also, notes that the Met's endowment has risen $170 million a year through investments, of which, over $100 million a year can be used for anything they want. Concludes that the Met won't suffer by making $10 million a year less because they are maintaining their "pay-as-you-wish" policy. Petitions The Met Should Remain Free For All.  Main Stream Media Jillian Steinhauer for CNN The Met Needs to Live Up To Its History and Its Public Robin Pogrebin for The New York Times reports that Weiss cites the city's plans to reduce the Met's funding as one rationale for the change. Holland Cotter at New York Times. New York residents would have to prove their residency by "carding" procedures, which he doesn't like because "it potentially discriminates against  a population of residents who either don’t have legal identification or are reluctant to show the identification they have." Roberta Smith at The New York Times. Rebukes the position that because other museums charge they should too, saying  "Actually it should be just the opposite. Pay as you wish is a principle that should be upheld and defended, a point of great pride. The city should be equally proud of it. No one else has this, although they should. It indicates a kind of attitude, like having the Statue of Liberty in our harbor. It is, symbolically speaking, a beacon."

Louis Fratino was born in 1993 in Maryland and currently lives and works in New York. He received his BFA from the Maryland Institute College of Art. He recently had solo shows at Monya Rowe Gallery in Florida, Thierry Goldberg Gallery in New York City and Platform Gallery in Baltimore, MD. His work was also recently included in group exhibitions at HILDE Gallery in Los Angeles, Harpy Gallery in New Jersey, and Thierry Goldberg Gallery in New York, NY. He also is currently in a four person show at D.C. Moore Gallery. He completed a Fulbright research Fellowship in Painting in Berlin, and has also concluded the Yale Norfolk Painting Fellowship at the Yale Summer School of Art and Music in Norfolk, CT. His work has also been featured in exhibitions at Maryland Institute of Art, Geoffrey Young Gallery, Current Space, and SessionSpace, among others. His work was recently covered by Roberta Smith in the New York Times. Brian met up with Louis at his studio in Long Island City where they discussed his time growing up in Maryland, working small and scale shifts in painting, hia time working at the Guggenheim, striving for non-thinking time and much more.

Mamet's Glengarry Glen Ross is revived at London's Playhouse Theatre, starring Christian Slater John Hamm and Geena Davis in Marjorie Prime - a film about love loss and avatars There's a new BBC TV adaptation of E M Forster's Howards End Richard Flanagan's novel First Person - his first since the Mann Booker winning The Narrow Road To The Deep North - draws on his own experience as a ghost writer. Red Star Over Russia is an exhibition at Tate Modern marking the 100th anniversary of the Russian Revolution and examining its impact on visual culture Tom Sutcliffe's guests are Bob and Roberta Smith, Charlotte Mullins and Susan Jeffreys. The producer is Oliver Jones.

Kyle Chayka is a freelance writer who writes for Businessweek, The Verge, Racked, The New Yorker, and more. “I love that idea of form and content being the same. I want to write about lifestyle in a lifestyle magazine. I want to critique technology in the form of technology, and kind of have the piece be this infiltrating force that explodes from within or whatever. You want something that gets into the space, and sneaks in, and then blows up.” Thanks to MailChimp, Audible, and Texture for sponsoring this week's episode. @chaykak kchayka.tumblr.com Chayka on Longform [02:00] Study Hall [04:30] Chayka’s Tufts Daily Archive [06:00] "Welcome to Airspace" (The Verge • Aug 2016) [06:45] "The Last Lifestyle Magazine" (Racked • Mar 2016) [17:15] "Reign, Supreme" (Racked • Jul 2016) [19:00] David Grann on the Longform Podcast [20:00] Peter Schjeldahl’s New Yorker Archive [20:15] Jerry Saltz’s New York Archive [20:15] Roberta Smith’s New York Times Archive [20:45] "Living on a Prayer" (Curbed • Apr 2016) [24:15] "Facebook’s Zuckerberg Says Fake News and Echo Chambers Didn’t Drive Election" (Sarah Frier • Bloomberg • Nov 2016) [30:45] "The Library of Last Resort" (n+1 • Jul 2016) [36:30] "Unfollow" (Adrian Chen • New Yorker • Nov 2015)

In 1912, 24 scouts from the slums of South East London set sail from Waterloo Bridge, but in a tragic accident eight drowned. Stella Duffy discusses her new novel, London Lies Beneath, in which she recreates that area of London and imagines the lives of the families involved in the months leading up to the tragedy and beyond.With news that the £21m New Art Gallery Walsall is being threatened with closure just 16 years after it opened, Bob and Roberta Smith, former artist-in-residence, gives his response.At the age of 19, Yves Klein identified the blue sky in Nice as his first artwork. It marked the beginning of an artistic career which ended with his heart attack at the age of 34. Art critic Richard Cork reviews a new exhibition of Klein's work at Tate Liverpool.Barrie Kosky's directorial debut at the Royal Opera House is Shostakovich's The Nose, based on a satirical story by Gogol, with a huge cast of singers and even more noses, all inspired, he says, by a very famous one - Barbara Streisand's.Presenter Samira Ahmed Producer Marilyn Rust.

Famous for his letter to Michael Gove, the artist Bob and Roberta Smith RA talks about the value of art in the school curriculum and the importance of visual communication since the beginning of civilisation. Bob and Roberta Smith RA founded the Art Party in 2013, a non-political organisation established to defend creativity and arts education. In this talk, the artist discusses the human experience of “making you mark” and “having your mark reproduced”. He believes in the importance of “things being graphic” and is willing to fight for art’s survival in the world today.

Famous for his letter to the then Secretary of State for Education, Michael Gove, the artist talks about the value of art in the school curriculum and the importance of visual communication since the beginning of civilisation.

@PaulDeach talks to Bob and Roberta Smith during his "All Schools should be art schools" campaign

A conversation about Emma Sulkowicz in conversation with Roberta Smith at the Brooklyn Museum. Introduced by Elizabeth A. Sackler in the flesh. (Plus audience member Gloria Steinem.)

Howard Jacobson, who won the 2010 Man Booker prize with The Finkler Question, has been nominated again for his new novel, called J, which is set in a dystopian future where people are afraid to talk about the past. Helen Lederer meets John Wilson at Dick Whittington's cat statue in London. Helen's brought the statue to life as part of a Talking Statues initiative, where 35 statues in London and Manchester will tell their own stories. The artist Bob & Roberta Smith talks about Art Party, his documentary advocating the importance of art and its place in education. It's being released in cinemas this Thursday - the same day as this year's GCSE results - and Bob & Roberta explains why. The Scottish Poetry Library has published "Tools of the Trade" a collection of poems for new doctors. One of the editors of the collection, Dr Lesley Morrison, and a newly qualified doctor, Dr Jude Fleming, discuss the place of poetry in contemporary Medicine. Image: Howard Jacobson Photo Credit: Keke Keukelaar Presenter: John Wilson Producer: Claire Bartleet.

John Wilson has news of the winner of the £100 000 Art Fund Prize for Museum of the Year, as he presents the programme live from the ceremony at the Victoria and Albert Museum, London. The 10 contenders are: BALTIC Centre for Contemporary Art, Gateshead Beaney House of Art and Knowledge, Canterbury Dulwich Picture Gallery, London The Hepworth Wakefield, Wakefield Horniman Museum & Gardens, London Kelvingrove Museum and Art Gallery, Glasgow Museum of Archaeology & Anthropology, Cambridge Narberth Museum, Pembrokeshire Preston Park Museum, Stockton-on-Tees William Morris Gallery, London John hears from each of the museums in the running, as well as speaking to the judges of the Prize, including Stephen Deuchar of the Art Fund, Bettany Hughes, Sarah Crompton and artist Bob and Roberta Smith. Maria Miller, Secretary of State for Culture, Media and Sport, discusses the current role of museums, and Ian Hislop will announce the winning museum live on the programme. Producer Ella-mai Robey.

Artist and long term East End resident Bob and Roberta Smith reads and performs a selection of stories from his film Humiliate, 1993 and other anecdotal observations of the area.

Franco Mondini-Ruiz (born 1961) is an American artist who lives and works in New York, New York and San Antonio, Texas. He is of Mexican and Italian descent. According to art critic Roberta Smith, his work "questions notions of preciousness and art-market exclusivity while delivering a fizzy visual pleasure". Mondini-Ruiz takes a variety of approaches to creating art, working in installation, performance, painting, sculpture, and short stories. [from Wikipedia http://en.wikipedia.org/wiki/Franco_Mondini-Ruiz]

Audio recordings of past Tate Britain conference, On Liberty and Art, on the 200th anniversay odf john Stuart Mill's On Liberty. with Malcolm Quinn

Audio recordings of past Tate Britain conference, On Liberty and Art, on the 200th anniversay odf john Stuart Mill's On Liberty. with Malcolm Quinn

Audio recordings of past Tate Britain conference, On Liberty and Art, on the 200th anniversay odf john Stuart Mill's On Liberty. with Malcolm Quinn