Podcasts about Saint Louis Art Museum

In this special episode of House of Lou, host Veronica Theodoro chats with interior designer Caryn Boultinghouse about her exciting win at the 2025 Architect & Designer Awards. Boultinghouse talks about being a first-time winner in the Best of Outdoor Living category, why outdoor spaces should mirror interior rooms, and how to make the most of a backyard, patio, or terrace. What are Veronica’s tips for making an impression on the judges’ panel? She reveals this and more in an exclusive episode that both designers and homeowners won’t want to miss. Listen and follow House of Lou on YouTube, Spotify, Apple Podcasts, or wherever you get your podcasts. This episode is sponsored by Saint Louis Art Museum and supported by Kranzberg Art Foundation’s MATI. Rev up your engines for an exhibition where style meets speed with SLAM’s latest exhibition, Roaring: Art, Fashion, and the Automobile in France, 1918 to 1939. Get tickets. New to podcasts? Follow these instructions to start listening to our shows, and hear what you’ve been missing! Got an idea for a future House of Lou episode? We love hearing from our audience. Send your thoughts or feedback to Veronica at vtheodoro@stlmag.com or to podcasts@stlmag.com. We can’t wait to hear from you! Looking for more inspiration? Subscribe to our Design+Home newsletter to receive our latest home, design, and style content in your inbox every Wednesday. And follow Veronica (@vtlookbook) and St. Louis Magazine on Instagram (@stlouismag). Interested in being a podcast sponsor? Contact Lauren Leppert at lleppert@stlmag.com. Mentioned in this episode: Caryn Boultinghouse Contemporary Art Museum Butler’s Pantry Brittany Bromley Interiors Joy Christensen Thibaut Schumacher Lane Furniture (Celerie Kemble) You may also enjoy these articles from SLM: See the winning projects of the 2025 Architect and Designer Awards Tips for submitting projects to the Architect & Designer Awards competition See omnystudio.com/listener for privacy information.

Episode 472 / Cameron MartinCameron Martin is an artist based in Brooklyn. He received his BA from Brown University and continued his studies at the Whitney Independent Study Program. He has exhibited at venues including the Whitney Museum, Saint Louis Art Museum, Columbus Museum of Art, City Gallery (Wellington, New Zealand), and Tel Aviv Museum. His work is included in the public collections of the Buffalo AKG Art Museum, Buffalo, NY; The Minneapolis Institute of Art, Minneapolis, MN; the Saint Louis Art Museum, St. Louis, MO; and The Whitney Museum of American Art, New York, NY, among others. Martin is a recipient of the John Simon Guggenheim Memorial Foundation Fellowship (2010), the Joan Mitchell Foundation Fellowship (2008), and the Artists at Giverny Fellowship and Residency (2001).Future Fair Live Sound & Vision with Liz Nielsen and E.E. Konoregister here:https://futurefairs.artsvp.com/616f37Sponsors:https://nyss.orghttps://goldenartistcolors.comhttps://www.fulcrumcoffee.comhttps://futurefairs.com

Next month, the German artist Anselm Kiefer will be 80, and the first of a number of shows internationally to mark this landmark moment opened this week at the Ashmolean Museum, Oxford, UK. It focuses on his early works, and Ben Luke visits Oxford to discuss this pivotal moment in his career with Lena Fritsch, the curator of the exhibition. The latest edition of the biennial in the United Arab Emirate of Sharjah opened earlier this month. The Art Newspaper's correspondent Dale Berning Sawa visited during opening week and spoke to Sheikha Hoor Al Qasimi, the president and director of Sharjah Art Foundation, which runs the biennial, about this year's edition, her journey in art, and her role in establishing the biennial as a leading art world event. And this episode's Work of the Week is Portrait of Mateu Fernández de Soto (1901) by Pablo Picasso, a painting from the artist's Blue Period. Conservators at The Courtauld Institute in London have discovered an image of a mystery woman hidden beneath this portrait of De Soto, Picasso's friend and fellow artist. We talk to Barnaby Wright, deputy head of The Courtauld Gallery, about the painting and the image beneath it. The work features in a new exhibition at the gallery, Goya to Impressionism. Masterpieces from the Oskar Reinhart Collection.Anselm Kiefer: Early Works, Ashmolean Museum, Oxford, UK, 14 February-15 June; Anselm Kiefer: Where Have All the Flowers Gone, Van Gogh Museum and the Stedelijk Museum, Amsterdam, 7 March-9 June; Kiefer / Van Gogh, Royal Academy of Arts, London, 28 June-26 October; Anselm Kiefer: Becoming the Ocean, Saint Louis Art Museum, US, 18 October 2025-25 January 2026To carry, the 16th Sharjah Biennial, until 15 June 2025.The Griffin Catalyst Exhibition: Goya to Impressionism. Masterpieces from the Oskar Reinhart Collection, The Courtauld Gallery, London, 14 February-26 May.The Art Newspaper's book The Year Ahead 2025, an authoritative guide to the year's unmissable art exhibitions, museum openings and significant art events, is still available to buy at theartnewspaper.com for £14.99 or the equivalent in your currency. Buy it here. Hosted on Acast. See acast.com/privacy for more information.

Episode No. 691 features artists Kota Ezawa and Amy Pleasant.  The Fort Mason Center for Arts & Culture is presenting "Kota Ezawa: Here and There - Now and Then," an investigation into the creation of memory in the Bay Area and nationally, through March 9. The exhibition, organized in collaboration with the San Francisco Museum of Modern Art, features Ezawa and Julian Brave NoiseCat's Alcatraz Is an Idea (2024), and Merzbau 1, 2, 3 (2021), and Ursonate (2022), which were among 11 Ezawas recently acquired by SFMOMA. "Ezawa" was curated by Frank Smigiel. Fort Mason will publish a catalogue on the closing weekend. SFMOMA is showing Ezawa's National Anthem (2018) in "Count Me In"  through April 27. Ezawa's work has been featured in solo exhibitions at many museums, including the Baltimore Museum of Art, the Chrysler Museum of Art, Norfolk, VA; the Buffalo AKG Art Museum; the Vancouver Art Gallery, Canada; and the Saint Louis Art Museum. His work is in the collection most major US art museums, and in museums in seven other countries.  Pleasant is included in "Synchronicities: Intersecting Figuration with Abstraction" at the Bemis Center for Contemporary Arts, Omaha. The exhibition examines some of the ways in which nine artists have recently navigated the space between abstraction and figuration. "Synchronicities" was curated by Rachel Adams, and is on view through May 4. Pleasant's work is also on view at The Carnegie, Covington, KY in "Southern Democratic" through February 15, and in "Vivid: A Fresh Take" at the Hunter Museum of American Art, Chattanooga, TN through June 1.  Pleasant has been included in exhibitions at the Knoxville Museum of Art, the Montgomery (Ala.) Museum of Fine Arts, the Weatherspoon Museum of Art, University of North Carolina, Greensboro, and more.  Instagram: Amy Pleasant, Tyler Green.

James Little (b. 1952, Memphis, TN) holds a BFA from the Memphis Academy of Art and an MFA from Syracuse University. He is a 2009 recipient of the Joan Mitchell Foundation Award for Painting. In addition to being featured prominently in the 2022 Whitney Biennial at the Whitney Museum of American Art in New York, his work has been exhibited extensively in solo and group exhibitions around the world, including at MoMA P.S.1, New York; Crystal Bridges Museum of American Art, Bentonville; Studio Museum in Harlem, New York; St. Louis Art Museum, St. Louis; Virginia Museum of Fine Arts, Richmond; and the Smithsonian Institute, Washington, D.C. In 2022, Little participated in a historic collaboration for Duke Ellington's conceptual Sacred Concerts series at the Lincoln Center, New York, with the New York Choral Society at the New School for Social Research and the Schomburg Center in New York. Recent solo exhibitions include: Petzel, New York (2024); Kavi Gupta, Chicago (2022); Dixon Gallery and Gardens, Memphis (2022); Louis Stern Fine Arts, West Hollywood (2020); and June Kelly Gallery, New York (2018). His paintings are represented in the collections of numerous public and private collections, including the Whitney Museum of American Art, New York; Virginia Museum of Fine Art, Richmond; The Studio Museum, Harlem, New York; The Menil Collection, Houston; Library of Congress, Washington, D.C.; Memphis Brooks Museum of Art, Memphis; Maatschappij Arti Et Amicitiae, Amsterdam; Saint Louis Art Museum, Saint Louis; Everson Museum of Art, Syracuse; New Jersey State Museum, Trenton; Tennessee State Museum, Nashville; and the Newark Museum, Newark. James Little Trophy Wives, 2024 Photo: Thomas Barratt Courtesy the artist and Petzel, New York James Little The Problem with Segregation, 2024 Photo: Thomas Barratt Courtesy the artist and Petzel, New York James Little Mahalia's Wings, 2024 Photo: Thomas Barratt Courtesy the artist and Petzel, New York

In this History of Prints (HoP) episode, Tru and I finish talking about the life and work of William Hogarth, the father of Western sequential art.  We look at and pick apart three series: Industry and Idleness, The Four Stages of Cruelty, and Humours of an Election. Timely, no? Hogarth continues to point out society's faults and baser instincts. He never stopped trying to teach the masses about comportment and judgment. Episode image: William Hogarth (British, 1697–1764). Gin Lane, 1751. Etching and engraving. Sheet: 15 1/16 x 12 1/2 in. (38.3 x 31.7 cm.). Metropolitan Museum of Art, New York. Useful Links Harlot's Progress video from Paul Mellon Centre for Studies in British Art. https://youtu.be/VPQze0EbpdQ Harlot's Progress video from Reading the Past. https://youtu.be/u1rtBD0qvPY?si=DkVatOJ5-vEyrIqF Beer Street and Gin Lane from Reading the Past. https://youtu.be/A3-Je-lSKrE?si=C9igJSDSvYVyRabY After Allan Ramsay (British, 1713–1784). Portrait of William Hunter, 1760. Engraving. Wellcome Collection. Jean-Baptiste-Siméon Chardin (French, 1699–1779). Saying Grace, c. 1740. Oil on canvas. 49.5 x 38.5 cm. (19 ½ x 15 ¼ in.). Musée du Louvre. Paris. Jean-Baptiste Greuze (French, 1725–1805). The Village Bride, 1761. Oil on canvas. 92 x 117 cm. (36 x 46 in.). Musée du Louvre. Paris. Inigo Jones (British, 1573–1652). Banqueting House, 1622. London. William Hogarth (British, 1697–1764). The South Sea Scheme, 1722. Etching and engraving. Sheet: 10 ¼ x 12 15/16 in. (26.1 x 32.8 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Harlot's Progress, 1732 or before. Series of 6 etchings with engraving. Sheet (each): 12 5/16 x 15 1/8 in. (31.3 x 38.4 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Rake's Progress, 1735. Series of 8 paintings. Sir John Soane's Museum, London. William Hogarth (British, 1697–1764). A Rake's Progress, 1735. Series of 8 etchings with engraving. Sheet (each): 13 7/8 x 15 7/8 in. (35.2 x 40.4 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). Marriage A-la-Mode, c. 1743. Series of 6 paintings. Each: 66.9 x 90.8 cm. The National Gallery, London. After William Hogarth (British, 1697–1764). Marriage A-la-Mode, 1745. Series of 6 etchings with engraving. Plate (each): 15 1/4 x 18 1/2 in. (38.7 x 47 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). Mr. Garrick in the Character of Richard III, 1746. Etching and engraving. Sheet: 16 3/8 x 20 1/2 in. (41.6 x 52 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Analysis of Beauty, written with a view to fixing the fluctuating ideas of taste. London: J. Reeves, 1743. S curves from The Analysis of Beauty, written with a view to fixing the fluctuating ideas of taste. London: J. Reeves, 1743. William Hogarth (British, 1697–1764). Plate I from The Analysis of Beauty, written with a view to fixing the fluctuating ideas of taste. London: J. Reeves, 1743. William Hogarth (British, 1697–1764). Plate II from The Analysis of Beauty, written with a view to fixing the fluctuating ideas of taste. London: J. Reeves, 1743. William Hogarth (British, 1697–1764). The Fellow ‘Prentices at their Looms, plate 1 from the series Industry and Idleness, 1747. Etching and engraving. Plate: 10 3/8 x 13 7/16 in. (26.4 x 34.2 cm.); sheet: 10 5/8 x 14 in. (27 x 35.5 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Industrious ‘Prentice Performing the Duty of a Christian, plate 2 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 3/8 x 13 3/4 in. (26.4 x 34.9 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Idle ‘Prentices at Play in the Churchyard, plate 3 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 1/4 x 13 9/16 in. (26 x 34.5 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Industrious ‘Prentice a Favourite and Entrusted by his Master, plate 4 from the series Industry and Idleness, 1747. Etching and engraving. Plate: 10 3/8 x 13 1/2 in. (26.3 x 34.3 cm.); sheet: 10 11/16 x 13 7/8 in. (27.1 x 35.2 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Idle ‘Prentice Turned Away and Sent to Sea, plate 5 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 3/8 x 13 11/16 in. (26.4 x 34.8 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Industrious ‘Prentice Out of his Time and Married to his Master's Daughter, plate 6 from the series Industry and Idleness, 1747. Etching and engraving. Plate: 10 3/8 x 13 9/16 in. (26.4 x 34.4 cm.); sheet: 10 9/16 x 13 7/8 in. (26.8 x 35.2 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Idle ‘Prentice Returned from Sea and in a Garret with a Common Prostitute, plate 7 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 5/16 x 13 5/8 in. (26.2 x 34.6 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Industrious ‘Prentice Grown Rich and Sheriff of London, plate 8 from the series Industry and Idleness, 1747. Etching and engraving. Plate: 10 1/4 x 13 1/2 in. (26 x 34.3 cm.); sheet: 10 3/8 x 13 3/4 in. (26.3 x 35 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Idle ‘Prentice Betrayed by his Whore and Taken in a Night Cellar with his Accomplices, plate 9 from the series Industry and Idleness, 1747. Etching and engraving. Plate: 10 5/16 x 13 9/16 in. (26.2 x 34.4 cm.); sheet: 10 9/16 x 13 3/4 in. (26.9 x 35 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Industrious ‘Prentice Alderman of London, The Idle One Brought Before Him and Impeached by his Accomplices, plate 10 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 3/16 x 13 11/16 in. (25.8 x 34.8 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Idle ‘Prentice Executed at Tyburn, plate 11 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 3/8 x 15 3/4 in. (26.4 x 40 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Industrious ‘Prentice Lord Mayor of London, plate 12 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 9/16 x 15 13/16 in. (26.9 x 40.2 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). Gin Lane, 1751. Etching and engraving. Sheet: 15 1/16 x 12 1/2 in. (38.3 x 31.7 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). Beer Street, 1751. Engraving. Sheet: 15 1/8 x 12 11/16 in. (38.4 x 32.2 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The First Stage of Cruelty, 1751. Etching and engraving. Sheet: 14 3/4 x 12 1/2 in. (37.5 x 31.7 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Second Stage of Cruelty, 1751. Etching and engraving. Plate: 15 1/4 x 12 9/16 in. (38.8 x 31.9 cm.); sheet: 16 1/16 x 13 1/4 in. (40.8 x 33.7 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). Cruelty in Perfection, 1751. Etching and engraving. Plate: 15 1/4 x 12 11/16 in. (38.8 x 32.2 cm.); sheet: 15 13/16 x 13 3/16 in. (40.2 x 33.5 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Reward of Cruelty, 1751. Etching and engraving. Plate: 15 1/4 x 12 5/8 in. (38.8 x 32 cm.); sheet: 15 3/4 x 13 1/16 in. (40 x 33.2 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Humours of an Election I: An Election Entertainment, 1754–55. Oil on canvas. 101 x 128 cm. Sir John Soane's Museum, London. William Hogarth (British, 1697–1764). The Humours of an Election II: Canvassing for Votes, 1754–55. Oil on canvas. 102.3 x 131.4 cm. Sir John Soane's Museum, London. William Hogarth (British, 1697–1764). The Humours of an Election III: The Polling, 1754–55. Oil on canvas. 102.2 x 131.1 cm. Sir John Soane's Museum, London. William Hogarth (British, 1697–1764). The Humours of an Election IV: Chairing the Member, 1754–55. Oil on canvas. 103 x 131.8 cm. Sir John Soane's Museum, London. William Hogarth (British, 1697–1764). The Humours of an Election I: An Election Entertainment, 1755. Engraving. 40.5 x 54 cm. Royal Academy of Arts, London. William Hogarth (British, 1697–1764). The Humours of an Election II: Canvassing for Votes, 1755. Engraving. 40.5 x 54 cm. Royal Academy of Arts, London. William Hogarth (British, 1697–1764). The Humours of an Election III: The Polling, 1755. Engraving. 40.5 x 54 cm. Royal Academy of Arts, London. William Hogarth (British, 1697–1764). The Humours of an Election IV: Chairing the Member, 1755. Engraving. 40.5 x 54 cm. Royal Academy of Arts, London. George Caleb Bingham (American, 1811–1879). The Verdict of the People, 1854–55. Oil on canvas. 46 x 55 in. (116.8 x 139.7 cm.). Saint Louis Art Museum, St. Louis. George Caleb Bingham (American, 1811–1879). Stump Speaking, 1853–54. Oil on canvas. 42 1/2 x 58 in. (108 x 147.3 cm.). Saint Louis Art Museum, St. Louis. George Caleb Bingham (American, 1811–1879). The County Election, 1852. Oil on canvas. 38 x 52 in. (96.5 x 132.1 cm.). Saint Louis Art Museum, St. Louis. William Hogarth (British, 1697–1764). Tailpiece, or the Bathos, 1764. Engraving. 261 x 323 mm. Royal Academy of Arts, London.

In this enlightening episode of Circuit of Success, host Brett Gilliland sits down with Laura K. Sawyier, a nationally recognized wardrobe and confidence consultant, TEDx speaker, and expert in the psychology of style. As the founder and CEO of LKS Styling & Consulting, Laura has dedicated her career to using evidence-based research in fashion psychology to help individuals and organizations enhance confidence, influence, and presence. Her work, featured in outlets like Fast Company and Travel + Leisure, explores the profound impact of our clothing choices on our performance, moods, and relationships   Laura shares insights into her approach, which goes beyond closet edits and personal shopping to include comprehensive consulting for Fortune 500 companies, nonprofits, and various organizations. Through her seminars and workshops, she teaches the science behind our wardrobe choices and how dressing intentionally can positively impact our mindset and how we "show up" every day. For Laura, style is not just about looking good; it's a powerful tool for self-expression and success, whether dressing for a career event, a personal milestone, or daily life. Listeners will also gain tips from Laura on building a style that aligns with their personal and professional brands, and hear about her journey toward combining psychology with style, currently studying at Harvard University. Her TEDx talk, "The Power of Style," and her role as President of the Friends Board at the Saint Louis Art Museum underscore her dedication to empowering people through style. Whether you're looking to elevate your personal brand or understand how style influences behavior, this episode offers valuable perspectives on the intersection of fashion, psychology, and confidence. Learn more about Laura K. Sawyier here Connect: laura@lauraksawyier.com   Watch the Full Episode Here!

In s3e60 of Platemark, podcast host Ann Shafer speaks with Ron Rumford, director of Dolan/Maxwell, a private gallery in Philadelphia. Dolan/Maxwell deals in 20th century art, with a particular specialty in the prints of Stanley William Hayter and the associated artists of Atelier 17, as well as Black artists of the same era, such as Bob Blackburn, Norma Morgan, Elizabeth Catlett, Ed Clark and more. While they could have spent the entire time talking about Hayter (they'll get to that in the History of Prints series), Ron wanted to highlight an exhibition focused on Dox Thrash, which is on view at the African American Museum of Philadelphia through August 4, 2024.   They talk about Thrash and his invention of the carborundum mezzotint, Bob Blackburn's Printmaking Workshop and its relationship to Atelier 17 and Hayter, the monumental importance of the WPA printmaking division, and Ballinglen, an artist residency and gallery founded by Peter Maxwell and Margo Dolan in Ballycastle, a tiny farming town in County Mayo, Ireland.   Dox Thrash (American, 1893–1965). Sunday Morning, c. 1939. Etching. Sheet: 12 5/8 x 10 5/8 in.; plate: 8 7/8 x 7 7/8 in. Metropolitan Museum of Art, New York. L-R: Krishna Reddy, Stanley William Hayter, Robert Blackburn, and friend, 1980s, at Reddy's studio. Hayter at the press with lithography press behind him, Atelier 17 in New York. Photo of Pennerton West with fellow artists including Augusta Savage and Norman Lewis. Pennerton West (American, 1913–1965). Troll in the Grain, 1952. State proof; color etching and lithography. Image: 14 ¾ x 17 ¾ in. Dolan/Maxwell Gallery, Philadelphia. Pennerton West (American, 1913–1965). Troll in the Grain, 1952. State proof; color etching and lithography. Image: 14 ¾ x 17 ¾ in. Dolan/Maxwell Gallery, Philadelphia. Dox Thrash (American, 1893–1965). Georgia Cotton Crop, c. 1944–45. Carborundum mezzotint. Plate: 8 7/16 x 9 7/8 in.; sheet: 11 ¼ x 11 3/4. in. Dolan/Maxwell Gallery, Philadelphia. Dox Thrash (American, 1893–1965). Ebony Joe, c. 1939. Lithograph. Sheet: 10 5/8 x 8 7/8 in. Saint Louis Art Museum, St. Louis. Dox Thrash (American, 1893–1965). Octoroon (Study for a Lithograph), c. 1939. Brush and ink wash over graphite. Sheet: 16 7/8 x 12 ¼ in. Philadelphia Museum of Art, Philadelphia. Dox Thrash (American, 1893–1965). Octoroon, c. 1939. Lithograph. Sheet: 22 13/16 x 11 9/16 in. Collection of John Warren, Philadelphia. Dox Thrash (American, 1893–1965). Charlot, c. 1938–39. Carborundum mezzotint. Plate: 8 15/16 x 6 15/16 in. Dolan/Maxwell, Philadelphia. Michael Gallagher (American, 1895–1965). Lackawanna Valley, 1938. Carborundum mezzotint. Plate: 7 3/8 x 12 11/16 in.; sheet: 9 3/8 x 14 in. Philadelphia Museum of Art, Philadelphia.   Hugh Mesibov (American, 1916–2016). Homeless, 1938. Carborundum mezzotint. Plate: 5 3/8 x 10 3/8 in. Pennsylvania Academy of Fine Arts, Philadelphia. Dox Thrash (American, 1893–1965). One Horse Farmer, c. 1944–48. Carborundum mezzotint. 9 x 6 in. National Museum of American History, Smithsonian Institution, Washington, D.C. John Ruskin (British, 1819–1900). The Garden of San Miniato near Florence, 1845. Watercolor and pen and black ink, heightened with whie gouache, over graphite. Sheet: 13 7/16 x 19 3/8 in. National Gallery of Art, Washington, D.C. Stanley William Hayter (English, 1901–1988). Cinq personnages, 1946. Engraving, softground etching, and scorper; printed in black (intaglio). Sheet: 495 x 647 mm. (19 1/2 x 25 1/2 in.); plate: 376 x 605 mm. (14 13/16 x 23 13/16 in.). Baltimore Museum of Art, Baltimore. Stanley William Hayter (English, 1901–1988). Cinq personnages, 1946. Engraving, softground etching, and scorper; printed in black (intaglio), and green (screen, relief). Sheet: 460 x 660 mm. (18 1/8 x 26 in.); plate: 376 x 605 mm. (14 13/16 x 23 13/16 in.). Baltimore Museum of Art, Baltimore. Stanley William Hayter (English, 1901–1988). Cinq personnages, 1946. Engraving and softground etching; printed in black (intaglio), orange (screen, relief), and purple (screen, relief). Sheet: 510 x 666 mm. (20 1/16 x 26 1/4 in.); plate: 376 x 605 mm. (14 13/16 x 23 13/16 in.). Baltimore Museum of Art, Baltimore. Stanley William Hayter (English, 1901–1988). Cinq personnages, 1946. Engraving, softground etching, and scorper; printed in black (intaglio), green (screen, relief), orange (screen, relief), and purple (screen, relief). Sheet: 488 x 668 mm. (19 3/16 x 26 5/16 in.); plate: 376 x 605 mm. (14 13/16 x 23 13/16 in.). Baltimore Museum of Art, Baltimore.       Ballinglen Arts Foundation, Ballycastle, County Mayo, Ireland. USEFUL LINKS Imprint: Dox Thrash, Black Life, and American Culture. African American Museum in Philadelphia, March 23–August 4, 2024. https://www.aampmuseum.org/current-exhibitions.html John Ittmann. Dox Thrash: An African American Master Printmaker Rediscovered. Philadelphia: Philadelphia Museum of Art, 2001.  https://archive.org/details/doxthrashafrican00ittm Dox Thrash House, Philadelphia: https://doxthrashhouse.wordpress.com/ Ballinglen Arts Foundation: https://www.ballinglenartsfoundation.org/fellowship/ Dolan/Maxwell's IG: @dolan.maxwell Ron's IG account: @ron.rumford Ron's artist website: www.ronrumford.com  

Host Veronica Theodoro is joined by artist Katherine Bernhardt, whose St. Louis home recently went viral for its eye-catching, whimsical design. (In case you missed it, check out the New York Times' house tour here before you dive into the episode.) The house, designed by St. Louis architect Gary Glenn in the mid-80s, was recently renovated by Katherine into a Memphis Milano museum of sorts. Katherine recounts the process, which began with thoroughly researching the history of the house for ideas and inspiration. The artist discusses how the house feeds her passions for color, entertaining, swimming and, even, yoga, which she practices in her living room's Memphis Milano boxing ring. Additionally, Katherine discusses plans for her next house project in San Juan, Puerto Rico, and shares her favorite places to shop for interiors and dine out in St. Louis. Listen and follow House of Lou on Apple Podcasts, Spotify, or most places podcasts are available. This episode is sponsored by Saint Louis Art Museum. On view through May 12 at the Saint Louis Art Museum, "Matisse and the Sea" is the first exhibition to examine the significance of the sea across Modernist artist Henri Matisse's career. Get tickets at slam.org/exhibitions.  Got an idea for a future House of Lou episode?  We love hearing from our audience. Send your thoughts or feedback to Veronica at vtheodoro@stlmag.com or to podcasts@stlmag.com. We can't wait to hear from you! Looking for more inspo? Subscribe to our Design+Home newsletter to receive our latest home, design, and style content in your inbox every Wednesday. And follow Veronica (@vtlookbook) and St. Louis Magazine on Instagram (@stlouismag). Interested in being a podcast sponsor? Contact Lauren Leppert at lleppert@stlmag.com. Mentioned in this episode: T Magazine / New York Times story about Katherine Bernhardt's house in St. Louis St. Louis Public Library Schlafly branch TikTok “Book shelf wealth” trend Where to donate household items in St. Louis  Michael Aaron McAllster (IG: @michaelaaronmcallister) Lime Painting Missouri Terrazzo  Missouri History Museum  Columbia Foundation Full Circle Design Works  Sherwin-Williams on Clayton Road  Katherine's home's Instagram page (IG: @5725lindell) Forest Park  The Vine Cafe Meskerem Olympia Cool Stuff Period MoModerne  House on Hortense St. Louis Antiques Festival (April 27–28) Delcy Morelos at Pulitzer Arts Foundation  Studies in Architecture at The Sheldon  Ettore Sotssass  Memphis Milano  ESPRIT  Keith Johnson (IG: @themerchantofmemphis) Fireplace made by Friendly Metals You may also enjoy these SLM articles: National artist Katherine Bernhardt's Midtown studio was once an auto shop See omnystudio.com/listener for privacy information.

George Mahe and Cheryl Baehr discuss St. Louis' Irish dining options, expressing a desire for more authentic Irish cuisine beyond the Shepherd's Pie and corned beef and cabbage. They highlight several Irish bars, discussing their atmospheres and signature dishes. Additionally, they share insights into the best places to enjoy corned beef, from classic delis to newer spots, while also exploring unique Irish treats like frozen Irish coffee and shamrock potato chips. The episode concludes with a microrant about the use of vacuum cleaners in restaurants. Listen, follow, and review Arch Eats on Apple Podcasts, Spotify, or wherever podcasts are available. This episode is sponsored by Saint Louis Art Museum. On view through May 12 at the Saint Louis Art Museum, "Matisse and the Sea" is the first exhibition to examine the significance of the sea across Modernist artist Henri Matisse's career. Get tickets at slam.org/exhibitions. Thank you to Opera Theatre of Saint Louis for supporting this episode. Have an idea for a future Arch Eats episode? Send your thoughts or feedback to podcasts@stlmag.com. Hungry for more? Subscribe to our Dining newsletters for the freshest coverage on the local restaurant and culinary scene. And follow George (@georgemahe) and SLM on Instagram (@stlouismag). Interested in being a podcast sponsor?  Contact Lauren Leppert at lleppert@stlmag.com. Mentioned in this episode: Smitty's Food & Drink: 14876 Clayton, Chesterfield, 636-391-1522. Duck Inn Market: 324 St. Louis, Valley Park, 646-529-8388. The Pat Connolly Tavern: 6400 Oakland, Dogtown, 314-647-7287. Seamus McDaniel's: 1208 Tamm, Dogtown, 314-645-6337. O'Connell's Pub: 4652 Shaw, Shaw, 314-773-6600. Helen Fitzgerald's: 3650 S. Lindbergh, Sunset Hills, 314-984-0026. Clancy's Pub at the Barn: 930 Kehrs Mill, Ballwin, 636-394-2199. The Original Clancy's Irish Pub: 40 Old State, Ellisville, 636-391-6154. Maggie O'Brien's: Downtown West and Sunset Hills. Riley's Pub: 3458 Arsenal, Tower Grove East, 314-664-7474. Fallon's Bar & Grill: Olivette and Ellisville. Foley's Bar: 3522 Greenwood, Maplewood, 314-645-6424. McGurk's: 1200 Russell, St. Louis, 314-776-8309. Protzel's Deli: 7608 Wydown, ​Clayton, 314-721-4445. Carl's Deli: 6401 Clayton, Clayton, 314-721-2393. Kohn's Kosher Deli: 10405 Old Olive, Creve Coeur, 314-569-0727. Posh Nosh: 8115 Maryland, Clayton, 314-862-1890. Lester's: 9906 Clayton, Ladue, 314-994-0055. Stellar Hog: Holly Hills and Chesterfield. Heavy Riff: 6413 Clayton, Dogtown, no phone. Deli Divine: 5501 Delmar, Delmar Divine, 314-987-3354. Lefty's Bagels: 13359 Olive, Chesterfield, 314-275-0959. Baileys' Chocolate Bar: 1915 Park, Lafayette Square, 314-241-8100. Momo: 9500 Manchester, Rock Hill, 314-942-2172. The Pitch Athletic Club & Tavern: 2 S. 20th, Downtown West, 314-802-3400. St. Louis Kolache: Eight metro area locations.   Hank's Cheesecakes: 1063 S. Big Bend, Richmond Heights, 314-781-0300. Starr's: 1135 S. Big Bend, Richmond Heights, 314-781-2345. You may also enjoy these SLM articles: The best bars in St. Louis 11 Irish pubs in St. Louis to celebrate St. Patrick's Day See omnystudio.com/listener for privacy information.

First, Senior Curator of European Art to 1800, Saint Louis Art Museum, Judith Mann talks about her lecture, Artemisia Gentileschi: New Understandings, at Santa Barbara Museum of Art on Thursday, ... The post Judith Mann and Comic Potential appeared first on Elizabeth Appraisals.

Episode No. 642 features curator Simon Kelly and artist Marc Bauer. Kelly is the curator of "Matisse and the Sea," at the Saint Louis Art Museum through May 12. The exhibition examines the significance of the sea across Matisse's oeuvre. It especially examines SLAM's own 1907-08 Bathers with a Turtle, long considered one of Matisse's most challenging, enigmatic paintings. The excellent exhibition catalogue was published by the museum and Hirmer. Amazon and Bookshop offer it for about $45. Bauer is showing a 36-foot-wide charcoal and pastel mural titled RESILIENCE, Drawing the Line, 2023 in the latest installment of The Menil Collection's wall drawing series. The work adapts imagery from art history with cultural references specific to global and Houston-specific events. For this work Bauer is trying something new: he's repeatedly modifying the work over the course of its year-long display. It will be on view through this summer. Bauer was the 2020 recipient of the Prix Meret Oppenheim, Switzerland's most prestigious art award. His work is in the collections of museums such as the Centre Pompidou, Paris, and the Museum Folkwang, Essen, and he was included in the 2022 Congo Biennial in Kinshasa. Instagram: Simon Kelly, Marc Bauer, Tyler Green.

The exhibition The Time Is Always Now, featuring 22 artists from the African diaspora whose work takes the Black figure as its starting point, is now open at the National Portrait Gallery in London, and will tour to Philadelphia later in the year. We explore the show with its curator Ekow Eshun. 2024 marks the centenary of the the first Surrealist manifesto by André Breton, and the first of a series of exhibitions focusing on the movement this year opened at the Royal Museums of Fine Arts of Belgium in Brussels this week, before travelling to the Centre Pompidou later in the year and Hamburg, Madrid and Philadelphia (again) next year. But what did that first manifesto contain and how did it influence the course of the movement? Alyce Mahon, a Surrealism specialist and professor of Modern and Contemporary Art at the University of Cambridge, tells us more. And this episode's Work of the Week is Eagle Dance (1934) by Tonita Peña, one of the leading Native American Pueblo artists of the 20th century. It features in a new exhibition, Native American Art of the 20th Century: The William P. Healey Collection, at the Saint Louis Art Museum in the US. Alexander Brier Marr, the associate curator of Native American art at the museum, joins us to discuss the painting.The Time Is Always Now: Artists Reframe the Black Figure, National Portrait Gallery, London, 22 February-19 May; The Box, Plymouth, UK, 29 June-29 September; Philadelphia Museum of Art, 9 November-9 February 2025.Alyce Mahon is the co-editor of a new International Journal of Surrealism, published by Minnesota University Press; Dorothea Tanning: A Surrealist World, by Alyce Mahon, Yale University Press, published in September. IMAGINE! 100 Years of International Surrealism, Royal Museums of Fine Arts of Belgium, Brussels, 21 February-21 July; Centre Pompidou, Paris, 4 September-13 January 2025; Fundación MAPFRE, Madrid, 4 February–11 May 2025; Hamburger Kunsthalle, Hamburg, Germany, 12 June 2025-12 October 2025; Philadelphia Museum of Art, US, autumn 2025–spring 2026.Native American Art of the 20th Century: The William P. Healey Collection, Saint Louis Art Museum, US, until 14 July.Last chance: buy The Art Newspaper's magazine The Year Ahead 2024, an authoritative guide to the world's must-see art exhibitions and museum openings at theartnewspaper.com until 1 March for just £9.99 or $13.69. Hosted on Acast. See acast.com/privacy for more information.

In this episode of Arch Eats, George Mahe and Cheryl Baehr dive into the vibrant culture of fish fries in St. Louis during the Lenten season, highlighting how this tradition has evolved. Discover some the most popular fish fries across town, as well as where to go for less common fish fry offerings, such as hush puppies, spaghetti, falafel, hummus, tacos, chile rellenos, and more. The hosts share fun experiences at these gatherings, including church tours led by grade schoolers, priests moonlighting as bartenders, and more. And beyond parish fish fries, get recommendations for notable fish-centric Lenten specials at local restaurants. Listen, follow, and review Arch Eats on Apple Podcasts, Spotify, or wherever podcasts are available. This episode is sponsored by Saint Louis Art Museum. On view through May 12 at the Saint Louis Art Museum, "Matisse and the Sea" is the first exhibition to examine the significance of the sea across Modernist artist Henri Matisse's career. Get tickets at slam.org/exhibitions. Listen now: 'Arch Eats' Episode 9: Where to get your fish fry fix in St. Louis George and Cheryl discuss the best fish fries in St. Louis, as well as restaurants offering limited-time Lenten specials. BY SLM STAFF   FEBRUARY 21, 2024   3:37 PM Expand PHOTOGRAPHY BY KEVIN A. ROBERTS In this episode of Arch Eats, George Mahe and Cheryl Baehr dive into the vibrant culture of fish fries in St. Louis during the Lenten season, highlighting how this tradition has evolved. Discover some the most popular fish fries across town, as well as where to go for less common fish fry offerings, such as hush puppies, spaghetti, falafel, hummus, tacos, chile rellenos, and more. The hosts share fun experiences at these gatherings, including church tours led by grade schoolers, priests moonlighting as bartenders, and more. And beyond parish fish fries, get recommendations for notable fish-centric Lenten specials at local restaurants. Listen, follow, and review Arch Eats on Apple Podcasts, Spotify, or wherever podcasts are available. This episode is sponsored by Saint Louis Art Museum. On view through May 12 at the Saint Louis Art Museum, "Matisse and the Sea" is the first exhibition to examine the significance of the sea across Modernist artist Henri Matisse's career. Get tickets at slam.org/exhibitions. Have an idea for a future Arch Eats episode? Send your thoughts or feedback to podcasts@stlmag.com. Hungry for more? Subscribe to our Dining newsletters for the freshest coverage on the local restaurant and culinary scene. And follow George (@georgemahe) and SLM on Instagram (@stlouismag). Interested in being a podcast sponsor?  Contact Lauren Leppert at lleppert@stlmag.com. Mentioned in this episode: Parishes: St. Mary Magdalen – Brentwood: 2618 S. Brentwood, 314-961-8400. St. Ferdinand Parish: 1765 Charbonier, Florissant, 314-837-3165. Holy Trinity Serbian Orthodox Church: 1910 Serbian, McKinley Heights, 314-776-3262. Holy Trinity Catholic Church– Fairview Heights: 505 Fountains Pkwy., 618-628-8825. The Dave Glover Show: Lenten fish fry smackdown, Fridays during lent First Unitarian Church of St. Louis: 5005 Waterman, CWE, 314-361-0595. (Feb. 23 only) St. Alphonsus Rock Church: 1118 N. Grand, Covenant Blu-Grand Ctr., 314-533-0304. St. Cecilia Catholic Church: 5418 Louisiana, Dutchtown, 314-351-1318. Our Lady of the Pillar: 401 S. Lindbergh, Frontenac, 314-993-2280.  Fraternal: Thoman-Boothe American Legion Post 338: 9655 Midland, Overland, 314-429-6571. Hobo's at The American Legion: 200 Main, St. Peters, 636-278-2828.  Restaurants: Rockwell Beer Co: 1320 S. Vandeventer, Botanical Heights, 314-256-1657. Gioia's Deli: Four locations. Salt + Smoke: Four locations. Mac's Local Eats: 5656 Oakland, Cheltenham, 314-393-7713. Peacemaker Lobster & Crab: 1831 Sidney, Benton Park, 314-772-8858. Urban Chestnut Brewing Co: Two locations. Winslow's Table: 7213 Delmar, University City, 314-725-7559. Schlafly: Four locations. Three Kings Public House: Three locations. 5 Star Burgers: 8125 Maryland, Clayton, 314-720-4350.  Woofie's Hot Dogs: 1919 Woodson, Overland, 314-426-6291. Tucker's Place: Three metro area locations. You may also enjoy these SLM articles: Restaurants where you can get your fish fry fix in St. Louis Ask George: Have you ever heard of St. Peter's fish? Listen to more Arch Eats episodes  See omnystudio.com/listener for privacy information.

در این اپیزود میریم سراغ یکی از معروفترین داستان های اساطیری یونان باستان، داستان مدوسا ، دانائه و پرسئوس.* فروشگاه کتاب سگدس ، فروشگاه مجازی آرت بوک، مانگا و کمیک بوکآیدی اینستاگرام: @Sagdas_comic.storeکد تخفیف سفارش: Jessoتابلوی دانائه اثر جنتیلسکی:https://upload.wikimedia.org/wikipedia/commons/d/dd/Artemisia_Gentileschi_-_Dana%C3%AB_-_93-1986_-_Saint_Louis_Art_Museum.jpgتابلوی دانائه اثر کلیمت:https://upload.wikimedia.org/wikipedia/commons/c/c8/Gustav_Klimt_010.jpgتابلوی دانائه اثر رامبرانت:https://upload.wikimedia.org/wikipedia/commons/8/88/Rembrandt_Harmensz._van_Rijn_026.jpgتابلوی پرسئوس و گرایا اثر ادوارد برن جونز:https://upload.wikimedia.org/wikipedia/commons/9/91/Edward_Burne-Jones--Perseus_and_the_Graiae.jpgتابلوی مسلح کردن پرسئوس اثر ادوارد برن جونز:https://upload.wikimedia.org/wikipedia/commons/8/86/The_Arming_of_Perseus_-_Edward_Burne-Jones%2C_1885.jpgتابلوی مدوسا اثر کاراوجیو:https://upload.wikimedia.org/wikipedia/commons/1/15/Caravaggio_-_Medusa_-_Google_Art_Project.jpgتابلوی پرسئوس و مدوسا اثر پل روبنس:https://upload.wikimedia.org/wikipedia/commons/1/13/Peter_Paul_Rubens_-_Perseus_and_Andromeda_%28Hermitage_Museum%29.jpgمجسمه ی پرسئوس و سر مدوسا اثر چلینی:https://upload.wikimedia.org/wikipedia/commons/4/48/Firenze.Loggia.Perseus01.JPGموسیقی: Persischer Marsch - Johann Strauss IIGiuseppe Verdi – Messa da Requiem Dies IraeQueen of the damned - Greg Dombrowski Hosted on Acast. See acast.com/privacy for more information.

In this episode, members of our StitchCast, artists Branden Lewis, BlueBeatz, and Emeara Burns join Youth Council members Keith and John and special guests Damon Davis and T-Dubb-O to have a conversation about hip hop as changemaker. This episode is part the result of a partnership with Saint Louis Art Museum to promote the exploration by young people of art in relation to the exhibition, "The Culture: Hip Hop and Contemporary Art in the 21st Century". Recorded live at Saint Louis Art Museum, St. Louis, Missouri, on November 3, 2023.  Pick the City UP Art Interlude Pick the City UP (Remx) Saint Louis Story Stitchers, 2023 Story Stitchers is supported in part by The Lewis Prize for Music's 2021 Accelerator Award. The mission of The Lewis Prize is to partner with leaders who create positive change by investing in young people through music. Additional support for this episode of StitchCast Studio is provided by Saint Louis Art Museum. Support for Story Stitchers programs is provided by Kranzberg Arts Foundation where Saint Louis Story Stitchers is a proud resident organization.

Cheeraz Gormon is a writer, storyteller, and public speaker who creates poetry, essays, photography, film, music, and advertising.As a poet, Cheeraz has opened for Dr. Cornel West, Dr. Dennis Kimbro, and MacArthur Fellow Dr. Deborah Willis and toured with HBO for The Unchained Memories Tour. She is a two-time TEDxGatewayArch presenter, and her poetry has been featured in Ebony Magazine, Huffington Post, the American Ethnologist, and featured on albums with the Midwest Avengers and world-renowned DJ and producer Osunlade. Her first poetry collection, "In The Midst of Loving," was released in 2015. In 2018, Cheeraz starred in The Black Repertory Theaters' gala production of The Gospel at Colonus as the Evangelist Antigone. She returned to the stage in May of 2022 for the revival of "Rivers of Women" by the late poet Shirley Bradley LeFlore. In June 2022, she joined the Ashleylaine Dance Company for "Unseen," their season-closing performance.In 2016, Cheeraz was selected as an apexart International Arts Fellow; in 2018, she was named St. Louis Visionary Award, Outstanding Working Artist, and in 2019, she was awarded the prestigious St. Louis Regional Arts Commission Artist Fellow in literary arts.In tandem with her work as an artist, Cheeraz is a community health worker and works with local organizations to provide spiritual and social care to people impacted by violent crime. Following the tragic loss of her brother, John Gormon, Jr., Cheeraz founded Sibling Support Network, an organization dedicated to assisting people who have lost siblings to violent crime. For this work, she was featured in TIME Magazine's 2018 "Guns in America" issue.Most recently, she was a part of the ensemble cast of the sold-out stage performances of The Color Purple with the Hawthorne Players and performed before a packed audience at the Saint Louis Art Museum as part of The Culture: Hip Hop and Contemporary Art in the 21st Century exhibition inside of multimedia artist Gary Simmons, Garage Lab installation. As a self-professed ad geek, she still finds time to consult and freelance as a creative director, mentorship advocate, and advisor in the advertising industry. 

Judith W. Mann, the senior curator of European art to 1800. Since joining the museum in 1988, she has reinstalled the collections of Medieval, Renaissance, Baroque, and 18th-century European painting and sculpture three times, and organized two major international exhibitions. In 2022, the museum will organize a major, international exhibition curated by Mann that examines the art of painting on stone, a practice that flourished in Europe—particularly Italy—in the 16th and 17th centuries. In 2015, the Association of Art Museum Curators and the American Academy in Rome awarded Mann the Samuel H. Kress Foundation AAMC Affiliated Fellowship in order to allow her to continue her research into painting on stone in Rome.——- Mann curated “Orazio and Artemisia Gentileschi: Father and Daughter Painters in Baroque Italy,” which opened at Rome's Palazzo Venezia and later was seen at the Metropolitan Museum of Art and the Saint Louis Art Museum, as well as the 2012 exhibition “Federico Barocci: Renaissance Master,” which was presented at the Saint Louis Art Museum and the National Gallery, London. In recognition for her scholarship relating to the Barocci exhibition and catalogue, Mann received the Association of Art Museum Curators' Outstanding Monographic Exhibition Award. She holds a graduate degree and doctorate from Washington University.

In this episode, members of our StitchCast join Story Stitchers artists Branden Lewis and BlueBeatz to have a conversation about the current state of hip hop. This episode is part  the result of a partnership with Saint Louis Art Museum to promote the exploration by young people of art in the exhibition, "The Culture: Hip Hop and Contemporary Art in the 21st Century". Recorded live at Story Stitchers' The Center, St. Louis, Missouri, on November 2, 2023.  Pick the City UP Art Interlude Sneaker Tact KP Dennis and Branden Lewis Copyright, Saint Louis Story Stitchers, 2020 Story Stitchers is supported in part by The Lewis Prize for Music's 2021 Accelerator Award. The mission of The Lewis Prize is to partner with leaders who create positive change by investing in young people through music.  Additional support for StitchCast Studio and Story Stitchers programs is provided by the Spirit of St. Louis Women's Fund, City of St. Louis Youth at Risk Crime Prevention grant of 2023, Trio Foundation of St. Louis, Deaconess Foundation, and the Arts & Education Council. Saint Louis Story Stitchers and The Center is supported in part by Kranzberg Arts Foundation as a resident organization.  

This week we dig in with Andréa Stanislav, covering the inspirational cross-fertilization of narrative film and fine art, the erotic yet imperial power of horses, the artist's role in the face of genocide, avoiding and accepting identity, and the axiom of 'practice practice practice.' Andréa Stanislav (b. 1968, Chicago) is a contemporary American artist based in New York City. Her hybrid practice spans sculpture, complex multimedia installations, collage, and public art and performance interventions. Through spectacle or experiential immersion, her work questions how histories re-contextualize in the present — focusing on themes of genocide, migration and space exploration. She holds a BFA from the School of the Art Institute of Chicago and an MFA from Alfred University, NY. Stanislav's work has been exhibited and collected internationally. Select solo exhibitions and projects include NART, Narva, Estonia; The Mattress Factory Museum of Contemporary Art, Pittsburgh; Saint Louis Art Museum; The Museum of Russian Art, Minneapolis; Minneapolis Institute of Arts; Museum of Cosmonautics, Moscow, Russia; Weisman Art Museum, Minneapolis; 21c Museum, Louisville; Bemis Center for Contemporary Arts, Omaha; thisisnotashop, Dublin, Ireland; Melissa Morgan Fine Art, Palm Desert, CA; Bruno David Gallery, St. Louis; Ca'D'Oro Gallery, NYC; Cynthia Corbett Gallery, London, UK; Packer Schopf Gallery, Chicago; and Socrates Sculpture Park, NYC. Her work has also has been featured in exhibitions at The State Hermitage Museum, SPB, Russia; Center for Digital Art, Holon; Israel; Kuryokhin Center for Modern Art, SPB; CYLAND, NYC/SPB; Museum of Non-Conformist Art, SPB; Smack Mellon, NYC; Art Ii Biennial, Finland; Alvar Aalto City Library, Vyborg; Museum of the Defense and Siege of Leningrad, SPB; 5th Moscow Biennial; U.S (Ambassador's) Residence, Stockholm, Sweden; Fieldgate Gallery, London; Al Sabah Gallery, Kuwait City; Ormeau Baths Gallery, Belfast, Northern Ireland; Delaware Center for Contemporary Art, Wilmington; John Michael Kohler Arts Center, Sheboygan, WI; Kentucky Museum of Arts and Craft, Louisville; Dumbo Arts Center, NYC; Catalyst Arts, Belfast; Garis and Hahn Gallery, NYC; House of the Nobleman, NYC. Selected awards include Foundation for Foundation for Contemporary Arts Grant - NYC; Bemis Center for Contemporary Art Alumni Artist-in-Residents Award, Freund Fellowship for Visual Arts , Washington University; IUPAH Presidential Award, Target Studio Grant, Weisman Art Museum; Lower Manhattan Cultural Council Residency; McKnight Artists Fellowship; and the Jerome Artist Fellowship. For the past decade, Andréa has worked extensively in St. Petersburg, Russia on projects and research focused on the creative production during the Siege of Leningrad and Soviet and Russian space exploration. Andréa Stanislav is an Associate Professor at the Eskenazi School of Art, Architecture + Design, and affiliate faculty in the Russian and Eastern European Institute (REEI) at Indiana University, Bloomington

Kazi Society and the Saint Louis Art Museum present That's Art, a live podcast discussing hip hop's influence on contemporary art and society and how hip-hop culture has become a mainstream phenomenon. Join us for a conversation featuring A Great Day in St. Louis artist Adrian Octavius Walker, exhibition advisory group member Kenya Vaughn, and music industry veteran Boogie D. That's Art can end with a question mark or an exclamation point, but by the time you've seen the exhibition The Culture: Hip Hop and Contemporary Art in the 21st Century, That's Art will end with a period. --- Send in a voice message: https://podcasters.spotify.com/pod/show/thats-art/message

Kazi Society and the Saint Louis Art Museum present That's Art, a podcast discussing hip hop's influence on contemporary art and society and how hip-hop culture has become a mainstream phenomenon. Hosted by music industry veteran Boogie D with special guest Andrea Purnell, Manager of Audience Development for the Saint Louis Art Museum and co-curator of The Culture --- Send in a voice message: https://podcasters.spotify.com/pod/show/thats-art/message

Ep 163 is loose! And we have the jaw dropping tale of mass murder in 1920s Osage County, and the terrible price of greed...What happened to the Osage Nation? Why was one family experiencing such tragedy? And what do you know about what happens on oil rigs?The secret ingredient is...oil!Sources this week include Killers of The Flower Moon, Saint Louis Art Museum & The Art of Osage, The Insider.com, PBS, Famous Trails Reign of Terror An Account, and Oklahoma Historical SocietyGet cocktails and historic true crime tales every week with The Poisoners' Cabinet. Listen to the Podcast on iTunes, Spotify and find us on Acast: https://shows.acast.com/thepoisonerscabinet Join us Patreon: https://www.patreon.com/thepoisonerscabinet Find us on TikTok: https://www.tiktok.com/@thepoisonerscabinet Follow us on Instagram: https://www.instagram.com/thepoisonerscabinet/ Find us on Facebook: https://www.facebook.com/ThePoisonersCabinet Talk on Twitter: https://twitter.com/thepoisonerscab Hosted on Acast. See acast.com/privacy for more information.

Episode No. 601 of The Modern Art Notes Podcast features artists Jonathan Lyndon Chase and Sheldon Scott. Jonathan Lyndon Chase is included in "The Culture: Hip Hop and Contemporary Art in the 21st Century" at the Baltimore Museum of Art. The exhibition, on view through July 16, presents art, fashion and high-end consumer goods in consideration of the influence hip hop has had on contemporary society. It was curated by Asma Naeem, Gamynne Guillotte, Hannah Klemm, and Andréa Purnell. A catalogue was published by the BMA, the Saint Louis Art Museum and Gregory R. Miller & Co. Amazon and Bookshop offer it for about $55. Chase's paintings, video, sound, and sculpture depicts queer Black love and community. Their work has been the subject of solo exhibitions at the Fabric Workshop and Museum, Philadelphia; they have been included in recent group shows at the ICA Miami, the Los Angeles County Museum of Art, the Columbus Museum of Art, the RISD Museum of Art, the Philadelphia Museum of Art, and soon at the Whitney Museum of American Art (opening June 28). Scott is included in "Spirit in the Land" at the Nasher Museum of Art at Duke University. The exhibition considers today's ecological concerns and demonstrates how our identities and natural environments are intertwined. The show particularly focuses on the relationship between the mainland United States and the Caribbean. Curated by Trevor Schoonmaker, it is on view through July 9. The exhibition is accompanied by a catalogue which is available only at the Nasher. Scott is presenting a performance titled "Portrait, numba 1 MAN (day clean ta sun down)" at the Ogden Museum of Southern Art, New Orleans on May 13. Scott's work builds upon his upbringing in Gullah/Geechee culture and his background in storytelling to examine the Black male form. His work has been exhibited at the Driskell Center at the University of Maryland, the National Portrait Gallery, Smithsonian Institution, and more.

In Chasing Picasso: A True Story of A Daytime Heist on Art Hill, author C. Joan Baker unveils the mysterious history and disappearance of a small Picasso painting from the Saint Louis Art Museum in 1973. The 1906 Rose Period oil painting has not been seen since it disappeared in a clandestine daytime theft and the heist would have been forgotten altogether if it weren't perhaps for the one curious author, C. Joan Baker who we interview in this edition. She hopes her book will lead to the return of the Picasso painting, nicknamed Nude, to the Saint Louis Art Museum.[02:05] Interview with C. Joan Baker - Part I[16:23] Dred Scott Stamp Information[17:26] Saint Louis In Tune Update[16:12] Interview with C. Joan Baker - Part II[42:24] Information on Saint Louis In Tune[43:54] Dred Scott Heritage Foundation [45:24] Synthesizer[46:08] More on the book[46:38] Funny[56:04] Word of the DayThis is Season 6! For more episodes, go to stlintune.com#cjoanbaker #picasso #slam #artheist #stolenart #fbistolenart

Jeremy Strick has been the Director of the Nasher Sculpture Center since March 2009. Mr. Strick oversees collections, exhibitions and operations at the 2.4-acre museum located in the heart of downtown Dallas' Arts District.Prior to the Nasher, Mr. Strick served as Director of The Museum of Contemporary Art (MOCA) in Los Angeles, California, for more than nine years. Throughout his tenure, MOCA received international acclaim for its exhibition program, which included such landmark shows as Martin Kippenberger: The Problem Perspective (2008); Marlene Dumas: Measuring Your Own Grave (2008); Andy Warhol Retrospective (2002); Willem de Kooning: Tracing the Figure (2002), among many others. Mr. Strick also served as a senior curator at the Art Institute of Chicago, and held curatorial posts at the Saint Louis Art Museum and the National Gallery of Art, Washington, D.C. He pursued graduate studies in Fine Arts at Harvard University and received his Bachelor of Arts (History of Art) in 1977 from the University of California at Santa Cruz. Additionally, he has curated numerous exhibitions and has written and lectured extensively about modern and contemporary art.www.nashersculpturecenter.orgHost, Earlina Green Hamilton

In s3e19, host Ann Shafer talks with Maryanne Ellison Simmons, collector, printer, and owner of Wildwood Press in St. Louis, MO. Along with her husband, baseball hall-of-famer Ted Simmons, Maryanne collects contemporary prints. A large portion of the collection is now at the Saint Louis Art Museum where it was celebrated in an exhibition in 2022. Listeners may remember that Ann and Tru Ludwig traveled to St. Louis to see this exhibition and interview one of its curators, Elizabeth Wyckoff (s3e7), artist Tom Huck (s3e4 and s3e13), and Ted and Maryanne. Sadly, the audio file from the conversation with the Simmons was corrupt, so Ann circled back and interviewed Maryanne without Ted (sorry, Ted). But it gave them an opportunity to talk about not only the collection and the exhibition, but also Wildwood Press. Episode image: Brian Cummings  

In the first episode of the year, we look ahead at the next 12 months. Anny Shaw, the acting art market editor at The Art Newspaper, peers into her crystal ball and tries to predict the fortunes of the art market this year. Then, Jane Morris, one of our editors-at-large, José da Silva, our exhibitions editor, and host Ben Luke select the museum projects, biennales and exhibitions that they are most looking forward to in 2023.Events discussed:The Grand Egyptian Museum: no confirmed opening date. https://www.theartnewspaper.com/keywords/grand-egyptian-museumThe National Portrait Gallery reopens on 22 June. https://www.npg.org.uk/Factory International, Manchester, also opens in June. Yayoi Kusama's You Me and the Balloons opens there on 29 June, as does the Manchester International Festival. https://factoryinternational.org/The Sharjah Biennial: Thinking Historically in the Present opens on 7 February. https://sharjahart.org/biennial-15The Gwangju Biennial: Soft and Weak Like Water opens on 7 April. https://www.gwangjubiennale.org/gb/intro.doCelebration Picasso 1973-2023 https://celebracionpicasso.es/en/calendarioVermeer opens at the Rijksmuseum, Amsterdam, on 10 February. https://www.rijksmuseum.nl/en/stories/themes/vermeerManet/Degas opens at the at the Musée d'Orsay, Paris, on 28 March and then at the Metropolitan Museum, New York, on 24 September https://www.musee-orsay.fr/en/whats-on/exhibitions/manet-degasJuan de Pareja: Afro-Hispanic Painter, opens at the Met on 3 April https://www.metmuseum.org/exhibitions/listings/2023/juan-de-parejaSimone Leigh opens at the ICA, Boston, on 6 April, then at the Hirshhorn Museum and Sculpture Garden, Washington D.C., on 3 November before travelling to the Los Angeles County Museum of Art and the Californian African American Museum in 2024 https://www.icaboston.org/exhibitions/simone-leighBarkley Hendricks: Portraits at the Frick opens at Frick Madison, New York, on 21 September https://www.frick.org/sites/default/files/pdf/press/2022/Hendricks_Release_Final_07_13_22.pdfAlma Thomas: Composing Colour is at the Smithsonian American Art Museum, in D.C., from 15 September https://americanart.si.edu/exhibitions/alma-thomasThe Culture: Hip Hop and Contemporary Art in the 21st Century opens at the Baltimore Museum of Art on 5 April and the Saint Louis Art Museum on 25 August https://artbma.org/about/press/release/baltimore-museum-of-art-and-saint-louis-art-museum-co-organize-monumental-exhibition-exploring-the-global-significance-and-impact-of-hip-hopJaune Quick-to-See Smith opens at the Whitney Museum, New York, on 19 April https://whitney.org/exhibitions/jaune-quick-to-see-smithRemedios Varo: Science Fictions is at the Art Institute of Chicago from 29 July Hilma af Klint and Piet Mondrian: Forms of Life opens at Tate Modern in London on 20 April https://www.tate.org.uk/press/press-releases/hilma-af-klint-piet-mondrian-forms-of-lifeMarina Abramovic is at the Royal Academy in London from 23 September https://www.royalacademy.org.uk/exhibition/marina-abramovic Hosted on Acast. See acast.com/privacy for more information.

Tom Huck - Evil Prints http://www.evilprints.com/EVIL PRINTS @SPIDERHOLE STUDIO, PO BOX 666, PARK HILLS, MO 63601, UNITED STATES EVILHEADCREW@GMAIL.COMTom Hück (born 1971) is an American printmaker best known for his large-scale satirical woodcuts. He lives and works in Park Hills, Missouri, 60miles south of St. Louis, where he runs his own press Evil Prints @ Spiderhole Studio. His work is influenced by Albrecht Dürer, José Guadalupe Posada, R. Crumb, and Honoré Daumier.  Huck's woodcut prints are included in numerous public and private collections, including the Whitney Museum of American Art, Library of Congress, Spencer Museum of Art, Nelson Atkins Museum of Art, Saint Louis Art Museum, Milwaukee Art Museum, Minneapolis Institute of Art, Houston Museum of Fine Arts, Baltimore Museum of Art, The Art Institute of Chicago, Fogg Art Museum, Michael C. Carlos Museum, and The New York Public Library. Huck has been represented by David Krut Art Projects in New York, Sherry Leedy Contemporary Art in Kansas City, Missouri, and Duane Reed Gallery in St. Louis, Missouri.  Beginning in October 2017 Huck's gallery representation is C. G. Boerner in New York.Huck's illustrations have appeared in publications such as The Village Voice, The Riverfront Times, and the Minneapolis City Pages.  Hück has also worked with many music acts over the years most notably The Roots “Phrenology” album cover art, as well as t shirt and poster designs for Motörhead, A Perfect Circle, TILTS, and many others.As of Spring 2021 The Saint Louis Art Museum has become the complete official archive of all of Tom Hück's work dating from 1995 to the present. This episode is sponsored by www.betterhelp.com/TheBarn and presented to you by The Barn Media Group.

Paolo RepettoChristo e Jeanne Claude ProjectsCastello di Miradolo15 ottobre 2022 - 16 aprile 2023A poco più di due anni dalla scomparsa di Christo Vladimirov Javacheff, il Castello di Miradolo dedica a Christo e Jeanne-Claude, la coppia che ha rivoluzionato il concetto di opera d'arte e il suo processo di realizzazione, la mostra Christo e Jeanne-Claude. Projects, che espone disegni, collages, fotografie e video delle loro opere più famose, insieme ad opere di alcuni artisti del Nouveau Réalisme e della Land Art che hanno influenzato la loro produzione artistica e il loro pensiero.Curata da Francesco Poli, Paolo Repetto e Roberto Galimberti, con il coordinamento generale di Paola Eynard, la mostra, realizzata grazie alla collaborazione con la Christo and Jeanne-Claude Foundation di New York, presenta circa sessanta opere accompagnate da un'ampia sezione fotografica e dalla proiezione dei video che documentano la realizzazione delle monumentali installazioni artistiche. Le opere di Christo e Jeanne-Claude, tanto inedite, quanto ardite e monumentali, fecero sempre molta fatica ad essere approvate ed accettate. Nel 1966 il permesso per il progetto Wrapped Trees, concepito per il parco adiacente al Saint Louis Art Museum, in Missouri, fu negato. Nel 1969 gli artisti immaginarono il progetto Wrapped Trees, Project for Avenue des Champs- Élysées and the Rond Point des Champs-Élysée a Parigi, anch'esso mai realizzato. Il progetto Wrapped Trees per Riehen (Comune alle porte di Basilea) è stato infine completato nel 1998 ed è il risultato di 32 anni di sforzi e attese. Nel parco intorno alla Fondation Beyeler, 178 alberi, alti da 2 a 25 metri, sono stati avvolti con 23 chilometri di corda e con 55mila metri quadrati di tessuto in poliestere intrecciato.Al 1968 risalgono i primi due edifici impacchettati: entrambi musei. Si tratta della Kunsthalle di Berna e del Museum of Contemporary Art di Chicago. Nello stesso anno, in occasione della quarta edizione di Documenta, la quinquennale esposizione internazionale che si svolge a Kassel, in Germania, Christo e Jeanne-Claude realizzano davanti al palazzo del Friedericianum, sede della mostra, 5.600 Cubicmeter Package, una gigantesca scultura gonfiabile alta circa 85 metri. Nel 1974 a Roma il critico Achille Bonito Oliva organizza la grande rassegna “Contemporanea” a cui partecipano tutti i maggiori artisti internazionali. Christo e Jeanne-Claude realizzano una delle loro opere urbane più straordinarie: The Wall-Wrapped Roman Wall, che vede una sezione di ben 250 metri delle Mura Aureliane interamente coperta da tessuto di polipropilene legato da corde in Dacron. Nel 1985, undici anni dopo, The Pont Neuf Wrapped segna un nuovo intervento urbano che ha come protagonista il più antico ponte di Parigi, la cui architettura – in costante evoluzione - ha rispecchiato per secoli il carattere trasformista della città. L'intervento di Christo e Jeanne-Claude conferisce al Pont Neuf una nuova dimensione scultorea, continuandone dunque la tradizione della metamorfosi architettonica, trasformandolo per 14 giorni in un'opera d'arte.Wrapped Coast, One Million Square Feet (1969) nella Little Bay di Sydney in Australia, Valley Curtain (1972) a Rifle in Colorado, Ocean Front (1974) a Newport, Rhode Island a sud di Boston, Running Fence (1976) nelle Contee di Sonoma e Marin in California, sono tutte opere di dimensioni colossali, dove enormi teli in polipropilene o nylon hanno celato, per alcune settimane, vasti spazi, ora di costa, ora di acqua, ora di cielo. Valley Curtain, il grande telo arancione disteso come una immensa diga tra gli estremi di due colline, richiese 28 mesi di preparazione e durò solo 28 ore poiché forti raffiche di vento, fino a 100 km all'ora, resero necessaria una tempestiva disinstallazione. Running Fence, lunga quasi 40 chilometri e alta 5,5 metri, si estendeva da est a ovest, a nord di San Francisco, sulle proprietà di 59 allevatori di bestiame. Per 14 giorni l'alta “recinzione” di nylon bianco, come una inedita muraglia cinese, ma più elegante e leggera, seguiva l'andamento sinuoso delle colline per poi scomparire, immergendosi nell'oceano Pacifico, a Bodega Bay. L'idea arcaica della grande muraglia, come recinzione e difesa, delimitazione politica e confine, nella concezione dei due artisti si trasforma in un sinuoso nastro di luce che anziché separare, unisce, riaffermando ed esaltando così le caratteristiche coloristiche e luminose del contesto naturale catturato in una precisa frazione di tempo. Wrapped Fountain and Wrapped Medieval Tower (1968) sono le prime opere pubbliche realizzate da Christo e Jeanne-Claude in Italia. In occasione del Festival dei Due Mondi di Spoleto impacchettano una torre medievale e la Fontana del Mascherone del XVII secolo. Per i dieci anni dalla fondazione del movimento del Nouveau Réalisme, Christo e Jeanne-Claude impacchettarono con un tessuto in propilene bianco e con corde arancio due dei principali monumenti scultorei di Milano: quello di Vittorio Emanuele II in piazza del Duomo e quello di Leonardo da Vinci in piazza della Scala. Wrapped Monument to Leonardo e Wrapped Monument to Vittorio Emanuele II (1970) ebbero entrambi vita breve: rispettivamente due e sette giorni.Wrapped Reichstag (1995), l'impacchettamento dello storico palazzo del parlamento tedesco a Berlino, ha visto Christo e Jeanne-Claude impegnati in un travagliato processo di approvazione del loro progetto durato oltre due decenni. Per la forte pregnanza simbolica dell'edificio questo è forse l'intervento urbano più significativo degli artisti ed è tra quelli che ha avuto la maggiore risonanza e il più forte impatto a livello mondiale. La facciata, le torri e il tetto sono stati ricoperti con 100mila metri quadrati di tessuto in polipropilene color alluminio legati con ben 16,6 chilometri di corde blu. Il lavoro è stato compiuto da 70 alpinisti professionisti e da 120 operai installatori.A differenza degli esponenti della Land Art americana, che hanno privilegiato lontani territori desertici incontaminati e difficilmente raggiungibili, Christo e Jeanne-Claude hanno sempre voluto realizzare le loro opere in luoghi facilmente accessibili, anche nel caso degli interventi in spazi naturali. La componente fondamentale dei loro progetti era la presenza umana in forma di rapporto che una comunità di individui sviluppa con il contesto in cui vive e al contempo di interazione e coinvolgimento diretto nella creazione dei progetti stessi. Con Surrounded Islands (1983) nella Biscayne Bay di Miami, 11 delle isole situate nella baia furono circondate da oltre 600mila metri quadrati di tessuto fluttuante in polipropilene rosa che ricopriva la superficie dell'acqua e si estendeva per 61 metri da ciascuna isola nella baia. All'alba del 9 ottobre 1991, alla presenza di Christo e Jeanne-Claude, furono aperti i 3.100 ombrelli alti 6 metri e con un diametro di circa 8,5 metri, a Ibaraki e in California. The Umbrellas (1991) intendeva indagare le somiglianze e le differenze nei modi di vivere e nell'uso dello spazio in due valli interne, una lunga 19 chilometri in Giappone e l'altra 29 chilometri negli Stati Uniti. In Giappone, la valle si trova nella prefettura di Ibaraki e comprende le proprietà di 459 proprietari terrieri privati e di agenzie governative. Negli Stati Uniti, la valle si trova a poco meno di 100 chilometri a nord di Los Angeles, nelle proprietà del Tejon Ranch, appartenenti a 25 proprietari terrieri privati e agenzie governative. Con The Floating Piers (2016) per 16 giorni, dal 18 giugno al 3 luglio, il Lago d'Iseo è stato reinventato. Centomila metri quadrati di tessuto giallo dalia scintillante, fissati a un sistema modulare di pontili galleggianti composto da 220mila cubi di polietilene ad alta densità, ondeggiavano con il movimento dell'acqua, appena sopra la superficie del lago. The Gates (2005) è un cammino lungo 37 chilometri a Central Park, a New York: 7.503 “cancelli” alti quasi 5 metri e distanti tra loro circa tre metri e mezzo.Tutte le opere ambientali di Christo e Jeanne-Claude sono sempre state interamente finanziate dagli artisti stessi, attraverso la vendita dei disegni, dei collage e dei modelli in scala dei progetti in essere o passati. Tutti i progetti sono sempre stati liberamente accessibili al pubblico in maniera gratuita.IL POSTO DELLE PAROLEAscoltare fa Pensarehttps://ilpostodelleparole.it/

In s3e7 of Platemark series three, Ann Shafer and Tru Ludwig sit down with Elizabeth Wyckoff, Curator of Prints and Drawings at the Saint Louis Art Museum, to talk about the exhibition Catching the Moment: Contemporary Art from the Ted L. and Maryanne Ellison Simmons Collection, which is open until September 11, 2022. The Simmons collection, recently acquired by the Saint Louis Art Museum, provided an opportunity to take a deep dive into three artists they collected in depth: Kiki Smith, Enrique Chagoya, and Tom Huck. The major through line is works that critique a broad range of social, political, and art historical concepts. Other artists in the exhibition include Jaune Quick-to-See Smith, Bruce Nauman, H.C. Westermann, Tony Fitzpatrick, and Kara Walker. Elizabeth, like so many curators of prints and drawings, is responsible for works of art on paper from the 15th century through tomorrow, even though her dissertation focused on Dutch print publisher Jan Pietersz Berendrecht, who was active in Haarlem in the 1620s. Hear about living in Amsterdam while researching Berendrecht, working with the Simmons, and what her (fictitious) retirement gift will be. Episode image of Elizabeth Wyckoff: Courtesy of the Saint Louis Art Museum. Saint Louis Art Museum Print and Drawing Room link: https://www.slam.org/research/print-study-room/  

Ep.108 features Nanette Carter was born in Columbus, Ohio, and grew up in Montclair, New Jersey. She majored in art history and studio art at Oberlin College, Ohio, and spent her junior year in Perugia, Italy. Carter graduated from Oberlin in 1976 and received her MFA from the Pratt Institute in Brooklyn in 1978. Nanette Carter has received many grants, fellowships, and awards throughout her career. Most recently in 2021, Carter was granted The Anonymous was a Woman Award. She has exhibited nationally and internationally with solo exhibitions in Cuba, Syria, Italy, and Japan. In 2017, Carter was featured in Magnetic Fields: Expanding American Abstraction: 1960s to Today, a traveling museum exhibition featuring African American women artists that was organized by the Kemper Museum of Contemporary Art, Kansas City. In 2021, Carter was the program curator and a participant in Creating Community: Cinque Gallery Artists at the Art Students League, New York. Last summer, Carter was included in the Parrish Art Museum's exhibition, Affinities for Abstraction: Women Artists on the Eastern End of Long Island curated by Alicia Longwell. Her solo exhibition at the Hunterdon Museum of Art, Clifton, New Jersey, Forms Follow Function: The Art of Nanette Carter recently closed. Currently, Carter has a solo exhibition featuring her most recent work at Berry Campbell Gallery in Chelsea. The exhibition features collages from three series, including several large-scale examples. This summer Carter will be in group exhibitions at the Eric Firestone Gallery, East Hampton, the Featherstone Gallery, Martha's Vineyard, and the Hudson River Museum, Yonkers. Carter's work is in numerous corporate and museum collections including, the Perez Museum, Miami, The National Museum of Fine Arts Museum in Havana, Cuba, The Pennsylvania Academy of Fine Arts, Saint Louis Art Museum, The Studio Museum in Harlem, and Yale University Art Gallery. Carter recently retired from the Pratt Institute, Brooklyn, where she was a professor of art for over 20 years. Photo Credit: Kenneth Laidlow Artist https://nanettecarter.com/ Work https://www.berrycampbell.com/artist/Nanette_Carter/works/ Berry Campbell https://www.berrycampbell.com/ Anonymous Was a Woman https://www.anonymouswasawoman.org/ ArtForum https://www.artforum.com/artguide/berry-campbell-11828/shape-shifting-203752 Culturetype https://www.culturetype.com/?s=nanette+carter Hyperallergic https://hyperallergic.com/650425/cinque-gallery-another-chapter-of-black-art-history/ Detroit Art Review https://detroitartreview.com/2021/11/nanette-carter-contemporaries-nnamdi/ 27 East https://www.27east.com/arts/lets-talk-art-abstract-artist-nanette-carter-1775638/

Dr. Judy Mann, Senior Curator or European Art to 1800 for the St. Louis Art Museum, stopped by to talk to Nancy about the exhibition, Paintings on Stone: Science and the Sacred 1530–1800. About the Exhibition: In 2000 the Saint Louis Art Museum purchased Cavaliere d'Arpino's Perseus Rescuing Andromeda, an exceptional painting on lapis lazuli. The acquisition of the small, stunning work of art spurred extensive research that culminates in Paintings on Stone: Science and the Sacred 1530–1800, the first systematic examination of the pan-European practice of this unusual and little-studied artistic tradition. ——— By 1530 Italian artists had begun to paint portraits and sacred images on stone. At first artists used slate and marble. By the last decades of the 16th century, the repertoire expanded, eventually including alabaster, lapis lazuli, onyx, jasper, agate, and amethyst. In addition to demonstrating the beauty of these works, Paintings on Stone explains why artists began using stone supports and the role that stone played in the meaning of these endeavors. ——— Bringing together more than 70 examples by 58 artists, Paintings on Stone represents major centers of stone painting and features 21 different stones. ——— Judith W. Mann, the senior curator of European art to 1800. Since joining the museum in 1988, she has reinstalled the collections of Medieval, Renaissance, Baroque, and 18th-century European painting and sculpture three times, and organized two major international exhibitions. In 2022, the museum will organize a major, international exhibition curated by Mann that examines the art of painting on stone, a practice that flourished in Europe—particularly Italy—in the 16th and 17th centuries. In 2015, the Association of Art Museum Curators and the American Academy in Rome awarded Mann the Samuel H. Kress Foundation AAMC Affiliated Fellowship in order to allow her to continue her research into painting on stone in Rome.——- Mann curated “Orazio and Artemisia Gentileschi: Father and Daughter Painters in Baroque Italy,” which opened at Rome's Palazzo Venezia and later was seen at the Metropolitan Museum of Art and the Saint Louis Art Museum, as well as the 2012 exhibition “Federico Barocci: Renaissance Master,” which was presented at the Saint Louis Art Museum and the National Gallery, London. In recognition for her scholarship relating to the Barocci exhibition and catalogue, Mann received the Association of Art Museum Curators' Outstanding Monographic Exhibition Award. She holds a graduate degree and doctorate from Washington University. ———  

Episode No. 540 features curator Judith W. Mann and artist Nicholas Galanin. Mann is the curator of "Paintings on Stone: Science and the Sacred, 1530-1800," which is on view at the Saint Louis Art Museum through May 15. (Mann was assisted by Andrea Miller.) The exhibition, which includes more than 70 works by 58 artists, is the first examination of the pan-European practice of painting on stones such as lapis lazuli, slate and marble. The exhibition is accompanied by a terrific catalogue. Indiebound and Amazon offer it for about $50. On April 7-8 SLAM will be presenting a virtual symposium that explores painting on stone and the role that stone played in the meaning of individual artworks. The symposium is free but requires Zoom registration. Nicholas Galanin's work is on view in "The Scene Changes: Sculpture from the Sheldon's Collection" at the Sheldon Museum of Art at the University of Nebraska, Lincoln. The Sheldon acquired Galanin's 2012 The American Dream is Alie and Well in 2020. Galanin's work has been the subject of solo shows at Davidson College, the BYU Museum of Art, the Montclair Art Museum, the Missoula Art Museum, the Anchorage Museum and more. In 2018 The Heard Museum in Phoenix presented a survey of Galanin's career. Later this year the Weatherspoon Art Museum at the University of North Carolina Greensboro and the Crystal Bridges Museum of American Art in Bentonville, Ark. will present exhibitions of Galanin's work. Galanin is a Tlingit and Unangax̂ artist whose work examines contemporary Indigenous identity, culture and representation and interrogates the routine misappropriation of Native culture, colonialism and collective amnesia.

" I showed up, I engaged and started a conversation. When you have opportunities you want to be prepared." Louis Cameron "During the exhibition, I take a pivot to reflect on the violence that has recently taken place towards Black people in the United States." Louis Cameron "Being out of context brings clarity to who I am." Louis Cameron "The business piece of art is about who you know." Louis Cameron During this full episode, Louis Cameron and Jewell Sparks (BAAR Art Journey / UNITED17 Ventures / Startup42 Media) discuss the artist's journey. Louis Cameron is a contemporary American artist who was born in Columbus, Ohio.  Cameron has at least 10 solo shows and 28 group shows throughout his career. Cameron's latest solo show titled  "Louis Cameron" is currently (February 18, 2022) on view at Galerie Michael Janssen.   One of his most notable shows "Bearable Lightness…Likeness" took place at MoMA PS1 in New York. This exhibition featured the work of seven emerging artists and focused on the lightness of materials and the tradition of abstraction.   Cameron has participated in the Artist-in-Residence program at The Studio Museum in Harlem and been a Fellow in Painting with the New York Foundation for the Arts. His work is in the collections of the Albright-Knox Art Gallery, Buffalo; the International Center of Photography, New York; JPMorgan Chase Art Collection, New York; the Saint Louis Art Museum, and The Studio Museum in Harlem, New York. Cameron has taught at Princeton University, Yale University, and Brooklyn College amongst other institutions.  Cameron will help select artists for BAAR's upcoming art journey for 6 American artists taking place this fall in Berlin, Germany. The journey is slated to impact the lives of 30 artists over a 5 year time period and will take place in Berlin, Panama, Anguilla, Venice and Basel.  Cover Art: Louis Cameron, BRLN 31 (detail), 2021, paper on canvas, collage, 40 x 30 cm

Louis Cameron's exhibition opened February 18, 2022 at Galerie Michael Janssen. During this soundbite he discusses his artwork titled, “Last Words: George Floyd,” with Jewell Sparks, and mentions that the incident most likely caused many of us to think about what we would say if we were in the same situation. Cameron has participated in the Artist-in-Residence program at The Studio Museum in Harlem and been a Fellow in Painting with the New York Foundation for the Arts. His work is in the collections of the Albright-Knox Art Gallery, Buffalo; the International Center of Photography, New York; JPMorgan Chase Art Collection, New York; the Saint Louis Art Museum, and The Studio Museum in Harlem, New York. Cameron has taught at Princeton University, Yale University, and Brooklyn College amongst other institutions. Cameron will help select artists for BAAR's upcoming art journey for 6 American artists taking place this fall in Berlin, Germany. Cover Art: Louis Cameron, BRLN 31 (detail), 2021, paper on canvas, collage, 40 x 30 cm

This soundbite features Louis Cameron describing his first solo exhibition in Germany.  Tune in next week for the full episode. During the full episode, Jewell Sparks and Louis Cameron discuss their journeys as expats in Germany,  and Louis reflects on the impact that George Floyd had on him as a Black American man, and his art on the outside looking in while living in Berlin, Germany during the incident.  Louis Cameron was born in Columbus, Ohio, raised in Los Angeles, and currently lives in Berlin. His exhibition "Louis Cameron" takes place at Galerie Michael Janssen February 19 —16 April 16, 2022. In addition to his upcoming exhibition at Galerie Michael Janssen, Berlin Cameron has had solo exhibitions and projects at the Contemporary Art Museum St. Louis; The Kitchen, New York; The Armory Show, New York; and the Saint Louis Art Museum. He has also participated in group exhibitions in the United States and abroad at the Albright-Knox Art Gallery, Buffalo; the Contemporary Art Museum Houston; MoMA PS1, New York; The Studio Museum in Harlem, New York; Baltic Centre for Contemporary Art, Gateshead, United Kingdom; Paris Photo, France; and the Dakar Biennial, Senegal. Cameron has participated in the Artist-in-Residence program at The Studio Museum in Harlem and been a Fellow in Painting with the New York Foundation for the Arts. His work is in the collections of the Albright-Knox Art Gallery, Buffalo; the International Center of Photography, New York; JPMorgan Chase Art Collection, New York; the Saint Louis Art Museum, and The Studio Museum in Harlem, New York. Cameron has taught at Princeton University, Yale University, and Brooklyn College amongst other institutions. Cover Art: Louis Cameron, BRLN 31 (detail), 2021, paper on canvas, collage, 40 x 30 cm

Renée Franklin, Chief Diversity Officer for the St. Louis Art Museum, stopped by to speak with Nancy about her role at the Museum, and the Romare Bearden Graduate Museum Fellowship, among other topics. Renée Brummell Franklin is the Chief Diversity Officer at the The Saint Louis Art Museum, a new position that will oversee the implementation of a report on diversity, equity, access and inclusion that was adopted in summer of 2020 by the museum's board of commissioners. Franklin works closely with all museum departments to implement the report, which details immediate, actionable initiatives as well as longer-term considerations. Franklin joined the museum as coordinator of community outreach programs in 1998. During her time at the museum, she has served in a sequence of roles of increasing responsibility. Most recently as director of audience development, Franklin led the museum's efforts to expand and cultivate sustainable relationships with diverse audiences. Franklin helped develop several successful initiatives at the museum, including the Friends of African American Art Collectors Circle, the Art with Us youth residency program, and the Teen Assistant Program, a mentoring program that includes paid, summer employment. Franklin has long overseen the Romare Bearden Graduate Museum Fellowship, a national model for increasing under-represented professionals working in museums. Franklin received a master's degree in education and master's degree in business administration from Webster University and a bachelor's degree in marketing and business administration from Towson University.

Shaka Myrick and Delyn Stephenson, Romare Bearden fellows at the Saint Louis Art Museum, stopped by to talk with Nancy about their fellowships and the work they are doing at the museum. ABOUT THE ROMARE BEARDEN GRADUATE MUSEUM FELLOWSHIP: The Romare Bearden Graduate Museum Fellowship is a critical component in the museum's long-established commitment to increase diversity among its professional staff. Past fellows have gone on to hold key positions at the Saint Louis Art Museum, as well as at other noteworthy museums and universities, including the Art Institute of Chicago, National Gallery of Art, Philadelphia Museum of Art and University of Texas at Austin. Named for African-American artist Romare Bearden, the paid fellowship is designed to prepare graduate students of color seeking careers as art historians and museum professionals. Fellows gain valuable hands-on experience working throughout the Art Museum on specific assignments tailored to their background and interests. Since the program's inception in 1992, Bearden Fellows have spent their year teaching, researching works in the collection, developing programming, writing gallery materials and assisting curators with the development of exhibitions. This year's expansion of the fellowship is funded in part by the Romare Bearden Fellowship Endowment, which was created with a $100,000 gift from the Frost family. About SHAKA MYRICK Shaka Myrick (2021-2023) earned a bachelor's degree in painting at the University of Missouri in Columbia and spent the next decade working and interning at the NYCH Art Gallery in Chicago, the Museum of Contemporary Art Denver and the Nelson-Atkins Museum of Art and the Kemper Museum of Contemporary Art in Kansas City. She earned a master's degree in art history from the University of Missouri–Kansas City, where she concentrated on West African culture and presence in Brazil. Last year, Myrick curated Real Black, the first exhibition featuring all Black artists at the UMKC Gallery of Art. About DELYN STEPHENSON Delyn Stephenson (2021-2022) earned a bachelor's degree in art history and archaeology at the University of Missouri in Columbia and a master's degree in history through the Museums, Public History, and Heritage program at the University of Missouri–St. Louis. While at UMSL, Stephenson worked with the Griot Museum of Black History to create the exhibition Still We Thrive: The Neighborhoods of Fountain Park, Lewis Place, and The Ville. She also completed an internship with the Contemporary Art Museum St. Louis and worked at the National Blues Museum in St. Louis.

Min Jung Kim took the helm of the Saint Louis Art Museum a few weeks ago, and we hear her first thoughts about her new city, post-pandemic audiences, economic impact studies, major exhibitions, the value of free general admission, the cultural district including the museum, and how she spent her first few days on the job getting to know the building and everyone from curators to art handlers and guards.

Min Jung Kim took the helm of the Saint Louis Art Museum a few weeks ago, and we hear her first thoughts about her new city, post-pandemic audiences, economic impact studies, major exhibitions, the value of free general admission, the cultural district including the museum, and how she spent her first few days on the job getting to know the building and everyone from curators to art handlers and guards.

Self-Portrait Ian Weaver is an Artist and Professor at Saint Mary's College, South Bend, IN. His M.F.A. is from Washington University in St Louis (2008). He has exhibited at the South Bend Museum of Art; The Chicago Cultural Center; the Indianapolis Museum of Contemporary Art; and Saint Louis Art Museum. His residencies include Bemis Center for the Contemporary Arts; Ox-Bow; the ISCP Residency, New York; and Yaddo and the Millay Colony, both in upstate NY. Awards include the Stone and DeGuire Contemporary Art Award; Artadia and the Joan Mitchell Foundation, both based in NY; and the Illinois Arts Council.

Emily Arthur (Eastern Band Cherokee descent) is an Associate Professor at the University of Wisconsin-Madison and serves as Chair of the Printmaking Area within the Art Department where they will host (SGCI) Southern Graphics Council Conference in March 16 – 19 2022 titled Our Shared Future. Arthur received an MFA from the Pennsylvania Academy of the Fine Arts in Philadelphia and has served as a Fellow at the Barnes Foundation for Advanced Theoretical and Critical Research, Pennsylvania. Additional education includes the Rhode Island School of Design, University of Georgia and the Tamarind Institute of Lithography at the University of New Mexico. Arthur is awarded to the Notable Women in the Arts, National Museum of Women in the Arts and has been nominated for a Joan Mitchell Foundation, Painters and Sculptors Grant. She is the recipient of a Florida Artist Enhancement Grant provided by the State of Florida and the National Endowment for the Arts. Her work is included in the permanent collections of the Saint Louis Art Museum, Chazen Museum of Art, Minneapolis Museum of American Art, Tweed Art Museum, Denver Art Museum, Autry National Center of the American West and the Museum of Contemporary Native Arts, Santa Fe, NM. Arthur's work is included in the recent 2020 book, Knowing Native Arts (Lincoln): University of Nebraska Press, by Nancy Marie Mithlo as well as Dr. Mithlo's forthcoming book titled Visualizing Genocide co-authored with Yve Chavez, Ph.D. Arthur is also a co-curator and co-author of Re-Riding History: From the Southern Plains to the Matanzas Bay, edited by Phillip Earenfight, PhD. (The Trout Gallery: Carlisle, PA, Fall 2018). Arthur has served as an International Artist in Residence in France and Japan with artists from the Diné/Navajo Nation and as part of the 2011 Venice International Print Studios where she exhibited at the University of Ca” Foscari on Occasion of the Venice Biennale 54th International. International permanent collections include the nations of Iceland, Russia, Estonia, Ireland, France, Italy United Kingdom, India, Argentina, New Zealand, and Japan.

In this episode of PhotoWork with Sasha Wolf, Sasha and photographer Catherine Opie discuss Cathy's new comprehensive, survey monograph just published by Phaidon, the pivotal role a family friend played in Cathy's artistic trajectory, the impact her iconic picture Pervert had on her life and the reactions from those who first saw the work at the 1995 Whitney Biennial, including Sasha's own reaction. https://www.phaidon.com/store/photography/catherine-opie-9781838662189/ https://www.regenprojects.com/artists/catherine-opie Opie received a B.F.A. from San Francisco Art Institute in 1985, and an M.F.A. from CalArts in 1988. Solo exhibitions of her work have been organized at the Plug In Institute of Contemporary Art, Winnipeg, Canada (2020); Marciano Foundation, Los Angeles, CA (2019); Princeton University School of Architecture, Princeton, NJ (2018); Henie Onstad Kunstsenter, Oslo, Norway (2017); Nova Southeastern University Art Museum, Fort Lauderdale, FL (2017); Los Angeles County Museum of Art, Los Angeles, CA (2016); Museum of Contemporary Art, Pacific Design Center, Los Angeles, CA (2016); Hammer Museum, Los Angeles, CA (2016); Wexner Center for the Arts, Columbus, OH (2015); Long Beach Museum of Art, Long Beach, CA (2012); Socrates Sculpture Park, New York, NY (2012); Institute of Contemporary Art, Boston, MA (2011); Portland Art Museum, Portland, OR (2010); Solomon R. Guggenheim Museum, New York, NY (2008); Museum of Contemporary Art Chicago, IL (2006); Walker Art Center, Minneapolis, MN (2002); and the Saint Louis Art Museum, Saint Louis, MO (2000). Opie has received numerous awards and fellowships, including the John Simon Guggenheim Memorial Foundation Guggenheim Fellowship, Photography (2019), Aperture Foundation Award (2018), Smithsonian Archives of American Art Medal (2016), Women's Caucus for Art President's Award for Lifetime Achievement (2009). United States Artists Fellowship (2006), San Francisco Art Institute President's Award for Excellence (2006), Larry Aldrich Award (2004), and the CalArts Alpert Award in the Arts (2003). She has been a professor of fine art at the University of California, Los Angeles, since 2001 and serves on the board of directors of The Andy Warhol Foundation for the Visual Arts and the board of trustees of the Museum of Contemporary Art, Los Angeles. Find out more at https://photowork.pinecast.co

VELKOMMEN TILBAGE TIL BOSTON-OMRÅDET Vi skal til et område med to af de bedste universiteter i USA - måske i verden og derfor mange smarte mennesker. Tag med til Cambridge, Massachusetts tæt på Boston. Det er også en historie om, hvordan opdagelsen af ​​et tidligere ukendt maleri af Raphael, den italienske renæssancemester, gik fra mediesensation til karriereødelæggende skandale. I et dejligt, roligt og grønt parcelhuskvarter møder jeg Belinda Rathbone og hendes gamle hund, Ink. Det var en af ​​jer lyttere, der introducerede mig til Belinda. Da jeg kom til New England, skrev jeg et indlæg på Radiovagabonds Facebook-side, der stort set bare sagde: "Jeg er i New England - kender nogen af ​​jer nogle interessante mennesker, jeg skal møde?" Kaare Grundtvig skrev: “Belinda Rathbone i Boston. Kender hendes søn som er min halvbror. Jeg har ikke mødt hende selv. Under alle omstændigheder har hun skrevet en bog om sin far der var museumsdirektør for et stort kunstmuseum i Boston. Bogen handler om en skandale hvor faren fik smuglet og Rafael maleri ud af Italien til sit museum. Det røg han ud på røv og albuer for. ” Det vakte det min interesse, så han introducerede mig – og her er jeg i hendes vidunderlige stue med en kop kaffe og hendes hund, blæk ved min side. FRA MIDT-VESTEN TIL CAMBRIDGE Belinda har boet i Cambridge næsten hele sit liv, men hun blev født i Saint Louis, hvor hendes far var direktør for Saint Louis Art Museum. Kan du huske min episode fra Saint Louis? Det er nr. 90, hvis du vil lytte til den. Her forsøgte jeg at besøge Saint Louis Art Museum i Forest Park. To gange. Første gang det havde lukket et par minutter tidligere, og anden gang kom jeg på en dag, hvor det slet ikke var åbent. Jeg nævnte ikke dette for Belinda. Jeg tænker, at jeg var lidt flov over at skulle fortælle, at jeg aldrig fik oplevet det. Bare fordi jeg var så utjekket og ikke undersøgte åbningstiderne inden jeg kørte en halv time fra det sted, hvor jeg boede. Og gjorde det to gange. Belinda flyttede her til Cambridge med sin familie, fordi hendes far fik tilbudt et meget prestigefyldt job. Cambridge er en by med en masse kloge mennesker og at komme fra Midt-Vesten, kunne være et problem. Nogle mennesker her føler sig måske bedre og kan være ret afvisende over for folk fra Midt-Vesten. Som Belinda udtrykker det: Midt-Vesten er et overflyvnings-område for befolkningen her fra østkysten. MØD FORFATTER BELINDA RATHBONE Belinda er forfatter på fuld tid og havde udgivet flere bøger. En af dem handler om en skandale, som hendes far Perry T. Rathbone var den karismatiske direktør for Museum of Fine Arts i Boston. Det var tilbage i december 1969, at han og museet skabte overskrifter rundt om i verden, da han annoncerede at have købt ​​et ukendt og ukatalogiseret maleri af den berømte italienske renæssancemester Raphael. Det var et kup for museet, men det blev hurtigt til et mareridt, og Belindas far stod over for den mest udfordrende tid i sin trediveårige karriere. Perry T. Rathbone formåede at få maleriet, og han var årtiets mand -for Museum of Fine Arts i Boston, da maleriet blev afsløret og sat på væggen bag et rødt fløjlsreb med verdenspressen imponeret. Selve maleriet er et lille portræt af en ung pige med et blegt ansigt og mandelformede øjne, udsøgt klædt i sit stiveste renæssancetøj. Den er meget lille, kun omkring 20 x 25. Så mindre end et stykke A4-papir. FRA MEDIESENSATION TIL KARRIERE-ØDELÆGGENDE SKANDAL Alt var godt - indtil det ikke var det. I episoden kan du høre Belinda fortælle historien. Hvordan finder du i det hele taget et ukendt Rafael-maleri - og hvordan får du det fra Italien til Boston. Men det største problem var, at eksperter på begge sider af Atlanterhavet stod i kø for at diskutere kunstværket ægthed. Skandalen førte til, at han måtte træde tilbage som direktør for museet. Belinda Rathbones bog er en spændende historie bag kulisserne, som afslører, hvordan kunstverdenen, medierne og museerne fungerer. Det er historien om, hvad der faktisk skete, og om en datters søgen efter sandheden. Så hvis du kan lide historier om kunstbranchen, bør du tjekke Belindas bog, ”The Boston Raphael” med undertitlen ”A Mysterious Painting, an Embattled Museum in an Era of Change & a Daughter's Search for the Truth”. NÆSTE STOP MAINE I næste uge skal vi længere ud på landet end jeg har været i meget lang tid. Vi skal tilbringe et par dage sammen med Ben på hans blåbær farm i Maine. Og jeg glæder jeg mig rigtig meget til. Jeg hedder Palle Bo, og jeg skal videre. Vi ses.   SPONSOR - HOTELS25 Jeg har nogle spændende nyheder. Du ved, hvordan jeg i et par år har fortalt dig om, hvilket godt værktøj min sponsor Hotels25.dk er ... og nu er det blevet endnu bedre. Denne uge lancerer de en helt nyt forbedret website. Det ser elegant og overskueligt ud, men det er bare én ting. Nu inkluderer den også søgninger fra Booking.com. En af de største hotelsøgemaskiner derude. I én simpel søgning får du resultater fra Agoda, Kajak, Hotels.com, Expedia, Accor, Hilton, OpenTable, GetaRoom og nu også booking.com. Og mange flere. Før jeg havde Hotels25, kiggede jeg normalt på Hotels.com og kontrollerede indimellem, om Booking.com eller Expedia havde en bedre pris. Når jeg søger nu, får jeg det hele. Og det er nogle gange en af ​​de andre ... som jeg aldrig har hørt om, der har en bedre pris. Og vi taler om det nøjagtige samme værelse på det samme hotel, hostel eller gæstehus ... Det er noget, der har sparet mig for mange penge. Du finder ikke en bedre pris nogen steder – og det er derfor, de kan sige ”garanteret den bedste pris”. Hvis du gør det, tilbagebetaler de forskellen. Så husk det – til næste gang du skal ud at rejse: Hotels25.dk. SPONSOR – IMPORTANTCLICK Denne episode er også delvist sponsoreret af et nystartet webdesign firma. Det drives af digitale nomader og hedder ImportantClick.com. Det er dem, der står bag det splinternye design af Hotels25.dk, som jeg nævnte før. De har sagt, at jeg kan give dig et specielt tilbud som Radiovagabond-lytter. Så hvis du leder efter et nyt webstedsdesign til din virksomhed eller blog, gå ind på ImportantClick.com/RV (som i "The Radio Vagabond") for at få en speciel pris på webdesign. Prisen starter på under 5000 kr.

WELCOME BACK TO THE BOSTON AREA We're going to an area with two of the best universities in the USA – maybe the world and therefore a lot of smart people. As you will learn, it's not Boston but a city in its own right. It is also a story of how the discovery of a previously unknown painting by Raphael, the Italian Renaissance master, went from media sensation to a career-destroying scandal. Join me as I'll take you to Cambridge Massachusetts. In a nice quiet green residential area, I meet Belinda Rathbone and her old dog, Ink. It was one of you guys that introduced me to Belinda. When I was in the area, I made a post on The Radio Vagabond‘s Facebook page basically just saying: “I'm in New England – does any of you know of some interesting people, I should meet?” A listener, Kaare in Denmark wrote: “Yes, you should meet Belinda Rathbone in Boston. Her son is my half-brother, but I haven't met her myself. Anyway, she wrote a book about her father, who used to be the director of a prestigious art museum in Boston. The book is about a scandal where he got a Rafael painting smuggled out of Italy to his museum. Something they fired him for”. Now that piqued my interest, so he introduced me – and here I am in her wonderful living room with a cup of coffee and her dog, Ink by my side. FROM THE MID-WEST TO CAMBRIDGE Belinda has lived in Cambridge almost all her life, but she was born in Saint Louis, where her father was the director of Saint Louis Art Museum.  Do you remember my episode from Saint Louis? It's #62 in case you want to listen to it after listening to this one. Here I tried to visit the Saint Louis Art Museum in Forest Park. Twice. The first time it had closed a few minutes earlier and the second time, I came on a day when it wasn't open at all. I didn't mention this to Belinda. I guess I was a bit embarrassed to say I never made it there. Just because I didn't check the opening hours before driving half an hour from where I lived. And did it twice. She moved here to Cambridge with her family because her father got offered a very prestigious job. Cambridge is a city with all the smart people. They came from the Mid-West, and that could be a problem. Some people here sometimes feel better and can be quite dismissive about people from the Mid-West. As Belinda puts it: The Mid-West is a fly-over area for the coastal people. BELINDA RATHBONE THE AUTHOR Belinda is a full-time author and have published several books. One of them is about a scandal her father Perry T. Rathbone was the charismatic director of the Museum of Fine Arts in Boston. It was back in December 1969, when he and the museum made headlines around the world when he announced the acquisition of an unknown and uncatalogued painting by the famous Italian Renaissance master, Raphael. It was a coup for the museum, but it turned into a nightmare and he faced the most challenging crossroads of his thirty-year career.  Perry T. Rathbone managed to get the painting and he was the man of the hour – if not the man of the decade for the Museum of Fine Arts in Boston when the painting was unveiled and put on the wall behind a red velvet rope with the world press reporting about it. The painting itself is a tiny portrait of an adolescent girl with a moon-pale face and almond eyes, exquisitely dressed in Renaissance finery. It's small, only eight by ten inches – in centimetres it's around 20 x 25. So, smaller than a piece of A4 paper. FROM MEDIA SENSATION TO CAREER-DESTROYING SCANDAL All was good – Until it wasn't. In the episode, you can hear Belinda tell the story. How do you even find an unknown Rafael painting – and then how do you get it from Italy to Boston. But the biggest problem was that experts on both sides of the Atlantic lined up to debate the artwork's very authenticity. The scandal led him to resign as director of the museum. Belinda Rathbone's book is a compelling, behind-the-scenes story that reveals how the art world, media, and museums work. It's a story about what actually happened and about a daughter's search for the truth. And if you like stories of the business of art, you should check out Belinda's book: ”The Boston Raphael” with the subtitle ”A Mysterious Painting, an Embattled Museum in an Era of Change & a Daughter's Search for the Truth”. NEXT STOP MAINE Next week we are going more rural than I've been in a very long time. We're going to spend a few days with Ben at his Blueberry farm in Maine. And I'm so looking forward to that. My name is Palle Bo and I gotta keep moving. See ya.    SPONSOR – HOTELS25 I have some exciting news. You know how I for a few years have told you about what a great tool my sponsor Hotels25.com is… now it's just gotten even better. This week they are launching a brand-new improved website. It looks cool, but that's one thing. But also, the results now include searches from Booking.com. One of the biggest out there. In one simple search, you get results from … and let me take a deep breath and name just a few of them: Agoda, Kayak, Hotels.com, Expedia, Accor, Hilton, OpenTable, GetaRoom and now also booking.com. Before I had Hotels25, I normally looked at Hotels.com and sometimes checked if Booking.com or Expedia had a better price. Now when I search it's sometimes one of the others… that I would never use that has a better price. We're talking the EXACT same room at the exact same hotel, hostel or guesthouse… And that has saved me so much money. You won't find a better price anywhere – and that's why they say best price guaranteed. If you do, they will refund the difference. So, bookmark it. Remember it. Hotels25.com. SPONSOR – IMPORTANT CLICK This episode is also partly supported by a web design start-up run by nomads. It's called ImportantClick.com and they are behind the cool brand-new design of Hotels25.com that I mentioned before. They have agreed that I can give a special offer for my listeners. If you are looking for a new website design for your company or blog. All you have to do is to go ImportantClick.com/TRV (as in “The Radio Vagabond”) to get a special deal for web design starting at just 799 dollars / 680 Euro.

An edited archived video of Art Brunch S1E6 with artist Marissa Dembkoski. Art Brunch streams live Sundays from 10-1ct on twitch Follow us on Twitch to never miss live art content ► www.twitch.tv/thetravelagency Video Version ► https://youtube.com/channel/UCjR8GINuvF8ILQOogwqJibA » See pretty pictures on ig: instagram.com/thetravelagency Timestamps: About The Travel Agency: The Travel Agency is a digitally native platform that hosts contemporary art making, produces art-centered entertainment, and will be providing digital residencies for emerging artists. The goal of Art Brunch is to broaden public interest and support for the arts, provide digital tools and expertise to emerging artists, and present contemporary art in a casual and accessible manner. Marissa’s Bio: Marissa Dembkoski is an artist, art museum administrator, and (recently) quarantine fundraising DJ. She earned her BFA from Lesley University in Photography and Art History in 2017 and completed a collaborative thesis with partner Paal Williams. Their artist collaborative pwmd creates work that intertwines artistic tensions from the history of photography and contemporary modes of photographic production to question the constructs of visual culture. They have exhibited four solo exhibitions, participated in the first triennial exhibition in St. Louis, Counterpublic 2019, and curated exhibition Pixel at the Granite City Art and Design District. Marissa has worked in communications and development roles at non-profits for the past six years, including Harvard Art Museums and the Saint Louis Art Museum. During quarantine, she pursued her random desire to learn the basics of DJing, which has resulted in creating a recurring virtual dance party fundraiser series called Boogie Knights of Quarantine with collaborator Ally Campbell. Known professionally as DJ MixRiss, she is notoriously known for exclusively using SoundCloud remixes and nostalgic early 00's suburban electronic hits. Boogie Knights are held monthly to fundraise money for important causes, past donations have gone to the Okra Project and the ACLU. Social: Personal insta: @marissadembkoski Boogie knights insta: @boogieknightsofquar pwmd: pwmd.biz #contemporaryart #artnow #liveart

St. Gabriel the archangel was entrusted wit the most important message in the history of humanity. He had to make sure it was understood and accepted freely. We can ask him to help us with our ability to listen to others, to develop empathy, and rouse up memorable conversations. Each dialogue can be like a deposit in the emotional bank account of our interlocutor. A meditation preached by Fr. Eric Nicolai at Ernescliff college, Oct 11, 2020. More meditations: www.youtube.com/ericnicolai Music from Handel's opera, Rinaldo. The aria is Lascia ch'io pianga, played on the guitar by Bert Alink. The thumbnail: Paolo de Matteis, The Annunciation (1712), in the Saint Louis Art Museum.

Rebecca interviews Jill Whitten and Robert Proctor of Whitten & Proctor Fine Art Conservation. They discuss the process of art conservation and restoration, as well as their paths into the field and some of their projects with museums around the world. (From http://www.whittenandproctor.com/02Experience.htm) JILL WHITTEN has been a painting conservator in private practice in Houston,Texas since 1999. She received a BFA in Painting from the University of Texas at Austin, and an MA and Certificate of Conservation from Buffalo State College, New York, in 1992. She spent her graduate internship and a three-year Mellon Fellowship at the Art Institute of Chicago. In the winter of 1995, she received a Kress Grant to work as a guest conservator at the J. Paul Getty Museum on the first phase of a collaborative project to produce new retouching paints for conservators. She and Robert Proctor were sabbatical replacement lecturers at the Buffalo State College Art Conservation Department in the spring of 1996. From 1996 to 98 she worked at the National Gallery of Art in Washington, D.C., testing and developing retouching materials in the Scientific Department and as a conservator of 20th Century paintings. Jill worked as a contract conservator at the Museum of Fine Arts, Houston treating the paintings of Frederic Remington in 1997 and 1998. Jill has lectured and led workshops for conservators in the U.S. and Europe on the use of new materials for varnishing and retouching since 1993. ROBERT PROCTOR has had a private practice serving individuals, institutions, museums, libraries, and corporations since 1994. He studied Art History at Tulane University in New Orleans and graduated with a BA in 1980. He earned an MA and Certificate of Conservation at Buffalo State College in Buffalo, New York in 1992. He traveled to Munich for his graduate internship at the Bayerisches Nationalmuseum where he mastered the technique of reweaving tears. From 1992-93 Robert was a graduate intern and an assistant painting conservator at the Indianapolis Museum of Art. He treated a large group of paintings by Max Beckmann at the Saint Louis Art Museum in preparation for an exhibition in Stuttgart. He worked with Jill Whitten on the Frederic Remington Collection at the Museum of Fine Arts, Houston in 1997 and 1998. Robert is a specialist in the reweaving of tears and has taught workshops on reweaving and has lectured internationally on varnishes since 1994. PROFESSIONAL AFFILIATIONS American Institute for Conservation-AIC International Institute for Conservation-IIC Texas Association of Museums-TAM Western Area Art Conservation-WAAC Special Guest: Jill Whitten & Robert Proctor.

Dr. Susan Pendergrass and Rex Sinquefield discuss his return to St. Louis, the biggest challenges facing the city today, active vs. passive investing and more. Rex Sinquefield is co-founder and former co-chairman of Dimensional Fund Advisors, Inc. He also is co-founder of the Show-Me Institute. In the 1970s, he co-authored (with Roger Ibbotson) a series of papers and books titled Stocks, Bonds, Bills & Inflation. These works provided the first seminal data on the performance of the financial market in the United States. At American National Bank of Chicago, he pioneered many of the nation’s first index funds. He is a life trustee of St. Louis University and DePaul University and a trustee of the St. Vincent Home for Children in Saint Louis. He serves on the boards of the Saint Louis Symphony Orchestra, the Saint Louis Art Museum, the Missouri Botanical Garden, Opera Theatre of Saint Louis, and Saint Louis University. He previously served as a member of the editorial board of the Financial Analysts Journal and the investment committee of the Archdiocese of Saint Louis. He received a B.S. from Saint Louis University and his M.B.A. from the University of Chicago in 1972. Learn more about the Show-Me Institute: https://showmeinstitute.org/ The Show-Me Institute Podcast is produced by Show-Me Opportunity

Najee Dorsey in conversation with Dean L. Mitchell. Dean was born 1957, in Pittsburgh, Pennsylvania and reared in Quincy, Florida. He is a graduate of the Columbus College of Art & Design in Columbus, Ohio. Mitchell is well known for his figurative works, landscapes and still lifes. In addition to watercolors, he is accomplished in other mediums, including egg temperas, oils and pastels. Mitchell has been featured in numerous publications, including the New York Times, Christian Science Monitor, American Artist, Artist Magazine, Fine Art International and Art News. His art can be found in corporate and museum collections across the country, including: Nelson-Atkins Museum of Art, Kansas City, Missouri; Mississippi Museum of Art, Jackson, Mississippi; Saint Louis Art Museum, Saint Louis, Missouri; Kemper Museum of Contemporary Art, Kansas City, Missouri; Nerman Museum of Contemporary Art, Kansas City, Missouri; Beach Museum of Art, Manhattan, Kansas; The Autry National Center, Los Angeles; The Arkansas Art Center, Little Rock, Arkansas; Gadsden Art Center Quincy, Florida; Canton Museum of Art, Canton, Ohio and the Library of Congress. SUBSCRIBE & LIKE for more podcasts #BAIAtalksPODCAST BLACK ART IN AMERICA™ (BAIA) is a leading online portal and network focused on African-American Art with visitors from over 100 countries visiting our site each month and about half a million visitors to our social media pages. Check out the resources below for more info. ** Resources ** Become a Patreon www.patreon.com/blackartinamerica Educational Resources blackartinamerica.com/index.php/educ…nal-resources/ FREE course on Getting Started Collecting Art tinyurl.com/startcollectingart Visit our Curated Shop shopbaiaonline.com/ Buy and Sell Black Art in our Marketplace buyblackart.com/ **Social** Facebook www.facebook.com/BlackArtInAmerica/ Instagram www.instagram.com/blackartinamerica_ Twitter twitter.com/baiaonline **Our Website** blackartinamerica.com/

Cara McCarty, Director of Curatorial at Cooper Hewitt, Smithsonian Design Museum, speaks with INCLUDEnyc Senior Family Educator Ruth DiRoma about the history of the museum, accessible design, and their favorite pieces from the latest exhibitions. McCarty oversees the museum’s curatorial vision and leads exhibition planning. She played a lead role in the 2014 renovation and transformation of Cooper Hewitt into a 21st-century museum, from the overall master plan to the creation of new gallery spaces and participatory visitor experiences. Previously she was curator and head of the department of decorative arts and design at the Saint Louis Art Museum, where she established the museum’s 20th-and 21st-century design collection, and was instrumental in the museum's expansion. Prior to that, McCarty held curatorial positions in the department of architecture and design at The Museum of Modern Art. Her numerous exhibitions and accompanying publications include Access+Ability; Tools: Extending Our Reach, National Design Triennial: Why Design Now?, Structure and Surface: Contemporary Japanese Textiles, Masks: Faces of Culture, and Information Art: Diagramming Microchips. She received a bachelor's degree in Architectural History and East Asian Art from Stanford University and was a Loeb Fellow at Harvard's Graduate School of Design.

    Lisa Çakmak is the associate curator of ancient art. She joined the Saint Louis Art Museum in 2010 as the Andrew W. Mellon Fellow for ancient art and previously was the Niarchos Curatorial Fellow at the Museum of Fine Arts, Boston. Çakmak has an undergraduate degree in art and archaeology from Princeton University, a master of arts and doctorate in classical art and archaeology from the University of Michigan, and a master of business administration from the Olin Business School at Washington University in St. Louis.

Franck Goddio described what coming across the underwater remains of an ancient city was like on this week’s St. Louis on the Air in conversation with host Don Marsh and Lisa Çakmak, associate curator of ancient art at the Saint Louis Art Museum.

Angelina Gualdoni is an artist living and working in Brooklyn. She was born in San Francisco and got her BFA from MICA and her MFA from the University Of Illinois at Chicago. She also attended the Skowhegan School of Painting and Sculpture in 2000. She has had solo exhibitions at Asya Geisberg, Kavi Gupta, the Saint Louis Art Museum, the MCA in Chicago amongst others. She’s had group shows at Xolla Liebermand, Lama Dodd, Bowling Green, the Nerman Museum, the Queens Museum, Susan Inglett, the Orlando Museum of Art and many more. She has received a NYFA Award grant, a Pollock-Krasner Grant and has been a resident at the ISCP and the MacDowell Colony along with other residencies. She has been featured in the Boston Globe, Artcritical, the Huffington Post, Two Coats of Paint, the New York Times, Artnet and many more. Angelina is also a co-founder of Regina Rex Gallery. Her work is in the collection of the MCA in Chicago, the Nerman Museum and the Saatchi Collection. She has taught for many years and is currently teaching at the School of the Museum of Fine Art in Boston. Brian stopped by Angelina’s Bed Stuy studio and we talked about the Chicago music scene, adjusting to New York, co-founding Regina Rex and her diverse approach to painting.

An interview with Philip Hu, associate curator of Asian art at the Saint Louis Art Museum, discussing the exhibition Five Centuries of Japanese Screens: Masterpieces from the Saint Louis Art Museum and the Art Institute of Chicago, which opens on Sunday, October 18.

Episode 24 brings us the art of the Japanese folding screen from the exhibition Beyond Golden Clouds: Japanese Screens from the Art Institute of Chicago and the Saint Louis Art Museum. We’ll explore traditional styles, motifs, subjects, and forms, and also discover contemporary examples of the Japanese screen breaking boundaries and redefining the art form. Two works are examined in close detail, Flowering Cherry and Autumn Maples with Poem Slips by Tosa Mitsuoki and Mountain Lake Screen Tachi by Okura Jiro, in a discussion weaving together tradition and innovation, antiquity and contemporary, banal and spiritual.

Bill Appleton, assistant director of public programs at the Saint Louis Art Museum, will discuss Power and Glory: Court Arts of China's Ming Dynasty and related programs. Student: Emma Dent