Podcasts about sheldon museum

Episode No. 706 features curators Leslie King-Hammond and Edward Saywell, and curator Jared Ledesma. Along with Patrick Murphy and Jennifer Farrell, Hammond and Saywell are the co-curators of "Witnessing Humanity: The Art of John Wilson" at the Museum of Fine Arts, Boston. The exhibition surveys Wilson's 60-year career, spotlighting the ways in which Wilson addressed anti-Black violence, the civil rights movement, labor, family life, and more. "Wilson" is on view in Boston through June 22 before traveling to the Metropolitan Museum of Art, New York in the fall. The richly illustrated exhibition catalogue was published by the MFA. It is available from Amazon and Bookshop for about $50. Ledesma is the curator of "Grace Hartigan: The Gift of Attention" at the North Carolina Museum of Art, Raleigh. The exhibition is a focused examination of how Hartigan's relationships with New York poets, including Barbara Guest, James Merrill, and Frank O'Hara, influenced her paintings and works on paper. It is on view through August 10, 2025 before traveling to the Portland (Me.) Museum of Art and the Sheldon Museum of Art, University of Nebraska, Lincoln. An excellent catalogue was published by the museum. Amazon and Bookshop offer it for around $35. Instagram: Jared Ledesma, Tyler Green.

Visual Artist and educator, Lydia Panas and I have a wonderful conversation about her work including her books, Falling from Grace (self published), The Mark of Abel (Kehrer Verlag), and Sleeping Beauty (MW Editions). We talk about her use of allegorical themes as a way of pushing back against them and we talk extensively about how she works with and connects with her models and how all her work has a deep personal connection to her own epxeriences. http://www.lydiapanas.com ||| https://www.instagram.com/lydiapanas_/ ||| https://www.facebook.com/lydia.panas ||| https://www.kehrerverlag.com/en/lydia-panas-the-mark-of-abel-978-3-86828-229-0 ||| https://mweditions.com/books/lydia-panas-sleeping-beauty/ This podcast is sponsored by the Charcoal Book Club Begin Building your dream photobook library today at https://charcoalbookclub.com Lydia Panas is a visual artist working with photography and video. A first-generation American, she was raised between Greece and the United States. Panas' work looks at identity and what lies below the surface, investigating questions of who we are and what we want to become. Her work is made in the fields, forests, and studio of her family farm in Pennsylvania. The connection she feels to this land is the foundation of her work. Panas' work has been exhibited widely in the U.S. and internationally. Her photographs are represented in public and private collections including the Brooklyn Museum, the Bronx Museum, the Museum of Fine Arts Houston, Palm Springs Art Museum, Michener Art Museum, Allentown Art Museum, Museum of Contemporary Photography Chicago, Museum of Photographic Arts San Diego, the Sheldon Museum, Zendai MoMA Shanghai, among others. Her work has appeared in periodicals such as The New Yorker, the New York Times Magazine, The Village Voice, French Photo, Hyperallergic, Photo District News, Popular Photography, San Francisco Chronicle, Rain Taxi Review of Books, Flavorpill, WSJ Blog, GEO Wissen, Die Volkskrant, Haaretz, and the Philadelphia Inquirer.

On this week's Friday LIVE Extra podcast, a preview and "An Uncanny Halloween" at the Sheldon Museum of Art, Farmer Brown's Field of Scremas and The Moth Project.

On this week's Friday LIVE Extra podcast, a preview and "An Uncanny Halloween" at the Sheldon Museum of Art, Farmer Brown's Field of Scremas and The Moth Project.

On this week's Friday LIVE Extra podcast, a look at an exhibition at the Sheldon Museum of Art and a conversation with author Jeremi Suri, who is in Lincoln for a talk.

On this week's Friday LIVE Extra podcast, a look at an exhibition at the Sheldon Museum of Art and a conversation with author Jeremi Suri, who is in Lincoln for a talk.

On the Aug. 16 Friday LIVE at Nebraska Public Media, host Genevieve Randall and guests have lively conversations about: Jerry Bockoven's new book and event; Beef, Beans, and Bluegrass Festival in the Panhandle; new exhibitions at the Sheldon Museum of Art in Lincoln; Kenny Janak Orchestra in Grand Island; Lincoln Community Playhouse's production of “Anastasia;" and Harrison Boe's concert in Hickman. Also, some more poetry from Sarah McKinstry-Brown, a Ross film review and a look at a new art exhibition at 1516 Gallery in Omaha.

On the Aug. 16 Friday LIVE at Nebraska Public Media, host Genevieve Randall and guests have lively conversations about: Jerry Bockoven's new book and event; Beef, Beans, and Bluegrass Festival in the Panhandle; new exhibitions at the Sheldon Museum of Art in Lincoln; Kenny Janak Orchestra in Grand Island; Lincoln Community Playhouse's production of “Anastasia;" and Harrison Boe's concert in Hickman. Also, some more poetry from Sarah McKinstry-Brown, a Ross film review and a look at a new art exhibition at 1516 Gallery in Omaha.

Tony Bechara, April 29 2018, ©Maku-Lopez Tony Bechara's dynamic, color-saturated paintings create a pure field of physical perception. You can see a walk through of his show here. Each canvas is meticulously painted with multicolor areas of quarter-inch squares. Using strips of masking tape, Bechara arranges carefully formulated hues into a playful and invigorating optical surface, made up of a multitude of small colored units. The work's overall rhythm is determined by a process that is systemic but designed to allow combinations of color to emerge by chance. Bechara cites influences across art history, including the colors of Matisse and Vuillard, the pointillism of Seurat and Signac, traditions of weaving and crafting, the precision of hard-edge abstraction, and the famed Byzantine-era mosaics at Ravenna. These influences are evidenced in Bechara's approach to painting: he uses a tile-like grid as the basis for his explorations into the principles of color usage, particularly the intersection of organization and randomness. The division of the surface of the painting into small modular boxes is similar to pixels; the gaze is constantly in motion. Bechara presents the viewer with their retinal and neurological relationship to color, balancing one's immediate impression of hue and the overarching logic of pattern. Tony Bechara was born in Puerto Rico in 1942 and today lives and works in New York City. A graduate of Georgetown University, Bechara attended Georgetown Law School and New York University before later studying at the Sorbonne in Paris and the New York School of Visual Art, benefiting in particular from the lessons of Richard Serra and Joseph Raphael. In the 1970s and 80s, Bechara was included in exhibitions organized by the Boulder, Colorado based Criss-Cross pattern printing collective and featured work in the group exhibition ‘Islamic Allusions' at the Alternative Museum in New York. His work was included in the 1975 Biennial Exhibition at the Whitney Museum of American Art, New York. In 1980 he was granted a fellowship by the National Endowment for the Arts, and in 1981 he was included in ‘The Shaped Field: Eccentric Formats' at MoMA PS1 in New York. Bechara has had solo exhibitions at the Alternative Museum in 1988; Artists Space in New York in 1993; and el Museo del Arte Puerto Rico in 2008. Recently, Bechara has participated in exhibitions ‘With Pleasure: Pattern and Decoration in American Art, 1972-1985; Museum of Contemporary Art, Los Angeles, CA, USA (2019), which travelled to the Hessel Museum of Art, CCS Bard, Annandale-on-Hudson, NY, USA (2021); ‘Point of Departure: Abstraction 1958-Present', Sheldon Museum of Art, Lincoln, NE, USA (2021); and ‘Artists Choose Parrish', Parrish Art Museum, NY, USA (2023).His work can be found in numerous public and private collections including the Metropolitan Museum of Art, New York, NY, USA; El Museo del Barrio, New York, NY, USA; el Museo del Arte, San Juan, Puerto Rico; the Sheldon Museum of Art, University of Nebraska, Lincoln NE, USA; Aldrich Contemporary Art Museum, Ridgefield, CT, USA; and the Massachusetts Institute of Technology, Cambridge, MA, USA. Tony Bechara, Abstract Composition, 1970-71 Acrylic on canvas, 208.6 x 166.4 x 2.9 cm82 1/8 x 65 1/2 x 1 1/8 in Collection of the Metropolitan Museum of Art, New York, NY, USA ©Tony Bechara, Courtesy Lisson Gallery. Tony Bechara, Random 28 (Blue version), 2023 Acrylic on canvas, 152.4 x 152.4 ©Tony Bechara, Courtesy Lisson Gallery. Tony Bechara, Perseus, 2010, Acrylic on canvas, 152.4 x 152.4 x 3.8 cm 60 x 60 x 1 1/2 ©Tony Bechara, Courtesy Lisson Gallery

So excited to share this fantastic interview with artist, Philemona Williamson! Find out more about Philemona's vibrant paintings that show twisting, gender-bending adolescents "up to stuff," and her fascinating ambiguous poetic sense of narrative (and also why I have appointed her an Honorary New Orleanian!). Philemona also grew up in a famous Art Deco building in NYC, and her childhood stories are not to be missed. Works mentioned: "Branching Eyes" 2023, "The Gathering" 2021, "Verbena Street 2" 2022, "Snow Interrupted" 2021 More info about Philemona Williamson: Philemona's website: https://www.philemonawilliamson.com/ Philemona on IG: https://www.instagram.com/philemona8/ Her MTA Fused Glass Panels at Livonia Ave, Queens (L train): https://www.nycsubway.org/perl/artwork_show?206 Current/Upcoming Exhibitions: June Kelly Gallery, NYC, Apr 18 - June 4, 2024: https://www.junekellygallery.com/williamson/index.html Passerelle, Centre d'art contemporain d'intérêt national, Brest, France, June-Aug 2024: https://www.cac-passerelle.com/expositions/en-cours/ In "Century: 100 Years of Black Art at MAM" Montclair Art Museum, NJ, Through July 7, 2024: https://www.montclairartmuseum.org/exhibition/century-100-years-black-art-mam Philemona Williamson has exhibited her work for over 25 years at the June Kelly Gallery in NYC and recently, at her mid-career retrospective at the Montclair Art Museum in NJ. She is the recipient of numerous awards and residencies including the Joan Mitchell Foundation, Pollock Krasner, National Endowment For The Arts, New York Foundation For The Arts and Millay Colony as well as serving on the advisory board of the Getty Center for Education. Her work has been shown in many solo and group exhibitions such as The Queens Museum of Art, Wisconsin's Kohler Art Center, The Sheldon Museum in Nebraska, The Bass Museum in Miami, The Mint Museum in North Carolina, The Forum of Contemporary Art in St. Louis, The International Bienal of Painting in Cuenca, Ecuador and most recently at the Anna Zorina Gallery in NYC. She is represented in numerous private and public collections, including The Montclair Art Museum; The Kalamazoo Art Institute; The Mint Museum of Art; Smith College Museum of Art; Hampton University Museum; Sheldon Art Museum; Mott-Warsh Art Collection, and AT&T. Her public works includes fusedglass murals created for the MTA Arts in Transit Program at the Livonia Avenue Subway Station in Brooklyn, a poster for the MTA Poetry In Motion and — for the NYC School Authority — a mosaic mural in the Glenwood Campus School. She currently teaches painting at Pratt Institute and Hunter College in NYC. All music by Soundstripe ---------------------------- Pep Talks on IG: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@peptalksforartists⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Amy, your beloved host, on IG: ⁠⁠⁠⁠⁠⁠⁠@talluts⁠⁠⁠⁠⁠⁠⁠ Pep Talks on Art Spiel as written essays: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://tinyurl.com/7k82vd8s⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠BuyMeACoffee⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Donations always 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

On the Feb. 16 “Friday LIVE," host Genevieve Randall and guests have lively conversations about: the biopic “Bob Marley One Love” with Kwame Dawes, who wrote a book about Marley; The King's Singers concert at Wayne State; Scott Guild's new novel, "Plastic," and event in Lincoln; OmniArts Nebraska's new production; The Little Red Hen Theatre's “Murder in Margaritaville;" concerts by Lincoln's Symphony Orchestra; Felix & Fingers Dueling Pianos (featuring Jordan Peterson) in Minden; 1st Nebraska Volunteers Brass Band in York; and Sheldon Museum of Art Spring Exhibitions. Also, a look at some arts events presented by Omaha Performing Arts.

On the Feb. 16 “Friday LIVE," host Genevieve Randall and guests have lively conversations about: the biopic “Bob Marley One Love” with Kwame Dawes, who wrote a book about Marley; The King's Singers concert at Wayne State; Scott Guild's new novel, "Plastic," and event in Lincoln; OmniArts Nebraska's new production; The Little Red Hen Theatre's “Murder in Margaritaville;" concerts by Lincoln's Symphony Orchestra; Felix & Fingers Dueling Pianos (featuring Jordan Peterson) in Minden; 1st Nebraska Volunteers Brass Band in York; and Sheldon Museum of Art Spring Exhibitions. Also, a look at some arts events presented by Omaha Performing Arts.

In this episode, Matt Valler and Matt Baker speak with Dan Siedell about the 'Curatorial Theology' he is currently developing as a graduate student at Drew University. Daniel A. Siedell is an art historian, art critic, and curator who has spent nearly twenty years writing and lecturing on modern art and theology. From 1996-2007 he was Chief Curator of the Sheldon Museum of Art, where he organized numerous exhibitions of modern & contemporary art. From 2007-2011 he was Professor of Modern & Contemporary Art History & Theory at the University of Nebraska-Omaha. Who's Afraid of Modern Art: https://www.amazon.com/Whos-Afraid-Modern-Art-Conversation/dp/1625644426/ref=sr_1_1?crid=14QP7H50L1R10&keywords=daniel+siedell+book&qid=1699904777&sprefix=daniel+siegel+book%2Caps%2C123&sr=8-1 Labyrinth: https://labyrinth.city/ Intro sample from the Netflix series Blue-eyed Samurai, episode 7. Music for this episode: Chaos Theory, Ava Low Love Always, Nu Alkemi Those Moments, Hampus Naeselius Nomad's Theme, Matt Baker

This week on the Aug. 18 "Friday LIVE" from The Mill in Lincoln's Historic Haymarket, Genevieve Randall and guests have lively conversations about: Clay Anderson's new book and event; Kaspar Haake's installation at Red Deer Studio in Lincoln; Sheldon Museum of Art's new exhibitions; Amra-Faye Wright's performances in Brownville; Merryman Performing Art Center's new season; "Wanderings: A Walk in the Woods" by Derrick Burbul; and Flatwater Shakespeare's production of "A Winter's Tale." Also, poetry from John Johnson and a look at the Omaha Greek festival.

This week on the Aug. 18 "Friday LIVE" from The Mill in Lincoln's Historic Haymarket, Genevieve Randall and guests have lively conversations about: Clay Anderson's new book and event; Kaspar Haake's installation at Red Deer Studio in Lincoln; Sheldon Museum of Art's new exhibitions; Amra-Faye Wright's performances in Brownville; Merryman Performing Art Center's new season; "Wanderings: A Walk in the Woods" by Derrick Burbul; and Flatwater Shakespeare's production of "A Winter's Tale." Also, poetry from John Johnson and a look at the Omaha Greek festival.

In s2e29, Platemark hosts Ann Shafer and Tru Ludwig talk about Claude Lorrain, the arbiter of landscape painting in the 17th century. He worked most of his life in Rome and elevated landscape as a subject up the academic hierarchy by including small figural groups and naming the compositions with mythological or biblical subjects. He's known by various names that can be confusing. He was born Claude Gelée in the independent duchy of Lorraine, which is why the French call him le Lorrain. The English, who collected his works assiduously and even now have the highest number of his works (by country), refer to him simple as Claude. He created an amazing cache of ink and wash drawings of each of his painted compositions in a first catalogue raisonné of sorts. He dubbed this book the Liber Veritatis («the book of truth»). Claude told his biographer Filippo Baldinucci that he kept the record as a defense against others passing off his work as theirs. This bound group of drawings was collected and owned by the Dukes of Devonshire from the 1720s until 1957 when it was given to the British Museum (in lieu of estate taxes upon the death of Victor Christian William Cavendish, the 9th Duke of Devonshire). While Claude died in 1682, his renown in England was enough to prompt the print publisher John Boydell to hire artist Richard Earlom to create prints after the drawings nearly one hundred years after Claude's death. Two hundred etchings with mezzotint were created between 1774 and 1777, and were published in two volumes as Liber Veritatis. Or, A Collection of Two Hundred Prints, After the Original Designs of Claude le Lorrain, in the Collection of His Grace the Duke of Devonshire, Executed by Richard Earlom, in the Manner and Taste of the Drawings.... Later, a third volume of an additional 100 prints was published in 1819. Earlom used etching to mimic Claude's ink lines and mezzotint for the wash areas. They were printed in brown ink to mimic iron gall ink. Hugely influential in England, the books were popular with collectors and were used by artists as models for copying. The Liber Veritatis also inspired J.M.W. Turner to produce a similar project of 71 prints after Turner's painted compositions, which he called Liber Studiorum. They may appear old fashioned to contemporary viewers, but rest assured, landscape was just getting its legs under it. Boring imagery? Maybe. But important for our story of the history of prints in the West. Episode image: Claude Lorrain (French, c. 1600–1682). Seaport with Ulysses Returning Chryseis to Her Father, c. 1644. Pen and brown ink with brown and blue wash, heightened with white on blue paper. 19.8 x 26.2 cm. British Museum, London.   Gian Lorenzo Bernini (Italian, 1598–1680). Bust of Louis XIV, 1665. Marble. Palace of Versailles. Hyacinth Rigaud (French, 1659–1743). Louis VIX, 1700–01. Oil on canvas. 277 x 194 cm. (109 x 76 3/8 in.) The Louvre, Paris. Claude Mellan (French, 1598–1688). Louis XIV as a Child, 1618–1688. Engraving. Sheet (trimmed to platemark): 13 9/16 x 9 1/2 in. (34.5 x 24.2 cm.). Metropolitan Museum of Art, New York. Federico Barocci (Italian, 1528–1612). The Stigmatization of St. Francis, after the painting in the Church of the Capuccines, Urbino, c. 1575. Etching, engraving, and drypoint. Plate: 228 x 145 mm. (9 x 5 ¾ in.). Achenbach Foundation for Graphic Arts, Fine Arts Museum of San Francisco. Federico Barocci (Italian, 1528–1612). The Annunciation, c. 1585. Etching and engraving. Sheet (trimmed within platemark): 17 3/8 × 12 5/16 in. (441 × 312 mm.). Metropolitan Museum of Art, New York. Rembrandt (Dutch, 1606–1669). Christ Crucified between the Two Thieves: The Three Crosses (iv/iv state), c. 1660. Drypoint. Sheet (trimmed to platemark): 15 1/16 x 17 1/2 in. (382 x 444 mm.). Metropolitan Museum of Art, New York. Annibale Carracci (Italian, c. 1557–c. 1642). St. Jerome in the Wilderness, c. 1591. Etching and engraving. Sheet (trimmed to platemark) : 24.8 x 19.2 cm. (9 ¾ x 7 9/16 in.). Metropolitan Museum of Art, New York. Guido Reni (Italian, 1575–1642). The Holy Family, c. 1595–1600. Etching and engraving. Sheet (trimmed to platemark): 20 x 14 cm. (7 7/8 x 5 12 in.). Metropolitan Museum of Art, New York. Jusepe de Ribera (Spanish, 1591–1652). The Penitence of St. Peter. 1621. Etching and engraving. Sheet (trimmed to platemark): 31.8 x 24.2 cm. (12 ½ x 9 ½ in.). Metropolitan Museum of Art, New York. Salvator Rosa (Italian, 1615–1673). Jason and the Dragon, 1663–64. Etching and drypoint. Plate: 13 5/16 × 8 9/16 in. (33.8 × 21.8 cm.); sheet: 14 5/16 × 9 15/16 in. (36.4 × 25.3 cm.). Metropolitan Museum of Art, New York. Gian Lorenzo Bernini (Italian, 1598–1680). The Ecstasy of Saint Teresa, 1647-52.  White marble set in an elevated aedicule in the Cornaro Chapel, Santa Maria della Vittoria, Rome. Caravaggio (Italian, 1571–1610). Conversion of Saint Paul on the Way to Damascus, 1600–01. Oil on canvas. 230 × 175 cm. (91 × 69 in.). Santa Maria del Popolo, Rome. Andrea Pozzo (Italian, 1642–1709). Assumption of St. Francis, c. 1685. Sant'Ignazio, Rome. Pietro Testa (Italian, 1612–1650). The Martyrdom of St. Erasmus, c. 1630. Etching. Sheet: (trimmed to platemark): 27.9 x 18.9 cm. (11 7 7/16 in.). Metropolitan Museum of Art, New York. Jacques Callot (French, 1592–1635). Plate eleven: The Hanging from the series The Large Miseries and Misfortunes of War, 1633. Etching. Sheet: 4 1/8 x 8 1/4 in. (10.5 x 21 cm.); plate: 3 1/4 x 7 5/16 in. (8.2 x 18.6 cm.). Metropolitan Museum of Art, New York. Peter Paul Rubens (Flemish, 1577–1640). The Consequences of War, 1637–38. Oil on canvas mounted to panel. 206 x 342 cm. (81 x 134 ½ in.). Palazzo Pitti, Florence. Diego Velasquez (Spanish, 1599–1660). Surrender at Breda, 1634–35. Oil on canvas. 307 x 367 cm. (121 x 144 in.) Museo del Prado, Madrid. Callot's Hanging Tree spreads word of the facts of the attack on Nancy, whereas paintings can only be in one place (Rubens' Consequences of War and Velasquez's Surrender at Breda). Jean Marot (French, 1619–1679), after Gian Lorenzo Bernini (Italian, 1598–1680). The Louvre in Paris, elevation of the principal facade facing Saint-Germain l'Auxerrois. Plate 8 from Jacques-François Blondel's Architecture françoise, volume 4, book 6. Nicolas Poussin (French, 1594–1665). Et in Arcadia ego, 1637–38. Oil on canvas. 85 × 121 cm. (34 1/4 × 47 1/4 in.). Louvre, Paris. Nicolas Poussin (French, 1594–1665). Landscape with St. John Patmos, 1640. Oil on canvas. 100.3 × 136.4 cm (39 1/2 × 53 5/8 in.). Art Institute of Chicago, Chicago. Nicolas Poussin (French, 1594–1665). The Abduction of the Sabine Women, c. 1633–34. Oil on canvas. 60 7/8 x 82 5/8 in. (154.6 x 209.9 cm.). Metropolitan Museum of Art, New York. Rembrandt van Rijn (Dutch, 1606–1669). Landscape with the Good Samaritan, 1638. Oil on oak panel. 46.2 × 65.5 cm. (18 × 25 3/4 in.). Czartorynski Museum, Kraków. Jacob van Ruisdael (Dutch, 1628/1629–1682). View of Haarlem with Bleaching Fields, c. 1670–75. Oil on canvas. 62.2 x 55.2 cm. (24 ½ x 21 ¾ in.). Kunsthaus Zurich, Zurich. Thomas Cole (American, born England, 1801–1848). Catskill Mountains Landscape, c. 1826. Oil on panel. 15 15/16 x 21 7/8 in. Sheldon Museum, University of Nebraska-Lincoln. Tru's diagrams of Poussin's Et in Arcadia Ego. Claude Lorrain (French, c. 1600–1682). Self-Portrait. Oil on canvas. Musée des Beaux-Arts de Tours. Richard Earlom (British, 1743–1822), after Claude Lorrain (French, c. 1600–1682). Frontispiece for the Liber Studiorum, 1777. Plate: 7 x 5 in. New York Public Library. Claude Lorrain (French, c. 1600–1682). Seaport with the Embarkation of the Queen of Sheba, 1648. Oil on canvas. 149.1 × 196.7 cm. (58 3/4 × 77 1/2 in.). National Gallery, London. One of many Claude Lorrain paintings with its corresponding diagram. Several diagrams showing compositional plans according to the Golden Ratio. Claude Lorrain (French, c. 1600–1682). Rustic Dance, 1637. Oil on canvas. Galleria degli Uffizi, Florence. Claude Lorrain (French, c. 1600–1682). The Village Boerendans Dance, c. 1637. Etching. 29.7 x 24.1 cm. (11 ¾ x 9 ½ in.). Alamy Stock Photo. Claude Lorrain (French, c. 1600–1682). Harbor Scene with Rising, 1634. Etching. Sheet: 5 9/16 x 8 1/4 in. (14.1 x 21 cm.); plate: 5 1/8 x 7 13/16 in. (13 x 19.8 cm.). Metropolitan Museum of Art, New York. Claude Lorrain (French, c. 1600–1682). Harbor Scene with Rising Sun, c. 1649. Oil on canvas. 97 x 119 cm. (38 x 46 ¾ in.). Hermitage Museum, St. Petersburg. Claude Lorrain (French, c. 1600–1682). Seaport with Ulysses Returning Chryseis to Her Father, c. 1644. Pen and brown ink with brown and blue wash, heightened with white on blue paper. 19.8 x 26.2 cm. British Museum, London. Claude Lorrain (French, c. 1600–1682). Seaport with Ulysses Returning Chryseis to Her Father, 1650s. Oil on canvas. 119 x 150 cm (46 ¾ x 59 in.). Louvre, Paris. Claude Lorrain (French, c. 1600–1682). Landscape wirth Aeneas at Delos, c. 1672. Pen and brown ink and brown wash, with gray-brown wash. 19.3 x 25.6 cm. British Museum, London. Claude Lorrain (French, c. 1600–1682). Landscape with Aeneas at Delos, 1672. Oil on canvas. 99.6 x 134.3 cm. National Gallery, London. Claude Lorrain (French, c. 1600–1682). Index of owners of Claude's paintings in the Liber Veritatis. British Museum, London. Richard Earlom (British, 1743–1822), after Claude Lorrain (French, c. 1600–1682). Holy Family, from the Liber Veritatis, 1776. Etching and aquatint. Sheet : 23 x 29.4 cm.; plate: 20.8 x 26.3 cm. Pushkin State Museum of Fine Arts, Moscow. Richard Earlom (British, 1743–1822), after Claude Lorrain (French, c. 1600–1682), published by John Boydell (British, 1719–1804). Liber veritatis: or, A collection of prints, after the original designs of Claude le Lorrain ; in the collection of His Grace the Duke of Devonshire, 1777–1819. New York Public Library, New York. John Boydell (British, 1719–1804), publisher. Dedication from Liber veritatis: or, A collection of prints, after the original designs of Claude le Lorrain ; in the collection of His Grace the Duke of Devonshire, 1777–1819. New York Public Library, New York. James Mallord William Turner (British, 1775–1851). Fifth Plague of Egypt, from the Liber Studiorum, part III, plate 16), 1808. Etching only (before first state). Plate: 7 x 10 in. (17.8 x 25.4 cm.); sheet: 8 1/8 x 25 in. (20.6 x 63.5 cm.). Metropolitan Museum of Art, New York. James Mallord William Turner (British, 1775–1851) and Charles Turner (British, 1774–1857). Fifth Plague of Egypt, from the Liber Studiorum, part III, plate 16), 1808. Etching and mezzotint (first state of three). Plate: 7 1/16 x 10 1/4 in. (17.9 x 26 cm.); sheet: 8 1/4 x 11 7/16 in. (21 x 29.1 cm.). Metropolitan Museum of Art, New York. Claude Glass. Science Museum, London. Richard Earlom (British, 1743–1822), after Claude Lorrain (French, c. 1600–1682), published by John Boydell (British, 1719–1804). No. 154 from Liber veritatis: or, A collection of prints, after the original designs of Claude le Lorrain ; in the collection of His Grace the Duke of Devonshire, 1777–1819. New York Public Library, New York. Richard Earlom (British, 1743–1822), after Claude Lorrain (French, c. 1600–1682), published by John Boydell (British, 1719–1804). No. 1 and 2 from Liber veritatis: or, A collection of prints, after the original designs of Claude le Lorrain ; in the collection of His Grace the Duke of Devonshire, 1777–1819. New York Public Library, New York. Richard Earlom (British, 1743–1822), after Claude Lorrain (French, c. 1600–1682), published by John Boydell (British, 1719–1804). No. 3 and 4 from Liber veritatis: or, A collection of prints, after the original designs of Claude le Lorrain ; in the collection of His Grace the Duke of Devonshire, 1777–1819. New York Public Library, New York.  Richard Earlom (British, 1743–1822), after Claude Lorrain (French, c. 1600–1682), published by John Boydell (British, 1719–1804). No. 13 and 14 from Liber veritatis: or, A collection of prints, after the original designs of Claude le Lorrain ; in the collection of His Grace the Duke of Devonshire, 1777–1819. New York Public Library, New York. Claude Mellan (French, 1598–1688). Moses Before the Burning Bush, 1663. Engraving. Sheet (trimmed to platemark): 9 7/16 x 13 3/16 in. (24 x 33.5 cm.). Metropolitan Museum of Art, New York. Golden mean diagram, https://blog.artsper.com/en/a-closer-look/golden-ratio-in-art/.  

Episode No. 597 of The Modern Art Notes Podcast features artist Binh Danh and curator Jeffrey Richmond-Moll. Radius Books has just published a two-volume monograph titled, "Binh Danh: The Enigma of Belonging." The book, Danh's first monograph, brings together Danh's prints on plant matter that consider images associated with the war in Vietnam, and Danh's daguerreotypes of scenic vistas in the American West, his attempt to negotiate the land and history of a still-contested region. The book features essays by Danh, Boreth Ly, Joshua Chuang, Isabelle Thuy Pelaud, and Andrew Lam. Bookshop and Amazon offer it for about $60. Danh's work is on view in "Ansel Adams in Our Time" at the de Young Museum, San Francisco. The exhibition, which was curated by Karen Haas for the Museum of Fine Arts, Boston, is on view through July 23. Danh has had solo shows at museums such as the Cantor Arts Center, Stanford University; the North Carolina Museum of Art, Raleigh; and the Sheldon Museum of Art, University of Nebraska. He's in many major US museum collections, including at the Eastman House in Rochester, NY; the San Francisco Museum of Modern Art, the Harvard Art Museums, and the Huntington Library, San Marino, Calif. Richmond-Moll discusses "Object Lessons in American Art: Selections from the Princeton University Art Museum" at the Georgia Museum of Art. The exhibition features work from PUAM that present artworks about American history, culture, and society in ways that reveal how Princeton has taught and presented US art history. It's on view through May 14. A catalogue was published by PUAM. Bookshop and Amazon offer it for $30-40.

Episode No. 596 is a holiday weekend clips show featuring artist Renée Stout. Stout is included in the Nasher's "Spirit in the Land," an exhibition that considers today's ecological concerns and demonstrates how our identities and natural environments are intertwined. The show particularly focuses on the relationship between the mainland United States and the Caribbean. Curated by Trevor Schoonmaker, it will be on view through July 9. The exhibition is accompanied by a catalogue which, as of the show posting date, is available only at the Nasher. Her work is also in the Los Angeles County Museum of Art's version of "Afro-Atlantic Histories." LACMA's presentation is a mostly contemporary version of an exhibition that originated at the Museu de Arte de São Paulo Assis Chateaubriand (MASP) and the Instituto Tomie Ohtake in Brazil in 2018 before traveling to the National Gallery of Art, Washington last year. "Afro-Atlantic Histories" is at LACMA through September 10. If it seems like Stout has been in every major contemporary group show in the last year, it may be because she has been: she was included in both "The Dirty South: Contemporary Art, Material Culture, and the Sonic Impulse," organized last year by the Virginia Museum of Fine Arts, and "Supernatural America: The Paranormal in American Art," which was put together by the Minneapolis Institute of Art. An exhibition of Stout's recent work, "Renée Stout: Navigating the Abyss," closed at New York's Marc Straus gallery last month. This program was taped on the occasion of Stout's inclusion in "Person of Interest" at the Sheldon Museum of Art at the University of Nebraska in 2020. For images related to this program, see Episode No. 437.

This week on the March 3 "Friday LIVE" from The Mill in Lincoln's Historic Haymarket, Genevieve Randall and guests have lively conversations about: Wallspace-LNK's new exhibition; Nebraska Scholastic Writing Awards; Shadlee Meinke's photographic exhibition; "Pudd'n and The Grumble" at Nebraska Wesleyan; an exhibition at the Sheldon Museum of Art; "One Hundred Western Skies" by Yelena Khanevskaya at WNAC; and Arts for the Soul's "Sing From The Heart" concert. Also, new poetry from Greg Kosmicki.

This week on the March 3 "Friday LIVE" from The Mill in Lincoln's Historic Haymarket, Genevieve Randall and guests have lively conversations about: Wallspace-LNK's new exhibition; Nebraska Scholastic Writing Awards; Shadlee Meinke's photographic exhibition; "Pudd'n and The Grumble" at Nebraska Wesleyan; an exhibition at the Sheldon Museum of Art; "One Hundred Western Skies" by Yelena Khanevskaya at WNAC; and Arts for the Soul's "Sing From The Heart" concert. Also, new poetry from Greg Kosmicki.

This week hear about some soon-to-close art shows around town. Today: Kim Conaty, curator of drawings and prints at the Whitney Museum, talks about the Hopper show at the Whitney, closing March 5, featuring some of the artist's iconic pieces and how he shaped our view of the city through his work.  →Edward Hopper's New York is on view through Sunday, March 5, at the Whitney Museum of American Art, 99 Gansevoort Street, in the meat-packing district of Manhattan.   Edward Hopper, Approaching a City, 1946. Oil on canvas, 27 1/18 x 36 in. (68.9 x 91.4 cm). The Phillips Collection, Washington, D.C.; acquired 1947. (© 2022 Heirs of Josephine N. Hopper/Licensed by Artists Rights Society (ARS), New York/Whitney Museum of American Art)   Edward Hopper, Manhattan Bridge, 1925–26. Watercolor and graphite pencil on paper. Whitney Museum of American Art, New York. (Heirs of Josephine N. Hopper/Licensed by Artists Rights Society (ARS), New York) Edward Hopper, Room in New York, 1932. Oil on canvas, 29 × 36 in. (73.7 × 91.4 cm). (Sheldon Museum of Art, University of Nebraska—Lincoln; Anna R. and Frank M. Hall Charitable Trust. © 2022 Heirs of Josephine N. Hopper/Licensed by Artists Rights Society (ARS), New York)  

This week on the Feb. 3 "Friday LIVE" from The Mill in Lincoln's Historic Haymarket, Genevieve Randall and guests have lively conversations about: "The World of Musicals In Concert" in Scottsbluff; the next concert by Lincoln's Symphony Orchestra; Angels Theater Company productions; the opening show from Tada Theatre's 15th season; Greenblatt & Seay workshops; a new exhibition at Sheldon Museum of Art; and First Friday in Lincoln, featuring Metro Gallery, Tugboat Gallery and Wallspace-LNK. Also, new poetry from Lucy Adkins and a preview of a new museum opening in Omaha.

This week on the Feb. 3 "Friday LIVE" from The Mill in Lincoln's Historic Haymarket, Genevieve Randall and guests have lively conversations about: "The World of Musicals In Concert" in Scottsbluff; the next concert by Lincoln's Symphony Orchestra; Angels Theater Company productions; the opening show from Tada Theatre's 15th season; Greenblatt & Seay workshops; a new exhibition at Sheldon Museum of Art; and First Friday in Lincoln, featuring Metro Gallery, Tugboat Gallery and Wallspace-LNK. Also, new poetry from Lucy Adkins and a preview of a new museum opening in Omaha.

In episode 216 UNP founder and curator Grant Scott is in his shed reflecting on photographs as memories of lives lived and lost, and reducing the pressure on making work. Plus this week photographer Mickey Smith takes on the challenge of supplying Grant with an audio file no longer than 5 minutes in length in which she answer's the question ‘What Does Photography Mean to You?' Mickey Smith is an American conceptual artist who now lives in New Zealand who holds a Bachelor of Arts Degree in Photography from Minnesota State University Moorhead and a Diploma in Jewellery Design from Hungry Creek Art & Craft School in New Zealand. As a photographer, her practice over the last twenty years has been engaged with a longstanding inquiry into libraries, books and archives — in particular the social significance of their physical existence or disappearance. Smith has exhibited throughout the United States, in China, Russia and New Zealand and her works are held in numerous public and private collections, including the Museum of Modern Art Library, Sheldon Museum of Art and Weisman Art Museum. She has also received awards from the McKnight Foundation, CEC ArtsLink, Americans for the Arts and Creative New Zealand. Her first artist's book, Denudation, was included in the photo book installation, A Different Kind of Order: The ICP Triennial in 2012. In 2018, her second book was published titled As You Will... Carnegie Libraries of the South Pacific, a book focused on the 25 Carnegie libraries erected in New Zealand, Australia, and Fiji. Two bodies of her work Matters of Time and New Outlook, have been exhibited at the Sanderson Contemporary, New Zealand. www.mickeysmith.com Dr. Grant Scott is the founder/curator of United Nations of Photography, a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, a working photographer, documentary filmmaker, BBC Radio contributor and the author of Professional Photography: The New Global Landscape Explained (Routledge 2014), The Essential Student Guide to Professional Photography (Routledge 2015), New Ways of Seeing: The Democratic Language of Photography (Routledge 2019). © Grant Scott 2022

Katharen Wiese returns to the Noize! We love returning guests on Studio Noize especially when they reach new milestones in life that we can celebrate. Kat was admitted into the Yale MFA program for fall 2022! We discuss how she feels and what she is looking forward to in this amazing new journey she's starting. Kat tells us her thoughts on graduate school for artists, what attracted her to the program and how she plans on interacting in this storied institution. We discuss her latest solo show, I Made the Corn Rows: Portraits of Black Nebraskans, the podcast she created that accompanies it, the Black ID's podcast, and her feature in Pressing Matters magazine issue 18. Listen, subscribe, and share!Episode 139 topics include:starting MFA at Yalethe experience of graduate school/school for artnew solo show, I Made the Corn Rowsfeature in Pressing Matters magazineBlack IDs podcastthe intersections of diverse backgroundsresearch in Kat's art practicehow to approach a painting and printmakingKatharen Wiese (b. 1995, Lincoln, Nebraska) is an artist and a community arts organizer living and working in the historic Everett Neighborhood of Lincoln, NE. She holds a B.F.A. in Studio Art from The University of Nebraska at Lincoln (2018). Her work has been featured in group exhibitions across the state including the Museum of Nebraska Art (2021), Kiechel Fine Art (2020), Lux Center for the Arts (2020), Tugboat Gallery (2019), the Prairie Arts Center (2017), and many more. Her work is a part of the Nebraska History Museum collection and the Thomas P. Coleman print collection at the Sheldon Museum of Art. She was a 2018 nominee for the University of Nebraska Vreeland Howard Award and a four-time award winner of the Kimmel Harding Scholarship for Emerging Arts (2014-2018). Wiese has curated art shows across the state for the past four years with an emphasis on sharing the work of artists of color. Wiese views building an art historical cannon that decentralizes patriarchy and white supremacy as her central work as an artist-curator. Wiese's work analyzes the relationship between power and Blackness related to art history, colorism within media representation, and multiracial individuals. Wiese uses found materials and portraiture to make evident the relationship between identity formation and the material world.See More: www.katwiese.com + Katharen Wiese IG @katharen.wieseFollow us:StudioNoizePodcast.comIG: @studionoizepodcastJamaal Barber: @JBarberStudioSupport the podcast www.patreon.com/studionoizepodcast

Donald Sultan (b. 1951 Asheville, NC) is an artist who rose to prominence in the late 1970s as part of the “New Image” movement. Sultan has challenged the boundaries between painting and sculpture throughout his career. Using industrial materials such as roofing tar, aluminum, linoleum and enamel, Sultan layers, gouges, sands and constructs his paintings—sumptuous, richly textured compositions often made of the same materials as the rooms in which they are displayed. Intrigued by contrasts, he explores dichotomies of beauty and roughness, nature and artificiality, and realism and abstraction. Weighty and structured, Sultan's works are simultaneously abstract and representational: his imagery is immediately recognizable— flowers, daily objects, idle factories—but ultimately reduced to simple geometric and organic shapes. As Sultan says, “I try to pare down the images to their essence, and capture the fleeting aspect of reality by pitting the gesture against the geometric—the gesture being the fluidity of the human against the geometry of the object.”  Sultan's early experiences building theatre sets at school, working in his father's tire company in Asheville, and later in construction as a young artist in New York had a profound influence on his artistic development. These various lines of work led to an interest in industrial reproduction, heavy materials, and a practice of painting on floors and walls, à la Jackson Pollock. Sultan's works, constructed horizontally, denote a purposely flat quality that borrows the synthetic flatness of stage sets while also utilizing the monumental weightiness of industrial materials— which harkens back to Asheville's strong roots in manufacturing.  Interested in the artifice of nature as it is sold and packaged within a consumerist society, a major theme within Sultan's work is studying the representation of an object or idea—how a flower, a factory, or a fruit is consumed in the Zeitgeist of the twentieth and twenty-first centuries. In the 1980s, Sultan began depicting lemons in the style of traditional still lives. The blinding brightness of the yellow against the pitch black hue of the roofing tar he used as background make Sultan's interpretations of these fruits hard to look at, while deferring monumental dignity to the common household good. The contrast of these natural organic shapes against the industrial materials and grid format has led Sultan to describe these works as pieces with “heavy structure, holding fragile meaning.” Playing with the dichotomy of meaning and material, perception and reality, the Lemon works began Sultan's longstanding interest in depicting how an object is looked at, rather than the object itself.  His 1990s series on dominos and dice continue this reflection on the still life—the ultimate, slow, and concentrated gaze upon an object. A style entrenched in repetition and tradition, the repertoire of this style is ultimately limited, but the combinations endless. In his compositions of back dots and mathematically endless arrangements of dominoes, Sultan creates a visual metaphor for the limitations and possibilities of the still life tradition, and the liberties allowed within its set parameter.  The artist's heavy use of industrial materials in the late twentieth century naturally led to his famous series of “catastrophic” paintings in the 1980s and 1990s. These industrial landscapes, titled the Disaster Paintings, illustrate the fragility of robust man-made structures, such as industrial plants and train cars, when faced with catastrophic events. This series was exhibited across the United States in a traveling exhibition in 2016 through 2018. The exhibition originated at the Lowe Art Museum at University of Miami and then traveled to the Museum  of Modern Art, Fort Worth; Smithsonian American Art Museum, Washington, DC; North Carolina Museum of Art, Raleigh; and Sheldon Museum of Art, Lincoln.  In recent years,

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

The Haines Sheldon Museum will feature a new exhibit of Lingít miniatures, which will showcase not only the artistic works but also stories of Lingít people forced to adapt to the rapidly changing times of the late 19th and 20th centuries. KHNS' Corinne Smith reports. The new exhibit will feature a variety of Lingít miniatures, […] The post Haines Sheldon Museum to open Lingít miniature exhibit in March, showcasing art and history of resilience first appeared on KHNS Radio | KHNS FM.

On the Feb. 18 program join Shannon Claire, Genevieve Randall and guests for lively conversations about: The Sioux City Symphony Brass Quintet performance at Wayne State; the next production by the Nebraska Rep; the next concert by Lincoln's Symphony Orchestra; Rowe Sanctuary Great Backyard Bird Count 2022; Sheldon Museum of Art Spring Exhibitions; and a lecture series in Lincoln. Also, listen to some poetry by Wendy Hind and hear about an art exhibition in Omaha.

On the Feb. 18 program join Shannon Claire, Genevieve Randall and guests for lively conversations about: The Sioux City Symphony Brass Quintet performance at Wayne State; the next production by the Nebraska Rep; the next concert by Lincoln's Symphony Orchestra; Rowe Sanctuary Great Backyard Bird Count 2022; Sheldon Museum of Art Spring Exhibitions; and a lecture series in Lincoln. Also, listen to some poetry by Wendy Hind and hear about an art exhibition in Omaha.

Episode No. 524 of The Modern Art Notes Podcast features artists Odili Donald Odita and David Hartt. Odili Donald Odita is featured in "Point of Departure: Abstraction 1958-Present" at the Sheldon Museum of Art at the University of Nebraska. The exhibition is drawn from the Sheldon's excellent collection of two-dimensional abstraction and reveals how artists have used abstraction to advance ideas and ideologies from outside art's own history. Odita's abstract paintings marry color and composition to history, sociopolitical investigation and ideology. He has fulfilled major mural commissions for museums such as the Nasher Museum of Art at Duke University, the Philadelphia Museum of Art and the Virginia Museum of Fine Arts in Richmond. Recent exhibitions of his work have included the Laumeier and Jeske Sculpture Parks in Saint Louis and Ferguson, Missouri, the ICA Miami, the Sarasota Museum of Art, the Front International triennial in Cleveland, the Newark Museum of Art, and more. David Hartt is the subject of a Hammer Projects exhibition on view at the Hammer Museum through January 2, 2022. The show features Hartt's 2020 The Histories (Old Black Joe), two jacquard-woven tapestries and a quadraphonic soundtrack arranged by musician Van Dyke Parks. Hartt's work joins and interrogates three nineteenth-century figures : American painter Robert S. Duncanson, Trinidadian painter Michel-Jean Cazabon, and composer Stephen Foster, whose song “Old Black Joe” has endured as a dying slave's lament even though of Foster mostly wrote for blackface minstrel shows. The Hammer presentation was curated by Aram Moshayedi with Nicholas Barlow. Other Hartt museum projects have included "David Hartt: A Colored Garden," which just closed at The Glass House in New Canaan, Conn., and exhibitions at the Art Institute of Chicago, The Graham Foundation in Chicago, LAXArt in Los Angeles, the Henry Art Gallery in Seattle, and the Studio Museum in Harlem.

Episode No. 517 features author Tyler Green with curator and art historian Elizabeth Kornhauser; and artist Lisa Corinne Davis. Tyler Green is the author of "Emerson's Nature and the Artists," which features a new appraisal of Ralph Waldo Emerson's classic text, new research that reveals how it was informed by Emerson's engagement with American art, and critical analysis of how the ideas Emerson offered in "Nature" informed American art for 100 years after it was published. Green is (usually) the producer/host of The Modern Art Notes Podcast. Green is interviewed by Elizabeth Kornhauser, a curator in the American Wing at the Metropolitan Museum of Art. Along with Tim Barringer, Kornhauser curated "Thomas Cole's Journey: Atlantic Crossings" at New York's Metropolitan Museum of Art and London's National Gallery, which helped motivate his new book. Kornhauser's "Jules Tavernier and the Elem Pomo," which she co-curated with Shannon Vittoria, is on view now at the Met. She discussed it on Episode No. 515 of The MAN Podcast. "Emerson's Nature and the Artists" was published by Prestel. Indiebound and Amazon offer it for $25. For a personalized, signed copy, contact the author. On the second segment, Lisa Corinne Davis discusses her work on the occasion of "Point of Departure: Abstraction 1958–Present" at the Sheldon Museum of Art at the University of Nebraska. The exhibition, drawn primarily from the museum's collection, surveys two-dimensional abstraction and is on view through December 23. Davis' work is in the collection of museums such as the Museum of Modern Art, New York, the Philadelphia Museum of Art, and the Fine Arts Museums of San Francisco. Among her many awards are a National Endowment for the Arts Visual Artist Fellowship and a Louis Comfort Tiffany Foundation award.

On Aug. 13, join Genevieve Randall, William Padmore and guests for lively conversations about: Ben Nelson's new book "Death of the Senate;" Lonnie McFadden's performances as part of the Brownville Concert Series;" Beatrice Community Player's production of "Gage County, NE;" the Lied Center's Broadway Series; David Bristow's new book, “Nebraska History Moments;" and Sheldon Museum of Art's “The Nature of Waste: Material Pathways, Discarded Worlds.” Also, poetry by Lisa Beans and Kwakiutl Dreher reviews “The Meaning of Hitler."

On Aug. 13, join Genevieve Randall, William Padmore and guests for lively conversations about: Ben Nelson's new book "Death of the Senate;" Lonnie McFadden's performances as part of the Brownville Concert Series;" Beatrice Community Player's production of "Gage County, NE;" the Lied Center's Broadway Series; David Bristow's new book, “Nebraska History Moments;" and Sheldon Museum of Art's “The Nature of Waste: Material Pathways, Discarded Worlds.” Also, poetry by Lisa Beans and Kwakiutl Dreher reviews “The Meaning of Hitler."

Episode No. 493 features artist Buck Ellison and curator Lewis Tanner Moore. Buck Ellison is included in "Made in LA 2020: a vision," the fifth iteration of the Hammer Museum's biennial. The exhibition, curated by Myriam Ben Salah and Lauren Mackler with the Hammer’s Ikechukwu Onyewuenyi, opens to the general public on April 17 at both the Hammer and The Huntington Library, Art Museum and Gardens. Online and offsite projects by Larry Johnson and Kahlil Joseph, Ligia Lewis, and Justen LeRoy on view now. Ellison is a photographer whose work often engages the social codes (and excesses) of whiteness. "Living Trust," his first monograph, investigates the presentation of white privilege, often through staged and performed pictures. It won the 2020 Paris Photo-Aperture First Photobook of the Year Award. Five Made in L.A. 2020 artists have been featured on The MAN Podcast: Monica Majoli and Mario Ayala; Jill Mulleady and Umar Rashid; and Jacqueline Kiyomi Gork. On the second segment, Lewis Tanner Moore discusses painter Louis Sloan, whose work is on view in "Barriers and Disparities: Housing in America" at the Sheldon Museum of Art. Sloan had a long, celebrated career as a painter, teacher and conservator in Philadelphia. Moore curated a survey of Sloan's work at the Pennsylvania Academy of Fine Arts in 2008.

Studio Noize welcomes Katharen Wiese to the fam! Kat is a young, super talented artist working in Lincoln, Nebraska. Her art deals with issues of multicultural identity and representation. She is a phenomenal painter and printmaker. Kat and Jamaal talk about her life experience being multiracial and growing up in predominantly white spaces. The conversation is reflected in her amazing artwork. We talk about the ways people identify, the sometimes problematic world of academia, and how black artists make their way. Kat is very thoughtful and insightful about her experience. It's another great artist that you need to know.Katharen Wiese is an artist, curator, and community arts organizer living and working in the historic Everett Neighborhood of Lincoln, NE. She holds a B.F.A. in Studio Art from The University of Nebraska at Lincoln (2018). Her work has been featured in group exhibitions across the state including Kiechel Fine Art (2020), Lux Center for the Arts (2020), Tugboat Gallery (2019), the Prairie Arts Center (2017), and many more. Her work is a part of the Thomas P. Coleman print collection at the Sheldon Museum of Art. She was a 2018 nominee for the University of Nebraska Vreeland Howard Award and a four-time award winner of the Kimmel Harding Scholarship for Emerging Arts (2014-2018). Wiese has curated art shows across the state for the past four years with an emphasis on sharing the work of artists of color.See more: www.katwiese.com + @katharen.wieseThe Studio Noize question of the week is:What experimental work are you hiding in the studio?Let us know your answers on IG @studionoziepodcast or by email at studionoizepodcast@gmail.comFollow us:StudioNoizePodcast.comIG: @studionoizepodcastJamaal Barber: @JBarberStudioSupport the podcast https://www.patreon.com/studionoizepodcast

This week, Erin Hanas, Sheldon Museum of Art's curator of academic engagement, tells us what’s happening at Sheldon.

Philemona Williamson is a narrative painter who has shown widely in the United States and abroad. Her work explores the tenuous bridge between adolescence and adulthood, encapsulating the intersection of innocence and experience at its most piercing and poignant moment. The lush color palette and dreamlike positioning of the figures ensures that their vulnerability - of age, of race, of sexual identity - is seen as strength and not as weakness. “My figures navigate a world of uncertainty as they search for understanding—both internally and in ever-shifting environments. I see the figures as vehicles to explore the existence of the most vulnerable adolescents, those evolving people of color, grappling with what will define and identify them. My paintings give voice and space to invisibility.” Williamson has exhibited her work for over 25 years at the June Kelly Gallery in NYC and recently, at her mid-career retrospective at the Montclair Art Museum in NJ. She is the recipient of numerous awards and residencies including the Joan Mitchell Foundation, Pollock Krasner, National Endowment For The Arts, New York Foundation For The Arts and Millay Colony as well as serving on the advisory board of the Getty Center for Education. Her work has been shown in many solo and group exhibitions such as The Queens Museum of Art, Wisconsin's Kohler Art Center, The Sheldon Museum in Nebraska, The Bass Museum in Miami, The Mint Museum in North Carolina, The Forum of Contemporary Art in St. Louis, The International Bienal of Painting in Cuenca, Ecuador and most recently at the Anna Zorina Gallery in NYC. She is represented in numerous private and public collections, including The Montclair Art Museum; The Kalamazoo Art Institute; The Mint Museum of Art; Smith College Museum of Art; Hampton University Museum; Sheldon Art Museum; Mott-Warsh Art Collection, and AT&T. Her public works includes fusedglass murals created for the MTA Arts in Transit Program at the Livonia Avenue Subway Station in Brooklyn, a poster for the MTA Poetry In Motion and — for the NYC School Authority — a mosaic mural in the Glenwood Campus School. She currently teaches painting at Pratt Institute and Hunter College in NYC. For Philemona’s latest project, she created a series of paintings for the children’s book Lubaya’s Quiet Roar, just out from Penguin Random House. "The Gathering" 48" x 60 ” oil on canvas 2019 "Here I Hold Becoming” 48” x 60” oil on canvas 2020

Episode No. 471 features artist Radcliffe Bailey. Bailey is included in "Person of Interest" at Sheldon Museum of Art at the University of Nebraska, Lincoln. The exhibition explores portraiture from the late nineteenth century to the present in ways that test the definition of the genre. It was curated by Melissa Yuen and will be on view through July 3, 2021. Bailey's paintings, sculptures, and installations explores themes such as history, migration, and the relationship between geography and ancestry. He has had solo exhibitions at institutions such as the Aldrich in Ridgefield, Conn., the Birmingham Museum of Art, the Blaffer Gallery at the University of Houston, the New Britain Museum of American Art, the Clark Atlanta University Art Galleries, the Toledo Museum of Art, the High Museum of Art, and plenty more. The episode was recorded for a live digital audience on Nov. 5.

In this episode, Mark finishes his talk with friend and artist Ronnie Landfield.

Studio Noize welcomes Katharen Wiese to the fam! Kat is a young, super talented artist working in Lincoln, Nebraska. Her art deals with issues of multicultural identity and representation. She is a phenomenal painter and printmaker. Kat and Jamaal talk about her life experience being multiracial and growing up in predominantly white spaces. The conversation is reflected in her amazing artwork. We talk about the ways people identify, the sometimes problematic world of academia, and how black artists make their way. Kat is very thoughtful and insightful about her experience. It’s another great artist that you need to know.Katharen Wiese is an artist, curator and a community arts organizer living and working in the historic Everett Neighborhood of Lincoln, NE. She holds a B.F.A. in Studio Art from The University of Nebraska at Lincoln (2018). Her work has been featured in group exhibitions across the state including Kiechel Fine Art (2020), Lux Center for the Arts (2020), Tugboat Gallery (2019), the Prairie Arts Center (2017), and many more. Her work is a part of the Thomas P. Coleman print collection at the Sheldon Museum of Art. She was a 2018 nominee for the University of Nebraska Vreeland Howard Award and a four time award winner of the Kimmel Harding Scholarship for Emerging Arts (2014-2018). Wiese has curated art shows across the state for the past four years with emphasis on sharing the work of artists of color.See more: www.katwiese.com + @katharen.wieseRead the Studio Noize Artist FeatureEpisode TranscriptThe Studio Noize question of the week is:What experimental work are you hiding in the studio?Let us know your answers on IG @studionoziepodcast or by email at studionoizepodcast@gmail.comFollow us:StudioNoizePodcast.comJamaal Barber: @JBarberStudioJasmine Nicole: @Negress.SupremeCheck out our sponsor National Black Arts at nbaf.org/

Episode No. 451 features art historian Kathleen Pyne and curator Melissa Yuen. Pyne is the author of "Anne Brigman: The Photographer of Enchantment," which was published by Yale University Press. "Brigman" details Brigman's life and work, with a special emphasis on her pictorialist successes of the early twentieth century. Pyne is professor emerita of art history at the University of Notre Dame. Amazon offers "Brigman" for $53. On the second segment, Sheldon Museum of Art curator Melissa Yuen details recent Sheldon acquisition of works by Analia Saban, Rackstraw Downes, Stanley Whitney and Carlos Almoraz.

On the April 3rd Friday LIVE, host Genevieve Randall and guests had lively conversations about: Governor's Arts Award winner Linda Garcia-Perez (6:19); Susan Werner's webcast performance at the Lied Center (17:53); "Modern Art Notes Podcast" that talks about a collection at the Sheldon Museum of Art...

Episode four features Nigerian American artist Ike Ude. He is a photographer, a performance artist and author of several books and founder and publisher of aRude magazine. In 2017 Ike spoke during a Global Ted Talk in Tanzania to discuss his book ‘Nollywood Portraits: A Radical Beauty a stunning publication depicting major Nigerian’s in the media. His work is in the permanent collections of the Guggenheim Museum, the Smithsonian Museum of Art, The Museum of Fine Arts Houston, Sheldon Museum, RISD Museum, New Britain Museum of American Art, Minneapolis Institute of Arts and in many private collections. Artsy, ranked Ike -- along with Rembrandt, van Gogh, Warhol -- among the top 10 "Masters of the Self-Portrait." He was included on the Vanity Fair’s International Best Dressed List in 2009, 2012 and 2015. Commenced during Art Basel Miami 2019, Ike has a one year exhibition at The Betsy Hotel on Ocean Drive. This interview offers listeners a rare peek into Ike Ude’s intellect.

Each Tuesday in June will feature jazz and lots more outside UNL's Sheldon Museum of Art.

Each Tuesday in June will feature jazz and lots more outside UNL's Sheldon Museum of Art.

Sheldon Museum of Art, on the University of Nebraska campus, is featuring four exhibits throughout this year's spring semester.

Sheldon Museum of Art, on the University of Nebraska campus, is featuring four exhibits throughout this year's spring semester.

The Sheldon Museum of Art has unveiled four new exhibits.

The Sheldon Museum of Art has unveiled four new exhibits.

Sheldon Museum of Art will hold its Family Day this coming Sunday afternoon, July 15. Free, with activities geared toward children k-5th grade, with prizes offered for some.

Sheldon Museum of Art will hold its Family Day this coming Sunday afternoon, July 15. Free, with activities geared toward children k-5th grade, with prizes offered for some.

Sheldon Museum of Art will hold its Family Day this coming Sunday afternoon, July 15. Free, with activities geared toward children k-5th grade, with prizes offered for some.

On today's episode I talk to artist Ian Davis. Born in Indianapolis in 1972, Ian now lives in Los Angeles, after a long stint in New York. He has participated in exhibitions at museums and galleries throughout the U.S. including a solo exhibition in 2010 at the Kemper Museum of Contemporary Art in Kansas City. Ian's works are in the collections of the Nerman Museum of Contemporary Art in Overland Park, Kansas; the Kemper Museum of Contemporary Art in Kansas City, Missouri; the Sheldon Museum of Art in Lincoln, Nebraska; the Saatchi Gallery in London, and many distinguished private collections in the U.S. and Europe.  This is the website for Beginnings, subscribe on Apple Podcasts, follow me on Twitter.

Why does painting matter? We discuss: La la Land, New Sincerity, Edvard Munch, The Scream, Impressionism, and the art of children. Join us for a great conversation with our friend Dr. Dan Siedell. Our guest is Director of Whale & Star, the Miami-based studio of artist Enrique Martínez Celaya, where he oversees research and development. He is visiting professor at Knox Theological Seminary and Kings College, NY. Previously, he taught modern and contemporary art history, theory, and criticism at the University of Nebraska-Omaha. He was also Chief Curator of the Sheldon Museum of Art at the University of Nebraska-Lincoln for eleven years.   He holds a Ph.D. in Modern and Contemporary Art History, Theory, and Criticism. University of Iowa (1995), and an M.A. inArt History, Theory, and Criticism. SUNY Stony Brook (1991). He's the author of God in the Gallery: A Christian Embrace of Modern Art (Baker Academic, 2008) and Who's Afraid of Modern Art?: Essays on Modern Art and Theology in Conversation (Cascade, 2015). virtueinthewasteland.com 1517legacy.com  

Catherine Edelman discusses the role of a museum director, the overlap and differences between a museum curator and director and politics of the business with Wally Mason, Director and Chief Curator at the Sheldon Museum of Art.