Podcasts about rothko

Send us Fan MailRabbi Samuel Klein joins Simon to discuss Korach, Salcedo and Rothko – among others! Rabbi Samuel Klein is Director of Jewish Engagement at the Jewish Federation of Greater Seattle, where he leads strategic initiatives that build meaningful connections to Jewish life. He directs the Francine R. Loeb Leadership Institute, which empowers emerging Jewish leaders in Seattle, and Reset & Refresh, a nationally scaled learning experience for mixed-heritage couples, developed in collaboration with the Jewish Federations of North America (JFNA). Rabbi Klein also currently serves as Rabbinic Advisor to Togethering, a new initiative that supports young, modern couples across North America as they explore how Jewish values, traditions, and culture can bring meaning to the lives they build together. Rabbi Klein holds advanced degrees in Theology (Cambridge University), History of Art (University College London), and Jewish Studies (Spertus Institute), and completed teaching artist training at Lincoln Center for the Performing Arts, with a focus on museum-based education. 

Critics have compared him to Henry James (Lucasta Miller, The Guardian), T. S. Eliot (Robert Douglas-Fairhurst, author of Becoming Dickens), E.M. Forster (Edmund White), and F. Scott Fitzgerald (The Daily Mail). Yet James Cahill is an author firmly anchored in the 21st-century world of complicated sexual dynamics, power plays, artifice, and art.  In his highly anticipated second novel, The Violet Hour (Pegasus Books; March 3, 2026), James Cahill unravels an intricate story about love, loss, lies, money, and art. At its center is Thomas Haller, a celebrated abstract painter, the heir to Rothko, whose luminous and increasingly turbulent works inspire reverence from some, provoke eye-rolling disdain from others, and spur bidding wars starting with figures in the multi millions. As we gradually learn, Thomas is not the genius many believe him to be—and he's hiding more than his questionable creative process.After a six-year vanishing act, Haller is returning with an exhibition of paintings in a color unlike any his avid collectors have ever seen—a soft purple, pulsing and incandescent, with a touch of silver. The show comes as a surprise to not only those obsessed with his work—including ultra-rich New York real estate mogul Leo Goffman—but also to Lorna Bedford, the gallery owner who has represented Thomas for decades, starting with his luminous Pink Paintings. Instead, Haller is making his comeback in London, at the newest gallery owned by a ruthless global dealer, Claude Berlins. At Goffman's urging—and for personal reasons—Lorna decides to fly out for the opening. Beyond their long-term business relationship, Thomas is one of Lorna's oldest and dearest friends, despite their complex, painful history.The excitement for Haller's new exhibit is shadowed by a tragedy. The night before the show, one of Galerie Claude Berlin's associate directors, a young man named Luca Holden, fell to his death from his apartment window. What seems on the surface like an unfortunate accident—or perhaps, suicide—opens up a chapter in Lorna's past that she has tried to forget. And Lorna is far from the only one in the art world affected by this shattering event.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

I denne episoden forteller jeg om utstillingen med bilder av Mark Rothko i Firenze. Du blir med meg til San Marco-klosteret, hvor vi ser både Fra Angelico og Rothkos kunst, og hvor jeg lærte å se moderne kunst på en helt ny og uventet måte. Vil du lære mer om kunsthistorie med meg, gå til kunsthistorier.no

Matt and Michael dive deep into the meaning of Jesus Christ's death and resurrection. Starting from last week's cliffhanger about whether Jesus had to die, they explore the story of Cain and Abel, the problem of human sin, and why God chose to meet humanity in its darkest place rather than simply forgive from a distance. The conversation weaves through Job, the cross as the ultimate expression of love, and why this story demands a response that other worldviews don't. They discuss Carl Jung's Answer to Job, CS Lewis's analogy of God outside of time, and why Christianity's claim of divine self-sacrifice is unique among world religions. Michael shares his experiential journey through multiple religions and why Jesus was the one that actually changed him. Matt reflects on seeing a Rothko painting at the Met and how biblical stories are interactive in a way art cannot be. The episode grapples with troubling questions: What kind of God commands slaughter? What does it mean that God justifies himself to Job? Why did God choose to die rather than simply forgive? And what does it mean that we are all Cain? Cheers y'all

durée : 00:14:57 - par : Laurent Vilarem - Dans le cadre du Festival d'Auvers sur Oise, Thierry Escaich présente un grand poème symphonique inspiré de tableaux de Renoir et Van Gogh dans la Nef du Musée d'Orsay à Paris. A l'Ircam, l'altiste Geneviève Strosser interprète une pièce de Morton Feldman imaginée d'après des toiles de Mark Rothko. - réalisation : Céline Parfenoff, Martine Mony - invités : Thierry Escaich Compositeur, organiste et improvisateur français (Nogent-sur-Marne, 1965 - ), Geneviève Strosser Altiste Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

https://soundcloud.com/rene-de-paula-jr/o-jesus-grego-que-nao-deu “The Connection To My Mother” – David Letterman's Fondest Recollection About His “Late Show” https://youtu.be/Mkv-bFvQ3Ow?si=_8PByIoT7hsi4Mi6 Mark Rothko https://en.wikipedia.org/wiki/Mark_Rothko Christie's $1.1 Billion Night Signals a Stunning Rebound for the Art Market https://news.artnet.com/market/christies-1-1-billion-sales-by-the-numbers-2774455 $1.1 Billion Christie's Auctions Shatter Records for Pollock, Brancusi, Rothko https://news.artnet.com/market/pollock-brancusi-newhouse-christies-record-2774133 O ‘Jesus grego’ que foi cancelado pelo cristianismo https://www.bbc.com/portuguese/articles/cde5e07lyrko a app do radinho!!!    http://radinhodepilha.com/radinho  canal do radinho no telegram:   http://t.me/radinhodepilha meu perfil no Threads: https://www.threads.net/@renedepaulajr meu perfil no BlueSky https://bsky.app/profile/renedepaula.bsky.social meu twitter http://twitter.com/renedepaula aqui está o link para a caneca no Colab55:  https://www.colab55.com/@rene/mugs/caneca-rarissima  para xs raríssimxs internacionais, aqui está nossa caneca no Zazzle: https://www.zazzle.com/radinhos_anniversary_mug-168129613992374138 minha lojinha no Colab55 (posters, camisetas, adesivos, sacolas):  http://bit.ly/renecolab meu livro novo na lojinha!  blue notes https://www.ko-fi.com/s/550d7d5e22 meu livro solo https://www.ko-fi.com/s/0f990d61c7  o adesivo do radinho!!!   http://bit.ly/rarissimos  minha lojinha no ko-fi: https://ko-fi.com/renedepaula/shop muito obrigado pelos cafés!!!  http://ko-fi.com/renedepaula

We’ve been doing these shows where we don’t book any guests, where we fill the hour with your calls. And your calls have been interesting and surprising and amusing. This hour, the conversation winds around to spiders, seashells and 86ing, a possible $70 million Rothko, Cinco de Mayo, Texas (and Hawaii) as its own country … Anything. (Seemingly) everything. These shows are fun for us, and they seem to be fun for you, too. So we did another one. Music featured (in order): Sunflower Waltz – Duved Dunayevsky, Susanne Ortner, Molly Reeves, Zach Valentine Side Slider – Isaia Huron Bando – Angelique Kidjo, Pharrell Williams, Quavo White Roses – Fetty Wap (feat. Divinity & Ymanie) This Can’t Be Love – Jaimee Paul Meat Machines – The Claypool Lennon Delirium Che sarà terra e sarà mare – Tosca Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.

Shain gets back from a dramatic time in Houston that also includes a passionate plea to return microwaves to hotel rooms. Seth discovers a new AI enemy and loves dive bar soup because it heals.

Children's Laureate Frank Cottrell-Boyce launches the Children's Booker Prize and discusses some of the themes of his forthcoming Waterstones Children's Laureate Lecture - The Kids Are Not Alright- which calls for the reading of physical books to made a central part of childhood. Soap writer and aficionado Sharon Marshall on how long-running television dramas are employing bold storytelling techniques to retain and attract audiences.Ukrainian Culture Minister Tetyana Berezhna on how her country's artworks have been targeted by the Russians.Poet, playwright, and musician Kae Tempest on his new novel, Having Spent Life Seeking, which centres on the character of Rothko as they search for a way to be at peace with who they feel themselves to be.Presenter: Kirsty Wark Producer: Front Row Production Team

 “The large paintings envelop the viewer and invite him or her in, it is an invitation to a self contained world where one can lose oneself and perhaps in the process find oneself. And for all their grandest of scale it is an intimate experience, a world unique to that particular encounter” - Christopher Rothko, Mark Rothko and the Inner WorldWelcome to Episode #140:In Italy, Mark Rothko (1903-1970) found what he was looking for. On a long voyage in Europe in 1950 with his wife, Rothko found himself in Florence, in the cradle of the Italian Renaissance - Today I share the story about this encounter and the shift in perspective that occurred for his painting, and the places in Italy that opened a new dialogue, a liberation of colour.Mark Rothko is currently on exhibit at the Palazzo Strozzi in Florence. There are three site specific places to see this exhibition including the Laurentian Library (Biblioteca Medicea Laurenziana) and the Museum of San Marco (Museo di San Marco) in Florence.Mark Rothko is most known for his colour field paintings, the great abstract artworks that have become iconic in modern art. Today I share about his life, the influence of Italy, and the experience of seeing a Rothko artwork in person (think rapture meets a direct experience of a unified colour field) and why you should go if you can."Rothko's art is an invitation. It is a doorway and really demands that you pay attention" - Michelle JohnstonVisit: Fondazione Palazzo Strozzi "Rothko's first encounter with Florence dates to 1950, during a trip to Italy with his wife Mell. He was deeply moved by Fra Angelico's frescoes at the Convent of San Marco and by Michelangelo's architectural vision in the Vestibule of the Biblioteca Medicea Laurenziana, which would inspire the Seagram Murals painted in the late 1950s—a dialogue that Rothko further developed during his second visit to Florence in 1966. In some of his more delicate works, one can also perceive the influence of fifteenth-century Italian art and, in particular, of Angelico's fresco technique. Rothko and Angelico shared a desire to evoke a sense of transcendence, a dimension at once distant and profoundly familiar. While Angelico achieved this through the emotional resonance of divine figures in dialogue with earthly reality, Rothko created color fields capable of accompanying viewers into different emotional depths, challenging accepted notions of abstraction and color theory" - Palazzo Strozzi, FlorenceEnjoy, Michelle xShownotes A Writer in Italy InstagramSubstack - At My TableMichelle's BooksMusical Scores by Richard JohnstonA Writer in Italy is about travel and life. A place to share the beautiful travel journeys and the discoveries along the way. Support the show

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area.  In this episode, Emily talks with San Francisco based artist Chad Hasegawa, known for his minimalist, bold abstract style. Chad grew up in Hawaii, moved to San Francisco inspired by the Mission School art movement, and studied advertising at the Academy of Art University before becoming a full-time painter. He discusses how artists like Franz Kline and Mark Rothko shaped his goal of creating work that stirs deep emotion without explanation, and how painting murals on the street — and the raw reactions from passersby — reinforced that vision. Chad is currently painting a mural on shipping containers at the entrance to the San Francisco Art Fair at Fort Mason (April 16–19) and will have a solo presentation at the Good Mother Gallery booth inside the fair. About Artist Chad Hasegawa: Chad Hasegawa is a San Francisco-based artist and a graduate of the San Francisco Academy of Art. Hasegawa's art is a quest for simplicity and emotional resonance. His approach, deeply rooted in minimalism, focuses on reducing complexity to reveal the essence of feeling and reason. Hasegawa believes in stripping away the unnecessary, leaving behind art that genuinely connects with the viewer through color and form. This process, a balance of adding and subtracting elements, aims to capture pure emotion rather than narrate stories. His work is a deep exploration into the intrinsic structures that shape our perceptions. His work is not just an artistic expression; it is a blueprint for understanding and experiencing the world. Through the lens of minimalism, Hasegawa meticulously crafts each piece to serve as a map, guiding viewers through a landscape of feelings and ideas. The essence of his art lies in this careful balance of elements - each subtraction and addition serves a deliberate purpose, ensuring that every stroke, every color, and every form contributes to the overarching narrative of emotional truth. He strips away the extraneous, focusing on the elemental to evoke a raw, unfiltered emotional response. This purity of expression allows the viewer to connect deeply with the work, engaging not just with the art but with their own inner landscapes of emotion and thought. His work reshapes our understanding of art and its purpose, emphasizing the importance of simplicity in a complex world. By removing the superfluous, his work allows us to appreciate the fundamental aspects of life and art. Hasegawa's work uniquely blends emotion and reasoning, ensuring each piece is both meaningful and emotive. When his work lacks feeling, he enriches it with emotion; when it lacks purpose, he refines it to its core. This balance is Hasegawa's signature, making his art a powerful statement in the ongoing evolution of minimal abstraction and its role in shaping our future. For more from Chad, CLICK HERE.  Follow Chad on Instagram:  @ChadHasegawa For more about the San Francisco Art Fair at Fort Mason - CLICK HERE -- About Podcast Host Emily Wilson: Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco. Follow Emily on Instagram: @PureEWil Follow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast -- CREDITS: Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson.  Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 License The Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions.  For more info, visit Go-ToProductions.com Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

I was asked a simple question: Why are there three Rothko prints behind me? That question opens into something much deeper. Mark Rothko was born Jewish, and many have tried to read his work through that lens—seeing in it echoes of the Holocaust, the Temple, or even Kabbalah. But I'm not convinced. In this video, I briefly trace Rothko's life and then set those interpretations aside—not because they're impossible, but because they may be missing something more essential. Instead, I turn to what Rothko actually said and wrote… to how he constructed his paintings… and to what decades of living with his work have taught me. This is a personal attempt to answer a different question: Not what Rothko meant—but what his paintings do. And why they continue to hold me. Michael Whitman is the senior rabbi of ADATH Congregation in Hampstead, Quebec, and an adjunct professor at McGill University Faculty of Law. ADATH is a modern orthodox synagogue community in suburban Montreal, providing Judaism for the next generation. We take great pleasure in welcoming everyone with a warm smile, while sharing inspiration through prayer, study, and friendship. Rabbi Whitman shares his thoughts and inspirations through online lectures and shiurim, which are available on: YouTube: https://www.youtube.com/channel/UC5FLcsC6xz5TmkirT1qObkA Instagram: https://www.instagram.com/adathmichael/ Podcast - Mining the Riches of the Parsha: Apple Podcasts: https://podcasts.apple.com/ca/podcast/mining-the-riches-of-the-parsha/id1479615142?fbclid=IwAR1c6YygRR6pvAKFvEmMGCcs0Y6hpmK8tXzPinbum8drqw2zLIo7c9SR-jc Spotify: https://open.spotify.com/show/3hWYhCG5GR8zygw4ZNsSmO Please contact Rabbi Whitman (rabbi@adath.ca) with any questions or feedback, or to receive a daily email, "Study with Rabbi Whitman Today," with current and past insights for that day, video, and audio, all in one short email sent directly to your inbox.

Critics have compared him to Henry James (Lucasta Miller, The Guardian), T. S. Eliot (Robert Douglas-Fairhurst, author of Becoming Dickens), E.M. Forster (Edmund White), and F. Scott Fitzgerald (The Daily Mail). Yet James Cahill is an author firmly anchored in the 21st-century world of complicated sexual dynamics, power plays, artifice, and art.  In his highly anticipated second novel, The Violet Hour (Pegasus Books; March 3, 2026), James Cahill unravels an intricate story about love, loss, lies, money, and art. At its center is Thomas Haller, a celebrated abstract painter, the heir to Rothko, whose luminous and increasingly turbulent works inspire reverence from some, provoke eye-rolling disdain from others, and spur bidding wars starting with figures in the multi millions. As we gradually learn, Thomas is not the genius many believe him to be—and he's hiding more than his questionable creative process.After a six-year vanishing act, Haller is returning with an exhibition of paintings in a color unlike any his avid collectors have ever seen—a soft purple, pulsing and incandescent, with a touch of silver. The show comes as a surprise to not only those obsessed with his work—including ultra-rich New York real estate mogul Leo Goffman—but also to Lorna Bedford, the gallery owner who has represented Thomas for decades, starting with his luminous Pink Paintings. Instead, Haller is making his comeback in London, at the newest gallery owned by a ruthless global dealer, Claude Berlins. At Goffman's urging—and for personal reasons—Lorna decides to fly out for the opening. Beyond their long-term business relationship, Thomas is one of Lorna's oldest and dearest friends, despite their complex, painful history.The excitement for Haller's new exhibit is shadowed by a tragedy. The night before the show, one of Galerie Claude Berlin's associate directors, a young man named Luca Holden, fell to his death from his apartment window. What seems on the surface like an unfortunate accident—or perhaps, suicide—opens up a chapter in Lorna's past that she has tried to forget. And Lorna is far from the only one in the art world affected by this shattering event.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-like-it-s-live--4113802/support.

Il proverbio recita “Aprile, dolce dormire”, ma per noi appassionati d’arte è un mese intenso, che richiede spostamenti nello spazio e nel tempo. Il percorso di questa puntata parte da Firenze, dove a Palazzo Strozzi è stata inaugurata una mostra dedicata a Mark Rothko e al suo rapporto con l’arte rinascimentale e la città sull’Arno. Ci spostiamo poi a Genova per la grande esposizione su Antoon van Dyck, uno dei pittori più influenti del XVII secolo, capace di fondere la tradizione fiamminga con il Rinascimento e il Barocco italiano. Tra una tappa e l’altra, irrompe in studio un artista sui generis, una figura che si distingue per un’originalità svincolata da schemi e definizioni: Antonio Marras. Tra una sfilata e l’altra, Marras crea sculture, disegni e dipinti, tanto da avere attualmente all’attivo ben tre mostre tra l’Italia e Londra.See omnystudio.com/listener for privacy information.

Non scrivere di me è l'ultimo romanzo di Veronica Raimo che esplora i confini di un'ossessione amorosa che resiste anche all'abuso. A Palazzo Strozzi, a Firenze, è stata appena inaugurata una grande retrospettiva del maestro dell'astrattismo statunitense Mark Rothko. Il testamento di Ann Lee è un film di Mona Fastvold che racconta la vita della fondatrice del movimento religioso degli shakers. Influencer e content creator misogini e omofobi sono i protagonisti del documentario Netflix Louis Theroux: dentro la Manosfera. CONVeronica Raimo, scrittriceLeonardo Merlini, giornalista di Aska News che collabora con InternazionaleMaria Sole Colombo, critica e curatrice cinematograficaGiulia Blasi, scrittrice e attivista Non scrivere di me: https://www.youtube.com/watch?v=HB_Lb56ZpwY&t=19sRothko a Firenze: https://www.youtube.com/watch?v=1ZZ0DYIkaP8Il testamento di Ann Lee: https://www.youtube.com/watch?v=041c-zpJl2M&t=1005sLouis Theoroux: dentro la Manosfera: https://www.youtube.com/watch?v=WAsnJPI1D30Ci piacerebbe sapere cosa pensi di questo episodio. Scrivici a podcast@internazionale.it Se ascolti questo podcast e ti piace, abbonati a Internazionale. È un modo concreto per sostenerci e per aiutarci a garantire ogni giorno un'informazione di qualità. Vai su internazionale.it/abbonatiConsulenza editoriale di Chiara NielsenProduzione di Claudio Balboni e Vincenzo De SimoneMusiche di Tommaso Colliva e Raffaele ScognaDirezione creativa di Jonathan Zenti

Le prime pagine dei principali quotidiani nazionali commentate in rassegna stampa da Davide Giacalone. La guerra in Medio Oriente e le divisioni politiche in Italia, gli aumenti delle bollette e dei carburanti, le riserve di petrolio e le speculazioni, la Biennale e la Russia, Bucci e il dossieraggiu . Paralimpiadi. Ci hanno raggiunto in diretta: Ambra Sabatini, atleta paralimpica, testimonial di Autostrade per l'Italia. Angelica Mastrodomenico, Capo Missione e Responsabile Preparazione paralimpica atleti italiani e Isabella Spinella, Responsabile Marketing, Digital e Brand Strategy di Autostrade per l'Italia. L'attualità politica, commentata dalla segretaria del Partito Democratico, Elly Schlein. RTL 102.5 e Gallerie d'Italia, un meraviglioso viaggio nell'arte e nella cultura del nostro Paese”, una nuova rubrica per raccontare le bellezze artistiche, i progetti culturali, i grandi festival e i restauri di un patrimonio unico al mondo. In diretta da Palazzo Strozzi, a Firenze, sono intervenuti Michele Coppola, direttore centrale Arte, Cultura e Beni Storici di Intesa Sanpaolo e direttore delle Gallerie d'Italia, e Arturo Galansino, curatore della mostra Rothko, sempre a Firenze. All'interno di Non Stop News, con Giusi Legrenzi, Lucrezia Bernardo, Enrico Galletti e Massimo Lo Nigro.

Tonight's edition features new tunes from Aleksi Perala, Rafael Anton Irisarri, Abstract Aprils, Martin Sturtzer, Mammal Hands, Rothko and much more!

Nytt poddavsnitt ute! Vi har spanat in utställningar vi drömmer om att se under 2026 – i Norden, Europa och också en i USA. Det blir allt från renässansens perfektion till performance, konst i industrimiljöer och verk som nästan aldrig lämnar sina museer.I Norden tar vi upp Basquiat – Headstrong på Louisiana i Danmark, en utställning som fokuserar på Jean-Michel Basquiats teckningar på papper från början av 1980-talet. I Oslo visas Edvard Munch & The Chocolate Factory på MUNCH, där de målningar som Munch gjorde för Freias chokladfabrik 1923 presenteras tillsammans med skisser och arkivmaterial. I Sverige finns den fasta installationen Tidens rum – Vadstena klosterkyrka 1470 på Sancta Birgitta Klostermuseum, där kyrkorummet visualiseras med hjälp av ljud, bild och digital teknik.I Europa pratar vi om Van Eyck: The Portraits på National Gallery i London, där alla Jan van Eycks bevarade porträtt visas samlade. I Florens visas Rothko in Florence på Palazzo Strozzi med två satellitutställningar, där Mark Rothkos måleri sätts i relation till den italienska konsttraditionen. På Musée d'Orsay i Paris arrangeras Mary Cassatt: The Choice of Independence, en utställning som samlar målningar, pasteller och grafik från hela hennes karriär. I Rom visas Cartier and Myths på Kapitolinska museerna, där Cartiers smycken presenteras i dialog med antikens bildvärld.I USA tar vi upp Raphael: Sublime Poetry på The Metropolitan Museum of Art i New York, den första heltäckande presentationen av Raphael som har visats i USA, med verk inlånade från samlingar i Europa och Nordamerika.Lyssna om du vill få reslust, konstlust och en lista att spara inför 2026. Finns där poddar finns eller via link i bio!Support till showen http://supporter.acast.com/konsthistoriepodden. Hosted on Acast. See acast.com/privacy for more information.

What if paint could hold fear, wonder, and the cosmos all at once? That question runs through this conversation with guest host Jamele Wright Sr., where we explore Jack Whitten's radical break from gesture and the relentless search to make painting enough on its own terms. From turning acrylic into “glass” to trapping forms on a truly flat plane, we trace how Whitten rebuilt painting through mechanics, experiment, and time in the studio.We get candid about gimmicks—when devices clarify and when they distract—and why one stunning passage can sabotage an entire canvas. A spontaneous pilgrimage to see a 10-by-10 Clifford Still became a turning point: white walls, no tricks, just a square that redefined what the work needed. That experience sets up a bigger argument for seeing art in person, where edges, drape, and surface detail can't hide behind the glow of a screen. Along the way, we connect Rothko's vertical bars, Twombly's relentless repetitions, and the sheer grind that makes a monumental gesture land with authority.Whitten's language of the spiritual, magical, and cosmic opens the door to the era's space-age curiosity and Black futurist soundtracks—Sun Ra, Funkadelic, and Earth, Wind & Fire—and to the ambition of putting “the fear of God” in paintings. We talk practice as training: ten-painting cycles, breaking boredom at eight, honest tests of scale, and letting assistants' “mistakes” become creative constraints. Color mixing from scratch, documenting stages, and cooling down after a studio crescendo all feed a process that values interiority and invites slow looking.Abstraction here isn't an absence; it's the artist's inner weather made visible. One hundred people can read the same canvas a hundred different ways, and that plurality is the point. If you're hungry to make work that holds up off-screen and in real space, this one will nudge you back to the studio and into the museum with fresh eyes. If it resonates, subscribe, share with a friend who loves painting, and leave a review to tell us what artwork last made you stop and stay.Follow Jamele at https://www.instagram.com/artthenewreligion/Send us a message - we would love to hear from you!Make sure to follow us on Instagram here:@justmakeartpodcast @tynathanclark @nathanterborg Watch the Video Episode on Youtube or Spotify, https://www.youtube.com/@JustMakeArtPodcast

When Mark Rothko visited Fra Angelico's frescoes at the convent of San Marco in Florence, he was 'overwhelmed,' recounts his son, the psychologist and writer Christopher Rothko. 'That's what he wanted for his viewer,' says Rothko, 'to look at his artwork as sources of inspiration, spirituality and contemplation.'  In the second episode of the Frieze Masters Podcast 2025, Christopher Rothko is in conversation with curator and art historian Carl Strehlke and Arturo Galansino, director general of Palazzo Strozzi, to discuss the affinity between Rothko's abstract expressionism and the Italian renaissance, ahead of a landmark show of Rothko's work in Florence in 2026.  The Frieze Masters Talks programme and the Frieze Masters Podcast are brought to you by Frieze in collaboration with dunhill 'Rothko in Florence' is on view at Fondazione Palazzo Strozzi, Florence, 14 March – 26 July 2026 About the speakers Christopher Rothko is a writer, psychologist and son of artist Mark Rothko. He has written extensively on his father's legacy. Carl Strehlke is an art historian and curator of the Philadelphia Museum of Art. They are joined by their host Arturo Galansino, art historian, curator, director general of the Fondazione Palazzo Strozzi in Florence and this year's curator of the Frieze Masters Talks programme.  About the Frieze Masters Podcast  The Frieze Masters Podcast is back for 2025, bringing you seven conversations across art history curated by Arturo Galansino (Director General of Fondazione Palazzo Strozzi in Florence).  Entitled 'Woven Histories' and recorded live at Frieze Masters 2025, this year's series features artists, curators and thinkers, whose conversations weave together geographies and chronologies, and challenge us to look at history in new and unexpected ways. Topics range from the evolving relationship between fashion and art to the role of the archive in Black history, the last Mughals and their cultural influence in India and the enduring inspiration of the old masters and renaissance art on contemporary making. Speakers include artists Tracey Emin, Glenn Brown and Antony Gormley, museum directors and curators Nicholas Cullinan, Émilie Hammen, Elizabeth Way and Carl Strehlke, and writers Edward George, Matthew Harle, Christopher Rothko and William Dalrymple.  The Frieze Masters Talks programme and the Frieze Masters Podcast are brought to you by Frieze in collaboration with dunhill. Further Information To keep up to date on all the latest news from Frieze, sign up to our newsletter at frieze.com, and follow @friezeofficial on Instagram, Twitter and Frieze Official on Facebook.   

In the late 1990s and early 2000s, Manhattan's Knoedler Gallery made about $80 million selling art by Mark Rothko, Jackson Pollock, Robert Motherwell, and other Abstract Expressionist icons. But in 2011, the truth came out: the paintings were forgeries. The buyers were scammed. Employees at the Knoedler claimed they, too, were victims. But were they actually in on the criminal conspiracy? Keep up with Conspiracy Theories! YouTube: ⁠⁠@ConspiracyTheoriesPodcast⁠⁠ Instagram: ⁠⁠@theconspiracypod⁠⁠ TikTok: ⁠⁠@conspiracy.pod Learn more about your ad choices. Visit podcastchoices.com/adchoices

Mark Rothko is known for his colorful abstract paintings of stacked rectangles with billowy borders and layered textures. His art has been auctioned for up to $186 million, but he once turned down a commission at a fancy restaurant because he felt his work wouldn’t be appreciated by the wealthy patrons there. He was raised in Portland and graduated from Lincoln High School in 1921. His first ever solo exhibition was at the Portland Art Museum, which is opening its Rothko Pavilion on November 20th. OPB Oregon Art Beat producer Eric Slade made a documentary about Rothko, and he joins us to explore what makes his work so special. Don’t forget to check out our many podcasts, which can be found on any of your favorite podcast apps: Hush Timber Wars Season 2: Salmon Wars Politics Now Think Out Loud And many more! Check out our full show list here.

Send us a textJudith Tutin - Irish-born/Cornwall-based Visual Artist & Teacher - shares her faith and her gift including growing up in a Catholic family in Ireland; how having a strong faith instilled in her allowed her to withstand Catholic scandal; how her older brothers, and spending time alone in Rome, brought her back to her faith; her parents faith example and influence on her; the meditation of praying the rosary; her passion for drawing and art as a young child; how music compliments her art and our mutual admiration for The Smiths and Morrissey; how the decaying buildings in Rome links to nature; how overthinking art can get in the way of enjoying art; an appreciation for Rothko; a vocational compromise with her parents that led to teaching art; how she decides what to put on the canvas; how her painting affects her faith; the importance of beautiful churches; if she could own one piece of art in the world, what would it be and why; and so much more! (There are a couple very brief spots in the conversation when they audio crackles)https://www.judithtutinart.com/Support the show

I hadn't planned to write a post for Wren. In fact, just yesterday I was thinking about how I could skip even writing a Substack Note, which I had been mulling over. What to say? And then I found myself returning to the interesting thing I learned earlier in the week: how the Cherokee traditional calendar ended and started in the fall, and how that made intrinsic sense to me. A time of harvest and reflection. So, I'm feeling inclined to reflect because this is the last Sleeping Animal release from a slate of several this year. As a brief recap, Sleeping Animal came about as a solution for two of my concerns: first, I was swamping my own name with too many releases, and second, I'd long feared my preoccupation with incorporating environmental recordings was seen as little more than a gimmick. So Sleeping Animal became my repository for instrumental works, destined to succeed or fail on their own birdsong-less merits. Let's turn the clock back to 1994. Having re-enrolled at the University of Oregon after a stint at community college, I was edged out of upper level fine arts courses that I needed for my degree. They were all full. The solution was Independent Study. I would pay the university for credits I needed with the minimum amount of instruction. No problem, I thought. I'd already done that in high school by completing an International Baccalaureate art portfolio, a boon to my college credit tally going in. I wanted to impress my professor/mentor, so I put a lot of hours into having what amounted to a full exhibit's worth of paintings to show at our first meeting. The oil paintings were monochromatic—raw umber primarily—using a medium to essentially mimic a watercolor technique. The subject matter was figurative, featuring simple, almost abstracted backgrounds. So there I was, in the little-used art school room I'd been using for a studio, with all my paintings spread out, only weeks into the term. I imagined my mentor would be surprised. He might say something like, “Well you've been busy!”What happened was he entered the room, said almost nothing, ranged around with a pained expression on his face, seemingly finding nothing worth examining closely, asking few if any questions, and then proclaiming in so many words that the work was thin and cartoony. Those were the words I specifically remembered anyway, because they cut. They hurt. There was not the slightest scrap of praise offered for my work ethic. If anything, it seemed like the number of paintings was taken as an affront; evidence for their thin-ness. I did not mount much of a defense, and was relieved when I was again by myself in the quiet room. In the following weeks I painted over every one of them. Though hard to hear, it was true. The paintings were essentially drawings, rendered with paint. You could see the gesso brush strokes under the washier areas. In my second act of Independent Study I turned to landscapes and still life. A little bit Rothko, a little bit Morandi. A completely different path. Now, looking at the gallery of album art that has swiftly assembled for Sleeping Animal—all monochrome and seemingly in service of a neoclassical trope—how could I not be reminded of that formative season thirty years ago?Now, in the peak of fall with my body of work on display, for all to hear, I'm drawn back to that quiet classroom in my mind. What is the verdict?Well, I'll be the first to say they all look and sound more or less the same. Having said that, it's not a matter of if you've heard one, you've heard them all. More like if you heard one and didn't find it at all useful, you can skip the others. But, isn't it like that for most artists?When I first imagined Sleeping Animal, I thought I would revisit a type of work I made that was built up with arpeggiated synthesizers. I also thought that I would leave an opening for vocals, at first just dipping my toe in those waters. Alas, I never came round to those programmed arpeggios. The vocal layers however, are a unique attribute, mixed at a whisper. I wanted them to be felt more than heard. What I'm proud of is how naive, imperfect and unvarnished these works are. And, for this first act, I'm happy that I didn't come out with arpeggiated synths blazing. The thing I prize most about them, as compositions, is how they breathe. They expand and contract. They are expressive not through dexterity or dynamics, but in their relationship to time.Now for act two! Thanks for joining me on this trip down memory lane. It only took me a few decades to be able to tell the story. Find Wren filed under Sleeping Animal today Oct. 30th, 2025 on all streaming services. I rely on word of mouth to find my audience, so if you find my music or my storytelling entertaining, useful or relatable, please do share it with someone. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit chadcrouch.substack.com/subscribe

On this episode I'm joined by Michelle Kuo, Chief Curator at Large and Publisher, of the MoMA, as we discuss Jack Whitten: The Messenger, the first comprehensive retrospective dedicated to the groundbreaking art of Jack Whitten (American, 1939–2018). The exhibition showcased more than 175 works from the 1960s to the 2010s, including paintings, sculptures, rarely shown works on paper, and archival materials to explore the depth and breadth of Whitten's near six-decade career. The show was critically acclaimed, and emotionally impactful. In the episode, Kuo describes the collaborative and intensive five-year process involved in curating the exhibition, highlighting Whitten's innovative approaches to art, his engagement with technology, and the deep emotional and historical context in his work. As Kuo describes Whitten's work alongside canonical figures such as Rothko, Picasso, and Mondrian, she more importantly references the ways in which he reconfigured art history and the abstract expressionist movement with the use of new tools and techniques. Whitten's oeuvre is marked by a courageous and uncompromising vision to resist the pressures of conformity, and instead carve his own path through abstraction. This episode emphasizes Whitten's visionary nature and the lasting legacy of his art, which continues to inspire and move audiences.Thank you to our hosts WSA Podcast Studios. --------------------------------- Follow & Subscribe Website - Sign up for the Light Work newsletter https://lightworkco.com/ Instagram - Follow Light Work on Instagram https://www.instagram.com/sadeolo/https://www.instagram.com/lightworkcompany/ YouTube - Subscribe to the Light Work YouTube Channel www.youtube.com/@lightworkco

The Trump administration froze UCLA’s roughly 800 grants, covering research into medicine, science, energy, and climate. How are scholars and the university responding? Luke Farritor, a 23-year-old tech prodigy with no government experience, is at the center of sweeping federal cuts reshaping how government works.  For about a decade, the director of the Knoedler Gallery ended up buying fake art from a Bonnie and Clyde-like duo. An FBI criminal probe and lawsuits ensued.  Garlic brings its unique aroma, pungency, heat, and sometimes mellow nuttiness to each dish you’re making.

In this episode, Tim Pilleri and Lance Reenstierna speak with author and filmmaker Barry Avrich about his new book The Devil Wears Rothko about an intense forgery scheme involving priceless art. Get the book here: ⁠https://www.simonandschuster.com/books/The-Devil-Wears-Rothko/Barry-Avrich/9798888454527⁠. ⁠https://www.amazon.com/Devil-Wears-Rothko-Inside-Scandal/dp/B0DJKYT463⁠. Watch Made You Look: https://www.netflix.com/title/81406333. Follow Barry on Instagram: https://www.instagram.com/barryavrich22/. This episode was previously published on Empty Frames. Follow Empty Frames here: Apple: https://podcasts.apple.com/us/podcast/empty-frames/id1339744456. Spotify: https://open.spotify.com/show/1cqrsklsseH378ZK8MCKte. Follow Missing: TT: ⁠⁠⁠https://www.tiktok.com/@missingcsm⁠⁠⁠. YT: ⁠⁠⁠https://www.youtube.com/missingcsm⁠⁠⁠. IG: ⁠⁠⁠https://www.instagram.com/MissingCSM/⁠⁠⁠. X: ⁠⁠⁠https://twitter.com/MissingCSM⁠⁠⁠. FB: ⁠⁠⁠https://www.facebook.com/MissingCSM⁠⁠⁠. Follow Crawlspace: X: ⁠⁠⁠https://twitter.com/crawlspacepod⁠⁠⁠. FB: ⁠⁠⁠https://www.facebook.com/Crawlspacepodcast⁠⁠⁠. IG: ⁠⁠⁠https://www.Instagram.com/Crawlspacepodcast⁠⁠⁠. TT: ⁠⁠⁠https://www.tiktok.com/@crawlspacepodcast⁠⁠⁠. Check out our entire network at ⁠⁠⁠http://crawlspace-media.com/⁠⁠⁠. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, I'm delighted to speak with Rachel Barker, a leading expert in art conservation and the founder of Rachel Barker Associates. With a career spanning decades — including over 20 years at the Tate Gallery — Rachel has restored some of the most iconic works of modern art, from Lichtenstein's Whaam! to the vandalised Rothko Seagram mural.Rachel shares her personal journey from growing up amid the Troubles in Belfast to developing a deep love of art and science that led her into the world of restoration. We explore how her early exposure to art, her academic path, and her technical skillset came together in a career that balances meticulous science with deep respect for creative legacy.Whether you're an art lover, a science enthusiast, or just curious about what goes into preserving cultural heritage, this episode will open your eyes to the unseen side of the art world.LInks;Restoring Rothko - Tate VideoConserving Roy Lichtenstein's Whaam! - Tate VideoRachel Barker - LinkedinUndercurrent Stories Links;Sign up for weekly newsletter here.Undercurrent Stories Music Playlist : Playlist made up of songs from some of our musical guests.Intro and outro music, 'Time for a Coffee'  Bob Wells © 2020Question or comment? Send us a text message.www.undercurrentstories.com

Margo and Abby catch up on emerging art fairs, AI-fueled creativity, and an unexpected Spotify collab in the latest episode of Creative Current Events, a special segment of Windowsill Chats. This round of curious and creative conversation touches on everything from practical tips for artists and makers to heartwarming stories and pop culture fun. They dig into the impact of recent tariff shifts on small businesses, celebrate alternative art fairs that uplift emerging artists, and spotlight muralists transforming both interiors and cityscapes. You'll also hear about a cross-country artist on a mission, royalty-free music with a mission, and a billion-dollar design app you probably use (but may not know the backstory of). Plus: AI tools worth trying, Stanley's branding genius with Post Malone, and what happened when a kid got too close to a Rothko. As always, there's a little something for everyone—whether you're looking for inspiration, useful resources, or just a reason to smile. Don't forget to let us know what sparked your creativity this week!   Articles Mentioned:  Tariff Chart https://www.piie.com/research/piie-charts/2019/us-china-trade-war-tariffs-date-chart   The alternative art fairs championing emerging artists https://www.wallpaper.com/art/best-art-fairs-for-emerging-artists   Murals have moved indoors https://www.nytimes.com/2025/05/13/style/murals-interiors-wall-art.html   Kreh Mellick https://www.instagram.com/krehmellick/   Murals Outdoors https://www.instagram.com/mantrarea/?hl=en   50-50 Project https://www.cheyennerenee.com   Artivive App allows augmented reality Tracy Dawn Brewer https://www.artivive.com/   7 genius chatbot prompts that will instantly boost your ideas https://www.tomsguide.com/ai/7-genius-gemini-prompts-that-will-instantly-boost-your-ideas     Child damages Rothko work at Rotterdam museum https://www.theartnewspaper.com/2025/04/29/child-damages-rothko-work-at-rotterdam-museum V & A East Storehouse https://www.vam.ac.uk/articles/about-va-east-storehouse?srsltid=AfmBOooad4l6QVnVru427Vuem0kb6PpKDh0ZLLWpF3J1AaRpxFwdgIhK   The Story of Canva https://www.instagram.com/p/DHSgugYIE02/?hl=en&img_index=1   Royalty Free Music by Moby https://mobygratis.com/   Stanley & Post Malone Collaboration https://www.stanley1913.com/collections/post-malone-stanley-collab-2025   Barilla pasta playlist https://open.spotify.com/user/w2p1oq867ns7jele6g3lw66fk Connect with Abby: https://www.abbyjcampbell.com/ https://www.instagram.com/ajcampkc/ https://www.pinterest.com/ajcampbell/   Connect with Margo: www.windowsillchats.com www.instagram.com/windowsillchats www.patreon.com/inthewindowsill https://www.yourtantaustudio.com/thefoundry

Netflix’ latest shock documentary follows the Liver King, a man who made millions selling supplements to followers of his raw meat diet. He calls it ancestral living – but is there any truth to his health claims? Helen asks Dr. Nas Al Jafari of DNA Health. Meanwhile, as new figures from Salik show a 9% rise in traffic on Dubai’s roads, engineering expert Christopher Seymour explains the infrastructure options. And after an unsupervised toddler caused untold damage to a Rothko in a Dutch gallery, should kids be banned from galleries? Curator Anna Seaman, consultant Myrna Ayad and Gareth Pyper from Repton Dubai talk it out…See omnystudio.com/listener for privacy information.

Support the show:https://www.paypal.me/Truelifepodcast?locale.x=en_USBuy Grow kit: https://modernmushroomcultivation.com/This Band willl Blow your Mind! Codex Serafini: https://codexserafini.bandcamp.com/album/the-imprecation-of-animaA museum doseAloha fellow disruptors and pop culture archeologists—Today, we're cracking open the vault of American myth-making with not just one, but three brilliant minds who aren't just studying history—they're remixing it, re-curating it, and calling it out in real time.Straight outta Christopher Newport University, meet the powerhouse crew behind the exhibit “Made for the Moment: Glimpses into American Pop Culture.” These are museum studies renegades who know that culture isn't something you passively consume—it's something you confront, question, and sometimes completely dismantle.Aster McMillion is a curator of chaos and clarity—activist, researcher, and walking collage of academia and rebellion. Picture Gloria Steinem crossed with Indiana Jones if they were dropped into a Warhol print and handed a bullhorn.Andrew Brown is a tour guide through the simulation—part art historian, part cultural codebreaker. He'll take you from Rothko to Rage Against the Machine without missing a beat, all while interrogating who gets to shape “the canon.”And now joining the fray is the brilliant Lizzie Childress—or as the revolution knows her, Lizzie. She's a triple-threat honors student, history major, political science and museum studies double-minor, and student leader of more clubs than there are TikTok trends in a day. Lizzie's not just studying curatorial power—she's practicing it in real time, zooming in live from the exhibit space itself. She's Phi Alpha Theta meets Schoolhouse Rock meets punk rock historian.Their event? A full-on excavation of the American psyche—from Elvis to drag queens, from Barbie to TikTok backlash. This isn't just nostalgia. It's a reckoning.So if you've ever questioned the gospel of Disney, longed for the days of Blockbuster, or wondered why memes feel more powerful than newspapers—this is your show.Grab your joystick. Crack your Capri Sun. We're tearing back the curtain on who's really writing the script in American culture. Support the show:https://www.paypal.me/Truelifepodcast?locale.x=en_USCheck out our YouTube:https://youtube.com/playlist?list=PLPzfOaFtA1hF8UhnuvOQnTgKcIYPI9Ni9&si=Jgg9ATGwzhzdmjkgGrow your own:https://modernmushroomcultivation.com/This Band Will Blow Your Mind: Codex Serafinihttps://codexserafini.bandcamp.com/album/the-imprecation-of-anima

In this edition of 1 Gorilla Vs. 100 Trends, Jack and Miles discuss the answer to the eternal question: who would win? 1 million men or 10,000 gorillas?, MAGA Malfoy, Character AI getting sued for being entirely too persuasive, Ben Affleck's Criterion Closet episode, the child who just ruined a $56m Rothko painting, Donald Trump wanting to be Pope and much more!See omnystudio.com/listener for privacy information.

Today, we're joined by acclaimed author and filmmaker Barry Avrich to talk about one of the most colossal art fraud cases in New York history. It all started when a woman named Glafira Rosales walked into the storied Knoedler Gallery with a painting she claimed to have been created by Mark Rothko. The ensuing fiasco ended in catastrophe for the gallery.    The Devil Wears Rothko by Barry Averich is out June 2024, and you can pre-order a copy today.   If you'd like to support The Art of Crime, please consider becoming a patron at www.patreon.com/artofcrimepodcast.  

Manuel Jabois reflexiona sobre el niño que ha arañado un cuadro de Rothko valorado en 50 millones de euros

Manuel Jabois reflexiona sobre el niño que ha arañado un cuadro de Rothko valorado en 50 millones de euros

Kids are expensive as it is.. We discuss the Rothko painting that was damaged and scratched by an unsupervised child.See omnystudio.com/listener for privacy information.

“Art is a form of prayer … a way to enter into relationship.”Artist and theologian Bruce Herman reflects on the sacred vocation of making, resisting consumerism, and the divine invitation to become co-creators. From Mark Rothko to Rainer Maria Rilke, to Andres Serrano's “Piss Christ” and T.S. Eliot's Four Quartets, he comments on the holy risk of artmaking and the sacred fire of creative origination.Together with Evan Rosa, Bruce Herman explores the divine vocation of art making as resistance to consumer culture and passive living. In this deeply poetic and wide-ranging conversation—and drawing from his book *Makers by Nature—*he invites us into a vision of art not as individual genius or commodity, but as service, dialogue, and co-creation rooted in love, not fear. They touch on ancient questions of human identity and desire, the creative implications of being made in the image of God, Buber's I and Thou, the scandal of the cross, Eliot's divine fire, Rothko's melancholy ecstasy, and how even making a loaf of bread can be a form of holy protest. A profound reflection on what it means to be human, and how we might change our lives—through beauty, vulnerability, and relational making.Episode Highlights“We are made by a Maker to be makers.”“ I think hope is being stolen from us Surreptitiously moment by moment hour by hour day by day.”“There is no them. There is only us.”“The work itself has a life of its own.”“Art that serves a community.”“You must change your life.” —Rilke, recited by Bruce Herman in reflection on the transformative power of art.“When we're not making something, we're not whole. We're not healthy.”“Making art is a form of prayer. It's a form of entering into relationship.”“Art is not for the artist—any more than it's for anyone else. The work stands apart. It has its own voice.”“We're not merely consumers—we're made by a Maker to be makers.”“The ultimate act of art is hospitality.”Topics and ThemesHuman beings are born to create and make meaningArt as theological dialogue and spiritual resistanceCreative practice as a form of love and worshipChristian art and culture in dialogue with contemporary issuesPassive consumption vs. active creationHow to engage with provocative art faithfullyThe role of beauty, mystery, and risk in the creative processArt that changes you spiritually, emotionally, and intellectuallyThe sacred vocation of the artist in a consumerist worldHow poetry and painting open up divine encounter, particularly in Rainer Maria Rilke's “Archaic Torso of Apollo”Four Quartets and spiritual longing in modern poetryHospitality, submission, and service as aesthetic posturesModern culture's sickness and art as medicineEncountering the cross through contemporary artistic imagination“Archaic Torso of Apollo”Rainer Maria Rilke 1875 –1926We cannot know his legendary head with eyes like ripening fruit. And yet his torso is still suffused with brilliance from inside, like a lamp, in which his gaze, now turned to low, gleams in all its power. Otherwise the curved breast could not dazzle you so, nor could a smile run through the placid hips and thighs to that dark center where procreation flared. Otherwise this stone would seem defaced beneath the translucent cascade of the shoulders and would not glisten like a wild beast's fur: would not, from all the borders of itself, burst like a star: for here there is no place that does not see you. You must change your life.About Bruce HermanBruce Herman is a painter, writer, educator, and speaker. His art has been shown in more than 150 exhibitions—nationally in many US cities, including New York, Boston, Washington, Chicago, Los Angeles, and Houston—and internationally in England, Japan, Hong Kong, Italy, Canada, and Israel. His artwork is featured in many public and private art collections including the Vatican Museum of Modern Religious Art in Rome; The Cincinnati Museum of Fine Arts print collection; The Grunewald Print Collection of the Hammer Museum, Los Angeles; DeCordova Museum in Boston; the Cape Ann Museum; and in many colleges and universities throughout the United States and Canada.Herman taught at Gordon College for nearly four decades, and is the founding chair of the Art Department there. He held the Lothlórien Distinguished Chair in Fine Arts for more than fifteen years, and continues to curate exhibitions and manage the College art collection there. Herman completed both BFA and MFA degrees at Boston University College of Fine Arts under American artists Philip Guston, James Weeks, David Aronson, Reed Kay, and Arthur Polonsky. He was named Boston University College of Fine Arts Distinguished Alumnus of the Year 2006.Herman's art may be found in dozens of journals, popular magazines, newspapers, and online art features. He and co-author Walter Hansen wrote the book Through Your Eyes, 2013, Grand Rapids, Wm. B. Eerdmans Publishing, a thirty-year retrospective of Herman's art as seen through the eyes of his most dedicated collector.To learn more, explore A Video Portrait of the Artist and My Process – An Essay by Bruce Herman.Books by Bruce Herman*Makers by Nature: Letters from a Master Painter on Faith, Hope, and Art* (2025) *Ordinary Saints (*2018) *Through Your Eyes: The Art of Bruce Herman (2013) *QU4RTETS with Makoto Fujimura, Bruce Herman, Christopher Theofanidis, Jeremy Begbie (2012) A Broken Beauty (2006)Show NotesBruce Herman on Human Identity as MakersWe are created in the image of God—the ultimate “I Am”—and thus made to create.“We are made by a Maker to be makers.”To deny our creative impulse is to risk a deep form of spiritual unhealth.Making is not just for the “artist”—everyone is born with the capacity to make.Theological Themes and Philosophical FrameworksInfluences include Martin Buber's “I and Thou,” René Girard's scapegoating theory, and the image of God in Genesis.“We don't really exist for ourselves. We exist in the space between us.”The divine invitation is relational, not autonomous.Desire, imitation, and submission form the core of our relational anthropology.Art as Resistance to Consumerism“We begin to enter into illness when we become mere consumers.”Art Versus PropagandaCulture is sickened by passive consumption, entertainment addiction, and aesthetic commodification.Making a loaf of bread, carving wood, or crafting a cocktail are acts of cultural resistance.Desire“Anything is resistance… Anything is a protest against passive consumption.”Art as Dialogue and Submission“Making art is a form of prayer. It's a form of entering into relationship.”Submission—though culturally maligned—is a necessary posture in love and art.Engaging with art requires openness to transformation.“If you want to really receive what a poem is communicating, you have to submit to it.”The Transformative Power of Encountering ArtQuoting Rilke's Archaic Torso of Apollo: “You must change your life.”True art sees the viewer and invites them to become something more.Herman's own transformative moment came unexpectedly in front of a Rothko painting.“The best part of my work is outside of my control.”Scandal, Offense, and the Cross in ArtAnalyzing Andres Serrano's Piss Christ as a sincere meditation on the commercialization of the cross.“Does the crucifixion still carry sacred weight—or has it been reduced to jewelry?”Art should provoke—but out of love, not self-aggrandizement or malice.“The cross is an offense. Paul says so. But it's the power of God for those being saved.”Beauty, Suffering, and Holy RiskEncounter with art can arise from personal or collective suffering.Bruce references Christian Wiman and Walker Percy as artists opened by pain.“Sometimes it takes catastrophe to open us up again.”Great art offers not escape, but transformation through vulnerability.The Fire and the Rose: T. S. Eliot's InfluenceFour Quartets shaped Herman's artistic and theological imagination.Eliot's poetry is contemplative, musical, liturgical, and steeped in paradox.“To be redeemed from fire by fire… when the fire and the rose are one.”The collaborative Quartets project with Makoto Fujimura and Chris Theofanidis honors Eliot's poetic vision.Living and Creating from Love, Not Fear“Make from love, not fear.”Fear-driven art (or politics) leads to manipulation and despair.Acts of love include cooking, serving, sharing, and creating for others.“The ultimate act of art is hospitality.”Media & Intellectual ReferencesMakers by Nature by Bruce HermanFour Quartets by T. S. EliotThe Archaic Torso of Apollo by Rainer Maria RilkeWassily Kandinsky, “On the Spiritual in Art”Amusing Ourselves to Death by Neil PostmanThings Hidden Since the Foundation of the World by René GirardThe Art of the Commonplace by Wendell BerryAndres Serrano's Piss ChristMakoto Fujimura's Art and Collaboration

Welcome back to the 225th episode of The Cup which is our a weekly (give or take, TBD, these are unprecedented times) performing arts talk show presented by Cup of Hemlock Theatre. With the theatres on a come back we offer a mix of both reviews of live shows we've seen and continued reviews of prophet productions! For our 225th episode we bring you a Duet Review revisiting John Logan's Red, presented by Riot King, directed by Kenzia Dalie, starring Lindsay Merrithew as Rothko and Brendan Kinnon as Ken. Join Mackenzie Horner and Jillian Robinson, as they discuss the importance of authentic character interpretation, enticement of sensory performance, and the timeless resonance of art. Red is playing at The Theatre Centre (1115 Queen St W, Toronto, ON) until April 6th, 2025. Tickets can be purchased from the following link: https://theatrecentre.org/event/red/ This review contains many SPOILERS for Red. It will begin with a general non-spoiler review until the [11:50] mark, followed by a more in-depth/anything goes/spoiler-rich discussion. If you intend to see the production, we recommend you stop watching after that point, or at least proceed at your own risk. Follow our panelists: Mackenzie Horner (Before the Downbeat: A Musical Podcast) – Instagram/Facebook: BeforetheDownbeatApple Podcasts: https://apple.co/3aYbBeNSpotify: https://spoti.fi/3sAbjAuJillian Robinson – Instagram: @jillian.robinson96 Follow Cup of Hemlock Theatre on Instagram/Facebook/Twitter: @cohtheatreIf you'd like us to review your upcoming show in Toronto, please send press invites/inquiries to coh.theatre.MM@gmail.com

“Fiume o Morte!” Brilliantly Dramatizes the Rise of a Demagogue http://newyorker.com/culture/the-front-row/fiume-o-morte-brilliantly-dramatizes-the-rise-of-a-demagogue (via ChatGPT) D'Annunzio, Mussolini, Fascism https://chatgpt.com/share/67ee68e1-f73c-8006-9a9a-b12abb23a1f0 MARK ROTHKO & THE FOUR SEASONS – WHEN ART MEETS INTEGRITYIn 1958, Mark Rothko accepted a lucrative commission to paint murals for The Four Seasons restaurant in New York.But after dining there, he was disgusted by the excess ... Read more The post o grande Não de Rothko, a poesia, a arte e a filosofia… e o Fascismo appeared first on radinho de pilha.

Kevin Weisner and Lukas Bentel are the Chief Creative Officers of MSCHF, the subversive Brooklyn-based art collective known for “drops” like the Big Red Boots, Key4All, Tax Heaven, Satan Shoes and more. They join us to discuss their new book, "Made By MSCHF", the importance of creative antagonists, defending Rothko, never having KPIs, virality is cheap and hating on golf. Hosted on Acast. See acast.com/privacy for more information.

Christopher Rothko never thought he would have a career in the art world but he has become the driving force behind preserving his father, painter Mark Rothko’s, legacy. Christopher along with his sister Kate are the copyright holders to their father’s work and oversee exhibitions of Mark Rothko paintings around the world. With a background in clinical psychology, Christopher is also known for his writing about his father's art, life, and legacy, as well as his own reflections on the emotional and philosophical aspects of Mark Rothko’s paintings. Through his books and public work, Christopher has enabled the art of Mark Rothko to continue to resonate with audiences worldwide.See omnystudio.com/listener for privacy information.

ABOUT LOUISA WHITMORE:TIK TOK: LOUISA'S BIO:Louisa Whitmore is an architecture content creator on TikTok with over 350K followers, as well as the host of the cable television documentary series “The Nature of Design.” A former commentator for the USModernist podcast, Whitmore has also worked as a live radio host and PSA producer at CHMA 106.9FM, the local radio station at Mount Allison University, where she's currently an honors student studying international relations and French. She enjoys telling stories, and is passionate about sustainable design.SHOW INTRO:Welcome to the NXTLVL Experience Design podcast.EPISODE 75… and my conversation with Louisa Whitmore. On the podacast our dynamic dialogues based on our acronym DATA - design, architecture, technology, and the arts crosses over disciplines but maintains a common thread of people who are passionate about the world we live in and human's influence on it, the ways we craft the built environment to maximize human experience, increasing our understanding of human behavior and searching for the New Possible.    he NXTLVL Experience Design podcast is presented by VMSD Magazine part of the Smartwork Media family of brands.VMSD brings us, in the brand experience world, the International Retail Design Conference. The IRDC is one of the best retail design conferences that there is bringing together the world of retailers, brands and experience place makers every year for two days of engaging conversations and pushing the discourse forward on what makes retailing relevant. You will find the archive of the NXTLVL Experience Design podcast on VMSD.com.Thanks also goes to Shop Association the only global retail trade association dedicated to elevating the in-store experience. SHOP Association represents companies and affiliates from 25 countries and brings value to their members through research, networking, education, events and awards. Check then out on SHOPAssociation.orgLouisa Whitmore is a TikTok creator phenom whose content is about architecture. With almost 400 thousand followers her no holds-barred, straight from the heart and to the point commentary about the buildings she loves and loves to hate, brings a user experience point of view and accessible critique into the mainstream.We'll get to all of that in a moment but first though, a few thoughts…                  *                                  *                                  *The great thing about doing this podcast is it gives me an opportunity to rethink some of the assertions that have held to be true and cross check whether in fact they are immutable or whether there is room for challenging myself and maybe digging into some subtleties and nuances… and seeing things a different way.Like for example the idea of criticism – who does it and its value…I have to admit I haven't been particularly fond of the idea of critics for a very long time. This would be generally true of the kind who dole out the negative kind of commentary.Years ago when commenting on something, I think it was some art piece, and my son said to me “…dad why is it that you never really say you hate anything…”which I sort of thought was kind of funny then. I think I responded “…well because I don't really hate anything… I try to always view things from the other side - a different point of view. I try to get beyond the visceral reaction and look to design principles and comment from a place of applying principles to the work and see how they line up…and then make a comment that is based yes on whether I simply like it, the colors, shapes, energy, feeling , may be a message it is trying to impart AND  whether I can see the value in it based on principles determined to be generally accepted by experts in the domain…” so yeah I don't really hate things…If I apply the idea of casting judgement on art, music, architecture… it got me thinking… again…What is the value of judgement? Is it to determine the appropriateness of something to a particular context or challenge?I have my favorite architects and artists and musical performers, I like different styles and periods. But I don't listen to heavy metal (though my sons love it). I don't know that I can say that I hate it. Perhaps I just don't understand it and maybe if I did, it still wouldn't jibe with me.It just doesn't go in my body well. It's a sensory mismatch.I don't hate it – It makes me agitated. So, I just don't listen to it. And I guess you could say the same thing for certain genres of art.For example… I'm not particularly crazy about a lot of contemporary art.I have a hard time understanding a performance artist dipping her hair in paint and swinging aloft from a rope while her hair drags across a canvas and the painting while on lookers wrapped in dimly lit light bulbs stand slightly by  selling for millions of dollars… it isn't something I quite get. And I know that authorized replicas of the Marcel Duchamp sculpture called the “Fountain” - which is a urinal - sell for somewhere between 3 and $4 million each and here's the kicker... apparently because the original has been lost the financial the value of the original piece is unknown and might be considered as being priceless. I don't know… it sort of leaves me just trying too hard... knowing I'm falling profoundly short of ascending to the intellectualized rarefied air that somehow makes this sort of thing makes sense. And I also suspect that if I'm voicing these concerns or questions that I am likely to get a lot of people commenting that my remarks point out my ignorance, that I just don't understand and I would …well…agree with them.I'm ok with that. Really.And I think I'm not alone in this category of not understanding contemporary art and the extraordinary prices that contemporary art paintings fetch at auctions and then again maybe if I did, I still wouldn't spend $25 million on a Rothko painting.The thing about critics, I think, is that we entrust these individuals with being in the know, of having deep insight, knowledge or experience into the making of the art. That these are people who understand its value and relevancy to culture and somehow able to unfold the deep meaning in the work whatever format the creativity comes in and to bestow upon us their opinion as if it is fact.The challenge of course is that I think there may be an ignorance in the public and that the deeper inner meaning of things is somehow held in reserve for the creators of the work or select few who follow it.But I've always had a challenge with the idea that the critic seems to have the extraordinary power to completely destroy the creative work as well as raise it to high levels of adulation and praise.I think that in some ways we have come to trust to the critic as certainly knowing more than we do and therefore what they say about a particular piece of art or architecture should be taken as truth and the presumed value of the creation lies in whether their commentary is positive or negative.How many people have not gone to see a movie because it only got 2 stars… and who said it should only have two stars?Maybe I would have found the comedy hilarious… but not the critic.I often don't even check reviews by the masses on restaurant or hotel booking sites and if I do read the reviews, I do it very carefully. I look to see what it was that these people did or didn't like. What it was that made their experience a must see or a definite red tomato. Personally, I dig to see if there is anything at a lower level that suggests what was driving the positive or negative review? What it was in this message that this particular critic is trying to convey?I've often thought that to be able to criticize art or other forms of creative invention you'd have to understand what it was the maker was intending to convey.You'd have to understand the basic ideas, for example, of composition to be able to determine whether a Jackson Pollock or a Kandinsky or a Basquiat was worth all the fuss and on what basis you were making the comments about the work.I guess it's not all critics that I have a problem with but maybe more those who simply present negative opinions. And it's not like I should even care that critic X didn't like thing Y. It was their opinion. Okay so they have an opinion. The challenge is the uninformed may come to accept the opinion as fact and turn away from somethings simply because some one says its not good.I guess the role of the professional critic is to study and assess the value of a creative work and pass judgment on the product based on facts and logical assertions. This is kind of like knowing a bit about composition before offering an opinion the write something off.It seems to me that the idea of a critic is to connect ideas, arrive at reasonable conclusions and perhaps open avenues for discussing new directions and fostering an awareness of ideas and cultural trends.It also seems to me that the role of the critic is to challenge our general assumptions about things to get us to look more deeply at our assertions and to get us to not simply accept things at face value but to continue to search for excellence, challenge the status quo, in all of the things that we bring into the world so that we don't fill it with the mundane or banal.There's something about the critic as ‘educator' - increasing our collective level of understanding of things, pointing out where things might likely be improved and offering positive commentary on what might be a series of next steps in order to develop the output and make it better - that I align with.And I know that the idea of making it ‘better' is full of all manner of subtext and necessity to consider contextual considerations… ‘better' for whom, for what and why?And maybe this is where I mostly land on the idea of the value of the critique is that of using constructive criticism for the value of enhancing people's understanding of a particular subject or giving the creator tools to go back to the drawing board, so to speak, and make it better.Jazz master saxophonist David Liebman wrote a concise piece on his website called “The Critic Dilemma: Criticism vs. Review”. He describes many of the same ideas about who's making he comments, are they objective facts or subjective opinions, and why should we trust one critic's opinion over another? Liebman differentiates between critique and a review:“…When the writer's opinion and taste is the focal point, this constitutes a critique. On the other hand, a review should be the dissemination of information with the desired intention being elucidation. The idea is that with this information, the listener is equipped to form his own opinion…”.And this is where this episode's guest Louisa Whitmore begins to fit into the story.When Louisa was 16 years old she began to share architecture commentary on Tik Tok. She blew up the social media sphere with posts that were personal and occasionally pointed. She came at her critiques of buildings not from the expert or architectural practioner point of view but from that of the user, the general public mindset.She didn't profess to be a building expert, to have deep knowledge in construction but rather to simply be part of the general public who experienced the built environment every day but who had little to nothing to do with how buildings got there in the first place.Her negative commentary on 432 Park Avenue - the luxury condo building designed by Rafael Viñoly and SLCE Architects – lit up the digisphere with 100s of thousands of followers lining up behind her to voice their impressions of this building. Most of them not very good I might add. Which was actually ok since there was a ton of press – not particularly good I might add – about problems with the building. Now, Louisa didn't know about these issues about the engineering, the building swaying (which would be natural by the way) and other problems but felt vindicated nevertheless with the press that effectively substantiated her intuitive feelings about this super-tall condo on the Central Park's edge.I see her posts more like David Leibman's construct of the ‘Review' – “…that with this information, the listener is equipped to form his own opinion…”.And opinions her followers had. 1000's of them.In the spirit of “…the dissemination of information with the desired intention being elucidation…” Whitmore turned her attention to projects thatfocused on Biophilia and how buildings with ample integration of plants seemed to simply feel better. Her noteriaty on Tik Tok, articulate whit, intuition and ability to articulate the ‘person on the street's' perception of the built environment, landed her the role as host of “the cable television documentary series “The Nature of Design”.Over the course of a number of episodes Whitmore tours properties talking about biophilic principles and with the support of a variety of experts ranging from architects to neuroscientists she dives into the science of how buildings with a biophilic approach effect our well-being…Whitmore is called a teenage architecture critic. While her rise on social media platforms may have been based on the building she loved to hate, it seems that she is using her notoriety to review and elucidate…. ABOUT DAVID KEPRON:LinkedIn Profile: linkedin.com/in/david-kepron-9a1582bWebsites:  https://www.davidkepron.com    (personal website)vmsd.com/taxonomy/term/8645  (Blog)Email: david.kepron@NXTLVLexperiencedesign.comTwitter: DavidKepronPersonal Instagram: https://www.instagram.com/davidkepron/NXTLVL Instagram: https://www.instagram.com/nxtlvl_experience_design/Bio:David Kepron is a multifaceted creative professional with a deep curiosity to understand ‘why', ‘what's now' and ‘what's next'. He brings together his background as an architect, artist, educator, author, podcast host and builder to the making of meaningful and empathically-focused, community-centric customer connections at brand experience places around the globe. David is a former VP - Global Design Strategies at Marriott International. While at Marriott, his focus was on the creation of compelling customer experiences within Marriott's “Premium Distinctive” segment which included: Westin, Renaissance, Le Meridien, Autograph Collection, Tribute Portfolio, Design Hotels and Gaylord hotels. In 2020 Kepron founded NXTLVL Experience Design, a strategy and design consultancy, where he combines his multidisciplinary approach to the creation of relevant brand engagements with his passion for social and cultural anthropology, neuroscience and emerging digital technologies. As a frequently requested international speaker at corporate events and international conferences focusing on CX, digital transformation, retail, hospitality, emerging technology, David shares his expertise on subjects ranging from consumer behaviors and trends, brain science and buying behavior, store design and visual merchandising, hotel design and strategy as well as creativity and innovation. In his talks, David shares visionary ideas on how brand strategy, brain science and emerging technologies are changing guest expectations about relationships they want to have with brands and how companies can remain relevant in a digitally enabled marketplace. David currently shares his experience and insight on various industry boards including: VMSD magazine's Editorial Advisory Board, the Interactive Customer Experience Association, Sign Research Foundation's Program Committee as well as the Center For Retail Transformation at George Mason University.He has held teaching positions at New York's Fashion Institute of Technology (F.I.T.), the Department of Architecture & Interior Design of Drexel University in Philadelphia, the Laboratory Institute of Merchandising (L.I.M.) in New York, the International Academy of Merchandising and Design in Montreal and he served as the Director of the Visual Merchandising Department at LaSalle International Fashion School (L.I.F.S.) in Singapore.  In 2014 Kepron published his first book titled: “Retail (r)Evolution: Why Creating Right-Brain Stores Will Shape the Future of Shopping in a Digitally Driven World” and he is currently working on his second book to be published soon. David also writes a popular blog called “Brain Food” which is published monthly on vmsd.com. The next level experience design podcast is presented by VMSD magazine and Smartwork Media. It is hosted and executive produced by David Kepron. Our original music and audio production by Kano Sound. The content of this podcast is copywrite to David Kepron and NXTLVL Experience Design. Any publication or rebroadcast of the content is prohibited without the expressed written consent of David Kepron and NXTLVL Experience Design.Make sure to tune in for more NXTLVL “Dialogues on DATA: Design Architecture Technology and the Arts” wherever you find your favorite podcasts and make sure to visit vmsd.com and look for the tab for the NXTLVL Experience Design podcast there too. The next level experience design podcast is presented by VMSD magazine and Smartwork Media. It is hosted and executive produced by David Kepron. Our original music and audio production by Kano Sound. The content of this podcast is copywrite to David Kepron and NXTLVL Experience Design. Any publication or rebroadcast of the content is prohibited without the expressed written consent of David Kepron and NXTLVL Experience Design.Make sure to tune in for more NXTLVL “Dialogues on DATA: Design Architecture Technology and the Arts” wherever you find your favorite podcasts and make sure to visit vmsd.com and look for the tab for the NXTLVL Experience Design podcast there too.

A badly needed splash of colour this week as Phil & Laura take a deep dive into a Rothko work which sold in 2012 for the staggering sum of $87 million. Just what lies behind those famous, vibrant rectangles... Support the show

In this provocative episode of "So You're Living in a Simulation," hostess Joli (@joli.artist) challenges our understanding of madness, genius, and what it truly means to be free. Through the lens of artistic evolution - from Picasso to Rothko - she explores how what society labels as "losing one's mind" might actually be the most sane response to an insane world.Drawing from personal experiences in London's real estate market to profound philosophical insights, Joli argues that true madness isn't in breaking free from societal norms, but in spending decades imprisoned by the imagined thoughts of others. She redefines what it means to "lose your mind," suggesting that deliberate liberation from societal conditioning differs fundamentally from losing control of one's mind.Using references from Vikings to The Matrix, she weaves together a compelling argument about determinism, free will, and the nature of reality itself. The episode offers practical wisdom on choosing response over reaction, maintaining authenticity in a conformist world, and finding freedom within life's inherent constraints.This deeply personal yet universally relevant exploration challenges viewers to question their own mental prisons and consider: What would life look like if we stopped caring about the uncontrollable and started living authentically? As your "one black friend," Joli brings a unique perspective to these timeless philosophical questions, making complex ideas accessible through storytelling and real-world applications.Explore the thin line between genius and madness, where losing your mind might just be the sanest thing you can do.Tags: philosophy, art, consciousness, freedom, society, determinism, authenticity, mental health, creativity​​​​​​​​​​​​​​​​---Joli invites you to question the rules you follow, let go of fear, and discover what it means to live a life that's truly your own. This episode is about finding clarity, freedom, and the courage to embrace who you really are.youroneblackfriend.com --- Timestamps: 00:00 – Introduction 03:01 – The Thin Line Between Genius and Insanity 05:02– How Fear of Judgment Shapes Our Lives 15:32 – Sovereignty in a World of Expectations 28:57 – Free Will, Destiny, and Living Authentically 42:29– Can You Lose Your Mind Sanely? --- Key Explored Questions: 1. How does fear of judgment stop us from being ourselves? 2. Why do artists rebel against rules and expectations? 3. Can we truly live freely, or is everything predetermined? 4. What does it mean to live authentically in today's world? 5. How can letting go of societal pressure lead to personal freedom? 6. Is rebellion part of the system or a path to true freedom? --- #ArtFreedom #FearlessLiving #Authenticity

Rothko croissants, records like old trees, cave-age slowcore. The French musician and artist discusses three important albums.Félicia's picks:Morton Feldman – Rothko Chapel  | Why Patterns?Robert Ashley – Private PartsLow – I Could Live In HopeFélicia's latest album, Space As An Instrument, is out now on Shelter Press. Check it out here. Her website is here and she's also on Instagram.Donate to Crucial Listening on Ko-fi: https://ko-fi.com/cruciallistening

Please visit breakerwhiskey.com for more information or to send a message to Whiskey's radio. Breaker Whiskey is an Atypical Artists production created by Lauren Shippen. If you'd like to support the show, please visit atypicalartists.co/support. If you'd like to send Whiskey a message, click here. ------ [TRANSCRIPT] Hello Whiskey. Ohh, that feels weird. Like… sending a message to your best friend but… also to a celebrity that has no idea you exist. I must sound a little crazy. And maybe I am. You'd probably go a little crazy down here, too.  Anyway, I don't think I've actually gone crazy, pretty sure I read somewhere that if you're still able to think about whether or not you are, then you aren't. I think therefore I am not crazy? I don't know. I don't think any of my transmissions are getting through, anyway. Or maybe they are and you're just… ignoring them. That… that hurts more, I think. Knowing that someone else is out there and they don't want to talk to you. Or maybe they're getting trapped somewhere between here and the surface. I don't think it's because they sound crazy or anything – I listened back to them to be sure. That was weird, hearing my own voice. The sound was… foreign. A stranger.  I know your voice better than my own, now. I could pick it out of thousands of radio signals. Couldn't even recognize my own played back to me. But then it's not like I've had much to say these past… seven years? I think it's been seven. I stopped counting the days a while ago. Just got… depressing. All those… plain white concrete walls covered in tally marks. (Cheering) But now my walls look beautiful. I've been transcribing everything you've said – I have tapes of every broadcast, and I've written down every word. Pasted them up on my walls. And I haven't used my paints in years – even… even before all of this, but… they needed a little colour.  I started by making my own notes in red, and then your locations in green, for the landscape, and Birdie's messages in blue. Like a bluebird. And all the people you talked about - Don's rust, Richie's yellow, Pete's green – not like the landscape, but like… money. Like the colour that I remember money being, at least. And Harry was… well. I had decided her colour back when I thought she had hurt you – and she had, of course, but I mean… back when I thought she did it for the sake of it.  So I gave her this… yellow-orange colour. And knowing what I know now, I feel… a little bad about that. I wish I'd given her a prettier one. But maybe she would like it. It's not terrible. Sort of a… sunny orange. Like the colour that I remember the sun being, at least. Anyway, every… every rainbow needs some sun, right? And their names… they make a rainbow. (Tearing up) You brought that rainbow back into my life, Whiskey. Seven years of white walls, and now there's colour. Seven years of silence, and you bring back sound. Seven years of isolation and desolation and hopelessness… and you bring back… me. You mentioned liking Rothko, back on… (checks) transmission 179. I mean, I'm no Rothko, obviously, but… I suppose he won't mind if I take a little inspiration from him So Whiskey… you can call me ‘Red'.  

Philosopher, Simone Weil said that attentiveness is the heart of prayer. In this episode, we discuss postures of attentiveness as gateways to wonder.Guests: Dr. Mary McCampbell is an author, educator, and speaker whose publications span the worlds of literature, film, and popular music. She is the author of Imagining Our Neighbors as Ourselves: How Art Shapes Empathy.Dr. Joe Kickasola is a Professor of Film and Digital Media at Baylor University. He is the author of The Films of Krzysztof Kieślowski: The Liminal Image, and has published in numerous academic venues and anthologies, including Film Quarterly, The Quarterly Review of Film and Video, and The Routledge Companion to Philosophy and Film. _____Topics: Attentiveness, cynicism, receptivity, humility, consumerism, experiencing wonder during times of upheaval, Art Forms: filmmaking, photography, literature. Name Drops: Douglas Copeland, G.K. Chesterton, Jim Jarmusch, Terrence Malick, T.S.Eliot, Wallace Stevens, Andrei Tarkovsky, Andrey Rublev, Rothko, Stan Brakhage, Virginia Wolfe, David Foster Wallace, Movie References: Patterson, Tree of Life, Zabriskie Point Support The Podcast! We need your help to continue our work of advocating for the arts.Join our creative collectiveGive a one-time donation

While he may technically practice as a photographer, artist, and architect, Hiroshi Sugimoto could also be considered, from a wider-lens perspective, a chronicler of time. With a body of work now spanning nearly five decades, Sugimoto began making pictures in earnest in 1976 with his ongoing “Diorama” series. In 1980, he started what may be his most widely recognized series, “Seascapes,” composed of Rothko-esque abstractions of the ocean that he has taken at roughly 250 locations around the world. In more recent years, Sugimoto has also built a flourishing architectural practice, designing everything from a café in Tokyo to the currently-under-construction Hirshhorn Sculpture Garden in Washington, D.C. As with his subtly profound work, Sugimoto bears tremendous wisdom and is regarded by many as one of the most deeply perceptive minds and practitioners at the intersection of time and art-making.On the episode, he discusses his pictures as fossilizations of time; seascapes as the least spoiled places on Earth; and why, for him, the “target of completion” for a building is 5,000 years from now.Special thanks to our Season 9 presenting sponsor, L'École, School of Jewelry Arts.Show notes:Hiroshi Sugimoto[5:10] Pre-Photography Time-Recording Devices[39:05] “Theaters”[15:06] “Seascapes”[32:31] “Diorama”[17:16] Caspar David Friedrich[25:14] Odawara[28:52] “Aujourd'hui le monde est mort [Lost Human Genetic Archive]”[44:19] “Abandoned Theaters”[44:19] “Opera Houses”[44:19] “Drive-In Theaters”[49:52] “Architecture”[51:12] Le Corbusier[51:12] Mies van der Rohe[55:30] New Material Research Laboratory[55:30] Tomoyuki Sakakida[59:23] Enoura Observatory[59:23] Hirshhorn Sculpture Garden[1:00:48] Katsura Imperial Villa[1:01:05] Bruno Taut[1:02:14] Donald Judd[1:02:14] “Hiroshi Sugimoto: Five Elements in Optical Glass”[1:06:47] Mingei[1:06:47] Isamu Noguchi[1:06:47] Dan Flavin[1:09:15] Sugimoto Bunraku Sonezaki Shinju: The Love Suicides at Sonezaki[1:09:15] At the Hawk's Well[1:09:15] W.B. Yeats