Podcast appearances and mentions of Sally Mann

We meet Misan Harriman, photographer, social activist and Oscar Nominated filmmaker. He is one of the most widely-shared visual storytellers of this age. He is also the first black person in the 104 year history of British Vogue to shoot the cover of its September issue. In July 2021 he commenced his appointment as Chair of the Southbank Centre, London. His strong reportage style and unique eye for narrative has captured the attention of editors and celebrities around the world. From documenting historic moments in history to photographing high profile celebrities, including Meghan Markle & Prince Harry, Angelia Jolie, Jay-Z, Tom Cruise, Julia Roberts, Giorgio Armani, Rhianna, Cate Blanchett and Olivia Colman, Misan is a photographer of extraordinary range. His striking images have featured in Vanity Fair, Vogue UK, Harpers Bazaar, People Magazine and The Telegraph among others. His first film, the After starring David Oyelowo is the first Netflix UK original Short and has been nominated for an Academy Award.Misan is an outspoken activist supporting Diversity and Inclusion in the workplace, he is also a mental health campaigner with a keen interest in Dyslexia and Neurodiversity. He is currently exploring how web3 can help democratise merit based opportunity for disadvantaged artists on a global scale.He is the founder of Culture3 whose mission is to explain and explore what web 3.0 means for culture, commerce, and society. Nigeria born, Misan was educated in England where he developed a life-long love for the arts. This led him to picking up a camera and honing his craft. He is completely self-taught, his work is inspired by Gordon Parks, Sally Mann, Eve Arnold, Bruce Davidson, Norman Parkinson and Peter Lindbergh. SXSW London presents: Misan Harriman: Shoot the People Part of SXSW London 2025. British-Nigerian photographer Misan Harriman investigates how protest movements shape social change. Following his debut White Nanny, Black Child, director Andy Mundy-Castle turns the camera on Oscar-nominated British-Nigerian photographer and activist Misan Harriman, who became the first Black man to shoot a cover of British Vogue in 2021 and has captured modern icons such as Meghan Markle and Prince Harry, Rihanna, Stormzy, Cate Blanchett, and Tom Cruise. In Shoot the People, Harriman examines how protest and organised movements can lead to social change, all while capturing the resilience of activism through his lens. In July 2025, Harriman will have his debut solo exhibition of his photography in London at Hope93 gallery. https://hope93.com/Follow @MisanHarrimanVisit https://www.misanharriman.com/ Hosted on Acast. See acast.com/privacy for more information.

  "Photography is truth. The cinema is truth 24 times per second." -- Jean-Luc Godard   "What use is having a great depth of field, if there is not an adequate depth of feeling?" -- W. Eugene Smith   In this episode, Antonio and Ward catch up amid packing tape and camping plans. Antonio talks through the experience of unearthing old cameras—including a pair of Olympus XAs he didn't even realize he owned—while preparing for his move. The conversation wanders through gear talk, fond memories of a long-lost Forscher Polaroid back, and a reflective look at how certain tools and artifacts carry pieces of photographic history. Meanwhile, Ward shares a bit about an upcoming camping trip and a brief hands-on with Fujifilm's new GFX camera, which prompts a chat about who these high-megapixel cameras are really for.   Things shift toward the visual language of photography when Antonio brings up the use of shallow depth of field in shows like The Handmaid's Tale. That sparks a back-and-forth on the emotional and narrative power of selective focus, both in film and stills—from Sally Mann's large format portraits to W. Eugene Smith's documentary work. They round out the episode by poking at the growing trend of chasing a “cinematic look” in photography, discussing whether it's a meaningful stylistic choice or just another preset to scroll past.   Subscribe to our Substack Newsletter Help out the show by buying us a coffee! Support the show by purchasing Antonio's Zines. Send us a voice message, comment or question.   Show Links:   Antonio M. Rosario's Website, Vero, Instagram, Bluesky, and Facebook page Ward Rosin's Website, Vero, Bluesky, Instagram and Facebook page. Ornis Photo Website  The Unusual Collective Street Shots Facebook Page Street Shots Instagram     Subscribe to us on: Apple Podcasts Google Podcasts Spotify Amazon Music iHeart Radio

ÜBER RHIZOME. ÜBER HIERARCHIEN. ÜBER DAS DENKEN DIESER TAGE. EIN HÖRWURZELN MIT INTERNODIEN BEI GILLES DELEUZE & FELIX GUATTARI, SALLY MANN & FRANZ KAFKA. ANLÄSSLICH DER AUSSTELLUNG „VERWURZELT & VERZWEIGT“ (DRAIFLESSEN COLLECTION)

In today's episode a case in the Supreme Court could change copyright infringement cases, Sally Mann photos, and Leica changing their pricing. You can find the show notes here. https://liamphotographypodcast.com/episodes/episode-452-copyrights-sally-mann-leica-pricing

Top headlines for Wednesday, April 30, 2025In this episode, we explore the controversy surrounding The New York Times' report on Nascimento Blair, an illegal immigrant and drug dealer whose deportation has sparked a political uproar. Next, we turn to the art world, where the Modern Art Museum of Fort Worth has regained possession of provocative photographs by renowned artist Sally Mann, months after they were confiscated by police. Finally, we take a closer look at Mark Carney, the newly appointed leader of the Liberal Party of Canada. Discover five key facts about Carney as he steps into the shoes of former Prime Minister Justin Trudeau. 00:11 Trump admin. responds to NYT article about deported kidnapper01:04 Naked child images seized by police returned to Texas art exhibit01:53 DOJ 'going after' criminals who vandalized, torched churches02:56 United Methodist LGBT advocacy group calls God ‘she' in email03:57 Elders reject Firefly's findings in Michael Brown investigation04:51 Colorado will force taxpayers to fund abortions05:44 Mark Carney: 5 things to know about Canada's newly elected PMSubscribe to this PodcastApple PodcastsSpotifyGoogle PodcastsOvercastFollow Us on Social Media@ChristianPost on TwitterChristian Post on Facebook@ChristianPostIntl on InstagramSubscribe on YouTubeGet the Edifi AppDownload for iPhoneDownload for AndroidSubscribe to Our NewsletterSubscribe to the Freedom Post, delivered every Monday and ThursdayClick here to get the top headlines delivered to your inbox every morning!Links to the NewsTrump admin. responds to NYT article about deported kidnapper | PoliticsNaked child images seized by police returned to Texas art exhibit | U.S.DOJ 'going after' criminals who vandalized, torched churches | PoliticsUnited Methodist LGBT advocacy group calls God ‘she' in email | Church & MinistriesElders reject Firefly's findings in Michael Brown investigation | Church & MinistriesColorado will force taxpayers to fund abortions | PoliticsMark Carney: 5 things to know about Canada's newly elected PM | Politics

Jessica Fuentes and William Sarradet discuss recent news stories in Texas, including the controversy surrounding Sally Mann's work, the destruction of artwork installed at the Austin Convention Center, and the closure of the Panhandle-Plains Historical Museum. "The Modern (Art Museum of Fort Worth) had a notification at the entrance stating that the exhibition (Diaries of Home) contained mature content. Is a museum allowed to show work that some people might deem obscene if they provide notice so viewers can make the decision whether or not they want to go in? The Modern, in particular, charges an entry fee, you make a choice to go in." See related readings here: https://glasstire.com/2025/04/06/art-dirt-news-roundup If you enjoy Glasstire and would like to support our work, please consider donating. As a nonprofit, all of the money we receive goes back into our coverage of Texas art. You can make a one-time donation or become a sustaining, monthly donor here: https://glasstire.com/donate

Steve and Katie welcome back Professor Amy Adler to discuss the First Amendment's free speech protections as they apply to artistic expression in the context of several recent incidents. Specifically, they discuss the police seizure of certain Sally Mann photographs from the Modern Art Museum of Fort Worth in the context of obscenity and child pornography laws, the removal of the For Freedoms billboard depicting the march on Selma in Montgomery, Alabama, and the lawsuit about the Nirvana “Nevermind” album cover depicting a naked baby.   Notes for this episode: https://artlawpodcast.com/2025/03/25/updates-on-art-free-speech-and-government-censorship/   Follow the Art Law Podcast Instagram: https://www.instagram.com/artlawpodcast/ TikTok: https://www.tiktok.com/@artlawpodcast Katie and Steve discuss topics based on news and magazine articles and court filings and not based on original research unless specifically noted.

Hope nefnist nýútkomin plata píanóleikarans Inga Bjarna Skúlasonar en á henni leikur hann ný lög úr eigin smiðju ásamt Hilmari Jenssyni, Anders Jormin og Magnúsi Tryggvasyni Eliassen. Við ræðum við Inga Bjarna um plötuna í þætti dagsins og heyrum nokkur vel valin brot af henni. Trausti Ólafsson rýnir í Heim eftir Hrafnhildi Hagalín sem er sýnt um þessar mundir í Þjóðleikhúsinu. Og við veltum fyrir okkur ritskoðun á verkum Sally Mann í Texas.

Á Listasafni Ísafjarðar stendur nú yfir merkileg myndlistarsýning. Um er að ræða sögusýningu, og að öllum líkindum fyrstu einkasýningu, myndlistarkonunnar Kristínar Þorvaldsdóttur. Kristín var fædd á Ísafirði árið 1870 og fór 12 ára gömul til Kaupmannahafnar í myndlistarnám. Hún lærði líka í Þýskalandi og hugði á framhaldsnám í Róm þegar hún var kölluð heim til að annast börn systur sinnar, sem hafði látist af barnsförum. Kristín var hæfileikarík og vel menntuð og hefði vel getað orðið fyrsta íslenska konan til þess að helga sig myndlist. En eftir þennan örlagaríka atburð hætti hún alfarið að mála og lokaði verk sín ofan í læstum skúffum. Hún er því sannkölluð huldukona í íslenskri myndlist, en þær Rannveig Jónsdóttir og Guðfinna Hreiðarsdóttir, á Listasafni Ísafjarðar, hafa nú haft upp á úrvali verka hennar og sett saman sýningu Kristínu til heiðurs. Nýverið voru fjórar ljósmyndir eftir Sally Mann teknar niður af veggjum nýlistasafnsins í bænum Forth Worth í Texas, og í síðustu viku var staðfest að ljósmyndirnar væru í haldi lögreglu. Yfirtaka lögreglunnar á listaverkunum kom i kjölfar mikillar gagnrýni íhaldsafla í bænum sem segja verkin vera barnaklám. Þetta er ekki í fyrsta sinn sem ljósmyndir Sally Mann vekja umtal og gagnrýni. Verk hennar vöktu heitar umræður þegar þær komu fyrst fyrir sjónir almennings og hafa gert það reglulega síðan. Mann er einn virtasti ljósmyndari Bandaríkjanna, hefur sýnt verk sín í öllum helstu söfnum landsins og miklu víðar, gefið út verðlaunaðar bækur og hlotið fjölda viðurkenninga. Viðfangsefni verka hennar eru fjölbreytt en, líkamar, umbreytingaferli og landslag eru rauður þráður í verkum hennar, sem og fagurfræði ljósmyndatækni síðustu og þar síðustu aldar. Og það vill svo skemmtilega til að verk hennar eru nú til sýnis á Listasafni Íslands, á samsýningunni Nánd hversdagsins þar sem fimm alþjóðlegir ljósmyndarar eiga verk. Við hittum Einar Fal Ingólfsson við verk Mann í þætti dagsins. Við heyrum einnig leikhúsrýni, að þessu sinni rýnir Katla Ársælsdóttir í Skeljar, nýtt íslenskt verk eftir Magnús Thorlacius sem sýnt er í Ásmundarsal. Umsjón: Halla Harðardóttir og Melkorka Ólafsdóttir

We are back this week with our monthly edition of the Art Angle Roundup, where co-hosts Kate Brown and Ben Davis are joined by a guest to discuss some of the biggest headlines of the month. This week, Caroline Goldstein, acting managing editor of Artnet News, joins the show. It's been quite the January. Though it is typically a slow month, some major stories have transpired. We'll be talking about censorship in the museum world in the U.S., looking in particular at the case of two Sally Mann photographs that were seized from a museum in Dallas, Texas. We will also talk about the passing of the filmmaker David Lynch on January 15. Lynch is famous for his films, but he was also a respected artist with his fair share of institutional exhibitions under his belt. He has always been a painter, but do we like his paintings? We discuss. Lynch has been represented by Pace Gallery since 2022. We take a look at his artistic legacy and his enigmatic ways. Last but not least, New York's prestigious Metropolitan Museum has ventured into the blockchain world of all places with a free-to-play video game that you can access on Web3. The game was launched this month together with TR Lab, a platform that aims to connect artists and technologists and creates and sells fine art collectibles. The Met's new game, called Art Links, does weekly drops. If you win you can collect badges in your OpenSea wallet and win IRL prizes. Sound fun? Maybe not? We each played it and gave it our honest review. —Kate Brown

We are back this week with our monthly edition of the Art Angle Roundup, where co-hosts Kate Brown and Ben Davis are joined by a guest to discuss some of the biggest headlines of the month. This week, Caroline Goldstein, acting managing editor of Artnet News, joins the show. It's been quite the January. Though it is typically a slow month, some major stories have transpired. We'll be talking about censorship in the museum world in the U.S., looking in particular at the case of two Sally Mann photographs that were seized from a museum in Dallas, Texas. We will also talk about the passing of the filmmaker David Lynch on January 15. Lynch is famous for his films, but he was also a respected artist with his fair share of institutional exhibitions under his belt. He has always been a painter, but do we like his paintings? We discuss. Lynch has been represented by Pace Gallery since 2022. We take a look at his artistic legacy and his enigmatic ways. Last but not least, New York's prestigious Metropolitan Museum has ventured into the blockchain world of all places with a free-to-play video game that you can access on Web3. The game was launched this month together with TR Lab, a platform that aims to connect artists and technologists and creates and sells fine art collectibles. The Met's new game, called Art Links, does weekly drops. If you win you can collect badges in your OpenSea wallet and win IRL prizes. Sound fun? Maybe not? We each played it and gave it our honest review.

This week, filing starts to put your name on the ballot in a local Texas election. We sit down with Tara Maldonado, a progressive candidate who ran three times for city council in Fort Worth. Ann and Tara share stories and perspectives that give average listeners a genuine look inside what it takes. SHORT STORY #1: Censoring Art: Modern Exhibit Receives Backlash- The Modern Releases Statement Regarding Removed Sally Mann Photographs in Fort Worth- Don't let critics censor Fort Worth photo exhibit because they see iniquity, not artSHORT STORY #2: Why is Keller ISD Looking to Split their District?- Keller school board now plans to keep public out of a meeting to discuss proposed split- Splitting Keller ISD in two? Fort Worth mayor opposes idea, hasn't heard from district- Why a plan to split Keller ISD into two districts has trustees feeling ‘blindsided- Parody ‘Alliance ISD' Facebook page pokes fun at proposed Keller school district splitSHORT STORY #3: The 89 Legislation Starts Tomorrow! A quick brief on state politics- Texas Legislature returns Tuesday. Leadership battles, divisive issues await lawmakers- Texas Take PodcastBIG STORY: Conversation with Tara Maldonaldo on What it Takes to Run for Local Office- Attend her event WINS AND LOSSES:Ann

In today's episode the top photography world stories for this past week including news on the California wildfires. You can find the show notes here. https://liamphotographypodcast.com/episodes/436-dji-matrice-4-satechis-hub-sally-mann-photos-seized-la-fires

Join us as we dive into the critical response led by Mayor Rokhsana Fiaz and local activist Sally Mann in Newham, a diverse London borough facing challenges from recent riots and threats of white supremacist activity. Mayor Fiaz, a powerful advocate for equality and inclusivity, along with Sally Mann, a prominent community leader, work tirelessly to promote unity and security in Newham. This episode uncovers their strategic initiatives and collaborative approaches to maintain peace, empower marginalized voices, and resist hate-driven agendas. Explore the powerful resilience of Newham's leaders as they implement anti-racism measures and amplify community-led responses to uphold justice and safety. Learn more about Mayor Fiaz's work on the [official Newham website](https://www.newham.gov.uk/), and follow local initiatives through resources like [Newham London's Community Safety](https://www.newham.gov.uk/community-safety) and updates on [Newham's anti-racism efforts](https://www.newham.gov.uk/community-parks-leisure/anti-racism/).   Help sustain the work of RLC: www.redletterchristians.org/donate/ To check out what RLC is up to, please visit us www.redletterchristians.org  Follow us on Twitter: @RedLetterXians Instagram: @RedLetterXians Follow Shane on Instagram: @shane.claiborne Twitter: @ShaneClaiborne Intro song by Common Hymnal: https://commonhymnal.com/

Peter Fetterman, a renowned art dealer and photographer, joins Paris to discuss his passion for photography, his journey in the art world, and his thoughts on the evolving landscape of photography. They delve into topics such as his recent acquisitions, the significance of great talent in photography, his admiration for photographers like Sally Mann and Julia Margaret Cameron, and his belief that work should bring richness and fulfillment. Peter Fetterman's infectious enthusiasm for photography shines through as he speaks about his experiences, his love for his craft, and his commitment to promoting photography to the world. SHOW NOTES https://www.theparischongshow.com/episodes/peter-fetterman-art-photography-legacy-and-the-importance-of-passion CHAPTERS (00:00:00) Intro (00:00:45) You Got The Memo (00:05:34) Starting the Gallery (00:09:46) Art Sales and Photography (00:15:18) Ambassadors of Taste (00:19:01) Art Fairs (00:21:22) Lets Talk About The Book (00:25:46) Do You Take Photos? (00:26:57) What's Next? (00:30:00) Anyone You Want To Work With? (00:32:53) 2nd Peter Fetterman Gallery (00:33:44) Favorite City (00:34:32) Outro

Kerstin Ekmans Rätten att häda från 1994 är ett rykande försvar för yttrandefriheten och det klara förnuftet. Ulrika Knutson läser en text som samtidigt är högaktuell och en produkt av sin tid. Lyssna på alla avsnitt i Sveriges Radio Play. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna. Publicerad 2020-08-17.Sverige har världens äldsta tryckfrihetslagar, från 1766. Vi kan tacka Peter Forsskål för dem. Hans pamflett Tankar om Borgerliga Friheten inspirerade några år tidigare. Högst av alla friheter satte han skriv-friheten.Hans text blev genast indragen av censuren och Forsskål fick gå i landsflykt. Det passade honom inte så illa. Han var en av Linnés lärjungar. Tyvärr dog han i Jemen, bara 31 år gammal. Linné döpte en liten nässla efter honom, till Forsskalea Tennacissima - "kärv, stickig, hårdnackad och envis".Som Linnélärjunge strävade Forsskål efter nytta. Skrivfriheten hade ganska lite med jagets romantiska uttrycksbehov att göra. Snarare handlade det om jagets behov av kunskap.Alla medborgare måste få bli bekanta med "samhällets tillstånd", ansåg Forsskål. Det var en djärv åsikt på hans tid, när de flesta svenskar slet ont i jordbruket och inte begärde mer än en sup eller två när arbetsdagen var slut. Samhällets tillstånd orkade ingen bry sig om.Men Forsskål var optimist. Han trodde på folkbildning. Friheten krävde inte bara fri press utan ett "upplyst publikum".Idag lever vi i det fria ordets paradox. Ordet är friare än någonsin - hos oss i Sverige - men Forsskål hade nog tyckt att "den upplysta publiken" beter sig konstigt. Konspirationer och fakta-resistens skulle han inte ha gillat. Han hade väntat mer av det klara förnuft som också Kerstin Ekman hyllar i sitt tal Rätten att häda. Hållet den 15 oktober 1994.När hon talade hade krutröken ännu inte lagt sig. Bara fem år tidigare hade Ekman och Lars Gyllensten lämnat Svenska Akademien, i protest mot att den vägrat ge sitt stöd åt Salman Rushdie. Hans roman Satansverserna hade de iranska ayatollornas fatwa över sig. Rushdie hade gått under jorden. Bara året innan hade hans norske förläggare William Nygaard nätt och jämnt överlevt ett mordattentat. Faran är inte över. Det finns fortfarande ett pris på Salman Rushdies huvud.Texten var länge ur tryck, men återpublicerades våren 2020 i tidskriften Essä, tillsammans med sex kommenterande texter. Kerstin Ekmans tal är dubbelt läsvärt, både som appell för yttrandefriheten och som kulturhistorisk produkt av sin tid. 1994 är länge sedan.Talet speglar tiden före den stora mediala revolutionen. Webb och sociala medier var knappt påtänkta. Mobiler låg inte i var mans ficka. Det var bara fem år efter murens fall. Svenska Akademiens uppfattning vägde tungt. Dess kapital var ännu stort.Kerstin Ekmans tal handlar inte så mycket om Salman Rushdie och islam, utan mer om upplysningen och försvaret av den "skeptiska humanismen" i Hjalmar Söderbergs anda. Här ser man hur mycket Söderberg betytt för Ekman. Hon börjar med en chockeffekt, beskriver en barnpornografisk bild, där två män urinerar på en liten flicka. Hon äcklas, ändå vill hon försvara rätten att publicera den. Hon hyllar de gamla grundlagarna och Forsskåls tryckfrihet. Några år senare svängde det - idag är det förbjudet att inneha, till och med att betrakta en sådan bild. Och märk väl, en av de få som fällts för detta brott är ingen vanekriminell, utan serieöversättaren Simon Lundström, som i sin dator hade japanska mangateckningar. "Döma teckningar, är svenskarna inte riktigt kloka"? undrade den amerikanska fotografen Sally Mann.Kerstin Ekmans text är kärv, stickig och envis, som Forsskåls nässla. Riktigt giftig när hon skildrar den svenska aningslösa välviljan, de "rosiga kindernas cynism" - till exempel i form av ekosocialister som drömmer om ett paradis bortom demokratin. Detta fenomen försvann inte med nittiotalet. "De rosiga kindernas cynism" - vilket uttryck - blossar upp då och då, både i klimatdebatten och i identitetspolitiken. Eller vad ska man säga om Uppsala universitet som glömde allt de visste om akademisk frihet och källkritik, och mästrade kulturantropologen Ingalill Arvidsson för att hon på ett seminarium, uppmanad att svara på en fråga om uppslagsord i gamla arkiv, använt n-ordet, som var det konkreta uppslagsordet. Detta inte menat som stöd för de frihetskämpar som bryr sig mindre om samhällets tillstånd än rätten att köpa n-ordsbollar i närbutiken så fort suget slår till.Kerstin Ekman talar också om "den vämjeliga bönhustraditionen" i Sverige, med dess drag av botgöring och underkastelse. Detta förstod nog den bildade borgerligheten för 25 år sedan, särskilt om de legat i Uppsala och lyssnat på när Ingmar Hedenius läste lusen av biskoparna. Men idag i världens modernaste land - vem ska ta åt sig? 68-vänstern eller P O Enquist och arvet från Hjoggböle. Lite bönhus ska väl den sekulariserade svensken tåla?Kerstin Ekmans text kommenteras hövligt av sex olika författare. Det är bara Agneta Pleijel som törs ta henne på allvar, och svara på Ekmans skarpa kritik av religion, och av Birgitta Trotzig. Pleijel menar att Kerstin Ekman gick för långt när hon skrev att intresset för plågade sovjetiska öden, som poeterna Mandelstam, Tsvetajeva och Achmatova, ibland fått karaktären av dödsfascination - "en på mycket långt håll ljuv svindel inför deras undergång".Detta är inget huvudspår i Kerstin Ekmans text, men det är starka ord. Kerstin Ekman själv, liksom Hjalmar Söderberg, uppehåller sig ofta vid nazisternas illgärningar, utan svindel vid avgrunden. Detta måste ha med tiden att göra. Det var ju 1994, de sovjetiska arkiven hade just blivit tillgängliga och alla fynden gav många rubriker. Det var först då som man fick veta att Osip Mandelstam verkligen dog i ett uppsamlingsläger på väg till Vladivostok. Det kan förresten vara på sin plats att påminna om att de ryska arkiven inte längre är öppna. Putin sitter på nycklarna sedan många år. Men då hade fakta just börjat röra sig. Kunde detta förväxlas med dödsfascination?Ett uppriktigt tack får Kerstin Ekman från Mohammad Fazlhashemi, nu professor i islamsk teologi och filosofi i Uppsala. Han ger bakgrunden till fatwan mot Rushdie, hur den shiamuslimske ayatollan Khomeini hittade ett utrymme för att framstå som den sanne försvararen av islam, också i sunniters ögon. Det var ett politiskt mästardrag. Mycket tragiskt däremot, att inte de diplomatiska ansträngningarna förmådde efterträdaren Khamenei att lätta på fatwan. Ett tag såg det så ut.Vad Mohammad Fazlhashemi tackar Kerstin Ekman för är att hennes klara förnuft vägrade skuldbelägga alla muslimer för brottet mot Rushdie, något som sker då och då, i vår upplysta tid. Professor Fazlhashemi bidrar med en personlig anekdot. När debatten rasade som värst skulle han själv lämna in bilen till reparation hemma i Umeå. Mekanikern tog nycklarna, spände ögonen i professorn och ville ha besked, inte om kardanknutar eller bromsar. Han ville veta om kunden var villig att verkställa den dödliga fatwan mot Rushdie och hans svenska förläggare. Fazlhashemi skakade av sig alla känslor frågan väckte, och gav ett kort och koncist svar: Nej!Ett kvarts sekel går fort. Mycket hinner hända, eller händer inte alls. Ungefär vid samma tid då tidskriften Essä tryckte om Kerstin Ekmans text ombads Svenska Akademien att lägga ett ord för den fängslade svenske medborgaren Gui minhai. Men Akademien tyckte inte att det var deras uppgift att försvara Guis yttrandefrihet. Det finns andra organisationer som sköter sådana saker betydligt bättre än Akademien, enligt ständige sekreteraren. Och det är ju tur.Ulrika Knutson, journalist och författareKällorEmi-Simone Zawall (red): Tidskriften Essä, nummer 5: Rätten att häda, 2020. Först publicerad 1994 av svenska Rushdiekommittén i samarbete med Studiekamraten.Peter Forsskål: Tankar, om Borgerliga Friheten. på Litteraturbanken.se, Atalntis 2017, red Gunilla Jonsson. Originalet publicerat 1759.

Lichen is a strange presence on this planet. Traditionally, scientists have understood lichen as a new organism formed through symbiosis between a fungus and an algae. But the science is evolving. It seems that there may be more than one species of fungus involved in this symbiosis, and some scientists have suggested that lichen could be described as both an ecosystem and an organism. Lichen may even be immortal, in some sense of the word.In lichen, the poet Forrest Gander finds both the mystery of the forest and a rich metaphor for our symbiosis with one another and with the planet, for the relationship between the dead and the living, and for how our relationships with others change us indelibly. In his poem, “Forest,” lichen are a sensual presence, even erotic, living in relationship to the other beings around them. They resemble us, strangely, despite our dramatic differences.The words of the poem teem with life, like the forest they explore, and Forrest's marvelous reading of the poem adds a panoply of meanings and feelings through his annunciation, his breaths, his breaks. It's phenomenal.This poem, and his work more broadly, is about nothing less that who we are on this Earth and how we live—how we thrive—in relationship.Forrest Gander writes poetry, novels, essays, and translations. He is the recipient of many awards and honors, including a Guggenheim Fellowship and the Pulitzer Prize in poetry for his book, Be With. As an undergraduate, like me, he studied geology, which became foundational to his engagement with ecological ethics and poetics.Forrest often collaborates with other artists on books and exhibitions, including a project with the photographer Sally Mann. His latest book of poetry is a collaboration with the photographer Jack Shear, called Knot (spelled with a “k”). He recently collaborated with artist Ashwini Bhat on an exhibition at the Shoshana Wayne Gallery in Los Angeles, called “In Your Arms I'm Radiant.”His poem, “Forest,” is from his 2021 collection of poems, Twice Alive.Forrest has taught at Harvard University and Brown University. He spoke to me from his home in Northern California, where he now lives.This episode of Chrysalis is part of the Chrysalis Poets series, which focuses on a single poems from poets who confront ecological issues in their work.You can listen on Substack, Apple Podcasts, and other podcast platforms.Please rate, review, and share to help us spread the word!Forrest GanderBorn in the Mojave Desert in Barstow, California, Forrest Gander grew up in Virginia. He spend significant years in San Francisco, Dolores Hidalgo (Mexico), Eureka Springs, and Providence. With the late poet CD Wright, he has a son, the artist Brecht Wright Gander. Forrest holds degrees in both Geology and English literature. He lives now in Northern California with his wife, the artist Ashwini Bhat. Gander's book Be With was awarded the 2019 Pulitzer Prize. Concerned with the way we are revised and translated in encounters with the foreign, his book Core Samples from the World was a finalist for the Pulitzer Prize and the National Book Critics Circle Award. Gander has collaborated frequently with other artists including photographers Sally Mann, Graciela Iturbide, Raymond Meeks, and Lucas Foglia, glass artist Michael Rogers, ceramic artists Rick Hirsch and Ashwini Bhat, artists Ann Hamilton, Tjibbe Hooghiemstra, dancers Eiko & Koma, and musicians Vic Chesnutt and Brady Earnhart, among others.   The author of numerous other books of poetry, including Redstart: An Ecological Poetics and Science & Steepleflower, Gander also writes novels (As a Friend; The Trace), essays (A Faithful Existence) and translates. Recent translations include It Must Be a Misunderstanding by Coral Bracho, Names and Rivers by Shuri Kido, and Then Come Back: the Lost Neruda Poems. His most recent anthologies are Pinholes in the Night: Essential Poems from Latin American (selected by Raúl Zurita) and Panic Cure: Poems from Spain for the 21st Century.Gander's books have been translated and published in more than a dozen other languages. He is a United States Artists Rockefeller Fellow and has received fellowships from The National Endowment for the Arts and the Guggenheim, Whiting, and Howard Foundations. In 2011, he was awarded the Library of Congress Witter Bynner Fellowship. Gander was the Briggs-Copeland poet at Harvard University before becoming The Adele Kellenberg Seaver Professor of Literary Arts and Comparative Literature at Brown University where he taught courses such as Poetry & Ethics, EcoPoetics, Latin American Death Trip, and Translation Theory & Practice. He is an Emeritus Chancellor for the Academy for the Academy of American Poets and is an elected member of The Academy of Arts & Sciences.Gander co-edited Lost Roads Publishers with CD Wright for twenty years, soliciting, editing, and publishing books by more than thirty writers, including Michael Harper, Kamau Brathwaite, Arthur Sze, Fanny Howe, Frances Mayes, Steve Stern, Zuleyka Benitez, and René Char.“Forest”By Forrest GanderErogenous zones in oaks slung with stoles of lace lichen the sun's rays spilling through leaves in broken packets a force call it nighttime thrusts mushrooms up from their lair of spawn mycelial loam the whiff of port they pop into un- trammeled air with the sort of gasp that follows a fine chess move like memories are they? or punctuation? was it something the earth said to provoke our response tasking us to recall an evolutionary course our long ago initation into the one- among-others and within my newborn noticing have you popped up beside me love or were you here from the start a swarm of meaning and decay still gripping the underworld both of us half-buried holding fast if briefly to a swelling vastness while our coupling begins to register in the already awake compendium that offers to take us in you take me in and abundance floods us floats us out we fill each with the other all morning breaks as birdsong over us who rise to the surface so our faces might be sprungRecommended Readings & MediaForrest Gander reading his poem “Unto Ourselves” from Twice Alive.TranscriptIntroJohn FiegeLichen is a strange presence on this planet. Traditionally, scientists have understood lichen as a new organism formed through symbiosis between a fungus and an algae. But the science is evolving. It seems there may be more than one species of fungus involved in this symbiosis. And some scientists have suggested that lichen, and could be described as both an ecosystem and an organism. Lichen may even be immortal in some sense of the word. In lichen, the poet Forrest Gander finds both the mystery of the forest and a rich metaphor for our symbiosis with one another and with the planet, for the relationship between the dead and the living, and for how our relationships with others change us indelibly. In his poem, "Forest," lichen are an essential presence, even erotic, living in relationship to the other beings around them. They resemble us strangely, despite our dramatic differences. The words of the poem teem with life, like the forest they explore, and Forrest's marvelous reading of the poem as a panoply of meanings and feelings through his enunciation—his breaths, his breaks; it's phenomenal. This poem in his work, more broadly, is about nothing less than who we are on this earth, and how we live; how we thrive in relationship. I'm John Fiege, and this episode of Chrysalis is part of the Chrysalis Poets series. Forrest Gander writes poetry, novels, essays, and translations. He is the recipient of many awards and honors, including a Guggenheim Fellowship, and the Pulitzer Prize in poetry for his book Be With. Forrest often collaborates with other artists on books and exhibitions, including a project with a photographer Sally Mann. His latest book of poetry is a collaboration with a photographer Jack Scheer called Knot. He recently collaborated with artist Ashwini Bhat on an exhibition at the Shoshana Wayne Gallery in Los Angeles, called In Your Arms I'm Radiant. His poem, "Forest," is from his 2021 collection of poems, Twice Alive. Forrest has taught at Harvard University and Brown University. He spoke to me from his home in Northern California, where he now lives. Here is Forrest Gander reading his poem "Forest."PoemForrest Gander“Forest”Erogenous zones in oaks slung with stoles of lace lichen the sun's rays spilling through leaves in broken packets a force call it nighttime thrusts mushrooms up from their lair of spawn mycelial loam the whiff of port they pop into un- trammeled air with the sort of gasp that follows a fine chess move like memories are they? or punctuation? was it something the earth said to provoke our response tasking us to recall an evolutionary course our long ago initation into the one- among-others and within my newborn noticing have you popped up beside me love or were you here from the start a swarm of meaning and decay still gripping the underworld both of us half-buried holding fast if briefly to a swelling vastness while our coupling begins to register in the already awake compendium that offers to take us in you take me in and abundance floods us floats us out we fill each with the other all morning breaks as birdsong over us who rise to the surface so our faces might be sprungConversationJohn FiegeThank you. It's so wonderful hearing you read it, the intonation and the flow of the words and your emphasis is just like completely new hearing you read it, rather than just reading it myself. I want to start with the sexual imagery. You begin with "erogenous zones in oaks, slung with stoles of lace lichen." And that last line, "stoles of lace lichen the," that was one of the things that jumped out to me, is the is at the end of the line there. And you read it as if it was the end of the line rather than pausing and using it as part of the next stanza. But in addition to these, this erogenous zone, you've got thrusting mushrooms in a layer of spawn, and sexual imagery doesn't often accompany decomposition, and decomposers like lichen and in fungi, but this combination brings a strong sense of the interconnectedness of life and death of reproduction and decomposition. And so this is the cyclical world we live in, even though we're often myopically or delusionally, focused on some kind of progressive, linear, supernaturally immortal view of our lives. How are you imagining the reader encountering the beginning of this poem, and its images of sexually charged decomposition?Forrest GanderI'm, uh, trying to connect decomposition and eros, or the merging of more than one species, one individual, into a community. And I'm trying to use a syntax, which you notice, that also doesn't easily separate itself into clear, discrete sentences, but seems to be connected at both ends. And the sense is for us to lose our security in reading our feeling that we dominate the reading that we can figure it out quickly and divide it up into these parcels, and instead, create a kind of reading experience that mimics the kind of experience that we actually live, where everything is connected, and, and where the erotic and the decomposing are involved in the same processes.John FiegeYeah, and thanks to Governor Jerry Brown, lace lichen is now the official California state lichen making...Forrest Gander(Chuckles) Isn't that great? John Fiege...making California the first state to recognize a lichen as a state symbol. And the poem, like you were saying, how the syntax is mimicking the organic world. Visually, the line breaks and the varied intended indentations appear as local lace lichen itself. Can you talk about your relationship with lichen?Forrest GanderYes. You know, I think like you think, which is why you're doing these podcasts, that we're in an exigent historical moment where the environment is rapidly changing, and species are rapidly disappearing. And we've been hearing about this for decades without really responding in a sufficient way to the exigency of our situation. So I'm trying to find models of, instead of just heaping on more climate information horror, I'm trying to find models of other ways of thinking about our relationship with the world. And one, since I have a background in science—I have a degree in geology—is a scientific one. And I worked with a mycologist, named Anne Pringle, who taught me to see fungus and lichen in places where I hadn't been seeing them before. And it turns out lichen covers about 92% of the world you can find lichen in. And despite that, most people know what it is. They've seen, like on rocks, green, brown, little spots. It turns out, scientists don't really know what lichen is.John FiegeIt's cool to find something that scientists don't feel like they know that much about.Forrest GanderIt is! And yet, it seems like there's more more of those things that we don't really know that we can't measure, that we can't feel like we are in control of it all. And lichen is these two—more actually, it's not just an algae and cyanobacteria, or Sienna bacteria and fungus that get together it there's more organisms that are involved that come together, and are transformed completely and can't go back to what they were. And they formed this new organism that acts completely differently. And we're not so different from that, that our own bodies are full of other organisms, and even our DNA contains DNA of parasites that long ago became incorporated into our system. So lichen gives us a way of thinking about the mutualities that our lives are really made of.John FiegeYeah, and this poem, "Forest," is part of that collection, Twice Alive, where you have "Post-Fire Forest" and other poems related to wildfire and the aftermath of them, and that collection follows on the heels of your previous collection, Be With, which, you know this moving series of eulogistic poems to your late wife. It seems that Be With wrestles with and processes personal grief, while "Twice Alive" adds the element of ecological trauma. How are those two realms of trauma-related phenomena—the personal and the ecological? And how do they play out in the poem?Forrest GanderThe poems of "Be With”… they are so personally painful to me, I couldn't even read from the book after I published it. I think I read twice and then stopped reading from it. And one, as Albert Camus says, you can't live on in a grief or depression that's so terrible that it doesn't leave you with any openings. And so I wanted to find positive things to write about. But we're living during an ecological crisis. So I'm, and I've been writing about that crisis through really most of my adult life. But I wanted to find positive ways of reimagining our relationship with the world and maybe with death also. Because in lichen, and in the metaphor of like, and work, to two or more things come together and are transformed. I thought of human intimacy and the way that my relationship, my close relationships, I'm transformed in those relationships, I become something else. And that thing, which is welded in love, has a durability, and lasts. And in the same way, scientists—some scientists are saying that our whole idea of death comes out of our mammalian orientation. And that may be because some things don't die, and have theoretical immortality, and lichen, given enough nutrients, may be one of those things.John FiegeThat's amazing. How does it make you feel to think about the possibility that there's something that actually has some kind of immortality?Forrest GanderHow does it make us feel? I think it checks what we have always thought we've known. And it checks our instinctual perspective. And that kind of check, I think, is really helpful in terms of how we begin to reimagine our place in a world of other species that are completely different from us, and yet, share so much DNA.John FiegeCan you tell me about the Sangam literary traditions that you've referenced as an important element of your recent work in Eco-poetry?Forrest GanderSure! What brought me to Sangam was looking for other models of relationships between the human and the nonhuman. And it turns out that, you know, 2000 years ago, in Southern India, there was a blossoming of literature, which came to be called Sangam, which means convergence, and that one of the two styles of that poetry, which is called Akam, it was considered not only unethical but impossible to write about human emotions, as though they were independent of the landscape around us, which affects our perceptions. And, it impacts how and what we feel. And so, using that model for poems and finding that the same five landscapes that come up in the Sangam poems are the same five landscapes that one can find in California, where I live, I used those Sangam poems as a kind of model for writing poems that expressed that mutuality of, of the human and the nonhuman in the five landscapes of California in my home.John Fiegeisn't that so satisfying on so many levels to be able to look so far back in history? And to see people encountering the world in ways that are so resonant with the ways you are, we are encountering the world today in a completely different part of the planet, even? It's kind of amazing.Forrest GanderIt is! And yeah, I think it's what we will find everywhere that, you know, the Native Americans in what we now called the United States. They didn't think that these European invaders would last very long because the European invaders hadn't lived for thousands of years, with animals and plants of this continent. And so they thought we would fail. And we have failed, we've failed to live in a way that takes into account our interdependence with the nonhuman world.John FiegeWell, jumping back into the poem, your word choices and juxtapositions and the sounds, and the rhythms of the words in the poem are so powerful. Here's a section that begins at the end of a stanza and carries on to the next, "a force call it nighttime thrusts mushrooms up from their lair." I like this idea of nighttime as a force that has the power to push things up out of the earth. And nighttime is when we rest, but also maybe when we have sex, or maybe when we don't have sex often enough. But how is nighttime of force for you?Forrest GanderBecause there are so many processes, especially plant processes, that take place after the sun goes down. And that often, we're not thinking about night being a reenergizing process for other species. And also, I'm connecting nighttime, and that darkness with the half-buried to the things that go on in the dark, the things that go on underground.John FiegeRight! Well, here's another section I'd like to dig into. If you don't mind me reading, I feel bad reading your poem as you read it so beautifully, but just to go through it again. Like memories, are they or punctuation? Was it something the earth said to provoke a response, tasking us to recall an evolutionary course, our long-ago initiation into the one among others? So in this section of the poem, you shift from third person into first person plural, and we don't exactly know what the 'we' or the 'us' is, but I'm imagining it to be our species collectively speaking with the earth here. I personified a personified Earth. And each of us is merely one among others, one person among other people, but also humans are just one among many other species on the earth. So what's going on here, with the earth being provocative, the shift to first person plural, and to us thinking about our evolutionary course?Forrest GanderSo I'm thinking of mushrooms as kind of exclamation marks that come up and call our attention to the nonhuman, and also how memories are like that, that they pop up from the darkness of our mind into our conscious mind. And that, what they remind us of, what any contact with a nonhuman reminds us of, is our involvement with them; our long ago initiated course as an interdependent species, as a community in a community, that we are one among many others, as you say, and that if we forget that, then we don't take care of the earth because we don't recognize that it's part of taking care of ourselves. And for many human communities and cultures earlier, this was de rigueur, it was understood that, that we were involved. Our lives were educations in how to live with the world around us. But we've become so separated from that in our urban cultures that we need reminding.John FiegeRight, right. Well, and that reminds me of another section of the poem, we have this phrase "newborn noticing." So the stanza it's in is, "and within my newborn noticing, have you popped up beside me, my love? Or were you here from the start?" And I love this idea of newborn noticing it suggests that we're noticing a new, but also noticing, as a newborn does, like Lao says—‘newborn baby, unbiased, undistracted, nonjudgmental.' And this section feels like it touches on our deeply ingrained, anthropocentrism and ignorance of other species, and maybe how poetry can help us notice the world around us more fully, especially the other-than-human world. What is this 'newborn noticing' to you?Forrest GanderRight, I'm so glad you bring up Lao Tzu, also. Lao Tzu says, "Those who are not in constant awe; surely some great tragedy will befall them." And hear the 'newborn noticing,' again, that earlier passage you mentioned, that connects the punctuation to coming out of the ground of the mushrooms, to memories that come out of the darkness of our mind into our conscious mind. That's also the birth of something.John FiegeSo here's... oh, go ahead.Forrest GanderI just like that you've been, I mean, some people ask, you know, what can we do in this environmental crisis, and one of the things we can do is to try to have a chorus of not just scientists and biologists, but a chorus of artists and priests, and poets. And that's what you've been doing: putting together that chorus of responses to our crisis. And I think it's going to take the voices of a lot of people from a lot of different trajectories, to affect any kind of change. So I'm proud of what you're doing.John FiegeYeah, I totally agree. And I'm glad you notice and appreciate that (chuckles). You know, one thing I say all the time is, you know, our environmental discourse is dominated by science, economics, and policy. And those three things are all extremely important, and we have to keep on top of all of them. But it's leaving out the whole rest of the human experience. And if we are not all focused on this problem, and dealing with it in the ways that we know how, and the ways that we know how to interact with the world, we just... we can't get there because the problem is... it's so overwhelming as it is to leave it up to a small portion of the population to address is not sufficient,Forrest GanderRight? Or it would have changed already. And I think what art and poetry and literature can do is add a kind of an emotional and psychological approach to it, that can add it to the science, and can be more convincing,John FiegeRight? And not even just like, a way to convince people, but just a way to, to understand and feel the problem is so much beyond, you know, just a reason-based problem that you can solve or not, you know, but that it's part of who you are and what you value in the world and what you know, get you up out of bed every morning.Forrest GanderThat's beautifully put. Yeah, I agree with you.John FiegeWell, here here's another line I love from the poem, "A swarm of meaning and decay." And this goes back to that cyclical view of life and death; birth and decomposition. And it also brings in this concept of meaning—this thing that humans are obsessed with. Our perpetual question of why—what is the meaning of life? And so much of the foundation of our understanding of meaning is bound up in the perpetuation of life. And oftentimes, in the avoidance of death, despite the need for death to bring life. Can you talk more about this "swarm of meaning and decay?"Forrest GanderSo the "swarm of meaning and decay" comes just a moment after my "newborn noticing." And here, the poem merges the human—we don't really know for sure whether I'm talking about human beings, or I'm talking about other forms of life that are emerging from the underworld, like fungus, for instance. And in that merging of subjectivity and world, I'm trying to emphasize how the human life and the processes of the life—lives that aren't human—are completely related to each other. It's interesting to me that the kind of poetry that I write is sometimes categorized as eco-poetry, the idea of Eco-poetry is that there might be a way of writing in which human subjectivity and the non-human aren't so discrete from each other and that we might be able to show in writing, a different way of experiencing, or really, the real way of experiencing our relationships with otherness, which is that our subjectivities merge into otherness. That we're made of multiple creatures and were made by multiple interactions with the world. And I think that's what art has always done, is that it's expanded our way of thinking of the human.John FiegeDefinitely, definitely. Well, let me jump into the last two stanzas in the poem, which read, "And abundance floods us floats us out, we fill each with the other all morning breaks as songbird over us who rise to the surface, so our faces might be strong." And again, there's so much richness in this language. But to start off with, how does abundance, both flood us and float us?Forrest GanderWell, our lives are abundant; the world is abundant. And that sense of merging with another in intimacy, in love, and merging with the world is a sense of expanding. This, you know, the notion of the self, and that's an abundance, it's recognizing our collaborative relationship with otherness. And it floats us out of ourselves so that we're not locked into our own minds, our own singular psyches, we fill with each other. And then again, here, the syntax is working in two ways. We fill with each other, we fill with the other "all morning". And then we revise that as we, as we make that break. We fill with the other "all morning breaks as birdsong over us." And I'm thinking here about how human beings, Homo sapiens, from the start, almost all of human beings have experienced birdsong since we were born, since early in our lives. We've grown up with the songs of birds infused in our minds, in our hearing. And how much of a part of us birdsong is. We're rising to the surface like the mushrooms coming from underground to blossom so that our faces might be sprung. And here again, the human and the nonhuman? Am I talking about mushrooms here? Or am I talking about human beings? I'm purposely talking about both in a way that is perhaps indistinguishable.John FiegeAnd as you mentioned, the poem starts with the imagery of the mushrooms thrusting upward. And then, at the end here, it seems that the we in the poem rises to the surface. And the last line of the poem is, so our faces might be sprung. This sense of emergence comes to that most intimate thing—our faces—and this vague 'we' suddenly has a face. And we are like flowers or emergent mushrooms in the nighttime. Where does this poem leave you? And how do you think about where you'd like to leave the reader at the end?Forrest GanderI think in that uncertainty about where the human and where the non-human begins, I think that's the strategy of the poems, which is presenting not some romantic notion of our involvement with others, but I think a form of realism, it's recognizing that our involvement with otherness is entire, that were composed of otherness. So I think the feeling of what a mushroom is, is just the face, it's this little—fruited body, they call it—of an organism that's underground that we don't see at all. And, in a way, that's what our lives are also: this brief flourishing of the face of something that's connected to a body that's much larger than ours. And that ambiguous space is what I'm interested in, in thinking about.John FiegeAnd does that noticing or that knowledge calls us to do something? In particular, do you think?Forrest Gander  32:43Well, I don't want to turn the poem into a didacticism. But the poem presents a vision. And that vision can contribute to the way that we see ourselves in the world. And the way we see ourselves in the world forces us to make ethical decisions about how we are and what we do. So in, I want to provide a vision or share a vision. And I want readers to do with it what they feel called upon to do. There have been different ways that we've understood our relationship and our role in a living Earth, through time and in different cultures. And the worldview that we have now, which is using the Earth very transactional, can be changed. And that art can inspire us to imagine those kinds of changes. In some ways, we're like the yeast that gets put with grapes to make wine. The yeast, which is a fungus, eats the sugar, and it secretes basically alcohol. That's what where we get alcohol from, and it proliferates and proliferates, and keeps producing alcohol until at about 13%. The yeast kills itself it dies because it can't live with an alcohol content greater than that. And we're like that yeast on this earth. We're using up all of the resources, and we're proliferating, and pretty soon, there's not going to be room for us to live on the world will pollute ourselves out of existence, and the world will go on. It's just that we won't be part of it.John FiegeThat's a beautiful place to end; with yeast, and lichen, and erogenous zones. All swirling around together. Can you end by reading the poem once again?Forrest GanderSure. So, 'forest' is one of the five major landscapes that appear in the Sangam poems.[See poem as transcribed above]John FiegeForrest, thank you so much. This has been wonderful.Forrest GanderThanks a lot, John. I'm really pleased to be a part of your series and to be part of the chorus of voices that you're putting together.John FiegeAnd it's a beautiful voice that you've brought to it. OutroJohn FiegeThank you so much to Forrest Gander. Go to our website at chrysalispodcast.org, where you can read his poem "Forrest" and find our book and media recommendations. This episode was researched by Elena Cebulash and edited by Brody Mutschler and Sophia Chang. Music is by Daniel Rodriguez Vivas, mixing is by Juan Garcia. If you enjoyed my conversation with Forrest, please rate and review us on your favorite podcast platform. Contact me anytime at chrysalispodcast.org, where you can also support the project, subscribe to our newsletter, and join the conversation. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.chrysalispodcast.org

Alan Roxburgh and Jenny Sinclair talk with Sally Mann about her life in community in the East End of London in the UK, where her family has lived for six generations. Sally tells the story of Bonny Downs Baptist Church where she is one of the pastoral team of five, all of whom are co-vocational. The team shares a single stipend, a model that came out of shared living – what she describes as “lived hospitality.”  Sally describes her love for her community and the transformative work Bonny Downs is doing in a place that many consider a slum. Rather than having “a five year plan”, they find that by listening to God and their neighbours, their abandoned places are being restored for the sake of the common good. Sally says her thinking shifted when she began to take seriously that Jesus is from Nazareth, a poor hillside village, and this has opened up a way of living a life of true freedom.Dr Sally Mann is a minister at Bonny Downs Baptist Church where she is the fourth of six generations of her family to serve in their East End London community. Also an author and community activist, Sally lectures in Sociology and has a PhD in Philosophy and Theology. She is actively involved in Red Letter Christians, and is one of the original team who launched it in the UK. She has published Looking for Lydia: encounters that shape the church, reflecting on 25 years of ministry in London through the stories of encounters in Acts. For Alan J Roxburgh:http://alanroxburgh.com/abouthttps://www.themissionalnetwork.com/author/alan-roxburgh/https://journalofmissionalpractice.com/alan-roxburghTwitter: https://twitter.com/alanjroxburgh?lang=enFacebook: https://www.facebook.com/alan.roxburgh.127/Facebook: https://www.facebook.com/thecommonsnetworkJoining God in the Great Unraveling https://www.amazon.ca/Joining-God-Great-Unraveling-Learned/dp/1725288508/ref=sr_1_Leadership, God's Agency and Disruptions https://www.amazon.ca/Leadership-Gods-Agency-Disruptions-Confronting/dp/1725271745/refJoining God, Remaking Church, Changing the World: The New Shape of the Church in Our Time https://www.amazon.ca/Joining-Remaking-Church-Changing-World/dp/0819232114/ref=sr_1_3?crid=2NHGW8KB7L0SQ&keywords=Alan+J+Roxburgh&qid=1687098960&s=books&sprefix=alan+j+roxburgh%2Cstripbooks%2C130&sr=1-3For Jenny Sinclair:Website: https://togetherforthecommongood.co.uk/from-jenny-sinclairLinkedIn: https://www.linkedin.com/in/jenny-sinclair-0589783b/Twitter: https://twitter.com/T4CGFacebook: https://www.facebook.com/TogetherForTheCommonGoodUKInstagram: https://www.instagram.com/t4cg_insta/For Sally Mann:Bonny Downs Baptist Church: https://www.bonnydownschurch.org/Bonny Downs Community Association: https://bonnydowns.org/Staying Put - an essay for Together for the Common Good https://togetherforthecommongood.co.uk/leading-thinkers/staying-putRed Letter Christians UK: https://redletterchristians.org.uk/author/dr-sally-mann/Looking for Lydia: Encounters that shape the Church https://www.amazon.co.uk/Looking-Lydia-Encounters-shape-Church/dp/1790341183/ref=tmm_pap_swatch_0?_encoding=UTF8&dib_tag=se&dib=eyJ2IjoiMSJ9.Gj8uvv2HoolUYiuTfCrohw.WEzPBvVvt5tpcLYWrJcJbF6pMHH3TTgwcjNHfYQioTo&qid=1712777949&sr=8-1 Get full access to Leaving Egypt at leavingegyptpodcast.substack.com/subscribe

Ann Batchelder joins Let's Talk Memoir for a conversation about using myth as a jumping point for interpreting ourselves, trusting intuition, the idea of mother failure, regret and letting go, addiction and recovery in loved ones, mental health stigma, deciding when to show loved ones the manuscript, and her memoir Craving Spring: A Mother's Quest, a Daughter's Depression, and the Greek Myth that Brought Them Together.   Also in this episode: -how stories save us -Alanon -mother guilt   Books mentioned in this episode: Beautiful Boy by David Sheff Wild by Cheryl Strayed Another Bullshit Night in Suck City by Nick Flynn Glass Castle by Jeannette Walls The Tender Bar by J.R. Moehringer H is for Hawk by Helen Macdonald Eating in the Light of the Moon by Dr. Anita  Johnston Work by Pema Chodron Work by Tara Brach   Ann Batchelder is the author of Craving Spring: A Mother's Quest, a Daughter's Depression, and the Greek Myth that Brought Them Together. She served as Editor of FIBERARTS Magazine, was guest curator for the Asheville Art Museum where she designed and developed three major contemporary art exhibitions featuring artists such as Louise Bourgeois, Ann Hamilton, Sally Mann, Maya Lin, and Laurie Anderson, and was Director of Special Events for the Brooklyn Academy of Music. Ann earned an MSW in psychotherapy and is the mother of two adult children.  Connect with Ann: Website: https://www.annbatchelder.com Facebook: https://facebook.com/ann.batchelder.9 Instagram: https://instagram.com/annbatchelder     — Ronit's writing has appeared in The Atlantic, The Rumpus, The New York Times, The Iowa Review, Hippocampus, The Washington Post, Writer's Digest, American Literary Review, and elsewhere. Her memoir WHEN SHE COMES BACK about the loss of her mother to the guru Bhagwan Shree Rajneesh and their eventual reconciliation was named Finalist in the 2021 Housatonic Awards Awards, the 2021 Indie Excellence Awards, and was a 2021 Book Riot Best True Crime Book. Her short story collection HOME IS A MADE-UP PLACE won Hidden River Arts' 2020 Eludia Award and the 2023 Page Turner Awards for Short Stories. She earned an MFA in Nonfiction Writing at Pacific University, is Creative Nonfiction Editor at The Citron Review, and lives in Seattle with her family where she teaches memoir workshops and is working on her next book. More about Ronit: https://ronitplank.com Sign up for monthly podcast and writing updates: https://bit.ly/33nyTKd   Follow Ronit: https://www.instagram.com/ronitplank/ https://twitter.com/RonitPlank https://www.facebook.com/RonitPlank   Background photo credit: Photo by Patrick Tomasso on Unsplash Headshot photo credit: Sarah Anne Photography Theme music: Isaac Joel, Dead Moll's Fingers

In episode 304 UNP founder and curator Grant Scott is in his shed speaking with master printer Bob Tursack about all aspects of photographic printing including photo books, fine art printing, digital, analogue and lithographic. They also discuss photographer expectations, good practice and the photographer/printer relationship. Bob Tursack, is the CEO of the high-end printing company Brilliant Graphics. He is a third-generation printer who grew up in the Philadelphia suburbs who became interested in photography when he was in junior high. He had his first darkroom in sixth grade and attended the Ansel Adams workshops in Carmel, the Maine Photography Workshops, and other photography courses. Tursack's father founded Tursack Printing, commercial printers, in 1959, and Bob began training on the small press as a teenager. But his real passion was for fine art prints, and he ultimately sold the company in 1998. Tursack started Brilliant Studio in 2000, in his basement, planning to make prints for artists and photographers as a one-man band. But the business quickly grew, and he soon founded Brilliant Graphics, to produce brochures, catalogues, posters, and books. The company now has 72 employees. Tusack has worked with photographers including Sally Mann, Ralph Gibson, George Tice, Steve McCurry, Emmett Gowin, Mark Seliger and institutions including The National Gallery, Washington, DC, Metropolitan Museum of Art, NYC, The Hermitage Museum, Princeton University Art Museum, Los Angeles County Museum of Art, Massachusetts Institute of Technology, University of Pennsylvania Press, Yale University Press, and The Andy Warhol Foundation. https://brilliant-graphics.com Dr.Grant Scott After fifteen years art directing photography books and magazines such as Elle and Tatler, Scott began to work as a photographer for a number of advertising and editorial clients in 2000. Alongside his photographic career Scott has art directed numerous advertising campaigns, worked as a creative director at Sotheby's, art directed foto8magazine, founded his own photographic gallery, edited Professional Photographer magazine and launched his own title for photographers and filmmakers Hungry Eye. He founded the United Nations of Photography in 2012, and is now a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, and a BBC Radio contributor. Scott is the author of Professional Photography: The New Global Landscape Explained (Routledge 2014), The Essential Student Guide to Professional Photography (Routledge 2015), New Ways of Seeing: The Democratic Language of Photography (Routledge 2019), and What Does Photography Mean To You? (Bluecoat Press 2020). His photography has been published in At Home With The Makers of Style (Thames & Hudson 2006) and Crash Happy: A Night at The Bangers (Cafe Royal Books 2012). His film Do Not Bend: The Photographic Life of Bill Jay was premiered in 2018. Scott's next book Inside Vogue House: One building, seven magazines, sixty years of stories, Orphans Publishing, is now on pre-sale. © Grant Scott 2024

Sally Mann: La fotógrafa que desafió los tabúes con sus íntimas imágenes familiares Adéntrate en el fascinante mundo de Sally Mann, una fotógrafa estadounidense que revolucionó el arte fotográfico con sus íntimas y crudas imágenes de sus propios hijos. Sus fotografías, capturadas en el entorno rural de Virginia, exploran temas universales como la inocencia, la vulnerabilidad, el despertar sexual y la naturaleza compleja de la infancia. A través de su lente, Mann nos invita a reflexionar sobre la belleza, la vulnerabilidad y la complejidad de la niñez. Sus fotografías, a menudo en blanco y negro y con un estilo clásico, nos transportan a un mundo donde la inocencia y la sensualidad se entrelazan, desafiando las convenciones sociales y artísticas de la época. La obra de Sally Mann ha sido aclamada por la crítica y ha generado controversia a partes iguales. Sus fotografías han sido calificadas como perturbadoras, pero también como profundamente honestas y reveladoras. Mann no se ha amedrentado por las críticas y ha seguido explorando los límites de la fotografía, capturando la esencia de la infancia con una honestidad cruda y desgarradora. #SallyMann #fotografiafamiliar #infancia #inocencia #vulnerabilidad #despertaresxual #naturalezahumana #bellezainperfecta #artefotografico #controversias #legadoartistico --- Send in a voice message: https://podcasters.spotify.com/pod/show/john-vargas-foto/message

This episode I welcome the Executive Director of the Penumbra Foundation and self-described iconoclast, Geoffrey Berliner to the podcast. We have a lively chat about photography's past (as well as its present and future), alternative processes and putting artists first! Links:Penumbra Foundation websiteSally Mann Tintypes articleGeoffrey Berliner upcoming exhibition (with Romualdas Pozerskis)

The London-based artist, master potter, and author Edmund de Waal has an astoundingly astute sense for the inner lives of objects. Each of his works, whether in clay or stone, is imbued with a certain alchemy, embodying traces of far-away or long-ago ancestors, ideas, and histories. This fall, two exhibitions featuring his artworks are on view at Gagosian in New York (through October 28): “to light, and then return,” which pairs his pieces with tintypes and platinum prints by Sally Mann, and “this must be the place,” a solo presentation displaying his porcelain vessels poetically arranged in vitrines, as well as stone benches carved from marble. As respected for his writing as he is for his pots, de Waal is the author of 20th Century Ceramics (2003), The Pot Book (2011), The White Road (2015), Letters to Camondo (2021), and, perhaps most notably, the New York Times bestseller The Hare with Amber Eyes (2010). All that de Waal does is part of one long continuum: He views his pots and texts as a single, rigorously sculpted body of work and ongoing conversation across time.On this episode, de Waal talks about his infatuation with Japan, his affinity for the life and work of the Japanese-American artist Isamu Noguchi (1904-1988), and the roles of rhythm and breath in his work.Special thanks to our Season 8 sponsor, Van Cleef & Arpels.Show notes: [00:28] Edmund de Waal[03:43] Paul Celan[08:12] 2023 Isamu Noguchi Award[08:17] Gagosian[08:20] “this must be the place” [08:22] “to light, and then return”[09:09] Twentieth-Century Ceramics[09:20] The Pot Book[18:23] “Letters to Camondo” Exhibition[20:32] Sally Mann[20:48] The Hare with Amber Eyes[28:00] “The Hare with Amber Eyes” Exhibition[30:56] “Playing with Fire: Edmund de Waal and Axel Salto” Exhibition[40:24] Dr. Sen no Sōshitsu[52:48] The White Road[52:49] Letters to Camondo[01:06:33] In Memory Of: Designing Contemporary Memorials

Sally Mann has lived on the same road in East Ham that her family have lived on since the 1800s. She and Dave have worked and played with their neighbours to form all kinds of shared spaces for common life: community halls, gardens, sports fields and more. This is a story about faith shaped more by encounters with people and place than by institutions and dogma. After the interview David Blower and Joy Brooks reflect on their own experiences of place and encounter with others. They consider the impact of power and politics on how they experience connection, community and spirituality. Interview starts at 14m 40s Show Notes → The creation of Nomad's thoughtful, wonderfully ad-free content is entirely funded by our equally thoughtful, wonderful listeners. Supporting us gives access to Nomad's online communities through the Beloved Listener Lounge, Enneagram Lounge and Nomad Book Club - as well as bonus content like Nomad Contemplations, Nomad Devotionals and Nomad Revisited. If you'd like to join our lovely supporters head to our Patreon Page to donate and you may even be rewarded with a pen or Beloved Listener mug! If you're hoping to connect with others who are more local, you can also take a look at our Listener Map or join our Nomad Gathering Facebook page. Additionally, we share listener's stories on our blog, all with the hope of facilitating understanding, connection and supportive relationships.

New @talkart!! We meet Antoni Porowski, inspiring chef, New York Times Bestselling Author and star of Netflix's Emmy Award-winning series Queer Eye. We discover his passion for Louise Nevelson's sculptures, the impact his art teacher had on his life, the paintings of Giacomo Balla, Les Lelannes sheep sculptures, collecting furniture and photography by Simen Johan, Ryan McGinley and Paul Mpagi Sepuya! We also discuss Sally Mann's photos, visiting New York galleries like Team Gallery and art fairs Frieze NY and The Armory, museums including the Met and Guggenheim, his love of living in the city and Patti Smith.Born in Canada to European emigrants, Antoni is an outspoken advocate for LGBTQ+ rights everywhere, especially his family's native Poland where he serves on the board of the Equaversity Foundation which was established to organize international fundraising to support the LGBTQ+ community in Poland.Follow @Antoni on Instagram and watch the new series of Queer Eye, hitting screens this May on Netflix! #AntoniPorowski @QueerEye Hosted on Acast. See acast.com/privacy for more information.

Happy Woo Wednesdays!Rachel is my favorite family photographer and does long form family shoots meaning she's with the family ALL Day. I love the way she loves herself, her family, her clients, and her body.www.rachellarsenweaver.com/linksRachel Larsen Weaver is an artist-educator and film photographer in Maryland on the shore of the Chesapeake Bay. She is a mother to five who travels the country creating art with families and she mentors photographers who are interested in building businesses that are rooted in their creative longings.Today's Hot TopicLet's talk newsletters! Rachel talks about why you should start one, how to do it, and ways to grow your list.1. choose a format and schedule that feels exciting and not overwhelming2. stories sell- so determine what stories you want to tell3. repurpose. repurpose. repurpose.Favorite sales technique: How do you get a HECK YES from your dream clients?This one is kind of hard for me. I have often remarked that I feel confident when it comes to marketing but less so in sales. For me the heck yes really is about the client feeling deeply connected to me and the offer. When I love the things that I am creating- I think that my joy and enthusiasm is contagious. When my offers are not actually aligned with my deepest desires- they don't have that same magnetic energy.What is your Woo Factor? The Woo Factor is how you stand out from the crowd. What makes you unique?I think its two fold: one is that my work is really about honoring the art of the offer. I talk a lot about studying the artists I admire, exploring the tradition photography. I want to make a William Eggleston photo at your wedding. I want to create a Sally Mann when I'm photographing your family. That would seem really snobby though and possibly intimidating and not the easiest sell. So I couple that with really genuine relationship building. One of the things that I love to do is to respond to dm's with voice messages- A) I find it so much easier to respond in a thoughtful way quickly when I can talk and have my hands free (I have five kids remember) B) I hope it feels sort of personal.Connect with Rachelhttps://www.rachellarsenweaver.com/instagram.com/rachel.larsen.weaverConnect with Carissahttps://www.instagram.com/carissawoo/https://heckyesmedia.co/

Acclaimed fiction writer Ann Beattie joins co-hosts V.V. Ganeshananthan and Whitney Terrell to discuss her recent LitHub essay about Donald Barthelme's short story “The Balloon” and the Chinese spy balloon. She also talks about her recently published first collection of essays, More to Say: Essays and Appreciations, in which she writes about the work of authors, photographers, and artists she admires, including Elmore Leonard, Sally Mann, John Loengard, and her own husband, visual artist Lincoln Perry. Beattie explains why as a nonfiction writer, she prefers close looking and reading; considers defamiliarization in the hands of Barthelme and Alice Munro; analyzes former visual artist John Updike's depiction of the natural world; and reflects on developing increased comfort with writing about visual art. She also reads excerpts from both her LitHub piece and the essay collection. To hear the full episode, subscribe through iTunes, Google Play, Stitcher, Spotify, or your favorite podcast app (include the forward slashes when searching). You can also listen by streaming from the player below. Check out video versions of our interviews on the Fiction/Non/Fiction Instagram account, the Fiction/Non/Fiction YouTube Channel, and our show website: https://www.fnfpodcast.net/ This podcast is produced by Anne Kniggendorf. Selected Readings: Ann Beattie More to Say (Moon Palace Books) More to Say (Godine) The State We're In (Moon Palace Books) “Richard Rew's Sculpture,” by Ann Beattie | The New Yorker “John Updike's Sense of Wonder,” by Ann Beattie “Ann Beattie Wonders What Donald Barthelme Would Have Made of the Spy Balloon” | Literary Hub   Others: “The Balloon,” by Donald Barthelme | The New Yorker  “On Not Knowing,” Not-Knowing, by Donald Barthelme “Hateship, Friendship, Courtship, Loveship, Marriage,” by Alice Munro “Couples,” by John Updike “Spring Rain,” by John Updike | The New Yorker “As I See It,” by John Loengard (ThriftBooks) “The Runaways,” by Elizabeth Spencer | Narrative Learn more about your ad choices. Visit megaphone.fm/adchoices

The queens play The Poetry Pyramid!Pyramid is the collective name of a series of American television game shows that has aired several versions domestically and internationally. The original series was The $10,000 Pyramid, and it debuted on March 26, 1973. You can read  Jorie Graham's poem “San Sepolcro” (the first poem in her second book, Erosion) here.  Read more about Flesh-plastique by Denis Hinrichsen and published by Green Linden Press.For more about Sally Mann's Body Farm  project here.  The Body Farm refers to the Forensic Anthropology Center at the University of Tennessee--Knoxville. Read more about the Center here. Read Dorianne Laux's poem “Trying to Raise the Dead” here, first published in the Spring 1998 edition of Ploughshares.

In this episode recorded in December 2022, Shane Clairborne discusses the work our UK team is doing, led by Dave and Sally Mann and Faith Van Horne and the ongoing concerns in Ukraine. For more info on RLC UK  To help sustain our work, you can donate here To check out what RLC is up to, please visit us www.redletterchristians.org  Follow us on Twitter: @RedLetterXians Instagram: @RedLetterXians Follow Shane on Instagram: @shane.claiborne Twitter: @ShaneClaiborne Common Hymnal information: https://commonhymnal.com/ 

This week Jeremy interviews collage artist / photographer Anthony Gerace  On this episode Anthony and Jeremy talk marriage in Gibraltar,  working as an artist in London, living in Toronto, the emo / indie music scene and touring in a band, discovering a love for photography, Sally Mann, his start collage work and incorporating his own photos, his first art show, working with Criterion, the Touché Amore Stage Four album art, and so much more! SUBSCRIBE TO THE PATREON to hear a bonus episode where Anthony answered questions that were submitted by subscribers! Follow the show on INSTAGRAM and TWITTER

The photographer Sally Mann has said that it never occurred to her to look outside of her home, family, and immediate vicinity to find inspiration. So many artists feel they need to travel to exotic locations to find their inspiration, never exploring what is right in front of them or what they encounter in their daily lives. In this episode of The Art Biz I talk with Sara Lee Hughes, an artist who is deep into a body of narrative paintings with recognizable imagery that is steeped in her personal story—going so far as to include her self-portraits in many of them. We talk about making such personal work and whether there is a market for such work. Sara Lee says her ultimate intention is that she gets under your skin. That when viewing her paintings, you start to question your actions and might find yourself reflecting on the encounter weeks later. We discuss the genesis of this body of work, how she is looking at her art in terms of the long game rather than seeking quick gratification, how she keeps her ideas, and how she has created a discipline that balances motherhood with her studio practice. Highlights Waiting, Father Daughter Dance, and other pieces inspired by Sara Lee's life. (1:55) The family letters that have helped Sara Lee navigate her true self. (6:57) Sara Lee's 12-ft superhero cape and what it represents. (9:05) Painting from experiences results in sincerity. (11:15) Asking yourself questions can lead to your next inspiration. (14:55) Sara Lee's decision to use her own face in her paintings. (18:19) The value of painting the part of your history that isn't talked about. (21:32) There are parts of your story that anyone can relate to. (25:17) Using a list—rather than a sketchbook—to keep your ideas. (27:04) Does personal work sell? (30:20) The evolution of Sara Lee's approach to her art business. (32:39) Finding time for the most important work. (34:32) Mentioned Saraleehughes.com Sara Lee on Instagram Sally Mann Moleskine Cahier notebook Episode 72 with Dawn Williams Boyd William Kentridge Bo Bartlett The Art Biz Connection Systematize Your Art Biz for Business Efficiency Resources Show notes, images, and listener comments How to Price Your Art free report Art Biz Connection artist membership Quotes “These tossed-off sketches are seeds for the work that I've done in the last five years.” — Sara Lee “When I paint from my own experience, there's a sincerity in my paintings.” — Sara Lee “All of my work is my personal experience, so who better to use than myself? — Sara Lee “My intention is to resonate with you through the works that have inspired me to be an artist.” — Sara Lee About My Guest Sara Lee is a narrative painter living and working in Lockhart, Texas. Her representational narratives are influenced by growing up in the south during the 1970's and 80's with divorced parents and operate as metaphors for discovery, other-ness, identity, connection, balance and truth. As a body of work, they highlight moments, memories and ideas that mark a journey of navigation through the differences between her gay father, straight mother and the socio-cultural norms of the era and those proceeding. In her work she is most interested in exploring and sharing the connection she had with her father before his death of AIDS, the profound guidance it had on her life, and how this personal experience fits into our country's broader social and cultural heritage.   Sara Lee studied classical drawing and painting at the Pennsylvania Academy of Fine Arts, where she earned a certificate in painting and printmaking. She earned her MFA in painting from Pratt Institute. Sustaining herself through scenic painting and teaching, her work brought her back to Lockhart, Texas where she has lived since 2008.

The other day, a friend of mine texted me a link to a podcast, along with a single sentence that read, “If I could be a small fraction of the photographer Sally Mann is, it would really be something.” Now, this friend is a terrific photographer but, like so many of us, he sometimes gets stuck in the rut of comparison. I get it. I really do. Sally Mann is an iconic photographer, but one of the most challenging—and I think harmful—things we can do to ourselves as artists is to unreasonably compare ourselves and our work to others.Question:Do you compare yourself or your work to others? If so, how does it affect the work you make?LINKSSally Mann : https://www.sallymann.com/Robert Rauschenberg: https://www.wikiart.org/en/robert-rauschenbergDavid Carson: http://www.davidcarsondesign.com/Shepard Fairey: https://obeygiant.com/Bastille: https://www.bastillebastille.com/Quarter Past Midnight: https://www.youtube.com/watch?v=X1VzzNbfPaMJohn Dos Passos: https://en.wikipedia.org/wiki/John_Dos_PassosNick Hornby: https://en.wikipedia.org/wiki/Nick_HornbyThe Paris Review recently posted (or, maybe re-posted) a fantastic interview with the great James Baldwin. In it, he talks about what inspired him to became a writer, why he left America for Paris, and some of his inspirations. If you aren't familiar with James Baldwin, I recommend his novel The Fire Next Time or I Am Not Your Negro, which is a documentary based on his unfinished novel, Remember This House.CONNECT WITH MEWebsite: https://jefferysaddoris.com  Twitter: @jefferysaddoris  Instagram: @jefferysaddorisSUBSCRIBESubscribe to Jeffery Saddoris: Everything in your favorite podcast app to get every show I release in one feed.SUPPORTLeave a review or a rating wherever you listen, or you can DONATE to support the shows more directly.MUSICMusic For Workplaces by Jeffery SaddorisSupport the show

The other day, a friend of mine texted me a link to a podcast, along with a single sentence that read, “If I could be a small fraction of the photographer Sally Mann is, it would really be something.” Now, this friend is a terrific photographer but, like so many of us, he sometimes gets stuck in the rut of comparison. I get it. I really do. Sally Mann is an iconic photographer, but one of the most challenging—and I think harmful—things we can do to ourselves as artists is to unreasonably compare ourselves and our work to others.Question:Do you compare yourself or your work to others? If so, how does it affect the work you make?LINKSSally Mann : https://www.sallymann.com/Robert Rauschenberg: https://www.wikiart.org/en/robert-rauschenbergDavid Carson: http://www.davidcarsondesign.com/Shepard Fairey: https://obeygiant.com/Bastille: https://www.bastillebastille.com/Quarter Past Midnight: https://www.youtube.com/watch?v=X1VzzNbfPaMJohn Dos Passos: https://en.wikipedia.org/wiki/John_Dos_PassosNick Hornby: https://en.wikipedia.org/wiki/Nick_HornbyThe Paris Review recently posted (or, maybe re-posted) a fantastic interview with the great James Baldwin. In it, he talks about what inspired him to became a writer, why he left America for Paris, and some of his inspirations. If you aren't familiar with James Baldwin, I recommend his novel The Fire Next Time or I Am Not Your Negro, which is a documentary based on his unfinished novel, Remember This House.CONNECT WITH MEWebsite: https://jefferysaddoris.com  Twitter: @jefferysaddoris  Instagram: @jefferysaddorisSUBSCRIBESubscribe to Jeffery Saddoris: Everything in your favorite podcast app to get every show I release in one feed.SUPPORTLeave a review or a rating wherever you listen, or you can DONATE to support the shows more directly.MUSICMusic For Workplaces by Jeffery SaddorisSupport the show

The other day, a friend of mine texted me a link to a podcast, along with a single sentence that read, “If I could be a small fraction of the photographer Sally Mann is, it would really be something.” Now, this friend is a terrific photographer but, like so many of us, he sometimes gets stuck in the rut of comparison. I get it. I really do. Sally Mann is an iconic photographer, but one of the most challenging—and I think harmful—things we can do to ourselves as artists is to unreasonably compare ourselves and our work to others.Question:Do you compare yourself or your work to others? If so, how does it affect the work you make?LINKSSally Mann : https://www.sallymann.com/Robert Rauschenberg: https://www.wikiart.org/en/robert-rauschenbergDavid Carson: http://www.davidcarsondesign.com/Shepard Fairey: https://obeygiant.com/Bastille: https://www.bastillebastille.com/Quarter Past Midnight: https://www.youtube.com/watch?v=X1VzzNbfPaMJohn Dos Passos: https://en.wikipedia.org/wiki/John_Dos_PassosNick Hornby: https://en.wikipedia.org/wiki/Nick_HornbyThe Paris Review recently posted (or, maybe re-posted) a fantastic interview with the great James Baldwin. In it, he talks about what inspired him to became a writer, why he left America for Paris, and some of his inspirations. If you aren't familiar with James Baldwin, I recommend his novel The Fire Next Time or I Am Not Your Negro, which is a documentary based on his unfinished novel, Remember This House.CONNECT WITH MEWebsite: https://jefferysaddoris.com  Twitter: @jefferysaddoris  Instagram: @jefferysaddorisSUBSCRIBESubscribe to Jeffery Saddoris: Everything in your favorite podcast app to get every show I release in one feed.SUPPORTLeave a review or a rating wherever you listen, or you can DONATE to support the shows more directly.MUSICMusic For Workplaces by Jeffery SaddorisSupport the show

LES MOTS DE L'INTIME #1 - Sally Mann by Maison Européenne de la Photographie

We are firmly in the swing of Woodstock season here at KEEP THE DREAM FLOWING!! And this time we've got a doozy for you… We have an interview with the one and only SALLY MANN ROMANO, wit, raconteur, bon vivant and author of the unbelievably wonderful book THE BAND'S WITH ME, available now at all right-thinking retailers! Sally was one of the more notable spectators at Woodstock, as she was married to Jefferson Airplane drummer Spencer Dryden! There are lots of amazing pictures of her sitting on stage with Grace Slick, photos that you have no doubt seen! Sally had an incredible run in the rock ‘n' roll world, crossing paths with not only the Jefferson Airplane but Frank Zappa, the Grateful Dead, and many, many others. And she is one hell of an amazing interview! This is part two of two! Join us, won't you?

Today's episode brings you a special presentation held by Prix Pictet 'Fire' winner Sally Mann this past 8 July during the opening week of the Rencontres d'Arles photography festival in te south of France. In a rare public performance, Sally took the stage at the old Roman theatre and spoke of an inspirational journey through her picture making, leading up to her award-winning series Blackwater. Don't miss the accompanying e-book to this episode to see the images discussed: https://www.instagram.com/p/CgKQ_3PsgAr/?utm_source=ig_web_copy_link

We are firmly in the swing of Woodstock season here at KEEP THE DREAM FLOWING!! And this time we've got a doozy for you… We have an interview with the one and only SALLY MANN ROMANO, wit, raconteur, bon vivant and author of the unbelievably wonderful book THE BAND'S WITH ME, available now at all right-thinking retailers! Sally was one of the more notable spectators at Woodstock, as she was married to Jefferson Airplane drummer Spencer Dryden! There are lots of amazing pictures of her sitting on stage with Grace Slick, photos that you have no doubt seen! Sally had an incredible run in the rock ‘n' roll world, crossing paths with not only the Jefferson Airplane but Frank Zappa, the Grateful Dead, and many, many others. And she is one hell of an amazing interview! And fret ye not, because this is just part one of a two-part dive! Join us, won't you?

Mark Mori, co-host of the Official Bettie Page Podcast, recently switched seats and became a guest on the Inspired Minds podcast to discuss his creative process and fascinating body of work, including Bettie Page Reveals All!  Episode description courtesy of Inspired Minds: Twice Oscar-nominated and Emmy Award-winning director/producer Mark Mori explores the documentary side of Hollywood. His harrowing, world-renowned films, "Building Bombs," "Kent State, The Day the War Came Home," "Blood Ties: The Life and Work of Sally Mann," "The Atlanta Child Murders" and "Bettie Page Reveals All" have been both controversial and widely acclaimed. Earlier this year, his master catalog was released to the Academy of Motion Picture Arts and Sciences and Music Box Films Home Entertainment libraries. Mori has also made documentaries for National Geographic, MTV, Discovery, Animal Planet, HBO, BBC, Fox TV and Turner Classic Movies. Future projects include: the COVID-19 social impact documentary "Blue Collar America" and "The Lost Print: The Making of Orson Welles' The Magnificent Ambersons." Listen here on Podbean: https://bit.ly/3MTnIu6   Also available on most podcast apps including Apple, Google, Spotify, Audible and more! Find us on social media: Facebook: https://www.facebook.com/BettiePageRevealsAll https://www.facebook.com/groups/BettiePageMovie https://www.facebook.com/BettiePageFitness    Instagram: @bettiepagerevealsall @bettie_page_fitness   Twitter: @BettiePageMovie

Subscribe to Quotomania on Simplecast or search for Quotomania on your favorite podcast app!Sally Mann (born in Lexington, Virginia, 1951) is one of America's most renowned photographers. She has received numerous awards, including NEA, NEH, and Guggenheim Foundation grants, and her work is held by major institutions internationally. Her many books include At Twelve (1988), Immediate Family (1992), Still Time (1994), What Remains (2003), Deep South (2005), Proud Flesh (2009), The Flesh and the Spirit (2010), Remembered Light (2016) and Sally Mann: A Thousand Crossings (2018). In 2001 Mann was named “America's Best Photographer” by Time magazine. A 1994 documentary about her work, Blood Ties, was nominated for an Academy Award and the feature film, What Remains, was nominated for an Emmy Award in 2008. Her bestselling memoir, Hold Still (Little, Brown, 2015), received universal critical acclaim, and was named a finalist for the National Book Award. In 2016 Hold Still won the Andrew Carnegie Medal for Excellence in Nonfiction. The National Gallery of Art presented a critically lauded show, Sally Mann: A Thousand Crossings, in 2018. Comprised of 109 prints and several videos, A Thousand Crossings addresses complex issues relating to the American South and will travel internationally until the beginning of 2020. Mann is represented by Gagosian Gallery, New York. She lives in Virginia.From https://www.sallymann.com/new-page. For more information about Sally Mann:Hold Still: https://www.sallymann.com/new-page-2“The Color of Humanity in Sally Mann's South”: https://www.newyorker.com/culture/photo-booth/the-color-of-humanity-in-sally-manns-south“Making Art Out Of Bodies: Sally Mann Reflects on Life and Photography”: https://www.npr.org/transcripts/405937803Photo by Michelle Hood

Twice Oscar-nominated and Emmy Award-winning director/producer Mark Mori explores the documentary side of Hollywood. His harrowing, world-renowned films, "Building Bombs," "Kent State, The Day the War Came Home," "Blood Ties: The Life and Work of Sally Mann," "The Atlanta Child Murders" and "Bettie Page Reveals All" have been both controversial and widely acclaimed. Earlier this year, his master catalog was released to the Academy of Motion Picture Arts and Sciences and Music Box Films Home Entertainment libraries. Mori has also made documentaries for National Geographic, MTV, Discovery, Animal Planet, HBO, BBC, Fox TV and Turner Classic Movies. Future projects include: the COVID-19 social impact documentary "Blue Collar America" and "The Lost Print: The Making of Orson Welles' The Magnificent Ambersons."

How do you judge fire? Recorded live in our exhibition at the Victoria and Albert Museum in London this past December, a few hours before American photographer Sally Mann was announced the winner of this edition, Jeff Rosenhiem, Prix Pictet Fire Jury Member and Curator of Photography at the MET, tells us about sorting through hundreds of nominated photographers, his view on Fire, its role in photography and relationship to sustainability. Don't miss the accompanying e-book to the episode here: https://www.instagram.com/p/CbxsbrksI39/?utm_source=ig_web_copy_link

A deep dive exploration of a hauntingly beautiful image by Sally Mann. This episode is part of an ongoing series where Nick Tauro Jr. devotes (at least) 1000 words to one specific photograph.Links:"The Black Eye" photographSally Mann"Hold Still" bookJulia Margaret CameronPost Mortem Photography

This week actor and comedian Urvi Majumdar takes on the quiz, answering questions about nursery rhymes, cricket test captains and bread.She's helped by the Brains Trust of Australia's only licensed Salamander handler (strictly NO axylotls), Sally Mann (Claire Hooper) and your Mum's friend Jill (Chris Parker).Hosted by Kyran Wheatley.The Leaderboard:* Matt Stewart 10/10* Tim Hewitt 10/10* Lloyd Langford 8.5/10* Lou Wall 8.5/10* Prue Blake 8/10* Kirsten Drysdale 8/10* Alex Lee 8/10* Annie Louey 8/10* Rob Mills 8/10* Vidya Rajan 8/10* Geraldine Hickey 8/10 DSQ* Sam Taunton 7.9/10* Annie Louey 7/10* Aidan Jones 7/10* Jess Perkins 7/10* Matt Stewart 7/10* Sami Shah 7/10* Scout Boxall 7/10* Danielle Walker 7/10* Woodes 7/10* Alexei Toliopoulos 6/10* Carl Donnelly 6/10* Dane Simpson 6/10* Ivan Aristeguieta 6/10* Jess Perkins 6/10* Josh Earl 6/10* Kirsty Webeck 6/10* Michael Hing 6/10* Nath Valvo 6/10* Rosie Piper 6/10* Snorty Dog 6/10* Zan Rowe 6/10* Zoe Coombs Marr 6/10* Emma Holland 5.5/10* Miranda Tapsell 5.5/10* Nick Cody 5/10* Alex Dyson 5/10* Jan Fran 5/10* Dan Ilic 5/10* Ben Knight 5/10* Nina Oyama 5/10* Celia Pacquola 5/10* Jude Perl 5/10* Chris Ryan 5/10* Sami Shah 5/10* Nelly Thomas 5/10* Dave Thornton 5/10* Danielle Walker 5/10* Myf Warhurst 5/10* Kirsty Webeck 5/10* Mike Goldstein 4.5/10* Luke McGregor 4.5/10* Jordan Barr 4/10* Alex Ward 4/10* Anna Piper Scott 4/10* Daniel Sloss 4/10* Georgia Mooney 4/10* Nat Harris 4/10* John Hastings 4/10* Michael Hing 4/10* Rhys Nicholson 4/10* Sam Petersen 4/10* Brodi Snook 3/10* Daniel Connell 3/10* Emma Holland 3/10* Geraldine Hickey 3/10* Luka Muller 3/10* Nazeem Hussain 3/10* Rhys Nicholson 3/10* Alex Ward 2/10* Lizzy Hoo 2/10* Tom Cardy 2/10Support this show http://supporter.acast.com/wax-quizzical. See acast.com/privacy for privacy and opt-out information.

In this episode, Sean talks about a recent trip to London where he may have had his most productive day of photography ever, which is a pretty bold statement. We also talk about the importance of inspirational friends as well as our shared appreciation for the work of Richard Avedon, Don McCullin, and Sally Mann. CONNECT WITH SEANWebsite: http://seantucker.photographyTwitter: @seantuckInstagram: @seantuckYouTube: Sean Tucker CONNECT WITH JEFFERYWebsite: https://jefferysaddoris.comTwitter: @jefferysaddorisInstagram: @jefferysaddoris BE A PART OF THE SHOWYou can listen to Deep Natter live and be a part of the conversations on Tuesdays at 2pm ET on Clubhouse. SUBSCRIBESubscribe to Jeffery Saddoris: Everything in your favorite podcast app to get every show I release in one feed. MUSICHigh Line by DuffmusiqMusic featured in this episode is licensed from Artlist, which is a terrific music licensing platform for YouTubers and filmmakers. Use the following link to get two additional months of Artlist free when you sign up: https://bit.ly/JS_Artlist This post may contain affiliate links. If you use these links to buy something, I may earn a commission. Thanks.

In this episode, Sean talks about a recent trip to London where he may have had his most productive day of photography ever, which is a pretty bold statement. We also talk about the importance of inspirational friends as well as our shared appreciation for the work of Richard Avedon, Don McCullin, and Sally Mann. CONNECT WITH SEANWebsite: http://seantucker.photographyTwitter: @seantuckInstagram: @seantuckYouTube: Sean Tucker CONNECT WITH JEFFERYWebsite: https://jefferysaddoris.comTwitter: @jefferysaddorisInstagram: @jefferysaddoris BE A PART OF THE SHOWYou can listen to Deep Natter live and be a part of the conversations on Tuesdays at 2pm ET on Clubhouse. SUBSCRIBESubscribe to Jeffery Saddoris: Everything in your favorite podcast app to get every show I release in one feed. MUSICHigh Line by DuffmusiqMusic featured in this episode is licensed from Artlist, which is a terrific music licensing platform for YouTubers and filmmakers. Use the following link to get two additional months of Artlist free when you sign up: https://bit.ly/JS_Artlist This post may contain affiliate links. If you use these links to buy something, I may earn a commission. Thanks.Support the show (https://jefferysaddoris.com/#donate)

In this episode, Sean talks about a recent trip to London where he may have had his most productive day of photography ever, which is a pretty bold statement. We also talk about the importance of inspirational friends as well as our shared appreciation for the work of Richard Avedon, Don McCullin, and Sally Mann. CONNECT WITH SEANWebsite: http://seantucker.photographyTwitter: @seantuckInstagram: @seantuckYouTube: Sean Tucker CONNECT WITH JEFFERYWebsite: https://jefferysaddoris.comTwitter: @jefferysaddorisInstagram: @jefferysaddoris BE A PART OF THE SHOWYou can listen to Deep Natter live and be a part of the conversations on Tuesdays at 2pm ET on Clubhouse. SUBSCRIBESubscribe to Jeffery Saddoris: Everything in your favorite podcast app to get every show I release in one feed. MUSICHigh Line by DuffmusiqMusic featured in this episode is licensed from Artlist, which is a terrific music licensing platform for YouTubers and filmmakers. Use the following link to get two additional months of Artlist free when you sign up: https://bit.ly/JS_Artlist This post may contain affiliate links. If you use these links to buy something, I may earn a commission. Thanks.

感谢收听“普通读者”。 这一期我们做一期三八妇女节特别节目，总结一下以前节目中提到的和女性，女权有关的非虚构和虚构作品，聊一些我们想聊但没有机会聊到的相关作品，还有听众们推荐的女性女权相关的书。 时间节点： 1:40 三八妇女节小历史 3:12 关于女权的非虚构作品 14:28 和女性相关的虚构类作品 28:30 3月阅读挑战读什么：一本关于在各行各业女性的书 40:33 听众投稿 提到的书： 非虚构： 《父权制与资本主义》上野千鹤子 《厌女》上野千鹤子 《女性的权利》奇玛曼达·恩戈兹·阿迪契 《亲爱的安吉维拉》奇玛曼达·恩戈兹·阿迪契 《妇女的力量与社会翻转》-- 玛利亚罗莎·达拉·科斯特 / 谢尔玛·詹姆斯 《黑箱》伊藤诗织 《知晓我姓名》香奈儿·米勒 Come as You Are: The Surprising New Science that Will Transform Your Sex Life, by Emily Nagoski Feminist City : Claiming Space in a Man-Made World, by Leslie Kern Feminism for the 99%: A Manifesto, by Nancy Fraser / Tithi Bhattacharya / Cinzia Arruzza My Own Words, by Ruth Bader Ginsburg 虚构： 《野兽派太太》卡罗尔·安·达菲 The Other Einstein, by Marie Benedict Hamnet, by Maggie O'Farrell 《秧歌》 张爱玲 《凡尔赛玫瑰》池田理代子 Corregidora, by Gayl Jones Girl, Woman, Other, by Bernardine Evaristo 《诗人X》伊丽莎白·阿塞韦多 Hurricane Season, by Fernanda Melchor The Bass Rock, by Evie Wyld 《荆棘之城》萨拉·沃特斯 《鳄鱼手记》邱妙津 Everything Under, by Daisy Johnson Sisters, by Daisy Johnson 《卡罗尔》帕特里夏·海史密斯 《觉醒》凯特·肖邦 《狂乱》萨冈 《素食主义者》韩江 《钟型罩》希微雅·普拉斯 《星辰时刻》克拉丽丝·李斯佩克朵 Frankissstein: A Love Story, by Jeanette Winterson 3月阅读挑战相关书籍： The Women with Silver Wings: The Inspiring True Story of the Women Airforce Service Pilots of World War II, by Katherine Sharp Landdeck Hold Still: A Memoir with Photographs, by Sally Mann 《埃及艳后》斯泰茜·希夫 How to Make Love Like a Porn Star, by Jenna Jameson and Neil Strauss Revolting Prostitutes: The Fight for Sex Workers' Rights, by Juno Mac and Molly Easo Smith 《我的妹妹是连环杀手》欧因坎·布雷思韦特 《我本不该成为母亲》阿什莉·奥德兰 Recoding Gender: Women's Changing Participation in Computing, by Janet Abbate Ada's Ideas: The Story of Ada Lovelace, the World's First Computer Programmer, by Fiona Robinson The Thrilling Adventures of Lovelace and Babbage, by Sydney Padua 听众推荐的书： 《使女的故事》玛格丽特·阿特伍德 《你以为你是谁》艾丽丝·门罗 《蝲蛄吟唱的地方》迪莉娅·欧文斯 《从不妥协：法拉奇传》克里斯蒂娜•德•斯特凡诺 收听和订阅渠道： 小宇宙App，Apple Podcast, Anchor，Spotify，Pocket Casts， Google Podcast，Breaker， Radiopublic；网易云“普通-读者” 电邮：commonreader@protonmail.com 微博： 普通读者播客 欢迎关注普通读者的豆瓣： 豆瓣“普通读者播客”：https://www.douban.com/people/commonreaders/ 片头音乐credit： Helen Reddy - I Am Woman 片尾音乐credit：John Bartman - Happy African Village (Music from Pixabay)

There's something about wet plate photography that I can't get out of my head. Maybe it's the process, maybe it's the unpredictable nature of it - Sally Mann calls it “the angel of uncertainty.” Or maybe it's the permanence of the objects themselves. When you look at an image by Matthew Brady or Timothy O'Sullivan, for a moment you're no longer part of the present. And I would argue that that sense of timelessness is one of the reasons a handful of modern photographers still choose to embrace the 170-year-old process.In 2018 there was a Sally Mann show at the National Gallery called A Thousand Crossings. It is by far my favorite show I've ever seen since I've been in DC and, in fact, I went back to see it about a half-dozen times. While I love her entire body of work, it was the wet plate work—both plates and prints—that I found myself gravitating to the most. Far from the pristine edge-to-edge sharpness of modern photos, they exude life, inexorably binding them to the maker.A couple weeks ago, I got an email form Shane Balkowitsch, a wet plate photographer from Bismarck, North Dakota who began shooting wet plate after seeing a plate of a motorcycle. Something about it refused to let go and he reached out to the photographer to ask about the image and the process behind it. 45 days later, he made his first wet plate—an image of his brother. That was 2012. Today, more than 3500 plates later, Shane's work is in collections including the State Historical Society of North Dakota and the National Portrait Gallery. His ongoing project photographing Native Americans and helping to preserve their culture has earned him the name “Shadow Catcher.” LINKSNorthern Plains Native Americans: A Modern Wet Plate Perspective* - https://amzn.to/31SEIvUBalkowitsch (Documentary)* - https://amzn.to/3gBAOvxState Historical Society of North Dakota - https://www.history.nd.gov/archives/manuscripts/inventory/2014-P-025.htmlSally Mann: A Thousand Crossings - https://www.nga.gov/exhibitions/2018/sally-mann-a-thousand-crossings.html CONNECT WITH SHANEWebsite: http://sharoncol.balkowitsch.com/wetplate.htmInstagram: https://www.instagram.com/balkowitschFacebook: https://www.facebook.com/balkowitsch MUSICPlease Listen Carefully (Jahzzar) / CC BY-SA 4.0

There's something about wet plate photography that I can't get out of my head. Maybe it's the process, maybe it's the unpredictable nature of it - Sally Mann calls it “the angel of uncertainty.” Or maybe it's the permanence of the objects themselves. When you look at an image by Matthew Brady or Timothy O'Sullivan, for a moment you're no longer part of the present. And I would argue that that sense of timelessness is one of the reasons a handful of modern photographers still choose to embrace the 170-year-old process.In 2018 there was a Sally Mann show at the National Gallery called A Thousand Crossings. It is by far my favorite show I've ever seen since I've been in DC and, in fact, I went back to see it about a half-dozen times. While I love her entire body of work, it was the wet plate work—both plates and prints—that I found myself gravitating to the most. Far from the pristine edge-to-edge sharpness of modern photos, they exude life, inexorably binding them to the maker.A couple weeks ago, I got an email form Shane Balkowitsch, a wet plate photographer from Bismarck, North Dakota who began shooting wet plate after seeing a plate of a motorcycle. Something about it refused to let go and he reached out to the photographer to ask about the image and the process behind it. 45 days later, he made his first wet plate—an image of his brother. That was 2012. Today, more than 3500 plates later, Shane's work is in collections including the State Historical Society of North Dakota and the National Portrait Gallery. His ongoing project photographing Native Americans and helping to preserve their culture has earned him the name “Shadow Catcher.” LINKSNorthern Plains Native Americans: A Modern Wet Plate Perspective* - https://amzn.to/31SEIvUBalkowitsch (Documentary)* - https://amzn.to/3gBAOvxState Historical Society of North Dakota - https://www.history.nd.gov/archives/manuscripts/inventory/2014-P-025.htmlSally Mann: A Thousand Crossings - https://www.nga.gov/exhibitions/2018/sally-mann-a-thousand-crossings.html CONNECT WITH SHANEWebsite: http://sharoncol.balkowitsch.com/wetplate.htmInstagram: https://www.instagram.com/balkowitschFacebook: https://www.facebook.com/balkowitsch MUSICPlease Listen Carefully (Jahzzar) / CC BY-SA 4.0Support the show (https://jefferysaddoris.com/#donate)