Podcasts about Sam Francis

Sam Francis died twenty years ago, but he may be more important now than during his lifetime. https://mcclanahanacademy.comhttps://patreon.com/thebrionmcclanahanshowhttps://brionmcclanahan.com/supporthttp://learntruehistory.com

For decades, conservatives have been plagued by an affliction—an almost allergic reaction to power. It's as if the only way to be truly virtuous is to lose, and to lose gracefully. Political wins are viewed with suspicion, as if governing with authority is somehow unseemly, or worse, un-Christian. But what if that mindset is not just wrong—but harmful?Take a look at Donald Trump. Like him or not, he's leading a populist resurgence that is centered not just on rhetoric, but on wielding power—on winning. Recently, he made headlines for appearing to defy a court order that would have prevented the deportation of Venezuelan gang members. Then, he took aim at President Biden's use of an autopen for signing pardons, questioning the validity of those signatures. Predictably, his critics shriek: "Tyranny!" But is it tyranny—or is it the legitimate use of power for the good of the nation?There is a long and deep conservative tradition that supports the responsible use of authority. Edmund Burke warned that power unused is power lost, and that liberty without virtue is the greatest of all evils. Russell Kirk argued that moral order requires strong governance. Sam Francis lambasted the Right for its obsession with losing honorably rather than governing effectively. Even American history is filled with examples of presidents who who defied courts and insisted on doing what they believed was right. Lincoln, FDR, Reagan, even Andrew Jackson understood that sometimes, the law is wrong, and justice demands action. Yet, modern evangelicals often act as if any use of power is suspect, embracing what Francis called the "beautiful loser syndrome"—preferring to be righteous victims rather than victorious defenders of truth and order. But what does Scripture actually say? Joseph wielded power in Egypt to save his people. Nehemiah rebuilt Jerusalem despite opposition. Even Christ declared, "All authority in heaven and on earth has been given to me."So today, we ask: Is Trump a tyrant, or is he acting within a legitimate and necessary conservative tradition? And more importantly, why do so many conservatives still believe that surrender is a virtue?This episode is brought to you by our premier sponsors, Armored Republic and Reece Fund, as well as our Patreon members and donors. You can join our Patreon at patreon.com/rightresponseministries or you can donate at rightresponseministries.com/donate.Political power is not everything, but it's not nothing either. And when good men refuse to use it, then evil men will pick it up and destroy societies. It's time for Christians to learn to use political power for good ends again. Let's get into it.*MINISTRY SPONSORS:**Private Family Banking*How to Connect with Private Family Banking:1. FREE 20-MINUTE COURSE HERE: ⁠https://www.canva.com/design/DAF2TQVcA10/WrG1FmoJYp9o9oUcAwKUdA/view⁠2. Send an email inquiry to ⁠chuck@privatefamilybanking.com⁠3. Receive a FREE e-book entitled "How to Build Multi-Generational Wealth Outside of Wall Street and Avoid the Coming Banking Meltdown", by going to ⁠https://www.protectyourmoneynow.net⁠4. Set up a FREE Private Family Banking Discovery call using this ⁠link: https://calendly.com/familybankingnow/30min⁠5. For a Multi-Generational Wealth Planning Guide Book for only $4.99, use this link for my affiliate relationship with "Seven Generations Legacy": ⁠https://themoneyadvantage.idevaffiliate.com/13.html⁠*Reece Fund⁠https://www.reecefund.com/*Dominion: Wealth Strategists* is a full-service financial planning and wealth management firm dedicated to putting more money in the hands of the church. With an education focused approach, they will help you take dominion over your finances.https://reformed.money/

Social Discipline is incredibly excited to present the adventurous life of Jeff Perkins, a hidden gem of the American underground. This massive five-hour podcast, recorded in Berlin in June 2024, explores his fascinating journey—no one else can claim to have performed for Yoko Ono and John Cage, created legendary light shows with The Velvet Underground, Sly and the Family Stone, and The Germs, programmed the first Kenneth Anger retrospective in L.A., and encountered both Charles Manson and members of the satanic cult The Process. Jeff joined the military in the 1960s and was stationed in Tokyo, where he met Yoko Ono in the early '60s. He began performing some of her pieces there and later in New York. Perkins also filmed Ono's classic Film No. 4 (Bottoms), a Fluxus work. His first independent contribution to the Fluxfilm Anthology was Shout. He was at the heart of the 1960s New York avant-garde scene, surrounded by figures like La Monte Young, Jack Smith, and Angus MacLise. In January 1967, Perkins moved to Los Angeles, where he worked as a programmer at Cinematheque 16. Influenced by Tony Conrad's The Flicker, he began producing powerful light shows and collaborated with bands throughout the '60s and '70s—ranging from The Jimi Hendrix Experience and The Grateful Dead to the punk scene with X and The Germs. He even refused to do a show for the Sex Pistols due to a disagreement with the promoter. Perkins was a close friend of Terry Jennings and, in fact, entrusted his archive to La Monte Young. While in L.A., he was neighbors with the artist James Turrell. In 1980, Perkins moved back to New York and started a loft project just a block away from Ground Zero, reminiscent of George Maciunas' artist loft spaces. To finance it, he worked as a cab driver. He remained deeply connected to cinema, particularly through Anthology Film Archives, where he proposed a John Cassavetes retrospective to Jonas Mekas and later became a manager. In 1994, Nam June Paik—who coined the term “The Fluxus cab driver” for Perkins—invited him to perform at Anthology Film Archives in a homage to Yoko Ono. His performance, Butthead, was a great success. His legendary loft became a hub where one could easily encounter visiting filmmakers like Pedro Costa and Albert Serra. In 1989, Perkins organized a series of lectures at Anthology Film Archives with Henry Flynt and Tony Conrad, reuniting the two after years of estrangement. Flynt would become a lifelong friend. In 2008, during the financial crisis, when I lived with Jeff, we organized a series of four-hour lectures by Flynt in the loft's kitchen, focusing on the crisis and communist economics. I vividly remember Tony Conrad attending one of them in his elegant pajamas. Perkins has directed two critically acclaimed films—one on abstract painter Sam Francis and another on the legendary Fluxus figure George Maciunas. He is currently finishing editing a film about Henry Flynt in Berlin. This podcast concludes with an excerpt from his piece Movies for the Blind, which features recordings of conversations with passengers from his time as a New York cab driver.

We had tears of laughter numerous times on this rollercoaster of an episode with Sam Francis (@dropsofpoopitervtg). He didn't smoke a lick but somehow it's one of the highest eps we've done. Sam gives us a breakdown of the Catholic tradition The Stations of the Cross, and brings his own bluetooth speaker to hype himself up. Make sure you catch the improv scene at the end, it's one of my favorites: Jesus attending a funeral and for some reason he sounds like Jason Statham. Follow Sam's vintage hockey page @dropsofpoopitervtg, and Jan 20th Water Tower Park at 12 pm join the @pslchicago protest against Trump's extreme right agenda. Jan 25th at Bricktown see Sam's band All The Way Nasty at the Rock Lotto Show.

140 MinutesPG-13Here are two episodes in which Pete and Aaron from Timeline Earth read and commented on a James Burnham chapter and Sam Francis' explanation of the Machiavellians.James Burnham on the Death of CapitalismSamuel Francis' Review of The MachiavelliansTimeline Earth PodcastPete and Thomas777 'At the Movies'Support Pete on His WebsitePete's PatreonPete's SubstackPete's SubscribestarPete's GUMROADPete's VenmoPete's Buy Me a CoffeePete on FacebookPete on Twitter

No new episode of Holy Smokes this week! Instead go check out the new Scoochie Boochie songs! Car Butt came out today December 30! Rich Baby came out Christmas Eve! Go watch the music vids on YouTube and Instagram! Thank you! New ep of Holy Smokes Jan 6 with Sam Francis!

Folks it's Holy Smokes! The comedy podcast where we smoke weed and tell Bible stories. This week good buddy Sam Francis joins us for a heartwarming story about 2 brothers (Jacob and Esau) reuniting, plus some hilarious improv scenes about high school football and a messed up animal shelter. Lots of laughs in this one! Enjoy! Please join the patreon for monthly bonus videos including early access to Scoochie Boochie songs. Please god!! patreon.com/holysmokespod

A few days ago, a fellow Sane Spacer had several comments on one of our YouTube videos nuked for the mere mention of the name "Sam Francis." We break down the real reason the regime and its thought/speech police are so threatened by Francis, and discuss the obvious double standard at play when they express outrage over their fake excuse for why he's censored while ignoring the very same behavior on the part of their favored classes/people. We also discuss Kamala Harris's recent comments about free speech being a "privilege" and wanting to rein in Elon Musk and X because they've "abused that privilege," and what this means for all of us if she's allowed to assume the position of Empress Kackles. Show Notes: The Fake Reason They Hate/Censor Sam Francis: https://charlestoncitypaper.com/2010/04/14/the-problem-with-sam-francis/    The Real Reason: Francis conceived of politics primarily in terms of power. He argued that a managerial class—bureaucrats whose dominance of technical knowledge and jargon gave them the keys to powerful organizations, corporations, and ultimately the state—had seized power since the Progressive Era. According to Francis, the managerial regime set forth a liberal ideology to justify and reinforce their dominance and corrode right-wing institutions. Underpinning the managerial regime, Francis thought, was an alliance between regime elites and an underclass paid off by the state with wealth robbed from the middle.   Francis wrote these words decades ago. As we sit here today with a near permanent bureaucracy, that none of us ever have or will get to vote for, which is the primary ruler of every minute detail of our lives as made evident by the fact that despite changing elected parties/politicians, government policy only ever moves in the direction of increasing state power while acting in direct contradiction to the interests of the electorate, it should be clear to any rational/objective observer that Francis was more prophet than pariah on this point. Those wielding this power hate Francis for forbidden thoughts like these, but unwilling or unable to refute them, they fall back on the tried and true "racism!" refrain, in the hopes you'll ignore the entirety of his thought just because he held other uncomfortable views.   Kamala Harris Thinks Free Speech is a "Privilege" and Wants X Shut Down: https://x.com/DrJBhattacharya/status/1830834552883060909?t=u1dKoy63dEYl01tD32jE5A&s=19  **SUPPORT THE PODCAST HERE** Become a Member: https://wmdpodcast.com/support-our-work  BUY MERCH (shirts, hats, hoodies, mugs, even welcome mats!): https://ee48ce-3.myshopify.com  BITCOIN WALLET ADDRESS: bc1qsx4qh6wqkmwac25rydfn8nhg4nrwrcx93fmjz4  CHECK OUT WMD ELSEWHERE: X: https://twitter.com/WMDpod  Facebook: https://www.facebook.cm/groups/566957281384509  Odysee: https://odysee.com/@WeaponsOfMemeDestruction:7  Rumble: https://rumble.com/user/WMDPodcast 

Soutenez le podcast et choisissez votre contrepartie originale sur https://fr.tipeee.com/rencontres-surnaturelles-juliette-dargand Deuxième étape des lieux les plus hantés de France. Nous partons aujourd'hui dans le Var nous intéresser à la légende des lavandières de la nuit.  Dans le folklore local les femmes ayant commis des péchés sont condamnées à laver leur linceul pour l'éternité. Le promeneur malchanceux passant à leur proximité, est invité à venir les aider. Si la personne accepte ou se retourne en les fuyant, il sera maudit à son tour. Résumé : Yaël passe les vacances chez son oncle dans le Var. Alors qu'il est parti se promener dans la forêt et le long d'un étang par un soir d'orage, il va faire une rencontre bien inquiétante. Réalisation sonore : Juliette Dargand (certains extraits sonores et musicaux ont été composés par Sam Francis et Alesia Davina) Membre du Label Tout Savoir. Régies publicitaires : PodK et Ketil Media Soutenez-nous sur Tipeee !

Soutenez le podcast et choisissez votre contrepartie originale sur https://fr.tipeee.com/rencontres-surnaturelles-juliette-dargand Je vous propose pendant tout le mois d'août un tour de France des lieux hantés que je préfère mis sous forme de légendes sonores. Pour cette première étape, nous nous arrêtons en Bretagne. Dans le folklore populaire, on se racontait beaucoup d'histoires de fantômes ou surnaturelles. L'Ankou venant chercher les trépassés à l'heure de leur mort est d'ailleurs une figure importante des croyances traditionnelles. L'on parle d'Intersignes, présages que la mort transmettrais aux proches de la personne venant bientôt à mourir, leur permettant de savoir quand exactement le décès aurait lieu. J'ai basé cette histoire sur le témoignage d'une lavandière, rapporté par Anatole Le Braz, découvert dans son recueil de contes de Bretagne, en le réactualisant à notre époque moderne. Résumé : Marie revient dans la maison de sa grand-mère malade pour les fêtes de fin d'année. Elle va être le témoin d'intersignes prémonitoires étranges, annonçant le décès prochain de Lisette. Réalisation sonore : Juliette Dargand (certains extraits sonores et musicaux ont été composés par Sam Francis et Alesia Davina) Membre du Label Tout Savoir. Régies publicitaires : PodK et Ketil Media Soutenez-nous sur Tipeee !

Something happened to America — and to American conservatism — in the early 1990s: an unspooling, a coarsening, a turn from substance to symbol and from narrative to fragment; prevailing political myths ceased to make sense or have purchase, and nothing sufficiently capacious or legible emerged to replace them, leaving only a dank, foggy climate of conspiracy, bellicosity, and despair. Victorious in the Cold War, America was supposed to be riding high; instead the whole country was experiencing a crisis of confidence.Why? What happened? And did we ever get over it — or are we still somehow stuck in the "long 1990s?" No one is better equipped to tease out answers to these questions than our great friend John Ganz, whose riveting new book is called When the Clock Broke: Con Men, Conspiracists, and How America Cracked Up in the Early 1990s. With his characteristic wit and panache, John guides us through a lively discussion of: Sam Francis's middle American radicalism; Pat Buchanan's "culture war" speech; Ross Perot and POW-MIA; Carroll Quigley's influence on Bill Clinton; John Gotti's appeal; and how these figures, and this era, prepared the way for Donald Trump. It's a barnburner, folks! Enjoy!Sources:John Ganz, When the Clock Broke: Con Men, Conspiracists, and How America Cracked Up in the Early 1990s (2024)— "The Year the Clock Broke: How the world we live in already happened in 1992," The Baffler, Nov 2018Jen Szalai, "The 1990s Were Weirder Than You Think. We're Feeling the Effects." NYTimes, Jun 12, 2024. Listening: KYE "The Year the Clock Broke, (w/ John Ganz)" Mar 16, 2020KYE "Christopher Lasch's Critique of Progress, (w/ Chris Lehmann)" Aug 11, 2022 ...and don't forget to subscribe to Know Your Enemy on Patreon to listen to all of our extensive catalogue of bonus episodes!

136 MinutesSome Strong LanguagePete is joined once again by Dark Enlightenment and Jose Niño (Charles Spadille was unavailable) for a roundtable discussion on today's current events. They also listen to a short speech by Sam Francis given in 1995.VIP Summit 3-Truth To Freedom - Autonomy w/ Richard GroveDE's Telegram ChannelJose's SubstackSubscribe to Jose's Newsletter10 Myths of Gun ControlJose's Mises.org PageVIP Summit 3-Truth To Freedom - Autonomy w/ Richard GroveSupport Pete on His WebsitePete's PatreonPete's Substack Pete's SubscribestarPete's GUMROADPete's VenmoPete's Buy Me a CoffeePete on FacebookPete on TwitterBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-pete-quinones-show--6071361/support.

C.Jay Engel, host of the "Chronicles Magazine" podcast, joins me to discuss Sam Francis' "Revolution from the Middle," the battle between paleocons and neocons, and the critical need for parallel institutions. Follow on: Apple: https://podcasts.apple.com/us/podcast/the-auron-macintyre-show/id1657770114 Spotify: https://open.spotify.com/show/3S6z4LBs8Fi7COupy7YYuM?si=4d9662cb34d148af Substack: https://auronmacintyre.substack.com/ Twitter: https://twitter.com/AuronMacintyre Gab: https://gab.com/AuronMacIntyre YouTube:https://www.youtube.com/c/AuronMacIntyre Rumble: https://rumble.com/c/c-390155 Odysee: https://odysee.com/@AuronMacIntyre:f Instagram: https://www.instagram.com/auronmacintyre/ Learn more about your ad choices. Visit megaphone.fm/adchoices

Jon examines why Christians are shifting their view of MLK Jr. Martin Luther King's legacy remained unquestioned by both neo-conservatives and progressives for many years but that is starting to change, especially on the conservative side. As newer voices expose MLK's radical ideas, Christians are reexamining his faith, morality, and political views. Some Christians are evening shifting their view of MLK's "I Have a Dream Speech." Jon examines both contemporary voices like Daniel Darling, Josh Buice, Owen Strachan, Mike Pence, Christopher Rufo, Ron Desantis, Paul Kengor, Charlie Kirk, Virgil Walker as well as older conservative voices like Sam Francis and Christopher Caldwell. Most of the podcast simply examines MLK in his own words borrowing from speech compilations from the Autobiography of MLK and The Radical MLK. PowerPoint: https://www.patreon.com/posts/powerpoint-for-96615961#MartinLutherKingjr #MLK #Evangelicals #Race #CivilRightsSupport this podcast at — https://redcircle.com/conversations-that-matter8971/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Julien Gardair portrait by Catherine Talese Julien Gardair is a French artist based in New York City since 2007. His cutout paintings, installations, sculptures, and works on paper are known for their adherence to strict sustainable systems. Gardair's art frequently incorporates a blend of languages and stories, creating a diverse and multilayered visual experience. Julien Gardair's recent paintings reveal his innovative approach to art.  Drawing inspiration from the Supports/Surfaces movement in France and the Pattern/Decoration movement in the United States, Gardair's art is a fusion of materiality and pattern, along with the structural constraints of Minimalism. These multi-faceted pieces are a synthesis of vibrant paintings and textile works and are created by employing techniques like folding, cutting, and stitching. His work challenges the viewer's perception of materiality. His sustainable approach ensures that no parts of the paintings are discarded, nodding to the global potential of restoration and upcycling. He holds an MFA from the École Nationale Supérieure d'Arts de Paris Cergy and his work has been shown throughout Europe and the United States.  Notably, he was included in La couleur toujours recommencée, the first exhibition of the re-vamped Musée Fabre in Montpellier along with Joan Mitchell, Sam Francis, Shirley Jaffe, Peter Soriano and others.  He has had solo exhibitions at Galerie Jean Fournier, Paris, Musée d'Art Moderne de Céret and Bric Arts, Brooklyn.  He was commissioned by the New York MTA Arts & Design to create a permanent installation for the 18th Avenue and Kings Highway stations in Brooklyn. The Mobilier National also commissioned him to design a Savonnerie carpet on display at the Elysée Palace. The exhibition  Julien Gardair / Melanie Vote: Concurrence, offers an intimate exploration of works by both artists, who beyond their individual artistic pursuits, share a bond as a married couple. The show, presented by Garvey|Simon takes place at DFN Projects, 16 East 79th Street until November 3rd, 2023, Monday to Friday from 11 am to 4 pm. Julien Gardair, Ascension, 2023, 16x12in, Acrylic on canvas, folded, cut, stitched, and stretched over wooden stretchers. Julien Gardair, Wide open, 2023, 16x12in, Acrylic on canvas, folded, cut, stitched, and stretched over wooden stretchers. Left: Julien Gardair, Zaouji, 2023, 16x12in, Acrylic on reclaimed pants and canvas, folded, cut, stitched, and stretched over wooden stretchers. Center: Melanie Vote, Flamboyan, 2023, 16 x 12, oil on paper on wood. Right: Julien Gardair, Striped, 2023, 16x12in, Acrylic on reclaimed t-shirt and canvas, folded, cut, stitched and stretched over wooden stretchers.

The new definition of painterly success just might be having Elisabeth Condon describe your painting. It's truly that satisfying. Elisabeth is back on the pod to describe a painting, and it's a fascinating one: "Untitled" 1968-69 from the Edge Painting series by Sam Francis. Come along as Elisabeth takes us not only through the painting itself, but also through Sam Francis' life and influences: namely that of his beloved Japan. The concept of "ma" or the potential of emptiness, Asian ink painting, and Francis' unique anti-New York gentle lyricism all factor in to make this talk a riveting deep dive into this Californian-born, second-generation Abstract Expressionist artist. See an image of the painting here: https://tinyurl.com/2c487tpr (photo by Christopher Knight/LA Times) and https://tinyurl.com/ms8uxyj2 (photo by Elisabeth Condon) See Sam Francis at LACMA: ⁠"Sam Francis and Japan: Emptiness Overflowing"⁠ is up at LACMA in Los Angeles thru July 16, 2023 More about Sam Francis: https://samfrancisfoundation.org/ Find Elisabeth Condon online: https://www.elisabethcondon.com/ and on IG: @elisabethcondon Check out her work in person at The Golden Foundation in New Berlin, NY in "Made in Paint" (thru Aug 2023) and her mural-sized work at the Judy Genshaft Honors College Building at the University of South Florida (permanent). She is also now preparing for a solo show in December 2023 at Emerson Dorsch Gallery in Miami. Other writers and artists mentioned: Paul Jenkins, Joan Mitchell, Helen Frankenthaler, Morris Lewis, David Hinton (Chinese Art Scholar), Frida Kahlo, Arshile Gorky, Jackson Pollock, Marc Rothko, Pablo Picasso, Jean Miro, Paul Klee, David Park. Fernand Leger, Shirley Jaffe, Jean-Paul Riopelle, Georges DuThuit, Joan Mitchell, Ed Clark, Tachisme Abstraction Lyrique Movement, Jean Dubuffet, Wols, Norman Bluhm, Sherman Lee (Chinese Art Scholar), Sesshū (Sumi-e Master), Moby Dick by Herman Melville, Lee Ufan, Brice Marden, Monoha Group of Hawaii, Kiki Kokolvic, William Wilson (LA Times writer), Cecily Brown, Jackson Pollock, Steve DiBenedetto, Philip Guston, Nihonga Painting, Lisa Beck, Andrea Belag, Matthew Richie, Richard E. Speer (Art writer), Yoshiaki Tono Materials mentioned: Magna Paint, Hoechst Dispersions, Flashe, Guerra Paint Amy's show during Upstate Art Weekend: "Appearances" at the Strange Untried Project Space July 22-23, 11-6pm, More info: https://www.strangeuntried.com/ and on IG: @strange_untried And the Cut Me Up Magazine collage exhibition at the Albany International Airport through Dec 2023. ---------------------------- Pep Talks on IG: ⁠⁠⁠@peptalksforartists⁠⁠⁠ Pep Talks on Art Spiel as written essays: ⁠⁠⁠https://tinyurl.com/7k82vd8s⁠⁠⁠⁠⁠⁠⁠ Amy's website: ⁠⁠⁠https://www.amytalluto.com/⁠⁠⁠ Amy on IG: ⁠⁠⁠@talluts⁠⁠⁠ ⁠⁠⁠BuyMeACoffee⁠⁠⁠ Donations appreciated! --- Send in a voice message: https://podcasters.spotify.com/pod/show/peptalksforartistspod/message Support this podcast: https://podcasters.spotify.com/pod/show/peptalksforartistspod/support

Tucker Carlson is looking for work, and he might soon be busking on a corner of Twitter. Once he commanded the most watched show on cable-TV. He used his enormous platform to broadcast little known neo-Nazi and white supremacist ideas—repackaged in an advertiser-friendly format. As much as Tucker's on-air cheerleading for Trump helped him rise to the top of the airwaves, the Trump ride had a gnarly side and a price that had to be paid. Promoting Trump's Stop the Steal in public, while shit-talking him in private, helped cost Fox $787.5 million. Tucker was well known in circles that track right-wing extremism for introducing dog whistles and obscure white-supremacist terms into the mainstream lexicon. These words occasionally gave away his source material. One phrase caught my attention in his April 4th show, not long before he got the boot, which was “anarcho-tyranny.” This word comes from only one person—a white supremacist from the 90's, Samuel Todd Francis. Sam tells us what isn't being said out loud and gives us a creepily prescient glimpse into the recent trends in the right-wing. Credit to Kat Abu for the intro clip. Follow her on Twitter at https://twitter.com/abughazalehkat Here are links to some of the clips and articles we referenced: https://youtu.be/E2eG0l52Au0 https://youtu.be/AWFcqJgqgMQ https://youtu.be/YtiKHdgeK2s https://www.splcenter.org/fighting-hate/extremist-files/individual/sam-francis https://www.adl.org/resources/news/occidental-observer-online-anti-semitisms-new-voice#.Uy2hSvlKj00 https://web.archive.org/web/20060928023136/http://www.chroniclesmagazine.org/Chronicles/2005/April2005/0405Francis.html ⛬ ⛬ ⛬ ⛬ ⛬ ⛬ ⛬ ⛬ ⛬ ⛬ ⛬ ⛬ ⛬ ⛬ ⛬ ⛬ ⛬ For $5 a month, get an extra couple premium, subscriber only episodes every month or so. https://patreon.com/wetwired Check out the Wetwired Discord. https://discord.gg/fr62mpUy5c Follow us on Twitter at https://twitter.com/wetwiredpod and Instagram at https://instagram.com/wetwiredpod

Der Kunsthändler und leidenschaftliche Kunstsammler Eberhard W. Kornfeld ist im Alter von 99 Jahren gestorben. Im langen Leben des Baslers spiegelt sich auch der Wandel des Kunstbetriebs im 20. Jahrhundert. Ein Porträt. Eberhard W. Kornfeld ist seit Jahrzehnten eine feste Grösse in der Kunstwelt. Seine Galerie in Bern war eine der renommiertesten Adressen im globalen Auktionsgeschäft. Und er hat Freundschaften gepflegt mit Künstlern wie Sam Francis, Pablo Picasso oder Alberto Giacometti. Unliebsame Aufmerksamkeit erfuhr Kornfeld im Herbst 2013, als der Fall Gurlitt publik wurde – der Galerist stand in einer langjährigen Geschäftsbeziehung zu Cornelius Gurlitt. In «Passage» erzählte 2019 Eberhard Kornfeld aus seinem Leben: Wie er die Welt der Kunst geprägt hat – und wie sie ihn geprägt hat. Erstsendung: 4. Januar 2019

“S.H. Raza” (1922-2016)au Centre Pompidou, Parisdu 15 février au 15 mai 2023Interview de Diane Toubert, archiviste à la Bibliothèque Kandinsky – Centre Pompidou, et co-commissaire de l'exposition,par Anne-Frédérique Fer, à Paris, le 14 février 2023, durée 18'17.© FranceFineArt.https://francefineart.com/2023/02/15/3388_raza_centre-pompidou/Communiqué de presse Commissariat : Catherine David, conservatrice générale des musées de FranceDiane Toubert, archiviste à la Bibliothèque Kandinsky, Centre PompidouLe Centre Pompidou présente la première monographie de l'oeuvre de l'artiste indien Sayed Haider Raza en France, où il a vécu et travaillé de 1950 à 2011. Cette présentation compte près de cent peintures et les développements formels et conceptuels d'une oeuvre moderne exemplaire des dynamiques transculturelles et de leurs enjeux dans l'art du 20e siècle.Les années de formation de Sayed Hader Raza en Inde illustrent le climat d'effervescence artistique et politique des années 1940 à Bombay (Mumbai), dans un contexte économique marqué par la porosité entre activité commerciale et recherche plastique, l'enseignement que Raza reçoit à la Sir J.J. School of Arts, distinct des canons esthétiques nationalistes de l'École du Bengale, porte une attention renouvelée aux formes de l'art classique indien. Les expérimentations formelles du Progressive Artist's Group (PAG) dont Raza est membre fondateur en 1947 dessinent les contours d'une génération d'artistes cosmopolite, déterminée à inventer et à faire connaître de nouvelles formes d'expression.Installé à Paris à partir de 1950, Raza consacre ses recherches formelles à la géométrisation du paysage dans une manière expressive convoquant tant Bernard Buffet, Van Gogh et Gauguin que Francis Newton Souza, compagnon du PAG qu'il retrouve à Paris. Il rencontre la galeriste Lara Vincy, qui le représente dès 1955 et oeuvre avec détermination à sa reconnaissance. Le passage à la peinture à l'huile, travaillée au couteau, favorise un rapprochement avec les peintres de l'École de Paris lui assurant de premiers succès auprès du milieu artistique parisien qui lui décerne le prix de la critique en 1956, suivi de nombreuses expositions internationales. Les principes de composition bidimensionnelle et fragmentée des miniatures rajputes (Rajasthan,17e-19e siècles) permettent à Raza de franchir le pas qui le séparait de l'abstraction. Lors d'un séjour aux États-Unis en 1962, il rencontre ensuite l'expressionnisme abstrait américain (Hans Hofmann, Sam Francis et Mark Rothko notamment). Raza intègre à ses compositions des éléments thématiques issus du rapport singulier qu'il entretient à la terre, objet d'une série de toiles majeures à partir de 1975, et nourrit sa pratique de références à la poésie, la musique classique (râgas) et la spiritualité indiennes (bindus, nagas, kundalini).Les étapes qui marquent le développement de l'oeuvre de Raza, présentées de manière chronologique dans l'exposition, offrent des points de repère pour appréhender la complexité du projet moderne indien des années 1950 à 1990 et les enjeux qui définissent l'espace globalisé de la création contemporaine.PublicationL'Esprit de la nature : Sayed Haider Raza aux Éditions L'Asiathèque, un ouvrage édité par Annie Montaut et Ashok Vajpeyi Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Jon talks about a number of trending issues including China, Brazil, Stephen Wolfe's quoting of Sam Francis, and Memorial Presbyterian leaving the Presbyterian Church in America.Support this podcast at — https://redcircle.com/conversations-that-matter8971/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Today I'm talking to Sam Francis from Grow Feral. Join us on Facebook- Facebook group https://www.facebook.com/groups/235726027726637/?ref=share Contact us via email - SelfSufficientContact@gmail.com Find us on YouTube- https://www.youtube.com/channel/UC33RtwynPm1s7xP709KMQcQ Support the Show - https://www.patreon.com/SelfSufficientHub Find the podcast - Apple podcasts - https://podcasts.apple.com/gb/podcast/self-sufficient-hub/id1506405294 Google podcasts - https://podcasts.google.com?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy8xYWM3M2JkOC9wb2RjYXN0L3Jzcw%3D%3D Spotify - https://open.spotify.com/show/1xeCGY3Ba0tlAxJqEf8jjP?si=8MJdUFfuS-C1p5E_pyJXOA --- Send in a voice message: https://anchor.fm/self-sufficient-hub/message

Matthew Rose is a scholar of religion. He's currently Senior Fellow and Director of the Barry Center on the University and Intellectual Life — a project of the Morningside Institute — and he previously taught at Villanova. He's written for magazines such as First Things and The Weekly Standard, and his newest book is A World After Liberalism. It's an examination of five far-right thinkers, from Julius Evola to Sam Francis, who are proving increasingly influential in post-liberal conservatism in America.It's the first of several episodes in which I hope to explore more deeply the radical alternatives to liberal democracy being touted on the right. Think of it as a balance to my focus this past year on the illiberal alternatives being touted on the woke left. Get full access to The Weekly Dish at andrewsullivan.substack.com/subscribe

We're back on ArtCurious with another great interview episode for you today. Today's episode features a conversation about Light on Fire, the first comprehensive biography of the life and work of the abstract artist Sam Francis by award-winning author Gabrielle Selz. Drawing from exclusive interviews and private correspondence, including Ed Ruscha and Robert Irwin, Selz traces Francis's extraordinary and complex life.   Please SUBSCRIBE and REVIEW our show on Apple Podcasts and FOLLOW on Spotify Instagram / Facebook / YouTube Buy Light on Fire here! SPONSORS: BetterHelp: Get 10% off your first month of counseling Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of Radio Rothbard, Ryan McMaken and Tho Bishop look at the popularizing of the term "regime" being used against the Federal government. As a recent Bulwark article notes, this change in framing can be seen in conservative politicians like Ron DeSantis to publications like The Federalist. Ryan and Tho welcome the American right sounding more and more like Lew Rockwell, and touch on the contributions of paleoconservatives like Sam Francis. Recommended Reading "World War I as Fulfillment: Power and the Intellectuals" by Murray N. Rothbard: Mises.org/RR_96_A ​"The Problem With Right-Wing Regime Talk" by Joshua Tait: Mises.org/RR_96_B "The Violent Fantasies of Blake Masters" by Sam Adler-Bell (New York Times): Mises.org/RR_96_C "Inside the New Right, Where Peter Thiel Is Placing His Biggest Bets" by James Pogue (Vanity Fair): Mises.org/RR_96_D "The Paranoid Style in American Politics" by Richard Hofstadter (Harper's Magazine): Mises.org/RR_96_E "Secede From the Regime" with Ryan McMaken and Lew Rockwell: Mises.org/RR_96_F Be sure to follow Radio Rothbard at Mises.org/RadioRothbard.

In this episode of Radio Rothbard, Ryan McMaken and Tho Bishop look at the popularizing of the term "regime" being used against the Federal government. As a recent Bulwark article notes, this change in framing can be seen in conservative politicians like Ron DeSantis to publications like The Federalist. Ryan and Tho welcome the American right sounding more and more like Lew Rockwell, and touch on the contributions of paleoconservatives like Sam Francis. Recommended Reading "World War I as Fulfillment: Power and the Intellectuals" by Murray N. Rothbard: Mises.org/RR_96_A ​"The Problem With Right-Wing Regime Talk" by Joshua Tait: Mises.org/RR_96_B "The Violent Fantasies of Blake Masters" by Sam Adler-Bell (New York Times): Mises.org/RR_96_C "Inside the New Right, Where Peter Thiel Is Placing His Biggest Bets" by James Pogue (Vanity Fair): Mises.org/RR_96_D "The Paranoid Style in American Politics" by Richard Hofstadter (Harper's Magazine): Mises.org/RR_96_E "Secede From the Regime" with Ryan McMaken and Lew Rockwell: Mises.org/RR_96_F Be sure to follow Radio Rothbard at Mises.org/RadioRothbard.

In this episode of Radio Rothbard, Ryan McMaken and Tho Bishop look at the popularizing of the term "regime" being used against the Federal government. As a recent Bulwark article notes, this change in framing can be seen in conservative politicians like Ron DeSantis to publications like The Federalist. Ryan and Tho welcome the American right sounding more and more like Lew Rockwell, and touch on the contributions of paleoconservatives like Sam Francis. Recommended Reading "World War I as Fulfillment: Power and the Intellectuals" by Murray N. Rothbard: Mises.org/RR_96_A ​"The Problem With Right-Wing Regime Talk" by Joshua Tait: Mises.org/RR_96_B "The Violent Fantasies of Blake Masters" by Sam Adler-Bell (New York Times): Mises.org/RR_96_C "Inside the New Right, Where Peter Thiel Is Placing His Biggest Bets" by James Pogue (Vanity Fair): Mises.org/RR_96_D "The Paranoid Style in American Politics" by Richard Hofstadter (Harper's Magazine): Mises.org/RR_96_E "Secede From the Regime" with Ryan McMaken and Lew Rockwell: Mises.org/RR_96_F Be sure to follow Radio Rothbard at Mises.org/RadioRothbard.

00:40 Tucker Carlson critiques the FBI 26:00 How the team behind Netflix's ‘Untold' reframed the Manti Te'o girlfriend hoax, https://www.cnn.com/2022/08/16/entertainment/manti-teo-untold-netflix-q-and-a-cec/ 1:09:30 Conservatism: A Rediscovery or a Distortion?, https://www.youtube.com/watch?v=bNvzuZ8OUTs 1:12:00 Is Claremont Good for Conservatism?, https://www.youtube.com/watch?v=-Uryx6FKD2o 1:24:00 Merrick Garland, the Washington Post and the Nuclear Story, https://www.wsj.com/articles/merrick-garland-the-washington-post-and-the-nuclear-story-11660671636?mod=hp_opin_pos_2#cxrecs_s 1:25:00 Dumb arguments from the Right defending Trump 1:26:00 Nick Fuentes wants a black girl 1:29:20 Charlie Kirk and Eric Metaxas Call For Retaliatory Raids on Liberal Groups 1:34:10 Liars on the Right #10: Sam Francis, https://www.youtube.com/watch?v=SWTP3CMjC2k 1:36:40 Where the Key Players of the Unite the Right Rally Are Now 1:38:00 TRS network filled with drug and alcohol abuse, https://www.youtube.com/watch?v=lvAWkRuOYS4 1:41:30 Liars on Right #11: Jorjani 1:46:20 Laura Loomer Will Fight For Christian Nationalists Decoding Decoding The Gurus, https://lukeford.net/blog/?p=144554 https://thedispatch.com/p/the-new-right-finds-a-home-at-the Christian Nationalism, https://lukeford.net/blog/?p=144498 From Proud Feudal Lord To Cringing Courtier, https://lukeford.net/blog/?p=144484 We are gathered here in the sight of God, https://lukeford.net/blog/?p=144407 Conservative Claims of Cultural Oppression: The Nature and Origins of Conservaphobia 2, https://lukeford.net/blog/?p=144294 Conservative Claims of Cultural Oppression: The Nature and Origins of Conservaphobia: https://lukeford.net/blog/?p=144168 REVIEW: The Star Chamber of Stanford: On the Secret Trial and Invisible Persecution of a Stanford Law Fellow, https://lukeford.net/blog/?p=143937 Stanford Star Chamber, https://lukeford.net/blog/?p=143824 Reaction to Stanford Star Chamber, https://lukeford.net/blog/?p=143994 https://ronyguldmann.com/ My Best Work: https://lukeford.net/blog/?p=143746 Mind, Modernity, Madness: The Impact of Culture on Human Experience, https://lukeford.net/blog/?p=143670 Professor of Apocalypse: The Many Lives of Jacob Taubes, https://lukeford.net/blog/?p=143590 http://vouchnationalism.com https://postkahanism.substack.com/p/the-failure-and-importance-of-kahanism?s=r Join this channel to get access to perks: https://www.youtube.com/channel/UCSFVD7Xfhn7sJY8LAIQmH8Q/join https://odysee.com/@LukeFordLive, https://lbry.tv/@LukeFord, https://rumble.com/lukeford https://dlive.tv/lukefordlivestreams Listener Call In #: 1-310-997-4596 Superchat: https://entropystream.live/app/lukefordlive Bitchute: https://www.bitchute.com/channel/lukeford/ Soundcloud MP3s: https://soundcloud.com/luke-ford-666431593 Code of Conduct: https://lukeford.net/blog/?p=125692 https://www.patreon.com/lukeford http://lukeford.net Email me: lukeisback@gmail.com or DM me on Twitter.com/lukeford Support the show | https://www.streamlabs.com/lukeford, https://patreon.com/lukeford, https://PayPal.Me/lukeisback Facebook: http://facebook.com/lukecford Feel free to clip my videos. It's nice when you link back to the original.

In part two of HTPG's Two-on-Two series, Paul and Jay welcome Bengals quarterback coach Dan Pitcher and football data analyst Sam Francis to discuss the intersection of coaching and analytics. Dan and Sam offer up how they incorporated analytics into Cincinnati's decision-making and the creation of a situational playbook. The pair share how they've tried to bridge the gap between coaching and analytics. Plus, the duo provides insight into how their football playing days have aided their careers, and what is it like to work with a player brimming with confidence, i.e., Joe Burrow. Watch the episode on YouTube: https://youtu.be/q4bKmBe96PM Follow Paul on Twitter: @pauldehnerjr Follow Jay on Twitter: @JayMorrisonATH Follow Sam on Twitter: @samfran37 Subscribe to The Athletic for just $1/month for 6 months by visiting: theathletic.com/hearthatpodcastgrowlin Learn more about your ad choices. Visit megaphone.fm/adchoices

Join us for a celebration of the winners of the 91st annual California Book Awards! Since 1931, the California Book Awards have honored the exceptional literary merit of California writers and publishers. Each year a select jury considers hundreds of books from around the state in search of the very best in literary achievement. Over its 90 years, the California Book Awards have honored the writers who have come to define California to the world. Among them are John Steinbeck, Wallace Stegner, MFK Fisher, Thom Gunn, Richard Rodriquez, Lawrence Ferlinghetti, Joan Didion, Ishmael Reed, and Amy Tan. Recent award winners include Hector Tobar, Viet Thanh Nguyen, Susan Orlean, Rachel Kushner, Rachel Khong, Tommy Orange, Morgan Parker and Steph Cha. This year's winners include: GOLD MEDALS FICTION The Archer, Shruti Swamy, Algonquin Books, an imprint of Workman Publishing, Hachette Book Group FIRST FICTION Skinship, Yoon Choi, Alfred A. Knopf NONFICTION­ Paradise: One Town's Struggle to Survive an American Wildfire, Lizzie Johnson, Crown JUVENILE Wishes, Mượn Thị Văn and Victo Ngai, Orchard Books, an imprint of Scholastic Inc YOUNG ADULT Home Is Not a Country, Safia Elhillo, Make Me a World POETRY Refractive Africa, Will Alexander, New Directions CALIFORNIANA Everything Now: Lessons from the City-State of Los Angeles, Rosecrans Baldwin, MCD, an imprint of Farrer, Straus & Giroux CONTRIBUTION TO PUBLISHING A Rebel's Outcry, Naomi Hirahara, Little Tokyo Historical Society SILVER MEDALS FICTION The Committed, Viet Thanh Nguyen, Grove Atlantic FIRST FICTION City of a Thousand Gates, Rebecca Sacks, Harper, an imprint of HarperCollins Publishers NONFICTION Light on Fire: The Art and Life of Sam Francis, Gabrielle Selz, University of California Press SPEAKERS Peter Fish California Book Awards Jury Chair Sarah Rosenthal California Book Awards Juror Rosalind Chang California Book Awards Juror In response to the COVID-19 pandemic, we are currently hosting all of our live programming via YouTube live stream. This program was recorded via video conference on June 6th, 2022 by the Commonwealth Club of California. Learn more about your ad choices. Visit megaphone.fm/adchoices

A special episode this week, as Emile and Micah welcome National Review ISI fellow Nate Hochman to the podcast to discuss his recent New York Times piece, "What Comes After the Religious Right?" Nate's argument is that while today's culture wars are as fierce as they've been in decades, they're also markedly less religious: issues of identity, nation, and race have supplanted former religious right priorities like marriage, school prayer, and abortion. The hosts debate Nate's description, and look towards the future of the social & cultural right.   In this episode:   What Comes After the Religious Right?, Nate Hochman, New York Times Religious Wrong, Sam Francis, Chronicles Christian Nationalism is on the rise in some GOP campaigns, AP News

I speak with AA about his political evolution and how it mirrors mine, about Libertarianism and its discontents, about the "current thing" as it manifests itself in the conflict in Ukraine, about blackpills and whitepills, and much more. Academic Agent is an internet renaissance man, one of the most prolific and successful content producers on the dissident right. You can find his work at the Academic Agency, where he offers courses on everything from economics to politics and research, on Twitter, on Substack, and most importantly on Youtube. His book The Populist Delusion is also out now on Imperium Press. His recommended subversives are Sam Francis and Julius Evola. --- Send in a voice message: https://anchor.fm/aksubversive/message

Gabrielle Selz is the author of Unstill Life: A Daughter's Memoir of Art and Love in the Age of Abstraction, published by W.W. Norton in 2014. Unstill Life received the best memoir of the year award from the American Society of Journalists and Authors (ASJA) and was chosen as one of the best books of the year by both the San Francisco Chronicle and Berkeleyside. Selz holds a special interest in the intersection of memory, history, cultural criticism, and art. As a child, she bounced between the bohemian art worlds of New York and Berkeley, California. Her father, Peter Selz, was the Chief Curator of Painting and Sculpture at the Museum of Modern Art in New York, before he founded the Berkeley Art Museum and Pacific Film Archive. Her mother, Thalia Selz, was a writer and the founding editor of Story Quarterly. Gabrielle is currently writing Light on Fire: The Art and Life of Sam Francis to be published by U.C Press. · gabrielleselz.com · www.creativeprocess.info

Gabrielle Selz is the author of Unstill Life: A Daughter's Memoir of Art and Love in the Age of Abstraction, published by W.W. Norton in 2014. Unstill Life received the best memoir of the year award from the American Society of Journalists and Authors (ASJA) and was chosen as one of the best books of the year by both the San Francisco Chronicle and Berkeleyside. She is currently writing Light on Fire: The Art and Life of Sam Francis to be published by U.C Press.Selz holds a special interest in the intersection of memory, history, cultural criticism, and art. As a child, she bounced between the bohemian art worlds of New York and Berkeley, California. Her father, Peter Selz, was the Chief Curator of Painting and Sculpture at the Museum of Modern Art in New York, before he founded the Berkeley Art Museum and Pacific Film Archive. Her mother, Thalia Selz, was a writer and the founding editor of Story Quarterly. In 1969, Thalia selected the original tenants for Westbeth, the largest artists housing project in the country, and the family then moved to live alongside artists like Diane Arbus and Merce Cunningham. Introduced to Sam Francis as a child, her interest in his life, career and what motivated his extraordinary contributions, expanded while she was researching and writing Unstill Life.Selz has contributed to The New Yorker, The New York Times, More Magazine, The Rumpus and the L.A. Times. Her fiction has appeared in Fiction Magazine and her art criticism in Art Papers, Hyperallergic and Newsday and the Huffington Post. She is a past recipient of the New York Foundation for the Arts Fellowship in Nonfiction and is a Moth Story Slam Winner. · gabrielleselz.com · www.creativeprocess.info

“Shirley Jaffe, une Américaine à Paris“ Rétrospectiveau Centre Pompidou, Parisdu 20 avril au 29 août 2022Interview de Frédéric Paul, conservateur, collections contemporaines, Musée national d'art moderne et commissaire de l'exposition,par Anne-Frédérique Fer, à Paris, le 19 avril 2022, durée 26'30.© FranceFineArt.Communiqué de presse Commissariat :Frédéric Paul, conservateur, collections contemporaines, Musée national d'art modernePeintre américaine installée à Paris depuis les années 1950, Shirley Jaffe (1923 – 2016) est une référence de la peinture abstraite du tournant des 20e et 21e siècles. Non sans provocation, elle affirmait avoir découvert Pierre Bonnard à New York puis Jackson Pollock et Andy Warhol à Paris.Cette exposition constitue sa première rétrospective. Suivant un déroulement chronologique, l'accrochage présente ses débuts expressionnistes abstraits, suivis des deux ruptures radicales conduisant à l'abandon de la gestualité à la fin des années 1960 et aux grandes toiles caractéristiques de la maturité par leur formes libres et unies et la présence d'un blanc incisif. Il souligne aussi la voie parallèle suivie avec ses « gouaches » sur papier, d'exécution rapide, contrairement aux tableaux, trépidants comme la vie urbaine, mais toujours longs à aboutir. Shirley Jaffe tenait pour elle-même un « journal » de ses tableaux en cours. En regard des oeuvres, on découvrira ces précieuses notes d'atelier et des archives inédites conservées à la bibliothèque Kandinsky.Après son décès en 2016, un ensemble de douze toiles, versé par dation à l'État français, a été reçu par le Musée national d'art moderne en 2019.L'exposition est présentée au Kunstmuseum de Bâle (25 mars – 30 juillet 2023) et au musée Matisse à Nice (11 octobre 2023 – 8 janvier 2024) dans des parcours adaptés à chaque lieu.#ExpoShirleyJaffeNée en 1923 dans le New Jersey, Shirley Jaffe étudie à Cooper Union, à New York, qu'elle quitte pour Paris, où elle se fixe en 1949. Proche de Jules Olitski, Al Held, Jean-Paul Riopelle, Sam Francis, elle est rapidement reconnue comme une peintre majeure de la nouvelle abstraction. Elle fait partie de la communauté d'artistes américains installés en France après-guerre. Elle sous-loue l'atelier de Louise Bourgeois dans la même rue que Joan Mitchell avec qui elle entretient une dynamique émulation, notamment à la galerie Fournier qui les représente longtemps.[...]Les publicationsL'exposition est accompagnée d'un catalogue publié par Bernard Chauveau édition en coédition avec le Centre Pompidou, réunissant des textes de Svetlana Alpers, Claudine Grammont et Frédéric Paul ainsi qu'une interview inédite par Robert Kushner.Après les trois volumes respectivement consacrés à Martin Barré, Simon Hantaï et James Bishop, l'éditeur ER Publishing fera paraître un Transatlantique – Shirley Jaffe rassemblant, selon la formule de la collection, essais et témoignages. Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

I speak to Pedro about his merciless attacks on neocons, being faced with accusations of antisemitism and surviving them, the "new right" candidates and political recalibration, the slow death of fusionism, "Trans" as a profound distortion of reality, Trump as necessary but not sufficient, castizo futurism and much more. Pedro Gonzalez is an associate editor at Chronicles Magazine, a Lincoln Fellow alum at the Claremont Institute, a Substack owner/operator, and a frequent guest on Tucker Carlson. You can also find Pedro's work on Twitter His recommended subversives are James Burnham and Sam Francis. --- Send in a voice message: https://anchor.fm/aksubversive/message

In Part 2 with writer Gabrielle Selz, author of Light on Fire: The Art and Life of Sam Francis, we talk about Sam Francis as he: Settles into his compound at West Channel Road in Santa Monica, and became the big-man-on-campus of the young (1960s) L.A. art scene; his relative absence as a father, his kids being left to run wild or spend time with Sam's assistants; Sam's self-empowered and grandiose painting process which included his mantra, “I am an Original” as he began to paint; the profound impact that his fifth (and final) wife, Margaret, had on Sam's life, because of the way she corralled Sam off from the large and freely flowing group of friends who came in and out of the house(s), as well as how she enabled Sam's adherence to bogus alternative medicine when he was suffering from cancer; the Dream Machines of his studios in the works, including many compounds simultaneously in development in northern California towards the end of his life; the resolution of his complicated Estate, including a contested will by his last wife; and where one might find Sam Francis paintings these days.

about: the important first phase of Sam's long art career, in Paris, where he started working on a big painting from his bed in a tiny hotel room he shared with his girlfriend Muriel; how he was a shrewd businessman and cocky self-promoter, a sort of Orson Welles of the art world; how his first patron, Franz Meyer Sr., told Sam he would buy anything he made, thus freeing Sam and bolstering his confidence and security; how Sam wasn't tied to place (he was constantly traveling and living in different countries), nor to style; and how lucrative Sam's career was, including having bank accounts (including Swiss) all over the world, and his philosophy that money flowed through you, and that you should spend it.

This week we're chatting with Sam Francis '17, who parlayed his Bates athletics experience — in football and lacrosse — and his academic talents — as a double major in math and economics — to become a trusted member of the Super Bowl–bound Cincinnati Bengals' coaching staff as the team's data analyst. Plus, meet Mainer Simon McCormick, who led Bates men's basketball to a season sweep of Bowdoin. All that and more... Interviews this episode: 1:19 -- Simon McCormick '24, Men's Basketball (Male Bobcat of the Week). 10:19 -- Cricket Dotson '23, Women's Squash (NESCAC Player of the Week and Female Bobcat of the Week). 28:12 -- Rowan Hassman '23, Women's Track and Field. 33:35 -- John Everett '22, Men's Track and Field. 46:14 -- Sam Francis '17, Football Data Analyst for the AFC Champion Cincinnati Bengals.

A Strategy for the RightIn 1992 Murray Rothbard penned a blistering manifesto outlining a strategy for the right to take when Neoconservatism would inevitably fail. The NeoConservative Cancer that has served as an astroturfed Vassal State of FDR's New Deal for the better part of a century is dead. And The Managerial Complex that the New Deal has pampered having been subsidized by the most violent century in world history is scared. I highly recommend Jeff Deist and Ryan McMacken's discussion in the Human Action Podcast released on November 24, 2021 in which they discuss Garet Garrett's essay “The Revolution Was.” In the previous essay I read from Rothbard - his review of Sam Francis' Beautiful Losers, Rothbard mentioned the Garrett essay briefly, and I cannot recommend enough Jeff and Ryan's discussion of Garet Garrett because it helps put all the pieces together on why Garrett's essay should be the focal point on where not just The Right, but where America went wrong. In this essay I'm reading today, called A Strategy for The Right, which feels like it was written yesterday, not 1992 - Rothbard picks up where Garret Garrett left off, and gives us the inklings of where we can go next, if we will just cast off the rules of the game the Fraud FDR has imposed upon us. Buckle up. Because Ding Dong Bill Buckley is dead. LINKSFull Text of Murray Rothbard's Essay: https://mises.org/library/strategy-rightHuman Action Podcast “The Revolution Was” - https://mises.org/library/garet-garretts-revolution-was

In this supplemental episode Ford reads the text of a Murray Rothbard essay called The Franciscan Way, a book review of Sam Francis' Beautiful Losers, which Tho dug up from the archives and has republished on The Rothbard-Rockwell Report Substack. Check it out here: https://rothbardrockwellreport.substack.com/p/the-franciscan-way

Episode No. 519 features author Gabrielle Selz and curator Malcolm Daniel. Selz is the author of the new biography "Light on Fire: The Art and Life of Sam Francis." The book tells the story of Francis' wild, often tumultuous, multi-continental life -- Selz was a California native who was always more interested in Europe and Asia than he was in New York -- and details the making of his work, its global reception, and his efforts to help found art museums, such as the Museum of Contemporary Art, Los Angeles. The book was published by University of California Press. Indiebound and Amazon offer it for about $35. On the second segment, Daniel discusses the Museum of Fine Arts, Houston's acquisition of a major Julia Margaret Cameron album. The album, known as The Norman Album because it remained in the family of Cameron's daughter Julia Hay Norman until it was acquired by the MFAH, includes over 70 prints, including Cameron's famed portraits of Alfred Lord Tennyson, Thomas Carlyle, Charles Darwin, John Herschel and others. Cameron's daughter introduced her to photography; Cameron gave her the album as thanks.

Bryan Ida is a remarkable painter who transitioned from musician to full-time painter 20 years ago. He worked for the renowned abstract expressionist painter, Sam Francis, and soon realized that the expression is the same with both music and painting. Hear the parallels between music and art, how to work a passion for social issues into your paintings, and manage your finances to create freedom as an artist. Check out Bryan's art at ArtDimensionsOnline.com

Drove to Chicago, all things know, all things know...On today's episode, we review the results of our Chicago bracket. We talk wins, losses, and the biggest upsets (do people actually eat at the Chicago Diner AND listen to this podcast?). Tangents include but are not limited to: How much fun it is to say "hotdog," Barack Obama's podcasting endeavors, and America's 1st sport, Baseball (not America's 5th sport, MTV's The Challenge *ding*).Sam Francis is an improviser and activist based in Chicago, IL. Sam is currently organizing directly with the Alvarez Family to get justice for their son Anthony, who was murdered by the Chicago Police Department. Links to help the fight are here and here! ★ Support this podcast on Patreon ★

I want to be in Chicago Town, cause that's the town for me!Nia and Trent return to their Chicago roots to answer a question that certainly nobody asked: Which Chicago thing is the best Chicago thing? They are joined by Sam Francis to talk about how Sam made the bracket, which match ups are the wildest, and what the three of them think will take home the prize. Tangents include but are not limited to: an argument for Chicago (the band) to be crowned as all dads' favorite band, Chance the Rapper's suspension from school that led to lyrical greatness, and, of course, The Beach Boys *Emaj->Bmaj*.Sam Francis is an improviser and activist based in Chicago, IL. Sam is currently organizing directly with the Alvarez Family to bring justice for their son Anthony, who was murdered by the Chicago Police Department. Link to help the fight is right here!First round voting will be on Monday 7/5. Second round voting will be on Tuesday 7/6. Sweet Sixteen voting will be on Wednesday 7/7. Elite Eight voting will be on Thursday 7/8. Final Four voting will be on Friday 7/9. Championship voting will be on Saturday 7/10. Results of the bracket will be revealed on Monday 7/12's episode of the podcast! Link to vote is right here!!!!!!!!!!!!!!! ★ Support this podcast on Patreon ★

Johnson’s work draws on a vastness of experience and a persistent desire to make paintings that explain the world through color and shape. He has always moved seamlessly between abstraction and representation and the art historian Peter Selz described Johnson as an artist who makes “realist paintings that are basically abstract paintings and abstract paintings that are figurative.”   Mitchell Johnson moved to California from New York City in 1990 to work for the artist, Sam Francis. In New York, Johnson studied at Parsons School of Design with former students of Hans Hofmann: Jane Freilicher, Leland Bell, Nell Blaine, Paul Resika, Larry Rivers and Robert De Niro, Sr. Johnson adopted their reverence for art history and their emphasis on drawing and painting from life as the source of a personal direction.   Beginning in the 1990s Johnson embarked on long painting expeditions to Italy, France and New Mexico with rolls of canvas packed in a golf bag like a modern day Corot. Wading through unfamiliar landscapes, often on foot, he worked to understand the ever complex geometry of land and sky. He prevailed not to capture some ideal sense of place, but to see better and to go deeper into painting.    Johnson has been a visiting artist at The American Academy in Rome, Borgo Finocchieto, The Josef and Anni Albers Foundation and Castle Hill in Truro, MA. In addition to attending Parsons, Johnson studied painting and drawing at Staten Island Academy, Randolph-Macon College, The Washington Studio School, The Santa Fe Institute of Fine Arts and The New York Studio School. His paintings are in the permanent collections of 29 museums and over 700 private collections. Johnson is the subject of three monographs: Mitchell Johnson (2004, Terrence Rogers Fine art), Doppio Binario (2007, Musei Senesi) and Color as Content (2014 Bakersfield Museum of Art). A fourth monograph, Where The Colors Are, will be published in summer 2021. ​ Johnson's paintings have appeared in numerous feature films, mostly Nancy Meyers projects, including The Holiday (2006), Crazy Stupid Love (2011), and It's Complicated (2009).       TAKEAWAYS FROM THIS EPISODE:   -current exhibition at Pamela Walsh  -the large paintings did not happen overnight, it took time to cultivate -Working with people from 9th Street Women -Working with Leland Bell - Introduced to the questions he would spend his career working on -Working for Frank Stella & Sol LeWitt -Traveling through Italy and France -Digital Photography -Color -Smaller paintings and bigger paintings are different problems -”What does the painting want?” -Freedom - Abstraction and Representation -”Make the painting feel special” -Keep enjoying the struggle -curious about transformation -On some level the paintings must sustain you on an emotional level    LINKS:  https://www.mitchelljohnson.com/ https://pamelawalshgallery.com/artists/mitchell-johnson/artworks/striped-chair-sideways https://www.artforum.com/spotlight/mitchell-johnson-85170   I Like Your Work Links:   Exhibitions Studio Visit Artists I Like Your Work Podcast Instagram Submit Work Observations on Applying to Juried Shows Studio Planner

Wednesday 2nd June 2021Dietetics Digest  Should dietitians place NG tubes?  feat. Sam Francis RD (Episode 8)Sam Francis is a Specialist Stoke Dietitian who has extended his role to place nasogastric feeding tubes in patients. He has been pivotal in developing a new role in Bradford Teaching Hospitals NHS Foundation Trust and expanding the role of the stoke dietitian. He works on a national level with the BDA neurosciences Stoke sub-group and inputting into national policies. He recently won the Rising Star Award in the 2021 United Kingdom Advancing Healthcare Awards for his work as Specialist Stroke Dietitian.Sam Francis (Twitter)If you enjoyed the podcast, please can you support us by: Write a review on Apple Podcasts.Follow us on social media ( Twitter / Instagram ) Please share this podcast with a friend!Thank you for your support!2021 CN Awards NominationI, Aaron Boysen, am pleased to have been nominated for the 2021 CN Awards for Social media personality of the year! I would appreciate your vote.Click Here!

In today's episode, I welcome Christopher John Garcia! Chris has had an amazing career journey as a museum curator and historian for the Computer History Museum, as well as podcaster and painter, and he talks about everything from AI-generated art to his podcast that discusses pieces of artwork in under three minutes. (Fun fact: the cover image for this episode is of one of Chris' original pieces of artwork!)   Get in touch with Christopher John Garcia: https://www.facebook.com/JohnnyEponymous | https://www.instagram.com/johnnyeponymous/ Support Artfully Told: www.paypal.me/elevateart Artfully Told links: www.facebook.com/artfullytold | www.artfullytold.podbean.com | elevateartskc@gmail.com Get a free audiobook through Audible!  http://www.audibletrial.com/ArtfullyTold Schedule your own interview as a featured guest with Artfully Told! https://calendly.com/artfullytold/podcast-interview   Episode 52 - Christopher John Garcia Lindsey Dinneen: Hello, and welcome to Artfully Told, where we share true stories about meaningful encounters with art. [00:00:06] Krista: I think artists help people have different perspectives on every aspect of life. [00:00:12]Roman:  All I can do is put my part in to the world. [00:00:15] Elizabeth: It doesn't have to be perfect the first time. It doesn't have to be perfect ever really. I mean, as long as you, and you're enjoying doing it and you're trying your best, that can be good enough. [00:00:23] Elna: Art is something that you can experience with your senses and that you just experiences as so beautiful.  [00:00:31]Lindsey Dinneen:  Hello, and welcome back to another episode of Artfully Told. I'm your host Lindsey, and I am delighted to have as my guest today, Christopher John Garcia, who is a curator, historian, and podcaster, and I'm just so excited to chat with him all about art and all the different ways that he has engaged with art and that he's currently still doing. And so thank you so much for being here, Chris. I really, really appreciate it. [00:01:00] Christopher John Garcia: Yeah, thanks so much for having me always glad to chat. [00:01:03] Lindsey Dinneen: Of course. If it's about art, I'm in. [00:01:05]Christopher John Garcia: Yeah, absolutely. [00:01:07] Lindsey Dinneen: Yes. Well again, thanks for being here. And I would just love if you would share maybe a little bit about your background, how you got involved in your various art forms, and maybe a little of where you are today, too. [00:01:21] Christopher John Garcia: Cool. Well, it's started long, long ago. 1999. I became a curator at the Computer History Museum and my focus was on computer graphics, music and art with an emphasis on early computer art. So 1950s through about 1980. And by going into that, you know, I had a little bit of an art history background. I minored in it in college and I've always been an art nerd. And I ended up starting a couple of podcasts that were actually centered around early computer art. One was called " Engineers and Enthusiasts," which is on a hiatus as soon as I can find all my files. But the second one is a "Three-Minute Modernist," which is, I take a single artwork usually, and I break it down in three minutes as sort of a, an emotional impact statement is what I do in three minutes, which can be a lot harder for big pieces than little you'd be surprised. But yeah, and so all of that. Then for some reason, I ended up staying home a lot in 2020, and I decided, you know, maybe I should become a painter. And so I, you know, I had never painted before. And so I decided, well fine. And I started doing a lot of my own paintings, which are semi-abstract expressionists works. What I usually do is I just squeeze paint directly onto paper, put another piece on top of it and then peel them apart. And then I'll do this with several sheets. So it's sort of a combination printing, painting methodology. But yeah, so it's, I'm your basic all around art nerd. [00:02:51] Lindsey Dinneen: I love it. Okay. Well, I am so excited to hear more about all of the different things, but especially the podcast. I'm so intrigued by that concept. I love it. What a challenge too, so kudos to you. But yeah. Okay. So breaking down artwork and sort of talking about it and having the constraint of three minutes, first of all, where did that idea come from? And then I guess second of all, how hard is that? [00:03:16]Christopher John Garcia: Well, the idea actually came from a Doctor Who podcast. There is a Doctor Who podcast called "Two-Minute Time Lord." And it is it takes a Doctor Who episode or a topic surrounding Dr. Who and does a two minute episode. That's basically what you would say around the water cooler. And I figured, you know what? If it's good enough for the goose, it's good enough to be stolen by the gander. And I decided to take that concept and apply it to art because one, art has sort of discreet chunks. And I was seeing a lot of works that were-- I wouldn't say small-- but they were works that you could sort of come up with at least a nugget that you could expand on in for a couple of minutes without problem. [00:04:03] And I learned that by looking at a discreet portion, it gave you one, a chance to really sort of look across the board. You could look at one piece from various areas, but two, it allowed you to go really fast. And so my proof of concept was a good five episodes before I released anything and realized, yeah, this will work. And then I realized that if I kept it to just modern and contemporary art, it would allow me to single out one area instead of going all the way around the world, having to deal with all the things, 'cause once you get into the more realist stuff and the movement and the genre works, you kind of get, you have to go longer. But with the contemporary stuff, you could more deal with the impact of the work on particularly, in this case, me and how it emotionally triggered sensations and feelings and take it sort of a little bit out of a, sort of a more academic realm and into a realm of art appreciation that I really love. Things like, you know, Sister Wendy, for example,  used to be a favorite of mine, but there's not really one of those for contemporary arts, so much that deals directly with individual pieces. And, you know, I figured it'd be a great place to go. And I realized that "art podcast" is a crowded field. And I said, me too. [00:05:28]Lindsey Dinneen:   Indeed. Well, good for you. And again, I love that concept and I just think that's so cool. So, okay. So in dealing with modern and contemporary art, are you-- just out of curiosity-- are you going to galleries and being inspired by something particular or are you finding things on the internet or how is your process of deciding which art to kind of feature and unpack? [00:05:54] Christopher John Garcia: Well, I have a very complex algorithm to do that. Random. Basically, yeah, I go to a lot of museums. In particular, I go to SF MOMA, the Anderson collection at Stanford, the Cantor Art Museum when I can get there to moment itself. And I also have a massive collection of photographs because I'm that guy at a museum who takes a picture of everything. So it's really based largely on what I encounter typically at museums. I do some web stuff. In particular, I'm starting to do more stuff with Instagram artists who I meet typically through Clubhouse who are working. And I find pieces that really resonate with something I speak of a lot. Like the next issue I'm doing is about a work that very much reminds me of two of my favorite artists, Lichtenstein and then Sam Francis, and it looks like what happened if they were to work together. [00:06:46]But yeah, it's all over the place.  One of our recent episodes was about the work of Sol LeWitt that they turned into an app. I think it was by The Met, but it might've been a sort of an associated group that was how Sol LeWitt and his work-- and it's this very contained app that actually gives you a lot of different views into how Sol LeWitt goes. So it's a little bit across the board. I do some video art, a little bit of music, but I tend towards sound art and soundscape type stuff. And sort of looking at how they are still, it's all about the effect of you more emotionally, but also there's sort of what I call the emotional intellect, which is a thought that you have that isn't necessarily logical or reasonable, but it is a thought that provokes that same sort of region. [00:07:42]Lindsey Dinneen: Cool. Very cool. Well, and you know, random is good too. I like complex algorithm. That was entertaining. So, okay. So yeah, that sounds like a really interesting way to go about it in terms of, you know, it's, it's also just like, well, what is speaking to me right now? And then, so I'm curious, in your process for these episodes, I know you've talked about maybe unpacking it sort of on an emotional level in what it evokes, but are you also going into the history? Are you looking into the context behind it from the artist's point of view or mostly just sticking with your own personal interpretation? [00:08:20]Christopher John Garcia: You kind of have to do both. And you know, for example, if I talk about "Guernica" by Picasso, you kind of have to say the Spanish Civil War happened. But you don't necessarily have to go into specifically Picasso's long history in Cubism, his blue period, but you kind of have to make nods toward them . But what's really fascinating in a work like-- "Guernica" is a great example, and an episode I haven't done-- is when you pull out an aspect that has an emotional impact on you and for me, it's that, that wailing mother with her hands up and that sort of disjointed head that emotional impact also triggers an idea that, "Oh, well, this actually very much speaks to Picasso's Cubist period, this very much has this sort of the blue period emotional impact that he carried through the early part of his career." So it sort of naturally flows out of that, that you do deal with some of the, the history and the technique aspect. I don't deal deeply with technique most of the time, largely because art technique is still a little bit mysterious to me, but I really do try. You know, art has, if I decided to go in all art history nerd, like I often do with my wife, sadly it would be a six hour podcast. [00:09:44]Lindsey Dinneen: So then in knowing yourself, you know what you need to limit yourself to. I like it. Yeah. I like it. Okay, cool. Well, okay. So your career is very cool and very unique, and I'm just curious, how do you sort of fall into an-- obviously you didn't fall into it-- but fall into a job like that because, I mean, what, what was your background that enabled you to then become this, this curator of a museum? That's just really interesting. [00:10:14] Christopher John Garcia: Yeah. Funny, you should ask. I was a floor worker, I basically a docent and tour guide and someone who told you to stop touching objects at the old Computer Museum in Boston. And it was slowly falling apart and getting ready to close. It would eventually be bought out by the Museum of Science. And I grew up in the Bay Area and I was out in Boston at that museum, but they had an affiliate in California. So when I went home for Christmas, one year I decided to visit and they said, "Yeah, we've got this job opening." And I said, "I will apply for this job because Boston is cold." And I ended up getting the job. Literally I fell into it because no one else wanted the job. It was $12.50 an hour. And no one else wanted that in Silicon Valley at that point except for me. [00:11:05]And yeah, for 20 years that's what I did and what was great is that I was largely in charge of my own research interests. And that was fascinating. When you give the freedom to a curator to go and investigate what truly interests them and what they think is missing in the museum, what you gain is an incredible amount of insight and a lot of extra labor from the person who's actually doing the research. And it turned out that a lot of the stuff that I was doing was not only stuff that we didn't know previously, but we didn't see how it connected to the bigger world. And it was just a great job. 20 years. I got laid off in 2019, sadly. Hashtag #learntofundraise. But the real, the real fascinating thing about, you know, lucking into this gig, like I had my art history background, but really it was the fact that I knew how to give a really good tour, ended up getting me the job and, you know, I held onto it because it's just a thing that I really understood. And I think I really grew up with the museum itself. [00:12:13] Lindsey Dinneen: Yeah. Cool. How incredible. And I love that you were given that autonomy and freedom to explore the things that interested you and then get to just learn and grow. That's really cool. I think that's awesome. And so what was the most surprising thing maybe that you learned along that journey? [00:12:36]Christopher John Garcia: So it, it's both surprising-- and then when I think about it, not at all surprising-- I got to go and meet a artist by the name of Harold Cohen. . Initially I knew him, his sort of work from the sixties and very early seventies as an abstract painter, sort of along the lines of if Hawking was working completely... David Hockney, not Hawking. Hawking is the scientist. Hockney was working completely abstract. Very, very great color palette, amazing line, but he got very interested in artificial intelligence and developed a system called Aaron, the AARON Paint System, which he developed for almost 40 years. And I got to spend a couple of days with him. [00:13:28] And what was so surprising was he was talking about when he got into AI, it wasn't that-- the art community naturally sort of rejected the work because it wasn't clear who was the artist? Was it Harold Cohen or was it AARON, the Paint System that he developed. And it wasn't that 'cause that I understood, but it was that when you program a system to create art, it is naturally going to attempt to create art in the mode of its creator. Because the creator understands art in that way. So all AARON is a set of rules, but when you define a set of rules, you're going to define it with your own biases already installed. And it's fascinating to see that. [00:14:23] And I managed to also connect with another computer music pioneer, who also does visual arts with his programs, guy by the name of David Cope. And he recognized that. And what he did to avoid that was he made it possible to input external work by, in his case for music mini files, from, you know, Shostakovitch, Scott Joplin, Bach, and so he removed himself from the set of rules. The rules were defined by the input, and it was so interesting that I never thought in a million years that just setting a set of rules into a computer program would actually have that much effect. And then when I thought about it, it was like, "Yeah, of course that's how you would do it." And then I realized, wait, there's a way to do it where it's not actually your rules. It's someone else's. I just love that. [00:15:15] Lindsey Dinneen: Yes. Oh my goodness. That is so cool. I didn't even know that those technologies existed. So that's really fascinating to me that that's even a thing. How cool! [00:15:27] Christopher John Garcia: Well, what's incredible about that is right now, we are in an absolute Renaissance of AI art. And it's scary because it is very, very quickly being monetized. We saw some of the first works done almost. All the major AI art is being done in Europe right now. In particular there's our groups in Amsterdam, in a couple different places in France, England. And what's amazing is that now they're starting to go to auctions and fetching high sums, but this isn't where we're going to see AI art. We're going to see AI art in hotel lobbies, hotel rooms, any place where large-scale art creation is necessary. And right now, almost all that work is outsourced typically to China or small artists who are willing to work for relatively cheap for reproduction. In this case, it's highly possible that AI will be creating all the art we encounter in public corporate spaces, and that's a very big change and will have a very big impact on not only the art market, but the art market that no one thinks about: the commercial art market for commercial properties. [00:16:36] Lindsey Dinneen: Hm. So do you think that that's a good thing or is it not necessarily inherently good or bad? It just is different. [00:16:45]Christopher John Garcia: Yeah. That's... I go back and forth and it depends on how much I like computer programmers at the moment. I think it is a good thing in that we are developing systems that are able to get art out more quickly. And I think it's a bad thing of course, because it is going to put some artists out of work, but by having the work that can get out more quickly, it is going to drive the art market in general broader. And that's going to allow more artists to actually get work, to get commissions. Now, how, how that drives against one another, it's hard to tell. And new technologies and art are changing everything. And so it's a really, we're on kind of a knife's edge and we could fall either direction. We could either end up with a market that is an, a, an output that is AI driven. We have very little, as of yet, AI generated art that has made it into the museum space. And when you really look at the history of art, it's the stuff that gets into the museum space that ends up being the most significant. We're still seeing a massive influx of artists working today who are being displayed in museums. So I think the human is still going to be the more significant player in what art means and becomes, but I think AI is going to be a major part of what sells and that, you know, who knows which direction that'll go. [00:18:27] Lindsey Dinneen: Sure. Yeah. Cool. Yeah. It's going to be really interesting to follow that journey then and see what does end up happening and how does it twist and weave through different avenues and yeah, that's going to be really different. Like, I'm, I'm just wrapping my head around it right now, thinking about it, because again, I didn't know these technologies existed, so I'm like, huh?  Okay. So, you know, you mentioned that you started taking that painting. What kind of artwork do you tend to lean towards with your own? Is it more abstract? Is it more realistic? What do you like? [00:19:05] Christopher John Garcia: Oh, it's a hundred percent abstract just because I don't have the skills to actually do representational. But one of the things on my Instagram is that I'll post an image where it's literally, I squoze three tubes of paint onto a piece of paper. I covered it with a little glue and I put another piece of paper on top of it and I scan it later, usually after it dries, but when it doesn't dry, my wife gets mad. And people will start to recognize that, "Oh, that's obviously a picture of X, Y, and Z." And one of the other things I do on the side is I publish zines and I had squished a whole bunch of acrylic paint that I just tossed onto a piece of paper and I peeled it off, but I had let it dry a little bit before I squished it. So it made this sort of feathery looking look and it looks exactly like the cryptid known as Moth Man. [00:19:56] And at that point I realized that something there's something in the sort of the chance operations space, that where even if you're not actively trying to create representational image, representational image will come forth. And so that picture of Moth Man, as I call it now, is a picture of Moth Man, even though I wasn't painting Moth Man. I wasn't painting anything. I was just putting paint on paper and that really, for me, raises some interesting questions as well. If I didn't mean to paint Moth Man, did I paint Moth Man? And the answer for me to that is, of course I'm painted Moth Man. What, are you crazy? Although I could get into the whole thing of that. Maybe Moth Man is some sort of entity that was working through me to make sure I painted a painting of him. But that might be a bridge too far, even for me. [00:20:45] Lindsey Dinneen: Yeah, sure. Of course. Well, that's cool. Oh my goodness. Okay. And so is that something that you anticipate you'll continue doing even sort of after things hopefully return to normal? [00:21:00]Christopher John Garcia: Yeah, I think what's really fascinating is that once I realized I loved the act of painting, I realized even more that I loved the material of painting. And I, I think painting can be a process that is laborious, that is tedious, that is mind numbing. It can also be one that is brief, that is freeing, that is inexact. And for me, it's definitely the latter, but the things that I love about it is just looking at how things react with one another. Like if I put oils and acrylics and inks on the same page and put a little Elmer's glue on top of it, and then put another page on top of it, the way it feels under the hand. Like that's a sensation that I can't think of repeating. And it's one that doesn't take long. It's just a couple of minutes even. And there's that sensation that's an irreplaceable thing. It's the aspect of the artists that I don't know if I ever really understood until I started painting myself, is that there are sensations to this that don't exist many other places. That the actual act of making marks on paper, on a canvas, whatever has a feeling. And when you find a feeling that is pleasurable or relieving or funky, you know, you're going to want to keep going back to that. So I don't see myself stopping painting. Probably painting a little less, but definitely it's something I'll keep doing that. And I have an Instagram to fill, so yes. [00:22:51] Lindsey Dinneen: Fair enough. Well, excellent. Well, I'm just curious. I know you've gotten to meet some pretty cool artists yourself-- and obviously your experiences as a curator and as a podcaster have probably lent themselves to some really memorable moments-- but I wonder if there's anything that kind of really stands out to you as an encounter with art that was like just something to remember to kind of file back there and return to every once in awhile. [00:23:17]Christopher John Garcia: Oh yeah. Bunch. I mean my first time I ever met an artist artist-- well, the first time I ever encountered an artist, this I should actually point out-- was Andy Warhol. And I didn't get to meet him, but I sat right behind him at Madison Square Garden at a WWF wrestling show. [00:23:38] Lindsey Dinneen: Wow. [00:23:39] Christopher John Garcia: And he was always in the front row and always taking pictures with his little camera. But little seven year old me, I couldn't talk to them because even I knew who he was and I was seven, but I got to know Robert Rauschenberg a little bit because he would visit our college and he was a fascinating human in many ways. But what I learned when I went to a big exhibit of his at SF MOMA was that his interests were so broad because he was so interesting and wanted to make the world as interested in things as he was. And it was like one of the best things. Again, this is something that people may not realize, every pop artist loves wrestling. I do not know why this is true, but everyone I've met-- Rauschenberg, Warhol, didn't meet him, but still-- Lichtenstein, Marisol, all of them love wrestling. And what Robert Rauschenberg said that one time when we were-- 'cause you'd stopped by class, then a lot of us would go out drinking afterwards-- he said "You know, you have to be careful how you are positioning your art, whether or not it is referencing the zeitgeists or referencing some niche topics that only two people in the gallery will get." And it's, you know, if you do a painting of whole Cogan, everyone will get it. It's a zeitgeist. But if you're talking about Pak Song and Dusty Rhodes, you're talking about niche. [00:25:09] And at that point, one, this was obviously made for me, even though he didn't know it. But two, he was really saying something that I bought into because you know, oh, this idea that there is a universality, but there's also a place for niche, which I love. But he was a really fun guy. I didn't see him after probably '97, but really had a good time with him. And I was very lucky. Another guy who's known more for music, but is actually a wonderful visual artist, is Mark Mothersbaugh of Divo. And I got to interview him, do an oral history with him. He has a fascinating eye for the world. And every day he writes one postcard size image he creates and he has thousands of them and they're beautiful. But then he was also doing this a very simple thing where he took classic, often Victorian, sometimes early 20th century photographs and uses Photoshop to place a mirror image of it. So it gives you that sort of awkward exactly symmetrical look. [00:26:14] But yeah, those have been two of my favorite. I've been lucky that I've gotten to meet a lot of really fun artists through the museum. You know, there were a lot of folks who didn't feel like early computer was being talked about enough and we're very happy to have anyone who would be interested in this stuff. But always, you know, artists like everyone, there are good ones who are wanting to talk to you all day long. And there are others who don't. You sort of learned which is which. [00:26:44]Lindsey Dinneen: For sure, for sure. Well, yeah. And, you know, just, it's so funny 'cause obviously everyone has different personalities and I would second that some artists are a little more approachable than others, but you know, that is okay. Well, I'm sure that some of our listeners are going to be super interested in your work, both as a podcaster and as a painter. And I'm wondering if there are ways for us to, of course, A) listen to your podcast and then B) check out some of your artwork. [00:27:14] Christopher John Garcia: Oh, there absolutely are. I have my podcast on the internet,  just look for "Three-Minute Modernist" and you will find it all over the place. And then you can find my artwork and pictures of my kids, also things I cook, on Instagram at Johnny Eponymous, J O H N N Y E P O N Y MOU S. I'm also the same thing on Twitter, the same thing on Facebook, the same thing on pretty much everything. Since Friendster, I've been Johnny Eponymous. But yeah, and I'm, yeah, I'm all over the place. It's hard to miss me. [00:27:48] Lindsey Dinneen: Perfect. Awesome. Well, first of all, thank you just so much again for being here and sharing your stories. And I'm just so fascinated learning about how technology and art intersect, and that's just so cool that you shared that very unique perspective. So I definitely appreciate that. I do have three questions that I always like to ask my guests, if you're okay with that. [00:28:10]Christopher John Garcia: Whew... [00:28:10]Lindsey Dinneen: I know. [00:28:11] Christopher John Garcia: I'm ready. [00:28:12] Lindsey Dinneen: It's pressure. [00:28:12] Christopher John Garcia: I'm ready. [00:28:13] Lindsey Dinneen: Okay. First of all, how do you personally define art or what is art to you? [00:28:20]Christopher John Garcia: Art is that thing you do that is mostly useless, but ultimately important. [00:28:27]Lindsey Dinneen: Okay. Care to elaborate, or are we just going to leave that be? [00:28:32]Christopher John Garcia: I'll elaborate slightly. It is the shape of the tool, not the use of the tool, I think is the way I, I wrote it in a paper once when I was trying to be smart. It's really about something that brings you an emotional experience of some sort that isn't just because of what it does, but what it is. And so, you know, we have paintings around the house 'cause my wife's mother's a actual painter who paints actual paintings. And every time I see one of them, it makes me feel hungry and it's because there's all sorts of food in it. But, you know, I consider that to be art because it draws an emotion out of me. [00:29:15] Lindsey Dinneen: Sure, sure. Perfect. Okay. [00:29:18] Christopher John Garcia: It's also a good painting of food. [00:29:20] Lindsey Dinneen: Oh, there you go. Perfect. Oh yeah. Well, that's a, that's a very unique answer and I like it. Okay. So, secondly, what do you think is the most important role of an artist? [00:29:32]Christopher John Garcia: To make art. I mean, really, that's what it comes down to, I think. Wanting an artist to be a philosopher, a spokesman, any of that? Really not as important as the fact that they just create the work. [00:29:49]Lindsey Dinneen: Sure. And then finally, I'll define my terms a little bit in this last question, but do you think that art should be inclusive or exclusive? And by inclusive, I'm referring to an artist who puts their work out there and shares a little bit of context behind that, whether it's program notes or the inspiration or a title. Just something to give the viewer an idea of what went into the creation. Versus exclusive referring to an artist who does put their work out there, but doesn't provide the context and therefore leaves it entirely up to the viewer to interpret it at will. [00:30:25]Christopher John Garcia: I'm going to throw you a curve ball and say there is no such thing as an inclusive artist. [00:30:31] Lindsey Dinneen: Okay. Ooh. Tell me more. [00:30:33]Christopher John Garcia: Everything an artist does is meant to be interpreted, is meant to be placed into a context. So that would be now exclusive. Nevermind. But yeah, they, every purpose choice you make is giving you more of a clue. If an artist says, "This is not titled," it doesn't mean he is just-- I don't care what you call it-- it's, he's making a choice. He doesn't want to give you the direction, but there is a direction and, you know, I've, I always think of-- I think it was Barnett Newman who once said I paint a zip. I put a line down a canvas. To me, that's a line. To someone else that could be a streetlight. And we're both right. [00:31:25]Lindsey Dinneen:  Yeah. [00:31:26] Christopher John Garcia: And I think that, you know, I think everything an artist does has the reason that it's done to bring about some thought, even if that thing that they do isn't giving you any background, but is giving you the lack of background. That seems strange, but in my brain it works. [00:31:48]Lindsey Dinneen: Well, I really, that is the most unique answer I've received for that question. So I like that. That is a really interesting point. So thank you for sharing that perspective because I really that's going to make me think about that even more. So thank you for that. [00:32:05]Christopher John Garcia: I do what I can. [00:32:06] Lindsey Dinneen: I know. I appreciate it. Well, thank you just so very much for being here today, Chris, I really appreciate your time and you sharing your background and what you're up to. And I'm so excited about your podcast. And I encourage all of our listeners to also check out Chris's podcast and subscribe and all that good stuff, because obviously he brings a cool, unique perspective and it's three minutes. So, like the perfect way to just start your day. So thank you again, Chris. And I just want to commend you for everything that you're doing and sharing art with the world. I really think that that's important and kudos to you. [00:32:49]Christopher John Garcia: Well, thank you much. It's been so much fun. [00:32:51] Lindsey Dinneen: Good. Yeah. Well, and thank you to everyone who's listened to this episode and if you're feeling as inspired as I am right now, I would love if you would share this with a friend or two, and we will catch you next time. [00:33:04] If you have a story to share with us, we would love that so much. And I hope your day has been Artfully Told.

Elizabeth Munro was born in London in 1939 and currently lives near Porthmadog, in North Wales. She is a painter and art/life practitioner. She was influenced early on by Harry Thubron, her inspirational mentor at Leeds College of Art- and  later by the groundbreaking Judson Dance Theatre where she participated in various performances. Arlene Rothlein, Malcolm Goldstein, and Philip Corner became good friends. Yvonne Rainer was a powerful influence. Her paintings have been exhibited in various galleries in the U.K. and New York. In the Eighties in Upstate New York she met and collaborated with Linda “Rosita” Montano, performance artist,  as well as becoming a friend of hers for life. Elizabeth Munro calls her work “Survival Art” and now sees it as a healing response to her childhood sexual abuse.  She attributes her freedom of movement in painting- and the painting itself- inspired by the influence of Sam Francis, Jackson Pollock and the Abstract expressionists-in helping to create a Lifeline for her: for escape, survival, and healing from early child sexual abuse. At the moment she has her studio in Wales and plans to do whatever she wants to next. Currently reading: The Tibetan Book of Living and Dying by Sogyal Rinpoche, Ninth Street Women by Mary Gabriel, Look At Me  by Anita Brookner and Self- Help by Lorrie Moore. Scroll painting by Elizabeth Munro - ‘Millstream’, early spring, pink rushing water, Woodstock N.Y. Photo from my dear friend Sky’s natural burial in Boduan Wood, Eternal Forest Trust, near Pwllheli in Wales. Birds were singing as I scattered flowers and rosemary on the wicker casket.

We’re back In the Enemy Camp w/ C Derick Varn, and we would like to speak to the (((managers))). On the forced march from a generous patron, we read a mid-90s reactionary pseudo-class analysis from Pat Buchanan’s main man Sam Francis entitled “Leviathan and Its Enemies”, published in 2016. Special thanks to Stevie for additional editing. http://patreon.com/swampsidechats http://emancipation.network

Ecological Engineering Phd student Sam Francis joins us for this episode to talk about climate anxiety: the very real and "not just in your head" problem of millions of people fearing the onslaught of terror caused by climate change. Should we all just try our best to recycle, eat less meat and, if we can afford it, buy electric cars? Harriet and Sam explore whether a "central planning" government approach is the only way out while Max spirals into a depressive stupor and wonders if his therapist would understand. We would love listener feedback on this and any other episode. Contact us at: itsnotjustinyourhead@gmail.com. Support us at: Patreon.com/itsnotjustinyourhead. To hear more from Harriet and Juliana Forlono on "Capitalism Hits Home" produced by Democracy At Work go to www.harrietfraad.com. Contact Sam on Twitter at @samthejamminman Sam's references: -Naomi Klein’s This Change’s Everything: Capitalism versus the Climate -Leigh Phillip’s Austerity Ecology and the Collapse Porn Addicts -Citations Needed Episode on Climate Chaos and Liberal Rhetoric Promoting Denialism: https://citationsneeded.libsyn.com/episode-121-climate-chaos-part-i-how-the-gap-between-liberal-rhetoric-policy-promotes-denialism Max's Jacobin reference: How Environmentalism Was Separated From Class Politics: https://www.youtube.com/watch?v=qFJIVdWfnhs --- Send in a voice message: https://anchor.fm/itsnotjustinyourhead/message Support this podcast: https://anchor.fm/itsnotjustinyourhead/support

Jakob and Danny have a series of two guests on the podcast. First Drake, then Sam.

Wegen der Coronavirus-Pandemie sind alle Museen geschlossen. Im Kunstmuseum Bern wurden vor dem Shutdown gleich zwei Ausstellungen eröffnet, die eigentlich nicht verpasst werden dürfen. Direktorin Nina Zimmer hat Schauspieler Thomas Sarbacher exklusive Einblicke gewährt. Seit dem 14. März sind Theater, Kinos und Museen in der ganzen Schweiz aufgrund der aktuellen Coronavirus-Situation geschlossen. Eine Ausnahmesituation, die Kulturinstitutionen und Kulturschaffende vor enorme Schwierigkeiten stellt, in künstlerischer wie auch finanzieller Hinsicht. In den Museen liegen Ausstellungen im Dornröschenschlaf. Ausstellungen, die teilweise Unsummen gekostet haben, bei denen ein grosses Publikumsinteresse erwartbar war und die letztlich, falls keine Möglichkeit für eine Verlängerung besteht, kaum der Öffentlichkeit gezeigt werden konnten. Im Kunstmuseum Bern sind gleich zwei Ausstellungen aufgebaut, die der Direktorin Nina Zimmer besonders am Herzen liegen: Die erste Retrospektive der 96 Jahre alten japanischen Künstlerin Teruko Yokoi, Wahlbernerin und bislang vor allem als Ex-Frau von Sam Francis bekannt, und die grossangelegte Schau des wohl prominentesten Gegenwartskünstlers Afrikas, El Anatsui, der aus Abfall prächtige Gebilde kreiert. Die Öffentlichkeit konnte Anatsuis Werke gerade einmal drei Tage bestaunen. Diese Ausstellungen, die eine Fülle unterschiedlichster Stile bieten, interessante Hintergründe, unzählige Geschichten und Anekdoten beinhalten, das Weltgeschehen reflektieren, Kritik an Politik und Gesellschaft üben, müssen gesehen werden. Wenn nicht im Museum, dann am Bildschirm. Nina Zimmer hat den Schauspieler Thomas Sarbacher und «Kulturplatz» zu einer Privatführung eingeladen. Die kleine Gruppe – inklusiv reduziertem TV-Team – respektierte bei diesem höchst spannenden Rundgang natürlich die vom Bund verordnete Distanz.

Wegen der Coronavirus-Pandemie sind alle Museen geschlossen. Im Kunstmuseum Bern wurden vor dem Shutdown gleich zwei Ausstellungen eröffnet, die eigentlich nicht verpasst werden dürfen. Direktorin Nina Zimmer hat Schauspieler Thomas Sarbacher exklusive Einblicke gewährt. Seit dem 14. März sind Theater, Kinos und Museen in der ganzen Schweiz aufgrund der aktuellen Coronavirus-Situation geschlossen. Eine Ausnahmesituation, die Kulturinstitutionen und Kulturschaffende vor enorme Schwierigkeiten stellt, in künstlerischer wie auch finanzieller Hinsicht. In den Museen liegen Ausstellungen im Dornröschenschlaf. Ausstellungen, die teilweise Unsummen gekostet haben, bei denen ein grosses Publikumsinteresse erwartbar war und die letztlich, falls keine Möglichkeit für eine Verlängerung besteht, kaum der Öffentlichkeit gezeigt werden konnten. Im Kunstmuseum Bern sind gleich zwei Ausstellungen aufgebaut, die der Direktorin Nina Zimmer besonders am Herzen liegen: Die erste Retrospektive der 96 Jahre alten japanischen Künstlerin Teruko Yokoi, Wahlbernerin und bislang vor allem als Ex-Frau von Sam Francis bekannt, und die grossangelegte Schau des wohl prominentesten Gegenwartskünstlers Afrikas, El Anatsui, der aus Abfall prächtige Gebilde kreiert. Die Öffentlichkeit konnte Anatsuis Werke gerade einmal drei Tage bestaunen. Diese Ausstellungen, die eine Fülle unterschiedlichster Stile bieten, interessante Hintergründe, unzählige Geschichten und Anekdoten beinhalten, das Weltgeschehen reflektieren, Kritik an Politik und Gesellschaft üben, müssen gesehen werden. Wenn nicht im Museum, dann am Bildschirm. Nina Zimmer hat den Schauspieler Thomas Sarbacher und «Kulturplatz» zu einer Privatführung eingeladen. Die kleine Gruppe – inklusiv reduziertem TV-Team – respektierte bei diesem höchst spannenden Rundgang natürlich die vom Bund verordnete Distanz.

In this episode I welcome Reneita Samuel and Sam Francis to discuss their perspectives and experiences in missions - both here at home and overseas. The three of us led together in the canvassing ministry and served in various ways. Check out Sam's podcast - "The Next Drop Off" on just about any podcast platform. Check out Reneita's work in the canvassing field at frontlinemagabookministries.com.

Matt and Sam talk to John Ganz about paleoconservatism, the Island of the Misfit Toys of the American right. Along the way we're introduced to David Duke, Pat Buchanan, Sam Francis, and others, and discuss their enduring influence on the Republican Party and conservative politics—both in 1992, when Buchanan made a failed run for president, and today, when the hopes of their movement seems to have been fulfilled in Donald Trump.Sources and Recommended Reading:John Ganz, The Year the Clock Broke (The Baffler)John Ganz, Finding Neverland (The New Republic)Rick Perlstein, I Thought I Understood the American Right. Trump Proved Me Wrong  (New York Times)Murray Rothbard, Right-Wing Populism: A Strategy for the Paleo MovementMichael Brendan Dougherty, The Castaway (America's Future Foundation)Shuja Haider, How To Be a Democrat, According to Republicans (The Outline) 

Gabrielle Selz is the author of Unstill Life: A Daughter's Memoir of Art and Love in the Age of Abstraction, published by W.W. Norton in 2014. Unstill Life received the best memoir of the year award from the American Society of Journalists and Authors (ASJA) and was chosen as one of the best books of the year by both the San Francisco Chronicle and Berkeleyside. Selz holds a special interest in the intersection of memory, history, cultural criticism, and art. As a child, she bounced between the bohemian art worlds of New York and Berkeley, California. Her father, Peter Selz, was the Chief Curator of Painting and Sculpture at the Museum of Modern Art in New York, before he founded the Berkeley Art Museum and Pacific Film Archive. Her mother, Thalia Selz, was a writer and the founding editor of Story Quarterly. Gabrielle is currently writing Light on Fire: The Art and Life of Sam Francis to be published by U.C Press. gabrielleselz.com · www.creativeprocess.info

Gabrielle Selz is the author of Unstill Life: A Daughter's Memoir of Art and Love in the Age of Abstraction, published by W.W. Norton in 2014. Unstill Life received the best memoir of the year award from the American Society of Journalists and Authors (ASJA) and was chosen as one of the best books of the year by both the San Francisco Chronicle and Berkeleyside. She is currently writing Light on Fire: The Art and Life of Sam Francis to be published by U.C Press. Selz holds a special interest in the intersection of memory, history, cultural criticism, and art. As a child, she bounced between the bohemian art worlds of New York and Berkeley, California. Her father, Peter Selz, was the Chief Curator of Painting and Sculpture at the Museum of Modern Art in New York, before he founded the Berkeley Art Museum and Pacific Film Archive. Her mother, Thalia Selz, was a writer and the founding editor of Story Quarterly. In 1969, Thalia selected the original tenants for Westbeth, the largest artists housing project in the country, and the family then moved to live alongside artists like Diane Arbus and Merce Cunningham. Introduced to Sam Francis as a child, her interest in his life, career and what motivated his extraordinary contributions, expanded while she was researching and writing Unstill Life. Selz has contributed to The New Yorker, The New York Times, More Magazine, The Rumpus and the L.A. Times. Her fiction has appeared in Fiction Magazine and her art criticism in Art Papers, Hyperallergic and Newsday and the Huffington Post. She is a past recipient of the New York Foundation for the Arts Fellowship in Nonfiction and is a Moth Story Slam Winner. gabrielleselz.com · www.creativeprocess.info

Jeanette is an abstract artist and was born in Alberta and grew up in Calgary. She uses acrylic on canvas. Her natural artistic ability surfaced at an early age where she found herself fascinated with colors from nature. Being surrounded with golden prairies and the majestic blues and grays of the Rocky Mountains, Jeanette absorbed their beauty on a regular basis. Her gift gives her the ability to translate objects in nature into non-representational forms using rich and vivid colors. Her signature technique is her use of layering. Jeanette attended art history class in University where with each passing lecture she was more and more curious about the techniques used. She was instantly drawn to the works of Wassily Kandinsky, Peter Kitchell and Sam Francis. This gave her inspiration to develop her painting style using layers of colors and lines to incorporate a sense of energy and movement in her work. Her paintings are based on how she interprets the visual world independent of the object's concreteness. She uses a variety of acrylics, sand and gels and then strips parts of it down using water or tools. They blend together for a harmonious effect for a "sophisticated work of color". Even though she obtained her Education degree and worked in the IT field as a Systems Engineer, Jeanette has continued with her painting as it is something that she is compelled to do. "I've been told my paintings are passionate and colorful. I consider myself very lucky to be following my true passion in life!"www.allmodernpaintings.comwww.shopvida.com/collections/jeanette-kunkelTwitter: Kunkel@jkunkel2000

A discussion about t.he December Issue of Culture Wars Magazine

Born in Tokyo and raised in Los Angeles, Ichiro Irie is a visual artist, curator, director of the artist-run-space JAUS in Los Angeles, and founding member of the curatorial collective QiPO. Irie received his B.A. from University of California, Santa Barbara and his M.F.A. from Claremont Graduate University. After completing his MFA, Irie went to Mexico City on a Fulbright fellowship, and between the years 2002 and 2007 he founded and edited the contemporary art publication RiM magazine. As an artist, Irie has exhibited his work in galleries and museums internationally. Solo shows include DENK gallery, Los Angeles; Yautepec Gallery, Mexico City; and eitoeiko gallery, Tokyo; and Sam Francis gallery Santa Monica. Group exhibitions include The German Way of Life at Haus am Dom, Frankfurt am Main, Germany;,To Travel With Glasses at Aomori Museum of Art, Aomori, Japan; the Pacific Standard Time exhibition, Transpacific Borderlands at Japanese American National Museum, Los Angeles; Revision Glocal Review at CECUT, Tijuana, Chockablock at UAM, Long Beach; and The Crystal Jungle at Museo del Chopo, Mexico City. As of February 2019, Irie, with fellow QiPO member Laura Reséndiz has been organizing QiPO Fair, an international art fair in Mexico City focused on artist-run initiatives. His work and curatorial activies have been published in LA Weekly, Hyperallergic, Artillery, and Los Angeles Times among others. Irie currently teaches at Oxnard College and Ryman Arts. "Impermanence 2" 2017 , Permanent marker and white acrylic on canvas, 80 x 48 inches "Modernman" 2017, Broken sunglass lenses on mannequin, Dimensions variable

In the third and final part of their conversation, Derick and Matthias Wasser take a look at Sam Francis’s book Leviathan and its Enemies to discuss fascist class analysis. They also discuss the future of the alt-right and the disparity between the radical left and right when it comes to political violence.

Edited by Joseph Scotchie, The Paleoconservatives: A New Voice for the Old Right is a collection of essays that explores many aspects of paleoconservatism, as envisioned by writers from both the old right era and the 1990s paleoconservative revival. I discuss Russell Kirk's essay on traditionalism, William Hawkins on protectionism, Clyde Wilson on populism, and Sam Francis on nationalism.more at www.neofusionist.com

This visitor to the confessional’s table is ready…Confessor: Sam FrancisPriest: Padraic ConnellySupport Our Father on Patreon

This week, I talk to my friend Sam Francis about the album Keep It Like A Secret by Built to Spill. We talk about manifesting destiny through Spotify playlists, the importance of failure in self-growth, and Nick Cage!E-mail me at musicallyilliteratepod@gmail.com if there is an album you want me to listen to!This is a Knaveryink podcast.

In this episode, Daniel tells Jack about the so-called 'godfather of the alt-right' and Richard Spencer's claimed "mentor", Jared Taylor of American Renaissance, one of the most important and idiosyncratic influences on today's resurgent US white supremacism. Warnings apply. * Show Notes Episode 18 additions: Popular Front: "The American Militia Movement" "Standoff: Between Two Shotguns" by Ruth Graham at Slate Knowledge Fight Podcast   Jared Taylor and American Renaissance: Jared Taylor SPLC Sam Dickson at Atlanta Antifascists "The Racists on Ridgeland Way: Ground Zero for Alt-Right Organizing in Atlanta Sam Francis at the SPLC "While always a staunch conservative, Francis's views radicalized over time. He began describing himself as a "paleoconservative" focused heavily on racial issues and ended up writing for racist publications like the Council of Conservative Citizens' (CCC) newsletter, Citizens Informer. (The CCC, which had from the late 1980s until the late 1990s dozens of state legislators and other politicians in its ranks, is a white supremacist group that focuses on issues like support for the Confederate battle flag and opposition to non-white immigration, school busing and affirmative action. The group was built using the mailing lists of the White Citizens Councils, organizations formed to fight school desegregation in the South.) Francis' definitive break with more mainstream conservatism came with his 1995 firing from The Washington Times. The newspaper acted after conservative author Dinesh D'Souza quoted a Francis speech to a 1994 conference put on by the white supremacist and race science journal, American Renaissance. D'Souza wrote that Francis' comments embodied the "new spirit of white bigotry." " Sam Francis at Amren 1994 American Renaissance SPLC American Renaissance on Youtube American Renaissance website American Renaissance podcast "A schism over anti-Semitism threatens a key 'white nationalist' group. The outcome could be critical to the radical right." https://www.splcenter.org/fighting-hate/intelligence-report/2006/schism-over-anti-semitism-divides-key-white-nationalist-group-american-renaissance "HERNDON, Va. -- For a gathering of people devoted to denouncing the inferiority of blacks and sounding the alarm about civilization-threatening Muslims, the biannual conferences thrown by the New Century Foundation, publisher of the racist newsletter American Renaissance, are decidedly genteel affairs. Men dress in suits and ties, women in formal business attire, and there are no uniformed skinheads or Klansmen to be seen. Large plasma television screens, Starbucks coffee spreads and fancy linens adorn the hotel meeting hall. Epithets have no place here. Or at least they didn't. At the latest edition of the conferences that began in 1994, held this February at the Hyatt Dulles hotel, a nasty spat broke out that upset the gathering's decorum -- and may even shape the future of the radical right. It began when David Duke, the former Klan leader and author of Jewish Supremacism, strode to a microphone after French author Guillaume Faye wrapped up a talk vilifying Muslims entitled "The Threat to the West." Duke thanked Faye for remarks that "touched my genes." But then he went one further. "There is a power in the world that dominates our media, influences our government and that has led to the internal destruction of our will and spirit," Duke said, according to an undisputed account in The Forward newspaper. "Tell us, tell us," someone in the back yelled. "I'm not going to say it," Duke replied. Laughter began to fill the room, until a short, angry man leaped from his seat, walked up to Duke and began to curse. "You fucking Nazi, you've disgraced this meeting!" he said."   2000 SPLC report on the first edition of the Color of Crime The Color of Crime, 2011 edition The Color of Crime, 2016 edition Jared Taylor's introduction to the first American Renaissance conference, 1994 (Actual content starts about eight minutes in) Amren 2019 conference speakers Jared Taylor banned from Europe until 2021 "Jared Taylor, one of the most prominent white supremacists in the U.S., claimed on his website on Friday that he’d been “banned from Europe” until 2021. The ban came as Taylor attempted to transfer in Switzerland for a flight to Finland. According to Taylor, Swiss police informed him that Polish authorities had barred Taylor from traveling through the Schengen Zone, a 26-country area of Europe allowing visa-free travel. [...] "Taylor had been planning on speaking at white supremacist conferences in Scandinavia, including one on Saturday in Stockholm that featured other well-known fascists like Mark Collett and Greg Johnson. It’s unclear why Polish authorities issued a blanket ban against Taylor. Taylor attributed the ban to a 2018 trip to the country, where he gave multiple television interviews. During that trip, Taylor said that Polish police said he was “spreading a totalitarian ideology.” " Jared Taylor and American Renaissance sues Twitter for banning over speech content. American Renaissance Newsletter, November 1990 "Setting the Record Straight: Longtime Partner of Jared Taylor Addresses White Nationalist Criticism" Paul Kersey at American Renaissance "Stuff Black People Don't Like" January 2010 at the Internet Archive SBPDL redirect at Unz Review

Take me out to the hockey game,Take me out with The Crowd Theater;Buy me a sweater and a hat,I don’t care if the Leafs ever win.Let me root, root, root for the Columbus Blue Jackets,If they don’t win, it’s a shame (for Sam).For it’s one,…

Beattie Edmondson has invited the girls and their partners, James McNicholas, Daniel Cook and Sam Francis, on a couples’ retreat to a very romantic… static caravan. Expect domestic fantasies, a round or two of Mr and Mrs and some rather revealing romantic reminiscing. Plus there are Bakewell tarts and veggie sausages positioned in some very inappropriate places. A Whistledown production for BBC Sounds.

After an explosive first season, the deputies are back and not much has changed. They talk about new living situations, their new side hustles, and identity theft. Later, rock legend Angus Young (Sam Francis) comes on to discuss his vacation in Riverside Falls.Get your Gator Day 2019 t-shirts and tank-tops over at GatorDay2019.com!

Sam Francis '17 played football and men's lacrosse at Bates, graduating in 2017. Now, he's a Football Data Analyst for the Cincinnati Bengals. We catch up with him and recap the week that was in Bates athletics, on the latest Bates Bobcast! Interviews this episode: 1:24 -- Rocco Fantoni '19, Men's Lacrosse (Male Bobcat of the Week). 8:37 -- Margaret Smith '21, Women's Lacrosse (Female Bobcat of the Week). 13:18 -- Alex Simon '19, Baseball. 19:34 -- Hannah Fitts '20, Women's Rowing. 29:12 -- Sam Francis '17, Cincinnati Bengals Football Data Analyst.

This week Bazaar's deputy digital editor, Milli Midwood, is joined in the studio with stylist and creative director of Aces of Space, Samantha Francis, and fashion and lifestyle blogger Kat Lebrasse to talk all things New York Fashion Week and tackle the ever-growing body inclusivity topic. Join in the conversation by using our hashtag #HBACurrentlyTrending, you can also tweet us your comments @bazaararabia or email us your comments, questions or topic ideas to hbacurrentlytrending@itp.com.

Sam Francis is a Medical Technologies specialist and hardcore Indie & VR gamer. Sam has professional experience as a seasoned entertainment promoter and has also worked for a major gaming retailer. She is currently pursuing a bachelor's degree in English from the University of Massachusetts: Dartmouth.

This month's selection is book I of Machiavelli's Discourses on the First Decade of Titus Livius. If you think this title refers to a dry academic commentary on an ancient historian, think again. Machiavelli is one of the most brilliant and original political thinkers in human history, and this is his by far best work. I first read it at the suggestion of (or rather under orders from) my friend Sam Francis, who (like James Burnham and other political analysts) viewed it as the political equivalent of sacred writ. Machiavelli takes the first ten books of Livy's History of Rome as a backdrop, but he talks as much about the Italian and European history of his own time as he does of ancient Rome. Some knowledge of Livy's stories is helpful, but several of the translations have sufficient notes, if you have forgotten about Tarquin the Proud and Brutus the liberator. The most useful edition is the Oxford paperback for under $10 on Amazon, with a Kindle version at $7.55. There are other good translations at lower prices, including Kindle editions of all his political works for $.99. This should be an exciting discussion, one that can draw in some observations and conclusions about the American political system and the current electioneering. Recorded: March 29, 2016 Original Air Date: August 10, 2016 Show Run Time: 1 hour 13 minutes Show Guest(s): Dr. Thomas Fleming Show Host(s): James Easton Episode page: https://fleming.foundation/2016/08/boethius-book-club-episode-7-machiavellis-discourse/ Boethius Book Club: https://fleming.foundation/category/podcasts/bc/ Subscribe: https://fleming.foundation/membership-signup/ Boethius Book Club℗ is a Production of the Fleming Foundation. Copyright 2016. All Rights are Reserved.

"Peggy Guggenheim was an extraordinary character; I would recommend Mary Dearborn's biography Mistress of Modernism; that's a play on words" Philip Rylands Director of the Peggy Guggenheim Collection, Venice subtly reveals how personal her involvement in art collection was. Mr. Rylands was in Brussels for the opening of Guggenheim: Full Abstraction, at the ING Art Center. The show presents an impressive set of works from the Peggy Guggenheim Collection, Venice and the Solomon Guggenheim Collection in New York with pieces by Marcel Duchamp, Max Ernst (Peggy's second husband), Jean DuBuffet, Lucio Fontana, Jackson Pollack, Mark Rothko, Alexander Calder, Willem de Kooning, Sam Francis, Robert Motherell, Cy Twombly and others. As well as the works of art, the show presents a rich timeline documented with archive pictures, documents, film fragments and more, to enable the visitor to fully understand the impact that these two main collectors of XXth Century art had in both the US and Europe. Through February 12 2017 www.ing.be/art

Sam Francis, new member of Black Sheep Improv and distant figment from Taylor's past, guest hosts on an evening of talk about sad French teachers, hitting people with cars, the need to accept the good in oneself, peeing hunched over, Hannah's March Madness success, control issues, fear, and Skyline Chili. But no podcast is complete without a good guest and Nicolette Anderson, our usual waitress and all-around awesome person, drops in before her shift to talk about artistic creation and the behind-the-scenes stuff that makes the Diner so wonderful/horrifying. Don't miss this episode that is (almost) free of audio issues (it's not.)

This short video provides a brief background on California artist Sam Francis (1923–1994) and his monumental triptych, the Basel Murals, painted in Paris in the late 1950s. His Basel Mural I was donated to the Museum in 1967, and Fragments 1 and 2 of Basel Mural III, which was partially destroyed in the mid-1960s, were donated to the Museum in 2009 by the Sam Francis Foundation. Features Debra Burchett-Lere, Director of the Sam Francis Foundation, and Leah Lehmbeck, Assistant Curator of the Norton Simon Museum.