Podcast appearances and mentions of Shepard Fairey

Slaptown, a unique art showcase celebrating sticker and street art culture, is set to take place in Indianapolis from June 6 to August 1.Hosted at Upland Brewing Co. in the Fountain Square neighborhood, the event will feature works from renowned artists such as Shepard Fairey and a live exhibit by Noah Scalin.The opening weekend of Slaptown promises a full schedule of activities, including a Sticker Mix listening party with Side Street Ked of Dungeon Family, a Sitker Movie screening, and an artist panel featuring international artists.Noah Scalin, known for his Skull-A-Day project, will create his largest sticker collage live during the event, offering attendees a unique opportunity to witness the creative process.In addition to the art exhibits, visitors can explore the Artist Market, which will offer limited-edition merchandise, original art, and stickers.Local organizations such as Upland Brewing Co., Hey Now Pizza, and 31SVN Dance Academy are supporting the event, contributing to its vibrant cultural experience.Slaptown offers a vibrant cultural experience, inviting the public to engage with sticker and street art culture in Indianapolis this summer.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Phil Brody, better known as the globally recognized street artist WRDSMTH, joins host Tyler Ramsey for a powerful, funny, and deeply honest conversation. From heartbreak and creative inspiration to turf wars and typewriters, this episode explores the pain—and purpose—behind public art.#WRDSMTH #StreetArt #PhilBrody #PainfulLessonsPodcast #Inspiration #PublicArt #CreativeJourney #TypewriterArt #LosAngelesArt #FollowYourPassion00:00 – Singing intro (foreign language)00:20 – Meet your host: Tyler Ramsey opens the show01:41 – Introducing WRDSMTH: The origin of the name03:37 – WRDSMTH on going from hobbyist to full-time street artist05:53 – How a school mural campaign sparked collaboration06:42 – Artistic insecurity and perceived fame08:53 – Bringing art to schools and inspiring students10:12 – Childhood memories and museum inspiration11:24 – The evolution of the iconic typewriter stencil13:13 – Street art techniques: stencils, wheatpaste, and speed15:57 – The mindset shift from illegal to beautifying17:34 – Turf wars: graffiti territorialism and unspoken rules19:28 – Painting over Risk Rock: artist ethics and regret21:00 – Positive feedback from RETNA and LA Weekly feature22:08 – LA, NYC, Paris: WRDSMTH's international footprint24:53 – Sticking to one style vs creative hopping26:54 – Artists who resent their “thing” and need to evolve29:50 – Ghost murals: making new work look aged and timeless31:22 – Wall texture, sticker layers, and urban decay aesthetics33:53 – WRDSMTH's novel: The Holden Age of Hollywood36:44 – Balancing longform writing with public art38:49 – Losing a muse: heartbreak behind the murals41:13 – Turning heartbreak into art the world could feel43:44 – Vulnerability and audience connection through pain46:13 – “Painting her away” – art as therapy48:31 – The private pain behind a public persona50:39 – Being a romantic artist in a cynical world53:00 – Street art, recovery, and the beauty of resilience56:24 – The muse didn't hear the words—but the world did58:13 – Shepard Fairey said, “You get up a lot.”01:01:06 – Alec Monopoly and the dangers of artist ego01:04:19 – Rejection, misunderstanding, and full-circle moments01:07:00 – Staying prolific without losing your soul01:09:00 – Final thoughts: heartbreak, humor, and healing01:11:00 – WRDSMTH's website, merch, and social links

Mesa Arts Center has a new mural from an artist who was at the center of a recent controversy there. Now Shepard Fairey says he has changed his approach to activism. Plus, a social history of Jell-O.

Creative Collaborations & March Madness MusingsIn this lively episode, our hosts dive into the intricacies of creative processes, from automatic drawing to collaborative mural art. They share insights on inspiration from graphic novels and famous artists like Shepard Fairey and Sandra Chevalier. Meanwhile, they also provide some humor and reflection on their March Madness brackets. Despite some technical hiccups, the episode is packed with rich conversations on art, architecture, and a bit of sports banter.00:00 Introduction and Inside Jokes00:21 Navigating the Coffee Sketch Podcast Merch02:29 Live Streaming and Podcasting Routine03:56 Upcoming AIA Conference Meetup05:38 Coffee Talk and Local Roasters08:27 Easter Treats and Weather Chat10:59 March Madness Bracket Woes11:26 Subreddit Sports Segue11:42 March Madness Bracket Challenge13:13 Bracket Results and Reflections16:49 Transition to Sketch Discussion17:17 Jamie's Latest Sketches18:15 Influences and Inspirations23:50 Shepherd Fairey and Collaborative Murals30:51 Conclusion and Technical DifficultiesSend Feedback :) Support the showBuy some Coffee! Support the Show!https://ko-fi.com/coffeesketchpodcast/shop Our Links Follow Jamie on Instagram - https://www.instagram.com/falloutstudio/ Follow Kurt on Instagram - https://www.instagram.com/kurtneiswender/ Kurt's Practice - https://www.instagram.com/urbancolabarchitecture/ Coffee Sketch on Twitter - https://twitter.com/coffeesketch Jamie on Twitter - https://twitter.com/falloutstudio Kurt on Twitter - https://twitter.com/kurtneiswender

Kevin Morra, co-founder of Power to the Patients, speaks with MM+M's Jack O'Brien about how the advocacy group rallies A-list artists - from Fat Joe to the Foo Fighters and Shepard Fairey - to the cause of healthcare price transparency, and why Trump's executive order could boost those efforts.Music by Sixième Son Check us out at: mmm-online.com Follow us: YouTube: @MMM-onlineTikTok: @MMMnewsInstagram: @MMMnewsonlineTwitter/X: @MMMnewsLinkedIn: MM+M To read more of the most timely, balanced and original reporting in medical marketing, subscribe here.

Our guest this week is an Industry Veteran that made a huge impact in Surf, Skate, and Streetwear culture with Obey, Loser Machine, and Dark Seas. Kicking off his career in the early 90's with his first two brands “Flash” and “Square One”, he always had the dream to create a Multi In-House Brand Entity! It just so happens to have Shepard Fairey artwork showed up at his buddy's screen printing company and he quickly set up a meeting with Shepard, negotiated a deal, and Obey Clothing was born. He was later approached around 2011 by Loser Machine and Dark Seas which they also brought in-house and helped build those Brands to what they are today! We welcome the talented and business guru to the show, Mr. Chris “C-BRO “ Broders! See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In this episode Platemark, I talk with Leslie Diuguid, owner and founder of Do-Good Press in Bed-Stuy, Brooklyn. Leslie shares her journey as a screenprinter and discusses the intricacies of screenprinting, including processes, challenges, and the nuances of halftone and moiré patterns. We talk about how much math comes into the enterprise, especially about the relationship of mesh counts of screens and the frequency modulation of dot patterns. We explore Leslie's deep connection with her community, her unique approach to remembering names by sketching neighborhood visitors, and her experiences moving from a bedroom workshop to a storefront space. Leslie also details various projects, such as printing on glass, working with unique materials, and producing one-off prints in collaboration with artists like Selena Kimball and Rose Salane. We touch on the importance of sharing knowledge, community engagement, and the future of printmaking. This enriching conversation highlights Leslie's passion for her craft and her innovative contributions to the printmaking world. https://du-goodpress.com/ IG @dugoodpress IG @little_mouse_diuguid Article in Bomb Magazine about Selena Kimball: https://bombmagazine.org/articles/2023/09/20/selena-kimball-interviewed/ Leslie's Omaha show: https://www.u-ca.org/exhibition/meet-me-at-the-fence-ok-bye Nyssa Chow information: https://www.tellinghistories.com/trace Du-Good Press published Simon Benjamin's Crown and Anchor, which was acquired by the Perez Art Museum: https://www.instagram.com/p/DDNPhswRslT/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA%3D%3D Platemark website Sign-up for Platemark emails Leave a 5-star review Support the show Get your Platemark merch Check out Platemark on Instagram Join our Platemark group on Facebook Leslie Diuguid priming canvas with open mesh at Du-Good Press, Brooklyn, NY. One-off set up for artist Simon Benjamin at Du-Good Press, Brooklyn, NY. Shepard Fairey. Tribal Anniversary, 2024. Screenprint. 24 x 18 in. Signari Gallery, Temecula, CA. Selena Kimball standing on screenprinting table getting ready to work with Andrea “Nina” Knoll in the background. Selena Kimball inspecting work in progress. Andrea “Nina” Knoll pouring ink as Selena Kimball holds the squeegee and prepares to print. Selena Kimball with Leslie Diuguid pointing out details in Selena's work in progress. Installation shot of Leslie Diuguid's exhibition, Meet me at the fence ok bye. February 10–April 13, 2024. The Union for Contemporary Art, Omaha. Courtesy of the Artist. Leslie Diuguid (American, born 1986). Eduardo, Chanel, and Jessica, 2024. Screenprints on canvas (12 x 12 in. each) installed in Leslie Diuguid's exhibition, Meet me at the fence ok bye. February 10–April 13, 2024. The Union for Contemporary Art, Omaha. Courtesy of the Artist. Installation shot of Leslie Diuguid's exhibition, Meet me at the fence ok bye. February 10–April 13, 2024. The Union for Contemporary Art, Omaha. Courtesy of the Artist. Leslie Diuguid (American, born 1986). 12,528, 2024. Screenprint on canvas. 30 x 40 in. Courtesy of the Artist. Installation shot of Leslie Diuguid's exhibition, Meet me at the fence ok bye. February 10–April 13, 2024. The Union for Contemporary Art, Omaha. Courtesy of the Artist. Leslie Diuguid (American, born 1986). These Are Leslie's Hands, 2024. Screenprint on canvas. 30 x 40 in. Courtesy of the Artist. Leslie Diuguid (American, born 1986). Screamie, 2024. Screenprint. 30 x 40 in. Courtesy of the Artist. Leslie Diuguid (American, born 1986). Emily, 2024. Screenprint. 30 x 40 in. Courtesy of the Artist. Leslie Diuguid (American, born 1986). 942-0733, 2024. Screenprint. 30 x 40 in. Courtesy of the Artist. Rose Salane. 64,000 Attempts at Circulation, 2022. Five screenprints, counterfeit metal coins, and steel tables. Overall: 106 13/16 × 232 × 131 in. Whitney Museum of American Art, New York. Tiona Nekkia McClodden. Black Insanity on the Ledge of a Death Star, 2022. 2-color screenprint. 18 x 24 in. Printed by Du-Good Press; published by 52 Walker. Alake Schilling (American, born 1993). Spotty Dotty Dog House, 2023. Color screenprint. 16 x 16 in. Published by Printed Matter; printed by Du-Good Press, Brooklyn.  Printed Matter Char Jeré. The Periodic Table of Black Revolutionaries, 2021. 10-color screenprint. 18 x 24 in. Printed and published by Du-Good Press, Brooklyn. Kai Jenrette (American, born 2001). I'm Perfect Life's Perfect I Love Being Me, 2024. 2-color screenprinted zine. Unfolded: 16 x 20 in. Printed and published by Du-Good Press, Brooklyn.  

On this episode, Marc talks with Jim Saah, author and illustrator of “In My Eyes: Photographs 1982-1987,” originally published in 2021 and out in a second edition now. It's a huge, beautiful book of black and white photographs taken by Saah of an astounding array of punk and post-punk groups, from the Ramones to Black Flag to Fugazi to Pavement. It also includes Saah's interviews with artists who work at the cross sections of music and imagery, including J. Robbins, Jon Langford, Shepard Fairey, and Ian MacKaye.As Jim writes, “I went through thousands of negatives to choose the hundreds of photos in this book. It was a joy to revisit all these images and remember how I felt and why I took them in the first place. I took these photos because I had to.”We hope you enjoy Marc's conversation with Jim Saah!

Welcome back to Print Market News, your weekly roundup of everything happening in the print world - fast and focused!   In this episode, we dive deep into the latest trends and highlights from the global prints market. As spotlighted by journalists and industry experts, the high-volume, lower-value segment is drawing fresh eyes with innovative trends in online marketplaces and unique artist collaborations. We examine how Keith Haring's legendary Subway Drawings are preparing to make headlines at Sotheby's, why public art displays from Yayoi Kusama and Shepard Fairey are sparking global attention, and what recent collaborations from KAWS and Andy Warhol mean for art collectors. Join us as we explore key movements, auctions, and collaborations defining the week in print art.

On Election Day, we go two steps FORWARD by taking one small step back to our 2022 conversation with artist/activist Shepard Fairey who designed both the iconic Obama “Hope” poster and Kamala Harris' “Forward” poster. Shepard gets Frank with us about why he almost added an asterisk to an Ozzy Osbourne tour poster; the outrage he felt as a boy when the Village People's “YMCA” fell off the top of the charts; and the reason “Diabetic” is his only tattoo. Join Shepard's flock @obeygiant and https://obeygiant.com -------------------------------------------------- ***http://distrokid.com/vip/tmep*** Get your original songs into Spotify, Apple, Amazon, Tidal, TikTok, YouTube, and more with DISTROKID. It couldn't be easier. You deserve VIP treatment. Get 30% OFF your first year subscription to DISTROKID at this special link. ***http://distrokid.com/vip/tmep*** -------------------------------------------------- Get in touch with Too Much Effing Perspective Contact us: hello@tmepshow.com Website: https://tmepshow.com Social: @tmepshow Learn more about your ad choices. Visit megaphone.fm/adchoices

Shepard Fairey is not just an artist; he's a cultural force, a visual historian, and an unyielding advocate for social justice. Best known for his iconic "OBEY" campaign and the "Hope" poster that became synonymous with Barack Obama's 2008 presidential campaign, Fairey's work transcends the boundaries of traditional art. It occupies the intersection of pop culture, politics, and activism, challenging viewers to think critically about the world around them. In this exclusive interview, Shepard delves into his creative process, the role of art in preserving democracy, and how his deeply-held values shape every piece he creates. He also shares personal insights into his life, including the pivotal moments that have influenced his evolution as an artist and an advocate. As the world continues to grapple with social, political, and environmental challenges, Shepard Fairey remains a powerful voice for change, using his art as both a mirror and a catalyst for the better future we all strive for. This feature is published in 'The Forward Edition' of AwareNow Magazine: awarenowmagazine.com Featuring: Shepard Fairey In Conversation with: Laura Sharpe Filmed by: Adam Evans (CONCRETE) & Adam Bice (Bice Creative) Edited By: Allié McGuire Music by: Thavius Beck Produced by: AwareNow Media, Eddie Donaldson & Laura Sharpe --- Support this podcast: https://podcasters.spotify.com/pod/show/awarenow/support

Episode: 3075 Thucydides, Democracy, and Hope.  Today, the problem of hope.

Toute la semaine, Aujourd'hui l'économie vous plonge dans le monde de l'art. Comment rémunérer au mieux les artistes   Comment diffuser leurs œuvres au plus grand nombre ? Dans ce troisième épisode, RFI vous parle de ceux qui ont décidé de se tourner vers la location d'œuvres d'art pour mieux se faire connaitre et toucher un autre public que celui des galeries. Longtemps réservé aux entreprises, ce procédé s'étend aux particuliers, pour des sommes modiques. Dans le nord de la France, Nicolas Auboiroux, un collectionneur passionné de street art, a décidé de lancer sa propre plateforme de location, street art home, qui attire aujourd'hui entre 200 adhérents, soit environ 50 familles.En 2018, ce directeur financier, boulimique d'art urbain, a décidé d'ouvrir sa collection aux particuliers, car il n'avait plus de place chez lui pour exposer ses acquisitions. Moyennant une contribution modeste de 49 euros par an, ses adhérents peuvent avoir accès à une centaine d'œuvres d'une trentaine d'artistes différents, dont certains sont de renommée internationale, tels que l'américain Jonone, Shepard Fairey, Jef Aerosol, Banksy, M Chat ou encore Aket, un artiste néocubiste étonnant.Un tremplin pour les artistesLe principe étant que les œuvres tournent chez les uns et les autres trois à quatre fois par an : « Le deal avec les artistes qui rentrent dans l'artothèque, c'est que le prêt soit fait à titre gratuit – sauf pour les œuvres les plus chères, moyennant une caution – en échange d'une visibilité plus grande pour leurs œuvres, explique Nicolas Auboiroux, et si une vente se fait au final, cela devient encore plus intéressant ». À lire aussiFinancement de l'art - Le musée Zeitz MOCAA du Cap en quête de viabilité économiqueL'idée derrière ce projet est de pouvoir partager sa passion et faire découvrir de nouveaux artistes. Pour M.Koeur, un artiste local phare de la collection, les choses ont vraiment commencé à décoller après sa rencontre avec le collectionneur : « J'ai débuté en peignant sur les murs, et le fait que mes œuvres se retrouvent dans la maison des gens, cela a été une grande surprise, car cela veut vraiment dire qu'ils aiment énormément ce que je fais ».   « Découvrir de nouvelles œuvres »Christelle fait elle partie du projet depuis le début, elle ne tarit pas d'éloges sur le fait de pouvoir avoir accès à des œuvres dont elle n'aurait pas pu faire l'acquisition : « C'est la possibilité de découvrir de nouvelles œuvres et de vivre avec l'artiste pendant les trois à quatre mois de présence de sa création chez soi ».Street Art Home n'est pour le moment disponible que pour la métropole Lilloise, mais d'autres artothèques existent un peu partout en France. Nicolas Auboiroux souhaiterait aussi accompagner les personnes qui souhaitent reproduire le concept ailleurs.À lire aussiFinancement de l'art - Quel modèle économique pour la biennale de Dakar?

Kamala Harris' Economic Speach that would make Lenin proud. Trump speech in Wilkes Barre, PA. Ukrainian Offensive In Kursk Region. Businesses boarded up due to the possibility of violent protests during the DNC in Chicago. Today on the Marketplace: Scare your Chickens into compliance! Protests begin in Chicago. WNBA All-Star Game Coming To Indy. Indianapolis Employees Have To Go To Mandated Sexual Harassment Training Because Of Hogsett and his Creepy Cook. Democrats are offering free vasectomies and free abortions. Kamala's Word Salads. Tony planning live show. Awkward conversations that couples have regarding having children. Shepard Fairey, the contemporary American artist who created the iconic Obama HOPE poster in 2008, has shown up for Kamala with FORWARD. Jennifer McCormick's comments regarding school choice. Did the Caitlin Effect bring the WNBA All-Star game to Indy. Kamala has momentum? Politico: Democrats arrive in Chicago as a party lacking drama. Who are they kidding?  See omnystudio.com/listener for privacy information.

WNBA All-Star Game Coming To Indy. Indianapolis Employees Have To Go To Mandated Sexual Harassment Training Because Of Hogsett and his Creepy Cook  Democrats are offering free vasectomies and free abortions. Kamala's Word Salads. Tony planning on having a live show. Awkward discussions between couples regarding children. Shepard Fairey, the contemporary American artist who created the iconic Obama HOPE poster in 2008, has shown up for Kamala with FORWARD See omnystudio.com/listener for privacy information.

WATER BROTHER: THE SID ABBRUZZI STORY follows the life of surf and skate core legend and cultural icon Sid Abbruzzi, and his commitment to protecting the sports' history and culture. Through a mix of never-before-seen archival film, large format cinematic footage, and personal interviews from culture giants like Tony Hawk, Shepard Fairey, Selema Masekela and more; we are taken on a journey through surfing and skating history - from 1960s Newport to Santa Cruz, Cocoa Beach, South Africa's Jeffrey's Bay, and beyond. As Sid approaches the age of 72, the film captures the final days of his famous Water Brothers Surf & Skate shop as it is set to be demolished and the impact it had on the surf and skate community. WATER BROTHER emphasizes the importance of memory, personal history, and living in the moment, reminding us to cherish our past and preserve cultural heritage. The film is a poignant reflection on a life well-lived and a heartfelt tribute to the enduring spirit of surf culture. It celebrates the individuals and places that transcend surfing and skating from mere hobbies, showing how one man's dedication can inspire an entire community. Co-directors Charles Kinnane & Daniel Kinnane join us to talk about the impact that Sid, his family and Water Brothers Surf & Skate shop has had on them, what was it about the surf and skate lifestyle that inspired them to pick up a camera and tell this story, and the love for Sid that permeates Water Brother: The Sid Abruzzi Story. For more go to: waterbrotherfilm.com

Mike Giant in conversation with Dalek at Mike's studio in San Diego, California on June 21, 2024. Topics discussed include: Tyke, pickup basketball games, Hurley (2009-2015), Mark Parker, Roger Gastman, Black Dot, fashion world, Spacemonkey racing yacht, apartment mural, Cycle, dominatrix girlfriend, sex in SF in the 1990s, unintentional harm, painting freights at night in Chicago, closing out bars, interaction with Chicago PD, etiquette with cops, backing away from a sketchy girl, exhilaration of release, picking up Semz and Nekst from jail, referrals from fellow graffiti writers, writing to T-Dee, meeting Kaws (1995), car stolen in Queens, The Limelight club, Leeway, Sume, flow among creatives in NYC, Alphabet City, squatters, Sidewalk Cafe, Z Bar, East Side Inc, 111 Minna Gallery, Move shows by Rich Jacobs, Chouinard, location flexibility, disinterest in public school, DODDS, 16 years old in Japan (1984), 6'6” white hair, sexual standards, 1982 World Cup trip to Spain, teenage drinking and topless beaches in Europe, Iron Maiden “Number of the Beast” Tour, engaging with a new culture, Japanese cartoons, food mascots, Naval Academy in Maryland, family roots in Annapolis, new wave/punk, MTV, Oceans Two record store, confrontational attitude to punks, trip to Ocean City, meeting skaters, acting out, sleeping on floors, Espo arriving in a limo, lack of compassion/discussion from parents, parenting, honest conversation with children, self discovery through trials, processing childhood trauma as an adult, pressure of life clouding clarity of mind, Let It Go meditation to help sleep, medication, blood disorder, masking vs fixing, chaos bringers, Old Souls, difference in how sons first responded, Shannon's past lives, realizations on road trips, people watching, investigating emotions, discovering new places, memory recollection, casing neighborhoods before writing graffiti, mind mapping, Web3, global anonymous community, Tunny and Joe, importance of meeting in-person, Art Basel, Buffmonster, Bobby Tribal, Nate Lyons and Kris Markovich, Jay Strickland, Duffs team manager, Shepard Fairey, mailing canvases to artist friends, making connections, pulling off life as an artist, the blessing of support and the impact of murals.

This week Miranda speaks with Shepard Fairey. Shepard is an internationally renowned artist known for his iconic graphic works, which combine aesthetics with politics in endlessly innovative ways. They talk about how the medium of printmaking affected his artistic development, his conscious effort to use his platform to disseminate accurate information, what happens when you put up an Andre The Giant mural across the road from the licensing office that handles his estate, and much more. Shepard Fairey Website https://obeygiant.com/ Shepard Fairey Instagram https://www.instagram.com/obeygiant YOUTUBE www.youtube.com/channel/UCOMIT3guY5PjHj1M7GApouw MERCH www.teepublic.com/user/helloprintfriend WEBSITE www.helloprintfriend.com Instagram www.instagram.com/helloprintfriend ✨patreon✨ www.patreon.com/helloprintfriend SPONSORS Speedball www.speedballart.com SRISA https://srisa.org/ Legion Paper www.legionpaper.com/

Shepard Fairey was drawn to making art since he was young. A curious mind, a strong work ethic, an inspired creative spirit, a growing compassion for the situations of others, and a deepening understanding of the intricacies of how our world works (and yes, more than a touch of a 'rebel spirit' nurtured by skateboard culture and punk rock) has shaped the work of that young artist into some of the most powerful, most well known, and most consequential art of our time.  Art that matters! Do you know his work? Yes, absolutely you do, although you may not know it, because for Fairey - pronounced as you would the "tooth-_____" (no relation) - the goal has never been acclaim or notoriety. His effort always leans - and more often, strides - toward problem solving, commentary, action, and urging, more often pushing us to think and care about others, to care about democracy, and justice, to care about the growing privilege of some often at the expense of others. Is there more to say?  Yes, of course! Here's what Wikipedia begins with "Frank Shepard Fairey (born February 15, 1970) is an American contemporary artist, activist and founder of OBEY Clothing who emerged from the skateboarding scene. In 1989 he designed the "Andre the Giant Has a Posse" (...OBEY...) sticker campaign while attending the Rhode Island School of Design (RISD).""Fairey designed the Barack Obama "Hope" poster for the 2008 U.S. presidential campaign. The Institute of Contemporary Art, Boston, has described him as one of the best known and most influential street artists. His work is included in the collections at The Smithsonian; the Los Angeles County Museum of Art; the Museum of Modern Art in New York City; the Museum of Contemporary Art San Diego; the National Portrait Gallery in Washington, D.C.; the Virginia Museum of Fine Arts in Richmond; and the Victoria and Albert Museum in London."But that barely scratches the surface.I had a wonderful conversation with Shepard. I hope you enjoy it as much as I did.https://obeygiant.com/https://obeyclothing.com/

This year marks 5 years since our maiden episode with Richard Shotton in February 2018. To celebrate Call to Action® turning 5, we asked the …Gasp! team to rummage through all 130 episodes for us to re-release some of their favourites.  Back in January 2020, we kicked off the year with fizzy, fuzzy energy. The fizz and fuzz faded come March 2020, but before that, we packed our plasticine and carried out a search of The Avon to pick up Bristol's finest maker of noise, Gavin Strange.  By day, Gavin is Director and Designer at the beloved Aardman Animations, the Academy Award winning studio behind Wallace & Gromit. It is probably easier to ask what Gavin does not do, a sucker for a night-time side project, under the pseudonym of Jam Factory, he's also an author, toy inventor and speaker on the global circuit. In one of the …Gasp! team's all time favourite episodes, Gavin talks to us candidly on having car parts thrown at his head, pixels, plasticine, what Morph is really like, the unlikely crossover of Maya Angelou and Dragon Ball Z and why we need more wonky things.  Feel better about marketing with Episode 28 of Call to Action® with Gavin Strange.  Follow Gavin on Twitter, Instagram and LinkedIn Check out his website And get his book: Do Fly Timestamps (01:59) - Quick fire questions (02:40) - First jobs, having car parts thrown at his head, getting a job in design (10:00) - Tinkering and creating his alter ego JamFactory  (13:15) - What it's like working at Aardman Animations  (16:39) - Pixels vs plasticine and long standing characters like Morph  (23:30) - Being time buddies with Beyonce and how he gets so much done  (33:10) - Doing silly stuff and his directorial debut (41:50) - Writing his book Do Fly  (53:00) - Listener questions  (1:00:00) - 4 pertinent posers  Gavin's book recommendations are:  Feck Perfuction by James Victore  Draplin Design Co: Pretty Much Everything by Aaron Draplin  Why? How? What? The First Big Book of Art by Brosmind  Cabinet of Curiosities by Guillermo del Toro  Anything by Shepard Fairey 

Copyright law is complicated, especially when it comes to visual art. So there was a lot of fanfare around the Supreme Court's May ruling involving a celebrity portrait photographer, the pop artist Andy Warhol, and an orange silk screen of the late musician Prince. Would the decision give us some clarity around what's ‘infringing' in the world of appropriation art? Lauryn Guttenplan, former deputy general counsel for the Smithsonian, walks us through some high-profile copyright cases from the past, as well as the Supreme Court's decision. See the artwork we discussed: Obama “Hope” Portrait by Shepard Fairey, original photo by Mannie Garcia “Canal Zone” Collage by Richard Prince, original photo by Patrick Cariou “Orange Prince” by Andy Warhol Prince Portrait by Lynn Goldsmith

Cory Côté's career has included some of the most interesting jobs with the biggest players in the business. His story starts with a difficult childhood, where he used team sports to take him from Canada to Washington and then transitioned from athletics to art. From gigs with Ames Bros to record labels to designing (in-house and out) for some of the most influential brands in action sports...You've seen Cory's art and work. These days, Cory has Mystery Made, his brand and design house in West Seattle. On the podcast, we talk about the road from Canada to crushing it. Brandon Ramirez asks the Inappropriate Questions. Cory Côté Show Notes: 3:00:  Singapore, Canada, rough childhood, sports, and college soccer 11:00:  Cornish, Tooth and Nail Records and Ames Bros 21:00:  Stanley:  Get 30% off site wide with the code winteriscoming Best Day Brewing:  All of the flavor of your favorite IPA or Kolsch, without the alcohol, the calories and sugar. Elan Skis:  Over 75 years of innovation that makes you better. 24:00:  Getting a job with K2, learning to snowboard at sales meetings, differentiating brands and keeping secrets. 30:00:  The benefits of doing the job of 10 people, the end of US production, the China experience, becoming design manager at K2 and Shepard Fairey 39:30:  Peter Glenn Ski and Sports:  Over 60 years of getting you out there. Outdoor Research:  Click here for 25% off Outdoor Research products (not valid on sale items or pro products) 41:30:  Original Penguin, lawsuits, inspiration trips, and leaving K2 49:00:  Starting Mystery Made, staying in snow, learning the business end, and odd hours 54:00:  Inappropriate Questions with Brandon Ramerez

Tired of the same old, same old? In this fresh episode of the No_System podcast, we're slicing through the fluff and getting down to brass tacks about time preference. It's all about the slow burn versus the quick fix in the creative world.We're not just tossing around highfalutin economic theory for kicks—We're looking to the big brain moves of Eugen Böhm-Bawerk. You're an artist, not a day trader, right? So why rush your masterpiece like a two-for-one sale at the dollar store?We spotlight legends like Banksy and Shepard Fairey to prove a point: playing the long game in art is like investing in a solid gold chain. It just doesn't lose its shine. We're serving up the kind of content that's meant to stick around, not just stick for now.We're not just here to preach. You'll get the real deal—tips on juggling your need for bread with your dream of leaving a mark.And since we're all about that action, step up and take our challenge. Go dust off that big idea you shelved and start sculpting it into something that'll echo through the ages—or at least outlive the latest meme.Before you dash off to make your mark, hit up nosysknows.com. Grab some gear as unique as your fingerprint and as loud as your art. It's not just merch; it's a statement that you're part of a tribe that values freedom, expression, and a good chuckle at the system's expense.This is the No_System podcast—no gatekeeping, no ivory towers, just real talk and a good laugh, where all rights are reserved, and all lefts are celebrated.©2023 Brian Behm Creative. 

Eric Elms is an artist, graphic designer, and creative director based in LA. He recently announced the launch of his new studio S.E.E. (Studio Eric Elms) and joins me to talk all about the name, the work, his process, how he distinguishes between his art practice and commercial design practice and how the two relate to each other. We also get into Eric's beginnings as a teenage assistant to and mentee of Shepard Fairey, a studio assistant to KAWS, and designer for Supreme and how those roles led to where he is today.Episode artwork by Chuck Anderson/NoPattern Studio. Episode music & production by Yuri Rybak & Josh Chin.

This week's episode of The 1 Girl Revolution Podcast features Shaney Jo Darden, founder of Keep A Breast Foundation - a nonprofit organization dedicated to reducing breast cancer risk and its impact globally through art, education, prevention, and action.  In 1999, Shaney Jo Darden discovered a close friend had been diagnosed with breast cancer and she wanted to do something to help and she realized that she could make a difference in a way that honored her friend's passion: art. As a result, Keep A Breast was born as a unique art concept that was developed to showcase the physical and emotional challenges of breast cancer. The result was a series of customized breast casts. In 2000, the first breast casts were officially showcased in an exhibition called “Keep A Breast.” It featured casts of pro-female snowboarders, painted by artists like Shepard Fairey and Ed Templeton. This signaled a shift toward an arts-oriented breast cancer awareness organization with a new mantra: Art. Education. Prevention. Action. Since then, Keep A Breast has grown and evolved and now has many programs within the organization. Their programs include Check Yourself (Digestible breast health education through printed materials, blogs and our KAB app.); the Keep A Breast App (A free, breast self-check app helps guide you through your monthly check and can connect you with health professionals.); Fit 4 Prevention (A national movement to educate about breast cancer prevention through fitness and wellness.); Keep A Breast Give Back Grant (Directly supporting BIPOC women who are breast cancer survivors or who have been diagnosed with breast cancer.); Treasured Chest Program (Where artistry meets therapy. TCP is designed to create a safe space that allows our castees to confront both physical and emotional changes that a breast cancer diagnosis brings.); Non Toxic Revolution (Informing, educating and inspiring young people to avoid toxic chemicals in their environment and food supply—especially those linked to the initiation of breast cancer.); and their most recent program, which Shaney Jo talked about for the first time (EXCLUSIVE!!!) Keep A Breast Valley (Boutique Wellness Center is being designed as a desert community that will provide the space and tools for visitors to explore and nurture individual and collective wellness.) Shaney Jo's story is so inspiring and the work that Keep A Breast does to empower women and support our sisters through their cancer journey is incredible. You don't want to miss this episode. In this episode, you'll hear:  Shaney Jo's inspiring life story; How she got into art, fashion, and design; The story of how Keep A Breast came to be and her personal connection to breast cancer (through a friend's cancer journey); How Keep A Breast has grown and evolved and stories of women they have helped through the years; AN EXCLUSIVE: Shaney shares about a new facet of their work - a wellness center for those going through cancer and cancer survivors;  And so much more. The 1 Girl Revolution Podcast is available on Apple Podcasts, Spotify, iHeartRadio, YouTube, and everywhere you listen to podcasts.  For more information on Shaney Jo and Keep A Breast Foundation, please visit: www.1GirlRevolution.com/keepabreast For more information about 1 Girl Revolution, please visit: www.1GirlRevolution.com

Mexican National Guard troops were caught on tape trying to illegally raid a migrant shelter. Also, local scientists voice displeasure with the social media platform formerly known as Twitter. And, muralist Shepard Fairey's public art contribution to South Park.

Throughout history, art has been a vehicle for social change. Consider the artist's mural of George Floyd that become an emblem for the fight towards racial equality. The documentary film that helped oust a Central American dictator. The echo of freedom songs that rang throughout the Civil Rights Movement. When artists and organizers join together, new forms of political mobilization are sure to follow. Despite these and many more examples throughout history, many people are unaware of how much deliberate strategy is involved in propelling this vital work toward a more just society. Behind the scenes, artists, organizers, political activists, and philanthropists have worked together to hone powerful tactics for achieving a more just society for all. In Art Works: How Organizers and Artists Are Creating a Better World Together, movement leader Ken Grossinger chronicles these efforts for the first time, distilling lessons and insights from grassroots leaders and luminaries such as Ai Weiwei, Courtland Cox, Jackson Browne, Shepard Fairey, Jane Fonda, Jose Antonio Vargas, and many more. Drawing from both historical and contemporary examples — including Black Lives Matter, Standing Rock, the Hip Hop Caucus, and the Art for Justice Fund — Grossinger speaks directly to the challenges, needs, and successes of today's activists across the artistic and political landscapes. Ken Grossinger has been a leading strategist in movements for social and economic justice for thirty-five years, in unions and community organizations, and as director of Impact Philanthropy in Democracy Partners. Among other cultural projects, he co-executive produced the award-winning Netflix documentaries The Social Dilemma and The Bleeding Edge. He lives in Washington, D.C.  Dr. Carmen Rojas is the president & CEO of Marguerite Casey Foundation. Under her leadership, the foundation launched the prestigious Freedom Scholar Award. Prior to MCF, Dr. Rojas was the co-founder and CEO of The Workers Lab, an innovation lab that partners with workers to develop new ideas that help them succeed and flourish. For more than 20 years, she has worked with foundations, financial institutions, and nonprofits to improve the lives of working people across the country. Art Works: How Organizers and Artists Are Creating a Better World Together Third Place Books

Learn more at TheCityLife.org --- Send in a voice message: https://podcasters.spotify.com/pod/show/citylifeorg/message Support this podcast: https://podcasters.spotify.com/pod/show/citylifeorg/support

The creative force behind the ubiquitous OBEY stickers and the iconic Obama HOPE campaign poster brings his vision to Manhattan's Lower East Side, with an eight-story mural that pays homage to the Beastie Boys for the 50th anniversary of hip hop.Fairey's vision, informed by skater culture, punk rock and hip hop has captivated art-lovers worldwide, from Johannesburg to Singapore. NYC Mayor Eric Adams joins Fairey to discuss the transformative power of art, and why Fairey says he'll never be seen as “cool” in his daughters' eyes.

Join host Matt Gondek as he sits down with Troy Kelley, the dynamic Artist Development and Project Manager with Goldman Global Arts, the esteemed curators of the Wynwood Walls in Miami and the Houston Bowery Wall in NYC. With a background that stretches from creating stained glass windows to pushing cubicle life at a major tire manufacturer, Troy has become a pivotal force in the street art community since joining GGA in 2015. Whether it's ordering paint, building relationships with artists like Futura and Shepard Fairey, or bouncing between his new home in Los Angeles and Wynwood Walls, Troy's artistic background and authentic passion shine through in his role. Listen as he shares his journey from a small town in Northeast Ohio to the bustling world of street art, all guided by his Midwestern attitude and love for the craft. Listen to the full Podcast now.

Join host Matt Gondek as he sits down with Troy Kelley, the dynamic Artist Development and Project Manager with Goldman Global Arts, the esteemed curators of the Wynwood Walls in Miami and the Houston Bowery Wall in NYC. With a background that stretches from creating stained glass windows to pushing cubicle life at a major tire manufacturer, Troy has become a pivotal force in the street art community since joining GGA in 2015. Whether it's ordering paint, building relationships with artists like Futura and Shepard Fairey, or bouncing between his new home in Los Angeles and Wynwood Walls, Troy's artistic background and authentic passion shine through in his role. Listen as he shares his journey from a small town in Northeast Ohio to the bustling world of street art, all guided by his Midwestern attitude and love for the craft. Listen to the full Podcast now.

On this continuation, Jello and Shepard discuss the consequences of renegade art, the famous people trying to prevent Shepards art and the future exhibitions Shepard is creating. Hosted on Acast. See acast.com/privacy for more information.

Renowned renegade artist Shepard Fairey joins Jello on todays episode of Renegade Roundtable. They discuss the early days of Shepards art, his roots in punk, and how he was able to get his art and message spread around the world. Hosted on Acast. See acast.com/privacy for more information.

Rock and Roll Hall-of-Famer John Desmore, legendary drummer for The Doors, joined me for a discussion about his book THE SEEKERS: Meetings With Remarkable Musicians (and Other Artists): John Densmore, drummer of The Doors and bestselling author, reveals his personal creative journey and spiritual path alongside some of the iconic people he has known.Whether it's the curiosity that blossoms after we listen to our favorite band's newest record, or the sheer admiration we feel after watching a knockout performance or reading a masterpiece, many of us have experienced art so pure - so innovative - that we can't help but wonder afterwards: "How did they do that?" And yet, few of us are in a position to be able to ask those memorable legends where their inspiration comes from and how they translated it into something fresh and new. Fortunately, THE SEEKERS: Meetings With Remarkable Musicians (and Other Artists) is here to offer us a bridge.John Densmore digs deep into his own process and draws upon his access to fellow artists, performers, and writers - including Patti Smith, Lou Reed, Bob Marley, and Robert Bly - in order to explore the origins of creativity itself. Inspired by the classic spiritual memoir, Meetings with Remarkable Men by G.I. Gurdjieff and weaving together anecdotes from the author's personal notebooks and experiences over the past 50 years - from the impact of his artistic mother, to his first impression of Jim Morrison, to meeting the Dalai Lama and Ram Dass - this book takes readers on a rich, thought-provoking, spiritual journey into the soul of the artist."On the back cover of my first book, Riders on the Storm, Oliver Stone called me a "survivor and a seeker." I am still on that road. In fact, we all are, whether it's a freeway or a dirt trail, our experience is the same; we have embarked on a journey of spirit in our human bodies as we proceed down our path on Planet Earth. And music is a candle, lighting the way along the road toward the art of living." -John DensmoreUltimately, the result is not only a look into the hearts and minds of some of the most important artists and iconic people of the past century, but a way for readers to identify and ignite their own creative spark and light their own fire. By understanding creativity's roots, Densmoreultimately introduces us to the realm of everyday inspirations that imbue our lives with meaning.THE SEEKERS is available in hardcover, e-book, and audio formats. The book's cover art is by famed artist Shepard Fairey. "All creative people have inspirations that become part of their DNA," says Fairey. "John Densmore not only acknowledges his inspirations, but beautifully, powerfully, and lovingly celebrates mentors, heroes, and peers who have impacted his life's journey and become part of his DNA. For the cover, I envisioned a tapestry with multiple epic figures whose threads are intertwined with John Densmore himself, the central beating heart and storyteller."

It' been one year since Roe v. Wade was overturned. We asked listeners how they felt the impacts over the past year. Chris Burrell and Kenneth Gumes join to discuss the current state of education in Massachusetts prisons, based on Chris' latest reporting. Andrea Cabral delves into various topics, including Hunter Biden, the Federal Trade Commission's investigation into Amazon, and more. Lauren Chooljian, a reporter for NHPR, has faced significant harassment due to her coverage of sexual abuse perpetrated by Eric Spofford. She'll share insights from her reporting. Shirley Leung takes a moment to reflect on the Dobbs ruling's impact over the past year and explores the concept of the "urban doom loop." Additionally, she highlights a new lawsuit against restaurateur Tiffani Faison and presents a proposal for supportive housing. In commemoration of the 60th anniversary of JFK's "Ich Bin Ein Berliner" speech, Shepard Fairey has been commissioned to create a portrait of JFK for the JFK Library. Shepard will join the conversation via Zoom from Lisbon. Our show closed by talking about the new phone-free Finnish Island. Do you shut off your phone on vacation? Or are you doomed to take selfies?

On this special episode of Hello, Print Friend, Miranda speaks with Nadya Tolokonnikova, creator of Pussy Riot. Nadya was first thrust on the world's stage in 2012 when Pussy Riot members were arrested for performing their “Punk Prayer” in the Cathedral of Christ the Savior in Moscow. Since then, Nadya has continued her practice of using performance art as activism and joins us on the podcast just weeks before the opening of her solo exhibition at CONTAINER in Santa Fe. In this episode, they talk about her early art influences growing up in one of the world's most polluted and northernmost cities; how she stays loving, open, and connected when making art about all the hard things in the world; and making prints with Shepard Fairey. Nadya Links: https://pussyriot.love/ http://www.instagram.com/nadyariot https://www.instagram.com/pussyriot/ https://twitter.com/nadyariot https://twitter.com/pussyrrriot https://www.facebook.com/wearepussyriot/ https://unicorndao.com/ CONTAINER Santa Fe: https://www.containertc.org/ Hello, Print Friend Links: YOUTUBE www.youtube.com/channel/UCOMIT3guY5PjHj1M7GApouw MERCH www.teepublic.com/user/helloprintfriend WEBSITE www.helloprintfriend.com Instagram www.instagram.com/helloprintfriend ✨patreon✨ www.patreon.com/helloprintfriend

John Goff, also known as Cascadia Bagpiper, has been a professional bagpiper since 1984. Originally from San Diego, he currently resides in the Pacific Northwest and plays memorials, funerals, weddings, and various celebrations. John is also an experimental musician, playing guitar, synthesizer and bagpipes with a wide range of musicians including Crash Worship, Neurosis, Merzbow, Steve Von Till, and NØISE, a collaboration with artist Shepard Fairey. In this episode, John shares a few of his many anecdotes, experiences and insights as an experimental musician turned professional bagpiper. We also get a brief history of the instrument, the outfit and the journey that landed him in this vocation. Long time pals Joe and John get a chance to catch up, hear some fruits of their collaborations and they revisit the time Vincent Gallo visited John at his Portland home. This ep is supported Native Instruments. Use code "podcast" to get 50% off Komplete 14 Select, visit https://www.native-instruments.com/en/ This ep is also supported by Izotope. Use code "fret10" to receive your software discount at https://www.izotope.com/ https://www.cascadiabagpiper.com/ http://www.noiseproject.com/

GREENFINGERS, 16min., UK, Documentary Directed by Max Hayes Following fateful scientific reports, protestors pose the argument for a better future against the vested interest of industry. Small to large, individual to collective, where do I fit into this? Get to know the filmmaker: I knew throughout my Middlesex University Film BA that I wanted my final year project to be a documentary. Climate activism is a subject that I'm existentially tied to but I didn't think I was well connected enough to make a film on it. When I fully considered how I wanted to use my time in education I decided to go for it, commit to researching environmentalism and hope that the experience could make a story. I found that media coverage is set up to make activists defend their actions; whilst this is an important question to ask, I found this necessitates the activists to be combative towards the interviewer and I wanted to use my film to show their genuine humanity that may not be captured on the news. I've studied Berthold Brecht and believe that addressing the audience directly and taking them out of the illusion of a film is important to communicate a political message. Barbara Kruger and Shepard Fairey's bold work appealed to me as something that is both political, visually captivating and could be used to break my project up into chapters. They all motivated me to add a more experimental artistic side to the documentary. You can sign up for the 7 day free trial at www.wildsound.ca (available on your streaming services and APPS). There is a DAILY film festival to watch, plus a selection of award winning films on the platform. Then it's only $3.99 per month. Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

Eddie Colla attended the School of Visual Arts in New York and graduated from the California College of Arts with a BFA in photography and interdisciplinary fine arts. He began your artistic career as a photographer, working first for the New York Times and later, several magazines, record labels and ad agencies. However, over time, he has morphed into an opponent of what he terms, “the all-pervasive nature of commercialism” ie, the advertisements that overwhelm many of our public spaces. Eddie's street art first garnered national recognition when he began incorporating images of Barack Obama in 2008. His designs have been transformed into stickers, and album and magazine covers and have been featured alongside Hush, Blek Le Rat, Banksy, and Shepard Fairey as well as at art festivals, shows, and public spaces in Miami, Paris, Los Angeles, Thailand and Mexico. In August of 2011, he completed an 80 ft mural in Little Saigon San Francisco chronicling the Vietnamese diaspora. In 2012, he became the curator at LOAKal gallery in Oakland California, and then the Ian Ross Gallery in San Francisco where he guest-curated "Made in China" a group exhibition where contemporary artists had their work hung side by side with counterfeits produced in an oil painting factory in China. Eddie values death awareness, holding the opposites of personal expression and anonymity, not asking for permission, imperfection, the unordinary, in producing shit, if one has to, to get to something real…and of his work states, “Some people view what I do as vandalism. I assume that their objection is that I alter the landscape without permission. Advertising perpetually alters our environment without the permission of its inhabitants. The only difference is that advertisers pay for the privilege to do so and I don't. So if you're going to call me anything…call me a thief.” --- Send in a voice message: https://anchor.fm/cutting-for-sign/message Support this podcast: https://anchor.fm/cutting-for-sign/support

A look back at the conversations from 2022, featuring excerpts of conversations with Jerry Saltz, Sarah Morris, Simon de Pury, Matthew Collings and Shepard Fairey.

Roger Gastman is an art dealer, curator, filmmaker, publisher and historian of graffiti and street art. He's THE fucking guy. He's worked closely with people like Shepard Fairey and Banksy. And a ton of other great artists. He was a consulting producer on Exit Through The Gift Shop, which is one of my favorite documentaries. In 2018 he curated Beyond The Streets in Los Angeles that kinda led to me becoming obsessed with his art shows. And in 2022, he opened a permanent gallery in LA.  Video on www.patreon.com/brido

Augmented reveals the stories behind the new era of industrial operations, where technology will restore the agility of frontline workers. In this episode of the podcast, the topic is "How Academia Shapes Manufacturing". Our guest is John Hart (https://www.linkedin.com/in/ajhart/), Professor of Mechanical Engineering and Director at the Center for Advanced Production Technologies at MIT. In this conversation, we talk about John's research on micro and nanotechnology and material science, which universities and colleges that teach manufacturing, the role of MIT in this ecosystem, and why now is a key moment in manufacturing history. If you like this show, subscribe at augmentedpodcast.co (https://www.augmentedpodcast.co/). If you like this episode, you might also like Episode 92 on Emerging Interfaces for Human Augmentation (https://www.augmentedpodcast.co/92). Augmented is a podcast for industry leaders, process engineers, and shop floor operators, hosted by futurist Trond Arne Undheim (https://trondundheim.com/) and presented by Tulip (https://tulip.co/). Follow the podcast on Twitter (https://twitter.com/AugmentedPod) or LinkedIn (https://www.linkedin.com/company/75424477/). Trond's Takeaway: There has never been a more interesting time to be in manufacturing or to watch manufacturing. The tremendous breakthroughs that we are about to witness have been made possible by a confluence of emerging technologies and startup innovations, as well as a growing awareness of the importance of building human-centric technologies. We are indeed at a crossroads with profound challenges in the growing talent shortage, the need for workforce training, an aging industrial base, and the demands for manufacturing competency from the wider innovation ecosystem. We have to make progress fast, and innovations are just maturing to be able to do so at the scale and pace required. It will, again, be amazing to watch the manufacturing industry. Parts of it will perhaps, again, become the industry of industries. Transcript: TROND: Welcome to another episode of the Augmented Podcast. Augmented reveals the stories behind the new era of industrial operations where technology will restore the agility of frontline workers. Technology is changing rapidly. What's next in the digital factory, and who is leading the change? And what are the skills to learn and how to stay up to date on manufacturing and industry 4.0. In this episode of the podcast, the topic is How Academia Shapes Manufacturing. Our guest is John Hart, Professor of Mechanical Engineering and Director at the Center for Advanced Production Technologies at MIT. In this conversation, we talk about John's research on micro and nanotechnology and material science, which universities and colleges that teach manufacturing, the role of MIT in this ecosystem, and why now is a key moment in manufacturing history. Augmented is a podcast for industrial leaders, for process engineers, and for shop floor operators hosted by futurist Trond Arne Undheim and presented by Tulip. John, how are you? Welcome. JOHN: I'm well, Trond. Great to see you. Thank you for having me. TROND: Well, I'm excited to have you talking about...well, hopefully, a lot of different things, but how academia gets to shape manufacturing, this fascinating venture that is manufacturing. But you yourself, John, you grew up in Michigan, is that right? You were close to this from an early age. JOHN: I was close to it. Yeah, I grew up in Royal Oak, Michigan, a suburb north of Detroit. If you know the Detroit Metro area, there are the mile roads, and the Detroit River is sort of Zero Mile. And I grew up between 14 and 15 Mile Roads, so in the hotbed of the good, old U.S. auto industry. TROND: Well, exactly. Because looking a little bit at your background here, you spent quite a few years as a summer intern at General Motors before you got yourself to...or actually perhaps in the beginning, in your undergrad years from UMichigan, is that right? JOHN: I did. After my first year at UofM, I worked as a summer intern at GM and went back a few years in a row in different roles in different areas. And honestly, when I decided to pursue a graduate degree and ended up at MIT, I thought I might just get my master's and go back and work in the auto industry, but things changed, and here we are today. TROND: Well, here we are today. You got yourself an undergrad from UMichigan. And you worked there for a little while, I believe, but then came to MIT with a master's, Ph.D. This is way back. But you won the prize for the best doctoral thesis in micro and nanotechnology. So that set you off on the path to rediscover nanomaterials, I guess. JOHN: Yeah, well, it's a really maybe exotic combination of topics. My master's thesis was on precision machine design, the design of these large mechanical couplings for industrial robots. And then, for my Ph.D., with the same advisor, I worked on carbon nanotube synthesis. But there you have the dipoles of manufacturing research, materials, processing, and mechanical design that have shaped how I've taken things forward since then. TROND: Well, but it is in these unique combinations that innovation starts to occur, right? JOHN: Yeah, exactly, combining different topics. And that's one reason I love manufacturing is that it is the union of materials processing, and automation, and software, and now also getting more interested in the organizational workforce aspects. It's a very rich, multidisciplinary layered topic. TROND: Yeah. And we'll explore this both from the organizational angle, and, indeed, I'm super interested in this material angle on things because it seems to me like you're exploring the very, very small nanostructures, but then you're then printing them on the very large canvas. So you're exploring materials from one extreme to the other. JOHN: Yeah. Well, it depends on your objective and what topic you're working on. There are cases in our research where we need to understand the formation of materials, not quite from the atom up but from the nanoscale or microscale up. And there are cases where we more or less abstract or coarse grain those link scales and focus on macroscale properties. TROND: Well, and then you also focus quite a bit on teaching. I noticed that you actually launched the first massive online course on manufacturing processes, and hopefully, we'll get to this a little bit as well. JOHN: Sure. TROND: But teaching and basically working on the next generation of manufacturers, whether they be the engineers or really anybody else, has certainly been one of the big challenges in manufacturing really forever. What is it that fascinates you so much about teaching this to a grander audience than the usual university audience? JOHN: Well, first, I'll say I believe that the top priority of universities, including in the area of manufacturing, is to educate future leaders and engineers. That said, the number of people we educate on our campus is a small fraction of those who could really benefit from what we teach and the way we teach. And that's not just geographically, but it's also in terms of their role in the workforce. So I believe manufacturing education should address all levels of the workforce. And to get at your question more directly, when I came to MIT, I was asked to take over our core undergraduate manufacturing class in the Department of Mechanical Engineering. And as I learned to teach the class for myself, I was intrigued by this emerging trend of digital learning, and this was 2015, 2016. And I was able to get some funding from MIT internally to create an online version of the course that would be offered free to the world, and probably 100,000 People have taken it so far. And it's been a great experience and evidence of how there is very broad interest in manufacturing really across the world. TROND: 100,000 people have taken this course. JOHN: Yeah. Well, I'll say 100,000 people have signed up for the course. This is the classic trade-off with online courses. It doesn't mean 100,000 people complete the course. It means that number signs up and hopefully took something away from it. It also speaks to the flexibility. You can sign up for a course and maybe just listen to one lecture, but if you take something valuable away from it, that's great. TROND: So I wanted to talk a little bit about how academia shapes manufacturing. And I know that there are, you know, you and I work at MIT, and you've had experiences obviously at University of Michigan. But there are other manufacturing centers and institutes all around the world. Could you lay out this landscape a little bit for us so that we get a sense of where the excellent centers of manufacturing are located? I mean, one structure, just to pick that, is manufacturing institutes, and I know that's sort of dear to your heart for a couple of different reasons that we'll get into. But what are some of the centers beyond MIT where there is activity that is organized in a way that really is something to focus on? JOHN: First, I think of in the U.S., Carnegie Mellon, Georgia Tech, Purdue, Michigan, Stanford, places that have defined manufacturing centers or have a body of work that relates to manufacturing that I would say there's a critical mass of faculty, and students, and affiliation with industry. Also, Penn State in the area of additive manufacturing and product design. It's hard to be comprehensive. I don't want to forget anyone big, but that's a sample of some of the notable ones. Internationally, a lot of activity in Europe; I admire the University of Cambridge, the Institute for Manufacturing there, where manufacturing is more or less a department, or it's within the Department of Engineering, which is analogous to what we would say is a school or college of engineering here in the U.S. And they have a broad set of activities that have been there for decades focused on manufacturing at the IFM. TROND: And if you think about the best schools to get educated in this topic, is it necessarily only the top brands? I mean, certainly, they have different roles. So when it comes to undergrads or even shorter, or I guess even community colleges have a really fundamental role in the formation of this sector, can you talk a little bit about that? JOHN: Oh, for sure. When you think of manufacturing education, we must think of the full stack of institutions that educate the workforce, from vocational institutions to community colleges where the student's goal may just be to complete a vocational program or complete a two-year degree and then exit the workforce, all the way to the four-year degrees, advanced degrees, and executive education. And given how manufacturing is paramount in the workforce and the economy, we need to educate folks at all those levels. But by far, the largest number of people are at those vocational community college levels and then to the bachelor's level. So I have a Ph.D. I love to mentor Ph.D. students. But that's a small fraction of the manufacturing workforce. TROND: What about in the U.S. setting? There's something called the Manufacturing USA, and there are these institutes that have sponsorship from various government agencies, most of them through the Department of Defense. But there's also a bunch at the Department of Energy and one, I guess, from the Department of Commerce. What is the role of basically government-sponsored sort of research and innovation activities in this field? It would strike me, I guess, that historically, it's quite important. JOHN: Certainly. You're alluding to the manufacturing innovation institutes, the MIIs that were started during President Obama's administration. Actually, MIT's work, the Production in the Innovation Economy study, and the Advanced Manufacturing Partnership, which emerged from that, was key in scoping the MIIs, and now there are 16 or so around the country. It's one example of public-private partnership. Public-private partnership is key to cultivating interest in manufacturing and also providing resources for technology translation and commercialization. I think the MIIs have had a great impact on awareness of manufacturing, on R&D, and really applied research in some critical technology areas. But it's only a small part of what we need to do to regrow and expand our industrial base in the U.S. TROND: So I want to move us shortly to MIT to discuss both your own research activity and how extensively you are now aiming to take a more organizing role to kind of get more out of all of the exciting work that's happening at MIT. But before that, I just spotted perhaps an older project of yours that I thought was extremely cool. You were once called a nanoartist, and you had this NanoArt Nanobliss gallery with visualizations. You previously mentioned Obama. I believe you made a NanoArt structure called Nanobama or something of that sort. How did this come about? And, again, I mean, I'm guessing this just sort of testifies to your interest in science communication as much as in the depths of science, which we'll get into in a moment. JOHN: You got it. The inspiration was how do we communicate what we're doing in the lab to broader audiences just to make them aware of what's happening in new technology, new materials? In that case, it was nanotechnology. If you don't mind, I'll tell you a bit more of the story. When I was an assistant professor at Michigan, we were doing a lot of work on carbon nanotube manufacturing, which was a follow-on from my graduate work at MIT. And I admired President Obama, or he was a presidential candidate at that time. And without implying a political inclination, I somehow put together the words nano and Obama in my mind. TROND: [laughs] JOHN: And I said, wow, it would be cool to have a Nanobama. So one thing led to another, and I actually worked with some students in my group to fabricate these little portraits out of carbon nanotubes representing Shepard Fairey's portrait of Obama that was used widely during that first presidential campaign. And I just posted it online, I think one day after the election, and it took off. It went viral, so to say, and was featured as Nature's Image of the Year. It was printed on the newspapers you used to get as you walk onto the subway in the morning around the world. There was a company that would syndicate this stuff, and they just sent it around. So it got a lot of attention. And it showed me the power of an image in communicating something. And, of course, President Obama, that was a historic election. The play on words was exciting, and also the fact that it was a little bit intriguing science and technology that was nano was interesting. And one more thing, a colleague of mine at Michigan then was working in the White House, and he said, "Hey, can you send us a Nanobama?" So I made this frame with a little piece of the real material, and a picture of it from the microscope sent it to Washington. I didn't hear anything about it until I got a call from the White House asking me to declare the value for the President's tax return because he decided to keep it; I kid you not. And then, after Obama left office, I was with my family at a bookstore in Wellesley, and I saw the book, the retrospective book of Pete Souza, the White House photographer. And I opened up the book, and I see a picture of Obama and John Boehner in the Oval Office in the middle of this book. And right on the doorframe is the Nanobama. So it actually made it to the White House, which was a pretty awesome feeling. TROND: It must be an awesome feeling, and, again, I think that, especially in this field of manufacturing which is so challenged at times, right? And people are talking about how these factories are greedy, or is this a great job, or whatnot. And there have been all of these historical moments. But then there is also this fascination around the topic of certainly of technologies and the excitement around it. Why don't we continue a little bit on this strand before we get into sort of the overall role of MIT? I'm really curious about how your research has evolved. So generally, I get that you're combining these nanostructures with manufacturing and materials research, and certainly, you have applied it to additive manufacturing. How would you say that your research has evolved over these years? What are the things that you have been doing? I've picked up on a few things that I definitely wanted to cover. I mean, certainly, you've been working on this industrialization of 3D printing, both as a research area and as a commercial area. Carbon nanotubes must have been kind of where you started. I'm curious where that work is going. And then I saw that very recently, with a student, you've been doing some work that I'm personally very enthused about, which is a plant-derived composite that might replace, hopefully, plastics with sort of a hardness and stiffness that is somewhere at the boundary between conventional plastics and metals. I mean, for me, I don't quite see how all of these things are intimately connected. Where do you go for, you know, where's my next proposal here, and where's my next patent? JOHN: They aren't necessarily closely connected. But I like to say that the themes are typically one or more of materials, manufacturing, and mechanical systems or automation. And what I love about manufacturing, especially in the materials domain, is to control a process, to understand a process, and then to do something new, you need to investigate its fundamentals. And sometimes, you need to design a new instrument or machine to get the job done. So our work is often problem-inspired or opportunity-inspired. Like, the cellulose work that you mentioned recently was actually sponsored by a large consumer products company interested in a more sustainable composite material that could be used in packaging. And we looked at potential routes to formulating different materials, and we landed on cellulose. And then, we developed a formulation, a mixture of cellulose nanocrystals and polymers that ended up having exciting mechanical properties, particularly very high hardness, and toughness, more so than existing polymers. And another unifying theme is scalability. It's important not to worry too much about scalability in the early stage of research, and there's lots of amazing research that's just for science. But we like to do things that we hope will be scalable one day, so choosing ingredients that would be cost-effective or using techniques that could be industrialized, even if the techniques look very different in the lab. And maybe I've lacked to give a precise definition or focus, but I think it's also indicative of the broad span of manufacturing. And manufacturing has many, many dimensions beyond the ones that we work on in my lab at MIT. TROND: Well, you kind of answered a question that I was going to ask, too, which is it doesn't seem like you start in a linear fashion, you know, in other words, you start with some sort of basic problem that everybody in their literature has established and then you move to this, that, or the other. Sometimes it comes from a company. The challenge comes from a company, but you formulate the solution completely. It seems to me that students also have lots of ideas and kind of formulate projects. Talk to me a little bit about this process of where the problem comes from versus where the solution and impact comes from because you seem to...sometimes the output truly is just, you know, like, in this case, art or a physical prototype, and you're sort of happy with that outcome. Other times, you're actually delivering something into, presumably, eventually, an assembly line. JOHN: Yeah. And we work as hard as we can on technology translation, both in terms of the knowledge that we publish but also in terms of the steps that we take to spin technology out. You're right; the early stage is very important. And I like to often see the early stage as a collaboration between myself and the researchers. And in many cases, the core idea we end up pursuing comes largely from the research or the research team. In many cases, it might be seeded by the interest of a sponsor or an idea I have, and then we work together on actually figuring out what's the approach, what are the outcomes, and what's the path to success. MID-ROLL AD: In the new book from Wiley, Augmented Lean: A Human-Centric Framework for Managing Frontline Operations, serial startup founder Dr. Natan Linder and futurist podcaster Dr. Trond Arne Undheim deliver an urgent and incisive exploration of when, how, and why to augment your workforce with technology, and how to do it in a way that scales, maintains innovation, and allows the organization to thrive. The key thing is to prioritize humans over machines. Here's what Klaus Schwab, Executive Chairman of the World Economic Forum, says about the book: "Augmented Lean is an important puzzle piece in the fourth industrial revolution." Find out more on www.augmentedlean.com, and pick up the book in a bookstore near you. TROND: You have commercialized at least two ventures together with others at MIT and external people as well that I know about for sure. I wanted to just briefly mention both Desktop Metal and VulcanForms. Let's perhaps cover Desktop Metal first, so that's a 3D printing company. Tell me how that got started and what your role was there. JOHN: So I was very fortunate to be a member of the founding team of Desktop Metal. So there were seven co-founders, and we launched the company in early fall of 2015. And Ric Fulop, who's the lead founder and CEO, approached me at that time, and he heard that I was interested in working on 3D printing and, of course, knew a bit about my background in manufacturing and machine design and asked me to jump on board. And funny story, how just connections persist over the years; I actually knew Ric when I was a grad student because I was doing my carbon nanotube work using the space of now my colleague, Yet-Ming Chiang. And at that time, Yet and Ric were launching A123 Systems, a successful battery company. So that was a reason why I think Ric knew to get in touch with me when he heard about me. And serendipity was a great experience. TROND: Serendipity when you are in the right places, right? If you're hanging around Yet-Ming Chang, yeah, that's right, very special serendipity. Tell me a little bit about VulcanForms. Until very recently, you couldn't talk so much about it. Nowadays, you did go out in New York Times. I've read that piece. So there is a little bit more detail around it. Let me ask a very basic and perhaps dumb question, large-scale metal 3D printing, what's the big deal there? I thought didn't Desktop Metal do 3D printing? So it's kind of a dumb question. Why is there a second company? Is there really such a variety? I think that the regular person just thinks 3D printing is 3D printing. JOHN: 3D printing is a broad and deep subject. Like, first of all, 3D printing processes exist for polymers, for metals, for many other materials. And there are even several 3D printing technologies for metals. I'll tell the origin story for VulcanForms quickly if that's okay, and then get back to the question. So when I came to MIT as faculty in 2013, I had been a professor at Michigan for a few years. And I landed, and one of the topics I thought of looking into was 3D printing. I was actually asked by a colleague to teach a class not on 3D printing, but I was able to propose the topic. And in that class, there were many incredible students. One of them, named Martin, stuck around at MIT after finishing his master's in manufacturing, and we ended up comparing notes and launching VulcanForms in 2015, a little bit before Desktop Metal came to be, but not that long before. And we stayed quiet for seven years. We raised our seed round a couple of years ago. And the focus of the company is number one, laser-based metal additive manufacturing. And second, while we've built our own additive technology, we're a manufacturing company. So we produce parts at scale, and that is a real need and has been a barrier to growth of the additive industry. There's so much interest and uptake in additive. But the ability to achieve high-quality production using additive as the formative step in the process at scale has largely been untouched. So from the early days, we thought that we could approach the market with that plan to become a manufacturing company. TROND: Staying quiet for seven years that can't have been [laughs] particularly easy. JOHN: Yeah, it's not easy, but it's very, very worth it because we got to focus. And also, there are different boundary conditions that allow you to keep your head down and get work done, and one of them is having great and patient investors who believe in your approach and who see the progress behind the curtain. And as a result, we felt we would hold off launch. And we were fortunate to get picked up by the New York Times earlier this summer. And now we're excited to talk about what we do. TROND: Yeah, that article did hint a little bit at what your printers can print that others cannot and kind of at what scale. Can you give some examples of the kinds of things that you are now contracted to print or are perhaps already printing? JOHN: So the company is focused on a variety of industries, generally industries where high-value metal parts are difficult to manufacture and where there is a real pent-up need for more agile, high-value manufacturing medical devices such as medical implants, semiconductor components, not microchips but cooling devices for various computer systems. We have a lot of business in the aerospace and defense area, working with several of the defense primes, both on additive parts and on machining, honestly. The company, as described in the New York Times article, we acquired a machine shop in Newburyport, Massachusetts, earlier this year. And that was twofold, one because in order to deliver finished parts, you need to often integrate additive with machining. So it's not just 3D printing; it's building a stack of software and physical processes to create a finished part. Second, advanced machining is also a digital manufacturing technology, and as a company, we're very interested in applying our capabilities as a digital manufacturing organization to the area of CNC machining as well. TROND: So, taking that experience then from these two companies and your vast interest and research area plus your interest in communication, what is it that you're now focused on at MIT more largely? That's another kind of secret that's slowly being let out. But you have had this notion and have shared this with me and others, obviously. There was a seminar open to whoever was invited, I think, but not a full public launch. Manufacturing at MIT has historically been quite important, but you think that there's even more, to be done. You lined up a couple of the projects, but there are many more things that MIT has done. Could you maybe just briefly address the role of MIT historically in influencing manufacturing? And what else is it that you now want to accomplish? JOHN: Yeah, for sure. And since I came to MIT nine years ago, I've learned of the incredibly rich history that the institute has in manufacturing, both on the technology side, you know, in the mid-1950s, building among the first CNC machines, ultimately transformed commercial aviation in 1980 building one of the first 3D printers in the world, and so on. But not only that, but also, historic accomplishments in the social sciences, understanding the globalization of manufacturing, you know, what delineated the U.S. versus the Japanese auto industry in the 1980s. What is the intrinsic role of manufacturing in innovation, the production, and innovation economy led by my colleague Suzanne Berger in around 2010. And then broader than manufacturing, though, the work of the future study just a couple of years ago looking at the connection between technology and work. So looking at all those accomplishments and understanding the present moment that we're in, which I can also reflect on later, I've been exploring how to create a new presence for manufacturing at MIT. And the term manufacturing at MIT is more or less a placeholder representing the community of faculty and students across disciplines, both technology and social sciences, that touch on all the dimensions of manufacturing. So as we've returned from Zoom life to more in-person life, I've been making my way around campus and building a team of folks, faculty advisors, external advisors, industry partners, and so on to hopefully put forward a new center at MIT that has a focus on manufacturing across the disciplines. And this is not to replace existing activities but just to augment those activities and bring industry together with us to support research, to lean deeply into workforce training programs, to collaborate with public organizations at the state and federal level and internationally, and also hope to cultivate more entrepreneurship. Because my experience, fortunate experience as an entrepreneur over the past several years tells me that there's opportunity for more new companies that contribute to the future of manufacturing, whether they're manufacturing companies actually making stuff, whether they be software and services companies. Or perhaps the biggest need is hardware companies for whom manufacturing is a route to success. So you may not be manufacturing something yourself, or you may not be manufacturing goods for others, but understanding manufacturing and scaling a process is really key. And that intellectual DNA of manufacturing is more cross-disciplinary than ever. And I've observed over my nine years at MIT how there's just more engagement in manufacturing as a discipline, as this cross-disciplinary theme. And that's an area where I feel such a center can really play a role by adding something to the intellectual community across the institute. TROND: There are so many things that come to mind when you produce this narrative because, I guess, on the one hand, manufacturing is a little bit of everything. On the other hand, it is clearly very delineated because it's all about making things and making them at scale. And there's a whole industry, but, of course, every industry almost has a manufacturing arm. How do you delineate the subject of manufacturing? And I'm sort of curious, you know, at MIT, if you use a broad church definition, almost everybody there contributes to manufacturing. So that would be both a challenge and an opportunity, I guess. JOHN: Yeah, you're exactly right. So, first, within MIT, we have many collaborations with different departments and other research centers. And the nature of the collaboration depends on what the focus is. Second, when it comes to interfacing with industry, I've come to look at industry as kind of a grid where you could say the columns are the end users, say, aviation and space or consumer or construction. And then, the horizontal lines in the grid are technologies, robotics and automation, 3D printing, software and IT, et cetera. And getting a little bit in the weeds of the organization here, so first, we're working on launching a flagship industry consortium, or we're recruiting flagship industry partners for a new center. And those will be companies, world-leading manufacturing companies across the grid. Second, we will operate consortia in different technology in industry areas that may be located within our center that may be in collaboration with others around MIT to really drive focus. And when industry comes and interacts with us, I want them to understand how their business fits into the broader spectrum. And we find particularly in the work related to 3D printing that companies appreciate being connected with peers across the value chain. They say 3D printing is materials at the frontend and finished parts at the backend, and there are some machines and software, and so on. When you bring companies together across their value chain, across their supply chain, under the umbrella of an academic organization with this sort of problem-solving mindset, we find that that can be valuable to the companies that we partner with. TROND: And, John, there's obviously a scale at MIT that's hard to replicate for any university or school just because there are so many people involved in technical innovation. But on the other hand, I would say there has been a sense that other sectors if you could call them that, have always been moving much faster than manufacturing. And, you know, okay, fine, there are industrial revolutions, but the ones we talk about now as industrial revolutions are more, you know, they are maybe on the software side and stuff, but that the core of manufacturing it may be because of its inherent nature. It's complex; it's about physical infrastructure, at least a lot of it still. So it's hard to innovate in that sector. Would you say that one of the ambitions you have with this manufacturing at MIT initiative is to speed up that innovation? And if so, what are the mechanisms that would bring manufacturing as a whole, I guess, on an even faster sort of clip? JOHN: First, if I look within MIT, we see the opportunity to combine the physical side, the mechanical engineering, the material science, with the digital side, with software, and controls, and computation. And that's an area where it's clear that new technologies can be de-risked, can be scaled more quickly. And it really requires this symbiosis of the physical processes and the digital intelligence. Second, I think we can do better research. I can do better research by understanding where the big problems and opportunities are. And by connecting closely with industry, forming networks with various stakeholders, we can define better problems that we can ask our students to solve. And third, I've noticed, especially over the past year with all the geopolitical discussions and the imperative for sustainability, that we're at a time where there's this alignment between industry and government and the investment community and manufacturing, physical manufacturing, physical industry is vital. We can't do enough there to catch up, to grow. And I think that's a real opportune moment to recognize that while I think the pendulum has swung to the digital world and software over the past 10, 20 years, life has changed for the better in so many ways. We have to focus on the physical world now, especially to address the climate crisis, and also think of how we can improve economic equality across our communities, how we can provide better job opportunities, how we can deliver education to individuals who don't have the opportunity to go to university or don't have the resources to travel, all those things. So that's another reason why, one, I see manufacturing as this rich, cross-disciplinary topic that I can file a patent and write some exciting papers and graduate with a Ph.D., but it means so much more to feel technology at scale. And second, you need the intersection of these disciplines to understand not just technology but organizations and human dynamics to create change and create positive impact. TROND: So I realized that we're going to have to cover... there are so many other questions I have for you is what I'm trying to say here. But my last question in this round, I think, is going to be one on...we briefly mentioned, or you briefly talked about augmentation. And you know that I have a special interest; obviously, the topic of the podcast and the title is augmentation. So there is something here about the tension, perhaps between augmentation and automation. How do you see that tension or the relationship between working from the human-centric perspective that technologies are in service to perhaps augment people and processes versus this automation perspective which maybe takes, and I'm paraphrasing here, a little bit more of an efficiency approach and tries to go for machine scale first and then just adjust everything later? How do you see those two things now, as perhaps, you know, manufacturing is coming into another kind of growth moment? JOHN: If I understood you correctly, I don't think they're mutually exclusive, right? Certainly -- TROND: No. Not necessarily. Not necessarily. JOHN: Certainly, manufacturing will become more automated in places where automation makes sense. Certainly, automation is challenging to implement to scale, to get right. But in some cases, the driver to more efficient technology-first manufacturing is automation. In other cases, and hand in hand with that, human workers and businesses, organizations can only become more effective and efficient, working in synergy with data and automation. I'll use the example of someone overseeing a 3D printer, a state-of-the-art 3D printer, and watching the screens to make sure everything is going well and doing a better job by being presented with information that shows, hey, this might be a problem, or there are no problems here, but being empowered to make that data-driven decision. And also, from my work outside of MIT, we find that folks who do best operating that advanced equipment with digital data might have a machining background. They might also have a passion for gaming on the side. So they might be used to sensing and responding to dynamic digital events. And that's another comment on skills evolving in the workforce too. TROND: Well, I mean, one thing that is for certain is that if MIT gets its act together on manufacturing, things will happen. I trust that we're going to have to come back and talk about a lot of emerging projects here in the coming years if you get people lined up. So very exciting. Thank you for speaking to me. Is there sort of a challenge that you want out there to the community when it comes to how, you know, not just academics can contribute to shaping manufacturing but how we all should think of these manufacturing challenges? Is it something that we should leave to experts right now because it's so complicated? Or are there ways that the broader interested public can get engaged in this problem? Is it possible to engage, and where should one engage? JOHN: That's a great question. First, to the general public, I'd say stop and think about what manufacturing means to you, or find one of your favorite things and look up how it's manufactured. Imagine the life, the journey of the product as it comes to your door. And second, I'd say the area where most of us can make an impact is in education and learning and contributing to our communities. Perhaps if you're an engineer working somewhere, you might want to teach at a community college one night a week if you have time in a future semester or explore ways that you can bring new knowledge, new technology to your organization if it makes sense. TROND: Exciting challenges. Thank you so much for sharing a little bit of what you're up to with us, John. JOHN: Thank you, Trond. TROND: You have just listened to another episode of the Augmented Podcast with host Trond Arne Undheim. The topic was How Academia Shapes Manufacturing. Our guest was John Hart, Professor of Mechanical Engineering and Director at the Center for Advanced Production Technologies at MIT. In this conversation, we talk about John's research on micro and nanotechnology and material science, which universities and colleges that teach manufacturing, the role of MIT in this ecosystem, and why now is a key moment in manufacturing history. My takeaway is that there has never been a more interesting time to be in manufacturing or to watch manufacturing. The tremendous breakthroughs that we are about to witness have been made possible by a confluence of emerging technologies and startup innovations, as well as a growing awareness of the importance of building human-centric technologies. We are indeed at a crossroads with profound challenges in the growing talent shortage, the need for workforce training, an aging industrial base, and the demands for manufacturing competency from the wider innovation ecosystem. We have to make progress fast, and innovations are just maturing to be able to do so at the scale and pace required. It will, again, be amazing to watch the manufacturing industry. Parts of it will perhaps, again, become the industry of industries. Thanks for listening. If you liked the show, subscribe at augmentedpodcast.co or in your preferred podcast player, and rate us with five stars. If you liked this episode, you might also like Episode 92 on Emerging Interfaces for Human Augmentation. Hopefully, you'll find something awesome in these or in other episodes, and if so, do let us know by messaging us. We would love to share your thoughts with other listeners. The Augmented Podcast is created in association with Tulip, the frontline operation platform that connects the people, machines, devices, and systems used in a production or a logistics process in a physical location. Tulip is democratizing technology and empowering those closest to operations to solve problems. Tulip is also hiring, and you can find Tulip at tulip.co. To find us on social media is easy; we are Augmented Pod on LinkedIn and Twitter and Augmented Podcast on Facebook and YouTube. Augmented — industrial conversations that matter. See you next time. Special Guest: John Hart.

A conversation with the artist Shepard Fairey. He is an artist, activist, street art pioneer and founder of the OBEY clothing line, but may be best known for his 2008 HOPE poster that served as the grassroots campaign imagery for Barack Obama's first presidential election. Urban streets have long been the home of Fairey's counter-culture images. The word “OBEY” paired with a stylized depiction of Andre the Giant has been an iconic calling card for the artist whose work is now invited to be painted on city walls and shown in contemporary museums.https://obeygiant.com/https://www.dallascontemporary.org/shepard-faireyhttps://obeyclothing.com/https://en.wikipedia.org/wiki/Barack_Obama_%22Hope%22_poster

Artist/Activist Shepard Fairey (creator of Obey Giant, the Obama “Hope" poster, and the iconic "Andre the Giant" image) gets Frank about why he almost added an asterisk to an Ozzy Osbourne tour poster; the outrage he felt as a boy when the Village People's “YMCA” fell off the top of the charts; and the reason “Diabetic” is his only tattoo. Find Shepard's art and clothing https://obeygiant.com See IG: @obeygiant -------------------------------------------------- Get in touch with Too Much Effing Perspective Contact us: hello@tmepshow.com Website: https://tmepshow.com Social: @tmepshow Learn more about your ad choices. Visit megaphone.fm/adchoices

Galleries play a fundamental role in the art world, encouraging the success of an artist or the growth of a high-quality art collection.  However, today's guest believes there's often too much emphasis on what gallerists do for artists, and not the other way around. In this week's episode, legendary gallerist Merry Karnowsky of LA's https://kpprojects.net/ (KP Projects) joins us to talk about her highly influential career in street art and the lowbrow art movement. Merry's work over the years has helped legitimize the careers of world-renowned artists like Shepard Fairey, https://notrealart.com/camille-rose-garcia/ (Camille Rose Garcia), Todd Schorr, and Jeff Soto, to name just a few. This year Merry celebrates her 25th anniversary at KP Projects, having opened the gallery in 1997. Today's episode is all about celebrating Merry's contributions to the art world as we learn more about her journey as a gallerist, a curator, and perhaps most importantly, an art lover. Merry shares her motivations for starting a gallery, and how she seeks to represent the work she loves with the reverence it deserves. We also discuss the importance of creating diverse business models in the art world, how the gallery system has evolved since the ‘90s, and what you can expect from KP Projects' upcoming 25th anniversary exhibition.  Ultimately, Merry believes the artists she represents inspired her to create an impactful legacy in the arts—one we hope persists for another groundbreaking 25 years.  In Today's Podcast Episode Merry Karnowsky discusses… How she founded KP Projects, and what her motivations were at the time How she facilitated greater recognition for now-famous artists like Shepard Fairey Her relationship with pop surrealist Todd Schorr, who was one of her first exhibited artists Why she believes lowbrow art is sometimes overshadowed by the “scene” around it The unconventional trajectory of many lowbrow artists, and the hierarchies that often exclude them from blue chip representation Why she believes KP Projects wouldn't have worked anywhere but LA How her artists have inspired her to create an impactful legacy for the arts community What she hopes the artists she's worked with over the years will say about her What you can expect from KP Projects' upcoming 25th anniversary exhibition For more info, please visit: https://notrealart.com/merry-karnowsky

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

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

Not sure how many San Diego restaurants have a real, bonafide Shepard Fairey art piece—sanctioned by the artist, famous for his propaganda art like the Obey (Andre the Giant) and Hope (Obama) series—but Shank & Bone in North Park is one of them. So technically the Vietnamese restaurant is a pretty notable art gallery. Their pho sure is some art. So are their fish sauce chicken wings, salty and sweet. In our June “Best Restaurants” issue, Shank was named readers' choice for Best Vietnamese and my pick for Best Pho. And on today's podcast Han Tran comes on to share her story—how her parents came over as refugees from Vietnam. She grew up in City Heights, where her mom ran a bakery and cafe. “It was known for the strongest Vietnamese coffee in town,” she says. “Just rocket fuel. In our culture, the cafe scene is mostly men. Women walk in and the needle on the record scratches. But mom ran it. She's tough. Cafes are really popular in the Vietnamese community, but ours was different because we had good food.” Han was raised in this food culture, saw how much her parents worked. Nonstop. The restaurant was their life, their stable place in a new world. And so the daughter went to SDSU with not less than zero interest in running a restaurant, but running very fast the other way. And then her and her husband, Jay Choy, bought a sushi joint, Ebisu Sushi. “We had no idea how to run it,” she says. And yet they did, for 16 years. They opened Shank & Bone because they wanted to take the Vietnamese food Han grew up with, but crank it up, use better ingredients, bring the modern better-food ethos to dishes of her youth. And, well, she took some flak. Some in the Viet community went after her because of the Fairey artwork, which shows a Viet girl holding a gun with a flower in the end of it. “Vietnamese immigrants are all obviously anti-communism—so there was a rumor going around that some communist had come to North Park and opened this restaurant,” she laughs. “And the funny thing is, the image of the woman looks almost identical to a picture of my mom from the refugee camp.” She and her husband also took flak for the price of their pho—$17 when they opened, $20 now. The reason? They invested in better ingredients, and they crammed their broth with two, three times the amount of bones to ratchet up the flavor (thus why the pho is so good). They invested in artwork and a storefront right on University Ave. All things that cost money. Shank's done just fine now. People showed up, keep showing up. In “Hot Plates,” we talk about the impending sale of Stone Brewing to Sapporo U.S.A.; how the city is now starting to enforce permits for the parklets restaurants built during the pandemic, and how very few restaurants have even bothered to apply; and the arrival of Northern California's white-hot Filipino bakery chain, Starbread. For “Two People, Fifty Bucks,” David goes to a classic in North Park (Lucky's Golden Phoenix), Han professes her love for Mongolian Hot Pot; and I defend the honor of chain restaurants by naming one of my favorites for healthy meals (Tender Greens, run by San Diego chef Pete Balistreri). Go eat some pho. Noodles on the side (so they don't soak up too much of that broth, which is gold).

Mike Giant discusses his experiences in the fine art world as well as how to navigate it. Topics discussed include: Agree, Futura, graffiti writers moving into galleries, art “investors”, 1991 Albuquerque Museum mural show, connector photos, reasons to work with a gallery, stable of collectors, trusting in value, Sharpies, 50/50 split, galleries responsibilities, no sell early shows, exclusivity, taking advantage of opportunities versus remaining loyal, Twist, dealing with museums, museums buying art for their permanent collections, getting graffiti in Juxtapoz, Damon Soule, selling artwork in upscale hair salons in the late 1990s, FecalFace, Sketch show at Juice in 2000, downside of galleries owned by wealthy people, ask galleries for references, better percentage of sales at alternative spaces, The Lab show in Baltimore, first solo show (San Jose, 2001), Bob Schmeltzer, WDWA show (Brooklyn, 2002), The Vandal Squad, BEAMS/Upper Playground in Tokyo with Bigfoot and Sam Flores, 5024SF Gallery, Matt Revelli, unpaid show in Denver with Andy Howell and Sam Flores (2002), 55DSL in NYC, MOCADC (2003), pill poppin, group shows, Misanthropy Gallery in Vancouver (2004), Sight, artist-run galleries, 111 Minna Gallery (SF, 2004), Doze Green, Show with Shepard Fairey at Voice1156 Gallery (San Diego, 2005), infamous gang fight, solo show at The Erotic Museum (LA), The Yoga Series, solo show at Nomad in Toronto, first show in Paris (Royal Cheese, 2005), solo show at Lab101 Gallery (LA), solo show at Colette (Paris, 2006), Karl Lagerfeld, Sarah, Fafi, Las Chicas de Burque series, solo show at Best (London), extending stays overseas, Hysteric Glamour group show (Hong Kong, 2006), White Walls Gallery, Andres Guerrero, Justin Giarla, Outre Gallery, solo show at Magda Danysz Gallery (Paris, 2007), three openings (VIPs, collectors, public), Drago Publishing, group show at Iguapop Gallery (Barcelona), getting paid by overseas galleries, solo shows in Australia (2007), solo show at White Walls (2008), solo show at Guerrero Gallery (2010), solo shows at FFDG (2012-16), solo shows at Black Book Gallery (Denver, 2014-17), solo show at ATAK (SF, 2016/17), Inner State Gallery (Detroit, 2016), 6x6' drawing, online store created (2017), ease of selling work online, getting full value of work sold, difficulty in shopping your work to galleries, using galleries to grow the value of your work, Paris auction, JonOne, accumulation of money vs. freedom, the power of Instagram, withholding a gallery's access to your social media following, BONUS: botched show at Magda Danysz Gallery (Paris, 2009).