Podcasts about Sculpture

Chaque matin sur Chérie FM, 5 infos improbables du Réveil Chérie à retenir en 30 secondes !

I Was Serving Food When I Saw My Daughter's Sculpture Selling For $185K—Then This HappenedBecome a supporter of this podcast: https://www.spreaker.com/podcast/true-cheating-wives-and-girlfriends-stories-2025-true-cheating-stories-podcast--5689182/support.

Découvrez le deuxième podcast live de L'Amour de L'art enregistré en public le 6 novembre 2025 avec Jean-Michel Othoniel à Avignon, en partenariat avec la Collection Lambert dans le cadre des Jeudis de la Collection Lambert. À l'occasion de ses expositions Othoniel Cosmos ou les Fantômes de l'Amour à Avignon, Un chant d'amour à la Collection Lambert et New Works à la galerie Perrotin à Paris, Jean-Michel Othoniel s'est entretenu avec le Directeur Artistique et Commissaire d'exposition Stéphane Ibars.Les Jeudis de la Collection Lambert mettent à l'honneur des artistes dans le cadre de discussions ouvertes à tous et à toutes. Intitulées The artist is present elles sont autant d'occasions de rencontre avec les artistes de notre temps. Le podcast L'Amour de l'Art invite des artistes à parler d'autres artistes. Musique, littérature, cinéma, arts visuels, théâtre... Ils et elles nous partagent, de manière très personnelle, leur regard sur ces œuvres qui les fascinent. Le titre L'Amour de l'Art rend hommage à Pierre Bourdieu qui écrivait dans l'ouvrage éponyme « la culture n'est pas un privilège de nature : il suffirait que tous possèdent les moyens d'en prendre possession pour qu'elle appartienne à tous. » Né dans les années 60 à Saint-Étienne, Jean-Michel Othoniel grandit face aux réalités de son environnement industriel. Il a aussi accès à la magnifique collection du Musée d'art moderne de Saint-Étienne. À l'âge de dix ans, il croise le travail du minimaliste américain Robert Morris, une expérience qui le marquera durablement. Dans cet épisode enregistré en public le 6 novembre 2025 à Avignon, Jean-Michel Othoniel s'entretient avec Stéphane Ibars au sujet de l'art minimal qui continue de le fasciner. L'Amour de l'Art est un podcast de la galerie Perrotin Introduction et post production : Vanessa Clairet Stern Interview conduite par : Stéphane Ibars Prise de son, réalisation et sound design : Seb Lascoux Langue : Française Identité graphique : Perrotin Musique : CDM MusicHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

This bonus content is a reading from Platypus, the CASTAC Blog. The full post by Renee Yu Jin can be read at https://blog.castac.org/2025/12/touch-to-make-an-index-fingers-path-into-the-sculpture-factories-in-china/. About the post: How do digital platforms reconfigure the ways we come to know sites of artistic labor before we ever enter the workshops? What began as a simple search for sculpture factories near Beijing became an encounter with how algorithmic recommendation, platform aesthetics, and factory self-promotion organize visibility for contemporary sculpture production. As clips foreground technological capability and optimized workflows while workers remain partially obscured, a layered form of mediation emerges, one that frames the factory as a digital formation long before it becomes a physical place. Tracing how my own scrolling shaped this encounter, this piece examines how touch, vision, and labor move across screens and shop floors, revealing how digital circulation both illuminates and abstracts the embodied work of sculpture making in China.

I Was Serving Food When I Saw My Daughter's Sculpture Selling For $185K—Then This HappenedBecome a supporter of this podcast: https://www.spreaker.com/podcast/true-cheating-wives-and-girlfriends-stories-2025-true-cheating-stories-podcast--5689182/support.

When the artist Jennie C. Jones listens closely to a piece of music, she's particularly attuned to its pauses, in-between moments, and breaks. Widely celebrated for her abstract works in painting, sculpture, and sound art that, in many instances, incorporate architecture or space—through which she often elevates undersung or little-known Black artists and musicians—her practice is largely informed by minimalism and color field painting, as well as by jazz and avant-garde music. Jones currently has two exhibitions on view at the Pulitzer Arts Foundation in St. Louis (through Feb. 1, 2026): “A Line When Broken Begins Again,” which features a selection of new and existing paintings, sculptures, works on paper, and sound pieces, and “Other Octaves,” a group show she curated of works by artists who have been formative to her practice. She was also commissioned to create the 2025 rooftop installation at New York's Metropolitan Museum of Art.On this episode of Time Sensitive, she discusses what listening as a conceptual practice looks like in action, the art of putting together a playlist, and her deep love of things tactile and analog.Special thanks to our Season 12 presenting sponsor, Van Cleef & Arpels.Show notes: [04:35] “Jennie C. Jones: A Line When Broken Begins Again” (2025)[04:35] “Other Octaves” (2025)[04:57] Carmen Herrera[04:57] Agnes Martin[04:57] Martin Puryear[04:57] Alma Thomas[04:57] Mildred Thompson[05:21] A Free and Shifting Tonal Center (2024)[7:26] Ellsworth Kelly[11:44] Fred Moten[11:44] “Dynamics” (2022)[13:02] Trisha Brown's “Leaning Duets” (1970)[14:40] Tadao Ando[14:55] “These (Mournful) Shores” (2020)[17:21] Moses Williams[17:21] Louis Dotson[18:20] Richard Tuttle[30:25] Olly Wilson[31:28] Maryanne Amacher[31:28] Arthur Russell[37:10] Jennie C. Jones: Compilation (2015)[38:30] “The Theater of Refusal: Black Art and Mainstream Criticism” (1993)[42:25] “Slow Birds” (2004) [42:25] "Slowly in a Silent Way, Caged” (2010)[42:25] Charlie Parker[1:09:47] “Jennie C. Jones: RPM (revolutions per minute)” (2018)[1:12:06] “Ensemble” (2025)

HPR gets a tour of an agroforestry farm on Kauaʻi; A retired city lifeguard gives marine trash new life

Sculpture becomes painting becomes music. All is intwined.That's the philosophy of Realf Heygate, musically known as Flaer. The multi-disciplinary artist explores family, grief, and nature in a vast swath of mediums, but they are all woven together, part of a mix media tapestry. On his newest album Translations, Heygate crafts ambient-folk, reminiscent of American folklorists Oregon, as he traces the history of his family and his mother's work as a linguist. Through an unfolding beauty, laced with cello, guitar, piano, and chipping birds, Flaer sculpts something magnificent. We talked with him below.

See pictures and read more on materiallyspeaking.comQuesto episodio continua anche il nostro desiderio di produrre un episodio per stagione in italiano.In keeping with our desire to produce one episode per season in Italian.Inoltre, ora avete la possibilità di guardare questo episodio come video o semplicemente ascoltare l'audio.In addition, you now have the option to watch this episode as a video below or on YouTube, with English subtitles, or simply listen to the audio, in Italian only.Nato a Roma, ma ora residente in Versilia, Giannelli è probabilmente famoso soprattutto per la sua gigantesca scultura Mr Arbitrium, alta oltre cinque metri, che sembra spingere via o sostenere gli edifici contro cui è appoggiata, a seconda del punto di vista dello spettatore.  Born in Rome, but now living in Versilia, Giannelli is probably best known for his giant sculpture, Mr Arbitrium, over five metres tall, which appears to be either pushing away or supporting the buildings it stands against - depending on the viewers' point of view.  Questa ambiguità trasforma noi spettatori in protagonisti, mettendo in discussione le nostre convinzioni sul significato di queste strutture e sul nostro legame con esse. Diverse versioni di Mr Arbitrium sono state installate su edifici e chiese a Milano, Firenze, Lucca, Servezza, Carrara, Pietrasanta e persino in Ucraina.This ambiguity turns us as viewers into the protagonists, challenging our beliefs about the meaning of these structures and our connection to them. Versions of Mister Arbitrium have been installed against buildings and churches in Milan, Florence, Lucca, Servezza, Carrara, Pietrasanta and even Ukraine.Giannelli accoglie Mike sul prato della tenuta di famiglia, dove la sua serie di sculture in bronzo I Sospesi è appesa agli alberi e un simpatico labrador nero giace sull'erba.  Giannelli welcomes Mike on the lawn of the family estate, where his series of bronze sculptures I Sospesi hang from the trees, and a friendly black labrador lies on the grass. Emanuele è arrivato a Carrara a diciannove anni per studiare scultura all'Accademia di Belle Arti di Carrara, stabilendosi qui in Versilia, dove la sua famiglia aveva vissuto nelle generazioni precedenti. All'Accademia ha scelto di lavorare l'argilla piuttosto che il marmo, per la flessibilità che offre e per la natura più concettuale del suo lavoro. Emanuele came to Carrara at nineteen to study sculpture at the Carrara Academy of Fine Arts, settling here in Versilia, where his family had lived in previous generations. At the Academy he chose to work in clay rather than marble, due to the flexibility it offers and the nature of his work being more conceptual.Giannelli racconta a Mike di come, in gioventù, abbia trascorso del tempo a New York, Londra e Berlino, subendo l'influenza della fantascienza, del cinema, dei graffiti, della musica elettronica e del punk rock. Alla fine è tornato a Pietrasanta, luogo più adatto per crescere una famiglia.Giannelli tells Mike how in his youth he spent time in New York, London and Berlin and was influenced by science fiction, cinema, graffiti, electronic music, and punk rock. Eventually he returned to Pietrasanta which was more conducive to raising a family.Ricorda la gioia di incontrare artigiani e visitare i laboratori che allora si trovavano nel centro di Pietrasanta. E gli piacevano anche le feste e la vita sociale con tanti giovani, soprattutto stranieri, tedeschi, francesi e americani.He recalls the joy of meeting artisans and visiting the workshops which were then in the centre of Pietrasanta. And he also enjoyed the parties and social life with lots of young people, especially foreigners, Germans, French, and Americans.The Watcher è una scultura che osserva il cielo con binocoli, cosa che gli esseri umani hanno sempre fatto. Tuttavia, ora, grazie alla tecnologia, sta cercando di guardare oltre. Emanuele afferma che “oltre” gli fa pensare anche alla spiritualità. The Watcher is a sculpture who looks up with binoculars at the sky, which is something humans have always done. However now, through technology, he is trying to look beyond. Emanuele says that ‘beyond' also makes him think of spirituality.Un'altra opera che cita con un tema visionario è Korf, un uomo che sta in piedi davanti al suo monitor, con le braccia incrociate, lo sguardo rivolto verso l'alto, alla ricerca della sua visione e del suo futuro.Another work he mentions with a visionary theme is Korf, a man who stands watching on his monitor, arms crossed, gaze turned upwards, searching for his vision and his future.Emanuele afferma che, pur non credendo in un codice chiamato religione, crede molto negli esseri umani. Dice che, sebbene siamo animali e abbiamo un senso di autodistruzione, siamo animali straordinari. Le sue opere si collocano tra il figurativo e il concettuale, riflettendo sul periodo contemporaneo caratterizzato da cambiamenti incredibilmente rapidi. Emanuele says although he doesn't believe in a code called religion, he believes very much in human beings. He says that although we are animals, and have a sense of self-destruction, we are extraordinary animals. His works are pitched between figurative and conceptual, reflecting on the contemporary period of incredibly fast-moving change.emanuelegiannelli.itinstagram.com/emanuele.giannelli

Clare Grill (born 1979, lives and works in Queens, NY) received her MFA from the Pratt Institute in 2005 and attended the Skowhegan School of Painting and Sculpture in 2011. Recent solo exhibitions include Parlance, Derek Eller Gallery, New York, NY; Cutwork, Galería Marta Cervera, Madrid, Spain; and Wich Language and Oyster, M+B, Los Angeles, CA. Group exhibitions include Things I Had No Words For at the Center for the Arts, Virginia Polytechnic Institute and State University; Interisland (New Paintings from New York and Hawai’i), University of Hawaiʻi at Mānoa; Of Flesh and Air, Marta Cervera Gallery, Madrid, Spain; The Feminine in Abstract Painting, Milton Resnick and Pat Passlof Foundation, New York, NY; Deep! Down! Inside!, Hales Gallery, NY; and New Skin, curated by Jason Stopa, Monica King Gallery, New York, NY. Her work has been reviewed in Artforum, ArtNews, Hyperallergic, the Brooklyn Rail, The New York Times, The Los Angeles Times, and The Boston Globe. Clare Grill, Drape, 2025, oil on linen, 80 x 112 inches (diptych) Clare Grill, Dune, 2025, oil on linen, 94 x 73 inches Clare Grill, Flit, 2025, oil on linen, 46 x 42 inches

A Christmas Carol by Charles Dickens has been transformed into a piece of hip hop dance at London's Sadler's Wells East, and a Bollywood infused song and dance extravaganza for the big screen. We hear from the creatives behind the new versions, Bend it Like Beckham director Gurinder Chadha and choreographer Dannielle Rhimes Lecointe. Beyond the Visual is the first of its kind in the UK - an exhibition co-curated by visually impaired artists. Held at the Henry Moore Institute in Leeds, the exhibition encourages visitors to touch the displays, listen to audio descriptions, and does much to make sure it truly is art for all, and all the senses. Joining Nick in the studio are artist and co-curator of the exhibition, Dr. Aaron McPeake and Dr. Clare O'Dowd the research curator at the Henry Moore Institute.A Little Trickerie by Rosanna Pike has been announced as the winner of the Bollinger Everyman Wodehouse Prize for Comic Fiction. The 2005 winner of the prize, A Short History of Tractors in Ukraniain, by the late author Marina Lewycka was declared the "winner of winners" over the last twenty five years of the prize. To investigate what makes a funny novel, Nick is joined by critic and Wodehouse fan Tristram Fane Saunders and three-time Wodehouse Prize nominee Lissa Evans.Presenter: Nick Ahad Producer: Ekene Akalawu

Learn more at TheCityLife.org

In 2026 The Ohio Statehouse will see the unveiling of a brand new monument dedicated to the fight for Women's rights throughout the state's history. The artist creating this timeless piece is sculptor Brenda Councill.Join host Mary Anne Christie as she sits with Brenda in her studio space while the discuss the process, and mindset in bringing this important piece of art into reality and what it means for all Ohioans past and present.Download the episode for free.

Fluent Fiction - Catalan: Unveiled at La Mercè: A Sculpture's Journey to Community Fame Find the full episode transcript, vocabulary words, and more:fluentfiction.com/ca/episode/2025-12-01-08-38-20-ca Story Transcript:Ca: Barcelona estava immersa en l'alegria de la Mercè.En: Barcelona was immersed in the joy of la Mercè.Ca: Llums brillants il·luminaven la ciutat, els carrers eren plens de desfilades i artistes de carrer captivaven l'atenció de tothom.En: Bright lights illuminated the city, the streets were filled with parades, and street performers captivated everyone's attention.Ca: L'aire de l'hivern afegia un toc fresc i màgic a l'ambient.En: The winter air added a fresh and magical touch to the atmosphere.Ca: Entre tota aquesta festa, la Joana estava preocupada.En: Amidst all this festivity, Joana was worried.Ca: La Joana era una artista local, coneguda pel seu estil únic.En: Joana was a local artist, known for her unique style.Ca: Havia creat una escultura especial, dedicada a la ciutat, però en el moment més esperat de la Mercè, l'escultura havia desaparegut.En: She had created a special sculpture, dedicated to the city, but at the most anticipated moment of la Mercè, the sculpture had disappeared.Ca: Pere, l'oficial de la ciutat, estava igual de preocupat.En: Pere, the city official, was equally concerned.Ca: Per a ell, la desaparició de l'escultura podria tacar la reputació del festival.En: For him, the sculpture's disappearance could tarnish the festival's reputation.Ca: Necessitava trobar-la ràpidament.En: He needed to find it quickly.Ca: Mentre la Joana recorria els carrers cercant pistes, es va trobar amb la seva millor amiga, la Marta.En: As Joana wandered the streets looking for clues, she ran into her best friend, Marta.Ca: La Marta somreia, però els seus ulls amagaven quelcom.En: Marta was smiling, but her eyes were hiding something.Ca: La Joana va sentir un petit pessigolleig de dubte.En: Joana felt a small twinge of doubt.Ca: Podria la seva amiga saber alguna cosa?En: Could her friend know something?Ca: No volia trencar la seva amistat amb acusacions, així que va decidir parlar.En: She didn't want to ruin their friendship with accusations, so she decided to talk.Ca: —Marta, necessito la teva ajuda —va dir la Joana amb calma.En: "Marta, I need your help," Joana said calmly.Ca: —La meva escultura ha desaparegut i estic desesperada per trobar-la.En: "My sculpture has disappeared and I'm desperate to find it."Ca: La Marta va titubejar un moment i després va parlar amb veu suau.En: Marta hesitated for a moment and then spoke softly.Ca: —Joana, crec que hi ha una sorpresa per a tu.En: "Joana, I think there's a surprise for you.Ca: Vine amb mi.En: Come with me."Ca: Les dues amigues van caminar fins a una gran plaça on hi havia una gran instal·lació artística col·laborativa, un projecte al qual molta gent havia contribuït.En: The two friends walked to a large square where there was a big collaborative art installation, a project to which many people had contributed.Ca: Allà, enmig d'altres peces d'art, l'escultura de la Joana brillava amb llum pròpia.En: There, among other art pieces, Joana's sculpture shone with its own light.Ca: Marta li va explicar:—Volia que la teva escultura formés part d'aquest projecte.En: Marta explained to her: "I wanted your sculpture to be part of this project.Ca: Una manera de mostrar com l'art pot ser vist de diferents maneres.En: A way to show how art can be seen in different ways.Ca: Volia que tots la veiéssim amb nous ulls.En: I wanted all of us to see it with new eyes."Ca: La Joana va respirar profundament, sorpresa però alhora emocionada.En: Joana took a deep breath, surprised but at the same time excited.Ca: La seva obra no havia desaparegut, sinó que brillava d'una nova manera, envoltada de l'energia del festival.En: Her work hadn't disappeared; instead, it was shining in a new way, surrounded by the festival's energy.Ca: El Pere, que havia observat l'escena, va reconèixer l'originalitat de la proposta de la Marta i va decidir celebrar-ho.En: Pere, who had observed the scene, recognized the originality of Marta's proposal and decided to celebrate it.Ca: L'escultura es va convertir en el centre d'atenció de la Mercè i va rebre molts elogis.En: The sculpture became the focal point of la Mercè and received many praises.Ca: Tant la Joana com la Marta van aprendre una lliçó important: a vegades, la col·laboració i la confiança poden portar a l'èxit inesperat.En: Both Joana and Marta learned an important lesson: sometimes, collaboration and trust can lead to unexpected success.Ca: La Joana va aprendre a veure la seva art no només com a propietat individual, sinó com una peça que pot enriquir-se en comunitat.En: Joana learned to see her art not just as individual property, but as a piece that can be enriched in the community.Ca: La Mercè va continuar amb el mateix esperit vibrant, i entre rialles i llums de Nadal, una nova amistat, ara més forta, es va forjar entre la Joana i la Marta.En: La Mercè continued with the same vibrant spirit, and among laughter and Christmas lights, a new friendship, now stronger, was forged between Joana and Marta.Ca: La ciutat va seguir ballant, celebrant l'art i la comunitat, ara amb un significat més profund per a les dues amigues.En: The city kept dancing, celebrating art and community, now with a deeper meaning for the two friends. Vocabulary Words:captivated: captivavenfocal point: centre d'atenciócollaboration: col·laboraciótrust: confiançaimmersed: immersajoy: alegriafresh: frescsculpture: esculturato wander: recórrerfriendship: amistataccusations: acusacionscollaborative: col·laborativafocused: focalitzatsurrounded: envoltadainstallation: instal·lacióproject: projectepieces: pecesconcern: preocupacióunique: únicto tarnish: tacarreputation: reputaciócontributed: contribuïtenergy: energiapraises: elogisunexpected: inesperatto enrich: enriquirproperty: propietatmeaning: significatlesson: lliçóto doubt: dubtar

Episode: 1478 A sneak preview of the Statue of Liberty.  Today, a sneak preview of the Statue of Liberty.

The curator Thelma Golden is a major presence in New York City's cultural life, having mounted era-defining exhibitions such as “Black Male” and “Freestyle” early on in her career. Golden is the Ford Foundation director and chief curator of the Studio Museum in Harlem, an institution, founded in 1968, that is dedicated to contemporary artists of the African diaspora. But, for a significant portion of her tenure, this singular institution has been closed to the public. Golden led the initiative to create a new, purpose-built home—requiring the demolition of an old building and reconstruction on the same site. To mark its reopening, David Remnick tours the new space with Golden, discussing some key works and the museum's mission. He notes that this triumphant moment for the Studio Museum comes during a time of broad attacks on cultural institutions, particularly on expressions of identity politics. “I take a lot of inspiration from our founders, who opened up in a complicated moment,” Golden reflects. “My own career began in the midst of the culture wars of [the nineteen-nineties]. Understanding museums as a place that should be, can be, must be where we engage deeply in ideas. In this moment, that has to offer some hope as we consider a future.”New episodes of The New Yorker Radio Hour drop every Tuesday and Friday. Join host David Remnick as he discusses the latest in politics, news, and current events in conversation with political leaders, newsmakers, innovators, New Yorker staff writers, authors, actors, and musicians.

Andrew Louth, Reporter, on the launch of a seven-metre diameter sculpture of the moon at Merrion Square in Dublin.

L'artiste Lionel Estève expérimente différentes matières et techniques pour créer des collages, des assemblages, des sculptures ou des mobiles. Il considère son travail comme la source d'un perpétuel apprentissage.Son esthétique inclassable échappe à la rhétorique habituelle de l'art contemporain pour évoquer plutôt un sentiment de beauté absolue.Il a choisi aujourd'hui de nous parler d'un des derniers grands maitres de la peinture classique : Francisco de Goya Le podcast L'Amour de l'Art invite des artistes à parler d'autres artistes. Musique, littérature, cinéma, arts visuels, théâtre... Ils et elles nous partagent, de manière très personnelle, leur regard sur ces œuvres qui les fascinent.  L'Amour de l'Art est un podcast de la galerie Perrotin L'épisode avec Lionel Estève a été enregistré le 23 octobre 2025 à la galerie Perrotin, Paris. Entretien réalisé par Vanessa Clairet Stern Prise de son, réalisation et sound design : Seb Lascoux Langue : Française Identité graphique : Perrotin Musique : CDM Music Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Listener @somestarrynight messaged us from Paris about the @maisonfranciskurkdjian installation at @palaisdetokyo (on until 23 November - so hurry if you want to see it!)As it happens, Laurent from @ostens_official shared smelling strips from the expo at a recent dinner, a reminder of scent's communal, artful side. So although we can't get to see it, we *have* smelled the scents created for it)Perfume: Sculpture of the Invisible (celebrating 20 years of MFK & @franciskurkdjian_official's olfactive artistry - scenting galleries, theatrical performances, music, & places) “has opened up perfume to new forms and destinations, taking it out of the bottle.” - Jérôme Neutres, Exhibition Curator#perfumeprescriptions17-year old listener Sadbh asks for starting points in perfume shopping, balancing jasmine, fresh ginger, roses, amber, and not-too-sweet vanillaOur guidance:@marksandspencerstyle Spiced Amber EDT: powdery depths, amber heart, cedar and geranium@marksandspencerstyle Apothecary Warmth EDP: cardamom, cinnamon, cedarwood, sandalwood for warming comfortNicola notes that niche shop @bloomperfumery's site suggests related scents when you search a name, and well-trained staff at perfume departments can be invaluable - don't be afraid to ask them for help.@tocca Wonders Collection (stocked @theperfumeshop) – £55 for 6 x 5ml EDP:Florence Eau de Parfum: green garden bouquet of gardenia, tuberose, iris; Parisian romance.Cleopatra EDP: grapefruit, jasmine, patchouli—seductive and regal.Stella EDP: citrus and florals with Italian sunshine; breezy, radiant.Lucia EDP: sunlit lemon, vetiver, fig; slow living, luminous.Laila EDP: luxurious indulgence, confident sensuality.Colette EDP: citrus, floral, woods; Parisian literary spirit with daring edge.New fragrances @oliverbonasFig & Tonka, Pomelo & Basil EDPs (£12.50 each)Mandarin & Jasmine, Warm Oud & Saffron EDTs (£20 full size, £9.50 rollers)Also at Oliver Bonas:@floralstreet_: Wild Vanilla Orchid (£28/10ml); vanilla, jasmine, cassis with bamboo and sandalwood.@ghostfragrances Orb of Night (£24/30ml EDP): Dark fruit, jasmine, roasted tonka—sundown to sunrise.We're plotting a full episode on this topic of helping those who feel overwhelmed by choice / want affordable starting points, & will also crowd-source tips from friends of the pod!Nicola talks about the new scent from @granadobrazil AmazonicaThe wonderful Claire @paperbackperfumes asks for a green / woodland-like, non-powdery violet scent…Our picks:@murphyanddaughters Violet Perfume Oil (Melbourne): violet leaf heart, violet flower high note; green and sparkling@orizalegrand Violettes du Czar: violet-forward with green citrus undertones, smoky woods, iris in the background@molinardparfums Violette: violet with black currant, bergamot, lemon; layered floral notes@olfactivestudio Violet Shot: green grass, violet leaf, leather, patchouli; violet with edge

Artist Tom Sachs explores various creative disciplines, from sculpture and filmmaking to design and painting. On this season finale, Dan speaks with Tom about his accidental journey from architecture to fine art, how a controversial installation in a Barneys window kickstarted his career, his new retrospective tome from Phaidon “Tom Sachs Guide,” his NASA-themed projects, his many collaborations with Nike, and much more. Hosted on Acast. See acast.com/privacy for more information.

AP's Lisa Dwyer reports that the solution for the CIA's 'Kryptos' sculpture is now available, but only for the highest bidder.

It's fair to say that Gareth Morgan has led a varied life. Now the economist, businessman and philanthropist - turned politician has taken on perhaps his most curious project to date. The 72-year-old has turned his hand to creating a sculpture trail in the hills north of Wellington, with purpose-built works by local and international artists, some of which are bigger than houses. Nick James was given the opportunity to take a tour of the rich lister's unusual property.

Wellington City's Art Gallery, Te Whare Toi, is marking it's re-opening in Civic Square with a competition to create a major outdoor sculpture. 

Episode 499 / Claudia WieserClaudia Wieser is a German artist based in Berlin. Her work has been the subject of solo exhibitions at The Drawing Center, New York; the Contemporary Art Museum, St. Louis, MO; and Smart Museum, Chicago, IL. Her work has been included in recent group exhibitions at the Katonah Museum of Art, Katonah, NY; the Anderson Collection at Stanford University, CA; the Hamburger Bahnhof, Nationalgalerie der Gegenwart, Berlin Germany; Asia Culture Center, Gwangju, South Korea; Contemporary Arts Center New Orleans; Museum für Moderne Kunst, Frankfurt; and Marta Herford Museum for Art, Architecture, Design, Herford, Germany. Wieser's work included in a number or prominent public collections, such as the Contemporary Art Collection of the Federal Republic of Germany; Collection of the Berlin State Museums, Neue Nationalgalerie, Sammlung Goetz, Munich; Deutsche Bundesbank Kunstsammlung, Frankfurt; Mercedes-Benz Art Collection, Germany; K21-International Contemporary Art Collection of the Kunstsammlung North Rhine-Westfalia; the Anderson Collection, Stanford University, CA; the William Louis-Dreyfus Foundation Collection; and the Louiand Zabludowicz Collection, London. She has produced large-scale, site-specific commissions for Dior in Vienna, Paris, and Beverly Hills, the Cleveland Clinic in Ohio, and the City of Munich. In July 2021, Wieser unveiled her first outdoor public installation, commissioned by Public Art Fund, at Brooklyn Bridge Park in New York. In 2023, she presented work in collaboration with historic Yves Saint Laurent couture, designing a set and exhibiting her work at the Museé Yves Saint Laurent, Paris. In 2020 she collaborated with Hérmes to design a catwalk for Paris Fashion Week. She recently completed an outdoor installation at the Stavros Niarchos Foundation Cultural Center in Athens. Claudia earned an MA in Painting and Sculpture from the Academy of Fine Arts, Munich. She lives and works in Berlin. She just opened a solo show at Marianne Boesky gallery. 

This week, Wes and Todd talk with Mixed Media Folk Artist, Cal Duran. Cal discusses his artistic journey, being woven, mentors, how he handles rejection, Meow Wolf, clay, honoring his ancestors, color, altars, Día de los Muertos (Day of the Dead), spirit, Ojo de Dios (Eye of God), installations, Casa Bonita, and the mantra he lives by.Join us for a compelling conversation with Cal Duran! Check out Cal's work at his website – www.artbycal.comFollow Cal on social media:Instagram - www.instagram.com/volarduran/ - @volarduranFacebook - www.facebook.com/cal.duran.5Send us a text Follow us on Instagram: @tenetpodcast - www.instagram.com/tenetpodcast/ @wesbrn - www.instagram.com/wesbrn/ @toddpiersonphotography - www.instagram.com/toddpiersonphotography/ Follow us on Facebook: www.facebook.com/TenetPodcast/ Email us at todd@toddpierson.com If you enjoyed this episode or any of our previous episodes, please consider taking a moment and leaving us a review on your favorite podcast platform. Thanks for listening!

June Crespo's sculptural assemblages, which the artist understands as communicating vessels, resonate within our bodies. At times delicate, at others forceful, they always emanate a vital, living quality. Listen to the artist talk about her inspirations and working process. This episode was recorded on 12 September 2025, the day after the opening of the exhibition: June Crespo Danzante 12.9. – 16.11.2025 Most of the works in the exhibition Danzante take their formal vocabulary from the iris and the strelitzia (bird of paradise). Yet the artist is not concerned with representing these plants. Instead of proposing a classificatory symbolic order, they serve as starting points for a deeper engagement with materiality and the evocative potential of surfaces and textures, which take precedence over the pictorial dimension. Crespo treats her materials as agents, understanding herself an assistant to her work rather than an authority figure. In this way, she offers us a visceral experience – an encounter with objects that touch us in our corporeality and heighten our awareness of our own presence and its fragmented condition. More June Crespo (Pamplona1982) lives and works in Bilbao. Obtained her BFA from the Basque Country university (Bilbao) in 2005 and completed a two years residency at De Ateliers (Amsterdam) in 2017. Her solo shows include: Solar (2025), at Ehrhardt Flórez gallery, Madrid. Their weft, the grass (2024) at 1646.nl, The Hague; Vascular (2024) at Guggenheim Bilbao Museum; they saw their house turn into fields (2023) at CA2M, Madrid; Acts of Pulse (2022) at P420, Bologna; entre alguien y algo (2022) at CarrerasMugica, Bilbao; Am I an Object (2021) PA///KT (Amsterdam); Helmets (2020) Artium, Vitoria-Gasteiz. Recently her work has also been shown in group such as: L´écorce (2023) at CRAC-Alsace; The Milk of Dreams (2022) at Venice Biennale; Fata Morgana (2022) Jeu de Paume (Paris) and The point of Sculpture (2021) at Fundación Miró (Barcelona). Since 2008, Bettina Spörr is a curator at the Secession, where she engages in close collaboration with artists to conceptualise and realise exhibitions that explore the profound impact of contemporary art on society. Throughout her career, she has worked with numerous artists on solo exhibitions and, in 2010, curated the group show where do we go from here? at the Secession. Secession Podcast: Artists features artists exhibiting at the Secession. The Dorotheum is the exclusive sponsor of the Secession Podcast. Programmed by the board of the Secession. Jingle: Hui Ye with an excerpt from Combat of dreams for string quartet and audio feed (2016, Christine Lavant Quartett) by Alexander J. Eberhard Audio Editor: Paul Macheck Executive Producer: Bettina Spörr

Join our next BoldBrush LIVE! Webinar by signing up here:register.boldbrush.com/live-guestOrder your exclusive da Vinci BoldBrush paintbrush set!brushoffer.com/collections/allLearn the magic of marketing  with us here at BoldBrush!boldbrushshow.comGet over 50% off your first year on your artist website with FASO:FASO.com/podcast---On today's episode we sat down with Scott W. Prior, a full-time artist based in Oceanside, California, celebrated for his evocative paintings that capture everyday scenes. Scott discusses his journey as a full-time artist, reflecting on his transition from illustration to fine art and the influences that shaped his work. He emphasizes the importance of capturing everyday moments and the joy he finds in both painting and new creative pursuits like ceramics. Scott recounts the challenges and perseverance required to build his career, highlighting support from his wife and important moments of validation. He discusses the significance of discipline, networking, and joining artist communities for personal and professional growth. Scott encourages artists to pursue their passion for the love of art rather than for financial gain, warning against chasing commercial trends. Finally, Scott tells us about his upcoming events, including a return to the Paint Maui show in February 2026.Scott's FASO site:scottwprior.com/Scott's Social Media:instagram.com/scottwpriorfacebook.com/scottwpriorartist

Ethan Stern's work is rooted in traditional craftsmanship, contemporary design, and a deep connection to the natural environment. As a glass artist, he draws inspiration from historic craft traditions such as cut crystal and classical ceramic design, while reinterpreting these forms through a modern lens. His practice seeks to explore the interplay between utility, beauty, and narrative, bridging the realms of functional objects and sculptural expression. Stern states: "Central to my approach is the concept of light as a dynamic medium. Glass, with its inherent ability to refract, reflect, and transmit light, becomes a canvas through which I explore optical phenomena and color. I am particularly drawn to the ways in which light interacts with texture, pattern, and form, creating ever-changing visual experiences that invite viewers to engage with my work in a multisensory manner. This exploration pushes the boundaries of materiality, transforming functional objects and sculptural forms into vessels of light."  Pushing form beyond the expected anatomy of the vessel, Stern uses glass to investigate the emotive potential of objects. Each piece begins with the creation of a blown, geometric form composed of multiple layers of color and pattern. After the piece has cooled, he carves into the surface, creating patterns and textures through engraving. This process, while reductive, allows him to shift the glass's inherent reflective qualities, creating a richer, more luminous effect. The engraved marks, like the stroke of a paintbrush on canvas, leave evidence of the artist's hand and create a sense of motion, rhythm, weight, and depth. The act of carving—removing material—demands careful consideration, and each choice shapes the relationship between the surface and form, adding an emotional resonance to the work. Stern began examining the effects he could achieve through engraving in 1999 while at the Pilchuck Glass School. Carving the surface of the glass allowed him to pull together elements of color, form, pattern and texture to express his unique voice through the material. In 2010, he received the Best Emerging Artist award from the Museum of Glass in Tacoma, WA. His work has been featured in solo and group exhibitions across the United States and is featured in the collections of The Eboltoft Glass Museum in Denmark, The Corning Museum, and The Lowe Museum of Art. He has taught at The Studio of the Corning Museum of Glass, Pilchuck Glass School, Pratt Fine Arts Center, Penland School of Craft, The Pittsburgh Glass Center, and The Appalachian Center for Craft. In January 2026, Stern will teach Beyond Battuto – Advanced Coldworking Techniques at the Corning Museum of Glass Studio, Corning, New York.  Says Stern: "In addition to creating art, I am committed to sharing the craft of glassblowing through teaching and community engagement. Ultimately, my work is an ongoing exploration of the intersections between design, craft, and the natural world. It is a dialogue between tradition and innovation, utility and beauty, light and form. By creating pieces that resonate both functionally and emotionally, I hope to inspire reflection, curiosity, and connection to the larger world around us." Born in Ithaca, New York, Stern resides in the Frogtown neighborhood of Los Angeles, California, where he runs a glass studio alongside his wife and creative partner, Amanda McDonald Stern. Their studio specializes in sculpture, design, education and glass fabrication fostering a sense of community around glass. Ethan obtained his Associates degree in Ceramics from TAFE College in Brisbane, Australia, and his BFA in Sculpture and Glass from Alfred University. Of his work, Stern states: "The natural environment offers rich inspiration, from the organic forms and colors of coastlines to the shifting hues of the sky. Through glass, I aim to evoke a sense of interconnectedness, using the material's elemental relationship to earth and fire to bridge the natural and the man-made. While my work draws from history and nature, it is forward-looking, blending traditional techniques with contemporary approaches."     

Српски уметник Ненад Миловановић излаже на сиднејској изложби „Скулптура поред мора“ (Sculpture by the Sea) по други пут, скоро деценију након свог дебија 2016. године. Његова скулптура „Подршка II“ ('Support II') истражује тему међузависности — два супротстављена облика се уједињују у стабилну, узлазну целину, одражавајући путовање ка духовном расту кроз равнотежу, ослањање и повезаност. Миловановић је учествовао на преко 30 групних изложби у Србији и иностранству, укључујући NordArt у Немачкој.

Find more of my photos on PixelFed Read more on this topic: Coleus, Sherman Library and Gardens, Corona del Mar, California [Prints and More Available] Thunbergia, Sherman Library and Gardens, Corona del Mar, California [Prints Available] Garden Scene 1, Sherman Library and Gardens, Corona del Mar, California [Photography] Fuchsia Flowers, Sherman Library and Gardens, Corona del Mar, California [Photography] Brunfelsia lactea (Lady of the night), Sherman Library and Gardens, Corona del Mar, California [Photography]

October 31, 2025. Dr. Victoria Claire has commissioned more than 200 sculptures, received an honorary doctorate, and is pursuing a PhD. She talks with host Ben Shaberman about her journey with retinitis pigmentosa, and how blindness has provided her with new and profound insights into herself and perceiving the world. Visitors to her current exhibition, "The Sense of Sculpture" (Oct. 18 - Nov. 1) at The Art House in Wakefield, England, are interacting with her sculptures tactilely in complete darkness.

A single question can power a lifetime of work: Why do I make art? Ty and Nathan sit with Ursula Von Rydingsvard's stark and generous answers—woven from anxiety, labor, faith in process, and the stubborn hope that making can heal—and use it as a mirror for our own practices. From the first splinter to the last pass of the saw, we look at how big work invites big stakes, why the best days feel like discovery, and how the studio becomes a container strong enough to hold whatever we bring into it.We dig into the creative toggle between object and process: when materials feel right but the method frays, and when the method sings but the object won't land. That friction is feedback, not failure. Ursula's line about having confidence in the possibility of seeing the work through reframes ambition without guarantees—an artist's version of resilience. We also talk about self-doubt as a companion rather than an enemy, and how studying our heroes deeply—films, books, museum visits—feeds our own artistic DNA without imitation.There's a human infrastructure behind monumental art. Ursula's assistants form another kind of family, proof that leadership in the studio is its own craft. We reflect on daily rhythm, showing up without perfect conditions, and making pieces that may outlive us—which is how work reaches into the future. The conversation edges into generational pain and the unanswerable questions art dares to hold. Answers are rare; presence is everything. If you've ever needed permission to trust the process and keep going, consider this your sign.If this resonated, follow the show, share it with a friend who needs a creative nudge, and leave a quick review—tell us your “why” so we can feature it in a future Q&A.Make sure to check out "Art from the Outside" and the amazing interview they had with Ursula: Spotify    AppleSend us a message - we would love to hear from you!Make sure to follow us on Instagram here:@justmakeartpodcast @tynathanclark @nathanterborg Watch the Video Episode on Youtube or Spotify, https://www.youtube.com/@JustMakeArtPodcast

For the Paris-born, New York–based artist Camille Henrot, time practically never stands still. Across her work in film, drawing, painting, sculpture, installation—and soon, live performance—Henrot has developed ways of stretching and distorting time, seamlessly shifting from moments of potent, rapid-fire intensity to quiet reflection. While her work carries a theory-driven ferocity and intelligence, it's also incredibly playful. Hers is serious art that manages—often with a knowing, subtle wink—to not take itself too seriously.On this episode of Time Sensitive, Henrot considers the subjectivity of speed and slowness; previews her upcoming first-ever performance-art piece, slated to premiere in 2026 and a collaboration with the nonprofit Performa; and reflects on why, for her, a work is technically never finished. She also shares her fraught fascination with animals, childhood, and the climate crisis—the intersection of which she examines in-depth in her soon-to-debut film “In the Veins.”Special thanks to our Season 12 presenting sponsor, Van Cleef & Arpels.Show notes:Camille Henrot[4:30] RoseLee Goldberg[4:30] Performa Biennial[6:37] Buster Keaton[6:37] Tex Avery[7:03] Estelle Hoy[7:19] Adam Charlap Hyman of Charlap Hyman & Herrero[16:10] “In the Veins” (2026)[17:45] "Grosse Fatigue"[17:45] Massimiliano Gioni[38:51] Roland Barthes[45:36] Pierre Huyghe[47:51] Ikebana Sogetsu[51:46] Okwui Enwezor[55:03] Hypernormalisation by Adam Curtis (2016)[59:51] Jacob Bromberg[59:51] Akwetey Orraca-Tetteh[1:08:50] Adrienne Rich[1:08:50] Ursula K. Le Guin[1:08:50] Annie Ernaux[1:08:50] Mother Reader by Moyra Davey (2001)[1:08:50] Jenny Schlenzka[1:10:14] Maggie Nelson[1:11:02] Mothers: An Essay on Love and Cruelty by Jacqueline Rose (2019)[1:11:02] Representation of Motherhood by Donna Bassin (1994)[1:13:00] Louise Bourgeois

Ready to go on a sleepy journey? Join Geoffrey by the fire tonight as we head back to the tropical paradise of Nevis, where Catherine is about to discover Sam's latest works, and devise a plan to share them with the world. Love Night Falls?

Izumi Montgomery is a Japanese artist and sustainable craft facilitator based in Sydney Australia. Izumi holds a Masters in Sculpture from Tokyo University of the Arts and she has also studies fashion at TAFE New South Wales. This is where she developed a strong interest in ethical and uncycled design. She combines traditional Japanese techniques such a Tsunami Zaiku (folded fabric flowers) with reclaimed materials to create thoughtful workshops. Alongside teaching, Izumi regularly facilitates sessions at Reverse Garbage and other community spaces where participants are invited to slow down and reconnect through handcraft. Her final class at Reverse Garbage for 2025 is on Saturday 29th November. More workshops available in 2026 and beyond. You'll find Izumi's workshops on the Reverse Garbage website under Public Workshops. Sew Organised Style features people who freely support the sewing community. You're welcome to be a podcast guest by contacting us via DM on Instagram. If you are able, consider supporting this podcast through our patreon account. There are 3 new tiers to choose from to support SewOver50's only podcast. Every podcast is free and the archive is gradually being uploaded on to the podcast YouTube channel. Sound with permission by Kaneef on YouTube.  

The British Museum has once again stirred controversy with its latest “Pink Ball” dinner gala taking place in the hall housing the Parthenon Sculptures, a move that has elicited strong reactions from both Greece, cultural heritage experts, and leading advocates for the return of the Parthenon Sculptures to Greece. Professor Paul Cartledge, the Vice chairman of the British Committee for the Reunification of the Parthenon Marbles and a renowned scholar of ancient Greek history, joins Thanos Davelis as we break down why the British Museum's glitzy gala only adds to the reunification cause.You can read the articles we discuss on our podcast here:Greece criticizes British Museum dinner among Parthenon SculpturesBritish Museum glitzy gala ball, Janet Suzman agrees with Greece and suggests that the publicity adds to the reunification causeGreek leader pushes EU on joint defense debtGreece acts on housing crunch as shortages pile pressure on government

Happy 80th birthday to Maggi Hambling, our guest this week! We meet Maggi in her studio to discuss her 6 decades of making painting and sculpture.Maggi Hambling CBE was born in Suffolk in 1945. She studied at the East Anglian School of Painting and Drawing from 1960 under Cedric Morris and Lett Haines, then at Ipswich School of Art, Camberwell, and finally the Slade School of Art, graduating in 1969.In 1980 she was the First Artist in Residence at the National Gallery, London, and in 1995 she won the Jerwood Painting Prize (with Patrick Caulfield). Public sculpture includes A conversation with Oscar Wilde (1998) at Adelaide Street, London, facing Charing Cross Station and Scallop (2003), a sculpture to celebrate Benjamin Britten, at Aldeburgh beach, Suffolk and for which the artist was awarded the Marsh Award for Excellence in Public Sculpture. A Sculpture for Mary Wollstonecraft was unveiled in Newington Green, London in 2020.Hambling's work is held in public collections including at Tate, British Museum, CAFA, Beijing and the Metropolitan Museum of Art, New York.Visit: http://maggihambling.com/ Hosted on Acast. See acast.com/privacy for more information.

What role does public art play in how we engage with our cities? This week we meet acclaimed artist Olafur Eliasson and explore the Sculpture in the City programme in the City of London.See omnystudio.com/listener for privacy information.

A new exhibition of Cambodian bronze sculptures from the Khmer Empire and other significant pieces opens at the Minneapolis Institute of Art on Saturday. It's the first time some of these pieces have been on display in the U.S. and Mia is the only U.S. museum that will host this exhibition. The exhibition is part of a collaboration between Mia, the National Museum of Cambodia and the Guimet, the National Museum of Asian Arts, in France. Virajita Singh, Mia's chief diversity officer, and Chhay Visoth, the director of the National Museum of Cambodia, joined MPR News host Nina Moini to share more about the exhibition's significance. Royal Bronzes: Cambodian Art of the Divine is at Mia from Oct. 25 to Jan. 18, 2026.

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New report reveals that poverty affects up to one fifth of Czechs, Medieval-style wooden chapel near Brno wins National Architecture Award, ‘Praying Wood', Krištof Kintera's new sculpture, unveiled on Štvanice Island, Concrete, rubble, and renewal: The curious story of Rohan Island 

Fluent Fiction - Norwegian: Love Blossoms in the Sculptures of Vigelandsparken Find the full episode transcript, vocabulary words, and more:fluentfiction.com/no/episode/2025-10-18-22-34-02-no Story Transcript:No: I Vigelandsparken tidlig en oktober morgen slo høstsolen gjennom fargerike løvtrær.En: In Vigelandsparken, early on an October morning, the autumn sun broke through the colorful trees.No: Parken var fylt med skulpturer i alle former og størrelser, hver med sin egen historie.En: The park was filled with sculptures of all shapes and sizes, each with its own story.No: Sigrid gikk sakte mellom dem.En: Sigrid walked slowly among them.No: Hun lette etter en idé til sitt kunstprosjekt, men tankene vendte seg ofte mot Lars.En: She was searching for an idea for her art project, but her thoughts often turned to Lars.No: Lars jobbet som guide i parken og kjente hver statue godt.En: Lars worked as a guide in the park and knew each statue well.No: Han var alltid glad for å treffe Sigrid.En: He was always happy to meet Sigrid.No: Hun var hans gamle venn og mer enn det, hun var også kvinnen han hadde sterke følelser for.En: She was his old friend and more than that, she was also the woman he had strong feelings for.No: Han visste ikke hvordan han skulle fortelle henne.En: He didn't know how to tell her.No: Ingrid, kollegaen hans, la ofte merke til hvor nervøs Lars ble rundt Sigrid.En: Ingrid, his colleague, often noticed how nervous Lars became around Sigrid.No: Hun så på vennene sine med et stille smil, vel vitende om at noe måtte skje mellom dem snart.En: She watched her friends with a quiet smile, well aware that something would have to happen between them soon.No: Sigrid stoppet foran Monolitten, parkens mest kjente skulptur.En: Sigrid stopped in front of Monolitten, the park's most famous sculpture.No: Hun spekulerte på hvordan hun kunne fange essensen av kunsten i sitt prosjekt.En: She speculated on how she could capture the essence of the art in her project.No: Men så, uten å tenke, begynte hun å klatre opp på sokkelen.En: But then, without thinking, she began to climb up the pedestal.No: Hun ville få en bedre utsikt over parken og ble så oppslukt at hun glemte alt annet.En: She wanted a better view over the park and became so engrossed that she forgot everything else.No: Lars, som ga en gruppe turister en omvisning, så Sigrid.En: Lars, who was giving a tour to a group of tourists, saw Sigrid.No: Han forlot gruppen og løp mot skulpturen.En: He left the group and ran towards the sculpture.No: "Sigrid!En: "Sigrid!No: Hva gjør du?En: What are you doing?"No: " Ropte han med en blanding av bekymring og forundring.En: he shouted with a mix of worry and wonder.No: Sigrid snudde seg, hennes hjerte slo fort.En: Sigrid turned, her heart racing.No: "Lars!En: "Lars!No: Jeg vet ikke.En: I don't know...No: Jeg følte bare.En: I just felt...No: Jeg trengte en annen vinkel.En: I needed a different angle."No: ""Du kan ikke bare klatre opp der.En: "You can't just climb up there.No: Hva om du faller?En: What if you fall?"No: " sa Lars og rakte ut en hånd for å hjelpe henne ned.En: Lars said, reaching out a hand to help her down.No: Med et nervøst smil tok Sigrid hånden hans.En: With a nervous smile, Sigrid took his hand.No: Da hun var trygt nede, ble de stående stille.En: Once she was safely down, they stood still.No: Det var en spent stillhet.En: There was a tense silence.No: Lars trakk pusten dypt.En: Lars took a deep breath.No: "Sigrid, jeg trenger å si noe viktig.En: "Sigrid, I need to say something important."No: " Han stirret inn i øynene hennes.En: He looked into her eyes.No: Med hjertet i halsen ventet Sigrid.En: With her heart in her throat, Sigrid waited.No: "Jeg har hatt følelser for deg i lang tid," sa Lars endelig.En: "I've had feelings for you for a long time," Lars finally said.No: "Det er vanskelig å si, men jeg vil at du skal vite det.En: "It's hard to say, but I want you to know."No: "Sigrids tanker flommet over.En: Sigrid's thoughts overflowed.No: Uventede følelser blomstret opp, og det tok henne et øyeblikk å svare.En: Unexpected feelings blossomed, and it took her a moment to respond.No: "Lars, jeg føler det samme," innrømmet hun med et forsiktig smil.En: "Lars, I feel the same," she admitted with a cautious smile.No: "Jeg har bare aldri visst hva jeg skulle gjøre med det.En: "I just never knew what to do about it."No: "Ingrid betraktet dem fra avstand, lettet over at de to endelig snakket ut.En: Ingrid watched them from a distance, relieved that the two finally talked it out.No: Med en ny følelse av klarhet vendte Sigrid tilbake til kunsten.En: With a new sense of clarity, Sigrid returned to the art.No: Deres ærlige utveksling hadde åpnet nye veier i tankene hennes.En: Their honest exchange had opened new paths in her mind.No: Hun fant inspirasjon til både sitt prosjekt og sin fremtid med Lars.En: She found inspiration for both her project and her future with Lars.No: Sammen gikk de videre gjennom parken, med en ny forståelse og vilje til å utforske både kunsten og følelsene sammen.En: Together, they continued through the park, with a new understanding and willingness to explore both the art and their feelings together.No: Det var en frisk start i høstluften, der kjærlighet og kreativitet kunne vokse hånd i hånd.En: It was a fresh start in the autumn air, where love and creativity could grow hand in hand. Vocabulary Words:dawned: sloautumn: høstpedestal: sokkelsculptures: skulpturerspeculated: spekulerteengrossed: oppslukttourists: turistermixed: blandingworry: bekymringwonder: forundringintentions: hensikterblossomed: blomstretessence: essensstatue: statueawareness: bevissthetoverwhelmed: flommet overrelieved: lettetmonument: monumentintentions: hensikterunderstanding: forståelsewillingness: viljecreativity: kreativitetdifficult: vanskeligaforementioned: nevntepaths: veierexchange: utvekslingclarity: klarhetcapture: fangerealized: innsåguidance: veiledning

Shipping Sculptures from Early Modern Italy: The Mechanics, Costs, Risks, and Rewards (Brepols, 2025) by Dr. Kelley Helmstutler Di Dio focuses on enormous amounts of sculptures moved from Italy to Spain from ca. 1500-1750. An analysis of an important body of unpublished archival documentation regarding the practical issues involved in making and transporting sculpture, provide the basis for this study of the development of technologies, infrastructure, and labor organization necessary to make such challenging transports of moving sculptures by land and sea possible. Artists, patrons, and agents had the eventual movement to a destination at the center of decision making when new sculptures were commissioned to send. Sending antiquities or second-hand works required even more planning and care. Divided into a series of case studies of major sculptures, Shipping Sculptures offers a new approach to the study of cross-cultural artistic exchange, state gifts, collecting and patronage, by examining the practical details of object movement over challenging geographies. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

 Alex has a lively interview with none other than Donald Osborne (@zagato67 on BaT): ASA accredited senior appraiser, TV personality, principal of Automotive Valuation Services, and consulting director for the Audrain Automobile Museum. They talk about BaT's start as an amalgamation of interesting POSes;  maximum impact for minimal outlay; the similarities between a car for sale and the ideal political candidacy; sage advice for sellers on BaT and elsewhere; the art of self-editing;  the right price for the wrong car; multitasking, the car guy way; ignoring one's own hard-earned advice; cars as an investment in happiness; driving Derek Drinkwater's Le Monstre replica at Goodwood; and adventures in Sicily on the old Targa Florio route. We'll have Donald back for more!Links for things mentioned in this episode:2:11   1960 Fiat 500 D Tetto Apribile BaT listing21:45  What's My Car Worth? IMDB23:06 Alfa Romeo 106-Series 2600 BaT model page30:17  1950 Crosley Gardner Special conceptcarz.com31:07  1951 Crosley Le Mans Special BaT listing33:29  Lamborghini Islero BaT model page52:06 Path Imperfect: Porsche and the Targa Florio PCA YouTube channel56:40 Audrain Newport Concours & Motor Week57:24  Ex–Jeff Gordon 1997 Chevrolet Monte Carlo NASCAR Winston Cup Race Car BaT listing57:48  Veteran Car Tour58:36  Sculpture in Motion Got suggestions for our next guest from the BaT community or One Year Garage episode? Let us know at podcast@bringatrailer.com!

Civic duty fulfilled! This week, Johnny and Tyler are covering the crimes of Lawrence Singleton (aka the murder of Roxanne Hayes and the survival story of Mary Vincent). Plus: Dragula's Monsters of Rock is back from the grave, realistic Halloween decor leaves one community feeling a little heated, and there's no other way to say this, but Skims seems to have made a merkin.Join the Secret Society That Doesn't Suck for exclusive weekly mini episodes, livestreams, and a whole lot more! patreon.com/thatsspookyCheck out our new and improved apparel store with tons of new designs! thatsspooky.com/storeCheck out our website for show notes, photos, and more at thatsspooky.comFollow us on Instagram for photos from today's episode and all the memes @thatsspookypodWe're on Twitter! Follow us at @thatsspookypodDon't forget to send your spooky stories to thatsspookypod@gmail.com Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

My favorite podcasts are the ones where I get to go to the person's studio and/or house, sit in their environment, and talk to them. It gives me such a deeper understanding of that person and where their creative juices come from.I got to do that with renown sculptor Star York. We've been working on a 50 year retrospective, and this was part of that project. We recorded this interview in August in preparation for her Retrospective show here in Tucson on October 24th. It's a two part podcast. The first part is us sitting and talking on her front porch and part two is the two of us going into her studio and doing a deep dive on what she does, how she does it, and why she does it. Part one and part two are very different types of podcasts. One is more from the personal background standpoint. The other one, really more of what's happening today. Anyhow, this is Star York part two on the Art Dealer Diaries Podcast. I hope you enjoy.

My favorite podcasts are the ones where I get to go to the person's studio and/or house, sit in their environment, and talk to them. It gives me such a deeper understanding of that person and where their creative juices come from.I got to do that with renown sculptor Star York. We've been working on a 50 year retrospective, and this was part of that project. We recorded this interview in August in preparation for her Retrospective show here in Tucson on October 24th. It's a two part podcast. The first part is us sitting and talking on her front porch and part two is the two of us going into her studio and doing a deep dive on what she does, how she does it, and why she does it. Part one and part two are very different types of podcasts. One is more from the personal background standpoint. The other one, really more of what's happening today. This is Star York part one on the Art Dealer Diaries Podcast. I hope you enjoy.